![]() ![]() Higgins, New Wave, New Novel, New Politics (Lincoln: Nebraska University Press, 1996), Chapter 6 ‘Durasian (Pre)Occupations’. See Margaret Atack, Literature and the Resistance: Cultural Politics and Narrative Forms (Manchester: Manchester University Press, 1989). When discussing Duras, I will quote from the English translation.Ĭlare Hanson, Rereading the Short Story (London: Macmillan, 1989) p.2.Ĭlare Hanson, Short Stories and Short Fictions 1880–1980 (London: Macmillan, 1985), Chapter 5 The Free Story’. Marguerite Duras, La Douleur (Paris: P.O.L, 1985) translated by Barbara Bray as The War: A Memoir (New York: The New Press, 1986). Violette Maurice, Les Murs éclatés (Saint Etienne: Action Graphique Editeur, 1990),įrédérique Moret, Journal d’une mauvaise Française (Paris: La Table ronde, 1973) and This process is experimental and the keywords may be updated as the learning algorithm improves. These keywords were added by machine and not by the authors. 1 The emergence of such texts, bridging an ever increasing gap between historical events and their literary representation, suggests that a number of French women writers were prepared to use writing as a means of challenging the hegemony of résistancialiste constructions of the war years in France. Frédérique Moret’s Journal d’une mauvaise Française, Marguerite Duras’ La Douleur and Violette Maurice’s Les Murs éclatés all chart changes in perceptions of les années noires, reworking representations of women in conventional wartime narratives. A wave of historical and literary texts challenging official Gaullist memories of French wartime activities created a renewed interest in previously marginalized perspectives on the Occupation. For a number of French women writers, the political and cultural climate of the 1970s and 1980s provided them with the opportunity to reinterpret prevalent resistance images of the war years. ![]()
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