DOCSLIB.ORG

Ljuba POPOVIC / Popis Knjiga Biblioteke - Ljuba POPOVIĆ

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ljuba POPOVIC / Popis Knjiga Biblioteke - Ljuba POPOVIĆ Inventaire des livres de la bibliothèque - Ljuba POPOVIC / Popis knjiga biblioteke - Ljuba POPOVIĆ Carton / Kutija Biblioteka/Collection Izdavač/Editeur Broj/Numéro Naslov/Titre Autor/Auteur God/Année Kniževni Časopis GRADAC GRADAC , Čačak 17-18 Mediala NA 1977 A1 Kniževni Časopis GRADAC GRADAC , Čačak 21 Ešer NA 1978 Kniževni Časopis GRADAC GRADAC , Čačak 22-23 bez naslova NA 1978 Kniževni Časopis GRADAC GRADAC , Čačak 24-25 bez naslova NA 1978 Kniževni Časopis GRADAC GRADAC , Čačak 26-27 Savremena svetska priča NA 1979 Kniževni Časopis GRADAC GRADAC , Čačak 31 Istok i zapad NA 1979 Kniževni Časopis GRADAC GRADAC , Čačak 33 bez naslova NA 1980 Kniževni Časopis GRADAC GRADAC , Čačak 37-38 bez naslova NA 1981 Kniževni Časopis GRADAC GRADAC , Čačak 39-40 Svetska poezija danas NA 1981 Časopis Gradac od 17 do 121 do Časopis Gradac 17 od Kniževni Časopis GRADAC GRADAC , Čačak 41 Mauzolej borbe i pobede NA 1981 Kniževni Časopis GRADAC GRADAC , Čačak 42-43 Ljuba NA 1981 Kniževni Časopis GRADAC GRADAC , Čačak 46 bez naslova NA 1982 Revue littéraire Gradac du N° 17 à 121 17 N° littéraire GradacRevue du Kniževni Časopis GRADAC GRADAC , Čačak 49 bez naslova NA 1982 Kniževni Časopis GRADAC GRADAC , Čačak 51-52 Dvojnik NA 1983 Kniževni Časopis GRADAC GRADAC , Čačak 53 bez naslova NA 1983 Kniževni Časopis GRADAC GRADAC , Čačak 54+55 Žan Žene NA 1983 Kniževni Časopis GRADAC GRADAC , Čačak 56 Jackson Pollock NA 1984 Kniževni Časopis GRADAC GRADAC , Čačak 57-58 Apokalipsa NA 1984 Kniževni Časopis GRADAC GRADAC , Čačak 59 Savremena mađarska književnost NA 1984 Kniževni Časopis GRADAC GRADAC , Čačak 60-61-62 Istok-Zapad NA 1984 Kniževni Časopis GRADAC GRADAC , Čačak 63 Magija NA 1985 Kniževni Časopis GRADAC GRADAC , Čačak 64-65 Paracelzus NA 1985 Kniževni Časopis GRADAC GRADAC , Čačak 66-67 bez naslova NA 1985 Kniževni Časopis GRADAC GRADAC , Čačak 68-69 Američka književnost NA 1986 Kniževni Časopis GRADAC GRADAC , Čačak 70 Ljubavna priča NA 1986 Kniževni Časopis GRADAC GRADAC , Čačak 71-72 Gnosticizam NA 1986 Kniževni Časopis GRADAC GRADAC , Čačak 73-74-75 Čudovišta i vragovi NA 1987 Kniževni Časopis GRADAC GRADAC , Čačak 76-77 Danilo Kiš NA 1987 Kniževni Časopis GRADAC GRADAC , Čačak 78-79 Malkolm Lauri NA 1987 Kniževni Časopis GRADAC GRADAC , Čačak 80-81 Jevrejska mistika NA 1988 Kniževni Časopis GRADAC GRADAC , Čačak 82-83-84 Pravoslavlje i umetnost NA 1988 Kniževni Časopis GRADAC GRADAC , Čačak 87-88 Dado NA 1989 Kniževni Časopis GRADAC GRADAC , Čačak 89-90-91 Tajna društva NA 1989 Kniževni Časopis GRADAC GRADAC , Čačak 92-93-94 Ernst Jinger NA 1990 Kniževni Časopis GRADAC GRADAC , Čačak 95-96-97 Viljem Blejk NA 1990 Kniževni Časopis GRADAC GRADAC , Čačak 98-99 Ovčarsko-Kablarski manastiri NA 1991 Kniževni Časopis GRADAC GRADAC , Čačak 100-101-102-103 Henri Miler NA 1991 Kniževni Časopis GRADAC GRADAC , Čačak 104-105 Mebius NA 1992 Kniževni Časopis GRADAC GRADAC , Čačak 106-107 Radomir Reljić NA 1992 Kniževni Časopis GRADAC GRADAC , Čačak 108-109 Klod Simon NA 1992 Kniževni Časopis GRADAC GRADAC , Čačak 110 Pravoslavlje i politika NA 1993 Kniževni Časopis GRADAC GRADAC , Čačak 111 Žilijen Grin NA 1993 Kniževni Časopis GRADAC GRADAC , Čačak 112 Artur Adamov NA 1994 Kniževni Časopis GRADAC GRADAC , Čačak 113-114 Gurđijev NA 1994-1995 Kniževni Časopis GRADAC GRADAC , Čačak 115 Mistika NA 1995 Kniževni Časopis GRADAC GRADAC , Čačak 116-117 Majmonid NA 1995 Kniževni Časopis GRADAC GRADAC , Čačak 118-119 Selin NA 1996 07.2017 1/81 A1 Časopis Gradac od 17 do 121 do Časopis Gradac 17 od Revue littéraire Gradac du N° 17 à 121 17 N° littéraire GradacRevue du Inventaire des livres de la bibliothèque - Ljuba POPOVIC / Popis knjiga biblioteke - Ljuba POPOVIĆ Carton / Kutija Biblioteka/Collection Izdavač/Editeur Broj/Numéro Naslov/Titre Autor/Auteur God/Année Kniževni Časopis GRADAC GRADAC , Čačak 120-121 Tajna Istroria kulture NA 1996 A1 Književni časopis GRADAC GRADAC , Čačak 16 Strip NA 1977 Alef GRADAC K GRADAC , Čačak NA Pobuna protiv modernog sveta Julijus Evola 2010 Biblioteka Misici i Gnostici GRADAC, Čačak NA Jakob Beme Nikolaj Berđajev 2003 Biblioteka Misici i Gnostici GRADAC, Čačak NA Nemački mistici, duhovnici i alhemičari Aleksandar Koare 2001 Biblioteka Misici i Gnostici GRADAC, Čačak NA Gnostici Žak Lakarijer 2001 Biblioteka Misici i Gnostici GRADAC, Čačak NA Skrivena tradicija u Evropi Jurij Stojanov 2003 GRADAC K GRADAC, Čačak NA Glavni tokovi jevrejskog misticizma Geršom Šolem 2006-2007 Kniževni Časopis GRADAC GRADAC , Čačak 122-123 Filozofija u ranoj Vizantiji NA 1997 A2 Časopis Gradac od 17 do 121 do Časopis Gradac 17 od Kniževni Časopis GRADAC GRADAC , Čačak 124-125 Smrt NA 1997 Kniževni Časopis GRADAC GRADAC , Čačak 126-127 Martin Buber NA 1997 Kniževni Časopis GRADAC GRADAC , Čačak 128-129-130 Vasko Popa NA 1998 Revue littéraire Gradac du N° 17 à 121 17 N° littéraire GradacRevue du Kniževni Časopis GRADAC GRADAC , Čačak 131-132-133 Rečnik imaginarnih mesta NA 1998 Kniževni Časopis GRADAC GRADAC , Čačak 134-135 Hugo Prat NA 1999 Kniževni Časopis GRADAC GRADAC , Čačak 136-137-138 Antonen Arto NA 1999 Kniževni Časopis GRADAC GRADAC , Čačak 139-140 Kumranski rukopisi NA 2000-2001 Kniževni Časopis GRADAC GRADAC , Čačak 141-142 Enki Bilal NA 2002 Kniževni Časopis GRADAC GRADAC , Čačak 146-147 Baltus NA 2002 Književni časopis GRADAC GRADAC, Čačak 150-151 NA 2003-2004 Kniževni Časopis GRADAC GRADAC , Čačak 152-153 Niče NA 2004 Kniževni Časopis GRADAC GRADAC , Čačak 154-155 Krstaši NA 2005 Kniževni Časopis GRADAC GRADAC , Čačak 157-158-159 Tesla NA 2006 Kniževni Časopis GRADAC GRADAC , Čačak 160-161 Melanholija NA 2006-2007 Kniževni Časopis GRADAC GRADAC , Čačak 167-168 Kraj vremena NA 2008 Književni časopis GRADAC GRADAC, Čačak 171-172 Lavkraft NA 2009-2010 Revue Gradac de 122 à 127 et collection et à 127 Alef Gradac 122 GradacRevue de Časopis Gradac od 122 do 127 i kolekcija Alef Gradac 127 do Časopis Gradac 122 od Kniževni Časopis GRADAC GRADAC , Čačak 173-174 Barouz NA 2009-2010 Kniževni Časopis GRADAC GRADAC, Čačak 175-176-177 Mlada Bosna NA 2010 Književni časopis GRADAC GRADAC, Čačak 178-179 Basara NA 2010-2011 Kniževni Časopis GRADAC GRADAC , Čačak 185-186-187 Andria Maurović NA 2012 Biblioteka Alef GRADAC GRADAC , Čačak NA O duhu zakona Monteskje 2001 Biblioteka Alef GRADAC GRADAC , Čačak NA Grčka demokracija u historiji Pier Vidal-Nake 2003 Biblioteka Alef GRADAC GRADAC , Čačak NA Srce materije Pier Tejar de Šardin 2003 Biblioteka Alef GRADAC GRADAC , Čačak NA Mračno doba Rene Genon 1987 Biblioteka Alef GRADAC GRADAC , Čačak NA Pobuna masa Hose Ortega I Gaset 1988 Biblioteka Alef GRADAC GRADAC , Čačak NA Mišima Margerit Jursenar 1989 Biblioteka Alef GRADAC GRADAC , Čačak NA Seksualna magija Saran Aleksandrian 2002 Biblioteka Alef GRADAC GRADAC , Čačak NA Metafizika seksa I Julius Evola 1990 Biblioteka Alef GRADAC GRADAC , Čačak NA Uživanje u zločinu Markiz de Sad 1989 Biblioteka Alef GRADAC GRADAC , Čačak NA Pakao Pavle Florenski 1991 Biblioteka Alef GRADAC GRADAC , Čačak NA U zagrljaju đavla Deni de Ružmon 1991 Biblioteka Alef GRADAC GRADAC , Čačak NA Kako jeste Samjuel Beket 1990 Biblioteka Alef GRADAC GRADAC , Čačak NA Čovek pod znakom pitanja Ežen Jonesko 1990 Biblioteka Alef GRADAC GRADAC , Čačak NA Roman s kokainom M. Agejev 1997 Biblioteka Alef GRADAC GRADAC , Čačak NA Istorija i utopija Emil M. Sioran 1997 Biblioteka Alef GRADAC GRADAC , Čačak NA Pojedinac i univerzum Ernesto Sabato 1995 Biblioteka Alef GRADAC GRADAC , Čačak NA Psihoanaliza vatre Gaston Bašlar 1996 Biblioteka Alef GRADAC GRADAC , Čačak NA Dnevnik Vaćlav Njižinski 1995 07.2017 2/81 A2 Revue Gradac de 122 à 127 et collection et à 127 Alef Gradac 122 GradacRevue de Časopis Gradac od 122 do 127 i kolekcija Alef Gradac 127 do Časopis Gradac 122 od Inventaire des livres de la bibliothèque - Ljuba POPOVIC / Popis knjiga biblioteke - Ljuba POPOVIĆ Carton / Kutija Biblioteka/Collection Izdavač/Editeur Broj/Numéro Naslov/Titre Autor/Auteur God/Année Biblioteka Alef GRADAC GRADAC , Čačak NA Druge obale Vladimir Nabokov 1995 A1 Biblioteka Alef GRADAC GRADAC , Čačak NA Carmen Saeculare Georgij Fedotov 1995 Biblioteka Alef GRADAC GRADAC , Čačak NA Razmišljanja o tehnici Hose Ortega I Gaset 1996 Biblioteka Alef GRADAC GRADAC , Čačak NA Mudrost pustinje Tomas Merton 1996 Biblioteka Alef GRADAC GRADAC , Čačak NA Mefistofeles i Androgin Mirča Elijade 1996 Biblioteka Alef GRADAC GRADAC , Čačak NA In Vino Veritas Seren Kjerkegor 1994 Biblioteka Alef GRADAC GRADAC , Čačak NA Kćeri Sunca Karolj Kerenji 1994 Biblioteka Alef GRADAC GRADAC , Čačak NA Tamički krug Margerit Jursenar 1994 Biblioteka Alef GRADAC GRADAC , Čačak NA Odmetnik Ernst Jinger 1994 Časopis Gradac od 17 do 121 do Časopis Gradac 17 od Biblioteka Alef GRADAC GRADAC , Čačak NA Apokalipsa Našeg Vremena Vasilij Rosanov 1993 Biblioteka Alef GRADAC GRADAC , Čačak NA Elektra Danilo Kiš 1992 Biblioteka Alef GRADAC GRADAC , Čačak NA Poljski Put - Opuštenost Martin Hajdeger 1992 Revue littéraire Gradac du N° 17 à 121 17 N° littéraire GradacRevue du Biblioteka Alef GRADAC GRADAC , Čačak NA Gnostički tekstovi NA 1992 Biblioteka Alef GRADAC GRADAC , Čačak NA Fizika i filozofija Verner Hajzenberg 2000 Biblioteka Alef GRADAC GRADAC , Čačak NA Istorija ljudske gluposti Pol Tabori 2002 Biblioteka Alef GRADAC GRADAC , Čačak NA Misli Salvador Dali 2002 Biblioteka Alef GRADAC GRADAC , Čačak NA Amsterdam Marija Čudina 1995 Biblioteka Alef GRADAC GRADAC , Čačak NA Nemušto Samjuel Beket 1996 Biblioteka Alef GRADAC GRADAC , Čačak NA O dugom životu Paracelsus 1987 Biblioteka Alef GRADAC GRADAC , Čačak NA Misli Šarl Bodler 2004
Load more

Recommended publications
  • The Art Collection of Peter Watson (1908–1956)
    099-105dnh 10 Clark Watson collection_baj gs 28/09/2015 15:10 Page 101 The BRITISH ART Journal Volume XVI, No. 2 The art collection of Peter Watson (1908–1956) Adrian Clark 9 The co-author of a ously been assembled. Generally speaking, he only collected new the work of non-British artists until the War, when circum- biography of Peter stances forced him to live in London for a prolonged period and Watson identifies the he became familiar with the contemporary British art world. works of art in his collection: Adrian The Russian émigré artist Pavel Tchelitchev was one of the Clark and Jeremy first artists whose works Watson began to collect, buying a Dronfield, Peter picture by him at an exhibition in London as early as July Watson, Queer Saint. 193210 (when Watson was twenty-three).11 Then in February The cultured life of and March 1933 Watson bought pictures by him from Tooth’s Peter Watson who 12 shook 20th-century in London. Having lived in Paris for considerable periods in art and shocked high the second half of the 1930s and got to know the contempo- society, John Blake rary French art scene, Watson left Paris for London at the start Publishing Ltd, of the War and subsequently dispatched to America for safe- pp415, £25 13 ISBN 978-1784186005 keeping Picasso’s La Femme Lisant of 1934. The picture came under the control of his boyfriend Denham Fouts.14 eter Watson According to Isherwood’s thinly veiled fictional account,15 (1908–1956) Fouts sold the picture to someone he met at a party for was of consid- P $9,500.16 Watson took with him few, if any, pictures from Paris erable cultural to London and he left a Romanian friend, Sherban Sidery, to significance in the look after his empty flat at 44 rue du Bac in the VIIe mid-20th-century art arrondissement.
    [Show full text]
  • Reconsidering the Female Monster in the Art of Leonor Fini
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Loughborough University Institutional Repository Sphinxes, Witches and Little Girls: Reconsidering the Female Monster in the Art of Leonor Fini Rachael Grew Abstract As champions of the irrational and the uncanny, the Surrealists frequently incorporated classical monsters into their art as part of their search for a new modern myth. However, these creatures became subject to gender codification, with the sphinx and chimera in particular becoming attached to the imagery surrounding the sexually provocative, castrating femme-fatale. The woman Surrealist Leonor Fini (1907-1996) diverged from the Surrealist norm to create complex and ambiguous monsters, rather than simply expressions of the lethally enticing femme-fatale. Fini uses a range of monsters in her art, from the classical sphinx to creatures of popular culture, such as the witch and the werewolf. These monsters are almost always female, or at the very least androgynous, yet the actions and attitudes they are found in invites a new reading of the destructive female monster and/or the ‘monstrous’ female. Equally, the children and adolescent girls that appear in her work are often depicted in a negative light: they are ugly, unkind and selfish. Through a detailed iconographical analysis, this paper will explore Fini’s use of both traditional and non-traditional monsters as a method of subverting preconceived gender and social codes, ultimately reconsidering the notion of what exactly is monstrous. Key words: Surrealism, Fini, myth, monsters, sphinx, witch, stryge, woman. ***** The female monster in both classical and popular traditions, such as the sphinx, chimera, siren and witch, is frequently associated with depraved sexuality and destruction.
    [Show full text]
  • 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]
  • Snow Man and Bait by David Albahari
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2006 Politics of Representations: Snow Man and Bait by David Albahari Damjana Mraovic University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the English Language and Literature Commons Recommended Citation Mraovic, Damjana, "Politics of Representations: Snow Man and Bait by David Albahari. " Master's Thesis, University of Tennessee, 2006. https://trace.tennessee.edu/utk_gradthes/1746 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Damjana Mraovic entitled "Politics of Representations: Snow Man and Bait by David Albahari." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in English. Amy Elias, Major Professor We have read this thesis and recommend its acceptance: Allen Dunn, Lisi M. Schoenbach Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a thesis written by Damjana Mraović entitled “Politics of Representations: Snow Man and Bait by David Albahari.” I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Masters of Arts, with a major in English.
    [Show full text]
  • Copyright 2013 Shawn Patrick Gilmore
    Copyright 2013 Shawn Patrick Gilmore THE INVENTION OF THE GRAPHIC NOVEL: UNDERGROUND COMIX AND CORPORATE AESTHETICS BY SHAWN PATRICK GILMORE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Cary Nelson Associate Professor James Hansen Associate Professor Stephanie Foote ii Abstract This dissertation explores what I term the invention of the graphic novel, or more specifically, the process by which stories told in comics (or graphic narratives) form became longer, more complex, concerned with deeper themes and symbolism, and formally more coherent, ultimately requiring a new publication format, which came to be known as the graphic novel. This format was invented in fits and starts throughout the twentieth century, and I argue throughout this dissertation that only by examining the nuances of the publishing history of twentieth-century comics can we fully understand the process by which the graphic novel emerged. In particular, I show that previous studies of the history of comics tend to focus on one of two broad genealogies: 1) corporate, commercially-oriented, typically superhero-focused comic books, produced by teams of artists; 2) individually-produced, counter-cultural, typically autobiographical underground comix and their subsequent progeny. In this dissertation, I bring these two genealogies together, demonstrating that we can only truly understand the evolution of comics toward the graphic novel format by considering the movement of artists between these two camps and the works that they produced along the way.
    [Show full text]
  • 13Th Biennial Conference of the International Gothic Association
    13th Biennial Conference of the International Gothic Association: Gothic Traditions and Departures Universidad de las Américas Puebla (UDLAP) 18 – 21 July 2017 Conference Draft Programme 1 Conference Schedule Tuesday 18 July 10:00 – 18:00 hrs: Registration, Auditorio Guillermo y Sofía Jenkins (Foyer). 15:00 – 15:30 hrs: Welcome remarks, Auditorio Guillermo y Sofia Jenkins. 15:30 – 16:45 hrs: Opening Plenary Address, Auditorio Guillermo y Sofía Jenkins: Isabella Van Elferen (Kingston University) Dark Sound: Reverberations between Past and Future 16:45 – 18:15 hrs: PARALLEL PANELS SESSION A A1: Scottish Gothic Carol Margaret Davison (University of Windsor): “Gothic Scotland/Scottish Gothic: Theorizing a Scottish Gothic “tradition” from Ossian and Otranto and Beyond” Alison Milbank (University of Nottingham): “Black books and Brownies: The Problem of Mediation in Scottish Gothic” David Punter (University of Bristol): “History, Terror, Tourism: Peter May and Alan Bilton” A2: Gothic Borders: Decolonizing Monsters on the Borderlands Cynthia Saldivar (University of Texas Rio Grande Valley): “Out of Darkness: (Re)Defining Domestic Horror in Americo Paredes's The Shadow” Orquidea Morales (University of Michigan): “Indigenous Monsters: Border Horror Representation of the Border” William A. Calvo-Quirós (University of Michigan): “Border Specters and Monsters of Transformation: The Uncanny history of the U.S.-Mexico Border” A3: Female Gothic Departures Deborah Russell (University of York): “Gendered Traditions: Questioning the ‘Female Gothic’” Eugene
    [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]
  • Nineteenth-Century French Challenges to the Liberal Image of Russia
    Ezequiel Adamovsky Russia as a Space of Hope: Nineteenth-century French Challenges to the Liberal Image of Russia Introduction Beginning with Montesquieu’s De l’esprit des lois, a particular perception of Russia emerged in France. To the traditional nega- tive image of Russia as a space of brutality and backwardness, Montesquieu now added a new insight into her ‘sociological’ otherness. In De l’esprit des lois Russia was characterized as a space marked by an absence. The missing element in Russian society was the independent intermediate corps that in other parts of Europe were the guardians of freedom. Thus, Russia’s back- wardness was explained by the lack of the very element that made Western Europe’s superiority. A similar conceptual frame was to become predominant in the French liberal tradition’s perception of Russia. After the disillusion in the progressive role of enlight- ened despotism — one must remember here Voltaire and the myth of Peter the Great and Catherine II — the French liberals went back to ‘sociological’ explanations of Russia’s backward- ness. However, for later liberals such as Diderot, Volney, Mably, Levesque or Louis-Philippe de Ségur the missing element was not so much the intermediate corps as the ‘third estate’.1 In the turn of liberalism from noble to bourgeois, the third estate — and later the ‘middle class’ — was thought to be the ‘yeast of freedom’ and the origin of progress and civilization. In the nineteenth century this liberal-bourgeois dichotomy of barbarian Russia (lacking a middle class) vs civilized Western Europe (the home of the middle class) became hegemonic in the mental map of French thought.2 European History Quarterly Copyright © 2003 SAGE Publications, London, Thousand Oaks, CA and New Delhi, Vol.
    [Show full text]
  • Michele Greet - Inventing Wilfredo Lam: the Parisian Avant-Garde's Primitivist Fixation
    Michele Greet - Inventing Wilfredo Lam: The Parisian Avant-Garde's Primitivist Fixation Back to Issue 5 Inventing Wifredo Lam: The Parisian Avant-Garde's Primitivist Fixation Michele Greet © 2003 "It is — or it should be — a well-known fact that a man hardly owes anything but his physical constitution to the race or races from which he has sprung." 1 This statement made by art critic Michel Leiris could not have been further from the truth when describing the social realities that Wifredo Lam experienced in France in the late 1930s. From the moment he arrived in Paris on May 1, 1938, with a letter of introduction to Pablo Picasso given to him by Manuel Hugué, prominent members of the Parisian avant-garde developed a fascination with Lam, not only with his work, but more specifically with how they perceived race to have shaped his art. 2 Two people in particular took an avid interest in Lam—Picasso and André Breton—each mythologizing him order to validate their own perceptions of non- western cultures. This study will examine interpretations of Lam and his work by Picasso, Breton and other members of the avant-garde, as well as Lam's response to the identity imposed upon him. ******* In 1931, the Colonial Exposition set the mood for a decade in which France asserted its hegemony – in the face of Nazi Germany, Stalinist Russia, and Fascist Italy – through a conspicuous display of control over its colonial holdings. The exposition portrayed the colonies as a pre-industrial lost arcadia, occupied by noble savages who were untouched by the industrial advances of the western world.
    [Show full text]
  • Drawing Surrealism Didactics 10.22.12.Pdf
    ^ Drawing Surrealism Didactics Drawing Surrealism is the first-ever large-scale exhibition to explore the significance of drawing and works on paper to surrealist innovation. Although launched initially as a literary movement with the publication of André Breton’s Manifesto of Surrealism in 1924, surrealism quickly became a cultural phenomenon in which the visual arts were central to envisioning the world of dreams and the unconscious. Automatic drawings, exquisite corpses, frottage, decalcomania, and collage are just a few of the drawing-based processes invented or reinvented by surrealists as means to tap into the subconscious realm. With surrealism, drawing, long recognized as the medium of exploration and innovation for its use in studies and preparatory sketches, was set free from its associations with other media (painting notably) and valued for its intrinsic qualities of immediacy and spontaneity. This exhibition reveals how drawing, often considered a minor medium, became a predominant mode of expression and innovation that has had long-standing repercussions in the history of art. The inclusion of drawing-based projects by contemporary artists Alexandra Grant, Mark Licari, and Stas Orlovski, conceived specifically for Drawing Surrealism , aspires to elucidate the diverse and enduring vestiges of surrealist drawing. Drawing Surrealism is also the first exhibition to examine the impact of surrealist drawing on a global scale . In addition to works from well-known surrealist artists based in France (André Masson, Max Ernst, Joan Miró, Salvador Dalí, among them), drawings by lesser-known artists from Western Europe, as well as from countries in Eastern Europe and the Americas, Great Britain, and Japan, are included.
    [Show full text]
  • Visual Culture & Gender • Vol. 11 • 2016
    Visual Culture & GenderVol. • 11 Vol. 2016 11 • 2016 Introduction: Intersections of Feminism, Motherhood, Surrealism, and Art Education an annualan peer-reviewed annual peer-reviewed international international multimedia multimedia journal journal Karen Keifer-Boyd & Deborah Smith-Shank, editors • published by Hyphen-UnPress Karen Keifer-Boyd & Deborah Smith-Shank, editors. Published by Hyphen-UnPress Inspired by texts such as Whitney Chadwick’s (1985) history of women in Surrealism and my travel to Mexico and exchanges with other art educators there, I have expanded my teaching of Surrealists in art FRIDA KAHLO, REMEDIOS VARO, LEONORA CARRINGTON, AND LEONOR FINI: FEMINIST LESSONS IN CHIMERISM, CORPOREALITY, education courses to include artists Remedios Varo, Leonora Carrington, CUISINE, AND CRAFT and Leonor Fini, alongside Frida Kahlo. Particularly within art historical contexts, I believe these four women can be examined in art classrooms as feminist artists and for the vivid, often mythic or astral feminist ethos COURTNEY LEE WEIDA across their works. Their spiritual and magical representations of female selves, birth, and motherhood have intrigued and encouraged me as a Abstract new mother, and I wish that I had encountered these gendered images as a high school student and as a university student during my preparation What visions (and versions) of feminism and motherhood are revealed by four to become an art teacher. Further, these artists can be studied simultane- women artists in the psychologically-laden genre of Surrealism? Frida Kahlo (1907-1954) ously to appreciate the remarkable, often salon-like community of artis- stands out posthumously in contemporary art education lessons (Carroll, 2015; Hubbard, tic discourse they shared.
    [Show full text]
  • Srpska Knji@Evnost Na Kraju Veka, Iz Generacije U Generaciju
    Zoran \eri} SRPSKA KNJI@EVNOST NA KRAJU VEKA, IZ GENERACIJE U GENERACIJU Ne ulaze}i u spekulacije o tome {ta je kraj na{eg veka (a mnogo ih je, ne samo me|u istori~arima i politi~arima, ve} i me|u filosofima i knji`evnim teoreti~arima), nastoja}e- mo da damo pregled najzna~ajnijih autora i naslova srpske knji`evnosti u poslednjih de- setak godina. U~ini}emo to, najpre, po `anrovima, hronolo{ki, a delimi~no i poeti~ki, kriti~ki vrednuju}i ono {to su srpska knji`evna kritika i razni `iriji za nagrade, ve} izdvo- jili. Bilo kako da izdvajamo, po svim kriterijumima, o~igledno je da su delatne razli~ite generacije, od najstarije do najmla|e, i da se iz godine u godinu pa`nja kritike i ~itala~- ke javnosti nepredvidljivo menja – biraju}i za predmet svojih interesovanja ~as zrelog pi- sca, pri kraju knji`evne karijere, ~as po~etnika, mladog, ili do tog trenutka nedovoljno zapa`enog, ili nerealizovanog starijeg pisca. Roman je, nesumnjivo, naj~itanija knji`evna forma, i u Srbiji i Crnoj Gori. Po razli~i- tim izve{tajima, od izdava~a, knji`evnih `irija, novina i ~asopisa, na srpskom jeziku se svake godine pojavi vi{e od 100 romana. Za poslednjih desetak godina, ta brojka prela- zi 1000. A ipak se govori o krizi romana, koja je, naravno, u vrednosnom smislu, jer se po kvantitetu srpska romaneskna produkcija mo`e meriti sa mnogim drugim velikim na- cionalnim knji`evnostima. NIN-ova nagrada za roman godine, koja se dodeljuje gotovo pola veka, dobar je pokazatelj de{avanja, pre svega, knji`evnog stanja, mo}i i nemo}i pojedinih autoriteta, izdava~kih ku}a, medija, ali i interesovanja javnosti za pojedinog pisca i njegovo, tako uo~eno, delo.
    [Show full text]