Abstract EN:

The german romantic movement asserted itself as art as being mad sacred and vested with an ontological function. That process of regarding art as sacred was accompanied by the reduction of non verbal arts to the paradigm of poetry as being the essence of art, a common principle that allows to bring artistic fields nearer to each other. That theory of poetic creation focused the debate on language, a guenuine language that both freud and the surrealists situated in the inconscious, its mechanisms, its expression. Assimilating poetry (as the language of desire) to the mechanisms of the inconscious caused artistic modernity and particulary surrealism to wonder about the relations between subjectivity and creation, by means of automatism, the metaphor and the principle of analogy (wich is a constituent part of inconscious activit) the correlative liberation of the techniques, the materials, the signifiers and the subjhect clearly set the problem of the role of the individual and of the inconscious within creation. Thus, surrealistic painting, wich is tributary both of the romantic theory of art and of the pictorial revolutions of the early twentieh century, found itself torn between its representative function and the play on the plastic signifiers, the materials. The same situation can be found in automatic writing, with the coexistence of the narrative reasoning and the dynamism of shapes. That conflict makes up the surreality itself, and only the preconscious seems able to achieve the synthetis of those tendencies throughthe analogical principle, wich is the dey to modern art.