Bibliografías temáticas / Leonora Carrington

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Literatura académica sobre el tema "Leonora Carrington"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 20 de febrero de 2023

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Artículos de revistas sobre el tema "Leonora Carrington"

Aberth, Susan, Holly Barnet-Sanchez, and Leonora Carrington. "Leonora Carrington." Art Journal 51, no. 3 (1992): 83. http://dx.doi.org/10.2307/777352.

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JAMES, Edward, and Inés AMOR. "Leonora Carrington." Pleine Marge 48 (December 31, 2008): 41–59. http://dx.doi.org/10.2143/pm.48.0.2036157.

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O’Rawe, Ricki. "“Should We Try to Self Remember While Playing Snakes and Ladders?”." Religion and the Arts 21, no. 1-2 (2017): 189–208. http://dx.doi.org/10.1163/15685292-02101008.

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Emerging from the Paris surrealist group, the English-born writer and painter Leonora Carrington (England, 1917—Mexico, 2011) was perpetually suspicious of orthodoxy. She often pokes fun at, parodies, and ultimately upsets traditional hierarchies of power. In her work animals impart wisdom, Goddesses loom large, and domestic spaces become sites of occult power. In this article, I investigate Carrington’s suspicion of gurus with claims to esoteric truth. Carrington participated in Fourth Way groups run by students of G. I. Gurdjieff (Christopher Fremantle) and P. D. Ouspensky (Rodney Collin). However, while she had a deep interest in the teachings, Carrington remained suspicious of the group practices of the Fourth Way, as can be seen in Elena Poniatowska’s fictionalized biography Leonora (2015). This article explores Carrington’s contact with the ‘Work’ in order to shed light on the character of Dr. Gambit in her 1950 novel, The Hearing Trumpet, commonly thought to be a parody of Gurdjieff. In doing so, it will investigate Carrington’s feminist objections to the role of the guru, while also contributing to a discussion of the unease some felt toward the praxis of the Fourth Way, despite their attraction to the philosophy.

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De la Fuente Rocha, Eduardo. "Leonora Carrington. Metamorfosis hacia la autenticidad / Leonora Carrington. Metamorphosis towards authenticity." RICSH Revista Iberoamericana de las Ciencias Sociales y Humanísticas 6, no. 12 (July 25, 2017): 26–51. http://dx.doi.org/10.23913/ricsh.v6i12.124.

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Este trabajo es continuación del artículo "Leonora Carrington. Frente a la desestructuración". En el presente escrito se aborda la estancia que tuvo la artista en el Sanatorio Santander. Se compara el evento psicótico de Leonora Carrington con el de Daniel Paul Schreber, ambos narrados por los propios sujetos que lo experimentaron. La finalidad de hacer dicha comparación es analizar las diferencias que hay entre el evento de Schreber y el de Leonora, para entender por qué ella sí logró salir y él no. Posteriormente, desde del apartado llamado México, se realizó un análisis psicológico de la artista a través de su obra y la evolución de la misma, donde muestra su proceso de individuación entre los años 1942 y 2011. Para revisar el análisis de su psiquismo se han tomado dos fuentes: la biográfica y la autobiográfica. A través de este análisis puede observarse la evolución psíquica que la artista logró, lo que permite un mejor entendimiento del legado que su trabajo dejó a la humanidad.

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De la Fuente Rocha, Eduardo. "Leonora Carrington. Frente a la desestructuración / Leonora Carrington. Facing the disruption." RICSH Revista Iberoamericana de las Ciencias Sociales y Humanísticas 6, no. 12 (July 18, 2017): 1–25. http://dx.doi.org/10.23913/ricsh.v6i12.123.

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En el presente trabajo se busca un acercamiento al conocimiento psíquico de la artista Leonora Carrington. Analizar a un personaje tan complejo no es sencillo, porque las facetas que presenta el desarrollo de su personalidad son múltiples. Aunado a ello está la dificultad para encontrar bibliografía que hable extensamente de su vida, sobre todo de la segunda parte —después de 1942—. Para revisar el análisis de su psiquismo se han tomado dos fuentes: la biográfica y la autobiográfica. A través de este análisis puede observarse la evolución psíquica que la artista logró, lo que permite un mejor entendimiento al legado que su trabajo dejó a la humanidad.

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VADÉ, Yves. "Les distractions de Dagobertde Leonora Carrington." Pleine Marge 48 (December 31, 2008): 35–39. http://dx.doi.org/10.2143/pm.48.0.2036156.

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Behrens, Roy R. "Leonora Carrington: Surrealism, Alchemy and Art." Leonardo 39, no. 3 (June 2006): 271–72. http://dx.doi.org/10.1162/leon.2006.39.3.271.

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Ruíz Solórzano, Jaime. "Carlos Hernán García o "Canán": Una imaginación desbordada por los sueños." Paideia Surcolombiana 1, no. 18 (February 1, 2014): 121. http://dx.doi.org/10.25054/01240307.1160.

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Cuando nos hablan de los sueños hechos imágenes a través de las artes visuales, nuestro recuerdo trae a la mente las obras de los artistas europeos y latinoamericanos que han trabajado dentro de la tendencia verista del surrealismo; es decir, aquellas obras que podemos asociar con elementos y seres de nuestro mundo circundante. Tal es el caso de Salvador Dalí, Rene Magritte, Paul Delvaux, Max Ernest, María Izquierdo, Frida Kahlo, Mercedes Varo, Leonora Carrington, Leonor Fini o el pintor huilense Filomeno Hernández.

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Rodríguez Romero, Nana. "Leonora." LA PALABRA, no. 22 (September 10, 2013): 163. http://dx.doi.org/10.19053/01218530.2026.

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Reunir a dos mujeres extraordinarias de la historia de la literatura y la pintura del siglo XX, en una novela, es un disfrute para el espíritu. La escritora mexicana, Helena Poniatowska, autora de una vasta obra reunida en novelas, cuentos, poesía, teatro y crónica, como La noche de Tatlelolco, La piel del cielo, Querido Diego, te abraza Quiela, etc.; aborda la vida de la pintora y escritora inglesa Leonora Carrington (1917-2011), mediante el género de biografía novelada, en la que narra escenas de la vida de la artista, nacida en el seno de la aristocracia que desafió desde niña, con su temperamento arrollador, marcado por una gran imaginación y rebeldía, conociendo a lo largo de su existencia no sólo las tragedias del siglo XX en la Europa de la II guerra; sino también, como víctima del exilio, la cultura extraña del México ancestral y el cosmopolitismo de Nueva York.

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Chadwick, Whitney. "Leonora Carrington: Evolution of a Feminist Consciousness." Woman's Art Journal 7, no. 1 (1986): 37. http://dx.doi.org/10.2307/1358235.

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Tesis sobre el tema "Leonora Carrington"

Martinez, Fanny. "Remedios Varo et Leonora Carrington en miroir : images croisées." Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30043/document.

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Cette thèse est consacrée à l’étude en regard l’une de l’autre des œuvres picturales et littéraires de deux artistes nées en Europe, qui fréquentèrent les cercles surréalistes parisiens dans les années 30 avant de s’exiler au Mexique durant la seconde guerre mondiale : Remedios Varo (1908-1963) et Leonora Carrington (1917-2011). Il s’agit de rechercher les points de convergence et les divergences entre les processus créatifs des deux artistes, de faire dialoguer leurs œuvres et d’interroger leurs points de collaboration créative, en se centrant sur la question des images. L’approche proposée dans ce travail est tout à la fois comparative et pluridisciplinaire, puisqu’elle s’élabore au croisement de l’histoire de l’art, de l’analyse littéraire, de l’analyse picturale et de la civilisation.Le concept d’image, dont la délimitation fait l’objet du préambule, est entendu dans quasiment toutes ses acceptions – depuis l’image picturale et l’image verbale jusqu’à l’image mentale, dont l’image onirique – et est conçu comme lieu d’intersection par excellence.La première partie de ce travail explore la question de la fabrique des images ou, pour utiliser une métaphore empruntée au langage alchimique, du laboratoire des images. Le chapitre 1 présente et théorise l’image surréaliste afin de démontrer la manière dont les deux créatrices ont su s’approprier l’« esprit » du surréalisme, invitation à une remise en cause du monde visible, pour mieux le dépasser à travers l’élaboration de « modèles de monde », en analogie avec certains processus alchimiques et occultistes. Le chapitre 2 envisage pour sa part l’exil non pas seulement comme un contexte historique et culturel ayant donné lieu à de profondes dynamiques d’influences mutuelles, mais comme une notion pivot permettant d’appréhender les phénomènes de réappropriations, d’hybridations, de transfusions créatives ou de transgressions à l’œuvre dans leurs productions.La seconde partie approfondit la mise en regard des images des deux artistes suivant un mouvement dialectique unissant images-reflets et images-distorsions. Le chapitre 3 entreprend l’analyse des autoreprésentations féminines et s’attache à mettre en évidence la façon dont celles-ci défient les images du féminin élaborées par les créateurs surréalistes masculins ; les notions de déguisement, de travestissement et de mascarade sont examinées et présentées comme inséparables de la quête de soi. Le chapitre 4, enfin, s’intéresse aux « miroirs de la relation » et à la « relation aux miroirs » des deux artistes. Dans un premier temps sont abordées les représentations de l’amitié créative unissant les deux artistes dans leur œuvre, notamment écrite, et les mécanismes de fictionnalisation qui les soutiennent. Les jeux de miroirs qu’ont disposés entre leurs images les deux femmes en écrivant à quatre mains sont ensuite analysés, ainsi que le motif pictural du miroir, lequel peut être considéré comme un emblème de la démarche créative de Remedios Varo et de Leonora Carrington, objet symbolique et magique plus que dispositif spéculaire<br>This PhD dissertation focuses on a literary and pictorial comparative analysis of European-born artists Remedios Varo (1908-1963) and Leonora Carrington (1917-2011) who, in the 1930s, participated in the Surrealist group in Paris and then went into exile in Mexico during World War II. The purpose of this study is to identify points of convergence and divergence in the creative process of these two artists. Equally important, this thesis will endeavor to enable a dialogue between their artworks and to examine their creative collaboration while focusing on the concept of images. The standpoint of this dissertation is at the same time comparative and multidisciplinary, for it is formulated at the junction of art history, literary analysis, pictorial analysis, and history.The notion of image, the conceptual contours of which are explained in the preamble 2 is to be understood in almost all of its significations – from pictorial and verbal image to mind-made image, in which oneiric image is to be included – and is seen as a conceptual intersection point par excellence.The first part of this study questions the construction of images or, using a metaphor borrowed from the alchemical language, the image laboratory. Chapter 1 introduces and theorizes the notion of surrealist image in order to reveal the ways in which both artists integrated into their works the surrealist state of mind, being an invitation to question the visible world, and went beyond it through the elaboration of “world models”, by analogy with specific alchemical and occultist processes. Chapter 2 not only considers exile as a historical and cultural context that gave way to profound mutual and dynamic influences, but also as a pivotal notion that enables to comprehend, in their productions, phenomena of reappropriation, hybridization, creative transfusion and transgression.The second part delves deeper into the comparison of images realized by both artists – an analysis that follows a dialectical pattern that combines the concepts of image-reflections and image-distortions. Chapter 3 analyzes female self-representations and is dedicated to reveal the way in which these representations challenge the images of the feminine as elaborated by male surrealist creators. Notions of transvestism and masquerade are examined and presented as inseparable from the quest to self-discovery.Finally, Chapter 4 pays attention to both artists’ “mirrors of relation” and “relation to mirrors”. On the one hand, this analysis addresses the creative friendship that unites both artists in their work, more specifically in their written expression, and the mechanisms of fictionalization pertaining to it. The mirror effects that are at play in the images of both artists who created fourhanded works and the pictorial motif of the mirror are also focused on in this research. Indeed, the mirror may be considered as an emblem of Remedios Varo’s and Leonora Carrington’s creative approach, not only as a specular tool but also and more importantly, as an object of symbolism and magic

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Fox, Stacey Jade. "The idea of madness in Dorothy Richardson, Leonora Carrington and Anais Nin." University of Western Australia. English and Cultural Studies Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0194.

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Rehberg, Gerlinde. "Treacherous mirrors and the quest for the self in the work of Leonora Carrington." Thesis, University of East Anglia, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300489.

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Ryd, Gunilla. "Ténicas och estrategicas literarias en "Leonora" de Elena Poniatowska." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-18691.

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The subject of this thesis is Leonora written by Elena Poniatowska. The aim of the study is to analyze the literary technique and strategy used in constructing this book which depicts the life of a famous painter, Leonora Carrington. The analysis concentrates on two aspects: the extent of its feminist character and whether it can be classified as a fictional biography or a biographic fiction. In order to arrive at a conclusion on these issues a brief summary of literary and feminist theory is presented as well as a short description of relevant aspects of the surrealist movement. According to the author Leonora does not pretend to be a biography but rather a tribute to a great woman and artist. This esay however sustains that the book is a feminist fictional biography. In fact it builds upon books written by Carrington herself with a highly autobiographical content as well as on biographical texts. Both the author and her protoganist are well-known for their feminist stand and the analysis shows how feminist theory or thinking is reflected both on behalf on the writer as well as in the construction of the hero and certain aspects of her life that build up this biographical fiction.

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Salazar, Gómez Viridiana. "Tesis: El surrealismo en México a través de la obra Las distracciones de Dagoberto de Leonora Carrington." Tesis de Licenciatura, UNIVERSIDAD AUTÓNOMA DEL ESTADO DE MÉXICO, 2017. http://hdl.handle.net/20.500.11799/67037.

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Turner, M. K., of Western Sydney Nepean University, and School of Contemporary Arts. "Representation and womens art." THESIS_XXX_CAR_Turner_M.xml, 1998. http://handle.uws.edu.au:8081/1959.7/732.

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The thesis contains a discussion of surrealism and the work of Meret Oppenheim and Leonora Carrington. In the thesis I also distinguish three groups of paintings in essays and describe my work and the way in which theory and practice have recommended one another. 'Salience and Surrealism' discusses how the features of collaboration, play and partnership involve women artists within the surrealist movement, and how their ideas of the feminine principle evolve and change. I also discuss the changing attitudes to imagination, creative inspiration and activity, and the understanding brought about by the meeting between surrealism and psychology. The salience of surrealism as an introverted urge and instinct toward individuation, is suggested by Kenneth Wack 'as the source of surrealism's most abiding success.' The contemporary use of salience applies to features, characteristics, and from architecture as protrusions or fortifications. The dictionary definition begins with extroverted examples like dancig, leaping about and jetting forth. The archaic meaning is origin or first beginning, hence in old medicine salience applies to the heart when it first shows in the embryo. In salience the anagram of, a silence, gave heed to the atmosphere of silence from creativity and in paintings. A silence, also corresponds with the middle part of Meret Oppenheim's life when she experienced an artisitc crisis and depression. This essay looks back fifty years of self-expression from this artist and finds prominent features to suggest the essential dichotomies which mark the artwork. Meret Oppenheim's ouevre includes painting, sculpture, poetry, books, and theatre costume and apparal. Her multiple talents in the arts and literature are like those of Leonora Carrington who has published several books and plays, in the visual arts she sculpted and painted. The salience of their creative and intellectual endeavours found realisation in the wisdom of the feminine, of animal spirits and of natural worlds. The principles of alchemy also inspired and informed their attitudes to creativity which emerges from the unification of opposites. Both artists called for a new alliance between male and female principles, and evolve concepts of androgyny, which for them lift creation to higher levels. These women as artists found a field of the arts that furnished them with both physical life and spiritual life<br>Master of Arts (Hons)

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Carroll, Rachel Louise. "The return to the body in the work of Sylvia Plath, Angela Carter, Leonora Carrington, and Flannery O'Connor." Thesis, University of Newcastle Upon Tyne, 1996. http://hdl.handle.net/10443/299.

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This thesis examines the role of the body in Sylvia Plath's The Bell Jar (1963), Angela Carter's Nights at the Circus (1985), Leonora Carrington's fiction of 1937-41, and Flannery O'Connor's fiction of 1949-65. Critical emphasis is placed upon ambivalent and paradoxical representations of the body and on the significance of the body as a site of crises in identity and memory. The implications of the problematic status of the body are addressed through a theoretical framework, informed by French feminist thought, which attempts to articulate an exchange between subjectivity and politics, psychoanalysis and history. Part I introduces the 'return to the body' as a critical inquiry which investigates the conjunction of femininity and materiality and the role of the body in the construction of sexual difference. It is proposed that in Plath's The Bell Jar the body is the site of an impasse of identity and memory; this impasse is contested by Carter's novel and interrogated in the narratives of Carrington and O'Connor. Part II demonstrates the subversive and utopian effect to which Carter employs the paradoxical body in Nights at the Circus. As a site of unresolved contradictions, the ambivalent body invokes transformations in identity and anticipates revolutions in history. Part III explores the 'savage' state of symbolic dereliction suggested by the place of feral women in Carrington's Surrealist myths of origin. It also proposes that a founding violence is discovered by Carrington in the construction of woman' as spectacle and femininity as masquerade. Part IV proposes that the irrational forces of history are registered in traumatic form in the grotesque bodies of O'Connor's narratives. It also addresses a politics of origin which implicates women, as agents and victims, in the violence of an oppressive social order.

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Vodermayer, Sohl Melinda Anna. "Claves de representación corporal en las poéticas de las pintoras surrealistas: Frida Khalo, Leonora Carrington y Remedios Varo." Doctoral thesis, Universitat Politècnica de València, 2012. http://hdl.handle.net/10251/17798.

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El objetivo de la presente tesis es analizar la producción simbólica, en relación al cuerpo, de artistas surrealistas que desarrollaron sus poéticas en el contexto mexicano: Frida Kahlo, Leonora Carrington y Remedios Varo. El primer apartado comienza explorando la génesis europea del estilo y analizando el surrealismo como un movimiento cultural en el sentido amplio del término. El segundo, describe aspectos propios del despliegue surrealista en México y el trasfondo artístico autóctono en el que poseyó un papel como comunicador de valores pictóricos que se fundieron con la plástica artística mexicana produciendo una fecunda hibridación. La combinación generó obras singulares en el tejido socio-cultural del país. El tercer apartado, fundamentado en una perspectiva feminista como punto de partida, aunque superando y aunando determinados aspectos de la concepción de géneros en el plano humano, se centra en las diferencias encontradas entre la teoría patriarcal subyacente en el surrealismo ortodoxo y el enfoque autobiográfico sostenido por las mujeres artistas seleccionadas para el estudio. Los apartados cuarto, quinto y sexto tratan de analizar aspectos propios de la producción de cada una de las tres artistas, que aportan determinados valores específicos compartidos en clave de representación simbólica. En resumen, se plantea que estas pintoras, vinculadas con México, son participantes atípicas del surrealismo y la raíz de la diferencia reside de manera esencial en el hecho de contribuir con una visión reivindicativa del universo femenino en el arte principalmente entre las décadas de 1930 al 1950.<br>Vodermayer Sohl, MA. (2012). Claves de representación corporal en las poéticas de las pintoras surrealistas: Frida Khalo, Leonora Carrington y Remedios Varo [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/17798<br>Palancia

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Lusty, Natalya. "Surrealism, feminism and psychoanalysis : the crisis of representation in the work of Leonora Carrington, Claude Cahun and Cindy Sherman." Thesis, The University of Sydney, 2001. http://hdl.handle.net/2123/1685.

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Turner, M. K. "Representation and womens art." Thesis, View thesis, 1998. http://handle.uws.edu.au:8081/1959.7/732.

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Libros sobre el tema "Leonora Carrington"

Carlos, Emerich Luis. Leonora Carrington: Una retrospectiva. Monterrey, N.L. México: Museo de Arte Contemporáneo de Monterrey, 1994.

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Carrington, Leonora. Leonora Carrington: Recent works. New York, N.Y: Brewster Gallery, 1988.

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1917, Carrington Leonora, Cherem Silvia, and Dallas Museum of Art, eds. Leonora Carrington: What she might be. Dallas: Mexico Institute in Dallas, 2008.

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Agnati, Tiziana. Leonora Carrington: Il surrealismo al femminile. Milano: Selene, 1997.

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Kathrine, Talbot, and Kerrigan Anthony, eds. The complete stories of Leonora Carrington. [St. Louis]: Dorothy Project, 2017.

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Chadwick, Whitney. Leonora Carrington: La realidad de la imaginación. México, D.F: Consejo Nacional para la Cultura y las Artes, Dirección General de Publicaciones, 1994.

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Museum, Mexican, ed. Leonora Carrington--the Mexican years, 1943-1985. San Francisco: Mexican Museum, 1991.

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1955-, Schlieker Andrea, and Serpentine Gallery, eds. Leonora Carrington: Paintings, drawings and sculptures 1940-1990. London: Serpentine Gallery, 1991.

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Schmid, Silvana. Loplops Geheimnis: Max Ernst und Leonora Carrington in Südfrankreich. Köln: Kiepenheuer & Witsch, 1996.

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Joanna, Moorhead, Arcq Teresa, Pallant House Gallery, and Sainsbury Centre for Visual Arts, eds. Surreal friends: Leonora Carrington, Remedios Varo and Kati Horna. Farnham: Lund Humphries, 2010.

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Capítulos de libros sobre el tema "Leonora Carrington"

Wild, Gerhard. "Carrington, Leonora." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3021-1.

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Wild, Gerhard. "Carrington, Leonora: Die Erzählungen." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3022-1.

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Schonfield, Ernest. "Myths of Anglo-German Surrealism: Max Ernst and Leonora Carrington." In In the Embrace of the Swan, 231–59. Berlin, New York: DE GRUYTER, 2010. http://dx.doi.org/10.1515/9783110215915.3.231.

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Kent, Alicia. "In Two Places at the Same Time: Archiving the Domestic in the Work of Leonora Carrington and Sally Mann." In Domestic Imaginaries, 101–29. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66490-3_6.

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Domenella, Ana Rosa. "LEONORA CARRINGTON:." In Varia lingüística y literaria, 461–82. El Colegio de México, 1997. http://dx.doi.org/10.2307/j.ctv47w565.28.

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"Leonora Carrington." In Surrealist Painters and Poets. The MIT Press, 2001. http://dx.doi.org/10.7551/mitpress/6565.003.0026.

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Watz, Anna. "Leonora Carrington’s Poetics of Listening." In Modernist Intimacies, 164–80. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474441834.003.0010.

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This chapter traces a poetics of intimate listening in Leonora Carrington’s surrealist novel The Hearing Trumpet (written in the 1950s and published in 1974). Carrington was part of the circle of surrealist artists and writers gathered around André Breton in the mid-1930s, and the rupture caused by the arrest of her lover Max Ernst at the outbreak of World War II resulted in Carrington’s psychotic breakdown. She subsequently recounted the experiences of her psychosis in the autobiographical Down Below, a harrowing text dramatising a search for self-knowledge doomed to fail, in which violence and alienation in the context of the rise of fascism and Nazism dominate both inner and outer reality. About a decade later, Carrington revisited and rewrote her journey ‘down below’ in the fictional The Hearing Trumpet. This chapter shows how the novel is ‘at once a parodic quest narrative, […] an intimately personal exploration of subjectivity and self-knowledge’, and ‘a utopian vision of an ethics of being and knowing’. A symbol for the novel’s poetics of listening, the protagonist’s eponymous hearing trumpet guides Watz’s exploration of Carrington’s surrealist-feminist text via the philosophy of love and intimacy underpinning Luce Irigaray’s twenty-first-century writings.

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Scappini, Alessandra. "LEONORA CARRINGTON E REMEDIOS VARO:." In Escritoras y personajes femeninos en relación., 1091–107. Dykinson, 2021. http://dx.doi.org/10.2307/j.ctv20hcss2.74.

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"Edgework." In The medium of Leonora Carrington. Manchester University Press, 2022. http://dx.doi.org/10.7765/9781526161246.00011.

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"Introduction." In The medium of Leonora Carrington. Manchester University Press, 2022. http://dx.doi.org/10.7765/9781526161246.00005.

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Actas de conferencias sobre el tema "Leonora Carrington"

Miranda Cherem, Rosângela, and Andrey Parmigiani da Silva. "MODOS DE EXISTÊNCIA EM QUATRO OBRAS DE LEONORA CARRINGTON." In 31º Encontro Nacional da ANPAP - EXISTÊNCIAS. ,: Even3, 2022. http://dx.doi.org/10.29327/31enanpap2022.513517.

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