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Liberté, Égalité, Sororité: The Regime of the Sister in Graffigny’s Lettres d’une Péruvienne

Liberté, Égalité, Sororité: The Regime of the Sister in Graffigny’s Lettres d’une Péruvienne Liberté, Égalité, Sororité The Regime of the Sister in Graffigny's Lettres d'une Péruvienne Tracy Rutler The three editions of Françoise de Graffigny's Lettres d'une Péruvienne published since the late twentieth century are each adorned with vastly different covers. The first (1983) depicts a European woman writing a letter, the second (1993) illustrates the moment when the heroine, Zilia, becomes a property owner, and the third (2005) highlights the protagonist's exotic Otherness with a cartoon drawing of a native woman in traditional Peruvian garb in the foreground surrounded by aristocratic, European onlookers. Such varied choices in cover art for this novel signal a tension of representation inherent to the novel itself, that is, the variations in cover art demonstrate an opposition between on the one hand, an assertion of feminine and proto-feminist autonomy and, on the other, an exoticist subordination to the object of the male gaze. The space between feminine autonomy and female objectification serves as the basis for a narrative of the changing role of women in eighteenthcentury France. As family politics evolve, masculine roles change dramatically; the father's importance wanes to the point of impotence while the son joins with his brothers to take the place http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png French Forum University of Nebraska Press

Liberté, Égalité, Sororité: The Regime of the Sister in Graffigny’s Lettres d’une Péruvienne

French Forum , Volume 39 (2) – Jan 9, 2014

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Publisher
University of Nebraska Press
Copyright
Copyright © 2008 French Forum, Inc.
ISSN
1534-1836
Publisher site
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Abstract

Liberté, Égalité, Sororité The Regime of the Sister in Graffigny's Lettres d'une Péruvienne Tracy Rutler The three editions of Françoise de Graffigny's Lettres d'une Péruvienne published since the late twentieth century are each adorned with vastly different covers. The first (1983) depicts a European woman writing a letter, the second (1993) illustrates the moment when the heroine, Zilia, becomes a property owner, and the third (2005) highlights the protagonist's exotic Otherness with a cartoon drawing of a native woman in traditional Peruvian garb in the foreground surrounded by aristocratic, European onlookers. Such varied choices in cover art for this novel signal a tension of representation inherent to the novel itself, that is, the variations in cover art demonstrate an opposition between on the one hand, an assertion of feminine and proto-feminist autonomy and, on the other, an exoticist subordination to the object of the male gaze. The space between feminine autonomy and female objectification serves as the basis for a narrative of the changing role of women in eighteenthcentury France. As family politics evolve, masculine roles change dramatically; the father's importance wanes to the point of impotence while the son joins with his brothers to take the place

Journal

French ForumUniversity of Nebraska Press

Published: Jan 9, 2014

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