The Occult in Modernist Art, Literature, and Cinema

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Chapter 9: Magic Art Between the Primitive and the Occult: Animal Sacrifice in Jan Švankmajer's Drawer Fetishes. Many modernist and avant-garde artists and authors were fascinated by the occult movements of their day. This volume explores how Occultism came to shape modernist art, literature, and film. Individual chapters examine the presence and role of Occultism in the work of such modernist luminaries as Rainer Maria Rilke, August Strindberg, W.B. Yeats, Joséphin Péladan and the artist Jan Švankmaier, as well as in avant-garde film, post-war Greek Surrealism, and Scandinavian Retrogardism. Combining the theoretical and methodological foundations of the field of Esotericism Studies with those of Literary Studies, Art History, and Cinema Studies, this volume provides in-depth and nuanced perspectives upon the relationship between Occultism and Modernism in the Western arts from the nineteenth century to the present day. Intro; Contents; Notes on Contributors; List of Figures; Chapter 1: Introduction: Conceptualizing Occult Modernism; Defining Occult Modernism; Untangling the Concept of Occult Modernism; The How and Why of Occultism; A Typology of Occult Modernism; Suggestions for Future Research; Investigations into Occult Modernism; Chapter 2: A History of Research into Occult Modernist Literature; First Generation: ca. 1940-1990; Second Generation: ca. 1990-2000; Third Generation: ca. 2000 to the Present; Concluding Remarks; Part I: Artistic Practices. Chapter 3: Visionary Mimesis and Occult Modernism in Literature and Art Around 1900The Limits of Postmodern Interpretations of Literary Visionary Mimesis; Maupassant and Meyrink: Realizing the Limits of Perception and the Exploration of 'New Senses'; Naturalist Clairvoyance as the Basis of August Strindberg's Visionary Mimesis; Symbolist Visionary Mimesis in the Works of Rainer Maria Rilke; Concluding Remarks; Chapter 4: August Strindberg's Art in Modernist and Occult Context; The Creative Process and the Unconscious Mind; Photographic Experiments 1: Celestographs and Crystallograms. Photographic Experiments 2: Photographing the SoulConcluding Remarks; Chapter 5: 'Only Poets and Occultists Believe in Them Just Now': Fairies and the Modernist Crisis of Authorship; Fairies, Theosophy and Artistic Visions; Photographing the Invisible and Taking Dictation from the Fairies; Disenchantment, Fairy Art and the Many Shades of Belief; Splintering the Authorial Self, from Mallarmé to Yeats; The Fairy-Abducted Bard: Yeats's Experiments in Authorial Agency; Concluding Remarks; Part II: Aesthetics; Chapter 6: Return from Oblivion: Joséphin Péladan's Literary Esotericism. Introducing PéladanAn Early Modernist?; Studying Péladan: Methodological Issues; Applying a Working Interdisciplinary Framework; The Findings: Péladan's Fiction and Literary Esotericism; The Legendarium; Theoretical Implications; Chapter 7: Ghosts Before Breakfast: The Appetite for the Beyond in Early Avant-Garde Film; How to Avoid Seeing Ghosts: Vormittagsspuk and the Allegorical Imagination; The Badly Trained Soul: Notions of Magic in Richter's Writings on Film; Visualizing the Beyond: Vormittagsspuk and Spirit Photography; Concluding Remarks. Chapter 8: Marie Wilson and Nanos Valaoritis in Conversation: Surrealism, Imagetext, and Occult Aesthetics in Terre de DiamantMarie Wilson: Abstraction, Mediumistic Automatism, Surrealism; Nanos Valaoritis: Surrealist Trajectories and the Occult; In Search of the Diamond Land: Poetry and Art as Alchemy; Imagetext or Pictorial Art Versus Poetic Art Criticism; Imagetextual Strategies and the Surrealist Image; Occult Aesthetics and the Politics of Surrealism; Imagetext as a Tool in the Study of Occult Modernism; Part III: Occulture.




The Occult in Modernist Art, Literature, and Cinema. (2018). The Occult in Modernist Art, Literature, and Cinema. Springer International Publishing.

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