Emily Apter offers a fresh account of the complex relationship between representation and sexual obsession in turn-of-the-century French culture, and in particular the theme of "female fetishism" in the context of the feminine culture of mourning, collecting, and dressing.

The extraordinary range, complexity and power of Marguerite Duras – novelist, dramatist, film-maker, essayist – has been justly recognized. Yet in the years following her death in 1996, there has been an increasing tendency to consecrate her work, particularly by those critics who approach it primarily in biographical terms. The British and American specialists featured in this interdisciplinary collection aim to resurrect the Duras corpus in all its forms by submitting it theoretically to three main areas of enquiry. By establishing how far Duras’s work questions and redefines the parameters of literary and cinematic form, as well as the categories of race and ethnicity, homosexuality and heterosexuality, fantasy and violence, the contributors to this volume "revision" Duras’s work in the widest sense of the term.

The Feminist Avant-Garde in American Poetry offers a historical and theoretical account of avant-garde women poets in America from the 1910s through the 1990s and asserts an alternative tradition to the predominantly male-dominated avant-garde movements. Elisabeth Frost argues that this alternative lineage distinguishes itself by its feminism and its ambivalence toward existing avant-garde projects; she also thoroughly explores feminist avant-garde poets' debts and contributions to their male counterparts.

This new edition of A Hitchcock Reader aims to preserve what has been so satisfying and successful in the first edition: a comprehensive anthology that may be used as a critical text in introductory or advanced film courses, while also satisfying Hitchcock scholars by representing the rich variety of critical responses to the director's films over the years. a total of 20 of Hitchcock's films are discussed in depth - many others are considered in passing section introductions by the editors that contextualize the essays and the films they discuss well-researched bibliographic references, which will allow readers to broaden the scope of their study of Alfred Hitchcock

The aura of passivity that has for centuries surrounded female sexuality in popular culture, psychology, and literature has, in recent years, dissipated. And yet fetishism, one of the most intriguing and mysterious forms of sexual expression, is still cast as an almost exclusively male domain. Most psychoanalytic thought, for instance, excludes the very possibility of female fetishism. The first book on the subject, Female Fetishism engagingly documents women's involvement in this form of sexuality. Lorraine Gamman and Merja Makinen describe a wide array of female fetishisms, from the obsessional behavior of pop fans (and pop performers such as Madonna) to fetishism in advertising to women's involvement in the world of dress clubs and fetish magazines. The authors provide provocative evidence of food fetishism among women, arguing that many eating disorders are best understood from this perspective. A latter portion of the book includes a discussion of how feminists have treated the political and cultural significance of female fetishism.

Twelve diverse articles cover topics including fetishism and parody in Stein's Tender Buttons, male hysteria and the US invasion of Panama, and the crisis of femininity and modernity in the Third World. Lacks an index. Annotation copyright by Book News, Inc., Portland, OR

This study explores the concept of fetishism as a strategy for expressing social and political discontent in American literature, and for negotiating traumatic experiences particular to the second half of the twentieth century.