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Books on the topic 'De lauretis, teresa'

Author: Grafiati
Published: 26 July 2024
Last updated: 31 July 2025

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1

Lauretis, Teresa De. Teresa De Lauretis. Macmillan, 1985.

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2

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

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3

Laurens, Henri. Henri Laurens, (1885-1954): 60 terres cuites. Galerie Louise Leiris, 1998.

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4

Laurens, Henri. Henri Laurens, (1885-1954): 60 terres cuites. Galerie Louise Leiris, 1998.

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5

Laurens, Henri. Henri Laurens, 1885-1954: Bronzen, Steine, und Arbeiten auf Papier. Staatliche Museen zu Berlin, Nationalgalerie, 1991.

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6

Laurens, Henri. Henri Laurens 1885-1954: 60 œuvres, 1915-1954. Galerie Louise Leiris, 1985.

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7

Laurens, Henri. Henri Laurens, 1885-1954: Château de Biron, Dordogne, 7 juillet-23 septembre 1990. Conseil général de la Dordogne, 1990.

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8

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

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

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13

Feminist Film Theorists. Routledge, 2006.

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14

Bernstein, Beth Ann. Exploring Race, Ethnicity, Gender, and Sexuality in Four Spanish Plays. Lexington Books, 2021. https://doi.org/10.5040/9781666989984.

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Exploring Race, Ethnicity, Gender, and Sexuality in Four Spanish Plays explores society’s influence on identity in Spanish theatrical works and discusses parallels to these works in contemporary popular culture. The Spanish plays El retablo de las maravillas (The Marvelous Puppet Show) by Miguel de Cervantes Saavedra (1615); Virtudes vencen señales (Virtues Overcome Signs) by Vélez de Guevara (1620); El público (The Audience) by Federico García Lorca (1929); and La llamada de Lauren (Lauren’s Call) by Paloma Pedrero (1985) all deal with characters in the midst of a crisis of identity. Using an
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15

Scuriatti, Laura. Mina Loy's Critical Modernism. University Press of Florida, 2019. http://dx.doi.org/10.5744/florida/9780813056302.001.0001.

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In Mina Loy’s Critical Modernism, Laura Scuriatti argues that Loy’s corpus of works produces a kind of “critical” modernism, making the case that Loy’s corpus exhibits a skeptical, detached attitude toward its own simultaneous celebration and criticism of modernist aesthetic paradigms. Most modernist works are self-reflexive in this regard, but Loy’s corpus creates for itself a space of dis-affiliation, which combines critique with self-critique, rather than forging a space of rebellion and antagonism. Scuriatti investigates the notions of the masterpiece and the sacred art object, especially
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16

Goff, Samuel. Soviet Spectatorship. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350411197.

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What distinguished the Soviet 'look'? How did Soviet thinkers and artists reimagine the relationship between observer and observed? Soviet Spectatorshipanswers these questions through an in depth exploration of Soviet physical culture and its on screen representations from the end of the Civil War to the eve of the Second World War. Samuel Goff identifies the three fundamental ‘structures of looking’ — surveillance, aesthetics, and spectatorship — that shaped representations of the embodied Soviet subject. Close readings of understudied films such asHappy Finish(1934),The Laurels of Miss Ellen
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