Relevant bibliographies by topics / Mansour, Joyce

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Academic literature on the topic 'Mansour, Joyce'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Mansour, Joyce"

1

de Julio, Maryann, and J. H. Matthews. "Joyce Mansour." SubStance 17, no. 2 (1988): 112. http://dx.doi.org/10.2307/3685148.

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Caws, M. A., and J. H. Matthews. "Joyce Mansour." World Literature Today 59, no. 4 (1985): 571. http://dx.doi.org/10.2307/40141958.

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Knapp, Bettina L. "Joyce Mansour." Symposium: A Quarterly Journal in Modern Literatures 39, no. 1 (March 1985): 74–75. http://dx.doi.org/10.1080/00397709.1985.10733580.

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Elhariry, Yasser. "Divine breath of Genesis (Joyce Mansour)." Francosphères 6, no. 1 (July 2017): 61–86. http://dx.doi.org/10.3828/franc.2017.6.

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SHORLEY, C. "Review. Joyce Mansour. Matthews, J. H." French Studies 41, no. 1 (January 1, 1987): 109. http://dx.doi.org/10.1093/fs/41.1.109.

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Collani, Tania. "Joyce Mansour, Œuvres complètes. Prose et poésie." Studi Francesi, no. 177 (LIX | III) (December 1, 2015): 627. http://dx.doi.org/10.4000/studifrancesi.1446.

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Petterson, James, and Stéphanie Caron. "Réinventer le lyrisme: Le surréalisme de Joyce Mansour." Modern Language Review 103, no. 3 (July 1, 2008): 864. http://dx.doi.org/10.2307/20467966.

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Caron, Stéphanie. "Réinventer le lyrisme. Joyce Mansour, poète-femme du surréalisme." L'information littéraire Vol. 54, no. 3 (November 1, 2002): 11–17. http://dx.doi.org/10.3917/inli.543.0011.

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Arena, Sara. "Stéphanie Caron, Réinventer le lyrisme. Le surréalisme de Joyce Mansour." Studi Francesi, no. 155 (LII | II) (October 1, 2008): 489–90. http://dx.doi.org/10.4000/studifrancesi.9032.

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Almeida Filho, Éclair Antônio, and Joyce Mansour. "O surrealismo erótico e feminino de Joyce Mansour e seis poemas." Cadernos de Literatura em Tradução, no. 8 (December 1, 2007): 79–89. http://dx.doi.org/10.11606/issn.2359-5388.i8p79-89.

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Dissertations / Theses on the topic "Mansour, Joyce"

1

Caron, Stéphanie. "Réinventer le lyrisme : le surréalisme de Joyce Mansour." Paris 10, 2001. http://www.theses.fr/2001PA100190.

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Etonnante "voyageuse du troisième convoi" surréaliste, Joyce Mansour (1928-1986) a publié une oeuvre abondante et d'une grande diversité : poésie, récits, théâtre, textes critiques ou pseudo journalistiques - aucune forme d'écriture n'est étrangère a cet écrivain multiculturel et polyglotte. Pourtant, par-delà son apparente dispersion dans les genres, son oeuvre, considérée dans sa longévité, manifeste une évidente cohérence : elle peut être définie comme essentiellement lyrique, si on admet avec les théoriciens contemporains que le terme de lyrisme désigne, bien au-delà des notions de culte du moi ou de sentimentalisme auxquelles il a longtemps été associé, la quête d'une identité. Avec "Cris", recueil paru en 1953, le sujet s'expose à des affects extrêmement violents, dont la libération lui ouvre l'accès à des zones inconnues de lui-même, terrritoire étrange et étranger où son écriture élit d'emblée résidence. Jusqu'à "Trous noirs" (1986), toute sa production peut en effet être lue comme une série de stratégies successivement éprouvées pour approcher ce qui, en soi, résiste ou dérobe, cet abîme intérieur que la poésie lui a révélé, et où il a très tôt conscience que gît le secret de son identité. . .
One of the last travellers of the "third surrealist convoy", Joyce Mansour (1928-1986) produced rich and surprisingly diverse works. Poetry, narratives, drama, pseudo journalistic or critical texts : no literary form is unknown to the pen of multicultural and bilingual writer. However, despite the seemingly scattering of genres, her works can be defined as essentially lyrical -lyricism as unterstood by theoricians, that is a quest for identity, far beyond the ego workship or sentimentalism long associated with this notion. With "Cris", a collection published in 1953, the subject is displayed a prey to extremely violent affects. And their release gives access to zones unknown to him/her, to territories where Mansour's writing takes up instant residence. Until "Trous noirs" (1986), all her publication can be read as series of successively explored strategies to approach a resisting, evadind inner space, the inner abyss disclosed to the subject by poetry, which, as he / she is soon aware, conceals a key to his / her identify. .
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Bjørsnøs, Annlaug. "Jumelés par l'angoisse, séparés par l'extase : une analyse de l'oeuvre poétique de Joyce Mansour /." Paris : Oslo ; Solum, Didier érudition, 1998. http://catalogue.bnf.fr/ark:/12148/cb36709838g.

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Kerhali, Wafa. "Joyce Mansour, une vision du monde ou le surréalisme au féminin." Paris 3, 2007. http://www.theses.fr/2007PA030099.

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Le propos est de mettre en lumière au travers de l’univers de Joyce Mansour, poétesse proche du surréalisme et les écrivains de sa génération, des corrélations en terme de processus et de dynamismes créateurs, ainsi que de contenus. De relever des projets et des trajets parallèles ou convergents, dans la façon dont l’écriture se constitue et se réalise. De repérer, dans la mise en œuvre des principes similaires, les expressions différentes résultant de la singularité de chaque écrivain. Ces processus sont rapportés au surréalisme, non pas en tant que mouvement historique, mais en tant qu’esthétique et éthique, pensée dialectique qui refuse de séparer le réel de l’imaginaire, la poétique de la politique. Deux perspectives servent à éclairer le champ étudié et à faire surgir des questionnements. Celle de l’écriture, qui définit une attitude esthétique et critique à partir du champ de la théorie littéraire, en terme de silence de cris et de l’indicible. Une perspective féministe qui tient compte de la spécificité de l’expérience créatrice des femmes au sein de cadres référentiels et contextuels dont les structures appartiennent à un système qui organise des rapports de domination des hommes sur les femmes. Le surréalisme offre ici un champ spécifique et paradoxal où ces structures revêtent une forme particulière, les rapports restant fondamentalement inchangés. Il s’agit donc de questionner certains référents, et de voir de quelle façon ils sont mis en jeu, ou dé-joués par la femme écrivaine ou créatrice
My purpose is to shed some new light on the links between surrealist poet Joyce Mansours world and other writers of her generarion in terms of content and form. It’s also to pick out sketches and itinireraies in the way the writing takes form, to find out similar principles and different expressions resulting from each writer’s singularity. These processes are referend to surrealism as esthetic and ethic movement, a dialectic thinking that rejects the separation between the real from the imagimary, and poetry from politics. Two perspectives help to clarify the field and make all kinds of questionnig fly out. The writing, first, how defines a critical and esthetic attitude from the litterary theory, in terms of silence,“ indicidble” and cry. Secondly, a feminine approch that takes into count the specifity of creative womens experience. Here the surrealism offers both a specific and paradoxal field, where it’s structures appear in the most varied forms. We are there fore going to raise questions about some referents and see the ways they are outwitted by that writer
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Desvaux, Marie-Francine Mansour. "Le surréalisme à travers Joyce Mansour : peinture et poésie, le miroir du désir." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010520/document.

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L'œuvre de Joyce Mansour est la trace foudroyante, voire inquiétante, du principe surréaliste des « vases communicants» : imprégnation de l'écrit par les blessures de la vie tapies dans l'inconscient; empreinte du désir, de la mort, d'un souffle vital indomptable, mais désespéré. Parallèlement, elle témoigne de l'emprise du visuel sur son écriture de chair en érigeant ce « miroir du désir» qui installe une résonance intime entre sa poésie et les œuvres de ses amis artistes. Dans leurs collaborations, ils se subliment, s'exaltent, se commentent, s'illustrent les uns les autres. À leur façon, ils partagent les mêmes angoisses, commettent les mêmes transgressions, exercent la même liberté. L'art et l'écrit se répondent. Cette thèse cherche à suivre le parcours symbiotique entre les images, les mots et la vie, qui traverse l'œuvre de Joyce Mansour. Il se révèle dans la collection d'œuvres d'art océanique qu'elle a constituée avec son mari, Samir Mansour ; dans les Objets méchants qu'elle crée à partir de matériaux récupérés, glanés ou achetés au BHV ... et qui expriment un besoin d'exalter la vie quotidienne, en extraire son essence afin d'échapper au piège de l'ennuie; dans les affinités électives entre elle et ces artistes qui nourrissent ses œuvres, comme elle nourrit les leurs. Ce « miroir du désir» est à la fois singulier - l'expression de la destinée d'une poétesse hantée par la mort et ses traumatismes - et collectif, puisqu'il semble répondre au paysage fantasmagorique d'une génération assoiffée de liberté, mais hantée, comme Joyce Mansour, par les charniers des guerres successives et révoltée par la non-vie des vivants
Joyce Manour 's work is a striking, sometimes anguishing example of Breton's concept of « communicating vessels » : the subconscious's hidden wounds seep into her writing leaving traces of desire, death and an inextinguishable yet desparate will to live. Parallel to this, the very visual, camal nature of her words provides a « mirror of desire » which enables the intimate echoing between her poetry and the works of her artist friends. Through their collaborations, they sublimate, enhance, comment on and illustrate each other. Each in their own way, they share the same anguish. commit the same transgressions, exercise the sa me freedom. Art and poetry connect deeply. This thesis aims to follow the symbiosis between images, words and experiences which characterises Joyce Mansours work. It reveals itself in the collection of Oceanic art she built up with her husbanc, Samir Mansour ; in the Objets méchants she created using material gleaned from scrapyards or bought at the BHV ... which express a need to intensify daily life, seek its essence in order to escape tedium ; in the elective affinities she shares with with the artists that enrich her works, as she does theirs. This « mirror of desire» is both personal - an expression of the poetess' s destiny, haunted by death and its traumas - and collective, as it seems to reflect the phantasmagorical landscape of a generation hungry for freedom, but haunted, like Joyce Mansour, by the mass graves of successive wars, and in rebellion against the non-life of the living
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5

Dubosson, Anne-Sophie. "SUBLIMATION ET NEGATION DU CORPS FEMININ SURREALISTE DANS L'OEUVRE DE MAN RAY, JOYCE MANSOUR ET GISELE PRASSINOS." Miami University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=miami1406729415.

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6

Antoun, Elizabeth Tanya. "Writing across the lines: A study of selected novels by Joyce Mansour, Andrée Chedid, Vénus Khoury-Ghata and Leila Barakat." Thesis, University of Canterbury. French, 2001. http://hdl.handle.net/10092/4678.

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This thesis is a study of identity and power in the novels of Joyce Mansour, Andrée Chedid, Vénus Khoury-Ghata and Leila Barakat. Well known for her startling and provocative poetry, Joyce Mansour was one of the few women writers to contribute to the Surrealist movement. She died in France in1986. A versatile writer, Andrée Chedid has won a number of awards for her plays, novels, short stories and poetry. Vénus Khoury-Ghata, probably better known for her poetry, continues to write in French and participate in the promotion of la francophonie. Leila Barakat has published four novels set in the Middle East, and has a doctorate in Comparative literature. The four novelists are from Egypt and Lebanon, countries and cultures which lie between the Orient and the Occident. While Arabic is the official language of both countries, these four novelists have written in French; communicating across the lines separating one gender, culture, race and language from another. This thesis argues that language is constantly altered by its referent and that the four authors have used their novels to not only challenge power structures in place, but to transcend them.
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Papalas, Mary Laura. "A Changing of the Guard: The Evolution of the French Avant-Garde from Italian Futurism, to Surrealism, to Situationism, to the Writers of the Literary Journal Tel Quel." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211977685.

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8

Bachmann, Dominique Groslier. "Joyce Mansour's poetics: A discourse of plurality by a second-generation surrealist poet." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/280687.

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Interest in Joyce Mansour has centered mostly on the ambiguity and the lack of "subjective identity" in her poetic works. This dissertation proposes to investigate that notion and demonstrates that Mansour's discourse is that of a woman poet's assertive, complex, and universal voice in the realm of post-surrealism. Chapter 1 introduces Mansour's poetic corpus, and provides the theoretical approach of our study in view of various critics' interpretations of Joyce Mansour's lack of "subjective identity," as well as other recent, more positive readings of her literary production. Chapter 2 provides pertinent information about the surrealist movement and its founder, Andre Breton. It also considers the role of women and their artistic contribution to the movement. Chapter 3 expounds on the uniqueness of Mansour's assertive voice via the technique of poetic-collage, and highlights the function of eroticism as a liberating force. Georges Bataille's study of Eroticism in literature and surrealism contributes to our study. This chapter also recognizes Mansour's use of Egyptian myths as one of the pillar of her narrative structure. It will show that the poet favors a language of self-regeneration in which the dichotomies between light versus dark, and life versus death are underscored. Chapter 4 explores the role of archetypal images in Mansour's poetry. While the Mother archetypal images demonstrate the universality of her poetry, the Jungian concept of a collective unconscious further clarifies Mansour's poetic discourse. An analysis of archetypes in women literature contributes to the identification of other archetypes, (The Devil, God, and Aphrodite) present in Mansour's discourse. Chapter 5 acknowledges Mansour's pronominal gender play. Monique Wittig's approach on gender theories and our textual concordances of Mansour's poems will provide the underlying theory for discussion. The conclusion supports the notion that Mansour's discourse of plurality is that of a woman who, fearful of humanity's inevitable fate, confronted death through a literary exuberance that has become her identity and personal signature. Our conclusion reveals the existence of two texts that are not part of Mansour's published collection. These texts contribute to a better understanding of Mansour's literary contribution.
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Lecostey, Isolde. "La littérature à l'épreuve du sourire : éléments pour une étude de l'humour noir au XXe siècle." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100107.

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Cette thèse apporte des éléments de description et d’analyse du registre littéraire que constitue l’humour noir. Elle s’appuie sur les réflexions développées par André Breton dans son Anthologie de l’humour noir (1966), tout en les resituant au sein des théories surréalistes et en démontrant que l’auteur construit un registre parfaitement adapté à la défense de ses opinions sur l’art et la modernité. La sélection effectuée par l’Anthologie peut alors être abordée sous un nouvel angle et étudiée d’un point de vue littéraire : l’humour noir peut ainsi être défini comme un registre bipolaire, reposant sur la confrontation entre deux tendances, l’une herméneutique et l’autre terroriste, mais qui interrogent toutes deux la valeur des discours tenus sur le monde. Les manifestations littéraires de l’humour noir peuvent ainsi être analysées, de même que les évolutions que connaît le registre à la suite de la Seconde Guerre mondiale. L’humour noir gagne en effet en popularité au sein des médias et les auteurs qui vont avoir recours à ce registre vont prendre en compte sa proximité avec des genres littéraires peu légitimes. Ces évolutions du registre sont étudiées à travers les œuvres de trois auteurs : Joyce Mansour, Roland Topor et Jean-Pierre Martinet. Leurs récits reposent sur des procédés similaires qui visent dans l’ensemble à déstabiliser les schémas narratifs traditionnels. Ainsi, l’humour noir interroge le lecteur sur ses habitudes de lecture et rompt le contrat passé avec l’auteur afin de remettre en cause l’idée d’une communauté possible à travers le partage – inégal – d’une culture et d’une langue communes. L’humour noir postule ainsi l’existence d’une communauté introuvable par la littérature, au sein de récits qui revendiquent leur illégitimité
This dissertation offers new elements for the description and the analysis of the literary register that is dark humour. It is based on the considerations that André Breton developed in his Anthologie de l’humour noir (1966), and at the same time, it replaces them within the surrealist theories, in order to demonstrate that the author creates a register perfectly suited to the defence of his opinions about art and Modernity. The selection that is made in the Anthologie can henceforth be approached with a fresh eye and analyzed from a literary point of view : dark humour would then be defined as a bipolar register, built on a confrontation between two tendencies, a hermeneutic one and a terrorist one, but which both question the value of the speeches that pretend to represent reality. The literary features of dark humour can thus be analyzed, as well as its evolutions after the Second World War. Indeed, at that time, dark humour becomes more popular in the media, and the authors who use it take into account its acquaintances with literary genres that lack legitimacy. The evolutions of the register are studied through the work of three writers : Joyce Mansour, Roland Topor and Jean-Pierre Martinet. Their narratives follow similar patterns which, on the whole, aim to dismantle the traditional narrative schemes. Thus, dark humour questions the reader about his reading habits and breaks the contract entered into with the author, in order to call into question the possibility of a community unified by the – unequal – share of a common culture and language. Dark humour thereby postulates the existence of a community that cannot be found by literature, within narratives that claim their illegitimacy
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Books on the topic "Mansour, Joyce"

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Joyce Mansour. Amsterdam: Rodopi, 1985.

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Joyce Mansour: Une étrange demoiselle. Paris: Place, 2005.

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Mansour, Joyce. Essential poems and writings of Joyce Mansour. Boston: Black Widow Press, 2008.

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Une vie surréaliste: Joyce Mansour, complice d'André Breton. Chaintreaux: Éditions France-Empire monde, 2014.

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Réinventer le lyrisme: Le surréalisme de Joyce Mansour. Genève: Droz, 2007.

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Alechinsky, Pierre. Alechinsky: Divers faits : avec Michel Butor, Christian Dotremont, Amos Kenan, Joyce Mansour, Hans Spinner, et Honoré de Balzac, Blaise Cendrars. Milano: Skira, 2000.

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Mansour, Joyce. Surrealism: Joyce Mansour's All that. Paris: La Pensée universelle, 1995.

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Essential Poems and Writings of Joyce Mansour. Black Widow Press, 2008.

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Book chapters on the topic "Mansour, Joyce"

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"Joyce Mansour." In Surrealist Painters and Poets. The MIT Press, 2001. http://dx.doi.org/10.7551/mitpress/6565.003.0055.

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"Joyce Mansour et Les Gisants satisfaits, Trente Ans Après." In Femmes / Frauen / Women, 107–19. Brill | Rodopi, 1990. http://dx.doi.org/10.1163/9789004449299_009.

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"De-essentialized Belonging: Poetics of the Self in Joyce Mansour and Clarice Lispector." In Passages of Belonging, 150–68. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110525519-013.

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"Female Violence as Social Power: Joyce Mansour’s Surrealist Anti-Muse." In Rebelles et criminelles chez les écrivaines d’expression française, 199–215. Brill | Rodopi, 2013. http://dx.doi.org/10.1163/9789401209229_014.

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