MARC Record from marc_openlibraries_sanfranciscopubliclibrary

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100 1 $aSanouillet, Michel.
240 10 $aDada à Paris.$lEnglish
245 10 $aDada in Paris /$cMichel Sanouillet ; revised and expanded by Anne Sanouillet ; [editorial consultant, Michèle Humbert] ; translated by Sharmila Ganguly.
250 $a1st English-language ed.
260 $aCambridge, Mass. :$bMIT Press,$cc2009.
300 $axii, 705 p. ;$c24 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
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504 $aIncludes bibliographical references (p. [625]-688) and index.
505 0 $aParis at war and the "new spirit" -- The "three musketeers" -- Litterature -- Early skirmishes -- The magnetic fields -- Dada's beginnings -- The main performances (I) -- The main performances (II) -- The life of the movement -- Dad and the NRF -- Dada publications: 1920 -- The 1921 "revival" -- The "great Dada season" -- The "Barres trial" -- Picabia splits up with Dada -- Around a "Dada salon" -- Quarrels and squabbles (summer-autumn 1921) -- Dada gets disciples -- Dada publications: 1921 -- The "congress of Paris" -- Dada's decline: publications of 1922 -- Around Dada -- Dada and its audience -- Conclusion?
520 $aThis volume examines the Dada art movement, offering a behind-the-scenes account of the French avant-garde's riotous adolescence, with a timeline that begins with Tzara and Picabia and stretches to include Breton, Philippe Soupault, Louis Aragon, and Paul Éluard. The author (one of the foremost specialists of the Dada movement) describes the pre-Dada Parisian era, the connection made with Zurich Dada, and Parisian Dada projects and their reception. Finally, by 1923, Dada-according-to-Tzara gave way to Dada-according-to-Breton -- which a few months later, under tumultuous circumstances, took on the new name of Surrealism. The longer-lasting, more conservative Surrealism would overshadow Dada for decades to come.
650 0 $aDadaism$zFrance$zParis.
650 0 $aAvant-garde (Aesthetics)$zFrance$zParis$xHistory$y20th century.
700 1 $aSanouillet, Anne.
700 1 $aHumbert, Michèle.
700 1 $aGanguly, Sharmila.
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