The period from 1680 to 1730 witnessed the creation of a wealth of women＇s fiction that has long been ignored or dismissed by historians and literary critics. Although the women writers in question were best sellers ...The period from 1680 to 1730 witnessed the creation of a wealth of women＇s fiction that has long been ignored or dismissed by historians and literary critics. Although the women writers in question were best sellers at the time, they were still not accepted within the traditional literary categories. This paper intends to doubt the appropriateness of the term ＂amatory＂ as a description of women＇s writing at the time as it is not proper to entitle them as ＂amatory＂ fiction only for the reason that they adopt similar amatory plot and write fictions about love.展开更多
This paper compares 18th and 19th century travelogues written by women and men travelling the cultural contact zones of the empire, as well as fictional recreations of such first encounters. A juxtaposition of the wri...This paper compares 18th and 19th century travelogues written by women and men travelling the cultural contact zones of the empire, as well as fictional recreations of such first encounters. A juxtaposition of the writers＇ reaction to the dynamics of gazing and the ethics of touch yields surprising results. Many women travellers have no problem to acknowledge the reciprocity of the gaze, accepting, as a matter of course, that the objects of their ethnological interest will gaze at them in return. In comparison, male travellers often exhibit unease at becoming an object of appraisal and observation. Even more interestingly, male travellers often shy away from haptic contact with members of the indigenous population, whereas many （though not all） women are more tolerant of touch and proximity. Regarded as ＂unwomanly＂ by their contemporaries, they carved out for themselves roles which allowed for a more intimate interaction with foreign ethnicities; also, they wrote in different genres--private memoirs instead of official reports. But even in their （semi） fictional writings male authors seem to imagine inter-cultural encounters in different terms from women and tend not let their protagonists enter into close bodily contact with the indigenous population.展开更多
In this paper, I will explore Aphra Behn＇s world： spy, kept mistress and writer. She created her complex personality between myth and reality, underlining limits and contradictions of her society in her life and wor...In this paper, I will explore Aphra Behn＇s world： spy, kept mistress and writer. She created her complex personality between myth and reality, underlining limits and contradictions of her society in her life and works. In a world where woman had to be obedient she turned upside down a strict system, while remaining loyal to male libertinism. I will sketch out a brief outline of her life and works. She plays her role, assuming different positions, such as her masculine poetic gift and the labelled role of whore. This gave her access to the little but exciting world of women＇s literature. She constructed the image of the whore, becoming trader of herself. In doing this, she gained a place in society.展开更多
This article will study the Quebecois novels of the 1960-1980＇s and especially the feeling of debt that women had because of the Christian Bible that condemned women as being the sinful Eve responsable for the Fall o...This article will study the Quebecois novels of the 1960-1980＇s and especially the feeling of debt that women had because of the Christian Bible that condemned women as being the sinful Eve responsable for the Fall of Humanity. These novelists from Quebec, Marie-Claire Blais, Anne Hebert, and Gabrielle Roy, show that their female characters are unable to let go of this myth of the incarnation in their bodies of the temptations leading to Sin. Consequently, these heroines show a violent disgust for their bodies, and for all sexual manifestations （puberty, pregnancey, child-birth） that they describe very crudely. They reject their bodies and live in shame of their bodies. For this reason, they dress with modesty and have a neurotic fear of the Sin of the Flesh. This Sin makes them want to withdraw from the image of the temptress Eve and to identify themselves to Mary, the sublimated woman. For Quebec novelist Gabrielle Roy, the female debt cannot be repaid by a sublimation of women to Mary, but by a sublimation of women＇s own talents. Gabrielle Roy sees her late birth as a debt contracted towards her very impoverished and old parents. Fortunately, in her adolescence, she rebels against this unfair contract that her family and especially her mother imposes on her and that wrongs her because it forces her to follow the career path of a school teacher to repay the debts of her family. She withdraws from this debt by leaving for France and following the career path of a writer. She will redeem the debt of her family by writing her autobiography which is a monument in sublimation of her mother展开更多
文摘The period from 1680 to 1730 witnessed the creation of a wealth of women＇s fiction that has long been ignored or dismissed by historians and literary critics. Although the women writers in question were best sellers at the time, they were still not accepted within the traditional literary categories. This paper intends to doubt the appropriateness of the term ＂amatory＂ as a description of women＇s writing at the time as it is not proper to entitle them as ＂amatory＂ fiction only for the reason that they adopt similar amatory plot and write fictions about love.
文摘This paper compares 18th and 19th century travelogues written by women and men travelling the cultural contact zones of the empire, as well as fictional recreations of such first encounters. A juxtaposition of the writers＇ reaction to the dynamics of gazing and the ethics of touch yields surprising results. Many women travellers have no problem to acknowledge the reciprocity of the gaze, accepting, as a matter of course, that the objects of their ethnological interest will gaze at them in return. In comparison, male travellers often exhibit unease at becoming an object of appraisal and observation. Even more interestingly, male travellers often shy away from haptic contact with members of the indigenous population, whereas many （though not all） women are more tolerant of touch and proximity. Regarded as ＂unwomanly＂ by their contemporaries, they carved out for themselves roles which allowed for a more intimate interaction with foreign ethnicities; also, they wrote in different genres--private memoirs instead of official reports. But even in their （semi） fictional writings male authors seem to imagine inter-cultural encounters in different terms from women and tend not let their protagonists enter into close bodily contact with the indigenous population.
文摘In this paper, I will explore Aphra Behn＇s world： spy, kept mistress and writer. She created her complex personality between myth and reality, underlining limits and contradictions of her society in her life and works. In a world where woman had to be obedient she turned upside down a strict system, while remaining loyal to male libertinism. I will sketch out a brief outline of her life and works. She plays her role, assuming different positions, such as her masculine poetic gift and the labelled role of whore. This gave her access to the little but exciting world of women＇s literature. She constructed the image of the whore, becoming trader of herself. In doing this, she gained a place in society.
文摘This article will study the Quebecois novels of the 1960-1980＇s and especially the feeling of debt that women had because of the Christian Bible that condemned women as being the sinful Eve responsable for the Fall of Humanity. These novelists from Quebec, Marie-Claire Blais, Anne Hebert, and Gabrielle Roy, show that their female characters are unable to let go of this myth of the incarnation in their bodies of the temptations leading to Sin. Consequently, these heroines show a violent disgust for their bodies, and for all sexual manifestations （puberty, pregnancey, child-birth） that they describe very crudely. They reject their bodies and live in shame of their bodies. For this reason, they dress with modesty and have a neurotic fear of the Sin of the Flesh. This Sin makes them want to withdraw from the image of the temptress Eve and to identify themselves to Mary, the sublimated woman. For Quebec novelist Gabrielle Roy, the female debt cannot be repaid by a sublimation of women to Mary, but by a sublimation of women＇s own talents. Gabrielle Roy sees her late birth as a debt contracted towards her very impoverished and old parents. Fortunately, in her adolescence, she rebels against this unfair contract that her family and especially her mother imposes on her and that wrongs her because it forces her to follow the career path of a school teacher to repay the debts of her family. She withdraws from this debt by leaving for France and following the career path of a writer. She will redeem the debt of her family by writing her autobiography which is a monument in sublimation of her mother
