Feministicki Pojmovnik

Total Page:16

File Type:pdf, Size:1020Kb

Feministicki Pojmovnik DRUGO DOPUNJENO IZDANJE DRUGO DOPUNJENO FEMINISTIČKAeministicki ČITANJA DRUŠTVENIH FENOMENApojmovnik RADOVI POLAZNICA/KA ŽARANA FEMINISTIČKE ŠKOLE PAPIĆ, RADOVI fPOLAZNICA/KA FEMINISTIČKE ŠKOLE ŽARANA PAPIĆ, DRUGOSARAJEVSKI DOPUNJENO OTVORENI IZDANJE CENTAR Feministička čitanja društvenih fenomena. Radovi polaznica/ka Feminističke škole Žarana Papić, drugo dopunjeno izdanje Sarajevo, 2016. Edicija Gender Knjiga 11 Naslov: Feministička čitanja društvenih fenomena. Radovi polaznica/ka Feminističke škole Žarana Papić, drugo dopunjeno izdanje Autor/ice: Aida Spahić, Almina Šatrović, Amila Mujezinović, Amina Selak, Amira Hasanović, Ammar Zeljković, Bojana Vasić, Dajana Cvjetković, Dalila Mirović, Delila Hasanbegović, Elma Čavčić, Emina Kuštrić, Erma Mulabdić, Hana Ćurak, Hasija Omerbegović, Hatidža Dedović, Izudin Karić, Jasmina Čaušević, Kristina Ljevak, Maida Salkanović, Maida Zagorac, Marina Veličković, Melisa Tolja Mešić, Mersiha Jašarević, Nataša Okilj, Nedžada Avdić, Selma Lučkin, Selma Mustačević, Tanja Grabovac, Vesna Pirija Uredila: Jasmina Čaušević Saradnice: Amila Ždralović, Aida Spahić, Lamija Begagić, Sandra Zlotrg, Selma Kešetović Lektura: Delila Hasanbegović Prelom: Lejla Huremović Naslovnica: Melisa Vreto Izdavač: Sarajevski otvoreni centar, www.soc.ba Za izdavača: Emina Bošnjak © Sarajevski otvoreni centar/autorice Nekomercijalno umnožavanje, fotokopiranje ili bilo koji drugi oblik reprodukovanja cijele publikacije ili njenih dijelova poželjno je, uz prethodno informisanje izdavača na mail: [email protected]. Realizaciju Feminističke škole Žarana Papić, kao i izdavanje ove knjige, finansijski podržava Švedska vlada putem Švedske agencije za međunarodni razvoj i saradnju (Sida). Stavovi i mišljenja izneseni u tekstu su autorski i ne predstavljaju nužno stavove i mišljenja donatora. Autori/ce odgovaraju za svoj tekst. FEMINISTIČKA ČITANJA DRUŠTVENIH FENOMENA. Radovi polaznica/ka Feminističke škole Žarana Papić, drugo dopunjeno izdanje Sarajevo, 2016. FEMINISTIČKA ČITANJA DRUŠTVENIH FENOMENA - 5 - SADRŽAJ Predgovor drugom izdanju 9 Predgovor prvom izdanju 11 Prvi dio – radovi polaznica/ka prve generacije Feminističke škole Žarana Papić (2015.) 13 Abortus, Delila Hasanbegović i Tanja Grabovac 15 Brak, Elma Čavčić 30 Feminizmi, Aida Spahić 35 Film, Dalila Mirović 47 Homoseksualnost, Maida Zagorac 54 Internet, Amira Hasanović 61 Jezik, Delila Hasanbegović 69 Književnost, Maida Salkanović 81 Kultura, Delila Hasanbegović 91 Ljudska prava, Marina Veličković 98 Matrijarhat, Mersiha Jašarević 104 Medicina, Izudin Karić 109 Mediji, Maida Salkanović 119 Nasilje, Dajana Cvjetković 127 Patrijarhat, Bojana Vasić 139 Politika, Izudin Karić 146 Pornografija, Elma Čavčić 155 Prekarijat, Amira Hasanović 161 FEMINISTIČKA ČITANJA DRUŠTVENIH FENOMENA - 6 - Rat, Bojana Vasić 170 Religija, Tanja Grabovac i Mersiha Jašarević 177 Rod, Dajana Cvjetković 189 Rodni identitet, Dajana Cvjetković 197 Silovanje, Aida Spahić i Jasmina Čaušević 201 Slika tijela, Selma Mustačević 213 Spol, Dajana Cvjetković 219 Tržište rada i žene, Melisa Tolja Mešić 227 Umjetnost, Delila Hasanbegović 235 II dio - radovi polaznica/ka druge generacije Feminističke škole Žarana Papić (2016.) 257 Feministička kritika patrijarhata i kapitalizma: Zašto nam treba socijalistički feminizam?, Delila Hasanbegović 259 Majčinstvo (ni)je prepreka: žena (ni)je samo majka, Amina Selak 266 Djevojčice i obrazovanje, Almina Šatrović 274 Feministička reforma islama – udarac fundamentalizmu ispod pojasa, Amila Mujezinović 282 Sluškinje sa doprinosima: rad u kući iz rodne, rasne i klasne perspektive, Erma Mulabdić 295 Kućni rad je jedan rad i jedan rad je kućni rad, Hana Ćurak 303 Život u miru nakon silovanja u ratu - silovanje, transgeneracijska trauma, Kristina Ljevak 309 FEMINISTIČKA ČITANJA DRUŠTVENIH FENOMENA - 7 - Feminizam i ruralna područja, Ammar Zeljković 321 Liberalizam kao pratilac feminizma, Hasija Omerbegović 324 Sjećanje na život i rad prve sarajevske balerine, Hatidža Dedović 330 Izborne kvote kao mehanizam borbe za ravnopravnost, Vesna Pirija 339 Analiza stanja rodno osjetljivih politika kroz lokalne gender akcione planove općina Istočna Ilidža, Kalesija i Novi Grad, Sarajevo, Hatidža Dedović, Nataša Okilj i Nedžada Avdić 350 Zdravstvena situacija samohranih majki kroz ekonomsku prizmu, Selma Lučkin 369 O procesuiranju ratnog seksualnog nasilja, Emina Kuštrić 377 O autoricama, autorima... i školi 386 FEMINISTIČKA ČITANJA DRUŠTVENIH FENOMENA - 9 - PREDGOVOR DRUGOM IZDANJU Pred vama je drugo, dopunjeno izdanje zbornika Feministička čitanja društvenih fenomena. Radovi polaznica/ka Feminističke škole Žarana Papić. I ove, 2016. godine, Feministička škola Žarana Papić ponudila je obrazovni program, čiji je cilj bio da kroz četiri teorijsko-praktična modula pruži feminističko obrazovanje o praksama, teorijama i konceptima potrebnim za javno djelovanje u domaćim, međunarodnim vladinim i nevladinim organizacijama. Ovogodišnja Škola se sastojala od dva obavezna teorijsko-praktična modula i dva izborna modula, koje su polaznice/i slušali od početka aprila do kraja juna. Predavačko osoblje činili su profesori/ce različitih naučnih oblasti, aktivisti/kinje, te predstavnici/e institucija. Obavezni modul su bili – Uvod u feminizme: historija, pojmovi, teorija, i Država, zakon i ravnopravnost. Uz ova dva obavezna modula, polaznice/i su imali priliku da izaberu još jedan modul. Izborni moduli su bili - Ravnopravnost spolova i javne politike (koji je bio usmjeren na praktični rad) i Kultura, ideologija, etika (koji je bio usmjeren na teorijska znanja). Kako Škola ima i svoj aktivistički dio, za decembar 2016. planirana je feministička intervenciju u javnom prostoru. Tekstovi u zborniku su podijeljeni u dva dijela. Prvi dio čine tekstovi koje su pisale polaznice/k prve generacije, a ovo izdanje se razlikuje od prvog i po tome što su tekstovi o pojmovima jezik i kultura, koje je pisala Delila Hasanbegović, dorađeni, budući da je autorica željela da ih dopuni znanjima koje je stekla u FEMINISTIČKA ČITANJA DRUŠTVENIH FENOMENA - 10 - međuvremenu. Drugi dio čine tekstovi koji su nastajali tokom ljeta 2016. i pisale su ih polaznice/ik druge generacije. Dok je u prvom dijelu bilo važno obraditi određene pojmove, kao važne feminističke teme, u širem historijsko-sociološkom kontekstu, te predstaviti na kraju situaciju i u Bosni i Hercegovini, u drugom djelu tekstovi se bave specifičnim temama, koje su autorice birale isključivo prema svojim interesima. U metodološkom smislu, manjkavost zbornika se ogleda u nedosljednostima, kada je u pitanju navođenje korištene literature, između prvog i drugog djela zbornika, pa i između samih radova drugog dijela. Takođe, tekstova ima različitih – od samostalnih i inovativnih, preko učenički korektnih do izrazito ličnih osvrta na temu. Sve ovo pokazuje koliko su nas teme inspirisale i koliko smo se trudile/i da nova znanja unesemo u lična razmišljanja i dileme. Ovaj, sada dopunjeni zbornik radova sadrži 40 tekstova dvije generacije polaznica i polaznika Feminističke škole i nadamo se da će svako pronaći tekst ili temu koja će ga motivirati da iznova feministički promišlja i živi svakodnevicu. To je važno, jer živimo u vrijeme u kome su radna prava žena posebno ugrožena, u vrijeme rasplamsavanja neokonzervativizma kada se iznova na dnevni red stavljaju pitanja o pravu žena da same donese odluke o svom tijelu, u vrijeme vidnog porasta nasilja nad ženama, u vrijeme u kojem raste stepen diskriminacije žena, bez obzira da li je u pitanju zapošljavanje, zdravstvo, ili obrazovanje. Riječima Žarane Papić: „Tradicionalni koncept polnosti još je jak, ugrađen u naše ličnosti, u privatno i javno ponašanje – i teško nam je da ga prekoračimo. Često kada i u najboljoj nameri želimo da promišljamo „revolucionisanje svih područja života“, ovo nam područje lako i brzo izmiče, pa nam se čini da tu i nema šta revolucionisati.“ (Papić, 1980). Jasmina Čaušević, priređivačica 9. novembar 2016. FEMINISTIČKA ČITANJA DRUŠTVENIH FENOMENA - 11 - PREDGOVOR PRVOM IZDANJU Ova knjiga je rezultat zajedničkog rada polaznica i polaznika Feminističke škole Žarana Papić i nastala je kao plod dvosemestralnog obrazovanja o aktualnim društvenim pitanjima iz perspektive feminističke teorije i prakse. Iako je feminizam, kao marginalizirani društveni pokret u 21. stoljeću kojeg se često degradira i promovira u trivijalnu doktrinu, uglavnom izopćen iz bosanskohercegovačkih akademskih kurikuluma, ova knjiga je pokušaj da se feminizmu u javnom diskursu da prostora kao kredibilnoj kritičkoj teoriji aktualnih društvenih procesa. Budući da živimo u društvu ispresjecanom patrijarhalnom političkom kulturom, feministička teorija čini se obećavajućom za buđenje aktivizma i rađanje konstruktivne kritike društva. Otuda, cilj ovog pojmovnika i jeste provociranje čitatelja/ke na razmišljanje o pojavama koje nas okružuju, a o kojima se u javnom i akademskom diskursu uglavnom ne govori. Sveopća indoktrinacija javnog mnijenja kroz ponavljanje ustaljenih društvenih normi, koje nameću i teme o kojima se smije odnosno ne smije razgovarati, dovela je do pasivizacije društva i nedostatka građanskog obrazovanja o pojedinim, u ovoj knjizi zastupljenim, temama. Naš moto je, riječima Judith Butler, da „feministička teorija nije nikada u potpunosti zasebna od feminizma kao društvenog pokreta. Feministička teorija ne bi imala sadržaja da nema pokreta, a pokret je, u svojim različitim smjerovima i oblicima, uvijek bio uključen u akt teorije. Teorija je aktivnost koja ne FEMINISTIČKA ČITANJA DRUŠTVENIH FENOMENA - 12 - ostaje ograničena
Recommended publications
  • Univerzitet Umetnosti U Begoradu Ţensko Telo U
    Univerzitet umetnosti u Begoradu Interdisciplinarne studije Teorija umetnosti i medija Doktorska disertacija Ţensko telo u nadrealističkoj fotografiji i filmu Autor: Lidija Cvetić F6/10 Mentor: dr.Milanka Todić, redovni profesor Beograd, decembar 2015. 1 Sadržaj: Apstrakt / Abstract/ 7 1. Uvod : O nadrealističke poetike ka teoriji tela/ 6 2. Žensko telo i poetika nadrealizma/ 16 2.1.Estetika znatiželje/ 16 2.1.1. Ikonografija znatiţelje/ 20 2.1.2. Topografija ţenske zavodljivosti/ 22 2.1.3. Znatiţeljni pogled/ 26 2.1.4. Dekonstrukcija pogleda/ 32 2.2.Mit i metamorfoze/ 38 2.2.1. Prostori magijskog u prostoru modernosti/ 38 2.2.2. Breton – Meluzine/ 41 2.2.3. Bataj – Lavirint/ 56 2.2.4. Nadrealisički koncept Informé/ 60 3. Fetišizacija i dekonstrukcija ženskog tela u praksama narealizma/ 69 3.1. Fetišizacija tela/ 69 3.1.1. Poreklo fetiša/ 70 3.1.2. Zamagljeni identitet/ 74 3.1.3. Ţensko telo – zabranjeno telo/ 78 3.2.Dekonstrukcija tela/ 82 3,2,1, Destrukcija – dekonstrukcija/ 82 3.2.2. Konvulzivni identitet/ 87 3.2.3. Histerično telo/ 89 4. Reprezentacijske prakse u vizuelnoj umetnosti nadrealizma/ 97 4.1.Telo kao objekt/ 97 4.1.1. Početak telesnih subverzija/ 101 4.1.2. Ţenski akt – izlaganje i fragmentacija/ 106 2 4.2.Telo kao dijalektički prostor označavanja/ 114 4.2.1. Ţensko telo kao sistem označavanja/ 114 4.2.2. Disbalans u reprezentaciji „polnosti”/ 117 4.2.3. Feministički jezik filma/ 125 4.1.4. Dijalektika tela/ 128 5. Performativnost i subverzije tela/ 134 5.1.Otpor identiteta-performativnost tela/ 134 5.1.1.
    [Show full text]
  • 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.
    [Show full text]
  • PICASSO Les Livres D’Artiste E T Tis R a D’ S Vre Li S Le PICASSO
    PICASSO LES LIVRES d’ARTISTE The collection of Mr. A*** collection ofThe Mr. d’artiste livres Les PICASSO PICASSO Les livres d’artiste The collection of Mr. A*** Author’s note Years ago, at the University of Washington, I had the opportunity to teach a class on the ”Late Picasso.” For a specialist in nineteenth-century art, this was a particularly exciting and daunting opportunity, and one that would prove formative to my thinking about art’s history. Picasso does not allow for temporalization the way many other artists do: his late works harken back to old masterpieces just as his early works are themselves masterpieces before their time, and the many years of his long career comprise a host of “periods” overlapping and quoting one another in a form of historico-cubist play that is particularly Picassian itself. Picasso’s ability to engage the art-historical canon in new and complex ways was in no small part influenced by his collaborative projects. It is thus with great joy that I return to the varied treasures that constitute the artist’s immense creative output, this time from the perspective of his livres d’artiste, works singularly able to point up his transcendence across time, media, and culture. It is a joy and a privilege to be able to work with such an incredible collection, and I am very grateful to Mr. A***, and to Umberto Pregliasco and Filippo Rotundo for the opportunity to contribute to this fascinating project. The writing of this catalogue is indebted to the work of Sebastian Goeppert, Herma Goeppert-Frank, and Patrick Cramer, whose Pablo Picasso.
    [Show full text]
  • Networking Surrealism in the USA. Agents, Artists and the Market
    151 Toward a New “Human Consciousness”: The Exhibition “Adventures in Surrealist Painting During the Last Four Years” at the New School for Social Research in New York, March 1941 Caterina Caputo On January 6, 1941, the New School for Social Research Bulletin announced a series of forthcoming surrealist exhibitions and lectures (fig. 68): “Surrealist Painting: An Adventure into Human Consciousness; 4 sessions, alternate Wednesdays. Far more than other modern artists, the Surrea- lists have adventured in tapping the unconscious psychic world. The aim of these lectures is to follow their work as a psychological baro- meter registering the desire and impulses of the community. In a series of exhibitions contemporaneous with the lectures, recently imported original paintings are shown and discussed with a view to discovering underlying ideas and impulses. Drawings on the blackboard are also used, and covered slides of work unavailable for exhibition.”1 From January 22 to March 19, on the third floor of the New School for Social Research at 66 West Twelfth Street in New York City, six exhibitions were held presenting a total of thirty-six surrealist paintings, most of which had been recently brought over from Europe by the British surrealist painter Gordon Onslow Ford,2 who accompanied the shows with four lectures.3 The surrealist events, arranged by surrealists themselves with the help of the New School for Social Research, had 1 New School for Social Research Bulletin, no. 6 (1941), unpaginated. 2 For additional biographical details related to Gordon Onslow Ford, see Harvey L. Jones, ed., Gordon Onslow Ford: Retrospective Exhibition, exh.
    [Show full text]
  • The Creative Restlessness of Lee Miller's
    Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 14 | 2017 Early American Surrealisms, 1920-1940 / Parable Art Sands of desire : the Creative Restlessness of Lee Miller’s Egyptian Period Peter Schulman Electronic version URL: http://journals.openedition.org/miranda/9855 DOI: 10.4000/miranda.9855 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Peter Schulman, “Sands of desire : the Creative Restlessness of Lee Miller’s Egyptian Period”, Miranda [Online], 14 | 2017, Online since 03 April 2017, connection on 16 February 2021. URL: http:// journals.openedition.org/miranda/9855 ; DOI: https://doi.org/10.4000/miranda.9855 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Sands of desire : the Creative Restlessness of Lee Miller’s Egyptian Period 1 Sands of desire : the Creative Restlessness of Lee Miller’s Egyptian Period Peter Schulman 1 “As a spectator, I wanted to explore photography not as a question (a theme) but as a wound,” Roland Barthes writes in Camera Lucida (Barthes 17). Similarly, in the famous first lines of his surrealist book Nadja, André Breton concluded that the question he should ask himself should be “not who I am, but whom I haunt” (Breton 7). Could either of these quotes apply to Lee Miller’s aesthetic as well ? While her photographs during her period of soi-disant “apprenticeship” 1 with Man Ray focused on the female body, and the ones in her studio in New York on elegant portraiture, it is during her period in Egypt when she was married to the wealthy, older Egyptian businessman Aziz Eloui Bey that her photography truly blossomed into her own aesthetic which “married” the humor and the ludic notions of space found in certain Magritte paintings with the curious gaze of the ‘other’ that she would develop as a photo-journalist during the war.
    [Show full text]
  • Reading Group Guide Lee Miller: the Inspiration Behind Jessica
    Reading Group Guide Lee Miller: The Inspiration behind Jessica May As I mention in the Author’s Note at the back of The Paris Orphan, I first heard of Lee Miller when I was researching my previous book, The Paris Seamstress. There was a throwaway line in an article that mentioned Miller and other female war correspondents who, after World War II had ended, had not been able to continue working as serious journalists because the men had returned from overseas and taken all of the available jobs. It caught my attention. What would it have been like to report on a war and then come home to America and be assigned completely different work? After the war, Lee Miller was relegated to photographing fashion or celebrities during the winter season at Saint-Moritz. She was also an occasional contributor of recipes for Vogue. That article was the start of my fascination with her. I went looking for more. And I found a story so incredible I couldn’t help but be inspired by it. Miller the Photojournalist Miller was a photojournalist for Vogue during World War II. She took some extraordinary photographs: she stumbled upon the battle for Saint-Malo in France and photographed the U.S. Army’s first use of napalm there. She reported from Paris, Luxembourg, Alsace, Colmar, Aachen, Cologne, Frankfurt and Torgau, among other places. She was one of the first to document the horrors of the Dachau concentration camp. And she was the subject of an iconic photograph, bathing in Hitler’s bathtub in his Munich apartment, having left her filthy boots to drop the dirt of Dachau, as she put it, all over the Fuhrer’s pristine white bathroom.
    [Show full text]
  • Guest Biographies Booklet
    CREDITS Game Design by Mary Flanagan & Max Seidman • Illustration by Virginia Mori • Graphic Design by Spring Yu • Writing and Logistics by Danielle Taylor • Production & Web by Sukdith Punjasthitkul • Community Management by Rachel Billings • Additional Game Design by Emma Hobday • Playtesting by Momoka Schmidt & Joshua Po Special thanks to: Andrea Fisher and the Artists Rights Society The surrealists’ families and estates Hewson Chen Our Kickstarter backers Lola Álvarez Bravo LOW-la AL-vah-rez BRAH-vo An early innovator in photography in Mexico, Lola Álvarez Bravo began her career as a teacher. She learned photography as an assistant and had her first solo exhibition in 1944 at Mexico City’s Palace of Fine Arts. She described the camera as a way to show “the life I found before me.” Álvarez Bravo was engaged in the Mexican surrealist movement, documenting the lives of many fellow artists in her work. Jean Arp JON ARP (J as in mirage) Jean Arp (also known as Hans Arp), was a German-French sculp- tor, painter, and writer best known for his paper cut-outs and his abstract sculptures. Arp also created many collages. He worked, like other surrealists, with chance and intuition to create art instead of using reason and logic, later becoming a member of the “Abstraction-Création” art movement. 3 André Breton ahn-DRAY bruh-TAWN A founder of surrealism, avant-garde writer and artist André Breton originally trained to be a doctor, serving in the French army’s neuropsychiatric center during World War I. He used his interests in medicine and psychology to innovate in art and literature, with a particular interest in mental illness and the unconscious.
    [Show full text]
  • Papers of Surrealism, Issue 8, Spring 2010 1
    © Lizzie Thynne, 2010 Indirect Action: Politics and the Subversion of Identity in Claude Cahun and Marcel Moore’s Resistance to the Occupation of Jersey Lizzie Thynne Abstract This article explores how Claude Cahun and Marcel Moore translated the strategies of their artistic practice and pre-war involvement with the Surrealists and revolutionary politics into an ingenious counter-propaganda campaign against the German Occupation. Unlike some of their contemporaries such as Tristan Tzara and Louis Aragon who embraced Communist orthodoxy, the women refused to relinquish the radical relativism of their approach to gender, meaning and identity in resisting totalitarianism. Their campaign built on Cahun’s theorization of the concept of ‘indirect action’ in her 1934 essay, Place your Bets (Les paris sont ouvert), which defended surrealism in opposition to both the instrumentalization of art and myths of transcendence. An examination of Cahun’s post-war letters and the extant leaflets the women distributed in Jersey reveal how they appropriated and inverted Nazi discourse to promote defeatism through carnivalesque montage, black humour and the ludic voice of their adopted persona, the ‘Soldier without a Name.’ It is far from my intention to reproach those who left France at the time of the Occupation. But one must point out that Surrealism was entirely absent from the preoccupations of those who remained because it was no help whatsoever on an emotional or practical level in their struggles against the Nazis.1 Former dadaist and surrealist and close collaborator of André Breton, Tristan Tzara thus dismisses the idea that surrealism had any value in opposing Nazi domination.
    [Show full text]
  • SPRING CAT PDFMKR.Qxd
    NewTitles Getty Publications Spring 2006 WITH COMPLETE BACKLIST 1 To order INDIVIDUALS visit your local bookstore or call: 800 223-3431 (North America) 310 440-7333 (International) www.getty.edu BOOKSTORES 800 451-7556 (U.S.) 416 516-0911 (Canada) (44) (0) 1865 361122 (U.K. and Europe) New Titles Contents New Titles 1 Complete Backlist Titles 14 J. Paul Getty Museum 14 Getty Conservation Institute 38 Getty Research Institute 44 Electronic Resources and Journals 51 Index 52 Order Form 55 NewTitles Rubens and Brueghel A Working Friendship Edited by Anne Woollett With contributions by Anne Woollett, Ariane van Suchtelen, Tiarna Doherty, Mark Leonard, and Jørgen Wadum Truly collaborative paintings, that is, not simply mechanical but also conceptual co-productions, are rare in the history of art. This gorgeously illustrated catalogue explores just such an extraordinary partnership between Antwerp’s most eminent painters of the early seventeenth century, Peter Paul Rubens (1577–1640) and Jan Brueghel the Elder (1568–1625). Rubens and Brueghel exe- cuted approximately twenty-five works together between around 1598 and Brueghel’s death in 1625. Highly prized and sought after by collectors throughout Europe, the collaborative works of Rubens and Brueghel were shaped by their close friendship and dis- tinguished by an extremely high level of quality, further enhanced by the status of the artists themselves. Published to coincide with an exhibition at the Getty Museum to be held July 5 to September 24, 2006, the catalogue features twenty-six color plates of such Rubens/Brueghel paintings as The Return from War, The Feast of Acheloüs, Garden of Eden with the Fall of Man, Allegory of Sight, Battle of the Amazons, Nature Adored by the Graces, and Madonna and Child in a Garland of Flowers, along with Rubens and Brueghel’s collaborations with important contemporaries such as Frans Snyders and Hendrick van Balen.
    [Show full text]
  • Lee Miller –
    From her time in Man Ray’s studio to her filming with Jean Cocteau to her collaboration with Pablo Picasso, Lee Miller’s photography has always been intimately linked to her personal relationships. This phenomenon culminated with her celebrated marriage to the British artist and poet Roland Penrose and the series of mutually inspired works the couple produced. The Out of the Ordinary exhibition explored the artistic process behind Lee Miller’s photography and the network of relationships that formed the canvas for her work. Alongside a selection of Miller’s most compelling images, the exhibition featured a collection of photographs, etchings, and lithographs by Penrose. CLAIR Gallery presented Out of the Ordinary from May 19 to July 14, 2016 at Franz-Joseph- Strasse 10 in Munich. Lee Miller was born in 1907 in Poughkeepsie, New York and first entered the photography world as a model for such photographers as Edward Steichen and Arnold Genthe. In 1929, she went to Paris to work with Man Ray and start her own photography. Over the course of her career, she gained acclaim for her fashion photography with Vogue, her World War II photojournalism, and her iconic portraits of artists such as Picasso. Miller died at Farley Farm House in the UK in 1977. To learn more about Lee Miller, visit her CLAIR Gallery artist page. Purchase Information: The featured image is Nusch Éluard and Lee Miller, Mougins, 1937. The photograph was taken by Roland Penrose.© Roland Penrose Estate, England 2016. All rights reserved. Courtesy CLAIR Gallery. For purchase inquiries, please contact Anna- Patricia Kahn at [email protected]..
    [Show full text]
  • Neuerscheinungen / New Releases / Nouveautés 2018 A
    Neuerscheinungen / New releases / Nouveautés 2018 A Remy Van den Abeele en rage | Famenne & Art Museum, Marche-en-Famenne/BE Eileen Agar. Dreaming oneself awake | Farleys House & Gallery, Chiddingly, East Sussex/GB Artaud 1936 | Museo Tamayo, Chapultepec/MX Antonin Artaud. Zeichnungen und Porträts | Schirmer & Mosel, München Di Ponio, Amanda: The Early Modern Theatre of Cruelty and its Doubles – Artaud and Influence | Springer Verlag, Heidelberg Naranjo, Jorge Alberto: Nietzsche y Artaud | Universidad de Antioquia, Medellín/CO B Enrico Baj. Le macchine del tempo | Galleria ZetaEffe, Florenz Hugo Ball: Die Flucht aus der Zeit | (Tagebuch) Hugo-Ball-Gesellschaft, Göttingen (Neuauflage) Karol Baron – ze soukromých sbírek | Galerie Emila Juliše, Černčice u Loun/CZ Georges Bataille: The Sacred Conspiracy | College of Sociology and the secret society of Acéphale, New York Juan Batlle Planas : El gabinete surrealista | Fondación Juan March, Mallorca Bacon – Giacometti | Fondation Beyeler, Riehen b. Basel Bohn, Willard: The Early Avant-Garde in Twentieth-Century Literature and Art | Taylor & Francis Ltd, London Yves Bonnefoy: Correspondance, Bd. 1 | Les Belles Lettres, Paris Camiel van Breedam | Zebra Straat, Gent/BE Plisson, Jean-Pierre: André Breton: Le Fil Rouge des Enchantements | Les Éditions du Travail, Montreuil/FR C Agustín Cárdenas | Galerie Mitterand, Paris Claude Cahun: Beneath this Mask | Keele University Art Gallery, Keele/GB Alexander Calder: Radical Inventor | Musée des Beau-Arts Montréal Leonora Carrington. Cuentos mágicos | Museo de Arte Moderno, Mexiko-Stadt Caws, M. A.: The Milk Bowl of Feathers: Essential Surrealist Writings | Poets House, New York Leclair, Danièle: René Char | Aden Éditions, Brüssel Giorgio de Chirico. Capolavori dalla Collezione di Francesco Federico Cerruti | Castello di Rivoli, Turin Pontiggia, Elena (Hg.): Giorgio de Chirico: Lettere (1909–1929) | Silvana Editoriale, Rom Dottori, Riccardo: Giorgio de Chirico.
    [Show full text]
  • Benzel Hexentexte Syllabus Revised Summer 2018
    Hexentexte, The Menace of Unreality, and The Anarchist Crowned, Unfinished Systems of Nonknowledge Scott Benzel, Escuela Incierta, Summer 2018 “The past is not dead. It isn’t even past.” William Faulkner Course Description Hexentexte, The Menace of Unreality, and The Anarchist Crowned is a seminar course examining information asymmetry, secrecy, mimetic transmission, thought contagion, and related forms of 'capture' or 'possession'. The course will also explore the increasingly 'artlike' and 'unreal' effects of these phenomena within the realms of the social, the political, and the everyday. Please do not be alarmed by the volume of reading material. Suggested Readings are incorporated into the lectures and may be skimmed or read in advance, at a later date, or not at all. Additional Readings/Primary Sources are included for further research. Screenings are excerpts of longer videos, most of which are available on Youtube. Please note that this course includes some ideas, personages, texts, videos, images, etc. that are problematic. Some are of questionable veracity and are included as objects of the phenomena in question. 1. Hexentexte, Cosmology and Critique Your nearest Doppelganger is located approx.10 to the power of 10 to the power of 28 meters away, that is, a one followed by 10 billion billion billion zeroes meters; Four multiverses you might be living in Hexentexte Unica Zürn, Hans Bellmer, the anagram, and the recombinant text/body; Dion Fortune and the Magical Battle of Britain, William Seabrook's Hitler Hex; The Beatles, 'Number 9/Turn me on Deadman', phoneme reversal, Backmasking in Rock Music, Alyssa talking backwards, Rituals of Reversal as a Means of Rewiring Social Structure; W.S.
    [Show full text]