MAX ERNST'S COLLAGE NOVEL, 'UNE SEMAINE DE BONTE': FEUILLETON SOURCES AND ALCHEMICAL INTERPRETATION. (VOLUMES I AND II) (SURREALISM, FRENCH NOVELS, OCCULTISM).

摘要

This study adds two important perspectives to the previous analyses of Max Ernst's surrealist collage novel, Une Semaine de bonte. The first is an investigation of the development of nineteenth century popular French novels and their illustrations, some of which Ernst used to construct his collages. Secondly, I propose that this novel, both in its structure and iconography, reveals Ernst's interest in alchemy. This research builds upon previous literature which is summarized in Chapter One.;Additionally, Ernst's manipulation of these images and organi- zation of the collages throughout the novel reveal his interest in alchemy. Chapter Four reviews the often disputed relationship between the surrealists and occultism, specifically in light of the changing attitudes toward alchemy in the early twentieth century. Ernst's writings on alchemy and the evidence of alchemical sym- bolism in his early works are also summarized. Chapter Five is a thorough analysis of the alchemical symbolism in Une Semaine de bonte. All of the major characters and many of the situations por- trayed in the collages can be interpreted alchemically. Additionally, the sequence of the elements which rule each chapter, beginning with mud (earth), and continuing through water, fire, and blood (or air, since that chapter is filled with bird imagery) represents the traditional progression of the alchemical process.;This review of Une Semaine de bonte documents Ernst's extensive knowledge of alchemical symbolism and points to a new level of interpretation of many of his other works as well.;The majority of wood engravings used to create the collages for this novel were illustrations in late nineteenth-century popular French novels. This literature has rarely been discussed as a cohesive whole and its illustrations have been largely overlooked. Chapter Two sum- marizes the literary development of the serial novel in the French press. Chapter Three discusses the wood engravings which were used to illustrate those novels and which forecast many of the images in Ernst's novel. Three novels are identified as sources for the collages in Une Semaine de bonte. While Ernst's novel is more than a simple parody of popular French fiction, it takes on new dimensions when viewed in the context of this extensive and overlooked tradition.