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Performing the Pied-Noir Family
The impact of the Algerian War (1954-1962) continues to resonate in France, where the subject was long repressed in the collective psyche. This book sheds new light on a memory community at the heart of the conflict: the million European settlers known as the pieds-noirs, who migrated to France as the war reached its bloody end. Aoife Connolly draws on theories of performativity to explore autobiographical and fictional narratives by the settlers in over 30 canonical and non-canonical works of literature and film produced from the colony’s imminent demise up to the present day. Connolly focuses on renewed attachment to the family in exile in a comprehensive analysis of settler masculinity, femininity, childhood, and adolescence that uncovers neglected representations, including homosexual and Jewish voices. Findings on the construction of a post-independence identity and collective memory have broader implications for communities affected by colonization and migration. Scholars of French Studies, Postcolonial Studies, Cultural Studies, Gender and Identity Studies, Memory Studies and Migration Studies will find this book particularly useful.
Hidden Portraits
From the New York Times best-selling author of The Private Lives of the Impressionists comes the first account of the women who loved Picasso—and who shaped his work far more than previously acknowledged. Fernande Olivier, Olga Khokhlova, Marie-Thérèse Walter, Dora Maar, Françoise Gilot, and Jacqueline Roque. These six extraordinary women loved and inspired Pablo Picasso. They frequently appear as the women in his portraits, but they also pursued their own ambitions in dance, writing, painting, and more. Each transformed Picasso’s life and work—and he theirs. Yet they have long been dismissed as simply passive models or muses. In?a groundbreaking and deeply researched account, accla...
Dora Maar
For the first time, a comprehensive exploration of Dora Maar’s enigmatic photography reveals her as an extraordinary and influential artist in her own right. Dora Maar (born Henriette Théodora Markovitch, 1907–1997) was active at the height of Surrealism in France. She was recognized as a key member of the movement and maintained professional relationships with many of its prominent figures, such as André Breton, Brassaï, Henri Cartier-Bresson, and Man Ray. However, her standing as the one-time muse and mistress of Pablo Picasso—his famous “Weeping Woman”—has long eclipsed her creative output and minimized her influence. Richly illustrated with 240 key works showcasing Maar’s inimitable acumen as a photographer, this book examines the full arc of her career for the very first time. Subjects include her innovative commercial and fashion photography, her approach to the nude and eroticism, engagement with political groups, interest in socially concerned photography, affiliation with the Surrealist movement, and hitherto unknown work from her reclusive late career, providing a dynamic and multifaceted examination of an important artist.
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Une bibliothèque gay idéale
Plusieurs amoureux des belles lettres ont construit ce dictionnaire titré Une bibliothèque gay idéale. Ce titre indique déjà un objectif : permettre à chaque lectrice ou chaque lecteur de se constituer, à partir de ses goûts personnels et de sa sensibilité, non pas « la » mais bien plutôt « une » bibliothèque gay idéale, la sienne. La littérature gay englobe, ici, tout écrit évoquant, de manière non secondaire ou non anecdotique, les amours masculines, quels que soient l'âge ou l'origine socioculturelle des protagonistes, quelles qu'en soient les formes ou les manifestations. Le spectre très élargi de ce travail dessine un paysage complet de la littérature à thématique gay de 2 000 ans avant Jésus-Christ jusqu'à notre XXIe siècle.
Je suis le carnet de Dora Maar
La narratrice découvre un vieux répertoire dans la poche intérieure d'un étui en cuir acheté sur Internet. Le carnet, daté de 1952, contient les noms et adresses de célèbres figures de la scène artistique et littéraire parisienne tels que Brassaï, Aragon, Balthus, Cocteau ou encore Giacometti. Trois mois plus tard, elle réalise que l'objet a appartenu à Dora Maar, la muse de Picasso.
La villa
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