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Books on the topic 'Renée Vivien'

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Author: Grafiati

Published: 25 May 2024

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1

G, Albert Nicole, ed. Renée Vivien à rebours: Édition pour un centenaire. Paris: Orizons, 2009.

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2

G, Albert Nicole, ed. Renée Vivien à rebours: Édition pour un centenaire. Paris: Orizons, 2009.

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3

Renée Vivien, une femme de lettres entre deux siècles (1877-1909). Paris: Honoré Champion éditeur, 2012.

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4

Bessou, Marie-Ange Bartholomot. L' imaginaire du féminin dans l'oeuvre de Renée Vivien: De mémoires en mémoire. Clermont-Ferrand: Presses universitaires Blaise Pascal, 2004.

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5

L' imaginaire du féminin dans l'oeuvre de Renée Vivien: De mémoire en mémoire. Clermont-Ferrand: Centre de recherches révolutionnaires et romantiques, Université Blaise-Pascal, Clermont II, 2004.

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6

Women, citizenship, and sexuality: The transnational lives of Renée Vivien, Romaine Brooks, and Natalie Barney. Oxford: Liverpool University Press, 2020.

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7

Colloque des Invalides (3rd 1999 Paris, France). Les romans à clefs: Roland Barthes, Charles Baudelaire, Léon Bloy, Albert Cim, Christine Deviers-Joncour, Fernand Divoire, Pierre Drieu La Rochelle, Gustave Flaubert, Paul Goma, Victor Hugo, Carlos Larronde, Louis de La Salle, Lautréamont, Octave Mirbeau, Alfred de Musset, Jean-Luc Payen, Marcel Proust, Raymond Queneau, Rachilde, René Reouven, Adolphe Retté, George Sand, Jean de Tinan, Renée Vivien, etc. Tusson, Charente: Du Lérot, 2000.

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8

Rencontre des historiens du Limousin, ed. René Viviani: 1863-1925 : un orateur, du silence à l'oubli... Limoges: Pulim, 2013.

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9

Madonna, Massimiliano. Im Streiflicht, oder, Die Lust an der Malerei: Heinz Egger, Christoph Gugger, Lisa Hoever, Bruno Jakob, Viktor Korol, Renée Levi, Christian Lindow, Anne Loch, Kotscha Reist, Albrecht Schnider, Dominik Stauch, Christine Streuli, Vivian Suter, Christian Vetter, Uwe Wittwer. Liestal: Kunsthalle Palazzo, 2018.

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10

Germain, André. Renée Vivien... Creative Media Partners, LLC, 2022.

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11

Germain, André. Renée Vivien... Creative Media Partners, LLC, 2022.

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12

Saffa: Renée Vivien. Independently Published, 2021.

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13

Vivien, Renée. Evocazioni: Renée Vivien. Independently Published, 2021.

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14

Scie: Renée Vivien. Independently Published, 2021.

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15

Donna M'apparve: Renée Vivien. Independently Published, 2022.

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16

Marçal, Maria-Mercè. La passió segons Renée Vivien. Proa, 2019.

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17

Brume Dei Fiordi: Renée Vivien. Independently Published, 2021.

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18

Dama Della Lupa: Renée Vivien. Independently Published, 2021.

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19

All'Ora Delle Mani Unite: Renée Vivien. Independently Published, 2021.

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20

The Passion according to Renée Vivien. Francis Boutle Publishers, 2020.

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21

Vivien, Renée. Venere Delle Cieche / Fiaccole Spente: Renée Vivien. Independently Published, 2021.

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22

Vivien, Renée. Studi e Preludi / Cenere e Polvere: Renée Vivien. Independently Published, 2021.

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23

In un Angolo Di Violette / Vento Dei Vascelli Lembi: Renée Vivien. Independently Published, 2021.

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24

Hawthorne, Melanie C. Women, Citizenship, and Sexuality: The Transnational Lives of Renée Vivien, Romaine Brooks, and Natalie Barney. Liverpool University Press, 2021.

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25

Dame à la Louve : Recueil de 17 Nouvelles: Littérature Sentimentale écrite Par Renée Vivien, Poétesse Britannique de la Belle Époque, de Langue Française. Independently Published, 2018.

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26

Faxneld, Per. Lucifer and the Lesbians. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190664473.003.0008.

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Chapter8 looks at how lesbianism was connected to Satanism in fin-de-siècle discourses, and how a lesbian poetess could turn the tables and use this association as part of a subversive feminist strategy. An important transitional text between outright condemnation and embrace of this combination as something positive, Catulle Mendès’s Méphistophéla (1890), is analysed in some detail. The main section of the chapter treats the explicit Sapphic Satanism of poetess Renée Vivien. She produced pieces celebrating Satan as the God of femininity, or even the creator of woman, as well as a protector of homosexuals. It would be an oversimplification to view this tendency as simply an internalization of negative stereotypes. A better option, it is argued, is to understand it as part of the ambiguities of the broader Decadent project, with its inversions that are only occasionally followed through to the end.

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27

Hawthorne, Melanie C. Women, Citizenship, and Sexuality. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789628128.001.0001.

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Until well into the twentieth century, the claims to citizenship of women in the US and in Europe have come through men (father, husband); women had no citizenship of their own. The case studies of three expatriate women (Renée Vivien, Romaine Brooks, and Natalie Barney) illustrate some of the consequences for women who lived independent lives. To begin with, the books traces the way that ideas about national belonging shaped gay male identity in the nineteenth century, before showing that such a discourse was not available to women and lesbians, including the three women who form the core of the book. In addition to questions of sexually non-conforming identity, women's mediated claim to citizenship limited their autonomy in practical ways (for example, they could be unilaterally expatriated). Consequently, the situation of the denizen may have been preferable to that of the citizen for women who lived between the lines. Drawing on the discourse of jurisprudence, the history of the passport, and original archival research on all three women, the books tells the story of women's evolving claims to citizenship in their own right.

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28

Mayer, Peta. Misreading Anita Brookner. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620597.001.0001.

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Anita Brookner was a best-selling women’s writer, Booker Prize winner and an historian of French Romantic art. However she is best known for writing boring, outdated books about lonely, single women. This book offers a queer rereading of Brookner by demonstrating the performative Romanticism of her novels to narrate multiple historical forms of homoerotic desire. It draws on diverse nineteenth-century intertexts from Charles Baudelaire to Henry James, Renée Vivien to Freud to establish a cross-historical and temporal methodology that emphasises figures of anachronism, the lesbian, the backwards turn and the woman writer. Delineating sets of narrative behaviours, tropes and rhetorical devices between Brookner’s Romantic predecessors and her own novels, the book produces a cast of Romantic personae comprising the military man, analysand, queer, aesthete, dandy, flâneur, degenerate and storyteller as hermeneutic figures for rereading Brookner. It then stages the performance of these personae along the specified narrative forms and back through six Brookner novels to reveal queer stories about their characters and plotlines. This new interpretation offers ways to think about Brookner’s contemporary female heroines as hybrid variations of (generally male) nineteenth-century artist archetypes. As a result it simultaneously critiques the heterosexual and temporal misreading that has characterised Brookner’s early reception.

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29

Sanders, Virginie. "Vertigineusemnet, J'Allais Vers Les Etoiles...: LA Poesie De Renee Vivien (Faux Titre). Editions Rodopi, 1991.

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30

Marcos Ramos, María, ed. A ambos lados del Atlántico: películas españolas y brasileñas premiadas. Ediciones Universidad de Salamanca, 2020. http://dx.doi.org/10.14201/0aq0293.

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Analizar la filmografía de un país es una forma más de aproximarse a su historia, su cultura y sus problemáticas sociales. Con ese propósito, A ambos lados del Atlántico: películas españolas y brasileñas premiadas recoge diez contribuciones en las que se estudia la trayectoria de las películas que entre los años 2013 y 2017 fueron reconocidas con el más importante galardón de la cinematografía de sus países. Así, la primera parte del libro se centra en el análisis de Vivir es fácil con los ojos cerrados (David Trueba, 2013); La isla mínima (Alberto Rodríguez, 2014); Truman (Cesc Gay, 2015); Tarde para la ira (Raúl Arévalo, 2016); y, La librería (Isabel Coixet, 2017), películas que recibieron el Premio Goya a la mejor película durante ese periodo, mientras que la segunda está dedicada a Gonzaga, de Pai pra Filho (Breno Silveira, 2013); Faroeste Caboclo (Rene Sampaio, 2014); O Lobo atrás da Porta (Fernando Coimbra, 2015); Que Horas Ela Volta? (Anna Muylaert, 2016); y, Aquarius (Kleber Mendonça Filho, 2017), quienes recibieron el Grande Prêmio do Cinema Brasileiro.

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