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New writers, new literatures in the 1990s
Editors: and

The 1990s witnessed an explosion in women's writing in France, with a particularly exciting new generation of writer's coming to the fore, such as Christine Angot, Marie Darrieussecq and Regine Detambel. This book introduces an analysis of new women's writing in contemporary France, including both new writers of the 1990s and their more established counter-parts. The 1990s was an exciting period for women's writing in France. The novels of Louise Lambrichs are brilliant but troubling psychological dramas focusing on the traumas that inhabit the family romance: incest, sterility, the death those we love and the terrible legacy of mourning. The body of writing produced by Marie Redonnet between 1985 and 2000 is an unusually coherent one. The book explores the possibility of writing 'de la mélancolie' through focusing on the work of Chantal Chawaf, whose writing may be described as 'melancholic autofiction', melancholic autobiographical fiction. It places Confidence pour confidence within Constant's oeuvre as a whole, and argues for a more positive reading of the novel, a reading that throws light on the trajectory of mother-daughter relations in her fiction. Christiane Baroche was acclaimed in France first as a short-story writer. Unable to experience the freedom of their brothers and fathers, beur female protagonists are shown to experience it vicariously through the reading, and the writing of, narratives. Clotilde Escalle's private worlds of sex and violence, whose transgressions are part of real lives, shock precisely because they are brought into the public sphere, expressed in and through writing.

Open Access (free)
Mother–daughter relations in Paule Constant’s fiction
Gill Rye

   Lost and found: mother–daughter relations in Paule Constant’s fiction In  Paule Constant won the Prix Goncourt for her seventh novel Confidence pour confidence to much controversy. Her novels had been shortlisted for the Goncourt several times before, and she had gained many other literary prizes. However, press coverage was generally of the opinion that, although the most prestigious French literary prize was long overdue to her, Confidence pour confidence itself was not especially deserving of that glory. The controversial reception afforded this

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

–daughter relationship is important, influential – and also charged with emotion, with ambivalence, with the sorrow of loss, or, more rarely in literature, with pleasure. Angot as an example of the latter may surprise, but she is one of the few writers here (along with Louise Lambrichs) who treat the theme from the perspective of the mother.2 The prevalence of problematic mother–daughter relations does not simply point to – or reinforce – the blaming of mothers for the state in which the daughters find themselves. Rather, it acknowledges that for both mothers and daughters, the

in Women’s writing in contemporary France
From a metaphor through a sensitising concept to an empirically grounded concept
Aleksandra Grzymala-Kazlowska

individuals both psychologically and sociologically: ‘When networks dissolve time and space, people anchor themselves in places and recall their historic memory. When the patriarchal sustainment of personality breaks down, people affirm the transcendent value of family and community, as God's will.’ Anchoring in social relations may be also visible in Appadurai's dedication ( 1996 ) – ‘For my son Alok, my home in the world’ – in his book on globalisation, socio-cultural change and identity. The significance of being grounded in family relations, to be precise in mother–daughter

in Rethinking settlement and integration
Abstract only
Women . . . will never know how much they owe to her
Maureen Wright

which Elizabeth played no part (having taken place ten years after her death), but which, nonetheless, illustrate the prevalent attitudes to any woman who chose a conscious path towards unmarried maternity. Sylvia Pankhurst was deeply hurt to have been excluded from the commemorations which attended the unveiling of a statue of her late mother in Victoria Tower Gardens on 6 March 1930 – the chief reason for the veto being a rift in mother–daughter relations, unhealed at the time of Emmeline’s death. Mrs Pankhurst had been both embarrassed and angst-ridden by her

in Elizabeth Wolstenholme Elmy and the Victorian Feminist Movement
Celia Hughes

-war female voices; those secondary, often higher-educated women, born in Britain between 1943 and 1951. During the 1970s the theme of mother–daughter relations began to be taken up for exploration by sociologists and psychologists alike. Key texts like Nancy Friday’s My Mother/My Self: The Daughter’s Search for Identity inspired feminist discussion of mothers and daughters. These narratives belong to the collective voice of post-war women journeying to modern female selfhood. Their experiences informed a new model of female morality away from the conservative values their

in Young lives on the Left
Heather Walton

that there is always ‘a tied and nonuntiable relation of birth and death between mother and daughter … It is enough for us to have a child to know the link with life and death’ (1993: 72). However, this is a joyful as well as a tragic fact. Bound together as they are, mother and daughter continually engender each other as they pass through the waters of life and death. We are familiar with the fact that mother-daughter relations have been neglected or sentimentalised and that the mother-son relation is often regarded as a site of dangerous intensity. However, Cixous

in Literature, theology and feminism
Barry Jordan
Rikki Morgan-Tamosunas

independence, sexual freedom and mother-daughter relations from a specifically female perspective. Both Miró and Molina produced some of their most significant reflections on women’s issues in the transition period, challenging the conventions of both patriarchy and traditional film form and genre. Pilar Miró’s challenge to class, gender, sexual and generic conventions in La petición (1976) provoked the

in Contemporary Spanish cinema
The Women’s Therapy Centre
Kate Mahoney

-day experiences of cultural oppression and racism’. 219 She argued that the intersection of these historical and contemporary traumas had to be considered in psychotherapy for Black women, countering early proponents of feminist therapy who had universalised women’s experiences. Orbach and Eichenbaum’s popular conceptualisations of women’s emotional development and mother-daughter relations, for example, failed

in Feminist mental health activism in England, c.1968–95
Abstract only
The Critical Debate, 1985–2004
Patsy Stoneman

explain mother–daughter relations, and of feminist criticism of Gaskell written from this perspective. Davies argues that ‘[m]otherhood as an institution has been seen by many feminists as one of the insidious forms of patriarchy’, making it ‘difficult for feminism to embrace fully the figure of the mother as a role model’ (509). She cites a number of feminist critics, notably Elaine Showalter, Sandra Gilbert and Susan Gubar and Judith Lowder Newton, who have failed ‘to incorporate Elizabeth Gaskell into the story [they tell] about women, submission, and resistance

in Elizabeth Gaskell