Claire De Duras (1777-1828), Écrivaine
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Géraldine Crahay a Thesis Submitted in Fulfilments of the Requirements For
‘ON AURAIT PENSÉ QUE LA NATURE S’ÉTAIT TROMPÉE EN LEUR DONNANT LEURS SEXES’: MASCULINE MALAISE, GENDER INDETERMINACY AND SEXUAL AMBIGUITY IN JULY MONARCHY NARRATIVES Géraldine Crahay A thesis submitted in fulfilments of the requirements for the degree of Doctor in Philosophy in French Studies Bangor University, School of Modern Languages and Cultures June 2015 i TABLE OF CONTENTS Abstract .................................................................................................................................... vii Acknowledgements ................................................................................................................... ix Declaration and Consent ........................................................................................................... xi Introduction: Masculine Ambiguities during the July Monarchy (1830‒48) ............................ 1 Introduction ..................................................................................................................................... 1 Theoretical Framework: Masculinities Studies and the ‘Crisis’ of Masculinity ............................. 4 Literature Overview: Masculinity in the Nineteenth Century ......................................................... 9 Differences between Masculinité and Virilité ............................................................................... 13 Masculinity during the July Monarchy ......................................................................................... 16 A Model of Masculinity: -
OURIKA and the FRENCH LIEUTENANT's WOMAN I Chose
REWRITING WOMEN'S STORIES: OURIKA AND THE FRENCH LIEUTENANT'S WOMAN I chose the name of the hero in my own novel, The French Lieutenant's Woman, quite freely--or so I thought at the time. It came as a shock, months after my typescript had gone to the printers, to pick up Ourika one day and to recall that Charles was the name of the principal male figure there also. That set me thinking. And though I could have sworn I had never had the African figure of Ourika in mind during the writing of The French Lieutenant's Woman, I am now certain in retrospect that she was very active in my unconscious.1 Most readers of John Fowles's celebrated The French Lieutenant's Woman, written in 1969, are probably unaware of the debt it owes and the strong similarity it bears to Ourika, a slave story written by a nineteenth-century woman writer, Claire de Duras, in 1823. Not only was Fowles influenced by that early work, but in 1977 he chose to translate it and write a Foreword and Epilogue explaining its importance to literary history and to him as a writer. There exists, then, a small corpus of texts--two novels, a translation, and two commentaries--that merits analysis for several reasons. A comparison of the two novels sheds light generally on both works, especially since Fowles has explicitly commented on the subject of their similarities; and an identification of some of the salient features of Fowles's translation and of his analysis of Duras's work points up significant aesthetic and ideological differences between the two authors. -
Race, Transmission, and the Hidden
THE MASK OF TRANSMISSION: RACE, TRANSMISSION, AND THE HIDDEN CULTURAL GENEALOGIES OF AMERICAN LITERATURE, 1837-1927 by KAREN ILENE EBLEN B.A., (English) Fort Lewis College, 1995 B.A., (Media Arts) Fort Lewis College, 1995 M.A., University of Colorado, 2003 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of English 2013 This thesis entitled: The Mask of Transmission: Race, Transnationalism, and the Hidden Cultural Genealogies of American Literature, 1823-1927 written by Karen Ilene Eblen has been approved for the Department of English Cheryl Higashida Anna Brickhouse Date April 12, 2013 The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. Eblen, Karen Ilene (Ph.D., English) The Mask of Transmission: Race, Transnationalism, and the Hidden Cultural Genealogies of American Literature, 1837-1927 Thesis directed by Associate Professor Cheryl Higashida (University of Colorado) and Associate Professor Anna Brickhouse (University of Virginia) This dissertation examines transamerican and transatlantic genealogies of nineteenth-century African American literature that are illuminated by examining masks and masking in tragic mulatto and passing narratives from France, the Caribbean, and the U.S.. I show how masking permeates the formal features of these narratives; brings feminine stories of incarceration, captivity, and cloistering to bear on masculine narratives of mobility and revolution; and illuminates some of the conditions and sites through which modern black subjectivity is formed and represented. -
©2011 Sandra Sokowski ALL RIGHTS RESERVED
©2011 Sandra Sokowski ALL RIGHTS RESERVED SUBVERSIVE BODIES IN NINETEENTH-CENTURY NARRATIVES OF PARIS AND LONDON By SANDRA SOKOWSKI A dissertation submitted to the Graduate School – New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Comparative Literature Written under the direction of M. Josephine Diamond And approved by ______________________________ ______________________________ _______________________________ _______________________________ New Brunswick, New Jersey MAY, 2011 ABSTRACT OF THE DISSERTATION Subversive Bodies in Nineteenth-Century Narratives of Paris and London By SANDRA SOKOWSKI Dissertation Director: M. Josephine Diamond In this dissertation, Subversive Bodies in Nineteenth-Century Narratives of Paris and London, I compare representations of subversive bodies (transgressive women, revolutionaries, and monsters) in six paradigmatic French and British texts written from the beginning to the end of the nineteenth century and set in the metropolitan centers of Paris and London. This is an original comparative study of subversive bodies in the context of metanarratives of discipline and control. Working with Fredric Jameson’s concept of the political unconscious, and Michel Foucault’s work on discipline and the body, I analyze the articulation of contemporary scientific and sociological discourses in these novels to ultimately show how bodies that defy the dominant social order and ideology are effectively contained and silenced. In Mary Wollstonecraft’s The Wrongs of Woman, or Maria, the protagonist struggles to find a language that legitimates her experience as a moral subject in a female body, which gestures toward a narrative of subject formation that finds fissures in the institutions that define the female. -
Never Black and White: Representing Black Women in Revolutionary France
Never Black and White: Representing Black Women in Revolutionary France Danielle Garcia Honors Thesis Thesis Supervisor: Dr. Melissa Hyde 1 Marie-Guillemine Benoist's Portrait d'une Femme Noire, exhibited in the 1800 Paris Salon, stood out among the plethora of white figures that dominated the walls of the Louvre, sparking controversy due to its peculiar subject: a woman of African descent “who had experienced slavery and in 1794 achieved French citizenship.”1 (Fig. 1) Benoist painted this remarkable picture in the decade between the first abolition of slavery in the French colonies in 1794 and Napoleon’s reinstatement of it in 1804. What did it mean to be a free black woman in this short, politically unstable period? Did she begin to conform to the paradigm of womanhood promoted by Enlightenment thinkers, which mainly concerned white women, or was she defined by a separate set of cultural conventions and ideologies? In the absence of firsthand accounts of art and writing by black women, I have analyzed the conditions of their existence, ideologies that shaped their realities, and a varying range of visual and literary representations, to understand something of the kind of roles and experiences the women had in revolutionary France. Through close readings of a selection of portraits and early nineteenth-century novels by white European women, I argue that their representations of black women treat the latter sympathetically as compelling and multifaceted subjects. Rather than representing them in terms of cultural stereotypes, which was typical of the time, women like Marie-Guillemine Benoist, Isabelle de Charrière, Claire de Duras, and Sophie de Tott presented their black subjects as beautiful—if also sometimes tragic—women capable of feeling a range of emotions, experiencing hardships, analyzing interpersonal dilemmas, 1 Viktoria Schmidt-Linsenhoff, “Who is the Subject? Marie-Guilhelmine Benoist’s Portrait d’une Négresse,” Slave Portraiture in the Atlantic World, (New York: Cambridge University Press, 2013), 325. -
Re-Reading Race, Identity and Color from the Nineteenth-Century Naturalists to Twentieth- and Twenty-First Century Migrant Narrative
Re-reading Race, Identity and Color from the Nineteenth-Century Naturalists to Twentieth- and Twenty-First Century Migrant Narrative Holly L. Collins A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Languages and Literatures (French). Chapel Hill 2011 Approved by, Dominique Fisher Martine Antle Hassan Melehy Donald Reid Ellen Welch © 2011 Holly L. Collins ALL RIGHTS RESERVED ii Abstract Holly L. Collins Re-reading Race, Identity and Color from the Nineteenth-Century Naturalists to Twentieth- and Twenty-First Century Migrant Narrative (Under the direction of Dominique Fisher) This dissertation traces the emergence and evolution of ideas on race in nineteenth-century French literature, especially in naturalism, and in twentieth- and twenty-first century Francophone postcolonial literature. My study centers around the functions of memory, myth and the gaze as they play an important role in the development of one’s sense of identity and also contribute to essentialist views on race. The internalization of racial myths continues to affect racial dynamics in the Francophone world due to the persistence of nineteenth-century views on “race” and color. In my dissertation I focus on the still very important biological roots of modern racial constructions that associated the color difference of the indigenous peoples in the colonies with inherent difference. Key nineteenth-century authors such as Emile Zola, Guy de Maupassant and Claire de Duras played an important role in shaping the racialized gaze that constructed the otherness of the indigenous subject.