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, When readers take note of the language of space in a narrative, they usually do so by referring to 'setting'. But 'setting' condemns the language of place to inherently passive and secondary roles. 'Setting' suggests background, necessary, perhaps, but never, like the other languages of narrative, foregrounded

, For a detailed study of this point, see Monica Latham's article

, the emphasis on space (instead of temporality) marks literary modernism, Space, Time and Structure in the Modern Novel, 1971.

, I have written with the assumption that feminist novels examine the experience and construction of sexual difference and gendered identities in order either to celebrate them as a source of feminine aesthetics and politics or bemoan them as a source of sex discrimination and oppression, I am drawing here on Kristin Bluemel

, The language of place becomes even more determining when (?) action or characters are restricted to a particular place, Kort's words

, See Nick Bentley quoting David Harvey: the Postmodern city as "a 'palimpsest' of past forms superimposed upon each other, and a 'collage' of current uses, Contemporary British Fiction, vol.175

, All night the rain fell on Arlington Park") to the enclosed private space of somebody's (Christine's husband's) arms: " 'Come here' he said, The space the novel is concerned with is public as well as private, as a quick comparison between incipit and explicit will show

, Space in nineteenth-century realist novels emerges as a concrete and stable phenomenon, while in modernist fiction it is filtered, like time, through the perceptions of protagonists. In postmodernist fiction, the idea of a 'world' is itself destabilized, and different spaces multiply and merge, vol.56

, See Maria del Mar Azcona's work on multi-protagonist films

, for instance, each chapter is devoted to a specific female character living on the same street: overall, the narrative covers the different ages of womanhood, from young Kelly Brown to old Alice Bell whose encounter is described from each one's point of view in the first chapter and in the last one. 12. "une certaine fiction qui choisirait délibérément de gommer, voire de bannir, 1982.

S. Linda and F. , Piehler's study of Victorian heroines in relation to space

, the following scene reads like a parody of fairies meeting close to water spots in the forest: "Maisie, Stephanie and Christine paused at the fountain (?) and the children strained at the straps on their pushchairs to put their hands in the cold

, Space Matters in Rachel Cusk's Arlington Park E-rea, vol.10, 2013.

. Caractéristique-de-la-littérature-féminine-du-dix-neuvième-siècle-en-grande-bretagne, lui permet de formuler un message féministe clair. En effet, son roman examine l'expérience de la différence sexuelle, et montre que l'espace est déterminé par les relations entre les sexes

, Mots-clés: espace, littérature victorienne, modernisme, condition féminine, différence sexuelle Keywords: space, victorian literature, modernism, feminine condition, gender AUTHOR ARMELLE PAREY

, Armelle Parey is a senior lecturer at the "Université de Caen-Basse Normandie, 2011.

I. Roblin and D. Sipière, , 2013.

I. Roblin,

, Presses Universitaires de Caen, forthcoming in 2014, co-ed. with François Gallix and Isabelle Roblin) and rewritings of the past in contemporary English-speaking fiction (ed. Re-Writing Jane Eyre, Lisa e-journal, vol.IV, 2006.

D. M. Byatt, P. Thomas, . Carey, O. Joseph, S. Connor et al., Space Matters in Rachel Cusk's Arlington Park E-rea, vol.10, 2013.