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Journal articles on the topic 'Leonora'

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Published: 4 June 2021
Last updated: 20 February 2023

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1

Chakravortty, Dipshikha. "Leonor Michaelis and Maud Leonora Menten." Resonance 18, no. 11 (November 2013): 963–65. http://dx.doi.org/10.1007/s12045-013-0123-2.

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2

Rodríguez Romero, Nana. "Leonora." LA PALABRA, no. 22 (September 10, 2013): 163. http://dx.doi.org/10.19053/01218530.2026.

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Reunir a dos mujeres extraordinarias de la historia de la literatura y la pintura del siglo XX, en una novela, es un disfrute para el espíritu. La escritora mexicana, Helena Poniatowska, autora de una vasta obra reunida en novelas, cuentos, poesía, teatro y crónica, como La noche de Tatlelolco, La piel del cielo, Querido Diego, te abraza Quiela, etc.; aborda la vida de la pintora y escritora inglesa Leonora Carrington (1917-2011), mediante el género de biografía novelada, en la que narra escenas de la vida de la artista, nacida en el seno de la aristocracia que desafió desde niña, con su temperamento arrollador, marcado por una gran imaginación y rebeldía, conociendo a lo largo de su existencia no sólo las tragedias del siglo XX en la Europa de la II guerra; sino también, como víctima del exilio, la cultura extraña del México ancestral y el cosmopolitismo de Nueva York.
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3

Adetu, Edith Georgiana. "Structure of the Vocal Discourse of the Character Leonora From the Opera "Il trovatore" by Giuseppe Verdi." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (June 30, 2021): 273–83. http://dx.doi.org/10.24193/subbmusica.2021.1.17.

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"The opera ""Il Trovatore"" crowns the famous Verdi trilogy (”Rigoletto”, ”Il Trovatore”, ”La Traviata”) leaving as a legacy in the history of lyrical theatre vocal archetypes relevant to the Italian romantic opera. This research aims at the formal and stylistic analysis of the vocal discourse of the character Leonora, considering the solo moments and outstanding overall moments, attributed to the role. In carrying out this approach we will highlight the vocal peculiarities of the character, as well as relevant technical and interpretive aspects. In essence, the research represents a correlation between the structure of the moments that make up the vocal discourse and the nature of the character’s Verdi vocality, Leonora’s role summing up various technical and interpretive requirements. Keywords: Verdi, Il Trovatore, Leonora, Structure, Discourse, Vocality "
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4

Aberth, Susan, Holly Barnet-Sanchez, and Leonora Carrington. "Leonora Carrington." Art Journal 51, no. 3 (1992): 83. http://dx.doi.org/10.2307/777352.

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5

JAMES, Edward, and Inés AMOR. "Leonora Carrington." Pleine Marge 48 (December 31, 2008): 41–59. http://dx.doi.org/10.2143/pm.48.0.2036157.

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6

Paterson, Catherine F. "Leonora Waterston." British Journal of Occupational Therapy 75, no. 12 (December 2012): 562. http://dx.doi.org/10.1177/030802261207501204.

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7

Ruíz Solórzano, Jaime. "Carlos Hernán García o "Canán": Una imaginación desbordada por los sueños." Paideia Surcolombiana 1, no. 18 (February 1, 2014): 121. http://dx.doi.org/10.25054/01240307.1160.

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Cuando nos hablan de los sueños hechos imágenes a través de las artes visuales, nuestro recuerdo trae a la mente las obras de los artistas europeos y latinoamericanos que han trabajado dentro de la tendencia verista del surrealismo; es decir, aquellas obras que podemos asociar con elementos y seres de nuestro mundo circundante. Tal es el caso de Salvador Dalí, Rene Magritte, Paul Delvaux, Max Ernest, María Izquierdo, Frida Kahlo, Mercedes Varo, Leonora Carrington, Leonor Fini o el pintor huilense Filomeno Hernández.
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8

De la Fuente Rocha, Eduardo. "Leonora Carrington. Metamorfosis hacia la autenticidad / Leonora Carrington. Metamorphosis towards authenticity." RICSH Revista Iberoamericana de las Ciencias Sociales y Humanísticas 6, no. 12 (July 25, 2017): 26–51. http://dx.doi.org/10.23913/ricsh.v6i12.124.

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Este trabajo es continuación del artículo "Leonora Carrington. Frente a la desestructuración". En el presente escrito se aborda la estancia que tuvo la artista en el Sanatorio Santander. Se compara el evento psicótico de Leonora Carrington con el de Daniel Paul Schreber, ambos narrados por los propios sujetos que lo experimentaron. La finalidad de hacer dicha comparación es analizar las diferencias que hay entre el evento de Schreber y el de Leonora, para entender por qué ella sí logró salir y él no. Posteriormente, desde del apartado llamado México, se realizó un análisis psicológico de la artista a través de su obra y la evolución de la misma, donde muestra su proceso de individuación entre los años 1942 y 2011. Para revisar el análisis de su psiquismo se han tomado dos fuentes: la biográfica y la autobiográfica. A través de este análisis puede observarse la evolución psíquica que la artista logró, lo que permite un mejor entendimiento del legado que su trabajo dejó a la humanidad.
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9

De la Fuente Rocha, Eduardo. "Leonora Carrington. Frente a la desestructuración / Leonora Carrington. Facing the disruption." RICSH Revista Iberoamericana de las Ciencias Sociales y Humanísticas 6, no. 12 (July 18, 2017): 1–25. http://dx.doi.org/10.23913/ricsh.v6i12.123.

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En el presente trabajo se busca un acercamiento al conocimiento psíquico de la artista Leonora Carrington. Analizar a un personaje tan complejo no es sencillo, porque las facetas que presenta el desarrollo de su personalidad son múltiples. Aunado a ello está la dificultad para encontrar bibliografía que hable extensamente de su vida, sobre todo de la segunda parte —después de 1942—. Para revisar el análisis de su psiquismo se han tomado dos fuentes: la biográfica y la autobiográfica. A través de este análisis puede observarse la evolución psíquica que la artista logró, lo que permite un mejor entendimiento al legado que su trabajo dejó a la humanidad.
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10

Kunny, Clare. "Leonora Carrington's Mexican Vision." Art Institute of Chicago Museum Studies 22, no. 2 (1996): 166. http://dx.doi.org/10.2307/4104320.

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11

Dineen, Murray. "Leonora Unbound: Tonality as Allegory." Canadian University Music Review 20, no. 1 (May 16, 2013): 22–40. http://dx.doi.org/10.7202/1015646ar.

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Tonality has both a literal and a figurative or allegorical aspect. Tonal unity, a commonplace among much current music theory, is a superficial entity, a literal facade beneath which lies a sustained and discursive domain, where tonality is made and remade in a continual process of fracturing and reinterpretation. Like the frought persona of Beethoven's Leonora-cum-Fidelio, the tonality of the aria "Abscheulicher! ... Komm Hoffnung ..." defies analysis as a unified structural whole. Like the behaviour of the piano teacher in Bonnie Burnard's short story "Music Lessons," the conventional behaviour of tonality can be seen to crack and buckle in the aria, albeit only briefly, before it is smoothed over and fractious elements suppressed behind a facade of the calibre of a Fidelio.
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12

Fernández Agüero, Isabel. "Food and eating in Leonora Carrington's short stories: "flesh-eaters" and "cookies-and-green eaters"." Indivisa, Boletín de Estudios e Investigación, no. 8 (November 30, 2007): 8. http://dx.doi.org/10.37382/indivisa.vi8.349.

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13

Olden-Jørgensen, Sebastian. "Otte Sperling den yngres latinske Leonora Christina-biografi (ca. 1690)." Fund og Forskning i Det Kongelige Biblioteks Samlinger 61 (January 13, 2023): 11–42. http://dx.doi.org/10.7146/fof.v61i.135601.

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Sebastian Olden-Jørgensen: Otto Sperling the younger’s Latin biography of Leonora Christina (ca. 1690) Sebastian Olden-Jørgensen: The Danish antiquarian Otto Sperling the younger (1634‑1715) worked for most of his life on a manuscript titled ‘De foeminis doctis’, now in the collection of the Royal Library, shelfmark GKS 2110 quarto, which containedshort biographies of a total of 1,399 learned women from all ages and nations (cf. Fund og Forskning, 2012, pp. 187‑212). One of these is Leonora Christina (1621‑1698), the daughter of Christian IV and his morganatic wife, Kirsten Munk, and a major figure in Danish literature thanks to her prison narrative Jammers Minde and her so-called ‘French Autobiography’. Sperling’s Latin biography focuses on her literary achievements and contains information not found elsewhere. It has been known to scholarship for generations, and a partial translation from the eighteenth century exists in manuscript, but the text has never been published, probably because it consists of 24 pieces distributed over 18 different pages between pp. 306 and 401 of vol. I of the manuscript. It is here edited and translated into Danish for the first time, and it is argued that Sperling composed it on the basis of a series of interviews with the ageing Leonora Christina after her release from prison in 1685. In other words, Sperling functioned as Leonora Christina’s ghostwriter, and the text should really be considered autobiographical and placed alongside the Jammers Minde and her French Autobiography as an authentic expression of her personality.
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14

Pinto Junior, Rafael Alves. "Uma Viagem pelo Sertão." albuquerque: revista de história 13, no. 26 (December 28, 2021): 208–11. http://dx.doi.org/10.46401/ardh.2021.v13.13913.

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15

Weiss, Deborah. "Domestic Intelligence: Leonora and National Security." European Romantic Review 32, no. 1 (January 2, 2021): 1–21. http://dx.doi.org/10.1080/10509585.2020.1865164.

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16

VADÉ, Yves. "Les distractions de Dagobertde Leonora Carrington." Pleine Marge 48 (December 31, 2008): 35–39. http://dx.doi.org/10.2143/pm.48.0.2036156.

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17

Behrens, Roy R. "Leonora Carrington: Surrealism, Alchemy and Art." Leonardo 39, no. 3 (June 2006): 271–72. http://dx.doi.org/10.1162/leon.2006.39.3.271.

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18

Vitti-Alexander, Maria Rosaria, Luigi Pirandello, J. Douglas Campbell, and Leonard G. Sbrocchi. "Tonight We Improvise and "Leonora, Addio"." Italica 66, no. 1 (1989): 64. http://dx.doi.org/10.2307/479311.

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19

Chadwick, Whitney. "Leonora Carrington: Evolution of a Feminist Consciousness." Woman's Art Journal 7, no. 1 (1986): 37. http://dx.doi.org/10.2307/1358235.

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20

Chadwick, Whitney, Paul De Angelis, and Salomon Grimberg. "Leonora Carrington: The Mexican Years, 1943-1985." Woman's Art Journal 15, no. 1 (1994): 55. http://dx.doi.org/10.2307/1358512.

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21

Campbell, Kyle. "Leonora Sansay's Secret History of Land Crabs." Early American Literature 57, no. 2 (2022): 469–93. http://dx.doi.org/10.1353/eal.2022.0036.

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22

Gaensbauer, Deborah B. "Voyages of discovery: Leonora Carrington's magical prose." Women's Studies 23, no. 3 (July 1994): 271–84. http://dx.doi.org/10.1080/00497878.1994.9979027.

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23

Goode, Abby L. "Gothic Fertility in Leonora Sansay’s Secret History." Early American Literature 50, no. 2 (2015): 449–73. http://dx.doi.org/10.1353/eal.2015.0054.

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24

Cipolla, Gaetano. "Review: Tonite We Improvise and “Leonora, Addio!”." Forum Italicum: A Journal of Italian Studies 23, no. 1-2 (March 1989): 354–57. http://dx.doi.org/10.1177/001458588902300153.

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25

Izzo, Francesco. "William Henry Fry's Leonora: The Italian Connection." Nineteenth-Century Music Review 6, no. 1 (June 2009): 7–25. http://dx.doi.org/10.1017/s1479409800002871.

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On 7 June 1845, the New York Herald published a letter by an ‘occasional correspondent’ from Philadelphia concerning William Henry Fry's first grand opera, Leonora, which premiered three days before at the Chestnut Street Theatre. The letter contained the following remark:All were delighted with the music, it was so much like an old acquaintance in a new coat; indeed some of ‘the cognoscenti’ said that it was a warm ‘hash’ of Bellini, with a cold shoulder of ‘Rossini,’ and a handful of ‘Auber’ salt – whilst others congratulated Mr. Fry upon his opera being so much like Norma ….
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26

Scappini, Alessandra. "UNA BOZZA PER UN’ OPERA TEATRALE DI LEONORA CARRINGTON E REMEDIOS VARO." Revista Internacional de Culturas y Literaturas 19, no. 19 (2016): 268–82. http://dx.doi.org/10.12795/ricl.2016.i19.22.

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27

Weissmann, Leonora. "Pintura a fora (Imagem)." Em Tese 21, no. 3 (July 18, 2016): 196. http://dx.doi.org/10.17851/1982-0739.21.3.196-202.

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Pintura a fora, de Leonora Weissmann. Atua profissionalmente como artista plástica, designer e cantora. É graduada em Pintura e Gravura pela Escola de Belas Artes da Universidade Federal de Minas Gerais, onde também possui título de Mestre em Artes. www.leonoraweissmann.org.
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28

Wang, Linlin. "Taking an exhibition of "mysterious world" works written by women as an example, the art and form of female images in contemporary illustration." Highlights in Art and Design 1, no. 1 (September 13, 2022): 17–20. http://dx.doi.org/10.54097/hiaad.v1i1.1565.

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The purpose of this paper is to summarize the artistic language and image characteristics of Leonora Carrington, the Muse of the 2022 Venice Biennale, through the analysis of her works in an exhibition of "mysterious world" from women's pen, and then to study the artistic expression forms of women's images in contemporary illustrations. Leonora Carrington is a typical representative of surrealism. In his works, in addition to focusing on the "spiritual automation" of the subconscious and dreams, he also integrates Celtic culture, Renaissance paintings, Central American folk art, medieval alchemy and Jungian psychology. Most of his works focus on the half human and half animal images in the natural environment, and the combination of various wild animals. With the softness of women, they are merged into sacred and bizarre "magic temples". At the same time, it explores the themes of identity and gender, feminism and so on.
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29

Coste, Marion. "IDENTITÉS AFROPÉENNES DANS BLUES POUR ELISE DE LÉONORA MIANO." Philologia hispalensis 2, no. 34 (2020): 17–32. http://dx.doi.org/10.12795/ph.2020.v34.i02.02.

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Blues pour Elise met en scène des personnages de jeunes femmes afropéennes (c’est-à-dire d’origine africaine ou antillaise mais qui se reconnaissent principalement dans la culture de l’hexagone) de la classe moyenne. La question de la race est présente, mais sans insistance: ce sont les histoires d’amour des personnages qui occupent le récit. Nous verrons que cette manière de mettre la question de la race en arrière-plan permet à Léonora Miano d’éviter les stéréotypes misérabilistes auxquels les personnages noirs des romans français sont trop souvent réduits. Au contraire, dans ce roman, elle construit une grande diversité de modèles identitaires afropéens à travers ses personnages. Le roman offre également un « territoire mental » afropéen grâce aux références musicales présentes à la fin de chaque chapitre.
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30

Cruz Hernández, Azalea. "Análisis iconográfico: La sinfonía Q de Leonora Carrington." Edähi Boletín Científico de Ciencias Sociales y Humanidades del ICSHu 9, no. 17 (December 5, 2020): 1–12. http://dx.doi.org/10.29057/icshu.v9i17.6251.

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Analizar la pintura La sinfonía Q de la artista Leonora Carrington nos permite comprender parte importante en su vida, las influencias que forjaron su trabajo como parte del círculo surrealista y de su imaginario, brindando así un legado que enriquece la historia del arte mexicano contemporáneo. A través de fuentes que abordan temas biográficos, esotéricos, musicales, surrealistas y aplicando el método iconográfico de Erwin Panofsky han permitido acercarnos al desciframiento de una obra cuya representación de seres fantásticos y mitológicos son partícipes para la creación de una música perteneciente a otro plano, conocida como “armonía de las esferas” la cual propone la idea de un universo ordenado, constituido por sonidos mágicos e inefables.
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31

Greve, Lita. "Vår første Skandinaviske entomolog? – Prinsesse Leonora Christina." Naturen 136, no. 06 (December 3, 2012): 315–18. http://dx.doi.org/10.18261/issn1504-3118-2012-06-05.

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32

Kálmán, Mária. "Leonora Tükörországban : Claus Guth Fidelio-rendezésének pszichoanalitikus olvasata." Theatron 14, no. 3 (2020): 56–70. http://dx.doi.org/10.55502/the.2020.3.56.

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In 2015, the German director staged Beethoven’s Fidelio at the Salzburg Festival. Guth’s intertextual interpretation rethinks the meanings of prison and of Hades, of the underworld, for the 21st century. The paper seeks theoretical reference points for a more nuanced reading of this interpretation of Fidelio, and highlights above all the influence of Jean Cocteau’s and Robert Wilson’s work, in addition to various cinematic and theatrical allusions.
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de Schmidt, Aurora Camacho. "Reading Elena Poniatowska’s Leonora in an Undergraduate Seminar." Diálogo 17, no. 1 (2014): 9–21. http://dx.doi.org/10.1353/dlg.2014.0010.

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34

Carson, Margaret. "Leonora Carrington: The Story of the Last Egg." Review: Literature and Arts of the Americas 53, no. 1 (January 2, 2020): 145–48. http://dx.doi.org/10.1080/08905762.2020.1749975.

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35

Markova, Lora, and Roger Shannon. "Leonora Carrington on and off Screen: Intertextual and Intermedial Connections between the Artist’s Creative Practice and the Medium of Film." Arts 8, no. 1 (January 10, 2019): 11. http://dx.doi.org/10.3390/arts8010011.

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This article explores the under-researched intertextual and intermedial connections between Leonora Carrington’s transdisciplinary practice and the medium of film. The analysis focuses on the artist’s cameo appearances in two 1960s Mexican productions—There Are No Thieves in This Village (Alberto Isaac 1964) and A Pure Soul (Juan Ibáñez 1965)—which mark her creative collaborations with Surrealist filmmaker Luis Buñuel and Magic Realists Gabriel García Márquez and Carlos Fuentes. Carrington’s cameo roles are analyzed within a network of intertextual translations between her visual and literary works that often mix autobiographical and fictional motifs. Moreover, it is argued that Carrington’s cinematic mediations employ the recurring Surrealist tropes of anti-Catholic and anti-bourgeois satire. The article also investigates Carrington’s creative approach towards art directing and costume design, expressed in the Surrealist horror film The Mansion of Madness (Juan López Moctezuma 1973). The analysis examines the intermedial connections between Carrington’s practice of cinematic set design and her earlier experiments with theatrical scenography. Overall, this study aims to reveal undiscovered aspects of Leonora Carrington’s artistic identity and her transdisciplinary oeuvre.
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36

Malena, Anne. "En anglais, Léonora parle-t-elle encore et à qui?" TTR : traduction, terminologie, rédaction 10, no. 1 (February 27, 2007): 197–217. http://dx.doi.org/10.7202/037284ar.

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Résumé En anglais, Leonora parle-t-elle encore et à qui? — Dany Bébel-Gisler, sociolinguiste et attachée de recherche au C.N.R.S., a écrit Leonora : l'histoire enfouie de la Guadeloupe afin de célébrer la culture de son île natale et de produire un contre-discours au discours national français. À partir d'une série d'entrevues en créole avec Léonora, travailleuse de canne née en 1919, Dany établit le texte d'un roman-témoignage dans lequel elle maintient certains passages en créole. Bien que Bébel-Gisler s'approprie la voix de Léonora, elle le fait dans un but didactique et militant et cet acte littéraire de traduction peut être défendu comme un geste de solidarité visant à explorer et à faire connaître le pouvoir de résistance des pratiques culturelles de la Guadeloupe. Le présent article analyse la version américaine de Léonora traduite par Andrea Leskes, publiée par « University Press of Virginia », afin de déterminer si elle parvient à renouveler ce geste de solidarité. Une question bakhtinienne (Qui parle?) est posée et trois problèmes spécifiques sont examinés pour tenter d'y répondre : l'emploi du créole, la relation dialogique entre le créole et le français et la valeur de contre-discours du roman.
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37

O’Rawe, Ricki. "“Should We Try to Self Remember While Playing Snakes and Ladders?”." Religion and the Arts 21, no. 1-2 (2017): 189–208. http://dx.doi.org/10.1163/15685292-02101008.

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Emerging from the Paris surrealist group, the English-born writer and painter Leonora Carrington (England, 1917—Mexico, 2011) was perpetually suspicious of orthodoxy. She often pokes fun at, parodies, and ultimately upsets traditional hierarchies of power. In her work animals impart wisdom, Goddesses loom large, and domestic spaces become sites of occult power. In this article, I investigate Carrington’s suspicion of gurus with claims to esoteric truth. Carrington participated in Fourth Way groups run by students of G. I. Gurdjieff (Christopher Fremantle) and P. D. Ouspensky (Rodney Collin). However, while she had a deep interest in the teachings, Carrington remained suspicious of the group practices of the Fourth Way, as can be seen in Elena Poniatowska’s fictionalized biography Leonora (2015). This article explores Carrington’s contact with the ‘Work’ in order to shed light on the character of Dr. Gambit in her 1950 novel, The Hearing Trumpet, commonly thought to be a parody of Gurdjieff. In doing so, it will investigate Carrington’s feminist objections to the role of the guru, while also contributing to a discussion of the unease some felt toward the praxis of the Fourth Way, despite their attraction to the philosophy.
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38

García, Fernando. "Travesía latina. CD. Saxofones: Miguel Villafruela, piano: Leonora Letelier." Revista musical chilena 64, no. 214 (December 2010): 82–83. http://dx.doi.org/10.4067/s0716-27902010000200012.

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39

García Ochoa, Gabriel. "The Surrealist Parallels of Leonora Carrington and Alejo Carpentier." Journal of Iberian and Latin American Research 22, no. 3 (September 2016): 280–96. http://dx.doi.org/10.1080/13260219.2016.1263358.

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40

Mudie, Ella. "The Map of Down Below: Leonora Carrington's Liminal Cartography." English Language Notes 52, no. 1 (March 1, 2014): 145–54. http://dx.doi.org/10.1215/00138282-52.1.145.

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41

Bartusis, Mark. "Authority in Byzantine Provincial Society, 950-1100. Leonora Neville." Speculum 81, no. 2 (April 2006): 570–72. http://dx.doi.org/10.1017/s0038713400003286.

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42

Hoch, Ella. "Otto Sperling (1602-1681) – moderne europæer, anset læge, politisk fange." Magasin fra Det Kongelige Bibliotek 28, no. 2 (June 24, 2015): 57–71. http://dx.doi.org/10.7146/mag.v28i2.66822.

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Interesse for planter ledte Otto Sperling til medicinstudiet med anatomi, kemi og botanik. Som ung udforskede han naturen i Skandinavien og Sydeuropa, og som internationalt uddannet læge fik han praksis i Danmark-Norge. Corfitz Ulfeldt blev hans patient, og venskab opstod mellem Sperling, Ulfeldt og Leonora Christine, Ulfeldts trolovede. Sperling blev kongelig Botanicus og livlæge for Christian 4. Ulfeldt-processen under Frederik 3. rev Sperling med. Dommene anskues kritisk.
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43

García-Manso, Ángelica. "Sentido didáctico de Leche del sueño, cuaderno de Leonora Carrington." Ogigia. Revista Electrónica de Estudios Hispánicos, no. 26 (August 1, 2019): 93–107. http://dx.doi.org/10.24197/ogigia.26.2019.93-107.

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El presente estudio analiza los textos e ilustraciones de Leche del sueño, cuaderno de trabajo que Leonora Carrington elaboró en los años cincuenta del pasado siglo XX, pero ha sido publicado póstumamente en el año 2012. Los cuentos se consideran desde una perspectiva didáctica, como trabajos en proceso, en tres niveles de interactuación entre texto y dibujos: 1) relatos en los que prima la recompensa de la imaginación; 2) relatos que comentan ilustraciones al tiempo que las complementan; y 3) imágenes que se presentan como esbozos de relatos en potencia.
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44

Biles, Jeremy. "The Complete Stories of Leonora Carrington. Fiction. By Leonora Carrington. Translations from the French by Kathrine Talbot. Translations from the Spanish by Anthony Kerrigan. St. Louis, MO: Dorothy Project, 2017. $16.00. Down Below. Fiction. By Leonora C." Religious Studies Review 43, no. 4 (December 2017): 391. http://dx.doi.org/10.1111/rsr.13217.

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45

Helland, Janice. "Surrealism and Esoteric Feminism in the Paintings of Leonora Carrington." RACAR : Revue d'art canadienne 16, no. 1 (1989): 53. http://dx.doi.org/10.7202/1073329ar.

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46

Hubert, Renee Riese. "Leonora Carrington and Max Ernst: Artistic Partnership and Feminist Liberation." New Literary History 22, no. 3 (1991): 715. http://dx.doi.org/10.2307/469210.

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47

CHÉNIEUX, Jacqueline. "Échanges épistolaires entre Edward James et Leonora Carrington, 1946-1950." Pleine Marge 48 (December 31, 2008): 61–68. http://dx.doi.org/10.2143/pm.48.0.2036158.

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48

Cornish-Bowden, Athel, and John Lagnado. "Maud Leonora Menten: A woman at the dawn of biochemistry." Biochemist 35, no. 6 (December 1, 2013): 46–47. http://dx.doi.org/10.1042/bio03506046.

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Ask an average biochemist who was the first to realize that variant proteins could be detected by electrophoresis and sedimentation, and had used this understanding to recognize different forms of haemoglobin, the reply would probably refer to Linus Pauling and his work on sickle cell disease. Yet, although this work was certainly important, that would be the wrong answer, because Maud Leonora Menten, who sometimes seems to be remembered for one paper only, had this idea several years before him, and used it to recognize the differences between foetal and adult haemoglobin1. She was unfortunate, however, in that her paper appeared in war time, and was eclipsed a few years later by a far more high-profile study2.
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49

Rajkovic, Srdjan. "Authority in Byzantine Provincial Society, 950–1100 by Leonora Neville." Comitatus: A Journal of Medieval and Renaissance Studies 36, no. 1 (2005): 268–71. http://dx.doi.org/10.1353/cjm.2005.0063.

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50

Carroll, Rachel. "“Something to See”: Spectacle and Savagery in Leonora Carrington's Fiction." Critique: Studies in Contemporary Fiction 39, no. 2 (January 1998): 154–66. http://dx.doi.org/10.1080/00111619809599527.

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