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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.

Image into Identity

Constructing and Assigning Identity in a Culture of Modernity


Edited by Michael Wintle

The pervading theme of this book is the construction and allocation of identity, especially through images and imagery. The essays analyse how the dominant social discourses and imageries construct identity or assign subject positions in relation to the categories of race, nation, region, gender and language. The volume is designed to inform the study of those categories in cultural studies, sociology, anthropology, gender studies, literary studies, philosophy and history. Its coverage is geographically global, multidisciplinary, and theoretically eclectic, but also accessible. The authors include both established and rising scholars from historical, literary, media, gender and cultural studies. This innovative collection will appeal to all those who are interested in the mechanisms of constructing and evolving personal and group identities, in past and present.

The Female Crusoe

Hybridity, Trade and the Eighteenth-Century Individual


C.M. Owen

What does the story of Robinson Crusoe have to do with understanding past and present women’s lives? The Female Crusoe: Hybridity, Trade and the Eighteenth-Century Individual investigates the possibility that Daniel Defoe’s famous work was informed by qualities attributed to trade, luxury and credit and described as feminine in the period. In this volume, Robinson Crusoe and the female castaway narratives published in its wake emerge as texts of social criticism that draw on neglected values of race and gender to challenge the dominant values of society. Such narratives worked to establish status and authority for marginalised characters and subjects who were as different, and as similar, as Defoe’s gentleman-tradesman and Wollstonecraft’s independent woman. The Female Crusoe goes on to address the twentieth-century engagement with the castaway tale, showing how three contemporary authors, in their complex and gendered negotiations of power and identity, echo, even while they challenge, the concerns of their eighteenth-century predecessors. This work will be of interest to students interested in literary engagements with individualism and women’s rights in the eighteenth and twentieth centuries.

George Sand lue à l'étranger

Récherches nouvelles 3. Actes du Colloque. George Sand hors de France. Amsterdam, juin 1994


Edited by Suzan van Dijk

`George Sand hors de France': ainsi s'intitula le colloque que l'an dernier nous avions organisé en l'honneur de Françoise van Rossum-Guyon, fondatrice et présidente du Groupe de Recherches sur George Sand. Elle quittait alors l'Université d'Amsterdam pour retourner à Paris. Ce fut un moment tout indiqué pour réfléchir sur l'influence qu'a exercée aux Pays-Bas l'oeuvre de George Sand - romancière qui avait été si souvent sujet des cours et des publications de Françoise van Rossum-Guyon, et dont elle a certainement contribué - directement et indirectement - à augmenter le public actuel.
En présentant les actes de ce Colloque d'Amsterdam, nous les relions explicitement aux deux précédents recueils, rédigés par Françoise van Rossum-Guyon: Recherches nouvelles et Recherches nouvelles 2. Le second volume portait comme titre: George Sand: une oeuvre multiforme. Cette `multiformité', mise en évidence par les analyses des textes sandiens, sera suggérée d'une autre façon dans le présent recueil. En effet, par le biais de l'empirie l'histoire de la réception permet elle aussi d'éclairer la richesse de cette oeuvre. Dans la diversité de réactions que suscitaient hors de France les écrits de George Sand, nous nous attachons bien sûr particulièrement à celles provenant de ses contemporains néerlandais: à les inventorier et surtout à les faire comprendre. Ce faisant nous présentons les premiers résultats d'une recherche à laquelle se sont attelées plusieurs membres de notre Groupe.

Transient Questions

New Essays on Mavis Gallant


Edited by Kristjana Gunnars

Mavis Gallant has been a leading literary figure in Canada since her first short story, published in 1951, and has grown to be considered internationally as a modern master of the genre. Her writing is nuanced, sensitive, gifted, deep and concise. She leaves everything open for the hidden potential that can always be discovered. Times change; society, history, politics may develop out of recognition. Cultures metamorphose. Literary landscapes and theories are renewed. But the classics of our time stay where they are, pillars of that which is solidly about us. Mavis Gallant’s work is of that calibre: her writing will remain interesting and relevant no matter what else happens.
This book is an exploration of what Gallant’s readers are thinking now: where they place her in the panorama of literature and what meaning she has for them now. Scholars continue to probe into the stories, their characters, the capsules of history they present, and continue to find them challenging. As with Shakespeare, no amount of scrutiny will yield the final answer. That is how complex Gallant’s writing is. Especially now, when the positioning of her characters is a more prominent condition in general, we need to review Gallant’s artistic insights.
As Francine Prose says in Harper’s Magazine: Gallant’s cast of characters are a “motley assortment of refugees, fugitives, and travelers” and “displaced persons scrambling on the margins of a society they will never belong to.” This is the modern condition. As with other great writers, Gallant shows herself to be prophetic in cutting down to the roots of the sensibility of our era. We are reading her work, and we are thinking about it and talking about it. This book is part of that large conversation.
Contributors are: Neil Besner, Di Brandt, Nicole Côté, John Lent, Gerald Lynch, Maria Noëlle Ng, Peter Stevens, Simone Vauthier, Per Winther.

A Recipe for Discourse

Perspectives on Like Water for Chocolate


Edited by Eric Skipper

Slender and yet panoramic in scope, historical and yet relevant to current-day concerns, Laura Esquivel’s Like Water for Chocolate has provoked from the outset a divergent range of critical opinions. The essays in A Recipe for Discourse: Perspectives on Like Water for Chocolate represent the novel’s problematic nature in their many diverse approaches, perspectives that are certain to awaken in the reader new ways of approaching the text while challenging old ones. This volume’s ‘dialogue’ format, in which essays are grouped thematically, is particularly effective in presenting such a diverse range of viewpoints. The reader will find herein lively discussion on LWFC as it relates to such themes as gastronomy, superstition, mythology, folklore, the Mexican Revolution, magical realism, female identity, alteration, and matriarchy/ patriarchy. It is the editor’s hope that a diverse readership, from undergraduate students to seasoned scholars, will find this volume engaging and enlightening.

Uncanonical Women

Feminine Voice in French Poetry (1830-1871)


Wendy Greenberg

In English here is presented for the first time an examination of the text and context of five nineteenth-century French women poets: Elisa Mercoeur (1808-1835), Marceline Desbordes-Valmore (1786-1859), Louisa Siefert (1845-1877), Louise Ackermann (1813-1890) and Louise Michel (1830-1905) will demonstrate that in spite of mentoring by various literary, historic or even family figures, these writers found their own voices. A striking example is Louisa Siefert, who in spite of bold intertextuality, displays an unmistakably feminine persona, whose originality poignantly draws the reader's attention. These poets had many obstacles of overcome as woman-identified poets. For example, Louise Ackermann's own husband did not want her to write, and for this reason, she remained silent during her who years of marriage. Louise Michel is a different case as an analysis of the short poem Bouche close ( Le Livre du Bagne, 1873-1880) will demonstrate. In short, Uncanonical Women,//% explores a crescendo of poetic voice, from the initial timid solicitations of Elisa Mercoeur, to the bold, self-sufficient defiance of Louise Michel. The implication of my original findings that uncanonical poets can surpass cultural marginalization is that the book will target both a traditional and modern readership. Major these and clear language and tools that delineate identifiably personal style of true writers and the poetic persona of each is unique: Mercoeur in ambition, Desbordes-Valmore in domesticity, Siefert, in anguish, Ackermann in pessimism and Michel in leadership.


Lia van de Biezenbos

Omniprésente dans son oeuvre mais loin d'être glorieuse, la maternité se trouve au centre de l'univers littéraire de Marguerite Duras. Le désir de retourner dans le sein maternel et l'impossibilité d'y parvenir se confondent dans le jeu de l'écriture pour composer le refrain sans fin qu'est ce désir d'osmose.
Dans cette étude, l'auteur se propose d'aller au-delà du lien entre l'omniprésence du personnage maternel et la réalité biographique de Duras en soulignant le caractère fictionnel de l'oeuvre. Des analyses textuelles rhétoriques et narratologiques lui permettent de souligner les représentations de la maternité et de la féminité dans les textes de Duras et dans la théorie psychanalytique freudienne. La confrontation de ces deux discours résulte en un dialogue entre Duras et Freud où les deux locuteurs fictifs sont respectés, mais soumis à une analyse critique. La question qui s'impose est de savoir si l'oeuvre de Duras contribue à confirmer la différence sexuelle définie dans le contexte social et ancrée dans la relation avec la mère, comme le prétend la psychanalyse freudienne, ou si elle contribue justement à la remise en question de cette différence sociale.
L'écriture de Duras manie les clichés culturels et les mythes qui entourent la mère et la maternité. Ceci se manifeste sous des aspects d'une grande variété. Cette thèse montre le jeu des variations sur les fantasmes soi-disant universels, variations qui se dessinent dans les répétitions apparentes qui prennent à chaque fois une forme nouvelle. L'originalité de Duras est de prendre les mythes et les fantasmes à la lettre, et ce procédé les rend parfois grotesques. La forme littéraire paradoxale donnée à ces fantasmes renverse le rapport entre le littéral et le figuré. Sans être moralisateurs, ils mettent ainsi en lumière le caractère fantasmatique de l'idéologie qui ancre la féminité dans la maternité.
Même maintenant, dix ans après le décès de Marguerite Duras, son œuvre inspire toujours de nombreux lecteurs. L'année du dixième anniversaire de sa mort célèbre cette oeuvre qui continue à nous fasciner. Le présent livre vous offre le plaisir d'une lecture enrichissante des fantasmes entourant le personnage de la mère. A travers une lecture qui adopte la littéralité et qui s'ajuste aux méandres du texte durassien, l'auteur de ce livre veut contribuer à mieux comprendre les conflits et les désirs, les fantasmes et les images, qui entourent le rôle féminin par excellence qu'est la maternité.


Maria Koundoura

Mid-eighteenth-century and early nineteenth-century travel narratives and novels on Greece like those of Lady Mary Wortley Montagu and Mary Shelley are filled with projected fictions of otherness, presented as fact. The supposed realism of these accounts guaranteed not only the imaginative hold of Greece, but also the originality of the fictive treatments. Like other such tales of the time, the story of Greece was open to the reader’s sentimental appropriation: it allowed these travellers and their culture to write themselves in the discourse of Hellenism and the Greeks out as its ruins.


Efterpi Mitsi

Lady Elizabeth Craven’s epistolary travelogue, A Journey Through the Crimea to Constantinople (1789), especially her letters from Athens, present not only the author’s rivalry with Lady Mary Wortley Montagu and her Turkish Embassy Letters but also a critical stance toward the Orient, which depends on the historical developments which turned Britain into a global power and on the change in aesthetic sensibilities from the beginning to the end of the eighteenth century. Craven, who was the first woman travel writer to visit Athens, offers a fragmented and idiosyncratic vision of Greece, asserting her denial of the pursuit of antiquity displayed by Montagu. Rather than describe the antiquities, Craven produces picturesque depictions of private spaces, which were either ignored by or inaccessible to male travellers. Her descriptions represent a development in travel writing, determined not only by gender but also by the search for new sources of aesthetic pleasure.