Gender and narrative in L’Hiver de beauté, Les Ports du silence and La Rage au bois dormant by Christiane Baroche
this is to be lived
out is not actually represented in the novel. It is left for the reader to work
with the pointers in the text.
Les Ports du silence arguably gives its readers a little more practical
detail on the subject of heterosexual sexual politics. The relationship
between Jaime and Elodie is suﬀused with silence and mutual respect: ‘je
reste où je suis, je ne franchis pas sa frontière. . .’ (p. ) (I stay where I am,
I don’t invade her territory. . .). They are ‘deux solitudes’ (p. ) (two solitary people), a ‘ﬁls’ and a ‘ﬁlle du vent’ (pp
explosion of exploratory ways of saying sexuality (or,
rather, sexualities) and of telling tales of selfdom. Hélène Cixous has argued
that what she calls écriture féminine (feminine writing) ‘means embarking
on “the passage toward more than the self, toward another than the self,
toward the other”’.4 Elsewhere, she aﬃrms that feminine writing is a ‘ﬁdelity to what exists. To everything that exists. And ﬁdelity is equal respect for
what seems beautiful to us and what seems ugly to us’.5 Cixous’s theoretical
position is clear and seductive, but it does rely on a notion of
a collection of case studies on the south? 15 As we see, for example, in the several chapters investigating efforts by southerners over time to convey and explain something of their southern environments to northerners, such as Kiro or Kōhere (or, I would add, in respect of South America, Jeremy Button of Tierra del Fuego on board the Beagle ), is it necessary to translate and thereby inevitably filter and adapt ideas of the past and future, history and geography, through northern languages and allegorical models to do so?
Even eloquently transmigrated texts
artist as an ardent young man whose coming of age
consists precisely in his first-hand acquaintance with the ruinous implications
of literary enthusiasm. Pierre is cast as an enthusiast from the beginning – ‘To a
less enthusiastic heart than Pierre’s the foremost question in respect of Isabel...
would have been, What must I do?’ – and chief among the ambiguities the
novel’s subtitle points towards is whether or not in light of Pierre’s (which is to
say Melville’s) disappointments, enthusiasm is a sustainable mode of existence.
Whether, that is, advanced minds should
Unearthing the truth in Patrick O’Keeffe’s The Hill Road
Vivian Valvano Lynch
idea of such a
ceremony would probably have been unthinkable. Those whom we
commemorate here were doubly tragic. They fell victim to a war against
oppression in Europe. Their memory too fell victim to a war for independence at home in Ireland. . . . The Peace Park does not invite us to
forget the past but to remember it differently. We are asked to look with
sorrow and respect on the memory of our countrymen who died with
such courage far from the common homeland they loved deeply. . . . These
too are Ireland’s children as those who fought for her independence are
dramatically the natural processes of
learning (and even perhaps reverse this process) while creating barriers against
international academic research and cooperation. On the other side was trepidation about the effect of the war on domestic affairs and in particular the
smooth running of the country’s principal centres of knowledge and learning.
An early indication of fears of increased militarism was the public debate
over military training at Cambridge University in the late spring of 1914. The
respected Cambridge academic A.C. Benson wrote to The Times criticising a
affable than any Prince vnder heauen. In which respect
of her owne vertue and not his desert, it pleased hir so to
humble the height of hir judgement, as to grace him a little
whiles he was pronouncing, by these or such like tearmes.
Tis a good pretie fellow, a lookes like an Italian ;
and after hee had concluded, to call him to kisse her
threats to the City’s peace and stability such as Envy or Ambition.
In so doing, they inevitably engaged with political questions in the
broadest sense. In this respect, as in others, they contrast to the
royal masque, where, as Norbrook has argued, ‘overt religious
imagery and overt political comment are kept under strict control’.2
The Shows also displayed the City’s sense of itself, often in implicit
or, more rarely, explicit contrast to the values of the court. Mayoral
pageantry was therefore a reﬂection of a civic culture grounded in
the values of a local
–328; Ewen, Witchcraft Hunting and Witch Trials; Macfarlane,
Witchcraft in Tudor and Stuart England.
2 Kittredge, pp. 319–23; Sharpe, The Bewitching of Anne Gunter provides
a book-length case study of one well-documented example.
Witchcraft in Jacobean drama
respect. The theatrical representation of witches in the early part
of James’s reign can be seen to complement (and compliment) his
highly political interest in witchcraft, in view of the significance of
the witch characters within the plays in which they appear. Above
all, it is the way these characters become
date of the entertainment, as if to underscore the point.
They were, after all, only ever printed at around the same time
as the event. Here they differ from masque texts, which in some
cases (Jonson’s masques are of course the most notable of these)
were republished, sometimes amended, a while after the performance took place. In this respect the printed texts generated by the
mayoral Shows are more reminiscent in content, form and purpose
of the works produced to commemorate royal progresses and
the like. As with these works, printing the Shows may have been