La femme au turban : images of women in France at the Liberation, 1944-1949

Abstract

This thesis uses approaches to cultural study to focus on the Liberation period of I^niDce and piirtkrularly ()n tlwe repHnesemkidon cxf TAnoirKsa froim lo igki9. It ecarnines, in tium, five: reponsseiubidT/e imajges. TMie first is .[/z ftsTMse <zw ]rk/2,a» which concerns the women who were shaven at the Liberation for supposed roiscksmefmcmrs. The second. La Femtne awe Urnes gives an account of how French women came to obtain the right to vote in 1944 and the achievements of several women who entered the world of politics as elected representatives. The third, La Femme Ministre is directly related to the second and is a portrait of Germaine Poinso-Chapuis, the first woman minister in French history and an account of tier eaqpeiiemceai iui die twdbulexit pcditical life of tlx: pcxstw/ar yxsars. The fourth image is La Femme Muse, an analysis of the cultural effervescence of the of Saint-Germain-des-Pres and the role of women associated with it including Juliet Greco and Anne-Marie Cazalis. The fifth image examined is La Femme Endiorisee, the role of the mannequin, the origins of Christian Dior s "New Look" for women's clothes and the parallel work of the artist Christian Berard. New insights have been sought into the role of women in France during the postwar years. "Die Liberation period does not emerge from this study as a decade that 'freed' women in any sense, following, as it did, a 'liberation' for them which had occurred under the Occupation and which French society felt the need to redress. Women were confined to a small number of acceptable roles which emphasized their subordination to men.

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