Academic Profiles

Research Interests

Professor Powrie's research focuses on French cinema with a particular emphasis on issues of gender, and more recently, the interface between music and the cinema. He has authored or co-authored ten books, edited or co-edited a further nine, covering both recent French cinema and cinema in the silent period. He has also published over 90 journal articles and book chapters. He established the Association for Studies in French Cinema with Professor Susan Hayward (Exeter) in 2000. Through this association he is Chief General Editor of the only journal world-wide devoted entirely to French cinema, Studies in French Cinema. In recognition of his work and services to French cinema, he was decorated in 1999 by the French government and made Chevalier dans l´Ordre des Palmes Académiques.

Affiliations

Chief General Editor of Studies in French Cinema.

Visiting Professor at the Central Academy of Drama (Beijing, 2005-2013).

On the editorial board of Scope (Nottingham)

Member of the Peer Review Panel for the Institute of Germanic and Romance Studies Books (University of London, School of Advanced Study).

Member of the Association française des enseignants et chercheurs en cinéma et audiovisuel.

Vice-Chair and Member of the British Association of Film, Television and Screen Studies.

Member of NECS (European Network for Cinema and Media Studies).

Member of the AHRC's Peer Review College and of the Strategic Reviewers Group from the Peer Review College.

Member of the Association of University Professors and Heads of French.

Member of DASSH UK (Deans of Arts, Social Sciences and Humanities).

Youtube presentations

Phil Powrie talks about the value of film.

Phil Powrie talks about the role of intellectual thinking.

International links

 

Phil Powrie with his postgraduate students at the Beijing Film Academy October (2013)

Phil Powrie holding his Visiting Professor contract with colleagues at the Central Academy of Drama, Beijing (2010)

Phil Powrie teaching at the Central Academy of Drama, Beijing (2010)

Phil Powrie delivering a paper at the Shanghai Theatre Academy (2010)

Phil Powrie with his students at the Shanghai Theatre Academy (2010)

Phil Powrie opens the Confucius Institute at the University of Sheffield (2009)

Contact Me

E-mail:
Phone: 01483 68 9445

Find me on campus
Room: 04 AD 04

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Publications

Images of the book covers listed below can be seen in the Publications Gallery. Item links are to the university's e-repository, Surrey Research Insight.

FORTHCOMING PUBLICATIONS

‘Soundtracks of loss: songs in contemporary French cinema’, A Companion to Contemporary French Film, edited by Raphaëlle Moine, Hilary Radner and Alistair Fox, with Michel Marie, Chichester: Wiley-Blackwell.

MOST RECENT PUBLICATIONS (2011-2013)

  1. (ed.) French Cinema, 4 vols, 'Critical Concepts in Media and Cultural Studies', London/New York: Routledge (2013).
  2.  'La musique dans les films de Beineix', Studio Beineix, Lyon: Fage (2013), 95-103.
  3. ‘The French Musical: Swing and Big Bands in the Cinema of the 40s and 50s’, Screen, 54/2 (2013), 152-73.
  4. ‘The Ecstatic Pan’, in A Companion to François Truffaut, edited by Dudley Andrew and Anne Gillain, Chichester: Wiley-Blackwell, 2013, 184-204.
  5. ‘Preface’, International Journal of Francophone Studies, sp. no. ‘Francophone Postcolonial Cinema’, 14/3 (2011), 289-95.
  6. ‘Algeria and Women in Two 1960s Film Adaptations of the Carmen Narrative’French Cultural Studies, 22/2 (2011), 127-36.
  7. ‘Heterotopic Spaces and Nomadic Gazes in Varda: From Cléo de 5 à 7 to Les Glaneurs et La Glaneuse’, in L'Esprit créateur, sp. no. ‘Watch This Space: Women’s Conceptualisations of Space in Contemporary French Film and Visual Art’, 51/1 (2011), 68-82.

A full list of publications follows.

SINGLE AND CO-AUTHORED BOOKS

  1. Pierre Batcheff and Stardom in 1920s French Cinema (with Eric Rebillard as researcher), Edinburgh University Press, 2009.
  2. Carmen on Film: A Cultural History (with Bruce Babington, Ann Davies, Chris Perriam), Bloomington: Indiana University Press, 2007.
  3. Carmen on Screen: An Annotated Filmography and Bibliography (with Ann Davies), Woodbridge: Boydell and Brewer, 2006.
  4. French Cinema: A Student’s Guide (with Keith Reader), London: Arnold, 2002. Reprinted 2008.
  5. Jean-Jacques Beineix, Manchester University Press, 2001.
  6. French Cinema in the 1980s: Nostalgia and the Crisis of Masculinity, Oxford: Clarendon Press, 1997.
  7. Compo pub, School of Modern Languages Publications, University of Newcastle upon Tyne, 1993.
  8. René Daumal: Etude d’une obsession, Geneva: Droz, 1990.
  9. René Daumal and Roger Gilbert-Lecomte, London: Grant & Cutler, 1988.

EDITED BOOKS

  1. Composing for the Screen in Germany and the USSR: Cultural Politics and Propaganda, edited by Robynn Stilwell and Phil Powrie, Bloomington: Indiana University Press, 2008.
  2. The Films of Luc Besson: Master of Spectacle, edited by Susan Hayward and Phil Powrie, Manchester University Press, 2006.
  3. The Cinema of France, edited by Phil Powrie, London: Wallflower Press, 2006.
  4. Changing Tunes: The Use of Pre-existing Music in Film, edited by Phil Powrie and Robynn Stilwell, Aldershot: Ashgate, 2006.
  5. The Trouble with Men: Masculinities in European and Hollywood Cinema, edited by Phil Powrie, Ann Davies and Bruce Babington, London: Wallflower Press, 2004.
  6. French Cinema in the 1990s: Continuity and Difference, edited by Phil Powrie, Oxford University Press, 1999.
  7. Marie Cardinal: Les Mots pour le dire, edited with an introduction and notes by Phil Powrie, Bristol Classical Press, 1993.
  8. Contemporary French Fiction by Women: Feminist Perspectives, edited by Margaret Atack and Phil Powrie, Manchester University Press, 1991.

TRANSLATIONS

  1. René Daumal’s Mugle and The Silk. Translated with an Introduction by Phil Powrie, Lewiston/ Queenston/ Lampeter: Edwin Mellen Press, 1997.
  2. René Daumal, The Lie of the Truth and Other Parables from the Way of Liberation. Translated by Phil Powrie. New York/Madras: Hanuman Books, 1989.

ARTICLES IN REFEREED JOURNALS

  1. ‘The French Musical: Swing and Big Bands in the Cinema of the 40s and 50s’, Screen, 54/2 (2013), 152-73.
  2. ‘Preface’, International Journal of Francophone Studies, sp. no. ‘Francophone Postcolonial Cinema’, 14/3 (2011), 289-95.
  3. ‘Algeria and Women in Two 1960s Film Adaptations of the Carmen Narrative’, French Cultural Studies, 22/2 (2011), 127-36.
  4. ‘Heterotopic Spaces and Nomadic Gazes in Varda: From Cléo de 5 à 7 to Les Glaneurs et La Glaneuse’, in L'Esprit créateur, sp. no. ‘Watch This Space: Women’s Conceptualisations of Space in Contemporary French Film and Visual Art’, 51/1 (2011), 68-82.
  5. (with Eric Rebillard) ‘Josephine Baker and Pierre Batcheff in La Sirène des tropiques (1927)’, Studies in French Cinema, 8/3 (2008), 245-64.
  6. ‘The haptic moment: sparring with Paolo Conte in Ozon’s 5x2, Paragraph, ‘Cinema and the Senses’, 31/2 (2008), 206-22.
  7. (with Eric Rebillard) ‘Pierre Batcheff, the Surrealist Star’, Studies in French Cinema 8/2 (2008), 159-77.
  8. Unfamiliar places: “heterospection” and recent French films on children’, Screen, 46/3, sp. no. ‘The child in film and television’ (2005), 341-52.
  9. La Tragédie de Carmen (Peter Brook, 1983) and embodiment’, Studies in European Cinema 1/3 (2004), 141-51.
  10. ‘Politics and embodiment in Karmen Geï (2001)’, Quarterly Review of Film and Video, 21/4 (2004), 283-91. Reprinted in Carmen on Film: A Cultural History. Bloomington: Indiana University Press.
  11. ‘Fifteen years of fifties cinema’, Studies in French Cinema 4/1 (2004), 5-13.
  12. ‘Thirty years of doctoral theses on French cinema’, Studies in French Cinema 3/3 (2003), 199-203.
  13. ‘The W/hole and the abject’, Paragraph 26/1&2, sp.no. ‘Men’s Bodies’ (March/July 2003), 232-44. Longer version in The Trouble with Men: Masculinities in European and Hollywood Cinema, London: Wallflower Press, 2004.
  14. ‘The kiss-curl and the resisting eyes: reassessing Carmen (Feyder, 1926)’, Studies in French Cinema 3/1 (2003), 15-23.
  15. ‘Transtitial woman: new representations of women in contemporary French cinema’, Esprit Créateur 52/3 (2002), 81-91.
  16. ‘Out of this world (cinema): French cinema studies now’ [review article], Journal of Romance Studies 1/3 (2002), 143-52.
  17. Diva: A new psychoanalytical approach’, Studies in French Cinema, 2/1 (2002), 50-58. Previously published in Jean-Jacques Beineix. Manchester University Press, French Directors Series. 2001.
  18. ‘Towards an ethics of intermediality: text, intertext and identification in La Dentellière’, Literature/Film Quarterly 30/2 (2002), 92-97.
  19. ‘Bleu, blanc, rouge: masochism and the distinction between verbal and visual automatism’, Australian Journal of French Studies 37/1 (January-April 2000), 40-51.
  20. ‘Heritage, History and the “New Realism”’, Modern & Contemporary France 6/4 (Nov 1998), 479-92. Reprinted in French Cinema in the 1990s: Continuity and Difference, edited by Phil Powrie (Oxford University Press, 1999).
  21. ‘Masculinity in the Shadow of the Slashed Eye: Surrealist Film Criticism at the Crossroads’, Screen 39/2 (Summer 1998), 153-63.
  22. ‘Ten years on: Mauvais Sang and the crisis of masculinity’, Modern & Contemporary France 4/2 (Apr 1996), 161-70. Reprinted in French Cinema in the 1980s: Nostalgia and the Crisis of Masculinity. Oxford: Clarendon Press. 1997.
  23. ‘Parody and violation in René Daumal’s Mugle’, sp.no. Surrealism, Aura (Spring 1996), 24-35. Reprinted in René Daumal’s Mugle and The Silk. Translated with an Introduction by Phil Powrie. Lewiston/ Queenston/ Lampeter: Edwin Mellen Press. Studies in French Literature 4. 1997.
  24. Prénom: Carmen and male sexuality’, special no.on European film, Forum for Modern Language Studies 31/1 (Jan.1995), 64-73. Reprinted in Carmen on Film: A Cultural History. Bloomington: Indiana University Press.
  25. [In collaboration with Jane Bidder] ‘Lesbian speculations on/in Claudine Married’, Women’s Studies 23/1 (Jan.1994), 57-68.
  26. Diva’s deluxe disasters’, special no. on French cinema, Nottingham French Studies 32/1 (Spring 1993), 109-20. Reprinted in French Cinema in the 1980s: Nostalgia and the Crisis of Masculinity. Oxford: Clarendon Press. 1997.
  27. ‘Francesco Rosi’s Carmen and the fantasy of realism’, Word and Image 9/1 (Jan-March 1993), 19-28. Reprinted in Carmen on Film: A Cultural History. Bloomington: Indiana University Press.
  28. ‘Reflections on/from the ruined eye’, SuperReal: The British Journal of Surrealism 1 (October 1992), 6-13.
  29. ‘Configurations of melodrama: nostalgia and hysteria in Jean de Florette/Manon des Sources’, French Studies 46/3 (July 1992), 296-305. Reprinted in French Cinema in the 1980s: Nostalgia and the Crisis of Masculinity. Oxford: Clarendon Press. 1997.
  30. ‘Interpreting in the undergraduate French degree: a national survey 1990-1991’, Francophonie 4 (June 1992), 18-22.
  31. ‘Rereading between the lines: a postscript on La Femme rompue’, in Modern Language Review 87/2 (April 1992), 320-29.
  32. ‘Angela Carter/Chantal Chawaf: Rewriting the Domestic’, in New Comparisons 11 (Spring 1992), 127-36.
  33. ‘Film-Form-Mind: The Hegelian Follies of Roger Gilbert-Lecomte’, in Quarterly Review of Film and Video 12/4 (October 1991), 19-32.
  34. [In collaboration with D.S.Place] ‘Comparing Notes: Interactive Translating’, in UEA Papers in Linguistics, special issue nos 31-32, ‘The Teaching of Translation’, ed. Christopher Smith (January 1991), 77-86.
  35. ‘Other Voices: in Defence of Feminist Literary Criticism’, in French Studies Bulletin 37 (Winter 1990-1991), 13-15.
  36. ‘Breton’s Vertical Labyrinth: Towards a Psycho-semiosis’, in Romanic Review 82/4 (November 1990), 454-65.
  37. ‘Truffaut’s Vivement Dimanche ! (1983), Or, How to take away with one hand what you give with the other’, in Modern and Contemporary France 43 (October 1990), 37-46. Reprinted in French Cinema in the 1980s: Nostalgia and the Crisis of Masculinity. Oxford: Clarendon Press. 1997.
  38. ‘Sexuality in Swann in Love’, in French Cultural Studies 1 (October 1990), 247-56. Reprinted in French Cinema in the 1980s: Nostalgia and the Crisis of Masculinity. Oxford: Clarendon Press. 1997.
  39. [In collaboration with G.E. Hare] ‘Working in the permanent revolution: business and administrative French as a complement to a communicatively based core language course’, in Association for French Language Studies Newsletter 26 (Summer 1990), 19-22.
  40. ‘Ad libbing ! Using advertisements as part of a French business course’, in Language Learning, 1 (Spring 1990), 83-85.
  41. ‘A womb of one’s own: the metaphor of the womb-room as a reading-effect in texts by contemporary French women writers’, in Paragraph 12/3 (November 1989), 197-213.
  42. ‘René Daumal and the pataphysics of liberation’, in Neophilologus 73/4 (October 1989), 532-40.
  43. ‘Salon terrorism and the recycling of intellectual commodities: the case of Le Grand Jeu and Surrealism’, La Chouette, special number on Surrealism, 22 (July 1989), 53-62.
  44. ‘Marketing History: Swann in Love’, Film Criticism 12/3 (Spring 1988, 33-45.
  45. ‘Automatic Writing: Breton, Daumal, Hegel’, French Studies 42/2 (April 1988), 177-93.
  46. ‘Crossing the divide: Language/culture integration’, Association for French Language Studies Newsletter 15 (Autumn 1986), 20-33.
  47. ‘The Twentieth Century, from 1945, in The Year’s Work in Modern Language Studies 48 (1986), 260-81.

CHAPTERS IN BOOKS

  1. ‘The Ecstatic Pan’, in A Companion to François Truffaut, edited by Dudley Andrew and Anne Gillain, Chichester: Wiley-Blackwell, 2013, 184-204.
  2. (with Keith Reader) ‘Teaching and Research in French Cinema’, French Studies in and for the Twenty-first Century, edited by Philippe Lane and Michael Worton, Liverpool: Liverpool University Press, 2010, 171-83.
  3. ‘Four decades of teaching and research in French cinema’, in Studies in French Cinema: UK Perspectives 1985-2010, edited by Will Higbee and Sarah Leahy. Bristol: Intellect Press, 2010, 353-71
  4. Unfamiliar places: “heterospection” and recent French films on children’, in Studies in French Cinema: UK Perspectives 1985-2010, edited by Will Higbee and Sarah Leahy. Bristol: Intellect Press, 2010, 57-68. 
  5. (with Eric Rebillard) ‘Josephine Baker and Pierre Batcheff in La Sirène des tropiques (1927)’, in Not So Silent: Women in Cinema Before Sound, edited by Sofia Bull and Astrid Söderbergh Widding (Stockholm: Stockholm University Press, Acta Universitatis Stockholmiensis, series ‘Stockholm Studies in Film History’, 2010), 236-47.
  6. ‘Le Gender et la musique dans les fictions patrimoniales depuis les années 1980’, in Les Fictions patrimonialessur grand et petit écran: contours et enjeux d'un genre intermédiatique, edited by Pierre Beylot and Raphaëlle Moine (Presses Universitaires de Bordeaux, 2009), 123-37.
  7. (with Eric Rebillard) ‘Marcel L’Herbier au carrefour des avant-gardes: Feu Mathias Pascal et le dédoublement’, in Marcel L’Herbier: l’art du cinéma, edited by Laurent Véray (Paris: Association Française de Recherche sur l’Histoire du Cinéma, 2008), 79-90.
  8. (with Robynn Stilwell) ‘Introduction’, in Cultural Politics and Propaganda: Composing for the Screen in Germany and the USSR, edited by Robynn Stilwell and Phil Powrie (Bloomington: Indiana University Press, 2008), 1-15.
  9. ‘La musique dans le film historique contemporain’, in La Fiction éclatée, vol2. Petits et grands écrans français et francophones: de l'esthétique à l'économie, edited by Jean-Pierre Bertin-Maghit and Geneviève Sellier (Paris: Institut National de l’Audiovisuel/L’Harmattan, ‘Les médias en actes’, 2007), 205-14.
  10. (with Ann Davies) ‘Conclusion’, Carmen on Film: A Cultural History (Bloomington: Indiana University Press, 2007), 237-41.
  11. ‘Viviane Romance’, Carmen on Film: A Cultural History (Bloomington: Indiana University Press, 2007), 205-14.
  12. (with Bruce Babington) ‘Carmen and Stardom’, Carmen on Film: A Cultural History (Bloomington: Indiana University Press, 2007), 191-92.
  13. ‘A postcolonial Carmen (Ramaka, 2001)’, Carmen on Film: A Cultural History (Bloomington: Indiana University Press, 2007), 143-53.
  14. ‘Social-realist fantasies (Rosi, 1984)’, Carmen on Film: A Cultural History (Bloomington: Indiana University Press, 2007), 132-42.
  15. ‘Jean-Luc’s women (Godard, 1984)’, Carmen on Film: A Cultural History (Bloomington: Indiana University Press, 2007), 122-31.
  16. ‘Two silent Carmens (Calmettes, 1910; Feyder, 1926)’, Carmen on Film: A Cultural History (Bloomington: Indiana University Press, 2007), 109-21.
  17. ‘Carmen and the French Cinema’,  Carmen on Film: A Cultural History (Bloomington: Indiana University Press, 2007), 107-08.
  18. (with Ann Davies) ‘Theorizing Carmen’, Carmen on Film: A Cultural History (Bloomington: Indiana University Press, 2007), 17-33.
  19. (with Ann Davies) ‘Mapping Carmen’, Carmen on Film: A Cultural History (Bloomington: Indiana University Press, 2007), 1-16.
  20. ‘Introduction’, Carmen on Film: A Cultural History (Bloomington: Indiana University Press, 2007), ix-xii.
  21. ‘La famille (du cinéma) en désordre: Roudinesco and contemporary French cinema’, Affaires de famille: The Family in Contemporary French Culture and Theory, edited by Marie-Claire Barnet and Edward Welch (Amsterdam/New York, Rodopi, ‘Faux Titre’ 292, 2007),  283-307.
  22. ‘French neo-noir’, in European Film Noir: Transgression, Dissonance and Hybridity, edited by Andrew Spicer (Manchester University Press, 2007), 55-83.
  23. ‘Léon and the cloacal labyrinth’, in The Films of Luc Besson: Master of Spectacle, edited by Susan Hayward and Phil Powrie (Manchester University Press, 2006), 147-59.
  24. ‘Of suits and men in the films of Luc Besson’, in The Films of Luc Besson: Master of Spectacle, edited by Susan Hayward and Phil Powrie (Manchester University Press, 2006), 75-89.
  25. ‘Introduction’ (with Susan Hayward), in The Films of Luc Besson: Master of Spectacle, edited by Susan Hayward and Phil Powrie (Manchester University Press, 2006), 1-9.
  26. ‘Embodying the nation: Viviane Romance in Carmen (France, 1945, Christian-Jaque) and Rita Hayworth in The Loves of Carmen (USA, 1948, Charles Vidor)’, in Image into Identity: Constructing and Assigning Identity in a Culture of Modernity, edited by Michael Wintle (Amsterdam: Rodopi, ‘Studia Imagologica’, 2006), 223-36.
  27. ‘Outing the synch: music and space in the French heritage film’, European Film Music, edited by Miguel Mera and David Burnand (Aldershot: Ashgate, ‘Popular & Folk Music’, 2006), 86-99.
  28. ‘Introduction’, in The Cinema of France, edited by Phil Powrie (London: Wallflower Press, 2006), 2006, 1-10.
  29. Nikita’, in The Cinema of France, edited by Phil Powrie (London: Wallflower Press, 2006), 197-206.
  30. ‘The Father with the Movie Camera: Cet été-là, Mouchette and the “force utérine de l’œil”’, Marie Cardinal: New Perspectives, edited by Emma Webb (Bern: Peter Lang, ‘Modern French Identities’, 43, 2006), 31-52.
  31. ‘The fabulous destiny of the accordion in French cinema’, in Changing Tunes: The Use of Pre-existing Music in Film, edited by Phil Powrie and Robynn Stilwell. (Aldershot: Ashgate, 2006), 137-51.
  32. ‘Introduction’ (with Robynn Stilwell), in Changing Tunes: The Use of Pre-existing Music in Film, edited by Phil Powrie and Robynn Stilwell. (Aldershot: Ashgate, 2006), xiii-xix.
  33. ‘Space, the crowd and prostitution in Carmen (France, 1910)’, Revisiting Space: Space and Place in European Cinema, edited by Wendy Everett and Axel Goodbody (Bern: Peter Lang, ‘New Studies in European Cinema, 2, 2005), 99-113.
  34. ‘"I’m only here for the beer": post-tourism and the recycling of French heritage films’, in The Media and the Tourist Imagination: Converging Cultures, edited by David Crouch, Felix Thompson and Rhona Jackson (London: Routledge, 2005), 143-53.
  35. ‘Blonde abjection: spectatorship and the abject anal-space-in-between’, in Pop Fiction: The Song in Cinema, edited by Matthew Caley and Steve Lannin (Exeter: Intellect, 2005), 99-119.
  36. ‘La communauté impossible, ou pourquoi le film musical français se fait rare’, Les Genres du cinéma français, edited by Raphaëlle Moine (Paris: Association Française de Recherche sur le Cinéma, 2005), 213-22.
  37. ‘Introduction: Turning the Male Inside Out’ (with Bruce Babington and Ann Davies), in The Trouble with Men: Masculinities in European and Hollywood Cinema, edited by Phil Powrie, Ann Davies and Bruce Babington (London: Wallflower Press, 2004), 1-15.
  38. ‘The W/hole and the abject’ [longer version of 35] in The Trouble with Men: Masculinities in European and Hollywood Cinema, edited by Phil Powrie, Ann Davies and Bruce Babington (London: Wallflower Press, 2004), 207-17.
  39. (with Eric Rebillard) ‘Sauvage et mignon: a star study of Pierre Batcheff’, in Buñuel, siglo XXI, edited by I. Santaolalla et al. (Zaragoza: Institución Fernando el Católico/Prensas Universitarias de Zaragoza, 2004), 413-18. Supported by the British Academy.
  40. ‘Cinema’, in French Popular Culture: An Introduction, edited by Hugh Dauncey (London: Arnold, 2003), 119-34.
  41. ‘The Sting in the tale’, Popular Music and Film, edited by Ian Inglis (London: Wallflower Press, 2003), 39-59.
  42. ‘The disintegration of community: a brief history of popular music in French cinema 1945-present’, in Popular Music in France from Chanson to Techno: Culture, Identity and Society, edited by Hugh Dauncey and Steve Cannon (Aldershot: Ashgate, 2003), 97-122.
  43. ‘Jean-Jacques Beineix’, in Fifty Contemporary Film-Makers, edited by Y Tasker, (London: Routledge, 2002), 33-41.
  44. ‘The God, the King, the Fool and ØØ: The Oedipal trajectory in the films of Beineix’, Gender in the French Cinema, edited by A Hughes & J Williams (Oxford: Berg, 2001), 195-208.
  45. ‘Marius et Jeannette: nostalgia and utopia’, France on Film: Reflections on Popular French Cinema, edited by L.Mazdon (London: Wallflower Press, 2001), 133-44.
  46. ‘On the Threshold between Past and Present: “Alternative Heritage”’, British Cinema: Past and Present, edited by Andrew Higson & Justine Ashby (London: Routledge, 2000), 316-26.
  47. ‘The “family portrait”: Trauma and the punctum in Distant Voices, Still Lives, in The Seeing Century: Film, Vision, and Identity, edited by Wendy Everett (Amsterdam: Rodopi, 2000), 20-35.
  48. ‘The Surrealist poème-objet’, in Silvano Levy (ed.), Surrealism: Surrealist Visuality (Keele University Press, 1996), pp.57-77.
  49. ‘Interpreting from a video source: teaching and evaluation’, in Integrating New Approaches: The Teaching of French in Higher Education (London: AFLS/CILT, May 1993), 79-94.
  50. [In collaboration with G. E. Hare] ‘Developing Transferable Personal Skills in a Business Studies Option of a French Undergraduate Degree’, in French and the Enterprise Path: Developing Transferable and Professional Skills (London: CILT, 1992), 63-80.
  51. [In collaboration with Margaret Atack] ‘Introduction’, in Contemporary French Fiction by Women: Feminist Perspectives, edited with Margaret Atack (Manchester University Press, 1991), 1-11.
  52. ‘Reading for pleasure: Marie Cardinal’s Les mots pour le dire and the text as (re)play of Oedipal configurations’, in Contemporary French Fiction by Women: Feminist Perspectives, edited with Margaret Atack (Manchester University Press, 1991), 163-76.
  53. ‘Myth versus Allegory: The problematisation of narrative in Chantal Chawaf’s Le Soleil et la terre’, in Helen Wilcox/ KeithMcWatters/ Ann Thompson/ Linda Williams (eds), The Body and the Text: Hélène Cixous, Reading and Teaching (New York/London/Toronto/ Sydney/ Tokyo/ Singapore: Harvester/ Wheatsheaf, 1990), 78-86.

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