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1000 tulosta hakusanalla Chantal Robillard-Puvinel
Chantal schlie t mit ihren Freundinnen eine unmoralische Wette ab: Bis zum Ende der Saison alle Spieler der Fu ballmannschaft flachzulegen. Alle Mittel sind erlaubt, auch die besonders Schmutzigen. Wie will sie in weniger als zwei Monaten elf Stollenhengste bezwingen? Das geile Rennen gegen die Zeit beginnt GELBE KARTEAls Frau war sie noch nie auf dem Herren-WC gewesen. Bestialischer Gestank schlug ihr entgegen. Dicke Schichten von Urinstein verkrusteten die Pissrinne wie Kalkgestein. Dazwischen lag alle halbe Meter mal ein t rkisblauer WC-Stein, der sich langsam zischend aufl ste. Sie hatte sich von hinten angeschlichen wie ein Tier. Hatte seinen frischen Schwei gerochen und das saftige Gr n gem hter Sommerwiesen. Das derbe Stampfen seiner Stollen auf dem Fliesenboden genossen. Dann machte sie ein ungeschicktes Ger usch, und er fuhr herum. Yannick erschrak so sehr, dass er fast in die Hose gepullert h tte."Was machst du hier?""Lass dich von meiner Anwesenheit nicht st ren. Hol sie raus die Flitsche. Ich will es pl tschern sehen.""Ich kann nicht wenn jemand zusieht.""Oh doch, das kannst du."Chantal dr ckte ihre Hand durch das beengende Elastikband seiner Sporthose. W hlte in dem kratzigen Netzstoff bis sie auf das vertraute warme Fleisch traf, was sie so oft gesehen und gesp rt hatte. Kraulte seine Haare, und fand in der wohligen W rme endlich das schlaffe Rohr, was sie herausholte."Und nun piss f r mich.""Chantal..."Immer noch zierte sich Yannick. Ihre Hand glitt unter sein T-Shirt. Seine Haut war glatt und fest. Nicht ein Gramm Fett an diesem K rper, wo die Hand auch hin griff traf sie auf drahtige Muskelmasse. Chantal dr ckte hinein in dieses Sixpack, so fest sie konnte. Wenn er eine volle Blase hatte, dann w rde er dieser Massage nicht lange standhalten k nnen."Das war gemein."Nun pl tscherte es frei aus ihm heraus. Chantal ging in die Knie, ihr Kopf auf H he der stinkenden Stahlwand."Ich will es in meinem Mund. Ich will deinen gelben Saft schlucken."Wie soll man den schmutzigen W nschen widerstehen, wenn eine Schlampe kniend vor dir bettelt? Yannick war auch nur ein Mann. Mit dem Zielen allerdings hatte er es nicht so. Deswegen spielte er auch in der Verteidigung. Er verpasste ihrem Gesicht eine warme Dusche. Triefend lief es ihr in Augen und Nase, ein bitterer Vorgeschmack die Kehle hinab. Dann erst traf er ihren Mund und gluckernd trank sie, als w re es ein k hler Wasserhahn an einem hei en Tag. Sie musste h her steigen, da er nun in ihrem Mund hart wurde. Je d nner der Strahl, desto h rter das Rohr zwischen ihren Lippen. Chantal setzte ab. Der letzte Tropfen lief ihm in die Hose. Ihre Kehle war salzig von seinem Urin. Mit diesem Aroma auf der Zunge war sie bereit."Ich fick dich du kleine Hure. Ich fick dich sowas von durch."
Chantal Mouffe
Routledge
2013
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Chantal Mouffe’s writings have been innovatory with respect to democratic theory, Marxism and feminism. Her work derives from, and has always been engaged with, contemporary political events and intellectual debates. This sense of conflict informs both the methodological and substantive propositions she offers. Determinisms, scientific or otherwise, and ideologies, Marxist or feminist, have failed to survive her excoriating critiques. In a sense she is the original post-Marxist, rejecting economisms and class-centric analyses, and also the original post-feminist, more concerned with the varieties of ‘identity politics’ than with any singularities of ‘women’s issues’. While Mouffe’s concerns with power and discourse derive from her studies of Gramsci’s theorisations of hegemony and the post-structuralisms of Derrida and Foucault, her reversal of the very terms through which political theory proceeds is very much her own. She centres conflict, not consensus, and disagreement, not finality. Whether philosophically perfectionist, or liberally reasonable, political theorists have been challenged by Mouffe to think again, and to engage with a new concept of ‘the political’ and a revived and refreshed notion of ‘radical democracy’. The editor has focused on her work in three key areas: Hegemony: From Gramsci to ‘Post-Marxism’ Radical Democracy: Pluralism, Citizenship and Identity The Political: A Politics Beyond ConsensusThe volume concludes with a new interview with Chantal Mouffe.
Chantal Mouffe
Routledge
2013
nidottu
Chantal Mouffe’s writings have been innovatory with respect to democratic theory, Marxism and feminism. Her work derives from, and has always been engaged with, contemporary political events and intellectual debates. This sense of conflict informs both the methodological and substantive propositions she offers. Determinisms, scientific or otherwise, and ideologies, Marxist or feminist, have failed to survive her excoriating critiques. In a sense she is the original post-Marxist, rejecting economisms and class-centric analyses, and also the original post-feminist, more concerned with the varieties of ‘identity politics’ than with any singularities of ‘women’s issues’. While Mouffe’s concerns with power and discourse derive from her studies of Gramsci’s theorisations of hegemony and the post-structuralisms of Derrida and Foucault, her reversal of the very terms through which political theory proceeds is very much her own. She centres conflict, not consensus, and disagreement, not finality. Whether philosophically perfectionist, or liberally reasonable, political theorists have been challenged by Mouffe to think again, and to engage with a new concept of ‘the political’ and a revived and refreshed notion of ‘radical democracy’. The editor has focused on her work in three key areas: Hegemony: From Gramsci to ‘Post-Marxism’ Radical Democracy: Pluralism, Citizenship and Identity The Political: A Politics Beyond ConsensusThe volume concludes with a new interview with Chantal Mouffe.
Chantal Akerman is widely acclaimed as one of the most original and important directors working in Europe today. A towering figure in women’s and feminist film-making, she has produced a diverse and intensely personal body of work ranging from minimalist portraits of the everyday to exuberant romantic comedies, and from documentaries and musicals to installation art. This book traces the director’s career at the crossroads between experimental and mainstream cinema, contextualising her work within the American avant-garde of the 1970s, European anti-naturalism, feminism and the post-modern aesthetics. While offering an in-depth analysis of her multi-faceted film style, it also stresses the social and ethical dimension of her work, especially as regards her representation of marginal groups and her exploration of exilic and diasporic identities. Particular attention is given to the inscription of the Holocaust and of Jewish memory in her films.
Chantal, mon meilleur médicament depuis 1973: Tome I/X - Pour adultes
Guy Banni
Independently Published
2019
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L'auteur rend public dans ce livre son journal intime qu'il a tenu de 1962 date de ses premiers soins en psychiatrie 2019 date de la fin de ses crits. Il esp re ainsi montrer ses lecteurs et ses lectrices comment le fait d'avoir rencontr l'amour v ritable en 1973 lui a alors permis de r ussir l o la psychiatrie choue toujours. Guy Banni a travaill de 1965 1997. Il a t r form du service militaire en 1966. Il a eu six ans et demi d'arr ts de travail et seize hospitalisations pour raison de sant psychiatrique. Les deux premi res pour schizophr nie en 1966-1967 et la derni re pour dysthymie en 2000. Sa femme et lui vivent actuellement une retraite bienheureuse.
Chantal, mon meilleur médicament depuis 1973: Tome I/X - Pour adultes
Guy Banni
Independently Published
2019
nidottu
Belgian auteur Chantal Akerman's ouevre is profoundly philosophical, exploring everything from home and homelessness, work and social reproduction, self and identity, to desire in its many forms. In particular, Akerman turns her camera on contexts that had been previously neglected, such as transitional spaces like hotel lobbies and street corners as well as the domestic sphere, revealing their significance in structuring experience.Andreja Novakovic looks at the role of rituals, gestures and habits in Akerman’s (auto)fictional worlds drawing on writers from Hegel to Butler, Beauvoir and Federici. Chantal Akerman is a fascinating philosophical reinterpretation of one of the most important directors of European experimental and independent cinema.
Chantal Akerman turns her pioneering camera on neglected contexts from transitional spaces like hotel lobbies and street corners, to domestic spaces like kitchens and bedrooms. Through her wide ranging films, Akerman addresses subjects such as home and homelessness, work and social reproduction, self and identity, and desire in its many forms.This book is the first philosophical study of Akerman’s oeuvre. Andreja Novakovic looks at patterns of staying put and moving on in the Belgian auteur’s deeply personal body of work, drawing on writers from Cavell to Beauvoir and Federici. It is an absorbing reinterpretation of one of the most important directors of European cinema, whose Jeanne Dielman was recently selected as Sight and Sound’s Greatest Film of All Time.
Chantal's Call: The Women of Atherton
Traci L. Bonney
Createspace Independent Publishing Platform
2012
nidottu
Chantal Akerman is widely acclaimed as one of cinema’s boldest visionaries. A towering figure in women’s and feminist film-making, she produced a diverse and intensely personal body of work ranging from minimalist portraits of the everyday to exuberant romantic comedies, and from documentaries and musicals to installation art. This book traces the director’s career at the crossroads between experimental and mainstream cinema, contextualising her work within the American avant-garde of the 1970s, European anti-naturalism, feminism and the post-modern aesthetics. While offering an in-depth analysis of her multi-faceted film style, it also stresses the social and ethical dimension of her work, especially as regards her representation of marginal groups and her exploration of exilic and diasporic identities. Particular attention is given to the inscription of the Holocaust and of Jewish memory in her films.
She is the judge, jury and executioner...Meet successful attorney at law, Chantal Gibson. She's not your average young, up and coming, superstar attorney. Chantal believes in Female Supremacy, and she has her sights on nothing short of global female domination. This is a story of female empowerment through dominance and submission that you don't want to miss.------------Imagine a world where the principles of Female Supremacy governed as the law of the land. What would daily life look like? How would women exert their authority and how would they choose to subjugate men?Before this Utopian vision of an alternate existence can manifest, it needs a champion to bravely lead the charge. In the Chantal's Law series of femdom novels, our heroine is the exceptionally gorgeous and savvy young defense attorney, Chantal Gibson. A practicing and staunch advocate for female supremacy, she finds herself in the unique position of having the ability to usher in the very change in society that will one day bring rise to absolute female domination.This erotic BDSM series explores many topics of Femdom including, foot fetish, cuckold, humiliation, sissy, forced-bi and forced-gay, human urinal, polyamory, female led relationships, male slavery, corporal punishment, and Goddess worship.The journey of Goddess Chantal Gibson and her emasculated husband, George, can become your journey. Join her and her allies in female supremacy and female domination as they blaze a trail into a Utopian society where Women rule and Femdom dominates every single page BOOK ONE: TO SERVE AND OBEYIn Book One: To Serve And Obey, Chantal's rise to power is chronicled. Our story begins with Chantal extremely irate at her incompetent cuckold husband's shoe cleaning skills. After promising to administer severe corporal punishment later that evening, she sets off to carry out her plans to enslave her boss and take over managing control of her law firm.Along the way, we learn about Chantal's love for shoes and her disdain for the male species. Her abuse of her sissy husband is relentless. Not only is he forced to stay home and do all of the chores, but he's also routinely cuckolded, humiliated and made to service other men. The suffering and abuse are worth it as her slave husband is allowed to express his profound worship of her and indulge in his foot fetish.Follow the success of Goddess Chantal Gibson as she implements her Utopian vision for society. It's one that holds the philosophy of absolute Female Supremacy at the core of its beliefs.ABOUT THE AUTHORCordelia Livingston loves to portray strong female characters that are in control and command your attention. Her goal is to deliver the perfect blend of BDSM fetish Femdom erotica, storytelling and character development.Visit Cordelia's Amazon Author Page to follow her work and blog posts.
Chantal Akerman was one of the most significant directors of our times. A radical innovator of cinematic forms, she was at the forefront of feminist and women's filmmaking. In the 1990s, she developed an important installation practice and began to experiment with self-writing.Focusing on Akerman's works of the last two decades, a period during which she diversified her creative practice, this collection traces her artistic trajectory across different media. From her documentaries 'bordering on fiction' to her final installation, NOW, the volume elucidates the thematic and aesthetic concerns of the later works, placing particular emphasis on self-portraiture, the exploration of intimacy, and the treatment of trauma, memory and exile. It also attends to the aural and visual textures that underpin her art. Drawing on a wide range of theoretical approaches as well as engaging more creatively with Akerman's work, the essays provide a new optic for understanding this deeply personal, prescient oeuvre.Marion Schmid is Professor of French Literature and Film at the University of Edinburgh. Emma Wilson is Professor of French Literature and the Visual Arts at the University of Cambridge.
Personal Feeling Is the Main Thing sees the acclaimed British artist Chantal Joffe setting out on a journey with art historian Dorothy Price in the footsteps of the pioneering German painter Paula Modersohn-Becker (1876 – 1907), the first female artist to paint a naked self-portrait. Returning to London, Joffe undertakes new paintings of her friends, the novelist and writer Olivia Laing and art historian Gemma Blackshaw, heavily pregnant. Richly illustrated with works from throughout Joffe’s career – depicting her daughter Esme, friends, artists and writers – alongside works by Modersohn-Becker and Polaroids by Joffe of the artist’s home in Worpswede, this book offers a rare window into Joffe’s practice through the prism of Modersohn-Becker, working a century earlier. Revealing texts by Dorothy Price, Gemma Blackshaw and Olivia Laing further illuminate the integrity, as well as the psychological and emotional force Joffe brings to figurative painting. ‘Though separated in time and place, Modersohn-Becker’s intensity of vision still speaks directly to Chantal Joffe; both artists are invested in an unflinching approach to their subject matter. They are at once fierce and tender in their acuity.’ – Dorothy Price Personal Feeling Is the Main Thing is published by Elephant in association with Victoria Miro Gallery.
Chantal Akerman Retrospective Handbook
Adam Roberts; Joanna Hogg; Laura Mulvey
A Nos Amours
2019
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Chantal Mouffe und die Kritik des dritten Weges. Erneuerung der Sozialdemokratie nach Anthony Giddens
Anonymous
GRIN Verlag
2023
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