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
{"title":"Lucrece and Brutus: Glory in the Land of Tender by Madeleine De Scudéry (review)","authors":"","doi":"10.1353/wfs.2023.a909491","DOIUrl":"https://doi.org/10.1353/wfs.2023.a909491","url":null,"abstract":"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","PeriodicalId":391338,"journal":{"name":"Women in French Studies","volume":"38 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":"135053454","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.a909483
Rebecca Grenouilleau-Loescher
Abstract: Taking as premise that stories provide the frames through which we grasp and articulate lived experiences, this article brings abortion narratives into transnational and transgenerational dialogue in order to challenge the dominant story told about termination. Comprised of accounts of both clandestine and legal abortions occurring on three continents (Algeria, Hexagonal France, and Belgium, with critical parallels noted in US narratives), including four literary texts, several collections of testimonies, and one documentary film, the corpus highlights core commonalties that cut across experiences of termination, demonstrating the global impact that women's health stories harbor. Part One examines Bey's Au commencement était la mer , Malinconi's Hôpital silence , Ernaux's L'événement , and, to a lesser extent, Guathier's Paroles d'avortées , discussing the dehumanization of institutional violence and lack of information as key commonalities. Turning to contemporary abortion narratives in a variety of genres, Part Two shows how silence, stigma, and dehumanization continue to characterize abortion stories today, but also notes a shared volition to craft new narratives of intelligibility. Finally, Part Three discusses the power harbored in dialogue amongst abortion narratives of all types, notably in terms of the medical humanities and the expansion of language available to express lived experiences, but more importantly as foundation for a relational understanding of abortion as part of reproductive care—a notion nascent in contemporary narratives, but which comes to the fore when stories are circulated as feminist folklore.
{"title":"From Silence to #Shout: French-Language Abortion Narratives in Transnational Dialogue","authors":"Rebecca Grenouilleau-Loescher","doi":"10.1353/wfs.2023.a909483","DOIUrl":"https://doi.org/10.1353/wfs.2023.a909483","url":null,"abstract":"Abstract: Taking as premise that stories provide the frames through which we grasp and articulate lived experiences, this article brings abortion narratives into transnational and transgenerational dialogue in order to challenge the dominant story told about termination. Comprised of accounts of both clandestine and legal abortions occurring on three continents (Algeria, Hexagonal France, and Belgium, with critical parallels noted in US narratives), including four literary texts, several collections of testimonies, and one documentary film, the corpus highlights core commonalties that cut across experiences of termination, demonstrating the global impact that women's health stories harbor. Part One examines Bey's Au commencement était la mer , Malinconi's Hôpital silence , Ernaux's L'événement , and, to a lesser extent, Guathier's Paroles d'avortées , discussing the dehumanization of institutional violence and lack of information as key commonalities. Turning to contemporary abortion narratives in a variety of genres, Part Two shows how silence, stigma, and dehumanization continue to characterize abortion stories today, but also notes a shared volition to craft new narratives of intelligibility. Finally, Part Three discusses the power harbored in dialogue amongst abortion narratives of all types, notably in terms of the medical humanities and the expansion of language available to express lived experiences, but more importantly as foundation for a relational understanding of abortion as part of reproductive care—a notion nascent in contemporary narratives, but which comes to the fore when stories are circulated as feminist folklore.","PeriodicalId":391338,"journal":{"name":"Women in French Studies","volume":"24 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":"135053767","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.a909479
Heidi Shaker
Abstract: Women were targeted for rape during the 1994 genocide against the Tutsi in Rwanda because of their gender and ethnicity. Gendered and ethnic violence became intertwined in Hutu extremist propaganda, as it sexualized Tutsi women, instigated ethnic hatred, and incited men to commit rape on a massive scale. Rape as genocide was used as a weapon to annihilate Tutsi women physically, psychologically, socially, and economically. Many survivors were rendered infertile due to damaged reproductive organs or mutilated genitals and disconnected from their bodies due to psychological trauma. Those who were raped encountered severe stigmatization and marginalization: they were deemed unsuitable for marriage, were abandoned by their fiancés or husbands, and were ostracized by their communities. This rendered survivors extremely vulnerable economically, as by law, women are unable to own houses or possess land. Rape was used to reduce the Tutsi population through the transmission of AIDS, infertility issues, pregnancies as ethnic cleansing, and the breakdown of families, communities, and cultural practices. Rape is extremely taboo in Rwanda, and cultural and linguistic considerations add an extra layer of difficulty that survivors must navigate in order to tell their stories.
{"title":"Meanings of Mass Rape During the 1994 Genocide Against the Tutsi in Rwanda: Understanding Intersectionality Through Survivor Testimonies","authors":"Heidi Shaker","doi":"10.1353/wfs.2023.a909479","DOIUrl":"https://doi.org/10.1353/wfs.2023.a909479","url":null,"abstract":"Abstract: Women were targeted for rape during the 1994 genocide against the Tutsi in Rwanda because of their gender and ethnicity. Gendered and ethnic violence became intertwined in Hutu extremist propaganda, as it sexualized Tutsi women, instigated ethnic hatred, and incited men to commit rape on a massive scale. Rape as genocide was used as a weapon to annihilate Tutsi women physically, psychologically, socially, and economically. Many survivors were rendered infertile due to damaged reproductive organs or mutilated genitals and disconnected from their bodies due to psychological trauma. Those who were raped encountered severe stigmatization and marginalization: they were deemed unsuitable for marriage, were abandoned by their fiancés or husbands, and were ostracized by their communities. This rendered survivors extremely vulnerable economically, as by law, women are unable to own houses or possess land. Rape was used to reduce the Tutsi population through the transmission of AIDS, infertility issues, pregnancies as ethnic cleansing, and the breakdown of families, communities, and cultural practices. Rape is extremely taboo in Rwanda, and cultural and linguistic considerations add an extra layer of difficulty that survivors must navigate in order to tell their stories.","PeriodicalId":391338,"journal":{"name":"Women in French Studies","volume":"1 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":"135051975","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.a909484
Sarah Djos-Raph
Abstract: In the West African country of Benin, the restitution of some key anthropomorphic statues bearing royal emblems has become a reality, in part thanks to the American Black Lives Matter Movement. This article highlights how the restitution of the art objects was undoubtedly aided by the fight of Felwine Sarr, Bénédicte Savoy, Marie-Cécile Zinsou, Assa Traoré, and feminist-led anti-racism organizations. Furthermore, this paper describes the importance of these returned artifacts for defending, conserving, and expanding modern art in Benin, a country that is at the forefront of offering a contemporary decolonized foundation.
{"title":"Objectifying and Objecting Objects: Looting to Rooting? How the American Black Lives Matter Movement Influences French Restitution in Benin","authors":"Sarah Djos-Raph","doi":"10.1353/wfs.2023.a909484","DOIUrl":"https://doi.org/10.1353/wfs.2023.a909484","url":null,"abstract":"Abstract: In the West African country of Benin, the restitution of some key anthropomorphic statues bearing royal emblems has become a reality, in part thanks to the American Black Lives Matter Movement. This article highlights how the restitution of the art objects was undoubtedly aided by the fight of Felwine Sarr, Bénédicte Savoy, Marie-Cécile Zinsou, Assa Traoré, and feminist-led anti-racism organizations. Furthermore, this paper describes the importance of these returned artifacts for defending, conserving, and expanding modern art in Benin, a country that is at the forefront of offering a contemporary decolonized foundation.","PeriodicalId":391338,"journal":{"name":"Women in French Studies","volume":"125 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":"135052657","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.a909495
Reviewed by: Beauty and the Beast: The Original Story by Gabrielle-Suzanne Barbot de Villeneuve Kelsey B. Madsen Villeneuve, Gabrielle-Suzanne Barbot de. Beauty and the Beast: The Original Story. Ed. and Trans. Aurora Wolfgang. The Other Voices in Early Modern Europe: The Toronto Series, 74. Iter Press, 2020. Pp. [i]-xviii; 191. ISBN 978-0-86698-627-4. $41.95 (paperback). ISBN 978-0-86698-760-8. $41.95 (eBook). Aurora Wolfgang recontextualizes the classic tale of Beauty and the Beast by providing a robust historical and interpretative introduction alongside a full translation of Gabrielle-Suzanne Barbot de Villeneuve's original text from the 1740 book La jeune Américaine et les contes marins, as republished and edited by Élisa Biancardi in 2008. Wolfgang makes a compelling case for re-examining Villeneuve's sprawling fairy tale (in translation, it is nearly 100 pages long) for [End Page 165] its own literary qualities, rather than simply as the inspiration for a story frequently adapted in popular culture across several centuries. The publisher describes Wolfgang's edition as "the first integral English translation of Villeneuve's original tale." While other translations of Villeneuve's Beauty and the Beast exist, they omit the original dedication, preface and frame story. The most commonly reproduced English translation also modifies the main text; James Robinson Planché's 1858 version edits passages to create a more "wholesome" tone. For instance, in Villeneuve's version and Wolfgang's translation, the Beast asks Beauty every night if he may sleep with her, but Planché sanitizes this request into a nightly proposal of marriage. We learn in Villeneuve's original version that the Beast's curse can only be broken if he marries a worthy woman who asks him to marry her. Furthermore, the Beast's curse encompasses both his physical appearance and his wits (that is, it makes him appear stupid and brutish) so that he is an unappealing romantic partner; he is doubly bête in Villeneuve. In fact, the crude nightly question is actually a means of prompting the virtuous Beauty to ask for marriage when she is finally ready to accept his attentions. Wolfgang offers anglophone readers an accurate rendering that reflects Villeneuve's intentions, and her scholarly footnotes clarify pertinent literary details and translation choices. Her translation flows smoothly; she achieved her goal to "reflect the simple, unembellished language used in the fairy-tale genre" (71). By reuniting The Beauty and the Beast with the frame story of La jeune Américaine, Wolfgang draws attention to thematic resonances between the realistic frame story and the fantastical tale, such as preoccupations with finances and marital relationships. The frame story recounts the lives of two young men originally from La Rochelle, one of whom leaves to make his fortune in Saint Domingue (present-day Haiti). His daughter is sent to France to be raised in the family of her father's friend. When she
书评:《美女与野兽:原始故事》作者:加布里埃尔-苏珊娜·芭博·德·维伦纽夫凯尔西·b·马德森·维伦纽夫，加布里埃尔-苏珊娜·芭博·德·《美女与野兽:原始故事》编辑和翻译。极光沃尔夫冈。早期现代欧洲的其他声音:多伦多系列，74。Iter出版社，2020。页。[我]十八;191. ISBN 978-0-86698-627-4。41.95美元(平装)。ISBN 978-0-86698-760-8。41.95美元(电子书)。奥罗拉沃尔夫冈通过提供一个强大的历史和解释性的介绍，重新定义了美女与野兽的经典故事，并提供了Gabrielle-Suzanne Barbot de Villeneuve 1740年出版的《La jeune amsamricaine et les contes marins》原著的完整翻译，该书于2008年由Élisa Biancardi重新出版和编辑。沃尔夫冈提出了一个令人信服的理由，重新审视维伦纽夫的庞大的童话故事(翻译后，它有近100页长)，因为它本身的文学品质，而不仅仅是几个世纪以来经常被改编为流行文化的故事的灵感。出版商将沃尔夫冈的版本描述为“维伦纽夫原著的第一个完整的英文翻译”。虽然维伦纽夫的《美女与野兽》存在其他译本，但它们省略了原题词、序言和框架故事。最常复制的英文翻译也会修改正文;詹姆斯·罗宾逊·普朗彻斯1858年的版本对段落进行了编辑，以创造一种更“健康”的基调。例如，在维伦纽夫的版本和沃尔夫冈的翻译中，野兽每晚都问美女他是否可以和她一起睡觉，但普兰切尔斯把这个请求净化成每晚求婚。我们从维伦纽夫的原著中了解到，只有当野兽娶了一个向他求婚的有价值的女人时，野兽的诅咒才能被打破。此外，野兽的诅咒包括他的外表和他的智慧(也就是说，它使他看起来愚蠢和野蛮)，所以他是一个没有吸引力的浪漫伴侣;他在维伦纽夫是双重bête。事实上，这个粗俗的夜间问题实际上是一种手段，当善良的美女终于准备好接受他的关注时，她会向她求婚。沃尔夫冈为英语读者提供了准确的翻译，反映了维伦纽夫的意图，她的学术脚注澄清了相关的文学细节和翻译选择。她的翻译流畅流畅;她实现了她的目标，“反映了童话类型中使用的简单，不加修饰的语言”(71)。沃尔夫冈将《美女与野兽》与《年轻的美国人》的框架故事结合起来，将人们的注意力集中在现实主义框架故事与幻想故事之间的主题共鸣上，比如对经济和婚姻关系的关注。这个框架故事讲述了两个来自拉罗谢尔的年轻人的生活，其中一个离开去圣多明各(今海地)谋生。他的女儿被送到法国，在她父亲的朋友家里长大。当她最终开始了漫长的海上航行回到她在圣多明各的父母家时，她向她的女仆乞求一个故事来打发时间——前面提到的《美女与野兽》。当女孩的未婚夫和她的家庭教师认为娱乐的要求是幼稚的时候，叙述者注意到船长“知道，作为一个有经验的水手，你必须在海上做任何你能做的事情，”他鼓励这个故事(88)。那么，我们必须假定，维伦纽夫也在为她的作品被认真地认为值得读者关注而提出理由。女服务员的故事是一个连环画，随后是嵌入在《美女与野兽》中的其他故事，比如野兽的故事和仙女的故事。沃尔夫冈的翻译附有72页的介绍，包括作者的传记背景，概述了童话作为一种女性文学类型，在17和18世纪的沙龙中蓬勃发展，以及对文本本身的文学分析。她指出，美女来到“野兽”家时充满了紧张，这与许多当代年轻女性的矛盾处境相呼应，她们也被(通过婚姻)送到了一个陌生人那里……
{"title":"Beauty and the Beast: The Original Story by Gabrielle-Suzanne Barbot de Villeneuve (review)","authors":"","doi":"10.1353/wfs.2023.a909495","DOIUrl":"https://doi.org/10.1353/wfs.2023.a909495","url":null,"abstract":"Reviewed by: Beauty and the Beast: The Original Story by Gabrielle-Suzanne Barbot de Villeneuve Kelsey B. Madsen Villeneuve, Gabrielle-Suzanne Barbot de. Beauty and the Beast: The Original Story. Ed. and Trans. Aurora Wolfgang. The Other Voices in Early Modern Europe: The Toronto Series, 74. Iter Press, 2020. Pp. [i]-xviii; 191. ISBN 978-0-86698-627-4. $41.95 (paperback). ISBN 978-0-86698-760-8. $41.95 (eBook). Aurora Wolfgang recontextualizes the classic tale of Beauty and the Beast by providing a robust historical and interpretative introduction alongside a full translation of Gabrielle-Suzanne Barbot de Villeneuve's original text from the 1740 book La jeune Américaine et les contes marins, as republished and edited by Élisa Biancardi in 2008. Wolfgang makes a compelling case for re-examining Villeneuve's sprawling fairy tale (in translation, it is nearly 100 pages long) for [End Page 165] its own literary qualities, rather than simply as the inspiration for a story frequently adapted in popular culture across several centuries. The publisher describes Wolfgang's edition as \"the first integral English translation of Villeneuve's original tale.\" While other translations of Villeneuve's Beauty and the Beast exist, they omit the original dedication, preface and frame story. The most commonly reproduced English translation also modifies the main text; James Robinson Planché's 1858 version edits passages to create a more \"wholesome\" tone. For instance, in Villeneuve's version and Wolfgang's translation, the Beast asks Beauty every night if he may sleep with her, but Planché sanitizes this request into a nightly proposal of marriage. We learn in Villeneuve's original version that the Beast's curse can only be broken if he marries a worthy woman who asks him to marry her. Furthermore, the Beast's curse encompasses both his physical appearance and his wits (that is, it makes him appear stupid and brutish) so that he is an unappealing romantic partner; he is doubly bête in Villeneuve. In fact, the crude nightly question is actually a means of prompting the virtuous Beauty to ask for marriage when she is finally ready to accept his attentions. Wolfgang offers anglophone readers an accurate rendering that reflects Villeneuve's intentions, and her scholarly footnotes clarify pertinent literary details and translation choices. Her translation flows smoothly; she achieved her goal to \"reflect the simple, unembellished language used in the fairy-tale genre\" (71). By reuniting The Beauty and the Beast with the frame story of La jeune Américaine, Wolfgang draws attention to thematic resonances between the realistic frame story and the fantastical tale, such as preoccupations with finances and marital relationships. The frame story recounts the lives of two young men originally from La Rochelle, one of whom leaves to make his fortune in Saint Domingue (present-day Haiti). His daughter is sent to France to be raised in the family of her father's friend. When she ","PeriodicalId":391338,"journal":{"name":"Women in French Studies","volume":"89 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":"135052337","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.a909493
Reviewed by: Travels into Spain by Marie-Catherine Le Jumel de Barneville, baronne d'Aulnoy Nathalie Hester Le Jumel de Barneville, Marie-Catherine, baronne d'Aulnoy. Travels into Spain. Ed. and Trans. Gabrielle Verdier. Iter Press, 2022. Pp. 303. ISBN 978-1-64959-057-2. $54.95 (Paper). ISBN 978-1-64959-058-9. $54.95 (eBook). With this publication, a key work by Marie-Catherine Le Jumel de Barneville, baronne d'Aulnoy, is now available in a new English translation. As editor and translator Gabrielle Verdier emphasizes in her excellent introduction, while d'Aulnoy is recognized today primarily for her fairy tales, it was her historical works that launched her career as a writer. In addition, Travels into Spain was the publication for which she was perhaps best known in the decades following its 1691 publication. Indeed, this epistolary travel account was quickly translated into English and went through numerous editions in both French and English and was considered a reference for European travelers through the end of the eighteenth century. Although d'Aulnoy's works were popular in the early modern period, Travels into Spain met with a negative reception later on when, for example, editors like Raymond Foulché-Delbosc criticized her use of explicitly fictional devices, in particular embedded tales and invented travel companions, and concluded that d'Aulnoy had never set foot in Spain. Verdier cogently elucidates the connections between gender and genre and highlights the ways in which the author, who faced exile after attempting to set up her husband for the crime of treason, was able to establish herself as a woman writer. D'Aulnoy was not only the first Frenchwoman to publish a travel account as a complete relation de voyage, but she was also the first to publish historical memoirs. Furthermore, at a time when works by women came out anonymously, d'Aulnoy revealed her gender in several of her early works, which have the author, Madame B*** D***, listed on the title page. Verdier terms this "a stunning move" (19). Verdier's lively translation skillfully conveys d'Aulnoy's attention to landscape, keen eye for societal details, and superb story-telling abilities. The fifteen letters, which recount travel from Bayonne to Toledo, are brimming with anecdotes about the challenges of travel, depictions of landscapes and bustling towns and cities, descriptions of Spanish cultural and religious rituals (Lent, bullfighting, Inquisition trials, conversation at the Spanish court), and dramatic stories of Spanish love and violence, all of which would have been titillating for [End Page 163] her French readers. D'Aulnoy's focus on women's fashion and behavior stands out in particular. In fact, as the letters make clear and Verdier underscores in the introduction, part of the appeal of d'Aulnoy's text comes precisely from her position as a woman traveler, intent on conveying the point of view of a French noblewoman with literary talents who had access to women
{"title":"Travels into Spain by Marie-Catherine Le Jumel de Barneville, baronne d'Aulnoy (review)","authors":"","doi":"10.1353/wfs.2023.a909493","DOIUrl":"https://doi.org/10.1353/wfs.2023.a909493","url":null,"abstract":"Reviewed by: Travels into Spain by Marie-Catherine Le Jumel de Barneville, baronne d'Aulnoy Nathalie Hester Le Jumel de Barneville, Marie-Catherine, baronne d'Aulnoy. Travels into Spain. Ed. and Trans. Gabrielle Verdier. Iter Press, 2022. Pp. 303. ISBN 978-1-64959-057-2. $54.95 (Paper). ISBN 978-1-64959-058-9. $54.95 (eBook). With this publication, a key work by Marie-Catherine Le Jumel de Barneville, baronne d'Aulnoy, is now available in a new English translation. As editor and translator Gabrielle Verdier emphasizes in her excellent introduction, while d'Aulnoy is recognized today primarily for her fairy tales, it was her historical works that launched her career as a writer. In addition, Travels into Spain was the publication for which she was perhaps best known in the decades following its 1691 publication. Indeed, this epistolary travel account was quickly translated into English and went through numerous editions in both French and English and was considered a reference for European travelers through the end of the eighteenth century. Although d'Aulnoy's works were popular in the early modern period, Travels into Spain met with a negative reception later on when, for example, editors like Raymond Foulché-Delbosc criticized her use of explicitly fictional devices, in particular embedded tales and invented travel companions, and concluded that d'Aulnoy had never set foot in Spain. Verdier cogently elucidates the connections between gender and genre and highlights the ways in which the author, who faced exile after attempting to set up her husband for the crime of treason, was able to establish herself as a woman writer. D'Aulnoy was not only the first Frenchwoman to publish a travel account as a complete relation de voyage, but she was also the first to publish historical memoirs. Furthermore, at a time when works by women came out anonymously, d'Aulnoy revealed her gender in several of her early works, which have the author, Madame B*** D***, listed on the title page. Verdier terms this \"a stunning move\" (19). Verdier's lively translation skillfully conveys d'Aulnoy's attention to landscape, keen eye for societal details, and superb story-telling abilities. The fifteen letters, which recount travel from Bayonne to Toledo, are brimming with anecdotes about the challenges of travel, depictions of landscapes and bustling towns and cities, descriptions of Spanish cultural and religious rituals (Lent, bullfighting, Inquisition trials, conversation at the Spanish court), and dramatic stories of Spanish love and violence, all of which would have been titillating for [End Page 163] her French readers. D'Aulnoy's focus on women's fashion and behavior stands out in particular. In fact, as the letters make clear and Verdier underscores in the introduction, part of the appeal of d'Aulnoy's text comes precisely from her position as a woman traveler, intent on conveying the point of view of a French noblewoman with literary talents who had access to women","PeriodicalId":391338,"journal":{"name":"Women in French Studies","volume":"19 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":"135052916","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.a909486
Reviewed by: Transforming Family: Queer Kinship and Migration in Contemporary Francophone Literature by Jocelyn Frelier Adrienne Angelo Frelier, Jocelyn. Transforming Family: Queer Kinship and Migration in Contemporary Francophone Literature. U of Nebraska P, 2022. Pp. 264. ISBN 978-1-4962-2509-2. $60 (paper) and 978-1-4962-3365-3. (eBook). Narratives of exile, migration, and displacement figure prominently in contemporary francophone cultural productions. What about the complexities of family dynamics and filiation in these situations of resettlement? What in fact constitutes "family"? What factors create a sense of belonging or nonbelonging? What impact does one's heritage have on the stories one tells? How might alternative compositions of family provide a sense of transformative agency? Jocelyn Frelier deftly navigates these questions among others in her carefully researched and intellectually creative work, Transforming Family: Queer Kinship and Migration in Contemporary Francophone Literature. Frelier elegantly interweaves personal narrative and literary analysis and thus performs autoethnographic praxis. She shares her story, which includes her own family's experience of migration, while making connections to the material she studies (xiii). This degree of auto-reflexivity mirrors the nuanced life-writing gestures of the six contemporary authors she analyzes in individual chapters: Nina Bouraoui, [End Page 152] Leïla Slimani, Leïla Sebbar, Azouz Begag, Fouad Laroui, and Abdellah Taïa. After providing pertinent biographical information which relates to each author's literary corpus, Frelier explains how these writers, each of whom engages with autofictional practices, offer "decolonial and queer" understandings of what she terms "trans-families" in their respective transnational narratives of migration between France and Algeria and Morocco (1). The introduction articulates the stakes of this work and unpacks several critical terms that underpin Frelier's analysis. Of note is Frelier's description of trans-family. This term sees the queer potential in family (re)compositions to move away from normative familial structures whose legal or otherwise regulated status comes at the expense of nontraditional ones (6-7). Frelier relates how the novels she has chosen for her project connect with "the becoming trans-of cultural production" (2). Accordingly, queer studies plays a vital role in Frelier's project for thinking through the transformative possibilities of family and filiation. In this work, queering relates to concepts of time and history, the context of colonialism and the postcolonial era, and the construction of self through autofictional writing practices. The first part of the work focuses on transnational motherhood and includes two chapters: one on Nina Bouraoui's Garçon manqué (2000) and another on Leïla Slimani's Chanson douce (2016). From the first-person narrator's inheritance of her mother's nonbelonging in postcolonial France
书评:《转变的家庭:当代法语文学中的酷儿亲属关系与移民》，作者:乔斯林·弗莱利尔。转型家庭:当代法语文学中的酷儿亲属关系与移民。内布拉斯加大学，2022年。264页。ISBN 978-1-4962-2509-2。60美元(纸质)和978-1-4962-3365-3。(电子书)。流亡、移民和流离失所的叙事在当代法语文化作品中占据突出地位。在这些重新安置的情况下，家庭动态和关系的复杂性如何?“家庭”实际上是由什么构成的?什么因素会产生归属感或非归属感?一个人的传统对他讲述的故事有什么影响?家庭的其他组成如何提供一种变革能动性?乔斯林·弗莱利尔在她的作品《转型家庭:当代法语文学中的酷儿亲属关系和移民》中，对这些问题进行了细致的研究和创造性的思考。Frelier优雅地将个人叙述和文学分析交织在一起，从而进行了自我民族志实践。她分享了她的故事，其中包括她自己家庭的移民经历，同时将其与她所研究的材料联系起来(十三)。这种程度的自我反思反映了她在个别章节中分析的六位当代作家细微的生活写作姿态:尼娜·布拉乌伊，Leïla斯里马尼，Leïla塞巴尔，阿祖兹·贝格，福阿德·拉鲁伊和阿卜杜拉Taïa。在提供了与每位作者的文学语料相关的相关传记信息后，弗莱利尔解释了这些作家(他们每个人都参与了自传体小说实践)如何在法国、阿尔及利亚和摩洛哥之间的跨国移民叙事中对她所说的“跨家庭”提供了“非殖民化和奇怪的”理解(1)。引言阐明了这项工作的重要性，并解开了支撑弗莱利尔分析的几个关键术语。值得注意的是Frelier对跨家族的描述。这个术语看到了酷儿在家庭(重新)构成中的潜力，它脱离了规范性的家庭结构，其法律或其他规范的地位是以牺牲非传统的为代价的(6-7)。弗莱利尔讲述了她为自己的项目选择的小说是如何与“正在成为跨文化产品”联系在一起的(2)。因此，酷儿研究在弗莱利尔思考家庭和亲属关系的变革可能性的项目中起着至关重要的作用。在这部作品中，酷儿涉及到时间和历史的概念、殖民主义和后殖民时代的背景，以及通过自我虚构的写作实践来构建自我。本书的第一部分主要关注跨国母性，包括两章:一章是关于Nina Bouraoui的garon manqu(2000)，另一章是关于Leïla Slimani的Chanson douce(2016)。从第一人称叙述者继承了她母亲在后殖民时期的法国和阿尔及利亚的不归属，到斯理马尼小说中母性模式的多母性以及种族和阶级的重要性，弗莱利尔探究了移民、母性形象和母性的酷儿如何引起人们对异父制规范和期望的关注。在第二部分，Frelier关注跨文化的父亲身份，并分析Leïla Sebbar的moncher fils(2012)和Azouz Begag的Salam Ouessant(2012)。两部作品都刻画了生活和家庭因文化冲突而迷失方向的父亲角色。弗莱利尔认为，男子气概的重要性与父亲和阉割的移民人物在蒙切尔菲尔斯。弗莱利尔将这部小说置于西巴尔的文学创作背景中，并正确地指出“移民、男子气概和劳动与家庭纽带(或缺乏家庭纽带)和语言之间的关系”(87)。弗莱利尔认为，西巴对马克思主义的古怪行为导致了父子关系的建立，而不是被疏远所切断。弗莱利尔通过影响主人公(以及他自己的男子气概感)和他与女儿关系的代际和文化“困扰”的镜头来阅读贝格的小说。为了与他们和解，他必须协商他作为父亲的角色，这需要一个奇怪的家庭模式。本作品第三部分的两章重点关注跨移民，并考虑了个人与新的“横向”家庭联系的方式，这些联系在Fouad Laroui的《Une annacei chez les franais》(2010)和Abdellah Taïa的《Celui qui est digne d’être aim》(2017)中都有体现。Mehdi……
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Pub Date : 2023-01-01DOI: 10.1353/wfs.2023.a909485
Reviewed by: Making the Marvelous: Marie-Catherine d'Aulnoy, Henriette-Julie de Murat, and the Literary Representations of the Decorative Arts by Rori Bloom Kathryn R. Bastin Bloom, Rori. Making the Marvelous: Marie-Catherine d'Aulnoy, Henriette-Julie de Murat, and the Literary Representations of the Decorative Arts. U of Nebraska P, 2022. Pp. vii- 236. ISBN 978-1-4962-2267-1. $65.00 (hardcover). ISBN 978-1-4962-3173-4. $65.00 (eBook). Finely wrought and incisive, Rori Bloom's evocative Making the Marvelous invites us to reconsider material culture in the late-seventeenth-century texts of Marie-Catherine d'Aulnoy and Henriette-Julie de Murat through five chapters. Bloom makes an invaluable contribution to fairy tale studies with her monograph, positing these two female French uniquely positioned artisans and writers as the true makers of art during the Grand Siècle. While scholars in the past have shown that artists and writers used their encomiastic work to praise Louis XIV as divine and supreme ruler, Bloom argues that d'Aulnoy and Murat operate as "outsiders" (2) and they aim to invite readers to admire the complex process of creating. Bloom ultimately reveals that the marvelous, through these two writers, is crafted as art by human hands (24). Bloom's twenty-four-page introduction solidly situates the reader in the field of fairy tale studies. Bloom also illustrates that while the work of both professional authors valorizes the "decorative arts in Old Regime France," there is marked difference, which is evidence of the "idiosyncratic treatment of specific aesthetic issues by each author" (19). In Chapter One, "Fairy Tale as Palace Tour: Description and Setting," Bloom delineates that both d'Aulnoy and Murat subordinate narrative to descriptive prose. While both authors reflect aspects of the opulence of Versailles through their descriptions, their work is not synonymous with panegyric texts of the era and each author shows a preference for small, intimate spaces that emphasize the skill it took to craft such space rather than its cost or its public, political use, thus calling attention to "delicacy" over "grandeur" (55). In Chapter Two, "Stories That Illustrate Themselves: Description and Painting," Bloom shows how d'Aulnoy and Murat employ ekphrastic writing to question aesthetics and the very nature and limits of visual representation. D'Aulnoy and Murat wrote "as if they were painting" (60), and Bloom shows, through a careful examination of their frequent evocations of portraiture (a smaller, less prestigious genre), that d'Aulnoy and Murat elevated their own writing in the more minor fairy tale genre. Of special interest is Bloom's work on singeries, or paintings of simians aping human pastimes in decorative arts, thus showing how important animals were to the visual arts of the seventeenth century. Noteworthy, too, is Bloom's nuanced analysis of Murat's use of color in her tales, often evoking fiery or aquatic scenes, or stunning bright
{"title":"Making the Marvelous: Marie-Catherine d'Aulnoy, Henriette-Julie de Murat, and the Literary Representations of the Decorative Arts by Rori Bloom (review)","authors":"","doi":"10.1353/wfs.2023.a909485","DOIUrl":"https://doi.org/10.1353/wfs.2023.a909485","url":null,"abstract":"Reviewed by: Making the Marvelous: Marie-Catherine d'Aulnoy, Henriette-Julie de Murat, and the Literary Representations of the Decorative Arts by Rori Bloom Kathryn R. Bastin Bloom, Rori. Making the Marvelous: Marie-Catherine d'Aulnoy, Henriette-Julie de Murat, and the Literary Representations of the Decorative Arts. U of Nebraska P, 2022. Pp. vii- 236. ISBN 978-1-4962-2267-1. $65.00 (hardcover). ISBN 978-1-4962-3173-4. $65.00 (eBook). Finely wrought and incisive, Rori Bloom's evocative Making the Marvelous invites us to reconsider material culture in the late-seventeenth-century texts of Marie-Catherine d'Aulnoy and Henriette-Julie de Murat through five chapters. Bloom makes an invaluable contribution to fairy tale studies with her monograph, positing these two female French uniquely positioned artisans and writers as the true makers of art during the Grand Siècle. While scholars in the past have shown that artists and writers used their encomiastic work to praise Louis XIV as divine and supreme ruler, Bloom argues that d'Aulnoy and Murat operate as \"outsiders\" (2) and they aim to invite readers to admire the complex process of creating. Bloom ultimately reveals that the marvelous, through these two writers, is crafted as art by human hands (24). Bloom's twenty-four-page introduction solidly situates the reader in the field of fairy tale studies. Bloom also illustrates that while the work of both professional authors valorizes the \"decorative arts in Old Regime France,\" there is marked difference, which is evidence of the \"idiosyncratic treatment of specific aesthetic issues by each author\" (19). In Chapter One, \"Fairy Tale as Palace Tour: Description and Setting,\" Bloom delineates that both d'Aulnoy and Murat subordinate narrative to descriptive prose. While both authors reflect aspects of the opulence of Versailles through their descriptions, their work is not synonymous with panegyric texts of the era and each author shows a preference for small, intimate spaces that emphasize the skill it took to craft such space rather than its cost or its public, political use, thus calling attention to \"delicacy\" over \"grandeur\" (55). In Chapter Two, \"Stories That Illustrate Themselves: Description and Painting,\" Bloom shows how d'Aulnoy and Murat employ ekphrastic writing to question aesthetics and the very nature and limits of visual representation. D'Aulnoy and Murat wrote \"as if they were painting\" (60), and Bloom shows, through a careful examination of their frequent evocations of portraiture (a smaller, less prestigious genre), that d'Aulnoy and Murat elevated their own writing in the more minor fairy tale genre. Of special interest is Bloom's work on singeries, or paintings of simians aping human pastimes in decorative arts, thus showing how important animals were to the visual arts of the seventeenth century. Noteworthy, too, is Bloom's nuanced analysis of Murat's use of color in her tales, often evoking fiery or aquatic scenes, or stunning bright","PeriodicalId":391338,"journal":{"name":"Women in French Studies","volume":"18 2 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":"135053765","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}
{"title":"Le mythe au féminin et l'(in)visibilisation du corps ed. by Brigitte Le Juez and Mekta Zupančič (review)","authors":"Mallory Nischan","doi":"10.1353/wfs.2022.0025","DOIUrl":"https://doi.org/10.1353/wfs.2022.0025","url":null,"abstract":"","PeriodicalId":391338,"journal":{"name":"Women in French Studies","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126159557","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}
Abstract:Portrait de la jeune fille en feu (2019), quatrième long métrage de Céline Sciamma, opère une transgression sur trois niveaux—personnages, réalisatrice et actrice—et défie patriarcat et hétérocratie en prônant liberté, égalité et sororité. En sus de bousculer par des choix narratifs et cinématographiques la dynamique du regard du portrait traditionnel, Sciamma corrige le regard (masculin) auquel nous sommes conditionné·e·s. Film sur le désir féminin, Portrait pallie en outre l'absence des expériences de femmes (saphisme, avortement) tant au cinéma que dans les musées en convoquant et détournant de célèbres tableaux (d'hommes). C'est en dehors de toute intentionnalité auctoriale, dans le contexte sociocinématographique de la cérémonie des César 2020, que le film s'est trouvé doté d'un ultime pouvoir transgressif.
{"title":"Personnages (dé)rangées, réalisatrice et actrice dérangeantes : Portrait de la jeune fille en feu de Céline Sciamma","authors":"M. Bacholle","doi":"10.1353/wfs.2022.0010","DOIUrl":"https://doi.org/10.1353/wfs.2022.0010","url":null,"abstract":"Abstract:Portrait de la jeune fille en feu (2019), quatrième long métrage de Céline Sciamma, opère une transgression sur trois niveaux—personnages, réalisatrice et actrice—et défie patriarcat et hétérocratie en prônant liberté, égalité et sororité. En sus de bousculer par des choix narratifs et cinématographiques la dynamique du regard du portrait traditionnel, Sciamma corrige le regard (masculin) auquel nous sommes conditionné·e·s. Film sur le désir féminin, Portrait pallie en outre l'absence des expériences de femmes (saphisme, avortement) tant au cinéma que dans les musées en convoquant et détournant de célèbres tableaux (d'hommes). C'est en dehors de toute intentionnalité auctoriale, dans le contexte sociocinématographique de la cérémonie des César 2020, que le film s'est trouvé doté d'un ultime pouvoir transgressif.","PeriodicalId":391338,"journal":{"name":"Women in French Studies","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114143839","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}
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