1,356,969 research outputs found
Narciso. Storia del selfie da Caravaggio a Kim Kardashian
No full textIl narcisismo è considerato la patologia distintiva del XXI secolo: un'ossessione per il sé che si propaga come un virus tramite la nostra costante presenza online, una malattia aggravata dalla perenne immagine di noi che ci rimandano gli schermi degli smartphone. Secondo il mito, Narciso vede il proprio riflesso nelle acque e ne rimane catturato; incapace di sfuggirgli, muore gettandosi nel lago o annega nel tentativo di raggiungerlo. Dalle sue ceneri nascerà un fiore. E se il narciso allora non fosse solo il simbolo di una perdita vanesia, ma del bisogno di trasformazione? Ripercorrendo la storia dell'autoritratto – da pittori come Albrecht Dürer, Rembrandt e Caravaggio fino a fotografi come Lee Friedlander e Hervé Guibert e a celebrità quali Paris Hilton e Kim Kardashian – Narciso traccia un percorso alternativo della rappresentazione di sé. Matt Colquhoun si domanda se l'era del selfie non possa essere considerata in realtà un periodo di mutamento anziché di stasi. Prendendo le distanze dall'approccio moralistico secondo cui l'ossessione per il sé ci seppellirà tutti, propone una visione del narcisismo che parla di trasformazione, rinascita e superamento dell'io
[External Resource] A treatise on the police of the metropolis: containing a detail of the various crimes and misdemeanors by which public and private property and security are, at present, injured and endangered: and suggesting remedies for their preve
No full textThe author examined the rise of crime in eighteenth-century London, which he contended threatened to undermine the British empire. Therefore, Colquhoun offered a variety of methods to try to curb the spread of crime including relying on an improved police force
SAR 716 Eden Hills, down Tailem Bend, 5 December 1953 [picture] /
No full textPart of collection: Buckland collection of railway transport photographs.; Title from inscription on verso.; Inscriptions: titled and dated in pen on verso.; Also available in an electronic version via the Internet at: http://nla.gov.au/nla.pic-vn3771719; Copyright restrictions may applied
Colquhoun, Peter Houlston, NX56964
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/378239Surname: COLQUHOUN
Given Name(s) or Initials: PETER HOULSTON
Military Service Number or Last Known Location: NX56964
Missing, Wounded and Prisoner of War Enquiry Card Index Number: 23325192052
Item: [2016.0049.10533] "Colquhoun, Peter Houlston, NX56964
Call for papers: Ithell Colquhoun, British Women and Surrealism
No full textIthell Colquhoun, British Women and Surrealism (Plymouth, 22-23 Mar 18) Plymouth College of Art, March 22 – 23, 2018 Deadline: May 31, 2017 Seeking the Marvellous: Ithell Colquhoun, British Women and Surrealism 22-23 March 2018, Plymouth Call for papers – deadline 31 May, 2017 Seeking the Marvellous is a two-day interdisciplinary symposium that will examine the work of Ithell Colquhoun (1906 - 1988) and other women connected both with Surrealism and with Britain. It is organised by Plym..
Charanga: A Work for Solo Flute by Michael Colquhoun
No full textA study on the inspirations Michael\u27s Colquhoun\u27s piece for solo flute: Charanga, as well as the techniques used in the piece
Ithell Colquhoun : Female Phantasmagorias of British Surrealism
No full textHerbert Read et d’autres membres du groupe surréaliste britannique ont eu la volonté dès 1936 d’ancrer le surréalisme dans le paysage littéraire britannique, et ont présenté les productions du mouvement d’avant-garde comme découlant naturellement des canons de la littérature britannique. Nous souhaitons à la fois étendre et remettre en question cette approche en incluant des artistes féminines britanniques ainsi qu’en nous appuyant sur le moins canonique roman gothique qu’André Breton définit comme seul genre romanesque acceptable par le mouvement. Dans le premier Manifeste du Surréalisme, Breton dévalorise l’activité littéraire et rejette plus particulièrement le roman avant de citer comme modèles plusieurs auteurs britanniques masculins et féminins, représentant des branches du « male » et du « female gothic ». Nous en venons à nous interroger quant au statut des romans publiés par des artistes féminines britanniques affiliées au mouvement surréaliste.Notre étude portera exclusivement sur Ithell Colquhoun (1906-1988), artiste surréaliste britannique et praticienne de l’occulte qui a composé trois romans, nommément Goose of Hermogenes (1961), I Saw Water (2014) et Destination Limbo (2021). Comme le montrent les dates de publication, ses romans (et généralement sa contribution à des mouvements artistiques et des systèmes de pensée bien établis) ont récemment commencé à attirer l'attention. Il semble opportun de se plonger dans leur étude et de se demander si l’on peut parler de descendance naturelle vis-à-vis de la tradition gothique dont Colquhoun est l’héritière supposée ou, au contraire, de rupture ? La prose narrative de Colquhoun est-elle une réinvention du gothique ? Au-delà de l’analyse du gothique comme outil au sein du répertoire de thèmes et de techniques utilisés par Colquhoun, notre questionnement portera sur les procédés de transformation mis en œuvre dans ses trois romans. Dans un autre pan de la recherche, nous envisagerons les romans comme des objets d’expérimentation et des artefacts magiques entre les mains de Colquhoun ; il s’agira de mettre à jour son bricolage surréaliste ainsi que l’essence occulte de sa prose narrative. En outre, nous mettrons en lumière l’univers poétique de l’auteure. Nous nous demanderons quelles sont les obsessions personnelles et les images privilégiées de Colquhoun, et nous nous intéresserons à ce qui fait sa mythologie intime et ce qui donne corps à ses romans. Nous aurons également pour ambition de révéler ce que Colquhoun met en mouvement au moyen de ses romans, en d’autres termes de déterminer si son bricolage contribue à démanteler la position marginale des traditions dans lesquelles elle a placé son œuvre. Nous examinerons si Colquhoun produit des sub-versions libératrices du roman gothique, surréaliste et occulte, et/ou si elle crée, par le biais de ses romans (que nous examinerons dans le contexte plus large de ses autres productions, tant littéraires que picturales), un système entièrement alternatif. Nous explorerons les nouvelles directions narratives, littéraires et artistiques que prend le genre romanesque sous son impulsion.Summary: As early as 1936, Herbert Read and other members of the British surrealist group attempted to anchor surrealism in the British literary landscape and presented the productions of the avant-garde movement as naturally descending from British literary canons. We intend to extend and question this approach, by including British female artists and focusing on the less canonical gothic novel that André Breton defined as one of the only acceptable literary genres for the surrealist movement. In the first Surrealist Manifesto, Breton downgraded literary activities and more specifically rejected the writing of novels, before going on to name several British male and female writers of gothic novels as models to be emulated. We thus come to wonder what the status of novels published by British female surrealist writers is.The focus of our study will be placed solely on Ithell Colquhoun (1906-1988), a British surrealist artist and practising occultist who worked on three novels, namely Goose of Hermogenes (1961), I Saw Water (2014) and Destination Limbo (2021). As the years of publication show, her novels (and generally her contribution to well-known artistic movements and systems of thought) have recently started to receive attention. It seems therefore timely to delve into them and ask ourselves whether one can talk about a natural inheritance when discussing the gothic tradition Colquhoun is the supposed heir to, or, to the contrary, if one should speak of a break from tradition. Is Colquhoun’s surrealist prose fiction a reinvention of the gothic? To do so, not only will our analysis explore the gothic as a tool amongst the many themes and techniques used by Colquhoun, it will also focus on the methods of transformation employed by the surrealist artist in her three novels. A further dimension of our research is to approach the novels as objects of experimentation and magical artefacts in the hands of Colquhoun: this consists in uncovering her surrealist bricolage and the alchemical essence of her prose writing, as well as in bringing to light the poetical universe of the writer, that is to say the personal obsessions, preferred images and intimate mythology that are woven together and constitute the colquhounian novel. We also intend to investigate whether Colquhoun’s bricolage contributes to dismantling the marginal position of the traditions she has placed her work in. To put it another way, we shall examine whether Colquhoun produces liberating and empowering sub-versions of the gothic, surrealist and occult novel, and/or whether she creates, by means of her novels (which we will look at in the larger context of her other productions, both literary and pictorial), an entirely alternative system. We will explore the new narrative, literary and artistic directions that the genre of the novel takes under her impulse
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