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Si l'on y trouve beaucoup de remarques pertinentes parce qu'elles collent au point de vue du lecteur? Je peux le comprendre. A bas le monde capitaliste. Avec l'appui de moult citations d'Orwell. Le Horst-Wessel-Lied ne passerait pas. Le militantisme est la norme. Quelle main pour se torcher le cul? C'est la gauche caviar Parce qu'il n'y a plus la Foi. Take it easy, Genefou! Quand c'est flou, c'est qu'il y a un loup! Genefou, vous manier comme d'habitude l'inversion avec une maestria impressionnante! Ce qui est douteux.

Il serait temps d'appeler un chat un chat. Pour qu'il y ait "artiste", faut de l'art. Je n'en vois pas. C'est un artefact, indiscutablement. Tout n'est pas perdu, puisque vous m'avez comprise Parfois, je me demande si savoir lire est suffisant Vous avez parfaitement raison. Pour quelle raison des panneaux en turcs? Combien en sont conscients aujourd'hui? Lui c'est le pape. Regardez un peu ses oeuvres ; il suffit de consulter internet: Mais cela doit vous faire plaisir sans doute.

Je sais, c'est ringard.. Lorsque les Irakiens auront les moyens de se les payer. Combien de personnes sont au courant de cette "mascarade". C'est bien mon petit martin, c'est bien. Il parait qu'il disait aussi: M'enfin, il faut laisser l'optimisme nous envahir, n'est-il point? Dimanche, jour du Seigneur Ne la faites pas languir!

Les pancartes des manifestants: La tactique est claire: Pour peu de rapport. Cela ne m'apprendrait rien! Alors ZEMMOUR qui fait du chantage macho en disant que c'est de notre faute si nous avons perdu tout cela, m'insupporte au plus haut point! Mais notre chance est d'abord pris conscience de cela. Les "experts" et autres intellectuels de broussaille nous bassinent chaque jour avec le retard de la France. L'Europe peut s'effondrer politiquement par son centre que sont les pays fondateurs la France et l'Allemagne.

Je constate que vous transformez une phrase: La gauche est toujours bien vivante et risque fort de gagner une nouvelle fois en La guerre est divine, selon Joseph de Maistre, "puisque c'est une loi du monde". Preuve que le communautarisme joue contre nous et la France Encore une petite fille riche qui doit plus a la situation familiale qu'a son propre talent Alors laissez lui faire son travail: En supprimant le mot, on supprime l'objet.

Pour ma part, je mange les tomates, concombres, roquette, artichauts, fraises, Si on ne veut pas manger de la carne roumaine pour du Charolais Sportif a pris la peine d'exposer sur ce blog le programme du Front National. J'ai un sens artistique. Il suffit alors aux hommes providentiels de se lever au-dessus de la masse et de prendre la barre en main. Tout est sur la table. Seul manque un chef, assez fort pour prendre les outils et relever la France.

539 commentaires

Je revendique comme mien le portait que vous faites! Une sorte de Jeanne d'Arc grecque. Mais il y a autre chose. Et bien, je pense qui OUI. C'est le moment de l'arracher. Et ces branches basses, quand je passais dessous avec la faucheuse, elles s'accrochaient au collier des chevaux et puis pan! En parlant d'une belle femme, je crois que c'est J. Sartre qui disait "ce n'est qu'un tas de boyaux dans un joli bocal.

Pendant ce temps, "ils" s'amusent et "ils" nous foutent la paix. Lors de l'installation, lors de la mise en place, lors de la pose de son sapin. Je n'ai jamais dit qu'il fallait habiller le David de Michel-Ange. Et cela est pitoyable. Concernant Paul McCarthy artiste reconnu dans le monde entier,dont j'ai jamais entendus parler Mac Carthy pratique de l'art transgressif; Shock Art pour les ricains. Au diable les Bouddhas! Je n'ai pas eu tort. Je suis presque d'accord avec vous. Je vais trouver ses livres. Pour l'instant, je ne peux pas tellement aller trop loin et trop longtemps.

MDR, merci pour cette page d'humour. Ils ont ouvert la porte Il m'interpelle au plus profond de moi. Ce n'est pas son but premier. En outre de vous avoir probablement mal compris ou mal comprise. Si c'est ce que vous vouliez dire. Je vais vous donner un conseil dont vous devriez faire profiter vos amis: Certes,quand on se dit conspirateur, non euh Je m'interroge sur votre haine: Dis ce qu'elle pense? Allez, je vous montre la direction du chemin: Je vous dirais seulement qu'un couple est comme un musicien et un instrument de musique. Parfois de fausses notes, parfois l'harmonie parfaite Les "machos" ont peur des femmes, tout simplement.

En fait, vous avez raison: J'ai vu Zorba le Grec comme tout le monde Vous devriez lui demander la marque qu'elle utilise. Il faut aussi ajouter: Et que lui conseillez-vous s'il n'aime vraiment pas? Heureusement ,il y a de vrais hommes qui aiment les femmes. Il faut tout refaire. C'est une assurance gratuite en quelque sorte. Concernant le livre de Zemmour, chacun est en droit d'en penser ce qu'il veut mais le politiquement correct dit comme vous: Comment voulez-vous qu'il soit optimiste? Comment voulez-vous que je le sois? Quoi qu'on en pense, elles nous interpellent.

Le "sapin" en plastique en forme de bijou anal de Mac Carthy est ce qu'il fait de moins pire. Mais il y a plus grave. Des personnes comme Aude de Kerros tentent d'alerter l'opinion sur cette immense supercherie de l'art contemporain et sur la disparition des ateliers de formation. Thiellay, rappelant que la loi de interdit de se masquer le visage dans l'espace public.

Je resterai donc sur ma faim, et ne saurai pas pourquoi Monsanto fabrique des semences non reproductibles. Je parle de tous. Nous gavons les financiers. Sans parler de l'agression physique d'un artiste. L'avenir du borborygme dans toute sa splendeur. Et qu'elle [l'Otan] devrait lui faire son affaire. Avis aux donc aux amateurs de sensations fortes et aux chiens de guerre dans leurs charentaises. Je suis totalement pour que les hommes prennent soin de leur peau et de leur corps.

Cela ne fera pas d'eux des femmes! En se mettant les sunnites, dont ceux de sa propre population sur le dos en plus. Glory to our heroes. Qui ne cultive pas sa salade sur son balcon? Il manque quelques pouvoirs Pour que la renaissance fonctionne, il y a encore de la marge. Promis, la prochaine fois je vous invite! Certains s'attardent, de grands enfants en somme. Dans ce dernier cas, il s'agit d'un "usurpateur" Je vous ai vu chez Anglade - BFM, ce soir. Cette femme est pire que Hollande. C'est elle qui a mis sur orbite les Frondeurs. Lieneman lui chauffe visiblement la place.

Elle est amie avec Gandois. J'ai entendu aussi que vous seriez un moine copiste de Zemmour le gugus de Marianne, dixit: Mais les homos aussi aiment les femmes, ce sont leurs meilleurs copines pour papoter, faire du shopping Allez, moi aussi je vais vs mettre sur la voie: C'est faux car vous pouvez avoir votre opinion sur l'Art qui d'ailleurs vaut bien celle des autres. Pour moi , c' est un arbre! Mon chat a une queue, mon chien aussi donc mon chien est un chat Trop intello pour un beauf comme moi votre discours.

Pas de quoi faire des cauchemars. Que dire, que faire Vous devriez commenter plus souvent sur ce blog, c'est un vrai feu d'artifice de talent, bravo ;-D. Votre comparaison avec les nazis vous disqualifie une fois de plus: La justification est la suivante: Certes, il y a souvent de cela: Cette tendance ne traduirait-elle pas un certain penchant maladif?

J'ai aujourd'hui l'habitude de lire sur son beau visage loyal. Elle ne me ment jamais. Jeanne s'en plaint rapidement: Cette chute a eu lieu au nouveau domicile du couple, 14 rue des Marronniers XVIe. D'ailleurs Mme Bertin ajoute qu'il pourrait aussi bien s'agir d'un avortement ou d'une fausse couche Elle mentionne aussi la location d'une seconde chambre: Mais dont votre lettre nous dit qu'elle est heureusement sortie. Chez les Loviton, en revanche Mille fois tu as dit: Tu partiras si tu veux, mais je ne changerai pas. Toute ma vie je prierai Dieu pour toi. Or Frondaie est un client de choix: Les droits de Jeanne Loviton sont de vingt-cinq pour cent des droits totaux.

Les circonstances de sa mort sont suspectes. Pourquoi le signe-t-elle Jean Voilier? Pourquoi un pseudonyme masculin? Lui conseille pseudonyme Madame Jean. Il avait aussi souscrit une assurance au profit de Jeanne. Lors d'une rencontre Frondaie lui avait dit: Ta femme est plus riche que moi! Aline en , Daniel en Celle qui sera choisie s'appelle Elvira. Le romancier est accommodant: C'est manifestement une erreur: Durant le mois d'avril elle prospecte le centre de la France: La vente sera conclue le 17 juillet avec la veuve Fenaille pour la somme de 65 francs.

L'un des premiers est Pierre Amiot. Je ne vois pas d'autre peintre possible. Le 30 juillet Jeanne quitte Paris pour Figeac. Par la suite Jeanne confirma cette version: Trois mois plus tard ils sont amants. Ferdinand Loviton et Alexandre Gougeon. Loviton , Gougeon Germain-Martin, ancien ministre des Finances et professeur de droit, ami personnel de Ferdinand Loviton: Et s'ils l'ignorent, elle ne manque pas de le leur faire savoir: The reflection isnot constant, however, as the characters evolve and interact, their identities shifting fromvictim to victimiser, through the multiple perspectives offered by the text and its reader52 Raoul, However, this binary systemignores the fact that Christine can be linked, at different stages of the text, to everycharacter in the subplot.

Lamontagne, Les Mots des autres, Aquin plays on this aspect, challenging his readers, toying with them,certainly, as they fight their way through the text, faced with the desire to understandsome of the more obscure references, or even to verify. The effect is two-fold: Also quoted in Richard, jCorps logique de la fiction, Thebalance of unpleasant, painful and violent deaths is shared fairly equally between maleand female characters as, one by one, they are raped, brutalised and suffer due tovarious natural and unnatural causes.

Christine and Antonella, meanwhile,are by no means free from shortcomings. In the twentieth-century story, Jean-WilliamForestier shoots and kills the pharmacist who raped Christine and twice attempts tomurder Robert Bernatchez, whom he leaves paralysed; Jean-William later kills himself ina car crash; Dr.

At the same time, it would seem that, except in as muchas their suffering affects or reflects the anti- development of Christine, the violenceinflicted on or endured by the minor characters is relatively incidental, with certaincharacters, such as Gordon and Zimara, existing only in their somewhat one-dimensionalcapacities as rapists, in order to commit violence and so change the course of the story,before being eliminated themselves.

The nature of the violence being so extreme - onecould even say sensational ised - while being so profuse, it would seem reasonable tosuggest that the violence operates as a device, a stratagem of excess, itself a quality ofthe postmodern novel. It is in part this aspect which distinguishes the violence against Christine. As wehave seen, the writing of the text goes hand-in-hand with the painful and incessantdisintegration and degradation of Christine, which itself serves as an integral part of thestructuring or destructuring of the text.

Once again, Woman is used and abused as a device in atextual strategy or as the joker in a game of textual violence. Once again, the choice offemale protagonist, the selection of abuses suffered and the way in which those abusesare both administered and described are highly significant.

Within the textual space, the violence serves no cathartic purpose, but simplyinfects and destroys. On a different level, however, it appears designed to provide eroticsatisfaction. The gradual disintegration Christine experiences throughout the text isaccelerated by a number of contrived incidents and inconsistencies which serve only toincrease her degradation or dig her deeper into her own grave.

The logistics of Christinebeing locked in the pharmacy all night, for example, free to wander around the store, tofind the drugs and make-up she needs and yet apparently incapable of turning a deadboltor calling the police, is questionable: The fact that sheWe could include among those Aquin himself for it is after all he, who, in creatingChristine, determined her gender, the events which would take place, the people whomshe would meet, the violence which would be inflicted on her - and on her sisters - aswell as the ways in which it would come about and be portrayed.

Leaving Jean-William she comments: It is, however, verypossible that the trauma both of the rape and of the attack by Jean-Wffliam wouldhave interrupted her cycle somewhat, although neither she nor Robert seem to considerchecking at any point Magnant, althoughOlympe may well be the father. While she could be forgiven for being confused and disoriented by what hashappened to her, or, of course, for being in denial, the total overlooking of such obviouspossibilities by a victim of rape seems very dubious.

Again, however, the text appearsmore concerned with placing Christine in ever more hopeless situations than with itsinternal consistency. The portrayal of the violence of which both Christine and Renata are victimsrequires closer examination. The rape of Renata by Zimara and that of Christine by thepharmacist are very similar. In each case, the crime is opportunistic and the woman isfirst made totally vulnerable: Renata is at first asleep and then undergoing an epilepticseizure and therefore totally at the mercy of her attacker, while Christine, on arrivingbeaten and bruised at the pharmacy is first drugged and then raped.

The style is anecdotal and, at this point, almost humorous, as Christine imaginesthe scene. Chigi reads to her, perhaps in an attempt to exorcise her demons - hischoice of texts, however, is surely unusual for such purposes. Any physical distress theyoung woman may be experiencing and the fact that Chigi took advantage of her stateare evacuated by the eroticisation of her illness.

It is in this physical state,visibly in pain, extremely distressed and highly vulnerable, that she goes to the pharmacyseeking help. The drug given to Christine by thepharmacist serves both to immobilise her and to alter her perception of the incident; it isalso, perhaps, responsible for the enhanced physiological sensations she experiences, asshe writes: Also cited in mychapter 1.

The blurring of the two sexual acts is systematic throughout the text. The gestures, his words and the passing ofmoney - albeit as payment for the gin and tonics ordered- are all too reminiscent of thedismissal of a whore. While she is dressing, thedoctor forces her back to the bed and she adds: As Patricia Smart comments: The novel clearly revolves around the concept of blaming the victim, who, in this case,becomes one of her own most vindictive accusers and, finally, her own executioner. It may, however,serve a different ie.

The presentation of violence, although frequent, is often almost understated. Again, in Les Manuscrits de Pauline Archange, Pauline describes the various violentincidents concisely or allusively, as if she were trying to explain her often painfulchildhood and, through it herself to a listening friend, with both the distance ofhindsight and the intimacy of personal experience.

Her own suffering, meanwhile, is apparent through the tears and criesthat her mother was too sick to notice. Italso demonstrates a pattern of what appears to be hereditaiy violence and unavoidablevictimisation, at the centre of which is the Mother-figure herself. Ashis mother has already returned to work in the fields, Emmanuel is watched over byGrand-Mere Antoinette, the eldest member of the household, who shares her thoughtsand complaints with the baby. At first sight, the novel sets up a context similar to that of texts such as MariaChapdelaine, La Scouine and Trente arpents, drawing on the textual tradition of theroman de la terre.

However, the picture Marie-Claire Blais paints is far from the rosy,idealised world of the ideological texts which serve as its intertext.

Car au printemps, chacun denous bourgeonnait, fleurissait sous la vermine et la rougeole Taken to a logicalextreme, the characters, preoccupations and philosophy of the roman de la terre havebecome caricatures or parodies of the original models. Her attitude to Emmanuel is vague, verging on automation: The very possibility of change, or even of finding happiness in the apparentlyunavoidable institution of marriage, seems unlikely.

Having described the typical courtingscene - similar in many ways to that of Euchariste and Alphonsine9- the narratorcomments: Ringuet, Trente arpents, For, at the top of the pecking order is Grand-Mere Antoinette, the quintessentialmatriarch and in many ways the epitome of the Mother-figure so honoured by the romande la terre.

She rules the household, oversees the distribution of food and makes themajority of decisions regarding the upbringing of her grandchildren; she also provides10 He is even responsible for the death of one child, Olive, crushing her head underhis plough In her, Blais highlights the intrinsic mirror-image of the saintly Mother,bringing together an Aiphonsine Moisan with a perhaps somewhat kindlier version ofClaudine Perrault, making of her a possible representative of both the Imaginary andSymbolic realms.

Grand-Mere Antoinette is thus inevitably possessed of a certain duality. She would thereforeappear to be far from the picture painted by Paul Gay, who writes: Her duality extends beyond thishowever, first when as her kind treatment of the dying and putrefying Horace isundermined by her impatience and tacit cruelty? Dieu vous aime pour vous puriir comme ca! During the temporary misrule ofCarnival, a re-structuring of traditional hierarchies took place, the fool becoming king forthe day and so on.

Le discoursambivalent de la culture carnavalesque populaire versus le discours unilateral de! The text is indeed structured around a series of binary opposites, the distinctionsbetween them unsettled, often with comic effect.

Notices biographiques - Loviton Jeanne

Madame Octavieaime trop le yin, elle mange trop de fromage. Madame Octavie claims that: Both boys finally look forward to their nightly,reciprocal masturbation, as much for the pleasure of being able to confess, as for thephysical pleasure - the act of confessing serving as a secondary sexual activity. Thecarnivalesque nature of the image, meanwhile, is completed by the fact that upstairs, therest of the family is enduring the evening prayer under the command of Grand-MereAntoinette: The process of re-evaluation is most evident in the ambiguous or contradictorycharacter of Grand-Mere Antoinette, in whom both the traditional ideal of the SaintlyMother and her mirror image meet.

Both recognisable and alien, the same and other,Grand-Mere Antoinette is, simultaneously, the cultural icon and her antithesis, therebyundermining the image of the saintly Mother - and with it the institution by which shewas empowered and valorised. Here, the world of the Earth Mother has indeedchanged and those changes are made evident by Grand-Mere Antoinette.

It isGrand-Mere Antoinette who will lead her family at least, those select few who arewilling and able to adapt to the changing present into the future, by learning from andbuilding on the past, while refusing to be suffocated by it; a phallic mother, she will beresponsible for the survival of her descendants. From themuch cited opening page on, the novel distorts the world of the roman de la terre. The ambivalence andregeneration which this image suggests, and which Grand-Mere Antoinette in effectincarnates, is reiterated, first in the use of the binary concept on a discursive level in theform of oxymorons, the linguistic structure which embodies the concept ofcarnivalisation.

Elsewhere, finally, the textincorporates the personal advertisements from the out-of-date Saturday newspaper , as the novel constructs itself out of a variety of intertwined layers, moving from onelevel of language and culture to another. Again, however, the violence which this process entails remainsprimarily on the textual level. The character,Jean Le Maigre, incorporates a wealth of intertextual reference and semantic play whichinvolves both a pattern of regression and an opening of the text, as it breaks up thenarrative flow. The process of carnivalisation is once again at work, the parodic characterisationreiterated or enforced on the semantic level.

The Inheritance of Emmanuel. Here also thecharacters struggle with the frustrations and the oppressions which the protagonists of somany of the novels of this period live and breathe, their physical and spiritual growthstunted by the suffocating, homogenising and inflexible nature of the dominant ideologiesand by the lack of sustenance and choice.

And yet Pomme will now sell newspapers for a living, and will presumablyremain as poor as the family he left to make his fortune. Meanwhile, despite the parodic nature of his character, Jean Le Maigre exudespathos: Reading offers himtemporary solace from the poverty and grime of his reality.

The act of writing itself places a gulf between him and thesullen, uneducated men of his family, whose lives revolve around working and eating. See also her discussion ofnarcissism, 21 and following. He does succeed, ofcourse, in finding a way out - but it is through death. Her desire is toGordon, It is here, also, that she discovers the dual affirmation and momentary loss of selfin orgasm through masturbation - itself a significant act of rebellion in the repressiveeyes of convent law.

Taking up residence and employment at the brothel would indeed atfirst sight appear to be a continuation of that rebellion, as Karen Gould suggests41,arejection of the patriarchal law which attempts, through religion, to desexualise and todefeminise women. Meanwhile, in her time as much a victimof the nightly rapes as her daughter, Grand-Mere Antoinette regained a degree ofcontrol by hiding her body from her husband That self remains hidden, it seems, to all but Emmanuel and perhaps Jean LeMaigre , who recognises her vulnerability - suggested in part by her thinness beneath themountains of clothes still used as a shield: Sheveils the truth in order to escape its sting, just as she shrouded her body to escape herhusband and persecutor.

Hereditary Violence and the Eternal Victim. The text thus evokes an atmosphere of repression which leaves the majority of itscharacters either openly abused and physically scarred or spiritually and emotionallystunted and in a perpetual state of denial. This repression, enforced by the religioussystem and coupled with the injustice of a society ruled by a self-serving capitalist elite,is here shown to create unnatural characters surviving in equally unnatural situations,fighting against, or coping with, the poverty in which they are required to live with littleor no hope of release.

Theexact nature of the assault is not revealed: Ii se laissa mollement retomber sur le sable. Mais passant la main ason cou, il sentit une marque qui brillait encore The focushere, it seems, is not the incident itself but the fact that it took place at all. Children are thrown out into a frozen, barrenlandscape and are expected to conform to the impossible standards set by an ideologicalelite.

Most of those unable or unwilling to conform are casualties, as we have seen. Herein lie the similarities between the various victims in this world ofsuffering.

Bloc-notes : le déclin français annonce la renaissance

For girls and women, the continued victimisation and repression is, as we haveseen, inscribed within cultural and religious dictates. Their self-esteem stifled, their rolesare defined according to traditional gender prejudice and in relation to malerequirements, women are necessary and necessarily victims. First, the majority ofmale characters are children, and so are in a position of dependence and vulnerabilitynormally associated with femininity. Both such parents areinvolved in this text, as in many other novels of the period.

In each case,the male victims are feminised, either in terms of characterisation or in terms of theviolence they endure: The patterns of repression can be traced back to the figure of the Mother,because in the absence or impotence of the father, it is she who de forms the children. It is she also who has often borne the blame both for the repression of children and theabsence of the father, and has been repeatedly treated as a scapegoat, as we haveseen And yet she too is the product of the same system. The object of sexualvictimisation in her required function as baby-maker, she is also incarcerated within the50 Raoul, See chapters 2 and 3, for example.

Thus restrained within thesystem represented in the microcosmic world of Marie-Claire Blais, how could theMother, in the figure of Grand-Mere Antoinette, raise anything other than a newgeneration of victims and impotents? Those preoccupations are dissected, first,by the extreme darkness and pessimism of the novel, which recounts so many deaths andso much abuse. The traditional novel is further distortedby a dark and subversive humour which contrasts with the misery of the diegesis andholds up a mirror to the conventional, conservative literature so that it may see its ownimage and fallacies.

The simultaneous use of both comedy and tragedy provides adisruptive challenge both to traditional narrative technique and to the accepted ideology,as the text vacillates between humour and despair, constantly inverting and questioningthe values of the messianic and patriarchal establishment and offering, finally, a sense ofrenewal and regeneration. UOTSflpUOThis study has examined the different treatments and functions of violence inliterature, focussing on the image of the female victim as she has been incorporated intothe literary discourses of Western culture and its narrative of violence.

This role has been assigned toWoman, the shapely and pure white page on which man may sketch or write his desire,his fear, his pain and his seif-actualisation. Yet the one constructwhich is challenged in neither case, it seems, is Woman, the representative emblem ofpatriarchy. Indeed, as I have attempted to show, her artifice and her ab-use arefundamental to the functioning of the masculine-orientated system and its creativeproductions. We have seen this in terms of the Surrealist movement, where highlyexperimental art often involves the brutalising objectification of the female body, and inthe radical textual experimentation of the new novelists, for instance.

Here, anger at the oppressive influence of colonisation coupled with therepressive response of a messianic ideology is directed at the Mother, the unwittingsymbol of both the ideology itse1f and of the repression it infers. As Jane Caputi writes: First, where does this pattern of textual and eroticised sexualviolence leave women, both as readers or spectators and as the implicit victims? Doesthe innovation evident in so much modern literature and art, which seems to open somany doors, actually open anything to women, or is it - as it would certainly seem to be -just a new dance around their glass cage?

Rosalind Krauss also comments that: Quoted in Rudolf E. Or are women so indoctrinated and shaped by therepresentations and structures of violence which play such a significant role in Westernculture, that they have adopted male discourses as their own? By the same token, howfar does the sex of the reader affect the reception of a text? How different would this be if these same texts or at least theviolence described in them, had been written by a woman?

Although in this study I considered works by both male and female writers, thetexts were chosen as much because they were contemporary to certain political events, asfor their parallel acts of violence - although the similarities between events related ineach of the novels were essential. This does however suggest a logical and fascinating sequel to thisresearch project, based on the representation of violence in texts by women.

A detailed study of these texts might reveal more on the functionings of theseelements, in relation to gendered pre-conceptions. How far does or should the proclaimed aesthetic or political intentionalityof the writer affect the reception and categorisation of the text? To what extent is itreliable? I hope that this study may provoke further reflection on ways to re-readand re-evaluate violent texts, so that the reader, whether male or female, might seethrough the glamorisation and banalisation of violence sexual violence in particular , inorder to recognise and deconstruct the myths around which it revolves, so that Womanmight finally be released from her trans-culturally encoded status as victim.

Alsoquoted in my introduction. Ecrits du Canada francais 5 Le Cercle du livre de France, Le Cercie du livre de France, Editions du jour, La Nuitte de Malcomm Hudd. Les Manuscrits de Pauline Archange. Editions du Jour, Le Sourd dans la ville. Eaux fortes et taillesdouces de Jean Latarte. Le Nez gui vogue. La Fin des songes. Le Couteau sur la table. Preface de Samuel S. Les Fous de Bassan. La Corde au cou. Le Cercle du livre de France, Au pied de la pente douce. Le Cercle du livre deFrance, Theoretical and methodological sourcesi.

Le Roman guebecois de a McClelland and Stewart, Goldie, Terry and Virginia Harger-Grinling, eds. Writing in the Feminine: Southern Illinois University Press, Les Mots des autres. Lucas, Sir Charles, ed.

Mallette, Louise et Marie Chalouh. Dossier de Presse Moments postmodernes dans le roman quebecois. University ofToronto Press, Le Corps logique de la fiction: La Mere dans le roman canadien-francais. Borduas, Paul-Emile et al. In Borduas et les Automatistes. Couture-Lebel, Francine et Michelle Provost. The Fiction of Marie-Claire Blais. Inventing the Text through History. Reconsidering the Fiction of Marie-ClaireBlais. Harger-Grinling, Virginia and Richard Hodgson.

Essays on theContemporary French Novel.


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Literature et Culture au Canada francais. The Aesthetics of Perversion. Actes du Colloque internat de Bruxelles, nov. MadeleineFrederic et Jacques Allard. Neige noire de Hubert Aquin. Terry Goldie and VirginiaHarger-Grinling. Louise Milot et Jaap Lintvelt. Marie Lavigne et YolandePinard. TerryGoldie and Virginia Harger-Grinling. Farrah, Srauss and Giroux, Women and Violence in Literature: Armstrong, Nancy and Leonard Tennenhouse, eds.

The Violence of Representation: Literature and the History of Violence. London and New York: The Empire Writes Back: Theory andPractice in Post-Colonial Literatures. Editions Odile Jacob, Le Plaisir du texte. Roland Barthes par Roland Barthes. A Study of Erotism and the Taboo. Male Narcissism and the Psychology of Religion.

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The Wrestlers Are Not Really Wrestling

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UBC Theses and Dissertations

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