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Douglas Keesey

fellow director Christine Pascal, whom she considered to be a kind of second sister. I will study the impact of a gender-conservative family environment and a strict religious upbringing, and then the countervailing influence of the Women’s Liberation Movement on Breillat when she moved from the provinces to Paris. My discussion of Breillat’s films will connect them to feminist writings by Beauvoir, Hélène Cixous, Claire Duchen, Juliet Mitchell, Anita Phillips and Susan Bordo as well as to male gender studies by Elisabeth Badinter, Pierre Bourdieu and Daniel Welzer

in Catherine Breillat
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Douglas Keesey

Breillat is not only a filmmaker, but a figure of some prominence on the French literary scene, with eight novels, two published screenplays, a book of interviews and a collection of poems and plays to her credit. Breillat’s texts – particularly her most radical work, Pornocratie (2001) – are strongly indebted to the writings of Marguerite Duras and Hélène Cixous, and Breillat can be seen as part of a growing group of women writers who are most unladylike in their sexually explicit confrontations with some of the darker aspects of passion. These authors include Virginie

in Catherine Breillat
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Addressing the other woman
Kimberly Lamm

around fundamental absences, which undercuts the prestige of presence bestowed upon speech. The work of Jacques Derrida and Hélène Cixous stands out for their attention to writing as a confrontation with the gaps and absences at the heart of signification. Whether women artists drew explicitly from deconstruction or not, the movement between presence and absence enacted through writing challenged the fantasmatic presence attributed to the sign woman (which is paradoxically premised on her absence and lack) and the punitive absences that have awaited women outside its

in Addressing the other woman
Renate Günther

of binary oppositions which underpins Western culture and thought. As Hélène Cixous has shown, it is only by denying or even destroying one side of this oppositional framework that the hierarchy it supports can remain intact (Cixous and Clément 1975 : 116). The continued dominance of culture, for instance, depends on the repudiation of nature, just as the privileged status of the mind and of reason entails the

in Marguerite Duras
Thibaut Raboin

the same questions: the hospitality of the performance stage can be just as conditional as that of the asylum system itself. Hélène Cixous, in her notes for the programme of Le Dernier Caravansérail, a 2003 performance by the French company Théâtre du soleil, conceives of the theatre stage as another place where hospitality can be exerted. However, this hospitality, in order not to be conditioned by repressive logics of appropriation and subjection, must be reflexive: Cixous presents the show with an introduction titled ‘How not to …’, a series of questions seeking

in Discourses on LGBT asylum in the UK
Victoria Best and Martin Crowley

, a loss of self-control that expresses a loss of cultural power and manifests itself in an excessive eroticism. This hystericisation can be productively linked to a postmodern concept of the women’s role in men’s self-creation. In her discussion of the muse, Bronfen uses Cixous’ distinction between two forms of libidinal economy: ‘one – a masculine economy of preservation, the other a feminine one of

in The new pornographies
Margaret Atwood and Lady Oracle
Susanne Becker

: the (female) body but also the (feminine) body of the text. In thematic terms, the female body and its dimensions of excess come to be associated with the monstrous as typical gothic excess of le propre (Cixous) – a ‘proper’ femininity. 3 Furthermore, the monstrous is related to the mother’s body: her (pro)creative powers – feared by men – and the related separation

in Gothic Forms of Feminine Fictions
Rebecca Munford

, as an embodiment of virtuous and victimised femininity in the Sadeian Gothic, provides a focus for this discussion. According to Hélène Cixous, Sleeping Beauty represents an archetypal image of female passivity that is reiterated throughout Western representation: ‘Beauties slept in their woods, waiting for princes to come and wake them up. In their beds, in their glass coffins, in their childhood

in Decadent Daughters and Monstrous Mothers
Subjective realism, social disintegration and bodily affection in Lucrecia Martel’s La ciénaga (2001)
Julián Daniel Gutiérrez- Albilla

the realm of the feminine. This was previously unthought in the phallocentric psychoanalysis of Freud and Lacan, as well as in the psychoanalysis of Kristeva, Cixous and Irigaray. These psychoanalytic theorists still emphasise a language of objects which remain haunted by their relationship to the cut of castration and to the Lacanian phallic signifier. See Ettinger (2005

in Hispanic and Lusophone women filmmakers
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The multiple faces of Chantal Akerman
Marion Schmid

less importantly, to capture the dynamics of ressassement that we have already mentioned as one of the central driving forces behind her work. Comparable to authors such as Beckett, Thomas Bernhard, Hélène Cixous or Marguerite Duras, who are similarly known for their ‘brooding’, circular enquiries, Akerman kaleidoscopically reconfigures, behind a multitude of guises, recurrent tropes and preoccupations that haunt her

in Chantal Akerman