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Thematische Bibliographien / Creed, barbara / Bücher

Bücher zum Thema „Creed, barbara“

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Autor: Grafiati

Veröffentlicht am 26. Juli 2024

Zuletzt aktualisiert am 27. Juli 2024

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1

Chaudhuri, Shohini. Feminist film theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. London: Routledge, 2006.

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2

Hecht, Daniel. Bones of the Barbary Coast: A Cree Black novel. New York: Bloomsbury Pub., 2006.

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3

Hecht, Daniel. Bones of the Barbary Coast: A Cree Black novel. New York: Bloomsbury Pub., 2006.

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4

McFadden, Michael C. Measurement of streamflow gains and losses on Mission Creek at Santa Barbara, California: July and September 1987. Sacramento, Calif: U.S. Dept. of the Interior, U.S. Geological Survey, 1991.

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5

United States. Office of the Assistant Secretary of the Army (Civil Works). Mission Creek, Santa Barbara, California: Communication from the Assistant Secretary of the Army (Civil Works) transmitting a report from the Chief of Engineers, Department of the Army, on Lower Mission Creek, Santa Barbara, California, together with other pertinent reports and comments, pursuant to Pub. L. 89-789, sec. 209 (80 Stat. 1423). Washington: U.S. G.P.O., 1988.

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6

Peter, Martin. Development and calibration of a two-dimensional digital model for the analysis of the ground-water flow system in the San Antonio Creek Valley, Santa Barbara County, California. Sacramento, Calif: U.S. Dept. of the Interior, Geological Survey, 1985.

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7

United States. Office of the Assistant Secretary of the Army (Civil Works). Flood protection along Carneros Creek, California: Communication from the Assistant Secretary of the Army (Civil Works) transmitting recommendations for the modification to the authorized flood damage reduction project for Santa Barbara County coastal streams, California, pursuant to 42 U.S.C. 1962d-5(a). Washington: U.S. G.P.O., 1992.

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8

Chaudhuri, Shohini. Feminist Film Theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. Taylor & Francis Group, 2006.

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9

Chaudhuri, Shohini. Feminist Film Theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. Taylor & Francis Group, 2006.

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10

Chaudhuri, Shohini. Feminist Film Theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. Taylor & Francis Group, 2006.

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11

Chaudhuri, Shohini. Feminist Film Theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. Taylor & Francis Group, 2006.

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12

Feminist film theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. London: Routledge, 2006.

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13

Carr, Jeremy. Repulsion. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859326.001.0001.

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Annotation:

Roman Polanski’s Repulsion (1965), starring Catherine Deneuve as a repressed and tormented manicurist, is a gripping, visually inventive descent into paranoia and self-destructive alienation. Emblematic of recurrent Polanski motifs, evinced in his student short films, in his striking debut feature, Knife in the Water (1962), and in subsequent features like Death and the Maiden (1994), Repulsion is a tour de force examination of crippling anxiety and the sinister potency of inanimate objects. Repulsion amplifies the realm of psychological horror by evoking the seething impact of increasing delusion, literal and figurative seclusion, and the consequences of one woman’s foreboding sensitivity to the unsettling world that surrounds her. This Devil’s Advocate considers Repulsion within the context of familiar horror tropes and the prevailing qualities of Polanski’s broader oeuvre. Drawing on the research of Sigmund Freud, Julia Kristeva, Barbara Creed and others, concerning issues of abjection, the ‘monstrous-feminine’, and the psychology of horror spectatorship, this text focuses on central themes of isolation, sexuality and setting. Bookended by introductory biographical details and concluding with a roundup of the film’s reception, Repulsion is situated within the horror genre at large as well as its various off-shoots, such as the rape/revenge subgenre. There is also an analysis of the film’s technical qualities, from its sound design to its brilliantly low-key special effects, all of which define the film as Polanski’s most audaciously stylish realisation of dread and unease.

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14

Langsdale, Samantha, und Elizabeth Rae Coody, Hrsg. Monstrous Women in Comics. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496827623.001.0001.

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Annotation:

Many studies of the monster and monstrosity have focused on women, and most do so (at least in part) in relation to some type of visual culture. However, few have examined the appearance of monstrous women in comics in particular. Like horror films, sequential art has an abundance of monsters and fantastical beings. No less important to this volume than the sheer abundance of monsters within comics is the fact that they are often marked by gender, race, and disability in complex ways. Each chapter provides a text-critical analysis of a particular (or perhaps several) comic, manga, or graphic novel in order to ask how the monster makes meaning within the text(s) and, what it means for the monster to be coded as a woman. Further, building on the work of monster studies scholars, such as Jeffrey Jerome Cohen, Barbara Creed, Margrit Shildrick, and Julia Kristeva, each author also reflects on the various ways their analysis of the comic, and the meaning made by the monstrous woman therein, connects to the broader cultural context in question. In order to further converse with existing scholarship on monsters, on gender, and to further enable dialogue between chapters, this book is organized along a number of common themes: power, embodiment, child-bearing, childhood, and performance. Women are often called monsters. With this collection, authors use comics to try to figure out what that monstrosity means and what women, scholars, and comics have done and should do about it.

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15

Hecht, Daniel. Bones of the Barbary Coast: A Cree Black Novel. Bloomsbury Publishing USA, 2008.

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16

Feminist Film Theorists. Routledge, 2006.

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