Mary Jean Green
Biographic Data
| ID | 3681894 |
|---|---|
| NAME | Mary Jean Green |
| GIVEN NAMES | Mary Jean |
| FAMILY NAME | Green |
| SIGNATURE | GREEN M J |
| AFFILIATIONS | Dartmouth College |
| VERIFIED | No |
| TOTAL WORKS | 18 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 18 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1983 |
| LATEST PUBLICATION YEAR | 2015 |
| H-INDEX | 0 |
Canada Once Again at the Oscars
In 2013, for the third year in a row, a Canadian film by a Québec director was named a finalist for the US Oscar in Best Foreign Films. Kim Nguyen’s Rebelle (War Witch), about child soldiers in Africa, continued and expanded the focus on international issues that had characterized the two previous Canadian nominees, Denis Villeneuve’s Incendies and Philippe Falardeau’s Monsieur Lazare. One of the few films to treat the worldwide problem of childr…
Monsieur Lazhar
Assia Djebar in the twenty-first century
Assia Djebar's novels of the twenty-first century, particularly La Femme sans sépulture and Nulle part dans la maison de mon père, are centered on a traumatic experience, but the “detours, circles, and meanders” that delay the description of this experience play another role of equal importance in Djebar's most recent writings: the reframing of an “Algerian” identity forged during the war of liberation. Drawing on her training as a historian, Dje…
Denis Villeneuve's Incendies
Toward Defining A Postcolonial Quebec Cinema
Jacques Godbout and the Quebec Writer
Reconstructing the Father's Voice
Mary Jean Green, Reconstructing the Father's Voice: Oral Transmission in Allah Tantou and Keïta, South Central Review, Vol. 17, No. 3, Cinema Engage: Activist Filmmaking in French and Francophone Contexts (Autumn, 2000), pp. 60-70
Francophonie and Femininity
Marie-Claire Blais
Frenchmen into Peasants
Gender, Fascism and the Croix de Feu
French Lessons
Brilliantly uniting the personal and the critical, Lessons is a powerful autobiographical experiment. It tells the story of an American woman escaping into the French language and of a scholar and teacher coming to grips with her history of learning. Kaplan begins with a distinctly American quest for an imaginary France of the intelligence. But soon her infatuation with all things French comes up against the dark, unimagined recesses of French po…
A Certain Difficulty of Being
In the Preface to A Certain Difficulty of Being Purdy examines the kinds of discourse that deal with the novel in some nineteenth-century Quebec novel prefaces, thereby revealing a theme of generic denegation in the sense of This is not a novel. Purdy goes on to explore the transition from epic to novel in Felix-Antoine Savard's Menaud, maitre-draveur; the contradictions stemming from the use of a first-person, present-tense narrative in Andre La…
Fascists on Film
Bard'che' has somehow managed to escape the label that has attached itself to his other work. Brasillach's marginal politics did not seem to interfere with the work's reputation as a first major effort to write an international history of film: Iris Barry, director of the newly-established film archives of the Museum of Modem Art, rushed to translate it into English in 1938.2 Brasillach's condemnation for collaborating with the Nazis did not hind…
Fiction in the Historical Present
Inscriptions of the Feminine
The Witch and the Princess
(1985). THE WITCH AND THE PRINCESS: THE FEMININE FANTASTIC IN THE FICTION OF ANNE HEBERT. American Review of Canadian Studies: Vol. 15, No. 2, pp. 137-146
Structures of Liberation
No prominent works on this page.
Structures of Liberation
Inscriptions of the Feminine
The Witch and the Princess
(1985). THE WITCH AND THE PRINCESS: THE FEMININE FANTASTIC IN THE FICTION OF ANNE HEBERT. American Review of Canadian Studies: Vol. 15, No. 2, pp. 137-146
Fiction in the Historical Present
Fascists on Film
Bard'che' has somehow managed to escape the label that has attached itself to his other work. Brasillach's marginal politics did not seem to interfere with the work's reputation as a first major effort to write an international history of film: Iris Barry, director of the newly-established film archives of the Museum of Modem Art, rushed to translate it into English in 1938.2 Brasillach's condemnation for collaborating with the Nazis did not hind…
A Certain Difficulty of Being
In the Preface to A Certain Difficulty of Being Purdy examines the kinds of discourse that deal with the novel in some nineteenth-century Quebec novel prefaces, thereby revealing a theme of generic denegation in the sense of This is not a novel. Purdy goes on to explore the transition from epic to novel in Felix-Antoine Savard's Menaud, maitre-draveur; the contradictions stemming from the use of a first-person, present-tense narrative in Andre La…
French Lessons
Brilliantly uniting the personal and the critical, Lessons is a powerful autobiographical experiment. It tells the story of an American woman escaping into the French language and of a scholar and teacher coming to grips with her history of learning. Kaplan begins with a distinctly American quest for an imaginary France of the intelligence. But soon her infatuation with all things French comes up against the dark, unimagined recesses of French po…
Gender, Fascism and the Croix de Feu
Marie-Claire Blais
Frenchmen into Peasants
Francophonie and Femininity
Jacques Godbout and the Quebec Writer
Reconstructing the Father's Voice
Mary Jean Green, Reconstructing the Father's Voice: Oral Transmission in Allah Tantou and Keïta, South Central Review, Vol. 17, No. 3, Cinema Engage: Activist Filmmaking in French and Francophone Contexts (Autumn, 2000), pp. 60-70
Toward Defining A Postcolonial Quebec Cinema
Denis Villeneuve's Incendies
Monsieur Lazhar
Assia Djebar in the twenty-first century
Assia Djebar's novels of the twenty-first century, particularly La Femme sans sépulture and Nulle part dans la maison de mon père, are centered on a traumatic experience, but the “detours, circles, and meanders” that delay the description of this experience play another role of equal importance in Djebar's most recent writings: the reframing of an “Algerian” identity forged during the war of liberation. Drawing on her training as a historian, Dje…
Canada Once Again at the Oscars
In 2013, for the third year in a row, a Canadian film by a Québec director was named a finalist for the US Oscar in Best Foreign Films. Kim Nguyen’s Rebelle (War Witch), about child soldiers in Africa, continued and expanded the focus on international issues that had characterized the two previous Canadian nominees, Denis Villeneuve’s Incendies and Philippe Falardeau’s Monsieur Lazare. One of the few films to treat the worldwide problem of childr…
Art (11 works) · Canadian Identity and History (8 works) · History (8 works) · Sociology (6 works) · Aesthetics (5 works) · Art history (5 works) · French Historical and Cultural Studies (5 works) · Philosophy (5 works) · Psychology (5 works) · Cinema and Media Studies (4 works)