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Torbey, Nahla. "D.H. Lawrence and French feminism." Thesis, University of Portsmouth, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.396363.
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Gache, Sherry L. "The Cinema Podium: French Feminism and Early Twenty-First Century French Cinema." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/168.
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This dissertation is an attempt to understand how early twenty-first century French films (2000-2002) position themselves in relation to late twentieth century feminist public discourse in France. More specifically, this study will examine how cinematic narratives are modifiers of feminist debate. Four selected films are analyzed for this research: Catherine Breillat's Fat Girl (2002), Patrice Leconte's Girl on the Bridge (2000), Pascale Bailly's God is Great and I am not (2002), and Agnes Varda's The Gleaners and I (2001). The study focuses on how these four films illustrate the historical moment of the changing role of French women in society, as they move from a more private sphere to a larger public sphere. Following a renewed feminist debate in the 1990s, both male and female film directors express their ideas on this public discourse, that of the future role of women in French society. These films depict, through the narrative medium of cinema, proposals for a revised role of women, with its assets and its difficulties. Often, there is a merging of the private and public realms of the woman protagonist's life. A critical reading of each of the four chosen films for study traces the methods used by directors to depict a public debate, focusing on those techniques unique to film. This study shows the power of cinema to construct, propose, question and/or resolve potential real-life situations in relation to a historical public discourse.
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Dunn, Angela Frances. "The continental drift : Anglo-American and French theories of tradition and feminism." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63972.
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Cross, Maire Fedelma. "The relationship between feminism and socialism in the life and work of Flora Tristan (1803-1844)." Thesis, University of Newcastle Upon Tyne, 1988. http://hdl.handle.net/10443/385.
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Flora Tristan was one of the earliest activists for feminism and socialism and campaigned under the July Monarchy in France. This thesis aims to highlight the relationship between feminism and socialism through the medium of Flora Tristan's life and work. It is based on a chronological study of her writings to illustrate how her egalitarian feminism developed from her personal circumstances and flourished into literature. It focuses mainly on the evolution of her ideas as she rejected both egalitarian and messianic feminism in favour of socialist militancy among the French working class. Her /- effort to insert feminism, as a high priority, into the nascent socialist movement, is closely scrutinised. In the light of more recent developments in France, the conclusion suggests that her life's work was a microcosm of the relationship between feminism and socialism as it was to develop after her death in 1844.
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Hitchcott, Nicola Marie. "The unspoken self : feminism and cultural identity in African women's writing in French." Thesis, University College London (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321098.
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Kuhlman, Olivia. "Inequities of Contemporary French Women." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/cmc_theses/60.
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This thesis is an analysis of the current situation of women in contemporary France. It analyzes the current situation of French women in education, the work force, politics, and French society, with the intent of uncovering the gender inequalities French women encounter in contemporary France.
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McIlvanney, S. J. "Gendering mimesis : realism and feminism in the works of Annie Ernaux and Claire Etcherelli." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282021.
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Kellett, Janine. "A study of working women in selected postwar texts by French women writers." Thesis, University of Glasgow, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325394.
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Jackson, Laura Ann. "Representations of the hysteric in contemporary women's writing in French." Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8944.
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This thesis explores how the celebratory figure of the hysteric as imagined by proponents of écriture féminine is developed and complicated in more recent representations of hysterical female bodies in contemporary women’s writing in French. With the aim of understanding the evolution of the hysteric from a traditionally negative embodiment of patriarchal parameters of femininity to a potentially revolutionary female figure, this thesis undertakes single-chapter studies of the most telling contemporary representations of hysterical bodies. The first chapter focuses on the physicality of Lorette Nobécourt’s writing in La Démangeaison (1994) and La Conversation (1998), and argues that the abject subject matter of the former coupled with the innovative and experimental form and style of the latter constitutes an almost physical performance of ‘madness’. The second chapter focuses on Marie Darrieussecq’s Truismes (1996) and argues that Darrieussecq’s hybrid narrator harnesses the anti-establishment carnival force of the hysteric in a shifting and grotesque body which forms the epitome of all that threatens order. The final two chapters focus on anorexia as a contemporary equivalence of Victorian hysteria. The first of these deals with Petite (1994) by Geneviève Brisac and Thornytorinx (2005) by Camille de Peretti and examines how these writers recreate the fragmentation of the anorexic self through a realist, performative ‘rhetoric of anorexia’. The second deals with Amélie Nothomb’s Robert des noms propres (2002), Biographie de la faim (2004) and Métaphysique des tubes (2000), and argues that Nothomb privileges a disembodied aesthetic that presents a masculine fantasy of the female body which all but erases the feminine. Ultimately, this thesis seeks to discover how and why selected contemporary female authors choose to engage with – and reject – 1970s models in which writing by women was presented as a means of finding one’s own voice, as well as a platform for politically significant action. It argues that new configurations of the hysteric nevertheless achieve a certain social and political impact.
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Saugeres, Lise. "Representations of femininity and masculinity : gender relations and identities amongst farm families in a French community." Thesis, Manchester Metropolitan University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284437.
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This thesis is about gender relations and identities among farming families in a community in the Aveyron region in southern France. More particularly, it is about the ways in which women and men in farming families locate themselves in terms of culturally constructed ideas of femininity and masculinity, and ideas of tradition and modernity. This study is carried out from a feminist perspective and draws on feminist and social and cultural geographies as well as other social science disciplines in order to explore the production and reproduction of patriarchal ideologies by which women are maintained in unequal positions to men in farming families, the farming community, and bureaucratic structures.
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Gillingham, Anne Elaine. "The taming of La Bourgeoise : bourgeois French women as gendered creators and consumers of art, décor, fashion and feminism during the Third French Republic, 1870-1914." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6660/.
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This thesis analyses the gendered choices made by bourgeois French women as creators and consumers of art, décor, fashion and feminism during the Third French Republic 1870-1914. Specifically, it examines the extent of female agency and individuality in fashioning a self-image, and how this issue relates to the limitations on women’s exercise of professional and political choice. The first of three core chapters (Chapter 2) establishes that women were able to construct a self-image as a creator and/or consumer of art, décor and fashion but this ability was limited by both the gendered discourses inherent in the French art world and, more widely, by the ideals of womanhood prescribed by bourgeois social mores. Subsequently, the complex and potentially confusing nature of the conflicting textual and visual images that bourgeois French women were exposed to as creators and consumers is discussed in Chapter 3, and exposes the many tensions and contradictions in their aesthetic roles. Finally, the correlation between female agency, aesthetics, and participation in the feminist movement is examined in Chapter 4 leading to the eventual conclusion that an increasing emphasis on physical appearance and aestheticism meant that few French women chose to fully discard domesticity and traditional notions of femininity in favour of a career and/or feminism. Instead, many gravitated towards less radical and publicly visible forms of feminist action whilst others renounced feminism entirely. By illustrating the importance of aesthetics in the personal, professional and political lives of bourgeois French women, this thesis brings to the discipline an ability to interconnect the study of cultural representations with more detailed evidence from women’s everyday lives. Furthermore, it will contribute to the history of female agency, individuality and political power by providing a richer, more informed picture of just how women in the Third Republic were shaped by aesthetics.
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Kenison, David J. "A praxis of the incipit and the feminist discourse /." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61933.
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Hickmott, Sarah. "(En) Corps Sonore : towards a feminist ethics of the 'idea' of music in recent French thought." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:eb562d0f-e9be-40f4-b0a3-9fa6da0a3136.
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This thesis explores the way music is characterized, used, or accounted for in recent (post-1968) French thought, focusing in particular on the work of Jean-Luc Nancy, Philippe Lacoue-Labarthe, and Alain Badiou. In spite of the differences in their philosophical-theoretical positions, all of these writers invoke music - both directly and indirectly - to negotiate their relationship to ontological, political, ethical and aesthetic concerns, particularly in terms of how it relates to the (im)possibility of a subject, the condition of truth, and the role of philosophical thought itself. The thesis situates these texts in a longer genealogy of musico-philosophical interactions and also brings them into dialogue with recent musicological approaches, thus showing how an inherited idea of what music 'is' is often assumed rather than critically re-evaluated. In short, by tracing the musical-transcendental baggage of an inherited metaphysical conception of music - one which often understands music in close relation to the feminine, (sexual) excess, and the beyond of language and/or the symbolic - the thesis shows that though music is instrumentalized by progressive thinkers as a way of shifting theoretical/philosophical paradigms, it nonetheless does so in a way that has a strong sense of continuity with previous thinking on music. Secondly, the thesis highlights the way in which music in its metaphysical-ontological guise is often conceived as synonymous with Western high art classical music (which is itself constructed as absolute and transcendent, and ontologically independent of its means of (re)production or context) whilst non-literate, popular, folk and world musics - on the occasions that they are considered and not simply ignored or denigrated - are notably considered almost exclusively in terms of their social-cultural or technological contexts. Finally, the thesis demonstrates that much of this takes place through a simultaneous instrumentalization of gender as an organisational category for philosophy, and one which all too often has the consequence of sending women - along with music - to the beyond of pre-, inter-, or post-signification.
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Pereira, Fernanda. "Corpos em protesto: análise discursiva do movimento Femen." Universidade Estadual do Oeste do Paraná, 2017. http://tede.unioeste.br/handle/tede/3051.
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According to the french Discourse Analysis (AD), formulated by Michel Pêcheux, discourse is an effect of meaning among interlocutors, a meaning that occurs within a given discursive formation (FD), and determines what can and should be said. In a society already used to the historical struggle of the Feminist Movements for equal rights and in which the body (both male and female) is exploited commercially, daily, by the media, it seems strange that the exposure of the half naked female body in protests, is still percieved as offensive and negative. The feminist group FEMEN, which fights against patriarchy in its three forms (materialized, according to the group, in sexual exploitation of women, dictatorships and major religions), is constantly attacked, during its protests, by exposing their half-naked bodies. Through the identification of the elements used by the activists in their protests and the analysis of the statements that “dress” their bodies, this work aims to understand how the discursive memory is reclaimed, producing meaning. Thus, this dissertation seeks to understand the discursive processes that allow the production of these effects of meaning, and how the naked body constitutes itself as a discursive materiality, displacing the bodies of the activists from the ideal of femininity (according to Kehl (2016)) or submission, docility, with the sole purpose of maternity) built throughout the nineteenth century. Through the analysis of the images of three protests, which question the control exercised over the female bodies, by the main religions of the Western world, this work aims to understand how the naked female body, when used as a vehicle of protest, produces effects of meaning that break up with the current FD that determines what a woman can and should be, within the ideals that persist in our society. In this sense, the naked body, when used to denounce and question control practices over the women’s body, produces discomfort, estrangement, rupture with these discourses.
Para a Análise do Discurso (AD) de linha francesa, formulada por Michel Pêcheux, o discurso é efeito de sentido entre interlocutores, sentido que se dá dentro de uma determinada formação discursiva (FD), e que determina aquilo que pode e deve ser dito. Em uma sociedade já habituada à luta histórica dos movimentos feministas por igualdade de direitos e na qual o corpo (tanto masculino quanto feminino) é explorado comercialmente pela mídia, diariamente, parece estranho que a exposição do corpo feminino (semi)nu em protestos, seja vista de forma ofensiva e negativa. O grupo feminista FEMEN, que luta contra o patriarcado em suas três formas (materializadas, segundo o grupo, na exploração sexual da mulher, nas ditaduras e nas principais religiões), é alvo de agressões, durante seus protestos, por expor seus corpos (semi)nus. Por meio da identificação dos elementos utilizados pelas manifestantes em seus protestos e da análise dos enunciados que vestem seus corpos, objetiva-se compreender como a memória discursiva é retomada, produzindo sentidos. Assim, pretende-se com esta dissertação compreender os processos discursivos que possibilitam a produção desses efeitos de sentido, e como o corpo nu se constitui como materialidade discursiva, deslocando os corpos das manifestantes do ideal de feminilidade (KEHL, 2016) de submissão, docilidade, tendo como único objetivo a maternidade, construído ao longo do século XIX e que ressoa ainda no século XXI. Por meio da análise de imagens de três protestos do grupo, os quais questionam o controle exercido sobre os corpos femininos (de mulheres) pelas principais religiões do mundo ocidental, busca-se compreender como o corpo feminino nu, quando utilizado como veículo de protesto, produz efeitos de sentido que rompem com a FD vigente que determina o que pode e deve ser uma mulher, dentro dos ideais que persistem na sociedade. Nesse sentido, o corpo nu, quando utilizado para denunciar e questionar práticas de controle sobre o corpo da mulher, produz o desconforto, o estranhamento, a ruptura com esses discursos tão estabilizados na memória da sociedade.
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Sengupta, Sheila L. "La Réconciliation des Féminismes : L’amélioration du statut de la femme africaine." Case Western Reserve University School of Graduate Studies / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=case1307478844.
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Rosso, Ana. "Female sexuality in French naturalism and realism, and British new woman fiction, 1850-1900." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/14126.
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The Victorian need to compartmentalise and define women’s sexuality in terms of opposing binaries was paralleled by the vague idea that the period’s French and British literatures were at odds with one another. Elucidating the deep connections between, and common concerns shared by, French Naturalist and Realist and British New Woman authors, this thesis shatters the dichotomies that attempted to structure and define women’s sexuality in the mid- to late- nineteenth century. The thesis focusses on novels and short stories by French authors Émile Zola and Guy de Maupassant, and New Woman authors Sarah Grand, Ménie Muriel Dowie and Vernon Lee. In a time during which the feminist movement was gaining momentum, and female sexuality was placed at the heart of a range of discourses, and scrutinised from a number of different angles – not only in literature, but in medicine, psychology, sexology, criminology – the consideration of the female sexual self and her subjectivity brings together the work of authors whose oeuvres have been largely considered as antithetical. Previous work has indeed shown the centrality of female sexuality to both literatures, yet never compared them. This thesis rediscovers the significance of both literatures’ investment in a discourse revolving around female sexuality by contrasting the French male authors with the British female writers, and uncovering unexpected parallels in their claims about the contemporary situation of women. Simone de Beauvoir’s Le Deuxième Sexe’s feminist philosophy frames the thesis’s comparative analysis, questioning and re-examining these authors’ representations of female sexuality. The ideas of sensuality and rationality, motherhood, reproduction, marriage, and prostitution thus become recurring concerns throughout it. The thesis’s first chapter considers the female as sexual subject and/or object of the male gaze, in a range of New Woman and French literature. The second and third chapters are organised around the themes of marriage and prostitution, and the final chapter considers issues of female sexuality within the fantastic short story.
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Song, Ryan Ji Hi. "French literary canon formation from the Belle ÉEpoque to the post-war era : feminism, cultural capital and the fallacy of exclusion theory." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.620161.
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Kourie, Mark. "The status of love in philosophy : an examination of the role of love (eros) in the work (or works) of selected French thinkers." Diss., University of Pretoria, 2012. http://hdl.handle.net/2263/29508.
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This dissertation exposes the status of eros in the works of Levinas, Irigaray, and, Nancy. I begin by evaluating Levinas’s phenomenological analyses of eros in Time and the Other and Totality and Infinity. In order to fully appreciate this, however, I must necessarily also provide a summary overview of the central theme which guides Levinas’s work: ‘the Other.’ This leads Levinas to develop ethics as first philosophy, which in turn implies that the reduction of the Other to the same is the unethical gesture par excellence. Levinas formulates eros as the ‘equivocal par excellence’; a profane relation with the radical alterity of the feminine. Eros, for Levinas, inevitably lapses back to the economy of the same, and hence he looks to paternal fecundity to understand a relation with alterity untainted by erotic sensuality. Moreover, I identify the themes in Levinas’s work which guide this dissertation: the plurality of being, the tactility of erotic caressing, transcendence in eros, sexual difference, the affair between love and death, revisiting Plato’s Symposium, and, the erotic relationship with alterity. Having exposed these themes, and pre-empting a feminist critique of Levinas, I move on to the work of Luce Irigaray. After contextualising Irigaray’s feminist project, I expose and evaluate her critical reading of Levinas, particularly in her essay “The Fecundity of the Caress.” For Irigaray, Levinas mistakenly assumes a universal masculine subject, which in turn denies the feminine (and thus empirical women) a chance to be subjects. The fact that Levinas considers eros profane suggests, for Irigaray, that Levinas’s phenomenology of eros is haunted by a patriarchal bias evinced in the way he turns to paternity to salvage eros from a damnable carnality. Irigaray, in contrast, asserts eros as a relationship between the two real poles of sexual alterity. Eros thus holds potential as a just relation between the sexes. However, I find that Irigaray’s insistence on the biological markers of sexual difference becomes somewhat too idealistic. When compared with one another, Irigaray and Levinas arrive at an impasse which is solved by turning to the work of Jean-Luc Nancy. Nancy insists that love (including eros) cannot be thought as anything but an indefinite multiplicity. Nancy’s thought on love reflects his formulation of ‘being-singular-plural,’ an ontology which asserts ‘being-with’ is axiomatic in all philosophical investigations. In Shattered Love, Nancy deconstructs dialectics in order to show that love does not operate in a dialectical fashion. Both Levinas’s and Irigaray’s accounts of eros are exposed as dialectical. Nancy, in contrast, formulates love and sex/gender as the exposure of a subject to the relation with the other. Moreover, by examining Nancy’s thought on the body, eros can be derived as subtending all relations between sexed bodies. Thus Nancy figures eros as neither ideal nor profane, nor does he restrict eros to an ideal relation between the masculine and the feminine. However, Nancy’s opaque philosophy is not without fault. Although Nancy offers an interesting way in which to think eros, certain avenues of thought remain unexplored.Dissertation (MA)--University of Pretoria, 2012.
Philosophy
unrestricted
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Genty, Stéphanie. "Identité de genre et malaise dans l'oeuvre romanesque de Marilyn French." Bordeaux 3, 1994. http://www.theses.fr/1994BOR30024.
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L'oeuvre de marilyn french (1929- ), variee et coherente, comprend des romans, des ouvrages de critique litteraire et des essais d'ordre sociologique. Romanciere et theoricienne feministe, marilyn french appartient a cette generation de femmes ecrivains americaines qui ont trouve leur voie voix dans le contexte du mouvement pour la liberation de la femme. Sa contribution au roman feminin contemporain consiste en la mise en scene du malaise actuel, malaise multiforme issu d'une identite de genre contraignante qui deforme hommes et femmes et dont les signes apparaissent dans l'environnement socioculturel. Le pessimisme et le determinisme planent sur son oeuvre romanesque, car la souffrance persiste malgre le passage du mouvement feministe. Ce fatalisme va a l'encontre duprojet utopique esquissee dans un essai sociologique et forme la base de notre problematique. Cette contradiction, opposant genres romanesque et sociologique, s'attenue face a la complexite de l'experience humaine, complexite que french reconnait. Son oeuvre temoigne de la difficulte qu'il y a a elaborer de nouvelles identites feminines et masculines capables d'enrayer ce malMarilyn french's work, varied and coherent, includes novels, literary criticism and sociological essays. Novelist and feminist theorist, marilynfrench (1929- ) belongs to the generation of american women writers who discovered their vocation and their voice in the context of the women's liberation movement. Her contribution to contemporary women's writing is her description of our current malaise, a malaise which is multiform and whose source is the constrictive gener identity which deforms men and women and whose signs appear in our socio-cultural environment. Pessimism and determinism haunt her novels since the suffering continues despite the influence of the feminist movement. This fatalism contradicts the utopian project sketched out in an important essay and constitutes a fundamental problem for our study. The contradiction, opposing two literary genres, is somewhat resolved by the author's recognition of the complexity of human experience. Her work attests to the difficulty in elaborating new gender identities capable of healing the wound
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Lechintan, Adela A. "Cinematic Reverberations of Historical Trauma: Women's Memories of the Holocaust and Colonialism in Contemporary French-Language Cinema." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1315504205.
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Carlshamre, Katarina. "Pulsion et résistance : Émancipation, liberté et tendances conservatrices dans trois romans d'Anne Hébert." Doctoral thesis, Stockholms universitet, Institutionen för franska, italienska och klassiska språk, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-31146.
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This thesis investigates some motifs in the fiction of Québec writer Anne Hébert (1916-2000), largely by exploring interesting affinities with notions in the philosophy of Luce Irigaray (1930-). The main focus is on the young female characters and their way to adulthood in three of Hébert’s books: her first novel, Les chambres de bois (LCB, 1958) and two of her later works, Aurélien, Clara, Mademoiselle et le Lieutenant anglais (AC, 1995) and Est-ce que je te derange ? (ECD, 1998). The study also addresses the situation of the male characters and the difficulties which confront them within a phallocentric order. It is argued that a comparison with features of Irigaray’s thought can shed light both on the emancipatory and the conservative tendencies in the novels. In particular, it is Irigaray’s notion of mimesis that proves to be fruitful for a deeper understanding of the female protagonists in the analysed works, but her specific use of the Oidipus complex, and her vision of a culture of sexual difference, also give important clues for the interpretation of both male and female figures in Herbert’s texts. With regard to LCB, it is shown that it is only when the female protagonist consciously positions herself as a reflection of male desire, as a mimetic figure, that substantial change comes about. In AC the female character is an incarnation of “utopian mimesis” and represents a new order. In ECD the female protagonist functions as a manifestation of a “symptomatic mimesis” and thereby becomes a catalyst for the revelation of the repressed sensibility of the male subject. Irigaray’s reading of the Oidipus complex is used to evince the utopian tendencies in AC, but also to explore how the male characters of all three works are stuck in a denied repetition of their childhood, which leaves little room for change. Irigaray’s vision of a culture of sexual difference provides a comprehensive picture of a place towards which all three novels can be seen to aim.
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O'Shea, Regina L. "Queening: Chess and Women in Medieval and Renaissance France." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2416.
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This work explores the correlation between the game of chess and social conditions for women in both medieval and Renaissance France. Beginning with an introduction to the importance and symbolism of the game in European society and the teaching of the game to European nobility, this study theorizes how chess relates to gender politics in early modern France and how the game's evolution reflects the changing role of women. I propose that modifications to increase the directional and quantitative abilities of the Queen piece made at the close of the fifteenth century reflect changing attitudes towards women of the period, especially women in power. In correlation with this, I also assert that the action of queening, or promotion of a Pawn to a Queen, demonstrates evolving conceptions of women as well. This work seeks to add to the growing body of work devoted to the exploration of connections between chess and political and social circumstances during the periods under consideration. As the question of the interconnectedness between the game and gender relations is in its beginning stages of exploration, this thesis is offered as a further analysis of the gender anxieties and conceptions present in the game's theory and history.
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Nkealah, Naomi Epongse. "Islamic culture and the question of women's human rights in North Africa : a study of short stories by Assia Djebar and Alifa Rifaat." Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-09102007-111635.
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Surewicz, Anita Wioletta. "Theatre of unreason : the French feminist concept of 'L'Ecriture feminine' and woman as the 'irrational other' /." Title page, contents and introduction only, 2000. http://web4.library.adelaide.edu.au/theses/09AR/09ars9613.pdf.
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Fong, Jessica. "Fantasme, Rébellion, et Féminisme: Le Monde Subversif du Fandom Français de le Hallyu." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/194.
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The global phenomenon known as the Hallyu, or the Korean Wave, has brought Korean pop culture to every corner of the Internet. In this paper, I discuss the impact Hallyu has had in France specifically and examine the online subculture of female-created fanfiction that has arisen from it. I postulate that, for a French woman, the act of participating in fandom and/or writing slash fanfiction about Korean pop idols constitutes a political act of rebellion against the patriarchy and gender norms, even if the fan herself is unaware of it.
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Stobierska, Agnieszka. "Généalogie féminine et réécriture des mythes dans les littératures française et polonaise contemporaines." Thesis, Université Côte d'Azur (ComUE), 2018. http://www.theses.fr/2018AZUR2020.
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Notre travail se penche sur la réécriture de quelques mythes du point de vue féminin afin de proposer une (re)construction de la généalogie des femmes. Quelles sont les figures représentatives du couple mère/fille, et comment se construisent-elles ? Dans quels mouvements s’inscrivent les reprises des mythes classiques ? Faut-il détourner les mythes créés par les hommes afin de parvenir à une nouvelle généalogie féminine ? Ce travail relève d’une double approche comparatiste, il propose tout d’abord l’analyse des figures archétypales mères-filles dans une perspective mythocritique, puis sur un plan culturel et linguistique, rapprochant des textes de la littérature française et polonaise. Ainsi, les figures bibliques d’Ève et Marie s’unissent aux représentations des mythologies païennes, telles Déméter et Perséphone, Iphigénie et Clytemnestre, ou enfin Médée. Ces figures anciennes de la maternité reviennent en force, revisitées par des écrivaines françaises et polonaises contemporaines, et ce pour redéfinir la perception du couple mère/fille. Les œuvres analysées sont nombreuses, d’Hélène Cixous à Christine Angot pour le corpus français. Quant aux textes polonais, c’est pour le lecteur français toute une littérature à découvrir qui est présentée, explorée et analysée. Nous nous intéressons à des auteures polonaises qui ont contribué à la naissance d’une écriture féminine plus intime après 1989. Nous attribuons une place considérable à la traduction des extraits des textes étudiés, ceci dans l’optique d’une traduction complète ultérieurement. Malgré les contextes socio-culturels différents dans lesquels évoluent les deux littératures, un véritable dialogue s’établit au niveau des paradigmes mythiques exploités. Ce rapprochement permet d’envisager une certaine universalité inscrite dans les mythes anciens évoquant les figures de la maternité. Il s’agit in fine d’une quête commune des femmes à la recherche d’une histoire pour la refondation d’une nouvelle généalogieThis dissertation examines the rewriting of some myths from the female point of view in order to propose a (re)construction of women's genealogy. What are the representative figures of the mother/daughter relationship, and how are they constructed? In which movements do the rewritings of classical myths fit? Should the myths created by men be diverted in order to achieve a new female genealogy? This work is based on a double comparative approach ; first, it proposes an analysis of archetypal mother-daughter figures in a mythocritical perspective ; second, it brings together texts from French and Polish literature on cultural and linguistic levels. Thus, the biblical figures of Eve and Mary are compared with representations of pagan mythologies, such as Demeter and Persephone, Iphigenia and Clytemnestra, or finally Medea. These ancient figures of maternity return in force, revisited by contemporary French and Polish writers, to redefine the perception of the mother/daughter relationship. The works analyzed are numerous; for the French corpus, they range from Hélène Cixous to Christine Angot, and for the Polish texts, this dissertation focuses on women’s literature after 1989, when a more intimate literature emerged. These texts will be presented and analyzed so that the French reader can usefully discover them in tandem with the French texts. Considerable importance is given to the translation of extracts from these texts, in view of a complete translation later on. Despite the different socio-cultural contexts in which the two literatures have evolved, a real dialogue is established at the level of mythical paradigms. This rapprochement makes possible to imagine a universality inscribed in the ancient myths evoking the figures of motherhood. It is ultimately a common quest of women searching for a history in order to find foundations for a new genealogy
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Husung, Kirsten. "Discours féministe et postcolonial : stratégies de subversion dans "Les Honneurs perdus" de Calixthe Beyala." Thesis, Växjö University, School of Humanities, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-457.
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This study focuses on the different strategies that the author uses to subvert the patriarchal and the colonial discourses which are reflected in the novel "Les Honneurs perdus" of Calixthe Beyala. In the introduction a theoretical background is given which includes feminist and postcolonial literary theories and their relation to postmodern theories and deconstruction. The introduction underlines the importance of the constitution of subject in postcolonial and feminist theories in contrast to deconstruction of subject in postmodernism and poststructuralism.
The analysis demonstrates that the novel can be seen as a female bildungsroman in the protagonist’s intent to create an autonomous identity. A gynocentric writing and the dialogue with another female character, the heroine’s antagonistic double, which includes the possibility of a female genealogy, as well as the final love to a white man, contribute essentially to transculturation and the construction of the heroine’s hybrid identity.
The second chapter of the analysis shows that the dichotomies Europe–Africa and man–woman in the binary system of the western way of thinking are very marked in the novel. Finally the third chapter points out how the different narrative techniques like the mixing of different language levels, the creation of new words, the use of irony and carnivalation, a special form of parody, as well as the intertextuality of magic realism deconstruct and subvert the heritage of colonial and patriarchal values and demonstrate the post-colonial misery both in the protagonist’s native suburb in Cameroun and in Paris.
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Christiansen, Naomi Lund. "Learning to Create: A Collection of Personal Essays." Diss., CLICK HERE for online access, 2004. http://contentdm.lib.byu.edu/ETD/image/etd485.pdf.
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Stevralia, Christine M. "Contact." ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2535.
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A year after Alyssa Milano’s tweet launched the #MeToo movement, survivors of sexual assault are being called ‘accusers’ in the media, and public opinion is swinging in favor of guilty men. #MeToo raised awareness but not understanding. What is rape? What is consent? As evidenced by the #MeToo movement and the backlash against it, clearly, as a society, we don’t know. Contact is a work of Creative Nonfiction that uses scenes and details from the narrator’s personal experiences to illuminate the micro-negotiations that occur in sex and seduction.
In a world where women are still expected to stay small and stay out of the way, where we publicly decry but privately propagate the notion of being 'seen and not heard,' and where to be seen means to be sexualized, this narrator seeks to take up space and make noise. In Contact the personal is political and the political is personal.
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Louar, Nadia. "Le "devenir féminin" dans la sociéte moderne occidentale à travers les deux romans de Virginie Despentes." PDXScholar, 1997. https://pdxscholar.library.pdx.edu/open_access_etds/2791.
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Les deux premiers romans de Virginie Despentes, Baise-moi (1995) et les Chiennes Savantes (1996), attestent de la mutation socio-culturelle qui affecte la societe contemporaine. Son style insolent, son langage corrosif et volontairement Prosaïque confirme et signe I 'évolution dans le monde occidental des valeurs, des désirs et aspirations de 1'homme, et plus crucialement de la femme des années 90. Plus qu'une révolution des moeurs, on assiste dans ses deux premières oeuvres á une véritable mutation culturelle qui bouleverse les rôles et modéles traditionnels des individus dans la société. Ce bouleversement qui s'exprime dans la vie banale, mais définitivement violente de ses personnages féminins remet en cause leur identité et questionne la nature mȇme de l'homme et de la femme.
Les personnages que Virginie Despentes façonne d'une part, et l'espace dans lequel l'auteur choisit de les faire évoluer, d'autre part, représentent les consequences de ces bouleversements et traduisent le désaroi auquel la femme doit maintenant faire face devant les donnees nouvelles de la société.
Dans une première partie, à travers les deux romans de l'auteur, nous nous efforcerons d'examiner et d'analyser le statut de la femme dans l'espace urbain contemporain lyonnais, en portant une attention particulière à la dichotomie spatiale qui s'exerce entre deux espaces à la fois socialement juxtaposés et geographiquement confondus: Lyon, communauté urbaine, et le "village" de la Croix Rousse, avec sa proper idiosyncrasie, ses coutumes, et la population fondamentalement hétéroclite, endémique à cette enclave dans la cité européenne.
Dans une seconde partie, nous nous détournerons de cette perspective quasi sociologique pour aborder la dimension psychanalytique du langage tel qu'il se déploie dans la prose singulièrement provocante de Virginie Despentes. Nous nous interesserons dans cette partie à la symbolique du corps, de l'image et l'identité féminine.
La troisième partie s'efforcera d'examiner les consequénces et répercussions de ces bouleversements dans la vision et conception idéologique de la “femme d'aujourd'hui”, selon la formule consacree des journaux dits “féminins.”
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Chen, Szu-chin Hestia. "Reading Julia Kristeva's novels : revisiting French feminist theory." Thesis, University of Edinburgh, 2005. http://hdl.handle.net/1842/24365.
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Internationally known as a practising psychoanalyst, literary theoretician and critic, the French feminist Julia Kristeva has recently shifted her interest from theory to the novel, albeit that the boundary between theory and novel is indeterminate for her. This research is a study of her novels to date, Les Samouraïs, Le vieil homme et les loups, and Possessions, and the way in which they embody her theoretical works in the context of the relationship between French feminist theory and post-colonial (feminist) theory, as well as between French feminist theory and Anglo-American feminism. It is divided into two parts and six chapters. Part one examines the implications of how Kristeva’s problematic status as a French feminist can be situated in relation to post-colonial (feminist) theorists and critics. The starting point for this part is the feminist post-colonial theorist and critic Gayatri Chakravorty Spivak’s critique of Kristeva’s Des Chinoises, of which narcissism is the theme. A comparison is made, in the first chapter, between Spivak’s argument that Kristeva is a privileged informant in representing Chinese women in Des Chinoises and Kristeva’s fictional portrayal of her characters as a reincarnation of narcissus, which serves as the basis of my exploration into Kristeva’s theory of love. This is followed by a study of the correlation between Kristeva’s theory of melancholia and her fictional representation of it in the second chapter. The focus on the relationship between the work of Kristeva and that of the post-colonial critic David Punter at the end of the second chapter also continues to be the object of analysis in the third chapter. This aspect of the relationship between French feminist theory and post-colonial theory paves the way for my reading of Kristeva’s theory of the abject and abjection, an interpretation which brings part one to a conclusion. Part two starts with an introduction to Kristeva’s relationship with the other two French feminist theorists Hélène Cixous and Luce Irigaray, whose work and Kristeva’s become representative of French feminism. This understanding of French feminist theory among the Anglophone feminist reading public obscures the theoretical positions of feminist thought in France. The objective of this part is to destabilise the underlying assumption that French feminist theory is apolitical and Anglo-American feminism is political.
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Ruyer, Justine. "Voyeurisme et obsession : de la femme-objet et de sa reduction au silence dans La Jalousie'Alain Robbe-Grillet et Le Ravissement de Lol V. Stein de Marguerite Duras." Miami University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=miami1626193617027462.
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Boisclair, Isabelle. "Ouvrir la voie/x, le processus constitutif d'un sous-champ littéraire féministe au Québec, 1960-1990." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0020/NQ46684.pdf.
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Mollo, Vittoria. "Pour L'Orgueil et contre les Préjugés: Mémoires de George Sand et Valérie Trierweiler, femmes répudiées." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/674.
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This thesis explores the themes of Pride and Prejudice in two texts written roughly two hundred years apart. The first work that is analyzed is Elle et Lui by George Sand, published in the year 1859 . The second book that is explored throughout this dissertation is Merci pour ce moment: a best seller penned in 2014 by the ex french Première Dame Valérie Trierweiler. In particular, this thesis takes a closer look at these womens' use of a biography as a means to redeem their image as perceived by the public.
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Weir, Susan Leigh. "Lettres d'une Peruvienne: An Enlightenment Utopian Novel." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/4912.
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This thesis examines Franc;oise de Graffigny's eighteenthcentury novel, Lettres d'une Peruvienne. focusing on the aspects that demonstrate its consideration as a utopian work, or moreover, as a feminist utopian work. The first chapter is developed from the premise about utopian fiction that the author's life must be considered since it is out of his or her "lived social experience" that utopian visions are born. Utopias, many have argued, are born out of reactions to social inequities and injustices. This chapter thus presents and analyzes, Graffigny's life especially where it shows needs for a future utopia. The second chapter explores definitions of utopias, especially feminist literary utopias, in order to build a framework for analyzing Graffigny's work. It will be shown that this novel exhibits many of the traits found in a woman's utopia as opposed to those found in a man's. The third and fourth chapters directly analyze the text, Lettres d'une Peruvienne, using the research from the previous chapters as the groundwork to draw out the utopian aspects of the novel.
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McNay, Lois. "Power, body, gender : implications of French social theory for feminist critique." Thesis, University of Cambridge, 1991. https://www.repository.cam.ac.uk/handle/1810/272613.
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MacDonald, Anna. "Expressions of White Ink: Victorian Women's Poetry and the Lactating Breast." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32951.
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The period spanning from the late 1850s to the mid-1860s frames a historical moment in Victorian England when lactation and breastfeeding came under intense public scrutiny in both medical and creative writing. While popular domestic author Isabella Beeton wrote on the dangers that an unwary mother’s milk represented for her child and herself in her serial publication, Mrs. Beeton’s Book of Household Management (1859-1861), prominent physicians C.H.F. Routh and William Acton launched a public dispute in medical journals contesting the physiological and moral dangers that the fallen wet nurse posed for the middle-class household (1859). Meanwhile, the medical community catalogued the bizarre long-term physical and dispositional side-effects of an infant’s consumption of “bad milk” – among them, syphilis, swearing, sexual immorality, and death (Matus 161-162). But it is not only medical writers who were latching on to the breastfeeding debate as a means of voicing social and political concerns of the day; recent literary critics have gestured towards the troubling manifestations of lactation in popular mid-century novels like Charles Dickens’s Dombey and Son (1848) and George Eliot’s Adam Bede (1859) as entry points into Victorian anxieties about classed and gendered embodiment. This project stipulates that the mid-century preoccupation with managing women’s milk represents an intersection of two overlapping cultural paradigms pertaining to female expression: a cultural devaluation of female physiological expression as unconscious if not dangerous leakage, and a deprecation of female linguistic and poetic expression as an analogously unmeditated and potentially disruptive kind of communication. Mid-century manuals, articles, and novels offered public voice to a number of existing anxieties surrounding breastfeeding which accompanied the mid-nineteenth century, a historical moment at the cusp of a waning popularity in wet nursing and at the advent and rise of patented infant formula. This project stipulates that at least three female poets of the mid-nineteenth century employ lactation imagery in their works as a means of recasting a cultural devaluation of female expression – inventing a new critical terminology of feminine poetic signifiers that uses the symbolic medium of breastmilk as its ink. Informed by the medical and cultural context of the High Victorian age, I explore how poets Elizabeth Barrett Browning (1806-1861), Christina Rossetti (1830-1894), and Augusta Webster (1837-1894) not only participate in the preoccupation with unstable bodies and fluids, but capitalize on female leakage in an elaborate rhetorical strategy that embarks on a new embodied female poetics. Barrett Browning’s Aurora Leigh, Rossetti’s “Goblin Market,” and Webster’s Mother and Daughter all enlist the lactating and feeding breast in a series of elaborate metaphors of female identity construction, literary expression, and poetic voice.
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Kačkutė, Eglė. "Women’s Identities in Contemporary British and French Women’s Writing." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110525_110752-56993.
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This thesis focuses on how identity in contemporary British and French women’s writing has developed since the times of second wave feminism, when identity in women’s literature was virtually narrowed down to gender identity and women’s identities more often than not were portrayed as discriminated against, alien and other in world dominated by patriarchy. The thesis addresses different aspects of identity explored in the work of four contemporary female authors: British Trezza Azzopardi and A.L. Kennedy, French Marie NDiaye and Marie Darrieussecq. It also articulates the structure of identity as it appears in the work of each author. The study suggests that Azzopardi, NDiaye, Kennedy and Darrieussecq address a wide range of aspects of identity in their work. Nevertheless, gender identity remains a significant preoccupation in their writing and is often explored together with other discriminated identities and their combinations (i.e. gender/race/social/class or gender/age/national identities. It is argued that self identity in the work of all four authors takes the form of the other in different guises. It is argued that a prominent concern with the exploration of self as other is the distinguishing mark of the latest generation of women writers compared to previous ones. It is the contention of this thesis that the change in the female speaking position has inevitably transformed the way the female speaking subject perceives herself and functions in discourse and culture.Disertacijoje siekiama atskleisti, kaip moterų tapatumo problema naujausioje prancūzų ir britų moterų literatūroje pakito nuo antrosios feminizmo bangos laikų, kai moterų literatūroje ji buvo tapati lyties tapatumui, o moters tapatumas vaizduojamas kaip diskriminuojamas, svetimas, kitas vyrų pasaulyje. Lyties tapatumas šiuolaikinėje moterų kūryboje išsirutuliojo į sudėtingą ir platų tapatumų tinklą. Disertacijoje nagrinėjami įvairūs tapatumo aspektai ir jų raiška keturių šiuolaikinių rašytojų – prancūzių Marie NDiaye ir Marie Darrieussecq bei bričių velsietės Trezzos Azzopardi ir škotės Alison Louise Kennedy (pasirašinėjančios A. L. Kennedy) – kūryboje. Per minėtų autorių kūrybą aptariami XX–XXI amžių sandūros britų ir prancūzų moterų literatūroje aktualizuojami tapatumo aspektai ir jų konstravimo principai. Daromos išvados, kad šiuolaikinių rašytojų nebeslegia lyties identifikacijos, joms rūpi aktualizuoti ne vieną, bet daugelį tapatumo aspektų, kurie vis dėlto dažniausiai yra diskriminuojami. Vyraujantis mąstymo apie tapatumą būdas Azzopardi, NDiaye, Kennedy ir Darrieussecq kūryboje yra kito neišvengiamumo deklaravimas. Tai simbolizuoja visavertį moterų rašytojų dalyvavimą diskursyvinėje erdvėje, tai, kad kūrybą jos suvokia ne kaip kito dominuojamą erdvę, bet kaip areną, kurioje jų talentas, jų kūrybinė savastis gali skleistis ir skleidžiasi per santykį su kitu, kitais, jų tekstais, kūrybiniais ir meniniais ieškojimais.
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Mulder, Anne-Claire. "Divine flesh, embodied word incarnation as a hermeneutical key to a feminist theologian's reading of Luce Irigaray's work /." Amsterdam : Amsterdam University Press, 2000. http://site.ebrary.com/lib/librarytitles/Doc?id=10182191.
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Bunner, Emily Dawn Downing Eric. "Rivalry and desire male-male relations in Ovid's Amores and French feminist theory /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2552.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2009.Title from electronic title page (viewed Oct. 5, 2009). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Curriculum of Comparative Literature." Discipline: English and Comparative Literature; Department/School: English and Comparative Literature.
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Mosher, Sarah Elizabeth. "Shooting The Canon: Feminine Autobiographical Voices of the French-Speaking World." Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/194135.
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In the field of literary production, women's autobiographical writing has been one of the most powerful means of artistic expression. Life-writing is a genre of ambiguity and paradox intertwined with some of the most fundamental questions of literary studies. Within the domain of lettres françaises, new canons of female-authored literary works from France and the various regions of the non-Western French-speaking world have emerged during both the colonial and postcolonial periods. This body of published autobiographical texts has worked to re-define the very nature of twentieth and twenty-first century literary canons. In addition to the traditional autobiographical novel, other literary genres such as travel journals, diaries, poetry, confessions, memoirs, and autobiographical fiction provide authors with a wide array of literary alternatives to the classical autobiography. Focused on the autobiographical texts and films of five French-speaking women of the twentieth century, this study examines both canonical and marginal female authors from France, Northern Africa, and the Caribbean. In addition to dealing with issues such as personal freedom, language, social class, the desire to write, family, alterity, and space, this project seeks to analyze how five French-speaking women autobiographers of different generations and social and national origins established a literature of their own through a métissage of autobiographical forms. Since autobiography is a mode that historically has been defined by mostly white, Christian, European men of the upper social echelon, I propose to show the different ways in which the women of this study have in fact been “shooting the autobiographical canon” by taking over, taking aim at, or altering the established domain of male-authored life-narratives as in the case of Simone de Beauvoir, Elisabeth Lacoin and Maryse Condé, or in filming a new canon of autobiographical expression in the case of Assia Djebar’s and Yamina Benguigui’s documentaries.
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Borilot, Vanessa. "Feminine strategies of resistance comparative study of two XIXth century French literary pieces and two XXth century French Caribbean writings /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 111 p, 2009. http://proquest.umi.com/pqdweb?did=1885467531&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Ladianou, Aikaterini. "Logos Gynaikos: Feminine Voice in Archaic Greek Poetry." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1236711421.
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Webb, Emma V. "Autobiographical intentions and interpretations : Marie Cardinal, Annie Leclerc." Thesis, London Metropolitan University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369398.
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This thesis seeks to provide new readings of the autobiographical fictions of l\ larie Cardinal and Annie Leclerc. The study has three central aims. Firstly, to present a comparative overview of Cardinal's Les Mots pour Ie dire and Leclerc's Exercices de memoire; secondly, to explore the significance of the texts in relationship to developments within feminist theory and practice; thirdly, to develop a mode of reading which ackl0wledges the importance of autobiographical intention, social context and critical reception. My study will make a claim for the importance of considering the situated experience of the author and the reader. My methodological approach is informed by autobigraphical and literary theory, feminist theory and reception studies. The thesis explores a number of themes in the writing of Cardinal and Leclerc including the construction of autobiographical identity in relationship to the reader, the social function of the autobiographical sub-genres of confessional and testimonial writing, the impact of theories of the 'death of the author' on experiential writing and its significance for a feminist agenda. The manner in which gender influences the shape and tone of the autobiographical pact and the relationship between gender and critical reception are further themes under consideration. A further concern will be to explore the feminist claim that traditional theories of the genre, authored by male critics, fail to account for the 'difference' of women's writing. It will also be argued that early forays into the genre by Anglo/American feminist critics have tended either to essentialise female identity or to erase the self from the text altogether. Acknowledging the shift of interest- in autobiographical criticism from the 'autos' (self) to the 'graphe' (text), I align myself with those theorists \\ho have argued for the need to reinstate the 'bios' (life) back into autobiographical criticism. While acknowledging the impact of deconstructionist perspectives, this thesis proposes the value of experiential writing as a means of challenging exclusionar: identity politics and raising consciousness among readers. I examine Cardinal's Les J\fo/s pour Ie dire as an exemplary text of the 1970s \\hich illustrates the feminist interest in the communal '1,' and Leclerc's E\crcices de memoire as a more cautious text of the 1990s which nonetheless demonstrates a continuing interest in communal identity, mediated by an awareness of difference. I engage with criticisms of confessional writers for holding naive assumptions about 'agency." 'communal identity,' and the transparency of language. I argue that Cardinal's confessional and Leclerc's testimonial writing demonstrate an awareness of both the constructed nature of identity and the importance of situated experience. Furthermore, both writers avoid 'speaking for other women' by presenting authorial identity in relationship to the Other. I argue that the gaze of the Other plays an essential role in the construction of autobiographical identity whether it be the imagined critical gaze of the literary critic or the sympathetic identification which the author solicits from her readers. I conclude that while there are no essential qualities to women's self-writing there is a need for reading with gender awareness. The identities constructed in Les Mots pour dire and Exercices de memoire are shaped by the social conditions of the time and the constraints of the genre. I argue for situated reading of each women's writing, concluding my discussion with my own personal reading of Les Mots pour le dire.
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Bainbrigge, Susan Anne. "Writing against death : the autobiographies of Simone de Beauvoir." Thesis, University of Exeter, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.388606.
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Desnain, Veronique Anne. "Hidden tragedies : female characters in the plays of Jean Racine." Thesis, University of Bristol, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266872.
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Borges, Érika Nunes de Medeiros Ferreira. ""Reescrever minha história, virar a página, seguir em frente": trajetórias de mulheres pós-situações de violência." Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/6464.
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The violence against women is a frequent problem in several life stories which marks subjectivities and memories. However, such personal experiences hardly ever are shared and heard. This research displaces to the public space of science a problem reputed to be in the private sphere of intimate relationships. Of qualitative approach, it consists of a set of five interviews with women currently living in Goiânia, who experienced the ambience of violence triggered by their partners - boyfriends or husbands. I seize the subjective meanings attributed to their experiences and I identify processes of subjectivation, with emphasis on the attempts of ressignification and resilience by the subject of the investigation, which, for its parts, points out possible ruptures with suffered violences. The study shows that, sometimes, there is a refusal to see violence as social-based process, but personal one associated with explosives and jealous behaviors. Also, the violence is displayed, in the cases investigated, as embodied, culturally contextualized and with historical specificities. Women who experienced violence remain covered by impotence, trauma, fear, psychological disorders, and lack of support of friends and family. Herewith, the study shows that even women, with high educational level and not financially dependent on their partners, have difficult to expose, denounce and seek professional help (except one who prosecuted her aggressor). The reported violence situations were not always the same, as they take different formats, in certain contexts and circumstances. However, there are common aspects shared across those women (and little less so in others), as the negative effects of violence still resonate in their lives and in whole society. Their sexist and misogynist violence survivor stories are a positive indicator whether we consider femicide the most severe end of the cycle of violence against women. Therefore, the interviews allowed to conclude that the women, who have suffered violence at the hands of their own partners, achieved to make new sense with their lives by pointing out the desire to rebuild something already –or soon to be – conquered in the narratives of them all. Their attempts to ressignification point to a shift in the balance of power, such as feminist studies underscore the theme of violence. The notion of subjectivity as an agency and not just slavery, leading to the possibility – at least in some contexts – of the strength and freedom of action.
O problema da violência contra as mulheres é recorrente em diversas histórias de vida e marca as subjetividades e memórias, experiências que nem sempre são compartilhadas e ouvidas. Esta pesquisa traz para o espaço público da ciência uma problemática tida como da esfera das relações amorosas e, portanto, de âmbito privado. A pesquisa qualitativa é composta por um conjunto de cinco entrevistas com mulheres residentes em Goiânia que vivenciaram contextos de violência desencadeados por seus parceiros – namorados ou maridos. Capto significados subjetivos atribuídos às experiências vividas e identifico processos de subjetivação, com ênfase nas tentativas de ressignificação e de resistência pelos sujeitos da pesquisa, que sinalizem possíveis rupturas com a situação de violência sofrida. O estudo mostra que, por vezes, há a negação de que a violência seja socialmente engendrada, sendo percebida, assim, como traço idiossincrático de seus perpetradores, tais como comportamentos explosivos e ciúmes. A violência também se apresenta, nos casos pesquisados, como corporificada, culturalmente contextualizada e com especificidades históricas. As mulheres que vivenciaram situações de violência se apresentam ainda recobertas de impotência, traumas, medos, perturbações psicológicas e falta de apoio da família e das relações de amizade. Deste modo, o estudo mostra que mesmo mulheres com alta escolaridade, e não dependentes financeiramente de seus companheiros, têm dificuldade de expor, denunciar e buscar ajuda profissional, à exceção de uma que processou o agressor. As situações de violência relatadas não foram sempre iguais, por se apresentarem de modos variados, em contextos e circunstâncias específicas. Mas há aspectos comuns a todas (e outros nem tanto), sendo que os efeitos negativos da violência ainda repercutem em suas vidas, e também em toda a sociedade. Suas histórias de sobrevivência a tal violência sexista e misógina são um indicador positivo, considerando que o feminicídio é o ponto final (e mais grave) do ciclo da violência contra as mulheres. Portanto, as entrevistas permitiram concluir que as mulheres que sofreram violência de seus companheiros conseguiram dar um significado novo às suas vidas, apontando o desejo de as reconstruir, algo já - ou próximo de ser - conquistado nas narrativas de todas elas. Suas tentativas de ressignificação apontam para um deslocamento nas relações de poder, tal como ressaltam estudos feministas que se ocupam do tema das violências. A noção de subjetivação como agência e não apenas como sujeição, conduz à possibilidade - ao menos em alguns contextos - de resistência e liberdade de ação.
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Sauble-Otto, Lorie Gwen. "Writing in subversive space: Language and the body in feminist science fiction in French and English." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/279786.
Full textAbstract:
This dissertation examines the themes of subversive language and representations of the body in an eclectic selection of feminist science fiction texts in French and English from a French materialist feminist point of view. The goal of this project is to bring together the theories of French materialist feminism and the theories and fictions of feminist science fiction. Chapter One of this dissertation seeks to clarify the main concepts that form the ideological core of French materialist feminism. Theoretical writings by Monique Wittig, Christine Delphy, Colette Guillaumin, Nicole-Claude Mathieu provide the methodological base for an analysis of the oppression of women. Works by American author Suzy McKee Charnas and Quebecois author Elisabeth Vonarburg provide fictional representations of what Wittig calls "the category of sex". Imagery that destabilizes our notions about sex is studied in Angela Carter's The Passion of New Eve. French materialist feminism maintains that the oppression of women consists of an economical exploitation and a physical appropriation. The second chapter of this dissertation looks at images of women working and images of (re)production in science fiction by Quebecois authors Esher Rochon, Louky Bersianik, Elisabeth Vonarburg, and American authors Ursula Le Guin, Joanna Russ, Marge Piercy, James Tiptree, Jr., Suzy McKee Charnas and Octavia Butler. The third chapter examines the theme of justified anger, as expressed in feminist science fiction, when women become aware of their own oppression. In addition to authors already mentioned above, I take examples from works in English by Kit Reed & Suzette Haden Elgin, and in French, by Marie Darrieussecq, Joelle Wintrebert and Jacqueline Harpman. Chapter Four seeks to show the importance of the act of writing and producing a text as a recurring theme in feminist science fiction. Highlighted examples from works by many authors including Elisabeth Vonarburg and Suzette Haden Elgin are representational of what Wittig calls "the mark of gender", the use of pronouns, marked speech and linguistic experimentation and invention.
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Howell, Victoria. "Disordered subjects : narratives of 'becoming' in contemporary Anglo-American and French feminist theory and women's fiction." Thesis, University of York, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.387574.
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Boharski, Morgan Elizabeth. "Woven words : clothwork and the representation of feminine expression and identity in old French romance." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31450.
Full textAbstract:
This thesis focuses on the ways in which cloth and clothwork are represented in Old French romance in order to highlight how they relate to feminine voice, expression, and identity. By focusing mainly on medieval romance from the twelfth and thirteenth centuries, the field of research is narrowed to a period in which vernacular literature was redefining literacy. On the basis that literacy is not confined to the ability to read and write in Latin, clothwork is presented as a medium of literate expression, that being a form of readable knowledge or communication not codified in written word or language, and in the works of such authors as Marie de France, Chrétien de Troyes, and Jean Renart, amongst others, the presentation of clothwork fits this classification. My research focuses on gendered performance and gendered objects highlighting the divide between masculinity and femininity in materiality. Beginning with a contextualised and historical understanding of feminine clothwork, authority, and gendered biases in the Middle Ages in France, the Virgin Mary's associations with clothwork leads into an exploration of how the identities of women are tied to the cloth that they work or possess. From this basis, feminine voice in clothwork comes to the forefront of discussion as seemingly inaudible women make themselves heard through the use of needles and thread, telling their stories in cloth and tapestry. Throughout this study, an exploration of mother-daughter relationships is highly significant to the comprehension of feminine education and tradition in clothwork. The chansons de toile included in Le Roman de la Rose ou de Guillaume de Dole by Jean Renart underline the dichotomy and tension between oral and written culture, tying feminine voice to feminine clothwork and exploring the representation of this in the written text. Finally, Christine de Pizan's intimation of the importance of feminine tasks and brilliance concludes this study in order to better understand the ways in which the literature of the Late Middle Ages and Renaissance departs from the medieval presentation of clothwork as a typically feminine activity underlying and encapsulating a woman's identity and expressive power.