MARIÁTEGUI S AVANT-GARDE AND SURREALISM AS DISCIPLINE

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1 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 relationship, 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 interpretation of Mariátegui s reveals a determination of Surrealism as discipline that preserves this movement s revolutionary task in different geo- systematic character of Mariátegui s writings, this essay also provides a series of concepts that could assist further interpretations of Mariátegui s aesthetics and politics. The following statement reveals both Maria tegui s ee engagement with Surrealism an the basis for his riti ue of reton The human s irit is in ivisible an o not regret this fate Rather, on the ontrary, re ogni e this fate as a nee for lenitu e an oheren e e lare that bring to literary e egesis all my oliti al assions an i eas must a that within me oliti s is hiloso hy an religion This oes not mean, however, that onsi er the literary or artisti henomenon from e tra-aestheti oints of view t means, rather, that my aestheti on e t, in the intima y of my ons ien e, be omes the same as se unimisma] my moral, oliti al an religious on e tions, an that, without easing to be a stri tly aestheti on e t, it annot o erate in e- en ently or iversely 1 1 ose arlos Maria tegui, ( ima Orbis entures, ), ereafter referre to arentheti ally in the te t as Translations are my own

2 Mariátegui s Avant-Garde and Surrealism as Discipline 2, Second Surrealist Manifesto. - ibid n- i- n- - of the avant- n The Heroic and Creative Meaning of Socialism 3 4 n- - See Mariátegu s José Carlos Mariátegui an r-

3 Symposium, no. ( ) i- I. Elucidation of Mariátegui s Avant-Garde n- - - i- constitutive 5 Heroica Translations of 6 HCMS

4 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

5 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,

6 Mariátegui s Avant-Garde and Surrealism as Discipline a- (iii) Facticity 11 im y- n- - e o- i 12 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,

7 Symposium, no. ( ) creative h an Man Myth, in war h - e- - - h HCMS, here

8 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

9 Symposium, no. ( ) i- i- m- Ibid.) The surreal release involves a trans- Ibid) surrealism, wh u- s e- rose wh r What is Surrealism? Selected Writings

10 Mariátegui s Avant-Garde and Surrealism as Discipline r- e- u- that it is histor wever, we volves a i- l- -

11 Symposium, no. ( ) ity 18 i- 19 a- t- both surrealism a m- motivates revoluti ation revolutionaries in 18 Mariátegui Hoy 19 (

12 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 HCMS, here

13 Symposium, no. ( ) surrealism in terms of the surreal release, of the new realism that it i- ity of the avant t- hat governs all of - s 24 a- n- m ition 25 HCMS

14 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 normalization return to the i u- Contentious Encounter,

15 Symposium, no. ( ) t n- - nihilist apraxia that - of the avant- reversal, in the avant- r- lutionary u- the n- -

16 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 Eichmann in Jerusalem Eichmann in Evil

17 Symposium, no. ( ) e- ot o- - was as alien to the avant- of the avant- t- e- avant- Ibid. - rism Ibid.) avant- - - avant-garde r- o-

18 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-

19 Symposium, no. ( ) e- ories s - - n- n- l- n- l- were aware that establish- a- Ibid.) That statement n- Ibid.

20 Mariátegui s Avant-Garde and Surrealism as Discipline y- i- autonomy the autonomy of surrealism as art a- - surreali alw are other- - l-

21 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 Nadja, i- - practice of the 28

22 Mariátegui s Avant-Garde and Surrealism as Discipline surreal release as an essential element of the avant- discipline - search for a discipline ity of the avant- - - surreal w- g- elease from revolutionary for in this 29 it - the 29 The Abse Surrealism, ( t- elf- - to in

23 Symposium, no. ( ) s- riverao@southwestern.edu

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