Jean Cocteau
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Synthesis: an Anglophone Journal of Comparative Literary Studies
ORE Open Research Exeter TITLE Erica Jong’s Sappho’s Leap: (Re-)Constructing Gender and Authorship through Sappho AUTHORS Hauser, E JOURNAL Synthesis: an Anglophone Journal of Comparative Literary Studies DEPOSITED IN ORE 31 January 2020 This version available at http://hdl.handle.net/10871/40672 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may differ from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication Synthesis: an Anglophone Journal of Comparative Literary Studies Vol. 0, 2019 Erica Jong’s Sappho’s Leap:(Re-)constructing Gender and Authorship through Sappho Hauser Emily Lecturer, University of Exeter https://doi.org/10.12681/syn.25258 Copyright © 2020 Emily Hauser To cite this article: Hauser, E. (2020). Erica Jong’s Sappho’s Leap:(Re-)constructing Gender and Authorship through Sappho. Synthesis: an Anglophone Journal of Comparative Literary Studies, 0(12), 55-75. doi:https://doi.org/10.12681/syn.25258 http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 30/11/2020 17:09:59 | Erica Jong’s Sappho’s Leap:(Re-)constructing Gender and Authorship through Sappho Emily Hauser Abstract For contemporary female authors, Sappho is a literary forebear who is both a model for women’s writing and a reminder of the ways in which women have been excluded from the literary canon. Poet and novelist Erica Jong takes up the challenge to gender and authorship posed by Sappho in her 2003 novel, Sappho’s Leap. -
La Voix Humaine: a Technology Time Warp
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2016 La Voix humaine: A Technology Time Warp Whitney Myers University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.332 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Myers, Whitney, "La Voix humaine: A Technology Time Warp" (2016). Theses and Dissertations--Music. 70. https://uknowledge.uky.edu/music_etds/70 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
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. -
Cocteau En La Cerámica
Jean Cocteau «en la cerámica» Cocteau y la cerámica Cocteau et la céramique 25 Explicación Castellano Explicación frances 25 Jean Cocteau nació en París en1889 y como muchos hombres de esa época, aún es joven cuando descubre la guerra y su séquito de horrores. En 1916, a su vuelta del frente, llega a París y frecuenta a los artistas e intelectuales de Montparnasse, donde conoce, entre otros, a Pablo Picasso, Guillaume Apollinaire, Max Jacob, etc. ¡Encuentros fundamentales cuando se tiene poco más de veinte años! Picasso le pasa 8 años y su amistad durará hasta la muerte del poeta. Cocteau, paralelamente a una obra literaria inmensa, a una doble carrera de dramaturgo y cineasta, toda su vida dibujará y practicará las técnicas plásticas más diversas, abordando la pintura, las diferentes formas del grabado, la tapicería, etc., y al final de su vida, la cerámica, en la que se expresa libremente su universo poético. Es el ejemplo por excelencia del artista multidisciplinar adelantado a su tiempo. Es evidente que su enfoque de la unión de la tierra con el fuego es consecuencia de un largo compañerismo y de una sólida amistad con el pintor español. Asimismo se debe a su acer - camiento geográfico en la Costa Azul, que conlleva encuentros periódicos entre los dos hombres. Jean Cocteau est né à Paris en1889 et comme beaucoup d’hommes, à cette époque, il est encore jeune lorsqu’il découvre la guerre et son cortège d’horreurs. En 1916, à son retour du front des opérations militaires, il regagne Paris et fréquente les artistes et intellectuels de Montparnasse, où il rencontre, entre autres, Pablo Picasso, Guillaume Apollinaire, Max Jacob,… Des rencontres essentielles lorsque l’on a qu’un peu plus de vingt ans!. -
Dehumanizing Technology in Cocteau's and Poulenc's La Voix Humaine Lynette Miller Gottlieb
Document generated on 09/28/2021 2:01 p.m. Canadian University Music Review Revue de musique des universités canadiennes Phone-Crossed Lovers: Dehumanizing Technology in Cocteau's and Poulenc's La Voix humaine Lynette Miller Gottlieb Jean Cocteau: Evangelist of the Avant-garde Article abstract Jean Cocteau : évangéliste de l’avant-garde Forty years after his previous collaboration with his former mentor Jean Volume 22, Number 1, 2001 Cocteau, Francis Poulenc embarked on another joint work with the playwright, the opera La Voix humaine (1958). The sole character is a woman known as URI: https://id.erudit.org/iderudit/1014500ar Elle, who converses with her former lover on the telephone, a device DOI: https://doi.org/10.7202/1014500ar representative of the negative side of technological progress made during the first few decades of the twentieth century. This study considers the nature of the collaboration between Cocteau and Poulenc, then employs narrative theory See table of contents to interpret the telephone's power in this drama. Publisher(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this article Miller Gottlieb, L. (2001). Phone-Crossed Lovers: Dehumanizing Technology in Cocteau's and Poulenc's La Voix humaine. Canadian University Music Review / Revue de musique des universités canadiennes, 22(1), 86–104. https://doi.org/10.7202/1014500ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law. Use of the services of Érudit des universités canadiennes, 2002 (including reproduction) is subject to its terms and conditions, which can be viewed online. -
Men, Masculinity and the Female Rebel in French Women's Fiction
MEN, MASCULINITY AND THE FEMALE REBEL IN FRENCH WOMEN’S FICTION, 1900-1913 A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2011 LUCY C. STONE SCHOOL OF LANGUAGES, LINGUISTICS AND CULTURES 2 Contents Abbreviations 3 Abstract 4 Declaration and Copyright Statement 5 Acknowledgements 6 Introduction 7 Chapter 1 Cries for Help: Men in Trouble in Colette Yver’s Les Cervelines (1903) and Daniel Lesueur’s Nietzschéenne (1908) 53 Les Cervelines: Dreaming of a Doctor for a Wife 55 Nietzschéenne: Propping up the Boss 77 Chapter 2 Anxious Seducers: Jeanne Marni’s Pierre Tisserand (1907) and Lucie Delarue-Mardrus’s Douce moitié (1913) 97 Pierre Tisserand: Misandry and Masculine Anxiety 99 Douce moitié: A Beleaguered Man 123 Chapter 3 Triangular Shackles: Masculinity, Male Homosociality and the Female Rebel in Marcelle Tinayre’s La Maison du péché (1902) and Colette’s L’Entrave (1913) 145 La Maison du péché: Objects of Faith 148 L’Entrave: Double Binds 165 Chapter 4 Giving and Taking Away: Rachilde’s La Jongleuse (1900) and Gabrielle Réval’s Le Ruban de Vénus (1906) 191 La Jongleuse: A ‘tour de passe-passe élégant’ 194 Le Ruban de Vénus: Loving Men, Laughing at Men 218 Conclusion 246 Bibliography 256 WORD COUNT 80,453 3 Abbreviations DM = Lucie Delarue-Mardrus, Douce moitié (Paris: Fasquelle, 1913) E = Colette, L’Entrave, in Œuvres, ed. by Claude Pichois, 4 vols (Paris: Gallimard, 1984- 2001), II, 325-474 LC = Colette Yver, Les Cervelines (Paris: Calmann-Lévy, 1928 [1903]) LJ = Rachilde, La Jongleuse (Paris: Des femmes, 1982 [1900]) MP = Marcelle Tinayre, La Maison du péché (Paris: Calmann-Lévy, 1902) N = Daniel Lesueur, Nietzschéenne (Paris: Plon, 1908) PT = J. -
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. -
Pablo Picasso, One of the Most He Was Gradually Assimilated Into Their Dynamic and Influential Artists of Our Stimulating Intellectual Community
A Guide for Teachers National Gallery of Art,Washington PICASSO The Early Ye a r s 1892–1906 Teachers’ Guide This teachers’ guide investigates three National G a l l e ry of A rt paintings included in the exhibition P i c a s s o :The Early Ye a rs, 1 8 9 2 – 1 9 0 6.This guide is written for teachers of middle and high school stu- d e n t s . It includes background info r m a t i o n , d i s c u s s i o n questions and suggested activities.A dditional info r m a- tion is available on the National Gallery ’s web site at h t t p : / / w w w. n g a . gov. Prepared by the Department of Teacher & School Programs and produced by the D e p a rtment of Education Publ i c a t i o n s , Education Division, National Gallery of A rt . ©1997 Board of Tru s t e e s , National Gallery of A rt ,Wa s h i n g t o n . Images in this guide are ©1997 Estate of Pa blo Picasso / A rtists Rights Society (ARS), New Yo rk PICASSO:The EarlyYears, 1892–1906 Pablo Picasso, one of the most he was gradually assimilated into their dynamic and influential artists of our stimulating intellectual community. century, achieved success in drawing, Although Picasso benefited greatly printmaking, sculpture, and ceramics from the artistic atmosphere in Paris as well as in painting. He experiment- and his circle of friends, he was often ed with a number of different artistic lonely, unhappy, and terribly poor. -
Jean Hugo Paris, 1894 - Lunel, 1984
Jean Hugo Paris, 1894 - Lunel, 1984 ... Great-grandson of Victor Hugo (grandson of Charles and son of Georges Hugo), Jean Hugo was an important figure of the intellectual and artistic period between the two World Wars. His oeuvre comprises oil paintings and gouaches (often of small dimensions), book illustrations, theatre sets, sketches for stained-glass windows and ceramics. Brought up in an abundant artistic milieu, Jean Hugo was strongly attracted to drawing and painting from a very early age. Self-taught, he never sought to follow any particular teaching. He was also an avid reader and, in the years leading up to the First World War, he composed essays and poetry. His literary friendships, particularly with Jean Cocteau, led him to take part in a number of theatrical and ballet productions. His contemporaries thus saw him above all as a set designer for the entertainment world (fig.1). Room Hugo ... The Post-war Years : Between Figuration and Abstraction fig.1- Jean Hugo Three Costume Studies for “The Wedding on the Eiffel Tower”, 1921 Private collection Jean Hugo’s painting remains in a class of its own in the artistic panorama of the first ... half of the twentieth century. While it often calls to mind certain avant-gardist currents such as magical realism or metaphysical painting, it champions a real sense of originality. Alongside cheerful and naïve scenes or theatrical projects (The Wedding on the Eiffel Tower), he produced a series of canvasses in strange, solemn tonalities in the early 1930s (Solitude, 1933). The artist demonstrated an interest in forest scenes (The Hermit of Meudon, 1933) and religious themes (The Last Supper, 1933), as may be seen in the Well*. -
Frédéric Canovas Against the Canon: Jean Cocteau Or the Rise of The
Frédéric Canovas Against the Canon: Jean Cocteau or the Rise of the Gay Cultural Icon A very limited number of scholars who specialize in French art and/or literature and gay studies, have underlined the role played by Cocteau’s work in the concept and articulation of homosexual identity. There is no doubt that Gide and Proust remain the central figures when it comes to studies dealing with homosexuality in modern literature, even if most scholars agree on the fact that their conceptualization of homosexual identity is outdated today. Thus any attempt to understand Cocteau’s definition and representation of homosexuality without looking at his position toward Gide and Proust would be incomplete and inaccurate. In light of Cocteau’s tumultuous relationship with Gide and Proust, this essay will attempt to retrace the emergence of Cocteau’s written and visual discourse on homosexuality as well as his original role as a homosexual role model. 2009 marks the tenth anniversary of Jean Marais’ death. A few weeks after his passing, the French gay magazine Têtu published the results of a national poll. Gay readers had been asked to select their favorite gay icons. Surprisingly Jean Cocteau (ranked number 1), who had died more than forty years ago, and Jean Marais (number 2) came ahead of contemporary pop stars like George Michael (ranked number 7) and Elton John (number 9), and French fashion’s enfant terrible Jean-Paul Gaultier (number 8). Perhaps Cocteau’s prediction was finally becoming a reality. After years of being considered too much of a frivolous1 and shallow artist, Cocteau was finally granted what he had longed for during his entire life? In his diary, Cocteau wrote in 1943: ‘Gide says that I am “incapable of being serious”. -
California State University, Northridge Jean Cocteau
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE JEAN COCTEAU AND THE MUSIC OF POST-WORLD WAR I FRANCE A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Music by Marlisa Jeanine Monroe January 1987 The Thesis of Marlisa Jeanine Monroe is approved: B~y~ri~jl{l Pfj}D. Nancy an Deusen, Ph.D. (Committee Chair) California State University, Northridge l.l. TABLE OF CONTENTS Chapter Page ABSTRACT iv INTRODUCTION • 1 I. EARLY INFLUENCES 4 II. DIAGHILEV 8 III. STRAVINSKY I 15 IV • PARADE 20 v. LE COQ ET L'ARLEQUIN 37 VI. LES SIX 47 Background • 47 The Formation of the Group 54 Les Maries de la tour Eiffel 65 The Split 79 Milhaud 83 Poulenc 90 Auric 97 Honegger 100 VII. STRAVINSKY II 109 VIII. CONCLUSION 116 BIBLIOGRAPHY 120 APPENDIX: MUSICAL CHRONOLOGY 123 iii ABSTRACT JEAN COCTEAU AND THE MUSIC OF POST-WORLD WAR I FRANCE by Marlisa Jeanine Monroe Master of Arts in Music Jean Cocteau (1889-1963) was a highly creative and artistically diverse individual. His talents were expressed in every field of art, and in each field he was successful. The diversity of his talent defies traditional categorization and makes it difficult to assess the singularity of his aesthetic. In the field of music, this aesthetic had a profound impact on the music of Post-World War I France. Cocteau was not a trained musician. His talent lay in his revolutionary ideas and in his position as a catalyst for these ideas. This position derived from his ability to seize the opportunities of the time: the need iv to fill the void that was emerging with the waning of German Romanticism and impressionism; the great showcase of Diaghilev • s Ballets Russes; the talents of young musicians eager to experiment and in search of direction; and a congenial artistic atmosphere. -
L'œuvre Et Ses Contextes
L’œuvre et ses contextes I. Radiguet, le jeune homme à la canne A. Quelques repères biographiques 1903 Raymond Radiguet naît le 18 juin à Saint-Maur. Il quitte l’école communale. Il entre au lycée Charlemagne. 1913 Commence une longue période de lecture et d’écriture de poèmes. 1914 Il est témoin du début de la première guerre mondiale. En avril, dans le train il rencontre Alice, âgée de 24 ans, 1917 mariée à un soldat parti au front. Il devient son amant. Il montre ses premiers vers à André Salmon, poète. Il rencontre Max Jacob et commence à fréquenter les milieux littéraires parisiens. Il publie des poèmes et des contes dans le Canard enchaîné 1918 sous un pseudonyme : Rajky. Il écrit dans une revue avant-gardiste : Sic. Il collabore aux revues Dada de Tristan Tzara et Littérature de André Breton. 1919 Il devient un ami très proche de Jean Cocteau. Le Diable au corps 6 Il assiste au lancement du Bœuf sur le toit, ballet-pantomime de Cocteau et Milhaud Il participe à la création de la revue Le coq. Il écrit avec Cocteau le livret d’un opéra comique intitulé Paul et Virginie, 1920 sur une musique de Satie Il écrit une comédie : Les Pélicans. Il publie sa véritable première œuvre littéraire, un recueil de poésie : les Joues en feu. Il part dans le Var et écrit une nouvelle : Denise. 1921 De retour à Paris, il assiste à la représentation de certaines de ses œuvres. Il commence la rédaction de son premier roman : Le Diable au corps.