USM Open Source History Text: The World at War: World History 1914-1945Main MenuIntroduction: A Mural as WindowOn Diego Rivera's Detroit IndustryThe World Around 1914, Part I: the Journey of Young GandhiThe World Around 1914, Part II: The Era of Nationalism and Imperialism (1848-1914)The First World WarThe Long Russian Revolution (1917 – 1929)The Decline of the West? Europe from 1919 – 1929A New Middle East: The Rise of the Middle East State SystemChina Between Qing Collapse and WWIILatin America Between Boom and Bust (1911-1929)Africa Under Colonial Rule: Politics and Race from 1914‐1939The United States from The First World War to the Great DepressionThree Varieties of Radicalism in the 1930s: Nazi Germany, Stalinist Russia, and Imperial JapanThree Responses to Modernity: Ho Chi Minh, Ibn Saud and Getulio VargasThe Second World WarSeth Rogoff5f001fc099cd635507b143be056702764af6929c
12017-06-19T21:51:06-07:00Seth Rogoff5f001fc099cd635507b143be056702764af6929c192372plain2017-08-16T22:12:48-07:00Seth Rogoff5f001fc099cd635507b143be056702764af6929cLike Woolf, the Spanish painter Salvador Dali wanted to peel off the surface layer and peer into people's psychological mechanisms or dynamics. His artistic style, surrealism, was an attempt at creating, according to him, a far more realistic portrait of what was happening inside the world of the mind than any notion of realism or naturalism had been. While painting had captured the visible world or even the impressions the visual world made on the eye and heart, Dali’s work presented the hidden imagery of the subconscious. What do people really desire? What do they crave? What do they fear? Themes of repressed sexuality, perversions, and latent violence permeate Dali’s work. Dali attempts to rip down what he sees as convenient bourgeois conventions. Time, for example, had become for Dali a mechanism to enslave people’s labor, but time itself was subjective. Time was only made to seem objective by our obedience to the artificial mechanisms of a clock. Likewise, for Dali Sexual longings were kept in check by the bourgeois ethos. Instead of being expressed naturally, they were transformed into other energies, primarily violence. In fact, society had the power to accumulate many individual frustrations and to project this pent up energy into socially approved targets. War, of course, was the ultimate projection of social violence and the ultimate expression of a repressive bourgeois world. Surrealism, like many of the other experimental art forms of the era, was a product of the postwar culture – attempts to understand the most catastrophic social failure in all of known history. Dali’s method of dissecting society was to turn, like Woolf, to the psychological level.