Relevant bibliographies by topics / Nancy (1953-....)

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Academic literature on the topic 'Nancy (1953-....)'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Nancy (1953-....)"

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Arlettaz, Chantal. "Mobilité géographique et créativité : le parcours singulier de deux romancières originaires de la Prairie canadienne, Margaret Laurence (1926-1987) et Nancy Huston (1953-)." Études canadiennes / Canadian Studies, no. 86-1 (June 30, 2019): 113–32. http://dx.doi.org/10.4000/eccs.1844.

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Rood, Sarah, and Katherine Sheedy. "Nancy Millis." Microbiology Australia 30, no. 3 (2009): 49. http://dx.doi.org/10.1071/ma09s49.

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Born in Melbourne in 1922, Nancy Fannie Millis studied agriculture at the University of Melbourne, graduating with a Master of Agricultural Science in 1946. She spent a year studying agricultural methods in Papua New Guinea before travelling to the University of Bristol on a Boots Research Scholarship. It was here that Millis was introduced to fermentation, gaining her PhD in 1951.
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Loughery, John, Jo-Anna Isaak, Robert Storr, and Leon Golub. "Nancy Spero: Works Since 1950." Woman's Art Journal 12, no. 2 (1991): 49. http://dx.doi.org/10.2307/1358291.

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Witt, Joseph C., and Richard J. Morris. "Nancy Joy Kerr (1933-2001)." American Psychologist 57, no. 10 (2002): 795. http://dx.doi.org/10.1037/0003-066x.57.10.795b.

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Wahl, Sharon M. "Memorial: Nancy McCartney-Francis, 1950-2014." Journal of Leukocyte Biology 96, no. 5 (2014): 667–68. http://dx.doi.org/10.1189/jlb.4lt0614-301.

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Hipp, Andrew. "In Memoriam: Nancy Linden Good (1955-2014)." Systematic Botany 40, no. 1 (2015): 1. http://dx.doi.org/10.1600/036364415x686260.

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Gumbs, Alexis Pauline. "Freedom for Women: Forging the Women’s Liberation Movement, 1953–1970. By Carol Giardina. Gainesville: University Press of Florida, 2010.No Permanent Waves: Recasting Histories of U.S. Feminism. Edited by Nancy A. Hewitt. New Brunswick, NJ: Rutgers University Press, 2010." Signs: Journal of Women in Culture and Society 37, no. 3 (2012): 777–80. http://dx.doi.org/10.1086/662693.

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Fares, Gustavo C. "Los Ensayistas. Argentina: 1955-1989 de Nancy M. Kason." Revista Iberoamericana 57, no. 154 (1991): 396–400. http://dx.doi.org/10.5195/reviberoamer.1991.4894.

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Lobo, Júlio. "Uma pernambucana decidida: Nancy Wanderley na chanchada (1954-1960)." Significação: Revista de Cultura Audiovisual 39, no. 38 (2012): 86. http://dx.doi.org/10.11606/issn.2316-7114.sig.2012.71140.

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Botz-Bornstein, Thorsten. "Philosophical Conceptions of Cultural Space in Russia and Japan: Comparing Nishida Kitarō and Semën Frank." Environment and Planning D: Society and Space 26, no. 5 (2008): 842–59. http://dx.doi.org/10.1068/d6407.

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Jean-Luc Nancy notes that the community, since it is no absolute subject (self, will, spirit), is by its nature not inscribed in any logic metaphysics. In spite of this, or indeed because of this, Western philosophy has persistently tried to interpret the community through precisely these metaphysical terms (Nancy, 1986, page 18, La Commonauté désoevrée, Christian Bourgeois, Paris). Some thoughts about Russian and Japanese notions of community and space will show that characteristics pointed out by Nancy and Kant are binding only for societies that function within a Western intellectual framew
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Dissertations / Theses on the topic "Nancy (1953-....)"

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Gauvin, Kathrine. "L'amour de l'ennemi comme relation de métissage selon Nancy Huston : dans Instruments des ténèbres (1996), L'empreinte de l'Ange (1998) et Professeurs de désespoir (2004)." Thesis, Université Laval, 2007. http://www.theses.ulaval.ca/2007/24679/24679.pdf.

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Iezzi, Anna Rita. "La pensée en narrations : différence sexuelle et poétique de la relation chez Nancy Huston." Paris 8, 2013. http://octaviana.fr/document/179723391#?c=0&m=0&s=0&cv=0.

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Cette thèse part de l’hypothèse que l’espace de création littéraire peut constituer le terrain où se développe une pensée qui, tout en n’étant pas structurée en système généralisant et clos, consent pourtant de poser des questions et d’apporter (proposer) des interprétations multiples d’ordre anthropologique et culturel sur l’humain et sur le monde. Ainsi cette thèse propose une interprétation de l’œuvre de Nancy Huston, romancière de l’extrême contemporain, en la situant par rapport aux courants de pensée féministe sur la différence sexuelle et aux questions éthiques et politiques contemporai
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Holoch, Adele Johnsen. "Beyond the bon sauvage : questioning Canada's postcoloniality in Nancy Huston's Plainsong and Thomas King's Green grass, running water." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98542.

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This thesis approaches the question of Canada's postcoloniality through two novels, Nancy Huston's Plainsong and Thomas King's Green Grass, Running Water. Published in 1993, both novels problematize a postcolonial articulation of marginality in Canada, suggesting that it reduces the complexities of otherness to binary divisions of center and margin, colonizer and colonized. While Plainsong imagines the restrictive consequences such a reading may have on the others with which it engages, Green Grass, Running Water pushes past those boundaries to affirm the complex nature of alterity in contempo
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Gagnon, Hélène. "Comme si de rien n'était : roman ; suivi de l'œuvre de Nancy Huston, chemin de résilience." Doctoral thesis, Université Laval, 2007. http://hdl.handle.net/20.500.11794/19044.

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Trottier, André. "De Plainsong à Cantique des plaines : sur l'émergence d'une singularité d'écriture dans le processus d'autotraduction dite décentrée." Thesis, Université Laval, 2007. http://www.theses.ulaval.ca/2007/24659/24659.pdf.

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Protásio, Luís Fernando 1981. "A tradução original." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269519.

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Orientador: Maria Viviane do Amaral Veras<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-22T18:30:30Z (GMT). No. of bitstreams: 1 Protasio_LuisFernando_M.pdf: 2079799 bytes, checksum: b780b8bdf5be46864de9844132593e06 (MD5) Previous issue date: 2013<br>Resumo: No contexto teórico contemporâneo dos estudos da linguagem e, em particular, dos estudos da tradução, os discursos produzidos e difundidos parecem cada vez mais deferir em favor da precariedade das distinções absolutas que marcariam aquilo que, clas
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Laot, Françoise. "Contribution à l'histoire des institutions d'éducation des adultes : le complexe de Nancy (CUCES/ACUCES - INFA), 1954-1973." Paris 10, 1998. http://www.theses.fr/1998PA100073.

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Cette thèse présente l'histoire de trois institutions d'éducation des adultes qui ont œuvré en symbiose, dans les années 60, à la poursuite d'un même but : le développement de l'éducation permanente. 1 - d'un point de vue institutionnel ce qui frappe au premier chef, c'est le formidable acharnement et la quantité de temps et d'énergie déployés à tenter de forger un statut qui puisse à la fois encourager et asseoir l'innovation. A cet égard, l'épisode des aurefa constitue pour nous la quintessence du projet nancéien. 2 - du point de vue des apports en termes de savoirs comme bien souvent lorsqu
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Babcock, Jennifer L. "A Tale of Two Women: The Journalistic Narrative of Nancy Reagan." Fogler Library, University of Maine, 2007. http://www.library.umaine.edu/theses/pdf/BabcockJL2007.pdf.

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D'almeida, Editha-Nefertiti. "Discours des femmes dans la littérature contemporaine d'expression française : Exemple de : Riwan ou le chemin de sable (Ken Bugul), Les Vaisseaux du coeur (Benoîte Groult), L'Empreinte de l'ange (Nancy Houston), La Joueuse de go (Shan Sa)." Thesis, Limoges, 2017. http://www.theses.fr/2017LIMO0013.

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Les débats sur la spécificité ou non d’une écriture féminine à caractère sexuée, l’investissement exponentiel des femmes dans le champ littéraire de ces dernières décennies dans des thématiques variées et des discours transgressif et subversif, justifient notre intérêt pour l’analyse du discours de femmes dans la fiction littéraire contemporaine. En littérature comme dans d’autres disciplines, les discours des femmes sont presque toujours en conflit entre le besoin de dire les hiérarchies sociales, et celui de revendiquer une légitimité universelle. Aussi, à travers une analyse immanente et st
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Linders, Anneke. ""Frappez, frappez toujours !" : N. S. Corry Tendeloo (1897-1956) en het feminisme in haar tijd /." Hilversum : Verloren, 2003. http://catalogue.bnf.fr/ark:/12148/cb39067625j.

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Books on the topic "Nancy (1953-....)"

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Martin, Étienne. Jules Cayette, 1882-1953: Créateur d'art à Nancy. Serpenoise, 2011.

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Charlotte, Mosley, ed. Love from Nancy: The lettersof Nancy Mitford. Sceptre, 1994.

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Charlotte, Mosley, ed. Love from Nancy: The letters of Nancy Mitford. Hodder & Stoughton, 1993.

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Mitford, Nancy. Love from Nancy: The letters of Nancy Mitford. Houghton Mifflin, 1993.

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Spero, Nancy. Nancy Spero: Bilder 1958-1990. Haus am Waldsee, 1990.

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Spero, Nancy. Nancy Spero: Bilder 1958-1990. Haus am Waldsee, 1990.

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Waldsee, Berlin Haus am. Nancy Spero; Bilder 1958-1990. Haus am Waldsee, 1990.

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Spero, Nancy. Nancy Spero: Bilder, 1958-1990. Haus am Waldsee, 1990.

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Nancy Mitford: A biography. Vintage, 2012.

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Loizeau, Pierre-Marie. Nancy Reagan: The woman behind the man. Nova History Publications, 2004.

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Book chapters on the topic "Nancy (1953-....)"

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Clare, David, and Nicola Morris. "The Transnational Roots of Key Figures from the Early Years of the Gate Theatre, Dublin." In Cultural Convergence. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57562-5_4.

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Abstract In Gate Theatre studies, the venue’s original artistic directors, Hilton Edwards and Micheál mac Liammóir, are commonly described as ‘Englishmen’. This chapter breaks new ground by exploring the Irish roots of Edwards and mac Liammóir, and the rumours that mac Liammóir had Spanish and Jewish ancestry. ‘The Boys’ were not the only figures associated with the early Gate to have transnational backgrounds. Coralie Carmichael, the theatre’s biggest female star in its early years, was of mixed Moroccan and Scottish ancestry, and Nancy Beckh, who worked as an actor, costume designer and milliner at the Gate between 1932 and 1956, was a Dubliner of half-German descent. Using critical theories around new interculturalism, the chapter suggests that the mixed backgrounds of these artists helped them to create intercultural performances. It further demonstrates that these performances cannot be simply dismissed as those of people condescendingly engaging in cultural imperialism or shallow cosmopolitanism.
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Holmes, Diana. "‘Les hommes et les femmes, c’est vraiment pas pareil’ (‘Men and women just aren’t the same’)." In Making Waves. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620429.003.0012.

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Annie Leclerc’s writing, most famously the iconic 1974 text Parole de femme, speaks with lyricism and humour for the différencialiste (difference) current of French women’s writing – the current that has been widely identified outside France with ‘French Feminism’. At the time of its initial publication, the book created intense controversy within the French feminist movement: it was the object of a searing critique by materialist feminist Christine Delphy in the pages of Les Temps modernes, and led to Leclerc’s expulsion from the circle around Simone de Beauvoir.When Leclerc died in 2006, her friend and fellow author Nancy Huston wrote an essay on her work, Passions d’Annie Leclerc (2007), that is at once a tribute, a biographical sketch and a meditation on female friendship. The two writers, of slightly different generations (Leclerc b. 1940, Huston 1953) shared a feminism committed– sometimes disturbingly –to the notion of gender difference and hence to some degree sceptical of the Beauvoirian, constructivist model. Analysing Leclerc’s influential text through the lens of Huston’s contemporary essay, this chapterdiscusses the ‘difference’ strand in French feminism, in the 1970s and now, and its relationship to the innovatively hybrid form of Huston’s memorial essay.
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Marcus, Jane. "The Cunard Line." In Nancy Cunard, edited by Jean Mills. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979299.003.0003.

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The chapter investigates Cunard’s identity as a poet, the challenges she faced as a woman poet, and the early publications of Outlaws (1921), Sublunary (1923), and Poems (Two) (1925). Marcus also explores Cunard’s involvement with the anti-war poetry anthology Wheels, her founding of The Hours Press, and the reception of her work by a male-dominated press. The author also discusses the early impetus behind her collection Negro Anthology and her political activism during the Spanish Civil War on behalf of poets from Harlem, Cuba, and The West Indies.
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Marcus, Jane. "Intellectual Nomads." In Nancy Cunard, edited by Jean Mills. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979299.003.0010.

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Alongside her analysis of Cunard’s memoir of George Moore, Marcus reads her 1954 account of travel writer, Norman Douglas, within the contexts of exile, English primitivism, and the exploitation of antiquities abroad by representatives of Western culture. The chapter examines the funding of ex-Surrealist Michel Leiris and his Djibouti Expedition to collect African art and artifacts alongside Cunard’s unfunded and publicly excoriated intellectual and literary project to collect Black voices and cultures in the Negro anthology. Marcus also addresses Cunard’s problematic reading of accusations against Douglas of pedophilia and a text “torn between the desire to tell and the desire to hide the secrets” of his life and her own.
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"How Nancy Jackson Married Kate Wilson (c. 1900–1903)." In "The Man Who Thought Himself a Woman" and Other Queer Nineteenth-Century Short Stories, edited by Christopher Looby. University of Pennsylvania Press, 2016. http://dx.doi.org/10.9783/9780812293357-011.

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"Nancy, Politics, and the Murder of Figaro—1959 and 1960." In Of Exile and Music. Purdue University Press, 2014. http://dx.doi.org/10.2307/j.ctv15wxrhq.27.

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Glancy, Mark. "Chapter 25." In Cary Grant, the Making of a Hollywood Legend. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190053130.003.0026.

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Cary Grant and Betsy Drake’s marriage limped forward for two years after his affair with Sophia Loren. In the midst of this, Loren arrived in Hollywood and Grant began pursuing her again, asking her to marry him. He was finishing Kiss Them for Me (1957) at the time. Producer Jerry Wald had been trying to film this Second World War story for years, but it was only when Grant signed to star in it that the project got the green light. Grant enjoyed working with the film’s director, Stanley Donen, but he was ill-suited to play a soldier having weekend leave in San Francisco. The film was one of the very few flops in his later career. He then made Houseboat (1958). Drake had written the original screenplay thinking that she and Grant might star in the film together. At Grant’s request, the studio assigned other writers to rewrite it as a vehicle for Sophia Loren. The comedy, about an Italian nanny falling in love with her boss, culminates in their marriage. This was a difficult scene for the stars to film after Loren refused Grant’s own proposal. Indiscreet (1958), directed by Stanley Donen and co-starring Ingrid Bergman, was a happier production. This delightfully sophisticated romantic comedy benefits from Donen’s imaginative direction and from location shooting that captures the glamour of the London setting.
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Hickmott, Sarah. "Midwives and Madams: Mus(e)ic, Mediation and Badiou’s ‘Universal’ Subject." In Music, Philosophy and Gender in Nancy, Lacoue-Labarthe, Badiou. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458313.003.0005.

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The focus of this chapter is largely on Badiou’s delimitation of what counts as music: he insists on an a priori commitment to an understanding of music that locates its essence (or more accurately for Badiou, its ‘truth’) not in its sounding, the experience of listening or playing, or in its effects, but only in its formal procedures – a move that derives from a specific historical construction of music which makes the actual happening of music (whether live, recorded, imagined, etc.) irrelevant to philosophy. As a result, Badiou’s playlist of musical ‘truths’ runs from the architectonic innovations of Haydn and sonata form at the end of the c18th through to the post-tonal continuation of Schoenberg’s legacy: truth, musically speaking, exists in Europe between about 1780 and 1950. Consequently, this chapter argues that it is more specific than simply validating the musical products of elite Western culture; it is specifically limited to those produced under the ideology of ‘absolute music’. Finally, though Badiou never identifies music with any feminine essence, the chapter traces the subterranean misogyny embedded in his philosophy of ‘truth’, and argues that his musical – and broader – thinking remains problematic from a feminist perspective.
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Abram, Joseph. "Briey-Nancy / 1955-1975 le patrimoine rebelle du logement social et de l’expérimentation." In Conservation-restauration de l’architecture du mouvement moderne. Presses universitaires de Perpignan, 2012. http://dx.doi.org/10.4000/books.pupvd.6951.

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Varzally, Allison. "Introduction." In Children of Reunion. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469630915.003.0001.

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Born to an American man and Vietnamese woman in 1970, Trista immigrated to the United States and was adopted by a young American couple, Nancy and Chuck Kalan, in 1973 after she and her younger brother, Jeffrey, spent a year in the care of a Vietnamese foster family. Although Nancy would eagerly accept and manage the details of Trista’s adoption, her husband, a veteran of the Vietnam War, had initiated their plans. Trista recalled her fear and shyness on meeting her new parents. “When I first saw my father, I cried,” she explained, “because he had a full beard and I wasn’t used to the facial hair.” Moreover, as a four-year-old, “I still had memories of my family,” she related. These memories would become less vivid over time as Trista learned English, became acquainted with American foods, and integrated into the mostly white community of Feasterville, Pennsylvania, but she retained cultural, political, and familial ties to Vietnam through regular contact with Jeffrey, who was adopted into the household of Trista’s aunt and raised as her cousin, as well as her foster family, who departed Vietnam among a wave of refugees and resettled in the Kalans’ household in 1975. Despite relationships and exposure that could have reinforced a Vietnamese identity, she admitted, “I probably actually repressed any of my culture and heritage growing up because I just wanted to fit in.”...
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