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Download A Constant Journey: The Fiction of Monique Wittig by Erika Ostrovsky PDF

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By Erika Ostrovsky

From the construction of a neuter pronoun in her earliest paintings, L’Opoponax, to the confusion of genres in her newest fiction, Virgile, non, Monique Wittig makes use of literary subversion and invention to complete what Erika Ostrovsky competently defines as renversement, the annihilation of current literary canons and the production of hugely cutting edge constructs. Erika Ostrovsky explores these points of Wittig’s paintings that most sensible illustrate her literary method. one of the numerous innovative units that Wittig makes use of to accomplish renversement are the feminization of masculine gender names, the reorganization of fantasy styles, and the substitute of conventional punctuation together with her personal approach of grammatical emphasis and separation. it's the unforeseen volume and caliber of such literary units that make interpreting Monique Wittig’s fiction a clean and worthwhile adventure. Such literary units have earned Wittig the acclaim of her critics and peers—Marguerite Duras, Mary McCarthy, Alain Robbe-Grillet, Nathalie Sarraute, and Claude Simon, to call a few. While reading the intrinsic price of every of Wittig’s fictions individually, Erika Ostrovsky strains the revolutionary improvement of Wittig’s significant literary units as they seem and reappear in her fictions. Ostrovsky continues that the seeds of these thoughts that seem in Wittig’s most modern texts are available way back to L’Opoponax. This facts of development helps Ostrovsky’s concept that clues to Wittig’s destiny endeavors are available in her earlier.

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Extra info for A Constant Journey: The Fiction of Monique Wittig (Crosscurrents Modern Critiques)

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21 However, love in L'Opoponax does not only produce emotions such as those expressed in the passage cited above. Its "slow torment" also arouses violent feelings, foremost among them that of jealousy. This is the case when Catherine Legrand sees Valerie Borge engaged in a sensual exchange with Anne Marie Brunet (O, 227). The result is not love poetry but the creation of the opoponax. " Also, it is the creation of Catherine Legrand. Note that she initially attempts to draw the opoponax. When she fails in doing so, she decides to replace the visual image with words (O, 179).

The fact that these appear alternately as "Valerie Borge Catherine Legrand" or "Catherine Legrand Valerie Borge" suggests their position as equals in this relationship and not as subject and objecta subtle but efficacious way of indicating a renversement of the traditional situation, and one that is developed in much more complex fashion in Le Corps lesbien. The sequence itself is entirely orchestrated by Baudelaire's "L'Invitation au voyage," a well-known love poem and thus a fitting accompaniment to the actions of the two lovers.

Paris: Editions de Minuit, 1964. " Feminist Issues 4, no. 4 (1984), 4549. V: Virgile, non. Paris: Editions de Minuit, 1985. Page 3 Prologue "Tout Geste Est Renversement" (Les Guérillères) Renversement, in all its multiplicity of meaningsupheaval, overthrow, reversal, and subversioncan be considered the key to Monique Wittig's writing. From the very start, Wittig's use of this concept has spelled the annihilation of existing literary canons and the creation of highly innovative constructs. Renversement is already evident in her first work, L'Opoponax, published in 1964 during the heyday of the "new novel" in France and during that period's impact on writers from many other countries.

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