Beyond Criture F Minine

"Beyond 'Ecriture feminine' is the first book to be published exploring the work of the contemporary French author Jeanne Hyvrard (1945-) from her early novels of the 1970s up to some of her most recent texts. Moving critical accounts of Hyvrard beyond a focus upon ecriture feminine, it identifies the patterns though which her writing repeats and transforms creation mythology, her own oeuvre, and her own life, examining how intertextual repetitions bind her work together into a complex and ever expanding web of allusions and resonnances which engages the reader in a process of constant re-interpretation, challenging notions of linearity and reflecting the 'chaotic' reality of life in the Hyvrardian world."--BOOK JACKET.

Felski presents a critical account of current American and European feminist literary theory, and analyzes contemporary fiction by women to show that no theorist can identify a specifically "female" or "feminine" kind of writing without reference to what gender means at a given historical moment. She argues that the idea of a feminist aesthetic is a non-issue needlessly pursued by feminists. She calls for a consideration of the social and cultural context in which these texts were produced and received, and demonstrates her method of an interdisciplinary approach to the analysis of literature which can integrate literary and social theory. ISBN 0-674-06894-7: $25.00; ISBN 0-674-06895-5 (pbk.): $9.95.

The project offers a collection of new interdisciplinary critical autoethnographic engagements with Hélène Cixous écriture feminine and work Three steps on the ladder of writing. Critical autoethnography shares a reciprocal, and inter-animating relationship with Hélène Cixous’ écriture feminine (“feminine writing”), and in this collection authors explore that inter-animation by explicitly engaging with Three steps on the ladder of writing. Three steps is a poetic, insightful, and ultimately moving reflection on the writing process and explores three distinct areas essential for writing: The School of the Dead—the notion that something or someone must die in order for good writing to be born; The School of Dreams—the crucial role dreams play in literary inspiration and output; and The School of Roots—the importance of depth in the 'nether realms' in all aspects of writing. Topics covered include: ways Cixous’ work can address the need for loss and reparation in writing critical autoethnography, how Cixous’ writing “makes our body speak” through concepts of birth and the body in, through and of critical autoethnography, whether writing in this way recast and reform prevailing orders of domination and oppression, and how Cixous’ writing around the ethics of loving and giving translates into response-able and non-violent forms of critical autoethnography in relation to otherness and difference. In this collection, we invite you to “Let us go to the school of [critical autoethnographic] writing” (Cixous, 1993, p. 3) with the work of Hélène Cixous, and speak in a different way and through a different medium of academic language, in an approach that reveals the tensions, the paradoxes, the pains and the pleasures of writing with critical autoethnography in the contemporary university.

The book questions patriarchy and the associated feminine power struggle. It traverses through the characters of the mythological Draupadi of the epic Mahabharat - seeing this epic through the eyes of Draupadi - and a Naxalite girl who was named after this mythological character who broke all typical stereotyped thoughts, convictions and conditioning. This book deals with gender stereotyping and breaking the bondages arising out of conditioning thereof. The detailed research done is bound to draw the attention of any reader towards the ease with which one accepts the indoctrination of stereotypical views, particularly of the feminine form as a norm. In this mundane world, where the dominating position in all subtleties is held by the MAN-kind, this book lucidly addresses questions related to feminine stereotyping. It also intrigues the reader regarding identities arising out of such conditioning.

This collection of critical essays celebrates the subversive and challenging creativity of the Dada movement, born in pacifist Zurich in 1916 in violent reaction to the First World War. It examines the collective and individual activities that took place under the name of Dada in Zurich, Cologne, Berlin, Paris, New York and Barcelona, and explores the various creative forms employed, including text, collage, photomontage, objects, dance, performance and film. The authors suggest new ways of understanding the work of the most famous Dadaists, while also casting light on the contribution of hitherto neglected figures. Far from attempting to reduce Dada to a homogeneous movement, or to define a unifying principle beneath and beyond the multiple directions taken by Dadaists, this collection aims to respect the diversity and heterogeneity of the movement's collective activities as well as the specificity of its individual actors.

The majority of scholarly treatments for film adaptation are put forth by experts on film and film analysis, thus with the focus being on film. Analyzing Literature-to-Film Adaptations looks at film adaptation from a fresh perspective, that of writer or creator of literary fiction. In her book, Snyder explores both literature and film as separate entities, detailing the analytical process of interpreting novels and short stories, as well as films. She then introduces a means to analyzing literature-to-film adaptations, drawing from the concept of intertextual comparison. Snyder writes not only from the perspective of a fiction writer but also as an instructor of writing, literature, and film adaptation. She employs the use of specific film adaptations (Frankenstein, Children of Men, Away from Her) to show the analytical process put into practice. Her approach to film adaptation is designed for students just beginning their academic journey but also for those students well on their way. The book also is written for high school and college instructors who teach film adaptations in the classroom.

A number of Taiwanese scholars gate-kept, filtered, selected, and strategized to transfer Luce Irigaray’s, Hélène Cixous’s, and Julia Kristeva’s French feminist theories into their own national context by exerting their cross-lingual and cross-cultural academic power in the 1990s. They also reshaped, localized, acculturated, marketed, and Taiwanized these French feminist theories, which was essential for Taiwanese academia. According to French feminist literary theories, écriture féminine (“feminine writing”) refers to women’s own written self-expression used to escape from the patriarchal language system. Beginning with a description of the acculturation of French feminist literary theories, this book highlights how women’s own spoken voices or autobiographical written expressions appear in Taiwanese cinematic works when the camera is compared to the cinematic pen. It analytically digest the écriture féminine of parler-femme in the Taiwanese films The Butcher’s Wife, Taste of Life, Sex Appeal, and Ghosted.

An accessible introduction to French feminist theory and contemporary French women's writing for non-French speakers. The book offers a context to this challenging, controversial body of work by giving clear accounts of the philosophical, post-structural and psychoanalytic debates which have had such an impact on French intellectual life in recent years, and to which French feminist writers offer a response.