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Claude Cahun
# 81 Concorde Claude Cahun 24 May – 25 September 2011 Autoportrait, c.1926 Autoportrait, 1928 / Jersey Heritage Collection IVAM, Institut Valencià d’Art Modern, Generalitat © Jersey Heritage Claude Cahun (1894-1954) has something of self-representation and the poetry of objects, approaching cult status in today’s art world. However, has been an important influence for many her work was almost unknown until the early 1980s, contemporary artists. when it was championed by the research of François Leperlier, after which exhibitions at the Musée des Metamorphoses of identity Beaux-Arts in Nantes (1994) and the Musée d’Art and the subversion of gender (I) Moderne de la Ville de Paris (1995) brought it to public This set of photographs, going from 1913 to the attention. Her life and work (both literary and artistic) end of the 1920s, includes some of Cahun’s major bespeak an extraordinary libertarian personality works, in which she staged her own persona, who defied sexual, social and ethical conventions in emphasising disguise and masks, and working what was an age of avant-garde and moral upheaval. through variations on gender: feminine, masculine, Among her many photographs, it is undoubtedly her androgyne, undifferentiated. Sexual ambiguity self-portraits that have aroused the greatest interest in is consciously cultivated and calls into question recent years. Throughout her life, Cahun used her own established norms and conventions. In 1928, she image to dismantle the clichés surrounding ideas of even represented herself with her head shaved, identity. She reinvented herself through photography, wearing a singlet, in profile, or with her hands posing for the lens with a keen sense of performance against her face, or wearing a loose man’s jacket. -
This Project Brings Together Girls' Studies, Feminist Psychology, And
1 Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _____________________________ ______________ Kelly H. Ball Date “So Powerful a Form”: Rethinking Girls’ Sexuality By Kelly H. Ball Doctor of Philosophy Women’s, Gender, and Sexuality Studies _______________________________________ Lynne Huffer, Ph.D. Advisor _______________________________________ Elizabeth A. Wilson, Ph.D. Advisor ________________________________________ Cynthia Willett, Ph.D. Committee Member ________________________________________ Mary E. Odem, Ph.D. Committee Member Accepted: _________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date “So Powerful a Form”: Rethinking Girls’ Sexuality By Kelly H. Ball M.A. The Ohio State University, 2008 B.A. Transylvania University, 2006 Advisor: Lynne Huffer, Ph.D. Advisor: Elizabeth A. Wilson, Ph.D. An abstract of A dissertation submitted to the Faculty of the James T. Laney School of Graduate Studies of Emory University in partial fulfillment of the requirements for the degree of Doctor of Philosophy In Women’s, Gender, and Sexuality Studies 2014 Abstract “So Powerful a Form”: Rethinking Girls’ Sexuality By: Kelly H. -
Constructing Transgression: Criminality in Experimental Literature
University of Rhode Island DigitalCommons@URI Open Access Dissertations 2019 CONSTRUCTING TRANSGRESSION: CRIMINALITY IN EXPERIMENTAL LITERATURE Charles Kell University of Rhode Island, [email protected] Follow this and additional works at: https://digitalcommons.uri.edu/oa_diss Recommended Citation Kell, Charles, "CONSTRUCTING TRANSGRESSION: CRIMINALITY IN EXPERIMENTAL LITERATURE" (2019). Open Access Dissertations. Paper 888. https://digitalcommons.uri.edu/oa_diss/888 This Dissertation is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. CONSTRUCTING TRANSGRESSION: CRIMINALITY IN EXPERIMENTAL LITERATURE BY CHARLES KELL A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ENGLISH UNIVERSITY OF RHODE ISLAND 2019 DOCTOR OF PHILOSOPHY DISSERTATION OF CHARLES KELL APPROVED: Dissertation Committee: Major Professor Peter Covino Ryan Trimm Eske Møllgaard Nasser H. Zawia DEAN OF THE GRADUATE SCHOOL UNIVERSITY OF RHODE ISLAND 2019 ABSTRACT This dissertation examines integral, challenging contemporary poetry and fiction, and its relationship to notions of the criminal in multiple guises. The present focus on “criminal” excavates not only its literal meaning—the nature of crime, and its specific relation to penal law—but also brings to light how the “criminal” affects the construction of fiction and poetry, and the lives of various individuals (speakers) within the chosen texts. Intricately tied with the criminal are practices that transgress, and this study will also locate specific creations where poets and novelists construct transgressions that challenge contemporary ideas of narrative and poetic modes. -
The Collaborative Relationship of Marcel Moore and Claude Cahun
A Reflection of Desire: The Collaborative Relationship of Marcel Moore and Claude Cahun Item Type text; Electronic Thesis Authors Pustarfi, Erin F. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 02:55:51 Link to Item http://hdl.handle.net/10150/628158 A REFLECTION OF DESIRE: THE COLLABORATIVE RELATIONSHIP OF MARCEL MOORE AND CLAUDE CAHUN by Erin Frances Pustarfi _________________________________________ Copyright © Erin Frances Pustarfi 2018 A Thesis Submitted to the Faculty of the SCHOOL OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN ART HISTORY In the Graduate College THE UNIVERSITY OF ARIZONA 2018 STATEMENTBYAUTHOR The Thesis titled A Reflectionof Desire: The Collaborative Relationship ofMarcel Moore and Claude Cahunprepared by Erin Frances Pustaifihas been submitted in partialfu1fillment of requirements for a master's degree at the University of Arizonaand is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Erin Frances Pustaifi -- APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: - S-/10/fEi. -
A Sense of the Real: Experimental Writing and the Sciences, 1879
A Sense of the Real: Experimental Writing and the Sciences, 1879-1946 by Natalia Aki Cecire A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English in the Graduate Division of the University of California, Berkeley Committee in charge: Professor C. D. Blanton, chair Professor Lyn Hejinian Professor Mark Goble Professor Suzanne Guerlac Fall 2010 A Sense of the Real: Experimental Writing and the Sciences, 1879-1946 © 2010 by Natalia Aki Cecire 1 Abstract A Sense of the Real: Experimental Writing and the Sciences, 1879-1946 by Natalia Aki Cecire Doctor of Philosophy in English University of California, Berkeley Professor C. D. Blanton, Chair This American literature dissertation offers an account of the critical category of “experimental literature,” arguing that, nebulous as the term appears to be, it is rooted in ideas of scientific experiment that were under debate in the late nineteenth and early twentieth centuries. While experimental literature is often described in terms of “formal innovation,” this dissertation reads literary form not as an autonomous category in its own right but as an indicator of epistemological investments. Borrowing Lorraine Daston and Peter Galison’s concept of the “epistemic virtue,” this dissertation argues that experimental literature seeks to produce a “sense of the real,” not by thematically treating scientific ideas or even by emulating scientific methods, but rather by using literary form to negotiate the changing landscape of what constituted scientificity in the first place. Epistemic virtues are the investments, at once methodological and ethical, that define the experimental mode. Experimental authors, this dissertation argues, seek ways for literature to produce knowledge with strong epistemic guarantees. -
L'autoportrait Textuel Par Claude Cahun
!" # $ %& ! ' '! # !() ' *( +, * " %& &-"+ !"#$%! . / 0 1 2 / 331'$ 4 / +33 4 !$4 4 & *+. / ' 4 '$+ 33 ! '$ ! 4 ' 4 ! ! 5' ! / ' ! + . / 4 ' ! 4 4 '$/ ! !+. ' / ! 4 2 1 2 / 2 2+6 / 331 4 ! ! & & 4 ! ! 4 + . !433 & ! 4! &! ! !+. / ! / +. '! / ' ! ! ' ! 4 $ + 6 & 33 '$' +6 4 4 & ! / ' !/ & & ! &3 3 ! & &! !+ !" # $ *( 788 +$'+8 &9 : 7'777&;<(< 6#5=(>(?;<?? 6#5=(>(?;<( 6##=?<;*; # $ %& ! ?# $ L'AUTOPORTRAIT TEXTUEL PAR CLAUDE CAHUN Anne Duch L'autoportrait textuel par Claude Cahun Énonciation, formes génériques et détournement dans Aveux non avenus (1930) Anne Duch ©Anne Duch, Stockholm University 2017 ISBN print 978-91-7649-956-6 ISBN PDF 978-91-7649-957-3 ISSN 1- Couverture: Vitrine Van den Bergh, pour la sortie d’$YHX[QRQDYHQXV, 1930. Courtesy of the Jersey Heritage Collections Printed by Universitetsservice US-AB, Stockholm 2017 Distributor: Department of Romance Studies and Classics Til Camilla Damkjær. Table des matières Introduction .............................................................................................. 1 Aveux non avenus, 1930 ............................................................................................................................................. -
The Artwork Caught by the Tail*
The Artwork Caught by the Tail* GEORGE BAKER If it were married to logic, art would be living in incest, engulfing, swallowing its own tail. —Tristan Tzara, Manifeste Dada 1918 The only word that is not ephemeral is the word death. To death, to death, to death. The only thing that doesn’t die is money, it just leaves on trips. —Francis Picabia, Manifeste Cannibale Dada, 1920 Je m’appelle Dada He is staring at us, smiling, his face emerging like an exclamation point from the gap separating his first from his last name. “Francis Picabia,” he writes, and the letters are blunt and childish, projecting gaudily off the canvas with the stiff pride of an advertisement, or the incontinence of a finger painting. (The shriek of the commodity and the babble of the infant: Dada always heard these sounds as one and the same.) And so here is Picabia. He is staring at us, smiling, a face with- out a body, or rather, a face that has lost its body, a portrait of the artist under the knife. Decimated. Decapitated. But not quite acephalic, to use a Bataillean term: rather the reverse. Here we don’t have the body without a head, but heads without bodies, for there is more than one. Picabia may be the only face that meets our gaze, but there is also Metzinger, at the top and to the right. And there, just below * This essay was written in the fall of 1999 to serve as a catalog essay for the exhibition Worthless (Invaluable): The Concept of Value in Contemporary Art, curated by Carlos Basualdo at the Moderna Galerija Ljubljana, Slovenia. -
JIL FL C1 Oct 00.P2T2
MODERN LANGUAGE ASSOCIATION JJOB IINFORMATION LLIST FOREIGN LANGUAGE EDITION • OCTOBER 2000 CONTENTS Accessing the Electronic JIL and Subscription Departmental Job Listings Information ............................... inside front cover Foreign Language Positions (by language)........... 1 Information for Candidates .................................... i Multiple Language Listings ................................ 82 Advice to Search Committee Members and Job Seekers ......................................................... iii Comparative Literature ...................................... 84 Checklist for Job Seekers ....................................... v Linguistics and ESL ............................................ 88 Dos and Don’ts for MLA Convention Department Chair/Deanships ........................... 90 Interviews ......................................................... vii Technology and Language Teaching ................. 93 List of Administrations Censured by Post Doctoral ...................................................... 94 the AAUP ............................................................ ix MLA Statement on the Use of Part-Time and Nonacademic Listings ........................................ 95 Full-Time Adjunct Faculty ................................. x Additonal Entries ............................................... 95 Published by the Modern Language Association in cooperation with the Association of Departments of Foreign Languages SUBSCRIPTION INFORMATION The print version of the Job Information List is -
Marcel Duchamp and the Forestay Waterfall Symposium – Concert – Intervention – Exhibitions
Marcel Duchamp and the Forestay Waterfall Symposium – Concert – Intervention – Exhibitions Program 6-9 May 2010 www.bxb.ch/kunsthalle/ OPENING RECEPTION Thursday, 6 May 2010 18:00 Welcome to the event by Stefan Banz Andreas Glauser plays «Musical Erratum» by Marcel Duchamp → Salle Davel, Cully 19:00 Ecke Bonk → Vernissage Kunsthalle Marcel Duchamp, Cully (until 13 June) I want to grasp things with the mind the way the penis is grasped by the vagina → Vernissage Galerie Davel 14, Cully (until 13 June) SYMPOSIUM Friday, 7 May → Salle Davel, Cully (with simultaneous interpreting English – French – English) CONTEXTUALIZATION OF ETANT DONNÉS 09:00 James W. McManus (USA) Digging through Marcel Duchamp’s ‘Un amas d’idées’ – considering ‘infra-thin’ correspondences between apparently disassociated actions, events, and projects – 1946/1947 Antje von Graevenitz (Holland) Duchamp as a scientist, artifex and semiotic-philosopher: his notes of the ‘infra-mince’ (1934/35-1945) Discussion 11:00 Herbert Molderings (Germany) Le bonheur même. A la recherche du ‘Rayon vert’ de Marcel Duchamp Molly Nesbit (USA) The Hinge at the End of the Mind Discussion 14:00 Hans Maria de Wolf (Belgium) Beyond Swiss Cheese and Bullet Holes (second version) Mark Nelson (USA) Surrealism and the Black Dahlia Murder Philip Ursprung (Switzerland) The ‘Spiritualist of Woolworth’ – Duchamp in the Eyes of Allan Kaprow and Robert Smithson Discussion 18:00 SPECIAL OPENING RECEPTION Roman Signer → Intervention at the Forestay Waterfall, Bellevue/Chexbres (until 9 May) SYMPOSIUM Saturday, 8 May → Salle Davel, Cully (with simultaneous interpreting English – French – English) THE WATERFALL, THE LANDSCAPE 09:00 Stefan Banz (Switzerland) Paysage fautif. -
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. -
Surrealism and Feminism from France to Mexico, 1914-1972
Elizabethtown College JayScholar History: Student Scholarship & Creative Work History Spring 2019 Surrealism and Feminism from France to Mexico, 1914-1972 Emily Wieder Elizabethtown College, [email protected] Follow this and additional works at: https://jayscholar.etown.edu/hisstu Part of the History Commons Recommended Citation Wieder, Emily, "Surrealism and Feminism from France to Mexico, 1914-1972" (2019). History: Student Scholarship & Creative Work. 5. https://jayscholar.etown.edu/hisstu/5 This Student Research Paper is brought to you for free and open access by the History at JayScholar. It has been accepted for inclusion in History: Student Scholarship & Creative Work by an authorized administrator of JayScholar. For more information, please contact [email protected]. Wieder 1 Contents Introduction ..................................................................................................................................... 2 Chapter I. 1919-1929: Founding the Movement............................................................................. 7 Chapter II. 1930-1939: Engaging for the Proletariat .................................................................... 12 Chapter III. 1940-1949: Resisting Intrusion ................................................................................. 26 Conclusion .................................................................................................................................... 36 Bibliography ................................................................................................................................ -
Whole Text Sampling in the Curatorial Work of Henri Langlois, Dewey Phillips, and Jean-François Lyotard” Barry Mauer
University of Central Florida STARS Faculty Scholarship and Creative Works 3-2014 Rigorous Infidelity: Whole extT Sampling in the Curatorial Work of Henri Langlois, Dewey Phillips, and Jean-François Lyotard Barry J. Mauer University of Central Florida, [email protected] Part of the Arts and Humanities Commons Find similar works at: https://stars.library.ucf.edu/ucfscholar University of Central Florida Libraries http://library.ucf.edu This Book Chapter is brought to you for free and open access by STARS. It has been accepted for inclusion in Faculty Scholarship and Creative Works by an authorized administrator of STARS. For more information, please contact [email protected]. Original Citation Mauer, Barry. "Rigorous Infidelity: Whole extT Sampling in the Curatorial Work of Henri Langlois, Dewey Phillips, and Jean-François Lyotard." Sampling Media, Oxford University Press, Editors: Laurel Westrup, David Laderman, pp.60-72 1 “Rigorous Infidelity: Whole Text Sampling in the Curatorial Work of Henri Langlois, Dewey Phillips, and Jean-François Lyotard” Barry Mauer Introduction John Rajchman’s “Les Immatériaux or How to Construct the History of Exhibitions” asks, “In what ways have exhibitions, more than simple displays and configurations of objects, helped change ideas about art, intersecting at particular junctions with technical innovations, discursive shifts and larger kinds of philosophical investigations, thus forming part of these larger histories?” This essay attempts to answer his question by discussing curating as whole text sampling.1 Sampling, of which whole text sampling is a subset of practices, is the appropriation and recontextualization of texts or textual fragments; it involves choosing an object or text and deploying it for other uses.