Histoire/histoires: special issue in honour of claire duchen

Claire Duchen died on 15 March 2000 after a long and very brave struggle with ovarian cancer. She died aged 45, but already with an established reputation as a leading scholar of French feminism. As Siân Reynolds wrote in her obituary for The Guardian newspaper, Claire was central to a global network of feminist scholars as a writer, translator, research coordinator, and for over 10 years, from 1987–1997, regional editor for Africa and Europe of Women's Studies International Forum. Her particular areas of specialism, in which she published widely were French Studies, especially French feminisms on which she published two well-known books, Women's Studies, and contemporary French and European Women's History, on which she published her last book this year.² She was respected as a scholar and valued as a colleague and a friend by many women and men around the world.     

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.     

‘Good-bye Pompey,komm bald zurück’: Stevie Smith's Vision of Germany in Novel on Yellow Paper

Abstract

In Stevie Smith's debut novel Novel on Yellow Paper, set in 1936, the narrator Pompey Casmilus recalls several trips to Germany she made in the years shortly before the rise of the Hitler regime. The memories of these German travels are linked to Pompey's love affair with a Swiss-German student named Karl with whom she has spent time in both England and Germany. The essay explores the significance of the German theme in the novel. This theme emerges in Pompey's memories of Germany and Karl, which at first glance appear to be random moments of recollection. However, the German theme also asserts itself in what I call Pompey's German voice, a distinct narrative voice that uses a specific German vocabulary and mimics German speech patterns, which appears at different points throughout the novel and is not exclusively linked to Pompey's memories of Germany. The essay argues that this narrative voice, the Karl-Pompey romance plot and the narrator's obsessive concern with Jewishness combine into an exploration of the Anglo-German relationship in the inter-war years and the attraction which Germany held for some British visitors during the 1920s and early 1930s, an attraction which is linked to previous literary explorations of the country by British writers such as D. H. Lawrence and which by 1936 has taken on an ominous significance as Pompey observes from afar the atrocities being committed within Germany in the name of the Hitler regime.