This book examines the cultural context and theory behind the art and political activity of the Surrealist movement.Surrealist Art and Thought in the 1930s examines the intersection of Hegelian aesthetics, experimental art and poetry, Marxism and psychoanalysis in the theory and practice of the Surrealist movement. Steven Harris investigates the consequences of the Surrealists' efforts to synthesize these diverse concerns, through the invention, in 1931, of the object and in the recasting of their activities as a mode of revolutionary science. He also analyzes the debate on proletarian literature, the Surrealists' reaction to the Popular Front, and their eventual defense of an experimental modern art following their break with t he French Communist Party in 1935.Surrealist Art and Thought in the 1930s examines the intersection of Hegelian aesthetics, experimental art and poetry, Marxism and psychoanalysis in the theory and practice of the Surrealist movement. Steven Harris investigates the consequences of the Surrealists' efforts to synthesize these diverse concerns, through the invention, in 1931, of the object and in the recasting of their activities as a mode of revolutionary science. He also analyzes the debate on proletarian literature, the Surrealists' reaction to the Popular Front, and their eventual defense of an experimental modern art following their break with t he French Communist Party in 1935.This volume examines the intersection of Hegelian aesthetics, experimental art and poetry, Marxism and psychoanalysis in the development of the theory and practice of the Surrealist movement. Steven Harris analyzes the consequences of the Surrealists' efforts to synthesize their diverse concerns through the invention, in 1931, of the object and the redefining of their activities as a type of revolutionary science. He also analyzes the debate on proletarian literature, the Surrealists' reaction to the Popular Front, and their eventual defense of an experimentalc*