Mansplaining

Ces dernières années, Jean Eustache a fait l'objet de plusieurs publications consacrées à l'ensemble de son oeuvre - Au travail avec Eustache de Luc Béraud (2017), Jean Eustache de Philippe Azoury (2017), Jean Eustache ou la traversée des apparences de Jérôme D'Estais (2015), Le dictionnaire Eustache dirigé par Antoine de Baecque (2015). Dans ces livres, La maman et la putain occupe toujours une place importante. Ce film, qui rencontra un succès d'estime en salles lors de sa sortie en 1973 et provoqua le scandale au festival de Cannes, reste, aujourd'hui encore, le plus célèbre de son réalisateur. La maman et la putain est emblématique de l'ensemble de la filmographie d'Eustache, mais l'est également du cinéma d'auteur post-Nouvelle Vague et même de la société française au lendemain de Mai 1968. Ce nouveau volume propose donc de se pencher spécifiquement sur une oeuvre qui s'est hissée, avec le temps, au rang de film culte. Dans une pluralité d'approches disciplinaires, ses contributeurs mettent en lumière de nombreux aspects de La maman et la putain : la représentation de Paris (Antoine de Baecque), l'autofiction (Rémi Fontanel) et l'expression de l'intime (Codruta Morari) jusqu'à un lyrisme qui flirte avec la parodie (Agnès Perrais), les représentations politiques (Stéphane Pichelin), féminines (Geneviève Sellier) et la relation que le film entretient avec le féminisme (Delphine Chedaleux), la mise en scène de la parole (Matthias Alaguillaume) et des « monologues » (Arnaud Duprat), la direction d'acteurs, qu'ils soient « professionnels » ou non (Michel Cieutat)... Au fil de ces différents chapitres, se révèle progressivement toute la richesse d'un des titres les plus importants du cinéma français des années soixante-dix.

The concept of epistemic injustice has recently arisen as a major topic in the field of epistemology, connected to testimony and credibility around discussions of social power dynamics (Grasswick 2018). In Epistemic Injustice: Power and the Ethics of Knowing (2007), Miranda Fricker presented the notion of testimonial injustice (henceforth, T.I.). Roughly, T.I. is an epistemic wrong that occurs when a hearer is not afforded enough credibility by a speaker as a result of an identity prejudice, where the hearer suffers what Fricker dubs a credibility deficit. However, Federico Luzzi (2016) suggested that there could be cases of T.I. where the hearer is given the right level of credibility and that, as a result, the original definition of T.I. may prove too narrow. In this paper, I advance Luzzi’s proposal by contending that there are cases where T.I. obtains in virtue of due credibility.

Through the intersectionality of a feminist approach and a phenomenological lens, this article examines groups of women who use social media to enact resistance against street harassment, derogatory expressions against women, piropos, and "locker room talk." The analysis focuses on the projects "#Ropasucia" by writers/artist Maricela Guerrero, Paula Abramo, and Xitlali Rodríguez Mendoza, and  "No me llamo mamacita; arte vs. acoso callejero" where it explores how illocutionary forces combat verbal violence/harassment in public and semipublic spaces.

In everyday interaction, subtle manifestations of sexism often pass unacknowledged and become internalised and thus perceived as “natural” conduct. The introduction of new vocabularies for referring to previously unnamed sexist conduct would presumably enable individuals to start problematising hitherto unchallengeable sexism. In this paper, we investigate whether and how these vocabularies empower people to speak out against sexism. We focus on the use of the term “mansplaining” which, although coined over 10 years ago, remains controversial and contested. Using Conversation Analysis and Membership Categorisation Analysis, this paper excavates the interactional methods individuals use to formulate, in vivo, some prior spate of talk as mansplaining. In doing so, speakers necessarily reformulate a co-participant’s social action to highlight its sexist nature. Accusations of mansplaining are accomplished by invoking gender (and other) categories and their associated rights to knowledg...

Cranford is a novel that stands out with its satirical narration techniques which hint at Elizabeth Gaskell’s perspectives on gender dynamics and social codes. Mary Smith, the narrator, being a feminist, urban, rather intellectual, and insightful character, can affect “a kind of translation” (Moran 13) to the lives of the Cranfordians. As she is a transitory figure between those inside and outside Cranford, Mary can see the unseen by other female inhabitants. Thus, she interprets the gender dynamics and social codes of Cranfordians in a way that acknowledges and interprets the notion of mansplaining, as we name it today. In this paper, I will close-read Mary’s satirical narration of Captain Brown’s attitudes to see her critical interpretation of mansplaining.

Through the intersectionality of a feminist approach and a phenomenological lens, this article examines groups of women who use social media to enact resistance against street harassment, derogatory expressions against women, piropos, and "locker room talk." The analysis focuses on the projects "#Ropasucia" by writers/artist Maricela Guerrero, Paula Abramo, and Xitlali Rodríguez Mendoza, and "No me llamo mamacita; arte vs. acoso callejero" where it explores how illocutionary forces combat verbal violence/harassment in public and semipublic spaces.