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Women Surrealists: Sexuality, Fetish, Femininity and Female Surrealism
WOMEN SURREALISTS: SEXUALITY, FETISH, FEMININITY AND FEMALE SURREALISM BY SABINA DANIELA STENT A Thesis Submitted to THE UNIVERSITY OF BIRMINGHAM for the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages School of Languages, Cultures, Art History and Music The University of Birmingham September 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT The objective of this thesis is to challenge the patriarchal traditions of Surrealism by examining the topic from the perspective of its women practitioners. Unlike past research, which often focuses on the biographical details of women artists, this thesis provides a case study of a select group of women Surrealists – chosen for the variety of their artistic practice and creativity – based on the close textual analysis of selected works. Specifically, this study will deal with names that are familiar (Lee Miller, Meret Oppenheim, Frida Kahlo), marginal (Elsa Schiaparelli) or simply ignored or dismissed within existing critical analyses (Alice Rahon). The focus of individual chapters will range from photography and sculpture to fashion, alchemy and folklore. By exploring subjects neglected in much orthodox male Surrealist practice, it will become evident that the women artists discussed here created their own form of Surrealism, one that was respectful and loyal to the movement’s founding principles even while it playfully and provocatively transformed them. -
Louis Aragon and Pierre Drieu La Rochelle: Servility and Subversion Oana Carmina Cimpean Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2008 Louis Aragon and Pierre Drieu La Rochelle: Servility and Subversion Oana Carmina Cimpean Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the French and Francophone Language and Literature Commons Recommended Citation Cimpean, Oana Carmina, "Louis Aragon and Pierre Drieu La Rochelle: Servility and Subversion" (2008). LSU Doctoral Dissertations. 2283. https://digitalcommons.lsu.edu/gradschool_dissertations/2283 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. LOUIS ARAGON AND PIERRE DRIEU LA ROCHELLE: SERVILITYAND SUBVERSION A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of French Studies by Oana Carmina Cîmpean B.A., University of Bucharest, 2000 M.A., University of Alabama, 2002 M.A., Louisiana State University, 2004 August, 2008 Acknowledgements I would like to thank my dissertation advisor Professor Alexandre Leupin. Over the past six years, Dr. Leupin has always been there offering me either professional advice or helping me through personal matters. Above all, I want to thank him for constantly expecting more from me. Professor Ellis Sandoz has been the best Dean‘s Representative that any graduate student might wish for. I want to thank him for introducing me to Eric Voegelin‘s work and for all his valuable suggestions. -
Revista Almada Negreiros
REVISTA DE HISTÓRIA DA ARTE Almada Negreiros DIRECÇÃO (FCSH/UNL) Raquel Henriques da Silva Joana Cunha Leal Pedro Flor COORDENAÇÃO CIENTÍFICA Carlos Alberto Louzeiro de Moura Cátia Teles e Marques CONSELHO CIENTÍFICO E EDITORIAL (FCSH/ UNL) Carlos Moura Joana Cunha Leal José Custódio Vieira da Silva Manuel Justino Maciel Raquel Henriques da Silva CONSELHO CIENTÍFICO EXTERNO Carlos Castro Brunetto 3 4 6 José Alberto Gomes Machado Leonor Ferrão Luís de Moura Sobral EDITORIAL ENTREVISTAS DOSSIER Nuno Saldanha Autor Autor Teresa Leonor Vale Autor COORDENAÇÃO EDITORIAL Ana Paula Louro Autor Autor TRADUÇÃO Begoña Farré EDIÇÃO Instituto de História da Arte CONCEPÇÃO GRÁFICA Undo ISSN 1646-1762 491 498 © COPYRIGHT 2012 RECENSÕES NOTÍCIAS AUTORES E INSTITUTO DE HISTÓRIA DA ARTE © FOTO DE CAPA S.to Antão, Lisboa. Projecto de remate da fachada em balaustrada. Anónimo jesuíta, 1672 (© ANTT – Cartório dos Jesuítas, Mç. 67, doc. 94, fl. 2v). AGRADECIMENTOS Alexandra Encarnação e Tânia Olim da Direção-Geral do Património Cultural – Divisão de Documentação, Comunicação e Informática · Arquivo Nacional da Torre do Tombo · Biblioteca de Arte da Fundação Calouste Gulbenkian · Museu Calouste Gulbenkian · Museu de S. Roque EDITORIAL alta AUTOR F Afiliação ENTREVISTA NOME RITA ALMADA Descrição Descrição FERNANDO CABRAL MARTINS ANA PAULA GUIMARÃES Descrição Descrição DOSSIER 9 21 28 35 40 52 ALMADA, FERNANDO ALMADA OU ARQUIVO DIGITAL HOSPEDANDO A RECEPÇÃO PORTANTO. AMADO E JOSÉ A «SOFISTICAÇÃO JOSÉ DE ALMADA ALMADA DE ALMADA ANA BIGOTTE VIEIRA DE ALMADA DA -
Picasso E Il Paesaggio Mediterraneo Al MAT Di Tolone
www.smartymagazine.com Picasso e il paesaggio mediterraneo al MAT di Tolone di Marlène Pegliasco #TOULON Dopo oltre un anno di lavoro, il Museo d'Arte di Tolone ha parzialmente riaperto i battenti per ospitare una magistrale mostra dedicata a Pablo Picasso. A chiusura della stagione Picasso-Mediterraneo, in collaborazione con il Museo Picasso di Parigi, la mostra "Picasso e il paesaggio mediterraneo" rivela un aspetto poco conosciuto del maestro spagnolo. Il pubblico conosce i suoi numerosi ritratti, le nature morte e le varie epoche artistiche, ma ha meno familiarità con il suo lavoro intorno al paesaggio mediterraneo. Dalle rive della Spagna alla Costa Azzurra, Picasso si lascia travolgere da un Mediterraneo onnipresente nella sua vita come nella sua pittura. 1919. Picasso aveva 38 anni quando fece il suo primo viaggio in Costa Azzurra. Saint-Raphaël, Antibes, Cannes, Vallauris: soggiorna in molti luoghi fino a quando, nel 1948, si stabilisce definitivamente a Villa La Galloise con l'attuale moglie Françoise Gillot. La luce del Mediterraneo, i suoi colori e il suo modo di vivere ispireranno l'artista fino al suo ultimo respiro. Nato nel 1881 a Malaga, Spagna, Pablo Ruiz Picasso ha ricevuto una formazione artistica accademica. I suoi primi paesaggi risalenti agli anni 1895-1896 sono piuttosto classici e illustrano la sua regione natale. Il tema è stato impostato, abbandonato durante gli anni bohémien parigini (1901-1906), ma è tornato come campo di sperimentazione per lo stile cubista. Nel 1909, due anni dopo aver dipinto Les Demoiselles d'Avignon, l'artista realizza diverse vedute del piccolo villaggio spagnolo di Horta de Ebro in questo stile molto singolare. -
Sretenovic Dejan Red Horizon
Dejan Sretenović RED HORIZON EDITION Red Publications Dejan Sretenović RED HORIZON AVANT-GARDE AND REVOLUTION IN YUGOSLAVIA 1919–1932 kuda.org NOVI SAD, 2020 The Social Revolution in Yugoslavia is the only thing that can bring about the catharsis of our people and of all the immorality of our political liberation. Oh, sacred struggle between the left and the right, on This Day and on the Day of Judgment, I stand on the far left, the very far left. Be‑ cause, only a terrible cry against Nonsense can accelerate the whisper of a new Sense. It was with this paragraph that August Cesarec ended his manifesto ‘Two Orientations’, published in the second issue of the “bimonthly for all cultural problems” Plamen (Zagreb, 1919; 15 issues in total), which he co‑edited with Miroslav Krleža. With a strong dose of revolutionary euphoria and ex‑ pressionistic messianic pathos, the manifesto demonstrated the ideational and political platform of the magazine, founded by the two avant‑garde writers from Zagreb, activists of the left wing of the Social Democratic Party of Croatia, after the October Revolution and the First World War. It was the struggle between the two orientations, the world social revolution led by Bolshevik Russia on the one hand, and the world of bourgeois counter‑revolution led by the Entente Forces on the other, that was for Cesarec pivot‑ al in determining the future of Europe and mankind, and therefore also of the newly founded Kingdom of Serbs, Cro‑ ats and Slovenes (Kingdom of SCS), which had allied itself with the counter‑revolutionary bloc. -
POURQUOI LE Xxe SIÈCLE A-T-IL PRIS SADE AU SÉRIEUX?
Fiction & Cie Éric Marty P O U RQ U O I L E X X e S I È C L E A-T-IL PRIS SADE A U S É R I E U X ? e s s a i Seuil 25, bd Romain-Rolland, Paris XIVe Extrait de la publication c o l l e c t i o n « Fiction & Cie » fondée par Denis Roche dirigée par Bernard Comment isbn 978-2-02-10 2-1194 © Éditions du Seuil, mars 2011 Le Code de la propriété intellectuelle interdit les copies ou reproductions destinées à une utilisation collective. Toute représentation ou reproduction intégrale ou partielle faite par quelque procédé que ce soit, sans le consentement de l’auteur ou de ses ayants cause, est illicite et constitue une contrefaçon sanctionnée par les articles L.335-2 et suivants du Code de la propriété intellectuelle. www.seuil.com www.fictionetcie.com Préambule Pourquoi le xxe siècle a-t-il pris Sade au sérieux ? Au cœur de toute question, se niche une assertion. Le xxe siècle, en effet, a pris Sade au sérieux. Ce sérieux a pu être l’effroi, la gravité, l’humour retourné en rire pétrifié, la criminalisation de Sade, la prise en compte de son importance philosophique, le rôle soudain émancipateur donné au sujet pervers, l’irruption de la pulsion de mort comme axe du monde et de l’histoire des hommes… Et, au fond, du seul fait de vérifier l’ampleur de ce sérieux, d’en mesurer la nature, d’évaluer ses nuances, ses variantes, ses contradictions, il nous semble que la réponse au « pourquoi » viendra d’elle-même sans qu’on ait besoin de la formuler. -
Georges Henein, Poete Des Marges. Evelyne M
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1999 Georges Henein, Poete Des Marges. Evelyne M. Bornier Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Bornier, Evelyne M., "Georges Henein, Poete Des Marges." (1999). LSU Historical Dissertations and Theses. 6976. https://digitalcommons.lsu.edu/gradschool_disstheses/6976 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 comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
Artcurial | Livres Et Manuscrits | 15.12.2010 | Hôtel Marcel Dassault
1886 14 & 15 DÉCEMBRE 2010 – PARIS LIVRES ET MANUSCRITS LIVRES ET MANUSCRITS MARDI 14 DÉCEMBRE 2010 MERCREDI 15 DÉCEMBRE 2010 PARIS — HÔTEL MARCEL DASSAULT 14H30 Détail du lot n° 108 maquette livres artcurial 5.indd 1 16/11/10 22:58:40 ARTCURIAL BRIEST – P O U LAIN – F.TAJAN Hôtel Marcel Dassault 7, Rond-Point des Champs-Élysées 75008 Paris LIVRES ET MANUSCRITS ASSOCIÉS VENTE 1886 EXPOSITIONS PUBLIQUES : Francis Briest, Co-Président Téléphone pendant l’exposition Vendredi 10 décembre Hervé Poulain +33 (0)1 42 99 16 49 de 11h à 19h François Tajan, Co-Président Commisaire priseur Samedi 11 décembre François Tajan de 11h à 19h DIRECTEURS ASSOCIÉS Dimanche 12 décembre Spécialiste junior de 11h à 19h Violaine de La Brosse-Ferrand Benoît Puttemans Martin Guesnet +33 (0)1 42 99 16 49 Lundi 13 décembre Fabien Naudan [email protected] de 11h à 17h VENTE I Experts 14 DÉCEMBRE À 14H30, Olivier Devers LOTS 1 À 420 +33 (0)1 42 99 16 12 [email protected] VENTE II 15 DÉCEMBRE À 14H30, Thierry Bodin LOTS 421 À 717 Pour les lots 4, 6, 13, 14, 19, 20, 22, 30, 32, 43, 48, 51, 52, 54, 60, 70, 75, Catalogue visible sur internet 77, 78, 79, 85, 95, 96, 105, 116. www.artcurial.com +33 (0)1 45 48 25 31 [email protected] Comptabilité vendeurs et acheteurs Marion Carteirac +33 (0)1 42 99 20 44 [email protected] Ordres d’achat, enchères par téléphone Anne-Sophie Masson +33 (0)1 42 99 20 51 [email protected] Détail du lot n° 256 illustration de couverture : détail du lot n° 290 2 Livres et manuscrits — 14–15 DÉCEMBRE 2010, 14H30. -
From Flaubert to Sartre1
THE WRITER’S RESPONSIBILITY IN FRANCE From Flaubert to Sartre1 Gisèle Sapiro Centre national de la recherche scientifique As Michel Foucault observed in his famous essay, “Qu’est-ce qu’un auteur?” before discourse was a product, it was an act that could be punished.2 The author’s appropriation of discourse as his personal property is secondary to its ascription to his name through penal responsibility. In France, authorial responsibility was introduced in 1551 through royal legislation directed at controlling the book market. The Chateaubriant edict made it compulsory to print both the author’s and the printer’s names on any publication. The notion of responsibility is thus a fundamental aspect of the emergence of the figure of the modern writer. The state first imposed this conception of respon- sibility in order to control the circulation of discourses. But after writers inter- nalized the notion, they deployed it against the state in their struggle to establish their moral right on their work and to have literary property recog- nized as individual property, a struggle that culminated in 1777 with a royal decree recognizing literary compositions as products of labor from which authors were entitled to derive an income.3 This professional development reinforced the writer’s social prestige and status, in Max Weber’s sense.4 The withdrawal of the state from the control of the book market and the abjuration of censorship entailed the need for new legislation restricting the principle of freedom of speech, which had been proclaimed in Article XI of the 1789 Déclaration des Droits de l’Homme et du citoyen. -
Catalogue MN Historique
Maurice Nadeau - Catalogue général 1945 - 2011 Éditions du pavois - Collection « le chemin de la vie », 1945 - 1949 BALANDIER, Georges, Tous comptes faits, Éditions du Pavois « Le chemin de la vie », Paris, 1947 JEAN, Marcel, Maldoror : essai sur Lautréamont et son œuvre, suivi de notes et de pièces justificatives Éditions du Pavois « Le chemin de la vie », Paris, 1947 KlNSEY, Alfred, le rapport Kinsey, partie I, Éditions du Pavois « Le chemin de la vie », Paris, 1947 ROUSSET, David, L'univers concentrationnaire. Éditions du Pavois « Le chemin de la vie », Paris, 1946 ROUSSET, David, Les Jours de notre mort, Éditions du Pavois « Le chemin de la vie », Paris, 1947 ROUSSET, David, le pitre ne rit pas, Éditions du Pavois « Le chemin de la vie », Paris, 1948 SCHNEIDER, Marcel, Le Granit et l'absence, Éditions du Pavois « Le chemin de la vie », Paris, 1947 Éditions Corrêa - Collection « le chemin de la vie », 1949 - 1954 CAPLAIN, Jean - Marie, Le Conquérant, Éditions Corrêa « Le chemin de la vie », Paris, 1952 COUSSEAU Jacques. Temps chaud, Éditions Corrêa « Le chemin de la vie », Paris, 1956 DUBAL Rosette. La Psychanalyse du diable, Éditions Corrêa « Le chemin de la vie », Paris, 1953. DURRELL, Lawrence, Balthazar, traduit de l'anglais par Roger Giroux, Éditions Corrêa « Le chemin de la vie », Paris, 1959. DURRELL, Lawrence, Clea, traduit de l'anglais par Roger Giroux, Éditions Corrêa « Le chemin de la vie », Paris, 1960 DURRELL, Lawrence, Mountolive, traduit de l'anglais par Roger Giroux, Éditions Corrêa « Le chemin de la vie », Paris, 1960 DURRELL, Lawrence, Justine ». Préface d'Henry Miller. Roman traduit de l'anglais par Roger GIROUX, Éditions Corrêa « Le chemin de la vie », Paris, 1961 GLASER, Georges C, Secret et violence, traduit de l'allemand par Lucienne Foucrault, Éditions Corrêa « Le chemin de la vie », Paris, 1951 Guertic. -
Lundi 19 Novembre 2012
ALDE ALDE Livres illustrés modernes & d’enfants www.alde.fr 91 lundi 19 novembre 2012 Couv. 19 novembre.indd 1 29/10/12 15:29 Livres illustrés modernes Livres d'enfants 12 Librairie Giraud-Badin 22, rue Guynemer 75006 Paris Tél. 01 45 48 30 58 - Fax 01 45 48 44 00 www.giraud-badin.com Exposition du lundi 12 au samedi 17 novembre 2012 de 9 h à 13 h et de 14 h à 18 h (le samedi 17 novembre jusqu'à 16 h) Exposition publique Salle Rossini le lundi 19 novembre de 10 h à 12 h Livres illustrés modernes : nos 1 à 234 Revues : nos 235 à 242 Livres d'enfants : nos 243 à 334 Livres d'enfants en langue étrangère : nos 335 à 350 MaisonALDE de ventes spécialisée Livres & Autographes Livres illustrés modernes Livres d'enfants Vente aux enchères publiques Le lundi 19 novembre 2012 à 14 h Salle Rossini 7, rue Rossini 75009 Paris Tél. : 01 53 34 55 01 Commissaire-priseur Jérôme Delcamp ALDE Maison de ventes aux enchères 1, rue de Fleurus 75006 Paris Tél. 01 45 49 09 24 - Fax 01 45 49 09 30 - www.alde.fr 25 4 Livres illustrés modernes 1 1 ALCOFORADO (Marianna). Lettres de la religieuse portugaise. Paris, Marcel Lubineau, 1960. In-4, en feuilles, couverture rempliée illustrée, chemise et étui. 300 / 400 Édition ornée de 20 gravures originales de Marianne Clouzot, dont une grande pour les deux plats de la couverture, 6 hors- texte, et 13 in-texte. Tirage à 375 exemplaires sur vélin de Rives. -
Chicago Surrealism, Herbert Marcuse, and the Affirmation of the ‘Present and Future Viability of Surrealism’
Journal of Surrealism and the Americas 11:1 (2020), 42-62 42 Chicago Surrealism, Herbert Marcuse, and the Affirmation of the ‘Present and Future Viability of Surrealism’ Abigail Susik Willamette University Writing in 2008 about the student and worker uprisings in France that took place forty years earlier, the Surrealism scholar Don Lacoss stated: “Herbert Marcuse more than once observed that May ’68 brought together André Breton and Karl Marx.”1 Although several scholarly inquiries have emerged over the past few decades documenting ways in which Theodor Adorno and Walter Benjamin reflected deeply on the role of Surrealism in twentieth century culture, the field of Surrealism Studies has not extensively investigated the continuation and augmentation of this Frankfurt School tradition with their contemporary, the German philosopher Herbert Marcuse (1898-1979). While the reason for this dearth of commentary is in itself significant, the aim of this essay is to revisit and reconsider the epistolary exchange between Franklin Rosemont and other members of the Chicago Surrealist group with Marcuse, which took place over the course of the 1970s and has never been published in its entirety. Chicago Surrealism, one of several interconnected geographic centers of American Surrealism, was founded as an official group of the Surrealist International in 1966 by a group of recent graduates and dropouts of Roosevelt University, and retains active members to date. Some of its participants started publishing the far-Left underground press publication, The Rebel Worker, in 1964, and solidified surrealist ties thereafter through extended meetings with Paris Surrealists in the spring of 1966—a transatlantic rapport that persisted between members in subsequent decades.