Friday 25 Lifestyle | Feature Friday, May 28, 2021

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Friday 25 Lifestyle | Feature Friday, May 28, 2021 View inside British-Mexican artist Leonora Carrington’s (1917-2011) house and studio in Mexico City. A sculpture by British-Mexican artist Leonora Carrington (1917- View of letters received by British-Mexican artist Leonora View of sculptures and plants inside British-Mexican artist Leonora 2011) called ‘Night Jaguar’ is seen at her house and studio in Carrington (1917-2011) at her house and studio in Mexico City. Carrington’s (1917-2011) house and studio in Mexico city. Mexico City. In exchange, on May 19 he donated works of his mother began a love affair with painter Max Ernst. valued at three million dollars. The museum in Colonia After Ernst was arrested by the Gestapo in Nazi-occupied Roma houses 45 sculptures and hundreds of objects that France, Carrington fell into a deep depression before being Carrington used while living there, including her food sea- committed to a psychiatric hospital in Spain. She managed sonings and makeup. The intention is “to preserve the inti- to escape, and in Lisbon married the Mexican poet and jour- mate character of the dining room, bedroom, kitchen and nalist Renato Leduc, who in 1942 took her to Mexico. She study with the idea of presenting them as closely as they settled there permanently, befriending painter Frida Kahlo were in the artist’s daily life,” Osorio said. The opening date and future Nobel laureate Octavio Paz. Carrington died in will depend on the evolution of the coronavirus pandemic in May 2011 in Mexico City at the age of 94.—AFP Mexico, she added. Born in Lancashire, England into an aristocratic industrial family at the cusp of the Surrealist movement, Carrington moved to Paris aged 20 where she View of British-Mexican artist Leonora Carrington’s (1917-2011) View of British-Mexican artist Leonora Carrington’s (1917-2011) A sculpture by British-Mexican artist Leonora Carrington (1917- typewriter and other personal objects at her house and studio in portrait at her house and studio in Mexico City. 2011) called ‘Woman with Pigeon’ is seen at her house and studio Mexico City. in Mexico City..

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Telescope and Microscope
Telescope and Microscope Alberto Blanco* Private collection. © Estate of Leonora Carrington The Birdmen of Burnley, 45 x 65 cm (oil on canvas). midst the horror of World War II, in the entry dated Tuesday, August 24, 1943, of her extraordinary autobiographical tale, Down Below, Leonora Carrington made this surpris Aing statement: This last sentence, rightfully quoted often, speaks to us of an artist, a human being who did not settle for seeing only part of reality. To the contrary, Leonora Carrington, interested in the Big and the Small —that which in traditional symbolism is known as the Great Mysteries and the Small * Poet, translator, essayist, and visual artist; member of the National Sys tem of Creators of Art (SNCA), [email protected]. 50 Mysteries— never wanted to ignore the great scientific or philosophical themes. Throughout her long, intense life, she was just as interested in astronomy as in astrology, in quantum physics as in the mysteries of the psyche; and at the same time, she never turned her back on what could be considered the minutiae and the details of daily life: her family, her home, her beloved objects, her friends, her pets, her plants. © Estate of Leonora Carrington Private collection. In Leonora Carrington, a profoundly romantic artist —and here, I mean the great English romanticism, that of William Blake, for example— and an eminently practical person co existed without any contradiction. Also found together were a profound sense of humor —also very English, consisting frequently of talking very seriously about the most absurd topics— and the most serious determination to do work that never admitted of the slightest vacillation and suffered no foolishness at all.
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Studia Culturae
STUDIA CULTURAE ZDENKA KALNICKA PhD, professor Ostrava University ART AND GENDER IDENTITY Автор анализирует картину Леоноры Каррингтон «А затем мы увидели дочь Минотавра» («And Then We Saw the Daughter of the Minotaur») в сопоставлении с образами Минотавра в работах Пабло Пикассо. Она использует методологические принципы гендерного анализа с целью обнаружить гендерные аспекты классического мифа о Минотавре, демонстрируя тем самым традиционную конструкцию половой идентичности через биполярность маскулинности и феминнисти, обнаруженную в работах Пикассо. Работа Л. Каррингтон дает возможность автору проанализировать, каким образом художник трансформирует античный миф о Минотавре, деконструирует традиционную поляризацию маскулинности и фемининности и предлагает оригинальную интерпретацию половой идентичности. Ключевые слова: Минотавр, античный миф, архетип, пол, сюрреализм, Пабло Пикассо, Л. Каррингтон. Introduction What kind of message about gender identity is passed by the ancient myth of Minotaur? Why did this figure become so important for surrealism? Is there any difference between its incorporation and depiction by male artists, such as Pablo Picasso, and female artists, such as Leonora Carrington? What can we learn about their views on gender identity through interpretation of their artworks? In the first part, we describe the ancient myth of Minotaur, concentrating on its gender aspects. In the second part, we explain the significance of the Minotaur figure for surrealism, in particular for Pablo Picasso and document his understanding of gender identity through interpretation of his works with the Minotaur theme. Before the interpretation of the work of Leonora Carrington, we briefly point out the view on femininity spread among surrealists and its consequence for female artists in this movement. The central part is devoted to interpretation of the artwork of Leonora Carrington… And Then We Saw the Daughter of the Minotaur aiming to find out her particular way of deconstructing gender identity.
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Contenido COMPETENCIA
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Leonora Carrington. Metamorfosis Hacia La Autenticidad
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Leonora Carrington Y El Juego Surrealista Leonora Carrington
LEONORA CARRINGTON Y EL JUEGO SURREALISTA LEONORA CARRINGTON. THE SURREALIST GAME Dirigido por/Directed by JAVIER MARTÍN-DOMÍNGUEZ Productora/Production Company: TIME ZONE, S.L. Tutor, 19. 6º Dcha. 28008 Madrid. Tel.: +34 915411122 / +34 629302932. www.timezoneproducciones.com ; [email protected] Director: JAVIER MARTÍN-DOMÍNGUEZ. Producción ejecutiva/Executive Producer: SONIA TERCERO RAMIRO. Dirección de producción/Line Producer: PAL BILBAO. Guión/Screenplay: JAVIER MARTÍN-DOMÍNGUEZ, SONIA TERCERO RAMIRO. Fotografía/Photography: ALEJANDRO ALCOCER, DIEGO CORTÉS. Música/Score: JUAN BARDEM, CARMEN YEPES MARTÍN. Montaje/Editing: VICTORIA OLIVER FARNER. Sonido/Sound: JESÚS FELIPE SANCHEZ. Intérpretes/Cast: LEONORA CARRINGTON, GABRIEL WEISZ, ELENA PONIATOWSKA, ALAN GLASS, CARLOS MONSIVAIS, LUIS CARLOS EMERICH, HERMANAS PECANINS, ISAAC MASRI. Largometraje/Feature Film. HD. Género/Genre: Biográfica / Biographical. Duración/Running time: 76 minutos. Fechas de rodaje/Shooting dates: 15/12/2011 - 14/01/2012. Lugares de rodaje/Locations: México D.F., Casa de América (Madrid), Museo Picasso (Málaga), Valdecilla (Cantabria). Festivales/Festivals: Web: www.timezoneproducciones.com ; l Festival de Málaga. Cine Español 2013 Documentales sesiones especiales www.facebook.com/timezoneproducciones l Festival Internacional de Cine de Guadalajara 2012, México Sección Panorama l Muestra de Cine Europeo de Segovia 2012 Cine documental l Sitges 2012 Festival Internacional de Cine Fantástico de Cataluña Noves Visions - No Ficció l II Encuentro Internacional de Documentales de Artes ARTES.DOCS 2012, México D.F. 2012 l FMDI 2012 Sección Arte Selección Oficial. Ventas internacionales/International Sales: TIME ZONE, S.L. Tutor, 19. 6º Dcha. 28008 Madrid. Tel.: +34 915411122 / +34 629302932. www.timezoneproducciones.com ; [email protected]. JAVIER MARTÍN-DOMÍNGUEZ/Filmografía/Filmography: Largometrajes/Feature films: l 2012 - LEONORA CARRINGTON Y EL JUEGO SURREALISTA La última superviviente del movimiento surrealista cuenta la odisea de una mujer por ser libre.
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Leonora Carrington and the International Avant-Garde Jonathan P
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Mexican Autobiography an Essay and Annotated Bibliography
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I PAINT MY REALITY Surrealism in Latin America Through Spring 2021
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Reservados todos los derechos. Ninguna parte de esta publicación puede ser reproducida, almacenada o transmitida de ninguna forma, ni por ningún medio, sea este electrónico, fotocopia o cualquier otro, sin la previa autorización escrita por el autor. La escena del crimen. Crimen y suspenso en el cine mexicano, 1946-1955. Tesis para optar al grado de Doctor en Ciencias Humanas con Especialidad en Estudio de las Tradiciones Que presenta Alvaro A. Fernández Reyes Comité de Tesis Director: Dr. Miguel J. Hernández Madrid (CER-Colmich) Lectora: Dra. Norma Iglesias Prieto (San Diego State University) Lector: Dr. Ramón Gil Olivo (CIEC- U de G) EL COLEGIO DE MICOACAN, A.C. CENTRO DE ESTUDIOS DE LAS TRADICIONES Zamora, Michoacán, México Diciembre de 2005 2 Agradecimientos A Olimpia y a mis demás cómplices (que no delataré) en esta historia de crimen y suspenso... Índice Introducción........................................................................................................................... 6 1. Escenarios culturales 1.1 La modernización del país o la paradoja del milagro mexicano..............................33 1.2 La ciudad de México: una quimera urbana............................................................. 38 1.2.1 El barrio y vecindades: arrojo de una cultura urbana popular..............41 1.2.2 La ciudad al servicio de los demás......................................................44 1.3 Nuevas costumbres de consumo cultural en la vida cotidiana............................... 45 1.3.1 La reinvención del nacionalismo cultural............................................
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Reading Elena Poniatowska's Leonora in an Undergraduate Seminar
Diálogo Volume 17 Number 1 Article 4 2014 Reading Elena Poniatowska's Leonora in an Undergraduate Seminar Aurora Camacho de Schmidt Swarthmore College Follow this and additional works at: https://via.library.depaul.edu/dialogo Part of the Latin American Languages and Societies Commons Recommended Citation Camacho de Schmidt, Aurora (2014) "Reading Elena Poniatowska's Leonora in an Undergraduate Seminar," Diálogo: Vol. 17 : No. 1 , Article 4. Available at: https://via.library.depaul.edu/dialogo/vol17/iss1/4 This Article is brought to you for free and open access by the Center for Latino Research at Via Sapientiae. It has been accepted for inclusion in Diálogo by an authorized editor of Via Sapientiae. For more information, please contact [email protected]. Reading Elena Poniatowska's Leonora in an Undergraduate Seminar Aurora Camacho de Schmidt Swarthmore College I live to the rhythm of my country and I cannot remain on the sidelines. I want to be there. I want to be part of it. I want to be a witness. I want to walk arm in arm with it. I want to hear it more and more, to cradle it, to carry it like a medal on my chest. Elena Poniatowska1 members. I have found no full critical treatments in Abstract: Description of an Honors literature seminar academic journals of this most recent novel written by focused on a selection of texts by prominent Mexican Poniatowska, but some reviews are extremely helpful.3 writer Elena Poniatowska, including critical strategies While the French translation was published in September involved in preparation, work required by students, and of 2012, an English one is not yet available.4 Poniatowska’s creative strategies in depicting rebellious women and other socially marginalized figures.
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