'Pécher par omission': Censorship, Gender, and Narrative Logic in the Late NineteenthCentury French Novel

我的研究集中在审查制度对十九世纪后半期法国小说叙事逻辑的影响。马克西姆·杜坎普（Maxime du Camp）写道，作者可以通过“省略”引起审查者的注意，这表明“说”和“未说”之间存在复杂的叙事互动，这使得文学颠覆成为可能。通过省略与读者交流需要诉诸于其他地方存在的共同话语，这种话语可能会持续到1881年新闻自由法通过之后。我将比较报纸和杂志，官方政府文本，审判报告，作者的信件和报纸文章与小说话语及其遗漏。这将阐明现实主义小说家如何审查自己，如何“不说”在这种文化历史背景下运作，以及小说家如何通过操纵表达和压抑的机制将社会政治批评融入他们的小说。我的研究问：出于政治动机的“不说”是如何培养这一时期对女性性侵犯的审美固定的？我认为，对社会和政治趋势的压抑批评被转移到女性代码的代理人身上，特别是性侵犯和对女性身体的过度固定，这些批评在审查制度的背景下产生。我将突出福楼拜的小说和乔治桑的后期作品，并分析这些作家对左拉和莫泊桑的影响。

My research focuses on the effect of censorship on the narrative logic of French novels in the second half of thenineteenth century. Maxime du Camp wrote that authors could draw censors' attention 'par omission,' indicating acomplex narrative interaction between the 'said' and the 'unsaid,' which enables literary subversion. Communicating withthe reader by omissions requires an appeal to shared discourses that exist elsewhere, and which could endure beyondthe passing of the law on freedom of the press in 1881. I will compare newspapers and magazines, official governmenttexts, trial reports, and authors' correspondence and newspaper articles with novelistic discourse and its omissions. Thiswill illuminate how realist novelists censored themselves, how 'unsaidness' functioned in this cultural-historical context,and how novelists integrated socio-political criticism into their novels by manipulating the mechanics of expression andrepression. My research asks: how did politically motivated 'unsaidness' foster the period's aesthetic fixation on femalesexual transgression? I propose that repressed criticisms of social and political trends were displaced onto female-codedproxies, particularly sexual transgression and hyper-fixation on the female body, which outlived the contexts ofcensorship in which they were created. I will foreground Flaubert's novels and the later work of George Sand, andanalyse the legacy of these authors on Émile Zola and Guy de Maupassant.