![]() ![]() Organised by Professor Gavin Parkinson (The Courtauld) and Dr Caroline Levitt (The Courtauld). She has published extensively on the art and writing of Leonora Carrington and Dorothea Tanning, and she is currently completing a monograph titled Surrealism and Feminine Difference, forthcoming from Oxford University Press. She is the author of Angela Carter and Surrealism: ‘A Feminist Libertarian Aesthetic’ (Routledge, 2016) and editor of Surrealist Women’s Writing: A Critical Exploration (Manchester University Press, 2020) and A History of the Surrealist Novel (Cambridge University Press, 2023). Solid color back panel, sleeves and neck bind are 100 cotton Sublimation transfer technique prints crisp, vivid colors. Hélène Cixous, Luce Irigaray, and, notably, Xavière Gauthier).Īnna Watz is Associate Professor of English at Linköping University, Sweden. This talk unpacks the ironic Freudian symbolism of Fini’s broom-riding witches and investigates their resonance with contemporary poststructuralist feminist critiques of psychoanalytic theories of female sexuality (by e.g. The same year as the publication of the first issue of Sorcières, Fini released her first novel, Mourmour, conte pour enfants velus, which, while primarily focusing on the incestuous sexual relationship between a young cat-boy and his mother, also includes a short episode detailing how witches learn to fly on their broomsticks. Riding the Broomstick: Were Witches Actually Junkies For any woman who wished to use these drugs, there was an obvious and convenient way to apply these ointments. Like virtually all Fini’s witches, the female figure adorning the cover of Sorcières is depicted astride a broomstick. Notably, in 1976 Fini designed the cover image of the inaugural issue of the feminist journal Sorcières: Les femmes vivent, founded and edited by feminist critic and theorist Xavière Gauthier. ![]() While Fini’s most sustained treatment of the witch appears to be the series of etchings published in the book Le Sabbat ressuscité par Leonor Fini (1957) this lecture suggests that her return to this motif in the 1970s crystallizes its feminist significance. ![]() This lecture investigates the motif of the witch across surrealist artist Leonor Fini’s (1907–1996) oeuvre, focusing in particular on the central position this figure occupies in her 1970s work. ![]()
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