Content
Transformations and deconstructions
The band Mater Genetrix: les images de la mère dans the contemporary literature of French expressionEdited by Marina Hertrampf, this volume offers an insightful examination of the portrayal of mothers in contemporary French and Francophone literature. The work illuminates the transformation and deconstruction of traditional images of motherhood and demonstrates how literary texts function as seismographs of social change.
The editor emphasizes the mother as the origin of all life and literary creation, with the treatment of these "ancient and archetypal" literary topoi ranging from mythologizing and glorifying to deconstructing. The definition of motherhood encompasses biological and social aspects, with literary representations often reflecting an imagined motherhood. Historical upheavals such as the Industrial Revolution, the two World Wars, and the feminist movements have altered the image of women and mothers, yet traditional roles persisted in literature for a long time. Only from the second half of the 20th century onward did mothers become increasingly autonomous and central to literary works, with writing about motherhood becoming progressively "feminized." Particularly in the Francophone literature of the Maghreb and Quebec, a shift from passive, idealized mothers to more active, critically examined figures is evident. Writing about mothers becomes a new literary trend, often autobiographical, as a search for the lost self and identity, and fulfills a therapeutic function. The spectrum of portrayals ranges from nostalgic praise to extremely problematized mother figures and the thematization of taboos such as toxic mothers, infanticide, post-partum pathologies, the death of the child, alternative forms of motherhood or non-motherhood.
Absence and loss of the mother
Toni Ricco Sehler: Les mères queer you Wasted time : Alternating concepts of maternity from Marcel Proust (pp. 15–33)
Sehler examines Proust In Search of Lost Time. The text focuses on "queer" and alternative concepts of motherhood that extend beyond the traditional cisgender-heterosexual model. It illuminates the presence of the mother in the novel and in Proust's life as a source of creativity. The deconstruction of the myth of the "good mother" is demonstrated through the Baron de Charlus (maternal traits, adoption, nickname "Mémé," "defilement of the mother") and the narrator's metaphorical "pregnancy" with his literary work. Modern phenomena such as "Mpreg" fan fiction are used for comparison to illustrate Proust's pioneering role in non-normative motherhood.
Sehler's contribution demonstrates that the deconstruction of idealized mother images is not a purely modern phenomenon, but can already be found in classic works such as Proust's Research The study of queer concepts of motherhood expands the understanding of motherhood beyond biological and traditional gender roles and clarifies how literary texts explore alternative models of life and identity from an early stage. The idea that a male author "gives birth" to a literary work is interpreted as a specific form of male "motherhood," highlighting the fluidity of gender roles in literary representation.
Jan Zatloukal: Écrire sa mère. The figure maternelle chez deux authors spiritualistes: Jean Sulivan and Alain Rémond (pp. 35–46)
Zatloukal compares the maternal portrayals in the works of spiritualist authors Jean Sullivan (Devance tout adieu, 1966) and Alain Rémond (Ma mère avait ce geste(2021), whose mothers (both named Angèle) exhibit remarkable parallels despite spatial and temporal distance. While the father figures are absent, the mothers are described as "insignificant," humble, poor, and uneducated peasant women who nevertheless possess an "innate wisdom." Childhood spent at the mother's side is portrayed as "paradise." Writing about the mother serves a compensatory and palliative function, transforming pain into joy, and exhibits metatextual features by reflecting on the act of writing itself. Remarkably, both mothers lose their faith in the face of death.
This article demonstrates that even in spiritually influenced, seemingly insignificant life stories, mother figures play a central role as a source of wisdom and as formative role models. Writing about the deceased mother is presented as a therapeutic process that transforms grief into a restoration of a lost paradise and affirms the mother's enduring influence, regardless of her social status. This underscores literature's capacity to process personal experiences of loss and to preserve the mother in an idealized sense, sometimes even reminiscent of the Marian image, even when she is simultaneously portrayed as "ordinary" and "insignificant."
Eylem Aksoy Alp: The image of the sea and the notions of "devoir de bonheur" and "droit au malheur" in Dans Journal d'un amour perdu d'Éric-Emmanuel Schmitt (pp. 47–59)
Alp analyzes Éric-Emmanuel Schmitt's autobiographical account Journal d'un amour perdu (2019) on his “fusional” and profound relationship with his deceased mother. She examines how the work addresses the Oedipus complex, in which intense maternal love overshadows the father-son relationship. Writing serves a palliative and therapeutic function, transforming pain into a “devotion to happiness.” The father-son relationship is reconciled post-mortem.
Alpen's analysis demonstrates how autobiographical narratives of grief not only serve self-reconstruction and the processing of loss, but also reveal and work through complex psychological dynamics within the family (such as the Oedipus complex). The concept of the "duty of happiness" ("devoir de bonheur"), understood as the legacy of the beloved mother, challenges conventional notions of grief and offers an optimistic perspective on overcoming loss. This illustrates that images of mothers in literature can not only be idealized or deconstructed, but can also be presented as a source of profound emotional and philosophical insights.
Kirsten von Hagen: «Le début d'un arrachement progressif»: Evocations de la mère (absente) chez Anna Gavalda and Olivier Adam (pp. 61–77)
Von Hagen examines the role of absent mother figures in the fictional works of popular authors Anna Gavalda (Ensemble, c'est tout, 2004) and Olivier Adam (cliffs2005; Les Lisières(2012). The absence of the mother, whether through death, neglect, or divorce, is portrayed as a driving force for the protagonists to seek or create alternative family models. Gavalda designs intergenerational "chosen families" (grandmothers as maternal figures), while Adam's male protagonists grapple with maternal loss and attempt to fill the void, often within unstable, temporary structures. Literature here functions as a "thought experiment" for alternative ways of living.
This article illustrates how the absence of the traditional mother in contemporary popular literature serves as a catalyst for the search for or creation of alternative family structures that extend beyond the traditional nuclear family model. This reflects a societal shift in which chosen affinities and unconventional living arrangements are explored in literature. Furthermore, the portrayal of maternal absence underscores the lasting impact of such a void on identity formation and the ongoing search for belonging.
Good mother – bad mother: 'other' mothers
Ján Drengubiak: Deux représentations de la figure de la mère dans l'œuvre d'Anne Hébert (pp. 81–95)
Drengubiak traces the evolution of mother images in the work of Quebec author Anne Hébert. While her early poems (Les Songes en équilibre, 1942) portraying the ideal, traditionally Catholic mother as the moral guardian of the home and religion, is realized in the collection of stories The Torrent (1950) a break. From then on, Hébert's works are, almost without exception, characterized by "bad" or "tyrannical" mothers (e.g., Claudine in The Torrent), who cause lasting damage to their children's development through abuse, excessive control, or neglect. The initially positive intention (protecting the child) paradoxically leads to the child's psychological and social destruction.
Drengubiak's study demonstrates a distinct literary shift from the idealized to the problematic mother figure, reflecting broader cultural shifts (such as Quebec's Silent Revolution) away from sacralized roles. It shows how maternal control, even when intended as protection, can lead to the psychological and social destruction of the child. This contributes to the deconstruction of the myth of the "good mother" and reveals the inherent ambivalences of maternal influence.
Sylviane Coyault: Mothers (pp. 97–108)
Coyault examines various types of "bad mothers" in contemporary French literature, based on Catherine Siguret's categorization (narcissistic, psychotic, selfish, indifferent mothers, etc.). The focus is on mothers who inflict psychological or verbal harm. Using works such as Lydie Salvayres's La Compagnie des spectres (1997), Régis Jauffrets Asylums de fous (2005), Tanguy Viels Paris-Brest (2009) and Luc Lang's Mother (2012) shows how these “eccentric” and “mad” mothers physically and mentally “move” (“déménagent”), disrupting domestic spaces and familial coherence. The narratives often employ a theatrical, oral style characterized by logorrhea and hyperbole to emphasize the mothers’ linguistic dominance. This deconstructs the “family novel” and challenges the cliché of the “unspeakable” family secret.
Coyault's contribution highlights how contemporary French literature actively and often humorously deconstructs the myth of the "good mother" by presenting a variety of "bad" or "eccentric" mothers. The "move" of these mothers—both in the literal and figurative sense of madness—reflects a societal shift in the understanding of family dynamics beyond idealization. The extensive use of colloquial language and hyperbole in these texts suggests a departure from minimalist trauma narratives, employing verbal exuberance to satirize and challenge traditional family narratives and psychoanalytic doxes.
Marie Voždová: The mother figure of Marie-Hélène Lafon (pp. 109–121)
Voždová analyzes the mother figures in the work of Marie-Hélène Lafon, particularly in the rural Auvergne region. She contrasts the loving, discreet mother (Annette in L'Annonce, 2009) with destructive, possessive characters (Madame Santoire in Les Derniers Indiens, 2008; the mother in Mo, 2005). The article explores the concept of “motherhood” beyond biological birth (Hélène, the aunt/mother in L'Histoire du fils, 2020) and addresses the battered mother (The sources, 2023) as well as the suffering associated with pregnancy and the female body, often in line with de Beauvoir's views. Overall, motherhood in Lafon's works is mostly portrayed as an unhappy period that reflects patriarchal constraints and male dominance.
Voždová's analysis demonstrates how Lafon's work challenges the monolithic image of motherhood by presenting a spectrum of maternal figures—from loving and adoptive to destructive and victimized—within specific sociocultural contexts (rural France). The study emphasizes that true "motherhood" transcends biological bonds, prioritizing nurturing and affection. Furthermore, Lafon's portrayal of the female body and pregnancy as a source of suffering and subjugation illuminates the ongoing struggle against patriarchal norms and violence in intimate relationships.
Christoph Oliver Mayer: La mère victime comme lacune théorique de l'émancipation. Combats and metamorphoses of a woman (2021) by Edouard Louis (pp. 123–134)
Mayer focuses on Monique Bellegueule, Édouard Louis' mother, as a victim of social class and gender oppression in Combats and metamorphoses of a woman (2021). Motherhood, even more so than womanhood, is portrayed as a primary restriction of freedom, a specifically proletarian condition largely ignored by earlier feminist theories (second and fourth waves). The novel addresses the distance and communication barrier between mother and son due to sexual, intellectual, and class-based differences. Louis connects his mother's fate with that of Peter Handke's mother, both victims of social structures. The book is interpreted as a provocative plea for making the plight of proletarian mothers visible.
Mayer's analysis demonstrates how literature can uncover "theoretical gaps" in feminist discourse by highlighting the unique struggles of marginalized women (proletarian mothers) whose oppression is reinforced by class and who challenge universal notions of "woman" or "mother." The text shows how a deeply personal, autofictional narrative can become a powerful social commentary demanding the visibility and emancipation of those historically overlooked by dominant liberation movements.
Louise Kari-Méreau: A pessimistic vision of the mother in three novels by Virginie Despentes: Teen Spirit (2002) bye bye blondie (2004) et Apocalypse Baby (2010) (pp. 135–148)
Kari-Méreau examines Virginie Despentes' pessimistic view of motherhood as a dictate of societal norms, gender discrimination, and hypersexualization. Teen Spirit The mother, Alice, is portrayed as a sexual object and victim of societal expectations, while the father, Bruno, is still learning the difficulties of parenthood. bye bye blondie The mother is submissive, silent, and marginal, reflecting patriarchal power structures in which the father dominates. Apocalypse Baby Stepmother Claire grapples with the image of the "heroic mother," projecting her own complexes onto her stepdaughter, while the biological mother has abandoned her child. Despentes' work aligns with Elisabeth Badinter's critique of the myth of the "perfect mother."
Kari-Méreau demonstrates how Despentes' novels critically dissect the oppressive societal expectations placed on mothers, portraying motherhood as a potential source of failure and alienation rather than fulfillment. The analysis emphasizes the intersection of gender, societal norms, and personal struggle, and shows how fictional narratives can offer sharp critiques of deeply entrenched patriarchal structures and the myth of the "perfect mother." This underscores the enduring relevance of literature in challenging naturalized gender roles and exposing the psychological toll that societal constraints take on women.
Daughters and mothers – sons and mothers: Relationships between closeness and distance
Federica Doria: Maternity Figure and Difference Sexuality in the Autofictional Writing of Hélène Cixous (pp. 151–169)
Doria examines the “mother signifier” (“mère-signifiant”) in Hélène Cixous’ autofictional work, particularly in Osnabrück (1999) Ève s'évade. La Ruine et la Vie (2009) and Homer is dead… (2014). Cixous' mother, Ève Klein, is portrayed as a "warrior" and "origin of creation." The relationship is a "dual origin figure": mater (Source) and genetrix (Creator of language/writing). The mother-daughter relationship is central to feminist theory of sexual difference, challenging taboos and revaluing women's creative power. Writing serves as a means to "save" the mother, as a "sin" of transgression, and as solace for loss.
Doria's contribution highlights Cixous's innovative approach of portraying the mother not merely as a biological figure, but as a fundamental "significate" for identity, language, and artistic creation. The analysis emphasizes the mother-daughter bond as a site of profound feminist exploration, where writing becomes a therapeutic and transgressive act that reclaims female genealogies and celebrates women's creative potential beyond reproduction. This reveals a shift toward more complex, symbolic images of motherhood that transcend traditional role assignments.
Marina Hertrampf: Filles – femmes – mères: contrasts sociales, images patriarcales de la femme et rupture with the myth of the mère chez Annie Ernaux and Camille Laurens (pp. 171–186)
Hertrampf compares Annie Ernaux (Ce qu'ils disent ou rien1977; la femme gelee1981; A woman, 1987) and Camille Laurens (Girl, 2020) in their critical portrayals of mothers and the mother-daughter relationship. Both criticize their mothers' lack of affection and hostility towards their own bodies, which they attribute to the patriarchal societal constraints of their time. Ernaux initially feels shame about her mother's social background, but later adopts a more understanding, socio-historical perspective and criticizes her own unhappy motherhood. Laurens grapples with her mother's patriarchal socialization, her own unhappy motherhood, and her daughter's queer identity, ultimately accepting her daughter's decisions and questioning gender roles. Both break with the "mother myth": Ernaux by separating female identity from motherhood, and Laurens by radically questioning femininity and female sexuality.
This article demonstrates how auto-sociobiographical narratives by Ernaux and Laurens critically examine the intergenerational transmission of gender roles and societal constraints to women, deconstructing the myth of the "good mother" from both the daughter's and the mother's perspectives. The analysis reveals how literature reflects and critiques the enduring influence of patriarchal norms on female identity, sexuality, and the experience of motherhood, while also highlighting various pathways to breaking free from conventional expectations.
Faouzia Righi: Mère et girl, a relationship sous the signe du paradoxe dans: Par le fil je t'ai cousue, de Faouzia Zouari (pp. 187–197)
Righi analyzes the paradoxical mother-daughter relationship in Faouzia Zouari's autobiographical novel Par le fil je t'ai cousue (2022), set in traditional rural Tunisia. The mother is portrayed as authoritarian, distant, obsessed with virginity and tradition, and favors her sons. The daughter experiences physical and psychological dispossession of her body and repressed sexuality, yet paradoxically seeks her mother's love and understands her mother's conformity as a form of "feminist" resistance against patriarchal shame. The father's role in supporting her education is emphasized. Writing becomes a means of self-construction and emancipation, transforming a traumatic childhood into a point of reference.
Righi's analysis reveals how literature from specific cultural contexts (the Maghreb) depicts the complex, often paradoxical influence of traditional patriarchal norms on mother-daughter relationships. The act of writing is shown to be a powerful tool of female self-emancipation, enabling the author to reclaim her bodily autonomy and reinterpret a traumatic past as a source of strength and literary vocation, even while maintaining a complex bond with the "anti-model mother."
Tomoya Tamura: La fuite du monde maternel et le roman chez Milan Kundera (pp. 199–211)
Tamura examines the oppressive mother-child relationship in Milan Kundera's novels (laughable loves1968; La vie est ailleurs1973; L'Insoutenable Légèreté de l'être(1984). Mothers are often portrayed negatively, obsessed with beauty/ugliness and Madonna/whore dichotomies, and exert a repressive influence on their children's sexuality and identity. The children's desire to escape this maternal world drives the narrative forward. Kundera's mothers function as "catalytic devices" for the plot.
Tamura's contribution clarifies how Kundera consistently portrays mother figures as oppressive forces whose negative influence (often linked to physical appearance and sexual repression) paradoxically propels the narrative forward by motivating the protagonists' "escape." This reveals a literary strategy in which even negative maternal depictions are functionally central to the story's dynamics, suggesting a critical engagement with societal constraints on women that shape intergenerational conflicts.
Květuše Kunešová: Mère et grand-mère: la féminité dans les œuvres de Dany Laferrière (pp. 213–221)
Kunešová focuses on the positive images of mother and grandmother in Dany Laferrière's (Haitian-Quebec author) autobiographical/autofictional works (The Scent of Coffee1991; Le Cri des oiseaux fous2000; The Enigma of Return, 2009). The mother is described as dolorosa mater The grandmother is depicted as symbolizing Haiti as the "motherland" and its enduring suffering, while the father embodies the experience of exile. She represents a positive, idyllic childhood, memories and roots, a source of happiness and wisdom. Both figures are central anchors of the author's hybrid identity.
Kunešová's contribution contrasts the predominantly negative/ambivalent images of motherhood presented by other authors with Laferrière's positive portrayal of mothers and grandmothers as central to identity in the diasporic context. This demonstrates how literature can celebrate maternal figures as symbolic anchors for cultural roots, memory, and a sense of belonging, particularly in narratives of exile and hybrid identity, thus offering a counter-narrative to the deconstruction of the myth of the "good mother."
Tail
In her “coda”, Marina Hertrampf summarizes the central theses and results of the individual studies and categorizes them into the three main categories of the volume.
In the section "Absence et perte de la mère" (Absence and Loss of the Mother), Hertrampf argues that it becomes clear how the literary exploration of the absence or loss of the mother enables profound self-reflection on the part of the authors. While Sehler demonstrates an early deconstruction of the normative mother figure in Proust, Zatloukal and Alp see in the works of Sulivan, Rémond, and Schmitt a therapeutic function of writing that processes the painful loss of the mother and even transforms it into a source of happiness. Von Hagen, in turn, emphasizes that the absence of the mother in the works of Gavalda and Adam leads to a questioning of the nuclear family and a search for alternative ways of life.
The section “Good Mother – Bad Mother: Other Mothers” illuminates the multifaceted questioning of the idealized image of motherhood. Hertrampf observes that Drengubiak, in Anne Hébert’s work, demonstrates a desacralization of the Catholic mother figure into an “anti-mother.” Coyault’s analysis reveals “eccentric” and “mad” mothers in various French authors, mothers who disrupt the idyllic family idyll and undermine the “family novel.” Voždová’s analysis of Lafon’s works shows a spectrum ranging from invisible to dominant or abused mothers, with motherhood often portrayed as an unhappy phase. Mayer, in Édouard Louis’s work, emphasizes the role of the proletarian mother as a victim of social hierarchies, whose plight has been overlooked by mainstream feminism, and argues for making her story visible. Kari-Méreau highlights Virginie Despentes' pessimistic view of motherhood, which she sees as a social evil that promotes the personal and social failure of women.
In the third section, "Filles et mères – fils et mères: relations entre proximité et distance" (Boys and Mothers – Sons and Mothers: Relations Between Proximity and Distance), the complexity of mother-child relationships is examined from various perspectives. Hertrampf refers to Doria's portrayal of Hélène Cixous's mother as a symbolic figure of origin for female creativity and identity. She herself analyzes how Ernaux and Laurens criticize their mothers' insufficient affection and hostility towards their own bodies, while simultaneously interpreting this as a consequence of the patriarchal social constraints of their time. Righi demonstrates in Faouzia Zouari a paradoxical relationship to the traditionalist mother, who, despite childhood traumas, becomes the central figure of reference for female emancipation. Tamura illuminates how Kundera's maternal figures are depicted as oppressive and, in some cases, misogynistic, their negative influence driving the plot of the novels. Kunešová, on the other hand, presents a positive image of motherhood in Dany Laferrière's work, in which the mother symbolizes Haiti as "Mother Earth" and the grandmother as personified memory and anchor of the hybrid identity.
In summary, the editor interprets the contributions as evidence of a significant proliferation of the theme of motherhood in the 20th and 21st centuries, closely linked to the changing image of women. She sees literature as a seismograph of social and cultural life, engaging with intergenerational debates about femininity and motherhood. Looking ahead, she anticipates increased literary reflection on the legacy of migration and alternative family models (such as single parenthood, surrogacy, and same-sex parenting).
Conclusions
The fictional portrayals of motherhood in contemporary French and Francophone literature, as analyzed in this volume, speak volumes about the development of literature itself and its role as a social mirror and catalyst. First, the contributions demonstrate a fundamental deconstruction of the traditional myth of the "good mother." Literature dares to expose problematic and taboo aspects of motherhood: from toxic (narcissistic, depressive, violent) and absent mothers to topics such as infanticide, postpartum pathologies, or the conscious decision against motherhood. This is a direct expression of the societal debates surrounding gender roles and female self-determination, debates that are finding their place in literature.
A central theme is the influence of patriarchal constraints and social class on the experiences of mothers and their children. Literature reveals how these external conditions shape individual perceptions of motherhood and often lead to suffering and limitations. This is particularly evident in portrayals of working-class mothers, who have long been overlooked in mainstream emancipation discourses. At the same time, literature models alternative family structures and concepts of "motherhood" that extend beyond biological bonds or the nuclear family model. Whether queer parenting, chosen families, or aunts as maternal figures—fictional texts explore new forms of cohabitation and identity formation beyond traditional norms. A strong trend is the use of autobiographical and autofictional narratives that focus on the personal exploration of one's mother and family of origin. This form of writing often fulfills a therapeutic, self-reconstructive and emancipatory function for the authors or narrators (or authors and narrators) by processing traumatic experiences and enabling a path to self-liberation.
Finally, through these portrayals of motherhood, contemporary literature offers a glimpse into future thematic areas: in particular, the legacy of migration and the challenges and opportunities of new family models arising from increasing mobility and diversification of life. These fictional models are thus not only a snapshot of the current situation but also a laboratory for social developments.
Poetics of Childhood
The following indirect conclusions for the "Poetics of Childhood" can be drawn from the "Poetics of the Mother":
Childhood as a place of trauma and struggle
The portrayal of childhood is often closely linked to the emotional deficits, psychological wounds, and restrictive social norms stemming from problematic or absent maternal figures. Literature depicts childhood as a time when children are exposed to the influence of abusive, overly controlling, or neglectful mothers, which has a lasting negative impact on their development. For example, in Anne Hébert's works, childhood is often described as "no childhood," characterized by constant fear and isolation under the tyrannical mother Claudine. Similarly, children suffer under the "crazy" or "eccentric" mother who disrupts the idyllic family happiness. In Marie-Hélène Lafon's works, motherhood and childhood are often portrayed as unhappy and unfulfilling periods in which children witness violence and may develop contempt for their parents.
Shaping of identity through maternal relationships
The mother-child relationship is crucial for the child's identity formation, including their gender, social, and sexual identity. This can manifest as a struggle for autonomy against maternal control or traditional roles (e.g., in the works of Annie Ernaux and Camille Laurens, Milan Kundera) or as a search for self within or against the maternal image. Childhood experiences, such as fathers' biases toward daughters or mothers' silence in the face of abuse, profoundly influence the perception of gender roles and the development of the child's identity. The shame a child feels due to their social background or the mother's limited life profoundly shapes their childhood.
Childhood as a mirror of social criticism
Depictions of childhood often serve as a "seismograph and mirror of social and cultural life" for broader societal issues such as patriarchy, classism, traditional gender roles, and the impact of historical changes on family life. Children's experiences reveal the constraints and hypocrisy of the adult world. In Virginie Despentes' novels, motherhood is portrayed as a "social scourge" leading to social and personal failure for women, with children growing up in dysfunctional families.
The act of writing about childhood as a therapeutic or reconstructive process
Writing about mothers and childhood often serves as a means of processing personal or collective memories, overcoming trauma, or reclaiming a lost (or idealized) past. This includes reconciliation with difficult maternal relationships or a re-evaluation of one's own childhood experiences. The literary exploration of maternal loss can illuminate painful processes, but it can also become a source of joy and reconciliation.
The duality of presence and absence
The absence of a traditional maternal figure in childhood can be a catalyst for exploring alternative family models and for personal growth. The emptiness of the traditional maternal figure leads to a redefinition of family relationships and a questioning of the nuclear family concept. Conversely, the oppressive or repressive presence of a mother can lead to a child's "escape" or a desire for separation in order to establish their own identity.
Childhood as a source of resilience or fundamental values
Despite its challenges, childhood can also be portrayed as a period in which essential values, resilience, and a sense of belonging are formed, often thanks to the positive influence of maternal figures. For some authors, maternal figures symbolize roots, cultural heritage, and a safe haven for identity development, particularly in the context of migration and exile. Dany Laferrière, for example, presents the mother and grandmother as central anchors of a hybridized identity, with the mother symbolizing the homeland as "terre-mère" and the grandmother embodying a happy, idyllic childhood.
…and the Father Progenitor?
The intensive and multifaceted examination of the changing images of mothers in this volume also implicitly reveals a desideratum that is currently neglected in an increasingly female field of Romance studies: the investigation of images of fathers in contemporary French and Francophone literature.
A striking feature of many of the essays reviewed here is the absence or marginalization of the father figure. Fathers often appear only as distant, idealized, deceased figures or as symbols of patriarchal oppression. A study on images of fathers could therefore complement this volume by examining how the absence or problematic presence of the father shapes the identity formation and lives of children, similar to how this is demonstrated here for mothers.
The myth of the "Pater Familias" should be critically retold, analogous to the deconstruction of the "Mater Familias." How, for example, are alternative models of fatherhood portrayed in literature (e.g., engaged fathers who fill maternal voids, as suggested in Adam's works, or "learning fathers" like Bruno in Despentes's)? Teen SpiritHow is the "burden" of fatherhood portrayed in contemporary society in contrast to the "burden" of motherhood? How is the intergenerational transmission of male role models and patriarchal values from father to sons and daughters reflected in literature? Can writing about fathers also fulfill a therapeutic function, particularly when dealing with paternal absence or traumatic relationships? How are male sexuality and identity illuminated in the context of fatherhood, alongside the intensive exploration of female sexuality in this volume?
The present work on images of mothers could therefore also stimulate a further, more in-depth investigation of images of fathers in order to paint a more complete panorama of family relationships in contemporary literature.
This article is written in German and can be found at https://rentree.de. Automatic translations into English and French are available. English, French.
