995 research outputs found
I read you wrong
No full textA collection of four short works of fiction, following characters who attempt to form connections with one another but find themselves humbled by the distance which exists between people, as well as the flaws which prevent us from understanding one another.M.F.A.by Angela Workof
Food and eating in fiction since 1950 with particular reference to the writing of Angela Carter, Doris Lessing, Michele Roberts and Alice Thomas Ellis.
No full textPhDEating is a fundamental activity. What people eat, how and with whom, what
they feel about food, what they do or do not want to eat and why - even who
they eat - are of crucial significance in any reading of human behaviour.
In this thesis, I consider the diverse and complex uses of food and eating
in fiction since 1950, especially that written by women. I argue both that food
and eating carry much of the meaning of a novel or story and that the acts of
cooking, feeding and eating depicted are inseparable from issues of power and
control: individually, interpersonally, culturally, politically.
My discussion centres on the writing of Angela Carter, Doris Lessing,
Michele Roberts and Alice Thomas Ellis. Drawing on psychoanalytic theory,
sociology, anthropology, Foucault, Bakhtin and others, the thesis aims to
construct an interdisciplinary perspective which both resists reductive
interpretations and emphasises the centrality, complexity and diversity of food
and eating in literature in our culture.
I begin with an examination of the ambiguities of maternal feeding and
nurturing, moving on to explore the links between appetite, eating and sexuality.
I explore cannibalism and vampirism as manifestations of oppression, but also as
indicating insatiable emptiness and transgressive appetite. The body itself is
crucial, and my argument considers the paradox of not eating as
control/enslavement, also tracing self-starvation as a positive route towards
wholeness and connection. The last part of my argument focuses on social
eating, examining conventions, rituals and food itself in connection with power
relations, and finally considers how we might truly speak of food and eating in
the context of society as a whole
MARC 21 para recursos contínuos.
No full textTradução e adaptação de MARC 21 Format for Bibliographic Data e MARC 21 Format for Holdings Data, da Network Development and MARC Standards Office, da Library of Congress, USA, por Angela Salles
MARC 21 para recursos contínuos
No full textTranslation and adaptation of the MARC 21 Format for Bibliographic Data, and MARC 21 Format for Holdings Data, Network Development and MARC Standards Office, Library of Congress, USA, by Angela Salles. Rio de Janeiro, 2010. 2 v. V.1 MARC 21 format for bibliographic data (updated until October 2010). V.2 MARC 21 format for data collection (Holdings) (updated until October 2008)
"Adel Abdessemd. Works 1988-2015". Contiene i seguenti testi di A. Mengoni: Ombre et lumière pp. 12-13; Nüremberg pp. 20-21; Sysiphe pp. 25-27; Passé simple pp. 34-35; Nuit pp. 42-46; Chrysalide, ça tient à trois fils pp. 50-51; Fontaine pp. 54-55; Zen pp. 58-59; Je me dresse entre les deux pp. 66-67; Adel has resigned pp. 70-71; Question nary pp. 72-73; Il meglio delle tre religioni pp. 78-79; The Green Book pp. 80-81; Happiness in Mitte pp. 84-87; Real Time pp. 88-89; Habibi pp. 90-95; Tschüss pp. 104-105; Study for a video project pp. 106-107; Bourek pp. 108-111; Brik pp. 112-113; Godi s design pp. 116-119; Les Douleurs de ma mère pp. 122-123; Pluie noire p. 134; Birth of Love pp. 142-143; Dvir pp. 148-149; Habibti pp. 150-153; La capacité qu’a la main pp. 154-155; Practice Zero Tolerance pp. 158-163; Wall Drawing p.. 168-171; Séparation pp. 172-173; Sept frères pp. 174-175; Don’t Trust Me pp. 184-187; Helikoptère pp. 196-197; Also Sprach Allah pp. 226-229; Hot Blood pp. 246-247; Usine pp. 258-259; Nedjma pp. 276-279; The Futur of Décor pp. 300-301; Taxidermia, Taxidermy, Histoire naturelle pp. 322-327; One Thousand One pp. 328-329; L’avenir est aux fantômes p. 350; Odradek pp. 360-361; Lise pp. 362-363; Cheval arabe pp. 364-365; Décor pp. 366-371; Who’s Afraid of the Big Bad Wolf pp. 388-391; La Grande parade pp. 392-395; Cri pp. 404-411; Soldaten pp. 412-415; Le Vase Abominable pp. 416-421; Little Pot pp. 422-425; State pp. 426-429; Printemps pp. 434-437; L’Age d’Or pp. 442-443; Park pp. 468-471; Lampedusa pp. 472-475; Pigeon pp. 480-483; Mon Enfant pp. 490-495; Tortue pp. 498-501; Solitude pp. 502-503; Diptyque pp. 514-515; Trabajo pp. 532-535; Citizen pp. 542-547; Chicos pp. 548-551; El Che pp. 552-553.
No full textThe volumes focus on Adel Abdessemed's artistic works in the years 1988-2015. Besides the essays of several international authors, a second volume focuses on the close analyses of Abdessemed's works: a brief essay explores the characteristics and sense generation of every single work and clarifies the issues it appeals to. Angela Mengoni is the author of 65 essays, for a total of about 200 pages of close visual analysis
ANGELA IDA VILLA, Da Monterosso al Mare a Dinard. Anna degli Uberti, la «farfallina color zafferano» (“Colias crocea”) che-sta-per-morire di Montale (e il disegno con l’igneo anello dei «buccellati di Cerasomma») - p. I, “R-EM. Rivista Internazionale di Studi su Eugenio Montale”, n. 1, 2020, pp. 23-84 [= 61 pp.]
No full textANGELA IDA VILLA, Da Monterosso al Mare a Dinard. Anna degli Uberti, la «farfallina color zafferano» (“Colias crocea”) che-sta-per-morire di Montale (e il disegno con l’igneo anello dei «buccellati di Cerasomma») – Parte prima, “R-EM. Rivista Internazionale di Studi su Eugenio Montale”, n. 1, 2020, pp. 23-84 [= 61 pp.]
INDICE:
PREMESSA. Eugenio Montale investigatore a Dinard: il “giallo della farfallina gialla” che-sta-per-morire, latrice di un «messaggio segreto»
I. Le “farfalline color zafferano” lungo i sentieri assolati di Monterosso al Mare (già percorsi da Eugenio Montale e Anna degli Uberti) e delle Cinque Terre
I.1. La «farfallina color zafferano» di Dinard, ovvero la "Colias crocea" (Fourcroy, 1785), ovvero Le Souci
I.2. Da Monterosso al Mare a Dinard a volo di farfalla
I.3. La «farfallina color zafferano» monterossina come “nascondiglio” di Anna: prime ipotesi di indagine
II. Sant’Anna patrona dei Bretoni e Dinard, il “nascondiglio” (linguistico) in Bretagna di Anna degli Uberti, la «maestra» di enigmistica
II.1. La «Duchesse Anne»/«Duchessa Anna» di Saint-Malo e le ventiquattro ostriche che-stanno-per-morire: un altro “nascondiglio” bretone di Anna degli Uberti di fronte a Dinard (“Storie naturali” [II], 1950)
III. L’Anna degli Uberti di Montale, “la morta giovane”, come farfalla estiva che muore a Monterosso al Mare e in Liguria
III.1. La farfalla dalla breve vita come simbolo di morte precoce e imminente
III. 2. L’Anna-farfalla, “la morta giovane”, nei testi montaliani ambientati nelle estati monterossine, «là nel paese dove il sole cuoce»
III. 3. Anna come farfalla “cavolaia bianca” (Pieris brassicae) a Villa Vecchiona: L’estate (1935) e Dov’era il tennis... (1943)
III. 3. 1. Anna come farfalla «cavolaia folle», che rischia di morire a Villa Vecchiona: L’estate
III. 4. Anna come farfalla “Sfinge testa di morto” (Acherontia àtropos) che muore nel fuoco a Villa Montale: Vecchi versi (1926)
III. 4. 1. “Impazzire di luce”: la farfalla come il girasole (in alcuni esempi montaliani)
III. 4. 1. 1. Le Souci (Colias crocea) e le Souci officinalis (Calendula officinalis): la «farfallina color zafferano» francese, ovvero la calendula (un altro girasole)
III. 4. 2. L’enigmatica Anna, «maestra» di enigmistica, come cripto-farfalla Daphnis nerii (“Sfinge dell’oleandro”) a Monterosso e in Liguria: Annetta (1972) e la farfalla Arletta
IV. L’Arcadia tra «Filli», dagli «occhi alla Greuze», e la «farfallina color zafferano» di Dinard (ovvero l’Anna, «fanciulla morta / Aretusa» che era stata ad Annecy e monterossina farfalla «cavolaia folle»)
V. “La morta giovane”, in Francia, trent’anni dopo. L’Anna che andò ad Annecy (maggio 1922) e la farfalla «mattutina visitatrice» di Dinard, latrice di un «messaggio segreto» (maggio 1952)
Riassunto
La Farfalla di Dinard (1952) è analizzata nella prospettiva di un racconto giallo, incentrato
sulla «farfallina color zafferano» (che viene qui identificata nella Colias crocea,
Fourcroy, 1785, detta in Francia “Le Souci”) prossima a morire in Bretagna e latrice
di un «messaggio segreto» per Montale da parte di un «tu». Avendo l’autrice avvistato
(estate 2016) numerose “farfalline color zafferano” sui sentieri delle Cinque Terre, nonché
su quello di Monterosso costeggiante le ville Delle Due Palme e Vecchiona, dimostra
che il «tu» incarnato dalla farfalla di Dinard è Anna degli Uberti – altrove da Montale
enigmaticamente detta “morta a vent’anni”, nonché «maestra» di enigmistica –, già
simboleggiata da una farfalla in altri testi monterossini (Vecchi versi, L’estate, Dov’era
il tennis..., Annetta) e altresì “nascosta” nelle Storie naturali [II] (1950; Fuori di casa)
a Saint-Malo, di fronte a Dinard, nella Bretagna avente come protettrice Sant’Anna.
Parole chiave
Eugenio Montale; Farfalla di Dinard (prosa narrativa); Anna degli Uberti; Colias crocea
(Fourcroy, 1785)-“Le Souci”; Storie naturali [II] (Fuori di casa).ANGELA IDA VILLA, Da Monterosso al Mare a Dinard. Anna degli Uberti, la «farfallina color zafferano» (“Colias crocea”) che-sta-per-morire di Montale (e il disegno con l’igneo anello dei «buccellati di Cerasomma») – Parte prima, “R-EM. Rivista Internazionale di Studi su Eugenio Montale”, n. 1, 2020, pp. 23-84 [= 61 pp.]
Abstract
La Farfalla di Dinard (1952) is analyzed here from the perspective of a mystery story,
centered on the “saffron-colored butterfly” (identified with Colias crocea, Fourcroy,
1785, also known in France as “Le Souci”) , that is close to dying out in Brittany, bringing
a “secret message” from a “you” to Montale. The author of this essay saw numerous
“saffron-colored butterflies” on Cinque Terre footpaths (summer 2016), as well as on
those of Monterosso, coasting the villas Delle Due Palme and Vecchiona. This shows
that the “you” embodied by the Dinard butterfly is Anna degli Uberti – elsewhere called
enigmatically by Montale “dead at the age of twenty”, as well as “master of enigmas”.
She was already symbolized by a butterfly in other texts revolving around Monterosso
(Vecchi versi, L’estate, Dov’era il tennis..., Annetta) and “hidden” in Storie Naturali [II]
(1950; Fuori di casa) in Saint-Malo, opposite Dinard, in Brittany, under the protection
of Saint Anne.
Keywords
Eugenio Montale; Farfalla di Dinard (novel); Anna degli Uberti; Colias crocea
(Fourcroy, 1785)-“Le Souci”; Storie naturali [II] (Fuori di casa)
Portfolio of recorded performances and exegesis: Messiaen’s musical language for the jazz pianist - an exploration through performance.
No full textMoving beyond Gunther Schuller’s Third Stream amalgamation of classical and jazz, this study explores whether the musical language of Olivier Messiaen can make a valid contribution to jazz piano performance. Initially, my project sought to answer such questions as: What elements of the musical language of Messiaen already exist in the jazz vocabulary? Am I able to extend this further? What are the timbral structures and pianistic effects within Messiaen’s musical language? What will be the most effective application of Messiaen’s musical language to jazz piano performance? Endeavouring to answer the final question led me to consider such aspects as whether the project should be limited to quoting Messiaen motifs, arranging Messiaen melodies, replacing jazz harmonic structures on standards with examples from Messiaen’s musical language or whether it would be better to approach the research conceptually. The work of Hubert Nuss provided encouraging reassurance that this was not an impossible task. In order to articulate this conception, the initial challenge was to decide how the classical and jazz worlds might meet in a ‘Messiaen’ technique. The approach adopted was similar to that used for undergraduate jazz study, namely, immersion in the piano scores and recordings of Messiaen’s music as well as by live performances. This was followed by the development and assessment of a contrived approach when specific techniques, such as tonal colourings or harmonic structures, were developed through prepared exercises and consciously included in my performance. It was then compared with an intuitive approach when no such precise parameters were established. This submission consists of CD recordings of two public recitals and an exegesis. It documents the development of this Messiaen technique and discusses its application in my performances. It also demonstrates the ways that Messiaen’s musical language can be used within jazz piano performance to provide a colour that distinguishes jazz piano performance in a competitive field.Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 201
How to be a woman. Models of masochism and sacrifice in young adult fiction
No full textBuffy, Bella, Veronica, Katniss, Clary, Tris and Saba : For two decades post-feminist heroines have faced life-threatening trials as part of their progress to womanhood. In this chapter I consider how young adult popular fictions operate as forms of pedagogy for young women by offering them particular models of maturity and womanhood. I explore the recurrence and reformulation of a persistent pattern of behaviour in which heroines engage in risky and/or masochistic behaviours for which they are emotionally rewarded.. These recurrences function as a form of vicarious experiential learning in which readers and viewers learn that emotional gratification and adult status are conferred through self-harm and self-sacrifice. Popular culture is not a monolithic form and young adult fictions are no exception. An analysis of fictional examples of this behaviour pattern challenges the idea that heroines today are empowered agents as a result of the legacy of feminism. At the same time, the analysis belies any notion that fictions are universally hegemonic and oppressive – fictions can and do disrupt and interrogate this pattern of emotional masochism. Scholars of public pedagogy have explored the complexities, contradictions and subtleties of the pedagogical process. Sandlin O’Malley and Burdick (2011) in their review of public pedagogy literature acknowledge that some scholarship has demonstrated how “the teaching and learning inherent within daily life can be both oppressive and resistant” (p. 144). Jubas and Knutson (2012) also see public pedagogy as an arena where contradictions and tensions are in play. They argue that we can see “New examples of dialectic or tensions … between the authority of the producer and the consumer; between traditional structures which ground identities and help people make sense of cultural texts, and personal agency which frees people to choose and invent identities and meanings” (p. 86). This analysis aims to contribute to understandings of the complexities of public pedagogy by showing how fictions aimed primarily at young women both resist and accommodate patriarchy
ACS Conference and Angela Davis's Keynote Address
No full textThis announcement was distributed by campus email.As many of you know, the Eighth Biennial ACS Women's and Gender Studies Conference is taking place on campus March
6-7, 2009. It promises to be an exciting event. There will be 25 panels on a wide variety of topics, and participants are
coming from colleges and universities across the country and overseas. I invite you to attend as many panels as you'd
like; they are open to the Rhodes community.
Dr. Angela Davis, internationally acclaimed author and activist, will give the keynote address, "Anti-Racist Resistance and
the Future of Feminism," in the McCallum Ballroom at 7:00, March 6th
Introducción, análisis y propuesta de traducción de un cuento de Angela Carter : The snow pavilion
No full textEn este trabajo se expone una propuesta de traducción inglés-español de un cuento inédito de la autora británica Angela Carter, «The Snow Pavilion» (7.243 palabras). Este relato forma parte del libro Burning Your Boats, que reúne la colección completa de cuentos de la autora. Se introduce a la autora y a su obra y se analiza el relato, tanto a nivel contextual como a nivel formal y estético. Después de la traducción, se describen los problemas que han aparecido durante el proceso, el método empleado para llegar a una solución adecuada y el resultado finalEn aquest treball s'exposa una proposta de traducció anglès-castellà d'un conte inèdit de l'autora britànica Angela Carter, «The Snow Pavilion» (7.243 paraules). El relat forma part del llibre Burning Your Boats, que reuneix la colecció completa de contes de l'autora. S'introdueix l'autora i la seva obra i s'analitza el relat, tan a nivell contextual com a nivell formal i estètic. Després de la traducció, es descriuen els problemes que han aparegut durant el procés, el mètode utilitzat per a arribar a una solució adecuada i el resultat finalThis work presents a translation proposal from English to Spanish of an unpublished short story by the British writer Angela Carter, «The Snow Pavilion» (7.243 words). This story belongs to the book Burning Your Boats, which puts together the whole collection of Carte's short stories. It introduces the author and her works, then analyzes the story, both in a contextual level and in a formal and aesthetic level. After the translation, it describes the problems that have appeared during the process, the method used to reach an acceptable solution and the final resul
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