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The fonds consists of four primary series: Michel Butor research files, Jeanne Hyvrard research files, French feminist writings research files, and French lesbian novels research files. The Butor series consists of correspondence, research files, works of Waelti-Walters, and reference material such as articles and clippings. The Hyvrard series consists of Hyvrard manuscripts, correspondence, research files, literary criticism and translations of Hyvrard. The feminist writings and the French lesbian novels series consist of drafts, primary sources, secondary sources, research notes, correspondence, and bibliographies. All the series contains some teaching files and reference material.

The fonds consists of abstracts of presentations, minutes, budget and funding, correspondence, posters, programme and 2 videocassettes of presentations.

The fonds consists of conference packages given to each delegate, including conference programme, biographies of recognition awards recipients, names of conference attendees, and blank evaluation forms. Also included in original material used for producing the art exhibit catalogue in 1993.

The fonds consists of members files, and of the files of several chairs, and members of the Steering Committee: Margie Mayfield (member), 1985-90; Jennifer Waelti-Walters (member), 1988-94; Judith Terry (chair and member), 1988-96; Nancy Galambos (chair), 1990-92; Clare Porac (member), 1990-96; and Alison Preece (chair and member), 1992-95. The files include correspondence, minutes and reports of the steering committee; files relating to the Faculty Association Status of Women Committee, 1993-1994; the President's Advisory Committee on Employment Equity, 1989-93; and the Political Science dilemma, 1992-95.

The fonds reflects Margaret Peterson’s artistic processes and practices, research interests, pedagogy, her relationship with Howard O’Hagan, and her relationships with friends, patrons, fellow artists, galleries and various institutions.

The fonds consists of correspondence, photographs, biographical documents, diaries and notebooks, financial and business-related documents, grant applications, teaching materials, unpublished poetry and manuscripts, exhibition catalogues, clippings and publications, drawings and small artworks, painting materials, objects collected by Peterson, and various ephemera.

Correspondents include Howard O’Hagan, Elza Mayhew, Glenn Wessels, J. Russell Harper, Jean Varda, Dorothy and John B. Grover, Joy Ling, Walter Askin, Robert and Sarah Amos, Helen Anderson, R.W. Peterson, Ellen Charlotte Peterson, and Jane Hanks.

The fonds has been arranged into five series: Biographical, Art Practice, Publications, clippings and collected ephemera, Teaching, and Howard O’Hagan Materials.

The fonds consists of 16 audiocassettes and transcripts of interviews with the following members of the Faculty Women Caucus: Marilyn Callahan, Radhika Desai, Jean Dey, Monika Langer, Hester Lessard, Margie Mayfield, Norma Mickelson, Phoebe Noble, Clare Porac, Alison Preece, Christine St. Peter, Judith Terry, Paddy Tsurumi, Jennifer Waelti-Walters, Barb Whittington, and Margo Young. Tapes and transcripts arranged in alphabetical order.

Fonds reflects Carol Cross’s art process as well as her interest and involvement in the women’s movement. Fonds consists of Cross’s two handmade books: “In Their Words” and “Ten Historical BC Women”, as well as accompanying exhibition materials and related correspondence and ephemera.

Correspondents include Mary Billy, Andrea Trudel, and Michelle Benjamin.