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Narrative Markers in Pablo Picasso’s Tragicomic Strip The Dream and Lie of Franco

Michael Schuldiner

It is well-known that both Picasso and his model/mistress Fernande Olivier were immensely drawn to the comic strips found in the American newspapers that they received from Gertrude Stein on Sundays while living together in Paris. In fact, when

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Jeanette Winterson's Family Values

From Oranges Are Not the Only Fruit to Lighthousekeeping

Julie Ellam

Jeanette Winterson's fictional families are unusual. Invariably the adopted or fostered child is used as a narrator. This offers the perspective that nurtured relationships are as emotionally bonding as natural ones. The traditional, biological family is, at times, used in order to be exposed as brutal and false, as in Art and Lies (1994) where Picasso is sexually abused by her brother and is the product of rape between her father and a maid. Winterson's novels appear to challenge the biological family. Furthermore, adultery is used as a repeated theme. From Oranges Are Not the Only Fruit (1985) onwards, marriage is described as an institution and is castigated, whereas the belief in true love hardly ever wavers. That Winterson continues to draw on the family, however it is constituted, reflects an ongoing concern with the bonds of love. It is this belief in love that reveals a paradoxical fidelity to a conservative stance which is elsewhere, through the critiques of family and marriage, apparently questioned.

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Hugo Frey and Laurike in ‘t Veld

geographically the attention of the issue shifts from Spain to France to the United Kingdom. Nonetheless, there are explicit and implicit conversations that connect the articles, which we will dwell on a little further in this editorial. From Picasso’s The Dream

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Don Quixote Unbound

Intertextuality, Interpictoriality, and Transculturality in Flix's German Graphic Novel Adaptation (2012)

Tilmann Altenberg

for Flix's approach to his protagonists’ visual identity is Picasso's popular 1955 sketch ‘Don Quijote y Sancho’, 56 which we find reproduced at the very end of the comic as part of the full-page frame showing Quijano's death notice (132). Unlike Goya

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Interview with Paul Schrader

three [Roberto] Rosellinis; there have been three [Ingmar] Bergmans. And obviously there's been four [Pablo] Picassos. So, most artists have one lifetime. Occasionally someone will have two, occasionally someone will have three, and magically someone

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Comics, Caricature, and Transnational Critique

Picasso. However, while readers are likely to recognise these allusions to the hypotext and to Hispanic culture, the characters remain wholly ignorant of their literary parentage. Flix's refusal of faithful adaptation in favour of more distant

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Inner Recreation

Trauma, Objects and Collaboration in Second-Generation Visual Arts

Judy Goldhill and Fay Ballard

evil’. 8 Let an artist get hold of this ugliness; immediately they transfigure it – into beauty. Segal suggests that in Pablo Picasso's Guernica (1937) the ugliness of the breaking up of body parts and animals torn apart by the devastation of the

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Bullfighting in Southern France

A Dispatch from Arles

Duncan Wheeler

subjects throughout Clergue's career. The photographer received his first break in 1953 after impressing Pablo Picasso with work he thrust into his hands as the exiled Malaga-born artist (who jumped at any opportunity to attend corridas outside of Spain

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Decolonizing Cambridge University

A Participant Observer’s View

Keith Hart

and Failure of Picasso . New York : Vintage . Brogan , H. ( 2004 ) 2011 . ‘ Clarkson, Thomas ’. Oxford Dictionary of National Biography .

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How to Be a Moderate Optimist about Neuroscience in Film Theory and Other Places

William P. Seeley

-art objects (a Picasso at The Tate and a highway billboard designed to make Coca-Cola look delicious on a hot summer day) and work that has been done well or poorly (Yasijurō Ozu's Late Autumn , Robert Bresson's Pickpocket , Jim Jarmusch's Stranger than