Violence and the Female Imagination explores whether these imagined women are striking out at an external other or harming themselves through acts of self-destruction and depression. Gilbert examines ...the degree to which women are imitating men in the outward direction of their anger and hostility and suggests that such "tough" women may be mocking men in their "macho" exploits of sexuality and violence. She illustrates the ways in which Quebec female authors are "feminizing" violence or re-envisioning gender in North American culture.
Despite a burgeoning interest in transatlantic and regional studies, the long-standing cultural connections between francophone communities on both sides of the Atlantic have received little critical ...attention. Transatlantic Passages presents essays, interviews, and images that address the often-neglected cultural commerce integral to understanding historical and contemporary identities in Quebec and francophone Europe.
If gendered discourse is narrated by a woman, the female voice becomes a trope of identity and power-transgressing, dismantling, violating the law, and speaking her violation. By linking corporeal ...violence and linguistic, textual, and critical discursive violence engendered in representation, one inevitably confronts the body as the contested site of horrific memory, resistance, defiance of invisibility, and de-silencing. In Nora Okja Keller's poetically complex novel, Comfort Woman, the voice of a Korean comfort woman recounts her individual past and the past of her collective self. Akiko speaks of her body, abused by Japanese soldiers, as the broken nation of Korea, as a link to other violated women, as well as to her mother, grandmother, and daughter, who remain alive in her confused mind and spirit. At the same time, her daughter tries to lead a modern life in Hawaii but is powerfully drawn into her mother's past and current life and body. It is through the voiced violated female body that the cultural identity of Korea confronts the historical authority of the Japanese occupation, but only in death can Akiko return to her rightful spiritual country.
In 2013, for the third year in a row, a Canadian film by a Québec director was named a finalist for the US Oscar in Best Foreign Films. Kim Nguyen's Rebelle (War Witch), about child soldiers in ...Africa, continued and expanded the focus on international issues that had characterized the two previous Canadian nominees, Denis Villeneuve's Incendies and Philippe Falardeau's Monsieur Lazare. One of the few films to treat the worldwide problem of children abducted and forced to participate in combat, Rebelle is unusual in taking as its central character a young girl. Although Komona is forcibly abducted, made to shoot her own parents and engage in combat, Nguyen also allows his character a romantic relationship and a surprisingly happy ending. In detailing the steps of his girl soldier's reintegration into society, accompanied by her illegitimate child, Nguyen's project seems to echo the findings of important studies sponsored by the Canadian International Development Agency.
The way that society talks about women and their use of violence and force has grave implications for social policy and women's experiences in the criminal justice system. Society's cultural ...stereotypes about women and gender color the way professionals in law enforcement, the legal system, the courts, and social policy agencies treat women who commit violent acts of aggression. This article will attempt to shed some light on how gender stereotypes that continue to permeate our society create the very cultural discourses that people in positions of power and in the population at large use to talk about women and violence.
The way that society talks about women & their use of violence & force has grave implications for social policy & women's experiences in the criminal justice system. Society's cultural stereotypes ...about women & gender color the way professionals in law enforcement, the legal system, the courts, & social policy agencies treat women who commit violent acts of aggression. This article will attempt to shed some light on how gender stereotypes that continue to permeate our society create the very cultural discourses that people in positions of power & in the population at large use to talk about women & violence. 68 References. Copyright 2002 Sage Publications, Inc.
Introduction Gilbert, Paula Ruth; Santoro, Miléna
Transatlantic Passages,
10/2010
Book Chapter
Place and time are essential elements of who we are. Our identity is shaped by the architectures of our experiences, be they spatial, temporal, intellectual, material, or spiritual. In the citations ...above from Benjamin, a German-born theorist, and Scott, a contemporary Anglo-Québécois feminist writer, it is clear that Paris is a powerful locus of desire and of being. Just as Benjamin found in Paris the fuel for his reflections on modernity, so Scott, a contemporaryflâneuse, finds in Benjamin’sArcades Projecta structuring principle for her own postmodern text, a first-person narrative where the subject is never that of a
Ce volume pose la question de la rébellion scripturale et sociétale doublement subversive des femmes qui écrivent pour revendiquer leur propre violence. « Une violence à soi » tel pourrait être le ...sous-titre de cet ouvrage.
CONCLUSION Gilbert, Paula Ruth
Violence and the Female Imagination,
03/2006
Book Chapter
InSexing the Self,Elsbeth Probyn tells us that “in the name of … connecting (or at least acknowledging) the crevices within and between the previous chapters,” she would try to proceed “‘en guise ...d’une conclusion’ (which roughly translates as ‘in the manner of a conclusion,’ although she likes the idea of being ‘disguised as a conclusion’ better)” (165). Given the complexity, breadth, and timeliness of my topic, such a stance seems most appropriate: to present here “in the manner of a conclusion,” some disguised concluding remarks. Let me state at the outset that I see the questions that I
