{"id":2088,"date":"2013-01-29T15:13:13","date_gmt":"2013-01-29T15:13:13","guid":{"rendered":"https:\/\/teach.alimomeni.net\/2013spring2\/?p=2088"},"modified":"2013-01-29T18:15:49","modified_gmt":"2013-01-29T18:15:49","slug":"bibliography-2","status":"publish","type":"post","link":"https:\/\/teach.alimomeni.net\/2013spring2\/?p=2088","title":{"rendered":"Feminism\/Films\/FancyK\u00fcnste\/(F)ilosophicalConundrum"},"content":{"rendered":"

Fourth Wave Feminism Facebook Group<\/a>\u00a0 PLEASE CLICK AND JOIN GROUP! FEEL FREE TO POST!<\/strong><\/em><\/p>\n

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Feminism\/ Psychoanalytic Theory<\/b><\/p>\n

Baudrillard, Jean. Simulations, translated by Paul Foss, Paul Patton, and Phillip \u00a0 Beitchman (New York:Semiotext(e), 1983), 151-52.<\/p>\n

Barthes, Roland. \u201cthe Death of the Author,\u201d in The Rustle of Language (Berkeley and Los Angeles: University of California Press, 1989). 52-53.<\/p>\n

Ettinger, Bracha L. The Matrixial Borderspace. Minneapolis, MN: University of Minnesota Press , 2006. Print.<\/p>\n

Geuss, Raymond. The Idea of a Critical Theory: Habermas and the Frankfurt School. Cambridge : Cambridge University Press, 1981. Print.<\/p>\n

Foster, Hal. \u201cSubversive Signs,\u201d in Recordings: Art, Spectacle, Cultural Politics (Seattle: Bay Press, 1985), 67.<\/p>\n

Jones, Amelia. “‘ ‘Post-feminism’: A Remasculinization of Culture?.'” M\/E\/A\/N\/I\/N\/G 7 (1990): 29-40. Print.<\/p>\n

Jones, Ann Rosalind. “Julia Kristeva on Feminity: The Limits of a Semiotic Politics.” Feminist Review 18 (1984): 56-73. JSTOR. Web. 10 Dec. 2011.<\/p>\n

Kelly, Mary. Post-Partum Document. London, Boston, Melbourne, and Henley: Routledge and Kegan Paul, 1983. Print.<\/p>\n

Kristeva, Julia. ‘La femme, ce n’est jamaisga’ interview by Psychanalyse et Politique Tel Quel No. 59 \u00a0\u00a0(Autumn). ‘Women can never be defined’, translated by Marilyn August, in MARKS and de COURTIVRON (1981).<\/p>\n

Kristeva, Julia. New Maladies of the Soul. New York: Columbia University Press, 1995. Print.<\/p>\n

Kristeva, Julia. Powers of Horror An Essay on Abjection. New York: Columbia University, 1982. Print.<\/p>\n

Lacan, Jacques. Feminine Sexuality. New York and London: Norton and Company and Pantheon Books, 1975. Print.<\/p>\n

Lacan, J., \u201cThe Function and Field of Speech and Language in Psychoanalysis,\u201d transl. by Alan Sheridan in \u00c9crits: A Selection, W.W. Norton & Co., New York, 1977.<\/p>\n

MOMA.ORG<\/a>. N.p., n.d. Web. 13 Dec. 2011. <www.moma.org\/interactives\/exhibitions\/1997\/sherman\/&gt<\/a>;.<\/p>\n

Mulvey, Laura. \u201cVisual Pleasure and Narrative Cinema\u201d in Visual and Other Pleasures (Language, Discourse, Society) (New York: Palgrave Macmillan,1975).<\/p>\n

Need, Lynda. Framing the Female Body: Art, Obscenity and Sexuality. London: Routledge, 1992. 5- 11.<\/p>\n

Palais Des Beaux-Arts Brussels. Bracha Lichtenberg Ettinger Artworking 1985-1999. Ludion, Ghent-Amsterdam: Palais Des Beaux-Arts Brussels, 2000. Print.<\/p>\n

Pollock, Griselda. Inscriptions in the feminine. In: Insdie the Visible edited by Catherine de Zegher. MIT Press, 1996.<\/p>\n

Pollock, Griselda. Vision and Difference. London and New York: Routledge, 2003. Print.<\/p>\n

Princenthal, Nancy. The Deconstructive Impulse Women Artists Reconfigure the Signs of Power, 1973-1991. New York: Prestel Publishing , 2011. Print.<\/p>\n

Riding, Alan, \u201cCorrecting Her Idea of Politically Correct.\u201d New York Times. June 14, 2001.<\/p>\n

Rose, Jacqueline. Sexuality in the Field of Vision. Norfolk: Thetford Press, 1986. Print.<\/p>\n

Stanford Encyclopedia of Philosophy. N.p., n.d. Web. 16Oct.2011.<http:\/\/
\nplato.stanford.edu\/entries\/beauvoir\/>.<\/a><\/p>\n

Owens, Craig \u201cThe Allegorical Impulse: Toward a Theory of Postmodernism, Part 2 (1980),\u201d in October Files 6, 21.<\/p>\n

Owens, Craig. \u201cThe Discourse of Others: Feminist and Postmodernism\u201d in The Anti-Aesthetic: Essays on Postmodern Culture, edited and with an introduction by Hal Foster (Port Townsend, Wash.: Bay Press, 1983), 59.<\/p>\n

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\u00a0Cinema\/Philosophy-<\/strong><\/p>\n

French Cinema<\/em>–<\/strong><\/p>\n

Adorno, Theodor. “Aesthetic Theory<\/i>.” Continental Aesthetics<\/i>. Eds. Richard Kearney and\u00a0David Rasmussen. Malden, MA: Blackwell Publishing, 2001.<\/p>\n

Deleuze, G. \u201cCinema 2: L ‘image-Temps.\u201d <\/i>(H. Tomlinson & B. Habberjam,\u00a0Trans.). London: Athlone Press, 1986.<\/p>\n

Essid, Joe. \u201cFilm as “Explicador” for Hypertext.\u201d Computers and Humanities, Vol. 38, no\u00a0<\/i>3 <\/i>(Aug 2004): pp 317-333.<\/p>\n

Harcourt, Peter. \u201cLe Nouveau Godard: An Exploration of \u02bbSauve qui peut (la vie).\u02bc\u201d Film\u00a0<\/i>Quarterly, Vol 35, No 2 <\/i>(Winter 1981-1982): pp 17-27.<\/p>\n

Lord, Robert. \u201cJean-Luc Godard, in between Deleuze.\u201d <\/i>(1997).<\/p>\n

Nietzsche, Friedrich (1990), Beyond Good and Evil: Prelude to a Philosophy of the<\/i><\/p>\n

Future<\/i>, trans. by R. J. Hollingdale with an introduction by Michael Tanner,\u00a0Harmondsworth: Penguin.<\/p>\n

Rio, Elena del. \u201cAlchemies of Thought in Godard’s Cinema: Deleuze and Merleau-<\/i>Ponty.\u201d SubStance<\/i>, Vol. 34, No. 3 (2006): 62-78.<\/p>\n

Sturdza, Paltin. \u201cWeek-End by Jean-Luc Godard<\/i>.\u201d The French Review<\/i>, Vol. 50, No.5\u00a0(Apr., 1977): 785-786.<\/p>\n

Thiher, Allen. \u201cCin\u00e9ma 2: L’Image-temps by Gilles Deleuze<\/i>.\u201d The French Review<\/i>, Vol.\u00a061, No.5 (Apr., 1988): 821-822.<\/p>\n

German Cinema-<\/strong><\/em><\/p>\n

Ames, Eric. \u201cHerzog, Landscape, and Documentary<\/i>.\u201d Cinema Journal.<\/i> (Winter 2009): 49-74.<\/p>\n

Koepnick, Lutz P. \u201cColonial Forestry: Sylvan Politics in Werner Herzog’s Aguirre and Fitzcarraldo<\/i>.\u201d New German Critique<\/i>. (Autumn 1993): 133-159.<\/p>\n

Perlmutter, Ruth.\u00a0 \u201cThe Cinema of the Grotesque.<\/i>\u201d The Georgia Review. (979). 168-193.<\/i><\/p>\n

Rogers, Holly. \u201cFitzcarraldo’s Search for Aguirre: Music and Text in the Amazonian Films of Werner Herzog<\/i>.\u201d\u00a0 Journal of the Royal Musical Association<\/i>. (2004): 77-99.<\/p>\n

Rundell, Richard J.. \u201cThe Films of Werner Herzog: Between Mirage and History\u00a0 by Timothy Corrigan<\/i>.\u201d New German Critique<\/i>. (Feb., 1988): 177-178.<\/p>\n

Waller, Gregory A.. \u201c\u2018Aguirre, The Wrath of God\u2019: History, Theater, and the Camera<\/i>.\u201d South Atlantic Modern Language Association<\/i>. (1981). 55-69.<\/p>\n

Wees, William C. 1992. Light moving in time: studies in the visual aesthetics of avant-garde film.\u00a0Berkeley: University of California Press.<\/p>\n

Windhausen, Federico. 2008. “Paul Sharits and the active spectator<\/i>“. Art and the Moving Image. <\/i>122-139.<\/p>\n

Young, Vernon. \u201cMuch Madness: Werner Herzog and Contemporary German Cinema.\u201d The Hudson Review.<\/i> (1977) pp 409-414.<\/p>\n

\u00a0FILMS-<\/strong><\/p>\n

Antonioni, Michelangelo. 2010. Il deserto rosso<\/i>. [United States]: Criterion Collection.<\/p>\n

Antonioni, Michelangelo. 2005. L’eclisse<\/i>. [Irvington, NY]: Criterion Collection.<\/p>\n

Herzog, Werner. 2006. Nosferatu the vampyre<\/i>. [s.l.]: Anchor Bay Entertainment.<\/p>\n

Herzog, Werner. 2001. Herz aus Glas Heart of glass<\/i>. Troy, MI: Anchor Bay Entertainment.<\/p>\n

Kinski, Klaus, and Werner Herzog. 2004. Aguirre, wrath of God. Herzog Kinski collection. [Australia]: Umbrella Entertainment.<\/p>\n

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German Painters-<\/strong><\/em><\/p>\n

<\/strong><\/em>The New Leipzig School\u00a0<\/a><\/p>\n

Anselm Kiefer<\/strong><\/a>\u00a0(b. 1945 in Germany)<\/p>\n