1. Introduction
  2. Giada Alessandroni, Sandra Daroczi, Gemma Edney
  3. pp. 1-8
  4. DOI: 10.1353/esp.2018.0015
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  1. Cinematizing Theatre: Sarah Bernhardt, Gabrielle Réjane, and the Early French Double Feature Film
  2. Victoria Duckett
  3. pp. 23-40
  4. DOI: 10.1353/esp.2018.0017
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  1. Thinking Difference Differently: An Exploration of l'écriture féminine, Women's Art Practice, and Postfeminism
  2. Jacqueline Taylor
  3. pp. 41-55
  4. DOI: 10.1353/esp.2018.0018
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  1. The Creative Powers of the Everyday in Chantal Akerman's Films
  2. Corinne Maury, Daisy May Connon
  3. pp. 56-64
  4. DOI: 10.1353/esp.2018.0019
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  1. Mother and Lover Equals Other: Varda's Mortal Critique of the Feminine as Annex to the Masculine Subject
  2. Kierran Horner
  3. pp. 65-80
  4. DOI: 10.1353/esp.2018.0020
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  1. Creativity and the Feminine: Sexual Politics and Cinematic Aesthetics in Nadia El Fani's Documentary-Making
  2. Marzia Caporale
  3. pp. 81-95
  4. DOI: 10.1353/esp.2018.0021
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  1. Zineb Sedira: De-Colonialism and Creative Acts
  2. Laurel Fredrickson
  3. pp. 96-111
  4. DOI: 10.1353/esp.2018.0022
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  1. CACAphonie: Humor, the Ludic, and Motherhood in the Words of Slam Poet, RiM
  2. Andrea Jonsson
  3. pp. 126-139
  4. DOI: 10.1353/esp.2018.0024
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  1. Ouvrir la voix by Amandine Gay (review)
  2. Johanna Montlouis-Gabriel
  3. p. 140
  4. DOI: 10.1353/esp.2018.0025
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  1. Un amour de tn: Carnet photographique d'un retour au pays natal après la Révolution by Dora Latiri (review)
  2. Nicola Pearson
  3. pp. 140-141
  4. DOI: 10.1353/esp.2018.0026
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  1. Carnets de l'incarnation: Textes choisis 2002–2015 by Nancy Huston (review)
  2. Polly Galis
  3. pp. 141-142
  4. DOI: 10.1353/esp.2018.0027
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