Pilgrimage de Dorothy Richardson ou l’art du dé-place-ment et de la dérive comme réponse à l’appellation

Pilgrimage by Dorothy Richardson (the article focuses on the first six volumes of the thirteen volumes of the work) can be read as the narrative of the different positions (which are not necessarily strictly chronological) of the main protagonist, Miriam Henderson, who chooses not to abide by the la...

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Main Author: Florence Marie
Format: Article
Language:English
Published: Presses Universitaires de la Méditerranée 2014-06-01
Series:Études Britanniques Contemporaines
Subjects:
Online Access:http://journals.openedition.org/ebc/1154
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spelling doaj-c4e1fc3313464df594118d3795c9e2a32020-11-25T01:33:52ZengPresses Universitaires de la MéditerranéeÉtudes Britanniques Contemporaines1168-49172271-54442014-06-014610.4000/ebc.1154Pilgrimage de Dorothy Richardson ou l’art du dé-place-ment et de la dérive comme réponse à l’appellationFlorence MariePilgrimage by Dorothy Richardson (the article focuses on the first six volumes of the thirteen volumes of the work) can be read as the narrative of the different positions (which are not necessarily strictly chronological) of the main protagonist, Miriam Henderson, who chooses not to abide by the law of the ‘assignation à résidence’ (to be under house arrest—Derrida) to which she is condemned when she is labelled as a middle class woman at the turn of the twentieth century. This labelling is all the more lethal as it goes hand in hand with the notions of hierarchy and opposition. In the course of the article, we will evoke Miriam’s different answers to this labelling: feminist inveighing, misogyny, choosing not to choose, a choice which according to Jean Radford indicates ‘that gender identity is represented not as simple or fixed, a matter of biology or social conditioning, but as a complex series of provisional positions’. Deciding not to choose is in keeping with Miriam’s decision to settle in London, a town where drifting is a way of life, just as it is the main characteristic of the kind of writing that appeals to her. Indeed, Miriam’s refusal to be in a fixed position as a result of any form of labelling is reflected or anticipated in the writing of Pilgrimage, a kind of writing which values the mixing of genres, the instability of the subject, the active participation of the reader and the absence of a conclusion. All this means the reader is bound to question the label ‘feminine writing’ often attributed to Dorothy Richardson and to wonder whether ‘the writing of the feminine’ would not be more adequate.http://journals.openedition.org/ebc/1154a room of one’s owndriftingfeminine writinggender identitylabellingLondon
collection DOAJ
language English
format Article
sources DOAJ
author Florence Marie
spellingShingle Florence Marie
Pilgrimage de Dorothy Richardson ou l’art du dé-place-ment et de la dérive comme réponse à l’appellation
Études Britanniques Contemporaines
a room of one’s own
drifting
feminine writing
gender identity
labelling
London
author_facet Florence Marie
author_sort Florence Marie
title Pilgrimage de Dorothy Richardson ou l’art du dé-place-ment et de la dérive comme réponse à l’appellation
title_short Pilgrimage de Dorothy Richardson ou l’art du dé-place-ment et de la dérive comme réponse à l’appellation
title_full Pilgrimage de Dorothy Richardson ou l’art du dé-place-ment et de la dérive comme réponse à l’appellation
title_fullStr Pilgrimage de Dorothy Richardson ou l’art du dé-place-ment et de la dérive comme réponse à l’appellation
title_full_unstemmed Pilgrimage de Dorothy Richardson ou l’art du dé-place-ment et de la dérive comme réponse à l’appellation
title_sort pilgrimage de dorothy richardson ou l’art du dé-place-ment et de la dérive comme réponse à l’appellation
publisher Presses Universitaires de la Méditerranée
series Études Britanniques Contemporaines
issn 1168-4917
2271-5444
publishDate 2014-06-01
description Pilgrimage by Dorothy Richardson (the article focuses on the first six volumes of the thirteen volumes of the work) can be read as the narrative of the different positions (which are not necessarily strictly chronological) of the main protagonist, Miriam Henderson, who chooses not to abide by the law of the ‘assignation à résidence’ (to be under house arrest—Derrida) to which she is condemned when she is labelled as a middle class woman at the turn of the twentieth century. This labelling is all the more lethal as it goes hand in hand with the notions of hierarchy and opposition. In the course of the article, we will evoke Miriam’s different answers to this labelling: feminist inveighing, misogyny, choosing not to choose, a choice which according to Jean Radford indicates ‘that gender identity is represented not as simple or fixed, a matter of biology or social conditioning, but as a complex series of provisional positions’. Deciding not to choose is in keeping with Miriam’s decision to settle in London, a town where drifting is a way of life, just as it is the main characteristic of the kind of writing that appeals to her. Indeed, Miriam’s refusal to be in a fixed position as a result of any form of labelling is reflected or anticipated in the writing of Pilgrimage, a kind of writing which values the mixing of genres, the instability of the subject, the active participation of the reader and the absence of a conclusion. All this means the reader is bound to question the label ‘feminine writing’ often attributed to Dorothy Richardson and to wonder whether ‘the writing of the feminine’ would not be more adequate.
topic a room of one’s own
drifting
feminine writing
gender identity
labelling
London
url http://journals.openedition.org/ebc/1154
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