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This book looks at the representation of female characters in
French comics from their first appearance in 1905. Organised into
three sections, the book looks at the representation of women as
main characters created by men, as secondary characters created by
men, and as characters created by women. It focuses on female
characters, both primary and secondary, in the francophone comic or
bande dessinee, as well as the work of female bande dessinee
creators more generally. Until now these characters and creators
have received relatively little scholarly attention; this new book
is set to change this status quo. Using feminist scholarship,
especially from well-known film and literary theorists, the book
asks what it means to draw women from within a phallocentric,
male-dominated paradigm, as well as how the particular medium of
bande dessinee, its form as well as its history, has shaped
dominant representations of women. This is the first book to study
the representation of women in the French-language drawn strip.
There are no other works with this specific focus, either on women
in Franco-Belgian comics, or on the drawn representation of women
by men. This is a very useful addition to both general discussions
of French-language comics, and to discussions of women's comics,
which are focused on comics by women only. As it is written in
English, and due to the popularity of comic art in Britain and the
United States, this book will primarily appeal to an Anglo-American
market. However, the cultural and gender studies approach this text
employs (theoretical frameworks still not widely seen in
non-Anglophone studies of the bande dessinee) will ensure that the
text is also of interest to a Franco-Belgian audience. With a focus
on an art-form which also inspires a lot of public (non-academic)
enthusiasm, it will also appeal to fans of the bande dessinee (or
wider comic art medium) who are interested in the representation of
women in comic art, and to comics scholars on a broad scale.
A Genealogy of Puberty Science explores the modern invention of
puberty as a scientific object. Drawing on Foucault's genealogical
analytic, Pinto and Macleod trace the birth of puberty science in
the early 1800s and follow its expansion and shifting discursive
frameworks over the course of two centuries. Offering a critical
inquiry into the epistemological and political roots of our present
pubertal complex, this book breaks the almost complete silence
concerning puberty in critical theories and research about
childhood and adolescence. Most strikingly, the book highlights the
failure of ongoing medical debates on early puberty to address
young people's sexual and reproductive embodiment and citizenships.
A Genealogy of Puberty Science will be of great interest to
academics, researchers and postgraduate students in the fields of
child and adolescent health research, critical psychology,
developmental psychology, health psychology, feminist and gender
studies, medical history, science and technology studies, and
sexualities and reproduction studies.
A Genealogy of Puberty Science explores the modern invention of
puberty as a scientific object. Drawing on Foucault's genealogical
analytic, Pinto and Macleod trace the birth of puberty science in
the early 1800s and follow its expansion and shifting discursive
frameworks over the course of two centuries. Offering a critical
inquiry into the epistemological and political roots of our present
pubertal complex, this book breaks the almost complete silence
concerning puberty in critical theories and research about
childhood and adolescence. Most strikingly, the book highlights the
failure of ongoing medical debates on early puberty to address
young people's sexual and reproductive embodiment and citizenships.
A Genealogy of Puberty Science will be of great interest to
academics, researchers and postgraduate students in the fields of
child and adolescent health research, critical psychology,
developmental psychology, health psychology, feminist and gender
studies, medical history, science and technology studies, and
sexualities and reproduction studies.
Overseas department of France in Amazonia and 'ultraperipheral
region' of the EU, Guyane (French Guiana) is at the juncture of
Europe, the Caribbean and South America. This collection of essays
explores historical and conceptual locations of Guyane, as a
relational space characterised by dynamics of interaction and
conflict between the local, the national and the global. Does
Guyane have, or has it had, its own place in the world, or is it a
borderland which can only make sense in relation to elsewhere: to
France and its colonial history, for example, or to African and
other diasporas, or as a 'margin' of Europe? This edited collection
is the first volume to study Guyane from multiple perspectives. It
subjects the enduring cliches and negative stereotypes regarding
Guyane to critical examination, exploring how discourse on this DOM
is, and has been, formed and how it may evolve. Chapters discuss
geographical, literary and cultural 'locations' of Guyane, past and
present, challenging its relegation to the 'periphery', whilst also
historicizing the production of its marginal status. Finally, the
collection aims to outline possible future challenges to the
conceptual location of Guyane and possible directions for continued
research.
A comprehensive reconsideration of the myth of Goethe's Weimar,
occasioned by the 1999 celebrations of Goethe's 250th birthday. The
1999 celebrations of Goethe's two hundred and fiftieth birthday and
the city's designation as Culture City of Europe give rise to this
comprehensive look at the myth of Goethe's Weimar and the ways it
has been packaged. Some of the most prominent North American
Germanists have delved into archives and forgotten texts to reveal
a troubled locus of culture, commodification, and ideological
projection. Goethe's presence in Weimar receives new currency
inexplorations of consumer culture and the fashioning of bourgois
taste; women artists and the market; portrait busts and their
display practices; Anna Amalia and musical collaboration;
masquerades and cross-dressing; Goechhausen and the Weimar
Grotesque; Goethe's views on soldiering and acting; propaganda and
human rights.
This book looks at the representation of female characters in
French comics from their first appearance in 1905. Organised into
three sections, the book looks at the representation of women as
main characters created by men, as secondary characters created by
men, and as characters created by women. It focuses on female
characters, both primary and secondary, in the francophone comic or
bande dessinee, as well as the work of female bande dessinee
creators more generally. Until now these characters and creators
have received relatively little scholarly attention; this new book
is set to change this status quo. Using feminist scholarship,
especially from well-known film and literary theorists, the book
asks what it means to draw women from within a phallocentric,
male-dominated paradigm, as well as how the particular medium of
bande dessinee, its form as well as its history, has shaped
dominant representations of women. This is the first book to study
the representation of women in the French-language drawn strip.
There are no other works with this specific focus, either on women
in Franco-Belgian comics, or on the drawn representation of women
by men. This is a very useful addition to both general discussions
of French-language comics, and to discussions of women's comics,
which are focused on comics by women only. As it is written in
English, and due to the popularity of comic art in Britain and the
United States, this book will primarily appeal to an Anglo-American
market. However, the cultural and gender studies approach this text
employs (theoretical frameworks still not widely seen in
non-Anglophone studies of the bande dessinee) will ensure that the
text is also of interest to a Franco-Belgian audience. With a focus
on an art-form which also inspires a lot of public (non-academic)
enthusiasm, it will also appeal to fans of the bande dessinee (or
wider comic art medium) who are interested in the representation of
women in comic art, and to comics scholars on a broad scale.
From the 1770s through the 1840s, German, Austrian, and Swiss
artists used the medium of printmaking to create works that
synthesized poetry, literature, music, and the visual arts in new
and captivating ways. Finding an eager audience in the growing
number of educated middle-class collectors, printmakers
experimented with modern technologies, such as lithography, and
drew on the contemporary interest in regional folklore and
traditional fairy tales to produce innovative compositions that
both contributed to and reflected the dramatic cultural and
political upheavals of the Romantic era. Featuring the work of more
than 120 artists, including Casper David Friedrich, Ludwig Emil
Grimm, Joseph Anton Koch, Philipp Otto Runge, and Johann Gottfried
Schadow, this authoritative book contains many unique and
never-before-published examples of prints from the Philadelphia
Museum of Art's unrivaled collection. Published in association with
the Philadelphia Museum of Art
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