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Dissertations / Theses on the topic 'Authors, relations with women'

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Published: 4 June 2021

Last updated: 26 January 2023

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1

McCaffrey, Molly Ann. "Heaven and Earth a collection of short stories /." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?ucin1116245589.

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Thesis (Ph. D.)--University of Cincinnati, 2005.<br>Committee/Advisors: Brock Clarke, James Schiff, Michael Griffith. Title from electronic thesis title page (viewed May 20, 2008). Keywords: Short stories; Fiction; American; Women authors; Class; Race; Interpersonal relations; Man-woman relationships. Includes abstract. Includes bibliographical references.

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2

Denby, Michelle. "The feminist postmodern fantastic : sexed, gendered, and sexual identities." Thesis, University of Northampton, 2001. http://nectar.northampton.ac.uk/2967/.

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The thesis investigates a diverse range of feminist postmodern philosophy, distinguished by its varying rearticulation of the relationship between modernism and postmodernism and feminism’s own position vis-à-vis that debate. Drawing on postmodernism’s primary tenet that substantive, binary identity categories comprise discursive, performative constructs, feminist postmodernism theorises a range of strategies for their subversive re-performance. This is realised in the mobilisation of parodic, “failed” repetitions and identities embodied, for instance, by transsexual, transgender, and transvestite personae. Hence the reformulation of postmodern versions of agency, resistance, and choice. In the second instance, the thesis examines the combination of feminist postmodern philosophy with the narrative techniques of postmodernism and its sister genre, the fantastic mode. As a heterogeneous, open-ended, self-reflexive form, the “postmodern fantastic” challenges conventional realism and its correlative sovereign subject. The postmodern fantastic is redeployed by feminist practitioners, whose inscription of both textual and topographical re-performance, such as is manifest in the cyborg and the grotesque, represent the literary counterparts of feminist postmodern agency. The above provide critical contexts for a reading of four late-twentieth-century women writers, focusing in particular on their intervention in the modernism/postmodemism debate and their deployment of the feminist postmodern fantastic as a means of destabilising sexed, gendered, and sexual identity. The selected authors Hélène Cixous, Monique Wittig, Jeanette Winterson, and Angela Carter represent distinct and diverse, culturally specific, literary and feminist traditions, reformulating the relationship between modernism and postmodernism in different ways and with varying degrees of success. They coalesce, however, in their contribution to the feminist postmodern fantastic. It is the general purpose of the thesis to demonstrate how this particular mode embodies one of feminist postmodernism’s most powerful means of literary and ideological critique

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3

Nathanson, Shelby. "Bite Me: Sadomasochistic Gender Relations in Contemporary Vampire Literature." Honors in the Major Thesis, University of Central Florida, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1629.

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While the term sadomasochism might conjure cursory images of whips, chains, and leather-clad fetishists, this thesis delves deeper into sadomasochistic theory to analyze dynamics of power and powerlessness represented by a chosen sample of literary relationships. Using two contemporary works of vampire literature—Anne Rice's novel Interview with the Vampire and Stephenie Meyer's Twilight series—I examine how power is structured by and between male and female characters (and vampires and humans), and particularly emphasize the patriarchal messages these works' regressive sexual politics engender. Psychoanalysis and feminist theory are employed to support my overarching argument following the gendered dynamics of male sadism and female masochism (and vampire sadism and human masochism), as this dyad reflects men's and women's "normalized" roles of power and powerlessness, respectively, in today's society. Sadomasochistic relationships as depicted in this literature are created through mutual contracts or, what I refer to as, sociocultural sadomasochism to reflect the gendered power imbalances inherent in patriarchy. By concluding with readers' responses to these franchises, this thesis further attempts to determine why such unequal and oppressive relationships are desirable. Since vampires as Gothic figures embody what specific cultures dread yet desire, this literature possesses frightening implications—gender roles are conservative and masculinity is privileged in fiction and, by extension, in twenty-first-century American culture.<br>B.A.<br>Bachelors<br>English<br>Arts and Humanities

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4

Sowinska, Suzanne. "American women writers and the radical agenda 1925-1940 /." Thesis, Connect to this title online; UW restricted, 1992. http://hdl.handle.net/1773/9328.

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5

Homestead, Melissa J. "American women authors and literary property, 1822-1869 /." Cambridge : Cambridge university press, 2005. http://catalogue.bnf.fr/ark:/12148/cb400550012.

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6

Marching, Soe Tjen 1971. "Negotiating identity : Indonesian women's published autobiographies and unpublished diaries in the New Order." Monash University, Dept. of Asian Languages and Studies, 2003. http://arrow.monash.edu.au/hdl/1959.1/5825.

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7

Bowman, Gaillynn M. "Constance Cary Harrison, refugitta of Richmond : a nineteenth-century Southern woman writer's critically intriguing antislavery narrative strategy /." Huntington, WV : [Marshall University Libraries], 2003. http://www.marshall.edu/etd/descript.asp?ref=250.

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8

Mooney, Susan. "Drawing bridges : publicprivate worlds in Russian women's fiction." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60561.

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This thesis questions how Russian women's identity is attached to the textual use of public/private spaces in contemporary literature by Russian women writers by drawing from feminist theories. I. Grekova and N. Baranskaia portray female protagonists in their everyday lives, public and private worlds overlapping. While these heroines create stable support systems with other women, male figures enter as interruptive forces in women's lives. Hospital settings in several works by Russian women allow comparisons between women's fictional hospital experiences and those of Muscovite women interviewed. In L. Petrushevskaia's stories, women protagonists' identities are linked to the uncertain quality of locale and the tenuous relationships which transpire in it. Russian women's identity expressed in fiction may change as the self-perceptions of a younger generation of Russian women writers evolve toward a new, gendered concept of self.

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9

Gillis, Lesley. "The woman who gains : women's rights, women writers, and the periodical essay in Britain and the United States, 1850-1905." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38194.

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This dissertation examines the periodical essay as a site for women's political activity in the nineteenth century. I suggest that the essays and articles of well-known writers Fanny Fern, Marie Corelli, and Sarah Grand, and others who are less well-known, such as Ignota and Mary Livermore, together form a significant body of prose non-fiction that highlights women's active involvement in political debate. I focus primarily upon women's contributions to general-interest periodicals---where women were competing for space against a wider variety of male writers---rather than on ladies' magazines or the suffrage press, whose more narrow goals diminish the potency of women's appearance in the press. Much of my study focuses on the British Nineteenth Century and the American North American Review , both of which turned to series of articles and carefully organized groups of essays to showcase women's inclusion in the debate, often summarized as the Woman Question, over women's position in nineteenth-century society. Throughout, I posit that women's publication on topics concerning women's rights constitutes culturally and generically sanctioned political activity. The five chapters represent increasingly specific aspects of this activity. The first positions women's involvement within the press's penchant for diversity. The second argues for a connection between the influential function of the periodical press and the role of women as positive influences on others. While this influence is generally interpreted as purely domestic, I suggest an alternative reading that endorses women's publication in periodicals. The third chapter examines how women play on notions of gender and identity to create viable public voices in the press. In chapter four, I turn my attention to the ways in which women occupy the forum of the periodical to comment on and prescribe male behavior. Finally, in chapter five I discuss the ways women exert their powers to interpret and comment upon p

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10

Doak, Naomi. "Assessing an absence : Ulster Protestant women authors 1900-1965." Thesis, University of Ulster, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.444474.

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11

Ng, Po-chu, and 伍寶珠. "Writing about women and women's writing." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36259019.

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12

Silcox, Heidi Mae-Marie. "The precocious mind : the intellectual development of Charlotte Perkins Gilman /." Read thesis online, 2010. http://library.uco.edu/UCOthesis/SilcoxHM2010.pdf.

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13

Spencer, Lynda Gichanda. "Writing women in Uganda and South Africa : emerging writers from post-repressive regimes." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86251.

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Thesis (PhD)--Stellenbosch University, 2014.<br>ENGLISH ABSTRACT: The thesis examines how women writers from Uganda and South Africa simultaneously offer a critique of nationalist narratives and articulate a gendered nationalism. My focus will be on the new imaginings of women in and of the nation that are being produced through the narratives of emerging women writers in post-repressive nation-states. I explore the linkages in post-conflict writing by focusing on the literary representations of women and womanhood, while taking into account some of the differences in how these writers write women in these two post-repressive regimes. I read the narratives from these two countries together because, in the last fifty years, both Uganda and South Africa have been through prolonged periods of political repression and instability followed by negotiated transitions to new political dispensations. I use the phrase post-repressive to refer to the post-civil war era after 1986 in Uganda and the post-apartheid period subsequent to the 1994 first democratic elections in South Africa. From the late 1990s, there has been a steady increase in fiction written by emerging women writers in Uganda and South Africa. The term emerging women writers in the Ugandan literary context refers to the writers who have benefitted from the emergence of FEMRITE Publications, the publishing house of the Ugandan Women Writers’ Association; in the South African setting, I use the term to define black women writers publishing for the first time in a liberated state. The current political climate in both countries has inaugurated a new era for women writers; cracks are widening for these new voices, creating more spaces that allow them to foreground, interrogate, engage and address wide-ranging topics which lacked more forms of expression in the past. This study explores how women writers from Uganda and South Africa attempt to capture women’s experiences in literary texts and seeks to find ways of interpreting how such constructs of female identity in the aftermath of different forms of oppression articulate various signs of rupture and continuation with earlier representations of female experience in these two nation states. There are three core chapters in this thesis. I approach the gendered experience as represented in the fictional narratives of emerging women writers through three different perspectives; namely, war and the aftermath, popular literary genres, and identity markers. In the process, I try to think through the following questions: How are writers reclaiming and re-evaluating women’s participation during the oppressive regimes of civil war in Uganda and apartheid in South Africa? How are women writers rethinking and repositioning the roles of women as they continue to live in patriarchal societies that marginalize and oppress them? To what extent have things changed for women in the aftermath of these oppressive regimes as represented in the texts? What new representations of women are emerging? For whom, and from what positions, are these women writing? Is literary representation a reiteration of political representation that ends up not being effective? What is the relation between literary and political representation? Do these narratives open up alternative avenues for writers to represent women’s interests? How do new female literary representations emerge in different novels such as chick lit and crime fiction?<br>AFRIKAANSE OPSOMMING: Hierdie proefskrif ondersoek die wyses waarop vroueskrywers uit Uganda en Suid-Afrika krities kyk na nasionalisitiese narratiewe en tegelyk ook na ‘n gendered nasionalisme. Daar word gefokus op die nuwe uitbeeldinge van vroue in en van die nasies wat spruit uit die narratiewe van opkomende vroueskrywers in nasiestate in die post-onderdrukking-tydperk. Deur te fokus op die uitbeeldinge van vroue en vroulikheid word die verbande tussen post-konflik-skryfwerk ondersoek, en word ook rekening gehou met etlike verskille in die wyses waarop vroue deur sodanige skrywers in spesifieke post-onderdrukking-regimes uitgebeeld word. Die narratiewe uit die twee lande word saam gelees, want in die loop van die afgelope vyftig jaar ondervind sowel Uganda as Suid-Afrika langdurige politieke onderdrukking en onbestendigheid, gevolg deur onderhandelde oorgange na nuwe politieke bedelings. Die term post-onderdrukking verwys na die tydperk na 1986 na die burgeroorlog in Uganda en na die post-apartheid-era na afloop van die eerste demokratiese verkiesing in Suid-Afrika in 1994. Sedert die laat-1990’s was daar ‘n geleidelike toename in fiksie deur opkomende vroueskrywers in Uganda en Suid-Afrika. In die Ugandese letterkundige konteks verwys die term opkomende vroueskrywers na skrywers wat gebaat het by die totstandkoming van FEMRITE Publications, die uitgewery van die Ugandese vroueskrywersvereniging; in die Suid-Afrikaanse opset word die term gebruik om swart vroueskrywers te beskryf wat vir die eerste keer in ‘n bevryde land kon publiseer. Die huidige politieke klimaat in albei lande het vir vroueskrywers ‘n nuwe era ingelei; vir sulke vars stemme gaan daar breër barste oop wat hulle toelaat om al hoe meer ruimte te skep waarin wyduiteenlopende onderwerpe, wat in die verlede minder uitdrukkingsgeleenthede geniet het, vooropgestel, ondersoek, betrek en aangespreek kan word. Die proefskrif ondersoek die maniere waarop vroueskrywers uit Uganda en Suid-Afrika die vroulike ervaring in letterkundige geskrifte uitbeeld. Daar word gepoog om te vertolk hoe sodanige konstrukte vroulike identiteit verwoord in die nadraai van verskeie soorte onderdrukking en uiting gee aan verskillende tekens van beide die onderbreking in en die voortsetting van vroeëre uitbeeldinge van die vroulike ervaring in die twee nasiestate. Die proefskrif bevat drie kernhoofstukke. Die gendered ervaring word uit drie afsonderlike hoeke benader soos dit in die narratiewe verteenwoordig word, naamlik: oorlog en die nadraai daarvan; populêre letterkundige genres; en identiteitskenmerke. In die loop daarvan word getrag om die volgende vrae te deurdink: Hoe word vroue se deelname tydens die onderdrukkende regimes van die burgeroorlog in Uganda en apartheid in Suid-Afrika hereien en herwaardeer? Hoe herdink en herposisioneer vroueskrywers tans die rolle van vroue soos hulle steeds in patriargale samelewings voortleef waar hulle opsygeskuif en onderdruk word? In hoe ‘n mate het sake vir vroue verander in die nadraai van die onderdrukking, soos dit in die tekste uitgebeeld word? Watter vars representasies van vroue kom onder die nuwe bedeling tot stand? Vir wie, en uit watter posisies, skryf hierdie vroue tans? Is die letterkundige representasie bloot ‘n herhaling van die politieke representasie, wat dan op niks doeltreffends uitloop nie? Wat is die verhouding tussen politieke en letterkundige representasie? Baan hierdie narratiewe alternatiewe weë oop waar skrywers die belange van vroue kan verteenwoordig? Hoe kom nuwe vroulike letterkundige representasies in verskillende narratiewe vorms soos chick lit en misdaadfiksie voor?

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14

Hussey, Nan. "Fragmentation and wholeness in the novels of Luisa Josefina Hernandez and Gerlind Reinshagen /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/6665.

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15

Kaufman, Anne Lee. "Shaping infinity American and Canadian women write a North American west /." College Park, Md. : University of Maryland, 2003. http://hdl.handle.net/1903/173.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2003.<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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16

Daly-Galeano, Heather Marlowe. "Little Women, Mutable Authors: Louisa May Alcott and the Question of Authorship." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/223371.

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This project analyzes the ways that Louis May Alcott portrays authors in several texts, including Hospital Sketches (1863), "Enigmas" (1864), "Psyche's Art" (1868), Little Women (1868), A Modern Mephistopheles (1877), and Diana and Persis (1878). An examination of prevailing contemporary theories of authorship reveals that Alcott's interest in authorship (as shown through her experiences as a writer and the author figures she depicts within her writing) cannot be adequately analyzed under any of the existing theoretical frameworks because the theories neglect to consider markers of racial, sexual, cultural, and class-based difference. Being a female author in nineteenth-century America was, for Alcott, a preoccupation. Thus much of her writing features representations of authors. For Alcott, as well as many of her female contemporaries, the question "What does it mean to be an author?" cannot be considered without also asking, "What does it mean to be a woman?" and "How can an author be represented in a text?" Alcott's treatment of these questions in her writing was her attempt to create a dialogue between herself, other writers, and her reading public. By studying Alcott's author figures, I advance a model of authorship that highlights issues of gender and multiplicity; in this way my work has applications to other authors who have been excluded by normative definitions of authorship. The concept of "mutable authorship," a model that more accurately incorporates Alcott's treatment of authorship, is the product of several different literary, historical, and feminist theoretical lenses. This dissertation works through the different structuring figures that Alcott uses to represent the author, beginning with the semi-autobiographical first-person narrator and moving to the more metaphorical figures of the artist and the performer. The discussion culminates with the exploration of adaptation and collaboration in the three Hollywood feature films of Alcott's best-known work, Little Women, and several recent texts that respond directly to Alcott's work.

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Coles, Kimberly Anne. "Making sects : women as reformers, writers, and subjects in early Reformation England, 1534-1590." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273101.

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18

Hadjitheodorou, Francisca. "Women speak the creative transformation of women in African literature /." Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-08022006-130211/.

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19

Brown, Sheree Mancini. "Conjuring Olympus: Defining Place for Women." Xavier University / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=xavier1352667500.

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20

Fankhauser, Michelle Esther Alexander. "Booked "womanhood is too tightly bound to give me scope" /." Pullman, Wash. : Washington State University, 2010. http://www.dissertations.wsu.edu/Dissertations/Spring2010/m_fankhauser_050210.pdf.

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Chin, Voon-sheong Grace, and 秦煥嫦. "Expressions of self/censorship: ambivalence and difference in Chinese women's prose writings from Malaysia andSingapore." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31245237.

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Marron, Rosalyn Mary. "Rewriting the nation : a comparative study of Welsh and Scottish women's fiction from the wilderness years to post-devolution." Thesis, University of South Wales, 2012. https://pure.southwales.ac.uk/en/studentthesis/rewriting-the-nation(acc79b10-cd63-48ee-b045-dabb5af2f77c).html.

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Since devolution there has been a wealth of stimulating and exciting literary works by Welsh and Scottish women writers, produced as the boundaries of nationality were being dismantled and ideas of nationhood transformed. This comparative study brings together, for the first time, Scottish and Welsh women writers’ literary responses to these historic political and cultural developments. Chapter one situates the thesis in a historical context and discusses some of the connections between Wales and Scotland in terms of their relationship with ‘Britain’ and England. Chapter two focuses on the theoretical context and argues that postcolonial and feminist theories are the most appropriate frameworks in which to understand both Welsh and Scottish women’s writing in English, and their preoccupations with gendered inequalities and language during the pre- and post-devolutionary period. The third chapter examines Welsh and Scottish women’s writing from the first failed referendum (1979) to the second successful one (1997) to provide a sense of progression towards devolution. Since the process of devolution began there has been an important repositioning of Scottish and Welsh people’s perception of their culture and their place within it; the subsequent chapters – four, five, six and seven – analyse a diverse body of work from the symbolic transference of powers in 1999 to 2008. The writers discussed range from established authors such as Stevie Davies to first-time novelists such as Leela Soma. Through close comparative readings focusing on a range of issues such as marginalised identities and the politics of home and belonging, these chapters uncover and assess Welsh and Scottish women writers’ shared literary assertions, strategies and concerns as well as local and national differences. The conclusions drawn from this thesis suggest that, as a consequence of a history of sustained internal and external marginalization, post-devolution Welsh and Scottish women’s writing share important similarities regarding the politics of representation. The authors discussed in this study are resisting writers who textually illustrate the necessity of constantly rewriting national narratives and in so doing enable their audience to read the two nations and their peoples in fresh, innovative and divergent ways.

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Kweon, Young. "The textual and imaginary world of Ho Kyongbon (1563-1589)." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19659.

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This thesis is a study of the Korean woman poet Ho Kyongbon (1563-1589) and her poetry. In it, I investigate Ho's two brothers' active involvement in her literary life, particularly her younger brother Ho Kyun's publication of her poetry collection, the Nansorhon chip and promotion of her literary works to Chinese scholars. I also examine late Ming and Qing anthologies which include Ho's poetry to disclose how late Ming and Qing scholars evaluated her poetry and represented her life. I argue that the attention these critics paid to Ho's literary works and talent reflected a blossoming of women's literary culture and a rapid growth in the anthologizing of women's poetry. I also undertake an analysis of Ho's poetry, with particular emphasis on the influence of Tang poetry on her poetic practice. This analysis is accompanied by a discussion of Ho's relationship to the "Tang revival movement" in which her two brothers were fervently engaged. This relationship provides a context through which to better understand not only Ho's particular interest in emulating Tang poetry, but also the very textual qualities of her poetry.

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Weekes, Ann Owens. "BEGINNING A TRADITION: IRISH WOMEN'S WRITING, 1800-1984 (EDGEWORTH, JOHNSTONE, KEANE, IRELAND)." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/183990.

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In search of an Irish women's literary tradition, this dissertation examines the fiction of Irish women writers from Maria Edgeworth in 1800 to Jennifer Johnston in 1984. Contemporary anthropological, psychoanalytical, and literary theory suggests that women, even those of different cultures, excluded from public life and limited to the domestic sphere, would develop similar interests. When these interests ran counter to those of the dominant group, the women would have had to develop a technique to simultaneously express and encode these interests and concerns. This technique in literature, and specifically in the writers considered, often results in a muted plot. On the overt level the plot reifies the values and tenets of the establishment, but, at the muted level, the plot often expresses contradictory and subversive values. In 1800, Maria Edgeworth employs a "naive" narrator who both expresses male disinterest in the awful situations of the women he depicts and also distances the author from any implied criticism of this male perspective. Edgeworth combines her subtle expose with a critique of the desires encoded as "human," but actually merely "male," in canonical literature. At the end of the nineteenth century, E. OE. Somerville and Martin Ross again use an arguably deceptive narratorial device, as does Molly Keane in 1981. Elizabeth Bowen employs a more subtle narratorial device in The Last September, but one which still distances the author from her text. The re-vision of texts, literary and historical, indeed the re-visioning of history, recurs in Bowen, Keane, Kate O'Brien, Julia O'Faolain and Jennifer Johnston. Finally, one can trace similarities of both theme and technique over the whole period, despite the modifications of time and social change. We can also point to the major thematic and structural change which occurs when, in the past ten to fifteen years, writers have reversed the placement of muted and overt plot.

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Queiros, Doralice Alves de. "Mulheres cordelistas : percepções do universo feminino na literatura de cordel /." Belo Horizonte : Faculdade de Letras da UFMG, 2006. http://www.bibliotecadigital.ufmg.br/dspace/bitstream/1843/ALDR-6WEK7J/1/disserta__o.pdf.

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Marsh, Rebecca Kirk. "Refiguring Milton in Virginia Woolf's A Room of One's Own." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2602.

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Since 1979 feminist scholars have misread key images in Virginia Woolf's 'A Room of One's Own'. They delineated the extended essay as a groundbreaking feminist polemic that advocates abolishing the literary patriarchy, expressing distain for John Milton as chief offender. Through rhetorical analysis and close readings of passages, there seems advocacy for change in patriarchial education and for opening of the literary canon to women.

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Davidson, Elizabeth Macleod. "Women's writing in exile : three Austrian case studies, Veza Canetti, Anna Gmeyner, Lilli Korber." Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:17215528-0abb-41d2-8f22-883fc185e7c9.

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Despite the recent increase in scholarship on the subject of the female experience in exile, there is still much to be done. Exile scholars now have at their disposal an abundance of broad, general overviews of the circumstances and fates of displaced women writers, but a dearth of scholarship that considers specific literary works in an individualised fashion still exists. This is especially true of those female writers who have only recently been 'rediscovered', such as the three under discussion in this thesis. This thesis explores in detail the exile writings of Veza Canetti, Anna Gmeyner, and Lili Korber, about which little scholarship exists, and uses them as case studies to illuminate the situation of exiled women writers in general The exile works of these three authors repay study both for their own literary merits and for what they can tell us about the individual experience of exile. In their broad similarities, these writers also provide us with case studies of the larger experience of authorial exile - particularly, but by no means exclusively, the gendered experience - that allow us to derive more general lessons about the influence of forced flight on literary art. By giving due consideration to work produced in exile, this thesis calls into question some of the generalisations commonly found in recent scholarship and demonstrates that, despite hardsrnps and setbacks and contrary to common scholarly contention, all three women continued to write well into their exile years and that in those years they took their writing in new, skilful, and creative directions.

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McDaniels, Ivy. ""Beautiful external life to watch and ponder" : Katherine Mansfield confronting the material : a thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in English /." ResearchArchive@Victoria e-Thesis, 2010. http://hdl.handle.net/10063/1295.

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Galliher, Debra L. (Debra Lee). "The Light Under." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500864/.

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A poet who is a woman and a theologian writes under three pressures, or a triple bind: individuality, spirituality, and society. The desires and drives of the ego and those of spirituality often conflict, and societal expectations which gender bestows add further stress to the poet's efforts. This constant struggle destroys some poets (Plath, Sexton) and renders silent many of the rest. The following collection of poems combats the silence in four progressive sections: The first is an introductory essay which further discusses the triple bind; the second, "Between Two," illustrates spiritual relationships from despair to disillusionment; the third section, "Life in the Mirror," describes deteriorating human relationships; the final section, "Salt," presents problems resolving to a kind of negative capability. This poetry collection continues one woman's poetic struggle toward validity and acceptance.

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Zhu, Aijun. "The cultural production of controversy feminism, women authors, and the mapping of China /." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2495.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2005.<br>Thesis research directed by: Comparative 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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Talahite, Anissa. "Race and gender in the novels of four contemporary southern African women authors." Thesis, University of Leeds, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.277905.

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Coleman, Julianna M. "Que cuenten las mujeres/Let the Women Speak: Translating Contemporary Female Ecuadorian Authors." Ohio University Honors Tutorial College / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1461344085.

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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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Naidu, Sam. "Towards a transnational feminist aesthetic: an analysis of selected prose writing by women of the South Asian diaspora." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1012941.

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This thesis argues that women writers of the South Asian diaspora are inscribing a literary aesthetic which is recognisably feminist. In recent decades women of the South Asian diaspora have risen to the forefront of the global literary and publishing arena, winning acclaim for their endeavours. The scope of this literature is wide, in terms of themes, styles, genres, and geographic location. Prose works range from grave novelistic explorations of female subjectivity to short story collections intent on capturing historical injustices and the experiences of migration. The thesis demonstrates, through close readings and comparative frameworks, that an overarching pattern of common aesthetic elements is deployed in this literature. This deployment is regarded as a transnational feminist practice.

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Dorr, Priscilla Diaz. "Anna Kavan: a critical introduction /." Access abstract and link to full text, 1988. http://0-wwwlib.umi.com.library.utulsa.edu/dissertations/fullcit/8811006.

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Yamamoto, Traise. "Writing "that other, private self" : the construction of Japanese American female subjectivity /." Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/9436.

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McConnell, Carolyn D'Eath. "From La folle du logis to La femme dans sa loge : Rachilde, Colette and strategies of gender and authorship /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008390.

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Safran, Morri. ""Unsex'd" texts : history, hypertext and romantic women writers /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3026209.

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Ng, Po-chu. "Writing about women and women's writing a study of Hong Kong feminine fiction in 80s and 90s = Shu xie nü xing yu nü xing shu xie : ba, jiu shi nian dai xiang gang nü xing xiao shuo yan jiu /." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B36259019.

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Trainor, Kim. "Feminist poetics from écriture féminine to The pink guitar." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84683.

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This dissertation offers the first full-length study of five feminist writing practices developed between May 1968 and the publication of Rachel Blau DuPlessis's The Pink Guitar in 1990: ecriture feminine (Helene Cixous), ecriture au feminin/writing in the feminine (Nicole Brossard, Daphne Marlatt, Lola Lemire Tostevin), lesbian/political writing (Monique Wittig), innecriture (Trinh T. Minh-ha), and writing as feminist practice (DuPlessis). These share what I call a feminist poetics; I develop the concept of "sympathy" (the transmission of symptoms from one body to the next) to explain how they nourish one another. I recount their poststructuralist context, and outline key historical influences, such as the student protests of 1968, the nascent women's movements in France and North America, and feminist cultural production in the 1970s. I then describe their poetics---the textual, grammatical, and semantic strategies used to undermine the patriarchal symbolic. I focus on the status and function of the female body in this feminist poetics, and suggest the body provides it with a non-essentialist theoretical foundation. I conclude by evaluating two models that best describe these writing practices: the palimpsest and the matrix. While the palimpsest, with its textual allusions, is an attractive model, I suggest that the matrix offers two advantages: its corporeal connotations and its emphasis on writing as process.

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Seminet, Georgia Smith. "Redefining nation : space and desire in contemporary Mexican women's writing /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9992909.

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Maldon, Justine Antonia. "Escaping 'the fetters of custom' : Victorian women in Florence 1825-1875 /." Connect to this title, 2005. http://theses.library.uwa.edu.au/adt-WU2006.0071.

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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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Janus, Jacqueline M. "Gender, leadership and public relations." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5768.

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Thesis (M.A.)--University of Missouri-Columbia, 2008.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 12, 2009) Vita. Includes bibliographical references.

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

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Swartzendruber, Rachel D. "Discovering voices among peculiar quietness: an analysis of U.S. Mennonite women’s rhetoric in the church press 1963-1977." Thesis, Wichita State University, 2006. http://hdl.handle.net/10057/381.

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This research is a quantitative content analysis and qualitative rhetorical analysis of U.S. Mennonite women’s rhetoric in two prominent Mennonite publications, The Gospel Herald and The Mennonite, between 1963 and 1977. During this time period 150,000 Mennonites considered themselves members of the church. The context of each paper was identified through content analysis Women who chose to submit articles to the church press faced enormous obstacles when promoting gender equality. Gender equality was a direct challenge to Mennonite’s traditional view of "divine order," which is a hierarchy of God, man, then woman. Due to the these obstacles Mennonite female authors who were supportive of gender equality took on a facilitating tone and a double identity persona comprised of both Mennonite and feminist. Mennonite women who supported a more traditional view of gender roles had an instructional tone and a "selfhate" persona. Invitational rhetorical theory helps to explain the rhetorical choices made my female rhetors during this time period.<br>Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences, the Elliott School of Communication<br>Includes bibliographic references (leaves 85-99)<br>"May 2006."

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Lister, Katie. "Equal at the Round Table : women authors and the early nineteenth-century Arthurian revival." Thesis, University of Leeds, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.590301.

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This research assesses the significance and distinctiveness of the work of four women writers of Arthurian literature in the early nineteenth century: Anne Bannerman, Louisa Stuart Costello, Letitia Elizabeth Landon and Dinah Maria Mulock Craik. This is a relatively unexplored field of study, though pioneering critics such Alan Lupack and Barbara Tepa Lupack's have done much to expose the impressive literary contributions female authors have made to Arthuriana and the paucity of critical attention they have received in Arthurian Literature by Women (1999). While I use the Lupacks' work as a starting point I move beyond it, to show how the critical model they advance inadvertently further marginalises women's literary contributions rather than writing them into the Arthurian literary mainstream, as first appears. My research demonstrates that a more nuanced and inclusive approach is required if we are to understand how women authors contributed to our modern Arthurian canon formation. Each author featured here responds to numerous Arthurian literary influences which inform and mould her creative response. This research considers the work of each author in relation to her sources, and influences, and reveals her work to be formative, rather than a reaction against an authoritative male 'tradition' of Arthuriana. In doing so I can show how female contribution has been instrumental to the development of the nineteenth-century Arthurian revival. This research contributes to the field of Arthurian studies in three key areas. It subjects the chosen authors to deeper critical analysis of their interest in Arthuriana, than has hitherto been undertaken; it adds previously overlooked works to the body of recognised Arthurian works by women authors; and finally, it proposes a new critical paradigm for the study of the women Arthurianists, by replacing the prevailing orthodoxy of 'mainstream and margin' in terms of 'tradition' with a more subtle approach based on canon formation and recognition of the mercurial nature of the Arthurian corpus

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

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

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Stretton, Tim. "In sickness and in health : English medical authors changing perceptions of women and women patients from Saxon times until 1650 /." Title page, contents and introduction only, 1986. http://web4.library.adelaide.edu.au/theses/09AR/09ars9158.pdf.

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