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Il y a 13 éléments qui correspondent à vos termes de recherche.
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A voice and a place of one’s own: women, knowledge and empowerment in Charlotte Brontë’s Jane Eyre
par Christine Vandamme,
publié le 30/12/2020
- [Article] The article deals with women and knowledge in Charlotte Brontë’s Jane Eyre (1847). The novel was quite revolutionary in its time for its strong assertion of female agency and self-empowerment and a keen perception of power dynamics inherent in the definition of gender and gender roles. However considering Jane Eyre through the sole prism of a novel of emancipation only dealing with women’s rights and aspirations would be reductive. Jane Eyre’s fiery narrative is a strong plea against all forms of intersectional oppression in Victorian times despite its own unconscious bias relative to ethnicity and the colonial question notably.
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Feminist and queer studies: Judith Butler’s conceptualisation of gender
par Marilou Niedda,
publié le 02/10/2020
- This article is an introduction to Judith Butler's conception of gender: central to Butler's theory is the difference between sex and gender and the conception of gender as performance. The article also explores the impact of her work on queer theory.
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We’re Going on a Bear Hunt: Traditional and Counter-traditional Aspects of a Classic Children’s Book
par Véronique Alexandre,
publié le 07/07/2017
- The read-aloud book We’re Going on a Bear Hunt, “retold” by Michael Rosen and illustrated by Helen Oxenbury designed for very young children may be unlikely teaching material for EFL students in French middle and senior schools. But if studied in conjunction with the video released by The Guardian in 2014 to celebrate the 25th anniversary of the book, and if additional literary and artistic references are brought into the lesson plan, the teaching project may prove rewarding on many levels.
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The Man Who Shot Liberty Valance / L'Homme qui tua Liberty Valance (John Ford -1962)
par Lionel Gerin,
publié le 26/02/2015
- John Ford est l'un des plus grands, sans contestation possible. Citons Orson Welles, interviewé sur les cinéastes importants à ses yeux, qui répondait:"Les vieux maîtres, c'est à dire John Ford, John Ford et John Ford."
L'Homme qui tua Liberty Valance est l'avant-dernier western de John Ford est l'un de ses derniers films. Ford a contribué, et comment!, à forger la légende de l'ouest, il en est l'un des "inventeurs". Il est donc passionnant de voir son regard vieillissant sur le genre et les thèmes qu'il affectionne: la loi et son avènement, opposée au "wild west", la vieillesse, la fidélité, la vérité et la légende, la "naissance d'une nation", d'une communauté, la violence et son usage.
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For another Hysterature
par Emilie Notéris,
publié le 17/12/2012
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Since the question of women’s freedom in writing, or “Why stories of transgression or women’s assertions of freedom are less tolerated than those of men?” only highlight ordinary male chauvinism (the answer to the question is undeniably related to cultural issues), I prefer to focus on the counter strategies that can be deployed in response to the insults made to women, like the one Eileen Myles describes in her introduction to I love Dick by Chris Kraus, What about Chris?: “She’s turned female abjection inside out and aimed it at a man.” In other words, rather than identifying the reasons for the violent reception of women’s transgressive writing, I prefer to think about the strategies that can flow from them.
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Not Looking for Love
par Chris Kraus,
publié le 17/12/2012
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As women, we are often identified through our choice of sexual partners. When an “attractive” woman has sex with an ugly man, it is a descent into “abjection.” But why? Clearly, it is because as women, we are still believed to attain most of our identities through sexuality. In the present assimilationist climate, any non-monogamous, non-relational sexual act is read as a symptom of emotional damage. Our culture persists in believing that sex holds the magic key to a person’s identity — which is, of course, wrong — and in behaving as if female writers are uniquely charged with upholding the sacred intimacy of the sexual act.
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The Words of the Flesh
par Wendy Delorme,
publié le 11/12/2012
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There are people who write from the place that they have been assigned. Some of them with rage so as to get away from it; others, by contrast, who follow the path that has been mapped out for us. There are those who would rather stay on the margin of that space, away from the feminine, off-centered, but are then dragged back to it, kicking and screaming. Their words are women's words, words that are situated. The masculine remains the universal reference. Feminine words stay in the realm of the singular, indexed to the gender of who said them.
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Declaration of Disinclinations
par Lynne Tillman,
publié le 11/12/2012
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I like the theoretical ideal of neutrality, of non-hierarchical thinking. I’d like to be a writer, a person, but I am not. None of this naming is my choice. I’m a woman, “still” or I’m “only a woman.” “A good, bad woman, a silly, frivolous woman, an intelligent woman, a sweet woman, a harridan, bitch, whore, a fishmonger, gossipy woman. A woman writer.” What is “a woman writer”? Does “woman” cancel or negate “writer”? Create a different form of writer? Or does “woman” as an adjective utterly change the noun “writer”? “Man writer”? Not used. “Male writer,” rarely employed. Are there “man books” being read in “man caves?” OK, I declare: I’m a woman who writes, a person who writes. But how am I read?
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Beauty, Intensity, Asymmetry
par François Chaignaud,
publié le 16/02/2012
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"Beauty, Intensity, Asymmetry are born in my mouth like three goddesses ripe for veneration - far more than Identity, Gender, or Transgression, and utterly different from them. But this Beauty, of which we know only that some wish to buy but never to sell it, much less allow it to disappear or cause it to flee - nor to be the man or woman who no longer possesses anything but memories of it - is she a prescriptive goddess?"
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Wayne Koestenbaum - Notes on Affinity
par Wayne Koestenbaum,
publié le 18/04/2011
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Wayne Koestenbaum (États-Unis), poète, romancier et essayiste, est l'auteur d'une œuvre protéiforme et subversive qui explore les multiples facettes de l'identité américaine à travers de nombreux thèmes (les arts, la célébrité, les gender studies...) et où se mêlent les cultures littéraire, artistique, musicale et populaire. Dans Hotel Theory, il met en regard une enquête philosophique sur les hôtels et le récit d'une rencontre improbable entre deux icônes de la culture américaine : l'actrice mythique Lana Turner et la star du music-hall Liberace.
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King Lear comme fable
par Gérard Hocmard,
publié le 18/01/2010
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Pièce hors normes, Le Roi Lear a trouvé une résonance particulière dans le monde contemporain. Mais la construction se résume à une suite de confrontations; les personnages n'ont pas toujours beaucoup d'épaisseur et la catharsis attendue fait place à une série de paraboles qui s'emboîtent les unes dans les autres, tandis que le langage semble échapper aux protagonistes pour insister sur ce qui en l'homme est humanité et sur l'importance du lien social.
En fait, toute la technique dramatique semble au service d'un récit à caractère de conte, un peu comme celui que Mamillius définira comme « un conte d'hiver » dans la pièce éponyme. Il est permis de considérer Le Roi Lear comme une fable splendide et cruelle et là peut-être se trouve le secret de la fascination que la pièce exerce.
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Gender and genre in Frances Hodgson Burnett’s The Secret Garden
par Marion Boucher,
publié le 22/06/2009
- Questions of genre and gender lie at the heart of The Secret Garden, which plays on different cultural and literary influences, and questions the ideological and social context in which it is inscribed.
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La Créature : problématique de l'être artificiel
par Georges Zaragoza,
publié le 18/10/2007
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Après avoir souligné la monstruosité du docteur Frankenstein, Georges Zaragoza se penche sur sa créature pour révéler, à travers son discours, ce qu'il y a d'humain dans cet être artificiel. L'article qui suit est une version d'un cours de Georges Zaragoza adapté par Kevin Pinault pour La clé des langues. Les numéros de pages des citations de Frankenstein renvoient à l'édition Penguin Classics, 1992.
