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(PDF) Literary Patronage: Collaboration or Rivalry? Women's Prefaces to Women's Texts in the 20th Century
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Women&#39;s Prefaces to Women&#39;s Texts in the 20th Century" /> <meta name="citation_publication_date" content="2010/01/01" /> <meta name="citation_journal_title" content="Women in French Studies" /> <meta name="citation_author" content="Jeri English" /> <meta name="twitter:card" content="summary" /> <meta name="twitter:url" content="https://www.academia.edu/86845407/Literary_Patronage_Collaboration_or_Rivalry_Womens_Prefaces_to_Womens_Texts_in_the_20th_Century" /> <meta name="twitter:title" content="Literary Patronage: Collaboration or Rivalry? Women's Prefaces to Women's Texts in the 20th Century" /> <meta name="twitter:description" content="The question of literary patronage has often surfaced with regard to French women writers, which is unsurprising given their historical near-exclusion from the canon. 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If, on the one hand, roughly two thousand women published texts in France during the nineteenth century (Slama, \"Un chantier\" 87), it was argued all through the century that to take part in literary production was unfeminine (Sauvé 62). ' Women writers thus had little symbolic capital2 in a century that privileged, as Gustave Lanson described in 1896, \"une littérature d'hommes, faite surtout par et pour des hommes\" (842). Writing and publishing were, for women writers, necessarily strictly secondary activities to their primary roles as wives and mothers.3 Even the women who succeeded in publishing their works were not generally perceived as authors, but rather as authoresses, that is to say, as the producers of particularlyfeminine-and thus inferior-texts (Sauvé 187). A woman writing in nineteenth-century France found herself in a difficult position: if she contested the expectations of \"feminine\" literature, she was rebuked for transgressing her gender role; if she obeyed the rules of the \"feminine,\" her works were devalued and fell into a subgenre of minimally","publication_date":"2010,,","publication_name":"Women in French Studies","grobid_abstract_attachment_id":"91208511"},"document_type":"paper","pre_hit_view_count_baseline":null,"quality":"high","language":"en","title":"Literary Patronage: Collaboration or Rivalry? Women's Prefaces to Women's Texts in the 20th Century","broadcastable":true,"draft":null,"has_indexable_attachment":true,"indexable":true}}["work"]; window.loswp.workCoauthors = [38067335]; window.loswp.locale = "en"; window.loswp.countryCode = "SG"; window.loswp.cwvAbTestBucket = ""; window.loswp.designVariant = "ds_vanilla"; window.loswp.fullPageMobileSutdModalVariant = "full_page_mobile_sutd_modal"; window.loswp.useOptimizedScribd4genScript = false; window.loginModal = {}; window.loginModal.appleClientId = 'edu.academia.applesignon'; window.userInChina = "false";</script><script defer="" src="https://accounts.google.com/gsi/client"></script><div class="ds-loswp-container"><div class="ds-work-card--grid-container"><div class="ds-work-card--container js-loswp-work-card"><div class="ds-work-card--cover"><div class="ds-work-cover--wrapper"><div class="ds-work-cover--container"><button class="ds-work-cover--clickable js-swp-download-button" data-signup-modal="{"location":"swp-splash-paper-cover","attachmentId":91208511,"attachmentType":"pdf"}"><img alt="First page of “Literary Patronage: Collaboration or Rivalry? 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Women's Prefaces to Women's Texts in the 20th Century</h1><div class="ds-work-card--work-authors ds-work-card--detail"><a class="ds-work-card--author js-wsj-grid-card-author ds2-5-body-md ds2-5-body-link" data-author-id="38067335" href="https://utoronto.academia.edu/JeriEnglish"><img alt="Profile image of Jeri English" class="ds-work-card--author-avatar" src="https://0.academia-photos.com/38067335/92025224/80847493/s65_jeri.english.jpg" />Jeri English</a></div><div class="ds-work-card--detail"><p class="ds-work-card--detail ds2-5-body-sm">2010, Women in French Studies</p><div class="ds-work-card--work-metadata"><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">visibility</span><p class="ds2-5-body-sm" id="work-metadata-view-count">…</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">description</span><p class="ds2-5-body-sm">15 pages</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">link</span><p class="ds2-5-body-sm">1 file</p></div></div><script>(async () => { const workId = 86845407; const worksViewsPath = "/v0/works/views?subdomain_param=api&work_ids%5B%5D=86845407"; const getWorkViews = async (workId) => { const response = await fetch(worksViewsPath); if (!response.ok) { throw new Error('Failed to load work views'); } const data = await response.json(); return data.views[workId]; }; // Get the view count for the work - we send this immediately rather than waiting for // the DOM to load, so it can be available as soon as possible (but without holding up // the backend or other resource requests, because it's a bit expensive and not critical). const viewCount = await getWorkViews(workId); const updateViewCount = (viewCount) => { try { const viewCountNumber = parseInt(viewCount, 10); if (viewCountNumber === 0) { // Remove the whole views element if there are zero views. document.getElementById('work-metadata-view-count')?.parentNode?.remove(); return; } const commaizedViewCount = viewCountNumber.toLocaleString(); const viewCountBody = document.getElementById('work-metadata-view-count'); if (!viewCountBody) { throw new Error('Failed to find work views element'); } viewCountBody.textContent = `${commaizedViewCount} views`; } catch (error) { // Remove the whole views element if there was some issue parsing. document.getElementById('work-metadata-view-count')?.parentNode?.remove(); throw new Error(`Failed to parse view count: ${viewCount}`, error); } }; // If the DOM is still loading, wait for it to be ready before updating the view count. if (document.readyState === "loading") { document.addEventListener('DOMContentLoaded', () => { updateViewCount(viewCount); }); // Otherwise, just update it immediately. } else { updateViewCount(viewCount); } })();</script></div><p class="ds-work-card--work-abstract ds-work-card--detail ds2-5-body-md">The question of literary patronage has often surfaced with regard to French women writers, which is unsurprising given their historical near-exclusion from the canon. If, on the one hand, roughly two thousand women published texts in France during the nineteenth century (Slama, "Un chantier" 87), it was argued all through the century that to take part in literary production was unfeminine (Sauvé 62). ' Women writers thus had little symbolic capital2 in a century that privileged, as Gustave Lanson described in 1896, "une littérature d'hommes, faite surtout par et pour des hommes" (842). Writing and publishing were, for women writers, necessarily strictly secondary activities to their primary roles as wives and mothers.3 Even the women who succeeded in publishing their works were not generally perceived as authors, but rather as authoresses, that is to say, as the producers of particularlyfeminine-and thus inferior-texts (Sauvé 187). A woman writing in nineteenth-century France found herself in a difficult position: if she contested the expectations of "feminine" literature, she was rebuked for transgressing her gender role; if she obeyed the rules of the "feminine," her works were devalued and fell into a subgenre of minimally</p><div class="ds-work-card--button-container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--work-card","attachmentId":91208511,"attachmentType":"pdf","workUrl":"https://www.academia.edu/86845407/Literary_Patronage_Collaboration_or_Rivalry_Womens_Prefaces_to_Womens_Texts_in_the_20th_Century"}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--work-card","attachmentId":91208511,"attachmentType":"pdf","workUrl":"https://www.academia.edu/86845407/Literary_Patronage_Collaboration_or_Rivalry_Womens_Prefaces_to_Womens_Texts_in_the_20th_Century"}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div><div class="ds-signup-banner-trigger-container"><div class="ds-signup-banner-trigger ds-signup-banner-trigger-control"></div></div><div class="ds-signup-banner ds-signup-banner-control"><div id="ds-signup-banner-close-button"><button class="ds2-5-button ds2-5-button--secondary ds2-5-button--inverse"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">close</span></button></div><div class="ds-signup-banner-ctas"><img src="//a.academia-assets.com/images/academia-logo-capital-white.svg" /><h4 class="ds2-5-heading-serif-sm">Sign up for access to the world's latest research</h4><button class="ds2-5-button ds2-5-button--inverse ds2-5-button--full-width js-swp-download-button" data-signup-modal="{"location":"signup-banner"}">Sign up for free<span class="material-symbols-outlined" style="font-size: 20px" translate="no">arrow_forward</span></button></div><div class="ds-signup-banner-divider"></div><div class="ds-signup-banner-reasons"><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Get notified about relevant papers</span></div><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Save papers to use in your research</span></div><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Join the discussion with peers</span></div><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Track your impact</span></div></div></div><script>(() => { // Set up signup banner show/hide behavior: // 1. 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js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/109824616/Nineteenth_Century_French_Women_Poets_An_Exceptional_Legacy">Nineteenth-Century French Women Poets: An Exceptional Legacy</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="254907" href="https://fsu.academia.edu/AimeeBoutin">Aimee Boutin</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Women in French Studies, 2002</p><p class="ds-related-work--abstract ds2-5-body-sm">women poets actively participated in what Sainte-Beuve called a "singular moral and literary movement" of women writing that swept across France in the 1830s and continued throughout the century ("George Sand" 495). The poetic canon, however, has minimized their traces. For example, Gustave Lanson's 1895 Histoire de la littérature française, which was adopted as part of a broader pedagogical shift from the teaching of rhetoric to literary history, ignored women's poetic legacy. Despite active interest in the poétesses mineures during the centennial decades of French Romanticism in the early twentieth century, Ferdinand Brunetière, another father of French literary historiography, also omitted women's poetry of the nineteeenth century from the evolution of the French lyric (1913). This paradoxical critical presence and absence is symptomatic: whereas nineteenth-century French culture placed high value on the feminine, few women poets were remembered by literary history. A revisited canon that accounts for nineteenth-century women poets has yet to emerge after the 1966 publication of Jeanine Moulin's La Poésie féminine, as has happened, for example, with the French Renaissance (Jones, Winn) or with British Romanticism (Behrendt and Linkin, Homans, Mellor, Ross). The 2000 Pléiade anthology of eighteenth-, nineteenth-and twentieth-century French poetry suggests that little has changed. While many eighteenth-and twentiethcentury women poets are included, only Desbordes-Valmore figures as the token woman poet of the nineteenth century. The recently published introduction to nineteenth-century women poets, Wendy Greenberg's Uncanonical Women, however, seeks to remedy this bias and to revisit the nineteenth-century canon. 78FRENCH AND FRANCOPHONE WOMEN Canon (De)Formation: The Woman Poet The central concern of the 1991 volume Displacements edited by Joan DeJean and Nancy K. Miller involves issues of gender that determined canon formation in the French tradition. In the nineteenth century, when the Third Republic established a new curriculum to inculcate republican values, genderbased expectations dictated that women writers could not be upheld as models of a national literature. The construction of Desbordes-Valmore' s "position of privileged exception," as Barbara Johnson has astutely shown, reveals the gender bias to which women who wrote poetry were subject: "When it comes to judging women who write poetry ... the guardians of poetic taste often enforce their views by singling out one woman writer, praising her extravagantly, and using her as a pretext to denigrate the work of other women" ("Gender and Poetry" 164). Desbordes-Valmore's reception by her male readers constructed the woman poet as a mirror image of the male; unable to acknowledge the woman poet's difference, the male poet appropriates her feminine sensibility at her expense (Boutin, "Desbordes-Valmore"). The Romantic legacy as a whole can be understood, moreover, as an "appropriation of the female body, both the written corpus and the psychobiological entity" (Paliyenko, "(Re)placing Women" 261). Ideology is a primary stake in canon (de)formation. In different ways, Christine Planté, Michael Danahy, and Gretchen Schultz have drawn on the notion of appropriation to theorize how the nineteenth-century poetic canon is gendered and how we assign cultural value to modern poetry. A long-standing view of women poets holds that women are poetry itself and, as the embodiment of the muse that inspires poetic production, they cannot craft poetry. The well-known pronouncement by eighteenth-century poet Écouchard-Lebran (Lebran-Pindare) from "Ode aux Belles qui veulent devenir Poètes" encapsulates the natural role assigned to women: "Soyez épouse et mère, au lieu d'être Poète" (qtd. in Planté, Femmes poètes xi). Paul Gaschon de Molènes (1842) so cast the nature of women's poetry: "[L]eur poésie, à elles, est dans les vers qu'elles inspirent et non pas dans ceux qu'elles font. Leur poésie avant tout, c'est d'être belles et de se faire aimer" (76). The lyrical tradition does not merely reflect society's gender roles but has actively constructed them (Johnson, Schultz). Because literary genres possess and reproduce gender, it bears repeating, as Danahy (Feminization of the Novel) and Planté have shown (Petite Soeur de Balzac, "Prose/Poésie"), that poetry-a truer form of literary expression-was considered a masculine genre, while conversely the novel-a form of personal conversation-was deemed feminine. ' This differentiation masks a hierarchy that has acted as a barrier to women practicing poetry. The place of the Woman writer-a novelist rather than a poet-has displaced the legacy of women poets. Many women novelists also wrote poetry (Staël, Sand, Girardin, Michel), but their prose has received more critical and editorial attention.2 The number of women acclaimed as poets by the century's end notwithstanding, the Woman poet in particular did not prevail against public opinion: "Une femme peut composer vingt romans, sans qu'on soit tenté d'en conclure rien contre sa pudeur... On n'admet pas qu'une poétesse NINETEENTH-CENTURY FRENCH WOMEN POETS79 puisse peindre quelques scènes d'amour imaginées" (Dufrénoy, Opuscules poétiques viii-ix). The Rise and Fall of the Poétesse Reception history records various words used with reference to women poets, including "poétesse," "femme poète," "dixième muse," or "poète." The use of "poète" notwithstanding, Barbey d'Aurevilly summarily expressed the weight of critical opinion against "UNE poète, cette chose si rare que, pour la dire au féminin il faut faire une faute de français" (1862, 304).3 Although the ARTFL (American and French Research on the Treasury of the French Language) database shows the earliest occurrence of "poétesse" in André Chénier's Bucoliques in 1794, the term does not appear with frequency until the second half of the nineteenth century. As a feminized form of "poète," however, "poétesse" carried derogatory connotations. The 1798 edition of the Dictionnaire de l'Académiefrançaise specifies that the term "poétesse" is to be avoided, but in the 1835 edition, usage of "poétesse" is recorded, albeit "peu usité." Both of these dictionaries are available on ARTFL, which is easily accessible to students asked to rehearse this lexical research. These dictionaries and the Grand Dictionnaire universel du XIXe siècle (Larousse) sanction the phrase "Sappho était poète" but the need for a gendered term was felt by at least one nineteenth-century speaker. Sand, expressing her admiration of proletarian women poets, commented in 1841 that "poétesse" "mériterait d'être dans le Dictionnaire et. .. nous paraît être aussi nécessaire maintenant que celui de poète" (114). British romanticist Anne Mellor draws on these terms to distinguish two traditions of feminine poetry, the poetess versus the female poet ("Distinguishing the Poetess"). The poetess embraces the category of "poésie feminine," often working to reshape it from within (Desbordes-Valmore and Colet). The female poet is explicitly political and didactic (SaIm). Mellor's distinction is useful if one remains open to the possibility that an individual poet may belong to more than one tradition and express different subject positions or voices. Muses of Reason and Revolution</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Nineteenth-Century French Women Poets: An Exceptional Legacy","attachmentId":107832314,"attachmentType":"pdf","work_url":"https://www.academia.edu/109824616/Nineteenth_Century_French_Women_Poets_An_Exceptional_Legacy","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/109824616/Nineteenth_Century_French_Women_Poets_An_Exceptional_Legacy"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="4" data-entity-id="95883801" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/95883801/The_Evolution_of_Female_Writers_in_the_20TH_Century_From_the_Late_19TH_Century_Towards_21ST_Centyry">The Evolution of Female Writers in the 20TH Century: From the Late 19TH Century Towards 21ST Centyry</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="196902222" href="https://jbnuu.academia.edu/NasibaParmonova">Nasiba Parmonova</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Mental Enlightenment Scientific-Methodological Journal, 2021</p><p class="ds-related-work--abstract ds2-5-body-sm">This article gives an overview of writing by women in a revolutionary phase during the twentieth century and highlights the distinguished features of twentieth century women&#39;s literature including the diverse range of themes, change in women&#39;s social and family roles, a remarkable shift in subjects of writing which added a new frontier in women&#39;s writing. 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class="ds-related-work--container js-related-work-sidebar-card" data-collection-position="24" data-entity-id="74958254" data-sort-order="default"><a class="ds-related-work--title js-related-work-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/74958254/Literature_in_pieces_female_sanctity_and_the_relics_of_early_women_s_writing">Literature in pieces: female sanctity and the relics of early women’s writing</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="1723707" href="https://surrey.academia.edu/DianeWatt">Diane Watt</a></div><p class="ds-related-work--metadata ds2-5-body-xs">The Cambridge History of Early Medieval English Literature, 2012</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Literature in pieces: female sanctity and 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