69 research outputs found
Hygie romantique : J.-J. Virey (1775-1846), pharmacien et philosophe de la nature
No full textBerman Alex, Berman Hortense. Hygie romantique : J.-J. Virey (1775-1846), pharmacien et philosophe de la nature. In: Revue d'histoire de la pharmacie, 54ᵉ année, n°189, 1966. pp. 115-120
Barring dangerous speech declared wrong by author
No full textHortense Binderup reviews the ideas of Dr. Alexander Meiklejohn in his new book about free speech and self-government. Dr. Meiklejohn believes that no censorship should exist in a democracy, and that the power of public intelligence is enough. The author notes that the thoughts put forward in this book do not go along with the current political actions of the FBI and House Un-American Activities Committee. The author agrees with the ideas put forth in the book
Hortense Calisher: 03-07-1979
No full textIn an interview conducted on March 8th, 1979, Hortense Calisher recounts the beginning of her career as an author with the short story series In the Absence of Angels. Calisher discusses the autobiographical influence on her fiction and the fear of being pigeonholed as a regional or feminist writer. Calisher describes the bias that some critics have when reviewing fiction due to their own personal vendetta, specifically with her 1969 novel The New Yorkers. Finally, Calisher describes an upcoming novel depicting her time spent in Iran.https://digitalcommons.brockport.edu/writers_videos/1058/thumbnail.jp
Hortense Calisher: 03-07-1979
No full textIn an interview conducted on March 8th, 1979, Hortense Calisher recounts the beginning of her career as an author with the short story series In the Absence of Angels. Calisher discusses the autobiographical influence on her fiction and the fear of being pigeonholed as a regional or feminist writer. Calisher describes the bias that some critics have when reviewing fiction due to their own personal vendetta, specifically with her 1969 novel The New Yorkers. Finally, Calisher describes an upcoming novel depicting her time spent in Iran.Archived web contentSUNY BrockportWriters Forum Video
Hortense Calisher
No full textHortense Calisher visited The College at Brockport in March 1979. She was an award-winning writer of fiction, and was elected a Fellow of the American Academy of Arts and Sciences.Archived web contentSUNY BrockportWriters Forum Author Photo
Hollywood, l'usine à rêves
No full textThis paper is an anthropologist's account of Hollywood film production in the fifties. The author reports on a lack of organization, professionals constantly trapped between their desire to be creative and their obligation to run the cinema like an industry, an entire economic sector where power and money are the only terms of exchange, a feudal working context, resentment, enmity, humiliation and so forth. Hortense Powdermaker's portrait of studio managers and executive producers is extremely harsh. In her view Hollywood repressed the artistic dimension of its project, with serious consequences from both a human and an industrial point of view.Les milieux de la production du cinéma à Hollywood dans les années cinquante sont ici racontés et observés par une anthropologue. Une chaîne de travail désorganisée, des professionnels sans cesse pris dans la contradiction entre leur désir d'être créatif et leur obligation de gérer le cinéma comme une industrie, un secteur économique tout entier où le pouvoir et l'argent sont devenus les seuls termes d'échange, des situations de travail féodales, des rancoeurs, des inimitiés, des humiliations... Le portrait des dirigeants de studio et des producteurs exécutifs dressé par Hortense Powdermaker est féroce. Hollywood, dit- elle, a refoulé la dimension artistique de son projet: les conséquences sont lourdes tant en termes humains qu'en termes industriels.Powdermaker Hortense, Pasquier Dominique. Hollywood, l'usine à rêves . In: Réseaux, volume 15, n°86, 1997. Modèles et acteurs de la production audiovisuelle. pp. 115-134
Portrait of the anthropologist Professor Hortense Powdermaker from Queens, New York, in New Guinea, 1929 [picture] /
No full textPart of the collection: Sarah Chinnery photographic collection of New Guinea, England and Australia.; Inscriptions: "Professor Hortense Powdermaker, (Queens N.Y., U.S.A.) 'Life in Lesso [i.e. Lesu]' and other works" --In red ink. "1929" -- In pencil.; Professor Hortense Powdermaker, American anthropologist 1929 research in Lesu, New Ireland, New Guinea. Author of "Life in Lesu" and other works. -- Accompanying notes from family.; Sarah Chinnery no.: Part 2.; Also available in an electronic version via the internet at: http://nla.gov.au/nla.pic-vn4506463
Most of what little is known of the life of Sutton Island poet Hortense Flexner
No full textMost of what little is known of the life of Sutton Island poet Hortense Flexner (1885-1973) comes from the film and commentary created by Belgian author Margeurite Yourcenar, who called her La Grande Poetess du Maine and felt Flexner was emblematic of Bar Harbor\u27s Cranberry Isles. Detailed biography of Flexner includes criticism, poetic excerpts, and the full text of her poems Woods After Rain and Happy Country, both referring to Sutton Island
A study of ten cases in which homemaker service was used as part of the case work treatment, 1949
No full textHortense Belhôte discovers the secrets of painting masterpieces. Queer and camp footprints as a means of a new manifestation and categorization of works in arte.tv
No full textHortense Belhôte, a French art historian, asks questions about the possibilities and limits of queering masterpieces of world painting. Her series of film essays entitled Please do not touch! (Merci de ne pas toucher!) is an attempt to read works, often sanctified by the Christian tradition, by tracing sexual artifacts and allusions, often hidden, in the paintings of heterosexual and homosexual artists. Queering art, according to Belhôte, is a game of hidden/uncovered with elements of camp aesthetics: irony, humor, theatricality and aestheticism. The author of the series plays with the film convention and brings the authors of works from Parnassus to contemporary reality: a laundry, a mechanical workshop, a beauty salon, in order to create a living museum played by non-normative people (they theatrically reproduce the compositions of images).Hortense Belhôte, francuska historyczka sztuki, stawia pytania o możliwości i granice queerowania arcydzieł światowego malarstwa. Jej cykl filmowych esejów zatytułowany Prosimy nie dotykać! (Merci de ne pas toucher) jest próbą odczytania dzieł, niejednokrotnie uświęconych chrześcijańską tradycją, poprzez tropienie seksualnych artefaktów oraz aluzji, często ukrytych, w obrazach artystów hetero- i homoseksualnych. Queerowanie sztuki to według Belhôte zabawa w ukryte / odkryte z elementami kampowej estetyki: ironii, humoru, teatralności i estetyzmu. Autorka cyklu bawi się konwencją filmową i sprowadza autorów dzieł z parnasu do współczesnej rzeczywistości: pralni, zakładu mechanicznego, gabinetu kosmetycznego, by stworzyć żywe muzeum odgrywane przez osoby nienormatywne (teatralnie odwzorowują one kompozycje obrazów)
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