Helene Cixous's mature history plays: History as family struggle.

摘要

Notions of alternative or shifting families and the concept of feminine and masculine libidinal economies organize the histories staged by Helene Cixous in L'Histoire terrible mais inachevee de Norodom Sihanouk, roi du Cambodge, 1985, L'Indiade ou l'Inde de leurs reves . 1987, and La Ville parjure ou le reveil des Erinyes , 1994.;In L'Histoire terrible, which depicts the Cambodian crisis (1955--1979), Cixous creates a "family" of characters who embody feminine libidinal economy (selfless love, respect for difference, rejection of hierarchies), which she presents as a contrast to the violent history of the Khmers Rouges. Cixous questions the notion that biological families are essentially good, but appropriates the construct of the "good family" as a positive alternative. Family becomes a theoretical space where unselfish love and respect provide protection from the violent world. This play differs from the other two in that the characters embodying feminine economy are invented; significant time is dedicated to characters who do not influence "history.";In L'Indiade ou l'Inde de leurs reves, which dramatizes the struggles leading to the partition into India and Pakistan (1937--1948), Gandhi is the mother of India, the "good mother," personifying feminine libidinal economy. India is a "family," and Indians share a fraternal bond, but for some, the position of "brother" does not preclude bloodshed and the desire to dominate. Those who would let politics of religion divide a nation exhibit the inability to accept difference that characterizes a masculine economy of exchange.;La Ville parjure ou le reveil des Erinyes grapples with France's contaminated blood scandal. It is not framed by historical "facts;" its principle referent (contaminated blood) is viewed in the context of the many ills of modern society. The Mother, the play's central figure and embodiment of feminine libidinal economy, is merciful and generous, even towards the alleged perpetrators; she only wants them to accept responsibility for their crimes. The "City" of the title represents established seats of power. The inhabitants of the "City" embody masculine libidinal economy: they fear the difference of the Mother and see the scandal in terms of personal gain, and not in terms of justice.