Index 1993-2001 : Essays, Interviews & Book Reviews Published in Women In French Studies Volumes 1-9

274Women in French Studies Index 1993-2001 : Essays,Interviews & Book Reviews Published in WomenInFrenchStudies\owmes 1-9 Volume 1 (1993): Annabelle M. Rea, Editor "Foreword" by Annabelle Rea, 3. Special Section: Avant-garde Women Dramatists Writing in French "Introduction" by Janis Glasgow, 5. "Language, Music and Intertextuality: The Theater ofVera Feyder" by Celita Lamar, 7-12. "Ode to the Heroine: Marguerite Yourcenar's Dramatic Voice" by Gay Smith, 13-20. "The Verbosity ofMinimalism: Sarraute, Duras and Redonnet" by Rachael A. Crio, 21-26. "Social, Sexual and Intellectual Revolt in the Works of Avant-Garde Dramatist Agnès Echène" by Nina S. Hellerstein, 27-32. Special Section: Le Rire de la Méduse: La Femme et L'Humour "Introduction" by Annabelle M. Rea, 35-36. "Cixous ou des sourires et des hommes" by Claudine G. Fisher, 37-43. "L'Humour dans La Jeune Morte en robe de dentelle de Jeanne Hyvrard" by Monique Saigal, 45-53. "Humour e(s)t sagesse : Les Stances à Sophie de Christiane Rochefort, by Lynn K. Penrod, 55-65. Volume 2 (1994): Colette Trout Hall, Editor "Foreword" by Colette Trout Hall, 1-2. "Introduction" by Colette Trout Hall, 3-8. "The Feminization of the Trojan Horse: Marie Chauvet's Amour as War Machine" by Laurie K. Lavine, 9- 1 8. "A la Recherche du 'devenir-femme' dans le 'troisième espace de culture': Shérazade: 1 7 ans, brune,frisée, lesyeux verts de Leïla Sebbar" by Valérie Orlando, 1 9-3 1 . "Of Pigs and Princesses: Corporeal Currency in the 'Meat' Market: Themes and Consumption in Les Trois Petits Cochons" by Susan Kevra, 32-41 . "Rape or Obscene Copulation? Ambivalence and Complicity in Djebar's L'Amour, la fantasia" by Andrea Page, 42-54. "Assia Djebar et l'écriture de l'autobiographie au pluriel" by Katherine Gracki, 55-66. "Colette and Autobiography: The Film Version" by Lezlie Hart Stivale, 67-77. "Past, Present and Passion Tense in Annie Ernaux's Passion simple" by Claire Marrone, 78-87. "The Historian and the Personal: Ariette Farge's Le Goût de l'archive" by Philippe Carrard, 88-101. "Nathalie Sarraute: Aesthetics and Asthenics" by Mark Lee, 102-1 10. "The Pen/is Mightier: Speech and Writing in Representations oíPréciosité" by Jennifer Monahan, 111-24. "Feminine Spaces in the "H/histoires ' ofMme de Villedieu" by Nancy O. Klein, 125-34. "Représentations de la la femme dans la famille et au travail en France" by Kathryn A. Murphy-Judy, 135-59. "La Course d'obstacles : les françaises en politique" by Colette Trout Hall, 160-69. Volume 3 (1995): Colette Trout Hall, Editor "Foreword" by Colette Trout Hall, 1 . "Introduction" by Colette Trout Hall, 3-6. Index275 "Who Was Jeanne Flore? Subversion and Silence in Les Contes amoureux par madame Jeanne Flore" by Carolyn M. Fay, 7-20. "Rethinking the Universal, Reworking the Political: Postmodern Feminism and the French Enlightenment" by Natania Meeker, 21-33. "Why Write as a Woman?: The Riccoboni-Laclos Correspondence" by Antoinette Sol, 34-44. "Reconsidering Flora Tristan's Narrative Art" by Mary Rice DeFosse, 45-54. "Identity Politics and Confessional Acts: Suzanne Voilquin's Souvenirs d'une fille du peuple" by Annie Smart, 55-63. "Única Zürn et un Surréalisme affolant" by Martine Delvaux, 64-81 . "Eurydice et Persephone :paradigmes revisités par Cixous et Chawaf by Metka ZupanclC, 82-89. "Breaking the Silence: Michèle Sarde's Histoire d'Eurydice pendant la remontée" by Liedeke Plate, 90-99. "Revisions and Revolution: Writing Women into Myth and History" by Patrice J. Proulx, 100-11. "Rewriting the Story in Tassadit Imache's Une Fillesans histoire" by Susan Ireland, 1 1 2-22. "Le Passé : point focal du présent dans l'œuvre d'Annie Ernaux" by Claire-Lise Tondeur, 123-37. "Espace féminin et image divine : vers une définition de la religion dans Pluie et vent sur Télumée Miracle de Simone Schwarz-Bart" by Maria Anagnostopoulou-Hielscher, 138-47. Volume 4 (1996): Adèle King, Editor "Foreword" by Adèle King, 1-2. "Introduction" by Adèle King, 3. "Aux Antipodes de l'exotisme ou l'envers de la carte postale dans l'œuvre...