Pub Date : 2023-01-01DOI: 10.1353/wfs.2023.a909496
Reviewed by: The Woman with the Wolf by Renée Vivien Laura Dennis Vivien, Renée. The Woman with the Wolf. Trans. Karla Jay and Yvonne M. Klein. Ed. and Trans. Melanie Hawthorn. The Modern Language Association of America, 2021. Pp. [v]-xxvi; 136. ISBN 978-1-60329-527-7. $23.00 (paper). We've all met those men, the ones who believe that "no" means "yes," and that they can do whatever they want. The power of such men in the United States has recently led to limitations on women's rights, with LGBTQ+ rights not far behind. When the readers of 2023 meet the narrator of The Woman with the Wolf, which opens Renée Vivien's collection and provides its title, we already know him all too well. He will not, however, have his way, nor will many of the other men in these stories. Prince Charming turns out to be a princess; the procuress is a virgin who cannot be seduced; Andromeda would rather be killed by the sea monster. These are just a few of the twists offered by Vivien, née Pauline Mary Tarn, an Anglo-American writer who made her home in Paris and wrote in French in the early 20th century. This is not to say that women always prevail. In many cases, these often exoticized, violent stories have tragic, even gruesome ends. Yet the heroines rarely fear death, for life in the company of these men presents a far worse alternative. Throughout these tales, which are set everywhere from South Asian jungles to American prairies, from Scandinavia to the biblical world, gender norms are not merely inverted. They are rather sidestepped—the male protagonists would likely say "perverted"—with relationships between women taking center stage. It is no accident that one character chooses to drown in the [End Page 167] embrace of a she-wolf, another to be mauled by a female tiger. Scripture, myths, and fairy tales are all rewritten in ways that bypass the patriarchy. Gender not only drives these seventeen stories, it also affects their translation. The present edition forms part of the MLA Texts & Translations series, which according to the MLA website, "provides students and teachers with high-quality translations of plays, short novels, collections of stories or poems, and, less commonly, nonfiction works." The texts, intended for upper-level undergraduates and graduate students as well as general readers, are typically released in two volumes, the original language and the translation, with the latter containing a translator's note. The present review pertains primarily to the English translation, although this reviewer read a different edition in the original French in order to compose a full and fair review. The translator's note provided by the editor, Melanie Hawthorne, explains the particular issues raised by grammatical versus biological gender when translating from French to English, especially in a work where gender is germane to both characterization and plot. Her translation, which is by and large clear and accurate, follows the 1983 translation by Karla Jay
书评:《与狼为伴的女人》作者:rensame Vivien《和狼在一起的女人》反式。Karla Jay和Yvonne M. Klein。编辑和翻译。梅勒妮山楂。美国现代语言协会，2021年。页。[v]第二十六章;136. ISBN 978-1-60329-527-7。23.00美元(纸)。我们都遇到过这样的人，他们相信“不”就是“是”，他们可以为所欲为。在美国，这类男性的权力最近导致了对女性权利的限制，LGBTQ+的权利也不甘落后。当《2023》的读者遇到《与狼为伴的女人》(the Woman with the Wolf)的叙述者时，我们已经对他太熟悉了。然而，他不会得逞，这些故事中的许多人也不会得逞。白马王子原来是一位公主;老鸨是不能诱惑的处女;仙女座宁愿被海怪杀死。这些只是费雯丽·波琳·玛丽·塔恩(Vivien，又名波琳·玛丽·塔恩)提供的一些转折，她是一位英美作家，在20世纪初定居巴黎，用法语写作。这并不是说女性总是占上风。在许多情况下，这些往往是异国情调的暴力故事有悲惨的，甚至可怕的结局。然而，女主人公很少害怕死亡，因为与这些男人在一起的生活呈现出一种更糟糕的选择。从南亚丛林到美洲大草原，从斯堪的纳维亚半岛到圣经世界，在这些故事中，性别规范不仅仅是颠倒的。他们相当回避——男主角可能会说“变态”——女性之间的关系占据了中心舞台。一个角色选择溺死在一只母狼的怀抱中，另一个角色选择被一只雌老虎咬伤，这并非偶然。圣经、神话和童话都以绕过父权制的方式被重写。性别不仅驱动着这十七个故事，也影响着它们的翻译。目前的版本是MLA文本与翻译系列的一部分，根据MLA网站的说法，该系列“为学生和教师提供高质量的戏剧，短篇小说，故事集或诗集，以及不太常见的非虚构作品的翻译。”教材面向高年级本科生和研究生以及普通读者，通常分为两卷，即原文和译文，后者包含译者的注释。本评论主要涉及英文翻译，尽管本评论者阅读了法语原版的不同版本，以便撰写一篇全面而公正的评论。编辑梅勒妮·霍桑(Melanie Hawthorne)提供的译者注释解释了在将法语翻译成英语时，语法和生理性别所引起的特殊问题，特别是在性别与人物塑造和情节都密切相关的作品中。她的翻译大体上是清晰准确的，遵循了1983年Karla Jay和Yvonne M. Klein的翻译，其中大部分更新涉及某些语法结构，并努力提供“为当代读者提供更现代的声音和节奏”(xxxiv)。对于翻译出现特定困难的单词或短语，霍桑包括脚注，也与系列指南保持一致。尽管有人想知道为什么有些翻译得到了解释，而另一些却没有——例如，在一个故事中，把哺乳动物翻译成几种不同的方式，包括相当古老的“dugs”(49)。总的来说，脚注既是一种资产，也是一种干扰。那些关于翻译任务的问题在很大程度上是受欢迎的，尽管有些人可能希望更明确地说明哪些部分是霍桑的，哪些是杰伊和克莱因的，特别是在这个文学翻译工作终于得到认可的时代。其他脚注为各种故事的某些元素提供了额外的背景;其中一些可能会让读者犹豫。MLA系列指南规定脚注应该“只对教学有用”，但有些人觉得脚注是多余的，包括大多数目标读者都知道的材料，看似与故事无关的信息，或编辑评论……
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Pub Date : 2023-01-01DOI: 10.1353/wfs.2023.a909477
Sophia Millman
Abstract: Today, we face an epidemic of loneliness and Simone de Beauvoir's writings about separation—and about struggling to find new means of connecting—have never been more relevant. Throughout her fiction and philosophy, Beauvoir repeatedly wrote about women's desires to "shatter" what separated them. The theme of overcoming separation appears in "La lesbienne," a controversial chapter of Le deuxième sexe , and reappears in her novella Les inséparables , drafted in 1954 but only published in 2020. This article—the first study of the theme of separation in several of Beauvoir's works—situates these two texts within a twenty-year period. From 1944, when Beauvoir published Pyrrhus et Cinéas , to 1964, when she gave her lecture "Que peut la littérature ?," her thinking about separation and connection transformed radically. The author became increasingly committed to exposing and fighting against the heterosexual norms that separate women. Ultimately, Les inséparables , read in conjunction with "La lesbienne," illuminates Beauvoir's various writings about separation; the novella reveals that her revolutionary commitment to breaking taboos and connecting with readers grew out of the shame and frustration she experienced as she tried to communicate her love to another woman.
摘要:今天，我们面临着孤独的流行，西蒙娜·德·波伏娃(Simone de Beauvoir)关于分离的作品——以及寻找新的联系方式的努力——从未像现在这样有意义。在她的小说和哲学中，波伏娃反复描写女性“粉碎”分隔她们的欲望。克服分离的主题出现在《性征》中备受争议的一章《女同性恋》(La lesbienne)中，并再次出现在她的中篇小说《不可逾越的障碍》(Les ins parables)中，该书起草于1954年，但直到2020年才出版。本文是对波伏娃作品中分离主题的首次研究，将这两个文本置于二十年的时间内。1944年，波伏娃出版了《皮洛斯与辛海姆斯》，到1964年，她发表了题为《我和辛海姆斯是怎样的?》的演讲，从那时起，她对分离和联系的看法发生了根本性的转变。作者越来越致力于揭露和反对将女性分开的异性恋规范。最后，与《女同性恋者》(La lesbienne)一起阅读的《不受控制的人》(Les insacimparables)阐明了波伏娃关于分离的各种作品;这部中篇小说揭示了她打破禁忌、与读者建立联系的革命性承诺，源于她试图与另一个女人交流爱时所经历的羞耻和挫折。
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Pub Date : 2023-01-01DOI: 10.1353/wfs.2023.a909494
Reviewed by: Le Pin sur la lune et autres poèmes inédits by Valentine Penrose Gina Stamm Penrose, Valentine. Le Pin sur la lune et autres poèmes inédits. Ed. Sévérine Orban. PU de Liège, 2022. Pp. 362. ISBN 978-2-87562-336-2. 14€ (paper). This collection unites previously uncollected poems by the poet Valentine Penrose (1898-1978), a figure often associated with the surrealist movement, although, as the editor points out, her career included varied work that extends beyond the constraints of that movement (39). This book is as necessary as it is overdue, as Penrose has long been overshadowed by some of her contemporaries and has languished without much critical attention. In addition to the general obscurity to which many of the women associated with the surrealists have been subjected over the last century, Penrose herself spent a great deal of her life outside of Europe, particularly in India, and concentrating on spiritual practice rather than self-promotion, although she maintained a long friendship with Paul Eluard who would be a champion of her work. So there has been a disconnect [End Page 164] between Penrose and both a popular and critical readership. Hopefully this new edition will make her work more visible and accessible to a new audience. This volume includes a biographical forward of the editor that, in addition to providing context for the works contained in the book, also shows the extensive archival work that Sévérine Orban has done to establish the versions of poems presented here. Orban indicates where there is uncertainty in the documentation about the sequence of events in Penrose's life. The editor also clearly spells out the principle of selection for the poems in the volume: unpublished poems, poems having been published in periodicals but that subsequently remained largely unavailable, and selected poems that had appeared in previous collections, but which Penrose had corrected in her personal copies and which were never corrected in subsequent editions. Orban also highlights the major themes and motifs of Penrose's work, which engages heavily with the natural world, spirituality, and, as her writing progressed, Sapphic imagery which was inseparable from these other domains. The poems are arranged chronologically by decade. The volume also includes endnotes and helpfully contains an annotated bibliography of both Penrose's publications and the (sadly limited) critical works dedicated to her. This volume will hopefully lead to an increase in the attention paid to this too-often-overlooked poet. The work that has gone into collecting and editing the poems is evident. The only point of criticism to be made is perhaps more of a regret based on the knowledge that since Penrose will almost assuredly never benefit from the Pléiade treatment, more thorough annotation would have been welcome. In addition, for ease of comparing the different versions of the poems, recourse to endnotes for the changes made is not as user-friendly as
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Pub Date : 2023-01-01DOI: 10.1353/wfs.2023.a909478
Simone Grossman
Abstract: Dans Alys Robi a été formidable. Nouveau regard sur une figure d'avant-garde (2021), Chantal Ringuet rend hommage à la diva de la chanson québécoise des années 40, qui fut sa grand-tante. À l'artiste canadienne française qui se libère des traditions patriarcales, puis est abusivement psychiatrisée et bâillonnée par l'autorité familiale toute puissante d'avant la Révolution tranquille, Ringuet fait justice dans un récit mémoriel imprégné d'écriture de soi. Conçu à l'origine par l'ultime petite-fille de la lignée, comme le roman de sa filiation féminine, l'ouvrage vise à « rapiécer la mémoire familiale » en extrayant « un récit tout neuf d'une vie brisée ». En référence à Régine Robin, Ringuet s'interroge : « Ma mémoire est-elle saturée ? Je n'y vois plus clair ». Le trop-plein de tristesse imprégnant la commémoration d'Alys Robi dans l'espace urbain québécois aboutit dans l'écrit à « révéler la chanteuse sous un jour nouveau ». Par ailleurs, les photos d'archives « racontent une autre histoire » que Ringuet recompose. Son écriture visuelle reconstitue la vie d'Alys Robi en faisant chatoyer les souvenirs. Réactualisant le parcours artistique et émotionnel de la « diva latine du Nord », incarnation québécoise de l'américanité, Ringuet réécrit l'histoire des femmes du Québec et du Canada.
{"title":"Alys Robi, chanteuse du Québec et féministe avant l'heure","authors":"Simone Grossman","doi":"10.1353/wfs.2023.a909478","DOIUrl":"https://doi.org/10.1353/wfs.2023.a909478","url":null,"abstract":"Abstract: Dans Alys Robi a été formidable. Nouveau regard sur une figure d'avant-garde (2021), Chantal Ringuet rend hommage à la diva de la chanson québécoise des années 40, qui fut sa grand-tante. À l'artiste canadienne française qui se libère des traditions patriarcales, puis est abusivement psychiatrisée et bâillonnée par l'autorité familiale toute puissante d'avant la Révolution tranquille, Ringuet fait justice dans un récit mémoriel imprégné d'écriture de soi. Conçu à l'origine par l'ultime petite-fille de la lignée, comme le roman de sa filiation féminine, l'ouvrage vise à « rapiécer la mémoire familiale » en extrayant « un récit tout neuf d'une vie brisée ». En référence à Régine Robin, Ringuet s'interroge : « Ma mémoire est-elle saturée ? Je n'y vois plus clair ». Le trop-plein de tristesse imprégnant la commémoration d'Alys Robi dans l'espace urbain québécois aboutit dans l'écrit à « révéler la chanteuse sous un jour nouveau ». Par ailleurs, les photos d'archives « racontent une autre histoire » que Ringuet recompose. Son écriture visuelle reconstitue la vie d'Alys Robi en faisant chatoyer les souvenirs. Réactualisant le parcours artistique et émotionnel de la « diva latine du Nord », incarnation québécoise de l'américanité, Ringuet réécrit l'histoire des femmes du Québec et du Canada.","PeriodicalId":391338,"journal":{"name":"Women in French Studies","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135053447","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.1353/wfs.2023.a909489
Reviewed by: Resurrecting Jane de La Vaudère: Literary Shapeshifter of the Belle Époque by Sharon Larson Melanie E. Collado Larson, Sharon. Resurrecting Jane de La Vaudère: Literary Shapeshifter of the Belle Époque. The Pennsylvania State UP, 2022. Pp. [i]-xiii; 190. ISBN 978-0-271-09444-1. $99.95 (hardcover). Resurrecting Jane de La Vaudère: Literary Shapeshifter of the Belle-Époque révèle l'histoire méconnue de Jane de La Vaudère (1857-1908), femme de lettres aujourd'hui oubliée malgré la notoriété dont elle jouissait à la Belle Époque. Signalant dès l'introduction l'absence de fonds d'archives spécifiquement dédiés à La Vaudère et le peu de documents conservés, Sharon Larson mène ses recherches biographiques sur plusieurs fronts et parvient à rassembler suffisamment d'informations pour tracer le portrait d'une écrivaine fascinante tant en raison de son parcours que de son ingéniosité et de sa résilience. Resurrecting Jane de La Vaudère est une étude biographique et littéraire organisée en six chapitres. Le premier chapitre est la biographie de Jeanne Scrive (alias Jane de La Vaudère). On y découvre la famille de l'écrivaine, sa trajectoire de jeune bourgeoise mariée à dix-huit ans et mère à dix-neuf ans, son entrée sur la scène littéraire, son divorce, les conditions de son décès et le manque d'empressement familial à préserver sa renommée posthume. Le deuxième chapitre examine plus attentivement la métamorphose de Jeanne Crapez, née Scrive, en Jane de La Vaudère, écrivaine prolifique aux héroïnes sulfureuses. Dans cette section, les analyses iconographiques proposées par Sharon Larson soulignent la sagacité de La Vaudère et sa modernité. Les deux chapitres suivants portent sur la pratique du plagiat chez La Vaudère et ses implications. Le troisième chapitre est une étude particulièrement intéressante de quelques emprunts littéraires de La Vaudère. S'appuyant sur les travaux d'Hélène Maurel-Indart et de Deborah Halbert, et prenant comme exemples des extraits des Demi-sexes de La Vaudère, de Notre Cœur et d'En Sicile de Guy de Maupassant, Sharon Larson montre d'une part que le plagiat est flagrant et, d'autre part, que ces passages copiés permettent à l'écrivaine de reproduire le discours des hommes de lettres sur la femme en se le réappropriant et en le remettant en question de façon plus ou moins directe. Larson affirme de façon convaincante qu'il résulte de ces emprunts un dialogue entre des discours conventionnels sur la féminité et des discours transgressifs (quel que soit le retour au conformisme de certains dénouements). Le quatrième chapitre analyse la riposte de La Vaudère à un plagiat dont elle s'est dit victime. Après avoir dénoncé publiquement les similarités entre sa pantomime Rêve de Mysès et Rêve d'Egypte de Mathilde de Mornay (Missy), La Vaudère ne se contente pas d'entamer des poursuites judiciaires ; elle exploite avantageusement le scandale provoqué par la mise en scène très lesbienne de Rêve d'Égypte en publiant un roman à c
《复活的简·德拉vaudere:美丽时代的文学变形者》，作者:莎伦·拉森梅兰妮·e·科拉多·拉森，莎伦。《复活简·德拉vaudere:美丽时代的文学塑造者》。= =地理= =根据美国人口普查局的数据，该县总面积为，其中土地和(1.)水。Pp . [i] -xiii;190. en 978-0-271-09444-1。($ 99.95 hardcover)。《复活简·德拉vaudere: Belle- epoque的文学变形人》揭示了简·德拉vaudere(1857-1908)鲜为人知的历史，尽管她在Belle epoque时期享有盛名，但如今已被遗忘。一旦击中目标缺乏档案资源专门用于引进Vaudère和保存的文件很少,几条战线沙龙Larson生平所开展的研究和能够收集到足够的资料来绘制肖像的作家着迷因为它的旅程,他的聪明才智和坚韧不拔精神。《复活简·德拉vaudere》是一部传记和文学研究，分为六章。第一章是珍妮·斯克里夫(又名简·德拉vaudere)的传记。在这本书中，我们发现了这位作家的家庭，她18岁结婚，19岁成为母亲的中产阶级青年，她进入文学界，她的离婚，她的死亡情况，以及她的家庭缺乏维护她死后名声的意愿。第二章更仔细地研究了Jeanne Crapez, nee Scrive，到Jane de la vaudere的转变，一个多产的作家与硫磺女主人公。在本节中，莎朗·拉尔森提出的肖像分析强调了la vaudere的智慧和现代性。接下来的两章将讨论la vaudere的剽窃行为及其含义。第三章是对La vaudere的一些文学借用的特别有趣的研究。工作基础上在海伦Maurel-Indart Deborah Halbert并为例,并摘录Demi-sexes Vaudère、我们的心,并在西西里岛的沙龙·莫泊桑(Guy, Larson一方面表明剽窃”显而易见,另一方面,这些段落抄袭书信作家复制演讲,男子就在自己的妻子并直接或多或少地质疑。拉尔森令人信服地断言，这些借用导致了关于女性气质的传统话语和越界话语之间的对话(不管某些结果如何回归墨守成规)。第四章分析了la vaudere对她声称是剽窃受害者的回应。在公开谴责了她的哑剧reve de myses和玛蒂尔德·德·莫奈(米西)的reve d' egypte之间的相似之处后，La vaudere不仅采取了法律行动;她利用《埃及之梦》(dream of egypt)的女同性恋表演引发的丑闻，出版了一本关于这一事件的小说和一部短篇小说。第四章对La vaudere的独创性、坚韧和对巴黎文学市场的了解进行了迷人的概述。第五章(结束157页)致力于La vaudere姗姗来地加入女权主义，尽管她的颠覆性女主人公和她支持离婚的立场。最后一章回顾了chateau de La vaudere在珍妮·斯克里夫(Jeanne Scrive)创造的公众形象的构建中所扮演的角色，以及它今天所保留的内容。这座城堡，以前属于Crapez家族，是她的名字的来源，是她离婚后继续约会的地方，它是……
{"title":"Resurrecting Jane de La Vaudère: Literary Shapeshifter of the Belle Époque by Sharon Larson (review)","authors":"","doi":"10.1353/wfs.2023.a909489","DOIUrl":"https://doi.org/10.1353/wfs.2023.a909489","url":null,"abstract":"Reviewed by: Resurrecting Jane de La Vaudère: Literary Shapeshifter of the Belle Époque by Sharon Larson Melanie E. Collado Larson, Sharon. Resurrecting Jane de La Vaudère: Literary Shapeshifter of the Belle Époque. The Pennsylvania State UP, 2022. Pp. [i]-xiii; 190. ISBN 978-0-271-09444-1. $99.95 (hardcover). Resurrecting Jane de La Vaudère: Literary Shapeshifter of the Belle-Époque révèle l'histoire méconnue de Jane de La Vaudère (1857-1908), femme de lettres aujourd'hui oubliée malgré la notoriété dont elle jouissait à la Belle Époque. Signalant dès l'introduction l'absence de fonds d'archives spécifiquement dédiés à La Vaudère et le peu de documents conservés, Sharon Larson mène ses recherches biographiques sur plusieurs fronts et parvient à rassembler suffisamment d'informations pour tracer le portrait d'une écrivaine fascinante tant en raison de son parcours que de son ingéniosité et de sa résilience. Resurrecting Jane de La Vaudère est une étude biographique et littéraire organisée en six chapitres. Le premier chapitre est la biographie de Jeanne Scrive (alias Jane de La Vaudère). On y découvre la famille de l'écrivaine, sa trajectoire de jeune bourgeoise mariée à dix-huit ans et mère à dix-neuf ans, son entrée sur la scène littéraire, son divorce, les conditions de son décès et le manque d'empressement familial à préserver sa renommée posthume. Le deuxième chapitre examine plus attentivement la métamorphose de Jeanne Crapez, née Scrive, en Jane de La Vaudère, écrivaine prolifique aux héroïnes sulfureuses. Dans cette section, les analyses iconographiques proposées par Sharon Larson soulignent la sagacité de La Vaudère et sa modernité. Les deux chapitres suivants portent sur la pratique du plagiat chez La Vaudère et ses implications. Le troisième chapitre est une étude particulièrement intéressante de quelques emprunts littéraires de La Vaudère. S'appuyant sur les travaux d'Hélène Maurel-Indart et de Deborah Halbert, et prenant comme exemples des extraits des Demi-sexes de La Vaudère, de Notre Cœur et d'En Sicile de Guy de Maupassant, Sharon Larson montre d'une part que le plagiat est flagrant et, d'autre part, que ces passages copiés permettent à l'écrivaine de reproduire le discours des hommes de lettres sur la femme en se le réappropriant et en le remettant en question de façon plus ou moins directe. Larson affirme de façon convaincante qu'il résulte de ces emprunts un dialogue entre des discours conventionnels sur la féminité et des discours transgressifs (quel que soit le retour au conformisme de certains dénouements). Le quatrième chapitre analyse la riposte de La Vaudère à un plagiat dont elle s'est dit victime. Après avoir dénoncé publiquement les similarités entre sa pantomime Rêve de Mysès et Rêve d'Egypte de Mathilde de Mornay (Missy), La Vaudère ne se contente pas d'entamer des poursuites judiciaires ; elle exploite avantageusement le scandale provoqué par la mise en scène très lesbienne de Rêve d'Égypte en publiant un roman à c","PeriodicalId":391338,"journal":{"name":"Women in French Studies","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135053449","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.1353/wfs.2023.a909497
Reviewed by: Femmes et luxe, perspectives littéraires ed. by Soundouss El Kettani and Isabelle Tremblay Jennifer Carr El Kettani, Soundouss and Isabelle Tremblay, eds. Femmes et luxe, perspectives littéraires. PU de Rennes, 2022. Pp. 218. ISBN 978-2-7535-8584-3. 22€ (paper). In their introduction, the editors cite a relative lack of literary scholarship on luxury and gender, suggesting that understanding the former as a "topos littéraire [End Page 168] genré" (205) might offer privileged insight into the feminist implications of material culture. This intuition informs Femmes et luxe's twelve chapters (all written in French), which, though they largely remain tethered to metropolitan France, nonetheless open transhistorical and transcultural lines of inquiry into luxury as a social logic that, from the Ancien Régime to the present, has defined—and often circumscribed—women's agency. The volume's wide-ranging priorities foreground luxury's semantic flexibility, uniting phenomena as disparate as jewelry and oral contraceptives, freedom of movement and literature itself. Though this variability risks dulling luxury's critical usefulness, it also reveals the term's capaciousness as shorthand for a rarefied sphere whose limits often map onto class and gender. Ultimately, the volume's eclectic scope offers less a systematic overview of luxury, literature, and gender than an invitation to future work on their conjuncture (what, for instance, might literary representations of luxury tell us about non-normative gender identities?). Still, individual chapters will appeal to scholars of French and Francophone North African literature whose work intersects with gender and cultural studies, particularly those interested in literary representations of material culture. Femmes et luxe is organized into three parts. Part I, "Les discours dominants sur le luxe," revisits accepted discourses on luxury. In "De la notion de luxe à celle de luxure : une perspective féministe," Frédérique Chevillot offers a feminist reading of recent (male-authored) theorizations of luxury that, by foregrounding the shared etymology of luxe and luxure, replicate misogynist discourses. In "Le luxe des dessous. Une transgression du discours social par le discours littéraire de Zola," Corina Sandu follows the trope "dessous douteux" across Zola's corpus, where unwashed women's undergarments connote a "luxe sale" (48) associated with bourgeois moral corruption. In "La déconstruction des 'belles images' comme impératif social et comme divertissement pascalien," Sophie Bastien analyzes the polysemic title of Simone de Beauvoir's Les belles images (1966), whose proliferating referents (from advertisements to bourgeois gender norms) obscure social ills. In "La situation des femmes de lettres dans la Bibliothèque de la Pléiade," Tetzner Leny Bien Aimé approaches literature as a luxury object, examining the gendered gatekeeping that conditioned Beauvoir's 2018 entry into the Pléiade. Part II, "
Jennifer Carr El Kettani, Soundouss和Isabelle Tremblay主编。女人是奢侈的，观点是悲观的。PU de Rennes, 2022。218页。ISBN 978-2-7535-8584-3。22€(纸)。在他们的引言中，编辑们引用了相对缺乏关于奢侈品和性别的文学研究，并建议将前者理解为“topos littraire [End Page 168] genr”(205)，这可能会提供对物质文化的女权主义含义的特权见解。这种直觉贯穿了《女性与奢侈》的十二章(全部用法语写成)，尽管这些章节大部分都与法国大都市有关，但它们对奢侈品作为一种社会逻辑的探索，从古代的雷姆姆制度到现在，已经定义了——而且经常限制了——女性的主体。该卷的广泛重点突出了奢侈品的语义灵活性，将珠宝和口服避孕药，行动自由和文学本身等完全不同的现象结合在一起。尽管这种可变性可能会削弱奢侈品的关键用途，但它也揭示了这个词作为一个稀有领域的简写，其界限往往映射到阶级和性别上。最终，这本书的不拘一格的范围提供了更多的邀请，而不是对奢侈品、文学和性别的系统概述，而是对它们之间的联系的未来工作的邀请(例如，奢侈品的文学表现可能告诉我们关于非规范性性别身份的什么?)。尽管如此，个别章节将吸引法语和法语北非文学的学者，他们的工作与性别和文化研究相交，特别是那些对物质文化的文学表现感兴趣的人。《女人与奢侈》分为三个部分。第一部分，“Les diss dominants sur le luxury”，回顾了关于奢侈品的公认话语。在《De la notion De luxe cellle De luxe: one perspective of luxe》一书中，弗兰·谢维约(fracimdsamrique Chevillot)对最近(男性撰写的)奢侈品理论进行了女权主义解读，通过突出奢侈品和奢侈品的共同词源，复制了厌恶女性的话语。在《奢侈的生活》中。Corina Sandu在左拉的作品中使用了“dessous douteux”这一比喻，在这里，未洗过的女性内衣暗示着与资产阶级道德腐败有关的“奢侈销售”(48)。索菲·巴斯蒂安(Sophie Bastien)在《美丽形象的构建》(La dsamusterdes 'belles images)一书中分析了西蒙娜·德·波伏娃(Simone de Beauvoir)的《美丽形象》(Les belles images)(1966)的多义标题，其大量的指代物(从广告到资产阶级性别规范)掩盖了社会弊病。Tetzner Leny Bien aim在“La situation des femmes de lettres dans La biblioth de La placimiade”一书中，将文学视为奢侈品，审视了波伏娃2018年进入placimiade的性别把关。第二部分，“Les imimratis sociaux du luxe”，探讨了奢侈品限制女性的机制。伊莎贝尔·特朗布莱在《贝诺斯特夫人的奢侈生活》一书中，展示了贝诺斯特18世纪的书信体小说是如何通过新兴的奢侈品形式来表现性别权力失衡的，并倡导女性团结一致，纠正放荡的贪腐行为。在“Le bijou:传统，区别，越界”中，Sophie Pelletier展示了珠宝如何在莫泊桑，左拉和其他人的文学作品中具象化性别关系，他们将女性角色具象化为奢侈品，但却为身体装饰的越界挪用提供了空间。Soundouss El Kettani的“Le奢侈,一个specialite女性de la litterature maghrebine法语?”认为北非文学的棘手的关系(页169)一种令人殖民主义遗留的deprivations-through两个摩洛哥作家,法蒂玛Mernissi和亚斯明Chami。对前者来说，奢侈品是女性受限行动的代名词;对于后者来说，它成为创造可能性的能指。埃莱姆·阿克索伊·阿尔普(Eylem Aksoy Alp)在《与安妮·埃诺(Annie Ernaux)的交流中也追溯了类似的进展，描绘了埃诺对奢侈品概念的演变，这种概念在文学创作的解放项目中达到了顶峰。第三部分，“奢侈品与quête de l'être”，以奢侈品在身份建构中的作用为中心。在《巴尔扎克和他的朋友们的生活》中，他说:“我的朋友们的生活很幸福。”
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Pub Date : 2023-01-01DOI: 10.1353/wfs.2023.a909475
Hope Christiansen
Abstract: The very year that Irish feminist Sarah Grand coined the term "New Woman" to refer to women who sought to better themselves through education and/or work and to play a more active role in society, Marcel Prévost published Les demivierges , the novel that propelled the concept of the "half-virgin" into the public imagination. The bulk of the novel deals with the interactions between women and men who struggle to come to terms with their loss of primacy in the sexual dynamic. In his preface, Prévost predisposes the reader to condemn this new kind of woman and to understand the threat she poses to the turn-of-the-century man. But as the plot unfolds, it becomes clear that his messaging regarding women is far less straightforward. This study examines the process by which Prévost fleshes out the demi-vierge and problematizes his own preface's depiction of a figure that remains alive and well to this day in popular culture and media.
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Pub Date : 2023-01-01DOI: 10.1353/wfs.2023.a909488
Reviewed by: Flora Tristan by Brigitte Krulic Nadia Margolis Krulic, Brigitte. Flora Tristan. Gallimard, 2022. Pp. 380. ISBN 978-2-07-282022-9. 21.50€ (paper). First-time readers of Flora Tristan (1803-1844) often tend to ask the same question: why have we not heard more about her sooner? For indeed, she was one of those extraordinarily accomplished women authors who were so ahead of their time that, despite recognition by their contemporaries, they ended up forgotten shortly after their deaths. Fortunately, scholars and activists of congruent ideological agendas to theirs (as in 1968) finally discovered and evoked them as presaging voices from the past, yet still not engagingly enough for recognition by the general public, even though Tristan's life reads like a romantic novel, as surrealist André Breton and others would later observe. Brigitte Krulic offers the most complete, rigorous yet readable, up-to-date appraisal of Flora Tristan's place [End Page 155] in women's history and European social history in general. Interwoven within her biography, Krulic's main arguments and elucidations are discussed below. Tristan's pervasive self-image as "pariah" first relates to her early childhood as an orphaned bastard child: born to a Creole aristocratic Peruvian father and bourgeois Parisian mother married in a Catholic (but not civil) wedding, she led an impoverished childhood with her mother in Paris after her father died when she was four. Her situation forced her into an unhappy early marriage to her boss, Chazal, with whom she had three children (the third, Aline, would become mother to the celebrated, if hardly feminist, artist Paul Gauguin). Chazal's abusive treatment made her a fugitive, then victim of Chazal's pistol, until she convinced the courts to grant her a divorce (outlawed since 1816—a major blow for feminism). This prompted Tristan to formulate a working idea of consentement for women, since a conventional woman's background prevents her from conceiving of consent as a man does, much less act upon it. A pariah marginalized by society, she was also freer to think, then act and effectuate her ideals. Despite hardship, she refused to see herself as a victim, but rather as better educated to help women and the poor. Tristan also never refuted her femininity by dressing as a man to gain respect, as did George Sand, for example, except when she once dressed as a man to gain entrance to a meeting of the British Parliament. While a feminist, she prioritized workers' rights ahead of Marx. She supported universal suffrage, but less pointedly than feminists like George Sand who were in favor of this larger mission. Tristan put first the poor and mistreated workers in the fight for unionization. She contended that effectuating solidarity with the worker's unions would render women's rights to vote more meaningful towards reforming a property-based society that de facto favored men. She traveled alone to London and Peru, producing extraordinary n
{"title":"Flora Tristan by Brigitte Krulic (review)","authors":"","doi":"10.1353/wfs.2023.a909488","DOIUrl":"https://doi.org/10.1353/wfs.2023.a909488","url":null,"abstract":"Reviewed by: Flora Tristan by Brigitte Krulic Nadia Margolis Krulic, Brigitte. Flora Tristan. Gallimard, 2022. Pp. 380. ISBN 978-2-07-282022-9. 21.50€ (paper). First-time readers of Flora Tristan (1803-1844) often tend to ask the same question: why have we not heard more about her sooner? For indeed, she was one of those extraordinarily accomplished women authors who were so ahead of their time that, despite recognition by their contemporaries, they ended up forgotten shortly after their deaths. Fortunately, scholars and activists of congruent ideological agendas to theirs (as in 1968) finally discovered and evoked them as presaging voices from the past, yet still not engagingly enough for recognition by the general public, even though Tristan's life reads like a romantic novel, as surrealist André Breton and others would later observe. Brigitte Krulic offers the most complete, rigorous yet readable, up-to-date appraisal of Flora Tristan's place [End Page 155] in women's history and European social history in general. Interwoven within her biography, Krulic's main arguments and elucidations are discussed below. Tristan's pervasive self-image as \"pariah\" first relates to her early childhood as an orphaned bastard child: born to a Creole aristocratic Peruvian father and bourgeois Parisian mother married in a Catholic (but not civil) wedding, she led an impoverished childhood with her mother in Paris after her father died when she was four. Her situation forced her into an unhappy early marriage to her boss, Chazal, with whom she had three children (the third, Aline, would become mother to the celebrated, if hardly feminist, artist Paul Gauguin). Chazal's abusive treatment made her a fugitive, then victim of Chazal's pistol, until she convinced the courts to grant her a divorce (outlawed since 1816—a major blow for feminism). This prompted Tristan to formulate a working idea of consentement for women, since a conventional woman's background prevents her from conceiving of consent as a man does, much less act upon it. A pariah marginalized by society, she was also freer to think, then act and effectuate her ideals. Despite hardship, she refused to see herself as a victim, but rather as better educated to help women and the poor. Tristan also never refuted her femininity by dressing as a man to gain respect, as did George Sand, for example, except when she once dressed as a man to gain entrance to a meeting of the British Parliament. While a feminist, she prioritized workers' rights ahead of Marx. She supported universal suffrage, but less pointedly than feminists like George Sand who were in favor of this larger mission. Tristan put first the poor and mistreated workers in the fight for unionization. She contended that effectuating solidarity with the worker's unions would render women's rights to vote more meaningful towards reforming a property-based society that de facto favored men. She traveled alone to London and Peru, producing extraordinary n","PeriodicalId":391338,"journal":{"name":"Women in French Studies","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135053446","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.1353/wfs.2023.a909482
Sage Goellner
Abstract: This article analyzes Leïla Sebbar's interest in and representation of Isabelle Eberhardt, who crisscrosses Sebbar's texts as an imaginary precursor who possesses many of Sebbar's own contradictions and aspirations. This essay examines how Sebbar uses the figure of Eberhardt in exploration of her Franco-Algerian linguistic and cultural identity. Drawing principally from three works, Lettres parisiennes : autopsie d'un exil (1986), "Isabelle l'Algérien" (1988), and Lettre à mon père (2021), the author argues that Sebbar's depiction of Eberhardt as a multilingual French and Arabic speaker connects the two sides of Sebbar's divided identity. In addition, Sebbar's emphasis on the fact that both women write and publish in French underscores the powerful link between them. In these works, Eberhardt acts as a cipher for Sebbar and remains a touchstone of Sebbar's reflections upon identity, language, and reconciliation.
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Pub Date : 2023-01-01DOI: 10.1353/wfs.2023.a909491
Reviewed by: Lucrece and Brutus: Glory in the Land of Tender by Madeleine De Scudéry Karine Macarez De Scudéry, Madeleine. Lucrece and Brutus: Glory in the Land of Tender. Ed. and Trans. Sharon Diane Nell. The Other Voice in Early Modern Europe: The Toronto Series, 84. Iter Press, 2021. Pp. [ix]- 365. ISBN 978-1-64959-022-0. $59.95 (paper). L'ouvrage de Sharon Diane Nell s'inscrit dans la ligne directrice des études en Women's and Gender Studies valorisant un canon féminin tombé dans l'oubli. Autour d'un triptyque regroupant deux harangues des Femmes illustres ou les harangues héroïques de 1642, des extraits de Clélie entre les dates de 1654 et 1660, et Le discours de la gloire paru en 1671, l'auteure propose au lecteur une redécouverte moderne en langue anglaise des textes de Madeleine de Scudéry depuis leurs traductions aux XVIIe et XVIIIe siècles. Si l'on comprend de suite l'enjeu d'une telle entreprise visant à combler une lacune, l'originalité de Nell est d'articuler son approche autour des figures emblématiques de Lucrèce et Brutus avec pour fil conducteur la gloire, afin de faire ressortir toute la polysémie du terme qui évolue dans l'œuvre de Madeleine de Scudéry et qui dépasse ses deux notions premières. En effet, l'emploi de la terminologie trouve son origine dans la conception romaine de la gloire, par l'entremise des textes de Cicéron, mais elle constitue également un référent chrétien dans la littérature religieuse au XVIIe siècle. Outre une introduction générale, l'ouvrage comporte quatre corpus de textes incluant invariablement un ou plusieurs textes traduits, précédés par une introduction de Nell, permettant ainsi la présentation du contexte social et politique dans lesquels ceux-ci s'inscrivent. Des annexes font état des sources anciennes existantes sur Lucrèce et Brutus, proposent un glossaire des faux amis, et dressent une liste des personnages apparaissant dans Clélie, offrant ainsi au lecteur des points de repères. L'introduction générale de Nell se veut didactique en présentant la biographie de Madeleine de Scudéry, le mouvement social et littéraire des salons, des concepts clefs tels que la préciosité ou la galanterie, tout en s'appuyant sur une historiographie riche et variée englobant chercheurs outre-Atlantique et français. Le premier corpus de textes inclut les harangues onze et dix-sept, publiées en 1642 dans Femmes illustres ou les harangues héroïques. La onzième harangue, de Lucrèce à Colatin, expose le déshonneur de Lucrèce suite au viol de Sextus Tarquin. La dix-septième harangue, de Clélie à Persenna, survient après le suicide de Lucrèce, une fois la République romaine établie. Les deux textes laissent entrevoir la polysémie autour de la notion de gloire qui peut s'apparenter tantôt à la vertu, l'héroïsme, la fidélité matrimoniale, la réputation, la fierté ou encore le statut social. Le deuxième corpus regroupe trois textes issus de Clélie dans le livre premier de 1654, et s'articule autour des codes langagiers qu
他的父亲是一名律师，母亲是一名律师，父亲是一名律师，母亲是一名律师。= =地理= =根据美国人口普查，该镇总面积为，其中土地面积为。他的父亲是一名律师，母亲是一名律师。莎伦·黛安·内尔。= =地理= =根据美国人口普查，这个县的土地面积为。他的父亲是一名律师，母亲是一名律师。他的父亲是一名律师，母亲是一名律师。en 978-1-64959-022-0。$ 59.95 (paper)。莎朗·黛安·内尔(Sharon Diane Nell)的这本书是《女性与性别研究》(Women’s and Gender Studies)研究的一部分，该研究强调了被遗忘的女性经典。围绕一个三部曲,拥有两个讲话著名女性或讲话摘录的1642壮烈,Clélie 1654日期至1660荣耀和话语,1671年出版,作者向读者提出了一个现代英文文本的小说集《Madeleine Scudéry自其于十七和十八世纪翻译。如果马上明白利害关系这样一个企业,旨在填补这一空白,Nell的独创性表达他的做法是Lucrèce周围人物和布鲁图与为工作主线,以荣耀体现在进化的整个词的字典(Madeleine de Scudéry之作超出其头两个概念。事实上，这个术语的使用起源于罗马对荣耀的概念，通过西塞罗的文本，但它也构成了17世纪宗教文学中的基督教参考。除了一般的介绍，这本书还包括四个文本语料库，总是包括一个或多个翻译文本，在此之前有一个内尔的介绍，从而允许展示它们所处的社会和政治背景。附录列出了关于卢克丽丝和布鲁图斯的古代资料，提供了假朋友的词汇表，并列出了在克利利亚出现的人物，从而为读者提供了参考点。概论Nell教学要在介绍自己的生平Madeleine Scudéry、社会运动和文学沙龙的关键概念,诸如préciosité或侠义,同时借鉴了丰富多样的史学研究者包括美国和法国。第一批文本包括1642年出版的《杰出女性》或《英雄长篇》中的《长篇11》和《长篇17》。卢克丽霞对科拉廷的第11次长篇大论揭露了卢克丽霞在塞克斯图斯·塔昆被强奸后的耻辱。第十七次长话会，从克利利亚到佩尔森纳，发生在罗马共和国建立后卢修斯自杀之后。这两篇文章揭示了关于荣耀概念的多义词，有时可以与美德、英雄主义、婚姻忠诚、声誉、骄傲或社会地位联系在一起。第二个语料库由clelie在1654年第一本书中的三篇文本组成，并围绕着Tendre地图上发展起来的语言代码构建。这篇题为“关于倾向力量的对话”的文章，在温柔地图创建之前，讨论了倾向，一种将新友谊转化为“温柔友谊”的方法;第二篇题为“关于爱的诞生的对话”，是温柔的a点菜序言，揭示了“温柔的友谊”和爱的概念之间的孔隙;第三个是“温柔之地的地图”，是clelie创建温柔地图的亮点。这本文集巧妙地介绍了卢修斯·朱尼厄斯·布鲁图斯(Lucius Junius Brutus)接下来的故事，并理解了温柔和荣耀的概念之间的重叠;Tendre地图构成了进入…的隐含通道
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