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

我的研究重点是审查制度对十九世纪下半叶法国小说叙事逻辑的影响。马克西姆·杜·坎普写道，作者可能会引起审查者的注意，这是一种常见的省略，这表明“说的”和“未说的”之间存在复杂的叙事互动，这使得文学得以颠覆。通过省略与读者交流，需要呼吁存在于其他地方的共享话语，这种话语可以持续到1881年关于新闻自由的法律通过之后。我将把报纸和杂志、官方政府文本、审判报告、作者的通信和报纸文章与小说话语及其遗漏进行比较。这将说明现实主义小说家如何审查自己，如何在这种文化-历史语境中发挥作用，以及小说家如何通过操纵表达和压制的机制将社会政治批评融入他们的小说中。我的研究问题是：出于政治动机的“不言辞”如何助长了那个时期对女性性行为越轨的审美定势？我认为，对社会和政治趋势的压抑批评被转移到女性代号的代理人身上，特别是性侵犯和对女性身体的过度执着，这些超越了它们产生时的审查环境。我将重点介绍福楼拜的小说和乔治·桑德的后期作品，并分析这些作家对埃米尔·左拉和盖伊·德·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.