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The French James, or Henry James under the French Critical Gaze Karine Gavand A dissertation presented to the Graduate Faculty of Middle Tennessee State University in partial fulfillment of the requirements for the degree of Doctor in Philosophy December 2008 UMI Number: 3345090 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ® UMI UMI Microform 3345090 Copyright 2009 by ProQuest LLC. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 E. Eisenhower Parkway PO Box 1346 Ann Arbor, Ml 48106-1346 The French James, or Henry James under the French Critical Gaze Karine Gavand APPROVED: Dr. Angela Hague, Major Prolgssor AX. Dr. Allen Hibbard, Reader V^AT-TQ-I A^O^i Dr. Tom Strawman, Chair, Department of English §MLb SmJ Dr. Michael D. Allen, Dean, College of Graduate Studies Acknowledgements My deepest gratitude goes to my dissertation director, Dr. Angela Hague, and to my second reader, Dr. Allen Hibbard, who both provided their support and offered their insights at critical moments throughout the research and composition stages of this project. Abstract The French James, or Henry James under the French Critical Gaze Karine Gavand The French James, or Henry James under the French Critical Gaze explores, through the analysis of how French critics approach Henry James, the influence of cultural factors specific to a country, including historical, institutional, and ideological ones, on literary criticism. While arguably counterintuitive in today's global world, this exploration of the French James demonstrates that local contexts significantly determine criticism in its practice and outcomes. Examining Henry James's view and practice of literary criticism, Chapter I, "James, Criticism, and Culture," foregrounds the influence of cultural factors upon the conduct of criticism. A shrewd cultural analyst, James was sensitive to the differences between the Anglo-American and French literary and critical practices, which he explained by postulating a link between cultures and literary approaches. His own literary criticism testifies to this relationship. Before discussing the cultural factors that presided over the birth of the French James, "The Making of the French James: The 'Secret' Master Trope and Textuality" and "French Jamesian Scholarship since the Eighties: An Unsuccessful Attempt to Break from Textual Boundaries?" identify the French James's salient traits through a survey of the scholarship produced in France since the 1950s. The author also analyzes the i circumstances surrounding the French construction of this writer to reveal the forces that shaped the French James. Chapters IV and V, "The Textual Anchor of French Jamesian Scholarship" and "Litterarite, Universalism, and French Criticism: The Case of the French Reception of Cultural Studies," explore the combined emphasis on textuality and rejection of contextualist or culturalist readings that characterize French Jamesian scholarship, but also French literary criticism. First focusing on French Jamesian critics' defense of this particular critical perspective, chapter IV then widens its scope to include the larger French critical discourse. The bias for textualist readings results, the author argues, from the specific development of the literary studies field, marked by the competition between history and literature, the Sartrean legacy, and the prevailing conception of the critic's role. In chapter V, the exploration of the forces behind the French James extends beyond the boundaries of the strictly literary field by analyzing the French reception of Cultural Studies. The author provides original translations of many of the French sources in this study. n Table of Contents Chapter Page Introduction 1 I. James, Criticism, and Culture 18 II. The Making of the French James: The "Secret" Master Trope and Textuality 45 III. French Jamesian Scholarship since the Eighties: An Unsuccessful Attempt to Break from Textual Boundaries? 78 IV. The Textual Anchor of French Jamesian Scholarship 117 V. Litterarite, Universalism, and French Criticism: The Case of the French Reception of Cultural Studies 151 Conclusion 171 Works Cited 186 in 1 Introduction In his contribution to As Others Read US: International Perspectives on American Literature, Marc Chenetier reports that British scholar Marcus Cunliffe mentions the presence in world literature of two contemporary writers: a Frenchman by the name of Edgarpo and an American better known as Edgar Allan Poe, vituperated in his own country for his light-headed and gratuitous 'tintinnabulations.' Edgarpo, much admired by Baudelaire and by Mallarme, [was] later praised by Paul Valery, this most intellectual of French poets.... (Chenetier 81) Worthy of a doppelgdnger tale a la Poe, Cunliffe's remark humorously dramatizes the drastic differences of appreciation that can exist between France and America when it comes to literary works. As Roger Asselineau's "The French Face of Faulkner" and Paul W. Miller's "French Criticism of Hemingway" suggest, this phenomenon is not circumscribed to Poe. Reminding his readers that America and France have a long history of interpretative differences, Chenetier comments upon the contrasted critical fortunes that various American authors have experienced at home and in France. Thus, from a "regional hick writer," William Faulkner became a "novelist of Nobel stature" as a result of Maurice-Edgar Coindreau's dissemination of his works in French and subsequent support of such high-profile French writers as "Sartre, Claude-Edmonde Magny, and Andre Malraux" (82). Herman Melville also was recognized in France before he was in America, where his more traditional adventure works left Moby-Dick in the shadows. As regards these two authors, however, both sides finally reached a consensus. Such is not the case for Edgar Allan Poe, whose popularity in France, both in general and academic circles, constitutes a matter of surprise for American observers, especially when contrasted with the less happy French critical fate of other American authors who, contrary to him, are by now well-established in the American canon. Joining with "astonished American critics" who marvel at the attention that the "seemingly obvious Poe" garners in France, James E. Miller can thus only lament the "general neglect" that greeted "the subtle and ambiguous James" (303-305). Furthermore, Miller faults Tzvetan Todorov, the author of the main scholarly work done in France at the time on James, for using an inadequate approach resulting in a formulaic James. Nicola Bradbury hints at similar critical and methodological divergences when she describes Ian Watt's 1960 "the First Paragraph of The Ambassadors: An Explication" and David Lodge's 1966 "Strether by the River" as '"un-English"' in their "attention to stylistics" (2). However lacking, flawed, or simply different as they may seem, one cannot deny that international perspectives complicate but also enrich the critical field as they produce different Poes or Jameses. In 2003, The Henry James Review (hereafter HJR) sought to bring to light some of these other Jameses in a special issue focusing on what editor Susan M. Griffin tagged "Global James." As a living antithesis to provincialism, Henry James, the cosmopolite American author turned British and partly educated in France, has always been difficult to contain within one single national and cultural context, like his writing which systematically takes readers across borders and cultures. His texts, now disseminated 3 around the globe, have come under the scrutiny of a variety of non-American and non- Anglophone scholars, whose work HJR gathers in an endeavor to gain insight into "how 'Henry James' is configured and understood nationally." The contributions from critics from Estonia, Japan, Korea, Italy, and Romania reveal, as Griffin points out, that James studies do not occur in a vacuum but are "indicative of, and imbricated with, [these critics'] countries' global self-definitions." James's fluctuating visibility in Japanese criticism is, for instance, contingent upon the country's "relation to the West" (203). Adopting a less political angle, David McWhirter further reveals in HJR's following issue the extent to which different "cultural and critical traditions" produce various avatars of the Master or "new Henry Jameses" (185). Indeed, as he revisits the question of "[globalizing Henry James" (186), McWhirter underlines the "profoundly historical" differences between what he calls, borrowing Jonathan Freedman's words, "our Henry James" (qtd. in McWhirter 168)—recently opened to postmodern readings—and the "increasingly globalized" James (184). The Russian James, still viewed through the lens of Brooks and Parrington, or the strictly New Critical Korean James indeed stand in stark contrast with the American James; nevertheless, McWhirter is confident that the internationalization that James studies are experiencing will contribute to "shap[ing] the James of the future" (185-86). The emphasis that
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