Surrealist Ghostliness

Acknowledgments

xvii Acknowledgments I wish to thank those who have been generous about welcoming my questions and theories as I approached their own work or that of members of their family, most particularly Dorothea Tanning, Pierre Alechinsky, Susan Hiller, and Tony and Roz Penrose. I would not have had the courage to do this work without your support. I also thank Val Nelson at the Jersey Archive, who gave me advice about finding the house of Claude Cahun, Pam Johnson of the Dorothea Tanning Foundation and Archive, and Katarina Jerinic of the Francesca Woodman Studio and Archive for their helpful encouragement. I thank Dartmouth College for supporting me throughout the composition and completion of this book, in particular the financial support I have received from the Dean of the Faculty Office and the Senior Faculty Fellowship I was awarded in 2003–04, at an early critical moment. I thank my colleagues in the Department of French and Italian, most notably Mary Jean Green, Lynn Higgins, Roxana Verona, Graziella Parati, Virginia Swain, J. Kathleen Wine, Ioana Chitoran, Andrea Tarnowski, and David LaGuardia, for their sustained interest in my work, Keith Walker for his suggestions, and the Ramon and Marguerite Guthrie Fund for help with permissions and illustrations. I thank Jennifer Mundy at the Tate Modern for giving me the opportunity to write about anamorphosis in relationship to surrealism for the first time in 2000–2001. I thank also the graduate students from the Department of Romance Languages at the University of Pennsylvania, who invited me to present this topic in its early stages, and Dalia Judovitz, Catherine Dana, and Candace Lang from the Department of French at Emory University, who invited me to present a xviii Acknowledgments version of the introduction as I was finishing it. I also thank Marian Eide and Richard J. Golsan from the Departments of English, French, and Comparative Literature at Texas a&m University and William Cloonan and Alec Hargreaves from Florida State University’s Department of Modern Languages and Linguistics and the Winthrop-King Institute for their invitations to present early versions of chapters 4 and 7. I thank Mairéad Hanrahan at University College London, Alyce Mahon at Cambridge University, and Michael Sheringham at Oxford University for their invitations to present chapters from the project and for the valuable feedback I received. I thank my colleagues in the Dean of the Faculty Office at Dartmouth for their collegiality, humor, and support during the years I was writing the book, most particularly Janet Terp, Chris Strenta, Amanda Bushor, Kate Soule, Erin Bennett, Lindsay Whaley, Rob McClung, Dave Kotz, Nancy Marion, Margaret McWilliams-Piraino, June Solsaa, Craig Kaufman, Carissa Dowd, Sherry Finnemore, and Kim Wind. For material support I owe a debt to the deans and associate deans of faculty, Carol Folt, Michael Mastanduno, and Leonore Grenoble, in particular for help with the illustrations. I thank former associate dean and provost Barry Scherr for always believing in my work. And I thank the lively intellectual encouragement I’ve received at the colloquia organized at West Dean College in West Sussex, particularly from Dawn Ades, Roger (and Agnès) Cardinal, Alyce Mahon, Elza Adamowicz, and Sharon-Michi Kusunoki, at the annual 20th- and 21st-century French and Francophone Studies International colloquia, the Modernist Studies Association meetings, and the Gradiva Seminar on Psychoanalysis and Literature. I thank my mentor and friend Gerry Prince. I also wish to thank friends who have questioned, advised, and encouraged me, including Katherine Hart, Kathleen Hart, Laurie Monahan, Jonathan Eburne, Georgiana Colvile, Dominique Carlat, Olivier Bara, Adam Jolles, Celeste Goodridge, Benjamin Andréo, Jorge Pedraza, Gérard Gasarian , Van Kelly, Ronald M. Green, Donald Pease, Gayle Zachman, Juliette Bianco, Jim Jordan, Joy Kenseth, Martine Antle, Annabel Acknowledgments xix Martín, John Kopper, Riley O’Connor, Amy Allen, Mary Childers, David Getsy, Barbara Kreiger, Brian Kennedy, Kristina Van Dyke, Melinda O’Neal, Mary Ann Caws, Eric Santner, Wendy Pelton Hall, Nancy Forsythe, Doreen Schweitzer, Julie Thom, and Shelby Morse. I also thank former students who have helped to shape my thinking, especially Jeannine Murray-Román, Nomi Stone, Susan Doheny, Silvia Ferreira, Diana Jih, Naari Ha, Stephanie Nguyen, Monique Seguy, and Kate Goldsborough. I thank Kathryn Mammel for sending me photographs of the sites in Greece from which Susan Hiller collected some of her objects. I thank Mostafa Heddaya, who helped me untangle the illustrations during one invaluable summer’s work as a James O...