Translating Slavery Volume II: Ourika and Its Progeny: 2 (Translation Studies)

Translating Slavery, Volume I : Gender and Race in French Abolitionist Writing, 1780-1830
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This revised and expanded edition of Translating Slavery will appeal to scholars and students interested in race and gender studies, French literature and history, comparative literature, and translation studies.


But the state is made up of citizens, and therefore he must begin by asking who is a citizen. The introductory essays in parts 2, 3, and 4 provide a context for understanding the particular nature of these women's contributions and for understanding the differences among them. New York: Dell Publishing Co. Pickup not available. The matter of Gouges's relation to language is considered more fully in the introductory essay in chapter 3.

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A tourist in the 21st century, she believes she is witnessing a Utopia, with the grime and evil of Victorian London expunged, and while in the future, she embarks upon a brief affair. Returning to her own time, her husband takes fright hearing her experiences and has her committed to Bedlam, where she meets Richard Dadd and finds ano.

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Translating Slavery Volume II: Ourika and Its Progeny (Translation Studies . Volume 2, Ourika and Its Progeny, contains the original translation of Claire de. Translating Slavery, Volume 2: Ourika and Its Progeny (Translation Studies) 2nd Revised, Free Two-Day Shipping for College Students with Amazon Student.

Claire de Duras, Ourika ""; ""2. Mme M.

Translating Slavery: Ourika and Its Progeny (Translation

Duras, Racism, and Class ""; ""9. Ourika ""; ""B.


Lectures originally presented to the C. Jung Society of Los Angeles. Taki is more determined than ever to save the half-demon priest, but every piece of new information brings Grey that much closer to winning the bet"--Page 4 of cover. Cover title. Translated from the Japanese.

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Many critics consider Claire de Duras's novel Ourika to be one of the most penetrating portrayals of racism of its time. In the brief novel, a young black Senegalese girl is saved at a young age from a life of slavery and raised by a white woman in an aristocratic French milieu as an adoptive daughter. Petted and praised by members of her benefactress's salon until she comes of age, she remains blissfully unaware of any form of racial prejudice.

That is, until she realizes that she will never be able to marry a white Frenchman because she is black. She then descends into a depressive spiral from which she never completely recovers.

Literary scholars often praise Ourika for its sensitive insight into the psychological plight of its young protagonist, frequently comparing her to the alienated narrator in Frantz Fanon's Black Skin, White Masks. Alison Finch has praised Duras as being "humanely free of racism" and declared that "no other French woman was as far-reaching or imaginative on the question of birth-disadvantages," 3 while Joan Dejean and Margaret Waller argue that when Ourika is compared with other works of its time, "its originality and its author's daring are evident.

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In what follows I will argue that Duras's Ourika is not as sympathetic towards the condition of black people as has been commonly interpreted. In particular, I will concentrate on revisiting the marriage device in Ourika, and show that the way Duras deploys the marriage trope reveals substantial anxiety as it represents the potential for social equality between black and white women.


Through a historical examination of political changes to marriage for French women after the Revolution, a survey of the historical status of metissage in the colonies and a close reading of two scenes in the novel, I seek to demonstrate that the way Duras eradicates all possibility of her black protagonists marriage in France is indicative of a larger apprehension towards the black female subject. Current scholarship has neglected the political dimensions of marriage in the novel.