The Beribboned Bomb
The Image of Woman in Male Surrealist Art
Bibliographic Data
| ID | 19383909 |
|---|---|
| Authors | Mara Witzling, Mara R Witzling, Robert J Belton (0000-0002-6615-0517) |
| Year | 1998 |
| Volume | 19 |
| Issue | 1 |
| Pages | 54 |
| Publication date | 1998-01-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Woman s Art Journal (JOURNAL) |
| Journal identifiers | ISSN: 0270-7993 • E-ISSN: 2158-8457 |
| Publisher | JSTOR (PUBLISHER) |
| DOI | 10.2307/1358660 |
| OpenAlex | W358028279 |
| Language | EN |
| Citations received | 3 |
Surrealism was ostensibly directed at the emancipation of the human spirit, but it represented only male aspirations and fantasies until a number of women artists began to redefine its agenda in the later 1930s.The Beribboned Bomb: The Image of Woman in Male Surrealist Art addresses the former, using a thick description of the historically specific circumstances which required the male Surrealists to manufacture a sexual reputation of narcissism and misogyny. These circumstances were determined by an ideological construct which had little to do with individual masculinities. In male Surrealism, the beribboned bomb signified something both attractive and volatile, a specific instance of the Surrealist principle of convulsive beauty. In hegemonic masculinity, similar devices served as metaphors of the sexuality all men were supposed to possess. The intersection of these two axes produced an imagery of unrepentant violence
Art · Art history · Art, Politics, and Modernism · Cinema and Media Studies · Fashion and Cultural Textiles
| Citations per year | 0.14 |
|---|---|
| Citation span | 2005 - 2021 (17) |
| Highly cited | No |