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secondary literature

  • The International Online Bibliography of Dada is the online catalog of the International Dada Archive at the University of Iowa Libraries. The catalog includes materials in all formats that have been cataloged for the collection, including books, essays in books, periodical articles, manuscripts, sound and videorecordings, and other media related to the Dada movement and to the individual dadaists. These materials are located throughout the University of Iowa Libraries, but are primarily housed in the Main Library and the Art Library. Most of the manuscript holdings are on microfilms that were made in various public and private collections in Europe and North America in the early 1980s, with funding from the National Endowment for the Humanities and the Jerome Foundation.
  • Yves Poupard-Lieussou
    'Bio-bibliographie', in Courrier Dada / suivi d'une bio-bibliographie de l'auteur par Poupard-Lieussou (Le Terrain Vague : Paris 1958).
  • Richard Sheppard
    'Bibliographie', in Karl Riha und Günter Kämpf (Hrsg.), Am Anfang war Dada / mit einem Nachwort von Karl Riha (Anabas-Verlag G. Kämpf : Steinbach/Giessen 1972) 175-188.
  • Raoul Hausmann. Chronologie, Expositions, Bibliographie (Musée d'art moderne de Saint-Étienne/Musée d'art départemental de Rochechouart : Saint-Étienne etc. 1994).
  • Adelheid Koch und Maria Renhardt
    'Bibliographie', in Kurt Bartsch und Adelheid Koch (Hrsg.), Raoul Hausmann / Beiträgen von Kurt Bartsch, Monika Faber, Günther A. Höfler, ... Dossier 10. Die Buchreihe über österreichische Autoren (Droschl : Graz/Wien 1996).
  • Raoul Hausmann (18861971) : Werkverzeichnis Biografie Bibliografie / Kurt Bartsch, Ralf Burmeister, Adelheid Koch-Didier, Stefan Schwar. Die Deutsche Literatur (DDL). Reihe VI: Die Deutsche Literatur zwischen 1890 und 1990. Abteilung A: Autorenlexikon (frommann-holzboog Verlag : Stuttgart 2011).
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  • Timothy O. Benson
    Raoul Hausmann. The Dada Years (University of Iowa : Iowa City 1985).
  • Andres Mario Zervigon
    The End of Dada: Charting the German Avant-Garde's Move from Dada Photomontage to Figurative Realism (Harvard University 2000).
  • Raoul Hausmann, Retrospektive : [Ausstellung], 12. Juni bis 9. August 1981, Kestner-Gesellschaft Hannover / Redaktion der deutschen Ausgabe Gerhard Ahrens, Carl Haenlein; Übersetzungen der französischen Texte von Raoul Hausmann, Gerhard Ahrens, Uta Brandes-Erlhoff, Michael Erlhoff. Katalog (Kestner-Gesellschaft), 4/1981 (Kestner-Gesellschaft : Hannover 1981) 222 p. Also exhibited at the Malmö Konsthall, Spring 1981.
  • Der deutsche Spiesser ärgert sich. Raoul Hausmann 1886-1971 (Hatje [für] Berlinische Galerie etc. : Berlin etc. 1994) 295 p.
  • Timothy O. Benson
    Raoul Hausmann and Berlin Dada. Studies in Fine Arts: The Avant-Garde, No 55 (Umi Research : Ann Arbor, 1989). Includes bibliography (p. 255-274). This study of Berlin Dada in the years 1918-20 focuses on the artist and theorist Raoul Hausmann, known as the "Dadasoph". His earlier development is outlined, in particular his interest in primitivism and his vision of the "New Man". The author then discusses Berlin's contact with Dada, Hausmann's experimentation with various art forms in response to Dada's "promise of materiality", the Dadaist 'Klebebild' and 'Plastik' developed in opposition to Expressionism, Dadaist satire as a reaction to the surrounding culture, and the emphasis on play in Berlin Dada. In conclusion he considers Hausmann's significance following the dissolution of Berlin Dada.
  • Jean-François Bory
    Prolégomènes à une monographie de Raoul Hausmann (Editions de L'Herne : Paris 1972).
  • Michael Erlhoff
    Raoul Hausmann, Dadasoph. Versuch einer Politisierung der Ästhetik (Zweitschrift : Hannover 1982). Includes bibliography (p. 312-332).
  • Cornelia Frenkel
    Raoul Hausmann. Künstler-Forscher-Philosoph (Röhrig Universitätsverlag : St. Ingbert 1996).
  • Corinna Hübner
    Raoul Hausmann. Grenzgänger zwischen den Künsten. Eine Untersuchung zur Grenzüberschreitung zwischen Kunst und Literatur als künstlerisches Gestaltungsprinzip in Raoul Hausmanns Werk während der dadaistischen Phase (Aisthesis Verlag : Bielefeld 2003). More information on the pages of the publisher. Reviewed by Marion Malinowski for literaturkritik.de Nr. 6 (Juni 2004).
  • Gerhard Jaschke
    Niemand hat nichts geträumt. Eine traumhafte Begegnung mit Raoul Hausmann. Raoul Hausmann (1886-1997). Vergessene Autoren der Moderne, 70 (Universität-Gesamthochschule Siegen : Siegen 1996).
  • Adelheid Koch
    Ich bin immerhin der grösste Experimentator Österreichs. Raoul Hausmann. Dada und Neodada [added: Raoul Hausmann, Aussichten oder Ende des Neodadaismus] (Haymon Verlag : Innsbruck 1994). Includes bibliographical references (p. 318-326) and index.
  • Alfred Paffenholz (Hrsg.)
    Kunsttheoretische Nachforschungen über Max Raphael, Sergej Eisenstein, Viktor Schklowskij, Raoul Hausmann. Spurensicherung, Band 1. (Junius : Hamburg 1988).
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  • Timothy O. Benson
    'The Functional and the Conventional in the Dada Philosophy of Raoul Hausmann', in Stephen C. Foster (ed.), Dada/Dimensions (UMI : Ann Arbor MI 1985) 130-163.
  • Timothy O. Benson
    'Mysticism, Materialism, and the Machine in Berlin Dada', in Art Journal 46 (Spring 1987) No. 1 'Mysticism and Occultism in Modern Art', 45-55. This article draws on Benson's doctoral dissertation Raoul Hausmann. The Dada Years.
  • Matthew Biro
    'Raoul Hausmann's Revolutionary Media. Dada Performance, Photomontage and the Cyborg', in Art History 30, Nr. 1 (2007) 26-56 [online]; available at <http://deepblue.lib.umich.edu/bitstream/handle/2027.42/78019/j.1467-8365.2007.00531.x.pdf;jsessionid=E4EDD4EFD495463531F8910D4348E360?sequence=1> [accessed 30 June 2013].
    [abstract] This article argues that Hausmann's poetry and performance practices of 1918 and 1919 prepared the ground for the cybernetic imagery that became prevalent in his caricatures, photomontages and assemblages of 1920. Through an examination of Hausmann's poetry and performance strategies, his concept of human identity, and his understanding of the relationship between sexuality and social revolution, a new understanding of Hausmann's visual concerns is developed. In particular, this article investigates why Hausmann's portraits often undermined their sitter's identity; why Hausmann sometimes emphasized sexuality in his representations; and why, in addition to reminding their viewers of mechanized war, Hausmann's images of the human–machine interface anticipated many of the ideas inherent in the concept of the cyborg developed in the later twentieth century.
  • Ina Blom
    'The Touch through Time. Raoul Hausmann, Nam June Paik and the Transmission Technologies of the Avant-Garde', in Leonardo 34, Number 3 (June 2001) 209-215.
    [abstract] This essay outlines the historiographic implications of the strange convergence between Berlin Dadaist Raoul Hausmann's Optophon (1920-1936)- a 'synaesthetic' instrument designed to transform sound signals into light signals and vice versa - and Nam June Paik's pioneering 1960s television work. Hausmann articulated a new, 'televisual' form of presence, which also implied a new form of tele-tactility. As his notion of tactility returns in Paik's work, the Optophon might be construed as the historical origin of the genre called 'video art'. Yet, it could be argued that Hausmann's technological reasoning produced an interruption at the very site where such art-historical legacies are constituted. In the late 1960s, Dadaist Raoul Hausmann, formerly of Berlin, took to the TV screen. This was not in a literal way, however: exiled after the Second World War in the French city of Limoges, he did not have access to television technology and he was not one of those artists who were invited to go on talk shows. Instead he wrote a fictitious transcript of a TV talk show.
  • Lena Christolova
    'Das Fotogramm als Wegbereiter einer neuen Art von figuralen Denken' [online] (s.a.); available at <http://www.uni-konstanz.de/FuF/Philo/LitWiss/MedienWiss/Texte/fotogr.html> [lost 27 August 2012].
  • Walter Fähnders
    '"Zeit und Raum sind gestern gestorben." Über 'Präsentismus' in der europäischen Avantgarde' [online] (s.a.); available at <http://kops.ub.uni-konstanz.de/static/paech/zdm/beitrg/Faehndrs.htm> [accessed 28 August 2012].
  • Gabriele Frankl
    'Raoul Hausmann (1886-1971)', published on the site of Österreichische Literatur im Exil [online] (Universität Salzburg 2002); available at <http://www.literaturepochen.at/exil/lecture_5017.pdf> [accessed 1 August 2011].
  • Klaus Hammer
    Künstlerischer Kehraus, Bürgerschreckbewegung oder Anti-Kunst des Un-Sinns? (Edition Luisenstadt 1998) [online]; available at <http://www.luise-berlin.de/lesezei/blz98_11/text01.htm> [accessed 1 August 2011].
  • Bartomeu Mari
    'Kein Utopie. Ein ungefähres Porträt des Dadasophen', in Der deutsche Spiesser ärgert sich. Raoul Hausmann 1886-1971 (Berlin etc. 1994) 125-137.
  • Anréi B. Nakov
    '"Dada ist eine Geisteshaltung"', in Der deutsche Spiesser ärgert sich. Raoul Hausmann 1886-1971 (Berlin etc. 1994) 33-54.
  • Stefan Schwar
    '"Man muss alles wissen. Man weiss gar nichts. Darum weiss man mehr". Zum essayistischen Werk Raoul Hausmanns', in Schreibkraft Ausgabe 2. Lecture on the occassion of the opening of the exhibition 'Raoul Hausmann - Ich bin der Mann der 5.000 Worte und der 10.000 Formen', at Kulturhaus der Stadt Graz (March 13, 1999) [online]; available at <http://www.schreibkraft.adm.at> [accessed 1 August 2011].
  • Larry Wendt
    'Narrative as Genealogy. Sound Sense in an Era of Hypertext', in Switch 2, no. 1 (2002) [online]; available at <http://www.wendtroot.com/spoetry/> [accessed 1 August 2011].
  • Eva Züchner
    'Quellen der Revolte', in Der deutsche Spiesser ärgert sich. Raoul Hausmann 1886-1971 (Berlin etc. 1994) 13-32.
  • Eva Züchner (Hrsg.)
    Wir wünschen die Welt bewegt und beweglich. Raoul-Hausmann-Symposium der Berlinischen Galerie, Landesmuseum für Moderne Kunst, Photographie und Architektur (Berlinische Galerie : Berlin 1995). Symposium held October 6-7, 1994.
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    banner: Raoul Hausmann [photographer anonymus]