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Once upon a time: the forgotten female fabulists whose heroines flipped the fairy tale script. People often associate fairy tales with Disney films and with the male authors from whom Disney often drew inspiration—notably Charles Perrault, the Brothers Grimm, and Hans Christian Andersen. In these portrayals, the princess is a passive, compliant figure. By contrast, The Lost Princess shows that classic fairy tales such as “Cinderella,” “Rapunzel,” and “Beauty and the Beast” have a much richer, more complex history than Disney’s saccharine depictions. Anne E. Duggan recovers the voices of women writers such as Marie-Catherine d’Aulnoy, Marie-Jeanne L’Héritier, and Charlotte-Rose de La Force, who penned popular tales about ogre-killing, pregnant, cross-dressing, dynamic heroines who saved the day. This new history will appeal to anyone who wants to know more about the lost, plucky heroines of historic fairy tales.
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On ne naît pas femme ni écrivain, on le devient. À force de lectures et d'attention, à force d'indépendance et de liberté. Six romancières ont choisi de faire le portrait d'une écrivain qu'elles admirent, de raconter ces vies de femmes habitées par la création. L'une & l'autre, c'est Marie Desplechin et la comtesse de Ségur, saisissante de modernité ; c'est Gwenaëlle Aubry et la poétesse américaine Sylvia Plath, en butte à ses vertiges de mère et d'épouse ; Camille Laurens et l'amour fou chanté par Louise Labé ; Lorette Nobécourt et Marina Tsvetaeva, broyée par la folie stalinienne ; Marianne Alphant et Jane Austen, dévouée à l'écriture jusqu'à s'oublier elle-même ; et c'est aussi Cécile Guilbert et l'essayiste Cristina Campo, hantée par le mot juste. Six textes où la biographie réelle le dispute à la rêverie et où se dessine en creux l'autoportrait de chacune. Aux lecteurs et aux lectrices de se glisser à leur tour dans la peau de ces indomptées, nos sœurs, nos semblables, nos amies de papier.
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A study of a female style of writing. French, English and American theories of how women's creative imagination and use of language may differ from conventional literary norms are examined in relation to the work of five of the best 20th century French women writers.
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Joy Harjo's haunting poetry explores the pain, depth, and hope that women share. In this powerful collection of poems, Creek Indian Joy Harjo explores womanhood's most intimate moments. Her prose speaks of women's despair, of their imprisonment and ruin at the hands of men and society, but also of their awakenings, power, and love.
Poésie --- Femmes écrivains --- Femmes écrivains.
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Femmes ecrivains --- Roman --- Femmes ecrivains --- Roman
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Femmes ecrivains quebecoises --- Femmes ecrivains quebecoises
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The contributions gathered in this volume take a fresh look at the medieval history of women, revealing the many faces of female reality during an extremely dynamic period—while individuality was on the rise, new linguistic codes (vernacular languages) and innovative literary genres were emerging, and the political situation was undergoing deep changes.The book is structured in three interrelated sections: The first is dedicated to "Historical femininity" and documents the cultural and literary activities carried out by women from the nobility. The second is about "Authorial femininity" and explores the innovative work of both prominent and lesser-known female writers. The last section deals with "Textual femininity" and analyses the female protagonists of lyric poetry and narrative literature.As a whole, the book shows how complex and diverse medieval discourses on and from women were.
Femmes écrivains --- Femmes --- Histoire.
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