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    <title>e-Rea</title>
    <link>https://journals.openedition.org/erea</link>
    <description>e-Rea. Revue électronique d’études sur le monde anglophone. Revue du Laboratoire d’études et de recherche sur le monde anglophone. La revue a été créée en 2003. Elle publie des articles consacrés aux études anglophones.</description>        
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        <rdf:li resource="https://journals.openedition.org/erea/21123" />
        <rdf:li resource="https://journals.openedition.org/erea/20710" />
        <rdf:li resource="https://journals.openedition.org/erea/20358" />
        <rdf:li resource="https://journals.openedition.org/erea/21163" />
        <rdf:li resource="https://journals.openedition.org/erea/20808" />
        <rdf:li resource="https://journals.openedition.org/erea/21282" />
        <rdf:li resource="https://journals.openedition.org/erea/20961" />
        <rdf:li resource="https://journals.openedition.org/erea/20616" />
        <rdf:li resource="https://journals.openedition.org/erea/20392" />
        <rdf:li resource="https://journals.openedition.org/erea/20609" />
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  <item rdf:about="https://journals.openedition.org/erea/21123">
    <title>Alice Braun, Motherhood and Creativity in Contemporary Self-Life Writing: Writers and Mothers</title>
    <description><![CDATA[
      <p class="texte"><span xml:lang="en" lang="en">The title of Alice Braun’s study </span><em><span xml:lang="en" lang="en">Motherhood and Creativity in Contemporary Self-Life Writing: Writers and Mothers</span></em><span xml:lang="en" lang="en"> seems to promise esoteric analysis of a </span><em><span xml:lang="en" lang="en">niche </span></em><span xml:lang="en" lang="en">subject. Indeed, this is quite a detailed label which suggests a further reduction in the scope of the study with each new element to which it alludes: the relatively broad themes of motherhood and creativity will be examined in a scope which has been narrowed down by chronological period, genre, and authorial identity. The specific content to which each term alludes gradually becomes clear as one reads. “Contemporary” refers to the 21</span><sup><span xml:lang="en" lang="en">st</span></sup><span xml:lang="en" lang="en"> century, the period from which Braun draws her primary source material for close readings. The genre of self-life writing is described broadly as writing in the first person about one’s experience (97). The subtitle, “writers and mothers,” might initially be read as simply referring to self-life writers who are also mothers. However, the text reveals a wider scope as Braun also discusses wome...</span></p>]]></description> 
    <dc:creator>Tanya TROMBLE-GIRAUD</dc:creator>
    <link>https://journals.openedition.org/erea/21123</link>
    <dc:date>2025-12-17</dc:date>
  </item>
  <item rdf:about="https://journals.openedition.org/erea/20710">
    <title>Christen Bryson, Anne Légier and Amélie Ribieras (eds.), Womanhoods and Equality in the United States, 20th-21st Century Perspectives</title>
    <description><![CDATA[
      <p class="texte"><span xml:lang="en" lang="en">At the heart of this book is a much-needed deconstruction of the somewhat outdated word “womanhood”, which the editors define as “the condition of being a woman or a person’s journey to creating their identity as a woman” and understand as “socially and culturally constructed rather than biologically assigned” (3). Moving away from the essentialized overtone of the term and deliberately using it in the plural, the editors seek to expose the falsely monolithic character of womanhood and instead shed light on the multiple experiences, positionalities and intersectional identities that women have. The well-written introduction explains how womanhoods relate to the equally multifaceted concept of equality, whose plural nature could have been more clearly highlighted by the editors. However, they invoke the concept of equity, which contemporary feminists have favored as a tool that can be used to uproot gender injustices from the law. Despite legal victories advancing gender equality—the...</span></p>]]></description> 
    <dc:creator>Claire SORIN-DELPUECH</dc:creator>
    <link>https://journals.openedition.org/erea/20710</link>
    <dc:date>2025-12-17</dc:date>
  </item>
  <item rdf:about="https://journals.openedition.org/erea/20358">
    <title>Michel Prum : Faire tomber les cloisons</title>
    <description><![CDATA[
      <p class="titreillustration">Michel Prum à l’université de Pékin, 2024.</p>
      <p class="texte"><img src="docannexe/image/20358/img-1-small200.jpg" alt="Image 10000000000001400000019F1A5F5E2943FFF4C0.jpg" /></p>
      <p class="creditillustration">© Archives Michel Prum</p>
      <p class="texte">C’est à son domicile, à Cergy, que Michel Prum nous a reçues, Florence Binard et moi-même, en une chaude journée de juin 2025. En suivant le cours d’une carrière bien remplie qui l’a mené de Grande-Bretagne à Cuba, d’Orléans à Paris, d’Afrique en Asie, nous avons parlé d’histoire des idées, de pensée économique, de traduction, de Darwin bien sûr, mais aussi et surtout du GRER (Groupe de recherche sur l’eugénisme et le racisme), une structure qu’il a fondée et qu’il anime toujours, et qui a donné naissance à une recherche collective et collaborative, accueillante et stimulante, en partenariat avec de nombreux pays étrangers. Entretien avec un collègue dont la moustache et la bienveillance ont su trouver leur place dans le paysage universitaire français.</p>
      <table id="Table1" style="direction:ltr;" dir="ltr" class="texte">
        <tr>
          <td style="border:0.5pt solid #000000;direction:ltr;" dir="ltr">
            <p class="texte"><strong><span style="text-align:center;display:block;">MILESTONES</span></strong></p>
            <p class="texte"><strong>1948 :</strong> Naissance à Biskra (Algérie)<br /><strong>1971 :</strong> Licence d’anglais à Lyon-2<br /><strong>1969-70 :</strong> Lecteur à Shrewsbury, Shropshire<br /><strong>1972-73 :</strong> Enseignant de français et anglais à Santi...</p>
          </td>
        </tr>
      </table>]]></description> 
    <dc:creator>Michel PRUM</dc:creator> 
    <dc:creator>Florence BINARD</dc:creator> 
    <dc:creator>Sophie VALLAS</dc:creator>
    <link>https://journals.openedition.org/erea/20358</link>
    <dc:date>2025-12-17</dc:date>
  </item>
  <item rdf:about="https://journals.openedition.org/erea/21163">
    <title>« Le librettiste, c’est la cinquième roue du carrosse » : Frédéric Boyer et le monde des chevau-légers de l’opéra</title>
    <description><![CDATA[
      <p class="resume">Être librettiste est rarement le chemin le plus sûr pour atteindre la célébrité. Pourtant, concevoir le texte sur lequel un opéra s’appuiera pour prendre son envol n’a rien d’une tâche accessoire. Car le compositeur cherche dans un livret de quoi instiller à sa partition le souffle de la vie. Or, savoir humer l’air du temps et l’évolution des esthétiques est précisément la mission du librettiste. Et l’affaire se complique encore pour lui quand il s’agit d’adapter une œuvre déjà existante, une pièce de Shakespeare par exemple. Source d’inspiration majeure de la scène lyrique internationale, le dramaturge anglais dispose, en effet, d’un statut d’icône artistique. Face à ce modèle, l’essentiel de ses adaptateurs lyriques ont souvent semblé soit désinvoltes, soit écrasés par le respect. Certains donc, mais pas tous. Car au fil des ans, d’autres n’ont pas hésité à interroger et retravailler son œuvre. À l’occasion d’un long échange de vues avec le librettiste Frédéric Boyer, auteur du te...</p>]]></description> 
    <dc:creator>Patrick ISSERT</dc:creator>
    <link>https://journals.openedition.org/erea/21163</link>
    <dc:date>2025-12-17</dc:date>
  </item>
  <item rdf:about="https://journals.openedition.org/erea/20808">
    <title>Nathalie Zimpfer, The Sermons of Jonathan Swift: Silent Rhetoric</title>
    <description><![CDATA[
      <p class="texte"><span xml:lang="en" lang="en">Jonathan Swift (1667–1745) preached many sermons during a fifty-year career in the Church of Ireland, beginning with his appointment to the prebend of Kilroot, near Belfast, in 1695, and plateauing after 1713 when he became Dean of St Patrick’s Cathedral, Dublin. Yet only a dozen of his sermons survives, published in eighteenth-century editions that Swift did not oversee. Swift inhabited a culture mired in denominational conflict, with religion and politics inseparable in the wake of the constitutional upheavals of the seventeenth century. He identified as a “High Churchman” and placed himself among “the rank Toryes” in Church affairs, signalling his hostility to Protestant Nonconformity and its ecumenical Whig apologists (</span><em><span xml:lang="en" lang="en">Correspondence</span></em><span xml:lang="en" lang="en">, II, 650). In the pulpit, Swift promoted Anglican orthodoxy and embodied the ecclesiastical authority he unwaveringly endorsed.</span></p>
      <p class="texte"><span xml:lang="en" lang="en">Disillusioned by the moribund state of the Church of Ireland and his own failure to secure a bishopric in England, Swift n...</span></p>]]></description> 
    <dc:creator>Nicholas SEAGER</dc:creator>
    <link>https://journals.openedition.org/erea/20808</link>
    <dc:date>2025-12-17</dc:date>
  </item>
  <item rdf:about="https://journals.openedition.org/erea/21282">
    <title>“Ask the Sea”: Marine Poetics and Industrial Forces in Peter Iain Campbell’s North Sea Photography</title>
    <description><![CDATA[
      <p class="resume"><span xml:lang="en" lang="en">This paper draws on an Energy Humanities approach and seeks to analyse the depiction and the aestheticisation of Scottish petrocultures, more precisely through the offshore oil and gas industry in the North Sea and how they participate in shaping perceptions and imaginaries of the sea in a changing energy landscape. Peter Iain Campbell is a Scottish photographer whose work focuses on post-industrial landscapes and oil rigs in the North Sea. His survey of landscapes in the process of being decommissioned tends to convey a “petromelancholic aesthetics” (LeMenager), tainted by the “technological sublime” (Nye), and serves as an archive of this isolated and liminal space, tied to its end. This paper examines the tensions and interplays between industrial and marine forces at work in Campbell’s photographs, oscillating between movement and stasis, the graphic and the organic, texture and abstraction. The photographs enable an ecocritical reading of Campbell’s work where the marine elemen...</span></p>]]></description> 
    <dc:creator>Léna FERRIÉ</dc:creator>
    <link>https://journals.openedition.org/erea/21282</link>
    <dc:date>2025-12-17</dc:date>
  </item>
  <item rdf:about="https://journals.openedition.org/erea/20961">
    <title>Power Dynamics in Fantasy: Adam Johnson’s “Interesting Facts”</title>
    <description><![CDATA[
      <p class="resume"><span xml:lang="en" lang="en">Adam Johnson’s “Interesting Facts,” collected in </span><em><span xml:lang="en" lang="en">Fortune Smiles</span></em><span xml:lang="en" lang="en"> (2015) and featured in </span><em><span xml:lang="en" lang="en">The Best American Science Fiction and Fantasy 2016</span></em><span xml:lang="en" lang="en">, is a powerful novella. This essay considers that the double impulse of fantasy and mimesis there results in what Clayton Koelb calls a “truthful though incredible” fiction (33), which questions power and reflects the potential of our world.<br />The story seems to be that of the narrator’s loss of power as she is treated for breast cancer that spreads: medicine, which is supposed to make her well, harms her, healthy women have designs on her husband, and people seem to “ghost” her. Though she imagines herself with a ghost’s power to wreak revenge on other women or to protect her children, and believes cancer gives her superpowers of perception, the character’s inability to connect with others is a clue that she is, in fact, a “real” ghost, a marvelous interpretation that appears logical within the realm of the story.<br />Thus, the novella poses the question...</span></p>]]></description> 
    <dc:creator>Amélie MOISY</dc:creator>
    <link>https://journals.openedition.org/erea/20961</link>
    <dc:date>2025-12-17</dc:date>
  </item>
  <item rdf:about="https://journals.openedition.org/erea/20616">
    <title>Entre catholicisme hétérodoxe et cosmologie ojibwée : syncrétisme spirituel et résistance décoloniale dans Future Home of the Living God de Louise Erdrich</title>
    <description><![CDATA[
      <p class="resume">Cet article analyse <em>Future Home of the Living God</em> (2017) de Louise Erdrich sous l’angle de la subversion métaphysique et de la résistance politique. L’étude s’intéresse à la manière dont ce roman dystopique, qui marque une rupture avec l’esthétique réaliste habituelle de l’auteure, développe une ontologie alternative où la déstabilisation des catégories fondamentales de l’être devient le ferment d’une résistance politique. À travers l’analyse de la voix narrative de Cedar Hawk Songmaker, l’article s’intéresse à la manière dont l’écriture diaristique permet d’articuler une critique des épistémologies coloniales tout en proposant un syncrétisme spirituel inédit. Cette approche interdisciplinaire, qui croise études postcoloniales et écocritique, cherche à montrer comment Erdrich transforme la catastrophe écologique en laboratoire d’émancipation métaphysique.</p>]]></description> 
    <dc:creator>Yves GARDES</dc:creator>
    <link>https://journals.openedition.org/erea/20616</link>
    <dc:date>2025-12-17</dc:date>
  </item>
  <item rdf:about="https://journals.openedition.org/erea/20392">
    <title>Chthonic writing and counter-narratives of embodied femininity in Sue Rainsford’s Follow Me to Ground (2019)</title>
    <description><![CDATA[
      <p class="resume"><span xml:lang="en" lang="en">This paper focuses on Irish writer Sue Rainsford’s debut novel, </span><em><span xml:lang="en" lang="en">Follow Me to Ground </span></em><span xml:lang="en" lang="en">(2019), often labelled as a magic realist fairytale of maturing and self-fulfilment. The plot is centred around two outcasts, Ada and her father, who live on the borders of The Ground and are only tolerated by the population because of their healing capacities. One day, Ada starts a romantic and sexual relationship with one of her “Cures” and begins to question her place in her father’s world.<br /></span><span xml:lang="en" lang="en">In a wider context of post-Celtic Tiger anxiety of collapse and fight for women’s bodily rights in Ireland, the novel offers to challenge power dynamics on several levels. First, the reader embarks on a feminist tale of empowerment whereby the female experience is extricated from the bigotry which customarily underpins its language. Then, </span><em><span xml:lang="en" lang="en">Follow Me to Ground </span></em><span xml:lang="en" lang="en">operates a decentralisation from the Anthropocene which surprisingly transcends ecofeminist approaches. Finally, reading </span><em><span xml:lang="en" lang="en">Follow Me to Ground </span></em><span xml:lang="en" lang="en">brings to light...</span></p>]]></description> 
    <dc:creator>Marine GALINÉ</dc:creator>
    <link>https://journals.openedition.org/erea/20392</link>
    <dc:date>2025-12-17</dc:date>
  </item>
  <item rdf:about="https://journals.openedition.org/erea/20609">
    <title>“I have wanted nothing but to be seen”: In/visibility and Power Dynamics in Suyi Davies Okungbowa’s Lost Ark Dreaming (2024)</title>
    <description><![CDATA[
      <p class="resume">Dans le roman court post-apocalyptique <em>Lost Ark Dreaming</em> (2024) de Suyi Davies Okungbowa, les dynamiques du pouvoir et la notion d’in/visibilité occupent une place centrale. Okungbowa contribue à l’élaboration de contre-récits qui remettent en question des normes profondément enracinées, principalement liées à la classe sociale. Afin d’analyser les enjeux de ces contre-récits, je propose d’analyser le modèle social pyramidal bourdieusien de la société décrite avant d’explorer le passage, pour certains personnages (socialement invisibles), qui subissent des « conditions inhumaines », de l’in/visibilité à la reconnaissance : ces personnages peuvent être considérés comme transgressifs. Enfin, j’étudie la manière dont ce roman court amène le lecteur à voir autrement en mettant en avant une « poétique de l’attention » ainsi qu’une perspective décoloniale, dont on peut dire qu’elle est intrinsèquement politique, car, pour citer Okungbowa lui-même, « [l]es histoires que nous portons change...</p>]]></description> 
    <dc:creator>Cédric COURTOIS</dc:creator>
    <link>https://journals.openedition.org/erea/20609</link>
    <dc:date>2025-12-17</dc:date>
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