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"This study describes and analyzes cultural and literary mythology surrounding the figure of the seventeenth-century nun Mariana Alcoforado as the presumed author of the celebrated collection of love letters that originally appeared in 1669 in French under the title of Lettres portugaises (known in their many English editions as Portuguese Letters or Letters of a Portuguese Nun). Ostensibly written by a nun cloistered in a provincial Portuguese convent to her departed lover, an officer in the French army, they are nowadays generally reputed to have been a literary fake authored by a seventeenth-century French writer." "The Portuguese Nun describes the foundation and development of the myth of Soror Mariana and illuminates its continuing investment in the fabrication, by the country's cultural elite, of a shared national imagination. It examines the process of national reappropriation of the text from the Romantic period until its latest, postmodern manifestations exemplified most remarkably by the feminist manifesto Novas Cartas Portuguesas [New Portuguese Letters]. From its first "retranslations" into Portuguese in the early nineteenth century, this slim collection of five love letters has retained its status of a somewhat improbable textual support for one of Portugal's most persistently cultivated cultural fictions."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Bestselling historian Keith Lowe's The Fear and the Freedom looks at the astonishing innovations that sprang from WWII and how they changed the world. The Fear and the Freedom is Keith Lowe’s follow-up to Savage Continent. While that book painted a picture of Europe in all its horror as WWII was ending, The Fear and the Freedom looks at all that has happened since, focusing on the changes that were brought about because of WWII—simultaneously one of the most catastrophic and most innovative events in history. It killed millions and eradicated empires, creating the idea of human rights, and giving birth to the UN. It was because of the war that penicillin was first mass-produced, computers were developed, and rockets first sent to the edge of space. The war created new philosophies, new ways of living, new architecture: this was the era of Le Corbusier, Simone de Beauvoir and Chairman Mao. But amidst the waves of revolution and idealism there were also fears of globalization, a dread of the atom bomb, and an unexpressed longing for a past forever gone. All of these things and more came about as direct consequences of the war and continue to affect the world that we live in today. The Fear and the Freedom is the first book to look at all of the changes brought about because of WWII. Based on research from five continents, Keith Lowe’s The Fear and the Freedom tells the very human story of how the war not only transformed our world but also changed the very way we think about ourselves.
Analyzing four best-selling novels - by both women and men - written in the feminine voice, this book traces how the creation of women-centered salons and the emergence of a feminine poetic style engendered a new type of literature in eighteenth-century France. The author argues that writing in a female voice allowed writers of both sexes to break with classical notions of literature and style, so that they could create a modern sensibility that appealed to a larger reading public, and gave them scope to innovate with style and form. Wolfgang brings to light how the 'female voice' in literature came to embody the language of sociability, but also allowed writers to explore the domain of inter-subjectivity, while creating new bonds between writers and the reading public. Through examination of Marivaux's La Vie de Marianne, Graffigny's Lettres d'une Péruvienne, Riccoboni's Lettres de Mistriss Fanni Butlerd, and Laclos's Les Liaisons dangereuses, she shows that in France, this modern 'feminine' sensibility turned the least prestigious of literary genres - the novel - into the most compelling and innovative literary form of the eighteenth century. Emphasizing how the narratives analyzed here refashioned the French literary world through their linguistic innovation and expression of new forms of subjectivity, this study claims an important role for feminine-voice narratives in shaping the field of eighteenth-century literature.
This volume, a collection of essays by a number of high-profile personalities working in philosophy, literature, sociology, cinema, theatre, journalism, and politics, covers a number a of recent and crucial developments in the field of French Feminisms that have made a reassessment necessary. Beyond French Feminisms proposes to answer the question: what is new in French Feminism at the beginning of the twenty-first century? The essays reflect the shift from the theoretical and philosophical approaches that characterized feminism twenty years ago, to the more social and political questions of today. Topics include: the 'parité' and PACS debates, the France-USA dialogue, the 'multicultural' issues, and the new trends in literature and film by women.
If moods are as contagious as colds, and wickedness as debilitating as a bad diet, inquiries into assorted discourses in 18th-century France still have much to tell. Author Anne Vila shows that multiple junctures between the body and the mind promoted a steady commerce of speculation and discussion between science and the social salons of the time. 9 illustrations.
Do you wonder why an arm is masculine while a leg is feminine? Why your sofa is masculine but your chair is feminine? And why should a person or victim always be feminine, even if the person or the victim referred to happens to be a man? And isn't it odd that masculinit is feminine? The illogic of French gender can be puzzling and frustrating to the new student of French. After reading this book, if you see words like "croisement," or "pays," or "vin," or "chocolat," you will know that they are masculine, and, in the same way, you will recognize immediately that "ville," "facture," "maladie," and "essence" are feminine words. You will even know why the United States is masculine but France is "La France,"