Liminality and fantasy in Marie Darrieussecq, Marie NDiaye and Marie Redonnet

MLN - Modern Language Notes

Volumn 124, Issue 4, 2009, Pages 901-928

  Duffy, Jean H ^a  

^a UNIVERSITY OF EDINBURGH   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 76049112529     PISSN: 00267910     EISSN: 10806598     Source Type: Journal    
DOI: 10.1353/mln.0.0172     Document Type: Review

References (52)

1. Note, in particular, the following: Shirley Jordan, Contemporary French Women's Writing: Women's Visions, Women's Voices, Women's Lives (Amsterdam: Peter Lang, 2004)
2. Cécile Narjoux, "Marie Darrieussecq et 'l'entre-deux-mondes' ou le fantastique à l'œuvre," Iris: Les Cahiers du Gerf, 24 (2002-2003): 233-47
3. Christina Horvath, "Le Fantastique contemporain: un fantastique au féminin," Iris: Les Cahiers du Gerf 24 (2002-2003): 171-80
4. J. P. Little, "The Legacy of Medea, Mariama Bâ, Un Chant écarlate and Marie Ndiaye, La Femme changée en bûche," Modern Language Review 95: 2 (2000): 362-73
5. Elizabeth Fallaize, "Filling in the Blank Canvas: Memory, Inheritance, and Identity in Marie Redonnet's Rose Mélie Rose," Forum for Modern Language Studies 28: 4 (1992): 320-34
6. Yvette Went-Daoust "Ecrire le conte de fées: l'œuvre de Marie Redonnet," Neophilologus, 77: 3 (1993): 387-94
7. Katharine Gingrass-Conley, "Check-Out Time at the Splendid Hôtel: Marie Redonnet's New Mythological Space," Neophilologus 77: 1 (1993): 51-59
8. Ruth Cruickshank, "Marie Redonnet's L'Accord de paix: the question of Resistance and the Turn-of-the-Millenium Novel," Modern and Contemporary France, 12: 4 (2004): 497-511
9. Rose Mélie Rose (Paris: Minuit, 1987)
10. Splendid Hotel (Paris: Minuit, 1986)
11. En famille (Paris: Minuit, 1991)
12. Autoportrait en vert (Paris: Mercure de France, 2005)
13. La Naufragée (Charenton : Flohic, 1999)
14. White (Paris: P.O.L., 2003)
15. Claire dans la forêt, suivi de Penthésilée, premier combat (Paris: Des Femmes, 2004; first published in Elle, 2000)
16. See, in particular, Rose Mélie Rose, Doublures (Paris: P.O.L, 1986)
17. and Silsie (Paris: Gallimard, 1990)
18. La Sorcière (Paris: Minuit, 1996)
19. Truismes (Paris: P.O.L., 1996)
20. Note, in particular, the following: Jordan, Contemporary French Women's Writing
21. Colette Sarrey-Strack, Fiction contemporaines au féminin: Marie Darrieussecq, Marie Ndiaye, Marie Nimier, Marie Redonnet (Paris: L'Harmattan, 2002)
22. Shirley Jordan, "'Un Grand Coup de pied dans le château de cubes': Formal Experimentation in Marie Darrieussecq's Bref séjour chez les vivants," Modern Language Review 100: 1 (2005): 51-67
23. Lydie Moudileno, "Délits, détours et affabulation: l'écriture de l'anathème dans En famille de Marie Ndiaye," French Review 71: 3 (1998): 442-53
24. Warren Motte, Fables of the Novel: French Fiction since 1960 (Normal, IL: Dalkey Archive, 2003) 115-133
25. Elizabeth Fallaize, "Filling in the Blank Canvas: Memory, Inheritance, and Identity in Marie Redonnet's Rose Mélie Rose"
26. Anne-Marie Picard, "Dans le paysage, une figure . . . presque féminine: le triptyque de Marie Redonnet," Australian Journal of French Studies 31: 2 (1994): 228-40
27. Jordan Stump, "At the Intersection of Self and Other: Marie Redonnet's Splendid Hotel, Forever Valley and Rose Mélie Rose," Michael Bishop, ed. Thirty Voices in the Feminine (Amsterdam: Rodopi, 1996) 267-73
28. Jeanine S. Alesch, "Material Girl ": Becoming and Unbecoming in Marie Redonnet's Forever Valley," French Forum 29: 3 (2004) 57-77
29. Note also Simon Kemp's analysis of the influence of developments in cognitive science on the repre-sentation of self in Darrieussecq's fiction and on their formal structures (Simon Kemp, "Darrieussecq's Mind," French Studies 62: 4 [2008]: 429-41)
30. Le Mal de mer (Paris: P.O.L., 1999)
31. Le Pays (Paris: P.O.L., 2005)
32. Forever Valley (Paris: Minuit, 1987)
33. Arnold Van Gennep, Rites de passage (Paris: Nourry, 1909)
34. Victor Turner, The Ritual Process: Structure and Anti-Structure (London: Penguin, 1969)
35. The Forest of Symbols: Aspects of Ndembu Ritual (Ithaca: Cornell UP, 1967) 97.
36. Referring to Mary Douglas's Purity and Danger, Turner also notes that "liminal individuals are polluting, and thus dangerous, to those who have not gone through the liminal period" (The Forest of Symbols 98)
37. Stigma: Notes on the Management of Spoiled Identity (London: Penguin, 1990
38. See Moudileno, "Délits, détours et affabulation: l'écriture de l'anathème dans En famille de Marie Ndiaye," 445
39. Dogs are a threatening presence throughout the text. See pages 7, 23, 77, 83, 88-89, 99, 161, 185
40. On Redonnet and Beckett, see Fallaize, "Filling in the Blank Canvas: Memory, Inheritance, and Identity in Marie Redonnet's Rose Mélie Rose," 321, 323
41. Compare White, 20-21
42. Tate, 1992
43. See also Elizabeth Fallaize, French Women's Writing: Recent Fiction (Basingsoke: Mac-Millan, 1993) 126-61
44. Jordan Stump, "Separation and Permeability in Marie Redonnet's Triptych," French Forum 20: 1 (1995): 105-19
45. Michèle Chossat, Ernaux, Redonnet, Bâ et Ben Jelloun: le personnage féminin à l'aube du XXIème siècle (New York: Lang, 2002) 92
46. "The Story of the Triptych" in Marie Redonnet, Rose Mellie Rose, trans. Jordan Stump (Lincoln: U of Nebraska P, 1995) 111-20
47. "The Story of the Triptych" 112
48. See pages 47, 56, 62, 65, 75, 87, 88, 99, 108, 111, 112, 113, 10, 133
49. Jordan Stump and Marie Redonnet, "Interview" in Forever Valley, trans. Jordan Stump (Lincoln and London: University of Nebraska Press, 1995): 103-13, 110
50. Jean-Baptiste Harang, "Ndiaye voit vert," Libé ration, 13 janvier 2005
51. Jordan Stump and Marie Redonnet, "Interview," 113
52. Redonnet, "The Story of the Triptych," 113