For four decades, Fanon's negative criticism has over-determined all attempts to read Mayotte Capecia's work. This introduction to Je suis martiniquaise therefore focuses on Capecia as a writer, as a reader and as a theorist in order to demonstrate that she was a serious artist worthy of critical attention.;Chapter one argues that confusing the author with her narrator has contributed to the persistent mis-understanding of the text. Once Mayotte, the narrator, is distinguished from Capecia, the author, the narrative strategies Capecia employed in seeking to authorize herself come to the fore.;Chapter two unpacks the central metaphor of whitening around which Je suis martiniquaise is organized in order to highlight Capecia's strategic re-reading of the travelogue tradition. Earlier critics have assumed that Capecia herself was at one time a laundress like her protagonist. Even those critics who have caught the significance of the pun ("blanchisseuse" literally means "whitener" in French), have taken this as a fortuitous coincidence. In fact, Capecia is deconstructing the chapter on "Les Blanchisseuses" in Lafacadio Hearn's 1887 travel narrative, Martinique Sketches. Her deliberate selection of this image allows her to "air the dirty linen" of French colonial history by reading through the female experience of sexual commodification.;Chapter three contrasts Fanon and Capecia's approaches to theorizing Antillean subjectivity. Capecia and Fanon were at odds in their approach to the travelogue tradition, the application of psychoanalytic theory to the Antillean context, the interpretation of the hegelian master/slave dialectic and, most importantly, the departmentalization of Martinique. Fanon agreed with his mentor, Aime Cesaire, that the Martinican is French. Capecia's Je suis martiniquaise was actually a nationalist allegory which included a serious critique of negritude in its anti-colonial assertion of national identity.
展开▼
机译：在过去的40年中，法农（Faron）的消极批评已经过分决定了阅读马约特·卡佩西亚（Mayotte Capecia）作品的所有尝试。因此，对Je suis martiniquaise的介绍着眼于Capecia作为作家，读者和理论家，以证明她是一位值得批评的认真艺术家。;第一章认为，将作者与叙述者混淆对文本的持续误解。一旦将叙述者马约特与作者卡佩西亚区分开来，卡佩西亚为寻求自我授权而采用的叙事策略就脱颖而出。第二章解开了美白的中心隐喻，围绕这个主题组织了Je suis martiniquaise以突出卡佩西亚的重新审视游记传统。较早的批评家认为，卡佩西亚本人曾是一次像她的主人公一样的洗衣店。甚至那些了解双关语的意义的批评家（“ blanchisseuse”在法语中的意思是“更白”），也将其视为偶然的巧合。实际上，Capecia正在解构Lafacadio Hearn 1887年的旅行叙事“马提尼克岛素描”中的“ Les Blanchisseuses”一章。她对这张图片的精心选择，使她可以通读女性对性商品化的经历，从而“宣扬法国殖民史上的肮脏亚麻布”。第三章对比了法农和卡佩西亚提出的安蒂尔主观理论的方法。 Capecia和Fanon在游历传统的方法，将精神分析理论应用于安的列斯语境，黑格尔的主/从辩证法的解释以及最重要的是马提尼克岛的部门化上都不一致。 Fanon同意他的导师Aime Cesaire的观点，即Martinican是法国人。 Capecia的Je suis martiniquaise实际上是一种民族主义的寓言，在其对国家身份的反殖民主张中包括对严肃性的严重批评。
展开▼
