La Femme-Enfant


Book Description

La Femme-Enfant tells the story of Mamere (Corean Pennyman) and her three sisters, Anna, Mary and Queen from 1900 to 1995 from the dusty roads of rural Cotton Valley, Plain Dealing, Sarepta and Natchitoches Parish, Louisiana to Harrison Pennymans mansion atop Nob Hill in San Francisco and the glitz of Rodeo Drive in Beverly Hills, California. Mamere (Corean Pennyman) and James Glasgow II were lovers for almost fifty years. He married Diccie Bastille Glasgow when he was eighteen years old. Their marriage ended a land boundary feud that had burned and smouldered between the two families for three generations. Their son, Alexander Glasgow married Jacintha Marguarite Pennyman, Mameres granddaughter, who gave birth to triplets at age fourteen. His mother banished Alexander to Paris. He became a famous painter. Jacintha was secretly locked away in an undisclosed asylum. Diccie Bastille Glasgow sent her chauffeur with a lone crib to Mameres house. Inside the crib was a tiny tot named Harrison Pennyman. She raised the remaining two siblings as her only grandchildren. Their complexion was much lighter than Harrisons was. After thirty-three years, Harrison is finally reunited with his siblings, Deidre and Dalton Glasgow but not before the murder of Andrew Blackwell. He was a co-conspirator in a major art theft ring which was determined to steal the exquisite painting, La Femme-Enfant (The Woman Child) by Alexander Glasgow, his father, during the grand opening of Manslink and McKennas Art Gallery in Beverly Hills.




Europa! Europa?


Book Description

The first volume of the new series “European Avant-Garde and Modernism Studies” focuses on the relation between the avant-garde, modernism and Europe. It combines interdisciplinary and intermedial research on experimental aesthetics and poetics. The essays, written by experts from more than fifteen countries, seek to bring out the complexity of the European avant-garde and modernism by relating it to Europe’s intricate history, multiculturalism and multilingualism. They aim to inquire into the divergent cultural views on Europe taking shape in avant-garde and modernist practices and to chart a composite image of the “other Europe(s)” that have emerged from the (contemporary) avant-garde and experimental modernism. How did the avant-garde and modernism in (and outside) Europe give shape to local, national and pan-European forms of identity and community? To what extent does the transnational exchange and cross-fertilisation of aesthetic tendencies illustrate the well-rehearsed claim that the avant-gardes form a typically European phenomenon? Dealing with canonised as well as lesser known exponents of modernism and the avant-garde throughout Europe, this book will appeal to all those interested in European cultural, literary and art history.





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Bibliotheca Lindesiana ...


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Quand la folie parle


Book Description

Quand la folie parle presents a timely reinvigoration of the complex subject of madness and its literary manifestations. This stimulating study, authored by a range of young and talented international scholars, is of key importance in defining and refining our ongoing endeavours to theorise and analyse the literary representations of the problematics of mental health. By including discussions of texts that speak of madness as well as those that speak from madness, this volume demonstrates that, in fact, the non-sense of madness achieves a force of expression often more powerful than the usual order of logic. Embracing the scientific, the religious, the medical, the psychoanalytic, the historical, the erotic, and, of course, the properly literary, this wide-ranging, historically-informed collection is particularly significant in its exploration of both the “madwoman” and the “madman,” and exhibits an inclusiveness which extends to the genres and modes of the texts examined. The authors discussed, from Nerval and Houellebecq to NDiaye and Lê, provide a refreshingly “balanced” picture of mental illness, presenting madness or depression as a contestatory, creative stance against often mind-numbing social, racial or consumerist conventions, while refusing to play down the inevitable difficulties accompanying this isolating condition. The “dialectic effect” referenced in the title of the collection extends not only to the dynamics at work within the volume itself, as the different contributions implicitly dialogue with one another, but equally to the reader of these essays, who is engaged throughout in the debates put forward.




Affaires de famille


Book Description

‘Famille, je vous ai (encore et toujours à l’esprit?), je vous aime un peu, beaucoup, ou je vous hais énormément?’ What are families like in contemporary France? And what begins to emerge when we consider them from the point of view of recent theoretical perspectives: (faulty) cohesion, (fake) coherence, (carefully planned or subversive) deconstruction, loss (of love, confidence or credibility), or, even (utter) chaos and (alarming) confusion? Which media revamp old stereotypes, generate alternative reinterpretations, and imply more ambiguous answers? What images, scenes or frames stand out in contemporary representations of the family? Uneasy contradictions and ambiguities emerge in this bilingual collection of approaches and genre studies. The family plot seems to thicken as family ties appear to loosen. Has ‘the family’ been lost from sight, or is it being reinvented in our collective imaginary? This book proposes a new series of perspectives and questions on an old and ‘familiar’ topic, exploring the state and status of the family in contemporary literature, culture, critical and psychoanalytic theory and sociology.




Cinema and the Second Sex


Book Description

Women's filmmaking in France has been a source of both delight and despair. On the one hand, the numbers are impressive – over 250 feature-length films were made by over 100 women directors in France in the 1980s and 1990s. On the other hand, despite the heritage of French feminism, French women directors characteristically disclaim their gender as a significant factor in their filmmaking. This incisive study provides an informative, critical guide to this major body of work, exploring the boundaries between personal films (intimate psychological dramas relating to key stages in life) and genre films (which demonstrate women's ability to appropriate and rework popular genres). It analyzes the effects of postfeminism, women's desire to enter the mainstream, and the impact of a new generation of filmmakers, enabling readers to take stock of the wealth and diversity of women's contribution to French cinema during the 1980s and 1990s.




Automatic Woman


Book Description

Contemporary feminist critics have often described Surrealism as a misogynist movement. In Automatic Woman, Katharine Conley addresses this issue, confirming some feminist allegations while qualifying and overturning others. Through insightfuløanalyses of works by a range of writers and artists, Conley develops a complex view of Surrealist portrayals of Woman. Conley begins with a discussion of the composite image of Woman developed by such early male Surrealists as Andrä Breton, Francis Picabia, and Paul Eluard. She labels that image ?Automatic Woman??a term that comprises views of Woman as provocative and revolutionary but also as a depersonalized object largely devoid of individuality and volition. This analysis largely confirms feminist critiques of Surrealism. The heart of the book, however, examines the writings of Leonora Carrington and Unica Z_rn, two women in the Surrealist movement whose works, Conley argues, anticipate much contemporary feminist art and theory. In concluding, Conley shows how Breton?s own views on women evolved in the course of his long career, arriving at last at a position far more congenial to contemporary feminists. Automatic Woman is distinguished by Katharine Conley?s judicious understanding of how women?and the image of Woman?figured in Surrealism. The book is an important contemporary account of a cultural movement that continues to fascinate, influence, and provoke us.




Klaus Kinski, Beast of Cinema


Book Description

With more than 130 films and a career spanning four decades, Klaus Kinski (1926-1991) was one of the most controversial actors of his generation. Known for his wild tantrums on set and his legendary collaborations with auteur Werner Herzog--Aguirre, the Wrath of God (1972), Nosferatu the Vampyre (1979)--Kinski's intense performances made him the darling of European arthouse and exploitation/horror cinema. A genius in front of the camera, he was capable of lighting up the most risible films. Yet behind his public persona lurked a depraved man who took his art to the darkest extremes. This first ever collection of essays focusing on Kinski examines his work in exploitation and art house films and spaghetti westerns, along with his performances in such cult classics as Doctor Zhivago (1965), Crawlspace (1986), Venus in Furs (1965), The Great Silence (1968), Android (1982) and his only directorial credit, Paganini (1989). More than 50 reviews of Kinski's films are included, along with exclusive interviews with filmmakers and actors who worked with him.




Surrealism and the literary imagination


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