Theoretical debates and the critical erasure of Beckett’s cinema
name – is a work of literature. By 1965, auteur theory was already
well established in European cinema, and Beckett, as a literary
figure, was not exactly the sort of auteur that those who called
for directors who ‘wrote with a camera’ (as Alexandre Astuc, one
of the first defenders of auteur theory, put it evocatively but also
somewhat ambiguously) had in mind.
Newspapers and magazines: the man with a movie
camera, a pen or a hat?
When one considers the corpus of articles in its entirety, it becomes
apparent that the critics seem to skirt around the issue of
, conﬁrmed her status as le phénomène
Angot and l’enfant terrible of the French literary scene.
Reading and writing subjects
If the events of contributed enormously to the move towards a focusing on otherness and diﬀerence as the deﬁning issues for social and personal understanding and development, they also catalysed the dramatic
loss of authority that would lead both to Barthes’s seminal essay, ‘La mort
de l’auteur’ (), which ends with the proclamation that ‘la naissance du
lecteur doit se payer de la mort de l’Auteur’ (‘the birth of the reader must
be at the
Identities in crisis in the early novels of Marie Darrieussecq
Kristeva, Pouvoirs de l’horreur: essai sur l’abjection (Paris: Seuil, ); Mary
Douglas, Purity and Danger: An Analysis of Concepts of Pollution and Taboo
(London: Routledge and Kegan Paul, ).
Barbara Brook, Feminist Perspectives on the Body (London and New York:
Longman, ), pp. –.
‘Truie’ is the French for ‘sow’.
Lidia Curti, Female Stories, Female Bodies: Narrative, Identity and Representation
(London: Macmillan, ), p. .
M. Baudet, ‘Marie Darrieussecq, auteur à haute résolution’, Libre Culture ( May
), p. .
Jérôme Garcin, ‘Marie
Johanna Gondouin, Suruchi Thapar-Björkert, and Ingrid Ryberg
other. Ultimately, we argue, the series privileges the
Western notion of reproductive rights by amplifying the emotional vulnerability of the white characters at the cost of the Thai characters, who
remain flat and underdeveloped. Close reading the affective economy of this
celebrated quality TV drama created by a white female auteur, our aim is to
illuminate the crucial role of vulnerability in the ongoing debate as a vehicle
for making transnational commercial surrogacy emotionally and ethically
REPRODUCTIVE RIGHTS VERSUS REPRODUCTIVE JUSTICE