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Carmen Ana Pont

Les Songes et les sorts, réponse yourcenarienne au journal intime, a été jusqu'à ce jour presque oublié par la critique. Le présent ouvrage comble cette lacune en démontrant que la teneur autobiographique et le style de ces transcriptions oniriques, qui accompagnèrent Yourcenar pendant un demi-siècle, illuminent l'ensemble de son œuvre. Car le rêve rencontre la double poétique de l'aveu yourcenarien: le désir de se cacher et celui de se raconter. La stratégie de l'ambiguïté, qui découle de ce paradoxe, brouille l'histoire du songe et celle de l'auteur, efface les limites du texte littéraire par le biais de l'intertextualité, et confond rêve et vie, réel et imaginaire, écrivain et personnage.
Ainsi, le songe, thème, acte, style, langage, métaphore et prétexte, ouvre un univers de correspondances où romantisme, baroque et mythologie se joignent aux mythes personnels de l'auteur pour nous dévoiler quelques secrets et pièges de l'écriture. Oscillant entre l'image de l'écrivain qui met en scène la mort symbolique de l'amour ( Songes de 1938), et celle du créateur vieilli qui redoute la mort physique de l'être aimé (Dossier de 1991), cette étude nous révèle une Yourcenar fragile et inattendue, qui rêve pour résister et faire face à sa propre mortalité.

Women without a Past?

German Autobiographical Writings and Fascism


Joanne Sayner

Who remembers, and how? Debates about the role of memory as history – and of literature as memory – have increasingly come to fascinate those interested in how we look at our pasts as a means for understanding the present. Women without a Past? brings together for the first time autobiographies written by seven women who experienced Nazism from different perspectives: Elfriede Brüning, Hilde Huppert, Greta Kuckhoff, Elisabeth Langgässer, Melita Maschmann, Inge Scholl, and Grete Weil. Their autobiographies provoke diverse and challenging answers to questions about who remembers what, when, where, how and on behalf of whom.
This book foregrounds the positive political potential of re-reading well-known texts and seeking out reasons why others have been marginalized. It examines autobiography as a form of writing at the very centre of contemporary debates on the ‘self’, ‘truth’ and ‘history’. Women without a Past? offers new insights into the politics of memory and autobiography, and will be of particular interest to researchers and students engaging with women’s writing and memories of Nazism.


Joe Andrew

The present volume has as its primary aim readings, from a feminist perspective, of a number of works from Russian literature published over the period in which the ‘woman question’ rose to the fore and reached its peak. All the works considered here were produced in, or hark back to, a fairly narrowly defined period of not quite 20 years (1846-1864) in which issues of gender, of male and female roles were discussed much more keenly than in perhaps any other period in Russian literature.
The overall project is summed up by the three key words of this book’s title, narrative, space and gender, and, especially, the interconnections between them. That is, what do the way these stories were told tell us about gender identities in mid-nineteenth-century Russia? Which spaces were central to these fictional worlds? Which spaces suggested which gender identities? The discussions therefore focus on issues of narrative and space, and how they acted as ‘technologies of gender’.
This volume will be of interest to all interested in nineteenth-century Russian literature, as well as students of gender, and of the semiotics of narrative space.

Jeering Dreamers

Villiers de l’Isle-Adam’s L’Eve Future at our Fin de Siècle


Edited by John Anzalone

The re-emergence in recent years of Villiers de l'Isle-Adam as a key figure in fin de siècle literature can be attributed in large part to the intense interest his prescient l' Eve future (1886) has generated among scholars. In effect, the novel confronts with breathtaking focus central taboos and ambivalences about the decadent period. It posits an inescapable, mechanistic linkage between desire and technology; it suggests the constructed nature of gender; it casts woman down so as to exalt her, even as it intimates the arbitrariness and fragility of the empowerment prerogatives implicit in such an operation. It is this mine for the study of fin de siècle mentalities that the present volume explores.
Begun at the 1992 NCFS colloquium at Binghamton University as a collective project of the Friends of Villiers, Jeering Dreamers brings together 13 essays by Villiers scholars from both sides of the Atlantic. Their work promises, in the words of the eminent Villièrien Alan Raitt, to 'Éclairer l'Eve future d'un jour nouveau-ou, plus exactement, de plusieurs jours nouveaux.

Roads of Her Own

Gendered Space and Mobility in American Women’s Road Narratives, 1970-2000


Alexandra Ganser

Reading Jack Kerouac’s classic On the Road through Virginia Woolf’s canonical A Room of One’s Own, the author of this book examines a genre in North American literature which, despite its popularity, has received little attention in literary and cultural criticism: women’s road narratives. The study shows how women’s literature has inscribed itself into the American discourse of the Whitmanesque “open road”, or, more generally, the “freedom of the road”. Women writers have participated in this powerful American myth, yet at the same time also have rejected that myth as fundamentally based on gendered and racial/ethnic hierarchies and power structures, and modified it in the process of writing back to it. The book analyzes stories about female runaways, outlaws, questers, adventurers, kidnappees, biker chicks, travelling saleswomen, and picaras and makes theoretical observations on the debates regarding discourses of spatiality and mobility—debates which have defined the so-called spatial turn in the humanities.
The analytical concept of transdifference is introduced to theorize the dissonant plurality of social and cultural affiliations as well as the narrative tensions produced by such pluralities in order to better understand the textual worlds of women’s multiple belongings as they are present in these writings. Roads of Her Own is thus not only situated in the broader context of a constructivist cultural studies, but also, by discussing narrative mobility under the sign of gender, combines insights from social theory and philosophy, feminist cultural geography, and literary studies.
Key names and concepts: Doreen Massey – Rosi Braidotti – Literary Studies – Spatial Turn – Gendered Space and Mobility – Nomadism – Road writing – Transdifference – American Culture – Popular Culture – Women’s Literature after the Second Wave – Quest – Picara.


Helen Vassallo and Cathy Wardle

L’activité littéraire de Jeanne Hyvrard ne reste plus à présenter : de Les prunes de Cythère, Mère la mort, Les doigts du figuier jusqu’à Canal de la Toussaint, La pensée corps, Cellla, Le fichu écarlate et bien au-delà, la voix de Jeanne Hyvrard, émouvante et ferme, terriblement ancrée et radieusement visionnaire, est parvenue à fonder, sans conteste, une des grandes œuvres de notre temps. Les dialogues que présente ce livre interrogent avec une chaleureuse intelligence le cheminement de la pensée qui sous-tend l’aventure ontologique exceptionnelle de cette œuvre et cherchent à pénétrer dans les secrets et les clartés de ses parfois déroutantes mais toujours exaltantes beautés.


Edited by Reine Dugas Bouton

Presenting the first full-length collection of essays on Eudora Welty’s novel, Delta Wedding (1946), this volume is the fourth book in Rodopi Press’s Dialogue Series. Within these pages, emerging and experienced literary critics engage in an exciting dialogue about Welty’s noted novel, presenting a wide range of scholarship that focuses on feminist concerns, pays tribute to the rhetoric of exclusion and empowerment, examines the role of outsider and boundaries, explores meaning-making, and highlights the novel’s humor and musicality. This volume will no doubt be of interest to Welty aficianados as well as southern studies and feminist scholars and to those who are interested in the craft of writing fiction.

Signs of Masculinity

Men in Literature 1700 to the Present


Edited by Antony Rowland, Emma Liggins and Eriks Uskalis

Masculinity is becoming an increasingly popular area of study in areas as diverse as sociology, politics and cultural studies, yet significant research is lacking into connections between masculinity and literature. Signs of Masculinity aims at beginning to fill the gap. Starting with an introduction to, and intervention within, numerous debates concerning the cultural construction of various masculinities, the volume then continues with an investigation of representations of masculinity in literature from 1700 to the present. Close readings of texts are intended to demonstrate that masculinity is not a theoretical abstract, but a definitive textual and cultural phenomenon that needs to be recognised in the study of literature. It is hoped that the wide-ranging essays, which raise numerous issues, and are written from a variety of methodological approaches, will appeal to undergraduate, postgraduates and lecturers interest in the crucial but under-researched area of masculinity.

Genèses du roman

Balzac et Sand


Edited by Lucienne Frappier-Mazur

Le présent ouvrage reprend en termes contemporains le dialogue littéraire entamé de leur vivant par Balzac et Sand et revient sur les notions d’origine et de genèse telles qu’elles se déploient chez ces deux auteurs. La discussion engage les champs romanesque, individuel, social et politique, rapprochant et parfois opposant deux écrivains d’une fécondité exceptionnelle, l’un catalogué comme réaliste, l’autre comme idéaliste, mais tous deux inséparables de leurs origines romantiques et de la coupure révolutionnaire. C’est ainsi que leur œuvre comporte une profonde réflexion sur le rapport de l’artiste à la tradition et à la nouveauté – à la production et à la reproduction, qu’il s’agisse de création artistique, de rapports de filiation ou de mutations politiques. En oeuvrant sur l’idée de genèse, le roman investit le corps féminin, la différence des sexes, le désir et la Loi.