By Mary-Kay F. Miller
This publication appears on the constructs of gender, style, and colonialism as they intersect within the works of Senegalese writers Mariama Bâ and Aminata Sow Fall and French author Marguerite Duras. notwithstanding those authors shape an not going trio firstly look, we listen awesome echoes of their texts as they show the development and narration of a female "I" over and opposed to a number of colonizing forces. The authors’ experimentation with autobiographical writing, stories with colonialism, and exploration of the metaphor of infanticide create a wealthy, multicultural discussion concerning the politics of women’s writing.
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Additional info for (Re)Productions: Autobiography, Colonialism, and Infanticide (Francophone Cultures and Literatures, V. 41)
12 Both of these transformations flowed from the belief that the more closely the Vietnamese resembled the West in general and the French in particular, the more “civilized” they would become. As was the case in Senegal and other French colonies, the reasons behind the spread of Christianity and the introduction of the French language or the Roman alphabet in Vietnam were economic as well as cultural, and ultimately these changes helped to reproduce and maintain the colonial system. In his book, In Search of Southeast Asia, David Steinberg also identifies these changes as radical attacks on Vietnamese culture: many mandarins considered [the attempt to change the Vietnamese writing system] subversive, since the wholesale adoption of romanized Vietnamese by the Vietnamese population would have temporarily severed Vietnamese society’s connection with its Confucian texts and Buddhist sutras, both of which were written in classical Chinese and Chinese characters (132).
In L’Amant, she is identified as “madame la directrice de l’école,” but she is never shown in the classroom. There are, nonetheless, several scenes in which she plays a teacherlike role, and it is these passages that we will examine in the pages to follow. In the opening pages of Barrage contre le Pacifique, the portrait of the mother character is limited to her role as teacher and colonist. 25 She is, however, the most unwilling of victims, and it is in the process of making a monumental (and CHAPTER TWO: COLONIALISM y 33 quixotic) attempt to regain control of her land and her life that she temporarily resumes her role as teacher and “leader”: Tous les hommes des villages voisins .
Une très petite humanité enfantine et déjà vieillotte qui n’a guère évolué depuis l’ancêtre préhistorique, et que la puissante flore tropicale dissimule depuis des siècle dans ses feuilles. . presque l’on s’imaginerait voir les chrysalides d’où naissent ces bonshommes jaunes: sortes de vers, de mites, qui rongent ici l’admirable revêtement des plaines (19–21, my emphasis). The people of Vietnam are compared to microbes (the narrator later uses similar terms in reference to the disease that killed his brother), then to worms and insects.