ࡱ> q`bjbjqPqPF::L5    D%D%D%8|%&4;@&@&(h&h&h&''':::::::$<hU?@:'''''@: h&h&h:777'X8h&h&:7':777h&4& 0jiD%x0t79T:0;7@2T@7@77'''@:@:@4''';''''$$   XXX Childhood, Trauma, Identity in George Sand s Story of My Life Tatjana `epi, Sanja Grakali Plenkovi and Marina Ron evi Abstract The Cult of Child developed by Romantic artists and writers celebrated childhood as a time of innocence, freedom, creativity, spontaneity and intuitive wisdom in touch with maternal nature. But this idealized image has its other side. Growing up is a complex process during which a child loses his original innocence and is forced to conform to adult norms and civilised values. By analysing and interpreting chosen passages from George Sand's autobiography Story of My Life (1847-1854) we propose to show her account of her childhood traumatic experience as a quest for selfhood and identity. After her father's death little Aurore (future George Sand) finds herself torn between her two rival mothers (her mother and grandmother) who love her and want her not so much for what she is, but for what she represents, their lost husband and son Maurice. In memory of the dead son, husband and father, a destructive Oedipal triangle is created between the child and her two mothers, a situation in which Aurore finds it difficult to define herself and develop her own separate identity. This life-ache encourages a small girl inclined to daydreaming and fantasy to create Coramb, a companion and a hero of her imagined and oral childhood novels, the origin of her poetic and moral life. In the light of literary and political influence which Romanticism still retains today in defining our perceptions of children, George Sand's story represents a valuable testimony of the process of growing up of a sensitive and intelligent girl entangled in complex family relationships. Key Words: George Sand, (traumatic) childhood, identity, growing up, family relationships, Romanticism. ***** 1. Introduction The autobiography Story of My Life of the Romantic French writer George Sand (1804-1876) in many aspects represents a unique piece of work. Envisaged initially as a break from writing novels and an opportunity to earn some extra money, the writer's modest intention to create a simple story, following the poetics of digressions and fragments turned out to be a new, complex and original form of a personal history. With no female models to look up to and reluctant to simply follow the conventions of the traditional (male) autobiography like that of Rousseau or Chateaubriand, she sets out to describe the origin, the development and the defence of her own identity. In this huge autobiography of more than a thousand pages, written over the period of seven years (1847-1854), between facts and fiction, the history of her family, major historical events and figures, her reflections on issues of her time are interwoven as in a polyphonic composition creating the history of a child of the century and the story of her becoming a writer. Even though Romantic writers delighted in the introspection and privileging of childhood as the key to adult life, still most of them in their autobiographies only briskly dealt with it focusing mainly on some amusing or titillating episodes. In this respect G. Sand's work is an exception. In the long account of her spiritual and intellectual development, a significant portion is dedicated to her early and adolescent years and the lost dream of childhood. When she starts writing her memories, G. Sand is a famous and established writer. However, in spite of the professional success and personal victories, the underlying emotion of her autobiography is the feeling of persistent pain. As M. Reid points out, Story of My Life is a deeply melancholic text in the clinical sense of the word. Incurable sorrow and deep melancholy present throughout the text to its very last line, can only partly be explained as Romantic malaise. Writing the story of her life for G. Sand becomes a way of dealing with the suffering that has accompanied her from the day of her father's death, which has brought about the disintegration of the family. 2. She was born to music, and in pink; she will be happy. This predictable augury given by the writer's aunt Lucie announcing the birth of little Aurore (future G. Sand) while her mother was wearing a pink dress and her father was playing the violin, may seem the final, happy scene of a fairy tale about a secret marriage between Sophie-Victoire, a working class girl and Maurice Dupin, a young aristocrat. But the narrator's subsequent comment Auguries are only justified when they foretell disaster tells us that what may have been a romantic drama is going to turn into a tragedy. Even though G. Sand finds her earliest memories quite infantile, unlike many male writers, she considers them important in her development and dedicates them numerous pages establishing a line of continuity between the child Aurore and herself as an adult. She describes her early idyllic years spent with her mother and half-sister in a flat in Paris, her father's brief visits during the periods of leave from the army, which transformed their lives and their bleak Parisian flat into a happy haven. Her vivid memories tell us of a world of fantasy and dreaminess in which she lived. Her mother's spontaneity and passion, her unrestrained joie de vivre, her colourful imagination and the soft beguiling voice while she was telling Aurore stories, fables or singing lullabies, would cause the little girl to lose touch with the real world and steep into the realm of the marvellous and the supernatural, transforming the auditive into the visual, i.e. her mother's voice into complex images. All these nourished Aurore's imaginative life and very early she started pouring out endless and lengthy stories her mother called her novels, a kind of pastiche of everything with which [her] little brain had been obsessed. The child's symbiotic closeness to her mother in the sphere of fantasy some critics have compared with the pre-Oedipal stage in Freud and with Lacan's concept of the Imaginary. The writer herself describes these early years as this golden age as a vanished dream to which nothing can be compared later on. Her brief stay in Madrid where she and her pregnant mother travelled to join Maurice, aide-de-camp in Napoleonic armies, marks the beginning of the formation of the child's separate identity and the awareness of her position in relation to the people around her. Often left alone, this four-year old girl freely wandered through a vast and luxurious apartment in the Palace of Prince of Peace. It was then that she saw herself in a full-length mirror for the first time. Fascinated and enchanted by her own reflection, she started experimenting various poses, inventing and performing different stories with her pet rabbit as a companion. This awareness of the specular other self is again close to Lacan's mirror stage when the child's recognition of his own image in the mirror coincides with its growing sense of itself as other and separate from the mother, as well as with its first attempts at self-expression. The phenomena of doubling is next experienced as an echo when one day, frightened by the silence, she cried calling out a name. A familiar voice she recognized as her own answered her. She was equally delighted with this discovery as she had been with her mirror image. Aurore was convinced that everyone had his own another self somewhere out there and found comforting the idea of her hidden double who was always there and never failed to respond to her. Her mother's suffering and weakness as a consequence of the difficullt birth introduces Aurore to the sentimental life which was unknown to her until then marking a crucial moment in the her emotional development. Their arrival at Nohant that should have been an occasion for the family reunion and the possibility to regain happiness, turned into a catastrophe. A little bit more than a month after their arrival first her baby brother died and eight days later her father was killed thrown by his indomitable horse. This double tragedy will cause the definite disintegration of the family and a blow none of the surviving members, Mme Dupin, Sophie-Victoire and little Aurore, will ever be able to overcome: I felt their aftereffects all my life says the adult George Sand remembering these tragic events. The experience of pain, grief and suffering, of the death followed by the separation from her mother, for Aurore represents a premature loss of childhood innocence and the awareness of the harsh reality of the world. 3. Two rival mothers In her autobiography G. Sand describes three phases of her struggle to assert her identity as three forces which one after another bring into peril the survival of her true self: the family, the man and the society. We shall focus on the first one because a complex relationship of the child with her mother, father and grandmother determined both personal and professional aspects of G. Sand's future life. The double tragedy leaves behind three grieving women who have lost their husband, father, son, brother and grandson. From that moment on the family situation becomes awkward. The existing conflict and tension between Aurore's grandmother and mother becomes even deeper. Broken-hearted and overwhelmed with grief, the grandmother comes up with an insane plan, namely, Aurore will replace her dead son Maurice, the granddaughter will take her father's place, and the grandmother will be both father and mother to her. The family genealogy is disrupted, genders and generations are mixed. Equally insensitive towards the mother's and the child's pain, the grandmother irremediably destroys any possibility to create sound family relationships. Her despair, reinforced by a deep longing for the lost son and the compensation she finds in the image of his daughter undermine the already fragile family. Mme Dupin's decision bereaves little Aurore of the possibility to be what she really is, a small girl, not a boy, to be her mother's and not her grandmother's child. The danger of switching places in the family genealogy is clear from the beginning. In order to be able to completely take her father's place, she first has to die herself, because only death (as the example of her father and brother has shown) guarantees the legitimacy of the place she takes. Describing the situation of little Aurore, Serge Tisseron considers that for Mme Dupin the girl is not only the substitution for her lost son but also for her own father, which additionally complicates things. In this entire muddle Aurore has no one to turn to, to rely on. Her grieving mother, also deeply shocked by the death of her husband, finds the emotional substitute for Maurice in the affection towards her daughter. Both grandmother and mother have turned Aurore into a ghost (revenant). In the eyes of these two women she is Maurice's double, his shadow. The reason why they love her and argue over her is less because of what Aurore is and more because of who she reminds them of and what she represents. The little girl finds a solution and a way out of the existing situation in fleeing the world of reality. In order to exist, to live, she must leave, transfer her being, reject her present existence linked with death. She has to invent her other self somewhere else, undoubtedly an illegitimate self, but alive. Only such a move makes living possible, allows recreating her identity in another place. This dynamics of resistance will necessarily take her to an onomastic change as well. From the moment she has to be Maurice, when she is called by that name, loved and cherished because of him and instead of him, Aurore is no longer Aurore. The metamorphosis, which is an essential precondition for the sense of self-belonging, is about to start. Mme Dupin, unable to accept her son's death, seized by the idea to repeat Maurice's childhood through that of Aurore, does not only want to bring back the lost son, but also to take revenge on a woman who took him from her and forced him to share his love and devotion. In memory of the dead son, husband and father, a destructive Oedipal triangle is created between the child and her two mothers that at a certain point in the story she calls my two rival mothers. Aurore suffers because of hostility and rivalry Mme Dupin and Sophie-Victoire show to each other, and feels torn between them, as her father felt too. Aurore sees her mother as a double person, both good and bad, nice, loving and angry, even repulsive. This polarization is best reflected in the child's terrifying dream in which a dancing Flora and an aggressive bacchante, two female figures from the wallpaper in her bedroom, come to life. This dream has been interpreted as a metaphor for her mother's double nature, and as a dual and different influence and education given to the girl by Mme Dupin and Sophie-Victoire. Others think that the dream actually brings together three women, one of which exhibits a phallic character and the other two who are her victims. Both the child and the timid nymph are wounded by the furious bacchante's thyrsus. It is the grandmother who terrorizes the mother and the child, her authority and her behaviour being identified with the destruction rendering her victims helpless, who at this point become an undefined whole. The Oedipal triangle is strangely distorted the grandmother takes up the place of the father, and mother and daughter struggle in vain to defend themselves until death. The repetition of this sadomasochistic scene reinforces Aurore's relationship with these two figures who determine her everyday life and her behaviour. The grandmother becomes a father, the granddaughter a son, and the mother, a foreign body, is tolerated for a while and then driven away. Sophie-Victoire is practically bought off, leaving Aurore in the care of her grandmother only to return to Nohant occasionally for summer holidays. The trauma caused by the continuing conflict and hostility between two women is now deepened. Aurore suffers a bitter disappointment and develops ambivalent feelings towards her mother, a mixture of deep and unconditional love with resentment because of her betrayal and abandonment. The mother-child bond is so strong that Aurore experiences it as essential, visceral, of the spirit and also of the body. It is not surprising therefore that the separation from her causes in Aurore violent physical reactions reflected in equally forceful expressions. I cried so bitterly that my brain felt split () and a chain of diamond hardness that attached her to her mother and that grandmother sought in vain to break only kept tightening around my chest, to the point of suffocation. After her father, Aurore is now abandoned by her mother too and separated from her half-sister. She is gradually led to realize that her mother does not really love her. But Aurore/G. Sand will never get over her loss which will always somehow re-emerge in her (non)fictional texts. Her mother's departure for Paris marks the end of her happiest childhood memories which will always remain associated with Sophie-Victoire, her love for nature, freedom, imagination. At Nohnat, still under her mother's care Aurore was allowed to run barefoot, climb the trees, speak Berrichon (the regional patois), mix with the local people and listen enchanted to their tales, in short to be her true self. Mme Dupin, who has strongly disapproved of the way the child is brought up by her daughter-in-law, decides that the girl is to receive a proper education and is to start behaving like a lady the moment Aurore is left in her custody. This transition from childhood to adulthood, from nature to culture is marked by a double trauma for Aurore. Torn from her mother who was a synonym for strong emotions, impulsiveness and excessiveness, the child is left to her severe, composed, educated grandmother and her solemn ways. Aurore is now supposed to conform to adult norms and civilised values, which implies learning new and absurd manners, as to hold herself erect, wear gloves, keep silent and curtsy to people who come to visit. She is not to romp on the floor, laugh noisily or talk Berrichon. The images of confinement, gravity, violence and death are used to describe this period of her childhood and the prevailing feelings of her true nature being consistently repressed. . 4. Coramb Aurore's inclination to daydreaming has never left her in spite of her grandmother's prohibition. When she is about ten years old, a shape and a name come to her while dreaming one night. Coramb, a phantom whose name is a fortuitous collection of syllables becomes her oral novel and the god of her religion. Sand herself describes it as an ideal figure who could respond to all her needs; compensate for her loneliness, fill the emotional void created by the premature death of the father, but above all substitute her absent mother. A mixture of pagan mythology and Bible figures, male and female at the same time, having all the attributes of physical and moral beauty, he has completely possessed her mind. He was a god, a sister, a friend, a mediator and comforter, a perfectly synchretic figure to whom she was telling endless stories and for whom she has raised an altar made of flowers, pebbles, shells, ivy and moss in a hidden corner of the garden. The cult of Coramb helps her to give and receive love neither her mother nor grandmother are able to share with her, both obsessed by the memory of the dead husband and son. Coramb is a god of her childhood world and at the same time a polymorphic, infinite novel and its main character. This enchanted world provides a little girl with a refuge from the reality where she repeatedly experiences disappointments and the loss of illusions. . 5. Conclusion G. Sand's autobiography can be read as the answer to the simple question: Who am I? Written as a kind of Bildungsroman, the construction of her identity as a woman and a writer is described as a long, painful and difficult process. A double perspective, that of the adult narrator and the young Aurore, gives us access to the world of childhood and what it feels like to be a little girl. Sand presents and dramatizes some key moments of her early and adolescent years as traumatic, emotional crises that, distressing as they may have been, have made her stronger and caused her to become a mature and independent young adult. Successful self-construction primarily meant understanding and forgiving her two mothers and thus transcending her traumatic childhood experiences. When writing the story of her life Sand tries to re-examine the complex family relationships in order to come to terms not only with the dead (her parents and grandmother), but also with the living (her children). The life of children for Sand is a magic mirror where real objects become the happy images of their dreams, but a day comes when [] the mirror breaks and its shards are dispersed, never to become whole again. This poetic image has a symbolic meaning. It expresses the loss of the original unity of the self. Writing for Sand is like a mirror in which the self is reflected allowing the author to be the subject and the object at the same time, to fuse the past and the present, the self and the other. Story of My Life therefore represents an effort to find these dispersed shards and put them together in order to reconstruct the lost unity, in other words to recreate a new identity that would substitute for the child's lost one. Notes   PAGE 2 Childhood, Trauma, Identity in George Sand's  Story of My Life _______________________________________________________ PAGE 3 Tatjana `epi, Sanja Grakali Plenkovi and Marina Ron evi _______________________________________________________  A letter to her editor Hetzel, dated 2 November 1847. George Sand, Correspondance, vol. VIII, ed. Georges Lubin (Paris: Garnier, 1966-1991), 114.  Jacques Lecarme and liane Lecarme-Tabone, L' autobiographie (Paris: Armand Colin, 2004), 29.  Martine Reid,  L aventure autobiographique , Revue des deux mondes 9 (2004): 71.  George Sand, Story of My Life (Albany: State University Press of New York, 1991), 374.  Ibid.  Ibid., 431.  Belinda Jack, George Sand: A Woman's Life Writ Large (New York: Random House, 1999), 21.  Sand, Story of My Life, 426-427.  Janet Hiddlestone, George Sand and Autobiography (Oxford: Legenda, 1999), 54.  Sand, Story of My Life, 418.  Jack, George Sand: A Woman's Life Writ Large, 38.  Hiddlestone, George Sand and Autobiography, 55.  Lucienne Frappier-Mazur, Nostalgie, ddoublement et criture dans Histoire de ma vie, Nineteenth-Century French Studies 17 3-4 (1988): 269.  Sand, Story of My Life, 448.  Her grandmother's manor house in the Vall Noire, south-east of Paris.  Sand, Story of My Life, 461.  Batrice Didier, L'criture femme (Paris: Presses Universitaires de France, 1999), 187-207.  Martine Reid, Signer Sand: l'oeuvre et le nom (Paris: Belin, 2003), 62.  Serge Tisseron, Aurore Dudevant, fantmes et revenants, Revue des deux mondes 9 (2004): 145-151.  Ibid.  Reid, Signer Sand, 63-64.  Sand, Story of My Life, 477-478.  Frappier-Mazur, Nostalgie, ddoublement, 265-274.  Reid, Signer Sand, 77-78.  In 1809 Aurore's mother and grandmother signed an agreement by which Mme Dupin would grant Sophie-Victoire an allowance and in exchange she would become Aurore's guardian.  Hiddlestone, George Sand and Autobiography, 39.  Sand, Story of My Life, 572.  Ibid., 561.  Ibid., 490.  Ibid., 605.  Germaine Bre, Le Mythe des origines et l'autoportrait chez George Sand et Colette, Symbolism and Modern Literature: Studies in Honor of Wallace Fowlie 43 3 (1978): 108.  Sand, Story of My Life, 551. Bibliography Bre, Germaine. Le Mythe des origines et l'autoportrait chez George Sand et Colette, Symbolism and Modern Literature: Studies in Honor of Wallace Fowlie 43 3 (1978): 103-112. Didier, Batrice. L'criture femme. Paris: Presses Universitaires de France, 1999. Frappier-Mazur, Lucienne. Nostalgie, ddoublement et criture dans Histoire de ma vie. Nineteenth-Century French Studies 17 3-4 (1988): 265-274. Hiddlestone, Janet. George Sand and Autobiography. Oxford: Legenda, 1999. Jack, Belinda. George Sand: A Woman's Life Writ Large. New York: Random House, 1999. Lecarme, Jacques and liane Lecarme-Tabone. L' autobiographie. Paris: Armand Colin, 2004. Reid, Martine.  L aventure autobiographique . Revue des deux mondes 9 (2004): 65-78. Reid, Martine. Signer Sand: l'oeuvre et le nom. Paris: Belin, 2003. Sand, George. Correspondance. 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Paris: Garnier, 1966-1991. Sand, George. Story of My Life. Albany: State University Press of New York, 1991. Tisseron, Serge,  Aurore Dudevant, fantmes et revenants . Revue des deux mondes 9 (2004): 145-151. Tatjana `epi is a senior lecturer at the Polytechnic of Rijeka, Croatia. Her research and writing is focused mainly on (comparative) literature and 19th century women writers. Sanja Grakali Plenkovi is head librarian and a part-time lecturer at the Polytechnic of Rijekaؑڑ>@ҘԘ$a$gd\/$a$gdL$gd)$$a$gd) , Croatia. Her research and writing is devoted to (Modernist) literature and the genre of autobiography. Marina Ron evi is a senior lecturer at the Polytechnic of Rijeka, Croatia. Her main areas of research and writing are literature and (socio)linguistics. #he"h D5CJ^JaJnH tH hoh Dh}Xh)hXmH sH D 0&P 1hP:psU>0BP .!S"S#S$S%7 >@@@ ?NormalPJ_HaJmH sH tH X@X .Naslov 1$$@&a$5CJPJ^JaJmHsHtH >A@> Zadani font odlomkaViV Obi na tablica4 l4a .k. Bez popisa ^O^  Offset Quote$*$]^a$6PJaJtH XBX . 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