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Chantal Chawaf ’s melancholic autofiction
Kathryn Robson

Chawaf ’s writing does not, then, denote a liberating fusion or interchange between self and other, writing subject and text, text and reader, that is so often associated with contemporary French women’s writing.20 Vers la lumière, which has hitherto been read almost exclusively in relation to Cixous’s work, may thus offer a different understanding of the fusion between self and other in contemporary women’s writing. In Vers la lumière, self and other merge in a crippling, inescapable living death, that offers none of the possibilities of self-reinvention and renewal

in Women’s writing in contemporary France
Louise Tondeur

have been putting into practice in recent years. 19 I would like to offer yet another reading of the Eagleton quotation, as asking something more in line with the following: as a theorist, narcissistically ‘reading myself’ (to rewrite Hélène Cixous for a moment 20 ) am I more shocked by my own essentialist rendering of women in the above paragraphs, or by the UN’s assertion that while I was reading it several woman died of preventable ‘complications during pregnancy and childbirth’? This allows me to rewrite the Eagleton quotation once more

in The last taboo
Clotilde Escalle’s tales of transgression
Michael Worton

explosion of exploratory ways of saying sexuality (or, rather, sexualities) and of telling tales of selfdom. Hélène Cixous has argued that what she calls écriture féminine (feminine writing) ‘means embarking on “the passage toward more than the self, toward another than the self, toward the other”’.4 Elsewhere, she affirms that feminine writing is a ‘fidelity to what exists. To everything that exists. And fidelity is equal respect for what seems beautiful to us and what seems ugly to us’.5 Cixous’s theoretical position is clear and seductive, but it does rely on a notion of

in Women’s writing in contemporary France
Gender and narrative in L’Hiver de beauté, Les Ports du silence and La Rage au bois dormant by Christiane Baroche
Gill Rye

   Textual mirrors and uncertain reflections: gender and narrative in L’Hiver de beauté, Les Ports du silence and La Rage au bois dormant by Christiane Baroche Un roman est un miroir qui se promène sur une grande route. (Stendhal) (A novel is a mirror travelling along a highway.) L’écriture est la possibilité même du changement, l’espace d’où peut s’élancer une pensée subversive, le mouvement avant-coureur d’une transformation des structures sociales et culturelles. (Cixous) (Writing is precisely the very possibility of change, the space that can serve as

in Women’s writing in contemporary France
Open Access (free)
Gill Rye and Michael Worton

first to benefit from a visibly rich female literary heritage. They write in the wake of the explosion in published writing by women that was an outcome both of feminist movements of the s and of feminist archaeological work which has revealed a heterogeneous female literary tradition that had hitherto been lost from view. In the climate of radical feminist activism of s France, women’s writing was heavily politicised. Cixous’s écriture féminine, which, it must be remembered, was a term that she applied to male-authored texts of the past as much as to women

in Women’s writing in contemporary France
Abstract only
A poetics of passing out
Naomi Booth

to see literature as words that call truth into question, including literature's own truth: the ground beneath our feet and the words on the page become equally unstable and ‘[l]anguage then becomes the experience of the loss of mastery of the self’. 23 Much twenty-first century work that has followed on from Blanchot and Bataille continues to describe reading, writing and criticism as processes of destabilisation. In Insister of Jacques Derrida ( 2007 ), Hélène Cixous

in Swoon
Glyn White

which also makes use of personal photographs and reproductions. Hélène Cixous, with the help of Mireille Calle-Gruber, has produced a similar volume (Rootprints 1997 ) to which Derrida contributed. The inclusion of extracts, fragments and pictorial material co-opts, a dimension of life writing, just as G!as destabilises monological philosophical discourse through its

in Reading the graphic surface
Jonathan P. Eburne

, however, than to the redirection or subversion of the normative patriarchal law to whose hegemony Hélène Cixous famously referred as ‘L’Empire du propre’: an empire of the selfsame ( propre ), but also an empire of the clean ( propre ), signifying patriarchy's imperial recourse to transparency and self-evidence. 3 Surrealism's promise lay in its capacity for both twisting and sullying such a law, for introducing within its functioning the resistances of deviation, errantry, and opacity. 4

in Surrealist women’s writing
Susan Stanford Friedman

impact do the national cultures of origin have on the formation of French modernism for such key Parisian figures as Pablo Picasso (Spain), Tristan Tzara (Romania), Sonia Delaunay (Ukraine) and Marc Chagall (Lithuania)? Recognizing ways in which French post-structuralist theory of the 1960s to 1980s represents early twentieth-century modernism flowing into the discourse of philosophy, what is ‘French’ about Jacques Derrida (Algeria), Hélène Cixous (Algeria) and Julia Kristeva (Bulgaria)? Transnationalizing French Modernist Studies does not mean abandoning such key

in 1913: The year of French modernism
Susana Onega

writing written with languelait, the ‘white ink’ of ‘mother’s milk’ that Hélène Cixous proposes as an alternative to the ‘phallogocentric’ writing of patriarchy, carried out, as she contends, with a pen/penis.96 As becomes evident at the end of the novel, Jordan’s individuation process involves his understanding of the constructedness of binary oppositions like father/ mother; man/woman; culture/nature; head/heart and the eventual revelation of his bisexuality.97 Unlike Henri, who devotes a lot of space to narrating the physical stages of his quest, Jordan is mainly

in Jeanette Winterson