Cet article etudie les liens entre paganisme, catholicisme et decadence dans la vie et la correspondance d’Oscar Wilde, et se concentre en particulier sur la periode qui suit son incarceration a Reading. Lors de ses voyages en France et en Italie entre 1897 et 1900, Wilde relit la periode precedant son arrestation et la qualifie de « paienne » et de « neronienne ». Au cours de ses dernieres annees, Wilde tente de rapprocher le paganisme de sa jeunesse et son attirance pour le catholicisme, et voit dans Rome, ville a la fois paienne et catholique, l’espace d’une reconciliation possible, ou il peut vivre pleinement tous les aspects de sa « romanite ».
{"title":"All Roads Lead to Rome?: Decadence, Paganism, Catholicism and the Later Life of Oscar Wilde","authors":"Shushma Malik","doi":"10.4000/CVE.1456","DOIUrl":"https://doi.org/10.4000/CVE.1456","url":null,"abstract":"Cet article etudie les liens entre paganisme, catholicisme et decadence dans la vie et la correspondance d’Oscar Wilde, et se concentre en particulier sur la periode qui suit son incarceration a Reading. Lors de ses voyages en France et en Italie entre 1897 et 1900, Wilde relit la periode precedant son arrestation et la qualifie de « paienne » et de « neronienne ». Au cours de ses dernieres annees, Wilde tente de rapprocher le paganisme de sa jeunesse et son attirance pour le catholicisme, et voit dans Rome, ville a la fois paienne et catholique, l’espace d’une reconciliation possible, ou il peut vivre pleinement tous les aspects de sa « romanite ».","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2014-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88429142","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Durant la deuxieme moitie du xixe siecle, la faillite de la metaphysique et des formes les plus traditionnelles de theologie naturelle viennent remettre en cause les fondements traditionnels des croyances religieuses, provoquant de nombreuses crises tout a la fois spirituelles et intellectuelles. Dans ce contexte de secularisation croissante des visions du monde, les interrogations philosophiques et theologiques tendent a delaisser le terrain de la metaphysique classique et son interrogation seculaire sur l’etre pour deboucher sur un questionnement de type epistemologique de plus en plus centre sur la possibilite, pour l’homme, de connaitre Dieu et les realites ultimes.L’agnosticisme philosophique, qui se developpa alors en Angleterre en lien avec une interrogation theologique de plus en plus centree sur la question des conditions transcendantales de la connaissance, doit-il etre considere comme ayant constitue l’antichambre d’un atheisme qui n’aurait pas ose avouer son nom ou doit-on plutot voir en lui un courant de pensee qui n’aurait jamais rompu avec toute forme d’aspiration spirituelle, y compris dans ses formes les plus radicales ? Cette contribution evoque la question de la possibilite ou de l’impossibilite de connaitre les realites ultimes. Elle suggere aussi que les solutions que commencerent a envisager les agnostiques britanniques n’ont peut-etre pas perdu toute actualite.
{"title":"Agnosticisme, scepticisme épistémologique et « voie négative » en Grande-Bretagne au xixe siècle","authors":"Jean-Michel Yvard","doi":"10.4000/CVE.522","DOIUrl":"https://doi.org/10.4000/CVE.522","url":null,"abstract":"Durant la deuxieme moitie du xixe siecle, la faillite de la metaphysique et des formes les plus traditionnelles de theologie naturelle viennent remettre en cause les fondements traditionnels des croyances religieuses, provoquant de nombreuses crises tout a la fois spirituelles et intellectuelles. Dans ce contexte de secularisation croissante des visions du monde, les interrogations philosophiques et theologiques tendent a delaisser le terrain de la metaphysique classique et son interrogation seculaire sur l’etre pour deboucher sur un questionnement de type epistemologique de plus en plus centre sur la possibilite, pour l’homme, de connaitre Dieu et les realites ultimes.L’agnosticisme philosophique, qui se developpa alors en Angleterre en lien avec une interrogation theologique de plus en plus centree sur la question des conditions transcendantales de la connaissance, doit-il etre considere comme ayant constitue l’antichambre d’un atheisme qui n’aurait pas ose avouer son nom ou doit-on plutot voir en lui un courant de pensee qui n’aurait jamais rompu avec toute forme d’aspiration spirituelle, y compris dans ses formes les plus radicales ? Cette contribution evoque la question de la possibilite ou de l’impossibilite de connaitre les realites ultimes. Elle suggere aussi que les solutions que commencerent a envisager les agnostiques britanniques n’ont peut-etre pas perdu toute actualite.","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72893068","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Both Henry James and George Eliot make graphic use of realistic locations within their novels. This practice provides a plausible socio-historical context for their characters and contributes to the development of the genre of “realisms” in the nineteenth century novel. The use of specific identifiable locations also indicates, through their character’s engagement with their geographical setting, how place and time help construct the identity of the characters themselves. My paper addresses this aspect of the realist novel of the nineteenth century, through the pens of two diverse authors. It explores how the differing narrative strategies of Eliot and James, broadly delineated as a blend of overt and covert narrative voice, are expressed through the response of two young brides to Rome. It notes the recurring use in both novels of a metaphor of marriage as constituting a confining cul de sac, in which the idealism of both Dorothea and Isabel is crushed and their autonomy suppressed. This is contextualised by the physical labyrinths, antique artefacts and material culture of the classical city which both young women visit and come to know while they come to know their husbands. Their disillusionment and increasing insight about the nature of their marriages is ironically juxtaposed to their sightseeing of a classical civilisation which teaches them how their predecessors in the city lived, through their own eyes and those of various guides. It notes how within Rome, Casaubon and Osborne view their wives as extensions to their collections of classical urban artefacts/provider of secretarial skills rather than as women in their own right. The paper suggests that the physical and emotional journeys of these two young women are experienced in tandem, and that their response to the foreign material world to which their husbands transplant them echoes their own sense of alienation from their husbands. Their temporal distance from the ancient Roman culture mimics their sense of emotional dislocation.
{"title":"Eternal City or the Stuff of Nightmares? The Characterisation of Rome in Portrait of a Lady and Middlemarch","authors":"Hannah Hunt","doi":"10.4000/CVE.1665","DOIUrl":"https://doi.org/10.4000/CVE.1665","url":null,"abstract":"Both Henry James and George Eliot make graphic use of realistic locations within their novels. This practice provides a plausible socio-historical context for their characters and contributes to the development of the genre of “realisms” in the nineteenth century novel. The use of specific identifiable locations also indicates, through their character’s engagement with their geographical setting, how place and time help construct the identity of the characters themselves. My paper addresses this aspect of the realist novel of the nineteenth century, through the pens of two diverse authors. It explores how the differing narrative strategies of Eliot and James, broadly delineated as a blend of overt and covert narrative voice, are expressed through the response of two young brides to Rome. It notes the recurring use in both novels of a metaphor of marriage as constituting a confining cul de sac, in which the idealism of both Dorothea and Isabel is crushed and their autonomy suppressed. This is contextualised by the physical labyrinths, antique artefacts and material culture of the classical city which both young women visit and come to know while they come to know their husbands. Their disillusionment and increasing insight about the nature of their marriages is ironically juxtaposed to their sightseeing of a classical civilisation which teaches them how their predecessors in the city lived, through their own eyes and those of various guides. It notes how within Rome, Casaubon and Osborne view their wives as extensions to their collections of classical urban artefacts/provider of secretarial skills rather than as women in their own right. The paper suggests that the physical and emotional journeys of these two young women are experienced in tandem, and that their response to the foreign material world to which their husbands transplant them echoes their own sense of alienation from their husbands. Their temporal distance from the ancient Roman culture mimics their sense of emotional dislocation.","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81879307","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
To avoid being trapped in the fury of feminist claims and to spurn the traditional gender ideology, some Victorian women poets take up a third discourse, ambiguous and protean. Adelaide Procter (1825–1864) chooses neither to fight nor to accept gender ideology. Her faith-driven poetry enables her to write in-between poems, keeping away from official authoritarian discourses, which support or deny the existence of gender spheres. Thus, Procter, as a feminist, writes poems defending feminine values whilst resisting to self-deprecation and to the excessive enhancement of virtues. Converted to Catholicism in 1851, Procter, as a Tractarian, uses her poetry, both religious and feminist, as a weapon against the construction of political and poetical patterns. Being Anglo-Catholic, she can create a feminine and autonomous space from where she gives her own interpretations and turns away from official discourses.
{"title":"« A Woman’s Answer » : Adelaide Procter et la poésie face au genre","authors":"F. Moine","doi":"10.4000/CVE.1636","DOIUrl":"https://doi.org/10.4000/CVE.1636","url":null,"abstract":"To avoid being trapped in the fury of feminist claims and to spurn the traditional gender ideology, some Victorian women poets take up a third discourse, ambiguous and protean. Adelaide Procter (1825–1864) chooses neither to fight nor to accept gender ideology. Her faith-driven poetry enables her to write in-between poems, keeping away from official authoritarian discourses, which support or deny the existence of gender spheres. Thus, Procter, as a feminist, writes poems defending feminine values whilst resisting to self-deprecation and to the excessive enhancement of virtues. Converted to Catholicism in 1851, Procter, as a Tractarian, uses her poetry, both religious and feminist, as a weapon against the construction of political and poetical patterns. Being Anglo-Catholic, she can create a feminine and autonomous space from where she gives her own interpretations and turns away from official discourses.","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90980312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
At the end of Daniel Deronda, as the hero is about to leave England so as to start a family in what is to be the new Jewish National Centre, a new perspective is created : this new horizon is that of the East. The final episode, which is a beginning as well as an ending, mirrors the whole novel, which itself harks back to George Eliot’s earlier fiction, yet is also radically different. Daniel Deronda operates on a vaster scale, following a progression from restricted microcosm to complex macrocosm, exploring new bearings on the international scene, away from the narrow concerns of the individual to the recognition of the needs of other fellow beings. Daniel Deronda is definitely a novel about borders to be crossed.
{"title":"La scène internationale : les nouveaux horizons dans Daniel Deronda de George Eliot","authors":"Stéphanie Drouet-Richet","doi":"10.4000/cve.1656","DOIUrl":"https://doi.org/10.4000/cve.1656","url":null,"abstract":"At the end of Daniel Deronda, as the hero is about to leave England so as to start a family in what is to be the new Jewish National Centre, a new perspective is created : this new horizon is that of the East. The final episode, which is a beginning as well as an ending, mirrors the whole novel, which itself harks back to George Eliot’s earlier fiction, yet is also radically different. Daniel Deronda operates on a vaster scale, following a progression from restricted microcosm to complex macrocosm, exploring new bearings on the international scene, away from the narrow concerns of the individual to the recognition of the needs of other fellow beings. Daniel Deronda is definitely a novel about borders to be crossed.","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85280694","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sir James Fitzjames Stephen is known for his book entitled Liberty, Equality, Fraternity (1873) in which he opposed John Stuart Mill’s liberal ideas. For a jurist like him, political societies could not be built on liberty but much more on force and on the subordination to law. At a time—the second half of the 19th century—when religion could not dominate societies any longer, the only way to preserve society was to impose the law and to have it respected, including through the use of force. One had to resist progress which could destroy society. Impervious to the ideas of his period but unquestionably stamped with the teachings of the Old Whigs, Sir James Fitzjames Stephen remains a key character to understand the spirit of resistance at work in the second half of the 19th century, at the same time a sceptic, a moraliser and a Conservative.
{"title":"Sir James Fitzjames Stephen (1829-1894) : un intellectuel sceptique, critique des idées libérales de son temps","authors":"Catherine Hajdenko-Marshall","doi":"10.4000/CVE.1635","DOIUrl":"https://doi.org/10.4000/CVE.1635","url":null,"abstract":"Sir James Fitzjames Stephen is known for his book entitled Liberty, Equality, Fraternity (1873) in which he opposed John Stuart Mill’s liberal ideas. For a jurist like him, political societies could not be built on liberty but much more on force and on the subordination to law. At a time—the second half of the 19th century—when religion could not dominate societies any longer, the only way to preserve society was to impose the law and to have it respected, including through the use of force. One had to resist progress which could destroy society. Impervious to the ideas of his period but unquestionably stamped with the teachings of the Old Whigs, Sir James Fitzjames Stephen remains a key character to understand the spirit of resistance at work in the second half of the 19th century, at the same time a sceptic, a moraliser and a Conservative.","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74331986","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
“Speak I must; I had been trodden on severely and must turn”. It is with these unspoken but no less eloquent words that Jane starts attacking her baffled aunt, who is not used to being addressed in this way by one who is usually obedient and silent. The scene, which follows the incarceration in the red room and Brocklehurst’s visit, can be read as a "Vindication of the rights of Jane” and also as both a metamorphosis and a reversal: Jane is out of herself and rebels against the enemy who gradually turns into a powerless child, ready to cry, unable to recognize this new Jane whom she vainly tries to propitiate. If Jane comes out victorious from this verbal confrontation, her triumph has a bitter after-taste and her previous exaltation is followed by a kind of depression, which is often the case with her. I propose to study this emblematic scene firstly by following three axes: a double metamorphosis where Jane defeats Mrs Reed who loses her composure, in a spectacular reversal of roles, and then by analysing Jane’s ensuing inner monologue, where the narrator’s I takes over from the character’s in this splitting of the narrative voice that is common to both novelistic and fictitious autobiographical forms.
{"title":"Jane Eyre fait de la résistance","authors":"C. Bazin","doi":"10.4000/CVE.1450","DOIUrl":"https://doi.org/10.4000/CVE.1450","url":null,"abstract":"“Speak I must; I had been trodden on severely and must turn”. It is with these unspoken but no less eloquent words that Jane starts attacking her baffled aunt, who is not used to being addressed in this way by one who is usually obedient and silent. The scene, which follows the incarceration in the red room and Brocklehurst’s visit, can be read as a \"Vindication of the rights of Jane” and also as both a metamorphosis and a reversal: Jane is out of herself and rebels against the enemy who gradually turns into a powerless child, ready to cry, unable to recognize this new Jane whom she vainly tries to propitiate. If Jane comes out victorious from this verbal confrontation, her triumph has a bitter after-taste and her previous exaltation is followed by a kind of depression, which is often the case with her. I propose to study this emblematic scene firstly by following three axes: a double metamorphosis where Jane defeats Mrs Reed who loses her composure, in a spectacular reversal of roles, and then by analysing Jane’s ensuing inner monologue, where the narrator’s I takes over from the character’s in this splitting of the narrative voice that is common to both novelistic and fictitious autobiographical forms.","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83849750","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Le cas de Louise Jopling (1843-1933) illustre a merveille les pressions qui pesaient sur les peintres victoriennes des lors qu’elles tentaient de s’imposer sur le marche de l’art. Tres liee personnellement aux piliers du mouvement esthete, elle fut sensible a l’influence du japonisme et on lui doit l’une des plus belles toiles refletant l’engouement pour la porcelaine chinoise. L’engagement dans le sens de l’esthetisme reste pourtant timide dans son œuvre, peut-etre par crainte de ne pas trouver d’acheteurs pour des œuvres plus avant-gardistes, et il semble que ce soit plutot dans le camp du feminisme que Louise Jopling ait deploye son energie : transformee en objet d’art par le regard de ses portraitistes Whistler et Millais, elle prit soin d’affirmer son autonomie en tant que sujet, devenant en 1880 membre de la Society of Women Artists, ouvrant en 1887 sa propre ecole d’art pour les femmes, puis en etant en 1901 la premiere femme admise au sein de la Royal Society of British Artists. Le sujet de diverses œuvres aujourd’hui perdues laisse neanmoins entrevoir un possible lien entre feminisme et esthetisme, culminant avec sa Salome de 1885.
路易丝·乔普林(Louise Jopling, 1843-1933)的案例很好地说明了维多利亚时代画家在试图在艺术市场上立足时所面临的压力。她个人与美感运动的支柱有着密切的联系，对日本主义的影响非常敏感，这是反映中国对瓷器狂热的最美丽的画作之一。然而，在她的作品中，对美学的承诺仍然很谨慎，也许是担心找不到更前卫的作品的买家，而路易丝·乔普林似乎更倾向于女权主义阵营:transformee旁边的艺术品由其portraitistes口哨儿Millais握住她照顾,并维护其作为主体自主权,1880年成为成员Society of Women Artists, 1887年开辟女性自身的艺术学院,然后自1901年《premiere妻子允许在《英国皇家学会Artists。各种现已失传的作品的主题让我们瞥见了女权主义和美学之间可能的联系，在1885年的《莎乐美》中达到顶峰。
{"title":"Louise Jopling, esthète réticente, féministe convaincue","authors":"L. Bury","doi":"10.4000/CVE.1366","DOIUrl":"https://doi.org/10.4000/CVE.1366","url":null,"abstract":"Le cas de Louise Jopling (1843-1933) illustre a merveille les pressions qui pesaient sur les peintres victoriennes des lors qu’elles tentaient de s’imposer sur le marche de l’art. Tres liee personnellement aux piliers du mouvement esthete, elle fut sensible a l’influence du japonisme et on lui doit l’une des plus belles toiles refletant l’engouement pour la porcelaine chinoise. L’engagement dans le sens de l’esthetisme reste pourtant timide dans son œuvre, peut-etre par crainte de ne pas trouver d’acheteurs pour des œuvres plus avant-gardistes, et il semble que ce soit plutot dans le camp du feminisme que Louise Jopling ait deploye son energie : transformee en objet d’art par le regard de ses portraitistes Whistler et Millais, elle prit soin d’affirmer son autonomie en tant que sujet, devenant en 1880 membre de la Society of Women Artists, ouvrant en 1887 sa propre ecole d’art pour les femmes, puis en etant en 1901 la premiere femme admise au sein de la Royal Society of British Artists. Le sujet de diverses œuvres aujourd’hui perdues laisse neanmoins entrevoir un possible lien entre feminisme et esthetisme, culminant avec sa Salome de 1885.","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81150664","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Was Elizabeth von Arnim an aesthetic writer? Scholars and critics have claimed her as an Edwardian, a middlebrow author, a popular bestselling writer and a satirist of acerbic wit. By including her in her seminal work The Female Forgotten Aesthetes (2000) Talia Schaffer has encouraged readers to look at von Arnim’s early works from yet another and, as it turns out, very fruitful perspective. Schaffer suggests that Elizabeth, the diarist of Elizabeth and Her German Garden (1898), who was von A...
{"title":"Beauty’s Price: Femininity as an Aesthetic Commodity in Elizabeth’s von Arnim’s Novels","authors":"Juliane Roemhild","doi":"10.4000/CVE.1362","DOIUrl":"https://doi.org/10.4000/CVE.1362","url":null,"abstract":"Was Elizabeth von Arnim an aesthetic writer? Scholars and critics have claimed her as an Edwardian, a middlebrow author, a popular bestselling writer and a satirist of acerbic wit. By including her in her seminal work The Female Forgotten Aesthetes (2000) Talia Schaffer has encouraged readers to look at von Arnim’s early works from yet another and, as it turns out, very fruitful perspective. Schaffer suggests that Elizabeth, the diarist of Elizabeth and Her German Garden (1898), who was von A...","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76435307","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
While Victoria Cross’ novel Six Chapters of a Man’s Life has now largely fallen into obscurity, it has a new relevance in terms of contemporary theories of performativity and gender identity. The novel focuses on the impossibility of seeing androgyny as a coherent gender identity; instead, androgyny is presented as fragmented and illegible. Cross first published an excerpt from this novel in the Decadent journal The Yellow Book, and titled the short-story “Theodora, a Fragment,” which has been reprinted in Elaine Showalter’s anthology Daughters of Decadence. Both the story and the novel focus on the problems of desiring the androgyne. The male narrator, Cecil, finds himself first attracted to and then frustrated by the ever-shifting gender identity of his female lover, Theodora, who secretly cross-dresses as a man, Theodore, so that they may travel together unmarried. Drawing on Judith Butler’s theories of gender and identity, this article explores how androgyny functions as a primary gender tempered by its opposite—either feminized masculinity or masculinized femininity—and the impossibility of seeing androgyny as a coherent identity outside this gender binary.
虽然维多利亚·克罗斯的小说《一个男人一生的六章》现在基本上已经默默无闻，但就当代的表演和性别认同理论而言，它有了新的相关性。这部小说关注的是将雌雄同体视为一种连贯的性别认同是不可能的;相反，雌雄同体被呈现为碎片化和难以辨认的。克罗斯首先在颓废派杂志《黄书》(the Yellow Book)上发表了这部小说的节选，并将其命名为短篇小说《狄奥多拉，一个片段》(Theodora, a Fragment)，这篇小说被伊莱恩·肖沃尔特(Elaine Showalter)的选集《颓废的女儿》(Daughters of Decadence)转载。故事和小说都聚焦于渴望雌雄同体的问题。男性叙述者塞西尔(Cecil)发现自己先是被他的女性情人西奥多拉(Theodora)不断变化的性别认同所吸引，然后又被她所挫败。西奥多拉秘密地扮作男性西奥多拉，这样他们就可以一起未婚旅行了。借鉴朱迪思·巴特勒关于性别和身份的理论，本文探讨了雌雄同体作为一种主要性别是如何被它的对立面——要么是女性化的男性化，要么是男性化的女性化——调和的，以及雌雄同体在这种性别二元之外作为一种连贯身份的不可能性。
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