用紫色墨水写作:1900年至今的法国女同性恋文学,Aurore Turbiau等人编辑(评论)

IF 0.1 4区 文学 0 LITERATURE, ROMANCE
Miléna Santoro
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Although the choice to use inclusive language (auteurices, iel, celleux) is deliberately open-ended, the vast majority of authors considered in this volume were or are women, from the celebrated early icons like Barney, Colette, Vivien and Leduc, through the theoretical pioneers de Beauvoir, Cixous, and Causse, and concluding with writers of the twenty-first century, such as Bouraoui, Daas, Debré and Delorme. That this volume is devoted mainly to white women is acknowledged, as is the dearth of trans representation, and of course, women from the Francophone world whose work is scarcely mentioned, mostly because few are published in France. If there is little identity intersectionality, the literary diversity covered is vast: genres mentioned include poetry, autofiction and memoir, essays, correspondence, and novels, and popular literature like SFF, thrillers and mysteries, and romance. The corpus excludes youth fiction, comics, songs and theatre, but the ample bibliography and constellation of names mentioned in the preface by Robichon and the postface by Bonnard and Lebovici point the reader to further avenues of exploration. The dual goal of this first “synthesis” of French lesbian literature (239) is to bring to light a marginalized community of writers and texts and to show how, within the literary and political context of their publication, they question, alter, or transgress the limits of gender and genre, love and language, the body and its politics. If “identifier une œuvre comme ‘lesbienne’ ne suffit […] pas à la comprendre” (237), this volume’s overview of over a century of lesbian writings allows us to grasp how much has been marginalized, forgotten, or simply not been made visible by editors and booksellers who have historically not identified lesbian and LGBTQ+ works. This volume is most useful when it connects the dots, showing how mentoring or supportive communities helped some, like Leduc or Bessette, to find publishers, how reappropriating Sappho or mythological figures connect authors across time (from Vivien to Wittig), and how periods of effervescence, like the interwar years, could be followed by moments of regression, where opportunities for lesbian self-expression were scarce, due to legal, social, or economic conditions. This is as much a social as a literary history, despite its focus on major figures such as Wittig. Where it occasionally falters is in its treatment of outside influences, particularly Quebec writers whose work and connections with French counterparts are not always [End Page 213] adequately or accurately acknowledged here. What does clearly emerge is the wide variety of voices, themes, styles and approaches that have characterized and enriched women-centered writings from “Paris-Lesbos” to today’s queering of the literary landscape. For this alone, there is reason to celebrate a “lavender legacy,” which this volume reveals as a major tradition that should transform our understanding of French literary history. 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With a “lavender” title borrowed from Wittig to accentuate its focus on lesbian literature, this collection of chronologically organized chapters by five contributing authors traces the history of those who have explored lesbianism and other apposite themes since the Belle Époque in France. Although the choice to use inclusive language (auteurices, iel, celleux) is deliberately open-ended, the vast majority of authors considered in this volume were or are women, from the celebrated early icons like Barney, Colette, Vivien and Leduc, through the theoretical pioneers de Beauvoir, Cixous, and Causse, and concluding with writers of the twenty-first century, such as Bouraoui, Daas, Debré and Delorme. That this volume is devoted mainly to white women is acknowledged, as is the dearth of trans representation, and of course, women from the Francophone world whose work is scarcely mentioned, mostly because few are published in France. If there is little identity intersectionality, the literary diversity covered is vast: genres mentioned include poetry, autofiction and memoir, essays, correspondence, and novels, and popular literature like SFF, thrillers and mysteries, and romance. The corpus excludes youth fiction, comics, songs and theatre, but the ample bibliography and constellation of names mentioned in the preface by Robichon and the postface by Bonnard and Lebovici point the reader to further avenues of exploration. The dual goal of this first “synthesis” of French lesbian literature (239) is to bring to light a marginalized community of writers and texts and to show how, within the literary and political context of their publication, they question, alter, or transgress the limits of gender and genre, love and language, the body and its politics. If “identifier une œuvre comme ‘lesbienne’ ne suffit […] pas à la comprendre” (237), this volume’s overview of over a century of lesbian writings allows us to grasp how much has been marginalized, forgotten, or simply not been made visible by editors and booksellers who have historically not identified lesbian and LGBTQ+ works. This volume is most useful when it connects the dots, showing how mentoring or supportive communities helped some, like Leduc or Bessette, to find publishers, how reappropriating Sappho or mythological figures connect authors across time (from Vivien to Wittig), and how periods of effervescence, like the interwar years, could be followed by moments of regression, where opportunities for lesbian self-expression were scarce, due to legal, social, or economic conditions. This is as much a social as a literary history, despite its focus on major figures such as Wittig. 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引用次数: 0

摘要

审查:Écrire l 'encre violette: 1900年法国的女同性恋者的成年和未成年人的成年。toro Turbiau, Aurore, Margot Lachkar, Camille Islert, Manon Berthier和Alexandre Antolin,Écrire l 'encre violette: 1900年法国的女同性恋者。蓝色骑士,2022年。ISBN 979-10-318-0516-0。293页。从维蒂希那里借用了一个“薰衣草”的标题,以突出其对女同性恋文学的关注,这本由五位撰稿人按时间顺序组织的章节集追溯了自法国美女Époque以来那些探索女同性恋和其他相关主题的人的历史。虽然选择使用包容性的语言(auteurices, iel, celleux)是故意开放的,但本卷中考虑的绝大多数作者曾经或现在都是女性,从著名的早期标志,如Barney, Colette, Vivien和Leduc,到理论先驱de Beauvoir, Cixous和Causse,以及21世纪的作家,如Bouraoui, Daas, debr和Delorme。这本书主要是关于白人女性的,这是公认的,因为缺乏跨性别代表,当然,来自法语世界的女性的作品几乎没有被提及,主要是因为很少在法国出版。如果没有身份交叉性,涵盖的文学多样性是巨大的:提到的体裁包括诗歌、自传体小说和回忆录、散文、信件和小说,以及流行文学,如SFF、惊悚小说、神秘小说和浪漫小说。语料库不包括青年小说、漫画、歌曲和戏剧,但罗比雄的序言和博纳尔和莱博维奇的后页中提到的大量参考书目和名字,为读者指明了进一步探索的道路。这是法国女同性恋文学的第一次“综合”(239),其双重目标是揭示一个被边缘化的作家和文本群体,并展示她们如何在出版的文学和政治背景下质疑、改变或超越性别和体裁、爱情和语言、身体和政治的限制。如果“identifier une œuvre comme ' lesbienne ' ne suffit[…]pas la compredre”(237),本卷对一个多世纪以来女同性恋作品的概述,让我们了解到有多少被边缘化、被遗忘,或者根本没有被编辑和书商看到,他们历史上没有识别女同性恋和LGBTQ+作品。这本书是最有用的,当它连接点,显示指导或支持的社区如何帮助一些,像勒杜克或贝塞特,找到出版商,如何重新利用萨福或神话人物连接作者跨越时间(从费雯到维蒂希),以及如何时期的泡沫,像两次世界大战之间,可以跟随的时刻倒退,女同性恋自我表达的机会是稀缺的,由于法律,社会或经济条件。这本书既是一部文学史,也是一部社会史,尽管它关注的是像维蒂希这样的主要人物。它偶尔会在处理外部影响时出现问题,尤其是魁北克作家,他们的作品以及与法国同行的联系在这里并不总是得到充分或准确的承认。从《巴黎-莱斯沃斯岛》到今天的“酷儿文学”,各种各样的声音、主题、风格和方法清晰地展现了以女性为中心的作品的特点和丰富。仅凭这一点,就有理由庆祝“薰衣草遗产”,这本书揭示了一个重要的传统,应该改变我们对法国文学史的理解。[endpage 214] mil桑托罗乔治城大学(DC)版权©2023美国法语教师协会
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Écrire à l’encre violette: littératures lesbiennes en France de 1900 à nos jours éd. par Aurore Turbiau et al (review)
Reviewed by: Écrire à l’encre violette: littératures lesbiennes en France de 1900 à nos jours éd. par Aurore Turbiau et al Miléna Santoro Turbiau, Aurore, Margot Lachkar, Camille Islert, Manon Berthier et Alexandre Antolin, éd. Écrire à l’encre violette: littératures lesbiennes en France de 1900 à nos jours. Le Cavalier bleu, 2022. ISBN 979-10-318-0516-0. Pp. 293. With a “lavender” title borrowed from Wittig to accentuate its focus on lesbian literature, this collection of chronologically organized chapters by five contributing authors traces the history of those who have explored lesbianism and other apposite themes since the Belle Époque in France. Although the choice to use inclusive language (auteurices, iel, celleux) is deliberately open-ended, the vast majority of authors considered in this volume were or are women, from the celebrated early icons like Barney, Colette, Vivien and Leduc, through the theoretical pioneers de Beauvoir, Cixous, and Causse, and concluding with writers of the twenty-first century, such as Bouraoui, Daas, Debré and Delorme. That this volume is devoted mainly to white women is acknowledged, as is the dearth of trans representation, and of course, women from the Francophone world whose work is scarcely mentioned, mostly because few are published in France. If there is little identity intersectionality, the literary diversity covered is vast: genres mentioned include poetry, autofiction and memoir, essays, correspondence, and novels, and popular literature like SFF, thrillers and mysteries, and romance. The corpus excludes youth fiction, comics, songs and theatre, but the ample bibliography and constellation of names mentioned in the preface by Robichon and the postface by Bonnard and Lebovici point the reader to further avenues of exploration. The dual goal of this first “synthesis” of French lesbian literature (239) is to bring to light a marginalized community of writers and texts and to show how, within the literary and political context of their publication, they question, alter, or transgress the limits of gender and genre, love and language, the body and its politics. If “identifier une œuvre comme ‘lesbienne’ ne suffit […] pas à la comprendre” (237), this volume’s overview of over a century of lesbian writings allows us to grasp how much has been marginalized, forgotten, or simply not been made visible by editors and booksellers who have historically not identified lesbian and LGBTQ+ works. This volume is most useful when it connects the dots, showing how mentoring or supportive communities helped some, like Leduc or Bessette, to find publishers, how reappropriating Sappho or mythological figures connect authors across time (from Vivien to Wittig), and how periods of effervescence, like the interwar years, could be followed by moments of regression, where opportunities for lesbian self-expression were scarce, due to legal, social, or economic conditions. This is as much a social as a literary history, despite its focus on major figures such as Wittig. Where it occasionally falters is in its treatment of outside influences, particularly Quebec writers whose work and connections with French counterparts are not always [End Page 213] adequately or accurately acknowledged here. What does clearly emerge is the wide variety of voices, themes, styles and approaches that have characterized and enriched women-centered writings from “Paris-Lesbos” to today’s queering of the literary landscape. For this alone, there is reason to celebrate a “lavender legacy,” which this volume reveals as a major tradition that should transform our understanding of French literary history. [End Page 214] Miléna Santoro Georgetown University (DC) Copyright © 2023 American Association of Teachers of French
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来源期刊
FRENCH REVIEW
FRENCH REVIEW LITERATURE, ROMANCE-
自引率
0.00%
发文量
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期刊介绍: The French Review is the official journal of the American Association of Teachers of French and has the largest circulation of any scholarly journal of French studies in the world at about 10,300. The Review publishes articles and reviews in English and French on French and francophone literature, cinema, society and culture, linguistics, technology six times a year. The May issue is always a special issue devoted to topics like Paris, Martinique and Guadeloupe, Québec, Francophone cinema, Belgium, Francophonie in the United States, pedagogy, etc. Every issue includes a column by Colette Dio entitled “La Vie des mots,” an exploration of new developments in the French language.
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