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The carnival as structuring motif
Sue Harris

, now relegated to being spectators of the action, in the scenes that follow. In Buffet froid, the very title of the film focuses on food, and food works as a metaphor for the alliance of subversive behaviour and corrupt characters that structures the film. The alliance of the marginalised or criminal elements is built around food and the sharing of wine, as demonstrated in an early scene which takes place in Alphonse Tram

in Bertrand Blier
Anne Woolley

towards the happiness of her man, and Siddal’s figures repeatedly depict strained and exhausted females which can be read as meaning the lived female body under such constraint will suffer physical and emotional distress. There is no dialogue in ‘Speechless’ so the focus is on the female narrator as she hints at subversive behaviour, suicidal thoughts, a sexual history, and a long absent lover received back but not in the expected welcoming way because she’s too exhausted to be so. There are no curses or words of vengeance, in fact her breath is held, making her speech

in The poems of Elizabeth Siddal in context
Race, culture and power in the Trinidad ‘Carnival Queen’ beauty competition, 1946–59
Rochelle Rowe

in kalinda as fighters has also been written out of Carnival history.23 Meanwhile the Carnival performance of the ‘respectable’ classes was largely transferred behind doors. The wealthy, conspicuous by their absence from street masking, at least by day, poured scorn on Carnival through the press, creating a gendered discourse of degeneration and dis­ order around the black jamette Carnival. They reserved particular ire and disapprobation for the behaviour of poor women at Carnival. Women’s deliberately subversive behaviour became, according to the Catholicoriented

in Imagining Caribbean womanhood
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FANY service after the Armistice 1918–19
Janet Lee

: as an independent organization they made their own rules and gave women opportunities for training, leadership, fun and adventure; however, once established they worked within the system and did ‘play the game all through’. Unfortunately this game also included a return to more traditional gender relations when the war was over. In this way the FANY were groundbreaking in challenging the regulatory norms of gender and by living unconventional lives and doing work often coded as masculine. Through these subversive behaviours they were able to develop feminine

in War girls
Open Access (free)
La colonie Française
Nicholas Atkin

engaged in subversive activities. This might have sounded a severe sanction, but was yet again a fudge. Not only did repatriation remain a virtual impossibility in 1941 (witness the problems with the French consular staff later that year), but few Frenchmen were likely to be caught engaging in subversive behaviour, especially given the way in which the colony remained a community apart. Nor was there government consensus over the issue. The Ministry of Labour feared Germany would exploit any gesture towards conscription for propaganda purposes.265 After all, it was not

in The forgotten French