MARIÁTEGUI’S AVANT-GARDE AND SURREALISM AS DISCIPLINE · MARIÁTEGUI’S AVANT-GARDE AND SURREALISM AS DISCIPLINE Omar Rivera (Southwestern University) This essay explains Mariátegui’s

MARIÁTEGUI’S AVANT-GARDE AND SURREALISM AS DISCIPLINE

Omar Rivera (Southwestern University)

This essay explains Mariátegui’s critical relationship with Breton in terms of his views on Surrealism. In order to understand this rela-tionship, this essay engages in an analysis of (i) Mariátegui’s notion of the avant-garde as a synthesis of aesthetics and politics and of (ii) the positioning of Mariátegui’s avant-garde in relation to post First World War European bourgeoisie and fascism. This interpre-tation of Mariátegui’s reveals a determination of Surrealism as dis-cipline that preserves this movement’s revolutionary task in differ-ent geo- -systematic character of Mariátegui’s writings, this essay also pro-vides a series of concepts that could assist further interpretations of Mariátegui’s aesthetics and politics.

The following sta

a-

-

se unimisma]

e-1

1

s are

Mariátegui’s Avant-Garde and Surrealism as Discipline

2,

Second Surrealist Manifesto.

-ibid

n-

i-

n-

-

of the avant-n-

3 4

2 The Heroic and Creative Meaning of Socialism

– 3 4

n-

-See

Mariátegu – s

José Carlos Mariátegui an – r-

Symposium, no. ( )

i-

I. Elucidation of Mariátegui’s Avant-Garde

-5

6 -

n-

-

- i-

constitutive

5 Heroica

–Translations of 6 HCMS –

Mariátegui’s Avant-Garde and Surrealism as Discipline

(Ibid.

-

o-Ibid.

-war

rationalist apraxia 7

The war brought rationali

s-a-

8 o-

Ibid.

i-a-

s-actualization of a

7 i-

, –

– 8

–

Symposium, no. ( )

potency of violent revolutionary

-

result are pragmata, a term that

pragmata praxis 9

- pragmatic potency,

10 means that the i-

(i) Existence sub-

-

n-

n-

(ii) Hermeneutics

o-n-r-

9 pragmata, that is, that with

praxis pragmata is

Being and Time iversity of New

10 HCMS, –

Mariátegui’s Avant-Garde and Surrealism as Discipline

a- (iii) Facticity 11

im y-n-

-e o-

i12 The revolutionary al

truth —without refuge in a —she is always

site for

13

—

(iv) Creative revolutionary praxis

ive— —

r-

11

factum brutum of

Being and Time 12 HCMS, – 13 Mar , –

Symposium, no. ( )

creative h an

14

15

Man Myth, in

-war h -

e-

- -

h-

14

– 15 HCMS, –here

Mariátegui’s Avant-Garde and Surrealism as Discipline

Ibid.u-

Ibid.

i-— surreal

release—

-

-Ibid.)

i--

ional-— —

o-Ibid. t-

16, o-i-

a-—the

—

16 HCMS –

Symposium, no. ( )

i-

i-

m-

Ibid.) The surreal release involves a trans-

Ibid)

surrealism, wh

u-

s

e-

rose whr-

17

17 What is Surrealism? Selected Writings

Mariátegui’s Avant-Garde and Surrealism as Discipline

r-—

e-

u-

that it is histor

w-ever, we

volves a

i-

l--

Symposium, no. ( )

i-ty18 i-

19 a-

t-—both surrealism a

m-

motivates revoluti

–a-

tion

revolutionaries in

18 Mariátegui Hoy –

19

(

Mariátegui’s Avant-Garde and Surrealism as Discipline

20 that ties

21 ibid.) 22

-

revolutionary praxis as the — — that

combative subjectivity, the surreal release

- - r-

23 ( , the avant- u-

- o-

20 Being and Time – 21

22

23 HCMS, –here

Symposium, no. ( )

surrealism in terms of the surreal release, of the new realism that it i-

i-ty of the avant-

-

-

-

-

-

-t-

hat governs all of

- s

24 a-n-

m-25

24 - -

-

- i-tion 25 HCMS –

Mariátegui’s Avant-Garde and Surrealism as Discipline

avant-

26

t-

- indigenismo in -

II. Surrealism as Discipline

The avant- --

the avant-l-

-

(i) The Bourgeoisie and Its Aesthetics. avant-

- --

-

normalizationreturn to the i-

26 -

- u-

Contentious Encounter ,

Symposium, no. ( )

t n-

- nihilist apraxia that -

of the avant-

reversal, in the avant-

r-

lutionary

u-

the

n--

Mariátegui’s Avant-Garde and Surrealism as Discipline

(ii) Fascism and its Aesthetics.

an s-

speak about themselves, how they present This appears as

n-

e-

genuine nation-forming avant-

o-

27

27 Eichmann in Jerusalem

Eichmann in Evil

Symposium, no. ( )

e-

ot o-

-

was as alien to the avant-

of the avant- t-

e-

avant-

Ibid.- r-

ism—

Ibid.)

avant--

-avant-garde r-

o-

Mariátegui’s Avant-Garde and Surrealism as Discipline

r-

e-

--

r-

-

t-

-

to that of the avant-

( )

Our analysis of the genuine surreal release as an element of the avant-

n-

Symposium, no. ( )

e-

o-ries s

-

-

n-

n-

l-

n-

l-

were aware that establish-

a-Ibid.)

That statement n-

Ibid.

Mariátegui’s Avant-Garde and Surrealism as Discipline

y-

i-

autonomy

the autonomy of surrealism as art a-

-

surreali

alware other-

—

-

l-

Symposium, no. ( )

movement, an experience

practice, as ju preserves protects

- e-

autonomy -

-awareness, that is, as a discipline

-

—that it is the

search

-

— —the - i-

surrealist- -

- 28

Nadja, i-

-

practice of the

28

Mariátegui’s Avant-Garde and Surrealism as Discipline

surreal release as an essential element of the avant-discipline

- search for a disci-pline ity of the avant-

-

-surreal

w-

g-

e-lease from revolutionary

for in this 29

it— - —the

29

The AbseSurrealism, ( t-

elf--

to in

Symposium, no. ( )

s-

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