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Cet essai analyse la pertinence actuelle du projet souverainiste québécois à partir de deux entreprises critiques: celle de la philosophie politique, en examinant l’histoire des notions de souveraineté, de citoyenneté et de nation; celle également du féminisme, comme théorie et comme pratique, en considérant la place des femmes dans le projet souverainiste. L’amère patrie s’attache à comprendre le sens et la nature de l’association polémique et pas toujours marquée de réciprocité entre féministes et nationalistes dans le Québec contemporain.

This paper explores the use of homophobic terms by boys and young men and the meanings they invoke when using them. Highly detailed interviews were conducted with young men from diverse backgrounds about their own experiences while growing up and their observations of schools, teachers, family and peers. Homophobia was found to be more than a simple prejudice against homosexuals. Homophobic terms like “poofter” and “faggot” have a rich developmental history and play a central role in adolescent male peer-group dynamics. Homophobic terms come into currency in primary school. When this happens, words like poofter and faggot rarely have sexual connotations. Nevertheless, far from being indiscriminate terms of abuse, these terms tap a complex array of meanings that are precisely mapped in peer cultures, and boys quickly learn to avoid homophobia and to use it decisively and with great impact against others. Significantly, this early, very powerful use of homophobic terms occurs prior to puberty, prior to adult sexual identity and prior to knowing much, if anything, about homosexuality. An effect of this sequence is that early homophobic experiences may well provide a key reference point for comprehending forthcoming adult sexual identity formation (gay or not) because powerful homophobic codes are learned first.

Gay Wachman provides a critical new reading of sexually radical fiction by British women in the years during and after the First World War. She contrasts works by Sylvia Townsend Warner, Virginia Woolf, Rose Allatini, and Evadne Price with more politically and narratively conservative novels by Radclyffe Hall and Clemence Dane. These writers, she states, formed part of an alternative modernist tradition that functioned both within and against the repressive ideology of the British Empire, using fantasy as a means of reshaping and critiquing a world fragmented by war. Wachman places at the center of this tradition Sylvia Townsend Warner's achievement in undermining the inhibitions that faced women writing about forbidden love. She discusses Warner's use of crosswriting to transpose the otherwise unrepresentable lives of invisible lesbians into narratives about gay men, destabilizing the borders of race, class, and gender and challenging the codes of expression on which imperialist patriarchy and capitalism depended.

De même qu'un jour a disparu l'esclavage, forme d'existence longtemps admise de nombreux humains, de même disparaîtra demain le sexage, forme également admise à l'heure actuelle de l'existence des êtres humains appelés femmes (du latin foemina, de moindre foi). Dans cet ouvrage. Michèle Causse s'altache à montrer que la condition de celles qu'on appelle "dividues" n'est pas éternelle et qu'un jour prochain elles ne se laisseront plus sexiser ni sexualiser mais seront des êtres non divisibles, dotés d'un soi à soi.La construction des genres apparaitra alors pour ce qu'elle est : une monstruosité conceptuelle émanant d'un diviseur et au bénéfice de lui seul.L'inventivité lexicale est ici mise au service de toute l'espèce sapiens afin que ne règne plus sur lerre le seul langage jusqu'ici connu et placé sous le signe du phallus, à savoir l'androlecte. L'apparition de l'alphalecte à laquelle nous assistons ici met fin à l'empire du (seul) sens et instaure les conditions d'une éthique de vie pour tous les corps partants de la planète.

L’empreinte du féminisme sur le XXe siècle québécois est indélébile. De l’aube au crépuscule du siècle, la « question des femmes » a coloré les grands débats, imprégné les luttes socio-politiques et laissé sa marque sur les systèmes de lois, les institutions, l’organisation du travail et les modes de vie. Cet article veut montrer comment, dans une perspective historique, la « question des femmes » — ainsi posée par les élites masculines — fut pressentie comme l’une des grandes interrogations de ce siècle et comment les changements survenus dans la reconfiguration des rapports entre hommes et femmes — des identités sexuelles aux modèles qui les supportent — restent au coeur des enjeux d’une société.

Un éclairage inédit sur une population urbaine à un moment charnière de son évolution: celle des Montréalais francophones des décennies 1920 et 1930. Une période où la population d'ascendance française devient majoritaire à Montréal

Even now, at the end of the twentieth century, many still have difficulty standing up and saying, "I am the parent of a gay child." Something to Tell You recounts the stories of families whose lives have been touched by the discovery that a child is lesbian or gay—how it affects and influences people's perceptions of their children and even changes the self-image of parents themselves. Focusing on fifty average families—not people seen in clinics or therapy—the authors found a consistent pattern of change: first negative, then positive. Sometimes the news led parents and siblings to form stronger bonds with the child, with each other, and with other relatives and friends. In many cases, their child's partner and partner's family grew to assume an important role in their own lives. In some cases, parents and siblings discovered new meaning in their lives through speaking out or joining PFLAG (Parents, Families, and Friends of Lesbians and Gays) and becoming part of the struggle for lesbian and gay rights. The authors found that families committed to staying together are typically able to overcome the powerful obstacles imposed by society. Something to Tell You also shows the lasting and sometimes tragic consequences for families who falter in the process of integration. Unwilling to accept their child's sexuality, some parents sought to blame each other, and all too often their own relationships unraveled as a result. Others who failed to tell close friends sometimes lost those friends through keeping secrets. Parents who neglected to form bonds with their child's partner fostered climates of alienation that persisted for years. A richly diverse collection of family stories, Something to Tell You is a book that will help break down widespread prejudice and put an end to destructive cultural myths. It affirms families' highest aspirations toward active love for their gay children, showing the steps to take toward new levels of support, solidarity, and love.

Bien que l’on situe habituellement l’émergence du mouvement de l’écriture des femmes au milieu des années 1970, la production littéraire des femmes connaît une hausse importante en 1961 et la majorité de ces oeuvres, à l’instar de celles des hommes, participent d’un mouvement d’émancipation. Une relecture au féminin permet de déceler la portée contestataire contenue dans les oeuvres des femmes dès le début des années soixante. Durant la Révolution tranquille, pendant que les écrivains élaborent le « roman national », les femmes écrivent le « récit féminin ». Si l’écriture masculine tente d’affirmer sa québécitude et de s’émanciper du colonialisme, l’écriture des femmes tente d’affirmer sa spécificité sexuelle et de s’émanciper du patriarcat. Toutefois, les instances de réception critique ne perçoivent pas cette voix divergente, tout occupées qu’elles sont à détecter les signes de l’affirmation nationale.

Chronique des événements entourant la lutte pour l'avortement libre et gratuit, l'une des plus importantes revendications du mouvement féministe québécois. Les différents groupes qui ont mené le combat, leurs discours et la place de leurs actions dans la dynamique des relations qu'ils entretenaient avec les gouvernements et le mouvement anti-avortement. Etude appuyée sur une solide documentation.

Cet article présente, à la lumière des développements récents de l'historiographie féministe, une nouvelle interprétation de la Fédération nationale Saint-Jean-Baptiste. Cette réinterprétation se base sur un concept assez nouveau: le maternalisme, défini comme une catégorie d'analyse utilisée pour qualifier les mouvements de femmes chez qui la maternité constituait le point central de l'idéologie et de l'argumentation. Nous examinons, entre autres, le modèle féminin véhiculé par la FNSJB pour constater qu'il correspondait au modèle traditionnel de « la femme », celui qui effectuait une équation entre la femme et la mère. La maternité n'était toutefois pas perçue par la FNSJB comme une fonction limitative, mais bien comme une ouverture vers la société. Elle a donc dû redéfinir les frontières entre les sphères privée et publique pour permettre aux femmes de transgresser celles du foyer et faire bénéficier la société de leur influence maternelle. Le cadre d'analyse élaboré dans la première partie est ensuite appliqué à un cas concret de revendication: la bataille pour le vote des femmes.

Pretty in Punk combines autobiography, interviews, and sophisticated analysis to create the first insider's examination of the ways punk girls resist gender roles and create strong identities.Why would an articulate, intelligent, thoughtful young women shave off most of her hair, dye the remainder green, shape it into a mohawk, and glue it onto her head? What attracts girls to male-dominated youth subcultures like the punk movement? What role does the subculture play in their perceptions of themselves, and in their self-esteem? How do girls reconcile a subcultural identity that is deliberately coded “masculine” with the demands of femininity?Research has focused on the ways media and cultural messages victimize young women, but little attention has been paid to the ways they resist these messages. In Pretty in Punk, Lauraine Leblanc examines what happens when girls ignore these cultural messages, parody ideas of beauty, and refuse to play the games of teenage femininity. She explores the origins and development of the punk subculture, the processes by which girls decide to “go punk,” patterns of resistance to gender norms, and tactics girls use to deal with violence and harassment.Pretty in Punk takes readers into the lives of girls living on the margins of contemporary culture. Drawing on interviews with 40 girls and women between the ages of 14-37, Leblanc examines the lives of her subjects, illuminating their forms of rebellion and survival. Pretty in Punk lets readers hear the voices of these women as they describe the ways their constructions of femininity—from black lipstick to slamdancing—allow them to reject damaging cultural messages and build strong identities. The price they pay for resisting femininity can be steep—girls tell of parental rejection, school expulsion, institutionalization, and harassment. Leblanc illuminates punk girls' resistance to adversity, their triumphs over tough challenges, and their work to create individual identities in a masculine world.

In this major book, Griselda Pollock engages boldly in the culture wars over `what is the canon?` and `what difference can feminism make?` Do we simply reject the all-male line-up and satisfy our need for ideal egos with an all women litany of artistic heroines? Or is the question a chance to resist the phallocentric binary and allow the ambiguities and complexities of desire - subjectivity and sexuality - to shape the readings of art that constantly displace the present gender demarcations?

La littérature sur les femmes — tant féministe qu’antiféministe — est une longue rumination quant à la nature et à la genèse de leur oppression et de leur subordination sociale. La question n’est pas sans importance, car les réponses qui lui sont données déterminent la manière dont nous envisageons l’avenir et si nous jugeons réaliste ou non d’espérer une société égalitaire entre les sexes. Plus important, l’analyse des causes de l’oppression des femmes fonde toute estimation de ce qu’il faudrait exactement changer pour réaliser une société sans hiérarchie de genre

Because homoerotic relations can be found in so many cultures, Gilbert Herdt argues that we should think of these relations as part of the human condition. This new cross-cultural study of gays, lesbians, and bisexuals around the world, Same Sex, Different Cultures provides a unique perspective on maturing and living within societies, both historical and contemporary, that not only acknowledge but also incorporate same-gender desires and relations. Examining what it means to organize "sex" in a society that lacks a category for "sex", or to love someone of the same gender when society does not have a "homosexual" or "gay/lesbian" role, Herdt provides provocative new insights in our understanding of gay and lesbians lives. Accurate in both its scientific conceptions and wealth of cultural and historical material, examples range from the ancient Greeks and feudal China and Japan to the developing countries of Africa, India, Mexico, Brazil, and Thailand, from a New Guinea society to contemporary U.S. culture, including Native Americans. For all of these peoples, homoerotic relations emerge as part of culture and not separate from history or society. In many of these groups, loving or engaging in sexual relations is found to be the very basis of the local cultural theory of "human nature" and the mythological basis for the cosmos and the creation of society. The mistake of modern Western culture, Gilbert contends, is to continue the legalization of prejudice against lesbians and gays. In this light, the book addresses the issue of "universal" versus particular practices and reveals positive role models that embrace all aspects of human sexuality. Finally, it offers knowledge of the existence of persons who have loved and have been intimate sexually and romantically with the same gender in other lands through divergent cultural practices and social roles. The most important lesson to learn from this cross-cultural and historical study of homosexuality is that there is room for many at the table of humankind.

Girls in male-dominated youth subcultures confront ideologies of gender which remain largely invisible and often tacitly accepted in many women's everyday lives. Punk girls choose to construct their femininity within a highly male-dominated, "masculinist," context; girls are present in such youth subcultures, but the masculine definition of their norms problematizes their participation. Thus, punk girls struggle to accommodate female gender norms within subcultural identities which are deliberately coded as "masculine." Although young women in America encounter the norms of the female gender role on a daily basis, punk girls' negotiations between the norms of femininity and those of punk open these prescriptions to critical examination which they might not otherwise be accorded. In this dissertation, I explore accounts of punk girls' engagements with both mainstream and subcultural gender norms. In constructing this account of girls' lived experiences in the punk subculture, I rely primarily upon the phenomenology, or experiential narrative, of punk girls' everyday lives. I elicited these accounts within the context of conducting participant observation in the punk scenes of four North American cities (Atlanta, Montreal, New Orleans, and San Francisco) from 1993 to 1995, conducting ethnographic interviews with forty punk girls. In the following, I explore various facets of punk girls' engagements with gender norms, including punk girls' narratives of engagement with the subculture; the construction of punk as a discourse of masculinity; punk girls' stylistic, behavioral, and discursive reconstructions of femininity; punk girls' experiences of public harassment and sexual harassment, and their strategic responses to these. I argue that these girls use the punk subculture in order to carry out resistances to varied forms of gender oppression, thereby developing stronger self-concepts in the face of adversity.

La Voz de la Mujer, La Voix de la femme en français, est le premier journal anarcha-féministe au monde. Publié en Argentine par un collectif de femmes dont la communiste libertaire Virginia Bolten, il compte neuf numéros, parus du 8 janvier 1896 au 10 mars 1897. (Wikipedia)