Drawing (in) the Feminine celebrates and examines the richness of contemporary women’s production in French and Francophone comics art and considers the history of representations made by both dominant and marginalized creators. Bridging historical and contemporary comics output, these essays illuminate the interfaces among genre, gender, and cultural history. Contributors from both sides of the Atlantic, and across a variety of methodologies and disciplinary orientations, challenge prevailing claims about the absence of women creators, characters, and readers in bande dessinée, arguing that women have always been part of its history. While still far from achieving parity with their male counterparts, female creators are occupying an increasingly significant portion of the French-language comics publishing industry, and creators of all genders are putting forth stories that reflect on the diversity and richness of women’s and gender-nonconforming people’s experiences. In the essays collected here, contributors push back against the ways in which the marginalization of women within bande dessinée history has overshadowed their significant contributions, extending avenues for further exploring the true diversity of a flourishing contemporary production.
Contributors:
Armelle Blin-Rolland, Véronique Bragard, Michelle Bumatay, Benoît Crucifix, Isabelle Delorme, Jacques Dürrenmatt, Margaret C. Flinn, Alexandra Gueydan-Turek, Jennifer Howell, Jessica Kohn, Sylvain Lesage, Catriona MacLeod, Mark McKinney
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On tourne! is a one-semester, advanced French textbook (5th/6th semester of instruction) designed to be used as a stand-alone text for a course on French and francophone films or for a French conversation course. This textbook could also be used as a supplementary text in an advanced conversation course, a composition course, or a contemporary culture course. On tourne! guides students to analyze and discuss thirteen films from France and the francophone world. Each chapter focuses on a single film and includes pre-viewing activities, vocabulary, information on the cultural and linguistic nuances of the film, and post-viewing activities and discussion points. Moreover, each chapter contains a review of an essential grammatical structure as well as idiomatic expressions used in the film to highlight their pragmatic function. The films included explore a wide array of themes, ranging from family, food, and fashion to politics, religion, and racial/ethnic identities.
Plays by French and Francophone Women presents eight recent plays by contemporary French and francophone women writers. The plays vary in style and form from the satirical to the poetic, from the comedic one-woman show to the potential multi-media esoteric production, and have been written by French, Qué becois, Acadian, and Caribbean francophone writers. The editors have provided informative headnotes to introduce each play, then faithful translations rendered with an ear toward production in English. A general introduction to the volume situates each work within the broader context of contemporary French-language theater by women. The volume also includes an annotated bibliography by Cynthia Running-Johnson of thirty-one additional plays by women in French.
Featured plays and playwrights are The Scent of Sulphur by S. Corinna Bille; When Fairies Thirst by Denise Boucher; Island Memories by Ina Césaire; Warmth: A Bloodsong by Chantal Chawaf; The Goddess Lar or Centuries of Women by Andrée Chedid; The Name of Oedipus: Song of the Forbidden Body by Hélène Cixous; The Table: Womenspeak by Michèle Foucher; and The Rabble by Antonine Maillet.
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