A comparative study of disabled children and their adopted maternal figures in French and English Romantic Literature

浪漫主义时期的医学文献声称，母亲在怀孕期间的想象力可能会导致孩子出生残疾。因此，孩子的“不完美”的责任被认为是由母亲承担的。我的项目探讨了法国和英国浪漫主义文学中残疾儿童与他们收养的母亲形象之间的关系，考虑到残疾儿童与他们的照顾者之间的传统动态和更多的非正统关系。通过与海峡两岸的文本接触，该项目将标志着最近关于英语浪漫主义残疾研究的工作的新方向，并促进对残疾儿童思想的跨文化交流的更深入理解。我最初的重点将是维克托雨果的《巴黎圣母院》和玛丽雪莱的《弗兰肯斯坦》;我还将考虑从法国作家如马塞林、德博尔德-瓦尔莫尔和阿尔方斯·德·拉马丁到英国作家如拜伦勋爵、安娜、莱蒂西娅·巴鲍尔德和沃尔特·斯科特等广泛的残疾文学作品。这个项目将建立在朱莉娅·克里斯蒂娃，詹妮弗·巴克利和玛格丽特·霍曼斯所做的工作的基础上，根据残疾研究，分别考虑他们的母性语言，父亲想象和恶魔母性理论。使用各种方法，从密切的文本分析，以历史语境化，我将广泛探讨三种方式来看待这些想法。第一部分将考虑语言在被收养的母子关系中的作用。卡西莫多用弗雷诺教他的手语交流，因此他开始依赖弗雷诺来调解他与世界的互动。在雪莱的文本中，这个生物通过观察德莱西一家和弗兰肯斯坦的笔记本学习;他的世界同样受到他的创造者的限制。在克里斯蒂娃的作品《语言中的欲望》的背景下，研究这些对语言教学中母亲角色的扭曲呈现（通过这种角色，孩子摆脱了对母亲的依赖），将使我能够研究这种原始的父母互动是如何导致或塑造障碍的。 其次，我将反思残疾的起源，看它是遗传的还是后来发生的事件的结果。雨果关于卡西莫多耳聋的陈述中存在着差异，这需要进一步调查他的残疾人身份。最初，它被认为是先天性的，但雨果后来透露，弗雷诺使加西莫多敲响了铃铛，因此导致了他的耳聋。我打算研究这是如何将弗雷诺与母亲的角色联系得更紧密的。在《弗兰肯斯坦》中，与母性有关的遗传残疾的想法也需要分析。关于这个生物的残疾和维克托弗兰肯斯坦作为创造者的地位，有不同的考虑;然而，这两个概念之间的相关性被忽视了，我的项目将解决这个问题。 最后，设置可以被视为残疾身体的回声，但更具体地说，子宫。在《弗兰肯斯坦》中，这个生物的小屋被描述为一个“牢狱空间，子宫，或门户”。[1]根据浪漫主义的科学价值观，在任何情况下都应该保护儿童的地方，也可以被视为造成最大伤害的地方。在以这种方式构建生物的家园时，雪莱把子宫变成了一个充满敌意的空间。作为一种“生物”，雨果所描绘的巴黎圣母院提供了一个畸形的建筑体现，我很好奇地想知道如何将场景的描绘映射到残疾儿童与他们的母亲形象之间的关系上。

The medical literature of the Romantic period claimed that the maternal imagination during pregnancy could cause a child to be born disabled. Consequently, the burden of responsibility for the child's 'imperfection' was thought to lie with the mother. My project explores depictions of the relationship between the disabled child and their adopted maternal figure in French and English Romantic literature, considering both the traditional dynamic between the disabled child and their caregiver and more unorthodox relationships. By engaging with texts on both sides of the channel, this project will mark a new direction within the recent body of work on English Romantic disability studies and facilitate a deeper understanding of the cross-cultural exchange of ideas surrounding disabled children. My initial focus will be Victor Hugo's Notre Dame de Paris and Mary Shelley's Frankenstein; I will also consider a broad spectrum of literary depictions of disability from French authors such as Marceline Desbordes-Valmore and Alphonse de Lamartine to British authors such as Lord Byron, Anna Laetitia Barbauld and Walter Scott. This project will build upon the work done by Julia Kristeva, Jennifer Buckley and Margaret Homans, considering their theories of maternal language, paternal imagination and demonic maternity, respectively, in the light of disability studies. Using a variety of methodologies from close textual analysis to historical contextualisation, I will broadly explore three ways of looking at these ideas. The first strand will consider the role of language in the adopted mother-child relationship. Quasimodo communicates with sign language taught to him by Frollo, on whom he therefore comes to rely upon to mediate his interactions with the world. In Shelley's text, the creature learns from watching the De Lacey family and through Frankenstein's notebooks; his world similarly circumscribed by his creator. Studying these distorted renderings of the maternal role of language teaching (through which the child moves away from reliance on the mother) in the context of Kristeva's work Desire in Language will allow me to examine how impairment is attributed to or shaped by this primal parental interaction. Secondly, I will reflect upon the genesis of disability in relation to whether it is inherited or the result of a later incident. There are discrepancies in Hugo's presentation of Quasimodo's deafness that warrant further investigation of his disabled identity. It is initially presented as congenital but Hugo later reveals that Frollo makes Quasimodo ring the bells and therefore causes his deafness. I intend to examine how this links Frollo even more tightly to the maternal role. In Frankenstein, the idea of inherited disability in relation to motherhood also demands analysis. There have been separate considerations of the creature's disabilities and Victor Frankenstein's position as a creator; however, the correlation between these two notions has been overlooked and my project will address this. Finally setting can be viewed as an echo of the disabled body but more specifically, the womb. In Frankenstein,the creature's hovel has been described as a 'carceral space, as womb, or as portal.'[1] The place that is supposed to protect the child in all circumstances, in accordance with Romantic scientific values, can also be viewed as the place where the most harm is caused. In constructing the creature's home in this way, the womb has been transmuted into a hostile space by Shelley. As a 'sort of living creature,' Notre Dame Cathedral, as portrayed by Hugo, provides an architectural embodiment of deformity I am curious to see how the portrayal of setting can be mapped on to the relationship between the disabled child and their maternal figure.