Results 261 to 270 of about 316,621 (308)
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2022
Il s’agira de qualifier les représentations des trois héroïnes des récits de Trois femmes puissantes par Marie Ndiaye. L’analyse sociocritique du roman permet de considérer les trois personnages (Norah, Fanta et Khady Demba) comme simultanément présentés en tant qu’objets et sujets.
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Il s’agira de qualifier les représentations des trois héroïnes des récits de Trois femmes puissantes par Marie Ndiaye. L’analyse sociocritique du roman permet de considérer les trois personnages (Norah, Fanta et Khady Demba) comme simultanément présentés en tant qu’objets et sujets.
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Femmes duelles, femmes rebelles
In La Mariane, La Mort de Sénèque, and Osman, there is a clear preponderance of women figures. Playing with cultural codes, Tristan implicitly raises the issue of their identity. A critical inversion of the predator/prey dynamic pervades the three tragedies.openaire +2 more sources
Images de femmes, femmes d’image
Cahiers du féminisme, 1992Marx Sister . Images de femmes, femmes d’image. In: Cahiers du féminisme, n°62, 1992. La justice en reforme. A qui profite les lois ? (automne 1992) p. 42.
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Lydie Salvayre, Sept femmes, cette femme…
In Sept femmes, L. Salvayre gathers seven women writers to make their voices heard through her own. The I who leads the narratives inscribes herself (etymologically, “writes herself into”), in an arbitrary and marginal community that only the act of writing brings together.openaire +2 more sources
Can femme be theory? Exploring the epistemological and methodological possibilities of femme
Journal of Lesbian Studies, 2021Rhea Hoskin
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2017
This chapter analyzes the neo-noir Bound (1996). It shows how the splitting of sex from gender liberates generic conventions in the service of protagonists who, enacting a lesbian romance in film noir, avail themselves of generic formulas to double-cross the villains.
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This chapter analyzes the neo-noir Bound (1996). It shows how the splitting of sex from gender liberates generic conventions in the service of protagonists who, enacting a lesbian romance in film noir, avail themselves of generic formulas to double-cross the villains.
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Radical vulnerability: selfies as a Femme-inine mode of resistance
Psychology and Sexuality, 2022Andi Schwartz
exaly