Medical Humanism or Scientia Sexualis? Building a Sexological Concept in Fécondité

This article argues that Zola's late novel Fécondité, while on the surface a transparently didactic roman à thèse articulating populationist concerns, is in fact at the same time a roman de mœurs implicated genealogically in a broader range of issues than pro-natalist ethics and various behavioural and therapeutic bêtes noires, containing identifiable traces of other contemporary pathological concerns, contingently marshalled for pro-natalist ends. Exploiting the terminological flexibility of what Peter Cryle and Alison Moore have referred to as a long-established ‘constellation of themes’ constituted by ‘impotence, frigidity and sterility’, Fécondité participates in the fin-de-siècle production of a key sexological concept. It does so through relentless deployment of the malleable motif of female sexual coldness – a signifier of pathological conditions named in contemporary medical and pseudo-medical literature as ‘frigidité’, ‘froideur’, and so on – and its polyvalent application to distinct pathologies manifesting in a variety of its female characters, in particular inabilities to desire, to conceive, and, significantly, to climax. Zola's novel appears at a moment where women's sexual pleasure was becoming normalised, to the extent that its absence now counted as a pathological disorder; Fécondité deploys tropes of coldness – consequential upon anti-reproductive practices – to suggest that it is attempted disruption of the natural reproductive order that ensures such disordered absence. Ultimately, while Fécondité is readable as didactic expression of a ‘humanitarian’ natalist ethics and representation of doctor-patient encounters, treatment, experience of illness and other ‘medical humanities’ concerns, it is however important not to overlook this representation's discursive contingencies, particularly the coalescence of sexological and populationist concerns at a moment when both were of considerable significance. Fécondité in this sense straddles two major fin-de-siècle discursive economies, offering an ideal object for a critical medical humanities valuing the pathological as well as the pathographical.