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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
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
Open Access (free)
Sara Haslam

History (Cambridge, Cambridge University Press, 2000), p. 63. 54 Marina Warner, Alone of All Her Sex: The Myth and the Cult of the Virgin Mary (London, Weidenfeld & Nicolson, 1976), p. 67. 55 I am reminded of Cixous’ Sorties (‘Where is she?’) here, in which she lists a series of gender-related binaries, including ‘Writing/Speech, Day/Night, Culture/Nature’ (see Elaine Marks and Isabelle de Courtivron (eds), New French Feminisms, Hemel Hempstead, Harvester Wheatsheaf, 1981, pp. 90–8). 56 ‘I am a Tory because I cannot help myself’, Ford averred in 1911, continuing, ‘I am

in Fragmenting modernism