Le roman sentimental antillais : appropriation du canon et didactisme

Le roman sentimental est un des genres les plus lus, les plus traduits et les plus diffusés. Malgré sa mauvaise réputation, il est étonnant de constater le nombre de ces romans vendus, tous pays confondus. Dans les Antilles, ce phénomène est particulièrement palpable : la présence, et la réception de ces œuvres témoignent de l’engouement pour le genre. Notre étude a pour objectif de dégager d’un corpus sentimental antillais les aspects les plus significatifs. Nous analyserons, d’une part, le schéma narratif élaboré en marge de celui proposé par le roman sentimental classique et, d’autre part, l’esthétique du quotidien mise en place pour créer un sentiment d’appartenance chez le lectorat. Il nous sera ainsi possible de mettre en évidence le discours socioculturel propre à ce genre et plus spécifiquement aux femmes antillaises. Par ailleurs, cette recherche postule que l'appropriation des invariants romanesques et l'élaboration d'une visée didactique participent à l'intégration du roman sentimental antillais dans la sphère des littératures « sérieuses ». Enfin, ce mémoire défend l’idée selon laquelle l’écriture romanesque des auteures étudiées contribue au projet littéraire antillais de réappropriation identitaire.

The romance of biography; or, Memoirs of women loved and celebrated by poets, from the days of the troubadours to the present age; a series of anecdotes intended to illustrate the influence which female beauty and virtue have exercised over the characters and writings of men of genius,

First published under title: Loves of the poets. London, 1829.

The gospel ministry of women under the Christian dispensation : defended from scripture, and from the writings of John Locke, Josiah Martin, etc. /

Mode of access: Internet.

Representations of gender in the writings of St. Francis Xavier: an interdisciplinary approach

Francis Xavier’s Letters and Writings are eloquent narratives of a journey that absorbed the Saint’s entire life. His experiences and idiosyncrasies, values and categorizations are presented in a clear literate discourse. The missionary is rarely neutral in his opinions as he sustains his unmistakable and omnipresent objective: the conversion of peoples and the expansion of the Society of Jesus. Parallel with this objective, the reader is introduced to the individuals that Xavier meets or that he summons in his epistolary discourse. Letters and Writings presents us with a structured narrative peopled by all those who are subject to and objects of Xavier’s apostolic mission, by helpful and unhelpful persons of influence, and by leading and secondary actors. What is then the position of women, in the collective sense as well as in the individual sense, in the travels and goals that are the centre of Xavier’s Letters and Writings? What is the role of women, that secondary and suppressed term in the man/woman binomial, a dichotomy similar to the civilized/savage and European/native binomials that punctuate Xavier’s narratives and the historic context of his letters? Women are not absent from his writings, but it would be naïve to argue in favour of the author’s misogyny as much as of his “profound knowledge of the female heart”, to quote from Paulo Durão in "Women in the Letters of Saint Francis Xavier" (1952), the only paper on this subject published so far. We denote four great categories of women in the Letters and Writings: European Women, Converted Women, Women Who Profess another Religion, and Women as the Agents and Objects of Sin, the latter of which traverses the other three categories. They all depend on the context, circumstances and judgements of value that the author chooses to highlight and articulate.

Like Man, Like Woman: Roman Women, Gender Qualities and Conjugal Relationships at the Turn of the First Century

Modern scholarship often discusses Roman women in terms of their difference from their male counterparts, frequently defining them as 'other'. This book shows how Roman male writers at the turn of the first century actually described women as not so different from men: the same qualities and abilities pertaining to the domains of parenthood, intellect and morals are ascribed by writers to women as well as to men. There are two voices, however: a traditional, ideal voice and an individual, realistic voice. This creates a duality of representations of women, which recurs across literary genres and reflects a duality of mentality. How can we interpret the paradoxical information about Roman women given by the male-authored texts? How does this duality of mentality inform us about gender roles and gender hierarchy? This work analyses well-known, as well as overlooked, passages from the writings of Pliny the Younger, Tacitus, Suetonius, Quintilian, Statius, Martial and Juvenal and sheds new light on Roman views of women and their abilities, on the notions of private and public and on conjugal relationships. In the process, the famous sixth satire of Juvenal is revisited and its topic reassessed, providing further insights into the complex issues of gender roles, marriage and emotions. By contrasting representations of women across a broad spectrum of literary genres, this book provides consistent findings that have wide significance for the study of Latin literature and the social history of the late first and early second centuries.

Arab Women in Translation : the Dynamics of Representation and the Construction of Alterity

Cette recherche examine la traduction et la réception en France, en Grande Bretagne et aux États-Unis de la littérature contemporaine d’expression arabe écrite par des femmes, afin de répondre à deux questions principales: comment les écrivaines provenant de pays arabes perdent-elles leur agentivité dans les processus de traduction et de réception? Et comment la traduction et la réception de leurs textes contribuent-elles à la construction d’une altérité arabe? Pour y répondre, l’auteure examine trois romans présentant des traits thématiques et formels très différents, à savoir Fawḍā al-Ḥawāss (1997) par Ahlem Mosteghanemi, Innahā Lundun Yā ‘Azīzī (2001) par Hanan al-Shaykh et Banāt al-Riyāḍ (2005) par Rajaa Alsanea. L’analyse, basée sur le modèle à trois dimensions de Norman Fairclough, vise à découvrir comment les écrivaines expriment leur agentivité à travers l’écriture, et quelles images elles projettent d’elles-mêmes et plus généralement des femmes dans leurs sociétés respectives. L’auteure se penche ensuite sur les traductions anglaise et française de chaque roman. Elle examine les déplacements qui s’opèrent principalement sur le plan de la texture et le plan pragma-sémiotique, et interroge en quoi ces déplacements ébranlent l’autorité des écrivaines. Enfin, une étude de la réception de ces traductions en France, en Grande Bretagne et aux États-Unis vient enrichir l’analyse textuelle. À cette étape, les critiques éditoriales et universitaires ainsi que les choix éditoriaux relatifs au paratexte sont scrutés de façon à mettre en lumière les processus décisionnels, les discours et les tropes sous-tendant la mise en marché et la consommation de ces traductions. L’analyse des originaux révèle tout d’abord qu’à travers leurs textes, les auteures sont des agentes actives de changement social. Elles s’insurgent, chacune à sa manière, contre les discours hégémoniques tant locaux qu’occidentaux, et (ré-)imaginent leurs sociétés et leurs nations. Ce faisant, elles se créent leur propre espace discursif dans la sphère publique. Toutefois, la thèse montre que dans la plupart des traductions, les discours dissidents sont neutralisés, l’agentivité et la subjectivité des écrivaines minées au profit d’un discours dominant orientaliste. Ce même discours semble sous-tendre la réception des romans en traduction. Dans ce discours réifiant, l’expression de la différence culturelle est inextricablement imbriquée dans l’expression de la différence sexuelle: la « femme arabe » est la victime d’une religion islamique et d’une culture arabe essentiellement misogynes et arriérées. L’étude suggère, cependant, que ce sont moins les interventions des traductrices que les décisions des éditeurs, le travail de médiation opéré par les critiques, et l’intérêt (ou le désintérêt) des universitaires qui influencent le plus la manière dont ces romans sont mis en marché et reçus dans les nouveaux contextes. L’auteure conclut par rappeler l’importance d’une éthique de la traduction qui transcende toute approche binaire et se fonde sur une lecture éthique des textes qui fait ressortir le lien entre la poétique et la politique. Enfin, elle propose une lecture basée sur la reconnaissance du caractère situé du texte traduit comme du sujet lisant/traduisant.

The writings of Thomas Wentworth Higginson.

At head of title: Large-paper edition.

Southland writers. Biographical and critical sketches of the living female writers of the South. With extracts from their writings.

Later edition published 1872 under title: The living female writers of the South.

La ballerine illettrée:transformations of the feminine in Mallarmé's sance writings

Stéphane Mallarmé's texts on dance criticism occupy a prominent place in dance literature. They have also been of major interest to the Mallarme specialists who have seen in them the key to a greater understanding of the whole of his work. In this article I determine how his dance writings can be interpreted in the context of the whole of the œuvre, including for example the women's magazine he wrote and produced, La Dernière Mode. I establish to what extent the female presence in Mallarmé's poetry tends towards metaphors, women's bodies absent or negated by the gaze of the poet. As the poet responds to the stimulus of the dance, he divests the female dancer of her womanly characteristics, recasting her in his own imagination both as feminine principle and incarnation of 'l'Idée', and also as mythical being, 'au-delà de toute vie possible', a composite of other female characters inhabiting his œuvre, constantly poised between presence and absence, stillness and movement, a locus for a precarious balance which is endlessly re-enacted in h.is own writing practice.

Women defending themselves: Cuban Romantic feminine voices (poetry and short stories)

Throughout history, women have played an important role in literature. Nevertheless, since Sappho's poetry until now, feminine voices have had to struggle for recognition of their works. ^ Before the nineteenth century, women were almost ignored in Spanish literature. Society kept them as “ángeles de la familia,” taking care of their homes, husbands, and children. Some of them, such as María de Zayas y Sotomayor in Spain and Sor Juana Inés de la Cruz in Mexico, complained about their situation in their writings. However, they expressed their fight not as a generation but as individuals. ^ In the nineteenth century, the ideas and ideals of Romanticism, were brought to Latin America from Europe. Cuba was among those countries where the new movement took roots. Initiated by Gertrudis Gómez de Avellaneda, a group of women began to participate in literary reunions, and to found newspapers and magazines where works authored by women, dedicated to feminist ideas, were published. They indeed through literature started to live out womanhood in order to intellectually leave the ideological prisons where society had been keeping them. ^ This study scans the literary works of all Romantic women writers in Cuba. It specifically analyzes poetry and short stories, and investigates how these authors expressed themselves in their works against the patriarchal society, where they lived and wrote their books. An eclectic critical method has been used. ^ Findings were very revealing. Only three of the fourteen writers studied in my dissertation had been previously mentioned by major critics. Most of them had been ignored. However, the greatest discovery was that they prompted something new: For the first time they projected themselves as a group, as a collective consciousness, and this fact established a difference with former women writers in Cuban literature before Romanticism. In other words, they produced a “Renaissance” in Cuba's literature. In spite of how they lived between 1820 and 1900, their struggles for women's rights have linked them to our current times. ^

"Writings from Prison" at the Woman's Salon

Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].

MEN WRITING WOMEN: “THE WOMAN QUESTION” AND MALE DISCOURSE OF IRANIAN MODERNITY"

In this dissertation I explore “The Woman Question” in the discourse of Iranian male authors. A pro-modernity group, they placed women’s issues at the heart of their discourse. This dissertation follows the trajectory of the representation of “The Woman Question” as it is reflected in the male discourse over the course of a century. It discusses the production of a literature that was anchored in the idea of reform and concerned itself with issues pertaining to women. These men challenged lifelong patriarchal notions such as veiling, polygamy, gender segregation, and arranged marriages, as well as traditional roles of women and gender relations. This study is defined under the rubrics of “The Woman Question” and “The New Woman,” which I have borrowed from the Victorian and Edwardian debates of similar issues as they provide clearer delineations. Drawing upon debates on sexuality, and gender, this dissertation illustrates the way these men championed women was both progressive and regressive. This study argues that the desire for women’s liberation was couched in male ideology of gender relations. It further illustrates that the advancement of “The Woman Question,” due to its continuous and yet gradual shifting concurrent with each author’s nuanced perception of women’s issues, went through discernible stages that I refer to as observation, causation, remedy, and confusion. The analytical framework for this project is anchored in the “why” and the “how” of the Iranian male authors’ writings on women in addition to “what” was written. This dissertation examines four narrative texts—two in prose and two in poetry—entitled: “Lankaran’s Vizier,” “The Black Shroud,” “‘Arefnameh,” and “Fetneh” written respectively by Akhundzadeh, ‘Eshqi, Iraj Mirza, and Dashti. Chapter one outlines the historical background, methodology, theoretical framework, and literature review. The following chapters examine, the advocacy for companionate marriage and romantic love, women and nationalistic cause, veiling and unveiling, and the emerging figure of the New Iranian Woman as morally depraved.

Women Writers and Women’s Rights: The Denunciation of Women’s Conditions in the Texts of Mary Leman Grimstone and Gertrudis Gómez de Avellaneda

Through the analysis of the prose of two nineteenth-century women writers: the English Mary Leman Grimstone and the Cuban-Spanish Gertrudis Gómez de Avellaneda, the present dissertation aims at unveiling the relationship between women’s writings and the struggle for the recognition of women’s rights in two different geopolitical locations. To do so, it weaves a Feminist Planetary Web between each writer and her context, as well as among both writers, finding points of connection and disconnection. It shows how women appropriated the pen in different geographical locations, exposing a particular female voice that denounced not only the oppression suffered by women, but also by other marginalized subjects. For each writer this dissertation exposes several macro-arguments present transversally in their work, like their critiques to the institution of marriage, the importance of proper education for women, the advocacy for religious tolerance, and the narrative construction of different male and female paradigms. The critiques to the institution of marriage is a point of connection between both authors. They also coincided in highlighting the importance of women’s right to access a proper education. Aside from these commonalities, this dissertation also analyses how Grimstone and Gómez de Avellaneda negotiated their position in the literary public realm, showing how it was precisely in this point that readers and critics can find noteworthy differences between them.