Abstract
Abstract During its brief existence from 1976 to 1978 the French underground feminist magazine Ah!Nana represented a powerful medium to discuss various topics related to women, sexuality, and discrimination. One of its main goals was to challenge traditional (literary) female role models, including housewives, submissive mothers, and “damsels in distress.” Through the adaptation of fairy tales, a genre particularly suited through its imaginative worlds to challenge preconceptions and norms, Ah!Nana deconstructed and questioned binary gender roles and heteronormativity. This article analyzes cartoon artist Nicole Claveloux’s queer adaptation of the nineteenth-century fairy tale “Histoire de Blondine, Bonne-Biche et Beau-Minon” (Blondine, the Good Doe, and the Gallant Cat) by the Comtesse de Ségur. Claveloux addresses her queer parody to an adult audience, and conveys a new perspective on gender, sexuality, and humanness that is in line with Ah!Nana’s promotion of second-wave feminist standpoints and punk culture. She advocates the exploration of new sexual pleasures, and the disruption of bourgeoisie values, including binary gender roles.
Highlights
During its brief existence from 1976 to 1978 the French underground feminist magazine Ah!Nana represented a powerful medium to discuss various topics related to women, sexuality, and discrimination
During its brief existence from 1976 to 1978, Ah!Nana represented a powerful medium that discussed various topics related to women, sexuality, and discrimination
While it is true that fairy tales can be “used to enshrine normative heterosexual love,” Seifert invites us to pay “closer attention to the journey fairytale characters make” without “letting ourselves get overly preoccupied with their destination.”
Summary
Ah!Nana’s Fairytale Punk-Comics: From the Comtesse de Ségur’s “Histoire de Blondine, Bonne-Biche et Beau-Minon” to Nicole Claveloux’s “Histoire de Blondasse, de BelleBiche et Gros Chachat”.
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