Author: Catriona MacLeod
Release Date: 2009-01
Genre: Language Arts & Disciplines
This volume presents the impressive range of scholarly affinities, approaches, and subjects that characterize today's word and image studies. The essays, a selection of papers first presented in 2005 at the seventh international conference of the International Association of Word and Image Studies/Association Internationale pour l'Étude des Rapports entre Texte et Image that took place in Philadelphia, are case studies of the diverse configurations of the textual and the iconic. “Elective affinities” — a notion originally borrowed by Goethe for his 1809 novel of the same title from eighteenth-century chemistry — here refers to the active role of the two partners in the relationship of the pictorial and the verbal. Following the experimental modalities opened up by Goethe, the present volume is divided into three sections, which explore, respectively, how words and images can merge in harmony, engage in conflicts and contestations, and, finally, interact in an experimental way that self-consciously tests the boundaries and relations among verbal and visual arts. New perspectives on word and image relationships emerge, in periods, national traditions, works, and materials as different as (among many others) an installation by Marcel Duchamp and the manual accompanying it; the impact of artificial light sources on literature and art; nineteenth-century British illustrations of Native Americans; the contemporary comic book; a seventeenth-century Italian devotional manuscript uniting text, image, and music; Chinese body and performance art..
This volume brings together a wide array of papers which explore, among other things, to what extent languages and cultures are variable with respect to the interactions around the event of death. Motivated by J. L. Mey’s idea of the pragmeme, a situated speech act, the volume has both theoretical and practical implications for scholars working in different fields of enquiry. As the papers in this volume reveal, despite the terminological differences between various disciplines, the interactions around the event of death serve to provide solace, not only to the dying, but also to the family and friends of the deceased, thus helping them to “accommodate” to the new state of affairs.
The essays in this volume discuss narrative strategies employed by international writers when dealing with rape and sexual violence, whether in fiction, poetry, memoir, or drama. In developing these new feminist readings of rape narratives, the contributors aim to incorporate arguments about trauma and resistance in order to establish new dimensions of healing. This book makes a vital contribution to the fields of literary studies and feminism, since while other volumes have focused on retroactive portrayals of rape in literature, to date none has focused entirely on the subversive work that is being done to retheorize sexual violence. Split into four sections, the volume considers sexual violence from a number of different angles. 'Subverting the Story' considers how the characters of the victim and rapist might be subverted in narratives of sexual violence. In 'Metaphors for Resistance,' the essays explore how writers approach the subject of rape obliquely using metaphors to represent their suffering and pain. The controversy of not speaking about sexual violence is the focus of 'The Protest of Silence,' while 'The Question of the Visual' considers the problems of making sexual violence visible in the poetic image, in film and on stage. These four sections cover an impressive range of world writing which includes curriculum staples like Toni Morrison, Sarah Kane, Sandra Cisneros, Yvonne Vera, and Sharon Olds.
With its breezy reviews and insightful advice, 100 Places Every Woman Should Go encourages women of any age to see the world — in a group, with a friend, or solo — and inspires them to create their own list of dreams. Based on her own explorations of many countries, states, and regions, and on interviews with travelers, award-winning author Stephanie Elizondo Griest highlights 100 special destinations and challenging activities — from diving for pearls in Bahrain to racing a camel, yak, or pony across Mongolia; to dancing with voodoo priestesses in Benin and urban cowboys in Texas; to taking a mud bath in a volcano off the coast of Colombia. Divided into such sections as “Places Where Women Made History,” “Places of Indulgence,” and “Places of Adventure,” this guidebook includes timely contact information, resources, and recommended reading. “Ten Tips For Wandering Women” features safety precautions plus pointers on haggling, packing, and staying parasite-free. Vivid portraits of free spirits like Frida Kahlo (“A tequila-slamming, dirty joke-telling smoker, this famous artist was bisexual and beautiful”) help travelers expand their experience.
Author: Julia Danner
Release Date: 2018
This thesis will examine the art, literature, and experiences of women who are identified as surrealist artists but whose work challenges that categorization. I suggest that the artists Frida Kahlo (1907-1954), Leonora Carrington (1917-2011), and Remedios Varo (1908-1963), all of whom lived and created in post-revolutionary Mexico, were involved in the Surrealist Movement in varying ways through their romantic partners, but resisted taking on the identity of "surrealist", which raises the question as to the reasons for their resistance. I will be examining The Diary of Frida Kahlo: An Intimate Self Portrait, the diary kept by Kahlo during the last ten years of her life, published in 1995, the novella Down Below, written by Leonora Carrington, published in 1988, and a sculpture entitled Homo Rodans by Remedios Varo created in 1959 as well as an accompanying fictional scientific treatise entitled De Homo Rodans, published in 1965. By analyzing both the literary and artistic elements combined in each of these works, given the ways in which surrealist ideology objectified and oppressed the feminine, I propose that these women crafted their own definition of Surrealism, one that held significant space for female expression and female artistic radicality, distinct from that of the canonical, male-dominated Surrealist Movement. I seek to define their Surrealism through their the ways in which they subvert the ideological and literal objectification of women at the core of canonical surrealist thought.
In 1954, following Frida Kahlo's death at the age of 47, Diego Rivera, Kahlo's husband and Mexican muralist, requested that her possessions be sealed in various cupboards and storerooms throughout the Blue House in Mexico City, where Kahlo was born, lived and died. Half a century later, in 2004, these cupboards were opened and found to contain an extraordinary collection of clothing, jewellery, cosmetics and other personal items, as well as photographs and letters.0'Frida Kahlo's Wardrobe' presents a fresh view of Kahlo's compelling life story. The book expands upon the narrative of discovery, presenting highlights from Kahlo's collection alongside her self-portraits. This pairing is unprecedented, and it will be enriched by specially commissioned photography of her belongings.00Exhibition: Victoria and Albert Museum, London, UK (16.06.-04.11.2018).
The passionate life and work of the Mexican artist, comprehensively presented for the first time in paintings and photographs. Private photographs form among the possessions of her family and close friends afford the reader of this book some rare and unusual insights into Frida Kahlo's life and times.