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Prosecuted for obscenity in her novel Monsieur Venus, Marguerite
Eymery (pen name Rachilde), an apparently genteel young woman from
a provincial bourgeois family, burst onto the French literary scene
in 1884 amid scandal. This story of a sadistic transvestite and her
pretty male lover was the first in a long series of novels, plays
and stories dealing often in the most macabre and sensationalistic
terms with sadism, gender inversion, and sexual desire.
At the heart of the French literary world, Rachilde's life and
writing defied patriarchal rules, particularly in relation to
female sexuality, but she consistently and vehemently rejected
feminism. Her extraordinary life and work, including a vast output
as a literary reviewer, offer a prism through which to view the
vibrant social and cultural history of France from the belle epoque
to the Second World War. This book is the first serious critical
study of Rachilde's work. Exploring the interwoven themes of French
naturalism, modernism, decadence and feminism, it will be essential
reading for anyone interested in French culture, literature and
sexuality at the turn of the twentieth century.
The 1950s and 1960s were a key moment in the development of postwar
France. The period was one of rapid change, derived from post-World
War II economic and social modernization; yet many traditional
characteristics were retained. By analyzing the eruption of the new
postwar world in the context of a France that was both modern and
traditional, we can see how these worlds met and interacted, and
how they set the scene for the turbulent 1960s and 70s. The
examination of the development of mass culture in post-war France,
undertaken in this volume, offers a valuable insight into the
shifts that took place. By exploring stardom from the domain of
cinema and other fields, represented here by famous figures such as
Brigitte Bardot, Johnny Hallyday or Jean-Luc Godard, and less
conventionally treated areas of enquiry (politics [de Gaulle],
literary [Francoise Sagan], and intellectual culture
[Levi-Strauss]) the reader is provided with a broad understanding
of the mechanisms of popularity and success, and their cultural,
social, and political roles. The picture that emerges shows that
many cultural articulations remained or became identifiably
"French," in spite of the American mass-culture origins of these
social, economic, and cultural transformations.
The 1950s and 1960s were a key moment in the development of postwar
France. The period was one of rapid change, derived from post-World
War II economic and social modernization; yet many traditional
characteristics were retained. By analyzing the eruption of the new
postwar world in the context of a France that was both modern and
traditional, we can see how these worlds met and interacted, and
how they set the scene for the turbulent 1960s and 70s. The
examination of the development of mass culture in post-war France,
undertaken in this volume, offers a valuable insight into the
shifts that took place. By exploring stardom from the domain of
cinema and other fields, represented here by famous figures such as
Brigitte Bardot, Johnny Hallyday or Jean-Luc Godard, and less
conventionally treated areas of enquiry (politics [de Gaulle],
literary [Francoise Sagan], and intellectual culture
[Levi-Strauss]) the reader is provided with a broad understanding
of the mechanisms of popularity and success, and their cultural,
social, and political roles. The picture that emerges shows that
many cultural articulations remained or became identifiably
"French," in spite of the American mass-culture origins of these
social, economic, and cultural transformations.
The Third Republic, known as the "belle epoque," was a period of
lively, articulate and surprisingly radical feminist activity in
France, borne out of the contradiction between the Republican
ideals of liberty, equality and fraternity and the reality of
intense and systematic gender discrimination. Yet, it also was a
period of intense and varied artistic production, with women
disproving the critical nearconsensus that art was a masculine
activity by writing, painting, performing, sculpting, and even
displaying an interest in the new "seventh art" of cinema. This
book explores all these facets of the period, weaving them into a
complex, multi-stranded argument about the importance of this rich
period of French women's history. Diana Holmes is Professor of
French at the University of Leeds, UK. She has published widely on
French women writers, including Colette, Rachilde, Renee Vivien,
and bestselling romantic authors of the Belle Epoque. Her recent
publications include Rachilde Decadence Gender and the Woman Writer
(Berg, 2001), and she is working on a study of romance in 20th
century France. Carrie Tarr is a Research Fellow in the Faculty of
Arts and Sciences, Kingston, UK. She has published extensively on
gender and ethnicity in French cinema. Her recent publications
include Cinema and the Second Sex: Women's Filmmaking in France in
the 1980s and 1990s (with B. Rollet, 2001) and Reframing
Difference: beur and banlieue cinema in France (2005).
The Third Republic, known as the 'belle epoque', was a period of
lively, articulate and surprisingly radical feminist activity in
France, borne out of the contradiction between the Republican
ideals of liberty, equality and fraternity and the reality of
intense and systematic gender discrimination. Yet, it also was a
period of intense and varied artistic production, with women
disproving the critical nearconsensus that art was a masculine
activity by writing, painting, performing, sculpting, and even
displaying an interest in the new "seventh art" of cinema. This
book explores all these facets of the period, weaving them into a
complex, multi-stranded argument about the importance of this rich
period of French women's history.
Cinema provides entertainment, but it also communicates a set of
values, a vision of the world or an ideology. From its beginnings
more than a century ago, European cinema has dealt with the tension
between these two functions in a variety of ways: at the extremes,
dictatorial regimes have sweetened the pill of ideology with the
sugar of entertainment. Meanwhile, spectators have persisted in
seeking out, above all, the pleasure film can provide. Now
available again in paperback, this book explores the complex
relationship between entertainment, ideology and audiences in
European film, through studies that range from the Stalinist
musicals of the 1930s, to cinematic representations of masculinity
under Franco, to recent French films and their Hollywood remakes.
Diverse and entertaining, this study is addressed to students of
film - especially French, German, Russian or Spanish - and to those
readers and academics interested in both the history of cinema and
in European culture. -- .
This book brings together a series of challenging essays which
explore the complex intersections of feminism, narrative and genre.
The essays were written as tributes to the leading feminist scholar
Elizabeth Fallaize.
Truffaut shot to fame in 1959 with his first film "Les 400 Coups,"
a semi-autobiographical narrative shot in the low-budget
neo-realist style of the emerging "Nouvelle Vague." He went on to
make twenty-three films in twenty-six years, films which have
entertained, provoked debate and caused controversy. This fresh
appraisal of his work provides a useful socio-political
contextualization and gives an overview of his films and
film-making methods, shedding new light on key aspects such as
sexual politics, the construction of masculinity, the exploitation
of genre and the tension throughout the films between the
"absolute" and the "provisional."
This groundbreaking book is about what 'popular culture' means in
France, and how the term's shifting meanings have been negotiated
and contested. It represents the first theoretically informed study
of the way that popular culture is lived, imagined, fought over and
negotiated in modern and contemporary France. It covers a wide
range of overarching concerns: the roles of state policy, the
market, political ideologies, changing social contexts and new
technologies in the construction of the popular. But it also
provides a set of specific case studies showing how popular songs,
stories, films, TV programmes and language styles have become
indispensable elements of 'culture' in France. Deploying yet also
rethinking a 'Cultural Studies' approach to the popular, the book
therefore challenges dominant views of what French culture really
means today. -- .
Romance in modern times is the most widely read yet the most
critically despised of genres. Associated almost entirely with
women, as readers and as writers, its popularity has been argued by
gender traditionalists to confirm women's innate sentimentality,
while feminist critics have often condemned the genre as a
dangerous opiate for the female masses. This study adopts the more
positive perspective of critics such as Janice Radway, and takes
seriously the pleasure that women readers consistently seem to find
in romance. Drawing on the social constructionist feminism of
Simone de Beauvoir, the psychoanalytical theories of Jessica
Benjamin, and a range of social theorists from Bourdieu to Zygmunt
Bauman, the book uncovers the history of romantic fiction in France
from the late nineteenth to the early twenty-first century, and
explores its place in women's lives and imaginations. Romance is
not defined - as it usually is - solely in terms of its mass-market
form. Rather, the history of women's popular fiction is traced in
its full context, as one dimension of a literary story that
encompasses the mainstream or 'middlebrow' as well as 'high'
culture. Thus this study ranges from the formula romance (from the
pious but popular Delly to global brand Harlequin), through
'middlebrow' bestsellers like Marcelle Tinayre, Francoise Sagan,
Regine Deforges, to critically esteemed stories of love in the work
of such authors as Colette, Simone de Beauvoir, Elsa Triolet, and
Camille Laurens. Criss-crossing the boundaries of taste and class,
as well as those of sexual orientation, the romance has been at
times reactionary, at others progressive, utopian, and
contestatory. It has played an important part in the lives of
twentieth-century women, providing both a source of imaginative
escape, and a fictional space in which to rehearse and make sense
of identity, relationship, and desire.
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Thursdays with Leila (Paperback)
Corin Tellado; Translated by Duncan Wheeler; Introduction by Diana Holmes
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R503
Discovery Miles 5 030
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Ships in 10 - 15 working days
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French feminism was central to the theory and culture of Second
Wave feminism as an international movement, and 1975 was a key year
for the women's movement in France. Through a critical review of
the politics, activism and cultural creativity of that moment, from
the perspective of both preceding and subsequent 'waves' of
feminism, this book evaluates the legacies of 1975, and their
strengths and limitations as new questions and new conjunctures
have come into play. Edited and written by an international group
of feminist scholars, it offers both a critical re-evaluation of a
vital moment in women's cultural history, and a new analysis of the
relationship between second wave agendas and contemporary feminist
politics and culture.
This volume explores contemporary French women's writing through
the prism of one of the defining moments of modern feminism: the
writings of the 1970s that came to be known as "French feminism".
With their exhilarating renewal of the rules of fiction, and a
sophisticated theoretical approach to gender, representation and
textuality, Helene Cixous and others became internationally
recognised for their work, at a time when the women's movement was
also a driving force for social change. Taking its cue from Les
Femmes s'entetent, a multi-authored analysis of the situation of
women and a celebration of women's creativity, this collection
offers new readings of Monique Wittig, Emma Santos and Helene
Cixous, followed by essays on Nina Bouraoui, Michele Perrein and
Ying Chen, Marguerite Duras and Mireille Best, and Valentine Goby.
A contextualising introduction establishes the theoretical and
cultural framework of the volume with a critical re-evaluation of
this key moment in the history of feminist thought and women's
writing, pursuing its various legacies and examining the ways
theoretical and empirical developments in queer studies,
postcolonial studies and postmodernist philosophies have extended,
inflected and challenged feminist work.
This volume brings together a series of essays which explore the
complex intersections of feminism, narrative and genre. Drawing on
a wide range of 19th and 20th century texts, novels, short stories
and films they interrogate the relationship between situation and
writing practice, and representations of history, memory, love, and
old age.
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Discovery Miles 440
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