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Dissertations / Theses on the topic 'Author's representation'
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Oliphant, Ashley Yarbrough. "Hemingway's mixed drinks an examination of the varied representation of alcohol across the author's canon /." Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1459Oliphant/umi-uncg-1459.pdf.
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Thesis (Ph.D.)--University of North Carolina at Greensboro, 2007.<br>Title from PDF t.p. (viewed Feb. 28, 2008). Directed by Scott Romine; submitted to the Dept. of English. Includes bibliographical references (p. 203-214).
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Calleja-Roque, Isabelle. "L'image de Molière dans les manuels scolaires depuis le XIX° siècle." Thesis, Université Grenoble Alpes (ComUE), 2016. http://www.theses.fr/2016GREAL030/document.
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A travers l'exemple de Molière, nous nous intéressons à la construction et à l'évolution de la représentation de l'auteur classique dans les manuels du secondaire depuis le XIX° siècle jusqu'à aujourd'hui. c'est donc le processus de la construction du mythe scolaire de Molière que nous questionnons. Notre réflexion porte d'abord sur l'analyse de la place de Molière dans les programmes successifs et dans les manuels, afin de déterminer le rapport qu'entretiennent ces deux pôles représentatifs de l'institution scolaire ainsi que l'évolution de leurs contenus en regard de l'oeuvre de Molière. Nous interrogeons ensuite le Molière des manuels à la lumière de la critique exégétique: dans quelle a-t-elle influencé la construction puis l'évolution du mythe scolaire de l'auteur-acteur? Ces deux premières étapes nous conduisent à nous pencher sur l'évolution du corpus scolaire des oeuvres moliéresques: qu'en est-il de la fortune des pièces canoniques ainsi que de tout le pan des comédies du dramaturge occulté par les programmes? Enfin, nous nous intéressons à ce nouveau "langage" introduit dans les manuels à partir du second quart du XX° siècle, qu'est le corpus iconographique: a-t-il entraîné une nouvelle lecture de Molière et de son oeuvre? Ce cheminement nous conduit au coeur de la représentation de Molière, auteur scolaire patrimonial par excellence<br>Through Molière's works, we will focus on how secondary textbooks have decided to represent this author from the nineteenth century until today. It is thus the process of building the school myth of Molière that we try to question. Our study first deals with analysing the place of Molière in successive programs and textbooks in order to determine the relationship between these two main poles of the educational institution as well as the evolution of their contents regarding Molière's works. We will then question the works of Molière as used in textbooks focussing on the exegetical critique : how far has it influenced the construction and the development of the school myth of the author-actor ? These first two steps lead us to think about the evolution of the academic corpus of Molière's works : What about the success of the canonical plays as well as all the comedies that are no longer studied ? Finally, we will focus on the iconographic corpus, that is to say the new « language » that was introduced in textbooks from the second quarter of the twentieth century : has it led to a new reading of Moliere's works?This leads us to the heart of Molière, the first exemple of an academic author
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Carnegie, Elizabeth. "Essays on representation : authors, audiences and organisations." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/26383.
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Fournier, Helene. "The nature of task representation by novice multimedia authors /." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85160.
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The continuing importance of literacy and the emergence of electronic text forms have incited interest in the use of technology in a number of domains, among them writing and multimedia authoring. The expectation is that technology will facilitate the writing process by supporting cognitive processes and align school instruction with real-world tasks by providing more meaningful learning environments. This study tracked middle school students' task representation as they participated in protracted multimedia design and writing tasks. Students were engaged in the creation of a literary magazine over several weeks, with both written and media products linked to a particular theme. Cognitive strategies and behaviours associated with problem solving and communication are described through joint design activities. Students' working activities and their competencies in English Language Arts and Computer Science were identified, and cognitive processes tracked in negotiating and defining the boundaries of the task. Teachers' task representations were also examined in terms of their ability to address student variability; strengths and weaknesses between members of a group as well as their inherent dynamics are brought to the fore. Results point to the need for a better understanding of complex cognitive activities in developing new and more sophisticated repertoires of practice to realize the vision of children 'constructing' their own knowledge. Consequently, educators will gain new insights into what students can achieve when given the opportunities and the tools to do so. The role of educators is seen as instrumental in providing structure and mechanisms for supporting students' engagement in complex tasks. Findings underscore the importance of adopting a broader framework for thinking about the impact of students' participation in literacy projects. Limitations of the study are addressed as well as the key variables in the research on written
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Mor, Shany Moshe. "Law's author, things personated, political representation." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:142e4065-de3c-47ff-a940-f85215fad920.
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This dissertation proposes a normative theory of political representation grounded in popular sovereignty and positive law, rather than in democracy and efficient labour allocation. The first three chapters assess the contributions to the idea of representation of three early modern thinkers. Hobbes proposes a formal model of authorised action at a distance, but, contrary to a long-standing consensus in political thought, not an actual theory of representation. Rousseau, a well-known opponent of representation, proposes ideas about government, sovereignty, and positive law, which, despite his contrary intentions, form a foundation for a normative theory of representation. Sieyes refines concepts from both to create a more mature practical statement on representation which he attempts to implement in three revolutionary constitutions in France in the 1790's. The next three chapters make an argument connecting representation to law creation. First the concept of a decision is defined, and then abstracted through various levels of political authority and action. Law creation is distinguished from all other classes of authorised political decision making by four unique properties which tie in with problems initially raised by the early modern philosophers regarding popular sovereignty. Various numbers of authorised actors are considered as constituting political bodies credentialed to carry out the relevant decisions identified as meeting the minimal conditions of law, and ultimately only assembly — a body numbering in the hundreds, with a reserved place for making recognised decisions, and a formal connection to expressed popular preferences — meets the conceptual requirements of the class of decisions mooted. The thesis ends with an argument connecting law to representation as the solution to the problem of plurality.
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Hryhorenko, Lesia. "Analysis of In-Situ Authorship: A Study On The Representation Of Commonly Marginalized Authors." Otterbein University Distinction Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=otbndist1620462738167087.
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Zachariah, Tirzah. "Silence and representation in selected postcolonial texts." Thesis, University of Stirling, 2016. http://hdl.handle.net/1893/24136.
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This thesis discusses female silence, voice and representation as portrayed in four postcolonial novels written by Asian female writers or those from the Asian diaspora. The novels included in the corpus are The God of Small Things by Arundhati Roy, Cereus Blooms at Night by Shani Mootoo, Brick Lane by Monica Ali and Brixton Beach by Roma Tearne. This thesis aims to explore the different strategies adopted by the authors to represent different forms of silence of the type highlighted in theoretical work by Spivak, Olsen and Showalter. The novels analysed open up new contexts in which issues of silence, migration, displacement and multiculturalism, which are central in postcolonial literature, are explored. In its examination of these issues in detail, the thesis has been influenced by postcolonial and diasporic studies, with a focus on women’s issues and feminist thought. Instead of focusing on the role of silence solely in relation to specific characters, the thesis attempts to engage with the complex ways in which these narratives represent various forms, moments and scenes of silence. From the analysis, we can exemplify that the novels can also be used to suggest the ambivalences of speaking/not-speaking via the narrative representations of silence. Authorial silence involves the author’s deliberate refusal to speak directly in the text ; instead, the author utilises several literary devices to convey something indirectly to the reader. Silence is also linked to concepts such as shame, secrets and gossip. One is likely to refrain from speaking if he or she is ashamed, secretive or is the topic of gossip in one’s community. There are also some female characters who are portrayed as not-speaking, or choosing to remain silent so as not to cause problems for the family. A few other characters have been portrayed as refusing to speak out as they have been traumatised into silence. Lastly, women can also be complicit in holding on to patriarchal structures and in the process, attempt to speak out in order to to silence or to cause problems to other women.
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Blanchette, Annie. "Getting fuller-figured women in the picture : from stigmatised consumers to embodied authors." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/16117.
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Whilst the idealisation of extreme slenderness is widely recognised as a problematic issue, the negative portrayal of larger individuals is rarely criticised for its link with stigmatisation and problems with self-esteem. To the contrary, the representation of larger individuals in dehumanising terms – whether in news reports, advertising and research accounts – is generally regarded as a necessary means to encourage the pursuit of a ‘better’, ‘healthier’ self. However, these negative stereotypical portrayals – generally excluding the perspective and consent of those depicted – can also have adverse effects on human dignity, legitimacy and self-esteem of those thus depicted. Building on the work of fat studies scholars, as well as feminist marketing researchers, this research project seeks to contribute to the inclusion and rehumanisation of fuller-figured individuals, by involving them in the dialogue of visual and research representation. To do so, this research invited a group of fuller-figured women living in the UK and Canada, to ‘envision’, ‘model’, and ‘review’ their own self-presentations, primarily via the use of self-directed portraits, blogs, and conversations. Whilst the inclusion of their embodied perspectives is expected to contribute to humanising the representation of larger individuals – and offer a glimpse into what could be if we started considering women ‘of size’ as authors of their own depictions – it also contributes in filling a gap left by consumer researchers who have overlooked the way larger individuals make sense of their selves, bodies and well-being. As such, this research contributes to existing consumer research theories by explaining the ways individuals can envision their selves/bodies in the shadow of, but also in contrast with, the dominant marketplace promotion of slenderness. In terms of contribution, this research illustrates the relevance of therapeutic and embodied perspectives to understand the self, the body and to engage in acts of consumption. A new ‘self-nurtured’ discursive position offers challenges to the meanings generally attributed to larger individuals, and to the traditional approaches taken by consumer researchers to solve the ‘obesity crisis’. Overall, this research provides empirical, methodological and theoretical contributions to the field of consumer research. It also offers practical implications for the representation of larger individuals, and recommendations for those interested in the social marketing of health to enjoin people of all sizes in mindful acts of self-care and consumption.
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McAuley, Jenny. "Representations of Gothic abbey architecture in the works of four romantic-period authors : Radcliffe, Wordsworth, Scott, Byron." Thesis, Durham University, 2007. http://etheses.dur.ac.uk/2564/.
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This study argues the importance of the Gothic abbey to Romantic-period constructions of creative imagination and identity. I examine four Romantic-period authors with reference to particular abbey sites with which they engaged, placing their works in dialogue with contemporary topographical and antiquarian literature, aesthetic theory, and cultural trends. I consider these authors' representations of Gothic abbeys specifically in the terms of eighteenth-century picturesque landscape aesthetics, according to which the abbey was associated with contemplation. My study thus provides an alternative to readings of architectural descriptions in Romantic- period literature that have conflated abbey architecture with castle architecture (regarded as representing states of repression and confinement). Relating Ann Radcliffe to St Alban's Abbey, William Wordsworth to Furness Abbey, Sir Walter Scott to Melrose Abbey and George Gordon, Lord Byron to Newstead Abbey, I show how these authors each used their informed awareness, and aesthetic appreciation, of Gothic abbey architecture both to assert their personal senses of artistic identity and purpose, and to promote their work within a Gothic Revival-epoch literary market. In this consideration of individual authors and their experiences and representations of specific Gothic abbey sites, my study demonstrates the usefulness of sustained engagement with the eighteenth-century Gothic Revival context to an appreciation of those many literary works of the Romantic period that feature Gothic architectural settings. It is also hoped that it may indicate possible, new directions for critical investigation into the relationships between "Gothic" and "Romantic" literature, and between the literary and the architectural Gothic.
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Prindle, Paige Ann. "Publishing, property, and problematic heiresses representations of inheritance in nineteenth-century American women's popular fiction /." Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3355845.
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Thesis (Ph. D.)--University of California, San Diego, 2009.<br>Title from first page of PDF file (viewed July 7, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 237-258).
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Marais, Marcia Helena. ""Passing women": gender and hybridity in the fiction of three female South African authors." Thesis, University of the Western Cape, 2012. http://hdl.handle.net/11394/3696.
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A key aim of this study is to shed light on the representation of coloured women with reference to racial passing, using fictive characters depicted in Sarah Gertrude Millin’s (1924) God’s Stepchildren,Zoë Wicomb’s (2006) Playing in the Light, and Pat Stamatélos’s (2005) Kroes, as presented by these three racially distinct female South African authors.Since I propose that literature provides a link between a subjective history and the under-represented narratives from the margins, I use
literature to reimagine these. I analyse the ways in which the authors present ‘hybrid’ identities within their characters in different ways, and provide an explanation and contextual basis for the exploration of the theme of ‘passing for and as white’ within South Africa’s complex history. I provide a sociological explanation of the act of racial passing in South Africa with reference to the United States by incorporating Nella Larsen’s (1929) Passing. Since the analyses will concentrate on coloured females within the texts, gendered identity and female
sexuality and stereotypes will be the focus. I look at the act and agent of passing, the role of raced and gendered performance in giving meaning to social identities, and the way in which the female body is constructed in racial terms in order to confer identity. Tracing the historical origins of coloured identity and coloured female identity, I interrogate this colonial, post-colonial, apartheid and post-apartheid history by employing a feminist lens. A combination of postcolonial feminist discourse analysis, sociological inquiry and feminist narrative analysis
are therefore the methods I use to achieve my research aims.<br>Magister Artium - MA
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Handa, Satoko. "Saving 'the Age of Innocence' Catholicism, Revolution and representations of childhood in France, 1762-1830 /." Thesis, Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B41508919.
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Danaher, Katie. "Mapping and re-mapping the city : representations of London in black British women's writing." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/80676/.
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This thesis maps and re-maps literary London through an engagement with selected novels by Diana Evans, Bernardine Evaristo and Andrea Levy. The thesis builds on the work of very strong strands of black British women's writing, an area of writing that remains committed to the necessity of having to defend it. I argue that the literature of this group of contemporary women writers re-orientates trajectories of black British writing to focus on emerging distinctive London identities in the twenty-first century. The thesis charts a shift in black British women's writing which rewrites familiar postcolonial tensions around nationhood, displacement and unbelonging to articulate a rootedness in London. Evans', Evaristo's and Levy's sense of belonging stems from the city in which they were all born and raised, their 'London-ness' rendering a new form of selfhood which informs who they are and what they write. The study is motivated by an agenda to critique black British women's writing outside of the historical paradigmatic racial and gendered identities through which it has traditionally been read. I wish to attend to women's writing in a way which disturbs the canon of contemporary British fiction, reconfiguring predominately male narratives of London life to present an alternative view of the city. The study assesses Evans', Evaristo's and Levy's contributions to and reappraisal of long traditions of women writing novels of family and home. The novels I engage with are localised within a particular London postcode, foregrounding the importance of microcosmic conceptions of home and domestic spaces to constructions of belonging in a multifaceted, complex urban environment such as London. The role of family is central to the authors' narratives and the thesis explores familial women's relationships which are both nuanced and complicated. The trope of sisterhood is deployed across the texts and raises profound questions concerning ideological constructions of belonging and home. The thesis grounds itself intellectually at the nexus of debates in the fields of feminist discourse, postcolonial theory and contemporary urban theory, implementing them within a more fluid critical framework capable of reading the literature by this group of writers outside rigid categorising partitions. To not attend to questions of race and gender within their works would be to distort the thematic framework underpinning the novels. Nevertheless, I wish to re-inflect the ways in which we critique London writing to encourage the emergence of a new language which allows us think about it as organically diverse, rather than consciously or systematically 'multicultural'.
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Miley, Linda. "White writing black : issues of authorship and authenticity in non-indigenous representations of Australian Aboriginal fictional characters." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16485/.
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This creative practice-led thesis is in two parts - a novella entitled Leaning into the Light and an exegesis dealing with issues for creative writers who are non-Indigenous engaging with Indigenous characters and inter-cultural relationships. The novella is based on a woman's tale of a cross cultural friendship and is set in a Queensland Cape York Aboriginal community over a period of fifteen years. Leaning into the Light is for the most part set in the late 1960s, and as such tracks some of the social and personal cost of colonisation through its depiction of Indigenous and non-Indigenous relationships within a Christian run mission. In short, Leaning into the Light creates an imaginary space of intercultural relationships that is nevertheless grounded in a particular experience of a 'real' place and time where Indigenous and non-Indigenous subjectivities collide and communicate. The exegesis is principally concerned with issues of non-Indigenous representation of indigeneity, an area of enquiry and scholarship that is being increasingly theorized and debated in contemporary cultural and literary studies. In this field, two questions raised by Fee (in Ashcroft, Griffiths and Tiffin, 1995) are key concerns in the exegesis. How do we determine who is a member of the Aboriginal minority group, and can majority members speak for this minority? The intensification of interest around these issues follows a period of debate in the 1990s which in turn was spawned by the "unprecedented politicisation of {Australian} history" (Collins and Davis, 2004, p.5) following the important Mabo decision which overturned the "nation's founding doctrine of terra nullius" (ibid, p.2). These debates questioned whether or not non-Aboriginal authors could legitimately include Aboriginal themes and characters in their work (Huggins, 1994; Wheatley, 1994, Griffiths, et al in Tiffin and Lawson, 1994), and covered important political and ethical considerations, at the heart of which were issues of representation and authenticity. Moreover, there were concerns about non-Indigenous authors competing for important symbolic and publishing space with Indigenous authors. In the writing of Leaning into the Light, these issues became pivotal to the representation of character and situation and as such constitute the key points of analysis in the exegesis.
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O'Donnell, Stuart. "The author and the shepherd : the paratextual self-representations of James Hogg (1807-1835)." Thesis, University of Stirling, 2012. http://hdl.handle.net/1893/12940.
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The Author and the Shepherd: The Paratextual Self-Representations of James Hogg (1807-1835) This project establishes a literary-cultural trajectory in the career of Scottish poet and author James Hogg (1770-1835) through the close reading of his self-representational paratextual material. It argues that these paratexts played an integral part in Hogg’s writing career and, as such, should be considered among his most important works. Previous critics have drawn attention to Hogg’s paratextual self-representations; this project, however, singles them out for comprehensive analysis as literary texts in their own right, comparing and contrasting how Hogg’s use of such material differed from other writers of his period, as well as how his use of it changed and developed as his career progressed. Their wider cultural significance is also considered. Hogg not only used paratextual material to position himself strategically in his literary world but also to question, challenge and undermine some of the dominant socio-cultural paradigms and hierarchies of the early-nineteenth century, not least the role and position of ‘peasant poets’ (such as himself) in society. Hogg utilised self-representational paratextual material throughout his literary career. Unlike other major writers of the period Hogg, a self-taught shepherd, had to justify and explain his position in society as ‘an author’ through these pseudo-autobiographical paratexts, which he attached to most of his works (in such forms as memoirs, introductions, dedications, notes and footnotes, and introductory paragraphs to stories). Via these liminal devices he created and propagated his authorial persona of ‘The Ettrick Shepherd’, whose main function was to draw attention to Hogg’s preeminent place in the traditional world, and to his status as a ‘peasant poet’. It was on the basis of this position that he argued for his place in the Scottish literary world of the early-nineteenth century and, ultimately, in literary history. His paratextual self-representations are thus a crucial element in his literary career. Drawing on Gerard Genette’s description of ‘the paratext’, the authorial theories of Roland Barthes and Michel Foucault (along with more recent authorial criticism), as well as autobiographical theory, this project traces Hogg’s changing use of self-representational paratexts throughout his career, from his first major work The Mountain Bard (1807) to his final book of stories Tales of the Wars of Montrose (1835). By reading Hogg’s paratexts closely, this project presents a unique view – from the inside out – of the specific literary world into which Hogg attempted to position himself as an author.
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Escott, Hugh Francis. "'Speikin Proper' : investigating representations of vernacular speech in the writing of three authors from South-Yorkshire coal-mining backgrounds." Thesis, University of Sheffield, 2014. http://etheses.whiterose.ac.uk/8865/.
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This thesis employs an interdisciplinary approach and draws on archival texts to investigate representations of Yorkshire speech in the writing of three twentieth century authors from coal-mining backgrounds. Dialect representation predominantly involves the respelling of words in order to invoke the sounds of speech. This representation of vernacular speech engages with the dominant conceptualisation of the relationship between standard orthography and speech enshrined in mainstream literacy education and promoted by ideologies concerning language standards. Dialect representation has traditionally been seen as an attempt to 'capture' vernacular speech in writing with scholarship from both linguistic and literary backgrounds focussing on the accuracy of the dialect represented. However, I argue that dialect representation should be approached not as an act of representation but rather as an act of social negotiation. In this study I reposition the representation of dialect in writing as a complex laminate of social practices. Drawing on practice-based approaches to language, orthography and literacy, as well as socio-linguistic research, I position dialect representation as a culturally determined evocation of vernacular speech undertaken by socially motivated authors. I explore literature in terms of the cultural legitimacy and prestige that this cultural sphere affords socially motivated individuals, as well as in terms of the inherent cultural norms, language standards and literacy ideologies that these individuals must engage with in order to participate in this sphere. My aim is to present dialect representation as a complex act, which has its root in commonplace social interaction, and to engage with it as an act of literacy which is 'embedded in [...] oral language and social interaction' (Barton 1994: 130-136). The collected works, ephemera and public responses to the works of Arthur Eaglestone (Roger Dataller), Tom Hague (Totley Tom) and Barry Hines are explored in three case studies which explore issues related to authenticity, legitimacy and inequality.
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Solomon, David Lyle. "A stage for a bima : American Jewish theater and the politics of representation /." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/1707.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2004.<br>Thesis research directed by: English Language and Literature. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Harvan, Mary Margaret. "Writing resistance : representations of Ken Saro-Wiwa and narratives of the Ogoni Movement in Nigeria /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
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Wilson, Wendy. "Heimat and memory in the city representations of New York City and Vienna in autobiographical works of exiled Viennese authors /." Connect to Electronic Thesis (ProQuest) Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/451004175/viewonline.
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Garrett, Richard Lee. "Medieval anxieties: translation and authorial self-representation in the vernacular beast fable." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/967.
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Thoday, Heather Frances. "Lived spaces of representation : thirdspace and Janette Turner Hospital's political praxis of postmodernism /." Title page, abstract and table of contents only, 2004. http://web4.library.adelaide.edu.au/theses/09PH/09pht449.pdf.
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Ochola, Anne Brenda. "Representing African Migrants' experience in Europe: A study of narratives on the Surprising Europe website." Thesis, Stockholms universitet, JMK, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-133637.
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Migration is a continuous process in an increasingly globalized world and African migrants have for a long time migrated to Europe mostly for economic reasons. Due to biased reporting of life in Europe by both western and African media as well as half-truths by Africans living in Europe who seldom tell the whole story of their lives abroad; a lot of African migrants arrive in Europe with a very idealistic image. African migrants thereby risk a lot in pursuit of a better life in Europe. When they finally arrive, a lot of their idealistic expectations are not met, forcing them to be filled with regret and the wish that they had known the full truth before migrating. This study examines an online platform (Surprising Europe’s website), that connects African migrants by inviting them to share stories about their migration experiences in an effort to better inform those intending to migrate. The use of interviews of the producers to better understand the project as well as their intentions, and a narrative analysis of all the 30 articles on the website are analysed. The results indicate that the danger of telling one sided stories contribute to the existing narrative of a western idealistic image of “gold lying on the streets”; as well as an illustration of the authors exhibiting a transformation from people who were formerly Surprising Europe’s audience, now constructing narratives in a collaborative way with the producers. The website therefore demonstrates how an online platform for mediated communication can be used to offer fragmented identities as well as a sense of belonging, offering a voice to the previously voiceless despite their migration status.
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Ahmad, Ebtehal A. "Women's bodies in dramatic confrontations with patriarchal logic : the representation of violence against the female body in contemporary drama by women." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1266037.
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In this study, I examine the dramatization of violence against the female body in contemporary drama by women and the purpose behind their representational approaches. I concentrate on the representation of three types that I consider inclusive of other minor forms of violence: the political, the medical, and the social violations of the female body. In chapter one, I study the dramatic representation of political violence against women as their bodies become ideological expressions of their lands. This chapter analyzes Suzan-Lori Parks' Venus and Naomi Wallace's In the Heart of America. These dramas represent the violation of women's bodies to parallel the violation and rape of their lands that are effeminized by their subjugation to the dominant powers of the world. In chapter two, I examine the representation of medical violence against women's bodies as connoting the lower status of the female body within patriarchy. The dramas of this chapter, Louise Page's Tissue and Margaret Edson's Wit, illustrate how the female body is dehumanized and devalued by a patriarchal medical practice that fails to recognize the distinctive physical and mental needs of women. Finally, in chapter three, I discuss the dramatic representation of social violence as the most inclusive form of aggression against women. The plays of this chapter, Caryl Churchill's Vinegar Tom and Maria Irene Fornes' The Conduct of Life, emphasize the masculine fear of and intimidation by the female body's sexuality and productivity, which instigates all types of physical violence against women within the social context. In the conclusion, I discuss Eve Ansler's The Vagina Monologues as a piece of performance art that instigates an active type of opposition against women's subjugations and violations. The activism of this type of drama and its effectiveness in enforcing change upon women's lives makes it an excellent extension to the type of ideas and notions brought about in this dissertation.<br>Department of English
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Zhu, Fan, and 朱凡. "The earthly world and the red chambers : Qing women's self-representation and mediations with traditions in their writings on the Dream of the red chamber." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/195974.
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This thesis studies the Qing women’s writings on the Dream of the Red Chamber. Qing women’s comments on the novel formed an important aspect of the second high tide of women’s literature in late imperial China. By examining these writings, I intend to reveal how the women authors mediated with the Confucian morality and how they exerted influence on the literary tradition from its inside. I also intend to examine the women authors’ self-representations and their reflections on the actual world they lived in.
The thesis consists of five chapters. Chapter one introduces the historical background of the rise of women’s writings on the Dream of the Red Chamber, and proceeds to discuss women’s self-representations under the influence of the Chinese literary tradition, as well as the conflict between morality and literary talent they often felt. I will also briefly summarize previous scholarly works concerning this subject.
Chapter two analyzes Qing women’s poetic works and literary activities concerning the novel. I will make a few observations on the general tendency of women’s responses to the novel by examining their writing conditions, communities, the points they wanted to articulate, and their literary skills.
Chapter three and four investigate two women writers, namely, Wu Lanzheng and Gu Taiqing, respectively. Among the dramatic works adapted from the novel, Jiang Heng Qiu by Wu is known to be the only existing work written by a female author. In this part of my discussion, I will include Wu’s poetic works on the novel and her personal experiences to shed light on the dramatic work. On the other hand, Honglou Meng Ying (The shadow of the Dream of the Red chamber) by Gu is the most profound and extensive response to the original novel by a female author. Considering that Gu’s life was quite similar to the literary characters in the book and a variety of her writings have survived, I will conduct a detailed study of her poetic and dramatic works before I look into her novel.
The closing chapter draws conclusions from the previous chapters in the following three aspects: first, the influence of the textual world on the reality; second, women writers’ tendency of adopting the values of morality and literary talent concurrently, as well as their contributions to the literary tradition; and, third, the significance of Gu Taiqing’s case and Honglou meng ying. To sum up, inspired by the Dream of the Red Chamber, the Qing women authors undertook a rich variety of literary activities which demonstrated the complex relations between self and writing, and these women’s life experiences and creative activities also constituted an earthly picture of the “red chambers”.<br>published_or_final_version<br>Chinese<br>Master<br>Master of Philosophy
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Kelly, Alice Rose. "'A change of heart' : representations of death and memorialisation in First World War writing by women, 1914-39." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708210.
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Hoffman, Megan. "Women writing women : gender and representation in British 'Golden Age' crime fiction." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/11910.
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In this thesis, I examine representations of women and gender in British ‘Golden Age' crime fiction by writers including Margery Allingham, Christianna Brand, Agatha Christie, Ngaio Marsh, Dorothy L. Sayers, Josephine Tey and Patricia Wentworth. I argue that portrayals of women in these narratives are ambivalent, both advocating a modern, active model of femininity, while also displaying with their resolutions an emphasis on domesticity and on maintaining a heteronormative order, and that this ambivalence provides a means to deal with anxieties about women's place in society. This thesis is divided thematically, beginning with a chapter on historical context which provides an overview of the period's key social tensions. Chapter II explores depictions of women who do not conform to the heteronormative order, such as spinsters, lesbians and ‘fallen' women. Chapter III looks at the ways in which the courtships and marriages of detective couples attempt to negotiate the ideal of companionate marriage and the pressures of a ‘cult of domesticity'. Chapter IV considers the ways in which depictions of women in schools, universities and the workplace are used to explore the tensions between an expanding role in the public sphere and the demand to inhabit traditionally domestic roles. The thesis concludes with a discussion of the image of female victims' and female killers' bodies and the ways in which such depictions can be seen to expose issues of gender, class and identity. Through its examination of a wide variety of texts and writers in the period 1920 to the late 1940s, this thesis investigates the ambivalent nature of modes of femininity depicted in Golden Age crime fiction written by women, and argues that seemingly conservative resolutions are often attempts to provide a ‘modern-yet-safe' solution to the conflicts raised in the texts.
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White, Mandala Camille. "From the Sublime to the Rebellious: Representations of Nature in the Urban Novels of a Contemporary New Zealand Author." Thesis, University of Canterbury. English, 2007. http://hdl.handle.net/10092/957.
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Although nature is a dominant presence both in historical New Zealand literature and in New Zealand's current international image, literary critics observe a tendency on the part of young writers to neglect nature in favour of more human, urban and cultural themes. I write against this perception, basing my argument on the hypothesis that such urban-based literature may in fact be centrally concerned with the natural world and with human-nature relations. In locating nature within the urban fictional environment, I demonstrate a model of analysis that extends literary critical approaches to nature both within New Zealand literature and within the field of ecocriticism, both of which are largely consumed with analysing representations of sublime, non-urban nature. I test this urban ecocritical method of reading in my analysis of Catherine Chidgey's three novels, In a Fishbone Church, Golden Deeds and The Transformation, all of which adhere to the human-centred trend typical of contemporary New Zealand novels. I reveal within Chidgey's fiction a gradual progression away from archetypal representations of the sublime toward a more complex, fractured and rebellious variety of nature that co-exists alongside humans within urban space. Thus, while the characters in her first novel predominantly interact with nature as a sublime, non-urban entity, those in her second and third novels face the daily possibility of encountering "the wild" within domesticated settings that are apparently severed from any connection with the natural world. This kind of urbanised feral nature poses a significant threat to Chidgey's characters, overtly in the form of the powerful natural elements, and covertly through the myriad varieties of transformed nature with which they surround themselves. I read this portrayal of nature as a commentary on contemporary modernity's relationship with the natural environment, and I suggest that this kind of agentive, autonomous nature demands a new theory of environmentalism which will consider nature as an actor alongside humans.
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Gossage, Ann. "Between the lines : the representation of Canadian women in English-language novels written by women in the 1930s." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=24085.
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This thesis examines the role of Canadian women as presented in English language novels of the 1930s written by women authors. Within the context of the Great Depression it focuses on issues that are central to women's daily lives such as work, love, marriage and motherhood. It also isolates recurring themes in the novels and attempts to understand the authors' messages within their social context. Social reform, politics and gender relationships are among the subjects explored.
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Kato, Megumi Humanities & Social Sciences Australian Defence Force Academy UNSW. "Representations of Japan and Japanese people in Australian literature." Awarded by:University of New South Wales - Australian Defence Force Academy. School of Humanities and Social Sciences, 2005. http://handle.unsw.edu.au/1959.4/38718.
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This thesis is a broadly chronological study of representations of Japan and the Japanese in Australian novels, stories and memoirs from the late nineteenth century to the twenty-first century. Adopting Edward Said???s Orientalist notion of the `Other???, it attempts to elaborate patterns in which Australian authors describe and evaluate the Japanese. As well as examining these patterns of representation, this thesis outlines the course of their development and change over the years, how they relate to the context in which they occur, and how they contribute to the formation of wider Australian views on Japan and the Japanese. The thesis considers the role of certain Australian authors in formulating images and ideas of the Japanese ???Other???. These authors, ranging from fiction writers to journalists, scholars and war memoirists, act as observers, interpreters, translators, and sometimes ???traitors??? in their cross-cultural interactions. The thesis includes work from within and outside ???mainstream??? writings, thus expanding the contexts of Australian literary history. The major ???periods??? of Australian literature discussed in this thesis include: the 1880s to World War II; the Pacific War; the post-war period; and the multicultural period (1980s to 2000). While a comprehensive examination of available literature reveals the powerful and continuing influence of the Pacific War, images of ???the stranger???, ???the enemy??? and later ???the ally??? or ???partner??? are shown to vary according to authors, situations and wider international relations. This thesis also examines gender issues, which are often brought into sharp relief in cross-cultural representations. While typical East-West power-relationships are reflected in gender relations, more complex approaches are also taken by some authors. This thesis argues that, while certain patterns recur, such as versions of the ???Cho-Cho-San??? or ???Madame Butterfly??? story, Japan-related works have given some Australian authors, especially women, opportunities to reveal more ???liberated??? viewpoints than seemed possible in their own cultural context. As the first extensive study of Japan in Australian literary consciousness, this thesis brings to the surface many neglected texts. It shows a pattern of changing interests and interactions between two nations whose economic interactions have usually been explored more deeply than their literary and cultural relations.
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Anderson, Emma Kate School of English UNSW. "Representations of female sexuality in chick-lit texts and reading Anais Nin on the train." Awarded by:University of New South Wales. School of English, 2006. http://handle.unsw.edu.au/1959.4/27319.
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My critical essay uses Foucault???s theory of discursive formation to chart the emergence of the figure of the single modern woman as she is created by the various discourses surrounding her. It argues that representations of the single modern woman continue a tradition of perceiving the female body as a source of social anxiety. The project explores ???chick-lit??? as a site within the discursive formation from which the single modern woman emerges as a paradoxical figure; the paradoxes fundamentally linked to her sexuality. This essay, then, essentially seeks to investigate representations of female sexuality within chick-lit, exposing for scrutiny the paradoxes inherent in and around the figure of the single modern woman. My fictional piece is a work of erotica. It is divided into four sections: The Reader, The Writer, The Muse and The Critic. Essentially it explores the relationships between female sexuality and literature; between female sexuality and feminist, post-feminist and patriarchal values and between literature and issues of truth, perspective and representation. The two works complement each other to illuminate the paradox of female sexuality: one from a theoretical perspective and the other from a fictional perspective. The critical work focuses on female sexuality and its relationship to, and development within, the current social context. Chick-lit, as a new and immensely popular genre of fiction which holistically explores the lives of single modern women was useful for examining the relationship between the sexual persona of the single modern woman and society. The fiction is concerned with a narrower focus: specifically the sexual life of the single modern woman. Through the creative process, it became apparent that working within the genre of ???erotica??? would be not only more useful than working within chick-lit, but more powerful in exploring the themes I was interested in. The creative work draws on numerous points of interest raised in the critical work from, for example, the grander notions of the relationship between object and discourse ??? in this case female sexuality and literature ??? and the female body as a source of social fascination and anxiety to finer observations such as what it means to have sex ???like a man.??? In essence, the creative work seeks to examine the many faces of the single modern woman as a sexual being and to illuminate, on an intimate level, the many conflicts between and surrounding those faces and to suggest that while paradox remains in female sexual ideology, the single modern woman will remain suspended in a kind of sexual paralysis.
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Mbao, Wamuwi. "Unavowable communities : mapping representational excess in South African literary culture, 2001-2011." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80124.
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Thesis (PhD)--Stellenbosch University, 2013.<br>ENGLISH ABSTRACT: This thesis takes as its subject matter a small field of activity in South African fiction in English, a field which I provisionally title the post-transitional moment. It brings together several works of literature that were published between 2004 and 2011. In so doing, it recognises that there can be no delineation of the field except in the most tenuous of senses: as Michael Chapman asserts, such “phases of chronology are ordering conveniences rather than neatly separable entities” (South African Literature 2). In attempting to take a reading of this field, I draw on discussions of the innumerable post-transitional flows and trajectories of meaning advanced by critical scholars such as Ashraf Jamal, Sarah Nuttall, Louise Bethlehem and others. In this thesis, I trace the “enigmatic and acategorical” (Jamal, “Bullet Through the Church” 11) dimension of this field through several works by South African authors. These works are at once singular and communal in their expression: they are singular in the sense that they are unique literary events1; they are communal because they share a particular force in their writing, a force that resists thematic bestowing. The schism between these conflicting/contiguous poles forms the basis of this thesis.
I examine the works of a diverse selection of South African authors, finding in them a common, if discontinuous, seam in their treatment of excess, by which I mean the irreducible surplus that always demarcates the limits of representation. I find that these works each engage a movement towards the aporetic moment opened up by their characters’ experience of the traumatic. To be sure, these particular works of literature are notable for their exploration of ideas of alterity, loss and the capacity for survival in the routines of ‘South African’ lives. I use literature as the primary site of navigation for this enquiry because, as the scholars cited above have observed, literature is often a generator of meanings and a space where complex ideas about identity are explored and played out through the medium of the everyday. I recognise here that in the post-transitional moment, literature’s affective capacity in the world of action is limited – in Simon Critchley’s terms, it is ‘almost nothing.’ My thesis seizes this almost as the site of exploration. Taking as its starting point the existential question ‘have we learnt to imagine ourselves in other ways?’ I propose a number of positions from which these post-transitional works of literature might be read. The first chapter attempts to give account of the theoretical problem that attends to the reading of that which exceeds language’s capacity to invest with meaning. I use works by Diane Awerbuck, Annelie Botes, Shaun Johnson and Kgebetli Moele to inform my argument. In the next chapter, I explicate the problem of excess via a reading of Mark Behr’s Kings of the Water (2009). I then trace the aporetic nature of Otherness as it occurs in J.M. Coetzee’s Summertime (2009), paying particular attention to the ways in which that novel performs a refusal of meaning. Finally, I read Ishtiyaq Shukri’s The Silent Minaret (2005) as a work that posits the failure of alterity as a launching point for future ethical action.
The burden of this thesis, as I see it, lies in the apophastic nature of its subject matter. In embarking upon an exploration of the incommensurable, my argument is for an ethics of reading that seeks to explicate the ways in which literature works by thinking through its affective capacity the better to affirm its performative dimensions.<br>AFRIKAANSE OPSOMMING: Die onderwerp van hierdie proefskrif behels ‘n klein veld in Engelse Suid-Afrikaanse fiksie wat ek voorlopig met die term “post-oorgangsmoment” sal aandui. Dit bring verskeie letterkundige werke byeen wat tussen 2004 en 2011 gepubliseer is. Hierdie kunsmatige afbakening hou rekening met Michael Chapman se stelling dat “phrases of chronology are ordering conveniences rather than neatly separable entities” (South African Writing 2). In ‘n poging om hierdie aangeduide veld te lees, put ek heelwat uit besprekings wat tans gevoer word oor die ontelbare betekenistrajekte van die post-oorgangsmoment deur kritici soos Meg Samuelson, Leon de Kock, Ashraf Jamal, Sarah Nuttall, Louise Bethlehem en andere. In hierdie proefskrif skets ek die “enigmatic and acategorical” (Jamall, “Bullet” 11) aspekte van die aangeduide veld soos dit uiting vind in verskeie werke van Suid-Afrkaanse outeurs. Hierdie werke is terselfdertyd alleenstaande en gemeenskaplik in hul uitdrukking: hulle is alleenstaande omdat hulle unieke literêre gebeurtenisse verteenwoordig en gemeenskaplik omdat hulle ‘n spesifieke impuls deel, ‘n impuls wat tematiese kategorisering teenstaan. Die kloof tussen hierdie opponderende/naburige pole vorm die grondslag van hierdie proefskrif.
Ek ondersoek die werk van ‘n diverse seleksie Suid-Afrikaanse outeurs en vind ‘n gemene, dog diskontinue, soom in die manier waarop hulle oorskot hanteer, dit wil sê, die onreduseerbare surplus wat alle representasie begrens. Ek vind dat hierdie werke elkeen ‘n weg na die aporetiese moment oopskryf deur die karakters se ervarings van trauma. Hierdie letterkundige werke word ook gekenmerk deur hulle verkenning van idees soos alteriteit, verlies en die oorlewingskapasiteit in die roetines van ‘Suid-Afrikaanse’ lewens. Ek gebruik literêre werke as die primêre navorsingsveld vir hierdie ondersoek aangesien die letterkunde dikwels as ‘n genereerder van betekenis dien en as ‘n ruimte funksioneer waar komplekse idees rondom identiteit deur die medium van die alledaagse verken kan word. Ek is bewus dat die letterkunde ‘n beperkte affektiewe kapasiteit in die wêreld van handeling in die post-oorgangsmoment besit – dit is bykans niks, soos Simon Critchley dit stel. My proefskrif betrek hierdie bykans as brandpunt vir die ondersoek. Ek stel verskeie posisies voor vanwaar hierdie post-oorgang literêre werke gelees kan word deur die beantwoording van die eksistensiële vraag of ons geleer het om onsself op ander maniere te verbeel as uitgangspunt te gebruik. Die eerste hoofstuk poog om die teoretiese probleem te omskryf wat ontstaan as ‘n mens probeer om die oorskot van taal se betekenisgewende vermoë te lees. In die daaropvolgende hoofstuk belig ek die probleem van oorskot deur Mark Behr se Kings of the Water (2009) te lees. Daarna skets ek die aporetiese aard van Andersheid soos dit in JM Coetzee se Summertime (2009) voorkom, deur spesifiek ook aandag te skenk aan die maniere waarop die roman ‘n weiering van betekenis aanbied. Laastens lees ek Ishtiyaq Shukri se The Silent Minaret (2005) as ‘n werk wat die mislukking van alteriteit as ‘n beginpunt gebruik om toekomstige etiese handelings te rig.
Die hooftema van hierdie proefskrif lê myns insiens in die apofastiese aard van die onderwerpsmateriaal. Deur ‘n ondersoek na die onmeetbare te onderneem, staan ek ook ‘n bevrydings-etiek van lees voor wat poog om die manier waarop literêre tekste werk te verhelder deur die affektiewe vermoë van literêre tekste te bedink.
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Rangel, Pardo Francisco Manuel. "Author Profiling en Social Media: Identificación de Edad, Sexo y Variedad del Lenguaje." Doctoral thesis, Universitat Politècnica de València, 2016. http://hdl.handle.net/10251/67270.
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[EN] The possibility of knowing people traits on the basis of what they write is a field of growing interest named author profiling. To infer a user's gender, age, native language or personality traits, simply by analysing her texts, opens a wide range of possibilities from the point of view of forensics, security and marketing.
Furthermore, social media proliferation, which allows for new communication models and human relations, strengthens this wide range of possibilities to bounds never seen before. Idiosyncrasy inherent to social media makes them a special environment of communication, where freedom of expression, informality and spontaneous generation of topics and trends, enhances the knowledge of the daily reality of people in their use of language. However, the same idiosyncrasy makes difficult, or extremely costly, the application of linguistic techniques.
In this work we have proposed EmoGraph, a graph-based approach with the aim at modelling the way that users express their emotions, and the way they include them in their discourse, bearing in mind not only their frequency of occurrence, but also their position and relationship with other elements in the discourse. Our starting hypothesis is that users express themselves and their emotions differently depending on their age and gender, and besides, we think that this is independent on their language and social media where they write. We have collaborated in the creation of a common framework of evaluation at the PAN Lab of CLEF, generating resources that allowed us to verify our hypothesis achieving comparable and competitive results with the best ones obtained by other researchers on the field.
In addition, we have investigated whether the expression of emotions would help to differentiate among users of different varieties of the same language, for example, Spanish from Spain, Mexican and Argentinian, or Portuguese from Portugal and Brazil. Our hypothesis is that the variation among languages is based more on lexical aspects, and we have corroborated it after comparing EmoGraph with representations based on word patterns, distributed representations and a representation that uses the whole vocabulary, but reducing its dimensionality to only 6 features per class, what is suitable for its application to big data environments such as social media.<br>[ES] La posibilidad de conocer rasgos de una persona a partir únicamente de los textos que escribe se ha convertido en un área de gran interés denominada author profiling. Ser capaz de inferir de un usuario su sexo, edad, idioma nativo o los rasgos de su personalidad, simplemente analizando sus textos, abre todo un abanico de posibilidades desde el punto de vista forense, de la seguridad o del marketing.
Además, la proliferación de los medios sociales, que favorece nuevos modelos de comunicación y relación humana, potencia este abanico de posibilidades hasta cotas nunca antes vistas. La idiosincrasia inherente a estos medios sociales hace de ellos un entorno de comunicación especial, donde la libertad de expresión, la informalidad y la generación espontánea de temáticas y tendencias propician el acercamiento a la realidad diaria de las personas en su uso de la lengua. Sin embargo, esa misma idiosincrasia hace que en muchas ocasiones la aplicación de técnicas lingüísticas de análisis no sea posible, o sea extremadamente costoso.
En este trabajo hemos propuesto EmoGraph, una representación basada en grafos con el objetivo de modelar el modo en que los usuarios expresan sus emociones, y el modo en que las articulan en el marco de su discurso, teniendo en consideración no sólo su frecuencia, sino también su posición y relación con y respecto a los elementos del mismo. Nuestra hipótesis de partida es que los usuarios se expresan y expresan sus emociones de manera diferente dependiendo de su edad y sexo, y además, pensamos que esto es así independientemente de su idioma y del medio donde escriban. Hemos colaborado en la creación de un marco común de evaluación en el laboratorio PAN del CLEF, generando recursos que nos han permitido verificar nuestra hipótesis y conseguir resultados comparables y competitivos con los mejores resultados obtenidos por los investigadores del área.
Además, hemos querido investigar si la expresión de emociones permitiría diferenciar entre hablantes de diferentes variedades de una misma lengua, por ejemplo españoles, mexicanos o argentinos, o portugueses y brasileños. Nuestra hipótesis es que la variación entre lenguas se basa más en aspectos léxicos, y así lo hemos corroborado tras comparar EmoGraph con representaciones basadas en patrones, representaciones distribuidas y una representación que toma en consideración el vocabulario completo, pero reduciendo su dimensionalidad a únicamente 6 características por clase y que se erige idónea para su aplicación en entornos big data como los medios sociales.<br>[CAT] La possibilitat de conèixer trets d'una persona únicament a partir dels textos que escriu s'ha convertit en una àrea de gran interès anomenada author profiling. Ser capaç d'inferir d'un usuari el sexe, l'edat, l'idioma nadiu o els trets de la seua personalitat tan sols analitzant els seus textos, obre tot un ventall de possibilitats des del punt de vista forense, de la seguretat o del màrketing.
A més, la proliferació dels mitjans socials, que afavoreix nous models de comunicació i de relació humana, potencia aquest ventall de possibilitats fins a cotes que no s'han vist fins ara. La idiosincràsia inherent a aquests mitjans socials en fa d'ells un entorn de comunicació especial, on la llibertat d'expressió, la informalitat i la generació espontània de temàtiques i tendències propicien l'aproximació a la realitat diària de les persones en l'ús que fan de la llengua. Tanmateix, aquesta idiosincràsia fa que en moltes ocasions no es puguin aplicar tècniques lingüístiques d'anàlisi, o que fer-ho resulti extremadament costós.
En aquest treball hem proposat EmoGraph, una representació basada en grafs que té l'objectiu de modelar la manera en què els usaris expressen les seves emocions, i la manera com les articulen en el marc de llur discurs, considerant-ne no només la freqüència sinó també la posició i la relació amb i respecte als elements del discurs. La nostra hipòtesi de partida és que els usuaris s'expressen i expressen llurs emocions de manera diferent depenent de l'edat i el sexe, i a més, pensem que això és així independentment de l'idioma i del mitjà en què escriguin. Hem col·laborat en la creació d'un marc comú d'avaluació al laboratori PAN del CLEF, generant recursos que ens han permès verificar la nostra hipòtesi i aconseguir resultats comparables i competitius amb els millors resultats obtinguts pels investigadors de l'àrea.
A més, hem volgut investigar si l'expressió d'emocions permetria establir diferències enre parlants de diferents varietats d'una mateixa llengua, per exemple espanyols, mexicans o argentins, o portuguesos i brasilers. La nostra hipòtesi és que la variació entre llengües es basa més en aspectes lèxics, i així ho hem corroborat després de comparar EmoGraph amb representacions basades en patrons, representacions distribuïdes i una representació que considera el vocabulari complet, però reduint-ne la dimensionalitat només a 6 característiques per classe i que s'erigeix de manera idònia per a aplicar-la en entorns big data com els mitjans socials.<br>Rangel Pardo, FM. (2016). Author Profiling en Social Media: Identificación de Edad, Sexo y Variedad del Lenguaje [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/67270<br>TESIS
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Mde, Vukani. ""Effulgent in the firmament" the politics of representation and the politics of reception in South Africa's 'poetry of commitment', 1968-1983." Thesis, University of Port Elizabeth, 2002. http://hdl.handle.net/10948/288.
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This dissertation re-examines an era in the production and reception of English language poetry in South Africa by black writers. Intellectually the 1970's was the Black Consciousness phase of South African history and very few aspects of life in the country were untouched by the intellectual movement led by Steve Biko and other young black student leaders. The aesthetic and literary output of the time, like all other facets of South African life, exhibited the influence and pressures brought to bear by Black Consciousness. Moreover, the Black Consciousness poets introduced the most vibrant and innovative phase for English language poetry produced in South Africa. It is my contention, however, that such vibrancy and innovation has consistently been compromised by unsympathetic, often hostile, and almost-always ill-informed criticism. The dissertation offers a critique of the academic and journalistic practice of criticism in South Africa. I argue that critical practice in South Africa has been engaged throughout the twentieth century in the discursive enforcement of ‘discipline’. In his Discipline and Punish (1977) the French post-structuralist philosopher Michel Foucault demonstrated how power is wielded against oppressed/suppressed groups through self regulated proscriptions, and argued that power is a discursive rather than a corporeal phenomenon. My dissertation follows Foucault in reading the critical reception of Black Consciousness poetry as the practice of disciplinary power. The dissertation also engages critically with the poetry of Oswald Mtshali, Mongane Serote and Sipho Sepamla, and argues that their work is the inscription of black subjectivity into the literary and cultural mainstream. It situates their work within wider 6 societal debates and definitions of ‘blackness’. In this regard use is made again of Michel Foucault’s insights and methodology of discourse analysis as shown in The Archaeology of Knowledge (1972). I argue that Oswald Mtshali’s work is a failed attempt at a dissection of apartheid and colonialism from a broadly Christian and humanist perspective. In my reading of Mongane Serote I explore the relationship between women’s bodies and the practice of representation. It is my contention that Serote is most concerned with claims of belonging, and this is shown through his extensive use of the trope of ‘Mother’. My discussion of the poetry of Sipho Sepamla focuses on language and (self- )representation, particularly the use of practices of naming in constructing subjectivity. My contention is that Sepamla ultimately abandons attempts at representation in favour of oppositional self-construction in language. In the concluding chapter I defend the thesis that the politics of discipline have prevented the broad critical establishment from gaining access to these discursive constructions of blackness in the committed poetry of South Africa.
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Stone, Katherine Mary. "Gender and German memory cultures : representations of National Socialism in post-1945 women's writing." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708863.
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Gous, Joané Facqueline. "Paul Auster's representation of invisible characters in selected novels." Thesis, North-West University, 2012. http://hdl.handle.net/10394/9028.
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In this dissertation I argue that invisible characters, as they appear in Paul Auster’s novels, serve a very specific function within the interpretative framework of a text and that they should be considered to play a functional role, in order to arrive at a more holistic interpretation of the text and a more accurate analysis of said texts. I argue that Auster knowingly includes these characters in his novels as part of his narrative technique, in order for them to serve specific functions and to contribute to the structure of postmodern fiction. I make use of a contextualized close reading of five of Auster’s novels and attempt a hermeneutic interpretation of these novels to arrive at a hermeneutic circle when combining these novels into an integrated whole, individual, work of fiction. Certain parallels can be drawn between Auster’s various novels and these parallels contribute to the various motifs and themes found throughout his work. The importance of space in Auster’s novels is also highlighted with emphasis on liminality which serves as an instigator for transgression to occur between different fictive worlds.<br>Thesis (MA (English))--North-West University, Potchefstroom Campus, 2013.
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Burke, Christopher J. F. "Diversity or Perversity? Investigating Queer Narratives, Resistance, and Representation in Aotearoa / New Zealand, 1948-2000." The University of Waikato, 2007. http://hdl.handle.net/10289/2245.
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This thesis contributes to the burgeoning field of the history of sexuality in New Zealand and seeks to distill the more theorised and reflexive understanding of the subjectively understood queer male identity since 1948. Emerging from the disciplines of History and English, this project draws from a range of narratological materials: parliamentary debates contained in Hansard, and novels and short stories written by men with publicly avowed queer identities. This thesis explores how both 'normative' identity and the category of 'the homosexual' were constructed and mobilised in the public domain, in this case, the House of Representatives. It shows that members of the House have engaged with an extensive tradition of defining and excluding; a process by which state and public discourses have constructed largely unified, negative and othering narratives of 'the homosexual'. This constitutes an overarching narrative of queer experience which, until the mid-1990s, excluded queer subjects from its construction. At the same time, fictional narratives offer an adjacent body of knowledge and thought for queer men and women. This thesis posits literature's position as an important and productive space for queer resistance and critique. Such texts typically engage with and subvert 'dominant' or 'normative' understandings of sexuality and disturb efforts to apprehend precise or linear histories of 'gay liberation' and 'gay consciousness'. Drawing from the works of Frank Sargeson, James Courage, Bill Pearson, Noel Virtue, Stevan Eldred-Grigg, and Peter Wells, this thesis argues for a revaluing of fictional narratives as active texts from which historians can construct a matrix of cultural experience, while allowing for, and explaining, the determining role such narratives play in the discursively constructed understandings of gender and sexuality in New Zealand.
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Krueger, Anton. "Experiments in freedom : representations of identity in new South African drama ; an investigation into identity formations in some post-apartheid play-texts published in English by South African writers, from 1994-2007." Pretoria : [s.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-10282008-141823.
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Daher, God Idriss. "Le statut de la femme dans la littérature djiboutienne d''expression française." Thesis, Bourgogne Franche-Comté, 2018. http://www.theses.fr/2018UBFCH002.
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Images de femme La Femme est un personnage très en vue dans la littérature africaine. Passée au peigne fin, elle a fait l’objet de maintes observations et analyses de la part des auteurs africains qui se sont montrés particulièrement prolixes sur le sujet. Même si ce sont sous des angles et perspectives différents, tous, ou presque ont abordé la question cruciale de la Femme. Leurs œuvres respectives sont, en effet, marquées par l’omniprésence de ce thème. Source d’inspiration littéraire, véritable muse de l’écriture de l’écrivain, la Femme demeure ce puits intarissable d’où l’on se ressource en permanence. En effet, très rares, voire inexistantes sont les œuvres où n’apparaît aucune figure féminine. Que ce soit, en qualité de personnage principal ou simple protagoniste, la femme se retrouve toujours projetée, dans l’espace littéraire africain, au cœur de l’intrigue, où elle participe activement à son évolution et contribue ainsi au sens de l’œuvre<br>Woman Images Woman is a character prominent in African literature. Combed, she was the subject of many comments and analyzes by African authors who were particularly prolific on the subject. Although these are different angles and perspectives, all or nearly tackled the crucial issue of Women. Their works are, in fact, marked by the omnipresence of the theme. Literary inspiration, true muse of the writer writing, this woman remains inexhaustible well from which we continuously resource. Indeed, very few, if any are works in which only appears no female figure. Whether, as a main character or single protagonist, the woman is always projected in the African literary space in the heart of the plot, where she is actively involved in its development and contributes to the meaning of the work
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Rodella, Giane Taeko Mori. "A representação feminina nas obras de Aluísio Azevedo e Júlia Lopes de Almeida - O ethos dos autores pelos enunciadores." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-08102010-122126/.
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O trabalho debruçou-se sobre os romances Philomena Borges (1884), O Cortiço (1890), ambos do escritor naturalista Aluísio Azevedo e A Silveirinha (1914), de Júlia Lopes de Almeida. O estudo da obra deteve-se na representação feminina das personagens Philomena, Pombinha e Silveirinha, focalizando o percurso gerativo do sentido, com ênfase nos temas e figuras, sob a luz da semiótica francesa, de matriz greimasiana. Observando a cena enunciativa das obras, algumas escritoras brasileiras mencionadas na imprensa do século XIX/XX e, posteriormente, catalogadas pelo grupo de estudos sobre a Mulher na Literatura (GT-Anpoll) foram selecionadas para compor o corpus de análise. A construção da cena teve a finalidade de evocar reflexões em torno do papel da mulher na sociedade carioca/brasileira (escritoras e interventoras sociais) do mesmo período, bem como assinalar a caracterização feminina da mulher de papel (personagens). Infiltrando-se neste universo, a pesquisa deteve-se nas oposições existentes entre a formação do discurso masculino e do feminino, pairando sobre a polêmica existente entre homens e mulheres. Na mesma perspectiva, a pesquisa se estendeu para a focalização do ethos dos autores (de um escritor e uma escritora) por meio dos enunciadores de suas produções.<br>The present work concentrates on the novels \"Philomena Borges\" (1884), \"O cortiço\" (1890), both by the writer and naturalist Aluísio Azevedo and \"A Silveirinha\" (1914) by Julia Lopes de Almeida. The study of the current work focuses on the representation of the female characters of Philomena, Pombinha and Silveirinha, following the route of the generative sense, giving importance to themes and figures under the light of the French semiotics of greimasian matrix. Observing the scene of the enunciation works, some Brazilian writers mentioned in the press of the XIX / XX centuries, and later cataloged by the Study Group on Women in Literature (GT-ANPOLL) were selected to compose the corpus of analysis. The construction of the scene was designed to evoke reflections on the role of women in society Rio / Brazil (writers and social interventionists) in the same period and report the characterization of female \"womans role\" (characters). Infiltrating this universe, the research is stopped in the oppositions between the formation of male and female speech, hovering about the controversy between men and women. In the same perspective, the research extended to the focus of the ethos of the authors (a male and a female writers) through the enunciators and their productions.
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Manera, Giulia. "Femmes écrivains et représentation du féminin dans le “ Romance de 30 ” au Brésil." Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100132/document.
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Les années 30 représentent un moment fondamental dans le processus culturel et identitaire du Brésil, où la fonction sociale de la littérature, notamment du roman, et le rôle de l’écrivain en tant que ‘conscience vivante’ du pays sont reconnus et problématisés. Cependant, dans la majorité des histoires, des anthologies et des manuels littéraires, aucun nom de femme ne figure parmi les auteurs canoniques de la période, à l’exception de celui de Rachel de Queiroz. L’analyse des sources de l’époque montre que, au contraire, auteures comme Lúcia Benedetti, Jenny Pimentel de Borba, Làsinha Luís Carlos de Caldas Brito, Maria José Dupré, Ondina Ferreira, Emi Bulhões Carvalho Fonseca, Ignez Mariz, Carolina Nabuco, Lúcia Miguel Pereira, Dinah Silveira de Queiroz, Tetrá de Teffé et bien d’autres sont publiées, lues et appréciées par la critique et le public. A partir d’une étude du contexte historique et littéraire, ainsi que de la réception et des aspects éditoriaux, les mécanismes qui ont permis leur effacement de la mémoire sont démontés et expliquée leur non intégration à la tradition littéraire brésilienne. La lecture des romans de ces auteures permet d’approfondir le discours sur la participation des femmes au moment littéraire et social des années 30 et 40 par une analyse des représentations. Les personnages qui peuplent ces ouvrages, et notamment les personnages féminins, sont un objet idéal pour analyser les phénomènes identitaires qui caractérisent ce moment historique avec ses contradictions<br>The 1930’s represent a fundamental period in the development of Brazil’s culture and identity, as a time during which the social function of literature, specifically the novel, and the role of the author as the “living conscience” of the country are found and problematicized. However, in the majority of stories, anthologies, and literary manuals, not one female author’s name is found among the canonic authors of the period, with the exception of Rachel de Queiroz. The analysis of sources from the era demonstrate that, on the contrary, female authors such as Lúcia Benedetti, Jenny Pimentel de Borba, Làsinha Luís Carlos de Caldas Brito, Maria José Dupré, Ondina Ferreira, Emi Bulhões Carvalho Fonseca, Ignez Mariz, Carolina Nabuco, Lúcia Miguel Pereira, Dinah Silveira de Queiroz, Tetrá de Teffé and many others were published, read, and appreciated by the critic and the public. Following the examination of the historical and literary context of these writings, as well as their reception and editorial aspects, the mechanisms which allowed for their deletion from memory are dismantled, explaining the lack of integration of these writings in the Brazilian literary tradition. Reading and analyzing the representations of these female authors’ novels allows for the expansion of the discourse on the participation of women in the literary and social era of the 1930’s and 1940’s. The characters, notably the female ones, which populate these works are an ideal subject for the analysis of phenomena of identity which characterize this historical time period, along with their contradictions<br>Os anos 30 representam um momento fundamental no processo cultural e identitário do Brasil, onde a função social da literatura, especialmente do romance, e o papel do escritor como « consciência viva » do país são reconhecidos e problematizados. Contudo, na maioria das histórias, antologias e manuais literários, nenhum nome feminino figura entre os autores canônicos do período, com a exceção de Rachel de Queiroz. A análise das fontes da época mostra que, pelo contrário, autoras como Lúcia Benedetti, Jenny Pimentel de Borba, Làsinha Luís Carlos de Caldas Brito, Maria José Dupré, Ondina Ferreira, Emi Bulhões Carvalho da Fonseca, Ignez Mariz, Carolina Nabuco, Lucia Miguel Pereira, Dinah Silveira de Queiroz, Tetrá de Teffé e tantas outras foram publicadas, lidas e apreciadas pela crítica e pelo público. A partir de um estudo do contexto histórico e literário, bem como da recepção e dos aspectos editoriais, os mecanismos que permitiram o desaparecimento de tais autoras da memória são desmontados, explicando sua falta de integração à tradição literária brasileira. A leitura dos romances destas autoras permite o aprofundamento do discurso sobre a participação das mulheres no contexto literário e social dos anos 30 e 40 através de uma análise das representações. As personagens que povoam estas obras, especialmente as personagens femininas, são um objeto ideal para analisar os fenômenos identitários que caracterizam este momento histórico e suas contradições
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Gemis, Vanessa. "Femmes de lettres belges, 1880-1940: identités et représentations collectives." Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210262.
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Entre 1880 et 1940, la Belgique francophone voit un accroissement significatif du nombre de femmes de lettres. À la croisée de l’histoire des femmes et de l’histoire des lettres belges, ce phénomène enregistre les nouvelles modalités d’inscription des femmes dans l’espace public, et en particulier leur accès progressif aux professions intellectuelles. Partant des acquis des études de genre (gender studies) et de la sociologie de la littérature, la thèse se propose d’étudier le rapport collectif et individuel que les femmes de lettres entretiennent vis-à-vis du littéraire.<br>Doctorat en Langues et lettres<br>info:eu-repo/semantics/nonPublished
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Boscher, Nicolas. "Marcel Achard et le cinéma : dramaturge, critique, producteur, dialoguiste, réalisateur." Thesis, Normandie, 2020. http://www.theses.fr/2020NORMC012.
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Marcel Achard rencontre d'abord le succès comme dramaturge, à partir des années 1920, avant d'entamer une longue carrière dans l'industrie cinématographique, puis de tomber dans un relatif oubli. Cette thèse retrace son parcours de réalisateur, ambitionnant de participer à la création d'un musical français (La Valse de Paris (1950)), ainsi que la genèse et les enjeux des films à l'écriture desquels il a collaboré. Plusieurs d'entre eux constituent des jalons essentiels dans l'histoire du cinéma : Jean de la Lune (1931), La Veuve joyeuse (1934), L’Étrange Monsieur Victor (1938), Le Déserteur (1939), Félicie Nanteuil (1942-1945) ou Madame de.... (1953). En s'appuyant sur l'exploration de plusieurs fonds d'archives, plus particulièrement le fonds Achard déposé à la BnF, et sur les trente-huit films actuellement disponibles, elle examine le rôle joué par cet auteur-relais occupant le plus souvent une position intermédiaire (critique, co-réalisateur, adaptateur ou dialoguiste) au sein d'un territoire traversé de tensions historiques, génétiques et esthétiques.L'absence de toute étude approfondie de son activité dramatique impose de commencer par un rappel des caractéristiques et de la démarche du dramaturge, dont l'écriture est déjà tournée vers le cinéma, repoussoir ou tentation. Après avoir tenté de cerner le discours du critique cinématographique – le plus souvent instable tant sa conception du cinéma, du dialogue cinématographique ou de l'auctorialité varie en fonction du contexte et des œuvres auxquelles il s'applique –, je retrace le parcours ambitieux d'Achard au sein de l'appareil de production cinématographique, entre la France, Berlin, et Hollywood. Enfin, j'examine la manière dont émergent des représentations nationales, auctoriales et genrées au sein des scénarios et des films, dans le cadre d'un processus complexe et collectif. La part prise par Achard au cours de celui-ci demeure variable, voire difficile à discerner, mais parfois essentielle pour le pire (les inflexions réactionnaires ou un stéréotypage sans nuance) ou pour le meilleur (la complexité des représentations et des sentiments, une connaissance approfondie des potentialités du dialogue cinématographique)<br>From the 1920s, Marcel Achard produced successfull dramatic works and then established a long cinematographic career, before falling into relative obscurity. This thesis investigates not only his activity as an director ambitious to create a french musical (La Valse de Paris/The Paris Waltz (1950)), but also the genesis and objectives of several films constituting important milestones in the history of cinema : Jean de la Lune (1931), La Veuve joyeuse/The Merry Widow (1934), L’Étrange Monsieur Victor/The Strange Monsieur Victor (1938), Le Déserteur/The Deserter (1939), Félicie Nanteuil/Twilight (1942-1945) ou Madame de..../The Earrings of Madame De... (1953). It is based on the exploration of several archive collections, more particularly the Achard archives deposited at the BnF, and thirty-eight films currently available. It examines the rôle played by this « author-relay », typically occupying an intermediate position (i.e. critic, co-director, adapter or dialoguist) operating within a creative territory shaped by historical, genetic and aesthetic contradictions.The absence of any in-depth study of its dramatic activity makes it necessary to start with a reminder of the playwright's characteristics and approach, in order to envisage the way in which theatrical writing can be adopted by cinema (foil or temptation). In addition, this study tries to define the unstable discourse of the film critic : his conceptions of cinema, cinematographic dialogue and authorship vary according to the context and the works to which it applies. It then retraces the ambitious course of Achard in the film production industry, working in France, Berlin and Hollywood. Finally, it examines the way in which national, authoritative and gendered representations emerge within scenarios and films. This is in the context of a complex and collective process, in which Achard's contribution remains variable and sometimes difficult to discern. However, this variable contribution can be essential for the film ; for the worst (reactionary inflections or stereotyping without nuance), or for the best (the complexity of representations and feelings, a thorough knowledge of the potentialities of cinematographic dialogue)
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García, González Roberto. "A semantic web approach to digital rights management." Doctoral thesis, Universitat Pompeu Fabra, 2006. http://hdl.handle.net/10803/7538.
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Un dels principals requeriments de la gestió de drets digitals a la Web és un llenguatge compartit per a la representació del copyright. Les aproximacions actuals es basen en solucions purament sintàctiques, simples i difícils de posar en pràctica.<br/><br/>La contribució d'aquesta tesi és aplicar una aproximació semàntica basada en ontologies web a la gestió de drets digitals. Es desenvolupa una Ontologia del Copyright on les peces bàsiques són un model de creació, el drets de copyright i les accions que és poden dur a terme sobre els continguts. Aquesta ontologia facilita el desenvolupament de sistemes de gestió de drets.<br/><br/>També s'ha aplicat l'enfocament semàntic als principals llenguatges d'expressió de drets. S'han integrat amb l'ontologia per tal d'avaluar-la i a la vegada s'han enriquit amb la seva base semàntica. Finalment, tot això s'ha posat en pràctica en un sistema semàntic de gestió de drets.<br>Uno de los principales requerimientos de la gestión de derechos digitales en la Web es un lenguaje compartido para la representación del copyright. Las aproximaciones actuales se basan en soluciones puramente sintácticas, simples y difíciles de poner en práctica.<br/><br/>La contribución de esta tesis es aplicar una aproximación semántica basada en ontologías Web a la gestión de derechos digitales. Se desarrolla una Ontología del Copyright cuyas piezas básicas son un modelo de creación, los derechos de copyright y las acciones que se pueden llevar a cabo sobre los contenidos. Esta ontología facilita el desarrollo de sistemas de gestión de derechos. <br/><br/>También se ha aplicado el enfoque semántico a los principales lenguajes de expresión de derechos. Se han integrado con la ontología para evaluarla y a la vez se han enriquecido con su base semántica. Finalmente, todo esto se ha puesto en práctica en un sistema semántico de gestión de derechos.<br>One of the main requirements of web digital rights management is a shared language for copyright representation. The current approaches are based on syntactic solutions, which are simple and difficult to put into practice.<br/><br/>The contribution of this thesis is to apply a semantic approach based on web ontologies to digital rights management. It develops a Copyright Ontology whose basic pieces are a creation model, the copyrights and the actions that can be carried out on the content. This ontology facilitates rights management systems development. <br/><br/>The semantic approach has also been applied to the main rights expression languages. They have been integrated with the ontology in order to evaluate it and, at the same time, they have been enriched with their base semantics. Finally, all this has been put into practice in a semantic digital rights management system.
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Pape, Marion. "Frauen schreiben Krieg." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2007. http://dx.doi.org/10.18452/15584.
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Kein anderes Thema hat die nigerianische Literatur so dominiert wie der nigerianische Bürgerkrieg, in dessen Verarbeitung sich verstärkt auch Autorinnen einmischen. Die Dissertation evaluiert 34 Texte von 16 nigerianischen Autorinnen - 12 Romane und 22 Kurzgeschichten - und analysiert sie als Gesamtkorpus, in dem die Texte miteinander und mit der Männerliteratur einen Dialog um den Bürgerkrieg führen. Die Autorinnen wenden bei ihrem "war talk" literarische Strategien wie "re-reading" und "re-writing" an, das Neu-Lesen, Fort- und Umschreiben der Texte und Diskurse des "Zentrums", durch die nicht nur die Blindstellen eines von Männern dominierten literarischen Diskurses sichtbar werden, sondern durch die auch der Prozess des Aushandelns der Geschlechterverhältnisse sowie des Krieges selbst erfolgt, seiner Ursachen, Auslöser und Folgen. Die Autorinnen stellen den Krieg als "sexuelle Unordnung" dar, als Geschlechterkrieg. Die Untersuchung zeigt, dass bei der Verortung der Perspektive der Autorinnen neben Geschlecht, ethnischer Zugehörigkeit auch andere Faktoren, wie Alter, Race, Grad der Distanz oder Nähe etc. berücksichtigt werden müssen, um vorschnelle Festschreibungen zu vermeiden. Hierbei spielen die Paratexte eine wichtige Rolle, in denen die Autorinnen sich persönlich zum Krieg äußern. Die Arbeit bewegt sich an den Schnittstellen mehrerer Disziplinen: Literatur, Historiographie und Geschlechterstudien. In der Einleitung werden die theoretischen Prämissen im Kontext von Krieg, Geschlecht und literarischer Repäsentation behandelt. Das 1. Kapitel ist dem historischen Kontext des Bürgerkrieges, einschließlich der Rolle der Frauen darin gewidmet. Im 2. Kapitel geht es um die Darstellung des Krieges, des Selbst- und Feindbildes sowie der Zukunft. Das dritte Kapitel handelt von der Beziehung zwischen Bürger- und Geschlechterkrieg, vermittelt durch das Medium literarischer Text. Die Zusammenfassung der Ergebnisse und der Ausblick auf zukünftige Forschung erfolgt im Schlussteil. Der Anhang enthält ein vorläufiges Verzeichnis der gesamten Frauenliteratur über den nigerianischen Bürgerkrieg.<br>No other topic has dominated the Nigerian literature as much as the Nigerian Civil War and female authors increasingly interfere in its literary representation. The thesis evaluates 34 literary texts by 16 female Nigerian authors - 12 novels and 22 short stories - and analyses them as distinctive corpus whose individual texts are in a state of dialogue both with each other and with texts from male authors. The female authors use, in their "war talk", literary strategies like "re-reading" and "re-writing" of texts from the "Centre". On the one hand, these strategies enable them to make the blind spots of a male dominated literary discourse apparent/visible on the other hand, they facilitate the negotiation of gender relations and of the war itself, its causes, trigger points and consequences. The female authors represent war as "sexual disorder", as gender war. The study shows that in order to be able to locate an author''s perspective (and to avoid rash conclusions) it is essential to consider the different factors determining it - besides ethnicity and gender, also age, race, the grade of emotional involvement or distance etc. It is in this regard, where the paratexts play an important part, as in these authors express their personal views and comments on the war. The thesis is located at the interfaces of several disciplines: literary, historical and gender studies. The introduction deals with the theoretical backgrounds in the context of war, literary representation and gender. The first chapter is dedicated to the historical context of the Nigerian Civil War including the role of women. The second chapter looks at the paratexts, different representations of the war''s causes, the self-image, the enemy''s image and the future. The third chapter finally deals with the question how the relationship between Civil War and gender war is negotiated/conveyed through the medium of the literary texts. In the conclusion the results are summarized and prospects for future research are discussed. The appendix contains a preliminary bibliography of all literary texts on the Nigerian Civil War written by female authors.
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Fujdiak, Radek. "Analýza a optimalizace datové komunikace pro telemetrické systémy v energetice." Doctoral thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2017. http://www.nusl.cz/ntk/nusl-358408.
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Telemetry system, Optimisation, Sensoric networks, Smart Grid, Internet of Things, Sensors, Information security, Cryptography, Cryptography algorithms, Cryptosystem, Confidentiality, Integrity, Authentication, Data freshness, Non-Repudiation.
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Leisner, Keith David. ""Mutual relations of dialogue, parody, contestation" : writing Nabokov's life in the age of the author's death." Thesis, 2014. http://hdl.handle.net/2152/26372.
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In her introduction to a special issue of the South Central Review on literary biography published in 2006, Linda Leavell writes, "Many would trace the disdain for literary biography—in both senses of the word “literary”—back through Roland Barthes’s “death of the author” to the New Critics’ division of text from context all the way to T. S. Eliot’s theory of impersonality. Critical theory of the past century has generally deemed an author’s life, personality, and intentions irrelevant to the text" (1). Leavell’s explanation of how critical theory of the twentieth century came to shape the current scholarly attitude towards literary biography establishes the genre’s status in an era of literary theory that is commonly characterized by the diminishment of the author as the source of meaning in a text, an era in which we remain. This characterization, however, overlooks the different ways that the theorists of the era displaced the author as the dominant figure in literary studies. This paper demonstrates how these different ways, despite whatever damage they might have done to the status of literary biography, actually benefit the study of the genre. Additionally, this paper argues that they not only comprise one side of Vladimir Nabokov’s contradictory views on his own authorship, which makes him an ideal subject for the study of authority over biographical representation, but also gave rise to new methodologies of literary biography, which are the methodologies of Nabokov’s biographers themselves. As a result, this paper concludes, “an author’s life, personality, and intentions” in turn have assumed new relevancy in literary studies.<br>text
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Douglas, Jennifer Lynn. "Archiving Authors: Rethinking the Analysis and Representation of Personal Archives." Thesis, 2013. http://hdl.handle.net/1807/35808.
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Personal archives are those created by individuals for their own individual needs and purposes. As a category of archive, personal archives are under-studied and under-represented in the archival literature. This dissertation seeks to fill some of the gaps identified by archival theorists by investigating the nature of personal archives and the application of foundational principles of archival theory to them. Focusing on the archives of a particular sub-set of creators, literary authors, I question both recent and persistent trends toward a psychological or character-based approach to personal archives, and call attention to the limitations of past and current interpretations of the principle of provenance (and its sub-principles, the principle of respect for original order and the principle of respect des fonds) as it is understood in relation and applied to writers’ archives. I argue that archival theory is too strongly oriented toward the creator of archives as referent rather than to the archive itself as referent, and propose the need for a stronger focus, both in theory and in practice, on the various individuals and processes that shape an archive. Finally, I call for more candid descriptive practices that better convey to researchers the complicated life histories of the archives they consult and that admit the degree to which archives are the self-conscious constructs of a variety of archival agents.
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Lewis, Daniel D. "Women writing men : female Victorian authors and their representations of masculinity." 2011. http://liblink.bsu.edu/uhtbin/catkey/1653349.
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This dissertation covers five female Victorian authors (Elizabeth Gaskell, M.E. Braddon, Dinah Craik, Juliana Horatia Ewing, Edith Nesbit) and the representations of masculinity in their novels. By taking a masculinity studies approach, this dissertation finds that these novels, in an attempt to gain authority and legitimacy in the male-dominated social sphere, often promoted middle-class masculine gender identities as the dominant, ideal masculinity for others. I will argue that female authors in the Victorian period took part in this struggle over re/defining hegemonic male gender identity in different ways, in different genres, for different purposes. Gaskell’s Mary Barton and North and South seek to ensure middle-class dominance over the working classes. Braddon’s novels Lady Audley’s Secret and Aurora Floyd illustrate the unnaturalness of gender (and thus to call into question notions of “natural” differences between men and women, or men and other men) and broaden the definition of acceptable gender identities for men and, by extension, women. The authors of late-period children’s literature created texts that either changed or shield from change both male and female gender identities to define the proper way to educate children during a time when gender roles were undergoing changes due to innovations in industry, education, and calls for equal rights for women and non-hegemonic men. All of these texts display a great amount of confidence in the power of literature to shape gender identity. The male characters in novels covered in this dissertation help govern the individual from abstract potential to concrete reality in terms of how masculinity is lived in the everyday world. While pamphlets, medical journals, and conduct books can instruct the reader on ideal conduct (or, conversely, warn against inappropriate conduct) for men, women, boys, and girls, these texts often function in the abstract. The belief held by these authors in the power of literature is enables them to position fictional men in the real world under the assumption that these characters are therefore able to “live out” these ideas of what is and what is not appropriate in performing one’s male gender identity.<br>Department of English
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Freeman, Traci Lynn 1970. "The ethics of representation and response in comtemporary American women's autobiographical writing." 2004. http://hdl.handle.net/2152/12770.
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Saldivia-Berglund, Marcela. "Gender and representation : the writings of Puerto Rican authors in the late nineteenth century (1870-1900)." Thesis, 2005. http://hdl.handle.net/2429/17139.
Full textAbstract:
This dissertation examines literary strategies for the representation of gender and its intersections with class and race in selected writings by four Puerto Rican authors, namely, Alejandro Tapia, Salvador Brau, Manuel Zeno Gandia, and Ana Roque. It focuses on the period between the 1870s and 1890s—before the 1898 United States military occupation— because of the crucial socio-political and economic changes that marked the threshold of a distinct Hispanic Creole literary tradition. I propose an interdisciplinary approach that combines social history, cultural studies, social feminism, and literary theory to provide historical depth and enable contextualization of the material conditions in which late nineteenth-century writings were produced. Moreover, there is a lack of literary analyses that examine and compare the narratives of both men and women writers from the late nineteenth century against the backdrop of the island's social history. This research pays attention to the interplay among different kinds of writings at this particular moment in the history of Puerto Rico where a specific discursive formation took shape. Through close readings I demonstrate how these four authors employed literary strategies to represent their respective political and sexual agendas. Liberal men wrote proposals for the moral reform of women of all classes as they believed it was the best way to control reproduction, adultery, concubinage and interracial sex, thus guaranteeing the "whitening" of society and of the labour force. The discourses about moral reforms for women show the gender ideologies prevalent at the time that were inscribed in the national narratives. Tapia's cosmopolitanism and supernatural topics represent the fragmented identity of the colonized subject striving for representation in Spain, and the gender crisis of the late nineteenth century. Brau and Zeno Gandia portray the peasantry as a sick body that represents the social stagnation in which the colony was mired. Roque's fiction proclaims her political ideas regarding the role of women in the cultural nation and attacks extramarital affairs, interracial relations, and women's financial vulnerability. The analysis of gender representation and its interrelations with colonialism, patriarchy, class, and race offers innovative perspectives to interpret the past, and to better understand the dynamics of gender power relations that persist to the present day.<br>Arts, Faculty of<br>French, Hispanic, and Italian Studies, Department of<br>Graduate