Dissertations / Theses: 'Androgyny in literature'

1

Pang, Ka-wing Steven, and 彭家榮. "Schizophrenia / androgyny: mapping Jean Genet." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952793.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Roberts, Paula Ann. "La dualité dans l'oeuvre de Jacques Poulin." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ41575.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Hargreaves, Tracy. "Virginia Woolf and twentieth century narratives of androgyny." Thesis, Queen Mary, University of London, 1994. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1444.

Full text

Abstract:

This historically contextualised work investigates Virginia Woolf's often contested theory of the androgynous writing mind. The work draws on early twentieth century discourses prevalent within sexology and psychoanalysis as a means of investigating Woolf's work. This is offset against readings of recent theorizations of sex and gender which accentuate the limitations of the conceptual schema used by early twentieth century theorists. Since her writing life was framed by two world wars (between publication of The Voyage Out in 1915 and the posthumous publication of her last novel, Between the Acts in 1941) much of this work analyses modernist literature, particularly women's writing, in relation to ideologies that sought both to privilege and to denigrate war-time constructions of masculinity and male sexuality. I argue that androgyny was introduced as a metaphor for writing in A Room of One's Own as a way of controlling militant feminism and male sexuality. At the same time that it sought conservatively to suppress sexual politics in writing, it was itself an autoerotic figure, based upon mythological and psycho-sexual discourses that either transcended the political dynamics of the time, or relied upon rhetorical constructions then associated with the unconscious. As Woolf constantly negotiates between embracing and wishing to escape from the various implications of sexual difference, this work traces the relationship that Woolf establishes between patriarchal society, women's sexuality and pre-war and post-war constructions of gender. These constructions are always, for Woolf, intrinsically bound up in her writing praxis, which I trace through her unpublished, extant manuscripts. I argue that because Woolf never abandoned the trope that she had invented for symbolising writing and the subjectivity of the writer, her writing, as it engaged with the encroaching political dynamics of the 1930s became increasingly more arcane. Although she believed that art could somehow transcend the political debates during the 1930s, her reluctance to abandon the once auto-erotic figure that she had developed in the 1920s figured what she began to call "mental chastity. " Woolf's retort to politics was, finally, to eclipse history and go back to the beginning, to the primeval and pre-history. This dissertation engages with the mythical, psychoanalytic, cultural and sexual dynamics of Woolf's work and her context.

APA, Harvard, Vancouver, ISO, and other styles

4

Hartin, Edith T. "Reading as a Woman: Reynolds Price and Creative androgyny in "Kate Vaiden" and "Good Hearts"." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625604.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Holman, Crystal Gail. "The Dilemma of Woolf's Androgyny: A Close Look at Androgyny in A Room of One's Own and Orlando." [Johnson City, Tenn. : East Tennessee State University], 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-0719101-133906/restricted/holman0731.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Robinson, Liam. "Personality and the awareness of God in Zinaida Gippius's theory of androgyny." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=31136.

Full text

Abstract:

Zinaida Gippius's literary works are striking for the development of the theme of androgyny.
Chapter One examines the major Russian Symbolist intellectuals in their treatment of androgyny, which was animated by a desire to transfigure the world. Gippius's treatment of androgyny was at odds with the prevailing theory because it was not based on the defeminization of humanity.
Chapter Two addresses Gippius's reconstruction of Symbolist androgyny theory and explains the rejection of gender-based motivation in her metaphysical system by its orientation toward personality and an awareness of God.
Chapter Three shows how she used her poetry and prose to advance her belief that a perfect, androgynous love could reunite humanity with God. While Gippius's prose describes the search for this type of love, her poetry deals with it as a lyric experience.
The religious motivations of Gippius's redefinition of Symbolist androgyny indicate the need to re-evaluate the place of Orthodox Christianity in the evolution of Russian Symbolism.

APA, Harvard, Vancouver, ISO, and other styles

7

Bak, John Steven. "Tennessee Williams and the southern dialetic : in search of androgyny." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/862289.

Full text

Abstract:

Blanche DuBois marked the most significant literary achievement of Tennessee Williams. Though her rape functions dramatically as a powerful climax which has troubled critics and bothered audiences, it is more a thematic culmination of Blanche's inability to sequester her sexuality. In fact, nearly everything Williams wrote prior to 1947 was building toward Blanche's rape; nearly everything that came after was a thematic attempt to resolve that issue left incomplete in her character--the southern dialectic, the preponderant theme and unsolved riddle of Williams's long career.The southern dialectic--a model developed from the joint theories of southern historian W. J. Cash, theorist Allen Tate, novelist William Faulkner, literary critic C. Hugh Holman, and playwright Tennessee Williams--is the internalization of opposites virulent in human nature which seeks to synthesize its disparate traits. Williams juxtaposed onto most of his characters this metaphysical debate between antinomies, most notably flesh and spirit, past and present, and miscegenation. Although he explored each with precise attention to balance, Williams returnedto flesh and spirit and its teleological (as opposed to theological) assessment of the human condition as his thematic touchstone.From his first performed play in 1935 to his last works of-the Eighties, Williams harnessed the dialectic in himself --between his innate desire for flesh and his learned duties to spirit--and generated from it the art that was as much his career as it was his exercise in psychotherapy. By placing both traits in his characters and dramatizing their interaction through two key images--the cat and the bird, whose own timeless battle reflected the same attraction/ repulsion nexus of the flesh-spirit dialectic--Williams could search for the one-androgynous hero who, like Christ, would successfully integrate them.Androgyny, for Williams, was not strictly hermaphroditism, though he was drawn to the asexual, but the ideal state of human existence--the integration of paradoxically repellent and attractive forces created by the dialectic. Though his Grail-like pursuit led him to discover different ways to end or survive this dialectic (denial, then death, then endurance), Williams's search for his androgynous hero would ultimately be in vain.
Department of English

APA, Harvard, Vancouver, ISO, and other styles

8

Rolland, Nina. "Bodies in composition : women, music, and the body in nineteenth-century European literature." Thesis, University of Kent, 2016. http://www.theses.fr/2016USPCA041.

Full text

Abstract:

Notre recherche vise à étudier les relations entre musique et littérature au XIXe siècle à travers la figure de la musicienne et plus particulièrement à travers son corps. Le corps féminin apparaît comme un riche point de rencontre entre musique et littérature, facilitant d’une part la référence musicale dans les textes et créant d’autre part un système musico-narratif complexe ancré dans les discours socio-culturels du XIXe siècle. L’étude de textes canoniques de la littérature européenne nous permet d’envisager les musiciennes au sens large (compositrices, interprètes, prima donna et même auditrices) en combinaison avec différents discours sur le corps (philosophique, scientifique et social) afin d’apporter un regard nouveau sur les femmes et les arts. Notre approche est à la fois chronologique et thématique et s’attache à montrer une progression commune de la représentation du corps et de la musicienne dans les textes. Ainsi, les textes romantiques allemands présentent la musicienne comme un être évanescent et font d’elle le sujet de l’impossibilité de matérialiser l’abstrait. Les textes du milieu du siècle sont analysés parallèlement au discours clinique sur le corps et envisagent les musiciennes comme des monomanes. Les textes écrits par des femmes placent la musicienne – saine de corps et d’esprit – comme prêtresse d’une religion musicale. Enfin, dans les textes fin-de-siècle, le corps de la musicienne n’échappe pas aux théories de dégénérescence. L’étude parallèle de textes littéraires et de différents discours sur le corps pose ainsi les femmes, la musique et le corps comme un triptyque inévitable aux études de genre, de musique et de littérature
This thesis examines the relations between music and literature through fictional women musicians in nineteenth-century European literature and more particularly through their bodies. The female body appears to be a rich juncture between music and literature, facilitating musical references in literature as well as creating complex musical narrative systems anchored in social, cultural and scientific discourses of the long nineteenth century. All types of women musicians are examined (singers, instrumentalists, composers, and even listeners) along with different discourses on the body (social, philosophical and scientific), shedding a new light on gender and the arts. Our chronological as well as thematic approach strives to highlight a common representation of the body and of female musicians in literature. German Romantic texts thus present women musicians as elusive figures who play a key role in the impossibility to materialise the abstract. Realist and sensation novels are analysed through a clinical perspective on the body and envision female musicians as monomaniacs. On the contrary, fiction written by female authors introduces empowered musicians as priestess of art. Finally, fin-de-siècle novels stage the female body as a degenerate entity of society. The parallel analysis of literary case studies with different perspectives on the body posits the women-music-body triangle as a new approach to gender, music and literature

APA, Harvard, Vancouver, ISO, and other styles

9

Gleason, Benjamin P. (Benjamin Patrick). "The Rhetoric of Androgyny: Gender and Boundaries in Le Guin's The Left Hand of Darkness." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc277680/.

Full text

Abstract:

The androgyny of the Gethenians in The Left Hand of Darkness is a vehicle for Ursula Le Guin's rhetoric concerning gender roles. Le Guin attempts to make the reader identify with an ideal form of androgyny, through which she argues that many of the problems of human existence, from rape and war to dualistic thought and sexism, are products of gender roles and would be absent in an androgynous world. The novel also links barriers of separation and Othering with masculine thought, and deconstructs these separative boundaries of opposition, while promoting connective borders which acknowledge difference without creating opposition. The novel thus criticizes gendered thought processes and social roles, because they lead to opposition and separation.

APA, Harvard, Vancouver, ISO, and other styles

10

Hastings, Sarah. "Sex, Gender, and Androgyny in Virginia Woolf’s Mock-Biographies “Friendships Gallery” and Orlando." Cleveland State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1232075301.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Thompson, Heidi M. "Uroboros : visions of the androgyne /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/9473.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Cardon, Kristen Nicole. "Shakespeare's Art and Artifice: Passing for Real in As You Like It." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5657.

Full text

Abstract:

Gender performativity, detailed by Judith Butler and accepted by most contemporary queer theorists, rests on an agentive model of gender wherein “genders are appropriated, theatricalized, worn, and done” (“Imitation and Gender Insubordination” 716). This academic orthodoxy is challenged, however, by the increasing presence of transgender persons joining the theoretical discourse, many of whom experience an essential gender as a central facet of their identity. I respond to Katie R. Horowitz’s recent modification of Butler’s theories—a theory of omniperformance to dissolve the distinction between performance and performativity, and thereby between artifice and “real life.” I argue that gender-as-art, a schema that acknowledges both the intention and the intuition of gender, is a more fruitful foundation than omniperformance. I use, as my model, Elisabeth Bergner’s performance as Rosalind in Paul Czinner’s 1936 As You Like It and Bryce Dallas Howard’s 2007 Rosalind in Kenneth Branagh’s film adaptation of the same play. In Bergner and Howard’s androgynous gender performances, I argue, a body—a transgender body, an androgynous body, a genderqueer body, a cisgender body—represents an aesthetic ideal, the product of the human drive to create, to beget, to beautify.

APA, Harvard, Vancouver, ISO, and other styles

13

Boldina, Alla. "Androgynous imagination in Romantic and Modernist literature from William Blake and Elizabeth Barrett Browning to D.H. Lawrence and H.D. /." Diss., Online access via UMI:, 2007.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

14

Chaitas, Maria. "Bortom ”könet”? : om Simones förvandling, avslöjande och återställande i Ulf Starks Dårfinkar & dönickar (1984)." Thesis, Södertörn University College, School of Gender, Culture and History, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-112.

Full text

Abstract:

The aim of this paper is to analyse how subject, gender and sexuality is constructed in the book Dårfinkar & dönickar (1984), by Ulf Stark. In relation to this I have also analysed how the main character, Simone, develops from being a child into becoming a teenager.

Queertheory is the theoretical basis of this paper. Queer theory questions heteronormativity and aims to dissolve conceptions and notions that function in an excluding and limiting way. Queer theory also questions conceptions that seem obvious and/or natural, for example “woman”/”man” and “homo-/heterosexuality”.

I have chosen to focus the analysis on a number key events in the book and they are categorised according to Tiina Rosenberg`s three dramaturgic concepts: transformation, unveiling and restoration. I have also focused on how masculinities are constructed and to be able to this I have used R. W Connel`s theory. The result of my analysis is that the representation of gender in the book are constructed in accordance to the heterosexual matrix. It is also clear that Simone`s development from childhood to teenager follows Rosenberg`s three dramaturgic concepts.

APA, Harvard, Vancouver, ISO, and other styles

15

Tinsley, Hettie. "Constructions of women in relation to the politics and ideals of androgyny in some of the works of Virginia Woolf, Doris Lessing, Joan Barfoot and Angela Carter /." Title page, summary and contents only, 1993. http://web4.library.adelaide.edu.au/theses/09ARM/09armt592.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Spallino, Jamie. "“It’s Queer that Daylight’s not Enough”: Interdependence Counters Othering in Ursula K. Le Guin’s The Left Hand of Darkness." Wittenberg University Honors Theses / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1624014925027157.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Lewis, Staci E. ""In Death Thy Life is Found": An Examination of the Forgotten Poetry of Margaret Fuller." [Johnson City, Tenn. : East Tennessee State University], 2002. http://etd-submit.etsu.edu/etd/theses/available/etd-0327102-153619/unrestricted/Lewis041002.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Rooney, Caroline Rose. "The androgyne and the double in literature, 1890-1940." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316007.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

MacLeod, Alison Jean. "Handsome girls, hellcats and tomboys : a study of the female androgyne in literature." Thesis, Lancaster University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337353.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Teuber-Terrones, Natalia. "Une lecture croisée de l'oeuvre poétique de Georg Trakl : constellation dialectique et dépassement." Thesis, Strasbourg, 2019. http://www.theses.fr/2019STRAC032.

Full text

Abstract:

Cette thèse aspire à proposer une lecture renouvelée de l’oeuvre poétique de GeorgTrakl. Notre démarche repose d’abord sur la méthodologie classique employée en études germaniques, soit l’analyse de l’oeuvre à partir des faits biographiques, du contexte socio-historique et intellectuel et de l’intertextualité, que nous avons fait le choix d’enrichir par une approche pluridisciplinaire, faisant intervenir la philosophie, l’histoire des religions, la psychanalyse et la psychologie. En effet, ces disciplines nous permettront d’enrichir les résultats des nombreuses études de qualité qui ont fait date dans la recherche en ouvrant le regard porté sur l’oeuvre vers d’autres horizons. Ce travail se donne pour objectif majeur de questionner, de (re)lire et d’interpréter l’oeuvre poétique de celui que l’on considère comme le précurseur de l’expressionnisme à partir de disciplines variées, mais faisant toutes partie des sciences humaines, afin d’en montrer non seulement la complexité formelle, mais surtout la profondeur philosophique, l’actualité et la visée éthique
This thesis aspires to present a renewed reading of Georg Trakl’s poetry. Our reasoning is based on traditional methodology approaches commonly used in German studies. These comprise, among other things : interpreting the work on the basis of biographical facts, exploring social, historical and intellectual context and intertextuality. We have made the choice to improve this traditional approach by enhancing interdisciplinarity, using the lecture keys and results of philosophy, history of religion, psychoanalysis and psychology. Indeed, these disciplines will permit us to enhance the results of many serious studies by introducing a new point of view about his poetry. Our work aims to question reading in a different way, interpreting GeorgTrakl’s poetry on the basis of different disciplines associated with the humanities in order to show not only the formal complexity of these poems, but above all their philosophical depth, topicality and ethical goals

APA, Harvard, Vancouver, ISO, and other styles

21

Frotscher, Mirjam M. "Virginia Woolf." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-219530.

Full text

Abstract:

Virginia Woolf (1882–1941) war eine englische Schriftstellerin, Verlegerin, Essayistin, Tagebuchverfasserin, sowie Literatur- und Kulturkritikerin, die als Wegbereiterin der literarischen Moderne gilt. In zahlreichen kritischen Essays und Romanen reflektiert sie die geteilten Lebens- und Bildungssphären der Geschlechter und kritisiert die materiellen Umstände der durch das Geschlecht determinierten sozialen Rolle. Eine genderfokussierte kritische Rezeption von Woolfs Texten, welche sich mit weiblichem Schreiben und Lesen, Frauengeschichtsschreibung und weiblicher Ästhetik befassen, findet seit Mitte der 1970er Jahre statt.

APA, Harvard, Vancouver, ISO, and other styles

22

Frotscher, Mirjam M. "Virginia Woolf." Technische Universität Dresden, 2015. https://ul.qucosa.de/id/qucosa%3A15358.

Full text

Abstract:

Virginia Woolf (1882–1941) war eine englische Schriftstellerin, Verlegerin, Essayistin, Tagebuchverfasserin, sowie Literatur- und Kulturkritikerin, die als Wegbereiterin der literarischen Moderne gilt. In zahlreichen kritischen Essays und Romanen reflektiert sie die geteilten Lebens- und Bildungssphären der Geschlechter und kritisiert die materiellen Umstände der durch das Geschlecht determinierten sozialen Rolle. Eine genderfokussierte kritische Rezeption von Woolfs Texten, welche sich mit weiblichem Schreiben und Lesen, Frauengeschichtsschreibung und weiblicher Ästhetik befassen, findet seit Mitte der 1970er Jahre statt.

APA, Harvard, Vancouver, ISO, and other styles

23

Mitterer, Nicola. "Liebe ohne Gegenspieler : androgyne Motive und moderne Geschlechteridentitäten in Robert Musils Romanfragment "Der Mann ohne Eigenschaften" /." [Graz] : Grazer Univ.-Verl, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2894733&prov=M&dok%5Fvar=1&dok%5Fext=htm.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Murray, Marcy Wynn. "Cross-dressing in Sarah Grand's The Tenor and the Boy and E.D.E.N Southworth's The Hidden Hand : gender, class, and power." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001722.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Gulding, Malin. ""Male, Female or Both"? : En Jämförande Analys av hur det Androgyna Påverkar Identiteten och Konsten i Orlando av Virginia Woolf och How to be both av Ali Smith." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-74317.

Full text

Abstract:

I denna jämförande studie analyseras vad det androgyna gör med identiteten och det kreativa skapandet i romanerna Orlando av Virginia Woolf och How to be both av Ali Smith. Analysen görs utifrån Virginia Woolfs tanke om ”the androgynous mind” samt Judith Butlers teori om performativitet. Studien visar att Virginia Woolf `s tanke med ”the androgynous mind” går att finna i Orlando och How to be both utifrån vad det androgyna tillför konsten och identiteten i de båda romanerna. Studien visar också att Butlers teori om performativitet som här använts för att undersöka och jämföra vad som sker när protagonisterna ”spelar” sina nya könsidentiteter går att finna i båda romanerna.

APA, Harvard, Vancouver, ISO, and other styles

26

Gonneaud, Justine. "L'ANDROGYNE DANS LA LITTERATURE BRITANNIQUE CONTEMPORAINE : EVOLUTIONS ET METAMORPHOSES D'UNE FIGURE." Phd thesis, Université Paul Valéry - Montpellier III, 2013. http://tel.archives-ouvertes.fr/tel-00986694.

Full text

Abstract:

Ce travail traite de la figure de l'androgyne dans la littérature britannique contemporaine, à travers un corpus de cinq œuvres de la seconde moitié du 20ème siècle : les romans de Brigid Brophy, In Transit, d'Angela Carter, The Passion of New Eve, de Jeanette Winterson, Written on the Body, de Peter Ackroyd, Dan Leno and the Limehouse Golem et de Will Self, Cock and Bull. La première partie examine la valeur plastique de l'androgyne qui agit dans les textes comme opérateur de métamorphoses et balise un terrain textuel de l'instabilité et de la réversibilité, permettant de penser les opposés dans un rapport de pro‐thèse plus que synthèse. La seconde partie étudie les divers aspects de la monstration, dans la perspective de dégager la double logique de l'exhibition et de la renégociation de la norme liées à l'hermaphrodisme. Enfin, la troisième partie traite des dimensions éthique et politique de la figure, dans la mesure où l'androgyne permet de réarticuler la notion de sujet comme étant interconnecté à, constitué par et responsable de l'Autre, engendrant une pensée de la relation éthique mais également pratique de la sollicitude.

APA, Harvard, Vancouver, ISO, and other styles

27

Ims, Johansson Jesper. "I ljugen, I ljugen, jag är ej en kvinna! : En queerteoretisk analys av huvudkaraktären Tinto och maskeradmotivet i C.J.L. Almqvists Drottningens juvelsmycke." Thesis, Växjö University, School of Humanities, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-1518.

Full text

Abstract:

The purpose of this paper is to do an analysis of the characters and the theater/masquerade motif in C.J.L. Almqvist’s Drottningens juvelsmycke (The Queen’s Diadem), based on queer theory, by using Judith Butlers’s Gender Trouble. As an alternative to the Swedish, gender determined, feminine pronoun ”hon”, which has been used by earlier critics concerning the main character of the book, ”hen” is proposed. By using the pronoun ”hen” the mistake made by the earlier critics who, without reflection, state that the character is a woman, will hopefully be avoided. In this analysis, the fact that the main character Tinto – generally known as Tintomara – is an androgyne, is demonstrated. The analysis of Drottningens juvelsmycke also shows that the other characters of the book try to – by heteronormative patterns – define Tinto’s gender identity according to their own requests and purposes. The recurrent theater/masquerade motif, which is closely connected with the main character of the novel, reflects the drift of the gender identities between fiction and reality, between acting and real life. By not staying or getting caught in any specific heteronormative gender identity, Tinto reveals the binary gender categories ”man” and ”woman” as non-natural constructions, just as true or false as any other gender.

APA, Harvard, Vancouver, ISO, and other styles

28

Mihajlovska, Lupka. "L'hybridation dans l'oeuvre de Jeannette Winterson." Phd thesis, Université d'Orléans, 2012. http://tel.archives-ouvertes.fr/tel-00835085.

Full text

Abstract:

Nous définissons l'hybridation littéraire comme la combinaison d'éléments a priori disparates aboutissant à la création d'un ensemble à la fois un et multiple, qui garde les traces de ses parties constitutives tout en étant autre, différent, nouveau. L'hybride englobe les sphères de représentation de ses éléments-parents tout en les dépassant. Par conséquent, l'hybridation tend vers l'extension de toutes les frontières, littéraires et culturelles, dans le but de nous offrir une vision du monde et du sujet toujours plus complète. Dans Oranges are not the Only Fruit, Sexing the Cherry, Written on the Body et The PowerBook de Jeanette Winterson, l'hybridation se manifeste à tous les niveaux du texte. L'hybridité physique et sexuelle des narrateurs est ainsi une des manifestations de leurs identités et vies plurielles et paradoxales. Ces hybrides incarnés (monstres, travestis ou androgynes) se construisant au fil de leurs histoires, qui s'inspirent toujours de récits antérieurs, narrateurs et narrations se démultiplient conjointement, s'entremêlent et se redéfinissent sans cesse. Le texte fluctue au gré de l'hybridation générique et de l'intertextualité. De l'entrecroisement de genres réalistes - tels que l'autobiographie, le récit historique ou le discours scientifique - et fictionnels - tels que le conte ou la romance - naît un hybride générique à résonances parodiques représentant la nature du sujet, de sa vie, de la réalité et de la vérité. Enfin, en hybridant des textes préexistants à des motifs personnels, l'auteur élabore une narration originale qui réécrit les schémas sexistes relayés par ses ancêtres et retranscrit sa vision de l'individu, du monde et de l'art.

APA, Harvard, Vancouver, ISO, and other styles

29

Madriasse, Sébastien. "La difficulté d'être dans l'oeuvre de Musset." Phd thesis, Université Blaise Pascal - Clermont-Ferrand II, 2010. http://tel.archives-ouvertes.fr/tel-00719715.

Full text

Abstract:

Comment un poète illustre de son vivant, un dramaturge non joué jusqu'en 1847, sifflé à l'Odéon, est-il devenu l'un des auteurs de théâtre les plus représentés au XXe siècle, en même temps qu'un poète dédaigné, tout au moins tombé en désuétude ? Parfois qualifiés d'illisibles, ses vers sont aujourd'hui souvent considérés comme les manifestations littéraires anecdotiques d'un éternel enfant, tout justes bonnes à émoustiller les jeunes filles. On ne s'intéresse guère de nos jours qu'à sa dramaturgie, avec "Lorenzacio" en point de mire ou encore aux approches biographiques d'un poète perçu comme parangon de l'enfant du Siècle. Peu de publications s'attachent à envisager les diverses manifestations de son mal-être dans l'écriture poétique, théâtrale et au coeur de sa prose. Mais au-delà des querelles et des partis pris littéraires, des jugements passionnés, une caractéristique demeure : la dualité de son expérience amoureuse. L'amour, point de jonction entre le poète et l'homme, résonne à la fois comme une sublimation des atermoiements de l'existence par la sacralisation de l'écriture et comme une composante radicale du mal du siècle. Cette disponibilité originelle semble chez Musset présider à l'état amoureux comme à l'acte créateur, qui s'unissent pour bâtir un étrange monument littéraire, à une époque où le romantisme tend à délaisser le voile de l'idéalisme pour s'adonner à "la curiosité du mal" que consacrera Baudelaire. Entre le châtiment de la femme et sa sublimation esthétique, au-delà de l'expérience par-delà Bien et Mal du divin et de la mort, Musset rêve d'une épuration dans la souffrance qui fondera l'une des plus douces, certains diront surannées, poétiques du coeur au sein du panthéon français. La psyché de l'homme moderne, deux siècles plus tard, dans ses interrogations sur le monde et la place qui est la sienne, son rapport au divin et à l'Autre, la dialectique de l'individuel et de l'universel, dans son indéracinable idéalisme, se fait l'écho des tourments de "l'Enfant du Siècle" et de sa quête d'un antidestin dans l'écriture...

APA, Harvard, Vancouver, ISO, and other styles

30

"Gender identity and androgyny in Shuang shen 雙身 (Dual Bodies), Orlando, A room of one's own and The illusionist." 1999. http://library.cuhk.edu.hk/record=b5890047.

Full text

Abstract:

by Kung Siu Bing.
Thesis (M.Phil.)--Chinese University of Hong Kong, 1999.
Includes bibliographical references (leaves 114-121).
Abstract and appendix in English and Chinese.
by Kung Siu Bing.
Abstract --- p.iii
Acknowledgement --- p.v
Abbreviations used for the four literary works --- p.vi
Chapter Chapter 1 --- Introduction --- p.1
Chapter Chapter 2 --- Femininity and Masculinity --- p.14
Chapter Chapter 3 --- Androgyny --- p.51
Chapter Chapter 4 --- Sex，Gender and Sexual Identity --- p.80
Chapter Chapter 5 --- Multiple Selves --- p.102
Chapter Chapter 6 --- Conclusion --- p.112
Works Cited --- p.114
Appendix I Chinese version of quotations of Shuang Shen --- p.122
Appendix II Table of major characters of Shuang Shen and The Illusionist --- p.126

APA, Harvard, Vancouver, ISO, and other styles

31

Lofdahl, William M. O'Rourke James L. "Iconic androgyne Byron's role in romantic sexual counter culture /." Diss., 2005. http://etd.lib.fsu.edu/theses/available/etd-05132005-152543.

Full text

Abstract:

Thesis (M.A.)--Florida State University, 2005.
Advisor: Dr. James O'Rourke, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed Sept. 19, 2005). Document formatted into pages; contains iv, 62 pages. Includes bibliographical references.

APA, Harvard, Vancouver, ISO, and other styles

32

Le, Corre Daisy. "Figures gynandres chez Catulle Mendès : Les Oiseaux bleus, Méphistophéla et Monstres parisiens." Thèse, 2017. http://hdl.handle.net/1866/20122.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

"Female identity in Virginia Woolf and Wang Anyi." Chinese University of Hong Kong, 1994. http://library.cuhk.edu.hk/record=b5887296.

Full text

Abstract:

by Wanda Wing Yi Tsui.
Thesis (M.Phil.)--Chinese University of Hong Kong, 1994.
Includes bibliographical references (leaves 92-101).
Chapter CHAPTER ONE --- Gender and Identity: Subjectivity in Women's Writing --- p.1
Chapter CHAPTER TWO --- The Androgynous Personality Celebrated in Virginia Woolf's To the Lighthouse --- p.20
Chapter CHAPTER THREE --- The Inner Growth of the Female Characters in Wang Anyi's Stories --- p.53
Chapter CHAPTER FOUR --- Female Identity: the Significance of Androgyny --- p.80
NOTES --- p.90
WORKS CITED --- p.92

APA, Harvard, Vancouver, ISO, and other styles

34

"A feminist study of visual monster: sexual hybridity in the alien monster." 1999. http://library.cuhk.edu.hk/record=b5890042.

Full text

Abstract:

by Phoebe Tse Wing Han.
Thesis (M.Phil.)--Chinese University of Hong Kong, 1999.
Includes bibliographical references (leaves 104-108).
Abstracts in English and Chinese.
Chapter Chapter One --- A Simple Historical Rundown of Visual Monsters --- p.1
Chapter Chapter Two --- Sexual Hybridity in Science Fiction Monsters --- p.32
Chapter Chapter Three --- Monstrous Hybridity of the Alien Mother --- p.66
Conclusion --- p.100
Work Cited --- p.104
Illustrations --- p.109

APA, Harvard, Vancouver, ISO, and other styles

35

Mathye, Hlamalani Ruth. "The image of women in selected Tsonga novels." Diss., 2003. http://hdl.handle.net/10500/2135.

Full text

Abstract:

This dissertation is a critical examination of selected Tsonga novels by male and female writers. Positive and negative images of women by these authors are analysed, compared and evaluated from a feminist perspective. Emphasis is laid on the manner in which Tsonga writers portray female characters in a changing society and the extent to which the images of women in this literature represent the present day woman. Adherence to ideological, cultural and traditional values as well as the differences in portrayal of women by male and female writers is also investigated. Through a comparison of novels written by male and female writers it is established that because of patriarchy these writers differ markedly in their portrayal of female characters. In all the novels analysed, the sociol-cultural context influences the way in which these writers portray female characters. Male writers promote traditional values which female writers strive to discard by portraying female characters who predominantly undermine stereotypical cultural sex-roles.
African languages
M.A. (African languages)

APA, Harvard, Vancouver, ISO, and other styles

36

Kučerová, Magdalena. "Mýtus o Narcisovi ve francouzské literatuře přelomu 19. a 20. století." Doctoral thesis, 2014. http://www.nusl.cz/ntk/nusl-342283.

Full text

Abstract:

Mgr. Magdalena Kučerová Dissertation work: Myth of Narcissus in French literature at the turn of the 20th century ABSTRACT: This dissertation thesis based on knowledge of French myth criticism deals with the issue of myths in literature, which is a specific manifestation of human symbolic imagination. In its most general level the work studies the definition of a myth and its social function as well as the matter of opposite notions regarding to the mythos and logos, which have gradually more and more differentiated along with the development of European thinking. The myth of Narcissus has probably been one of the oldest myths in European culture. In its most renowned and most comprehensive form, the myth first appeared in the third book of Metamorphoses by Ovid, which has served as an inspiration for remakes by many later authors. The story of a young man who fell in love with his own reflection on the surface of the water contains a great variety of semantically strong structures (mainly the motifs of a mirror, narcissistic love, passively superior character of a hero, or the final metamorphoses into a flower), which are analysed in this study. The author of this study outlines the interpretational evolution of the myth of Narcissus in French literary history...

APA, Harvard, Vancouver, ISO, and other styles

37

Alloza, Noémie. "Gender issues in the novel Orlando and its film adaptation: questions of sexual and gendered identity-ies." Master's thesis, 2020. http://hdl.handle.net/1822/69963.

Full text

Abstract:

Dissertação de mestrado em Língua, Literatura e Cultura Inglesas
This thesis deals with gender issues in Orlando by Virginia Woolf and its film adaptation by Sally Potter. It aims at studying the social place of women through the centuries, the implications of the change of sex, the construction of an identity and the fluidity of gender and sexuality. The change of sex, and by extension of gender, lived by Orlando (who was inspired in the person of Vita Sackville-West) is a way to reveal her own identity, her true self. Reading Orlando, one wonders if the gender identity defines the identity of a person, if the gender can reveal an identity. We will deal with these questions with reference to gender theory and criticism, namely, framing the analysis within the work of Judith Butler. Moreover, the originality of the character Orlando, who becomes a woman after being a man, reinforces the ambiguity of the identity and leads one to ask oneself about the representation of the sexual and gendered identity, male and then female, and about the differences in the treatment of a man and a woman, both in writing and in film. It seems fundamental to reflect upon androgyny, since Orlando could represent an androgynous mind. The fact that Orlando begins in the end of the sixteenth century and finishes in the twentieth century presents a good illustration for the study of the representation of an identity through the centuries; one can understand the impact of the centuries on an individual, firstly male, then, female. Finally, Orlando accounts for the place of the woman through the centuries and it seems relevant to mention that Virginia Woolf was a feminist. As such she might expose some of her ideas in her work and writing the story of Orlando is a way to show the differences between the genders and the inequities lived by the women over time.
Esta dissertação trata de questões de género em Orlando de Virginia Woolf e na adaptação cinematográfica de Sally Potter. Visa estudar o lugar social das mulheres ao longo dos séculos, as implicações da mudança de sexo, a construção de uma identidade e a fluidez de gênero e sexualidade. A mudança de sexo, e por extansão, de género, vivida por Orlando (que foi inspirado na pessoa de Vita Sackville-West) é uma maneira de revelar a sua própria identidade, o verdadeiro ser. Lendo Orlando, nós perguntamo-nos se a identidade de género define a identidade de uma pessoa, se o género pode revelar uma identidade. Trataremos dessas questões com referência à teoria e à crítica de gênero, enquadrando a análise no trabalho de Judith Butler. Parece fundamental refletir sobre essas noções de identidade e género mas também sobre a androginia, dado que Orlando poderia representar uma mente andrógina. Além disso, a originalidade do personagem Orlando, que se torna mulher depois de ser homem, reforça a ambiguidade de identidade e leva-nos a questionar a representação da identidade sexual e de género, masculina e feminina, tanto na escrita como em filme . O facto de Orlando começar no final do século XVI e terminar no século XX apresenta uma boa ilustração para o estudo da representação de uma identidade ao longo dos séculos; pode-se entender o impacto dos séculos em um indivíduo, primeiro homem e depois mulher. Finalmente, Orlando explica o lugar da mulher ao longo dos séculos e parece relevante mencionar que Virginia Woolf era feminista. Como tal, ela pode expor algumas de suas idéias em seu trabalho e escrever a história de Orlando é uma maneira de mostrar as diferenças entre os sexos e as desigualdades vividas pelas mulheres ao longo do tempo.

APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic 'Androgyny in literature'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles