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Le volume de contributions réunies ici est issu de deux programmes de recherche pluridisciplinaires menés en 2017 et 2018 à l'Université Paris-Est Marne-la-Vallée, devenue Université Gustave Eiffel en 2020 : « Visibilité, invisibilité des Savoirs des Femmes » et « Visiautrices, visibilité des femmes de lettres dans l'enseignement secondaire et supérieur ». Ces recherches visent à mieux connaître le rôle joué par des femmes dans la construction des savoirs en s'intéressant à leurs œuvres. Elles mettent au jour les principes qui fondent la construction des savoirs, les épistémologies dans leur contexte social et historique. Les contributions montrent les différentes stratégies de femmes qui, du xvie au xxe siècle, ont créé les espaces de leur action, de leur pensée et de la conservation de sa mémoire, un lieu d'interaction entre le privé et le public, le sujet et le monde. L'étude des œuvres et de leur réception permet d'observer les choix stratégiques faits par les créatrices pour donner forme à leur pensée, à leur connaissance, en s'insérant dans le jeu de force institué par les rapports de pouvoir. Elle révèle les mécanismes paradoxaux qui les régissent en donnant une place centrale aux mécanismes de visibilité et d'invisibilité qui les affectent. Chaque étude s'attache à montrer la complexité de la position de ces femmes qui ont fait œuvre, et notamment œuvre écrite, en participant à la construction des savoirs de leur temps dans des domaines aussi divers que la médecine, la botanique, la philosophie, la pensée religieuse, l'anthropologie, l'ethnologie, la politique, l'histoire, la littérature et les arts.
The French poets Ronsard and Du Bartas enjoyed a wide but varied reception throughout early modern Europe. This volume is the first book length monograph to study the transnational reception histories of both poets in conjunction with each other.
The Oulipo (Ouvroir de littérature potentielle, or Workshop for Potential Literature) is a literary think tank that brings together writers and mathematicians. Since 1960, its worldwide influence has refreshed ways of making and thinking about literature. How to Do Things with Forms assesses the work of the group, explores where it came from, and envisages its future. Redefining the Oulipo’s key concept of the constraint in a clear and rigorous way, Chris Andrews weighs the roles of craft and imitation in the group’s practice. He highlights the importance of translation for the Oulipo’s writers, explaining how their new forms convey meanings and how these famously playful authors are also moved by serious concerns. Offering fresh interpretations of emblematic Oulipian works such as Georges Perec’s Life: A User’s Manual, Andrews also examines lesser-known texts by Jacques Roubaud, Anne F. Garréta, and Michelle Grangaud. How to Do Things with Forms addresses questions of interest to anyone involved in the making of literature, illuminating how writers decide when to stop revising, the risks and benefits of a project mentality in creative writing, and ways of holding a reader’s interest for as long as possible.
C'est un défi de taille, pour les archivistes, les bibliothécaires, les muséologues ou les documentalistes spécialisés, de conserver la mémoire et la trace du spectacle vivant, dans une société où les techniques évoluent sans cesse. Les techniques d'enregistrement audiovisuel et les supports pour conserver les images se sont modifiés. La mise en valeur de nouveaux médias est une gageure dans la conception des expositions. Enfin, les pratiques de recherche et l'essor conjoint des bases de données ont modifié la donne. Tels sont les nombreux sujets de réflexion qui se sont offerts aux membres de la SIBMAS (Société internationale des bibliothèques et musées des arts du spectacle) lors de son 25e Congrès, qui s'est tenu à Barcelone en 2004. En voici les Actes qui, par des approches diverses, tenteront d'éclairer ces interrogations. In a world where technologies are constantly evolving, it is a real challenge for archivists, librarians, museum curators and information professionals to keep track of and record living theatre. Audiovisual recording techniques are now cheap and accessible to many; electronic storage and dissemination of information and images has radically altered the relationship between the managers of collections and their potential users; new techniques have introduced new possibilities for interactivity in exhibitions and displays. These are just some of the issues addressed by the SIBMAS (International Association of Libraries and Museum of the Performing Arts) during its 25thAnnual Conference, held in Barcelona in 2004.
Throughout history, the most fundamental values at the basis of societal organization and culture were determined and sanctified almost exclusively by men—including the values traditionally associated with women, such as corporeal beauty, purity, motherhood, or empathy. However, from ancient times, and increasingly toward the end of the second millennium, women have succeeded in finding ways to overcome such limits and have made their contributions to the revision of values and to the establishment of new ones. Cherchez la femme offers a selection of essays inquiring into the nature of aesthetic, linguistic, cultural, and social values created, informed, or reformed by women in the French-speaking world, as well as studies on how the discourse of (male) power used female figures to strengthen its own position. With topics ranging in time from Semiramis’s ancient legend to today, and in space from Québec to Haiti, metropolitan France, and New Caledonia, the volume shares the richness and fruitfulness of the female perspective in art, culture, theory, and political action.
The “Self” Which is Not One: Women’s Life-Writing in French, assembles articles on women’s life-writing from diverse areas of the Francophone world. It is comprised of nine chapters that discuss female writers from North Africa, Sub-Saharan Africa, the Caribbean and Europe, in addition to French writers. The idea of the self is currently attracting widespread interest in academia, most notably in the arts and humanities. The development of postmodernism supposes a fragmented “subject” formed from the network of available discourses, rather than a stable and coherent self. Jacques Derrida, for example, wrote that there is no longer any such things as a “full subject,” and Julia Kristeva now insists that the individual is a “subject in process.” The growing importance of psychoanalytic theory, particular in French studies, has also impacted upon this development. The basic tenet of psychoanalytic theory is that the individual is formed of a duality: the conscious and unconscious parts of the self which prevent the individual from ever fully knowing her/himself, and which thus insists upon a plural, incomplete self. Developments in the field of postcolonial studies have also made us aware of different ways of approaching the self in different parts of the world, and eroded the idea of a stable, conscious and complete self. As scholars examine these new ways of approaching the self, autobiography has been the subject of renewed interest. Several academic books have appeared in recent years that study the ways in which autobiographers represent the self as incomplete, evolving and elusive. In particular, a number of books have appeared on the subject of women’s autobiography and female subjectivity, such as works by Sidonie Smith, Julia Watson and Nancy Miller, and several volumes interrogate postcolonial women’s autobiography, such as texts by Françoise Lionnet, Gayatri Spivak, Carole Boyce Davies and Chandra Mohanty. Our volume unites these strands of criticism, by examining ways that female autobiographies write the self as a fragmented, plural construct across the Francophone world. This will be the first book-length study of this important development. This volume will be of interest primarily to students and scholars working in the areas of life-writing, French and Francophone studies, postcolonial studies and gender studies. The volume contributes to multiple areas that are currently garnering substantial interest in academe: postcolonial studies, Francophone studies, gender studies and women’s writing. By comparing works from across the Francophone world, our volume takes a global approach to the genre of autobiography and its inflections by women writers. The “Self” That is Not One in Women’s Autobiography in French therefore represents a timely intervention in several interlinking academic fields and will thus garner substantial interest.
The purpose of this Handbook is to provide students with an overview of key developments in queer and trans feminist theories and their significance to the field of contemporary performance studies. It presents new insights highlighting the ways in which rigid or punishing notions of gender, sexuality and race continue to flourish in systems of knowledge, faith and power which are relevant to a new generation of queer and trans feminist performers today. The guiding question for the Handbook is: How do queer and trans feminist theories enhance our understanding of developments in feminist performance today, and will this discussion give rise to new ways of theorizing contemporary performance? As such, the volume will survey a new generation of performers and theorists, as well as senior scholars, who engage and redefine the limits of performance. The chapters will demonstrate how intersectional, queer and trans feminist theoretical tools support new analyses of performance with a global focus. The primary audience will be students of theatre/ performance studies as well as queer /gender studies. The volume’s contents suggest close links between the formation of queer feminist identities alongside recent key political developments with transnational resonances. Furthermore, the emergence of new queer and trans feminist epistemologies prompts a reorientation regarding performance and identities in a 21st-century context.