Marguerite Duras

The extraordinary range, complexity and power of Marguerite Duras �6 novelist, dramatist, film-maker, essayist �6 has been justly recognized. Yet in the years following her death in 1996, there has been an increasing tendency to consecrate her work, particularly by those critics who approach it primarily in biographical terms. The British and American specialists featured in this interdisciplinary collection aim to resurrect the Duras corpus in all its forms by submitting it theoretically to three main areas of enquiry. By establishing how far Duras�2s work questions and redefines the parameters of literary and cinematic form, as well as the categories of race and ethnicity, homosexuality and heterosexuality, fantasy and violence, the contributors to this volume "revision" Duras�2s work in the widest sense of the term.

This reflection on colonial culture argues for an examination of ÒIndochinaÓ as a fictive and mythic construct, a phantasmatic legacy of French colonialism in Southeast Asia. Panivong Norindr uses postcolonial theory to demonstrate how French imperialism manifests itself not only through physical domination of geographic entities, but also through the colonization of the imaginary. In this careful reading of architecture, film, and literature, Norindr lays bare the processes of fantasy, desire, and nostalgia constituent of French territorial aggression against Indochina.Analyzing the first Exposition Coloniale Internationale, held in Paris in 1931, Norindr shows how the exhibitionÕs display of architecture gave a vision to the colonies that justified FranceÕs cultural prejudices, while stimulating the desire for further expansionism. He critiques the Surrealist counter-exposition mounted to oppose the imperialist aims of the Exposition Coloniale, and the Surrealist incorporation and appropriation of native artifacts in avant-garde works. According to Norindr, all serious attempts at interrogating French colonial involvement in Southeast Asia are threatened by discourse, images, representations, and myths that perpetuate the luminous aura of Indochina as a place of erotic fantasies and exotic adventures. Exploring the resilience of French nostalgia for Indochina in books and movies, the author examines work by Malraux, Duras, and Claudel, and the films Indochine, The Lover, and Dien Bien Phu.Certain to impact across a range of disciplines, Phantasmatic Indochina will be of interest to those engaged in the study of the culture and history of Vietnam, Cambodia, Thailand, and Laos, as well as specialists in the fields of French modernism, postcolonial studies, cultural studies, and comparative literature.

Within the domain of French literary analysis, gender criticism has until now focused primarily on women's writing and has drawn largely on the writings of French feminist theorists, even though male-authored texts provide an equally revealing window through which to analyze gender. Except by mainly male critics working predominantly in the field of gay and queer studies, the issue of how 'maleness' informs the construction of the self and the creative act more broadly has been virtually ignored. Further, even though much more work has been done on women, it can be argued that the construction of 'femaleness' is most profitably illuminated by an approach that allows for a comparison between the sexes.This book starts with the premise that sex and gender are fundamental components of the autobiographical writing of both sexes. This is demonstrated through close readings of works by a number of twentieth-century authors who are paired, one male with one female. In tackling, amongst other things, colonial and postcolonial writing, Aids writing, the question of photography and fetishism, queer politics and culture in writings by Sartre, Beauvoir, Gide, Duras, Guibert, Cardinal, Leduc and Doubrovsky, this book provides an excellent model for analyzing gender and the autobiographical act more broadly.Winner of the R. H. Gapper Prize 2000

Fifteen of the most important and influential women fiction writers, critics, and theorists writing in France today are interviewed in Shifting Scenes. Although their writing and attitudes differ in many ways, their work is perceived in the U.S. to constitute "French Feminism," and has a marked impact on American feminist theory. Alice Jardine and Anne Menke interviewed Chantal Chawaf, Helene Cixous, Catherine Clement, Francoise Collin, Marguerite Duras, Claudine Herrmann, Jeanne Hyvrard, Luce Irigaray, Sarah Kofman, Julia Kristeva, Eugenie Lemoine-Luccioni, Marcelle Marini, Michele Montrelay, Christiane Rochefort, and Monique Wittig. The women were asked what it means to be a woman writer in France today and how each views her relations to her country's institutions, and the place of women writers in the canon. the answers are lively, unexpectedly argumentative, and diverse. What these highly accomplished women have to say about contemporary society, politics, literature, feminism, and their own work, will surprise, inform, and challenge.

Frost argues that the first generation of writers raised within psycho-analytic discourse found in fascism the libidinal unconscious through which to fantasise acts not permitted in a democratic conception of sexuality without power relations.

The end of World War II led to increased interest in multicultural concerns and a flourishing of literary and artistic endeavors. It was also a time of decolonization and the emergence of new nations and cultures clamoring for recognition and respect. The political circumstances following World War II exposed many people to other cultures. This reference discusses the experiences of writers active since 1945 who were shaped by cultures other than their own.

Can fictions of desire determine real pleasures? Do texts regulate the performance of our sexual identities? In Sexuality and the Reading Encounter, Emma Wilson offers a new account of the intimate relations between reading, identity, and identification. Interweaving theoretical debate with analysis of texts by Proust, Duras, Tournier, and Cixous, her study reveals the formative potential and transferential pleasures of the reading encounter.