[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-seo-204776-105":3,"detail-sidebar-cat-1-en-105":80,"doc-detail-204776-en":126},{"code":4,"msg":5,"data":6},0,"ok",{"site_id":7,"language":8,"slug":9,"title":10,"keywords":11,"description":12,"schema_data":13,"social_meta":73,"head_meta":75,"extra_data":77,"updated_unix":79},105,"en","frederique-after-her-edits12-21-15-dalis-destruction-of-paris-with-picasso","Frederique after her edits12-21-15 - Dalí’s destruction of Paris with Picasso","","Analysis of Frédérique Joseph-Lowery’s reading of Dalí’s pastiche, which retitles Sacher-Masoch’s Sapho’s slipper as Lespantoufles de Picasso, focusing on how the rewritten Parisian narrative (set in 1937) resonates with the memory of Nazi occupation and Vichy collaboration. The discussion tracks Dalí’s future-tense strategy, his literary “occupation” via Austrian lexical transfer, and the political, visual symbolism of snow, erasure, and Pegasus imagery, linking stylistic choices to desire and rivalry.",{"@graph":14,"@context":72},[15,34,55],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/template/","Template",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/template/letters/","Letters",3,{"item":32,"name":10,"@type":21,"position":33},"https://docshare.wps.com/template/frederique-after-her-edits12-21-15-dalis-destruction-of-paris-with-picasso/204776/",4,{"url":32,"name":10,"@type":35,"image":36,"author":41,"headline":10,"publisher":44,"fileFormat":47,"inLanguage":8,"description":12,"dateModified":48,"datePublished":49,"encodingFormat":47,"isAccessibleForFree":50,"interactionStatistic":51},"DigitalDocument",{"url":37,"@type":38,"width":39,"height":40},"https://docshare.wps.com/thumbnails/frederique-after-her-edits12-21-15-dalis-destruction-of-paris-with-picasso/204776.png","ImageObject",442,249,{"name":42,"@type":43},"Jacob","Person",{"url":19,"name":45,"@type":46},"DocShare","Organization","application/pdf","2026-10-19","2026-09-05",true,{"@type":52,"interactionType":53,"userInteractionCount":26},"InteractionCounter",{"@type":54},"ViewAction",{"@type":56,"mainEntity":57},"FAQPage",[58,64,68],{"name":59,"@type":60,"acceptedAnswer":61},"What historical tensions shape the reading of Dalí’s retelling?","Question",{"text":62,"@type":63},"The text is presented as unsettling for readers because Dalí’s 1937 Paris echoes the occupation of France by Nazi Germany and the collaboration of the Vichy regime.","Answer",{"name":65,"@type":60,"acceptedAnswer":66},"How does the essay describe Dalí’s method of rewriting Sacher-Masoch?",{"text":67,"@type":63},"It emphasizes the pastiche’s “cut-and-paste” logic and Dalí’s adoption of Austrian wording, so that Paris appears through an Austrian descriptive lens drawn from the original Vienna-focused story.",{"name":69,"@type":60,"acceptedAnswer":70},"What roles do snow and Pegasus play in the argument?",{"text":71,"@type":63},"Snow is treated as a device of erasure and a symbolic “white army” that enables the story’s climax, while Pegasus—especially with broken wings—connects artistic imagery to political meaning and contradictions in the text.","https://schema.org",{"og:url":32,"og:type":74,"og:title":10,"og:site_name":45,"og:description":12},"article",{"robots":76,"canonical":32},"index,follow",{"doc_id":78,"site_id":7},204776,1792382493,{"code":4,"msg":81,"data":82},"success",[83,88,93,98,103,108,113,117,122],{"id":84,"doc_module":22,"doc_module_name":25,"category_name":85,"show_sort_weight":86,"slug":87},11,"Presentations",90,"presentations",{"id":89,"doc_module":22,"doc_module_name":25,"category_name":90,"show_sort_weight":91,"slug":92},12,"Resumes",80,"resumes",{"id":94,"doc_module":22,"doc_module_name":25,"category_name":95,"show_sort_weight":96,"slug":97},14,"Invoices",70,"invoices",{"id":99,"doc_module":22,"doc_module_name":25,"category_name":100,"show_sort_weight":101,"slug":102},15,"Posters",60,"posters",{"id":104,"doc_module":22,"doc_module_name":25,"category_name":105,"show_sort_weight":106,"slug":107},16,"Social Media",50,"social-media",{"id":109,"doc_module":22,"doc_module_name":25,"category_name":110,"show_sort_weight":111,"slug":112},17,"Forms",40,"forms",{"id":114,"doc_module":22,"doc_module_name":25,"category_name":29,"show_sort_weight":115,"slug":116},18,30,"letters",{"id":118,"doc_module":22,"doc_module_name":25,"category_name":119,"show_sort_weight":120,"slug":121},21,"Paper Templates",5,"papers-templates",{"id":123,"doc_module":22,"doc_module_name":25,"category_name":124,"show_sort_weight":4,"slug":125},158,"General","general-158",{"code":4,"msg":81,"data":127},{"doc_id":78,"user_id":128,"nickname":42,"user_avatar":129,"doc_module":22,"category_id":114,"category_name":29,"doc_title":10,"doc_description":12,"doc_content":130,"file_id":131,"file_url":132,"file_type":133,"file_size":134,"view_count":26,"is_deleted":4,"is_public":22,"is_downloadable":22,"audit_status":22,"page_count":89,"language":135,"language_code":8,"site_id":7,"html_lang":8,"table_of_contents":136,"faqs":137,"seo_title":138,"seo_description":12,"update_tm":139,"read_time":33},962084931830,"https://ap-avatar.wpscdn.com/davatar_a8503ba1806abce46bf441b54a3ca4cd","Dalí’s destruction of Paris with Picasso and his annexation of Leopold Sacher-Masoch’s textual territory  \nBy Frédérique Joseph-Lowery  \nIt has always made me uneasy to read Dalí’s pastiche of Sacher-Masoch’s short story Sapho’s slipper, which he retitled Lespantoufles de Picasso (Picasso’s slippers1) . To a French reader (and probably numerous non-French readers as well) this text has a particular resonance. It is impossible to read Dalí’s text without being constantly reminded of the occupation of France by Nazi Germany, along with the shameful collaboration ofthe Régime de Vichy. Given the political turmoil at the end of the 30s, the idea of Parisians rejoicing at that time – Dalí’s text is set in 1937 – is extremely troublesome. It’s even more so after the recent events in Paris when the artistic team of Charlie-Hebdo was decimated (January 7th, 2015), some policemen killed, as well as other civilians. The protest that followed with millions of people marching in several cities of France led by fifty world leaders had never been seen but after the liberation of Paris. The emotion that Dalí’s text still generates today is inseparable from the history of Paris that Dalí/Rastignac wanted to conquer at the time, to emulate Picasso, whom he describes in his text as a Parisian celebrity, on the model of the Austrian actress Schroeder from the Sacher-Masoch’s short story that Dalí rewrites. As a critic one can try to project oneself into the context of the period, which Juan José Lahuerta rightfully did,2 providing us a wealth of information. But literary texts as powerful as Dalí’s also derive their force from the resonance they continue to exert on our time, how different these are. Dalí’s text is entirely written in future tense, except in one paragraph. This tense, extraneous to a classic narration, invites us to look ahead.  \nDalí’s text is extremely devious. The genre of the pastiche, as well as the nature of the text he chose to rewrite, predisposes him to paint Paris with an Austrian light, since the words he uses to describe the French capital are almost the exact same words Sacher-Masoch used to describe Vienna. The occupation of Paris thus begins on a literary level. Paris is occupied from beneath, on the model of Dalí’s French text seemingly alienated by an Austrian author. Dalí’s pastiche does not respect the rules of the genre, now replaced in literature studies by close readings. He does not transpose Sacher-Masoch’s texts as Baudelaire or Proust did before him. Neither of those authors did the kind of “cut-and-paste” that Dalí performed to an absurd point, but with apolitical agenda. The first sentence sets the tone: “The winter of 1937 will spread its white and powdery rug of snow over the ramparts of the happy French capital, and over the countryside of Fontainebleau and Montmorency.”[My emphasis] Which ramparts is Dalí speaking about? From the seven original walls that protected Paris, only a few ruins of ramparts remain, even if the configuration of the boulevards still testifies to the pattern of the old fortifications. These ramparts fall under the snow to embody an immaculate victory. Snow itself is a white army, a  \npowerful device of erasure, which Dalí uses as a painter would when priming his canvas. Dalí’s annexation of the text means to erase half of the words of the pages he kept, fully one sixth of the original story.  \nThe clear sign of the destruction of Paris is the comparison of the capital to the mythological Pegasus, with broken wings. By its color, this Mythological figure blends with the white attack. Pegasus is an image of the poet, which Gustave Moreau celebrated, as well as Odilon Redon.  \nDalí must also have had in mind the stunning white horse of Picasso’s stage curtain  \nforParade, with magnificent and gracious opened wings. This horse is traditionally depicted near a source that symbolizes inspiration. The numerous images of Pegasus, which Dalí painted much later, are blue. This color ","cbCaijLLuKvTpKtO","https://ap.wps.com/l/cbCaijLLuKvTpKtO","pdf",1425555,"English","# Dalí’s pastiche and historical resonance\n## Future tense and narrative direction\n## Literary occupation of Paris via linguistic transfer\n## Snow, erasure, and climax\n## Pegasus imagery and political symbolism","[{\"question\":\"What historical tensions shape the reading of Dalí’s retelling?\",\"answer\":\"The text is presented as unsettling for readers because Dalí’s 1937 Paris echoes the occupation of France by Nazi Germany and the collaboration of the Vichy regime.\"},{\"question\":\"How does the essay describe Dalí’s method of rewriting Sacher-Masoch?\",\"answer\":\"It emphasizes the pastiche’s “cut-and-paste” logic and Dalí’s adoption of Austrian wording, so that Paris appears through an Austrian descriptive lens drawn from the original Vienna-focused story.\"},{\"question\":\"What roles do snow and Pegasus play in the argument?\",\"answer\":\"Snow is treated as a device of erasure and a symbolic “white army” that enables the story’s climax, while Pegasus—especially with broken wings—connects artistic imagery to political meaning and contradictions in the text.\"}]","Frederique after her edits12-21-15 - Dalí’s destruction of Paris with Picasso | PDF",1788575457]