Surreal Entomology: The Insect Imagery of Salvador Dal [PDF]

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Downloaded from https://academic.oup.com/ae/article-abstract/59/1/28/6644 by guest on 10 January 2019

The Insect Imagery of Salvador Dalí Gene Kritsky, Dan Mader, and Jessee J. Smith

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˜‡ƒ‘‰–Š‘•‡™Š‘”ƒ”‡Ž›•‡–ˆ‘‘–‹ƒƒ”–—•‡— ‘”‰ƒŽŽ‡”›ǡ–Š‡ƒ‡‘ˆƒŽ˜ƒ†‘”ƒŽÀƒ—–‘ƒ–‹…ƒŽŽ›‡˜‘‡• ‘—–Žƒ†‹•Š†”‡ƒ•…ƒ’‡•ƒ†‡Ž–‹‰…Ž‘…•ǡ‘”ƒ–Ž‡ƒ•– –Š‡‹ƒ‰‡‘ˆƒ™‹Ž†Ǧ‡›‡†ǡϐŽƒ„‘›ƒ–Ž›—•–ƒ…Š‹‘‡†ƒ† ‰‡‹—•ǤŠ‡‘–‘”‹‘—•—””‡ƒŽ‹•–ƒŽ˜ƒ†‘” ‡Ž‹’‡ ƒ…‹–‘ ƒŽÀ›‘‡‡…Šȋ͕͔͘͝Ǧ͕͜͝͝Ȍȋ ‹‰Ǥ͕ȌŠƒ•„‡‡”‡ˆ‡”‡…‡†…‘—–Ž‡••–‹‡•‹˜ƒ”‹‘—•ƒ•’‡…–•‘ˆ’‘’…—Ž–—”‡ǡ™Š‹…Šƒ……‘—–•ˆ‘”Š‹• ˆƒ‹Ž‹ƒ”‹–›ƒ•ƒ…—Ž–—”ƒŽ‹…‘Ǥ—‹–‡”‡…‡–Ž›ǡŠ‡ƒ†‡ƒƒ’’‡ƒ”ƒ…‡ ƒ•‘‡‘ˆ•‡˜‡”ƒŽ„‘Š‡‹ƒ…Šƒ”ƒ…–‡”•‹‘‘†›ŽŽ‡ǯ•”‘ƒ–‹… …‘‡†›ǡ Midnight in Paris ȋ͖͔͕͕ȌǤ …–‘” †”‹ƒ ”‘†› ˆƒ‹–Šˆ—ŽŽ› …ƒ’–—”‡†ƒŽÀǯ•–Š‡ƒ–”‹…ƒŽ•–›Ž‡ǡƒ•™‡ŽŽƒ• †‡‘•–”ƒ–‹‰Š‘™–‘…‘””‡…–Ž›’”‘‘—…‡ Š‹• ƒ‡ ™‹–Š –Š‡ ƒˆˆ‡…–‡† ‡š…Žƒƒ–‹‘ǣ DzƒŠǦǨdz ƒŽÀ ‹• ƒ”‰—ƒ„Ž› –Š‡ ‘•– ϐŽƒ„‘›ƒ– ƒ† †‹•–—”„‹‰ —””‡ƒŽ‹•– ƒ”–‹•– ‘ˆ ‡‡”‰‹‰ –™‡–‹‡–ŠǦ…‡–—”› ‘†‡”‹•Ǥ ‘–Š ƒŽÀ ƒ† ƒ„Ž‘ ‹…ƒ••‘ ȋ͕͕͜͜Ǧ͕͛͗͝ȌȄ™Š‘ ™‡”‡’ƒ‹ƒ”†•ǡ‘– ”‡…Š‡Ȅ…‘—Ž†„‡ ƒ‡†–Š‡‘•–”‡…‘‰‹œ‡†ƒ”‹•‹ƒƒ”–‹•–‘ˆ –Šƒ–‡”ƒǡ–Š‘—‰Š–Š‡‹””‡•’‡…–‹˜‡™‘”™‘—Ž† …‘‡–‘”‡’”‡•‡–†‹˜‡”‰‡–†‹”‡…–‹‘•‹ –Š‡ ”ƒ†‹ƒ–‹‘ ‘ˆ ‘†‡” ƒ”– ‘˜‡‡–• –Šƒ––‘‘’Žƒ…‡ƒˆ–‡”‘”Ž†ƒ” ǤŠ‡”‡ƒ• ‹…ƒ••‘™ƒ•‘™ˆ‘”Š‹•”ƒ†‹…ƒŽŽ›…Šƒ‰‹‰•–›Ž‡•‘˜‡”‡‹‰Š–†‡…ƒ†‡•ǡƒŽ˜ƒ†‘”ƒŽÀ ‡•–ƒ„Ž‹•Š‡†ƒŠ‹‰Š†‡‰”‡‡‘ˆ•–›Ž‹•–‹……‘–‹—‹–›‹Š‹•™‘”ǡ™Š‹…Š—–‹Ž‹œ‡†’ƒ‹–‹‰ –‡…Š‹“—‡• †‡˜‡Ž‘’‡† –Š”‘—‰Š ƒ…ƒ†‡‹… –”ƒ†‹–‹‘–‘…ƒ’–—”‡”ƒ†‹…ƒŽ‹ƒ‰‡”›Žƒ†‡ ™‹–Š ”‡—†‹ƒƒ† —‰‹ƒ‘–‹ˆ•Ǥ‘‡‘ˆ American Entomologist • Volume 59, Number 1

ƒŽÀǯ•†”‡ƒǦŽ‹‡Žƒ†•…ƒ’‡•–Šƒ–…ƒ’–—”‡†–Š‡‹–‡”‡•–‘ˆ–Š‡ƒ”– …‘—‹–›ƒ†’‘’—Žƒ”‹ƒ‰‹ƒ–‹‘ƒ”‡ The Great Masturbator ȋ͕͖͝͝Ȍǡ The Persistence of Memory ȋ͕͕͗͝Ȍǡ Soft Construction with Boiled Beans (Premonition of Civil War) ȋ͕͚͗͝Ȍǡƒ†Christ of St. John of the Crossȋ͕͙͕͝ȌǤ ƒŽÀǯ•…”‡ƒ–‹˜‹–›™ƒ••‡‡‹‰Ž›‹‡šŠƒ—•–‹„Ž‡ǡƒ†Š‡’”‘†—…‡† Ž‹–‡”ƒŽŽ›–Š‘—•ƒ†•‘ˆ’ƒ‹–‹‰•ǡ†”ƒ™‹‰•ǡƒ†’”‹–•‘˜‡”–Š‡…‘—”•‡ ‘ˆŠ‹•Ž‘‰…ƒ”‡‡”Ǥ‡›‘†–Š‡•‡–™‘Ǧ†‹‡•‹‘ƒŽ‡†‹ƒǡƒŽÀ™ƒ• ƒŽ•‘ƒ•…—Ž’–‘”ƒ†ϐ‹Žƒ‡”Ǥ ‹•„‡•–Ǧ‘™•…—Ž’–—”‡ǡLobster Telephoneȋ͕͚͗͝Ȍǡ‹••‡ŽˆǦ‡š’Žƒƒ–‘”›ǣƒ”‘–ƒ”›’Š‘‡ˆ‡ƒ–—”‹‰ƒ —Ž‹‡Ž›Ž‘„•–‡”Šƒ†•‡–ǤƒŽÀ‡š–‡†‡†Š‹• –Š”‡‡Ǧ†‹‡•‹‘ƒŽ‡š’Ž‘”ƒ–‹‘•–‘‹…Ž—†‡ ‡–‹”‡ ”‘‘•ǡ ‹…Ž—†‹‰Face of Mae West Which May Be Used As a Living Roomȋ͕͛͘͝Ȍǡ ƒ†‡˜‡Š‘Ž‘‰”ƒ•ȋFirst Cylindric Chromo-Hologram Portrait of Alice Cooper’s Brainǡ ͕͛͗͝ȌǤƒŽÀǯ•…”‡ƒ–‹˜‡ϐ‹Ž…‘–”‹„—–‹‘•ƒ”‡‹ –™‘—‹•—Ó—‡Žϐ‹Ž•ǣUn Chien Andalou (An Andalusian Dogǡ͕͖͝͝Ȍǡƒ†L’Age d’Or (The Golden Ageǡ͕͔͗͝Ȍǡ™Š‹…Š”‡ƒ‹‹–‹‹†ƒ–‹‰ and challenging to this day. Šƒ–‡˜‡”–Š‡‡†‹—ǡƒŽŽ‘ˆƒŽÀǯ•™‘” ”‡˜‘Ž˜‡† ƒ”‘—† –Š‡ –Š‡‡• ‘ˆ …‘–‡’– ˆ‘”•‘…‹‘Ǧ”‡Ž‹‰‹‘—•‘”†‡”ǡƒ’ƒ••‹‘ˆ‘”–Š‡ ‹ƒ‰‹‡†ƒ†‹””ƒ–‹‘ƒŽǡ‘„•‡••‹‘™‹–ŠƒŽŽ ƒ––‡”••‡š—ƒŽǡƒ†ƒ…‘‹–‡––‘…”‡ƒ–‹‰•Š‘…‹‰Ž›’ƒŽ’ƒ„Ž‡ǡ˜‹˜‹†‹ƒ‰‡•’ƒ‹”‡† ™‹–Š‡“—ƒŽŽ›’”‘˜‘…ƒ–‹˜‡–‹–Ž‡•–Šƒ–ƒ’Ž‹ˆ› ™Šƒ––Š‡‡›‡•‡‡•Ǥ Fig. 1. Salvador Dalí with his pet ocelot, 1965.

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Surreal Entomology

From Figueras to Fame

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Ž‘˜‡‘ˆƒ––‡–‹‘ƒ†…‘–”‘˜‡”•›ǡ•’ƒ™‡†‹–‡”ƒ–‹‘ƒŽ ˆƒ•…‹ƒ–‹‘ƒ‘‰–Š‡‡†‹ƒǤ ‡Šƒ†—‡”‘—•‡šŠ‹„‹–• ‘ˆŠ‹•™‘”‹ƒ”‹•ƒ†‹–Š‡ǤǤǡ‘–‘Ž›‹‡™‘”ǡ „—–‡˜‡‹‹––•„—”‰Šƒ†Ž‡˜‡Žƒ†Ǥ ‡™‘”‹–› ƒŽ‘‡ǡŠ‡‡šŠ‹„‹–‡†ƒ––Š‡ —Ž‹‡‡˜› ƒŽŽ‡”›ǡŠ‡—•‡—‘ˆ‘†‡””–ȋ‘Ȍǡƒ†–Š‡‘‡†Ž‡” ƒŽŽ‡”›Ǥ ƒŽÀǯ•‹•ƒ–‹ƒ„Ž‡ƒ’’‡–‹–‡ˆ‘”‘–‘”‹‡–›™ƒ•…‘•–ƒ–Ž›ˆ‡† ƒ•Š‡˜‹•‹–‡†ƒϐ‹––‹‰Ž›•—””‡ƒŽ ‘ŽŽ›™‘‘†ƒ†ƒ†‡ƒ •‘”–‘ˆ’‹Ž‰”‹ƒ‰‡–‘‹‰—† ”‡—†‹‘†‘Ǥ ‡‰ƒ˜‡ ™‡ŽŽǦ’—„Ž‹…‹œ‡†Ž‡…–—”‡•ƒ–‘ƒ†–Š‡‘”„‘‡‹ ƒ”‹•Ǥ –Š‡͕͚͔͝•ǡŠ‹•…‘‹–‡––‘’‘’…—Ž–—”‡Ž‡† Š‹–‘ƒ‡ƒ–‡Ž‡˜‹•‹‘ƒ†˜‡”–‹•‡‡–’”‘‘–‹‰–Š‡ ˆƒ•Š‹‘™‘”Ž†ǯ•‡™‡•–‘˜‡Ž–›ǣDzŠ‘–’ƒ–•Ǥdz ‡‡˜‡Šƒ† ƒƒ—†‹‡…‡™‹–Š–Š‡‘’‡ȋ†‡•͕͛͘͝ȌǤƒŽÀ”‡ƒ‹‡†ƒ ’”‘†—…–‹˜‡ƒ”–‹•–ƒ†ƒ‹–ƒ‹‡†Š‹•’—„Ž‹…•Š‘™ƒ•Š‹’ —–‹Ž ƒŽƒǯ•†‡ƒ–Š‹͕͖͜͝Ǥ‘–‹‘ƒŽŽ›†‡˜ƒ•–ƒ–‡†ƒ†•—ˆˆ‡”‹‰ˆ”‘–Š‡–”‡‘”•‘ˆƒ”‹•‘ǯ•†‹•‡ƒ•‡ȋ…Š‹‡„Ž‡” ͖͔͕͕ȌǡƒŽÀ’”‘†—…‡†Š‹•Žƒ•–’ƒ‹–‹‰ǡThe Swallow’s Tailǡ ‹͕͗͜͝ƒ††‹‡†‹͕͜͝͝Ǥ

Surrealism and the Paranoiac-Critical Method Ž–Š‘—‰ŠƒŽÀǯ•ƒ‡‹•‘™’”ƒ…–‹…ƒŽŽ›•›‘›‘—•™‹–Š —””‡ƒŽ‹•ǡŠ‹•ƒ’’”‘ƒ…Š†‹ˆˆ‡”‡†•—„•–ƒ–‹ƒŽŽ›ˆ”‘–Šƒ– ‘ˆŠ‹•’‡‡”•ǤŠ‡‘”–Š‘†‘š—””‡ƒŽ‹•–••–”‘˜‡–‘’”‘†—…‡ ™‘”Dzƒ—–‘ƒ–‹…ƒŽŽ›dzȋ‹Ǥ‡Ǥǡ‰‡‡”ƒ–‹‰‹ƒ‰‡”›‹’ƒ‹–‹‰‘”†”ƒ™‹‰ƒ••’‘–ƒ‡‘—•Ž›ƒ•’‘••‹„Ž‡™‹–Š‘—––Š‡ ‹–‡”ˆ‡”‡…‡‘ˆ”‡ƒ•‘‡†–Š‘—‰Š–Ȍǡ™Š‹…Š–Š‡›„‡Ž‹‡˜‡† ™‘—Ž†ƒŽŽ‘™‡š’”‡••‹‘–‘ϐŽ‘™†‹”‡…–Ž›ˆ”‘–Š‡•—„…‘•…‹‘—•‹†ȋ —–‡”ƒ† ƒ…‘„—•͕͖͝͝ȌǤƒŽÀǡ‘–Š‡‘–Š‡” Šƒ†ǡ•–”‘˜‡–‘…ƒ’–—”‡ŠƒŽŽ—…‹ƒ–‘”›•—„Œ‡…–ƒ––‡”‹ƒ ”‡ƒŽ‹•–‹…ǡ‡–‹…—Ž‘—•Ž›†‡–ƒ‹Ž‡†•–›Ž‡ǡ…”‡ƒ–‹‰–Š‡‹ŽŽ—•‹‘ ‘ˆƒ–ƒ‰‹„Ž‡†”‡ƒǦ™‘”Ž†ǤƒŽÀǯ•ƒ’’”‘ƒ…Š‹•’‹”‡†‘–Š‡” ƒ”–‹•–•–‘–Š‡‡š–‡––Šƒ–‹–„‡…ƒ‡–Š‡†‘‹ƒ–ˆ‘” ‘ˆ—””‡ƒŽ‹•ǡ„—–Š‹•‹–‡”‡•–‹–Š‡…Ž‡ƒ”Ž›†‡Ž‹‡ƒ–‡† †”‡ƒ•…ƒ’‡ƒ†Š‹•”‡Œ‡…–‹‘‘ˆƒ—–‘ƒ–‹•™‘—Ž†Ž‡ƒ† Š‹ –‘ †‹••‘…‹ƒ–‡ Š‹•‡Žˆ ˆ”‘ –Š‡ —””‡ƒŽ‹•–• „› ͕͗͝͝ ȋ‡•…Šƒ”‡•ƒ†±”‡–͖͔͕͔ȌǤ ƒŽÀ™ƒ•…‘˜‹…‡†–Šƒ–Š‹•‹ƒ‰‡”›—•–„‡„ƒ•‡†‘ƒ ˜‹•—ƒŽŽ›‹–‡”’”‡–‹˜‡‡–ƒ‘”’Š‘•‹•‘ˆ”‡ƒŽ‹–›Ǥ•‹‰™Šƒ– Š‡”‡ˆ‡””‡†–‘ƒ•Š‹•Dz’ƒ”ƒ‘‹ƒ…Ǧ…”‹–‹…ƒŽ‡–Š‘†ǡdz™Š‹…Š Š‡„‡‰ƒ–‘†‡˜‡Ž‘’‹͕͖͝͝Ȃ͔͗ǡŠ‡…—Ž–‹˜ƒ–‡†Dz‹””ƒ–‹‘ƒŽ ‘™Ž‡†‰‡dz„ƒ•‡†‘ƒDz†‡Ž‹”‹—‘ˆ‹–‡”’”‡–ƒ–‹‘dzȋ†‡• ͕͖͜͝ȌǤƒ–Š‡”–Šƒ•Š›ƒ™ƒ›ˆ”‘–Š‡–”ƒ†‹–‹‘ƒŽŽ›–ƒ„‘‘ ”‡ƒŽ•‘ˆ–‡””‘”ǡŽ—•–ǡƒ†”‡˜—Ž•‹‘ǡƒŽÀ—•‡†–Š‡•‡ƒ• Ž‡•‡• –Š”‘—‰Š ™Š‹…Š •—„Œ‡…–• …‘—Ž† „‡ †‹•–‘”–‡† ‹–‘ ‡†Ž‡••Ž›”‹…Šǡ•›„‘Ž‹…–Š‡‡•Ǥ ‡•‘—‰Š––‘†‹•ƒ••‡„Ž‡ ”‡ƒŽ‹–›ƒ†”‡‘”‰ƒ‹œ‡‹–‹ƒ™ƒ›–Šƒ–”‡˜‡ƒŽ‡†–Š‡‹†ǯ• ‘•–•‡…”‡–™‘”‹‰•ǣDz „‡Ž‹‡˜‡ǡdzŠ‡™”‘–‡ǡDz–Šƒ––Š‡‘‡–‹•‡ƒ”™Š‡„›ƒ’”‘…‡†—”‡‘ˆƒ…–‹˜‡’ƒ”ƒ‘‹ƒ… –Š‘—‰Š–ǡ‹–™‹ŽŽ„‡’‘••‹„Ž‡ǥ–‘•›•–‡ƒ–‹œ‡…‘ˆ—•‹‘ ƒ†…‘–”‹„—–‡–‘–Š‡–‘–ƒŽ†‹•…”‡†‹–‹‰‘ˆ–Š‡™‘”Ž†‘ˆ ”‡ƒŽ‹–›dzȋ —–‡”ƒ† ƒ…‘„—•͕͖͝͝ȌǤ •’ƒ”–‘ˆ–Š‹•ƒ’’”‘ƒ…ŠǡƒŽÀ•›•–‡ƒ–‹…ƒŽŽ›ˆ‘…—•‡†‘ ‹ƒ‰‡”›–Šƒ–Š‡ˆ‘—††‹•–—”„‹‰ǡ—’•‡––‹‰ǡ‘”’‡”˜‡”•‡Ž› ˆƒ•…‹ƒ–‹‰ǡ ƒ† ƒ• ƒ ”‡•—Ž–ǡ ƒ› ‘ˆ Š‹• ‹…‘‹… ‹ƒ‰‡• ƒ”‡‡”‹…Š‡†™‹–Š‹•‡…–Ǧ„ƒ•‡†˜‹•—ƒŽ‡–ƒ’Š‘”•ǡ‘ˆ–‡ ”‡’”‡•‡–‹‰ϐŽƒ™•ƒ†‘–Š‡”†‹•–—”„ƒ…‡•Ǥ •‡…–•ƒ’’‡ƒ”‹ƒ›‡šƒ’Ž‡•‘ˆƒŽÀǯ•™‘”ǡ‹…Ž—†‹‰’‹‡…‡• such as Honey is Sweeter than BloodǡUn Chien Andalouǡ ƒ†‘ˆ…‘—”•‡The Persistence of MemoryǤƒ›‘ˆƒŽÀǯ• ’ƒ‹–‹‰•…‘–ƒ‹“—‹–‡‹–‹ƒ–‡•‡š—ƒŽ‹ƒ‰‡”›ǡ”ƒ‰‹‰ ˆ”‘ƒ„•–”ƒ…––‘ƒƒ–‘‹…ƒŽŽ›•’‡…‹ϐ‹…ǡ‘ˆ–‡ƒ……‘’ƒ‹‡† American Entomologist • Spring 2013

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ƒŽ˜ƒ†‘”ƒŽÀ™ƒ•„‘”ƒ†‰”‡™—’‹ ‹‰—‡”ƒ•ǡ‹–Š‡ ‘”–Š‡ƒ•–‡”’”‘˜‹…‡‘ˆƒ–ƒŽ‘‹ƒ‹’ƒ‹Ǥ ‡™ƒ•–Š‡ •‡…‘†•‘ƒ‡†ƒŽ˜ƒ†‘”ǢŠ‹•ƒ‡•ƒ‡‡Ž†‡”„”‘–Š‡” Šƒ††‹‡†ƒ––Š‡ƒ‰‡‘ˆ–™‘›‡ƒ”•Ǥ ‡ƒŽ•‘Šƒ†ƒ•‹•–‡”ǡƒ ƒ”‹ƒǡ™Š‘™ƒ•–Š”‡‡›‡ƒ”•Š‹•Œ—‹‘”Ǥƒ”Ž›‘ǡƒŽÀ™ƒ• ˆƒ•…‹ƒ–‡†„›–Š‡Žƒ†•…ƒ’‡•‘ˆŠ‹•…Š‹Ž†Š‘‘†Š‘‡ǡ‹…Ž—†‹‰–Š‡’Žƒ‹‘ˆ’—”†ǡ™Š‡”‡‹ ‹‰—‡”ƒ•Ž‹‡•ǡƒ† –Š‡——•—ƒŽ”‘…ˆ‘”ƒ–‹‘•‘ˆƒ–ƒŽ‘‹ƒ…‘ƒ•–Ǥ ‡•’‡– —…Š–‹‡ƒ––Š‡ˆƒ‹Ž›•—‡”Š‘‡‡ƒ”–Š‡ϐ‹•Š‹‰ ˜‹ŽŽƒ‰‡‘ˆƒ†ƒ“—±•ǤŠ‡•‡…Š‹Ž†Š‘‘†‡‘”‹‡•‹•’‹”‡† –Š‡‰‘Ž†‡Ž‹‰Š–ƒ†–Š‡Šƒ—–‹‰ǡ—„‹“—‹–‘—••‡––‹‰•‘ˆ •‘ƒ›‘ˆƒŽÀǯ•™‘”•ǣ‡š’ƒ•‹˜‡’Žƒ‹•ǡ…‘ƒ•–ƒŽ™ƒ–‡”•ǡ ƒ†‘††Ž›•Šƒ’‡†”‘…‘—–…”‘’•ǡˆ”‡“—‡–Ž›’‘’—Žƒ–‡†„› ϐ‹•Šǡ„‹”†•ǡƒ†‹•‡…–•ȋ‘„›͕͚͘͝ȌǤ ͕͖͖͝ǡƒŽÀ„‡‰ƒŠ‹•ˆ‘”ƒŽ•–—†›‘ˆƒ”–ƒ––Š‡ƒ ‡”ƒ†‘”–…Š‘‘Ž‹ƒ†”‹†ȋ‘”•‡͕͛͘͝Ȍǡ™Š‡”‡Š‡‡– •‡˜‡”ƒŽ‹ϐŽ—‡–‹ƒŽ…Šƒ”ƒ…–‡”•ǡ‹…Ž—†‹‰–Š‡’‘‡–ǡ†”ƒƒ–‹•–ǡ ƒ†–Š‡ƒ–‡”†‹”‡…–‘” ‡†‡”‹…‘ ƒ”…Àƒ‘”…ƒȋ͕͜͜͝Ǧ͕͚͗͝Ȍƒ† –Š‡ϐ‹Žƒ‡”—‹•—Ó—‡Žȋ͕͔͔͝Ǧ͕͗͜͝ȌǤ—”‹‰Š‹••–—†‹‡•ǡ ƒŽÀ™ƒ•‹–”‘†—…‡†–‘–Š‡Š‹•–‘”›‘ˆƒ”–ǡ‹…Ž—†‹‰–Š‡ …‘–‡’‘”ƒ”›‘˜‡‡–•‘ˆ‘•–Ǧ ’”‡••‹‘‹•ǡ ƒ—˜‹•ǡ ƒ†—„‹•ȋŠ‡ƒŽÀ—•‡—͖͔͕͔Ȍǡƒ††‡‘•–”ƒ–‡† ”‡ƒ”ƒ„Ž‡–‡…Š‹…ƒŽƒ’–‹–—†‡ƒ•Š‡‡š’‡”‹‡–‡†™‹–Š ’ƒ‹–‹‰‹–Š‡•–›Ž‡•‘ˆƒ”–‹•–•”ƒ‰‹‰ˆ”‘‡”‡‡”–‘ ±œƒ‡ƒ†‡—”ƒ–Ǥ ‡ƒŽ•‘„‡…ƒ‡ƒ…“—ƒ‹–‡†™‹–Š–Š‡ ™‘”‘ˆƒ”–‹•– ‡ƒǦ‘—‹•Ǧ”‡•–‡‹••‘‹‡”ȋ͕͕͙͜Ǧ͕͕͜͝Ȍǡƒ ”‡…ŠŽƒ••‹…‹•–™Š‘•‡’‘™‡”ˆ—Žƒ…ƒ†‡‹…‹ƒ‰‡”›Š‡ ‡—Žƒ–‡†ȋ†‡•͕͖͜͝ȌǤ  › ͕͖͗͝ǡ ƒŽÀ ™ƒ• ƒƒŽ›œ‹‰ Š‹• ‘™ †”‡ƒ• ƒˆ–‡” ”‡ƒ†‹‰The Interpretation of Dreamsǡ ™Š‹…ŠŠƒ†”‡…‡–Ž› „‡‡’—„Ž‹•Š‡†„›’•›…Š‘Ž‘‰›’‹‘‡‡”‹‰—† ”‡—† ȋ͕͙͚͜Ǧ͕͗͝͝ȌȋŠ‡ƒŽÀ—•‡—͖͔͕͔ȌǤ –Š‡•ƒ‡›‡ƒ”ǡƒŽÀ „‡…ƒ‡‹–‡”‡•–‡†‹–Š‡ ”‡—†Ǧ‹•’‹”‡†™‘”‘ˆ –ƒŽ‹ƒ ƒ”–‹•– ‹‘”‰‹‘†‡Š‹”‹…‘ȋ͕͜͜͜Ǧ͕͛͜͝Ȍǡ™Š‘™ƒ•–Š‡…”‡ƒ–‘” ȋƒ†ƒ”‰—ƒ„Ž›–Š‡•‘Ž‡‡„‡”Ȍ‘ˆ–Š‡…—‘Žƒ‡–ƒϔ‹•‹…ƒ ȋ…Š‘‘Ž‘ˆ‡–ƒ’Š›•‹…ƒŽ”–ȌǤ ‹•™‘”ǡ•—…Šƒ•The Melancholy and Mystery of the Street ȋ͕͕͘͝Ȍǡ†‡‘•–”ƒ–‡† ƒƒ’’Ž‹…ƒ–‹‘‘ˆ ”‡—†‹ƒ•‡š—ƒŽ•›„‘Ž‹•’‘•‹–‹‘‡† ‹ƒ•–ƒ”Ž›‰‡‘‡–”‹……‹–›•…ƒ’‡ȋ‘”•‡͕͛͘͝ȌǤŠ‡’‘‡–‹… Žƒ†•…ƒ’‡•‘ˆ ”‡…Š’ƒ‹–‡”˜‡•ƒ‰—›ȋ͕͔͔͝Ǧ͕͙͙͝ȌƒŽ•‘ ‘ˆˆ‡”‡†‹•’‹”ƒ–‹‘–‘–Š‡›‘—‰ƒŽÀȋ†‡•͕͖͜͝ȌǤ ͕͖͙͝ǡƒŽÀŠƒ†Š‹•ϐ‹”•–‡šŠ‹„‹–‘ˆ’ƒ‹–‹‰•‹ƒ”…‡Ž‘ƒ ƒ––Š‡ƒŽƒ— ƒŽŽ‡”›ǡ™Š‹…Š™ƒ•‘™ˆ‘”’”‘‘–‹‰ –Š‡™‘”•‘ˆ–Š‡ƒ”‹•‹ƒƒ˜ƒ–Ǧ‰ƒ”†‡ȋ†‡•͕͖͜͝ȌǤƒ„Ž‘ ‹…ƒ••‘™ƒ•ƒ‘‰–Š‡ƒ—†‹‡…‡‘ˆƒ”–‹•–•ƒ†ƒ†‹”‡”•Ǥ ›͕͖͚͝ǡƒŽÀǯ•…‘ϐ‹†‡…‡Šƒ†„‡…‘‡ƒ””‘‰ƒ…‡ǡ™Š‹…Š Ž‡†Š‹–‘‰”‘™‹’ƒ–‹‡–™‹–Š–Š‡ƒ”–•…Š‘‘Žˆƒ…—Ž–›ƒ† …ƒŽŽ–Š‡‹…‘’‡–‡–Ǥ‹‡•‘ƒ›‘ˆŠ‹•…Žƒ••ƒ–‡•ǡŠ‡ ™ƒ•ƒƒƒ”…Š‹•–ǡƒ†–Š—•™ƒ•’‡”ƒ‡–Ž›‡š’‡ŽŽ‡†ˆ”‘ –Š‡ƒ†”‹†•…Š‘‘ŽŽƒ–‡”–Šƒ–›‡ƒ”ǤŠ‹•’”‘’‡ŽŽ‡†Š‹–‘ ˜‹•‹–‹…ƒ••‘‹ƒ”‹•ȋ‘”•‡͕͛͘͝ȌǤ Š‡›‡ƒ”͕͖͝͝™ƒ•˜‡”›‹’‘”–ƒ–ˆ‘”ƒŽÀǤ’‘‡‡–‹‰–Š‡ˆ‘—†‡”‘ˆ–Š‡—””‡ƒŽ‹•–‘˜‡‡–ǡ†”±”‡–‘ ȋ͕͚͜͝Ǧ͕͚͚͝ȌǡŠ‡Œ‘‹‡†ƒ†„‡‰ƒŠ‹•–——Ž–—‘—•”‡Žƒ–‹‘•Š‹’™‹–Š–Š‡—””‡ƒŽ‹•–•Ǥ ‡‡– ƒŽƒ2Ž—ƒ”†ȋ͕͘͜͝Ǧ͕͖͜͝Ȍǡ ™Š‘„‡…ƒ‡Š‹•…‘’ƒ‹‘ǡ‘†‡Žǡ—•‡ǡƒ†ϐ‹ƒŽŽ›ǡŠ‹• ™‹ˆ‡ǤƒŽÀŠƒ†Š‹•ϐ‹”•–‘‡Ǧƒƒ”‹•‡šŠ‹„‹–ƒ–ƒ‹ŽŽ‡

‘‡ƒ•ǯ‰ƒŽŽ‡”›ǡ™Š‡”‡Š‡•Š‘™‡†‡Ž‡˜‡’ƒ‹–‹‰•ƒ† –Š”‡‡†”ƒ™‹‰•Ǥ‹–Š—‹•—Ó—‡ŽǡŠ‡ƒ†‡Š‹•ϐ‹”•–ϐ‹Žǡ Un Chien Andalou ȋ‘„›͕͛͘͝ȌǤ ƒŽÀǯ••Šƒ‡Ž‡••Ž›ƒ—†ƒ…‹‘—•…Šƒ”ƒ…–‡”ǡ‡Šƒ…‡†„›Š‹•

„› •…ƒ–‘Ž‘‰‹…ƒŽ ƒ† ’—–”‡•…‡– –Š‡‡•Ǥ ‘˜‹‰ ‹•‡…–• ‡Šƒ…‡–Š‹•ˆ‘—†ƒ–‹‘ǤŠ‡•‡‹•‡…–•Ȅ‘•–ˆ”‡“—‡–Ž› ƒ–•ǡϐŽ‹‡•ǡƒ†‰”ƒ••Š‘’’‡”•ȄŠƒ˜‡„‡‡Ž‹‡†–‘‡š’”‡••‹‘•‘ˆ‡’Š‡‡”ƒŽ‹–›ǡ•‡ŽˆǦŽ‘ƒ–Š‹‰ǡƒ†‡˜‡ƒŽÀǯ•‡†‹’ƒŽ Ž‘˜‡ˆ‘”Š‹•‘–Š‡”Ǥ

Insect Encounters

“When you are thinking of it least, the grasshopper springs! Horror of horrors! ... At the heightened moment of my most ecstatic contemplations and visualizations, the grasshopper would spring! Heavy, unconscious, anguishing, its frightfully paralyzing leap reflected in a start of terror that shook my whole being to its depths. Grasshopper—loathsome insect! Horror, nightmare, martyrizer and hallucinating folly of Salvador Dalí’s life. I am thirty-seven years old, and the fright which grasshoppers cause me has not diminished since my adolescence. On the contrary. If possible I should say it has perhaps become still greater. Even today, if I were on the edge of a precipice and a large grasshopper sprang upon me and fastened itself to my face, I should prefer to fling myself over the edge rather than endure this frightful ‘thing.’ American Entomologist • Volume 59, Number 1

He picked up the bat, intending to express his pity by kissing it in front of the woman, but instead he convulsively bit the ant-covered body. “Shuddering with repugnance,” he threw the bat into the wash-house. This experience would form the foundation for Dalí’s association of ants with death and decay. sooner than relax their death-grip…Still tonight, as I write these lines, shudders of horror shoot through my back, while in spite of myself my mouth keeps contracting into a grimace of repugnance mingled with the bitterest moral malaise, which (to the eyes of an imaginary observer) must make my facial expression as sickly and horrible to behold as that of the halfcrushed grasshopper which I have just described and which I am probably imitating, identifying myself with its martyrdom by the irresistible reflexes and mimicry of my facial muscles. In school my fear of grasshoppers finally took up all the space of my imagination. I saw them everywhere, even where there were none: a grayish paper, suddenly seen, and looking to me l ke a grasshopper, would make me utter a shrill cry which delighted everyone; a simple pellet of bread or gum thrown from behind that struck me in the head would make me jump up on my desk with both feet, trembling, looking around me, mortally anguished by the fear of discovering the horrible insect, ever ready to spring.”

ƒŽÀǯ•’Š‘„‹ƒ‘ˆ…Ž‹‰‹‰‹•‡…–•™ƒ••‘‹–‡•‡–Šƒ–Š‡ •‘‡–‹‡• ˆ‡Ž– –Š‡ ™Š‡”‡ ‘‡ ‡š‹•–‡† ȋ‡”‡„ƒ— ͕͚͝͝ȌǤ ‹•ƒ—–‘„‹‘‰”ƒ’Š›†‡•…”‹„‡•‘‡‡’‹•‘†‡‘ˆ†‡Ž—•‘”› ’ƒ”ƒ•‹–‘•‹•‹ˆ‡˜‡”‡†ǡƒŽ‘•–Š›•–‡”‹…ƒŽ†‡–ƒ‹ŽǤ—ˆˆ‡”‹‰ ˆ”‘–‘•‹ŽŽ‹–‹•ƒ†ƒ‰‹ƒǡƒŽÀ”‡–”‡ƒ–‡†–‘Š‹•„‡†‹ƒ 31

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ƒŽÀǯ•‹–‡”‡•–‹‹•‡…–•„‡‰ƒ™Š‡Š‡™ƒ•ƒϐ‹˜‡Ǧ›‡ƒ”Ǧ ‘Ž†„‘›ǤƒŽÀǯ•‘Ž†‡”…‘—•‹Šƒ†•Š‘–ƒ†™‘—†‡†ƒ„ƒ–ǡ ™Š‹…ŠŠ‡’Žƒ…‡†‹ƒ–‹’ƒ‹Žƒ†’”‡•‡–‡†–‘–Š‡›‘—‰ ƒŽÀǤ ‡ ™ƒ• –”ƒ•ϐ‹š‡†Ǥ ‡ Šƒ† „‡‡ ‡‡’‹‰ •‡˜‡”ƒŽ Žƒ†›„—‰•ƒ†ƒ‰Ž‘™Ǧ™‘”‹ƒ‰Žƒ••‹–Š‡™ƒ•ŠǦŠ‘—•‡ǡ ƒ†Š‡ ”—•Š‡† –‘ ƒ†† –Š‡ ‡ƒ”Ž› ‘–‹‘Ž‡•• „ƒ– –‘ Š‹• …‘ŽŽ‡…–‹‘ǤƒŽÀŠƒ†ˆƒŽŽ‡‹Ž‘˜‡™‹–Š–Š‡„ƒ–ƒ†‡˜‡ ‹••‡† ‹–• ˆ—””› Š‡ƒ†Ǥ Š‡ ‡š– †ƒ›ǡ Š‡ …Š‡…‡† ‘ Š‹• Ž‹––Ž‡‡ƒ‰‡”‹‡ƒ†ˆ‘—†–Šƒ––Š‡‰Žƒ••™‹–Š–Š‡‹•‡…–• Šƒ†‘˜‡”–—”‡†ǡƒ†–Šƒ––Š‡„ƒ–™ƒ•‡ƒ”Ž›†‡ƒ†ƒ† Dz„”‹•–Ž‹‰™‹–Šˆ”‡œ‹‡†ƒ–•dzȋƒŽÀ͕͚͜͝ȌǤ ‡‘–‹…‡†ƒ›‘—‰™‘ƒƒ––Š‡‰ƒ”†‡‰ƒ–‡Ǥ‰‘‹œ‡† ‘˜‡”–Š‡•–ƒ–‡‘ˆŠ‹•„ƒ–ǡŠ‡–Š”‡™ƒ”‘…ƒ–Š‡”Ǥ –†‹†‘– Š‹–Š‡”ǡ„—–ƒ––”ƒ…–‡†Š‡”ƒ––‡–‹‘Ǥ ‡’‹…‡†—’–Š‡„ƒ–ǡ ‹–‡†‹‰–‘‡š’”‡••Š‹•’‹–›„›‹••‹‰‹–‹ˆ”‘–‘ˆ–Š‡ ™‘ƒǡ„—–‹•–‡ƒ†Š‡…‘˜—Ž•‹˜‡Ž›„‹––Š‡ƒ–Ǧ…‘˜‡”‡† „‘†›ǤDzŠ—††‡”‹‰™‹–Š”‡’—‰ƒ…‡ǡdzŠ‡–Š”‡™–Š‡„ƒ–‹–‘ –Š‡™ƒ•ŠǦŠ‘—•‡ǤŠ‹•‡š’‡”‹‡…‡™‘—Ž†ˆ‘”–Š‡ˆ‘—†ƒ–‹‘ˆ‘”ƒŽÀǯ•ƒ••‘…‹ƒ–‹‘‘ˆƒ–•™‹–Š†‡ƒ–Šƒ††‡…ƒ›Ǥ –•…‘–‹—‡†–‘ƒ‡˜‹˜‹†‹’”‡••‹‘•‘ƒŽÀǤ  ™Šƒ–ƒŽÀ…ƒŽŽ•ƒDzˆƒŽ•‡‡‘”›dz–Šƒ–Š‡…”‡ƒ–‡†™Š‡ Š‡™ƒ••‡˜‡›‡ƒ”•‘Ž†ǡŠ‡™ƒ–…Š‡†ƒ›‘—‰…Š‹Ž†„‡‹‰ „ƒ–Š‡†Ǥ ‡†‹†‘–‘–‹…‡–Š‡•‡š‘ˆ–Š‡…Š‹Ž†ǡ„—–™ƒ•ƒ– ‘…‡”‡’‡ŽŽ‡†ƒ†‡•‡”‹œ‡†„›ƒDz•™ƒ”‹‰ƒ••dz‘ˆ ƒ–•…‘‰”‡‰ƒ–‹‰ƒ”‘—†™Šƒ–ƒŽÀ–Š‘—‰Š–—•–Šƒ˜‡ „‡‡ƒƒ„•…‡••‘–Š‡…Š‹Ž†ǯ•„—––‘…Ǥ•–Š‡…Š‹Ž†™ƒ• „ƒ–Š‡†ǡ–Š‡ƒ–•†‹•ƒ’’‡ƒ”‡†ƒ†Š‡‘–‹…‡†–Šƒ––Š‡”‡ ™ƒ•‘‹Œ—”›‘–Š‡…Š‹Ž†Ǥƒ–‡”‹Š‹•ƒ—–‘„‹‘‰”ƒ’Š›ǡƒŽÀ ™”‘–‡ƒ„‘—–‡‡–‹‰Š‹•—•‡ƒ†ˆ—–—”‡™‹ˆ‡ǡ ƒŽƒǡƒ† ˆƒ–ƒ•‹œ‡†ƒ„‘—–Š‡”•‹„‡‹‰…‘˜‡”‡†„›–Š‘—•ƒ†•‘ˆ ƒ–•Ǥ‘ǡ‹ƒ††‹–‹‘–‘†‡ƒ–Šǡ†‡…ƒ›ǡƒ†ϐ‹Ž–Šǡƒ–•™‡”‡ ƒŽ•‘…‘‡…–‡†–‘•‡š—ƒŽ†‡•‹”‡ǡ’‡”Šƒ’•ƒ•ƒ‡š’”‡••‹‘ ‘ˆ–Š‡‰—‹Ž–…‘‡…–‡†™‹–Š…ƒ”ƒŽ–Š‘—‰Š–•Ǥ ‹‡–Š‡ƒ–•ǡ‰”ƒ••Š‘’’‡”•ƒŽ•‘„‡…ƒ‡ƒ•—„Œ‡…–‘ˆ ”‡˜—Ž•‹‘ˆ‘”ƒŽÀǡƒ‡‘–‹‘ƒŽ”‡ƒ…–‹‘–Šƒ–•–‡‡† ˆ”‘•‹‹Žƒ”…Š‹Ž†Š‘‘†‡š’‡”‹‡…‡•ǤƒŽÀ”‡…‘—–‡†–Š‡ ˆ‡‡Ž‹‰‹Š‹•ƒ—–‘„‹‘‰”ƒ’Š›ȋ͕͚͜͝Ȍǣ

The story of this terror remains for me one of the great enigmas of my life. When I was very small I actually adored grasshoppers…I would chase them with eager delight. I would unfold their wings, which seemed to me to have graduated colors like the pink, mauve and blue-tinted twilight skies that crowned the end of the days in Cadaques. [Grasshoppers] became a thing of horror to me, and the sudden and unexpected sight of one was likely to throw me into such a spectacular nervous fit that my parents absolutely forbade the other children to throw grasshoppers at me, as they were constantly trying to do in order to enjoy my terror. My parents, however, often said, ‘What a strange thing! He loved them so much before!’ On one occasion my girl cousin purposely crushed a large grasshopper on my neck…though it was eviscerated and abundantly sticky with a loathsome fluid, it still stirred, half destroyed, between my shirtcollar and my flesh, and its jagged legs clutched my neck with such force that I felt they would be torn off

Table 1. Selected works by Salvador Dali that include insects. Year • Reference* Title

Insects

1927 • Ref. No. 184

ϐŽ‹‡•

1927 • Ref. No. 185

ϐŽ‹‡•

1927-28 • Ref. No. 192

ϐŽ‹‡•

1927-28 • Ref. No. 200

Little Cinders (Senicitas)

ϐŽ‹‡•

The Rotting Donkey

ϐŽ‹‡• †‡ƒ–ŠŠ‡ƒ†‘–Šǡ ants

Un Chien Andalou (An Andalusian Dog) Accommodations of Desire

ants

1929 • Ref. No. 216

ƒ–•ǡ‰”ƒ••Š‘’’‡”

1929 • Ref. No. 217

ants

1929 • Ref. No. 218

Imperial Monument of WomanChild. Gala (Utopian Fantasy)

ants

Playing in the Dark

‰”ƒ••Š‘’’‡”

Partial Hallucination: Six Apparitions of Lenin on a Piano

Playing in the Dark

ƒ–•ǡ‰”ƒ••Š‘’’‡”

The Dream The Persistence of Memory Babaouo - Publicity Announcement for the Publication of the Scenario of the Film Retrospective Bust of a Woman Surrealist posterm

Profanation of the Host

ƒ–•ǡ‰”ƒ••Š‘’’‡”

1929 • Ref. No. 224

Poster Project

ants

ants

1929 • Ref. No. 225

The Enigma of My Desire or My Mother, My Mother, My Mother

The Surrealist Mystery of New York

ants

ƒ–•ǡ‰”ƒ••Š‘’’‡”ǡ ϐŽ‹‡•

Autumnal Cannibalism

ants

ƒ–•ǡ‰”ƒ••Š‘’’‡”

1929 • Ref. No. 228

Ant Face

1929

The Ants

1930 • Ref. No. 234

The Metamorphosis of Narcissus

ants

Mural Painting for Helena Rubinstein (panel 3)

‰”ƒ••Š‘’’‡”

Aphrodisiac Jacket

ants

Untitled - for the campaign against venereal disease

ϐŽ‹‡•

1944 • Ref. No. 519

ants

Dream Caused by the Flight of a Bee around a Pomegranate. One Second before Awakening

Š‘–‡Ž™Š‡”‡–Š‡Dz…Ž‡ƒŽ‹‡••ȏ™ƒ•Ȑ‘”‡–Šƒ†—„‹‘—•dz ȋƒŽÀ͕͚͜͝ȌǤ ‡‘–‹…‡†–™‘‘”–Š”‡‡‹•‡…–•‘–Š‡…‡‹Ž‹‰ ƒ†™‘†‡”‡†™Š‡–Š‡”–Š‡›™‡”‡…‘…”‘ƒ…Š‡•‘”Ž‹…‡ǡ„—– ™ƒ••‘‡šŠƒ—•–‡†–Šƒ–Š‡ˆ‡ŽŽƒ•Ž‡‡’ǤŠ‡Š‡ƒ™‘‡ǡŠ‡ •ƒ™–Šƒ–‘Ž›‘‡‹•‡…–”‡ƒ‹‡†ƒ†‹‡†‹ƒ–‡Ž›…ƒ‡ –‘–Š‡…‘…Ž—•‹‘–Šƒ––Š‡‘–Š‡”•Šƒ†ˆƒŽŽ‡‹–‘Š‹•„‡†Ǥ ‘™…‘˜‹…‡†–Šƒ––Š‡›—•–„‡–‹…•‘”„‡†„—‰•ǡƒŽÀ –‘‘†”ƒ•–‹…ƒ…–‹‘ǡƒ•†‡•…”‹„‡†„›—‹•—Ó—‡ŽǣDz ˆ‘—† Š‹•–”‹’’‡†–‘–Š‡™ƒ‹•–ǡƒ‡‘”‘—•„ƒ†ƒ‰‡‘Š‹• „ƒ…Ǥ’’ƒ”‡–Ž›Š‡–Š‘—‰Š–Š‡ǯ†ˆ‡Ž–ƒǮϐŽ‡ƒǯ‘”•‘‡‘–Š‡” •–”ƒ‰‡ „‡ƒ•– ƒ† Šƒ† ƒ––ƒ…‡† Š‹• „ƒ… ™‹–Š ƒ ”ƒœ‘” „Žƒ†‡Ǥ Ž‡‡†‹‰ ’”‘ˆ—•‡Ž›ǡ Š‡ ‰‘– –Š‡ Š‘–‡Ž ƒƒ‰‡” –‘ …ƒŽŽƒ†‘…–‘”ǡ‘Ž›–‘†‹•…‘˜‡”–Šƒ––Š‡ǮϐŽ‡ƒǯ™ƒ•‹”‡ƒŽ‹–› ƒ’‹’Ž‡dzȋ—Ó—‡Ž͕͖͜͝ȌǤ

ants ants

ƒ–•ǡƒ‰‰‘–•

ants

ants

„—––‡”ϐŽ‹‡•

„‡‡

1944 • Ref. No. 527

ants

Untitled - The Seven Arts

ants

1944 • Bryans

ϐŽ‹‡•

advertisement 1944 • Vogue

ants

cover n.d. • Bryans

ants

advertisement

ants ƒ–•ǡ„‡‡•ǡ „‡‡Š‹˜‡ †ƒ•‡ŽϐŽ›ǡ‘–Šǡ „—––‡”ϐŽ›

1944 • Vogue

ants

cover

„—––‡”ϐŽ›‘–Š

1944-45

ϐŽ‹‡•

1939 • Ref. No. 453

Baby Map of the World

ants

1942 • Ref. No. 507

1938

ƒ–•ǡ‰”ƒ••Š‘’’‡”ǡ ‘–Š•

illustrations for Dali’s autobiography

1942 • Ref. No. 495

1937 • Ref. No. 432

‰”ƒ••Š‘’’‡”

Juliet’s Tomb

ants

1936-37 • Ref. No. 431

‰”ƒ••Š‘’’‡”

Birth of a New World

Mural Painting for Helena Rubinstein (panel 2)

1936-37 • Ref. No. 421

1929 • Ref. No. 227

Soft Self-Portrait with Fried Bacon

1942 • Ref. No. 494

1936

Aphrodisiac Jacket

†ƒ††›ǦŽ‘‰Ž‡‰•ǡ ants

1942

1936 • Ref. No. 381

ants

Daddy Longlegs of the Evening – Hope!

1942 • Ref. No. 491

1935 • Ref. No. 373

The Ants

„—––‡”ϐŽ›

1942 • Ref. No. 485

1935 • Ref. No. 366

1929 • Ref. No. 222

32

ants

1931 • Ref. No. 254

Portrait of Gala

March of Time Comittee - Papillon

1941 • Ref. No. 480

1934

1929 • Ref. No. 221

The Font

ants

1933 • Ref. No. 301

1929 • Ref. No. 220

ants

1940 • Ref. No. 467

1932 • Ref. No. 271

Illumined Pleasures

1930 • Ref. No. 240

Combinations (or The Combined Dalinian Phantasms; Ants. Keys, Nails)

1931 • Ref. No. 261

Desecration Descripti

Phantasmagoria

‹•‡…–…‘ŽŽ‡…–‘”•

1931 • Ref. No. 259

1929 • Ref. No. 215

The Dream of Venus

Apotheosis of Homer

ants

1945 • Bryans

ants

advertisement

‘–Š•ǡƒ–•

‘–ƒŽŽ‹•‡…–•™‡”‡•‘”‡’—Ž•‹˜‡–‘ƒŽÀǢŠ‡™ƒ•ˆƒ•…‹ƒ–‡†„›–Š‡‹†‡ƒ‘ˆ‡–ƒ‘”’Š‘•‹•ǡƒ†‹•’‹”‡†„› –Š‡•‡‡‹‰Ž›ƒ‰‹…ƒŽ–”ƒ•ˆ‘”ƒ–‹‘‘ˆ…”ƒ™Ž‹‰Žƒ”˜ƒ‡ ‹–‘™‹‰‡†ƒ†—Ž–‹•‡…–•Ǥ ‡™”‘–‡‘ˆ‡–ƒ‘”’Š‘•‹•‹ Š‹•ƒ—–‘„‹‘‰”ƒ’Š›ƒ•ƒDz…Šƒ‰‡‘ˆ•‹ǡ”‡‹˜‡–‹‘‘ˆƒ ‡™‘”‹‰‹ƒŽ•‹™Š‹…Š‹•’”‡…‹•‡Ž›–Š‡‹‡˜‹–ƒ„Ž‡…‘•‡“—‡…‡‘ˆ–Š‡„‹‘Ž‘‰‹…ƒŽ‘Ž†‘ˆ–Šƒ–™Š‹…Š’”‡…‡†‡†‹–Ǥ – ‹•‡‹–Š‡”•—”‰‡”›‘”—–‹Žƒ–‹‘ǡ‘”‹•‹–”‡˜‘Ž—–‹‘Ȅ‹– ‹•”‡ƒ‹••ƒ…‡dzȋƒŽÀ͕͚͜͝ȌǤŠ‡ƒŽÀ”‡ˆ‡”‡…‡•„—––‡”ϐŽ‹‡•‹Š‹•ƒ—–‘„‹‘‰”ƒ’Š›ǡ‹–‹•—•—ƒŽŽ›ƒ•ƒ‡–ƒ’Š‘”ˆ‘” •‘‡–Š‹‰‡’Š‡‡”ƒŽǡ’”‡…‹‘—•ǡƒ†ˆ”ƒ‰‹Ž‡Ǥ ‡‘ˆƒŽÀǯ•‘•–†‹˜‡”–‹‰ƒ†‹ϐŽ—‡–‹ƒŽ‡…‘—–‡”• ™‹–Š‹•‡…–•–‘‘’Žƒ…‡™Š‹Ž‡Š‡™ƒ•™ƒŽ‹‰ƒŽ‘‰–Š‡ •‡ƒ•Š‘”‡‹ƒ†ƒ“—‡•Ǥ ‡‘–‹…‡†™Š‹Ž‡‹•’‡…–‹‰ƒ…‡”American Entomologist • Spring 2013

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1928 • Movie

Portrait of Paul Eduard

The butterfly hunt

Insects

1940 • Ref. No. 465

1931 • Ref. No. 252

1928 • Ref. No. 211

The Lugubrious Game

‰”ƒ••Š‘’’‡”ǡƒ–•

1931 • Ref. No. 245

Cenicitas (Little Ashes)

The Great Masturbator

The Great Masturbator

Year • Reference* Title 1939 • Ref. No. 462

1930

Honey is Sweeter Than Blood

The First Days of Spring

Insects

1930 • Ref. No. 241

Honey is Sweeter Than Blood

1929 • Ref. No. 226

Year • Reference* Title

Year • Reference* Title

Insects ants ants

Melancholic Atom and Uranium

ants

1947 • Bryans

advertisement

Down The Rabbit Hole

1959 • AIW

ant

1959 • AIW

advertisement

1959 • AIW

ant ants

1951 • Ref. No. 597

•’”‡ƒ†„—––‡”ϐŽ‹‡•

1951 • Ref. No. 605

The Queen of the Butterflies

„—––‡”ϐŽ‹‡•ǡ Ž‘‰Š‘”‡†„‡‡–Ž‡

1959 • AIW

A Mad Tea Party The Mock Turtle’s Story

•’”‡ƒ†„—––‡”ϐŽ‹‡•

The Mock Turtle’s Story 1959 • LT

untitled

1955 • DM

Tres Picos

„—––‡”ϐŽ‹‡•ǡ …ƒ–‡”’‹ŽŽƒ”• „—––‡”ϐŽ‹‡•

untitled

•‹Ž™‘”‘–Š •™ƒŽŽ‘™–ƒ‹Ž „—––‡”ϐŽ›

untitled

„—––‡”ϐŽ›

1959 • LT

1959 • LT

„—––‡”ϐŽ›

1962 • Ref. No. 734

The Alchemist

ants

1965 • Ref. No. 776

1958-59 • Ref. No. 689

Laocoön Tormented by Flies

The Discovery of America by Christopher Columbus

1964-67 • Ref. No. 821

ϐŽ‹‡•

Locusta et bruchus

–ƒ‹–›’‡‘ˆ’Žƒ––Šƒ–‰”‡™–Š‡”‡–Šƒ–•‘‡‘ˆ–Š‡Ž‡ƒ˜‡• ™‡”‡‘–‘˜‹‰™Š‡–Š‡„”‡‡œ‡•–‹””‡†ǡƒ†ƒ…Ž‘•‡” Ž‘‘”‡˜‡ƒŽ‡†–Šƒ––Š‡›™‡”‡‹•‡…–•Ǥ‡Ž‹‰Š–‡†™‹–Š–Š‹• †‹•…‘˜‡”›ǡƒŽÀDz‹‡†‹ƒ–‡Ž›—–‹Ž‹œ‡†‹–ˆ‘”’—”’‘•‡•‘ˆ ›•–‹ϐ‹…ƒ–‹‘ǡdz…Žƒ‹‹‰–Šƒ–Š‡Šƒ†Dzƒ…“—‹”‡†–Š‡ƒ„‹Ž‹–› –‘ƒ‹ƒ–‡–Š‡‹ƒ‹ƒ–‡Ǥdz ‡™‘—Ž†…—–ƒ„”ƒ…Š„‡ƒ”‹‰ •‡˜‡”ƒŽ‘ˆ–Š‡Ž‡ƒˆǦ‹•‡…–•ƒ†ǡ‘ˆ–‡’‡”ˆ‘”‹‰ˆ‘”–Š‡ Ž‘…ƒŽϐ‹•Š‡”‡ǡŠ‡™‘—Ž††‡–ƒ…Š•‡˜‡”ƒŽ‘ˆ–Š‡DzŽ‡ƒ˜‡•dz ƒ† ‡Œ‘› –Š‡ ‡š…Žƒƒ–‹‘• ‘ˆ Š‹• ƒ—†‹‡…‡ ™Š‡ Š‡ •‡‡‡†–‘„”‹‰–Š‡Ž‡ƒ˜‡•–‘Ž‹ˆ‡„›”ƒ’’‹‰ƒ•–‘‡‘ –Š‡–ƒ„Ž‡ǤƒŽÀ‡Œ‘›‡†–Š‡ƒ––‡–‹‘Š‡”‡…‡‹˜‡††—”‹‰ Š‹•†‡‘•–”ƒ–‹‘ǡ„—–‘”‡‹’‘”–ƒ–Ž›ǡŠ‡™ƒ•†‡‡’Ž› ‹’”‡••‡†„›–Š‡‹†‡ƒ‘ˆ‹‡•‹•ǡ™Š‹…ŠŠ‡…ƒŽŽ‡†Dz‘‡ ‘ˆ –Š‡ ‘•– ›•–‡”‹‘—• ƒ† ƒ‰‹… •‡…”‡–• ‘ˆ ƒ–—”‡Ǥdz American Entomologist • Volume 59, Number 1

…ƒŽŽ‘’Š‘”‹†ϐŽ‹‡•

1969

Design for a record cover

„—––‡”ϐŽ‹‡•

1971

The Dinners of Gala

ϐŽ›‡›‡•

1973

Hologram of Alice Cooper

ants

1974 • Ref. No. 905

Cranach Metamorphosis (Woman in a Mirror)

ants

1974

Butterflies and Grapes

„—––‡”ϐŽ‹‡•

1975 • Ref. No. 918

The Whole Dali in a Face

…ƒŽŽ‘’Š‘”‹†ϐŽ‹‡•

1978 • Ref. No. 941

Landscape Near Ampurdan

ants

1981 • Ref. No. 996

Three Female Figures in Festive Gowns

„—––‡”ϐŽ›

Melancholy Atomic

ants

n.d. • Ref. No. 1108

Triomphe De L’Amour

„—––‡”ϐŽ›

Antequam exhires de vulva sactificavite (Jeremiah 1:5)

„—––‡”ϐŽ›ǫ

helioconid „—––‡”ϐŽ›

untitled

„—––‡”ϐŽ‹‡•

The Hallucinogenic Toreador

„—––‡”ϐŽ›ǡ‘–Š

untitled

ƒ–•ǡ•–ƒ‰„‡‡–Ž‡

Ž—ƒ‘–Š•

n.d. • Ref. No. 1111

1959 • LT

„—––‡”ϐŽ‹‡•

Roussillon French Railways Poster

n.d. • Ref. No. 1080

1959 • LT

untitled

1957 • Ref. No. 672

Untitled (Surrealist Landscape)

„—––‡”ϐŽ‹‡•

untitled „—––‡”ϐŽ‹‡•

1957 • Ref. No. 663

Metamorphosed Women

untitled

1959 • LT

1957 • Ref. No. 661

Butterfly Landscape (The Great Masturbator in a Surrealist Landscape with D.N.A.)

untitled

1959 • LT

1956 • Ref. No. 660

Untitled (Landscape with Butterflies)

…ƒ–‡”’‹ŽŽƒ”

1959 • LT

ϐŽ›ǡ‘–Š

1956 • Ref. No. 649

Fancy Costumes

Ž—ƒ‘–Š

„—––‡”ϐŽ›ǡ ‹…Ž—†‹‰ƒ’‹‡”‹†

1959 • LT

„—––‡”ϐŽ›

1954 • Ref. No. 624

Melting Watch

„—––‡”ϐŽ‹‡•

„—––‡”ϐŽ‹‡•ǡ including •™ƒŽŽ‘™–ƒ‹Ž•

1953

Design for the costume for The Woman of the future

ant

1959 • AIW

1951 • Ref. No. 601

Portrait of Katharina Cornell

…ƒ–‡”’‹ŽŽƒ”•

1959 • AIW

•’”‡ƒ†„—––‡”ϐŽ‹‡•

„—––‡”ϐŽ›

1968-70 • Ref. No. 866

The Rabbit Sends in a Little Bill

1946 (released 2003) • Movie

Landscape with Cavalier and Gala

™ƒŽ‹‰•–‹…

Mad Mad Mad Minerva Illustration for “Memories of Surrealism”

ϐŽ‹‡• insectan

ȗ‡ˆ‡”‡…‡—„‡”‹•ˆ‘”–Š‡™‘”ǯ• numberƒ–Š––’ǣȀȀ™™™Ǥ™‹‹’ƒ‹–‹‰•Ǥ‘”‰Ȁ ‡Ȁ•ƒŽ˜ƒ†‘”Ǧ†ƒŽ‹Ȁ‘†‡ȀƒŽŽǦ’ƒ‹–‹‰•ȀǢ Movie Ꮡ–‹‘’‹…–—”‡•ǢBryans ჆˜‡”–‹•‡‡–•Ǣ Vogue α…‘˜‡”ƒ”–ǡAIW α‹ŽŽ—•–”ƒ–‹‘•ˆ‘”Ž‹…‡ ‹‘†‡”Žƒ†ǢLT α‹ŽŽ—•–”ƒ–‹‘•ˆ‘”‡”‹…‘”‡Ǣ blank Ꮛ•…‡ŽŽƒ‡‘—•‹ƒ‰‡•ˆ”‘–Š‡‡„ǤŠ‡•‡ ™‘”•ƒ›„‡˜‹‡™‡†„›’‡”ˆ‘”‹‰ƒ‘‘Ž‡ƒ‡„ •‡ƒ”…Šˆ‘”–Š‡ƒ”–™‘”–‹–Ž‡ƒŽ‹Ǥ

Ž‡˜‡”Ž›…ƒ‘—ϐŽƒ‰‡†Š‹††‡‹ƒ‰‡”›™‘—Ž†„‡…‘‡ƒ ’‹˜‘–ƒŽƒ•’‡…–‘ˆŠ‹•‹ŽŽ—•‹‘‹•–‹…ƒ’’”‘ƒ…Š–‘—””‡ƒŽ‹•ǡ ƒ†ƒŽÀŠ‹•‡Žˆ…”‡†‹–•–Š‡‹•‡…–•ˆ‘”–Š‡‹””‘Ž‡‹–Š‹• †‡˜‡Ž‘’‡–ǣDzǥŠ‡”‡‹•‘•Šƒ†‘™‘ˆƒ†‘—„––Šƒ––Š‹• •‡•ƒ–‹‘ƒŽ†‹•…‘˜‡”›‘ˆ‹‡•‹•‹ϐŽ—‡…‡†ˆ”‘–Š‡‘ –Š‡…”›•–ƒŽŽ‹œƒ–‹‘‘ˆ–Š‡‹˜‹•‹„Ž‡ƒ†’ƒ”ƒ‘‹ƒ…‹ƒ‰‡• ™Š‹…Š’‡‘’Ž‡‘•–‘ˆ›’”‡•‡–’ƒ‹–‹‰•™‹–Š–Š‡‹” ’Šƒ–ƒ•ƒŽ’”‡•‡…‡dzȋƒŽÀ͕͚͜͝ȌǤ Š‹•‹•ƒŽ•‘ƒ”ƒ”‡‹•–ƒ…‡‹™Š‹…ŠƒŽÀǯ•‹•‡…–‡…‘—–‡”…ƒ„‡–”ƒ…‡†–‘ƒ’ƒ”–‹…—Žƒ”•’‡…‹‡•ǤŠ‡”‡ˆ‡””‹‰ –‘–Š‡‹•‡…–•ǡƒŽÀ—•‡•ƒ˜—Ž‰ƒ”ƒ–ƒŽ‘‹ƒ…‘ŽŽ‘“—‹ƒŽ‹• –Šƒ–ƒŽŽ—†‡•–‘’ƒ”–‘ˆ–Š‡ˆ‡ƒŽ‡ƒƒ–‘›ǡ„—–™Š‹…ŠƒŽ•‘ …‘‘–‡•ƒ’ƒ”–‹…—Žƒ”Ž›•Ž›‘”•‡ƒ›’‡”•‘ȋ’”‡•—ƒ„Ž› †‡•…”‹„‹‰–Š‡‹•‡…–•ǯ…”›’–‹…„‡Šƒ˜‹‘”ȌǤ ƒ–ƒŽ‘‹ƒǡ–Š‡ 33

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Pig and Pepper

Destino

„—––‡”ϐŽ‹‡•

„—––‡”ϐŽ›ǡ …ƒ–‡”’‹ŽŽƒ”

Advice From A Caterpillar

1948 • Bryans

Insects

1969

A Caucus Race and a Long Tale

‘–Š•

1947

Surrealist Landscape

Surrealist Landscape

1959 • AIW

1945

Year • Reference* Title 1968 • Ref. No. 857

1959 • AIW

1945 • Bryans

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Insects

1947

1945 • Bryans

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Year • Reference* Title

’Š”ƒ•‡ƒ’’Ž‹‡••’‡…‹ϐ‹…ƒŽŽ›–‘Phyllomorpha lacineata (VilŽ‡”•Ȍ ȋ ‡‹’–‡”ƒǣ‘”‡‹†ƒ‡Ȍȋ ‡”ž†‡œ͖͔͔͘ȌǤ

Insect Manifestations in Dalí’s Work

Fig. 2. The Font, 1930 Salvador Dalí. Worldwide rights © Salvador Dalí. Fundacion Gala-Salvador Dalí, (Artists Rights Society), 2012 / In the USA © Salvador Dalí Museum, Inc. St. Petersburg, FL 2012.

Fig. 3. The Font: detail of grasshoppers on the altar and foreground pillar.

34

American Entomologist • Spring 2013

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ƒŽÀǯ•‹–‡•‡‡‘–‹‘ƒŽ”‡•’‘•‡•–‘Š‹•‡š’‡”‹‡…‡•™‹–Š ‹•‡…–•„‡…ƒ‡–Š‡ˆ‘…—•‘ˆ–Š‡‡•–Šƒ–Š‡™‘—Ž†ˆ”‡“—‡–Ž›‡š’Ž‘”‡–Š”‘—‰ŠŠ‹•’ƒ‹–‹‰•ƒ†‘–Š‡”ƒ”–™‘”Ǥ  ƒ •—”˜‡› –Šƒ– ‹…Ž—†‡† —•‡— …‘ŽŽ‡…–‹‘•ǡ ’”‹–‡† …‘’‡†‹ƒǡ ƒ† ‡„ ”‡•‘—”…‡•ǡ –Š‡ ƒ—–Š‘”• ‡šƒ‹‡† ͕ǡ͕͚͛ ™‘”• „› ƒŽÀǡ ‘ˆ ™Š‹…Š ͕͕͕ ȋ͕͔ΨȌ ‹…‘”’‘”ƒ–‡† ‹•‡…– ‹ƒ‰‡”›Ǥ –• ƒ”‡ –Š‡ ‘•– …‘‘ǡ ƒ’’‡ƒ”‹‰ ‹͙͔‘ˆ–Š‡‡šƒ’Ž‡•Ǥ—––‡”ϐŽ‹‡•ƒ’’‡ƒ”‹͖͗‡šƒ’Ž‡•ǡ ‘–Š• ‹ ͕͕ǡ ƒ† …ƒ–‡”’‹ŽŽƒ”• ‹ ˆ‘—”Ǥ Ž‹‡• ƒ’’‡ƒ” ‹ ͕͗ ™‘”•Ǥ ”ƒ••Š‘’’‡”•ƒ’’‡ƒ”‹–‡’‹‡…‡•ǡ™Š‹…Š™‡”‡ ‘–ƒ„Ž›ƒŽŽ…”‡ƒ–‡†„‡ˆ‘”‡͕͔͗͝Ǥ™‘™‘”•‹…‘”’‘”ƒ–‡

Š‘‡›„‡‡•ǣDream Caused by the Flight of a Bee around a Pomegranate ȋ͕͘͘͝Ȍ †‡’‹…–•ƒ•‹‰Ž‡„‡‡ǡƒ†–Š‡‘–Š‡”ǡƒ …‘˜‡”ˆ‘”ƒ͕͘͘͝‹••—‡‘ˆVogueƒ‰ƒœ‹‡ǡ•Š‘™•ƒ•–›Ž‹œ‡† „‡‡Š‹˜‡ǤŽ‘‰Š‘”‡†„‡‡–Ž‡ƒ’’‡ƒ”•‹ƒ‹ŽŽ—•–”ƒ–‹‘ ˆ‘” Alice in Wonderlandǡ ƒ† ƒ •–ƒ‰ „‡‡–Ž‡ ‹• •Š‘™ ‹ Metamorphosed Womenȋ͕͙͛͝ȌǤƒ›‘–Š‡”™‘”•ǡ™Š‹…Š ™‡”‡‘–‹…Ž—†‡†‹–Š‡•—”˜‡›ǡ‹…‘”’‘”ƒ–‡‘Ǧ‹•‡…– ƒ”–Š”‘’‘†•‘”ƒ”–Š”‘’‘†Ǧ‹•’‹”‡†‡Ž‡‡–•ǡ’ƒ”–‹…—Žƒ”Ž› ‡Ž‘‰ƒ–‡†ǡŒ‘‹–‡†Ž‡‰•ǤŽ‹•–‘ˆ–Š‡•—”˜‡›‡†ƒ”–™‘”• –Šƒ–ˆ‡ƒ–—”‡‹•‡…–•‹•’”‡•‡–‡†‹ƒ„Ž‡͕Ǥ ‡‘ˆ–Š‡‡ƒ”Ž‹‡•–‘ˆƒŽÀǯ•’ƒ‹–‹‰•–‘ƒŽŽ—†‡–‘‹•‡…–• ‹•Š‹•͕͖͛͝•–—†›Honey is Sweeter Than Blood, a Tanguy‹•’‹”‡†Žƒ†•…ƒ’‡–Šƒ–‹…Ž—†‡•ƒ”‘––‹‰†‘‡›™‹–Š ϐŽ‹‡•‡‡”‰‹‰ˆ”‘–Š‡…ƒ”…ƒ••Ǥ‡”Šƒ’•†—‡–‘–Š‡•ƒŽŽ •…ƒŽ‡‘ˆ–Š‡’ƒ‹–‹‰ȋ͚͗Ǥ͙š͙͘…Ȍƒ†–Š‡‹ϐŽ—‡…‡‘ˆ–Š‡ Dzƒ—–‘ƒ–‹…dzƒ’’”‘ƒ…Š‘ˆƒŽÀǯ•…‘–‡’‘”ƒ”‹‡•ǡ–Š‡ϐŽ‹‡• ƒ”‡‘–†‡–ƒ‹Ž‡†ǡ„—–ƒ’’‡ƒ”ƒ••‹’Ž‡ǡ–‹›Ǧ•Šƒ’‡††‘–•Ǥ Ž‘—†•‘ˆϐŽ‹‡•ƒ’’‡ƒ”‹•‡˜‡”ƒŽ‘ˆƒŽÀǯ•‡ƒ”Ž›‡š’Ž‘”ƒ–‹‘• ‘ˆ ‘”–Š‘†‘š —””‡ƒŽ‹•ǡ ƒ†ǡ ƒ• ‹ –Š‡ ‡šƒ’Ž‡ ‘ˆ –Š‡ †‘‡›…ƒ”…ƒ••ǡ–Š‡›•‡”˜‡‘•–Ž›ƒ•‘„˜‹‘—•‹†‹…ƒ–‘”• ‘ˆϐ‹Ž–Šƒ††‡…ƒ›Ǥ ƒŽÀǯ•‘”‡…‘’Ž‡š•›„‘Ž‹•‹˜‘Ž˜‹‰„‘–Šƒ–• ƒ† ‰”ƒ••Š‘’’‡”• ‹• ˜‹˜‹†Ž› ‹ŽŽ—•–”ƒ–‡† ‹ Š‹• ͕͔͗͝ ’ƒ‹–‹‰ǡThe Fontȋ ‹‰Ǥ͖ȌǤ Although not as fully di‡•‹‘ƒŽ ƒ• ƒŽÀǯ• Žƒ–‡” ‹ŽŽ—•‹‘‹•–‹…’ƒ‹–‹‰•ǡ The Font†‡’‹…–•ƒƒ”…Š‹–‡…–—”ƒŽ ȋ–Š‘—‰Šƒ’’ƒ”‡–Ž›‹ϐ‹‹–‡Ȍ •‡––‹‰”‡†‡”‡†™‹–Š—…Š ‰”‡ƒ–‡”†‡’–Š–Šƒ–Š‡ϐŽƒ– planes of Honey is Sweeter than BloodǤŠ”‡‡‰”ƒ••Š‘’Fig. 4. The Font: a cluster of ’‡”•ƒ”‡ƒ‘‰–Š‡ϐ‹‰—”‡• ants covers the sealed mouth –Šƒ– ’‘’—Žƒ–‡ –Š‡ ‡‡”‹‡ of the woman’s face. space: one clings to the out‰”‘™–Š•’”‹‰‹‰ˆ”‘–Š‡Š‡ƒ†‘ˆ–Š‡‡‡Ž‹‰ϐ‹‰—”‡–Šƒ– …‘™‡”•‹–Š‡Ž‘™‡”Ž‡ˆ–…‘”‡”Ǣ‘‡Š‹†‡•„‡Š‹†–Š‡…‘”‡” ‘ˆ–Š‡…‡–”ƒŽƒŽ–ƒ”ǡƒ†–Š‡–Š‹”†–‘’•–Š‡‡‰ƒŽ‹–Š‹…’‹ŽŽƒ”‹ –Š‡”‹‰Š–ˆ‘”‡‰”‘—†ȋ ‹‰Ǥ͗ȌǤ–•ƒ’’‡ƒ”„‡‡ƒ–Š–Š‡‰”ƒ••Š‘’’‡”ƒ†ƒŽ‘‰•‹†‡‡›•ȋƒ ”‡—†‹ƒƒŽŽ—•‹‘–‘•‡š—ƒŽ ‹–‹ƒ…›Ȍ‹–Š‡‹–‡”•–‹…‡•‘ˆ–Š‡’‹ŽŽƒ”‹–Š‡ˆ‘”‡‰”‘—†ǡ ƒ†–Š‡›…Ž—•–‡”‹’Žƒ…‡‘ˆƒ‘—–Š‘–Š‡™‘ƒǯ•ˆƒ…‡ ‘–Š‡•‹†‡‘ˆ–Š‡ƒ••‹˜‡ǡ‘˜‡”ϐŽ‘™‹‰ˆ‘–„‡Š‹†–Š‡ƒŽ–ƒ” ȋ ‹‰Ǥ͘ȌǤŽ‹‡–Š‡ϐŽ‹‡•‘ˆƒŽÀǯ•‡ƒ”Ž‹‡”™‘”ǡ–Š‡‰”ƒ••Š‘’’‡”•ƒ†–Š‡ƒ–•ƒ”‡”‡ƒŽ‹•–‹…ƒŽŽ›†‡–ƒ‹Ž‡†Ǣ‡ƒ…Š•‡‰‡–‘ˆ –Š‡ƒ–•ǯ–‹›„‘†‹‡•‰Ž‡ƒ•™‹–ŠƒŠ‹‰ŠŽ‹‰Š–ǡƒ†–Š‡›…ƒ•– •–”‘‰•Šƒ†‘™•‹ƒŽÀǯ•‹ŽŽ—•‘”›Ž‹‰Š–Ǥ Ž—•–‡”‹‰ƒ–•Ž‹‡–Š‡‘‡•–Šƒ–ƒ’’‡ƒ”‹The Fontƒ”‡ ƒ‘–‹ˆ–‘™Š‹…ŠƒŽÀ™‘—Ž†‘ˆ–‡”‡–—”ǤŠ‡›ƒ”‡ˆ‡ƒ–—”‡† ’”‘‹‡–Ž›‹ƒŽÀǯ•‘•–ˆƒ‹Ž‹ƒ”’ƒ‹–‹‰ǡThe Persistence of Memoryȋ͕͕͗͝Ȍǡ‹™Š‹…Š–Š‡›…‘‰”‡‰ƒ–‡‘–Š‡ ‰‘Ž†‡•—”ˆƒ…‡‘ˆ–Š‡’‘…‡–Ǧ™ƒ–…Š‹–Š‡Ž‡ˆ–ˆ‘”‡‰”‘—†ǡ ƒ•–Š‘—‰Š‹–™‡”‡ƒ”‘––‹‰’‹‡…‡‘ˆˆ”—‹–”ƒ–Š‡”–ŠƒƒŠƒ”†ǡ ‡–ƒŽŽ‹…‘„Œ‡…–Ǥ –Š‡…‘–‡š–‘ˆ–Š‹•’ƒ‹–‹‰ǡ–Š‡ƒ–•Ž‡ƒ† –Š‡˜‹‡™‡”–‘“—‡•–‹‘–Š‡•—„•–ƒ…‡‘ˆ–Š‡’‘…‡–Ǧ™ƒ–…Šǡ ƒ†„›‡š–‡•‹‘ǡ–Š‡˜ƒŽ‹†‹–›‘ˆ–Š‡…‘•–”—…–‘ˆ–‹‡Ǥ  The Fontƒ†‹‘–Š‡”’ƒ‹–‹‰•‹™Š‹…Šƒ…Ž—•–‡”‘ˆƒ–• ”‡’Žƒ…‡•–Š‡•‡ƒŽ‡†‘—–Š‘ˆƒϐ‹‰—”‡ǡ–Š‡ƒ–•ƒ›”‡ϐŽ‡…– ‰—‹Ž–ƒ†”‡˜—Ž•‹‘‘˜‡””‡’”‡••‡†•‡š—ƒŽ‹’—Ž•‡•Ȅ•‡-

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Fig. 5. Daddy Longlegs of the Evening – Hope!, 1940 Salvador Dalí. Worldwide rights © Salvador Dalí. Fundacion Gala-Salvador Dalí, (Artists Rights Society), 2012 / In the USA © Salvador Dalí Museum, Inc. St. Petersburg, FL 2012.

…”‡–•–Šƒ––Š‡•‡ƒŽ‡†‘—–Š…ƒ‡˜‡”†‹˜—Ž‰‡Ǥ ƒŽÀǯ•͕͔͘͝’ƒ‹–‹‰ǡDaddy Longlegs of the Evening— Hope!ȋ ‹‰Ǥ͙Ȍǡ‹…‘”’‘”ƒ–‡•ƒ…Ž—•–‡”‘ˆƒ–•ǡ„—–‹•‘”‡ ”‡ƒ”ƒ„Ž‡ ˆ‘” –Š‡ †ƒ††› Ž‘‰Ž‡‰• –Šƒ– ˆ‘”• ‹–• ˆ‘…ƒŽ ’‘‹–ǤŠ‡’ƒ‹–‹‰™ƒ•…‘’Ž‡–‡†ƒ––Š‡„‡‰‹‹‰‘ˆ ‘”Ž†ƒ” ǡƒ†–Š‡Š‘””‘”‘ˆ™ƒ”‹•ƒ‹ˆ‡•–‡†„›–Š‡ …Ž—•–‡”‹‰‹•‡…–•ǡ–Š‡Š‹†‡‘—•ǡ•‡Ž‡–ƒŽŠ‡ƒ†‘ˆ–Š‡Š‘”•‡ „—”•–‹‰ ˆ”‘ –Š‡ …ƒ‘ ‹ –Š‡ „ƒ…‰”‘—†ǡ ƒ† –Š‡ –™‹•–‡†ǡ…ƒ†ƒ˜‡”‘—•–‘”•‘‘ˆ–Š‡…‡–”ƒŽDz•‘ˆ–•‡ŽˆǦ’‘”–”ƒ‹–dz ȋƒ‘–Š‡”‘ˆƒŽÀǯ•‘–‹ˆ•ȌǤ ‘™‡˜‡”ǡƒ‹†ƒŽŽ–Š‹•ƒ‰‘›ǡ–Š‡ †‡Ž‹…ƒ–‡†ƒ††›Ž‘‰Ž‡‰••–ƒ†•ƒ•‹ˆ‹ƒ•’‘–Ž‹‰Š–ȋ ‹‰Ǥ͚ȌǤ ……‘”†‹‰–‘ƒŽÀǡƒ ”‡…Šˆ‘Ž•ƒ›‹‰Š‡Ž†–Šƒ–ƒ†ƒ††› Ž‘‰Ž‡‰••‡‡‹–Š‡‡˜‡‹‰™‹ŽŽ„”‹‰‰‘‘†Ž—…Ǣ–Š—•ǡ ‡˜‡‹–Š‡‹†•–‘ˆ”—‹ǡ–Š‡”‡‹•ƒ•‹‰‘ˆŠ‘’‡Ǥ ‘–ƒŽŽ‘ˆƒŽÀǯ•‹•‡…–•™‡”‡•‘Žƒ†‡™‹–Š•—„–Ž‡‡ƒ‹‰Ǣ‹•‡˜‡”ƒŽ‡šƒ’Ž‡•ǡ’”‹ƒ”‹Ž›ƒŽÀǯ•…‘‡”…‹ƒŽ‹ŽŽ—•–”ƒ-

Fig. 6. Detail of the opilionid in Daddy Longlegs of the Evening – Hope!

–‹‘•ˆ‘”ƒ‰ƒœ‹‡•ƒ†ƒ†˜‡”–‹•‡‡–•ǡ‹•‡…–•’”‘˜‹†‡† …‘Ž‘”ƒ†ˆ‘”‹ƒƒŽ‘•–†‡…‘”ƒ–‹˜‡”‘Ž‡ǤƒŽÀ’”‘†—…‡† ƒ›“—‹…•–—†‹‡•‹˜ƒ”‹‘—•‡†‹ƒǡ‹…Ž—†‹‰‹ǡ™ƒ–‡”…‘Ž‘”ǡƒ†‰‘—ƒ…Š‡‹˜ƒ”‹‘—•…‘„‹ƒ–‹‘•ǡƒ†•‘‡–‹‡• ƒ’”‹–‡†‹ƒ‰‡™‘—Ž†•‡”˜‡ƒ•–Š‡•–ƒ”–‹‰’‘‹–‘ˆƒ ‹ƒ‰‹ƒ–‹˜‡‡š’Ž‘”ƒ–‹‘ǤTres Picosȋ͕͙͙͝Ȍ‹•ƒ”‡ƒ”ƒ„Ž‡ ‡šƒ’Ž‡‘ˆƒƒ”–ˆ—Ž‡–ƒ‘”’Š‘•‹•Ǥ”ƒ™‹‰†‹”‡…–Ž›‘ƒ ‹‡–‡‡–ŠǦ…‡–—”›‡–‘‘Ž‘‰‹…ƒŽ’Žƒ–‡‹ŽŽ—•–”ƒ–‹‰•‡˜‡”ƒŽ •’‡…‹‡•‘ˆ„—––‡”ϐŽ‹‡•ǡ…ƒ–‡”’‹ŽŽƒ”•ǡƒ†ƒŠ‘•–’Žƒ–ǡƒŽÀ…”‡ƒ–‡†ƒ–Š‡ƒ–”‹…ƒŽϐ‹‰—”‡‹ƒ…‘Ž‘”ˆ—Ž…‘•–—‡ǡ™Š‘Š‘Ž†•–™‘ ‘ˆ–Š‡„—––‡”ϐŽ‹‡•Ž‹‡Ž‘‰ǦŠƒ†Ž‡†ˆƒ•ƒ†™‡ƒ”•ƒ–Š‹”† ƒ•ƒŠƒ–ǤŠ‡ˆ‘—”–Š’‡”…Š‡•…‘‹…ƒŽŽ›‘–Š‡‹ϐŽ‘”‡•…‡…‡ ‘ˆ–Š‡Š‘•–’Žƒ–ǡ™Š‹…Š„‡…‘‡•ƒ‘—–”ƒ‰‡‘—•…‘†’‹‡…‡ ȋ ‹‰͛ȌǤŠ‡–‹–Ž‡”‡ˆ‡”•–‘–Š‡’‘’—Žƒ”’ƒ‹•Š„ƒŽŽ‡–El Sombrero de Tres Picos (The Three-Cornered HatȌǢ‹…ƒ••‘ †‡•‹‰‡†–Š‡•‡–•ƒ†…‘•–—‡•ˆ‘”–Š‡’”‡‹‡”‡‘ˆ–Š‡„ƒŽŽ‡– ‹͕͕͝͝ǡƒ†ƒŽÀŠƒ††‘‡–Š‡•ƒ‡ˆ‘”ƒ͕͘͝͝’”‘†—…–‹‘ ȋ ƒ”ƒˆ‘Žƒ͖͔͔͙ȌǤ ͕͙͜͝Ȃ͙͝ǡƒŽÀ’”‘†—…‡†–™‡–›‹ŽŽ—•–”ƒ–‹‘•ˆ‘”ƒ‡†‹–‹‘‘ˆLe Tricorneǡ–Š‡‘˜‡ŽŽƒ„›‡†”‘ –‘‹‘†‡Žƒ”…א‘™Š‹…Š–Š‡„ƒŽŽ‡–™ƒ•„ƒ•‡†Ǥ‡˜‡”ƒŽ ‘ˆ–Š‡•‡‹ŽŽ—•–”ƒ–‹‘•‹…‘”’‘”ƒ–‡‡–‘‘Ž‘‰‹…ƒŽ’Žƒ–‡•‹ƒ •‹‹Žƒ”ƒ‡”ǡ™‘”‹‰Ž‡’‹†‘’–‡”ƒ•‹–‘–Š‡…‘•–—‡• ‘ˆ–Š‡…Šƒ”ƒ…–‡”•Ǥ –Š‡‹†Ǧ͕͔͘͝•ǡƒŽÀ™ƒ•…‘‹••‹‘‡†–‘’”‘†—…‡ …‘˜‡”•ˆ‘”Vogueƒ‰ƒœ‹‡ǡƒ•™‡ŽŽƒ•ƒ†˜‡”–‹•‡‡–•ˆ‘” ”›ƒ•Š‘•‹‡”›ȋ˜‹‡™ƒ„Ž‡ƒ––Š‡†ƒ—Ž–ƒ”…Š‹˜‡ǡŠ––’ǣȀȀ –‹›—”ŽǤ…‘Ȁƒ‘„…ƒ‘‰ȌǤ––Š‡–‹‡ǡƒ†˜‡”–‹•‹‰™ƒ•‡˜‹†‡–Ž›ƒ—…Š‡†‰‹‡”ϐ‹‡Ž†ǡƒ†ƒŽÀ•‡‡•–‘Šƒ˜‡Šƒ’’‹Ž› •‡‹œ‡†–Š‡‘’’‘”–—‹–›–‘—Ž‡ƒ•ŠŠ‹•ˆƒ„—Ž‘—•‹ƒ‰‹ƒFig. 7. Tres Picos, 1955 Salvador Dalí. Worldwide rights © Salvador Dalí. Fundacion Gala-Salvador Dalí, (Artists Rights Society), 2012 / In the USA © Salvador Dalí Museum, Inc. St. Petersburg, FL 2012.

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Fig. 8. Hallucinogenic Toreador, 1969-1970 Salvador Dalí. Worldwide rights © Salvador Dalí. Fundacion Gala-Salvador Dalí, (Artists Rights Society), 2012 / In the USA © Salvador Dalí Museum, Inc. St. Petersburg, FL 2012.

Fig. 9. Detailed calliphorid flies in the foreground of Hallucinogenic Toreador.

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‘—•‡.•‹‰Š–„‡‡š’‡…–‡†ǡƒŽÀ’”‘˜‹†‡†ƒ›–Š‹‰„—– ƒŽ‹–‡”ƒŽ‹–‡”’”‡–ƒ–‹‘‘ˆ–Š‡•–‘”›Ǥ–‘‘Ž‘‰‹…ƒŽ’Žƒ–‡• ‘…‡ƒ‰ƒ‹…‘–”‹„—–‡†–‘–Š‡‹•‡…–‹ƒ‰‡”›ǡ•‡”˜‹‰ƒ• ƒ…‘—–‡”’‘‹––‘ƒŽÀǯ•Š‹‰ŠŽ›ƒ„•–”ƒ…–‡†ǡ‡š’”‡••‹‘‹•–‹… –”‡ƒ–‡–‘ˆ–Š‡•—„Œ‡…–•Ǥ •‡…–•ƒ’’‡ƒ”‹‡‹‰Š–‘ˆ–Š‡ –™‡Ž˜‡Š‡Ž‹‘‰”ƒ˜—”‡•ǡ‹…Ž—†‹‰ƒ•ƒ–—”‹‹†‘–Š‹The Mock Turtle’s Storyǡƒ’Šƒ•‹†‹Down the Rabbit Holeǡƒ „—––‡”ϐŽ›ƒ†…ƒ–‡”’‹ŽŽƒ”‹A Caucus Race and a Long Taleǡ ”‡ƒŽ‹•–‹…ƒ†•–›Ž‹œ‡†…ƒ–‡”’‹ŽŽƒ”•‹Advice from a Caterpillarǡƒ†„—––‡”ϐŽ‹‡•ƒ†ƒ…‡”ƒ„›…‹†„‡‡–Ž‡ȋAcrocinus longimanusǤȌ‹–Š‡Pig and Pepper. —”‹‰–Š‡’‡ƒ‘ˆŠ‹•…ƒ”‡‡”ǡƒŽÀ’”‘†—…‡†ƒ•‡”‹‡• ‘ˆ‘—‡–ƒŽ’ƒ‹–‹‰•–Šƒ–”‡’”‡•‡–‡†–Š‡ƒ’‡š‘ˆ Š‹•–‡…Š‹…ƒŽƒ•–‡”›ƒ•™‡ŽŽƒ•–Š‡ˆ—ŽŽ”‡ƒŽ‹œƒ–‹‘‘ˆŠ‹• ’ƒ”ƒ‘‹ƒ…Ǧ…”‹–‹…ƒŽƒ’’”‘ƒ…ŠǤŠ‡•‡’ƒ‹–‹‰•ƒ”‡”‹…Š™‹–Š‹ŽŽ—•‘”›‹ƒ‰‡•ƒ†Š‹††‡‡ƒ‹‰•ǡƒ†Š‡”‡ƒŽÀǯ•‹•‡…–• ”‡ƒ…Š–Š‡‹”‰”‡ƒ–‡•–Ž‡˜‡Ž‘ˆ†‡–ƒ‹Žƒ†•›„‘Ž‹……‘’Ž‡š‹–›Ǥ •‡…–•’Žƒ›ƒ’‹˜‘–ƒŽ”‘Ž‡‹Hallucinogenic Toreador (Fig. ͜Ȍǡƒ–Š”‡‡Ǧ„›Ǧˆ‘—”Ǧ‡–‡”ƒ•–‡”™‘”–Šƒ–ƒŽÀ’ƒ‹–‡† ˆ”‘͕͚͝͝Ȃ͕͔͛͝ǤŠ‡’ƒ‹–‹‰‹•†‡•‡™‹–Š‹ƒ‰‡•„‘–Š ‘„˜‹‘—•ƒ†•—„–Ž‡ǤŠ‡ˆƒ…‡‘ˆ–Š‡‡’‘›‘—•„—ŽŽϐ‹‰Š–‡” ‡‡”‰‡•ˆ”‘–Š‡•Šƒ†‘™•–Šƒ–•Šƒ’‡–Š‡…‡–”ƒŽϐ‹‰—”‡ ‘ˆ–Š‡‡—•†‡‹Ž‘ǡƒ•‹‰Ž‡–‡ƒ”ϐŽ‘™‹‰ˆ”‘Š‹•‡›‡ –Šƒ–‹•ƒŽ•‘Š‡”…Š‹ǤŠ‡”‡††”ƒ’‡”›‘ˆ–Š‡‡—•‘–Š‡ ”‹‰Š–‹•–Š‡…ƒ’‡†”ƒ’‡†‘˜‡”Š‹••Š‘—Ž†‡”ǡƒ†–Š‡†”ƒ’‡”› ‘ˆ–Š‡…‡–”ƒŽ‡—•ˆ‘”•Š‹••Š‹”–ƒ†‡…–‹‡Ǥ…—„‡ …‘’‘•‡†‘ˆ…‘Ž‘”ˆ—Ž…‹”…Ž‡•ȋ„ƒ•‡†‘’”‹–‡”•ǯ‡Ǧƒ› †‘–•Ȍ…ƒ’–—”‡•–Š‡•…ƒ––‡”‹‰‘ˆŽ‹‰Š–ˆ”‘–Š‡•Š‘—Ž†‡”‘ˆ –Š‡–‘”‡ƒ†‘”ǯ•traje de lucesǡ•—”‘—–‹‰–Š‡”‘…›…‘ƒ•– ‘ˆƒ’‡”‡—•ǡ™Š‡”‡–Š‡„ƒ›ƒ†–Š‡–‡””ƒ‹…ƒƒŽ•‘„‡ •‡‡ƒ•ƒ’‘‘Ž‘ˆ„Ž‘‘†„‡‡ƒ–Š–Š‡Š‡ƒ†‘ˆ–Š‡†›‹‰„—ŽŽǤ Š‡ „—ŽŽǯ• ‡›‡ ‹• ƒ „”‹‰Š– ‰”‡‡ …ƒŽŽ‹’Š‘”‹† ϐŽ›ǡ •—””‘—†‡†„›ƒ›‡ŽŽ‘™ŠƒŽ‘ƒ†’ƒ‹–‡†™‹–Š‡–‹…—Ž‘—• †‡–ƒ‹ŽǤŽ‹‡‘ˆ…ƒŽŽ‹’Š‘”‹†•…ƒ•–‹‰•–ƒ”•Šƒ†‘™•…”‘••‡• –Š‡ˆ‘”‡‰”‘—††‹ƒ‰‘ƒŽŽ›ȋ ‹‰Ǥ͝ȌǡŽ‡ƒ†‹‰–Š‡‡›‡–‘–Š‡ Ž‹––Ž‡ϐ‹‰—”‡‘ˆƒ„‘›‹ƒ•ƒ‹Ž‘”•—‹–ȄƒŽÀǯ•’‘”–”ƒ‹–‘ˆŠ‹• ›‘—‰‡”•‡ŽˆǤȋ —†‰‹‰ˆ”‘–Š‡”‡–”ƒ…–‡†’‘•‹–‹‘‘ˆ–Š‡‹” Ž‡‰•ǡƒŽÀŽ‹‡Ž›’ƒ‹–‡†–Š‡•‡†‡–ƒ‹Ž‡†…ƒŽŽ‹’Š‘”‹†•—•‹‰ƒ ƒ…–—ƒŽ†‡ƒ†ϐŽ›ƒ•ƒ‘†‡ŽǤȌ–‹ŽŽ‘”‡ϐŽ‹‡•ƒ”‡’”‡•‡–‹ –Š‡ϐ‹‡Ž†•‘ˆ„Žƒ…†‘–•–Šƒ–‡š–‡†ˆ”‘–Š‡—’’‡””‹‰Š–ǡ ™Š‡”‡–Š‡›ˆ‘”–Š‡–‘”‡ƒ†‘”ǯ•…Šƒ”ƒ…–‡”‹•–‹…montera Šƒ–ǡƒ† Ž‡ˆ– ‘ˆ…‡–‡”ǡ™Š‡”‡ –Š‡› …‘–‹—‡ –Š‡ Ž‹‡ ‘ˆ Š‹••Š‘—Ž†‡”ǤŠ‡•‡ϐŽ‹‡•ƒ”‡‰‡‡”ƒŽŽ›ˆƒ”Ž‡••†‡–ƒ‹Ž‡†ǡ ƒ†ƒ”‡•—‰‰‡•–‡†„›ƒ††‹‰ƒ’ƒ‹”‘ˆ™‹‰•–‘–Š‡„Žƒ… †‘–•Ǥ•‹†‡ˆ”‘–Š‡•‡”‡‰‹‡–‡†”‘™•‘ˆϐŽ‹‡•ǡƒ…Ž‘—† ‘ˆ—…Š•ƒŽŽ‡”‹•‡…–•…‘•–‹–—–‡•–Š‡—’’‡”ŠƒŽˆ‘ˆƒ ‰Š‘•–Ž›ǡŠƒŽ‘‡†ϐ‹‰—”‡Ȅ’‡”Šƒ’•ƒ–‘”‡ƒ†‘”ϐŽ‘—”‹•Š‹‰Š‹• …ƒ’‡ȄŒ—•–„‡Ž‘™ƒ†–‘–Š‡”‹‰Š–‘ˆ ƒŽƒǯ•Š‘˜‡”‹‰ˆƒ…‡Ǥ Š‡Šƒ—–‹‰ǡ‡Ž—•‹˜‡‹ƒ‰‡‘ˆ–Š‡–‘”‡ƒ†‘”‹•ƒŽÀǯ• ‡Ž‡‰›–‘„‘–ŠŠ‹•’”‡†‡…‡ƒ•‡†„”‘–Š‡”ƒ†–‘Š‹•ˆ”‹‡†ǡ ‡†‡”‹…‘ ƒ”…Àƒ‘”…ƒȄƒƒ•’‡…–‘ˆ–Š‡’ƒ‹–‹‰ǯ•‡ƒ‹‰ ‘™‘Ž›„‡…ƒ—•‡Š‡†‹˜—Ž‰‡†–Š‹•–‘Š‹•„‹‘‰”ƒ’Š‡”ǡ—‹• ‘‡”‘ǡ‹͕͙͛͝ȋ‘Œƒ•͕͗͝͝ȌǤŠ‡•‹‰‹ϐ‹…ƒ…‡‘ˆ–Š‡ϐŽ‹‡•ǡ ‹–Š‹•…ƒ•‡ǡ‹•‘”‡‡ƒ•‹Ž›–”ƒ…‡ƒ„Ž‡ǣ–Š‡›ƒ”‡–Š‡•›„‘Ž ‘ˆƒƒ”…‹•‘ǡ–Š‡’ƒ–”‘•ƒ‹–‘ˆ–Š‡ƒ–ƒŽƒ–‘™‘ˆ

‹”‘ƒǡ‡ƒ”ƒŽÀǯ•„‹”–Š’Žƒ…‡‘ˆ ‹‰—‡”ƒ•Ǥ……‘”†‹‰–‘ Ž‡‰‡†ǡ™Š‡ ”‡…Š‹˜ƒ†‡”••‡‹œ‡†ƒ††‡•‡…”ƒ–‡†–Š‡ „‘†›‘ˆ–Š‡•ƒ‹–‹͕͖͙͜ǡŠ—‰‡•™ƒ”•‘ˆϐŽ‹‡•‡‡”‰‡† ˆ”‘–Š‡…‘”’•‡ǡ”‡’‡ŽŽ‹‰–Š‡ƒ––ƒ…‡”•Ǥ…ƒ”’‡–‡”„—‹Ž– ƒ„‘š–‘•ƒˆ‡‰—ƒ”†–Š‡”‡ƒ‹‹‰”‡Ž‹…•ǡƒ†ϐŽ‹‡•…‘–‹—‡† –‘•™ƒ”ˆ”‘–Š‡„‘š—–‹Ž–Š‡Žƒ•–‘ˆ–Š‡‹˜ƒ†‡”•™‡”‡ †”‹˜‡ƒ™ƒ›Ǥ ͕͚͙͗ǡ™Š‡–Š‡ ”‡…Šƒ––ƒ…‡†ƒ‰ƒ‹ǡ„Ž—‡ American Entomologist • Spring 2013

Downloaded from https://academic.oup.com/ae/article-abstract/59/1/28/6644 by guest on 10 January 2019

–‹‘ǤŠ‡”›ƒ•ƒ†˜‡”–‹•‡‡–•–‡‡™‹–ŠƒŽÀǯ•ˆƒ˜‘”‹–‡ –Š‡ƒ–‹…‡Ž‡‡–•ǡ…‘„‹‡†™‹–Š’Š‘–‘‰”ƒ’Š•‘ˆŠ‘•‹‡”› ƒ†•–‘…‹‰‡†Ž‡‰•ǡƒ†‹•‡…–•ƒ„‘—†Ǥƒ›‘ˆ–Š‡•‡ ‹ŽŽ—•–”ƒ–‹‘•‹…Ž—†‡‘‡‘”–™‘ƒ–•ǡ‘ˆ–‡‹…‘„‹ƒ–‹‘ ™‹–Š‡›•ǡ„—–‘‹‘—•…Ž—•–‡”•‘ˆ–Š‡ƒ”‡ƒ„•‡–ǤƒŽÀ ƒ’’ƒ”‡–Ž› ‹‡† ˜‘Ž—‡• ‘ˆ ‡–‘‘Ž‘‰‹…ƒŽ ’Žƒ–‡• ˆ‘” ‹ƒ‰‡•‘ˆ‘–Š•ƒ†„—––‡”ϐŽ‹‡•ǣ‘‡‹ŽŽ—•–”ƒ–‹‘‹…Ž—†‡• ˆ‡ƒŽ‡ϐ‹‰—”‡•…ƒ””›‹‰ϐ‹˜‡’›”ƒŽ‹†‘–Š•‘•–‹…•ǡ’‡”Šƒ’•–‘•—‰‰‡•––Šƒ–™‡ƒ”‹‰–Š‡•–‘…‹‰•™‹ŽŽ”‡•—Ž–‹ƒ „‡ƒ—–‹ˆ—Ž‡–ƒ‘”’Š‘•‹•Ǥ‡–™‘Ǧ’ƒ‰‡•’”‡ƒ†•—’‡”‹’‘•‡•ƒ•–‘…‹‰‘ƒ„—•›•—””‡ƒŽŽƒ†•…ƒ’‡ǡ‹…Ž—†‹‰ƒ †ƒ•‡ŽϐŽ›–Šƒ–‡…Š‘‡•–Š‡•Š‡‡”ǡ†‹ƒ’Šƒ‘—•“—ƒŽ‹–›‘ˆ–Š‡ Š‘•‹‡”›Ǥ––Š‡–‘’‹•ƒ“—‘–ƒ–‹‘ˆ”‘†—†—”‡ǯ•On the Sublime and BeautifulǣDzƒ’’‡ƒ”ƒ…‡‘ˆ†‡Ž‹…ƒ…›ǡƒ† ‡˜‡ˆ”ƒ‰‹Ž‹–›ǡ‹•ƒŽ‘•–‡••‡–‹ƒŽ–‘ȏ‡ƒ—–›ȐǤdz  ͕͚͝͝ǡ ƒŽÀ ‹ŽŽ—•–”ƒ–‡† ƒ Ž‹‹–‡† ‡†‹–‹‘ ‘ˆ Alice in Wonderland ”‡Ž‡ƒ•‡† „› ƒ‡…‡ƒ• ”‡•• ƒ† ƒ†‘

Acknowledgements ‡–Šƒ–Š‡ƒŽÀ—•‡—‹–Ǥ‡–‡”•„—”‰ǡ ǡ’ƒ”–‹…—Žƒ”Ž›‡–•›‘•ƒ†‘ǡˆ‘”–Š‡‹”‹†’‡”‹••‹‘–‘’—„Ž‹•Š ‹ƒ‰‡•ˆ”‘–Š‡‹”—•‡—ƒ†–Š‡‹”Š‡Ž’‹•—”˜‡›‹‰ –Š‡‹”…‘ŽŽ‡…–‹‘Ǥ‡ƒŽ•‘–Šƒ”Ǥ‹…Šƒ‡ŽŽƒ„—†‡ˆ‘” Š‹• Š‡Ž’ ™‹–Š –”ƒ•Žƒ–‹‘•ǡ ƒ† ”Ǥ ƒ”‘Ž ‡ŽŽ‹ ˆ‘” Š‡” ”‡˜‹‡™‘ˆ–Š‡ƒ—•…”‹’–Ǥ

Literature Cited †‡•ǡǤ͕͖͜͝ǤƒŽÀǤŠƒ‡•ƒ† —†•‘–†Ǥǡ‘†‘ǡǤǤ ‡”‡„ƒ—ǡǤ͕͚͝͝Ǥ—‰•‹–Š‡•›•–‡ǣ‹•‡…–•ƒ†–Š‡‹”‹’ƒ…– ‘Š—ƒƒˆˆƒ‹”•Ǥƒ•‹…‘‘•ǡ‡™‘”ǡǤ

—Ó—‡ŽǡǤ͕͖͜͝Ǥ›Žƒ•–•‹‰ŠǤ‹–ƒ‰‡‘‘•ǡ‡™‘”ǡǤ ‘‘”ǡǤ͖͔͔͚Ǥ Ž›Ǥ‡ƒ–‹‘‘‘•ǡ‘†‘ǡǤǤ ƒŽÀǡ Ǥ ͕͚͜͝Ǥ Š‡ •‡…”‡– Ž‹ˆ‡ ‘ˆ ƒŽƒ˜†‘” ƒŽÀǤ ƒ•ƒ †‹…‹‘•ǡ ‡™‘”ǡǤ ‡•…Šƒ”‡•ǡ Ǥ ƒ† Ǥ ±”‡–Ǥ ͖͔͕͔Ǥ ƒŽÀǤ ƒ•…Š‡ǡ ‘Ž‘‰‡ǡ

‡”ƒ›Ǥ

ƒ”ƒˆ‘ŽƒǡǤ͖͔͔͙Ǥ‡‰ƒ…‹‡•‘ˆ–™‡–‹‡–ŠǦ…‡–—”›†ƒ…‡Ǥ‡•Ž‡›ƒ ‹˜‡”•‹–›”‡••ǡ‹††Ž‡–‘™ǡǤ ‡”ž†‡œǡǤ͖͔͔͘Ǥ‘•”‘•–”‘•‘…—Ž–‘•†‡ ƒŽƒ›ƒŽÀǤ •—Žƒǣ ”‡˜‹•–ƒ†‡Ž‡–”ƒ•›…‹‡…‹ƒ•Š—ƒƒ•͚͜͝ǣƒ›͖͔͔͘Ǥ —–‡”ǡǤƒ† Ǥ ƒ…‘„—•Ǥ͕͖͝͝Ǥ‘†‡”ƒ”–ǣ’ƒ‹–‹‰ǡ•…—Ž’–—”‡ǡƒ”…Š‹–‡…–—”‡ȋ͗”†‡†ǤȌǤ”‡–‹…‡ ƒŽŽǡ …Ǥƒ† ƒ””›ƒ† „”ƒ•ǡ …Ǥǡ‡™‘”ǡǤ ‘”•‡ǡǤǤ͕͛͘͝ǤƒŽ˜ƒ†‘”ƒŽÀǣ’ƒ‘”ƒƒ‘ˆŠ‹•ƒ”–ǤŠ‡ƒŽÀ —•‡—ǡŽ‡˜‡Žƒ†ǡ Ǥ ‘Œƒ•ǡ Ǥ ͕͗͝͝Ǥ ƒŽ˜ƒ†‘” ƒŽÀǡ ‘” –Š‡ ƒ”– ‘ˆ •’‹––‹‰ ‘ ›‘—” ‘–Š‡”ǯ•’‘”–”ƒ‹–ǤŠ‡‡•›Ž˜ƒ‹ƒ–ƒ–‡‹˜‡”•‹–›”‡••ǡ ‹˜‡”•‹–›ƒ”ǡǤ …Š‹‡„Ž‡”ǡǤ͖͔͕͕ǤƒŽÀǣ–Š‡”‡ƒŽ‹–›‘ˆ†”‡ƒ•Ǥ”‡•–‡Ž—„Ž‹•Š‹‰ǡ ‡™‘”ǡǤ ‘„›ǡ ǤǤ͕͚͘͝ǤƒŽ˜ƒ†‘”ƒŽÀǤŠ‡—•‡—‘ˆ‘†‡””–ǡ‡™ ‘”ǡǤ Š‡ƒŽÀ—•‡—Ǥ͖͔͕͔ǤƒŽÀǤƒ”•–‘‡ –‡”ƒ–‹‘ƒŽ”‡••ǡ ‡™‘”ǡǤ

Downloaded from https://academic.oup.com/ae/article-abstract/59/1/28/6644 by guest on 10 January 2019

ƒ†‰”‡‡ϐŽ‹‡•ȋŽ‹‡ƒŽÀǯ•…ƒŽŽ‹’Š‘”‹†•Ȍ‡”—’–‡†ˆ”‘–Š‡ •‡’—Ž…Š‡” ƒ† –Š‡ ‹˜ƒ†‡”• ™‡”‡ •—ƒ”‹Ž› ‡š’‡ŽŽ‡† ȋ‘‘”͖͔͔͚ȌǤ ƒŽÀ”‡ƒ‹•‘‡‘ˆ–Š‡‘•–…Šƒ”‹•ƒ–‹…ƒ†‡‹‰ƒ–‹… ϐ‹‰—”‡• ‹ –Š‡ Š‹•–‘”› ‘ˆ ƒ”–ǡ ƒ† –Š‡ †‡‡’‡” ‡ƒ‹‰• ‘ˆŠ‹•›”‹ƒ†•›„‘Ž•ƒ†‘–‹ˆ•™‡”‡‘™‘Ž›–‘ Š‹•‡ŽˆǤ ‘™‡˜‡”ǡ …‘‡…–‹‘• …ƒ „‡ †”ƒ™ „‡–™‡‡ ƒŽÀǯ•…Š‹Ž†Š‘‘†‡š’‡”‹‡…‡•ǡ•‘˜‹˜‹†Ž›”‡…‘—–‡†ȋƒ† •‘‡–‹‡•…‘’Ž‡–‡Ž›ˆƒ„”‹…ƒ–‡†Ȍ‹Š‹•ƒ—–‘„‹‘‰”ƒ’Š›ǡ ƒ†–Š‡–Š‡‡•–Šƒ–‡‡”‰‡–Š”‘—‰Š‘—–Š‹•™‘”Ǥ‹‡™‡† –Š”‘—‰Š–Š‡‡–‘‘Ž‘‰‹•–ǯ•Ž‡•ǡ’ƒ––‡”•‘ˆ‹•‡…–ƒ’’‡ƒ”ƒ…‡•‹ƒŽÀǯ•…”‡ƒ–‹‘•‡‡”‰‡ǡ”‡˜‡ƒŽ‹‰”‡ˆ‡”‡…‡•–‘ •—„–Ž‡‡‘–‹‘•ǡ”‡’”‡••‡†—”‰‡•ǡƒ†…Š‹Ž†Š‘‘†‡‘”‹‡• ƒ†ˆƒ–ƒ•‹‡•Ǥ•™‹–ŠƒŽÀǯ•—ˆ‘”‰‡––ƒ„Ž‡†‹•…‘˜‡”›‘ˆ–Š‡ …ƒ‘—ϐŽƒ‰‡†Ž‡ƒˆǦ‹•‡…–•ǡ‹–ƒ›„‡–Šƒ–‡˜‡‘”‡•‡…”‡–• ƒ”‡Š‹††‡‹’Žƒ‹•‹‰Š–Ǥ

Gene Kritsky‹•ƒ”‘ˆ‡••‘”‘ˆ‹‘Ž‘‰›ƒ––Š‡‘ŽŽ‡‰‡‘ˆ‘—– –Ǥ ‘•‡’Šƒ†ƒ†Œ—…–…—”ƒ–‘”‘ˆ‡–‘‘Ž‘‰›ƒ––Š‡‹…‹ƒ–‹ —•‡—‡–‡”ǢDaniel Mader‹•ƒ”‘ˆ‡••‘”‘ˆ”– ‹•–‘”›ƒ– –Š‡‘ŽŽ‡‰‡‘ˆ‘—––Ǥ ‘•‡’Š‹‹…‹ƒ–‹ǡŠ‹‘Ǣƒ†Jessee J. Smith‹•ƒƒ”–‹•–ƒ†‡–ƒŽ•‹–Š™‹–ŠƒǤ ǤǤ‹•…—Ž’–—”‡Ǥ

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