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Rachilde regarded the ideologies underpinning such narratives as outmoded and deed in large part to validate patriarchal discursive including procreation and the family. Rachilde: Decadence, Gender and the Woman Writer. Writing with a Vengeance.

Daughters of Decadence. That said, the economic dynamics of the relationship entail more existential consequences that bear upon the gender identification of each protagonist. As a response to the inadequacies inherent in existing novelistic forms, modern formal experiments in narrative structure, technique and language combined to offer an innovative aesthetic experience that not only challenged dominant social and cultural forces but strove to resist and overcome the instrumentality of what had come before.

Ventriloquized Bodies.

Oxford: Legenda, Waugh, Patricia. It is, of course, axiomatic that one of the functions of language is to construct and mediate our experience of the world and its apparent realities. From to the Present. From the outset, fixed gender identities in the narrative are problematised.

Cambridge: Cambridge University Press, Currie, Mark, ed.

Governed by a spirit of independent self-determination and a desire to upset hegemonic norms of propriety, Rachilde mobilised the values inherent in art and aesthetic retreat in response to a stifling doxa of narrative cohesion, unified structure and mimetic representation of political, social and sexual norms. Paris: Gallimard, — By Rachilde. Representing Prostitution in Nineteenth-Century France. Nashville: Vanderbilt University Press, Mythe, Figure, Fantasmes. The Gender of Modernity. Lincoln: University of Nebraska Press, Lukacher, Maryline.

How, in this context, to find meaning? Paris: Flammarion, Baudelaire, Charles. Paris: Champion, Cohen, Margaret. Quoi de plus simple!

Finch, Alison. Corporeal Secrets in Nineteenth-Century France. Durham and London: Duke University Press, Bollhayer Mayer, Regina. Durham: Duke University Press, McGuinness, Patrick, ed. What if, Rachilde implicitly asks us in her literary creation of a prostitutional fantasy, the world outside the fictional text were equally fictional? Finn, Michael R. Hysteria, Hypnotism, the Spirits, and Pornography.

The quest for fictionality: prostitution and metatextuality in rachilde’s monsieur vénus

Pierre-Georges Castex. Timothy Unwin. Toronto and London: University of Toronto Press, Porter, Laurence M. Sand, George. Oxford and New York: Berg, Kelly, Dorothy. London: Virago Press, Thompson, Hannah. In this way, the relationship becomes defined in terms of prostitution, whereby the paying consumer initiates a series of fantasies with the sexually submissive other.

New York: MLA, Holmes, Diana. Fabulation and Metafiction. Exeter: University of Exeter Press, Mesch, Rachel. The narrator informs us that:. What if the words supposedly used to mediate reality suddenly had no utility function and were simply words?

London and New York: Methuen, For further details on the figure of the androgyne in the decadent aesthetic, see Monneyron. Maternal Fictions. London and New York: Longman, Paris: Mercure de France, Les Gloires Malsaines. Prostitution and Metafiction It is, of course, axiomatic that one of the functions of language is to construct and mediate our experience of the world and its apparent realities.

And what, then, if the language of literature, which classically refers us to the seemingly real human world, were rewritten and fiction refused its status as transparent window onto an external reality but dared, instead, to revel in its very fictionality? Chicago and London: University of Illinois Press, Showalter, Elaine, ed.

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What if all conceptions of objective reality normally conveyed through language were revealed to be an illusion, or, worse still, a human fabrication? Paris: Librairie Richelieu, Felski, Rita.

Scholes, Robert. They appear as objects of value only when they are aestheticised as corpses or phallicised as femmes fatales.

Newark: University of Delaware Press, Hawthorne, Melanie C. Hawthorne, Melanie, and Liz Constable. Grenoble: Ellug, Mossman, Carol. Narratives of Hysteria in Nineteenth-Century France.

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Fictional Genders. In decadent writing, women are seen as bound to Nature and the material world because they are more physical than men, more body than spirit. Ithaca: Cornell University Press, Figures of Ill Repute.

Stendhal, Sand, Rachilde and Bataille. Put simply, it serves as a bold contention that there is no more meaningful reality than art or fiction. When Jacques is killed by the Baron de Raittolbe in the classic masculine rite of the duel of honour insisted upon by Raoule given the offence these two caused her by becoming attracted to each otherhe becomes, quite literally, an artificial object of desire:. However, it is precisely the authenticity of such received wisdom, the coherence of seemingly stable representations, that metafiction challenges.

In the mid to late nineteenth century in France, the contrived textuality of realism and naturalism came under increasing scrutiny owing to its limited capacity to articulate the destruction, pain, purposelessness, fragmentation, alienation and ennui that often characterised modern life. Paris: Gallimard, Beizer, Janet.