Female Intimacies In Seventeenth Century French Literature

Examining literary discourses on female intimacy in seventeenth-century France, this study explores the effect of a homosocial and homopriviledged heritage on the deployment and constructions of female friendship and homoerotic relationships as thematic narratives in works by male and female writers. It reveals a new literary genealogy of female intimate bonds and adds to the research in lesbian and queer studies, fields in which pre-eighteenth-century French literary texts are rare.

Examining literary discourses on female friendship and intimacy in seventeenth-century France, this study takes as its premise the view that, unlike men, women have been denied for centuries the possibility of same sex friendship. The author explores the effect of this homosocial and homopriviledged heritage on the deployment and constructions of female friendship and homoerotic relationships as thematic narratives in works by male and female writers in seventeenth-century France. The book consists of three parts: the first surveys the history of male thinkers' denial of female friendship, concluding with a synopsis of the cultural representations of female same-sex practices. The second analyzes female intimacy and homoerotism as imagined, appropriated and finally repudiated by Honoré d'Urfé's pastoral novel, L'Astrée, and Isaac de Benserade's seemingly lesbian-friendly comedy, Iphis et Iante. The third turns to unprecedented depictions of female intimate and homoerotic bonds in Madeleine de Scudéry's novel Mathilde and Charlotte-Rose de Caumont de La Force's fairy tale Plus Belle que Fée. This study reveals a female literary genealogy of intimacies between women in seventeenth-century France, and adds to the research in lesbian and queer studies, fields in which pre-eighteenth-century French literary texts are rare.

The first book-length study devoted to this topic, Mendacity and the Figure of the Liar in Seventeenth-Century French Comedy offers an important contribution to scholarship on the theatre as well as on early modern attitudes in France, specifically on the subject of lying and deception. Unusually for a scholarly work on seventeenth-century theatre, it is particularly alert to plays as performed pieces and not simply printed texts. The study also distinguishes itself by offering original readings of Molière alongside innovative analyses of other playwrights. The chapters offer fresh insights on well-known plays by Molière and Pierre Corneille but also invite readers to discover lesser-known works of the time (by writers such as Benserade, Thomas Corneille, Dufresny and Rotrou). Through comparative and sustained close readings, including a linguistic and speech act approach, a historical survey of texts with an analysis of different versions and a study of irony, the reader is shown the manifest ways in which different playwrights incorporate the comedic tropes of lying and scheming, confusion and unmasking. Drawing particular attention to the levels of communicative or mis-communicative exchanges on the character-to-character axis and the character-to-audience axis, this work examines the process whereby characters in the comedies construct narratives designed to trick, misdirect, dazzle, confuse or exploit their interlocutors. In the different incarnations of seducer, parasite, cross-dresser, duplicitous narrator/messenger and deluded mythomaniac, the author underscores the way in which the figure of the liar both entertains and troubles, making it a fascinating subject worthy of detailed investigation.

This book aims to trace the life of the seventeenth-century Frenchwoman from cradle to the grave through mainly contemporary primary sources which include just about everything from collections of laws to traveller's tales. Rather than reworking and refuting the twentieth-century experts in the field, the author works directly through from birth and childhood through matrimony, women at work, and in political life, manners and religion to conclusive death.

"One of the most striking aspects of abbé d'Aubignac's fictional output is that the principal focus of his work is women. D'Aubignac's attempt to articulate his philosophy about the female sex is very much an intricate balancing act. While he is clearly interested in women, placing them on a pedestal in many of his writings, the abbé imposes limitations on their perceived innate qualities and often embraces the notion of the female as a societal scapegoat. All the Abbé's Women explores how these ideas were influenced by the socio-political conditions of d'Aubignac's time, resulting in a complex inter-relationship between the notions of power and misogyny in the author's fictional and critical works. The study also aims to contribute to the scholarship on d'Aubignac, painting a portrait of the abbé that has not been the focus of previous books. The work will appeal to students of French literature, gender studies and the cultural history of Early Modern France."--Back cover.

This book offers a feminist critique of the so-called crisis of exemplarity in late Renaissance texts by comparing and contrasting examples proposed to female readers in two collections of sixteenth-century French short stories, Pierre Boaistuau's Histoires tragiques and Marguerite de Navarre's Heptameron. The author proposes that female exemplarity has its own poetics and cannot be considered simply as identical or symmetrical to male exemplarity. What emerges in the course of the study is an understanding of the different ways in which exemplarity enters the life of the female reader: through history, truth, invention, memory and strangeness.