Edited By Émeline Jouve, Aurélie Guillain and Laurence Talairach-Vielmas
Qu’elle soit appelée meurtrière, assassine ou tueuse, la femme qui commet un homicide élude les catégories usuelles : elle dérange l’ordre social, bouleverse les rapports de forces symboliques et inquiète les dispositifs judiciaires. Cet ouvrage collectif bilingue (français et anglais) interroge la manière dont l’écriture ou la réécriture du meurtre au féminin contribue à façonner et à problématiser la mémoire collective de ces affaires criminelles qui font figure d’exception.
Female murderers often elude firmly established categories as they disrupt the social and symbolic orders of patriarchal societies and call into question the well-oiled mechanisms of their legal systems. This collection of essays (in French and in English) examines the making of narratives that have staged actual or fictional female murderers, influencing the ways in which these women are collectively remembered – narratives that often lay bare the covert foundations of the indictment process.
Women’s Justice: Nemesis and Subversion in Susan Glaspell’s Trifles
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Nemesis and Subversion in Susan Glaspell’s Trifles
Martha C. Carpentier
Since the recovery in the 1970s of American playwright and fiction writer Susan Glaspell’s marginalized reputation by feminist scholars, her play Trifles (1916) and the short story she based on it, ‘A Jury of Her Peers’ (1917), have been reprinted in many anthologies, taught in secondary school, university, and law school classrooms across America, and translated, read, and performed around the world. Trifles is regularly revived on stages major and minor from New York’s Public Theatre to London’s Orange Tree Theatre, to Ontario’s Shaw Festival, to China’s National Symposium on American Drama and Theatre, and many more. So how and why did Trifles become such an iconic work?
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