Abstract:This article proposes a close reading of Chantal T. Spitz's short story "Joséphine" in tandem with an engagement with Polynesian orality and tattooing as both metaphors for bodily inscription and as integral to the socially-determined process of gendered identity formation. The author demonstrates how Mā'ohi non-binary gender embodiment is inherently relational and draws upon long histories of oral storytelling and cultural traditions of triangulation. These relational practices of narration, voice, and movement provide counternarratives to Western biomedical utilitarian theories of gender transition. In the short story, Western definitions of gender transition/reassignment and Mā'ohi notions of socially-determined and locally-rooted constellations of gendered self-actualization act simultaneously on the site of the protagonist's gendered body. By adapting Kamau Brathwaite's concept of tidalectics, the author suggests that these influences come together in aqueous rhythm in a "trans tidalectics" that disrupt the telos at the heart of Western gender transition, often historically determined by medical or surgical intervention.
{"title":"Triangulating Trans Tidalectics: Decolonizing gendered Embodiment in Chantal Spitz'S \"Joséphine\"","authors":"Eric J. Disbro","doi":"10.1353/wfs.2021.0003","DOIUrl":"https://doi.org/10.1353/wfs.2021.0003","url":null,"abstract":"Abstract:This article proposes a close reading of Chantal T. Spitz's short story \"Joséphine\" in tandem with an engagement with Polynesian orality and tattooing as both metaphors for bodily inscription and as integral to the socially-determined process of gendered identity formation. The author demonstrates how Mā'ohi non-binary gender embodiment is inherently relational and draws upon long histories of oral storytelling and cultural traditions of triangulation. These relational practices of narration, voice, and movement provide counternarratives to Western biomedical utilitarian theories of gender transition. In the short story, Western definitions of gender transition/reassignment and Mā'ohi notions of socially-determined and locally-rooted constellations of gendered self-actualization act simultaneously on the site of the protagonist's gendered body. By adapting Kamau Brathwaite's concept of tidalectics, the author suggests that these influences come together in aqueous rhythm in a \"trans tidalectics\" that disrupt the telos at the heart of Western gender transition, often historically determined by medical or surgical intervention.","PeriodicalId":391338,"journal":{"name":"Women in French Studies","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121813636","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:Set in the Second Sino-Japanese War, Shan Sa's award-winning novel La joueuse de go features the cross-cultural love between her protagonists-narrators: a Chinese teenage girl and a Japanese soldier. Since its publication in 2001, the novel has received divergent remarks from literary critics, especially for its contentious portrayals of sexuality. Viewing Shan's representation of sexuality as a battle of eroticism and abstinence, this essay focuses on how the protagonists' respective sexual explorations reflect and influence their identity-quests and their reciprocal yet untold love. In the book, abstinence, a defining feature of their cross-cultural love, is depicted as eroticism in disguise. While the Chinese girl's sexual awakening empowers her to embrace her womanhood, the Japanese soldier's love encounters enable him to live for and as himself. Throughout the narrative, Shan creates various forms of duality, whether it be structuring the text as a game of Go or presenting the characters as doubles. As the most crucial metaphor of duality, Go serves as a site of reflection and introspection. Through their interactions on the grid, the protagonists complete the liberating process of self-rediscovery by letting the strangers within themselves emerge. Drawing on critical theories of écriture féminine and platonic love, as well as celebrated creative works, such as Alain Resnais' film Hiroshima, mon amour (1959), my analysis seeks to shed new light on the central issues of sexuality, identity, and cross-cultural love in Shan's sentimental tale.
{"title":"La joueuse de go (2001) By Shan Sa: A Battle of Eroticism and Abstinence","authors":"Xinyi Tan","doi":"10.1353/wfs.2021.0006","DOIUrl":"https://doi.org/10.1353/wfs.2021.0006","url":null,"abstract":"Abstract:Set in the Second Sino-Japanese War, Shan Sa's award-winning novel La joueuse de go features the cross-cultural love between her protagonists-narrators: a Chinese teenage girl and a Japanese soldier. Since its publication in 2001, the novel has received divergent remarks from literary critics, especially for its contentious portrayals of sexuality. Viewing Shan's representation of sexuality as a battle of eroticism and abstinence, this essay focuses on how the protagonists' respective sexual explorations reflect and influence their identity-quests and their reciprocal yet untold love. In the book, abstinence, a defining feature of their cross-cultural love, is depicted as eroticism in disguise. While the Chinese girl's sexual awakening empowers her to embrace her womanhood, the Japanese soldier's love encounters enable him to live for and as himself. Throughout the narrative, Shan creates various forms of duality, whether it be structuring the text as a game of Go or presenting the characters as doubles. As the most crucial metaphor of duality, Go serves as a site of reflection and introspection. Through their interactions on the grid, the protagonists complete the liberating process of self-rediscovery by letting the strangers within themselves emerge. Drawing on critical theories of écriture féminine and platonic love, as well as celebrated creative works, such as Alain Resnais' film Hiroshima, mon amour (1959), my analysis seeks to shed new light on the central issues of sexuality, identity, and cross-cultural love in Shan's sentimental tale.","PeriodicalId":391338,"journal":{"name":"Women in French Studies","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122252956","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":"L'envahissement by Metka Zupančič (review)","authors":"Cheryl Toman","doi":"10.1353/wfs.2021.0030","DOIUrl":"https://doi.org/10.1353/wfs.2021.0030","url":null,"abstract":"","PeriodicalId":391338,"journal":{"name":"Women in French Studies","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115891506","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:One year before the Time's Up and #balancetonporc movements, in Mémoire de fille Annie Ernaux broke the silence over her traumatic first sexual experience (already transposed in the 1977 Ce qu'ils disent ou rien) and minutely detailed the slut-shaming campaign (and its aftermath) she was subjected to as a 17-yearold summer camp counselor. This article exposes the gender roles and double standards in 1958 France and shows how Ernaux's "pig-outing" and embrace of the slur sluttish "enabled" her (in Judith Butler's terms) to rescue her young self from sexual victimization. With its affirmation of women's and girls' right to sexual agency, this disclosure narrative can be viewed as a tool for empowerment and contributes to bringing forth a culture shift.
{"title":"\"Sluttish\" Annie: Ernaux's Mémoire de fille, Female Agency, and Empowerment","authors":"Michèle Bacholle","doi":"10.1353/wfs.2021.0009","DOIUrl":"https://doi.org/10.1353/wfs.2021.0009","url":null,"abstract":"Abstract:One year before the Time's Up and #balancetonporc movements, in Mémoire de fille Annie Ernaux broke the silence over her traumatic first sexual experience (already transposed in the 1977 Ce qu'ils disent ou rien) and minutely detailed the slut-shaming campaign (and its aftermath) she was subjected to as a 17-yearold summer camp counselor. This article exposes the gender roles and double standards in 1958 France and shows how Ernaux's \"pig-outing\" and embrace of the slur sluttish \"enabled\" her (in Judith Butler's terms) to rescue her young self from sexual victimization. With its affirmation of women's and girls' right to sexual agency, this disclosure narrative can be viewed as a tool for empowerment and contributes to bringing forth a culture shift.","PeriodicalId":391338,"journal":{"name":"Women in French Studies","volume":"152 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116386366","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":"La Lettre trace du voyage à l'époque moderne et contemporaine by Isabelle Keller-Privat & Karin Schwerdtner (review)","authors":"Vassiliki Lalagianni","doi":"10.1353/wfs.2021.0025","DOIUrl":"https://doi.org/10.1353/wfs.2021.0025","url":null,"abstract":"","PeriodicalId":391338,"journal":{"name":"Women in French Studies","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121973980","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:This article examines how French novelist Gabrielle Réval's first non-fiction book, L'Avenir de nos filles (1904), functions as both an innovative career guide for young women as well as a showcase for Réval's forward-thinking ideas about women's work. Drawing on her experience as a teacher, writer, and single mother, Réval intersperses interviews with professional women with nuanced feminist commentary. By presenting real-life stories of working women, Réval exposes rarely shared details about a range of professions and offers a realistic, clear-eyed perspective on both the opportunities and challenges of the workplace for women in early 20th-century France.
摘要:本文考察了法国小说家加布里埃尔·雷姆萨瓦尔的第一部非虚构作品《充满荆棘的大街》(L’avenir de nos filles, 1904)，这本书既是年轻女性的创新职业指南，也是雷姆萨瓦尔对女性工作的前瞻性思想的展示。根据她作为教师、作家和单身母亲的经历，雷姆斯瓦尔在对职业女性的采访中穿插了细致入微的女权主义评论。通过讲述职业女性的真实故事，r瓦尔揭露了一系列职业中很少被分享的细节，并为20世纪初法国女性在工作场所面临的机遇和挑战提供了一个现实、清晰的视角。
{"title":"Career Advice for Women in Belle-Époque Paris: Gabrielle Réval's L'Avenir de nos filles (1904)","authors":"M. B. Raycraft","doi":"10.1353/wfs.2021.0004","DOIUrl":"https://doi.org/10.1353/wfs.2021.0004","url":null,"abstract":"Abstract:This article examines how French novelist Gabrielle Réval's first non-fiction book, L'Avenir de nos filles (1904), functions as both an innovative career guide for young women as well as a showcase for Réval's forward-thinking ideas about women's work. Drawing on her experience as a teacher, writer, and single mother, Réval intersperses interviews with professional women with nuanced feminist commentary. By presenting real-life stories of working women, Réval exposes rarely shared details about a range of professions and offers a realistic, clear-eyed perspective on both the opportunities and challenges of the workplace for women in early 20th-century France.","PeriodicalId":391338,"journal":{"name":"Women in French Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129141212","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:As was evident in "Berthe Morisot, Woman Impressionist," an international touring exhibition of the artist's work in 2018-2019, Morisot's painting often captures ways in which the libidinal and affective politics of vision shape the objectified construction of the viewed female subject, and it subtly examines how those politics can be negotiated and challenged. Her portraits of bourgeois Parisian women and figure painting in the late 1860s and 1870s are especially compelling in their interrogation of painting feminine objectification and are a crucial part of Morisot's contribution to the culture of Modernity. I offer a new interpretive framework for identifying a relationship among four well-known paintings of women in domestic spaces that all play with the concept of objectification to engage viewers in the work of essentialist deconstruction. I argue that these paintings build on two innovative and ultimately interrelated forms of defamiliarization to subvert typical viewing practices that essentialize the emotionalized minds and sexualized bodies of women.
{"title":"Berthe Morisot's Subversive Objectification of Women","authors":"Lauren Ravalico","doi":"10.1353/wfs.2021.0001","DOIUrl":"https://doi.org/10.1353/wfs.2021.0001","url":null,"abstract":"Abstract:As was evident in \"Berthe Morisot, Woman Impressionist,\" an international touring exhibition of the artist's work in 2018-2019, Morisot's painting often captures ways in which the libidinal and affective politics of vision shape the objectified construction of the viewed female subject, and it subtly examines how those politics can be negotiated and challenged. Her portraits of bourgeois Parisian women and figure painting in the late 1860s and 1870s are especially compelling in their interrogation of painting feminine objectification and are a crucial part of Morisot's contribution to the culture of Modernity. I offer a new interpretive framework for identifying a relationship among four well-known paintings of women in domestic spaces that all play with the concept of objectification to engage viewers in the work of essentialist deconstruction. I argue that these paintings build on two innovative and ultimately interrelated forms of defamiliarization to subvert typical viewing practices that essentialize the emotionalized minds and sexualized bodies of women.","PeriodicalId":391338,"journal":{"name":"Women in French Studies","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127405604","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:The marginalization of the Black African and African American woman the world over has given rise to a profusion of concepts that have enabled her to re-assert her self-identity amidst a society regimented by both male chauvinism and Western feminist trends. From gender equality to women's empowerment, the concepts that have significantly contributed to enhancing the African woman's image stem, in the majority of cases, from the dissatisfaction of Black feminists who, in their soul and flesh, felt doubly marginalized due to the color of their skin, on one hand, and their status as the weaker sex, on the other; a social malaise caused not only by their men, but also their white feminist counterparts. In a bid to castigate this tendency to absolute supremacy, Sub-Saharan African female writers decided to join the movement initiated in Alice Walker's In Search of Our Mothers' Gardens: Womanist Prose, a book in which the African American novelist coins the word "womanism." This holds true in Central African women's writings, in general, and those of female Cameroonian writers, in particular. From a Black feminism vantage point, this study discusses the tenets of womanism in Anne Tanyi-Tang's Visiting America. It examines such concepts as the "liberal and progressive womanist," the "love of food and roundness," and the "spirit of entrepreneurship"; so many ideas that the Cameroonian playwright brings forth in her masterpiece to carve out new spaces for her fellow African women and awaken those who still remain under the spell and shackles of male dominion. Thus, the vital part they play in boosting the world economy is examined. The analytical appraisal of the selected drama text reveals that as the Cameroonian writer liberates women of color from serfdom, she equally commits them to the survival and wholeness of entire people.
{"title":"Woman, an Economic Force: A Kaleidoscopic Reading of \"Womanism\" in Anne Tanyi-Tang's Visiting America","authors":"Jean-Pierre Atouga","doi":"10.1353/WFS.2020.0040","DOIUrl":"https://doi.org/10.1353/WFS.2020.0040","url":null,"abstract":"Abstract:The marginalization of the Black African and African American woman the world over has given rise to a profusion of concepts that have enabled her to re-assert her self-identity amidst a society regimented by both male chauvinism and Western feminist trends. From gender equality to women's empowerment, the concepts that have significantly contributed to enhancing the African woman's image stem, in the majority of cases, from the dissatisfaction of Black feminists who, in their soul and flesh, felt doubly marginalized due to the color of their skin, on one hand, and their status as the weaker sex, on the other; a social malaise caused not only by their men, but also their white feminist counterparts. In a bid to castigate this tendency to absolute supremacy, Sub-Saharan African female writers decided to join the movement initiated in Alice Walker's In Search of Our Mothers' Gardens: Womanist Prose, a book in which the African American novelist coins the word \"womanism.\" This holds true in Central African women's writings, in general, and those of female Cameroonian writers, in particular. From a Black feminism vantage point, this study discusses the tenets of womanism in Anne Tanyi-Tang's Visiting America. It examines such concepts as the \"liberal and progressive womanist,\" the \"love of food and roundness,\" and the \"spirit of entrepreneurship\"; so many ideas that the Cameroonian playwright brings forth in her masterpiece to carve out new spaces for her fellow African women and awaken those who still remain under the spell and shackles of male dominion. Thus, the vital part they play in boosting the world economy is examined. The analytical appraisal of the selected drama text reveals that as the Cameroonian writer liberates women of color from serfdom, she equally commits them to the survival and wholeness of entire people.","PeriodicalId":391338,"journal":{"name":"Women in French Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126121749","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:Une femme en exil (2000), a fictionalized memoir by Congolese immigrant writer Amba Bongo, recounts the narrator's experience as the victim of injustice, arrest and torture before fleeing Mobutu's Zaire for London, where she eventually rebuilds her life and establishes herself in her new country. This article explores ways that gender is a factor in both her trauma and her road to recovery. Gender figures importantly as one of the reasons for her imprisonment as she involves herself with a women's movement in defiance of the patriarchal order of her society. Gender also plays a role in the traumatic nature of her abuse at the hands of her captors. Drawing on feminist articulations of resilience theory in such works as Feminist Rhetorical Resilience by Elizabeth A. Flynn, Patricia Sotirin, and Ann Brady, our analysis follows Anne in her struggle to overcome her past and to cope with her present, emphasizing the distinctive ways in which resilience is inflected by women's experiences. Finally, not all feminists have viewed resilience theory as having entirely positive implications for women. With this in mind, the narrative will also be examined to show how such critiques of resilience play out within the context of the recovery that Amba Bongo constructs for her protagonist.
摘要:《一个流亡的女人》(2000)是刚果移民作家安巴·邦戈的小说化回忆录，讲述了她从蒙博托统治下的扎伊尔逃到伦敦之前遭受不公、逮捕和折磨的经历，并最终在这个新国家重建了自己的生活。这篇文章探讨了性别在她的创伤和康复之路上都是一个因素。性别是她入狱的重要原因之一，因为她参与了一场妇女运动，反抗她所在社会的父权秩序。性别也在她被绑架者虐待的创伤性中发挥了作用。借鉴Elizabeth A. Flynn、Patricia Sotirin和Ann Brady等人的作品中对弹性理论的女权主义阐释，我们的分析遵循了Anne克服过去和应对现在的斗争，强调了女性经历影响弹性的独特方式。最后，并非所有女权主义者都认为弹性理论对女性有完全积极的影响。考虑到这一点，故事也将被审视，以展示安巴·邦戈为她的主人公构建的复苏背景下，这些对韧性的批评是如何发挥作用的。
{"title":"Gender, Trauma, and Resilience in Amba Bongo's Une femme en exil","authors":"Janice Spleth","doi":"10.1353/WFS.2020.0034","DOIUrl":"https://doi.org/10.1353/WFS.2020.0034","url":null,"abstract":"Abstract:Une femme en exil (2000), a fictionalized memoir by Congolese immigrant writer Amba Bongo, recounts the narrator's experience as the victim of injustice, arrest and torture before fleeing Mobutu's Zaire for London, where she eventually rebuilds her life and establishes herself in her new country. This article explores ways that gender is a factor in both her trauma and her road to recovery. Gender figures importantly as one of the reasons for her imprisonment as she involves herself with a women's movement in defiance of the patriarchal order of her society. Gender also plays a role in the traumatic nature of her abuse at the hands of her captors. Drawing on feminist articulations of resilience theory in such works as Feminist Rhetorical Resilience by Elizabeth A. Flynn, Patricia Sotirin, and Ann Brady, our analysis follows Anne in her struggle to overcome her past and to cope with her present, emphasizing the distinctive ways in which resilience is inflected by women's experiences. Finally, not all feminists have viewed resilience theory as having entirely positive implications for women. With this in mind, the narrative will also be examined to show how such critiques of resilience play out within the context of the recovery that Amba Bongo constructs for her protagonist.","PeriodicalId":391338,"journal":{"name":"Women in French Studies","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114266750","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:Depuis ses origines, la tradition littéraire véhicule une image de la femme responsable des plus grandes tragédies, et ces tragédies surviennent notamment parce qu'elle n'aura pas su réfréner ses désirs. En opposant Hélène à Pénélope, Homère a fixé la manière dont la femme doit gérer ses désirs, pour ne pas dire son corps. Aussitôt qu'elle cède à la tentation des plaisirs extra-conjugaux, la femme cause la ruine de la société, alors que la fidélité conjugale constitue pour elle et pour toute la société une source d'équilibre et de paix. Ainsi, le plaisir, naturel chez l'homme, est prohibé chez la femme. Son plaisir à elle doit se limiter à celui d'accomplir la volonté de son père ou de son mari, même si celle-ci va à l'encontre de la sienne. Cet essai montre comment les écrivaines congolaises déconstruisent cette image de la femme indigne dès qu'elle écoute son corps pour légitimer au contraire ses désirs, pour les sortir du cadre de la culpabilité. L'étude prend appui sur quatre oeuvres: les romans Nika l'Africaine d'Aurore Costa, Homme et femme Dieu les créa de Marie-Louise Abia, L'Or des femmes de Mambou Aimée Gnali, ainsi que la nouvelle « L'Ekôbà et le fruit de la liberté », tirée du recueil Makandal dans mon sang d'Alfoncine Nyélénga Bouya. Cette étude se veut également une introduction à la littérature congolaise.
{"title":"La femme et le droit au plaisir","authors":"Inès Lounda Kihindou","doi":"10.1353/WFS.2020.0046","DOIUrl":"https://doi.org/10.1353/WFS.2020.0046","url":null,"abstract":"Abstract:Depuis ses origines, la tradition littéraire véhicule une image de la femme responsable des plus grandes tragédies, et ces tragédies surviennent notamment parce qu'elle n'aura pas su réfréner ses désirs. En opposant Hélène à Pénélope, Homère a fixé la manière dont la femme doit gérer ses désirs, pour ne pas dire son corps. Aussitôt qu'elle cède à la tentation des plaisirs extra-conjugaux, la femme cause la ruine de la société, alors que la fidélité conjugale constitue pour elle et pour toute la société une source d'équilibre et de paix. Ainsi, le plaisir, naturel chez l'homme, est prohibé chez la femme. Son plaisir à elle doit se limiter à celui d'accomplir la volonté de son père ou de son mari, même si celle-ci va à l'encontre de la sienne. Cet essai montre comment les écrivaines congolaises déconstruisent cette image de la femme indigne dès qu'elle écoute son corps pour légitimer au contraire ses désirs, pour les sortir du cadre de la culpabilité. L'étude prend appui sur quatre oeuvres: les romans Nika l'Africaine d'Aurore Costa, Homme et femme Dieu les créa de Marie-Louise Abia, L'Or des femmes de Mambou Aimée Gnali, ainsi que la nouvelle « L'Ekôbà et le fruit de la liberté », tirée du recueil Makandal dans mon sang d'Alfoncine Nyélénga Bouya. Cette étude se veut également une introduction à la littérature congolaise.","PeriodicalId":391338,"journal":{"name":"Women in French Studies","volume":"152 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127519554","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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