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Dissertations / Theses on the topic 'American literature Women and literature'

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Published: 4 June 2021

Last updated: 10 February 2022

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1

Hay, Jody L. "Native American women in children's literature." Thesis, The University of Arizona, 2002. http://hdl.handle.net/10150/291972.

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This thesis focuses on the roles of Native women in children's literature. The study explores the works of five Native women writers in the United States that have successfully published adult literature and at least one children's book since 1990. The purpose of the research is to gain a better understanding of what these writers reveal about the roles of Native women in their literature for children. The data was collected using content analysis on the books and a questionnaire to determine (1) what roles the Native writers convey in their children's literature; and (2) what these women are writing in this field and their perspectives on the writing process. The findings of this research discuss these writers' portrayals of the complexity of Native women's roles as well as offer insight into their craft.

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2

Farnum, O'Leary Christine J. "Motherhood portrayals in American literature /." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2008. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.

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3

Chung, Yuen-lam Carmen, and 鍾婉霖. "Modern American women: victims or victors?" Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45007433.

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4

Raine, Anne Elizabeth. "A thing wide open : nature, modernity, and American women writers /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/9424.

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5

Ainsworth, Diann Elizabeth Smith. ""Strangely tangled threads" American women writers negotiating naturalism, 1850-1900 /." Fort Worth, Tex. : Texas Christian University, 2007. http://etd.tcu.edu/etdfiles/available/etd-12072007-113413/unrestricted/ainsworth.pdf.

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6

Chung, Yuen-lam Carmen. "Modern American women : victims or victors? /." View the Table of Contents & Abstract, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31570835.

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7

Ward, Kathryn Ann. "Clients, Colleagues, and Consorts: Roles of Women in American Hardboiled Detective Fiction and Film." Connect to resource, 1988. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1225394427.

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8

Greenberg, Linda Margarita. "Acts of genre literary form and bodily injury in contemporary Chicana and Asian American women's literature /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1723112451&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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9

Prasad, Anjali. "Does "Little Women" Belittle Women?: Female Influence in Louisa May Alcott's "Little Women"." W&M ScholarWorks, 1994. https://scholarworks.wm.edu/etd/1539625888.

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10

González, María Carmen. "Toward a feminist identity : contemporary Mexican-American women novelists /." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu148769438939502.

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11

Balic, Iva Foertsch Jacqueline. "Always painting the future utopian desire and the women's movement in selected works by United States female writers at the turn of the twentieth century /." [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/permalink/meta-dc-11060.

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12

Fraiberg, Allison M. "Beyond indiscretion : agency, comedy, and contemporary American women's writing and performance /." Thesis, Connect to this title online; UW restricted, 1993. http://hdl.handle.net/1773/9476.

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13

Bechard, Patricia M. "Aproximaciones a la literatura latina de los Estados Unidos /." View abstract, 1998. http://library.ctstateu.edu/ccsu%5Ftheses/1519.html.

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Thesis (M.S.) -- Central Connecticut State University, 1998.
Thesis advisor: Dr. Antonio García Lozada. "...in partial fulfillment of the requirements for the degree of Master of Science in Spanish." Includes bibliographical references (leaves 67-71).

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14

Defrancis, Theresa M. "Women-writing-women : three American responses to the woman question /." Saarbrucken, Germany : Verlag Dr. Muller, 2005. http://0-wwwlib.umi.com.helin.uri.edu/dissertations/dlnow/3186902.

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15

Ritter, Beth Lynne. "Breaking old ground exploring a new American archetype /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1997. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.A.)--Kutztown University of Pennsylvania, 1997. Thesis introduces "American Woman" archetype.
Source: Masters Abstracts International, Volume: 45-06, page: 2836. Typescript. Abstract precedes thesis as preliminary leaf [i]. Includes bibliographical references (leaves 90-95).

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16

Spriggs, Bianca L. "Women of the Apocalypse: Afrospeculative Feminist Novelists." UKnowledge, 2017. http://uknowledge.uky.edu/english_etds/56.

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“Women of the Apocalypse: Feminist Afrospeculative Writers,” seeks to address the problematic ‘Exodus narrative,’ a convention that has helped shape Black American liberation politics dating back to the writings of Phyllis Wheatley. Novels by Zora Neale Hurston, Octavia Butler, and Alice Walker undermine and complicate this narrative by challenging the trope of a single charismatic male leader who leads an entire race to a utopic promised land. For these writers, the Exodus narrative is unsustainable for a number of reasons, not the least of which is because there is no room for women to operate outside of the role of supportive wives. The mode of speculative fiction is well suited to crafting counter-narratives to Exodus mythology because of its ability to place marginalized voices in the center from the stance of ‘What next?’ My project is a hybrid in that I combine critical theory with original poems. The prose section of each chapter contextualizes a novel and its author with regard to Exodus mythology. However, because novels can only reveal so much about character development, I identify spaces to engage and elaborate upon the conversation incited by these authors’ feminist protagonists. In the tradition of Black American poets such as, Ai, Patricia Smith, Rita Dove, and Tyehimba Jess, in my own personal creative work, I regularly engage historical figures through recovering the narratives of underrepresented voices. To write in persona or limited omniscient, spotlighting an event where the reader possesses incomplete information surrounding a character’s experience, the result becomes a kind of call-and-response interaction with these novels.

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17

Rountree, Wendy Alexia. "THE CONTEMPORARY AFRICAN-AMERICAN FEMALE BILDUNGSROMAN." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin997212820.

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18

Ross-Stroud, Catherine Trites Roberta Seelinger. "Non-existent existences race, class, gender, and age in adolescent fiction; or Those whispering Black girls /." Normal, Ill. Illinois State University, 2003. http://wwwlib.umi.com/cr/ilstu/fullcit?p3106763.

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Thesis (Ph. D.)--Illinois State University, 2003.
Title from title page screen, viewed October 12, 2005. Dissertation Committee: Roberta Seelinger Trites (chair), Karen Coats, Janice Neuleib. Includes bibliographical references (leaves 217-236) and abstract. Also available in print.

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19

Holland, Dorothy J. "The casting and fate of "older" women in nineteenth-century American plays /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/10213.

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20

Burr, Sandra. "Beneath the Umbrellas of Benevolent Men: Validation of the Middle-Class Woman in "Little Women" and "Five Little Peppers and How They Grew"." W&M ScholarWorks, 1991. https://scholarworks.wm.edu/etd/1539625669.

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21

Schiller, Beate. "Between afrocentrism and universality : detective fiction by black women." Master's thesis, Universität Potsdam, 2004. http://opus.kobv.de/ubp/volltexte/2005/547/.

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This paper focuses on mysteries written by the Afro-American women authors Barbara Neely and Valerie Wilson Wesley. Both authors place a black woman in the role of the detective - an innovative feature not only in the realm of female detective literature of the past two decades but also with regard to the current discourse about race and class in US-American society.

This discourse is important because detective novels are considered popular literature and thus a mass product designed to favor commercial instead of literary claims. Thus, the focus is placed on the development of the two protagonists, on their lives as detectives and as black women, in order to find out whether or not and how the genre influences the depiction of Afro-American experiences. It appears that both of these detective series represent Afro-American culture in different ways, which confirms a heterogenic development of this ethnic group. However, the protagonist's search for identity and their relationships to white people could be identified as a major unifying claim of Afro-American literature.

With differing intensity, the authors Neely and Wesley provide the white or mainstream reader with insight into their culture and confront the reader's ignorance of black culture. In light of this, it is a great achievement that Neely and Wesley have reached not only a black audience but also a growing number of white readers.
Im Mittelpunkt dieser Arbeit stehen die Detektivserien der afroamerikanischen Autorinnen Barbara Neely und Valerie Wilson Wesley. Die Blanche White Mysteries von Neely und die Tamara Hayle Mysteries von Wesley repräsentieren mit der Einführung der schwarzen Hausangestellten Blanche White als Amateurdetektivin und der schwarzen Privatdetektivin Tamara Hayle nicht nur hinsichtlich der innerhalb der letzten zwanzig Jahre erschienen Welle von Kriminalautorinnen mit weiblichen Detektiven eine Innovation, sondern auch bezüglich der mit diesen Hauptfiguren verbundenen Auseinandersetzungen mit Klassenstatus und Rassismus.

Die bisher erschienen Detektivromane beider Serien werden in dieser Arbeit im Hinblick auf ihre Präsentation der Erfahrungen der Afroamerikaner in den USA der 1990er Jahre untersucht. Da Detektivromane der Populärliteratur zugerechnet werden und entsprechend ihrer Befriedigung von Massenansprüchen "produziert" werden, war die Fragestellung, ob in den genannten Detektivserien diese Hinwendung zur Mainstreamkultur mit einer verringerten Darstellung der afroamerikanischen Probleme und Lebensweise verbunden ist. Bei der Analyse der Serien wurde deshalb der Entwicklung der Protagonistinnen als Detektivinnen und als schwarze Frauen sowie der Wirkung ihrer Erzählerstimme besondere Aufmerksamkeit geschenkt.

Die beiden Serien repräsentieren die afroamerikanische Kultur auf unterschiedlichen Erfahrungsstufen, woran erkennbar ist, dass die afroamerikanische Bevölkerung in den USA keine homogene Gruppe darstellt. Ausschlaggebend für das Erreichen des Anspruchs der Afroamerikaner an ihre Literatur scheint die Auseinandersetzung mit Fragen der Identitätsfindung der schwarzen Protagonistinnen und der Beziehungen zwischen Schwarzen und Weißen zu sein. Den Autorinnen gelingt es in unterschiedlichem Maße den weißen und somit Mainstream-Lesern nicht nur einen Einblick in ihre Kultur zu vermitteln, sondern vielmehr, sie direkt mit ihrer Ignoranz gegenüber dieser schwarzen Kultur zu konfrontieren. Neelys und Wesleys große Leistung ist, dass die Stimmen ihrer Protagonistinnen sowohl ein zahlreiches schwarzes als auch ein wachsendes weißes Publikum erreichen.

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22

Crosby, Sara Lynn. "Poisonous mixtures : gender, race, empire, and cultural authority in antebellum female poisoner literature /." Notre Dame, Indiana : Universoty of Notre Dame, 2005. http://etd.nd.edu/ETD-db/theses/available/etd-06202005-105725/.

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Thesis (Ph. D.)--University of Notre Dame, 2005.
Thesis directed by Sandra Gustafson for the Department of English. "June 2005." Thesis also available in PDF file via the Internet. Access may be restricted or require Notre Dame logon. Includes bibliographical references (leaves 330-350).

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23

Udel, Lisa J. "REVISING STRATEGIES THE LITERATURE AND POLITICS OF NATIVE WOMEN'S ACTIVISM." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin990625725.

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24

Beal, Kimberly S. "“Sometimes Being a Bitch is All a Woman Has”: Stephen King, Gothic Stereotypes, and the Representation of Women." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1338385036.

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25

Thomas, Rachel. "Aging Ragefully: A Look at Aging Women in Four Contemporary American Dramas." TopSCHOLAR®, 2015. http://digitalcommons.wku.edu/theses/1464.

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Despite the growing feminist discourse in America, ageism continues to be a problem, partially due to stereotypical representations of aging women in the media and in literature. This thesis examines the portrayals of aging women in four American dramas: Zona Gale’s Miss Lulu Bett, Edward Albee’s The American Dream and The Sandbox, and Tracey Letts’ August: Osage County. Each of the aging matriarchs in these dramas plays a different role within her family structure; however, all employ others’ perceptions of them as a means of gaining or keeping control over their own situation. Chapter 1 examines Mrs. Bett from Zona Gale’s Miss Lulu Bett, and how she uses the way she is perceived by her family as a means of helping her daughter, even though her own fate is set. Chapter 2 explores the character Grandma from Edward Albee’s The American Dream and The Sandbox, and the ways in which Grandma uses her family’s perception of her, as well as her own rhetoric about aging, to establish her own selfdefinition. Chapter 3 discusses Violet, the matriarch of the family in Tracey Letts’s August: Osage County, and how she uses the way her family perceives her as a way to control the family’s destruction.

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26

Rex, Cathy Wyss Hilary E. "Indianness and womanhood textualizing the female American self /." Auburn, Ala, 2008. http://repo.lib.auburn.edu/EtdRoot/2008/SUMMER/English/Dissertation/Rex_Cathy_12.pdf.

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27

Goldsmith, Jenna L. "Life Matter: Women Subjects and Women's Objects in Innovative American Poetry." UKnowledge, 2016. http://uknowledge.uky.edu/english_etds/47.

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Gertrude Stein, Lyn Hejinian, and Juliana Spahr employ innovative poetic practices attuned to nature and environment in order to understand their personal lives and depict these understandings for readers. My dissertation investigates how these poets enact an inclusive posture toward environment that many innovative and experimental women poets of the twentieth and twenty-first centuries possess, but are rarely recognized for. To this end, my dissertation provides counterarguments to characterizations of innovative or experimental poetic practices as reclusive, language-centric, opaque, and/or disconnected from the material world. I offer readings of poems, prose pieces, film, and art, to illustrate how materially innovative poetry compels an equally material framework for reading that is, at a foundational level, by and about the world.

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28

Parrish, Nancy Clyde. "Fair and tender ladies at Tinker Creek: Women writers coming of age." W&M ScholarWorks, 1993. https://scholarworks.wm.edu/etd/1593092091.

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29

Hong, Kyung Won. "The histories of the propertyless : the literatures of U.S. women of color /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9975897.

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30

Adams, Brenda Byrne. "Patterns of healing and wholeness in characterizations of women by selected black women writers." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/720157.

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Some Black women writers--Zora Neale Hurston, Toni Cade Bambara, Paule Marshall, Gloria Naylor, and Alice Walker--of American fiction have written characterizations of winning women. Their characterizations include women who are capable of taking risks, making choices, and taking responsiblity for their choices. These winning women are capable of accepting their own successes and failures by the conclusions of the novels. They are characterized as dealing with devastating and traumatic personal histories in a growth-enhancing manner. Characterizations of winning women by these authors are consistently revealed through five developmental stages: conditioning, awareness, interiorizing, reintegrating, and winning. These stages contain patterns that are consistent from author to author.While conditioning and awareness of the negative influcences of conditioning are predictable, this study introduces the concept of interiorizing and reintegrating as positive steps toward becoming a winning woman. Frequent descriptions of numbness and disorientation mark the most obvious stages of interiorizing. It is not until the Twentieth Century that we see women writers using this interiorizing process as a necessary step toward growth. Surviving interiorizing, as these winning women do, leads to the essential stage of reintegrating.Interiorizing is a complete separation from social interaction; reintegrating is a gradual reattachment to social process. First, elaborate descriptions of bathing rituals affirm the importance of a woman's body to herself. Second, reintegrating involves food rituals which signal social reconnection. Celebration banquets and family recipes offer an important reminder to the winning woman that the future is built on the past. Taking the best of what has been learned from the past into the future provides strength and stability.The characterization of a winning woman stops with potential rather than completion. A winning woman must still take risks, make choices, and bear the consequences of her choices. The winning woman does not accept a diminished life of harmful conformity. She is characterized as discovering how to use choice and power. Novels included in this study are: Zora Neale Hurston's Their Eyes Are Watching God; Toni Cade Bambara's The Salt Eaters; Paule Marshall's Brownstone, Brown Girl; The Chosen Place, the Timeless People; and Praisesong for the Widow; Gloria Naylor's The Women of Brewster Place, Linden Hills; and Alice Walker's Meridian, and The Color Purple.
Department of English

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31

Adair, Vivyan C. "From "good ma" to "welfare queen" : a "genealogy" of the poor woman in 20th century American literature, photography and culture /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/9511.

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32

Schindler, Melissa Elisabeth. "black women writers and the spatial limits of the African diaspora." Thesis, State University of New York at Buffalo, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10163890.

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My dissertation contends that diaspora, perhaps the most visible spatial paradigm for theorizing black constructions of identity and self, is inherently limited by the historical conditions of its rise as well as the preoccupations with which it has been most closely associated. I propose that we expand our theoretico-spatio terms for constructions of blackness to include the space of the home, the space of the plantation and the space of the prison (what I call the space of justice). These three spaces point to literary themes, characters, and beliefs that the space of diaspora alone does not explain. Each chapter analyzes the work of three or four writers from the United States, Brazil and Mozambique. These writers include: Paulina Chiziane, Conceição Evaristo, Octavia E. Butler, Toni Morrison, Zora Neale Hurston, Carolina Maria de Jesus, Bernice McFadden, Wanda Coleman, Ifa Bayeza and Asha Bandele.

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33

Singleton, Keir Elizabeth. "Personal experiences and adversities: the existential struggles of women in American women's literature." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2011. http://digitalcommons.auctr.edu/dissertations/229.

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This is a study of women’s struggles in a system of patriarchy as portrayed in the works of Willa Cather, Alice Walker, and Toni Morrison. The selected works include: My Antonia, The Color Purple, and Sula. Most commonly, in a patriarchal society, masculinity is usually defined by aggression and dominance, whereas femininity is portrayed as symbolic of passivity and submission. The need for women to be submissive in a male-dominated society caused many of the women characters to begin to suffer from lack of individuality and self-expression. The idea that women often evolve into different personalities because of their life experiences and struggles is at the center of the works selected for this study. In these particular works, the writers demonstrate that in spite of ethnicities and family backgrounds, many women living under the system of patriarchy become strong and outspoken because of their personal experiences and life challenges, while some of them become casualties of their struggles but learn from the experiences in order to become agents of social change.

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Watts, Brenda. "Historical transgressions : the creation of a transnational female political subject in works by Chicana writers /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9978603.

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Thesis (Ph. D.)--University of Oregon, 2000.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 314-323). Also available for download via the World Wide Web; free to University of Oregon users.

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35

Sippio, Angela. "Older adult African American women and depression| A systematic review of the literature." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10076443.

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This review of the literature explored the particular risk factors for adult African American women ages 65 and older with depression who are involved in the health care system, particularly those who choose not to seek professional mental health services. In addition, this review explored the interventions and social support services available to them, and the effectiveness of existing programs and social support services in the United States that work towards properly diagnosing depression and treatment. This literature review analyzed the content of 34 empirically researched articles from the last 15 years. Results from this literature review found that older African American women with depression have multiple co-existing medical and psychological problems such as cardiovascular disease, hypertension and diabetes. Additionally, studies show that while social support services and programs are available to older adults with depression, a comprehensive strategy needs to be developed between the primary care physicians, mental health agencies, and church clergy system to develop uniform methods for understanding, detecting, and seeking treatment and coordination of services that foster effective interventions and improved quality of life on a national level.

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Kuhlman, Laura Jane. "The beat goes on: women writers of the beat generation." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5796.

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The Beats were one of the most influential communities of the 20th century, and this dissertation focuses on the critically underrepresented women who were part of their influence. Today, the Beats are largely celebrated for their literary legacy, popularizing a spontaneous poetic style as well as promoting an antimaterialist ethos and globe-trotting mystique in opposition to Cold War attitudes of confinement and consensus. During the 1950s and 1960s, the Beats were seen as harbingers of cultural disillusionment, taking to the road in search of God, championing the “beatific” nature of the disenfranchised, the poor, and the lowly across America. Today, the Beats are considered to be the progenitors of pacifist “hippie” culture and a revolutionary postwar spirit. Despite this democratizing goal, a prevailing critical consensus holds that the Beat movement was primarily a “boy’s club,” in which the homosocial bonds between the key male figures fostered a system of literary mentorship that largely excluded women writers. Although the canon is frequently narrowed to give precedence to Jack Kerouac, Allen Ginsberg, and William S. Burroughs, and the male writers who joined their cadre, my project focuses on the many women writers who were part of the Beat community and the lasting impact of their work. My goal is to reconceptualize Beat aesthetics, themes, and communities in light of these women’s writing. The project entails close textual analysis of these writers’ work across multiple genres, including poetry, memoir, and fiction, as well as research toward historical and cultural contextualization, including interviews. Their writing emphasizes the centrality of the domestic sphere to Beat publishing and the utility of the road in seeking healing and empowerment, in addition to offering new perspectives on Beat spirituality and life writing. In addition to bringing well-deserved attention to these marginalized writers, this research is valuable for American literary history in expanding knowledge of women’s writing at midcentury. More broadly, these writers are of significance to our understanding of modern feminism as well. The majority of these women worked to support their families at a time described by Betty Friedan as the age of the “feminine mystique,” and they pushed back against the rigid social conventions of their time by escaping into bohemian life. The Beat women wrote frankly about reproductive roulette, single motherhood, abortion, social stigma about being women who lived alone, and difficulty starting careers in a sexist culture. For their shared values of self-sufficiency and dedication to their work, these women could be seen as feminist forerunners to the major crest of second wave feminism. However, feminism is not a single, static, monolithic push, and my interrogation of Beat women’s texts complicates and enriches understandings of postwar gender conventions. These writers’ thought contributes to ongoing discussions in modern feminist thought, including shifting cultural attitudes toward domestic labor, the importance of women’s communities, and forms and contradictions of female leadership.

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37

McCarthy, Jessica E. Schubert. "Genre bending the work of American women's writing, 1860-1925 /." Pullman, Wash. : Washington State University, 2009. http://www.dissertations.wsu.edu/Dissertations/Spring2009/j_mccarthy_042209.pdf.

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38

Cooper, Sarah Elizabeth. "Alternative family systems in Latin American contemporary narrative by women : re-defining family discourse /." Digital version, 1999. http://wwwlib.umi.com/cr/utexas/fullcit?p9956820.

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39

El, Deek Hosry Manar. "Interrogations into Female Identity in Arab American literature." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040024.

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Cette thèse étudie des œuvres littéraires arabo-américaines contemporaines écrites par des femmes, plus spécifiquement les écrits d’Evelyn Shakir tels que Bint Arab, ainsi que plusieurs autres romans dont Arabian Jazz et Crescent de Diana Abu Jaber, The Inheritance of Exile de Susan Muaddi Darraj, The Night Counter d’Alia Yunis, et Once in a Promised Land de Laila Halaby. Elle montre comment ces œuvres construisent des univers où peuvent être interrogées les notions d’identité, de culture, d’ethnicité, et de genre. Les conflits quotidiens autour de l’identité sont traités en se fondant à la fois sur les œuvres critiques des femmes arabo-américaines et sur les études psycho-sociales du biculturalisme. De plus, ce travail met l’accent sur la formation de solidarités entre les femmes de couleur, en élargissant le concept de « conscience des zones frontalières » d’Anzaldua pour inclure les œuvres des écrivaines arabo-américaines. Les théories développées après la colonisation, particulièrement les études sur l’orientalisme à la suite d’Edward Said, sont également invoquées pour remettre en question le modèle oriental de la féminité. Enfin, cette thèse analyse la narration et son rôle dans la création d’un point d’ancrage pour les identités « exilées », insistant plus particulièrement sur la figure de Shéhérazade. Ce travail montre ainsi la façon dont les productions littéraires peuvent créer de nouveaux espaces pour comprendre les problèmes sociaux, politiques, culturels, ou ethniques
This dissertation analyses contemporary Arab-American literary productions by female writers, specifically, Shakir’s collection of memoirs Bint Arab and her two short stories “Oh Lebanon” and “Name Calling,” as well as a selection of novels, Abu Jaber’s Arabian Jazz and Crescent, Darraj’s The Inheritance of Exile, Alia Yunis’s The Night Counter, and Laila Halaby’s Once in a Promised Land. It shows how these works construct a space which enables them to investigate questions of identity, culture, ethnicity and gender. Identity conflicts around everyday matters like physical appearance, color, dress codes, veiling, chastity, and marriage are addressed by drawing upon critical works by Arab-American female writers and psycho-social studies on biculturalism. Moreover, this work emphasizes coalition-building with women of color by extending Anzaldua’s concept of the “consciousness of the borderlands” to encompass works by Arab-American female writers. Theories by post-colonial thinkers, particularly Said’s studies on Orientalism, also contribute to the dissertation’s questioning of the Oriental model of womanhood. Finally, this dissertation envisages critical works that study storytelling and its role in creating a surrogate home for “exilic” identities, with special emphasis on the Scheherazadian narrative. This project views literary productions as an appropriate way to investigate social, political, cultural and ethnic issues. It shows how writings by Arab-American women contribute to exploring inner identity conflicts, how they connect with other minority groups, and how they create a new sense of home

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Zalduondo, María M. "Novel women gender and nation in nineteenth-century novels by two Spanish American women writers /." Access restricted to users with UT Austin EID, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3037032.

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Stout, Mary Ann 1954. "Early Native American women writers: Pauline Johnson, Zitkala-Sa, Mourning Dove." Thesis, The University of Arizona, 1992. http://hdl.handle.net/10150/292027.

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Turn of the century Native American women's published writing is examined for the elements which presage contemporary Native American women's writing. In particular, three writers' works and biographies are examined in order to determine why they wrote, how they wrote and what they wrote. Pauline Johnson, Zitkala-Sa and Mourning Dove made early contributions to the field of Native American women's literature.

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Miller, John Douglas. "Buck-horned snakes and possum women: Non-white folkore, antebellum *Southern literature, and interracial cultural exchange." W&M ScholarWorks, 2010. https://scholarworks.wm.edu/etd/1539623556.

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The antebellum American South was a site of continual human mobility and social fluidity. This cultivated a pattern of cultural exchange between black, indigenous, and white Southerners, especially in the Old Southwest, making the region a cultural borderland as well as a geographical one. This environment resulted in the creolization of many aspects of life in the region. to date, the literature of the Old South has yet to be studied in this context. This project traces the diffusion of African-American and Native American culture in white-authored Southern texts.;For instance, textual evidence in Old Southwestern Humor reveals a pattern of adaptations of folklore belonging to African-Americans. Johnson Jones Hooper's Some Adventures of Simon Suggs (1845) in particular reflects the presence of plots and motifs that originated in African trickster tales. Not all white Southern authors were menable to creolization, though. Novelists like William Gilmore Simms drew from but resisted the complete integration of non-white folklore in his historical romances. Native Americans and their culture frequently appear in his The Yemassee (1835), for instance, but always in a separate sphere.;The differences associated with the creolization of Old Southwestern Humor and the lack thereof in Southern historical romances reflect a distinction in Southern attitudes toward westward expansion and its social implications. In particular, the degree to which these authors did or did not resist creolization reflects their opinion about patterns of antebellum emigration and the backwoods social fluidity that contributed to the phenomenon of cultural exchange. Older conservatives like Simms, for instance, perceived the Old Southwest as a threat due to its rowdiness, materialism, and permeable social class. Novels by these authors displaced this milieu into the colonial past at an historical moment at which it became stabilized. The consequent elimination of Native Americans by whites in these texts marked a symbolic victory for order and stasis.;The texts of younger emigres to the South like Hooper reflect an alternate perspective. their embrace of the creative opportunities made possible by the social instability of the Old Southwest corresponds to their enthusiasm for the economic and social promise afforded by this recently settled region. In other words, the authors' openness to creolization mirrors a tolerance of the chaos born of mobility and a lack of structure. Suggs's antisocial exploits are adapted from African-American trickster tales whose characteristic disdain for authority and subversiveness contribute to Hooper's satire of traditional attitudes, including paternalism, which sought to limit this social flux.;These texts' competing viewpoints of the frontier allow scholars to get a sense of the diversity of social and political thought in the region---there was no monolithic Mind of the Old South. Additionally, acknowledging that these texts are a product of the multicultural environment reveals the contributions of Africans and Native Americans to Southern literature at its formative stage.

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Newell, Deaneen M. "Women staging change dissimulation and cultural politics in Mexico /." [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3162978.

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Thesis (Ph.D.)--Indiana University, Dept. of Spanish and Portuguese, 2005.
Title from PDF t.p. (viewed Dec. 2, 2008). Source: Dissertation Abstracts International, Volume: 66-02, Section: A, page: 0608. Chair: Catherine Larson.

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Schroot, Lisa M. "A Culture of Rape: In Twentieth Century American Literature and Beyond." UKnowledge, 2016. http://uknowledge.uky.edu/english_etds/39.

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This project examines rape culture in American literature and society, exploring factors of rape culture through the narratives of literary protagonists and current women alike. Each chapter is grounded in a work of literature, which serves as a lens through which to analyze a factor of rape culture, and is then broadened in scope to incorporate recent court cases that have had significant sociocultural impacts. The introduction includes a critical review of rape in feminist theory, from Susan Brownmiller to Ann J. Cahill. The first chapter treats the rape of Dolores Haze and victim blaming in Vladimir Nabokov’s 1955 Lolita, and the 2010 Cleveland, Texas gang rapes of an eleven-year-old girl, who was cast as a “Lolita” by her community and the media. The second chapter discusses the rape of women with disabilities in Elmer Harris’s 1940 Johnny Belinda, and two 2012 cases in California and Connecticut involving the rapes of women with disabilities and the issue of consent, both of which influenced legislation. The third chapter focuses on the use of mass rape as a weapon of war in Lynn Nottage’s 2009 Ruined, and the narratives and testimonies of rape survivors in the Democratic Republic of the Congo, where nearly 2 million women have been raped since 1998. As the literature illustrates, when rape functions as an instrument of power and control certain similarities arise, such as victim blaming, consent, and the use of rape to demoralize and subjugate women, all of which are primary features of rape culture.

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Vozel, Jessica Marie. "The Women-Only Hunting." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1307647656.

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Romeo, Caterina. "Narrative tra due sponde memoir di italiane d'America /." Roma : Carocci : Università degli studi di Roma "La Sapienza", 2005. http://catalog.hathitrust.org/api/volumes/oclc/60340203.html.

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Benedetti, Rosser Sandra. "Bodies in motion: María Luisa Bemberg's filmic approach to women and their journeys." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=110369.

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ABSTRACTArgentina's film industry and feminist movement both emerged at the turn of the twentieth century and evolved side by side. However, from the 1900s to the 1970s, the number of women in front of the camera in Argentina far exceeded the mere three directing behind it: two female directors during the silent era (1901-1928), none throughout the Golden Age of Argentine cinema (1930-1950) and one in the 1960s. Not until the 1970s do feminism and film finally intersect in the figure of Argentine film director María Luisa Bemberg. A unique female perspective grounded in her feminist ideals distinguishes Bemberg from her predecessors. In her short, impressive career, Bemberg subverts stereotypical images of women in Argentine cinema to leave a legacy of female protagonists that embody a new model of 'woman' in film. This dissertation studies Bemberg's framing of women and their spatial movement in her historical biographies: Camila (1984), Miss Mary (1986) and Yo, la peor de todas (1990). Bemberg correlates her female protagonists' transgressive movements with their desire for independence. The director's female perspective exposes the political, social and cultural problems that continue to repress women and which each of her nonconforming protagonists, in her own way, is meant to reveal. This study makes an important contribution to existing scholarship on Argentine cinema in particular and to film studies in general since few studies exist that specifically explore women's movement framed through the cinematographic gaze of a female director.First, I delineate the histories of Argentine film and of the feminist movement before exploring women's roles in the film industry. Through a selection of Argentine 'Golden Age' films, I examine the female stereotypes and conventions of spatial movement to assess whether Bemberg breaks away aesthetically. Finally, I apply aspects of Giuliana Bruno's feminist film theory to analyze Bemberg's spatial framing of women in her biographical films.
SOMMAIREL'industrie cinématographique et le mouvement féministe en Argentine ont tous deux émergés au début du XXe siècle et ont évolué côte à côte. Toutefois, entre les années 1900 et les années 1970, il y avait beaucoup plus d'actrices que de réalisatrices dans le cinéma argentin: deux réalisatrices à l'époque du film muet (1901-1928), aucune pendant l'âge d'or du cinéma argentin (1930-1950) et une dans les années 1960. Ce n'est que dans les années 1970 que féminisme et cinéma se croisent finalement dans l'œuvre de la réalisatrice María Luisa Bemberg. Bemberg se distingue de ses prédécesseurs par sa perspective féminine unique soutenue par ses idéaux féministes. Au cours de sa courte et impressionnante carrière, Bemberg a renversé les images stéréotypées de la femme dans le cinéma argentin pour faire place à une lignée de protagonistes féminines qui incarnent un nouveau modèle de femmes dans le cinéma. Cette thèse étudie la représentation des femmes et leur mouvement spatial dans les biographies historiques de Bemberg: Camila (1984), Miss Mary (1986) et Yo, la peor de todas (1990). Dans ces films, Bemberg montre la relation ente les mouvements transgressifs de ses protagonistes féminins et leur désir d'indépendance. La perspective féminine et féministe de la réalisatrice révèle les enjeux et institutions politiques, sociaux et culturels qui ont opprimé les femmes et que ses protagonistes tentent de combattre afin de s'affirmer en tant qu'êtres pensants libres. La cartographie de la trajectoire spatiale des personnages féminins dans les films de Bemberg qui est élaborée dans cette thèse représente une contribution importante à la recherche sur le cinéma argentin ainsi qu'aux études cinématographiques féministes.La présente étude commence avec un survol de l´historie du cinéma et du mouvement féministe argentin. Elle explore para la suite le rôle des femmes et les stéréotypes féminins dans le cinéma argentin. Cette analyse me permettra de mieux dégager les caractéristiques de l'esthétique féministe de Bemberg. La théorie cinématographique féministe de Giuliana Bruno servira de cadre conceptuel à une analyse détaillée du cadrage spatial utilisé par Bemberg dans ses films biographiques.

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Morris, Keidra. "Troubled migrations an analysis of Caribbean-American women's (im)migration literature /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1610027871&sid=23&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Birk, Amy Simpson. "MOVING EXPERIENCES: WOMEN AND MOBILITY IN LATE NINETEENTH AND EARLY TWENTIETH-CENTURY AMERICAN LITERATURE." UKnowledge, 2018. https://uknowledge.uky.edu/english_etds/65.

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This project recovers and revises late nineteenth and early twentieth-century narratives of mobility which invoke female protagonists who move from stifling, patriarchal domestic settings in the rural and suburban United States to the more symbolically emancipated settings of New York City and even Europe to reveal both the limitations and possibilities for women’s lives in the United States at the turn of the twentieth century. By challenging popular American fiction’s preoccupation with urban white slavery myths and the lingering proscriptive standards for women’s behavior of the Victorian era, the Introduction argues the selected works of this dissertation mark a significant, but perhaps fleeting moment in American history when women were on the verge of profound gains toward equality. Chapter Two reads Gertrude Atherton’s late nineteenth-century interrogation of intimate and professional mobility in Patience Sparhawk as a significant precursor, if not prototype, of the recently recognized middlebrow moderns of the 1920s. Chapter Three examines Edith Wharton’s competing views of mobility and motherhood in The House of Mirth, The Custom of the Country, and Summer. Chapter Four aims to recover David Graham Phillips’ posthumously published novel, Susan Lenox: Her Fall and Rise, as a complicated engagement with unconventional views of mobility and prostitution in early twentieth-century America, and Chapter Five argues that Jessie Redmon Fauset’s oft-maligned, sentimental novel, Plum Bun, warrants more critical attention for its revolutionary efforts to imagine an alternative cultural aesthetic whereby young, aspiring African-American women can acquire intimate and professional fulfillment through an empowering transnational mobility. Recognizing how stories of fallen womanhood in American literature traditionally overemphasized and criminalized a woman’s desire for intimacy, while stories of New Womanhood often scripted characters ultimately devoid of desire and companionship, I argue Atherton, Wharton, Phillips and Fauset examine and challenge these categories of womanhood in important, often overlooked, depictions of mobility. Too often dismissed or excused for their conservativism, these authors warrant more attention from modern literary scholars for their shared, varied, and intentionally “moving” experiences for women in late nineteenth and early twentieth-century America.

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Eley, Dikeita N. "Color (Sub)Conscious: African American Women, Authors, and the Color Line in Their Literature." VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/1486.

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Color (sub)Conscious explores the African American female's experience with colorism. Divided into three distinct sections. The first section is a literary analysis of such works as Toni Morrison's The Bluest Eye, Gloria Naylor's The Women of Brewster Place, Maya Angelou's I Know Why the Caged Bird Sings and Alice Walker's "If the Present Looks Like the Past, What Does the Future Look Like?" an essay from her collection In Search of Our Mothers' Gardens. The second section is a research project based on data gathered from 12 African American females willing to share their own experiences and insights on colorism. The final section is a creative non-fiction piece of the author's own personal pain growing up and living with the lasting effects of colorism.

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