How did the avant-garde imagine its interconnected world? And how does this legacy affect our understanding of the global today? The writers and artists of the French avant-garde aspired to reach a global audience that would be wholly transformed by their work. In this study, Effie Rentzou delves deep into their depictions of the interwar world as an international and modern landscape, one marked by a varied cosmopolitanism. The avant-garde’s conceptualization of the world paralleled, rejected, or expanded prevailing notions of the global sphere. The historical avant garde—which encompassed movements like futurism, Dada, and surrealism—was self-consciously international, operating across global networks and developed with the whole world as its horizon and its public. In the heady period between the end of the Belle Époque and the tumult of World War II, both individual artists (including Guillaume Apollinaire, Blaise Cendrars, Francis Picabia, Louis Aragon, Leonora Carrington, and Nicolas Calas) and collective endeavors (such as surrealist magazines and exhibitions) grappled with contemporary anxieties about economic growth, imperialism, and colonialism, as well as various universalist, cosmopolitan, and internationalist visions. By probing these works, Concepts of the World offers an alternative narrative of globalization, one that integrates the avant-garde’s enthusiasm for, as well as resistance to, the process. Rentzou identifies within the avant-garde a powerful political language that expressed the ambivalence of living and creating in an increasingly globalized world—a language that profoundly shaped the way the world has been conceptualized and is experienced today.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1975.

In Surrealist sabotage and the war on work, art historian Abigail Susik uncovers the expansive parameters of the international surrealist movement’s ongoing engagement with an aesthetics of sabotage between the 1920s and the 1970s, demonstrating how surrealists unceasingly sought to transform the work of art into a form of unmanageable anti-work. In four case studies devoted to surrealism’s transatlantic war on work, Susik analyses how artworks and texts by Man Ray, André Breton, Simone Breton, André Thirion, Óscar Domínguez, Konrad Klapheck, and the Chicago surrealists, among others, were pivotally impacted by the intransigent surrealist concepts of principled work refusal, permanent strike, and autonomous pleasure. Underscoring surrealism’s profound relevance for readers engaged in ongoing debates about gendered labour and the wage gap, endemic over-work and exploitation, and the vicissitudes of knowledge work and the gig economy, Surrealist sabotage and the war on work reveals that surrealism’s creative work refusal retains immense relevance in our wired world.

In another century and a half, the world, as we know it, will be greatly changed. This book foresees changes that most of us could scarcely dream of. But several earthly problems have not been resolved. One of these is the periodic emergence of infectious diseases that have evaded all efforts to prevent or control them. Enter Q-strain, an astoundingly pernicious mutation of Ebola virus which totally wipes out all humans on the Earth. There is time, however, to transport the very earliest stage of clones to the robotic station on the Moon. When the "all clear" for absence of the Ebola Q-strain mutant on the Earth has been biologically verified, these clones are given birth on the Moon and raised to adulthood by robotic guides and caretakers. The story then centers on the development of fourteen clones who must return a human presence to our now Ebola-free blue planet. This sounds like quite a challenge, and in fact, that's just what it is.

' The right notion just might unlock your creativity For the past 25 years, Nancy Zieman has offered innovative ideas, inspiration and information designed to make sewing, serging, quilting and embroidering more efficient—and more enjoyable. Now she offers a guidebook to every tool you’ll ever need! Nancy’s Favorite 101 Notions covers the standards—not all pins are created equal!—as well as some one-task wonders that can make the difference between a frustrating failure and a wonderful work of art. Nancy describes the features of each tool—so you can find a tool that works, regardless of brand—and details the various uses. Helpful Notes from Nancy and Budget-Friendly tips are sprinkled throughout, as are illustrated mini-demonstrations. With Nancy’s Favorite 101 Notions, you can find the tools that will make sewing easier, faster, more creative and more fun!

Despite surrealism's celebration of the subconscious and eschewal of reason, the movement was nevertheless concerned with definitions. Andre Breton included a dictionary-style entry for surrealisme in his 1924 Manifeste du surrealisme and later explored juxtapositions of the absurd and the mundane in the 1938 Dictionnaire abrege du surrealisme. To the mountain of literature that seeks to organize the far-reaching intellectual movement, Aspley (honorary fellow, Univ. of Edinburgh) adds this handy volume that organizes the breadth of surrealism into concise entries on artists, writers, artworks, and themes. A chronology highlights events that sparked the surrealist imagination, activities of formal surrealist groups, and exhibitions. An introductory essay and extensive bibliography are included. One of the few English-language reference sources about surrealism published in the last decade, Aspley's dictionary is useful for quick access to key terms and biographies. For a book devoted to a movement characterized by arresting visual imagery, the lack of illustrations is annoying. Even Rene Passeron's 1978 Phaidon Encyclopedia of Surrealism (CH, May'79) reprints artworks in color. For a richly illustrated and comprehensive history, see Gerard Durozi's History of the Surrealist Movement (CH, Nov'02, 40-1316). Summing Up: Recommended. Lower-level undergraduates through graduate students. Lower-division Undergraduates; Upper-division Undergraduates; Graduate Students. Reviewed by A. H. Simmons.

First discovered, celebrated and published by the Surrealists at the age of 14 (they declared her the "new Alice"), Gisèle Prassinos quickly found herself established in the literary world as a fount of automatic tales freighted with transgressive humor and a pervading sense of threatened feminine identity. "Gisèle Prassinos' tone is unique," claimed André Breton, "all the poets are jealous of it. Swift lowers his eyes, Sade shuts his candy box." The Arthritic Grasshopper and Other Tales gathers together all of her literary prose from 1934 to 1944, an assortment of anxious dream tales drawn from journals and plaquettes, introduced and illustrated by such admirers as Paul Éluard, Man Ray and Hans Bellmer. The 72 stories include such longer, novella-length tales as "Sondue," "The Executioner" and "The Dream."Gisèle Prassinos (1920-2015) was born in Istanbul of a Greek father and an Italian mother. One summer day at the age of 13 and in a fit of boredom, she began to compose short absurdist vignettes, filling up pages of paper with tales of sarcastic stains, arrogant hair and liquid frogs. Her first collection was published in 1935, with a preface by Paul Éluard and a frontispiece portrait by Man Ray. With World War II, Prassinos stopped publishing, but in 1954 she returned to literature with a series of novels and stories still imbued with a Surrealist sensibility.