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		<title>La relecture des genres - Revision history</title>
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	<entry>
		<id>http://www.womenwriters.nl/index.php?title=La_relecture_des_genres&amp;diff=9844&amp;oldid=prev</id>
		<title>SvDijk at 12:02, 20 February 2016</title>
		<link rel="alternate" type="text/html" href="http://www.womenwriters.nl/index.php?title=La_relecture_des_genres&amp;diff=9844&amp;oldid=prev"/>
				<updated>2016-02-20T12:02:35Z</updated>
		
		<summary type="html">&lt;p&gt;&lt;/p&gt;

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				&lt;td colspan='2' width='50%' align='center' style=&quot;background-color: white;&quot;&gt;←Older revision&lt;/td&gt;
				&lt;td colspan='2' width='50%' align='center' style=&quot;background-color: white;&quot;&gt;Revision as of 12:02, 20 February 2016&lt;/td&gt;
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		&lt;tr&gt;&lt;td colspan=&quot;2&quot; align=&quot;left&quot;&gt;&lt;strong&gt;Line 1:&lt;/strong&gt;&lt;/td&gt;
&lt;td colspan=&quot;2&quot; align=&quot;left&quot;&gt;&lt;strong&gt;Line 1:&lt;/strong&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&amp;lt;br&amp;gt;__NOEDITSECTION__&lt;/td&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&amp;lt;br&amp;gt;__NOEDITSECTION__&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt;-&lt;/td&gt;&lt;td style=&quot;background: #ffa; font-size: smaller;&quot;&gt;== La &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;''Réponse à l’écrit du colonel de La Harpe'' &lt;/span&gt;==&lt;/td&gt;&lt;td&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; font-size: smaller;&quot;&gt;== La &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;relecture des genres &lt;/span&gt;==&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&lt;/td&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&lt;/td&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;/td&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;''Abstract'': &amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;/td&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;''Abstract'': &amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt;-&lt;/td&gt;&lt;td style=&quot;background: #ffa; font-size: smaller;&quot;&gt;&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;As a female writer, &lt;/span&gt;Isabelle de Charrière &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;experienced some difficulties in entering the political arena openly. This is the reason why she frequently published anonymously. Although in many cases this was an appropriate strategy, it proved to be counter-productive in the case of the &lt;/span&gt;''&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Réponse à l’écrit du colonel de La Harpe&lt;/span&gt;'' (&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;1797&lt;/span&gt;)&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;, which was the last of the political pamphlets she published&lt;/span&gt;. &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;It seems to have been caused by &lt;/span&gt;a &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;delicate ar-gument she uses &lt;/span&gt;in &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;this text: those who were addressed by this political pamphlet, mostly men&lt;/span&gt;, &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;could not, or only with difficulty, agree with &lt;/span&gt;the &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;perspective adopted by Charrière&lt;/span&gt;.&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;/span&gt;&lt;/td&gt;&lt;td&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; font-size: smaller;&quot;&gt;&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;This article compares two novels of &lt;/span&gt;Isabelle de Charrière &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;and Jane Austen: &lt;/span&gt;''&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Trois femmes&lt;/span&gt;'' (&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;1795) and ''Pride and Prejudice'' (1813&lt;/span&gt;). &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Starting from Valérie Cossy’s idea that &lt;/span&gt;a &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;link is established between female/male gender and literary genre &lt;/span&gt;in &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Charrière and Austen’s novels&lt;/span&gt;, &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;it develops &lt;/span&gt;the &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;connection further&lt;/span&gt;. &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Through &lt;/span&gt;the &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;analysis of first &lt;/span&gt;the &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;representation &lt;/span&gt;of &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;marriage, second &lt;/span&gt;the &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;construction of female &lt;/span&gt;and &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;male protagonists, and finally &lt;/span&gt;the &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;literary techniques in each novel&lt;/span&gt;, the &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;author establishes that these elements weaken male and female divisions. In these novels, Charrière and Austen successfully deconstruct patriarchal conventions related to gender and literary genre, transgressing the limits &lt;/span&gt;by &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;smoothly juggling with inventive and varied narrative techniques. In later novels, Austen and &lt;/span&gt;Charrière &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;seem to surrender to patriarchal authority and demonstrate many contradictions. This movement backwards can be seen &lt;/span&gt;as a &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;proof &lt;/span&gt;of &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;their powerful ability to negotiate &lt;/span&gt;and &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;recognize human complexity, not as &lt;/span&gt;a &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;failure&lt;/span&gt;.&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt;-&lt;/td&gt;&lt;td style=&quot;background: #ffa; font-size: smaller;&quot;&gt;&lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;By focusing on &lt;/span&gt;the &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;relationship between &lt;/span&gt;the &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;gender &lt;/span&gt;of the &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;speaker &lt;/span&gt;and the &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;pragmatics of discourse&lt;/span&gt;, &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;this article has two objectives: first it ex-plains some of &lt;/span&gt;the &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;difficulties met with &lt;/span&gt;by Charrière as a &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;polemic writer (F) in her political texts; second it addresses the question &lt;/span&gt;of &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;the rhetorical &lt;/span&gt;and &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;philosophical biases occasioned by the research of &lt;/span&gt;a &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;neutral enunciation&lt;/span&gt;.&lt;/td&gt;&lt;td&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; font-size: smaller;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&lt;/td&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;   &lt;/td&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;   &lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; align=&quot;left&quot;&gt;&lt;strong&gt;Line 16:&lt;/strong&gt;&lt;/td&gt;
&lt;td colspan=&quot;2&quot; align=&quot;left&quot;&gt;&lt;strong&gt;Line 15:&lt;/strong&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&lt;/td&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&amp;lt;br&amp;gt;&lt;/td&gt;&lt;td&gt; &lt;/td&gt;&lt;td style=&quot;background: #eee; font-size: smaller;&quot;&gt;&amp;lt;br&amp;gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td&gt;-&lt;/td&gt;&lt;td style=&quot;background: #ffa; font-size: smaller;&quot;&gt;*Publications &amp;gt; [http://www.womenwriters.nl/index.php/Cahiers_Isabelle_de_Charriere_/_Belle_de_Zuylen_Papers Belle de Zuylen Papers] &amp;gt; [http://www.womenwriters.nl/index.php/BELLE_DE_ZUYLEN_IN_HER_EUROPEAN_CONTEXT 2015] &amp;gt; &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Tieken-Boon van Ostade &lt;/span&gt;&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;/td&gt;&lt;td&gt;+&lt;/td&gt;&lt;td style=&quot;background: #cfc; font-size: smaller;&quot;&gt;*Publications &amp;gt; [http://www.womenwriters.nl/index.php/Cahiers_Isabelle_de_Charriere_/_Belle_de_Zuylen_Papers Belle de Zuylen Papers] &amp;gt; [http://www.womenwriters.nl/index.php/BELLE_DE_ZUYLEN_IN_HER_EUROPEAN_CONTEXT 2015] &amp;gt; &lt;span style=&quot;color: red; font-weight: bold;&quot;&gt;Annart &lt;/span&gt;&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>SvDijk</name></author>	</entry>

	<entry>
		<id>http://www.womenwriters.nl/index.php?title=La_relecture_des_genres&amp;diff=9835&amp;oldid=prev</id>
		<title>SvDijk: New page: &lt;br&gt;__NOEDITSECTION__ == La ''Réponse à l’écrit du colonel de La Harpe'' ==   &lt;br&gt;&lt;br&gt;&lt;br&gt; ''Abstract'': &lt;br&gt;&lt;br&gt; As a female writer, Isabelle de Charrière experienced some difficult...</title>
		<link rel="alternate" type="text/html" href="http://www.womenwriters.nl/index.php?title=La_relecture_des_genres&amp;diff=9835&amp;oldid=prev"/>
				<updated>2016-02-20T11:12:46Z</updated>
		
		<summary type="html">&lt;p&gt;New page: &amp;lt;br&amp;gt;__NOEDITSECTION__ == La ''Réponse à l’écrit du colonel de La Harpe'' ==   &amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&amp;lt;br&amp;gt; ''Abstract'': &amp;lt;br&amp;gt;&amp;lt;br&amp;gt; As a female writer, Isabelle de Charrière experienced some difficult...&lt;/p&gt;
&lt;p&gt;&lt;b&gt;New page&lt;/b&gt;&lt;/p&gt;&lt;div&gt;&amp;lt;br&amp;gt;__NOEDITSECTION__&lt;br /&gt;
== La ''Réponse à l’écrit du colonel de La Harpe'' ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;br /&gt;
''Abstract'': &amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;br /&gt;
As a female writer, Isabelle de Charrière experienced some difficulties in entering the political arena openly. This is the reason why she frequently published anonymously. Although in many cases this was an appropriate strategy, it proved to be counter-productive in the case of the ''Réponse à l’écrit du colonel de La Harpe'' (1797), which was the last of the political pamphlets she published. It seems to have been caused by a delicate ar-gument she uses in this text: those who were addressed by this political pamphlet, mostly men, could not, or only with difficulty, agree with the perspective adopted by Charrière.&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;br /&gt;
By focusing on the relationship between the gender of the speaker and the pragmatics of discourse, this article has two objectives: first it ex-plains some of the difficulties met with by Charrière as a polemic writer (F) in her political texts; second it addresses the question of the rhetorical and philosophical biases occasioned by the research of a neutral enunciation.&lt;br /&gt;
&lt;br /&gt;
   &lt;br /&gt;
&lt;br /&gt;
&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;br /&gt;
&lt;br /&gt;
SvD, February 2016&lt;br /&gt;
&amp;lt;hr&amp;gt;&lt;br /&gt;
&lt;br /&gt;
&amp;lt;br&amp;gt;&lt;br /&gt;
*Publications &amp;gt; [http://www.womenwriters.nl/index.php/Cahiers_Isabelle_de_Charriere_/_Belle_de_Zuylen_Papers Belle de Zuylen Papers] &amp;gt; [http://www.womenwriters.nl/index.php/BELLE_DE_ZUYLEN_IN_HER_EUROPEAN_CONTEXT 2015] &amp;gt; Tieken-Boon van Ostade &amp;lt;br&amp;gt;&amp;lt;br&amp;gt;&lt;/div&gt;</summary>
		<author><name>SvDijk</name></author>	</entry>

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