160 research outputs found
The concise dictionary of dress (book)
No full textPublisher's description of the book:
'The game is this: Phillips provides definitions of a series of fashion terms while Clark creates installations that do the same (represented in the book by Norbert Schoerner's photographic record). Naturally it's a stunningly elegant production' – Mark Rappolt, Art Review
'The visual element is only half the experience. The other half exists in the form of a book, published by Violette Editions: a handsome artefact in its own right' – Jane Shillling, The Daily Telegraph
This book examines the nature of dictionaries, archives and dress curation, and adds a stunning visual essay recording two overnight tours through an Artangel-commissioned exhibition at Blythe House.
Phillips' definitions for words commonly associated with fashion and appearance were paired with eleven stations created by Clark on a walk through this vast building, home of the Victoria and Albert Museum's archive. Here in print, extending beyond the works at Blythe House, Phillips adds more words, more definitions and an overarching essay asking broader questions about what dictionaries are, how we use them and why they matter. Judith Clark also presents a written analysis of the Dictionary in her response to questions posed anonymously by authorities in cultural theory, fashion history, arts curation and architecture, as well as a catalogue of references used in creating the installations.
Judith Clark is Reader in the field of Fashion and Museology at London College of Fashion. She has curated major exhibitions at the V&A in London, ModeMuseum in Antwerp, Palazzo Pitti in Florence and Boijmans Van Beuningen in Rotterdam.
Adam Phillips, formerly Principal Child Psychotherapist at Charing Cross Hospital in London, is a psychoanalyst and author of 15 acclaimed books, most recently On Balance. He is the Editor of the New Penguin Freud translations, and a regular reviewer for the London Review of Books.
Norbert Schoerner is a photographer and filmmaker whose fashion campaigns have included Comme des Garçons and Prada; his editorial work has been seen in The Face, New York Times Magazine, Vogue and many other publications. Schoerner's work has been widely exhibited, including shows at White Cube, Chapman Fine Arts and the 10th International Architecture Exhibition at the Venice Biennale (2006)
Au bord de L'Asphyxie : remarques sur l'autobiographie chez Violette Leduc
No full textLooking in the prison of her skin. notes on a utobiography in "Violette Leduc"
The impossibility of autobiography is the genre's problematic — constantly confronted with its productivity. The issue is that of the opposition between a life and a text: thus the study of an author who has systematically been read as essentially autobiographical in inspiration, at the junction between text an « off-text » : for signature, manuscript, autocitation tell the (literary) biography.Marson Susan. Au bord de L'Asphyxie : remarques sur l'autobiographie chez Violette Leduc. In: Littérature, n°98, 1995. Biographismes. pp. 45-58
Maurice Violette Correspondence
No full textEntry is a handwritten biographical sketch from the Augusta, Maine, author of Le Club Calumet Incorporated: Semi-Centennial Celebration History, 1922-1972, Fifty Years of Progress and The Franco-Americans
Giving shape to time: An investigation into mixed-media installation
No full textThis research investigates ways of shaping time and identifying the characteristics of time that evolve in my art practice with reference to a synthesis of two and three-dimensional material, sound, and video. The nature of this study is a three-way material exchange between theoretical discourses, my practice, and audience response. The theoretical discourse includes a survey of the notions of time from different fields of knowledge from science, literature, anthropology, and memory studies. Additionally, an analysis of two contemporary installations, Normal & Nature by a Thai artist, Kamin Lertchaiprasert, and Going Forth by Day by an American artist, Bill Viola, is included.
Project 1, A solo show by Toeingam Srisubut, featured three art pieces: time-scape, container site, and ... and a real TV. The first project explored the potential media that can give shape to time and make the characteristics of time explicit. My evaluation of this project focuses on analysing the characteristics of time that grow out of my three works, and examining the audience's multiple readings of time that reveal various indicators, e.g. spaces, narratives, audience's and my memories, and certain Thai social and economic elements.
In Project 2, a sound and performance installation Rush Hour, narrative, space, and audience participation are considered specifically. I am testing out how effective the three indicators can give shape to time, and identifying the different characteristics of time of the installation placed in a specific environment of Koh Samui.
Project 3, a mix-media installation, When I grow rich, say the bells of Shoreditch, re-tested the three indicators. This project demonstrates my personal, cultural engagements and interpretations of these indicators. The research identifies further areas for potential studies within various aspects of time as well as practical ways of giving shape to it
Intertestualità nell'opera di Violette Leduc
No full textExploiting the theories about intertextuality as a literary phenomena, this study aims to draw a kind of map of the intertextual relationships between the work of Violette Leduc and three authors who were part of her life and who had an impact on her writing, namely, Maurice Sachs, Jean Genet and Simone de Beauvoir. Starting from the description of the theories concerning intertextuality, the present work focuses on the so-called 'internal' intertextuality, that is, the reworking of a text within another text by the same author – a fairly common writing practice among Violette Leduc and the three authors at the centre of this analysis – and a cross-reading of the work of the three authors in the light of the intertextual relationships that informs a certain part of their production (1932-1973).
The intertextual analysis of Leduc's work can contribute to a new understanding of the creative process of the work by underlining the literary value of a writer too often forgotten in the panorama of French literary history
Attribution of the novel Le Roman de Violette
No full textL’attribution d’un style à un auteur peut constituer un enjeu problématique. Certains « cas » surprennent, tel le cas du Roman de Violette. Au-delà de l’enjeu socio-littéraire, un enjeu stylistique s’impose. Trois voies de la recherché s’ouvrent : celle de l’analyse de l’écriture selon chacun des « auteurs supposés », celle de l’analyse biographique et historique; celle de la composition et configuration linguistique du matériau verbal constituant le « style » où l’analyse quantitative apporte sa contribution. À partir du corpus étudié (Le Roman de Violette, Une Aventure d’amour d’Alexandre Dumas et Les Cousines de la colonelle de la Marquise de Mannoury d’Ectot) la question a été posée de l’attribution de l’oeuvre publiée sous les noms d’Alexandre Dumas-père et de la Marquise de Mannoury d’Ectot. Pour atteindre cet objectif, il a été nécessaire d’appliquer plusieurs méthodes de type philologique : enquête biographique et contextuelle, analyse des biographies et des correspondances, analyse linguistique et stylistique couplée à des méthodes d’analyses quantitatives.Pour l’attribution des œuvres, la thèse croise diverses approches statistiques. Celle liée à la « théorie de reconnaissance des formes » élaborée au laboratoire d’Études linguistiques appliquées de l’Université d’État de Saint-Pétersbourg – expérimentée pour la première fois sur la langue française – est apparue décisive quant aux résultats obtenus. Elle permet de conclure, à partir de l’analyses systématique d’éléments syntaxiques, que Le Roman de Violette appartient à Mannoury d’Ectot. Or, les résultats de l’analyse littéraire et biographique laissent à supposer que l’idée du texte est à Dumas.The attribution of a style to an author may constitute a problematic stake. Certain "cases" surprise, such as the case of Le Roman de Violette, published under the names of Alexandre Dumas-father and Henriette de Mannoury d’Ectot. Beyond the socio-literary stake, a stylistic stake leads. Three different ways open to the search: first, the biographic analysis; second, the stylistic analysis; third, the composition and the linguistic configuration of the verbal material constituting the "style", a search for which the quantitative analysis will be used. From the studied corpus (Le Roman de Violette, Les Cousines de la colonelle of Henriette de Mannouryd’Ectot, Une aventure d’amour of Dumas) the question of the role of Dumas and Mannoury d’Ectot in the creation of Le Roman de Violette was asked. To reach this objective, it turned out necessary to apply several methods of philological analysis: biographic anaysis, analysis of archival documents, linguistic and stylistic analysis coupled with quantitative methods. For the attribution of the novel, the thesis crosses different approaches. That based on the "theory of pattern recognition” elaborated in the Laboratory of Applied Linguistic Studies of the Saint-Petersburg State University - used for the first time on the French language - seemed decisive to obtain our results. This method allows to conclude, from the systematic analysis of syntactical elements, that the novel «Le Roman de Violette» was created by Mannoury d’Ectot, however the literary analysis gives a handle to suppose that the plot of the novel belong to Alexandre Dumas
Le genre monstrueux: la construction d’une identité genrée dans L'Asphyxie et La Bâtarde de Violette Leduc
No full textThis master’s thesis seeks to highlight the French author Violette Leduc and two of her works La Bâtarde and L’Asphyxie. The research first focuses on the autobiographical aspects of her works, and notably, as we will see in the second chapter, how they might also fit into the controversial definition of autofiction according to Serge Doubrovsky. Furthermore, the two first chapters examine the ways in which Violette Leduc challenges the autobiographical pact defined by Philippe Lejeune, and inversely, the way in which she legitimises the identity of her narrator and character in the two works. The third chapter offers a reading of Judith Butler’s gender theories, and the subversion of gender norms. This chapter seeks to highlight the way in which Leduc portrays an ambivalent and malleable gendered identity that saps the stable notions of gender and sex. All in all, the thesis investigates the relation between autobiographical genre choices and the construction of a gendered identity in the mentioned works of Violette Leduc.Fransk mastergradsoppgaveFRAN350MAHF-LÆFRMAHF-FRA
Les retours de la pudeur : Dans L’Affamée de Violette Leduc
No full textL’Affamée (1948) est le deuxième récit que Violette Leduc publie aux éditions Gallimard. Bien qu’il soit dédié à Jacques Guérin, le texte apparaît comme une ode au nom caché de Simone de Beauvoir que l’auteure a aimée comme elle a aimé Jacques Guérin : c’est-à-dire sans retour. Or, L’Affamée ne raconte pas uniquement le renoncement de la narratrice à sa passion pour « Madame », il raconte aussi la passion de la narratrice pour le renoncement, inscrivant le récit non seulement dans la lignée augustinienne de la confession littéraire, mais encore en héritier de la poésie mystique dans la tradition de la théologie négative. Tout en usant de « tact » à l’endroit de la « pudeur » de « Madame », le monologue de L’Affamée devient en soi un moyen de connaissance, le texte donnant accès à une jouissance poétique. Ce sont « les retours de la pudeur », dont l’article analyse le travail auctorial, voire (aucto)biographique (du latin auctor qui signifie « celui qui augmente »).L’Affamée, published by Gallimard in 1948, is Violette Leduc’s second narrative. Although dedicated to Jacques Guérin, the text appears as an ode to the concealed name of Simone de Beauvoir, whom the author loved as she loved Jacques Guérin, that is to say: in vain. L’Affamé, however, does not solely recount the narrator’s renouncement of her passion for “Madame”, it is also about the narrator’s passion for renouncement, placing the text not only in the lineage of literary confession à la Augustine, but also in that of the mystic poem in the tradition of negative theology. While remaining tactful with respect to the “pudeur” of “Madame”, the monologuing itself in L’Affamée is a means of self-knowledge and poetic pleasure. These are the “retours de la pudeur” of which the article analyses the auctorial, not to say (aucto)biographical work (from the Latin auctor, meaning “one that increases”)
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