French Women Writers Research Articles

Narración y perspectiva en las escritoras africanas: de la memoria de la experiencia a la experiencia de la memoria

Tel que le montre l’analyse de la perspective narrative, dans les textes des femmes-écrivains africaines on constate une évolution progressive vers des formulations expressives de plus en plus complexes. Parce qu’ils adoptent en exclusive une focalisation sur le narrateur, les premiers récits présentent les événements comme un tout déjà examiné, voire interprété, par la conscience : ce faisant, ils nous transmettent la mémoire d’une expérience. Plus tard pourtant, l’interprétation monologique du passé est remplacée par une représentation polymodale où le souvenir s’enrichit d’une réorientation totale du vécu : c’est ce que nous avons appelé « l’expérience de la mémoire ».

Aa., Vv., Teaching French Women Writers of the Renaissance and Reformation, edited by Colette H. Winn

Il presente volume si rivolge a docenti che intendano tenere corsi sulle scrittrici francesi del Rinascimento. Non si tratta di un testo di carattere manualistico, ma di una raccolta di saggi che affrontano questioni di carattere metodologico relative alla didattica della letteratura femminile cinquecentesca. Le prime due parti del volume («Background and Contexts» e «Authors, Works, Genres») concernono l’inquadramento di figure di scrittrici quali Marguerite de Navarre, Louise Labe, Helisenn...

Teaching French Women Writers of the Renaissance and Reformation

Teaching French Women Writers of the Renaissance and Reformation

Voices from the Asylum: Four French Women Writers, 1850–1920 by Susannah Wilson (review)

Reviewed by: Voices from the Asylum: Four French Women Writers, 1850–1920 by Susannah Wilson Hope Christiansen Wilson, Susannah. Voices from the Asylum: Four French Women Writers, 1850–1920. Oxford: Oxford University Press, 2010. Pp. 248. isbn: 978-0-19-975935-8 Wilson’s meticulously documented and often engrossing study examines the lives of Hersilie Rouy, Marie Esquiron, Pauline Lair Lamotte, and Camille Claudel in order to demonstrate that psychiatry in the second half of the nineteenth century and the first two decades of the twentieth was “a socially coercive form of treatment that functioned […] as a medico-legal arm of a misogynistic society” against which psychiatric memoirs serve as “rare and compelling surviving voices of resistance” (2). Wilson departs from those who have worked on female hysterics to focus instead on women who would likely be diagnosed today with psychosis or personality disorder; she reads their delusional narratives as meaningful utterances. In the thirty-two years following the passage, in 1838, of the loi des aliénés, which established a definition of madness “as both a pathological state requiring treatment by medical professionals and a danger to society necessitating the incarceration of those afflicted” (2), the number of women held in psychiatric institutions doubled. Women were more likely than men to be labelled “mad,” Wilson explains, because “the boundaries between normality and madness were more blurred in the case of women, and the pathological considered closer to the essence of femininity” (21–22). Rouy wrote what would later be published as Mémoires d’une aliénée on scraps of paper, sometimes in her own blood. She claimed to have a connection to the popular legend that had the duchesse de Berry giving birth to a girl who was replaced by a boy so as to ensure a Bourbon heir. Of the four women under scrutiny here, Rouy is the only one who succeeded in convincing others that her detainment was a mistake, her “rhetorical energy […] subvert[ing] and undermin[ing] the hegemony of the authoritative discourse of psychiatry” (52). Esquiron believed herself to be the victim of a plot concocted by her father and husband aimed at getting hold of her personal fortune. Wilson includes the complete text of two opposing narratives—Esquiron’s and her doctors’—laid out in two columns on the page, allowing readers to see firsthand how Esquiron responded point by point to the claims made in her psychiatric record, “attack[ing] from within the system that oppresses her […]” (105). [End Page 284] Lamotte’s quasi-mystical writings were published in a treatise written by her doctor, Pierre Janet, who followed her for twenty-two years. While she had in common with Rouy and Esquiron the goal of convincing an authority figure of the veracity of her ideas, her situation differed markedly from theirs: she had more freedom to come and go, and more access, thanks to her close relationship with Janet, to treatment of some therapeutic value. Of particular interest here is the blatantly sexual nature of the relationship she maintained with her God, not to mention her plan to make a pilgrimage to Rome on tiptoes to meet with the Pope. Lamotte’s text is at once truthful and delusional: “in good faith, it describes inner experiences mistaken for the shared reality of the sane world” (182). Claudel, resurrected in the 1980s as a key figure in the history of French sculpture, spent an astonishing thirty years institutionalized. While she does not come across as “sane” in her letters, there is “a metaphorical level of truth in the delusional claims she makes” (215). She may even, Wilson contends, “speak on behalf of a generation of women artists who struggled to be accepted and whose achievements were limited by the inequitable social conditions imposed upon them” (212). Wilson is at her best when engaged in close readings of these texts which have rarely, if ever, undergone such analysis, teasing out such stylistic features as Rouy’s exclamations, suspension points, interrogatives, and italics; Esquiron’s future tense and “Si … c’est …” construction; Lamotte’s si clauses and deixis; Claudel’s exclamation and question marks, which give way, in one letter, to no...

The Study of Sixteenth-Century French Literature in North America

Seven scholars active in the field of French Renaissance literature present in this article their assessment of research in the discipline today, focusing on monographs by scholars working in North America and published during the past five years: ToddW. Reeser writes on Rabelais, Colette H.Winn on early modern French women writers, François Rouget on poetry, David P. Laguardia on prose (registres-journaux, mémoires, récits, contes, nouvelles), Kathleen P. Long on the literature of theWars of Religion, George Hoffmann on Montaigne, and Cathy Yandell on the themes and problems that currently dominate literary and pluridisciplinary studies of sixteenthcentury France.

Teaching French Women Writers of the Renaissance and Reformation ed. by Colette H. Winn

Teaching French Women Writers of the Renaissance and Reformation ed. by Colette H. Winn

5 January 1754-31 December 1755. Lettres 2093-2303 , vol. 14 of Correspondance de Madame de Graffigny ed. by D. P. Arthur and D. W. Smith (review)

D. P. Arthur and D. W. Smith, eds., 5 January 1754-31 December 1755. Lettres 2093-2303, vol. 14 of Correspondance de Madame de Graffigny, ed J. A. Dainard. Oxford: The Voltaire Foundation, 2013. xlvi + 450 pp. Since 1985, when the Voltaire Foundation published the first volume of Francoise de Graffigny's correspondence, readers have been able follow the unfolding of her life virtually day by day. Both because of the range of information her letters provide and because of their refreshingly direct and conversational tone, the correspondence gives readers the sense of knowing the author of the Lettres d'une Peruvienne more intimately than we can hope know any other French woman writer of the eighteenth century. The editors of every volume of this truly remarkable edition have facilitated our contact with Graffigny's massive correspondence in many ways, in particular with exceptionally pertinent and illuminating notes. But the pleasure of watching the progression of Francoise de Graffigny's life will soon be over. This latest volume of her correspondence is the fourteenth of a projected fifteen. When its last letter, dated December 31, 1755, closes, Graffigny has less than three years live before her death at age 63. Every volume has a particular character; every one makes readers aware of new facets of Graffigny's personality and aspects of life in eighteenth-century Paris. On the personal side, the letters published here reveal a woman preoccupied with aging and with developing mechanisms for coping with reduced physical circumstances. On the public side, they show us that the philosophes were gaining an ever broader audience and shaping that audiences ways of reading and reacting what they read. Over the course of the volume, as we see how causes and ideas promoted by the philosophes in their publications cropped up in casual exchanges among friends, an image of the everyday business of the Enlightenment comes into focus. As she neared 60, Graffigny was increasingly preoccupied with an aging body; her complaints are a subject few readers are likely find compelling. And yet there are payoffs even here. At one point, she doesn't feel well enough do anything but read Madame de Sevigne and reflect on the pain she suffered--which she proceeds do, reminding her correspondent, Francois Antoine (Panpan) Devaux, of Sevigne's medical problems in late 1687--when, as Graffigny surely realized, Sevigne was herself a woman of about 60 (147, my translation). Graffigny was always interacting with the French literary tradition, even when she may appear most turned in upon herself. But she didn't live only through books. Rather than give in self-pity, even when she was in pain Graffigny remained instead open the world around her, curious, engaged. There's nothing like keeping busy, she once remarked (314). And her dynamism and energy were clearly contagious, for people seem have flocked her. Indeed she frequently complains that she has so many visitors and so many invitations that she is never able to be alone for a minute (178). She plays cards with her friends; she dines with them; she goes, often several times a week, the theater with them. …

Uneasy Possessions: The Mother-Daughter Dilemma in French Women's Writing, 1671-1928 (review)

Uneasy Possessions: The Mother-Daughter Dilemma in French Women's Writing, 1671-1928 (review)

Voices from the Asylum: Four French Women Writers, 1850–1920 by Susannah Wilson

For novelist and naturalist Bernardin de Saint-Pierre, description should not attempt merely to copy nature. Rather, it should reveal the naturalist’s perception of harmonic relationships. Description thus can express both scientific understanding and esthetic appreciation, with the study of nature based not on reason alone, but on sensation and sentiment. Description for Saint-Pierre should be shaped by an analogical reasoning that reveals hidden affinities in nature and its laws, harmonies that generate both esthetic pleasure and scientific knowledge on the reader’s part. A third chapter is devoted to the description of machines and techniques in Diderot and D’Alembert’s Encyclopédie. Stalnaker argues that description in the Encyclopédie opens up a virtual space of understanding, which allows us to know something about these objects that we cannot perceive in our everyday experience. The reader comes to understand not only the machine, but the process of understanding machines, a process occurring in the reader’s mind and that reveals the power of language in new and unexpected ways. Stalnaker next considers the little-studied genre of descriptive poetry. A genre ranked below tragedy and comedy in the eighteenth century, descriptive poetry aimed to fill the gap between poetic language and our knowledge of the world by transforming language through specific poetic techniques, such as circumlocution and imitative harmony. If descriptive poetry helped usher in a modern notion of poetry, it was by confronting the gap between word and world, and not by moving poetry closer to nineteenth-century lyricism. In two final chapters, Stalnaker offers rich, suggestive analyses of Mercier’s post-revolutionary writing on Paris. Through urban descriptions that reproduce the multi-layered experience of walking in a new Paris while remembering the old, Mercier confronts the question of historical change. Le nouveau Paris “tests the limits of representational coherence [...] and takes its meaning from a profoundly disorienting fragmentation of perspectives” (208). In these well-crafted, insightful readings, Stalnaker cogently presents the textual symptoms of how an Enlightenment model for knowing the world was becoming obsolete. Ideally, for these writers, description held the promise of making the world knowable in new ways. Yet in practice the rift between word and world, once exposed, would not soon disappear. University of Minnesota Daniel Brewer WILSON, SUSANNAH. Voices from the Asylum: Four French Women Writers, 1850–1920. Oxford: Oxford UP, 2010. ISBN 978-0-19-957935-8. Pp. 272. £60. Since nineteenth-century French medical authorities commonly viewed femininity as a pathological state, it is hardly surprising that women—especially those living outside societal norms—were more likely than men to be committed to asylums. Wilson argues that the convergence of the nascent domain of psychiatry , the patriarchal society, and the loi d’aliénés of 1838 created an environment conducive to the creation of psychiatric memoirs by women. Ironically, women’s writing itself was considered pathological “because the process of writing and creating was [...] considered an unnatural activity, being traditionally viewed as the unique preserve of men” (27–28). Wilson offers us a glimpse of the nineteenth-century asylum from the perspective of the inmate; with the biographies that introduce each case history, she humanizes experiences that, unfortunately, academic study has to some extent Reviews 193 depersonalized. We learn that Hersilie Rouy, diagnosed with folie lucide, was a musician who created an elaborate alternative life story to cope with the loss of her child. She sued for and won compensation for her involuntary committal and, after her release, devoted herself to helping the mentally ill. Marie Esquiron was declared morally ill—what psychiatrists today would call personality disorder— and committed by a husband and a father who sought to control her fortune. Institutionalized for religious delusions and a persecution complex, Pauline Lair Lamotte managed to gain a measure of immortality through the journal she kept while incarcerated. Camille Claudel suffered from paranoia and lived out the final three decades of her life cut off from family and friends, unable to indulge her artistic muse. Of the four, Claudel’s case best exemplifies “the double bind in which the psychiatric patient is locked: the desperate attempt in writing—through dissimulation—to place oneself outside the category...

Voices from the Asylum: Four French Women Writers, 1850-1920

In her study of four French women's accounts of their experiences in insane asylums, Susannah Wilson astutely examines their written words against that of the clinicians implicated in each case to provide her reader with an objective and nuanced interpretation of madness. Her investigation addresses a range of theoretical domains, including, but not limited to, feminist literary criticism, the history of the asylum, psychiatric and psychoanalytical analysis, autobiographical writings, and even the literary theme of madness and the textual study of supposedly insane authors. In her Introduction and first chapter Wilson thoroughly presents the historiography of each area of study pertinent to her project, clearly illustrating in the process the point at which these fields converge and its corresponding lacuna of research. In the four remaining chapters she directs our attention to the four women under analysis: Hersilie Rouy, a talented musician disowned by her family; Marie Esquiron, a feminist activist pursued by her husband and father for her financial assets; Pauline Lair Lamotte, an estranged mystic also known by her pseudonym, Madeleine Lebouc; and Camille Claudel, the now well-known sculptor who, during her lifetime, was overshadowed by her lover turned adversary, Auguste Rodin. After contextualizing each woman's writings (letters, memoirs, and formal rebuttals) within the social, political, and literary movements under way in France, Wilson conducts a meticulous textual examination of the documents in question, scrutinizing her choice of vocabulary, syntax, the presence of repetition, and much more, all the while contrasting the writer's claims with those of the physicians. Although each story varies drastically and evokes issues unique to one woman's life, there are several underlying parallels and commonalities, which Wilson justly underlines in her analysis and conclusions. First, each of these women demonstrated signs of talent and character and refused to integrate ‘properly’ into the social system established by the male-dominated culture. Secondly, the determination to record their experiences and vociferously reject the allegations of insanity pronounced by doctors and family members alike reveals a shared courage among these four women. Finally, Wilson emphasizes the double-edged sword implied in the decision to dispute accusations of insanity: on the one hand it was the only way to defend oneself officially before the authorities; on the other hand these testimonies often provided written proof of madness, even if only from the act of engaging in ridiculous and skewed conversation with a system that, from today's perspective, is inherently unreasonable. Wilson expands these criticisms of the system and discloses the extreme absence of care and compassion for female patients, not to mention hope for their recovery. By not denying the presence of delusion in most of these texts, yet still detecting truth in their assertions of unjust treatment, Wilson validates insane writing as a tool for the author and a source of information for the scholar. This accomplished inquiry into the lives of four alienated women from a period in France when psychiatric incarceration was on the rise will undoubtedly appeal to readers from an array of disciplines.

Voices and Veils: Feminism and Islam in French Women's Writing and Activism

Voices and Veils: Feminism and Islam in French Women's Writing and Activism

Enchanted eloquence: fairy tales by seventeenth-century French women writers

Enchanted eloquence: fairy tales by seventeenth-century French women writers

Lewis Seifert and Domna Stanton, eds. and trans. Enchanted Eloquence: Fairy Tales by Seventeenth-Century French Women Writers. The Other Voice in Early Modern Europe: The Toronto Series 9. Toronto: Centre for Reformation and Renaissance Studies, 2010. xi + 362 pp. index. append. illus. bibl. CAD $32. ISBN: 978–0–7727–2077–1.

Lewis Seifert and Domna Stanton, eds. and trans. Enchanted Eloquence: Fairy Tales by Seventeenth-Century French Women Writers. The Other Voice in Early Modern Europe: The Toronto Series 9. Toronto: Centre for Reformation and Renaissance Studies, 2010. xi + 362 pp. index. append. illus. bibl. CAD $32. ISBN: 978–0–7727–2077–1.

Nomadismes des romancieres contemporaines de langue francaise

This collection of essays provides a wide-ranging study of geographical and identificatory transgressions in the work of contemporary French women writers. The book is divided into four sections, each of which investigates different areas of literary nomadisms which may be understood as strategies for undermining fixed notions of identity. In the first section, Dominique Combe's essay examines the work of Régine Robin, who introduced literary multiculturalism to Québec in the early 1990s. Christine Détrez's chapter highlights the constraints faced by Algerian women writers whose literary nomadism represents both self-expression and cultural transgression. The renewal of the detective genre in the work of Fred Vargas is the subject of the chapter by Sévérine Gaspari, who shows how Vargas transgresses gender boundaries by manipulating the genre's stereotyped conventions. Delphine Naudier explores the status of women writers from the nineteenth century to the present, demonstrating how women's writing has become increasingly androgynous. The second part of the book opens with Anne Simon's chapter on Annie Ernaux. Simon contends that Ernaux, like Proust, highlights the ephemeral nature of ‘self’ as a constantly changing process of momentary experiences and that the fluidity of her writing reflects this sense of identity as a ‘je traversé’ (p. 73). Diana Holmes argues that Nancy Huston's fiction questions the anti-narrative modes of writing inaugurated by the ‘nouveau roman’ and later reinforced by feminists who opposed the patriarchal underpinnings of classic realist fiction. Anne Mairesse analyses the displacement of gender identities through identification with the male hero-narrator in the work of Anne Garréta and Lydie Salvayre, while Eliane DalMolin's chapter examines how Ernaux, Salvayre and Nothomb exhibit the complexity of their experience through what she calls ‘une rhétorique du spectacle’ (p. 104). The third section of the book begins with Audrey Lasserre's study of Leslie Kaplan who identifies categories as a fundamental element of totalitarianism and whose ‘pensée nomade’ (p. 124) reflects her rejection of all categories. Armelle Le Bras-Chopard argues that Catherine Millet's sexualised discourse rehearses well-worn stereotypes of women. The work of Marie NDiaye is the subject of Shirley Jordan's chapter, which explores the significance of nomadism in NDiaye as an experience of exile, loss and exclusion. Simon Kemp looks at the impact of nomadic displacements on the identities of Marie Darrieussecq's characters, highlighting their ambivalent reactions of both attraction and revulsion vis-à-vis their homeland. Aline Bergé-Joonekindt examines the ‘history of the forgotten’ (p. 179) in the work of Zahia Rahmani, while André Benhaïm's analysis of displacement in Assia Djebar focuses on the image of ‘la marche’ as a metaphor of both textual and cultural movement. The closing chapter is Mireille Calle-Gruber's study of Andrée Chedid's Les Marches de sable in which nomadism becomes a search for both physical and spiritual nourishment. This volume shows a remarkable diversity of contributions while maintaining an excellent level of clarity and precision throughout. It makes an important contribution to the field of French women's writing and will be an invaluable resource for both students and researchers.

And What About French Women Writers?

Scholars in English may be able to wonder if any significant work on early modern women writers remains to be done. Their counterparts in French studies are in a very different position since, in our case, for the last thirty years progress has been slow. I have written therefore a plea rather than an article – a plea for more work on the still largely undervalued contributions of French women writers to the development of the novel of the long 18th century. We need inexpensive editions of major works by women writers so that they can be included in our courses; we need additional work on their biographies. Only then can the canon of French literature really begin to be opened up to include women writers.

Give and Take: Marriage and Disinheritance in Nineteenth-Century French Women's Writing

Give and Take: Marriage and Disinheritance in Nineteenth-Century French Women's Writing

Beyond 'Écriture féminine': Repetition and Transformation in the Prose Writing of Jeanne Hyvrard by Cathy Helen Wardle

554 Reviews Beyond 'Ecriture feminine': Repetition and Transformation in theProse Writing of JeanneHyvrard. By CATHY HELEN WARDLE. (MHRA Texts and Dissertations, 69) London: Maney. 2007. I45 pp. 05. ISBN 978-1-904350-63-7. Beyond 'Ecriturefeminine'is the firstfull-length book study on JeanneHyvrard, a cele brated French writer, thinker,and economist, who isnevertheless relativelyneglected in the critical literature. Criticism on Hyvrard has tended to focus on her depic tion of themother-daughter relationship, gender, and madness inorder to categorize her writing in terms of 'ecriture feminine' and to link her with other contemporary French women writers and thinkers, including Helene Cixous, Luce Irigaray,Chan talChawaf, and Marguerite Duras. Cathy Helen Wardle's studymoves criticism of Hyvrard 'beyond' thepotentially reductive label of ecriturefeminine, instead explor inghow Hyvrard's (inter)textual repetition and transformationmay be seen to rewrite reductive binary oppositions and creatively open up the realm ofwhat Hyvrard calls la tiercepensee. The aim of the book is twofold: to show how Hyvrard's textual prac tice defies linearity and to rethink the engagement between text and reader that this textual practice invites and demands. Wardle begins by introducing the foundations ofHyvrard's thought and (re)defining key terms as a basis for rereading Hyvrard's ceuvre, exploring the relation between logosand chaos, the (im)possibility ofwriting theother, la tiercepens&e, contrairation, the concentrique, for instance, thatwill enable an alternative reading of her work. The study thenmoves on to consider Hyvrard's earliest works (the so-called 'Jeanne la folle' texts),which have received most critical attention todate, butwhich have almost exclusively been read in termsof the feminine and thematernal. Wardle successfully argues that these texts also productively en gage with wider issues, such as the relation between logosand chaos and the attempt to give voice to the chaotic. Where other critics have tended to read inHyvrard's work a nostalgic desire fora return to thematernal body,Wardle emphasizes thather repeated textual returns in factdeconstruct any such origin, maternal or otherwise. Beyond 'Ecriture feminine' analyses different forms of return and repetition within Hyvrard's work, beginning with textual repetition and moving on to intertextual repetition and autointertextual repetition (effectively intertextual repetition within one writer's ceuvre),which are identified as strategies thatwork to engage the reader actively with the text.The study ends with Hyvrard's autofictional texts,La Jeune morte, CELLLA, and Les Prunes de Cynthere, describing her life-writing as a form of citation that self-consciously (re)produces-rather than represents-the 'origin' (the author), destabilizing any notion of the author as 'creator' or origin' and of the text as stable and discrete entity.As Wardle convincingly argues, this compels the reader tomake connections, orwhat Hyvrard calls 'enceptions' (open-ended, plural connections thatstand incontrastwith logarchic 'concepts'), between the multiple in tertextual repetitions and transformationswithin Hyvrard's ceuvre. Beyond 'Ecriture feminine'fruitfully opens up thekey issues inHyvrardian criticism (gender,madness, mother-daughter relationships) to link themwith wider questions of how we concep tualize and order theworld. This study offersa lucid and compelling interpretation of Hyvrard thatmoves criticism of her work in a productive new direction. Itwill be of undoubted interest to researchers working on Hyvrard's writing and equally to those working in contemporary French (women's) writing and philosophy. As Wardle's conclusion shows, Hyvrard's writing negotiates a shift in theway we conceive of the world and thus potentially incites philosophical and even political change, mediated through shifting connections ('enceptions'), oppositions, and transformations. NEWCASTLEUNIVERSITY KATHRYN ROBSON ...

The Hysteric's Revenge: French Women Writers at the Fin de Siècle (review)

The Hysteric's Revenge: French Women Writers at the Fin de Siècle (review)

The hysteric's revenge: French women writers at the fin de siecle

Hysteric's considers fin-de-siecle French women writers in the context of prevailing cultural anxieties about female intellect. During the years that overlap between the fin de siecle and the Belle Epoque, women began to write in record numbers, due to a number of factors including educational reforms and demographic shifts. This trend terrified many male literary critics, who described it as the crisis of women's in a series of efforts to circumscribe the perceived problem. Such critics frequently linked women's writing to sexual depravity. According to popular medical theories, the fragile confluence of the female mind and body might steer the woman writer towards illicit sexual behavior when she exercised her intellect. This book argues, however, that the fear of sexual abandon - though real - veiled an even more insidious fear: that women might be capable of intellectual equality with men and thus pose a threat to the most basic structures of French patriarchal society. In demonstrating the pervasiveness of this anxiety through analysis of nineteenth-century medical texts, literary criticism, and fiction, The Hysteric's Revenge brings into relief a critical relationship between the female mind and body that is essential to understanding the discursive position of the turn-of-the-century woman writer. novels presented here confront this mind/body problem through a wide variety of styles and genres that challenge conventional fin-de-siecle notions of femininity. From the compelling autobiography of Liane de Pougy - one of Paris's most renowned courtesans - to Colette's frank discussions of female pleasure in one of her early novels, to the violent creativity of Rachilde's androgynous heroine, Mesch demonstrates how both canonical and non-canonical writers promoted women's intellectual authority through the development of a sexual counter-discourse. In engaging the relationship between women's minds and bodies, these novels challenge the conclusions of a century of doctors who sought to prove a physiological basis for female intellectual inferiority. At the same time, they point the way towards later French feminists who sought to subvert patriarchal structures through literary explorations of sexuality.

The Hysteric's Revenge: French Women Writers at the Fin de Siècle (review)

The Hysteric's Revenge: French Women Writers at the Fin de Siècle (review)