As one component of ongoing research into the persistence of similarity in aesthetic modernism, this study sketches the historical and conceptual dimensions of similarity as an aesthetic and epistemological paradigm and looks at the similarity concepts of Breton, Ernst, Magrittes, and Caillois to examine how surrealism's transversal agenda released similarity from rational, representational, and identitarian criteria.

Autorentext

Sarah Bangert, University of Tübingen, Germany.