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Narrating Quebec's Insurgent Girlhood

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Narrating Quebec's Insurgent Girlhood Souveraines de corps frontaliers: Narrating Quebec’s Insurgent Girlhood Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University Rachel Elizabeth Willis M. A., B. A. Department of French and Italian The Ohio State University 2017 Dissertation Committee: Danielle Marx-Scouras, Advisor Jennifer Willging Wynne Wong Copyright by Rachel Elizabeth Willis 2017 ABSTRACT This dissertation reconstructs a narrative trajectory of French- Canadian girlhood in the twentieth-century through literature and film, revealing the French-Canadian girl as temporary sovereign of the contested borderland of her own body. In the works studied in this project, the girl- body emerges as a corps frontalier, a gendered borderland between childhood and womanhood, a space of no-longer/not-yet-ness that disrupts stable, traditional structures of identity and subjectivity. The girl herself, inhabitant of that body, is a troublesome subject-in-process, a figure marked by ambivalence, uncertainty, fluidity, and potentiality. She resists categorization as either child or woman, seeking instead to claim sovereignty over the territory of her body and her destiny as a girl. In many ways, she is like French-Canadian society, perpetually and actively en devenir, always working to define herself. Life in that unstable zone is at once exhilarating and exhausting, and appears untenable – but must this be the case? Or can a new conception of girlhood align with new conceptions of Québécois(e) nationality to make it possible for both to retain the active potentiality of being mineur(e)? In order to better understand the relationship between feminine adolescence and French-Canadian identity, this project traces the evolution of girlhood as narrated in a set of literary and cinematic works. Chapter 1, a ii reading of Louis Hémon’s Maria Chapdelaine (1913) and Gabrielle Roy’s Bonheur d’occasion (1945), addresses the conflict between traditional notions of feminine destiny in French-Canadian culture and the more subversive individual desires of the girls expected to follow those notions, revealing the heavy expectation of almost literal self-effacement imposed upon girls as French-Canadian society prioritizes survivance. The second chapter brings together Anne Claire Poirier’s film La fin des étés (1964) and Anne Hébert’s novel Kamouraska (1970) to engage with the question of trauma involved in the erasure of the girlhood self, bringing in Derrida’s hauntology to explore the spectralization of the girl which results from her commodification in becoming a woman within traditional French-Canadian society. Chapter 3 studies the abjection of the mother in Quiet-Revolution girlhood as a violent, tragic process mirroring Quebec’s exodus from the Catholic Church along the same timeline, as expressed in Gabrielle Roy’s La Route d’Altamont (1966) and France Théoret’s Une Belle Education (2006). Finally, Chapter 4, a study of Anne Claire Poirier’s film Tu as crié Let Me Go (1997) and Nelly Arcan’s novel Putain (2001), reveals a sense of lostness, stagnation, or disillusionment which overshadowed feminine adolescence (and French-Canadian society) in the latter decades of the twentieth century. As a whole, this project reveals both the tension and possibility inherent in girlhood as an identitary borderland within the in-between identitary space of French Canadian culture. While both the Quebec girl and iii the Quebec nation seem to desire majority, or adult subjectivity, neither is willing to surrender her sovereignty or self-determination in order to attain it. If the French-Canadian girl is to become a “woman,” or if Quebec is to become a “nation,” it must be on their own terms. iv ACKNOWLEDGEMENTS As I reach the conclusion of this journey, I am deeply indebted to: God, for keeping my lamp burning, and turning my darkness into light; My beautiful family, for believing in me all my life, for loving me so well, and for being my home no matter where we all happen to be; My wonderful advisor, Danielle Marx-Scouras, for your indefatigable support and your bright spirit, which inspired me over and over again; Professors Willging and Wong, for your kindness and for the many opportunities you have given me during my time at OSU, and also for your exemplary leadership of our Department; Heidi, for telling me about Ohio State in the first place, for teaching me how to be a better person, and for lighting the way toward so many levels of discovery; Nicky, Mikaela, and Danielle, for being amazing friends and helping me learn how to shine; My CLV family, for making my summers unforgettable and for teaching me how to teach; My amazing students (including my CLV villagers), for your enthusiasm, curiosity, and drive, which helped me cultivate my own sense of wonder; The AIEQ and the CRILCQ at the Université Laval, particularly Professor Mylène Bédard, for your generous encouragement of my work and welcome in Québec; and of course, The girls and women I study in this project, real and fictional, who helped me to grow as a person and made this project endlessly interesting and enjoyable. v VITA June 2007 …………………………………………………… Irondale High School May 2010 …….………. B. A. English, French, St. Cloud State University Oct 2010-Apr 2011 ….. Assistante d’anglais, TAPIF (Fécamp, France) May 2013 ……………….………… M.A. French, The Ohio State University Sept 2013-May 2014 …….. Lectrice d’anglais, Université de Rennes-1 2016 ……………….… Bourse Gaston-Miron, Association Internationale d’Études Québécoises 2016 ……………. Bulatkin Summer Research Scholarship, Department of French and Italian, The Ohio State University 2011-2013, 2014 to Present …….………. Graduate Teaching Associate, Department of French and Italian, The Ohio State University Fields of Study Major Field: French and Italian Areas of Specialization: Quebec Studies, French and Francophone Studies, Girlhood Studies vi TABLE OF CONTENTS Abstract …………….…………………………………….. ii Acknowledgements …………………..……………… v Vita …………………………….………………………….. vi Introduction ………………...………………………….. 1 Chapter 1 ……………………………………………….. 15 Chapter 2 .……….……………………………………… 76 Chapter 3 ...…………………………………………… 146 Chapter 4 ..…………………………………………… 203 Conclusion …………………………………………… 267 Bibliography …………………………………..…….. 277 vii INTRODUCTION Quebec’s insurgent girlhood "The twentieth century was dominated, in cultural theory and popular culture, by a discourse on the Subject in crisis. Adolescence and femininity have been crucial instances of this popular and theoretical focus. The conjunction of these discourses on self and social formation in the figure of the girl has enabled the girl to figure as an image of change, crisis, and personal and cultural tensions." (Catherine Driscoll, Girls, 305) “What is perhaps unusual in Quebec is the continually unresolved nature of the identitary project itself .... As many Quebec writers have been heard to lament, … the identity of the people of Quebec has been a struggle to survive, a continual process of becoming.” (Mary Jean Green, Women and Narrative Identity, 7) “Pour la jeune fille, … il y a divorce entre sa condition proprement humaine et sa vocation féminine. Et c’est pourquoi l’adolescence est pour la femme un moment si difficile et si décisif. Jusqu’alors elle était un individu autonome : il lui faut renoncer à sa souveraineté." (Beauvoir, Le Deuxième Sexe II, 99) This project began with a surprising realization: Girlhood and Quebec (as an identitary space) have a great deal in common, but scholarship to date has yet to address these commonalities. Girlhood studies, Quebec studies, and even Quebec women’s studies are thriving areas of research, but girlhood studies has yet to be applied to Quebec cultural production as a theoretical angle of inquiry, just as Quebec studies remains untapped as a potential source of new perspectives on the study of feminine adolescence. When I realized this, it piqued my curiosity, so I started digging. Little did I realize the extent of what I would find in the course of 1 my research. This dissertation draws girlhood studies and Quebec studies together to unveil what I consider a uniquely compelling parallel identitary trajectory: a dual quest for sovereignty, survivance, and subjectivity au féminin. The evolution of girlhood within Quebec, especially in this project’s temporal context of the twentieth century, closely resembles Quebec’s struggle against its identity as a province (“conquered territory”) against national subalternity. Much scholarship has been devoted to the transformation of womanhood in Quebec over the past century, but far fewer scholars have addressed the situation of the girl in relation to these changes. As the presumed heiress of feminine identity within the framework of French-Canadian identity, how does the twentieth-century Quebec girl cope with the dramatic revolutions within both? If her supposed goal is to become a French- Canadian woman, what happens when the very definition of her identitary destination is in question? Delving into these questions proved to me that girlhood in Quebec, girlhood and Quebec, echo and reflect one another again and again across the pages and screens of Quebec’s narrative production in powerful ways. My extensive previous research on Joan of Arc is what first brought me to girlhood studies within a Francophone identitary context. Joan’s unique trajectory helped me see the unique potential of the girl if she stepped outside of her expected role as one-becoming-a-woman. Her audacity in claiming the right to agency, even to sovereignty under her own authority (answerable only to God), truly rocked the world. More importantly, much of the power she wielded stemmed from her identity as a girl – a young, unmarried virgin, her body at once an unclaimed 2 territory and an icon of innocence, virtue, and divine right. This body, dressed in male clothing, was the vehicle for a truly radical national transformation. Historians may disagree over the true extent of Joan’s impact of the outcome of the Hundred Years’ War, but her significance as a national icon cannot be overstated, even six hundred years after she was burned at the stake.
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