Dissertations / Theses: 'Domestic fiction'

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Howard, Rachel. "Domesticating the novel : moral-domestic fiction, 1820-1834." Thesis, Cardiff University, 2007. http://orca.cf.ac.uk/55754/.

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Since the late 1960s, the marginalised status of women within literary studies has been addressed. Critics such as Kate Millett set the standard for studies of male-authored fiction that read them for signs of their oppressive, patriarchal assumptions. Somewhat differently, Elaine Showaiter's 1977 text A Literature of Their Own proved seminal for its shift in focus towards women's writing, and the aim of detecting female experiences of society. The effort to retrieve lost or neglected fiction by women mobilised many critics, such Sandra Gilbert and Susan Gubar, yet of most significance for the subject matter of this thesis is Ellen Moers. Moers's Literary Women (1976) essentially suggests an expansion of the types of female-authored fiction that should be recovered. For Moers, women's writing does not have to be about isolated, feminist rejections of male-oriented society in order to be worth retrieving. Female novelists of the eighteenth and nineteenth centuries were taking advantage of one of the few outlets available to them to make money, and their works were defined by intertextuality. Moers writes about a 'sounding board' of mutual awareness and resonance that exists between women writers across periods and genres a female tradition of writing is formed by the 'many voices, of different rhythms, pitches, and timbres' by which women writers are encircled. Collectively, existing works such as those by Showalter and Moers offer justification for retrieving a range of lesser-known, seemingly mundane female-authored works from the past, as these contain connections with surrounding works as well as a narrative on women's experiences of society. Currently, however, there is a critical hiatus in which this opportunity is not being satisfied, and many women writers remain neglected. The gap in our knowledge of the female literary tradition can be filled in part by increased familiarisation with the Moral-Domestic genre of the 1820s and 1830s. This genre relates to fictional forbears such as Jane Austen and Maria Edgeworth, as well as later Victorian authors. It also offers a female perspective on a publishing scene whose significance is arguably yet to be fully realised. In this way, the female-authored, Moral-Domestic novels that proliferated in the late-Romantic period represent one, as yet unrecognised voice in Moers's 'sounding board'.

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Modrei, Karen. "Craft Fiction." Thesis, Konstfack, Textil, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7814.

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In this paper I introduce and explain the construct of ‘Craft Fiction’ as a setting for my own artistic work. Within a fictional framework, I am mediating between the field of craft and the contemporary environment of relocated materialities and digital worlds I find myself in. Using the vehicle of language and analyzing those dialogue that are ongoing in craft processes, I am assessing the intimate relationships between maker and its tools/machines, in order to discuss hierarchies and purpose of crafting.

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Guravich, Peter B. "Class consciousness and domestic service in Elizabeth Gaskell's shorter fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ29993.pdf.

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Modiano, Marko. "Domestic disharmony and industrialisation in D. H. Lawrence's early fiction /." Stockholm : Almqvist & Wiksell, 1987. http://catalogue.bnf.fr/ark:/12148/cb35506518t.

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Frear, Sara S. ""A fine view of the delectable mountains" the religious vision of Mary Virginia Terhune and Augusta Jane Evans Wilson /." Auburn, Ala., 2007. http://repo.lib.auburn.edu/07M%20Dissertations/FREAR_SARA_35.pdf.

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Andrade, Emily Y. "Illegal immigration : 6 stories from an American family." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1365172.

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Illegal Immigration: Six Stories from an American Family is a collection of stories derived from and inspired by the author's personal life experiences, dreams, and family history, as a Mexican American woman. The stories also hold distinct archetypal patterns, images, storylines and symbolism due to the author's connection to the collective unconscious through meditation. The stories tell character driven stories of adversity, and the search for home, and identity by linking main characters to their family members in each story. The collection as a whole reveals generational patterns, histories and connections not only present in the matriarchal bloodline of the collection, but from one human to another. The stories beckon the reader into an alternate reality created by these archetypal patterns inherent in all humans, in an attempt to transcend genres and find a place within the psyche where anything is possible.
Illegal immigration -- Marco and Margarita -- La muerte de mi padre -- Together again -- Vivi and Ricardo -- The healer.
Department of English

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O'Neil, Jennifer KayLynn. "Invisible, not invincible : a fiction and memoir thesis on domestic abuse /." View online, 2010. http://repository.eiu.edu/theses/docs/32211131575225.pdf.

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Wingert, Lynn Renee. "Battered, bruised, and abused women domestic violence in nineteenth-century British fiction /." [Ames, Iowa : Iowa State University], 2007.

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9

Russell, Deborah. "Domestic Gothic : narrating the nation in eighteenth-century British women's Gothic fiction." Thesis, University of York, 2011. http://etheses.whiterose.ac.uk/2074/.

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This thesis argues that eighteenth-century British narratives of the nation's past and of the history of women significantly inform and shape early women's Gothic fiction. Foregrounding the idea of the Gothic as a genre preoccupied with national identity, it looks again at the coordinates of Gothic fiction to investigate novels set in Britain. It analyzes in detail novels written between 1777 and c.1802 by Clara Reeve, Sophia Lee, Ann Radcliffe, Charlotte Smith, Eliza Fenwick, Mary Wollstonecraft, and Mary Hays. The study examines the uses of Gothic tropes in such texts in the light of British political crises and societal tensions, exploring how these intersect with specifically gendered concerns. Such an approach shifts the emphasis in discussions of national identity in the genre; it no longer has to be primarily seen as negotiated in relation to a foreign other. Instead, this refocusing throws light on the detail of the national historical narratives that the mode manipulates. My awareness of the multivalency of the Gothic in historico-political contexts also exposes the diversity of its use in women's fiction. The project thus aims to produce a more nuanced, historically-aware map of early women's Gothic writing.

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Abbott, Dorothy. "Good and faithful? : representations of domestic servants in English fiction, 1870-1920." Thesis, University of the West of England, Bristol, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249140.

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Mitchell, Katharine Hannah. "Between Domestic Realist-Fiction andJournalism : La Marchesa Colombi,Matilde Serao, Neera (1866-1910)." Thesis, University of Warwick, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502526.

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The thesis sets out to examme the domestic realist fiction and non-fiction writings Gournalism, essays,conduct books) by three women writers of the late nineteenth century whose work depicts middle-class adolescent girls and young women whose lives revolve around the domestic sphere, home and family. The writers, Maria Antonietta Torriani, whose pen name was La Marchesa Colombi, Anna Radius Zuccari, who wrote with the pseudonym Neera, and Matilde Serao, were well known in their day, and often highly regarded by contemporary critics and writers. The aim of critical studies thus far has been primarily that of re-introducing forgotten female authors into the Italian literary 'canon': literary scholars have limited themselves either to examining these authors and their works individually, or to focusing on the writers' journalistic production. Through an analysis of a selection of their work, I argue that while Neera and Serao in particular positioned themselves as ideologically opposed to the ideals put forward by the emancipationists, . theirs and La Marchesa Colombi's fiction and non-fiction writings are shot through with contradictory evidence of their views of women's 'proper' role in the new Italy. Drawing on a range of theoretical frameworks (recent critical work on women writers, new historicism, theories of gender, sociology, critical studies of genre, and psychoanalysis), I argue that fiction in particular offered women writers a legitimate means of addressing and engaging with the burning social and political issues of the day regarding the role of women. The thesis is the first study to consider these writers and their works together, and to provide evidence of the writers' albeit possibly covert and unconscious engagement with debates on the role ofwomen in the new Italy.

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Prebel, Julie E. "Domestic mobility in the American post-frontier, 1890-1900 /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/9339.

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Horowitz, Deborah E. "Domestic arrangements : spatial configurations of home in the English novel, 1900-1939." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367459.

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Johnston, Susan 1964. "Calling the question : women and domestic experience in British political fictions, 1787-1869." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39928.

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This work challenges common arguments as to the division of the political from other fictional genres and, in treatments of nineteenth-century fiction and culture, the private from the public sphere. Through an examination of works by Mary Wollstonecraft, Amelia Opie, Maria Edgeworth, and Elizabeth Gaskell, I uncover a common concern with the preconditions of liberal selfhood which posits the household as the space in which the political rights-bearer, defined by interiority and mental qualities, comes to be. This rights-bearer is not, as has been argued, defined by purely formal and abstract procedural reason, but in terms of a capacity for reason which includes the capacity for emotion. This work therefore shows domestic space to be the foundation of, rather than the occluded counterpart to, the liberal polity, and argues that an account of the household, in which the liberal self is disclosed, is likewise at the centre of Victorian political fiction.

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Bredesen, Dagni Ann. "Categorical exceptions : widows, sexuality, and fictions of (dis)coverture in Victorian domestic and imperial narratives /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/9485.

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Elmslie, Susan. "Living rooms : domestic material culture in fiction by Joan Barfoot, Marion Quednau, and Diane Schoemperlen." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ64555.pdf.

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17

Hedigan, Blair. "Performativity and Domestic Fiction in Antebellum America: The Power Dynamics of Class and Gender Performance." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/900.

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This thesis analyzes the role of performativity within the domestic novel during antebellum America; specifically, the ways in which E.D.E.N. Southworth’s The Hidden Hand and Louisa May Alcott’s Behind a Mask subverted cultural and societal norms by exploring the performative nature of class and gender. Through their respective protagonists, the two authors sought to question the power dynamics of an overwhelmingly patriarchal society. By granting their protagonists agency through performance, Southworth and Alcott explored the ways in which women might alter existing power structures to reject the restrictions gender essentialism placed upon antebellum women, and to advocate for women’s rights, such as economic stability and class mobility.

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Nelson, Laura. "Rebels in the Family: New Domestic Novels in Fin-de-Siècle Britain." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/34956.

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This thesis considers three British novels of the 1880s that imagined a range of middle-class domestic configurations that deviated in new ways from the long-contested fiction of the British household as a patriarchal stronghold. Although mid-Victorian novels very often featured narratives of domestic upheaval, they did so in a way that sensationalized and emphasized the rarity of middle-class familial deviance. In contrast, the fin-de-siècle domestic novel brought a greater range of idiosyncratic families and households under a newly sociological lens and explored them as part of the reality of modern British family life. The persistent attention to alternative domesticities by novelists writing in the fin-de-siècle period suggests that the social problems of the day required new novelistic genres and formal strategies beyond those favoured by writers of sensation fiction and sentimental domestic novels in the earlier part of the century. Through readings of late-career novels by the popular Victorian sensationalist Wilkie Collins and a New Woman novel by the anti-feminist editorialist Eliza Lynn Linton, this thesis argues that the generic hybridity of such fin-de-siècle British novels resulted in a capacious domestic narrative that often looked beyond the fraught unit of the biological family to posit an unprecedented range of new family configurations.

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19

Gessell-Frye, Donna Ann. "Contesting guardianship, challenging authority: The guardian and ward relationships in Gothic and domestic fiction, 1789-1793." Case Western Reserve University School of Graduate Studies / OhioLINK, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=case1058282118.

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20

Alston, Sylvia, and n/a. "Take that woman : a creatie writing project." University of Canberra. Creative Communication & Culture Studies, 2002. http://erl.canberra.edu.au./public/adt-AUC20060531.161023.

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Take that woman explores social issues as a piece of mainstream fiction. The story revolves around realistic characters, in a contemporary setting, facing situations which many people encounter in their lives. The piece isn't didactic. Nor does it force-feed the reader; rather it provides information in bite-sized pieces so it can be easily digested. Take that woman is the story of a group of people brought together by a wedding. Set in the present, the action takes place in Canberra on a day in early November. The story moves between Australia and England, between the present and the past as it examines the conflicts the day generates for the couple's families and friends. Not only does the wedding serve as a device to bring the characters together, it also highlights the seriousness of the issues being explored. The account is a fictional piece as fiction can be an effective communication tool. Information is disseminated in different forms through a variety of media, both electronic and print. But, however widely, or creatively, the material is distributed, there is nothing to ensure the recipient will read or understand the information. Mainstream fiction can be a means of raising awareness about serious social issues, of changing attitudes, and, ultimately, behaviours. The research for the piece involved a search of literature, films and videos, and relevant websites. It also consisted of personal interviews with subject experts, workers in the field of domestic violence, and people who have been exposed to violence in their own relationships.

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21

Johnston, Elizabeth. "Competing fictions eighteenth-century domestic novels, women writers, and the trope of female rivalry /." Morgantown, W. Va. : [West Virginia University Libraries], 2005. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=4149.

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Thesis (Ph. D.)--West Virginia University, 2005.
Title from document title page. Document formatted into pages; contains v, 297 p. Vita. Includes abstract. Includes bibliographical references (p. 283-294).

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Guthrie, James Ronald. "Three decades of terror domestic violence, patriarchy, and the evolution of female characters in Stephen King's fiction /." Birmingham, Ala. : University of Alabama at Birmingham, 2009. https://www.mhsl.uab.edu/dt/2009m/guthrie.pdf.

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Thesis (M.A.)--University of Alabama at Birmingham, 2009.
Title from PDF title page (viewed Sept. 2, 2009). Additional advisors: Rebecca Bach, Danny Siegel, Becky Trigg. Includes bibliographical references (p. 103-107).

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23

Marti, Balcells Aina. "Domestic architecture and the making of sexual culture in English, French, and German-language narrative fiction, 1856-1927." Thesis, University of Kent, 2018. https://kar.kent.ac.uk/67563/.

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At the intersection of the history of architecture and the history of sexuality, my thesis analyses the ways in which domestic architecture and its literary representations challenged conceptualizations of normative sexuality and the established sexual culture. I argue that the materiality of architecture related to a particular theorization of domestic life, including normative sexuality, which could, thus, be modified by architectural means. On one hand, I will illustrate how literature makes use of new architectures to explore their further impact on sexual culture in late nineteenth-century England, France, and Germany. On the other hand, I will illustrate how actual domestic architecture designed in Vienna at the beginning of the twentieth century, facilitates the performance of non-normative sexual practices. By illustrating the historical role of (represented) architecture in opening the meaning of normal sexuality, my literary analysis contributes to scholarship on domestic studies and ways of living.

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Gilbertson, Alice Marie Sorenson. "The hidden ones female leadership in the nineteenth-century educational reform movement and in sentimental-domestic fiction, 1820-1870 /." Access abstract and link to full text, 1994. http://0-wwwlib.umi.com.library.utulsa.edu/dissertations/fullcit/9500705.

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Cantrell, Samantha E. "Housing sexuality: domestic space and the development of female sexuality in the fiction of Angela Carter and Jeanette Winterson." Texas A&M University, 2003. http://hdl.handle.net/1969.1/2226.

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A repeated theme in the fiction of Angela Carter and Jeanette Winterson is the use of domestic space as a tool for defining socially acceptable versions of female sexuality. Four novels that crystallize this theme are the focus of this dissertation: Winterson??s Oranges Are Not the Only Fruit (1985) and Art and Lies (1994) and Carter??s The Magic Toyshop (1967) and Nights at the Circus (1984). Each chapter examines both authors?? treatments of a specific room in the house. Chapter II, "Parlor Games: Spatial Literacy in Formal Rooms," discusses how rooms used for formal occasions project a desirable public image of a family. More insidiously, however, the rooms protect the sexual order of the household, which often privileges male sexuality. Using the term spatial literacy to describe how characters interpret rooms, the chapter argues that characters with a high spatial literacy can detect not only the overt messages of these formal rooms, but also what underlies those messages. Chapter III, "Making Meals, Breaking Deals: Mothers, Daughters, and Kitchens," discusses the kitchen as the site of the production of domestic comfort. An analysis of who has primary responsibility for the production of comfort and whose comfort is privileged often reveals the power hierarchy of a given household. The chapter also examines the kitchen as a volatile space that can erupt with violence and the expression of repressed emotions and repressed sexuality. Finally, the kitchen is analyzed as a space of intimacy between mothers and daughters. Chapter IV, "Bedtime Stories: Assaulting Sexuality in the Bedroom," argues that the privacy of the adolescent bedroom is often disrupted by the surveillance of family members trying to control the sexual identity of the room??s occupant. The chapter also examines how social prescriptions encourage women to tolerate the interruption of their privacy. Each of the protagonists from these four novels has opportunities to learn about subverting the discursive constructions of domestic space, and several characters enact that subversion. This ability for subversion suggests the possibility for agency, a possibility that postmodernist thought often rejects, but one that Carter and Winterson allow.

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Jarvis, Kelly Langdon. "The indoctrination of desire : a study of women, sexuality, and marriage in eighteenth and nineteenth century British domestic fiction /." View text, 2002. http://library.ccsu.edu/theses/etd-2002-7.

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Thesis (M.A.)--Central Connecticut State University, 2002.
Thesis advisor: Stuart Barnett. " ... in partial fulfillment of the requirements for the degree of Master of Arts in English." Includes bibliographical references (leaves 136-139). Also available via the World Wide Web.

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Lawrence, Lindsy M. "Seriality and domesticity the Victorian serial and domestic ideology in the family literary magazine /." Fort Worth, Tex. : Texas Christian University, 2008. http://etd.tcu.edu/etdfiles/available/etd-05052008-151851/unrestricted/Lawrence.pdf.

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Jenkins, Jennifer Lei. "Failed mothers and fallen houses: Gothic domesticity in nineteenth-century American fiction." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186122.

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This study examines the relation between gender and genre in four novels that chart the development of American domestic life from the Colonial to the Gilded Age. In these novels, the presence in the house of women--mothers, daughters, sisters, servants, slaves--often threatens the fathers' dynastic ambitions and subverts the formal intentions of the narrative. These women represent familiar but strange forces of the uncanny which lurk beneath the apparently placid surface of domestic narrative. In "house" novels by Hawthorne, Stowe, Alcott, and James, interactions of the uncanny feminine with dynastic concerns threaten not only the novel's social message of destiny and dynasty, but the traditional form of the novel itself. In The House of the Seven Gables, Hawthorne constructs a narrative in which patrician fathers and domestic daughters struggle for control of the House and its story. Slavery disrupts domestic life in Uncle Tom's Cabin, inverting and thereby perverting traditional notions of home and family and producing monstrous mothers and failed households. Alcott details the abuses and dangers of reified gender roles in family life, while depicting a young woman's attempt to reconstruct domesticity as a female community in Work. Finally, James displaces domestic concerns entirely from The Other House, portraying instead the violent nature of feminine desire unrestrained by tradition, community, or family. Story and telling work at cross-purposes in these novels, creating a tension between Romantic structures and realistic narrative strategies. These authors depart from the tropes of their times, using gothic devices to reveal monstrous mothers, uncanny children, and failed or fallen houses within the apparently conservative domestic novel. Such gothic devices transcend literary historians' distinctions of romance and sentimental fiction as respectively male and female stories and reveal the fundamentally subversive nature of domestic fiction. For these writers, the uncanny presence of the feminine produces a counternarrative of gender, class, and race, redefines the cultural boundaries of home and family, and exposes the fictive nature of social constructions of gender and domesticity.

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Kagawa, P. Keiko. "Bodies in the "house of fiction" : the architecture of domestic and narrative spaces by Jane Austen, Elizabeth Gaskell and George Eliot /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3061951.

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Thesis (Ph. D.)--University of Oregon, 2002.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 261-270). Also available for download via the World Wide Web; free to University of Oregon users.

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Billyeald, Penny. "What the butler did not do : the function of the domestic servant in the crime and detective fiction of the golden age." Thesis, University of Reading, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.443936.

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Davids, Courtney Laurey. "From Chawton to Oakland : configuring the nineteenth-century domestic in Catherine Hubback's writing." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86585.

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Thesis (PhD)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: This thesis engages the ideological ambivalence about the nineteenth-century middle-class domestic that emerged at mid-century by focusing on the non-canonical British and Californian writing of a fairly unknown but prolific author, Catherine Hubback, Jane Austen’s niece. It explores the tension between ideology and practice in Hubback’s writing, and argues that her work simultaneously challenges and endorses the ideal of domesticity. To the extent that it challenges this ideal, Hubback’s fiction, in its representation of domestic practice, negotiates class and gender ideologies that play out in the middle-class home. The thesis also traces how her endorsement of middle-class domesticity became more pronounced in the story and letters she wrote after her emigration to California, taking the form of overt criticism of American femininity and domesticity. Hubback’s concern with women’s position in relation to law and marriage is read within the context of developments in the genre of domestic fiction. My close reading of four novels – The Younger Sister, May and December: A Tale of Wedded Life, The Wife’s Sister; or, The Forbidden Marriage and Malvern; or, The Three Marriages – examines Hubback’s representation of marital and domestic configurations that are consistently viewed in relation to the social and legal position of women. The novels explore alternative options for women’s lives illustrated by their negotiation of the constraints of middle-class womanhood on their own terms; in marriage, or by choosing not to marry. Similarly, my discussion of Victorian masculinity in Hubback’s fiction focuses on the concern with moral and industrious middle-class manhood that establishes middle-class values as the definition of proper Englishness. As part of this discussion, I demonstrate how Hubback’s fiction reworks middle-class masculinity in order to establish a model for marriage that ensures domestic stability and ultimately the order of the English nation. In the final chapter of this thesis, I continue my exploration of Englishness and domestic ideology by reading Hubback’s short story and letters from California. In contrast to the ideological ambivalence registered in the novels, these texts more overtly subscribe to middle-class English values. My reading of Hubback’s work for this thesis thus aims to contribute to an understanding of the complex interrelation between ideology, domestic practice and literature in the nineteenth-century.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die ideologiese ambivalensie aangaande die negentiende eeuse middelklashuishouding wat teen die middel van die eeu te voorskyn getree het deur te fokus op die nie-kanonieke Britse en Kaliforniese skryfwerk van ŉ redelik onbekende,dog produktiewe,skrywer, Catherine Hubback, Jane Austen se niggie. Dit ondersoek die verhouding tussen ideologie en praktyk in Hubback se skryfwerk en voer aan dat haar werk die ideaal van huishoudelikheid gelyktydig uitdaag en goedkeur.In soverre dit hierdie ideal uitdaag, baan Hubback se fiksie, deur middle van die voorstelling van huishoudelike praktyke,ŉ weg deur die klas-en geslagsideologieë wat in die middelklaswoning afspeel.Die tesis ondersoek ook hoe haar ondersteuning van middelklashuishoudelikheid meer prominent geword het in die verhale en briewe wat sy na haar emigrasie na Kalifornieë geskryf het, en wat die vorm aangeneem het van openlike kritiek teenoor Amerikaanse vroulikheid en huishoudelikheid. Hubback se belangstelling in die posisie van vroue ten opsigte van die wet en die huwelik word gesien in die konteks van ontwikkelinge in die genre van huishoudelikefiksie. My bestudering van vier romans – The Younger Sister, May and December: A Tale of Wedded Life, The Wife’s Sister; or, The Forbidden Marriage en Malvern; or, The Three Marriages – ondersoek Hubback se voorstelling van konfigurasies in die huwelik en in die huishouding wat deurgaans beskou word ten opsigte van die sosiale en wetlike posisie van vroue. Die romans ondersoek alternatiewe opsies vir vroue se lewens wat geïllustreer word deur die wyse waarop hulle hul weg baan deur die beperkings wat op hulle geplaas is as vroue van die middelklas; in die huwelik, of deur te verkies om nie te trou nie.My bespreking van Viktoriaanse manlikheid in Hubback se fiksie focus ook op die belangstelling in morele en hardwerkende middelklasmanlikheid wat middelklaswaardes as die definisie van ware Engelsheid bepaal. As deel van hierdie bespreking demonstreer ek hoe Hubback se fiksie middelklasmanlikheid hersien om ŉ model vir die huwelik te skep wat huishoudelike stabiliteit en uiteindelik ook die orde van die Engelse nasie verseker. In die laaste hoofstuk van die tesis sit ek my ondersoek van Engelsheid en die huishoudelike ideologie voort deur Hubback se kortverhaal en briewe van Kalifornieë te lees. In teenstelling met die ideologiese ambivalensie wat in die romans geregistreer word, onderskryf hierdie tekste meer openlik die waardes van die Engelse middelklas. My lees van Hubback se werk vir hierdie tesis poog dus om by te dra tot ŉ begrip van die komplekse onderlinge verhouding tussen ideologie, huishoudelike praktyk en die letterkunde in die negentiende eeu.

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Gohain, Atreyee. "Where the Global Meets the Local: Female Mobility in South Asian Women's Fiction in India and the U.S." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1428022854.

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33

Chambers, Jacqueline M. "The needle and the pen : needlework and women writers' professionalism in the nineteenth century /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9999278.

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34

McQueen, Anna. "A class apart : the servant question in English fiction, 1920-1950." Thesis, University of Stirling, 2016. http://hdl.handle.net/1893/24485.

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In the reading of the servants in examples from the period 1920-1950, the servant question is invoked to expose the workings of class. The servants in these narratives of Bowen, Green, Taylor, Waugh, Mansfield and Panter-Downes, lady’s maids, housekeepers, nannies, a butler and a chauffeur, are in thrall to the collective structures of societal ordering, and reluctant with respect to social mobility. Class was not fully being negotiated in this period, in fact little change was visible. Fer example intimacy, such as that between the lady’s maid and her mistress, meant that class confrontation was unlikely. The nanny showed that culturally constructed mechanisms such as nostalgia could be employed to discourage the desire for change. In terms of the socio-historical context any transformation in the make-up of domestic life – that is, the move towards homes without servants - was a fairly gradual business. But, there was a widespread belief in a change that had not really taken place – and that certainly had not taken place within domestic service. Any transformation of society was superficial; the governing ranks would not permit their disempowerment through genuine class change. I contend that the literature supports this perspective. Servants desire subservience; they find comfort in the familiarity of the system of household ranking-by-status. In the process, authority itself is portrayed as being less immutable, more malleable and thereby equipped for the future. In this sense the narratives read in this thesis go to make up a literature of resistance, in refutation of the overwhelming narrative of the time, progressing instead the notion that class must persist with its boundaries intact, as its hegemony is desirable and necessary for the smooth, successful operation of society.

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Molloy, Carla Jane. "The art of popular fiction : gender, authorship and aesthetics in the writing of Ouida : a thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in English in the University of Canterbury /." Thesis, University of Canterbury. Culture, Literature and Society, 2008. http://hdl.handle.net/10092/1956.

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This thesis examines the popular Victorian novelist Ouida (Maria Louisa Ramé) in the context of women’s authorship in the second half of the nineteenth century. The first of its two intentions is to recuperate some of the historical and literary significance of this critically neglected writer by considering on her own terms her desire to be recognised as a serious artist. More broadly, it begins to fill in the gap that exists in scholarship on women’s authorship as it pertains to those writers who come between George Eliot, the last of the ‘great’ mid-Victorian women novelists, and the New Woman novelists of the fin de siècle. Four of Ouida’s novels have been chosen for critical analysis, each of which was written at an important moment in the history of the nineteenth century novel. Her early novel Strathmore (1865) is shaped by the rebelliousness towards gendered models of authorship characteristic of women writers who began their careers in the 1860s. In this novel, Ouida undermines the binary oppositions of gender that were in large part constructed and maintained by the domestic novel and which controlled the representation and reception of women’s authorship in the mid-nineteenth century. Tricotrin (1869) was written at the end of the sensation fiction craze, a phenomenon that resulted in the incipient splitting of the high art novel from the popular novel. In Tricotrin, Ouida responds to the gendered ideology of occupational professionalism that was being deployed to distinguish between masculinised serious and feminised popular fiction, an ideology that rendered her particularly vulnerable as a popular writer. Ouida’s autobiographical novel Friendship (1878) is also written at an critical period in the novel’s ascent to high art. Registering the way in which the morally weighted realism favoured by novelists and critics at the mid-century was being overtaken by a desire for more formally oriented, serious fiction, Ouida takes the opportunity both to defend her novels against the realist critique of her fiction and to attempt to shape the new literary aesthetic in a way that positively incorporated femininity and the feminine. Finally, Princess Napraxine (1884) is arguably the first British novel seriously to incorporate the imagery and theories of aestheticism. In this novel, Ouida resists male aesthetes’ exploitative attempts to obscure their relationship to the developing consumer culture while confidently finding a place for the woman artist within British aestheticism and signalling a new acceptance of her own involvement in the marketplace. Together, these novels track Ouida’s self-conscious response to a changing literary marketplace that consistently marginalised women writers at the same time that they enable us to begin to uncover the complexity of female authorship in the second half of the nineteenth century.

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Istomina, Julia. "Property, Mobility, and Epistemology in U.S. Women of Color Detective Fiction." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429191876.

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Klimasmith, Elizabeth. "At home in the city : networked space and urban domesticity in American literature, 1850-1920 /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/9372.

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Halleck, Kenia Milagros. "Modernización y género sexual en los melodramas domésticos de autoras centroamericanas, 1940-1960 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9981957.

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Soldan, William R. "In Just the Right Light." Youngstown State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1491431274838911.

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Hill, Lorna. "Bloody women : a critical-creative examination of how female protagonists have transformed contemporary Scottish and Nordic crime fiction." Thesis, University of Stirling, 2017. http://hdl.handle.net/1893/27352.

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This study will explore the role of female authors and their female protagonists in contemporary Scottish and Nordic crime fiction. Authors including Val McDermid, Denise Mina, Lin Anderson and Liza Marklund are just a few of the women who have challenged the expectation of gender in the crime fiction genre. By setting their novels in contemporary society, they reflect a range of social and political issues through the lens of a female protagonist. By closely examining the female characters, all journalists, in Val McDermid’s Lindsay Gordon series; Denise Mina’s Paddy Meehan series; Anna Smith’s books about Rosie Gilmour; and Liza Marklund’s books about Annika Bengzton, I explore the issue of gender through these writers’ perspectives and also draw parallels between their societies. I document the influence of these writers on my own practice-based research, a novel, The Invisible Chains, set in post-Referendum Scotland. The thesis will examine and define the role of the female protagonist, offer a feminist reading of contemporary crime fiction, and investigate how the rise of human trafficking, the problem of domestic abuse in Scotland and society’s changing attitudes and values are reflected in contemporary crime novels, before discussing the narrative structures and techniques employed in the writing of The Invisible Chains. This novel allows us to consider the role of women in a contemporary and progressive society where women hold many senior positions in public life and examine whether they manage successfully to challenge traditional patriarchal hierarchies. The narrative is split between journalist Megan Ross, The Girl, a victim of human trafficking, and Trudy, who is being domestically abused, thus pulling together the themes of the critical genesis in the creative work. By focusing on the protagonist, the victims and raising awareness of human trafficking and domestic abuse, The Invisible Chains, an original creative work, reflects a contemporary society’s changing attitudes, problems and values.

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Zimm, Malin. "The Dying Dreamer - Architecture of Parallel Realities." Licentiate thesis, KTH, School of Architecture, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-1630.

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The objective of this licentiate thesis is to investigatearchitectural experience and creation in virtual space and itsrepresentational problems. The thesis comprises three articlespublished during the years 2001-2003, and a website,www.arch.kth.se/~zimm.

The articles investigate architecture as a transgressivestate between the virtual worlds of imagination and thedomestic interior, introducing obsessive dreambuilding as amethod of negotiating material fictions in real space. The mainrepresentative of this kind of architectural activity is thefictional character Baron des Esseintes in Joris-KarlHuysmans´ novel À Rebours (1884). Together with thearchitectural transformations created by the architect Sir JohnSoane and the artists Kurt Schwitters and Gregor Schneider, theprojects share and develop the theme of extreme individualityand explore the architectural imagination at work in the mindof the obsessive dreambuilder. These architects of parallelrealities create operative fields of artificiality andimagination, where architectural space splits into differentontological states, providing fields for observation ofperceptional and representational problems.

Keywords:Architecture, Against Nature/À Rebours,Artifice, Artificiality, Domestic interior, Dream, Experience,Fiction, Hypertext, Huysmans, Imagination, Individuality,Interactivity, Interface, Obsession, Obsessive dreambuilding,Perception, Representation, Schwitters, Schneider, Soane,Symbolism, Virtual Reality

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Iglesias, Marisa C. "Secret servants : household domestics and courtship in Eliza Haywood's fiction." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002369.

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Iglesias, Marisa C. "Secret Servants: Household Domestics and Courtship in Eliza Haywood’s Fiction." Scholar Commons, 2008. https://scholarcommons.usf.edu/etd/310.

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In Eliza Haywood's fiction, as in eighteenth-century Britain, social restrictions repress the sexual desires of upper class women and men. Therefore, the secret desires of this social class often rely on a different group: domestic servants. Sometimes acting as confidants and other times as active players in the scheming, these servants are privy to the inner secrets of the households in which they live. In Haywood's Love in Excess (1719), Lasselia (1723), Fantomina (1725), and The History of Miss Betsy Thoughtless (1751), the servant class plays significant roles in the narratives. Since the role of the servant is the central issue in my interpretation of Haywood's works, the historical background of the relationship between master and servant in the eighteenth-century is significant to my investigation. Conduct books, a popular genre of the times, were written to offer practical instruction to domestic servants. Haywood's A Present for A Servant Maid; or the Sure Means of gaining Love and Esteem (1743), offers a view of Haywood's own attitude toward the servant class. In addition to her career as a writer of amorous intrigue, Haywood worked as both actress and playwright, and, because of her experience, elements of the stage can be seen in her works. I explore the influence of the theatre in Haywood's fiction and connect it to the prominent role of servants in her work. Though Haywood demonstrates that the servants' loyalty can be bought for the highest price, they are not ruled by the same sexual passion as are their employers. This area is of particular interest to my study. I explore whether the motive of financial gain is greater than sexual desire, or whether it is an awareness that aristocrats are not truly available to the servant class that accounts for the differences in erotic responses. Additionally, I explore how servants affect Haywood's narrative by acting as agents of change and argue that the social restrictions placed on the upper class and the awareness of the sexual freedoms the servant class bring master and servant closer together.

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Peterson, Beverly. "The political-domestics: Sectional issues in American women's fiction, 1852-1867." W&M ScholarWorks, 1994. https://scholarworks.wm.edu/etd/1539623863.

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This is a study of five novels written by American women during the middle of the nineteenth century. The novels are Aunt Phillis's Cabin (1852) by Mary Henderson Eastman, Northwood (1827 and 1852) by Sarah Josepha Hale, The Planter's Northern Bride (1854) by Carolyn Lee Hentz, Macaria (1864) by Augusta Evans, and Cameron Hall (1867) by Mary Anne Cruse. In advancing their authors' opinions on sectional issues like slavery and secession, these novels make overt political statements of a kind not usually associated with writers of domestic fiction.;All of the novels in this study conform in some ways to the conventions of the domestic fiction genre, but the authors have bent the framework of that genre to accommodate their political purposes. In some cases genric practices and polemics are mutually disruptive; in some they reinforce each other; and in some the authors choose between politics and domesticity. The degree to which domestic fiction is incompatible with a traditional world view shows that genres are not ideologically neutral. In examining the adaptations made by five novelists, this dissertation demonstrates that "genre" is not a static category. Instead, genres respond to cultural and historical forces.;To read mid-nineteenth-century novels written by women only from a gynocritical perspective--that is, for what they say about women's psychological or social realities--is to miss the way fiction reflects and helps to shape broader political concerns. More nuanced readings of domestic fiction show how a genre associated with women writers and readers became inflected to advance the authors' political opinions. Reading these novels as political-domestic fiction contributes to an ongoing discussion of how American women have always participated in politics.

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Zahoor, Abubaker. "Desires & Debacles." Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1607264387584207.

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Weber-Fève, Stacey A. "There's no place like home homemaking, making home, and femininity in contemporary women's filmmaking and the literature of the Métropol and the Maghreb /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1148746370.

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Kennedy, Niya. "Domestic desires, national negotiations : race, gender, and sexuality in nineteenth- and twentieth-century American border fictions /." Available to subscribers only, 2008. http://proquest.umi.com/pqdweb?did=1594487761&sid=10&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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PINTO, LICIA MARTA DA SILVA. "DAY OF THE EMPREGUETE, MADAME S EVE: THE CHANGING FICTIONAL REPRESENTATION OF DOMESTIC WORKERS SINCE THE CONSTITUTIONAL AMENDMENT PEC 66/2012." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=31018@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
A presente dissertação analisa de que forma o cenário político e sociocultural instaurado a partir das redefinições dos direitos trabalhistas do emprego doméstico foi refletido no contexto ficcional por meio de suas representações. Para tal, a telenovela Cheias de Charme (2012) foi escolhida como objeto de estudo por ter sido exibida durante esse cenário de mudanças trabalhistas e figurar como a primeira novela brasileira da Rede Globo que a trama principal tratava-se do emprego doméstico. Nessa dissertação pretendemos observar a telenovela como um espaço de memória documental e coletiva, por sua preservação física como produto audiovisual, por ser tratar de uma narrativa vinculada ao presente que retrata e por partilhar saberes para um público geral. Desta forma, buscamos perceber como foi retratada os personagens patroa e empregada doméstica, dando ênfase nos marcadores (racial, social e sexual) que perpassam essa trabalhadora; os conflitos despontados no contexto representado, no qual havia uma possibilidade de ascensão social, especialmente por meio de uma análise dos capítulos e dos elementos presentes na novela; e a relação da novela com outros produtos midiáticos.
The present thesis is the result of a research about the political and sociocultural scene instated since the redefinitions of labor rights regarding domestic employment and its representation in the fictional context. For this purpose, the soap opera Cheias de Charme (2012) was chosen as object of study because it was displayed during this moment of changing labor rights and also because the first soap opera aired by Rede Globo which main plot revolved around domestic work. We have observed this soap opera as a space of documental and collective memory due to its physycal preservation as an audiovisual product. Its narrative is tied to the present, which portrays and shares knowledge targeted at a general audience. Therefore, we aimed to analyze the construction of the characters of the patroa (the owner of the house) and the empreguete (the domestic worker), emphasizing (racial, social and sexual) markers socially associated o those identities and the conflicts emerging from the represented context, in which there was a possibility of social ascension, particularly through the analysis of episodes and elements found in the whole plot. Finally, we have traced relations between this soap opera and other audiovisual products.

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MuÌˆller, Marion Ursula. "'These savage beasts become domestick' : the discourse of the passions in early modern England with special reference to non-fictional texts." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313186.

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Lawrence, Jennifer Thomson. "The Third Person in the Room: Servants and the Construction of Identity in the Eighteenth-Century Gothic Novel." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-04172008-130053/.

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Thesis (Ph. D.)--Georgia State University, 2008.
Title from file title page. Malinda Snow, committee chair; Murray Brown, Tanya Caldwell, committee members. Electronic text (223 p.) : digital, PDF file. Description based on contents viewed July 11, 2008. Includes bibliographical references (p. 215-223).

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Dissertations / Theses on the topic 'Domestic fiction'

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