A Survey of the Study in Relation to Her Life and Work
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Colette -Working
COLETTE By Richard Glatzer & Wash Westmoreland Current Revisions by Rebecca Lenkiewicz FINAL SCRIPT PAM KOFFLER [email protected] ELIZABETH KARLSEN [email protected] 1 EXT. BURGUNDIAN COUNTRYSIDE - SUNRISE - 1892 1 The first light is breaking over the fields and hedges of this timeless rural landscape. With the clanking of bells, a herd of cows makes its way to the first milking. 2 INT. COLETTE FAMILY HOME - BEDROOM - EARLY MORNING 2 The room is simple with a few sticks of worn wooden furniture. A young woman is asleep under the covers, with a cat curled up on the bottom of the bed. This is GABRIELLE-SIDONIE COLETTE, or as she will later be known, simply COLETTE. A voice calls from down the corridor - her mother SIDO. SIDO (O.S.) Gabrielle! The girl stirs but her eyes remain stubbornly closed. SIDO (O.S.) (CONT’D) Gabrielle!! Wake up. COLETTE (murmuring) Let me sleep! SIDO Come on, Gabrielle!! Sido is now at the door frame. A handsome country woman, forthright and practical - nobody’s fool. COLETTE What time is it? SIDO It’s 7 o’clock. Willy is coming today. Colette just murmurs. She disappears. After a moment, a head emerges from under the pillow and looks to the empty doorway. We get our first look at the milky skinned, precocious, whip-smart, Colette. 3 EXT. COUNTRY TRAIN STATION - DAY 3 A train belches steam as it slowly moves toward the station. A MAN IN A TOP HAT leans out of the window. 4 EXT. TRAIN CARRIAGE - DAY 4 Dismounting, Willy sees a waiting carriage across the platform. -
COLETTE, Une Artiste En Liberté (1873-1954) Colette, À Son Époque, Est Jugée Comme Une Femme Scandaleuse
COLETTE, une artiste en liberté (1873-1954) Colette, à son époque, est jugée comme une femme scandaleuse. Dans les « Aventures de Claudine » son héroïne, Claudine, à laquelle elle prête de nombreux traits, apparaît comme une fille délurée et insolente. Sur scène, Colette s’exhibe nue et fait scandale. Colette Ce n’est pas une agitatrice : elle n’est ni dans la revendication ni dans le militantisme. Ce n’est pas une féministe. Femme amoureuse, elle a vécu des histoires passionnelles avec les hommes comme avec les femmes. Sa maison natale 1 - Les années d’enfance Sidonie Gabrielle Colette est née dans le village de Saint- Sauveur-en-Puisaye dans l’Yonne, aux confins de la Bourgogne qu’elle célébrera dans ses livres comme dans La maison de Claudine (1922) et dans Sido (1930). Elle évoque ce village où Ses parents elle a vécu une enfance heureuse. Colette adore la nature en Bourgogne comme en Provence où elle s’achètera une maison, à Saint-Tropez avant l’invasion des touristes, et en Bretagne, à Saint-Coulomb. Ses parents sont Sidonie Landoy (1835-1912) et Jules Joseph Colette dans son jardin Colette (1829-1905). C’est un second mariage pour son père. Celui-ci est un saint-cyrien qui a perdu une jambe dans le conflit avec les Italiens. Il est percepteur. Colette, dernière enfant de la fratrie a une demi-sœur qu’elle n’apprécie guère et deux demi-frères qu’elle préfère. Sa mère appelée Sido sera l’initiatrice de Colette. Colette écrira un livre intitulé Sido (1930). Colette adolescente, n’est ni romanesque ni révoltée. -
Synthesis: an Anglophone Journal of Comparative Literary Studies
ORE Open Research Exeter TITLE Erica Jong’s Sappho’s Leap: (Re-)Constructing Gender and Authorship through Sappho AUTHORS Hauser, E JOURNAL Synthesis: an Anglophone Journal of Comparative Literary Studies DEPOSITED IN ORE 31 January 2020 This version available at http://hdl.handle.net/10871/40672 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may differ from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication Synthesis: an Anglophone Journal of Comparative Literary Studies Vol. 0, 2019 Erica Jong’s Sappho’s Leap:(Re-)constructing Gender and Authorship through Sappho Hauser Emily Lecturer, University of Exeter https://doi.org/10.12681/syn.25258 Copyright © 2020 Emily Hauser To cite this article: Hauser, E. (2020). Erica Jong’s Sappho’s Leap:(Re-)constructing Gender and Authorship through Sappho. Synthesis: an Anglophone Journal of Comparative Literary Studies, 0(12), 55-75. doi:https://doi.org/10.12681/syn.25258 http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 30/11/2020 17:09:59 | Erica Jong’s Sappho’s Leap:(Re-)constructing Gender and Authorship through Sappho Emily Hauser Abstract For contemporary female authors, Sappho is a literary forebear who is both a model for women’s writing and a reminder of the ways in which women have been excluded from the literary canon. Poet and novelist Erica Jong takes up the challenge to gender and authorship posed by Sappho in her 2003 novel, Sappho’s Leap. -
L'enfant Et Les Sortilèges
RAVEL L’Enfant et les sortilèges Ma Mère l’Oye – Complete ballet Soloists • Choirs Orchestre National de Lyon Leonard Slatkin Maurice L’Enfant et les sortilèges 44:41 ) Danse des Rainettes (Dance of the Frogs) 2:11 ¡ Sauve-toi, sotte! Et la cage? La cage? RAVEL 1 J’ai pas envie de faire ma page (Keep away, fool! And the cage? The cage?) (1875-1937) (I don’t want to do my schoolwork) (L’Enfant) 2:20 (L’Ecureuil, la Rainette) 0:49 2 Bébé a été sage? Il a fini sa page? ™ La cage, c’était pour mieux voir ta prestesse L’Enfant et les sortilèges (1925) (Has Baby been good? Has he finished his work?) (The cage was to see your quickness better) (Maman) 1:13 (L’Enfant, l’Ecureuil) 1:54 (The Child and the Spells) 3 Ça m’est égal! Ça m’est égal! £ Ah! c’est l’Enfant au couteau! (I don’t care! I don’t care!) (L’Enfant) 1:11 (Ah! It’s the Child with the knife!) Fantaisie lyrique 4 Votre serviteur humble, Bergère (Les Bêtes et les Arbres) 0:39 Libretto by Colette (1873-1954) (Your humble servant, Chair) ¢ Il a pansé la plaie (Le Fauteuil, la Bergère) 1:47 (He has bandaged the wound) L’Enfant (The Child) . Hélène Hébrard, Soprano 5 Ding, ding, ding, ding (Les Bêtes et les Arbres, l’Ecureuil) 2:25 (L’Horloge comtoise, l’Enfant) 1:32 ∞ Il est bon, l’Enfant, il est sage Maman, la Libellule, la Tasse chinoise 6 How’s your mug? (La Théière) 0:51 (He’s good, the Child is good) (Mother, The Dragonfly, The Chinese Cup) . -
Courtney Sullivan. the Evolution of the French Courtesan Novel: from Chabrillan to Colette. London: Palgrave Macmillan Publishers, 2016
Studies in 20th & 21st Century Literature Volume 42 Issue 2 Article 18 March 2018 Courtney Sullivan. The Evolution of the French Courtesan Novel: From Chabrillan to Colette. London: Palgrave Macmillan Publishers, 2016. Zoe Petropoulou St. John's University, [email protected] Follow this and additional works at: https://newprairiepress.org/sttcl Part of the French and Francophone Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Petropoulou, Zoe (2018) "Courtney Sullivan. The Evolution of the French Courtesan Novel: From Chabrillan to Colette. London: Palgrave Macmillan Publishers, 2016.," Studies in 20th & 21st Century Literature: Vol. 42: Iss. 2, Article 18. https://doi.org/10.4148/2334-4415.2014 This Book Review is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Courtney Sullivan. The Evolution of the French Courtesan Novel: From Chabrillan to Colette. London: Palgrave Macmillan Publishers, 2016. Abstract Review of Courtney Sullivan. The Evolution of the French Courtesan Novel: From Chabrillan to Colette. London: Palgrave Macmillan Publishers, 2016. ix +127pp. Keywords courtesans, French literature This book review is available in Studies in 20th & 21st Century Literature: https://newprairiepress.org/sttcl/vol42/ iss2/18 Petropoulou: Review of The Evolution of the French Courtesan Novel Courtney Sullivan. The Evolution of the French Courtesan Novel: From Chabrillan to Colette. London: Palgrave Macmillan Publishers, 2016. ix +127pp. Sullivan’s first monograph focuses on the courtesan novels of Celeste de Chabrillan, Valtesse de la Bigne, Liane de Pougy, and Colette, who wrote during the mid-nineteenth century into the beginning of the twentieth. -
ANU Undergraduate Research Journal Volume Five 2013
The ANU Undergraduate Research Journal Volume Five 2013 The ANU Undergraduate Research Journal Volume Five 2013 Published by ANU eView The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at http://eview.anu.edu.au Email: [email protected] Web: http://aurj.anu.edu.au/ ISSN 1836-5331 (print) ISSN 1837-2872 (online) Cover design by Nic Welbourn and layout by ANU eView Front cover art by Estelita Rae. Leaf Pattern no. 6, 2013. Photographer: Brenton McGeachie. Back cover art by Cecelia Heazlewood. Echo, 2013. Photographer: David Paterson. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Opinions published in the ANU Undergraduate Research Journal do not necessarily represent those of The Australian National University, or the Editors. This edition © 2013 ANU eView Contents Foreword . .vii From the Editors . ix List of Subeditors . xi List of Authors . xiii List of Reviewers . xxi Cover Art . xxvii The Breaking of the ‘Great Australian Silence’: How and Why the Writing of Indigenous Australian History has Changed over the Last 40 Years . 1 Caroline Beasley Heritability Estimates of Complex Intelligence and Associated Genetics . 15 Nyomi Bourbous Tradition and the Art of Modern India . 25 Kieran Browne The Promise and Failure of King Amanullah’s Modernisation Program in Afghanistan . 35 Andrew Chua Mechanistic Explanation: Some Limits and their Significance . 51 Dominie Dessaix Dependent Yet Defiant: The Implications of Unilateralism in Iraqi Kurdistan . -
The Truth About Bad Attitudes
12 STAFF MORALE EXCHANGE MARCH/APRIL 2011 Reprinted with permission from Exchange magazine. Visit us at www.ChildCareExchange.com or call (800) 221-2864. Multiple use copy agreement available for educators by request. The truth about bad attitudes by Gigi Schweikert The real deal Do you have a good attitude at itive attitudes fix things without the work? need to even draw attention to the issue Many people enter the early childhood or take credit. A person with a good atti- field because they enjoy working with Do you have a good attitude at work or tude saves the comments. Sure, they feel children. We’ll all agree that we love do you tend to grumble, complain, and frustrated, angry, and unappreciated at the children, and that may be where make unfavorable comments? A person times, but a person with a good attitude our complete agreement ends. Until we with a good attitude: moves past those feelings and keeps the spend time in the classroom, many of goal of caring for and educating young us don’t realize that the picture we n knows and expects that things won’t children in mind. Do you really have a painted in our heads of us working always go as planned. good attitude? independently with a group of cute, n accepts the situation as it is, but well-behaved kids isn’t the real works to improve it. Bad attitude don’ts scenario. Yes, the kids are cute! But n is generally happy, despite the unlike an elementary school teacher circumstances. We’ve talked about the traits of some- who usually teaches by herself in a self- n helps without being asked. -
Fame and Narrative Strategies in Colette's La Naissance Du Jour
Studies in 20th Century Literature Volume 20 Issue 2 French Issue: The Object in France Today: Six essays collected and edited by Article 13 Martine Antle with five essays on French narrative 6-1-1996 Addressing Success: Fame and Narrative Strategies in Colette's La Naissance du jour Juliette M. Rogers University of New Hampshire Follow this and additional works at: https://newprairiepress.org/sttcl Part of the French and Francophone Literature Commons, and the Modern Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Rogers, Juliette M. (1996) "Addressing Success: Fame and Narrative Strategies in Colette's La Naissance du jour," Studies in 20th Century Literature: Vol. 20: Iss. 2, Article 13. https://doi.org/10.4148/ 2334-4415.1403 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Addressing Success: Fame and Narrative Strategies in Colette's La Naissance du jour Abstract Colette's La Naissance du jour (1928) is probably her most renowned work on the complex mother- daughter relations between her mother Sido and herself. Yet, as I demonstrate in this article, the book is just as much about renown itself. Beginning with the theoretical works of Leo Braudy (The Frenzy of Renown), John Rodden (The Politics of Literary Reputation), and a close analysis of La Naissance du jour, I look at the ways in which Colette manipulated her narratives to create her own public images ofherself. -
Men, Masculinity and the Female Rebel in French Women's Fiction
MEN, MASCULINITY AND THE FEMALE REBEL IN FRENCH WOMEN’S FICTION, 1900-1913 A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2011 LUCY C. STONE SCHOOL OF LANGUAGES, LINGUISTICS AND CULTURES 2 Contents Abbreviations 3 Abstract 4 Declaration and Copyright Statement 5 Acknowledgements 6 Introduction 7 Chapter 1 Cries for Help: Men in Trouble in Colette Yver’s Les Cervelines (1903) and Daniel Lesueur’s Nietzschéenne (1908) 53 Les Cervelines: Dreaming of a Doctor for a Wife 55 Nietzschéenne: Propping up the Boss 77 Chapter 2 Anxious Seducers: Jeanne Marni’s Pierre Tisserand (1907) and Lucie Delarue-Mardrus’s Douce moitié (1913) 97 Pierre Tisserand: Misandry and Masculine Anxiety 99 Douce moitié: A Beleaguered Man 123 Chapter 3 Triangular Shackles: Masculinity, Male Homosociality and the Female Rebel in Marcelle Tinayre’s La Maison du péché (1902) and Colette’s L’Entrave (1913) 145 La Maison du péché: Objects of Faith 148 L’Entrave: Double Binds 165 Chapter 4 Giving and Taking Away: Rachilde’s La Jongleuse (1900) and Gabrielle Réval’s Le Ruban de Vénus (1906) 191 La Jongleuse: A ‘tour de passe-passe élégant’ 194 Le Ruban de Vénus: Loving Men, Laughing at Men 218 Conclusion 246 Bibliography 256 WORD COUNT 80,453 3 Abbreviations DM = Lucie Delarue-Mardrus, Douce moitié (Paris: Fasquelle, 1913) E = Colette, L’Entrave, in Œuvres, ed. by Claude Pichois, 4 vols (Paris: Gallimard, 1984- 2001), II, 325-474 LC = Colette Yver, Les Cervelines (Paris: Calmann-Lévy, 1928 [1903]) LJ = Rachilde, La Jongleuse (Paris: Des femmes, 1982 [1900]) MP = Marcelle Tinayre, La Maison du péché (Paris: Calmann-Lévy, 1902) N = Daniel Lesueur, Nietzschéenne (Paris: Plon, 1908) PT = J. -
Writing and Modernity: Colette's Feminist Fiction. Lezlie Hart Stivale Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1991 Writing and Modernity: Colette's Feminist Fiction. Lezlie Hart Stivale Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Stivale, Lezlie Hart, "Writing and Modernity: Colette's Feminist Fiction." (1991). LSU Historical Dissertations and Theses. 5211. https://digitalcommons.lsu.edu/gradschool_disstheses/5211 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. -
Frédéric Canovas Against the Canon: Jean Cocteau Or the Rise of The
Frédéric Canovas Against the Canon: Jean Cocteau or the Rise of the Gay Cultural Icon A very limited number of scholars who specialize in French art and/or literature and gay studies, have underlined the role played by Cocteau’s work in the concept and articulation of homosexual identity. There is no doubt that Gide and Proust remain the central figures when it comes to studies dealing with homosexuality in modern literature, even if most scholars agree on the fact that their conceptualization of homosexual identity is outdated today. Thus any attempt to understand Cocteau’s definition and representation of homosexuality without looking at his position toward Gide and Proust would be incomplete and inaccurate. In light of Cocteau’s tumultuous relationship with Gide and Proust, this essay will attempt to retrace the emergence of Cocteau’s written and visual discourse on homosexuality as well as his original role as a homosexual role model. 2009 marks the tenth anniversary of Jean Marais’ death. A few weeks after his passing, the French gay magazine Têtu published the results of a national poll. Gay readers had been asked to select their favorite gay icons. Surprisingly Jean Cocteau (ranked number 1), who had died more than forty years ago, and Jean Marais (number 2) came ahead of contemporary pop stars like George Michael (ranked number 7) and Elton John (number 9), and French fashion’s enfant terrible Jean-Paul Gaultier (number 8). Perhaps Cocteau’s prediction was finally becoming a reality. After years of being considered too much of a frivolous1 and shallow artist, Cocteau was finally granted what he had longed for during his entire life? In his diary, Cocteau wrote in 1943: ‘Gide says that I am “incapable of being serious”. -
Colette: Perfil Humano De Una Escritora a Través De Un Recuerdo: Bertrand De Jouvenel
ANALES DE F~LOLOGIAFRANCESA, N." 2, 1987. PAGS. 79-86 Colette: Perfil humano de una escritora a través de un recuerdo: Bertrand de Jouvenel POR MARlA TERESA MUNOZ ZIELINS Kl Univer~idrrddr Murt ici Durante una de mis estancias en París, donde me encontraba recabando datos para la elaboración de mi tesis doctoral sobre Colette, tuve la ocasión de poder conocer a Bertrand de Jouvenel. Este hombre, importante politólogo y escritor renombrado en el área de la política francesa actual, tuvo en su día una hermosa y estrecha relación con Colette. Su padre, Henri de Jouvenel, era marido de Colette y esto le llevó a conocer a su madrastra en un momento en el que, a instancias de la primera esposa de Jouvenel, el joven Bertrand que entonces contaba 16 años, fue a llevarle un ramo de flores como señal de un mejor entendimiento entre las dos mujeres. El momento está relatado en un prólogo escrito por Bertrand de Jouvenel y titulado Lu véritk de Chdri, en las ediciones de La Pléiade de las Obras de Colette. En la manera de redactarlo se nota un sentimiento de afecto hacia Colette y está lleno de ternura. La tarde en la que fui a conocer a este hombre que había estado tan cerca de Colette era ya en el mes de septiembre y una fina lluvia hacía que el otoño se sintiera algo más cercano. En la estancia donde fui recibida el ambiente era acogedor. Por unos instantes tuve la sensación como si el espíritu de Colette formara parte del entorno y quisiera tomar parte en la conversación que mi- nutos después iba a tener lugar.