Pliant and Compliant: Colonial Indian Art and Postcolonial Cinema

Walter Benjamin's signature hypothesis of 'dialectics at a standstill' rehearsed in his 'Theoretics of Knowledge, Theories of Progress' permits visual images to be elasticized from a then condition in history and culture to a now site of contemporary reality in order to be critiqued in their entirety. Putting this hypothesis to the test, Rajan juxtaposes two late eighteenth-century works of art by East India Company Painters with two late twentieth-century films by Mira Nair and Deepa Mehta to trace trajectories of orientalized desire and unspeakable pleasure as relayed along a woman's body. In all four instances, the central image of woman continues to be an insistent signifier that embodies social values, cultural prejudices and artistic ideals, which, in turn, provide critical, valuable insights into constructions of gendered, aestheticized and sexualized femininity. The image of woman , thus dialectically read, reveals that it is not simply the male colonizer who is always already the oppressor, as is the common assumption, but rather that woman as an abject signifier can be merchandised even by enlightened, postcolonial women. Such a ravaged image of woman remains, therefore, a fixed trope in the hands of male and female artists, traversing coloniality and postcoloniality, and crossing over from art to cinema, with little chance of emancipation. One strategy to grant woman full agency requires the contemporary, feminist viewer to take responsibility and couple aesthetics with an ethical tenor. According to Benjamin, ethics thus defined is a matter of personalized aesthetics. This means that each one of us is entrusted with the responsibility of demanding accountability in the creation of visual culture such that images that demean femininity, disembody female subjectivity, objectify female pleasure and delegitimize desire be judged inappropriate, as incorrect or unappealing visual images and as unavailable for appropriation.     

Les Contrebandières: Woman as Smuggler

The summer of 1999 marked the end of an era in Morocco. For the majority of the Moroccan people political power had rested in the hands of one man for their entire lives. That man was King Hassan II and he was now dead. While he was a monstrous tyrant in the eyes of some, for many he was to be deeply mourned as a man who represented a link in a royal chain that could be traced back to the prophet Muhammed and as such was the embodiment of the faith, the Commander of the Faithful. It was to be Hassan's task to bring Morocco into the modern world, and sultan became king. This arduous task, however, necessitated a blunt and brutal approach to crush tribal dissidence and proletarian insurrection. Nonetheless, as his son Muhammed VI was inaugurated, the legacy of Hassan's passion for a united kingdom was evident in the political landscape. Before his death Hassan had made some amends with the demons he himself had unleashed. Prisoners of conscience were being freed, oppositional voices were being heard and new democratic structures were slowly being put in place. In effect, the ground had been laid for his son to take the nation in new directions. One of these was an increased attention to the position of women in Moroccan society. As her brother was being prepared for his new position in life, Lalla Meryem, Hassan's eldest daughter, was receiving wide coverage in the press for any number of initiatives and pronouncements. That such a highly placed woman should speak out was not simply the timely intervention of a dutiful daughter. To those familiar with Morocco, names such as that of Fatima Mernissi and Zakya Daoud will already be familiar. Both these writers had been asking difficult questions about the position of women in Moroccan society for several decades. Films such as Jillali Ferhati's Reed Dolls (1981) and The Beach of Lost Children (1991) played a similar role in questioning the society's treatment of women. In fact Moroccan fiction, right at its inception, in Driss Chraibi's first work Le Passe´ simple (1956), had sought to understand the dynamics of patriarchal family life and the role of the mother, a theme that echoes in the writing of Tahar Ben Jelloun. More recently the independence struggle has been seen from the perspective of a woman in the fascinating account of the period given in Leila Abouzeid's semi-autobiographical novel Year of the Elephant , which was excerpted in this very journal, or her more recently translated memoir Return to Childhood . So Lalla Meryem's intervention was perhaps not so surprising. What was more surprising was the appearance, at the same time, of reviews of an avowedly feminist collection of essays in newspapers such as Le Matin du Sahara , a paper widely seen as the mouthpiece of the government. The book was a collection of articles edited by Aïcha Belarbi and entitled Initiatives fe´minine . It was published by the small Casablanca publishing house Editions Le Fennec and is the latest in a list of publications about Moroccan women that stretches back to Portraits de femmes , published in 1987. That such a publication can achieve such a review speaks as much for the potential for change in Moroccan society as the pronouncements of the new king. Women: a cultural review would like to introduce the collection to English-speaking readers by translating one of the chapters in the book. Chemseddoha Boraki's 'Les Contrebandières' takes up the intriguing economic theme of smuggling in northern Morocco. Through the use of memory, literature and observation it interrogates both the role of smuggling in a country such as Morocco and the part played by women in that particular trade. Its conclusion demands that the image and position of women within Moroccan society be profoundly rethought.     

The sacred may not be the same as the religious: Angela Carter's ‘Impressions: The Wrightsman Magdalene’ and ‘Black Venus’

John Everett Millais's painting The Bridesmaid (1851) depicts a young woman, on the evening of a wedding, attempting to conjure up a vision of her own future husband. This work has been linked to a number of others by Millais dealing with marriage, and has been seen as an articulation of 'matrimonial ideology'. Brown sets the picture in the context of the widespread, though clandestine, practice of fortune-telling, through which women in particular attempted to foreknow, and thus control, the central event of their lives. One of the most frequent questions asked of fortune-tellers was 'whom shall I marry?', the question the girl in the painting has herself asked. However, drawing on recent critical work on 'proposal composition' pictures, Bown argues that men, too, faced great uncertainty on the brink of marriage, and that artists repeatedly explored this uncertainty through attempts to represent a complex female subjectivity in their works. In The Bridesmaid Millais (who was thinking about marriage in the early 1850s) depicts a woman telling her fortune, but he also seeks to represent her as full of thoughts and feelings. The artist, and the viewer of the painting, then, engages in an act of divination in which he tries to discover the mysterious secrets of female subjectivity.     

The Unexpected: Bionic Woman at the Millennium

Wilfred Bion's A Memoir of the Future provides a point of departure for feminist thinking about the millennium. Bion problematizes hopes for the future and associates thought with catastrophic change. Women play an unexpected role in Bion's experimental autobiography, posing provocative questions and unsettling the status quo . Since Bion has little to say about women in his clinical writings, A Memoir sheds light on his thinking and on the post-Kleinian culture of the 1970s. Book I of A Memoir depicts a class- and sex-nightmare played out between men and women, and women and women, in an age of anxiety whose setting appears to be the fascist 'pacification' of Middle England during an unspecified period. In this hallucinatory drama, all encounters are reduced to a brutal fiction of dominance and submission. The violence of the action suggests the primitive mental world of psychosis. Book II of A Memoir satirizes 'the brilliance of masculine thought' through the voices and criticisms of women. But this is the purgatorial movement of Bion's autobiography, inhabited by 'idées mères' (untransformed beta-elements) and haunted by the ghosts of Bion's traumatic war-time experience. A monstrous plot is hatched to kill primitive, fascistic Man, who retaliates and takes the female spoils. Is this the prelude to catastrophic change? Book III stages a country-house debate between different characters who represent aspects of Bion's personality, recapitulating the concerns of his later writing. The debate includes a meditation on childbirth as compared to war trauma, but Bion takes his distance from feminine intuition or common sense. Women fight on both sides of the barriers in the Bionic revolution - becoming, however, figures for the 'unexpected' and precursors of emotional upheaval. The gendering of millennial thought in Bion's Memoir provides an opportunity to scrutinize our own unthought fantasies of change.     

From 'Political' to 'Human' Economy: The Visions of Harriet Martineau and Frances Wright

The marginalization or exclusion of women from economic theory has a long and distinguished pedigree. Michele A. Pujol, in her groundbreaking study Feminism and Anti-Feminism in Early Economic Thought (1998), wryly observes that whilst Adam Smith devotes an entire page to the question of women's economic activity in his Wealth of Nations , women 'are nowhere mentioned in Ricardo's Principles of Political Economy and Taxation and in Malthus's Principles of Political Economy ' (Pujol 1992:17-23). In similar fashion Groenewegen, in Feminism and Political Economy in Victorian England (1994), notes that 'there have been few women contributors to … economic literature' (Groenewegen 1994:16). Indeed, as far as the first half of the nineteenth century is concerned, only two women - Jane Marcet and Harriet Martineau - seem to have written on political economy. Both wrote as expositors and popularizers of existing theoretical knowledge, content to repeat rather than challenge established orthodoxies, and as a result neither has commanded much more than a footnote in the history of economic thought. Martineau enjoys somewhat more of an enhanced reputation in the field of literary studies but even here attention tends to focus on A Manchester Strike at the expense of her other economic fictions. The present discussion, then, attempts to expand the field of vision with regard to Martineau by examining four of her economic tales: The Rioters (1827), The Turn-Out (1829), The Hill and the Valley (1832) and A Manchester Strike (1832). The first two of these were written prior to Martineau's 'conversion' to political economy, whilst the latter two appeared as part of Illustrations of Political Economy (a series of twenty-three tales published in twenty-five monthly parts between 1832 and 1843). As a way of exploring the disjuncture between economic theory and narrative events within these tales, the narratives themselves are read as implicit commentaries on (as well as 'illustrations'of) aspects of political economy, thereby allowing Martineau to emerge as a much more complex and problematic writer than is usually acknowledged. Also under examination here are the economic ideas of Frances Wright, another early nineteenth-century woman writer, particularly her critique of the existing economic order (which sharply differentiates her from Martineau) and her proposals for a new 'feminine' economy. The intention is to show that women writers on economics were not confined to the role of 'dutiful intellectual daughter, repeating … the words of her intellectual fathers' (David 1987:35)--to borrow Deirdre David's characterization of Martineau in Intellectual Women and Victorian Patriarchy --but were capable of articulating a thoroughgoing critique of existing theoretical models.     

Narrative Swerves: Grand Narratives and the Disciplines

Beer explores the legacies of Jean-François Lyotard's proclamation of the death of 'grand narratives', including the gendered dimension of their fall-out in a 'domestication' or everydayness despised because it is perceived to hold no possibilities for invention and newness. Beer does not, however, seek to reinvent 'domestication', but rather to explore the possibilities of the 'narrative swerve': a model of narrative as flexible rather than totalizing. Its possibilities emerge in the philosopher Richard Rorty's account of 'irony' (which he genders as a female trope) and, more powerfully, in the 'trickster' figure of folk-tale which takes on new resonances in postmodern feminisms and in contemporary literature. Rorty's ironist ultimately controls language and meaning through her characteristic device of quotation marks, containing words while disclaiming responsibility for them. A more enabling site for the trickster (conceived by Beer as an enabling feminist thought-tool and not as an identity for women to assume) and for the narrative swerve might, paradoxically, be found in scientific studies, which are, and despite their declared ideals of coherence and testability, fascinated with the relations of deviation and rule. Thus we find spaces-between and across the 'two cultures' as well as other cultural borderlines - for productive knowledge-testing and knowledge-making which are neither held fast by 'grand narratives' nor wholly abandoned in and to their dereliction.     

‘ah famous citie’: women,writing, and early modern London

This article explores aspects of the textual relationship between women and early modern London by examining three verbal ‘snapshots’ of the city in works either written by women or focusing on women in their urban environment. The first text, Isabella Whitney's ‘Wyll and Testament’ (1573), addresses London from a rural perspective, treating the city as a fickle male to whom she wants to hand back all his treasures. The poem constructs a vivid and ironic social topography, giving a glimpse of the roles of men and women in the Tudor city. The second text is by Mary Carleton, the roguish Restoration figure who defended her apparently ‘counterfeit’ life in the prose of The Case of Madam Mary Carleton (1663). Carleton's London is a place of unwanted seduction and sexual intimidation, highlighting a gendered moral geography even while the memoir itself titillates the reader with the account of her bizarre experiences. Finally, in a coda to the discussions of Whitney and Carleton, early eighteenth-century London is viewed through Jonathan Swift's satirical mock-pastorals of squalid urban life, in which female identity, like the city itself, is a site of violence, disgust and deception. Together, these textual representations of women and early modern London indicate the complex interactions of gender, literature and the early modern city. The analysis of the texts also suggests the significance of the ironic voice as a quintessentially urban literary mode, the prevalence of the idea of woman as a commodified topographical site, and the function of metaphors of courtship or marriage as indicators of the paradoxical attractions of the city.     

The New Miss India: Popular Fiction in Contemporary India

Miss New India is the title of a 2011 novel by Indian-born (now American-based) Bharati Mukherjee, which tells the story of a young woman who leaves her small-town home and family to find work in a call centre in the information technology city of Bangalore. The call centre is emblematic of a ‘new India’, in which educated young people seize the possibilities of a global labour market. This is a generation for whom colonialism is ancient history, a generation who have grown up in the aftermath of economic liberalization in India. Chetan Bhagat refers to this generation as ‘Young India’ and has written a series of best-selling novels that feature ambitious young men in the ‘new India’. There is, however, an emerging genre of similar narratives written by women and addressed to a female readership. This article discusses a range of contemporary Indian women’s popular novels and argues that, while Bhagat and his male heroes may embrace globalization and the market, the narratives written by women are more nuanced in their celebration of economic liberalization. The novels dramatize the tensions between tradition and modernity, family and independence, and suggest that these are particularly fraught for young Indian women. These texts pick up on the discourses of contemporary journalism about ‘Young India’, within the generic form of the romance, but their resolutions are repeatedly uneasy and suggest that the ‘new India’ is not an entirely comfortable space for the new Miss India.     

The Sudanese Woman

The nature of the relationship between (proto-)feminism and (anti-)imperialism is highly contested. A case in point is the work of Olive Schreiner, and the articulation of gender politics with (anti-)imperialism which has been subjected to repeated scrutiny in the last twenty years. One strand of criticism, exemplified by critics like Laura Chrisman, Anne McClintock and Carolyn Burdett, argues that Schreiner generally successfully integrates a (proto-)feminist politics with criticism of imperialism in her writing produced after The Story of an African Farm . However, her first novel is viewed as more problematic in this regard. While acknowledging it as a major early text of the women's movement, such critics see the novel as in large measure endorsing prevailing Victorian ideologies of racial hierarchy. Drawing on the methodology of Sub-altern Studies, Moore-Gilbert proposes a rather different interpretation of The Story of an African Farm . Following the lead of Ranajit Guha and his colleagues, he seeks to trace the impact of (the resistance of) the colonized subaltern on the colonizer's unconscious and how this is reflected in the colonizer's regimes of representation and self-image. He proposes that Waldo can be read 'catachrestically' as a figure of the (partially resistant) colonized who at the manifest level occupy only a marginal role in Schreiner's text. The aim is not to overturn readings of Waldo that see him as an exemplary 'modern', embodying many of the characteristics of western civilization at the time. Rather, the argument is that such a 'catchrestic' reading can co-exist simultaneously with these received interpretations of his role, thus corroborating the perception of the Subaltern Studies historians on the existence of conflicts and contradictions in the colonizer's unconscious that mark the (oppositional) presence of the (historically effaced) subaltern. Against their emphasis, however, Moore-Gilbert suggests that the colonizer's unconscious can also be the seat of 'progressive' drives. And the presence of such drives on Schreiner's novel suggests that its racial politics are more consonant with those of her later work than is commonly assumed.     

Technocrats and Tortured Bodies: Simone de Beauvoir's Les Belles Images

Through an analysis of Simone de Beauvoir's final novel Les Belles Images (1966), this article examines how a 1960s French technocratic class dealt with individual and collective traumas, particularly how they placed their faith in an undying hope in the future while simultaneously ignoring the horrors of wartime violence. The article contends that Beauvoir's novel is a story of not remembering—or, more specifically, attempting to forget—Algeria and all the conflict signified to the average French citizen, including decolonization, torture, racial difference and political tumult. Analysis rests on the novel's representation of its protagonist Laurence, who had been shaken to the core after reading a newspaper article about a (likely Algerian) woman tortured to death, ultimately causing a nervous breakdown that forever altered her interactions with her family and fellow technocrats. Gender and nationality also figure centrally in this examination of the broader role that images—not only belles images—played in the construction of French national identity at this historical moment.     

The many lives of Bertha,Georges and Jean: a transgender mystic in interwar Belgium

ABSTRACT

This article addresses the religious career of a transgender mystic who died as Père Jean in 1967. While it might sound contradictory, for scholars working on women, mysticism and charisma, sources on Jean’s life offer exceptional insights. When Jean made the news in the 1920s, he headlined as Bertha Mrazek/Georges Marasco and was still perceived as a woman. Bertha’s cross-dressing, miraculous cure and law suit started discussions about what it meant to be a charismatic woman in post-war Belgium. Rather than focusing on the sensational aspects, the emphasis here is on Jean’s reinventions, the historicity of his appeal to others, and the importance of ideals of gender and sanctity as well as the historical context in the reception of this transgender mystic.     

Rebel masculinities of star/director/text: James Dean,Nicholas Ray,and Rebel Without a Cause

Director Nicholas Ray is arguably most familiar to cinema culture as the American test case for la politique des auteurs, the influential mode of film criticism formulated at the French magazine Cahiers du Cinéma after World War II. Ray was elevated to the status of film ‘author’ for a consistency of vision and style associated with rebellion. Yet, he was known in the film industry as an ‘actor's director,’ both for his background in theater and for bringing Lee Strasberg's ‘The Method’ to Hollywood after it had gained considerable cachet at the Actors Studio in New York since the 1930s. Although Ray was relatively unknown among the movie-going public, his films were (and still remain) recognizable for their male stars, including James Dean, Robert Mitchum, and Humphrey Bogart. In this essay, I look at his most famous film, Rebel Without a Cause (1955 Rebel Without a Cause, 1955. Film. Directed by Nicholas Ray. USA: Warner Bros. [Google Scholar]), to argue that Ray's reputation as a rebel auteur was as much the product of highbrow auteurist film criticism as the mass cultural persona of ‘rebel male hero’ that the film's star James Dean cultivated. As an actor, Dean was promoted at the vanguard of an innovative and experimental new performance style. Further, his star-performance text reveals a construction of masculinity that the film asks us to view as socially rebellious, which is retroactively linked to Ray. Both the film and the popular press form Dean's image constituted by his self-fashioned sense of authenticity, his non-normative sexuality, his highly publicized death, and the identification with an alternative family structure his role invites.     

Book Review: Work,children and gender equality

The motivating concern behind this article is that women, in the diversity of their ages, life situations, cultural traditions of gender and actual sexual connections to men, are still marginalized by prevailing approaches to HIV and AIDS. Safe sexual practices for women, within social contexts and actual sexual relations with men, are not being approached in ways that engage women's (or their male partners') active involvement. Conventional heterosexual distinctions between women's and men's sexuality disables prevention processes. Categories and perspectives which prevail in ''interpreting'' the HIV/ AIDS epidemic, inhibitions and assumptions framing sexual safety information, and cultural narratives of gendered love/desire/sex, converge into two highly problematic outcomes: a dissociation of heterosexually-defined men who have sex with women from central responsibility for HIV prevention, and marginalization of women who have sex with men from concern about women's sexual safety.     

The Cross-Dresser,the Thief,His Daughter and Her Lover: Queer Desire and Romance in Georgette Heyer’s These Old Shades

When romance fiction consolidated as a genre in the 1920s and 1930s, a series of generic conventions concerning the heterosexual imperatives came about. This article considers how these heterosexual imperatives function as a mask for queer desire in Georgette Heyer’s These Old Shades (1926). Drawing on the work of Eve Kosofsky Sedgwick, the article identifies in the novel a detailed account of male–male desire through arguing that while the romantic narrative is concerned with the Duc of Avon and Léonie, his former cross-dressing page, the substantial sexual tension in the novel occurs in the meetings and exchanges between Avon and Léonie’s biological father, Henri Saint-Vire. While These Old Shades ends with the presentation of Léonie by Avon as his duchess, it is male–male desire which has (queerly) driven this romance plot to its ‘natural’ conclusion of marriage. The article thinks through what happens when the rivalry, explicitly about desiring a woman, is an implicit homosocial bond and how this functions within the heterosexual imperatives of the romance novel. The article questions how desire functions in the romance novel and, more crucially, how romance fiction can be read as resisting, at least in part, that which has been traditionally understood as their raison d’être—the heterosexual imperative.     

"A Trade Union Oriented War on the Slums": Harold Gibbons,Ernest Calloway,and the St Louis Teamsters in the 1960s*

Michael Ross was international affairs director for the American Congress of Industrial Organizations from 1945 to 1955 and for the merged American Federation of Labour—Congress of Industrial Organizations from 1958 until his death in 1963. As such, he played a prominent role in the bitter anti-communist international trade union politics of the day. Ross, however, had been a communist in his younger years. Making use of Ross's own writings and an extensive secondary literature on the politics of the period, this article seeks to describe and explain his ideological journey. It argues that, while there were significant shifts in Ross's politics, there were also underlying consistencies. Specifically, it is contended that Ross retained a consistent commitment apparent throughout his career—as advocate of Soviet communism, New Deal bureaucrat, and trade union official—to working-class interests advanced by technocratic planning. It notes, however, that the radicalism and ambition of this politics were diluted both by the successes and constraints of Ross's career advancement and, more substantively, by a political context hostile to planning ideals in the US after 1945.     

Women on the Edge of Modernity

Feminism has long been committed to a critique of stereotypic examples of women in patriarchal discourse and has been keen to see what it could offer by way of alternatives. Yet to suggest that alternatives are possible raises the question of whether feminism itself can altogether avoid the trap of turning women into stereotypes, turning the specific example of woman into a universal model, in its own efforts to represent women. Communication demands the particular; it is not possible to refer to everything at once. At the same time, judgements that arise from the use of those particulars are always to some extent faulty - inaccurate or incomplete, too particular or too general. This applies as much to aesthetics (models of beauty) as it does to politics (another matter of representation). What is at issue here is the entire problematic of inclusion and exclusion, whether in politics or aesthetics. Focusing on the significance of Kant's reliance on woman as an example in the Critique of Judgement , Elam argues that it would be a mistake to dismiss all aesthetic discourses of beauty as ploys on the part of patriarchy to keep women for men's eyes only. The Critique of Judgement stands to be useful to feminism because it demonstrates that the problem of the example cannot be solved by striving for the perfect representation of woman - either an inclusive aesthetics or a fully representational politics - or even by overcoming the use of examples altogether. Rather, taking 'woman' as an example stages both aesthetic and political questions about representation that call attention to the challenges feminism faces in its attempt to form political communities.     

Laughing Medusa: Feminist Intellectuals at the Millennium

The role of the intellectual is traditionally gendered masculine, and women are excluded from consideration. Contemporary discussions of the 'death of the intellectual' noticeably make no reference to feminist intellectuals. On the other hand, women in academia have been reluctant to adopt the role of public intellectual as conventionally defined. There is an anxiety about the contemporary place of the intellectual, and about the necessity for the distinction made by some feminists between theory and practice, the intellectual and the activist, and where this might lead. In exploring the role of feminist intellectuals over the last two centuries, three paradigms of the feminist intellectual are proposed for consideration: Cassandra (the prophetess cursed with disbelief), for example Florence Nightingale; the feminist Messiah (the exceptional female saviour who would sacrifice herself to change women's lives), for whom the exemplar is Margaret Fuller; and the Dark Lady (the token woman in a community of men), such as de Beauvoir, Mary McCarthy and Susan Sontag. Indeed, Camille Paglia's rivalry with Sontag lends itself to being interpreted as evidence of her current desire to occupy this 'dark lady' role. In conclusion, after discussing contemporary, late twentieth-century feminism (Natasha Walter, Elizabeth Wurtzel, gurrl power, 'women behaving badly'), the role of Margaret Thatcher in changing perceptions of women's capacity for political power is proposed for celebration. Finally, there is Cixous's image of the feminist intellectual as the laughing Medusa, who turns men to stone, but turns laughter on herself.     

beyond emancipation: subjectivities and ethics among women in Europe's Islamic revival communities

This article addresses the complex reflections regarding gender relations expressed by women active in the contemporary Islamic revival movements in Europe (especially France and Germany). Much recent research conducted among these groups aims to counter the rather negative accounts prevailing in public discourses on gender and Islam. This literature notably argues that women's conscious turn to Islam is not necessarily a reaffirmation of male domination, but that it constitutes a possibility for agency and empowerment. However, when faced with certain ‘traditionalist’ positions defended by these women, even this well-meaning literature seems precarious, left in a state of uncertainty. Taking this puzzlement as a point of departure, this contribution aims to think about the dilemmas involved in articulating a language for women's dignity and self-realization, which competes with dominant languages of equality, individual rights and autonomy. This project is rendered even more intricate by the fact that these pious Muslim women socialized in Europe have also been partly fashioned by the liberal discourses against which they want to position themselves.     

Catherine Breillat's Romance and Anatomy of Hell: Subjectivity and the Gendering of Sexuality

French filmmaker Catherine Breillat has consistently challenged viewers to consider the ways women negotiate sexual freedom in light of numerous forces of repression. This essay considers how Breillat's depiction of women's sexuality in Romance and Anatomy of Hell simultaneously evokes abjection and empowerment. Specifically, we consider Breillat's contrast between her female protagonists and male protagonists, her treatment of women and their bodies as infused with desire yet struggling towards sexual subjectivity, and the avenues available to women to define themselves outside of hegemonic masculinity. We argue that Breillat's provocative portrayals provoke consideration of the problems inherent in hegemonic female sexuality while also offering hopeful alternatives to sexual expression, sexual freedom, and changing definitions of power and pleasure.     

The Writing s on the Wall: Symbolic Orders in The Yellow Wallpaper

When responding to the problem of the feminine condition, most women writers start with the premises that women are superior, inferior or equal to men—and in any case, the man is the Other. The works of Nicole Vedrès imprime this fundamental otherness on which the feminist dispute traditionally fed. The structures of several of her novels suggest an underlying archaic and tribal pattern which coincides in many places with traits of matriarchal societies. They tend to de‐emphasize the individual character in favor of the unity of the clan. The figure of the husband acquires a secondary and transitory aspect. Within this framework, the women are freed from the usual ethical and sociological taboos of the patriarchal system with which we are familiar, while preserving their dignity and their identity. Finally, the true hero of these stories is the clan's executive agent, a self‐effacing and protective male whose function is to ensure the survival of feminine values. In as much as his relationships with the women of the village are nonsexual and of a brotherly nature, his role resembles that of the maternal uncle in matriarchal models. He does not present the alien and aggressive potential of the usual male hero, thus making possible a world in which men and women are close without being antagonistic.