Female Representations in Flaubert’s Flaubert’s Madame Woolf’s Mrs. Madame Bovary Bovary and Woolf’s Mrs. Dalloway
This essay will compare in Gustave Flaubert’s Madame Flaubert’s Madame Bovary (1856) and Virinia !ool"’s Mrs. !ool"’s Mrs. Dalloway (1#$5) in reards to the portrayal o" "emale representations% !hile both te&ts subvert the notions' would lie to prove that ender stereotypes remain unsolved% To conduct this critical analysis' would lie to "ocus on certain characters "rom each te&t representin the masculine and "eminine sides%
Introduction: The Aesthetics of Flaubert and Woolf
* realist writer lie Flaubert Flaubert aims to ive their impression impression o" recordin recordin "aith"ully an actual way o" li"e% n order to have a better understandin on how both te&ts di""er "rom the pre+established pre+established canon' we need to "irst conte&tualise conte&tualise the Realist the Realist "ramewor% "ramewor% n his essay ,The -eality .""ect’ (1#86)' -oland /arthes notes that ,the model o" those 0 Realist Realist narrati narratives ves 02 based on ,the ,the incessa incessant nt need need to authen authentic ticate ate the 3real4’ (uo (uote ted d in !alder lder 1##5 1##5 $67) $67)%% The The aesth aesthet etics ics o" Realist auth author orss are are based based on ,verisimilitude’' meanin that the portrayal o" the plot' characters and settin are a "aith"ul account o" lives in current society% Tain onor9 de /al:ac' the "ather o" realism realism as an e&le' e&le' his novel Père Goriot (18;5) is a prore =>re Gori Goriot ot’s ’s rich rich possessions at the beinnin' then later on in his dauhter’s house (to whom he sacri"ices most o" his "ortune) (/al:ac 1### 16)' re"lects the moral banruptcy that human relationships are valued by monetary terms% ence' "rom what /al:ac has "ounded "ounded in his wors' wors' we can see that the "unction "unction o" Realist writin writin is to re"lect and
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to criticise the social ideals o" the time% ?iewise' Flaubert’s Madame Flaubert’s Madame Bovary ives Bovary ives the audience a picture picture o" ,the ae o" property’ property’ (Forste (Forsterr uoted uoted by /roos $775 15)' with with a prot prota aon onist ist who who is obses obsessed sed with with mone money y and and with with mater material ial ob
!ool"' on the contrary' is rearded by many critics a writer who overthrows Realist traditions with a Modernist a Modernist breathrouh% breathrouh% n her essay Mr. Bennett and Mrs. Brown (1#$@)' !ool" points out that the characters created by "ormer novelists are ,never at li"e' never at human nature’ (uoted by /roos $775 $7@)% n other words' she thins that their wors are not authentic enouh to re"lect human lives% n another essay ,Aodern Fiction’ (1#1#)' !ool" e&plains that the essence' ,0whether we call it li"e or spirit' truth or reality’ (88) is missin in previous novels% This spirit re"ers to the huma human n cons consci ciou ousn sness ess and and Modernist writers writers lie lie !ool" are renown renowned ed "or their stream-of-consciousness
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characteri:ation% Bhe criticises the "ormer masterpieces as havin ,a strane air o" simplicity’ (86) because accordin to her' those writers are ,materialists’ (8C) and ,they are concerned not with the spirit but with the body’ (8C)% (8C)% There"ore' There"ore' in Mrs. Dalloway' Dalloway' the characters’ thouhts are central in the narration' which is in hue contrast to Flaubert’s narrative techniue o" impersonality% *lthouh !ool" attempts to re
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namely ,class di""erence' 02 money' 0material ob
The Unconventional Sex in Madame Bovary
" we compare the descriptions o" the upbrinin o" .mma and harles' we can see that she is more accomplished than her husband% n her early days in the convent where was brouht up' she ,had a ood rasp o" the catechism' and she was the one who always answered is -everence’s di""icult uestions’ (Flaubert $77; ;;)% n the contrary' when harles was sent to study medicine by his parents' the lecture list on the noticeboard is the initial thin which "rihtens him (#)' hintin that he has limited access to this% -eardin the education that they receive' .mma had ,a ood education' and that conseuently she new dancin' eoraphy' drawin' embroidery and playin the piano’ (1C)% !hile "or poor harles' ,0he didn’t understand a thin 0at the lectures in Aedical BchoolE listen as best he miht' he could not et hold o" it’ (#)E but all he could do was ,rind 02 away in per"ect inorance’ (#)% t is no surprise that later ,he totally "ailed his 02 e&ams’ (17)% Thus' compared to .mma' harles has a much lower sense o" learnin and a lower intellectual ability% ?ooin at both characters in adulthood' harles tries to ,brin to mind all the "ractures that he new’
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(1;) durin one o" his visits to the patient' hintin that he has almost "orotten all the nowlede he learnt at the Aedical Bchool% !hile "or .mma' she has developed even more than be"ore% For instance' she is ood at setchin and maes "ine setches which her husband is proud to show o"" in the livin room (;#)% Bhe has also e&cellent musical sills which ama:es the baili""’s cler' who stops on the street to listen to her playin the piano (;#)% *s a result' althouh harles is a doctor and .mma only a housewi"e' in which the "ormer may be considered as a more noetic and a more socially respectable occupationE in terms o" intellectual ability and talent' .mma actually e&cels harles%
owever' despite how talented .mma is' there is no space "or her talents 0she ave up the piano% !hat was the pointH !ho would be listeninH Bince she could never play at a concert' in a short+sleeved velvet own' on an .rard piano' runnin her "iners over the ivory eys' and "eel' lie a bree:e' murmurs o" ecstasy circlin around about her' it was not worth the boredom o" practisin% Bhe le"t her setch+boos and her embroidery in the cupboard% ompletely pointlessI (5#)
The passae shows that her sills are not allowed to "it into the society% t then "urther indicates that a woman’s accomplishments is not o" interest to society% This echoes the conservative' eelian theory !omen may well be educated' but they are not made "or the hiher sciences' "or philosophy and certain artistic productions which reuire a universal element% !omen may have insihts' taste' and delicacy' but they do not possess the ideal% (eel uoted by Aoi $776 $$)
n other words' women have an emotional sentiment that maes them incapable o" becomin part o" the universal (the ideal)' which includes science and ma
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their wor reuires an understandin o" the ideal' the concept' which in its very nature is universal ($$)% There remains only the so+called minor art+"orms "or women which are cooin' nittin' sewin and embroidery (riaray 1#8C 11#)E which are e&cluded "rom the universal% Thus' as a woman' .mma’s art is bein e&cluded "rom the outside world and she can only practice them at home% !hereas "or harles' despite bein a medical student who is below averae' and is hihly doubted "or his sills as a doctor' there is still space "or him to ,practice his art’ (Flaubert $77; 11)% ence' despite the e""ort to mae the woman appear more accomplished than the man' Flaubert e&ercises such un"air treatment upon .mma with patriarchal superiority' e&cludin her "rom the universal based on her ender%
Re-efinin! the Woman in Mrs. Dalloway
larissa is an accomplished woman' lie .mma in Madame Bovary% nterestinly' althouh larissa does not possess multiple talents lie .mma' she is still a level beyond .mma because she is a hiher social class and is rearded as a per"e ct hostess% Bhe has a renowned reputation "or throwin parties and atherin people toether% This maes her the "ocal point o" the social domain' which sheds a new liht upon the conservative social structure to which only men are ranted access% eel writes that' ,0enclosed in J"amily piety'J women neither have nor care about havin access to the universal (the state' the law) (eel uoted by Aoi $776 $1)% ere' larissa has access to the universal' unlie .mma who is e&cluded "rom that and is con"ined within the household% owever' is larissa really as universal as any man in the novelH " we loo at other descriptions reardin her social status' she oes inevitably with her husband' -ichard Dalloway% The title ,per"ect hostess’ seems impossible to be separate "rom ,the wi"e o" Dalloway’E as she marries the =rime Ainister and stands 5
,at the top o" a staircase’ (!ool" 1##6 6)' becomin ,the per"ect hostess’ (6)% n another description' it says that her husband ,had "ostered 3wordliness4 and snobbery in larissa and was tryin to mae a 3hostess o" her4% These parties were all "or himE or "or her idea o" him’% (66) ence' it is implied that larissa bein the per"ect hostess is the duty o" bein a wi"e to her socially respectable husbandE her capability as a hostess serves the purpose o" maintainin her husband’s honour% n such sense' she has not entirely escaped "rom the ,"amily piety’ imposed upon the "emale role' as lon as her husband remains ,the "oundation’ ($$) o" her e&uisiteness% onseuently' it seems in this te&t' the woman is still less universal than the man because she is a social construction o" the man'
larissa thus lacs a solid identity and has an ethereal presence in the novel% *lthouh this could appear to support the "eminist claim that !ool" re
This seems to suest two thins "irstly' she has no nowlede' no lanuae' and no historyE and secondly that she does not de"ine hersel"% This relation between nowlede and de"inin hersel" is interpreted by critics as showin a vital instinct about li"e without the need o" nowlede' and hence"orth re"lects the innate strenth o" womanhood' which is a critiue aainst male intellience which is based on the accumulation o" nowlede (Bharma 1#C5 6@)% The acnowledement o" a woman’s
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instinct brins to mind what !ool" writes in one o" her autobioraphical te&t' ,Betch o" the =ast’ (1#;#) This intuition o" mine K it is so instinctive that it seems iven to me' not made by me K has certainly iven its scale to my li"e (!ool" 1#85 85)%
!ool" seems to shed pride upon this "eminine intuition as a woman'
Furthermore' larissa’s re
larissa attempts to create a space "or hersel"' re
riaray’s terms' the woman here re"uses to be ,enveloped’ (1#8C 1$$) as a wi"e or as a mother% owever' without havin her own nowlede or volition' she is threatened by what she lacs ,a 3proper4 place’ (1$$)% n other words' she has "urther marinali:ed hersel" "rom the society' bein invisible and "ar "rom interatin hersel" with other men and women in a collective environment% The woman pre"errin evanescence' is then challened with the uestion' ,am a woman as distinct "rom a human beinH’ (-iley 1#88 6)% n that case' as Aoi suests' it is a loical error that , am a woman and there"ore not universal’ ($776 $7)% This is a lapse into imprisonin ,the woman' the "emale' the "eminine 0bein always the particular' always the relative' never the eneral' never the norm’ ($7)% ence' "or a woman to re
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Ima!inin! "mma in Flaubert’s #arrative
.mma’s appearance and physicality seems to suest that she is an embodiment o" male desire% " we loo at descriptions o" .mma’s physical appearance' it is interestin to note that they are all portrayed in the eyes o" the male characters% For e&le' her "irst appearance is described by harles' who is ,surprised at the whiteness o" her nails 0which were lustrous' taperin' more hihly polished than Dieppe ivories' and cut into an almond shape’ (15)% is intriue with her beauty continues " she were beauti"ul' it was in her eyesE thouh they were brown' they seemed to be blac because o" the lashes' and they met your a:e openly' with an artless candour (15)%
That she meets his a:e openly seems to suest that she is merely an embodiment o" desire complement to the male a:e% er physical "eatures are compared to an ob
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lovin her in his pre"erable way' ivin her isses and caressesE pleased with himsel" "or possessin such a "ine wi"e’ (;#) while does not care about her personality traits or her psycholoical needs%
er lover -odolphe thins that she has ,the lon body o" some "eudal chatelaineE and she looed lie the pale woman o" /arcelona' but supremely she was the *nel’ ($@C)% The youn Lustin is astonished at ,the paleness o" her "ace' vivid white aainst the blacness o" the niht 02' ma
/esides havin a body complacent to male desire' her soul is conditioned with a male+ oriented mindset% n the novel' .mma loves readin' very much so to the e&tent that she has her boo with her even when dinin with her husband (Flaubert $77; 5@)% n her early days in the convent' she en
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yearnin to be lie one o" those ,illustrious or ill+"ated women’ (;5)' and adorin chivalry and martyrdom in ,entlemen brave as lions' tender as lambs' virtuous as a dream’ (;5)% Trapped in an unhappy marriae' .mma turns to readin as ,a consolin dru’ (-oberts $77; viii)' starts readin ,/al:ac and Geore Band' seein to rati"y in "antasy her secret cravins’ (Flaubert $77; 5@)% owever' her unhappiness seems to stem "rom her belie" that li"e should run sweetly as a romantic novel (-oberts $77; vii)' thus endowin hersel" a sentimental temperament inclinin towards ,the tumultuous’ (Flaubert $77; ;@)% This ui&otic behaviour is apparently moced by Flaubert her love "or romancesE and in descriptions where .mma "antasises real li"e with a romantic notion' such as seein hersel" ,lie a courtesan awaitin a prince’ (1C@) when committin adultery with her lover and constantly asin her lover to swear his love "or her% n Flaubert’s times' romance is rearded as a ,despised "eminine enre’ (-oberts $77; vii)' a polar opposite o" realism% /y puttin such despised "emininity in a "emale character' Flaubert’s purpose leads to di""erent thouhts% Bome critics thin that the purpose o" it is to critici:e the patriarchal culture' where women become the product o" the male+conditionin education% owever' considerin there is ,no dramatic scene o" sel"+nowlede’ (!all $77; &&vii)' this is put in uestion% .mma misses the point o" the "emale emancipation in "eminist readins o" Geore Band' that she continues to be haunted by the romantic belie"s read in her upbrinin' that she needs a male saviour in order to be liberated' which is deeply rooted in the patriarchal mindset% This proves that Flaubert believes that women are perpetually credulous and subordinate to mediocre "antasy' assumin that women’s problems derive merely in the nature o" the "eminine itsel" instead o" bein a political problem o" education and conditionin (&&v)%
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The $ossibilit% of Female Autonom% in Woolf’s &larissa
Throuhout the whole narrative' larissa hardly has a voice' but the reader mainly hears her unspoen thouhts% ne miht arue that it is part o" the modernist techniue introduced earlier on' the character’s stream+o"+consciousness% owever' most depictions o" her are only vivid in =eter !alsh’s stream+o"+consciousness instead o" larissa’s% larissa is bein ideali:ed as a noble "eminine "iure in his thouhts There was 02 a sort o" ease in her manner 02 somethin maternalE somethin entle 02 with her per"ect manners' lie a real hostess (@6)%
e thins that she would tal to people i" she thouht them unhappy (58)' and receive people with such maternal warmth and patience in her social atherins (5#)' bein a hostess with reat enerosity and hospitality% This brins to mind the popular imae o" the angel woman in the nineteenth+century' with the ,noblest "emininity’ who despite havin no story o" her own' ,ives 3advice and consolation4 to others' listens' smiles' 0and sympathises’ (Gilbert and Gubar 1#8@ $$)% ndeed' what larissa does in li"e always revolves around people ,but she needed people' always people' with the inevitable result that she "rittered her time away’ (!ool" 1##6 58)' livin her li"e in ,pathetic ordinariness’ (Gilbert and Gubar 1#8@ $$+$;)% ronically' we "ail to "ind consciousness in her own thouhts' apart "rom dismissin any rendition o" her bein' ,0she new nothin about se& K nothin about social problems’ (!ool" 1##6 $5)' showin that she does not possess any nowlede o" the society she is livin in% t seems lie she lacs the depth to understand li"e and does not worry about social problems' 0she cared much more "or her roses and her parties (6C)% Bhe cares about what others perceive her more than her sel"+identity ,!hat would 0=eter thin' she wondered' when he came bacH That she had rown olderH !ould he say that' or would she see him thinin when he came bac' that she had rown olderH’ ($C) 1$
larissa’s personality "alls into the stereotype o" a clich9d upper class woman who only revolves around super"icial matters such as marriae' beauty and aein + and has no concern "or society%
*t the end' she is re"erred to by her "irst name larissa' while previously she was always Ars% Dalloway' an identity sini"yin her role as a wi"e and mother' iven by the patriarchal system% ence' bein re"erred to as larissa' her oriinal name' may suest the possibility o" an individual sel"' thus a transcendence o" her endered identity% *s one critic suests' ,0the woman’s bein was emerin into a new transcendence o" spirit’ (Bharma 1#C5 6@)% owever' personally doubt the liberatin uality o" such transcendence% This is because we need to bear in mind that this part o" the narrative is portrayed in =eter’s sub
n other words' the "ormerly ascertain still applies her character is only vivid in depictions o" =eter !alsh’s recollections or imainations% !hile previously callin her ,the per"ect hostess’' =eter seems to be "inally able to see larissa as hersel" without any social label attached to her and this revelation o" her individuality "ills his mind with ecstatic e&citement% This is ironic as it is not larissa hersel" who posits the sel"+discovery o" her own individuality' but aain a man who rants her this reconition o" her humanity% t shows that the "emale imae has been trapped within the male imaination all alon% Bome critics arue that' in larissa’s thouhts' ,the socioloical and political "rontiers have been scaled and le"t behindE new aesthetic and imainative hori:ons have been opened out "or the sensibility and soul o" the new 1;
woman’ (Bharma 1#C5 6@)' and thus ,"eminism is transcendin itsel" into a hiher plane o" artistic e&perience and articulation’ (6@)% owever' althouh the social and political nowlede in her thouhts are e""aced (and as a"orementioned' this suests a danerously marinalisin attempt o" her intellect)' we hardly "ind spiritual moments e&perienced either + as the vital aesthetic epiphany at the end is not iven to the "emale vision% *s no sel"+awaenin is possible here' larissa seems more lie a male creation ,the male artist and thiner K in the process o" creatin culture as we now it K has made o" women 02 and about a woman’s slow strulin awaenin to the use to which her li"e has been put’ (-ich 1#C1 18)% This is a reression into the se&ist thouht o" a woman lacin the ability to reason and to thin critically' as well as the capacity "or independent and oriinal thouht (!alowit: 1#87 ;@) There"ore' "emale autonomy appears to be impossible here as it is sub
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The "xtent of Transcendence in the Female in 'oth #ovels
n Madame Bovary' .mma’s personality "luctuates a lot K sometimes she is a virtuous housewi"e' but sometimes she is a deraded woman committin scandalous o""ences% The "act that Flaubert allows her to have moral transression miht appear to be the subversive act towards moral norms% e seems to be mocin at the ,domestic mediocrity’ (Flaubert $77; 171) which is upheld amon social belie"s at that time' that miht drive desperate women to ,sumptuous "antasies’ (171)' an adverse e""ect to bein trapped within the su""ocatin scrutiny% .mma' at "irst' is an angel in the house' per"ormin well her wi"ely duties as a woman .mma 02 new how to run her house% Bhe sent out the doctor’s bills to the patients' in nicely phrased letters that scarcely mentioned money% !hen' on Bundays' they had one o" the neihbours to dinner' she wold contrive somethin rather special 0%%% From all this there redounded considerable acclaim "or /ovary (;#)%
owever' Flaubert reveals the truth beneath this chaste "acade 0that eleantly pleated dress concealed a heart in turmoil' and those lips so chaste told nothin o" her torment (177)
er inner state' is in "act burnin with lust and rae and hatred (177) because she is "rustrated with her se&ual desire "or men outside her marriae% Mltimately' she cannot conceal this incarnate passion and has a""airs with two male lovers' -odolphe and ?9on%
This miht show that Flaubert disreards the moral reulation as too
restrainin upon women% !e need to bear in mind' thouh' that only when .mma per"orms within social e&pectations is she well+received by society% !hen she plays ,the wi"e and the woman o" virtue’ (1C@)' ,0the housewives admired her thri"t' the patients her manners' the poor her charity’ (177)% !hereas when she becomes non+ 15
con"ormin in her speeches and actions' praisin perversion and immorality (6$) and paradin with her lover with a ciarette in public (1C8)' the social reputation o" her as well as her /ovary household is destroyed' scadalised amon the respectable wives (1C8)% ence' the patriarchal social order is still there to suppress the woman' as the novel ,sometimes mocs and sometimes accepts' a male+dominated society' a male+ de"ined double standard o" se&ual morality’ (!all $77; viii)%
.mma’s case suests that a woman’s destiny is "i&ated within the circuit o" male dominance% *dultery seems to be the only choice and a must "or the woman in liht o" the restrainin moral reulation' while upon such moral transression she is thwarted and punished by the male law% t seems that it is inevitable "or her to succumb to this restoration o" patriarchal order% /y livin within social e&pectations o" a duti"ul wi"e and mother' .mma is bein tormented by her own "rustrations and dissatis"action the unspoen words "ind utterance in bodily symptoms such as couhin and loss o" weiht (&&viii)% The physical convulsions are "iuratively a "orm o" punishment upon her' as i" mocin at her clich9d submissiveness towards the ineuity o" the law% !hen she has athered her courae to transcend hersel" across male privilees' such as the power o" attorney (the economic domain which traditionally only men have the power o") and se&ual pleasures (the moral boundary which is only accessible and non+ punishin "or men)E she is con"ined within the se&ual punishment ,"iery red lobules 02 clustered toether 0and penetrated her 0%%%*nd her ne&t action is to stu"" her mouth with the powdery white arsenic that ills her’ (&&i&)% This implies the patriarchal "ear o" the "emale potention "or its social disruption (verton 1##6 1@)' that when the "emale ains access to male power' her potential emancipation becomes threatenin to the traditional order where male has complete access o" all powers% *s
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-oberts depicts accurately' stealin masculine power and masculine privilee' .mma mi&es up the cateories o" male and "emaleE and thus becomes' in the terms o" her world' less o" a woman and more o" a monster’ ($77; &)% onseuently' she is not allowed to live and must be put into the deathly punishment%
n the contrary' larissa in Mrs. Dalloway does not have to su""er "rom the death punishment lie .mma /ovary' but this is only because she has not committed moral o""ences% Mnlie .mma who commits adultery' she remains a woman o" virtue throuhout the novel% Bhe dismisses love and corporal passion as ,0horrible 0and 0deradin’ (#;)' despite bein secretly attracted to her "emale "riend and an old male acuaintance' Bally and =eter% Bhe chooses to remain by her law"ully married husband’s side' continuin to be the per"ect hostess and upholdin his honour% *lthouh there is no violation o" moral codes' she has daner o" becomin an eternal feminine' encompassin ,virtues o" modesty' race"ulness' purity' delicacy' civility' compliancy' reticence' chastity' a""ability' politeness K all o" which are modes o" mannerliness that contributed to 0an anelic innocence’ (Gilbert N Gubar 1#8@ $;)% This is also the reason why larissa does not have to su""er "rom the deathly punishment lie .mma does' as her muteness within social and moral con"inement is lie an indirect esture "avourin patriarchal values%
owever' enuinely speain' she is betrayin her own happiness% Bhe is not satis"ied with her marriae' because she has the thouht o" elopin with =eter 0tae me with you' larissa thouht impulsively' as i" 0=eter were startin directly upon some reat voyae (!ool" 1##6 ;5)%
!hen she is con"ronted with =eter’s uestion o" whether she is happy in her marriae'
1C
she dodes it by main an overly emotional and histrionic introduction about her dauhter (;5)% t seems a esture o" sel"+denial and sel"+de"ence by e&aeratedly remindin hersel" o" her womanly duties as a mother% Bally’s rhetorical uestion at the end ,are we not all prisonersH’ (1@7) seems to have spoen o" larissa’s enuine thouhts that are constantly deniedE as the latter is indeed imprisoned within social e&pectations as an upper+class woman' that she is burdened with the pressure to uphold such honour and to eep her "rustrations con"ined to her innermost thouhts% ence' larissa is a restricted "emale bein within her society' that ,made her to bear everythin 0her motherin duties towards children' 0and her own sorrows'’ (verton 1##@ $$)%
From both te&ts' we can see that the representation o" the "emale can o into the e&treme' either as a monster or an anel% Oeither one maes her human% n other words' patriarchal culture is dominant which marinalise the "emale e&istence either way she is sub
&onclusion
Despite the e""ort both authors made in terms o" counteractin ender stereotypes' they "ail to entirely dismantle ender stereotypes% .mma is an unconventionally accomplished woman' while her talents are not reconised by the society% larissa' althouh di""erin "rom the traditional woman under the male a:e' is still enclosed within "amily piety to her husband% /oth o" their titles' Aadame /ovary and Ars% Dalloway' reduce their individual identity% There is no possible "emale liberation in
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either te&t' as both "emale protaonists are entrapped in patriarchal culture K the male+ conditionin education "or .mma and no the re
(5;@6 words)
1#
'I'(I)*RA$+,
/al:ac' onor9 de% Père Goriot % 18;5% Trans% *% L% Prailsheimer% 1###% &"ord &"ord Mniversity =ress%
/arthes' -oland% 1#86% ,The -eality .""ect’% n The Realist Novel % 1##5% .d% Dennis !alder% ?ondon -outlede%
/roos' =eter% $775% Realist ision% ?ondon Qale Mniversity =ress%
Dallery' *rleen /% 1#85% ’Be&ual .mbodiment /eauvoir and French Feminism (scripture "eminine)’% n !omen"s #tudies $nt. %orum. Vol% 8 Oo% ;' pp% 1#C+$7
%$Delphy' hristine% 1#8C% ,=roto"eminism and *nti"eminism’% n %rench %eminist Thought& ' Reader % .d% Toril Aoi% &"ord /lacwell%
Flaubert' Gustave% $77; (1856)% Madame Bovary% Trans% Geo""rey !all% ?ondon =enuin /oos%
Fo&' =aul% $77#% ntroduction in The $ntruder. /oston Valancourt /oos%
Gilbert' Bandra A% N Gubar' Busan% 1#8@% The Madwoman in the 'ttic% Oew aven Qale Mniversity =ress%
$7
riaray' ?uce% 1#8C% ,Be&ual Di""erence’% n %rench %eminist Thought& ' Reader % .d% Toril Aoi% &"ord /lacwell%
Aoi' Toril% $776% ,JFirst and Foremost a uman /einJ dealism' Theatre' and Gender in ' Doll(s )ouse’% n Modern Drama ol. *+, No. % Toronto Mniversity o" Toronto =ress' pp%$56+$8@%
Aoi' Toril% 1#8C% %rench %eminist Thought& ' Reader % &"ord /lacwell%
verton' /ill% 1##6% The Novel of %emale 'dultery& ove and Gender in /ontinental 0uro1ean %iction, 234-2+44% ?ondon Aacmillan =ress%
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