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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. -
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) . -
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. -
GIPE-010316-Contents.Pdf
THE INTERNATIONAL LIDRARY OF SEXOLOGY AND PSYCHOLOGY Edited by' NoRMAN HAIRE, Ch.M., M.B. THE CASE F.OR STERII.JSATION TID! INTERNA110NAL LIBRA.llY OF SEXOLOGY AND PSYOIOLOGY Edited by NoiUWI Hm..s,. Cll.M., M.B. v.,.r-u p.biisw,. ;, pr,p;.liotl MAN AND WoMAN JN M.uuw.Ga. By C. B. S. Evans. M.D. THB Coii:PANIONATB M.uuw.Ga. By Judge Ben Lindsey. THB R.iwoLT oP MoDI!B.N YoUTH. By Judge Ben Lindsey. Su LrFB AND SBX ETHICS. By Reo4! Guyon. • SBXUAL .ABER.8.ATIONS (a vols.). By Wilhelm Srekcl. · THB CHOICB OP A MATL By Anthony M. Ludovid. THB PoWBa m Lova. By Edwin W. H.incb. M.D. Su JN HUMAN Rlu..ATIONSHIPS. By Dr. Magnus Hirschfeld THE CASE FOR STERILISATION by LEON F. WlllTNEY Dhectot oE the American Eugenics Society Wfth a.n Introduction a.nd Notes by NORMAN HAIRE, Ch.M., M.B. and two diagrams LONDON JOHN LANE THE BODLEY HEAD 111.1.11& .tJ1D I'IWiftD D GIIL\'1 IIIUTADI BY 'I'OIIIIIIIDGII nlllftU II.D. I'ILLCB BALL WOIIJal 'I'OIIBIUDGII DJIT EDITOR'S INTRODUCTION The menace of the u.a.fit is not a new problem, nor confined to any one country. It is age-old and world wide. At some periods, and in some places, it is solved by the crude method of infanticide-the destrug:ion of the child after birth. This solution being out of con sonance with our ethical views, we have to consider whether we are to accept as inevitable the burden which has to be shouldered by the rest of Society if unpro ductive, and often actively anti-social, individuals are permitted to be born without Society making any _attempt at all to check their numbers, or whether, on the other hand, we are to make some attempt to check them. -
Finding Aid Template
RARE BOOKS & SPECIAL COLLECTIONS University Library GUIDE TO THE NORMAN HAIRE COLLECTION DESCRIPTIVE SUMMARY Reference id: Manuscript collection. Norman Haire collection. Title: Norman Haire collection Date: Bulk 1926-1950 Creator: Haire, Norman, 1892-1952 Language Represented: English Repository: Rare Books and Special Collections, University of Sydney Library Extent: 8 boxes Genres and Forms: Material including manuscripts; typescript; press clippings; photographs; correspondence; documents; films; glass negatives; x-rays; related publications. Abstract: The Norman Haire collection chiefly consists of the writings of Norman Haire. Much of this material is in typescript. Correspondence between Haire and other sexologists such as Magnus Hirschfeld and Havlock Ellis are also held. Other material includes press clippings of items of interest to Haire. ADMINISTRATIVE INFORMATION Provenance Norman Haire bequeathed his papers and collection to the University of Sydney, Rare Books and Special Collections library. Access The Rare Books and Special Collections Library is a closed access collection. Readers may not browse the shelves. To use material from the collection go to the Rare Books Office and fill out a request slip for each item you require. Staff will collect the material for you which you must read under supervision in the Rare Books Reading Room. You must provide identification (for example, University of Sydney library card, drivers licence) while you are using the material. Biographical note Norman Haire was a medical practitioner and sexologist. He studied medicine at the University of Sydney (M.B., Ch.M. 1915). He was a prolific author and active educator. Haire was a prominent reformer and researcher in Britain during the 1930s. -
228 Paddington: a History
228 Paddington: A history Paddington_Chapter9_Final.indd 228 23/9/18 2:37 pm Chapter 9 Creative Paddington Peter McNeil 22 9 229 Paddington_Chapter9_Final.indd 229 23/9/18 2:37 pm Margaret Olley, one of Australia’s favourite artists, The creatives of Paddington today are more likely died in July 2011. She had become synonymous to run an art space, architecture or design firm, with the suburb of Paddington. As if to celebrate engage in public relations and media, trade her art and personal energy, her estate left the commodities, or be retired doctors or lawyers. downstairs lights of her home blazing, revealing the In the Paddington–Moore Park area today, nearly bright walls as well as her own artworks, including 20 per cent of employees work in legal and rooms she made famous by including them as financial services.3 subjects. Olley loved the suburb of Paddington. But why have so many culturally influential She could paint, garden and, entertain there from people lived in Paddington? Located conveniently her large corner terrace in Duxford Street. She close to the central business district which could liked the art crowd as well as the young people be reached by bus, tram and later the train link working in shops and the working-class people at Edgecliff station, its mixture of terraced who still lived there. She recalled that, as art houses, small factories, workshops and students at the old Darlinghurst Gaol in the early warehouses, provided cultural producers – 1940s, ‘Paddington beckoned … we knew there was whether they be artists or advertising executives something across beyond the Cutler Footway, but – a range of multi-functional spaces and initially we dared not go there’.1 Within a generation interpersonal networks. -
Viewed One of the First “Films Parlants” in 1930 in London
FROM GOLDEN AGE TO SILVER SCREEN: FRENCH MUSIC-HALL CINEMA FROM 1930-1950 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Rebecca H. Bias, M.A. * * * * * The Ohio State University 2005 Dissertation Committee: Approved by Professor Judith Mayne, Advisor Professor Diane Birckbichler _________________________ Advisor Professor Charles D. Minahen Graduate Program in French and Italian Copyright by Rebecca H. Bias 2005 ABSTRACT This dissertation examines French music-hall cinema from 1930-1950. The term “music-hall cinema” applies to films that contain any or all of the following: music-hall performers, venues, mise en scène, revues, and music- hall songs or repertoire. The cinema industry in France owes a great debt to the music-hall industry, as the first short films near the turn of the century were actually shown as music-hall acts in popular halls. Nonetheless, the ultimate demise of the music hall was in part due to the growing popularity of cinema. Through close readings of individual films, the dynamics of music-hall films will be related to the relevant historical and cultural notions of the period. The music-hall motif will be examined on its own terms, but also in relation to the context or genre that underlies each particular film. The music-hall motif in films relies overwhelmingly on female performers and relevant feminist film theory of the 1970s will help support the analysis of female performance, exhibition, and relevant questions of spectatorship. Music-hall cinema is an important motif in French film, and the female performer serves as the prominent foundation in these films. -
Exclusions List File
Excluded Works List as at September 9,2020: Jamaica, Canada, UK, USA JAMCOPY (Jamaica) 1. Editions of all works published outside of the mandating countries (JAMCOPY’s bilateral partners. Please see below list as at August 31 ,2020 1. USA/Copyright Clearance Centre (CCC) 19. Japan/(JAACC) 2. United Kingdom/Copyright Licensing 20. Kenya/(KOPIKEN) Agency (CLA) 21. Korea/(KORRA) 3. Canada/Access Copyright 22. Malta/(KOPJAMALT) 4. Canada/COPIBEC 23. Mauritius/(MATA‐MRMS) 5. Argentina/(CADRA) 24. Mexico/(CEMPRO) 6. Australia/(CAL) 25. New Zealand/(CLL) 7. Barbados/Barbados Copyright Agency (B‐ 26. Nigeria/(REPRONIG) COPY) 27. Norway/(KOPINOR) 8. Belgium/(REPROBEL) 28. Romania 9. Belize/(BECLA) 29. Russia/(COPYRUS) 10. Brazil/(ABDR) 30. Singapore/(CLASS) 11. Colombia/(CDR) 31. Slovakia/(LITA) 12. Georgia / (GCA) 32. South Africa/(DALRO) 13. Ghana/(COPYGHANA) 33. Spain/(CEDRO) 14. Finland/(KOPIOSTO) 34. Switzerland/(ProLitteris) 15. Greece/(OSDEL) 35. Trinidad & Tobago/(TTRRO) 16. Hong Kong/(HKRRLS) 36. OECS Member States/(ECCLA) 17. Iceland/(FJOLIS) 37. Zimbabwe/(ZIMCOPY 18. India/(IRRO) 38. Zambia/ (ZARRSO) 2. Works published by rightsholders who have informed JAMCOPY that they do not want their publications copies under a JAMCOPY licence. Permission must be obtained directly from the copyright owner before copying from that work. Copying without permission is infringement of copyright. All works from such publishers are excluded unless otherwise noted. 3. The works of Dr Susan Lowe: o Cautionary Tale of Pirate Wenching o From Your Brains Bones -
Document De Référence 2016 Lagardère
DOCUMENT DE RÉFÉRENCE contenant un Rapport fi nancier annuel Exercice 2016 PROFIL Le groupe Lagardère est un des leaders mondiaux de l’édition, la production, la diffusion et la distribution de contenus dont les marques fortes génèrent et rencontrent des audiences qualifi ées grâce à ses réseaux virtuels et physiques. Son modèle repose sur la création d’une relation durable et exclusive entre ses contenus et les consommateurs. Il se structure autour de quatre branches d’activités : • Livre et Livre numérique : Lagardère Publishing • Travel Essentials, Duty Free & Fashion et Foodservice : Lagardère Travel Retail • Presse, Audiovisuel (Radio, TV, Production audiovisuelle), Digital et Régie publicitaire : Lagardère Active • Sponsoring, Contenus, Conseil, Événements, Athlètes, Stades, Spectacles, Salles et Artistes : Lagardère Sports and Entertainment 1945 : après la Libération, 1986 : reprise du contrôle 26 mars 2003 : Arnaud création par Marcel Chassagny d’Europe 1 par Hachette. Lagardère est nommé Gérant de la société Matra (Mécanique de Lagardère SCA. Aviation TRAction), spécialisée 10 février 1988 : dans le domaine militaire. privatisation de Matra. 2004 : acquisition d’une partie des actifs français et 1963 : Jean-Luc Lagardère 30 décembre 1992 : espagnols du groupe d’édition est nommé Directeur Général Vivendi Universal Publishing. après l’échec de La Cinq, de la société Matra dont les création de Matra Hachette activités se sont diversifi ées suite à la fusion-absorption 2007 : rebranding du Groupe dans l'aérospatiale et de Hachette par Matra, et autour de quatre grandes l'automobile. de Lagardère Groupe, société marques institutionnelles : faîtière de l’ensemble du Lagardère Publishing, 1974 : Sylvain Floirat confi e la Groupe qui adopte le statut Lagardère Services (devenue direction d’Europe 1 à Jean-Luc juridique de société en Lagardère Travel Retail en 2015), Lagardère. -
Document De Référence 2013 Lagardère
DOCUMENT DE RÉFÉRENCE CONTENANT UN RAPPORT FINANCIER ANNUEL EXERCICE 2013 PROFIL Lagardère est un groupe de médias diversifi é comptant parmi les leaders mondiaux. Dirigé par Arnaud Lagardère, il est implanté dans une trentaine de pays et se structure autour de quatre branches d’activités distinctes et complémentaires : • Lagardère Publishing : Livre et e-Publishing ; • Lagardère Services : Travel Retail et Distribution ; • Lagardère Active : Presse, Audiovisuel (Radio, Télévision, Production audiovisuelle), Numérique et Régie publicitaire ; • Lagardère Unlimited : Sports et Entertainment. ... ... ... ... DOCUMENT DE RÉFÉRENCE contenant un Rapport financier annuel EXERCICE 2013 Lagardère SCA Société en commandite par actions au capital de 799 913 044,60 € Divisé en 131 133 286 actions de 6,10 € nominal Siège social : 4, rue de Presbourg à Paris 16e (75) - France Téléphone : + 33 (0)1 40 69 16 00 320 366 446 RCS Paris Adresse Internet : www.lagardere.com Le présent Document de référence a été déposé auprès de l’Autorité des Marchés Financiers le 04 avril 2014, conformément à l’article 212-13 de son règlement général. Il pourra être utilisé à l’appui d’une opération fi nancière s’il est complété par une note d’opération visée par l’Autorité des Marchés Financiers. Ce document a été établi par l’émetteur et engage la responsabilité de ses signataires. DOCUMENT DE RÉFÉRENCE / EXERCICE 2013 SOMMAIRE 1 PERSONNES RESPONSABLES 6.4 Présentation des comptes annuels DU DOCUMENT DE RÉFÉRENCE de Lagardère SCA RFA 178 ET PERSONNES RESPONSABLES 6.5 Comptes -
Sexuality: an Australian Historian's Perspective
Sexuality: An Australian Historian’s Perspective Frank Bongiorno Suppression N 2004 A CONTROVERSY ERUPTED WHEN IT CAME TO LIGHT THAT THE AUSTRALIAN education minister, Brendan Nelson, had vetoed several projects Irecommended for funding by the Australian Research Council (ARC). The provocation for Nelson’s action on behalf of the conservative government to which he belonged was an article published in a tabloid newspaper by right-wing columnist Andrew Bolt, criticising the ARC for supporting ‘peek-in-your-pants researchers fixated on gender or race’ (Bolt, ‘Grants to Grumble’). Bolt’s campaign against the ARC continued for several years, as did Nelson’s vetting of research proposals. Among the columnist’s targets were a project on ‘the cultural history of the body in modern Japan’, and another on ‘attitudes towards sexuality in Judaism and Christianity in the Hellenistic Greco-Roman era’ (Bolt, ‘Paid to be Pointless’; Macintyre). The identity of the researchers and projects that Nelson had actually rejected remained a secret but university researchers, guided by Bolt’s fixation with projects about sex, took for granted that these were prominent among those culled. One researcher later commented that applicants were omitting the words ‘sexuality’, ‘class’ and ‘race’ from proposals in an effort to avoid the minister’s wrath (Alexander). The episode raised many questions—including about academic freedom—but was of particular interest to researchers of sexuality. Why did such projects lend Bongiorno, Frank. ‘Sexuality: An Australian Historian’s -
Dossier De Presse Djazair 2003
DossierD de Presse 2003 Une année de l'Algérie en France EL DJAZAÏR est le nom choisi pour désigner l’an- née de l’Algérie en France. Au-delà de sa consonance agréable et de son équi- libre typographique, en arabe comme en latin, sa signification renvoie à une longue histoire. El Djazaïr désigne à la fois l’Algérie et sa capitale. Ce fut la ville qui reçut Cd’abord ce nom‘ à l’initiative du prince Bologhine, fils du fondateur de la dynastie des Zirides, qui dans la seconde moi- tié du Xème siècle, fit d’Alger la capitale de son royaume. En arabe, El Djazaïr signifie "les îles”. La baie d’Alger com- prenait en effet plusieurs îlots (quatre selon certains témoi- gnages) dont l’alignement offrait depuis l’Antiquité un abri naturel aux embarcations. Au début de la période ottomane, Kheïreddine dit Barberousse détruisit le Peñon, fort espagnol bâti sur la plus importante de ces îles et utilisa ses pierres pour construire la première jetée, les bâtiments et les remparts du port. En retenant le nom d’El Djazaïr, Bologhine reprenait une tradition séculaire. En effet, à toutes les périodes de son histoire, la toponymie d’Alger s’était inspirée de ces îles aujourd’hui enfouies sous l’Amirauté. Le nom d’Icosim que lui avait attribué les Phéniciens renvoyait déjà à ces îles. Les Romains le latinisèrent, la ville devenant alors Icosium. C’est à partir de El Djazaïr que se déclinèrent toutes les versions linguistiques plus ou moins proches de l’originale : Alger, Algérie, Algiers, Argelia … apparues à partir du XVIème siècle quand la Régence d’Alger devint une puis- sance maritime et conclut de nombreux traités internationaux.