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an odorous gum resin formerly used in medicines

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On pourrait ajouter L'Opoponax a cette breve liste ; un roman comme La Batarde, comme L'Invitee.
Krysinska's use of the odd adjective "deprave" translated as "perverted or corrupted" compliments the inverted [op, po] sounds of the word, "opoponax," since the twisted order of the phonemes linguistically demonstrates the etymological significance of "tordre, corrompre" derived from the Latin root, "depravare." Moreover, the adjective "deprave" signifies, "alterer, faire devier de la norme" (Le Petit Robert 600), and this definition describes the process of artistic creation itself by which Krysinska, Chopin, and implicitly, Baudelaire, bend the rules of poetic or musical arrangement to invent new techniques that unintentionally found a revolutionary style (Zieliflski 267-72).
Wittig will be remembered throughout the world for, among other things, being a winner of the prix Medicis, France's most prestigious prize for writers, for her first novel, L'Opoponax. The New York Times Book Review wrote, "In both form and content The Opoponax is a revolutionary story." One of its most revolutionary aspects is Wittig's use of pronouns, a project she developed throughout her oeuvre.
Executives said it is 25% richer with more sambac jasmine absolute, myrrh, vanilla, opoponax, amber and patchouli.
People without jobs to do at this time of peril seemed to her 'like dead flies shaken out of a summer hotel window curtain'; of society ladies at the front: 'I don't know anything that horrifies me more than the mixture of flirtation and surgery, of opoponax (perfume) and chloroform.' A picture emerges of a powerful personality with great practical resourcefulness.
Laurence Porter's Lacanian reading of Wittig introduces the forces of power, gender, and identity, into the fictional debate, while he focuses his study on the author's Opoponax, a novel that combines autobiography, historical analysis, and issues of sexual autonomy.
Affectionately sophisticated in its treatment of its predecessors in Firbankian, French homosexual, and homoerotic girls' school fiction, Brophy's metafictional comic masterpiece in the end both accompanies and acknowledges a new and more explicit brand of lesbian bildungsroman as represented by, among others, Maureen Duffy's moving depiction of a working-class lesbian child's fight to receive an education in That's How It Was (1962), Rosemary Manning's autobiographical treatment of lesbianism, hypocrisy, and betrayal in a girls' boarding school in The Chinese Garden (1962), and Monique Wittig's innovative nouveau roman of the early development of lesbian consciousness in The Opoponax (1957; trans.
Her first novel, L'Opoponax (1964; The Opoponax), is viewed through the consciousness of a rebellious young girl in a convent school.
This postulate also suggests specific ideological reasons for other feminists' deployments of still other pronouns (most strikingly, on and elles in Wittig's L 'Opoponax [1964] and Les Guerilleres [1969]) and for the alternation and/or conflation of the first-, second-, and third-person pronouns in previously mentioned works by Lispector, Sarraute, Sontag, Wolf, Weldon, and Duras.
I will take another illuminating example, that of the critics' reception of L'Opoponax by Monique Wittig.