The traumatic surreal: Germanophone women artists and Surrealism after the Second World War

Patricia Allmer

doi:10.7765/9781526149800

The Traumatic Surreal is the first major study to examine the ground-breaking roles played by Germanophone women artists working in surrealist traditions in responding to the traumatic events and legacies of the Second World War. Analysing works in a variety of media by leading artists and writers, the book redefines the post-war trajectories of Surrealism and recalibrates critical understanding of its relations to historical trauma. Chapters address artworks, writings, and compositions by the Swiss Meret Oppenheim, the German Unica Zürn, the Austrian Birgit Jürgenssen, the Luxembourg-Austrian Bady Minck, and the Austrian Olga Neuwirth and her collaboration with fellow Austrian Nobel-prize winning novelist Elfriede Jelinek. Locating each artist in their historical context, the book traces the development of the traumatic surreal through the wartime and post-war period.

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The traumatic surreal

Germanophone women artists and Surrealism after the Second World War

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Contents

Front Matter
pp i-iv

Dedication
pp v-vi

Contents
pp vii-vii

List of Figures
pp viii-xi

Acknowledgments
pp xii-xiv

Introduction
pp 1-28

1 - Meret Oppenheim’s hauntologies
pp 29-71

2 - Unica Zürn’s pathographies
pp 72-108

3 - Birgit Jürgenssen’s abjections
pp 109-162

4 - Bady Minck’s tourist imaginaries
pp 163-196

5 - Olga Neuwirth/Elfriede Jelinek: Temporality andtrauma
pp 197-234

Bibliography
pp 235-254

Index
pp 255-261

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The traumatic surreal

Germanophone women artists and Surrealism after the Second World War

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