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Anne Ring Petersen

vision and imagery.73 Laying ownership to and toying with it is also what Banerjee does with the Orient as a Western system of representation in which the East is often conceived of as the inferior, sensual and eccentric Other, displaying a feminine penetrability while passively awaiting conquest by a masculine West.74 In a noteworthy comparison, Laura Steward has likened Banerjee’s way of expressing herself to the feminist writing or écriture féminine (‘women’s writing’) of Hélène Cixous and Julia Kristeva. As protagonists of a strand of feminist theory that

in Migration into art
Abstract only
Fred Botting

impostures, thwarting phallic authority: the ‘empty locus of a hundred blanks’ is a space of improper metaphorical substitutions; the blanks are shells fired without effect, impostors in the gun disarming the single bullet of meaning. For Hélène Cixous, the absence of any deeper secret in Freud’s ‘Uncanny’ discloses the feeling ‘of resistance to the threat of castration’: nothing lies on the

in Limits of horror
Open Access (free)
Beckett and nothing: trying to understand Beckett
Daniela Caselli

introduction, I am referring to portions of longer incarnations of Thomson’s and Boxall’s chapters. 15 The Onion, 42:17 (26 April 2006). 16 On how the link between Beckett and nothing, and, more specifically, between Beckett and nihilism, has been placed in the realm of ‘public consciousness’ as opposed to that of criticism since the time of Esslin’s early writings, see Shane Weller, A Taste for the Negative, p. 6. For a popular history of nothing, see John D. Barrow, The Book of Nothing (London: Jonathan Cape, 2000). See also Hélène Cixous’s Le Voisin de zéro: Sam Beckett

in Beckett and nothing
A tale of three women, if not more
R. Barton Palmer

Saint-Germain-des-Prés cafés as did Sagan.42 By ignoring male dominance and traditional gender rules rather than protesting against them, Sagan anticipated, even as she enacts, the more theoretically sophisticated critiques of patriarchy and phallocentrism that would in the early 1970s be promoted by Hélène Cixous and others in French feminist circles. Sex between the unmarried in both the younger and older generations dominates the novel’s narrative, though without explicitness, except for the famous passage in which Cécile rhapsodizes about her ‘first time’. She is

in French literature on screen
Introduction
Carl Lavery

, been concerned to unpack the political significance of Genet’s writing. From the late 1960s onward, Genet has been famously championed for deconstructing normative notions of gender and sexuality (Cixous, 1975 ; Lloyd, 1987 ; Millet, 1991 ; Bersani, 1995 ; Dollimore, 1995 ; Case, 1997 ; Hanrahan, 1997 ; Eribon, 2001 ; Gaitet, 2003 ; Eldridge, 2005 ; Hargreaves, 2006 ; Stephens, 2006 ); debunking racist stereotypes and critiquing western imperialism (Said, 1995 ; Chalaye, 1998 ; Hughes, 2001 ; Khélil, 2001 ; Boisseron and Ekotto, 2004 ); playfully

in The politics of Jean Genet’s late theatre
Heather Walton

chapters that follow I shall argue that there are resources in the work of women poststructuralist theorists that enable religious feminists to stand in awe before literary texts. I shall set out the configurations of the literary and the sacred that are presented in the work of Kristeva, Irigaray and Cixous which I consider offer ways of reading which both reinscribe the ‘femininity’ of literary texts and leave us open to the mystery they carry. However, before attempting this task I take a step back and enquire as to why religious feminists have been so cautious about

in Literature, theology and feminism
Abstract only
Unending
Adrian Curtin

alive The dead are not always as dead as we think nor the living as living as they think. (Cixous, 2004: 29) Medical science cannot grant us lifespans of multiple centuries (yet), but it can, sometimes, bring us back from the dead, like the biblical Lazarus. This means that, setting aside the possibility of an afterlife, one’s death may not be the final episode of one’s life. We can live again to die another day!4 It is now possible, with the aid of resuscitation Conclusion: Unending 229 techniques and technologies, to restore someone to life three or four hours

in Death in modern theatre
Ana Elena González-Treviño

Mother ’, a ‘Chaos dark and deep’ (Salvaggio, Enlightened Absence , p. 69). On feminist readings of the cave see Gilbert and Gubar ( The Madwoman , pp. 93–5), Ostriker ( Stealing the Language , p. 16), and Cixous (Chapman Wilcox, Women, p.7). 6 For the debate on sexual liberation in these poems, see, for

in William Blake's Gothic imagination
Abstract only
Sue Harris

for example the work of Andrea Dworkin, and in particular Dworkin ( 1981 ) Pornography: Men Possessing Women, New York, Women’s Press. 11 This scene is even more revealing when read in the context of Stam’s discussion of what Ruby Rich has designated ‘Medusan’ feminist films, a term taken from Cixous’s ‘Laugh of the Medusa’ ‘where

in Bertrand Blier
Performing quacks at court
M. A. Katritzky

.) According to the printed programme, the four charlatans wore small pedlars’ packs, from which they distributed vials of perfume and printed handbills detailing their remedies, to the audience during their dance ( Recueil 1612 : 55–8; Cixous 2001 : 88–9). The Jesuit historian of theatre and spectacle, Claude-François Menestrier (1631–1705), records a Ballet des Alchimistes danced

in Transnational connections in early modern theatre