| Summary: | This thesis explores the concept of surrealist visuality in the work of the lesser-known, Spanish poet José Maria Hinojosa (1904-1936). His later, surrealist writings are analysed within both a comparative and interdisciplinary context. The theoretical framework for this thesis is provided by French surrealism - notably the writings of André Breton. And the interdisciplinary aspect includes lived events of surrealism along with more expected media. The whole argument is structured around a particular type of dialectic which is termed the 'surrealist dialectic'. Being a deviation from the Hegelian model, the surrealist dialectic concerns itself with the stages in between 'thesis', 'antithesis' and 'synthesis'. These intermediary stages are defined in terms of transgression, transformation and 'transreification'. The whole of this thesis is divided into three parts, each corresponding to a dialectical stage. There are three chapters in each of the three stages and these combine to offer another, 'micro-dialectic' within the whole. Each first chapter outlines the main theme from the context of French surrealism, and then applies this theory to Hinojosa's dream-narratives. The second chapters discuss Hinojosa's surrealism in biographical terms, and then combine other practices - surrealist collage (Angel Planells), paranoia-criticism (Salvador Dali), and surrealist cinema (Luis Buñuel) - with a response to Hinojosa's poetry. The third chapter focuses on the role of automatic writing, and analyses Hinojosa's oneiric texts from three different perspectives - as revolutionary power, as surrealist narcotic and as surreal madness.
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