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Vol. 07 No. 2, June 2008

Permanent URI for this collectionhttps://hdl.handle.net/10222/31213

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    Ichi the Killer: del manga a la gran pantalla
    (Dalhousie University. Electronic Text Centre, 2008-06) Hidalgo, Cora Requena
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    A Mão do Finado - um falso romancefolhetim: artifícios da mídia impressa
    (Dalhousie University. Electronic Text Centre, 2008-06) Guimaraes, Rosangela Maria Oliveira
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    Présentation
    (Dalhousie University. Electronic Text Centre, 2008-06) Boucharenc, Myriam
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    Contents - Belphégor Vol 7 No 2
    (2008-06) Frigerio, Vittorio
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    Contes d'auteur: Etre écrivaine algérienne aujourd'hui
    (Dalhousie University. Electronic Text Centre, 2008) Detrez, Christine
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    Les Débuts littéraires complexes de quatre romancières régionales du Nord-Pas-de-Calais
    (Dalhousie University. Electronic Text Centre, 2008) Kuczaj, Francoise
    Quatre écrivaines du Nord – Pas-de-Calais, nées entre 1929 et 1949, Marie-Paul Armand, Annie Degroote, Raymonde Menuge-Wacrenier et Gilberte-Louise Niquet ont publié à elles quatre depuis 1985 une trentaine de romans ou recueils de nouvelles à caractère régional, chaleureusement accueillis par le grand public. Axés sur la volonté de faire revivre les aspects les plus marquants de l'univers septentrional d'antan, leurs récits placent au premier plan des héroïnes, humbles ou brillantes, qui symbolisent toutes le désir d'émancipation féminine. Or, la reconnaissance du public n'a pas été acquise facilement. Les romancières, surtout les plus âgées, ont dû surmonter de nombreux obstacles : conservatisme des mentalités, éloignement de Paris, ostracisme officiel opposé à l'écriture féminine. Elevées de manière très traditionnelle, elles ont généralement été contraintes d'accepter d' « enseigner, soigner, assister », selon la formule de Michelle Perrot, avant de parvenir à se créer une « chambre à soi », condition indispensable à l'écriture comme l'a montré Virginia Woolf. L'arrivée de femmes à des postes-clés dans les maisons d'édition a certainement contribué à leur ouvrir les portes du succès. Leur démarche témoigne des difficultés rencontrées jusqu'aux années 1980-1990 par les femmes désireuses de s'affirmer à travers l'écriture romanesque.
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    Les 'Chéries noires': Ecriture féminine et roman noir
    (Dalhousie University. Electronic Text Centre, 2008) Levet, Natacha
    Towards the end of the eighties and through the nineties, women have been increasingly visible and present in the field of French "noir" fiction, up until then reserved for men, as opposed to the more traditional thriller or whodunit. Publishers and critics have welcomed these newcomers, considering their novels as the mirror of a feminine, and sometimes feminist, universe. To appreciate the real extent of this phenomenon, one must take stock of it. There are actually very few women authors, but the low numbers are compensated by three factors : the novelty factor, the fact they have all appeared at the same time, and the sudden success of some of them (Fred Vargas being the best known case). In any event, this phenomenon is dictated mostly by the publishing industry and the media, and it is the publishers who have contributed to popularize it widely. When the writers are asked to position themselves as regards the supposed femininity of their fiction, the "warrior" posture privileged by the media gives way to several different reactions. Some novelists are comfortable with the non-threatening feminine identity that has been originally imposed upon them. Others, to the contrary, refuse to be seen primarily as women and choose to use androgynous pseudonyms or just plain ignore questions on this subject. Through an analysis of the novels themselves, three main postures are identifiable. Some novels, sexually neutral, cannot be attributed to either a male or a female author. Others create a feminine (not feminist) universe through the choice of women narrators or heroines and through the description of men-women relations. Others yet, by far the less numerous, are characterized by a militant writing denouncing male domination and sexual relations marked by violence. In conclusion, the phenomenon of the female "noir" writers is more a media construct than a literary reality. The "noir" novels penned by women mostly lack specific thematic or stylistic traits, and the authors'discourse is most often free of any identifiable sexual positioning.
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    L'Itinéraire d'une féministe romantique: Carolina Coronado, femme et poète entre force et fragilité
    (Dalhousie University. Electronic Text Centre, 2008) Schreiber-Di Cesare, Christelle
    Carolina Coronado, born in 1820 in a liberal Spanish family, received in spite of this a very traditional education and was expected to conform to her role as an obedient daughter and wife, whose life would be limited to the private sphere. She refused this fate and decided to fight for women's rights, and in particular for the rights of women writers. She corresponded with the writer Juan Eugenio Hartzenbusch, who became her mentor and allowed her to be recognized by her peers and by the public. J. E. Hartzenbusch insisted on what he saw as the typically feminine characteristics of Carolina Coronado's writing: her sweetness, delicacy and simplicity, that made it appropriate for all readers. He also expounded on the similarities between the author and her poems, presenting her as a naive and polite young lady. In reality, however, Carolina Coronado was a much more politically committed poet than J. E. Hartzenbusch would lead one to believe. Her poems were often infused with great violence, whether in the symbolic representations of nature unchained (representing the fate of women in a misogynistic society) or in their condemnation of male violence, directed as much against the heart as against the body of the spouse. She also evoked metaphorically, and defended, feminine desire. Her goal was to destroy the Superego and free women from the feeling of shame that society wants to impose on them concerning their erotic desires. She talks about her body, what it feels and what it does, takes back possession of it and allows other women to understand their true nature. The publication of Carolina Coronado's first book of poems did indeed stimulate other women to start writing. Dozens of women published in newspapers and magazines, took part in cultural and literary associations. They showed great solidarity to each other, forever fighting the disdain of male writers and newspapermen, who thought writing incompatible with a woman's virtue. Carolina Coronado wrote more and more poems denouncing women's oppression. Her second collection, published in 1852, shows ambition, lucidity as well as rage and sometimes aggression against the injustices women faced. She went so far as to even criticizing liberalism, an ideology that in the end had changed very little in women's lives. However, in spite of her importance in her country's literary life, Carolina Coronado changed her life's path after her 1852 marriage with Horacio Perry Spragne, First Secretary of the United States Embassy in Spain. She still kept an interest in literature, entertaining writers in her home, but decided to become active in politics as she apparently no longer believed in achieving recognition for women writers. The feminist anthologies published in the early twentieth-century, before her death in 1991, forgot to include her poems. Depressed by the loss of two of her children, she did not have the energy to react to that any more. Her itinerary shows an involvement that decreased with the passage of time, as she lost her faith in the battle she was in. The political context of the Spanish 19th century was not favourable to the recognition of an abundant, but qualitatively unequal women's literature, that has never been considered of equal value as that penned by men. The fight had perhaps been lost before it even got started, but the voice of Carolina Coronado remains fundamental, as she was one of the first women who ever rose up to affirm their literary authority.
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    De la 'petite Annie' à  la 'grande Ernaux': L'Evolution de la critique, des Armoires vides à  Passion simple (1974-1992)
    (Dalhousie University. Electronic Text Centre, 2008) Mouret, Magali
    This article offers a polemical perspective on the critical reception of Annie Ernaux's first books, over approximately twenty years. A methodical analysis of newspaper articles shows the workings of a pernicious, hidden rhetoric, aiming to deny the literary and artistic value of the author's writing, independently of the different critical approaches being adopted. This opens the door to a discussion of the only living art, that which affects the reader in her/his own body.
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    Femme, je vous aime ... '? Nora Roberts, une inconnue sortie de l'ombre dans l'univers sentimental
    (Dalhousie University. Electronic Text Centre, 2008) Olivier, Severine
    Even today, it is far from easy for a woman author to achieve recognition while working in an almost exclusively feminine genre, despised by the mostly male critics who wield power in the symbolic domain. Authors of romance novels are seen almost as computers and rarely escape anonymity. They write « low-grade women's fiction » supposedly devoid of interest, and their identity is overshadowed by that of the publishing house, like Harlequin, or by that of a specific collection. However, Eleanor Marie Robertson, a housewife from Maryland who used to read romance novels, became the best-selling author Nora Roberts. Her books sell by the millions in the United States and they are published in France outside of the « romance ghetto ». In spite of being seen as a woman writing cheap novels for women, she has been able to take advantage of all the possibilities open to her in the field of romantic fiction to achieve success. She has written across paraliterary genres (from romance novels to detective novels) and has managed to occupy a central place within media culture, forcing Francophone romance publishers to modify their attitude with respect to her production. Even though she operates within the parameters of a minor genre she has achieved a certain degree of recognition, different from that of literary authors, but significant in the domain of media culture. This article attempts to identify the promotional and image strategies adopted by this author in her writing of romance novels – a genre generally reviled mostly because of its feminine connotations.