sexualité dans Cycnos


Articles


Cycnos | Volume 23 n°2 | T.

“O Tiger's Heart Wrapped in a Woman's Hide1”: femmes assassines dans l’Angleterre de Shakespeare

La figure de la femme assassine fascine les contemporains de Shakespeare, qui cherchent inlassablement à la cerner à travers des ballades, des pamphlets et des pièces de théâtre. La meurtrière est plus abominable encore que le meurtrier car elle ne se comporte pas comme une femme et menace donc l’ordre social. Le recours aux stéréotypes est sans doute une manière de tenter de brider ces femmes qui font peur et dont Shakespeare a fait des héroïnes inoubliables, à la personnalité forte et complexe Shakespeare’s contemporaries were fascinated by the murderesses who were so amply described in pamphlets, ballads and domestic plays. Murderesses were to them much more blamable than murderers because their unwomanly behaviour was a threat to social order. Using misogynistic stereotypes to describe these dangerous women was probably a way to try and contain them. Shakespeare in his turn created unforgettable murderesses with strong and complex personalities.

Consulter l'article

Cycnos | Volume 25 Spécial - 2008

L’elfe et le crapaud : Jane Eyre ou les bonheurs de la vertu

Cette étude s’interroge sur les éléments qui ont fait de Jane Eyre  une oeuvre à succès. Charlotte Brontë a puisé dans les genres qui ont marqué sa génération (le conte de fée, le roman gothique, le roman sentimental), en même temps qu’elle a su donner à son héroïne la dimension d’une femme issue de la pensée féministe en plein essor. On s’aperçoit surtout que Jane est un double de Charlotte qui a transmis à son personnage sa peur de la sexualité pour une vision du couple quelque peu dérangeante.

Consulter l'article

Cycnos | Volume 28 n° Spécial

Les refus de The Crimson Petal and the White (Michel Faber) : irrésolutions, frustrations, et compensations de genre

The narrative of the neovictorian novel The Crimson Petal and the White (2002) lies on a complex though coherent set of refusals, the objects of which are linked to gender, class, or literary genres. The diegetic or stylistic refusals are here analysed in their symptoms (the absence of norms in the text that makes the refusal even more salient), their objects and the conflicts then raised (tradition vs. subversion), the narrative forms that either betray, transmit or cancel them (ellipsis for instance), and the aesthetic strategies lurking behind each of them. The question of the (ir)resolution of refusals is then asked, to analyse the genre frustrations the novel builds up and plays with. Through the writing of sex and voyeurism, Faber attempts at compensating for these frustrations. Eventually the many embedded narratives are studied in their ultimate strategy not to explain refusals but to legitimate them as the prime movers of both the plot and the aesthetics of the book.

Consulter l'article