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Feminist, Gender, and Sexuality Studies Commons™
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Articles 1 - 3 of 3
Full-Text Articles in Feminist, Gender, and Sexuality Studies
Cybelle Mcfadden. Gendered Frames, Embodied Cameras: Varda, Akerman, Cabrera, Calle, And Maïwenn. Lanham: Farleigh Dickinson Up, 2014. Xii + 233 Pp., Lauren Van Arsdall
Cybelle Mcfadden. Gendered Frames, Embodied Cameras: Varda, Akerman, Cabrera, Calle, And Maïwenn. Lanham: Farleigh Dickinson Up, 2014. Xii + 233 Pp., Lauren Van Arsdall
Studies in 20th & 21st Century Literature
Review of Cybelle McFadden. Gendered Frames, Embodied Cameras: Varda, Akerman, Cabrera, Calle, and Maïwenn. Lanham: Farleigh Dickinson UP, 2014. xii + 233 pp.
Gender: The Hidden God In Yasmina Reza's Le Dieu Du Carnage, Lauren Tilger
Gender: The Hidden God In Yasmina Reza's Le Dieu Du Carnage, Lauren Tilger
Studies in 20th & 21st Century Literature
Most critics have analyzed acclaimed playwright Yasmina Reza’s Le Dieu du Carnage (2007) as a descent into savagery. This close examination of the play points to the role of gender norms and stereotypes in causing the decline in civility. By taking part in a culture that worships gender ideals, the characters in Reza’s play police one another’s actions to ensure that everyone behaves like proper men and women. The act of attempting to successfully perform femininity or masculinity leads to the evening’s disastrous events. In contrast with readings that have erased gender from the power dynamics of the play and …
Marie Darrieussecq’S Clèves: A Wittigian Rewriting Of Adolescence, Annabel L. Kim
Marie Darrieussecq’S Clèves: A Wittigian Rewriting Of Adolescence, Annabel L. Kim
Studies in 20th & 21st Century Literature
Marie Darrieussecq's Clèves (2011) shocked readers with the vulgarity of its language and spurred controversy over its status as a literary text. In this article, I show how the novel's "bad" language is a foil for Darrieussecq's larger project of rewriting the adolescent female body, removing it from the sexualized and objectified optic through which it is usually viewed in order to stage it instead as a body in process, as a situation. For this body in process, gender and sexuality are not givens, but deeply unfamiliar experiences that resist the social order’s dominant framing narratives, its scripts for normal …