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Nicole Brossard, Madeleine Gagnon et France Théoret ont eu sans contredit une influence déterminante sur notre littérature. Plus qu’une étude de ces trois poètes, Stratégies du vertige nous propose de suivre un trajet amorcé dans les années 1970, au coeur des débats sur la modernité et sur l’écriture des femmes.

Beyond Feminist Aesthetics has a dual focus. First, Rita Felski gives a critical account of current American and European feminist literary theory, and second, she offers an analysis of contemporary fiction by women, drawing in particular on the genres of the autobiographical confession and the novel of self-discovery, in order to show that this literature raises questions for feminism that cannot be answered in terms of a purely gender based analysis. Felski argues that the idea of a feminist aesthetic is a nonissue that feminists have needlessly pursued; she suggests, in contrast, that it is impossible to speak of “masculine” and “feminine,” “subversive” and “reactionary” literary forms in isolation from the social conditions of their production and reception. The political value of such works of literature from the standpoint of feminism can be determined only by an investigation of their social functions and effects in relation to the interests of women in a particular historical context. This leads her to argue for an interdisciplinary approach to the analysis of literature which can integrate literary and social theory, and to develop such an approach by drawing upon the model of a feminist counter-public sphere. Rita Felski has produced a closely reasoned, stimulating book that creates a new framework for discussing the relationship between literature and feminist politics. It will interest students and teachers of women’s studies, comparative literature, cultural studies, and fiction.

"D'après la mythologie grecque, Ganymède était le plus bel adolescent vivant sur la terre. Zeus, le dieu suprême, étant tombé amoureux du jeune homme, prit la forme d'un aigle pour l'enlever et en faire son compagnon dans le ciel. Le rapt de Ganymède est resté le symbole de l'audace nécessaire à un amour qui défie les règles communes. Quand j'étais étudiant, deux mots étaient synonymes : homosexuel et paria. Aux hommes et aux femmes de ma génération a manqué la possibilité de découvrir, chez des modèles que le monde entier admire, une légitimation de goûts que l'opinion publique réprouve sous l'épithète de "contre nature". J'ai voulu montrer, d'une part que la persécution de l'homosexualité à partir du XIXe siècle s'explique par des raisons exclusivement économiques et politiques, d'autre part que certains des plus grands esprits, des meilleurs poètes et romanciers, compositeurs de musique, peintres et cinéastes de tous les temps, de Sapho à Platon, de Whitman à Cavafy, de Melville à Yourcenar, du Caravage à David, de Mozart à Schubert, d'Eisenstein à Visconti, ont tissé un réseau d'oeuvres qui peuvent servir désormais de culture, c'est-à-dire d'exemple et d'encouragement. Bien mieux que les paternes et hypocrites absolutions prononcées depuis cent ans par les psychiatres et psychanalystes, véritable imposture de notre temps, dévoilée ici dans un sottisier réjouissant. D.F." -- Site de l'éditeur

Depuis Les Mots vivants en 1969, Madeleine Gagnon a publié plusieurs livres importants dont Lueur, Les Fleurs du Catalpa et Femmeros. Madeleine Gagnon a colligé, dans Autographie I, des textes de fiction publiés entre 1969 et 1981. Autographie II rassemble les textes de réflexion et critiques écrits parallèlement à son œuvre de fiction.

Woman, Native, Other is located at the junction of a number of different fields and disciplines, and it genuinely succeeds in publishing the boundaries of these disciplines further ... In this first full-length study, Trinh Minh-ha examines post-colonial processes of displacement -- cultural hybridization and decentered realities, fragmented selves and multiple identities, marginal voices and languages of rupture. Working at the intersection of several fields -- women's studies, anthropology, critical cultural studies, literary criticism, and feminist theory, she juxtaposes numerous prevailing contemporary discourses in a form that questions the (male-is-norm) literary and theoretical establishment

"" ... Methodologically innovative ... precise and perceptive and conscious ... ""--Text and Performance Quarterly""Woman, Native, Other is located at the juncture of a number of different fields and disciplines, and it genuinely succeeds in pushing the boundaries of these disciplines further. It is one of the very few theoretical attempts to grapple with the writings of women of color.""--Chandra Talpade Mohanty""The idea of Trinh T. Minh-ha is as powerful as her films ... formidable ... ""--Village Voice"" ... its very forms invite the reader to participate in the effort to understand how language

" . . . methodologically innovative . . . precise and perceptive and conscious . . . " —Text and Performance Quarterly "Woman, Native, Other is located at the juncture of a number of different fields and disciplines, and it genuinely succeeds in pushing the boundaries of these disciplines further. It is one of the very few theoretical attempts to grapple with the writings of women of color." —Chandra Talpade Mohanty "The idea of Trinh T. Minh-ha is as powerful as her films . . . formidable . . . " —Village Voice " . . . its very forms invite the reader to participate in the effort to understand how language structures lived possibilities." —Artpaper "Highly recommended for anyone struggling to understand voices and experiences of those 'we' label 'other'." —Religious Studies Review Audio book narrated by Betty Miller. Produced by Speechki in 2021.

"La tête dans les odeurs de l'homme, la bouche contre son sexe, elle se dit qu'il est devenu complètement fou, qu'elle est devenue complètement folle (...). Dans l'état actuel de l'histoire, quoi qu'elle fasse, quoi qu'elle dise, elle aura toujours tort. L'homme c'est lui." Cameroun. Chaleur humide, ciel hypnotique. Dans le bidonville où elle a grandi, abandonnée par sa mère, Ateba cherche avec désespoir sa place dans une société où la femme n'a qu'un droit : se taire. Ecartelée entre plusieurs sentiments contraires, la jeune fille, le ventre en feu, la haine au coeur, est certaine qu'elle peut devenir un jour la plus forte. Incapable de se résoudre à concilier sexe et asservissement, elle refuse de passer sa vie à genoux.--Quatrième de couverture.

Griselda Pollock provides concrete historical analyses of key moments in the formation of modern culture to reveal the sexual politics at the heart of modernist art. Crucially, she not only explores a feminist re-reading of the works of canonical male Impressionist and Pre-Raphaelite artists including Edgar Degas and Dante Gabriel Rossetti, but also re-inserts into art history their female contemporaries - women artists such as Berthe Morisot and Mary Cassatt. Pollock discusses the work of women artists such as Mary Kelly and Yve Lomax, highlighting the problems of working in a culture where the feminine is still defined as the object of the male gaze.

Dans une analyse qui assoit ses bases sur un texte du XIXe siècle (Angélinede Montbrun de Laure Conan), Patricia Smart démontre que, parallèlement à son histoire à lui, il y a une autre histoire, modulée par une autre voix, qui donne à lire une autre perspective sur le pays et sur le réel. Dans cet essai capital, elle nous propose une lecture absolument nouvelle des textes majeurs de la littérature québécoise. Écrire dans la maison dupère fait la preuve qu'en repérant les marques de la différence sexuelle dans le texte québécois, on peut ouvrir de larges brèches dans la thématique nationale et laisser entrevoir une ouverture possible sur un avenir habitable...

Dans cet ouvrage classique, Gayatri Chakravorty Spivak, l'une des théoriciennes de la culture les plus importantes et les plus influentes travaillant aujourd'hui, analyse la relation entre la langue, les femmes et la culture dans des contextes occidentaux et non occidentaux. Développant une intégration originale de puissantes méthodologies contemporaines - déconstruction, marxisme et féminisme - Spivak tourne ce nouveau modèle sur les grands débats de l'étude de la littérature et de la culture, assurant ainsi que In Other Worlds est devenu un outil précieux pour étudier notre propre monde et celui des autres cultures.

Rooted in Gloria Anzaldúa’s experience as a Chicana, a lesbian, an activist, and a writer, the groundbreaking essays and poems in this volume profoundly challenged how we think about identity. Borderlands/La Frontera remapped our understanding of what a “border” is, seeing it not as a simple divide between here and there, us and them, but as a psychic, social, and cultural terrain that we inhabit, and that inhabits all of us. This twentieth-anniversary edition features new commentaries from prominent activists, artists, and teachers on the legacy of Gloria Anzaldúa’s visionary work

Femmes de la Rive gauche étudie les contributions à la vie du Paris littéraire entre 1900 et 1940 de grandes Américaines et Anglaises, telles que Djuna Barnes, Natalie Barney, Sylvia Beach, Caresse Crosby, Nancy Cunard, Hilda Doolittle, Janet Flanner, Anaïs Nin, Jean Rhys, Gertrude Stein, Edith Wharton… Écrivain.e.s, éditeurices, libraires, journalistes, tenant salon au cœur du Paris culturel, elles ont nourri de leur énergie créatrice originale le grand mouvement de la modernité. Cet essai, qui considère à la fois l’histoire littéraire et la littérature, écrit la face cachée du tissu culturel, explore la richesse d’une écriture que le modernisme a tenté de nier…. « Au lieu d’intersection de la vie et de l’art, au croisement de la mémoire et de l’histoire, à la confluence du mythe et de la biographie… j’ai retrouvé les traces de celles qui ont nourri de leur force et de leur intelligence le grand mouvement culturel moderniste. » S. B.

A unique and comprehensive collection of 26 literary essays that provides real evidence of the rich cultural history of black women in America. Black women’s writing has finally emerged as one of the most dynamic fields of American literature. Here, leading literary critics—both male and female, black and white—look at fiction, nonfiction, poetry, slave narratives, and autobiographies in a totally new way. In essence, they reconstruct a literary history that documents black women as artists, intellectuals, symbol makers, teachers, and survivors. Important writers whose work and lives are explored include Toni Morrison, Gloria Gaynor, Maya Angelou, and Alice Walker, and the fascinating list of essays range from Nellie Y. McKay’s “The Souls of Black Women Folk in the Writings of W. E. B. Du Bois” to Jewelle L Gomez’s very personal tribute to Lorraine Hansberry as a dramatist and crusader for social justice. Henry Louis Gates Jr., the editor of this anthology and a noted authority on African-American literature, has provided a thought-provoking introduction that celebrates the experience of “reading black, reading feminist.” A penetrating look at women’s writing from a unique perspective, this superb collection brings to light the rich heritage of literary creativity among African-American women.

Art criticism and art history from a feminist perspective are recent phenomena, emerging only during the last fifteen years. They have, in their short history, moved from a first generation in which "the condition and experience of being female" was emphasized, to a second generation, beginning in the late 1970s, influenced by feminist criticism in other disciplines and offering a more complex critique of both art and culture through an investigation of the production and evaluation of art and the role of the artist. In this survey, we propose, first, to outline the history of feminist art and art history, then to discuss the interrelated themes in each, and, finally, in the concluding and pivotal sections (IV and V), to discuss various feminist art-critical and art-historical methodologies.

Feminism has been a major force in the reshaping of recent art. The women's movement has given new confidence to women who work in the visual arts; it has opened up new areas for art to deal with and challenged existing systems of values and imagery in the arts. In their comprehensive introduction, Rozsika Parker and Griselda Pollock provide a richly illustrated history of the British women's art movement, covering the major events and debates in feminist art practice which have taken place over the last fifteen years. They also examine the trends, the conflicts and the new directions of the 1980s in which issues of race, as well as gender, have necessarily become prominent. Griselda Pollock goes on to explore the place of feminist art in the context of post-modern culture, arguing that feminism is one of the most important and radical interventions in both modernism and post-modernism. --back cover.