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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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Rossigali, Rossana. "O lugar do sujeito feminino na revista curitibana A Sempre-Viva (1924-1925)." reponame:Repositório Institucional da UCS, 2017. https://repositorio.ucs.br/handle/11338/3433.
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No presente trabalho, discute-se a produção literária de mulheres na revista curitibana A Sempre-Viva, publicada em 1924/1925. Assim, investiga-se que lugar o sujeito feminino ocupa nessa publicação, a partir de aportes teóricos dos Estudos Culturais de Gênero. Para cumprir tal objetivo, foi necessário perscrutar a trajetória histórica da mulher ocidental, a qual explica os motivos que a levaram a exercer um papel submisso ao longo dos séculos, bem como o feminismo, que elucida os caminhos da reação a esse domínio. Além disso, investigou-se o percurso da imprensa – aí incluída a feminina e a feminista –, a qual, no Brasil, guarda estreita relação com a literatura. As poucas mulheres que conseguiam publicar confrontavam as normas vigentes, que as circunscreviam ao âmbito privado, o que fez da utilização de pseudônimos prática corrente. Constata-se, ao final do trabalho, que as próprias organizadoras da revista, que tanto lutaram pelo resgate de escritoras desconhecidas, sucumbiram ao esquecimento.Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2018-01-30T12:38:17Z No. of bitstreams: 1 Dissertacao Rossana Rossigali.pdf: 1314670 bytes, checksum: 38de13113bfe458bbcd80b6df3cb2ed7 (MD5)
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This work discusses the literary production of women in the magazine A Sempre-Viva, published in Curitiba, in 1924/1925. There is an investigation about the place of the feminine subject in this publication, based on Gender Cultural Studies. In order to accomplish that goal, it was necessary to study the history of western women, which explains the reasons for their submission over the centuries, as well as the feminism, which explains how they reacted to that domain. Furthermore, the history of the press – feminine and feminist – was also analysed. In Brazil, it is closely related to literature. The few female writers who succeeded in publishing were fighting the rules, which were very strict, keeping women only in private places. That is why many writers used pseudonyms. At the end of the work it is possible to conclude that the magazine organizers themselves were forgotten.
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Balic, Iva Foertsch Jacqueline. "Always painting the future utopian desire and the women's movement in selected works by United States female writers at the turn of the twentieth century /." [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/permalink/meta-dc-11060.
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Barlow, Jenna Elizabeth. "Womens historical fiction after feminism : discursive reconstructions of the Tudors in contemporary literature." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86303.
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Thesis (PhD)--Stellenbosch University, 2014.ENGLISH ABSTRACT: Historical fiction is a genre in a constant state of flux: since its inception in the nineteenth century, it has been shaped by cultural trends and has persistently responded to the way in which history is popularly conceptualised. As such, historical novels have always revealed as much about the socio-political context of their moment of production as they do about their historical settings. The advent of feminism was among the most significant movements which shaped the evolution of the women’s historical novel in the twentieth century, prompting as it did a radical shift in historiographic methodology. As feminist discourse became embedded in popular culture in the latter decades of the twentieth century, this shift in turn allowed authors of historical fiction the opportunity to reconsider the ways in which women have been traditionally represented in both historical narrative and fiction. The historical novel thus became a site for exploring the female perspective of history, a perspective that had been denied or ignored by more male-centred historical narratives. This dissertation will assess the impact wrought by the popularisation of feminist discourse on the genre of women’s historical fiction during the twentieth and twenty-first centuries. An examination of a selection of contemporary women’s novels set during the Tudor era will prove particularly useful in executing this assessment, not least because of the Tudors’ unprecedented popularity as the focus of literature and film in the last decade. More significantly, the women of this period have proven to be ideal subjects for their authors to imaginatively reconstruct in the mould of third wave feminist icons in the twenty-first century. By examining how Tudor women have been represented in the contemporary historical fiction of Jean Plaidy, Philippa Gregory, Mavis Cheek, Suzannah Dunn and Emily Purdy, this dissertation will demonstrate the ways in which popular feminist discourse has impacted on the development of women’s historical fiction in the last century, focusing specifically on texts published within the last decade. Three key aspects of the genre will be assessed in detail in this regard: the author’s self-conscious feminist intervention in the characterisation of her historical heroines; the shift in the narrative perspective adopted and the deployment of postmodern literary devices; and the representation of female sexuality. The evolution of the genre as a whole will also be examined in some detail, and the shifting parameters of modern feminisms will be interrogated in order to fully understand their manifestations in popular culture.
AFRIKAANSE OPSOMMING: Historiese fiksie is ’n voortdurend veranderende genre: sedert die ontstaan daarvan in die negentiende eeu is dit beïnvloed deur kulturele neigings en het dit aanhoudend bly reageer op die manier waarop die geskiedenis populêr gekonseptualiseer word. As sodanig het historiese romans altyd net soveel oor die sosiopolitieke konteks van hulle produksiemoment as oor hul historiese milieus onthul. Feminisme was een van die betekenisvolste bewegings wat gedurende die twintigste eeu die evolusie van die historiese roman vir vroue sou beïnvloed, en het sodoende aanleiding gegee tot ’n radikale verandering in historiografiese metodologie. Namate feministiese diskoers in die latere dekades van die twintigste eeu deel van die populêre kultuur geword het, het hierdie verandering op sy beurt die skrywers van historiese fiksie die geleentheid gegun om die maniere waarop vroue tradisioneel in sowel historiese narratief as fiksie uitgebeeld is, te heroorweeg. Die historiese roman het dus ’n terrein geword waarop die vroulike perspektief op die geskiedenis verken is, naamlik ’n perspektief wat deur meer manlik-gesentreerde historiese narratiewe ontken of geïgnoreer is. Hierdie verhandeling sal die impak evalueer wat die popularisering van feministiese diskoers op die genre van historiese fiksie vir vroue gemaak het tydens die twintigste en een-en-twintigste eeue. ’n Ondersoek na ’n seleksie van kontemporêre vroueromans wat in die Tudor-tydperk afspeel, is veral nuttig in hierdie verband, onder andere as gevolg van die Tudors se ongekende gewildheid as die fokus van letterkunde en film in die afgelope dekade. Wat meer veelseggend is, is dat dit blyk die vroue van hierdie tydperk was ideale subjekte wat verbeeldingryk deur hulle outeurs gerekonstrueer kon word in die vorm van derdegolf-feministiese ikone in die een-en-twintigste eeu. Deur te ondersoek hoe Tudorvroue uitgebeeld is in die kontemporêre historiese fiksie van Jean Plaidy, Philippa Gregory, Mavis Cheek, Suzannah Dunn en Emily Purdy sal hierdie verhandeling die impak demonstreer wat populêre feministiese diskoers in die afgelope eeu op die ontwikkeling van historiese fiksie vir vroue gemaak het, met die fokus spesifiek op tekste wat in die afgelope dekade gepubliseer is. In hierdie verband sal drie sleutelaspekte van die genre uitvoerig geassesseer word: die skrywer se selfbewuste feministiese ingryping in die karakterisering van haar historiese heldinne; die verskuiwing in die vertellingsperspektief en die ontplooiing van postmoderne letterkundige tegnieke; en die uitbeelding van vroulike seksualiteit. Die evolusie van die genre as geheel word ook beskou, en die veranderende parameters van moderne feminismes word ondervra sodat hul manifestasies in die populêre kultuur ten volle verstaan kan word.
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Bode, Katherine. "In/visibility : women looking at men's bodies in and through contemporary Australian women's fiction /." [St. Lucia, Qld.], 2005. http://adt.library.uq.edu.au/public/adt-QU20060120.161127/index.html.
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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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Sy, Kadidia. "Women's relationships female friendship in Toni Morrison's Sula and Love, Mariama Bâ's So long a letter and Sefi Atta's Everything good will come /." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-04212008-135356/.
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Thesis (Ph. D.)--Georgia State University, 2008.Title from file title page. Renee Schatteman, committee chair; Chris Kocela, Margaret Harper, committee members. Electronic text (158 [i.e. 156] p.) : digital, PDF file. Description based on contents viewed 23 June 2008. Includes bibliographical references (p. 146-156).
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Compion, Marlette. "'n Ondersoek na Scheherazade as moontlike voorganger in 'n vroulike verteltradisie in enkele Afrikaanse literêre tekste." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/2024.
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Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2005.The aim of this study is to investigate the position that has been allocated to women authors by literary theorists. Some literary theorists are of the opinion that the action of writing can be compared to fatherhood, ownership and being a creator, all of which are male dominated images. Women writers have historically been marginalized by literary theorists, since there is a perception that women cannot write because they are not male. Harold Bloom has postulated that a male writer looks to a precursor in order to write and find his own voice. Before the writer can claim his own, original voice, he must enter into an Oedipal battle with the precusor, and, figuratively speaking, ‘kill’ him in his writing. According to Gilbert & Gubar, who serve here as representatives of the feminist literary theorists, women writers make use of monsterlike figures which serve as metaphors for the inner battle they have to endure to put pen to paper. The problem, however, is that women writers have no (female) precursors to look to. Elaine Showalter postulates 4 models that women writers may use in search of a female precursor or female body of writing, but she does not offer a clear solution. I am of the opinion that women writers can identity with a female figure or role model. The figure that I propose is Scheherazade, a storytelling character from the Thousand and One Nights, who told stories for a thousand and one nights in order for escape death. I identify a few texts from international literature that make use of this figure, whether as a character in the text, a metaphor for the female character who tells stories or as a metaphor for the author herself. This study focuses on texts from 3 genres in Afrikaans literature, namely children’s stories, short stories and a novel. It appears from the analysis of the texts that women writers have successfully made use of the Scheherazade character, to address issues concerning the social role and position allocated to women by a patriarchial society. Along with this women writers’ search and longing for a voice of their own and their own identity gets highlighted with the use of a Scheherazade-like female character who tells stories. Lastly it became clear that this figure is also being used by women writers to contemplate the dynamics of writing and to contextualise the role that self-doubt and self-actualisation play in telling and writing stories. Scheherazade thus becomes a vehicle for finding a voice as well as agency.
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Compion, Marlette. "'n Ondersoek na Scheherazade as moontlike voorganger in 'n vroulike verteltradisie in enkele Afrikaanse literêre tekste /." Link to the online version, 2005. http://hdl.handle.net/10019/998.
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Hawkins, Damaris. ""They say she is veiled": A rhetorical analysis of Judy Grahn's poetry." CSUSB ScholarWorks, 1997. https://scholarworks.lib.csusb.edu/etd-project/2941.
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Steffensen, Jyanni. "Textual (Re)construction : sexual difference, desire and sexuality in contemporary female experimental writing /." Title page, contents and abstract only, 1991. http://web4.library.adelaide.edu.au/theses/09ARM/09arms817.pdf.
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Nasim, Mogharab. ""I Saw Myself Released": The Impact of Modernization on Women's Literature in Pre-Revolution Iran, 1941-1979." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/34409.
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This thesis examines the first collections of modern Persian literature written by Iranian female authors in the context of a process of gender modernization during the Mohammad Reza Shah Pahlavi’s reign (1941-1979). This thesis argues that women’s literature written during the period of transition from tradition to modernity is clearly influenced by the state’s gender policy and illustrates the changing position of women’s status in private and public life. Indeed, an examination of the collections of short stories and poems that were produced in this period demonstrates that female authors were concerned with the unveiling policy, arranged marriage and polygamy, women’s education, women’s social participation, women’s domestic obligations, women’s political awakening, and female sexuality. Furthermore, central themes covered by female authors changed significantly based on the transformations of gender politics the society experienced from the 1940s and 1950s to the 1960s and 1970s.
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Balic, Iva. "Always Painting the Future: Utopian Desire and the Women's Movement in Selected Works by United States Female Writers at the Turn of the Twentieth Century." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc11060/.
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This study explores six utopias by female authors written at the turn of the twentieth century: Mary Bradley Lane's Mizora (1881), Alice Ilgenfritz Jones and Ella Merchant's Unveiling Parallel (1893), Eloise O. Richberg's Reinstern (1900), Lena J. Fry's Other Worlds (1905), Charlotte Perkins Gilman's Herland (1915), and Martha Bensley Bruère's Mildred Carver, USA (1919). While the right to vote had become the central, most important point of the movement, women were concerned with many other issues affecting their lives. Positioned within the context of the late nineteenth century women's rights movement, this study examines these "sideline" concerns of the movement such as home and gender-determined spheres, motherhood, work, marriage, independence, and self-sufficiency and relates them to the transforming character of female identity at the time. The study focuses primarily on analyzing the expression of female historical desire through utopian genre and on explicating the contradictory nature of utopian production.
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Khoury, Nicole Michelle. "Hybrid identity and Arab/American feminism in Diana Abu-Jaber's Arabian Jazz." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2862.
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In her novel Arabian Jazz, Diana Abu-Jaber attempts to explore the Arab American identity as something new; as an identity that exists related to, but ultimately separate from, the Arab and American identities from which it was originally created. This thesis discusses the emergence of the depiction of the Arab American female identity in the novel, examining how the characters explore issues of race, class, imperialism, and sex within both the Arab and the American cultures as those issues shape female identity. The thesis also presents a rhetorical analysis of the speeches that allow the characters a voice with respect to how identity is shaped and reshaped throughout the novel.
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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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Collins, Margo. "Wayward Women, Virtuous Violence: Feminine Violence in Restoration and Eighteenth-Century British Literature by Women." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2474/.
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This dissertation examines the role of "acceptable" feminine violence in Restoration and eighteenth-century drama and fiction. Scenes such as Lady Davers's physical assault on Pamela in Samuel Richardson's Pamela (1740) have understandably troubled recent scholars of gender and literature. But critics, for the most part, have been more inclined to discuss women as victims of violence than as agents of violence. I argue that women in the Restoration and eighteenth century often used violence in order to maintain social boundaries, particularly sexual and economic ones, and that writers of the period drew upon this tradition of acceptable feminine violence in order to create the figure of the violent woman as a necessary agent of social control. One such figure is Violenta, the heroine of Delarivier Manley's novella The Wife's Resentment (1720), who murders and dismembers her bigamous husband. At her trial, Violenta is condemned to death "notwithstanding the Pity of the People" and "the Intercession of the Ladies," who believe that although the "unexampled Cruelty [Violenta] committed afterwards on the dead Body" was excessive, the murder itself is not inexcusable given her husband's bigamy. My research draws upon diverse archival materials, such as conduct manuals, criminal biographies, and legal records, in order to provide a contextual grounding for the interpretation of literary works by women. Moving between contemporary accounts of feminine violence and discussions of pertinent literary works by Eliza Haywood, Susanna Centlivre, Delarivier Manley, Aphra Behn, Mary Pix, and Jane Wiseman, the dissertation examines issues of interpersonal violence and communal violence committed by women.
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Goremusandu, Tania. "Gender possibilities in the African context as explored by Mariama Ba's So long a letter, Neshani Andrea's The purple violet of Oshaantu and Sindiwe Magona's Beauty gift." Thesis, University of Fort Hare, 2016. http://hdl.handle.net/10353/6469.
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Gender oppression has been a significant discussion to the development of gender, cultural and feminist theories. The primary focus of this study is to investigate how patriarchal traditions, colonialism, and religious oppression force women to struggle under constrictions oppositional to empowerment. Thus, the project provides a comparative analysis of three texts from different African postcolonial societies by three African female writers: Mariama Bâ, Neshani Andreas and Sindiwe Magona. The author‟s biographies and historical context of their novels will be analyzed, as well as a summary of their stories will be included in order to provide the context for gender criticism. These writer‟s work; So Long a Letter, The Purple Violet of Oshaantu and Beauty‟s Gift depict patriarchal, cultural and religious laws which exist in Senegal, Namibia and South Africa, respectively, that limit the position of women. Therefore, this study will interrogate the experience of African women as inscribed in these selected texts, uncovering the literary expressions of gender oppression as well as the possibilities of empowerment. The selected texts will be analyzed through the lens of Gender studies, African feminism and Cultural studies. From these theories, the focus of the study is on the struggles of the female characters living in patriarchal societies as well as on the idea that gender is constructed socially and culturally in the African context. In conclusion, the emergence of these renowned female African writers together with the emancipation of African countries from colonial supremacy has opened a space for women to compensate and correct the stereotyped female images in African literature and post- colonial societies. Most contemporary African writers like Buchi Emecheta, Tsitsi Dangarembga, Sindiwe Magona, Mariama Bâ and Neshani Andreas have shown that women are seeking to attain empowerment. As a result, this study can be viewed as an opportunity to highlight such experiences by continuing to interrogate the writings of African women writers and to explore their gender-based themes so as to inform and or inspire the implementation of women empowerment. It will broaden and encourage further academic discussion in the field of Cultural studies and gender criticism of women‟s literature within the African context.
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Hernandez, Lisa Justine. "Chicana feminist voices in search of Chicana lesbian voices from Aztlán to cyberspace /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3037497.
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Villa, Elena M. "Eloquent flesh : cross-cultural figurations of the dancer in nineteenth- and twentieth-century literature /." view abstract or download file of text, 2006. http://proquest.umi.com/pqdweb?index=0&did=1232398811&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1180979327&clientId=11238.
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Thesis (Ph. D.)--University of Oregon, 2006.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 313-332). Also available for download via the World Wide Web; free to University of Oregon users.
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Lunt, Lora G. "Mosaique et memoire : paradigmes identitaires dans le roman feminin tunisien." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37768.
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Mosaique et memoire studies paradigms that contribute to the construction of identity in the writings of thirteen Tunisian women novelists writing in French: Emna Bel Haj Yahia, Aicha Chaibi, Annie Fitoussi, Behija Gaaloul, Annie Goldmann, Souad Guellouz, Jelila Hafsia, Souad Hedri, Turkia Labidi Ben Yahia, Alia Mabrouk, Nine Moati, Katia Rubenstein, and Fawzia Zouari. Drawing upon post-colonial and feminist perspectives, this thesis analyzes texts through their poetics and in linguistic, cultural and literary contexts. Novels by women offer an inside view of women's evolution through a variety of characters representing three generations, just as they explore alternate ways of entering modernity based upon harmonizing traditional values (cultural roots, family, faith, community solidarity, a Mediterranean warmth of spirit, thinking "in Arabesques") with 'modern' values such as sexual equality and individual freedom.Multiple women's voices protest patriarchal and colonial or racist discourse, but also reveal spaces of happiness in women's lives. Jewish voices at times reinforce views by Muslim authors but at others present opposing viewpoints, deconstructing concepts such as 'Arab identity' and questioning nationalist claims to Islamic tolerance and multiculturalism.
In these French-language novels, images and metaphors, as well as expressions in dialectical Arabic, recall the rich cultural heritage underlying national consciousness, the memory and the mosaic which form both individual and national identities. The juxtaposition of Arabic and French suggests both the cross-fertilization of cultures and the impossibility of naming the inexpressible, just as it contributes to deconstructing identity through the medium of the novel.
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Morais, Inacia Maria Paiva Martins de. "O feminino na literatura Macaense." Thesis, University of Macau, 2006. http://umaclib3.umac.mo/record=b1873163.
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Hill, Sydney M. "She must write her self, feminist poetics of deconstruction and inscription : six Canadian women writing." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0025/MQ26957.pdf.
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Peter, Zola Welcome. "The depiction of female characters by male writers in selected isiXhosa drama works." Thesis, Nelson Mandela Metropolitan University, 2010. http://hdl.handle.net/10948/1482.
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This research expresses female character portrayal in various drama works written by males. Chapter one is a general introduction that gives the key to this study, the motivation that leads to the selection of this topic; a literary review on the portrayal of female characters in literary works written by males; the scope of study, the basic composition of the ensuing chapters and the definitions of terms that are of paramount importance for this research. Various literary theories are used in Chapter two for the analysis of the research texts. These literary theories include womanism, gender and feminism which expose the social effects caused by the negative perception of females in social life and the negative portrayal of female characters in male dramatic writings. Other literary theories include onomastics as a literary theory, which exposes the relationship between the name giver of a person and the power the name gives to its bearer, as well as psychoanalysis as a theory which proved to be unavoidable, since this study analyses the personal behaviour of the individual characters within their literary environment. Chapter three depicts the general victimization of female characters in male drama works and exposes the various effects of the attitudes of male writers towards female characters in terms of gender role. Chapter four shows a general stereotypical portrayal of female characters in male written drama texts. This chapter shows the impact of stereotyping on female characters from drama works that puts them in a vulnerable position, showing that it is risky to become a victim of ill-treatment in their communities and the literary world. Chapter five deals with the psychological literary review of female characters, showing them as being suicidal and murderers who easily take their own lives and those of other people. Chapter six is a general conclusion of the works which includes observer remarks from other literary researchers of the literature.
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Lo, Keng-chi, and 盧勁馳. "Politicizing female subjectivity: performativity and sublimation in leftist writers Yang Mo, Xiao Hong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48199503.
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The thesis deals with the concept of feminine sublimation among Chinese feminist writings and theory. Previous feminist readings of literary works of Chinese female writers tended to confuse the Freudian concept of sublimation with “aestheticized politics” and utopian desire. These feminist readings have concentrated on articulating an authentic subject beyond power relations. I would however, redefine the concept of feminine sublimation as a theoretical trope to articulate the possible emergence of female subjectivity within specific power relations.
Although gender performativity has become a universally circulated concept to theorize the subversive depiction of female bodies in particular cultural contexts, I argue that any performative reiteration would not be adequately contextualized and historicized when its usage ignores issues of female subjectivity in terms of sublimation.
Chapter one of the thesis begins with various feminist approaches to the relationship of sublimation and performativity. Chapter two re-reads a novel Song of Youth in the socialist era. The conventional conception of sublimation is re-examined contextually in a way that the consideration of gender performativity alone would not be able to do.
Through reading a canonical work of the “nationalist feminist” writer Xiao Hong, chapter three delineates the relation between my redefined concept of feminine sublimation and the possibility of political coalition, and explains how this relation provides a totally different understanding of performative reiteration. I would finally redefines the fundamental relationship between feminist subjectivity and performative politics.published_or_final_version
Comparative Literature
Master
Master of Philosophy
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Anderson, Emma Kate School of English UNSW. "Representations of female sexuality in chick-lit texts and reading Anais Nin on the train." Awarded by:University of New South Wales. School of English, 2006. http://handle.unsw.edu.au/1959.4/27319.
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My critical essay uses Foucault???s theory of discursive formation to chart the emergence of the figure of the single modern woman as she is created by the various discourses surrounding her. It argues that representations of the single modern woman continue a tradition of perceiving the female body as a source of social anxiety. The project explores ???chick-lit??? as a site within the discursive formation from which the single modern woman emerges as a paradoxical figure; the paradoxes fundamentally linked to her sexuality. This essay, then, essentially seeks to investigate representations of female sexuality within chick-lit, exposing for scrutiny the paradoxes inherent in and around the figure of the single modern woman. My fictional piece is a work of erotica. It is divided into four sections: The Reader, The Writer, The Muse and The Critic. Essentially it explores the relationships between female sexuality and literature; between female sexuality and feminist, post-feminist and patriarchal values and between literature and issues of truth, perspective and representation. The two works complement each other to illuminate the paradox of female sexuality: one from a theoretical perspective and the other from a fictional perspective. The critical work focuses on female sexuality and its relationship to, and development within, the current social context. Chick-lit, as a new and immensely popular genre of fiction which holistically explores the lives of single modern women was useful for examining the relationship between the sexual persona of the single modern woman and society. The fiction is concerned with a narrower focus: specifically the sexual life of the single modern woman. Through the creative process, it became apparent that working within the genre of ???erotica??? would be not only more useful than working within chick-lit, but more powerful in exploring the themes I was interested in. The creative work draws on numerous points of interest raised in the critical work from, for example, the grander notions of the relationship between object and discourse ??? in this case female sexuality and literature ??? and the female body as a source of social fascination and anxiety to finer observations such as what it means to have sex ???like a man.??? In essence, the creative work seeks to examine the many faces of the single modern woman as a sexual being and to illuminate, on an intimate level, the many conflicts between and surrounding those faces and to suggest that while paradox remains in female sexual ideology, the single modern woman will remain suspended in a kind of sexual paralysis.
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Macfarlane, Karen E. "The politics of self-narration : contemporary Canadian women writers, feminist theory and metafictional strategies." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0016/NQ44504.pdf.
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James, Sarah J. "Not without my body : feminist science fiction and embodied futures." Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/14613.
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This study explores the interaction between feminist science fiction and feminist theory, focusing on the body and embodiment. Specifically, it aims to demonstrate that feminist science fiction novels of the 1990s offer an excellent platform for exploring the critical theories of the body put forward by Judith Butler in particular, and other feminist/queer theorists in general. The thesis opens with a brief history of science fiction's depiction of the body and feminist science fiction's subversions and rewritings of this, as well as an overview of Judith Butler's theories relating to the body and embodiment. It then considers a wide range of feminist science fiction novels from the 1990s, focusing on four key areas; bodies materialised outside patriarchal systems in women-only or women-ruled worlds, alien bodies, cyborg bodies and bodies in cyberspace. An in-depth analysis of the selected texts reveals that they have important contributions to make to the consideration of bodies as they develop and expand the issues raised by theorists such as Butler, Elisabeth Grosz, Luce Irigaray and Julia Kristeva.
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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.B.A.
Bachelors
English
Arts and Humanities
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Borilot, Vanessa. "Feminine strategies of resistance comparative study of two XIXth century French literary pieces and two XXth century French Caribbean writings /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 111 p, 2009. http://proquest.umi.com/pqdweb?did=1885467531&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Gomez, Clemente Jr. "Manhood in Spain: Feminine Perspectives of Masculinity in the Seventeenth Century." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849616/.
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The question of decline in the historiography of seventeenth-century Spain originally included socio-economic analyses that determined the decline of Spain was an economic recession. Eventually, the historiographical debate shifted to include cultural elements of seventeenth-century Spanish society. Gender within the context of decline provides further insight into how the deterioration of the Spanish economy and the deterioration of Spanish political power in Europe affected Spanish self-perception. The prolific Spanish women writers, in addition, featured their points of view on manhood in their works and created a model of masculinity known as virtuous masculinity. They expected Spanish men to perform their masculine duties as protectors and providers both in public and in private. Seventeenth-century decline influenced how women viewed masculinity. Their new model of masculinity was based on ideas that male authors had developed, but went further by emphasizing men treating their wives well.
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Boettcher, Anna Margarete. "Through Women's Eyes: Contemporary Women's Fiction about the Old West." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/4966.
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The myth of the West is still very much alive in contemporary America. Lately, there has been a resurgence of new Western movies, TV series, and fiction. Until recently the West has been the exclusive domain of the quintessential masculine man. Women characters have featured only in the margins of the Western hero's tale. Contemporary Western fiction by women, however, offers new perspectives. Women's writing about the Old and New West introduces strong female protagonists and gives voice to characters that are muted or ignored by traditional Western literature and history. Western scholarship has largely been polarized by two approaches. First, the myth and symbol school of Turner, Smith, and followers celebrated American exceptionalism and rugged male individualism on the Western frontier. Second, the reaction against these theories draws attention to the West's legacy of racism, sexism and violence. The purpose of the present study is to collapse these theoretical fences and open a dialogue between conflicting theoretical positions and contemporay Western fiction. Molly Gloss's 1989 The Jump-Off Creek and Karen Joy Fowler's 1991 Sarah Canary selfcritically re-write the Old West. This study has attempted to explore the following questions: How can one re-write history in the context of a postmodern culture? How can "woman," the quintessential "Other" escape a modernist history (and thus avoid charges of essentialism) when she has not been in this history to begin with? In this study I analyze how these two contemporary feminist authors, Molly Gloss, and Karen Joy Fowler, face the dual challenge of writing themselves into a history that has traditionally excluded them, while at the same time deconstructing this very historical concept of the West. Fowler's and Gloss's use of diverse narrative strategies to upset a monolithic concept of history-- emphasizing the importance of multiple stories of the Old West-- is discussed in detail.
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Abadie, Pascale. "Vers de nouveaux horizons dans la litterature feminine d'Afrique subsaharienne: de Mariama Ba a nos jours." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1397735803.
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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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Lester, Arielle J. "Perpetuating Domestic Ambivalence: A Duality of Gender Role Advice in American Women’s Prescriptive Literature, 1920-1960." Youngstown State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1369531585.
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Morrissey, Colleen. "Struck: The Victorian Female Novelist and Male Pain." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524145187359308.
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Roberts, David. "The ladies : female patronage of Restoration drama 1660-1700." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670377.
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Sojka, Eugenia. "Search procedures, carnivalization in language- and theory-focused texts of four Canadian women writers." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25775.pdf.
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Hogue, Cynthia Anne. "Figuring woman (out): Feminine subjectivity in the poetry of Emily Dickinson, Marianne Moore, and H.D." Diss., The University of Arizona, 1990. http://hdl.handle.net/10150/185054.
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Historically, women have not been "speaking subjects" but "spoken objects" in Western culture--the ground on which male-dominated constructions have been erected. In literature, women have been conventionally held as the silent and silenced other. Lyric poetry especially has idealized not only the entrenched figures of masculine subject/feminine object, but poetry itself as the site of prophecy, vision, Truth. Most dramatically in lyric poetry then, the issue of women as subjects has been collapsed into Woman as object, that figure who has been the sacrifice necessary for the production of lyric "song" and the consolidation of the unified masculine voice. It has thus been difficult for women poets to take up the position of speaking subject, most particularly because of women's problematic relationship to Woman. Recent feminist theorists have explored female subjectivity, how women put into hegemonic discourse "a possible operation of the feminine." This dissertation analyzes that possibility in poetry as exemplified in the works of Emily Dickinson, Marianne Moore, and H.D. I contend that these paradigmatic American poets constitute speaking subjects in their poetry that both figure Woman conventionally and reconfigure it, i.e. subvert the stability of those representations, thereby disturbing our view. I argue that this double identification produces, in effect, a divided or split subjectivity that is enabling for the female speaker. As an alternative to the traditionally specularized figure of Woman then, such a position opens up distinctly counter-hegemonic spaces in which to constitute the female subject, rendering problematic readerly consumption of the image of Woman as a totality. I explore the attempts to represent women's difference differently--the tenuous accession to, rejection of, or play with the lyric "I" in these poets' works. Dickinson, Moore, and H.D. reconfigure Woman and inscribe female speakers as grammatically and rhetorically, but not necessarily visually, present, thereby frustrating patriarchal economies of mastery and possession.
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Taylor, Jennifer Renee. "Ocular demonstrations: cross-dressing and the body in early american texts." Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/250.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
English
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Ajraoui, Najia. "Woman's search for identity in the Victorian, modern and contemporary English feminine novel: studies in C. Brönte, V. Woolf and D. Lessing." Doctoral thesis, Universite Libre de Bruxelles, 1995. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212500.
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Muus, Elaine Janice. "Articulate bodies, or, Encore, en corps, sense-ing the body as (re)presentation of women's subjectivities." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ26934.pdf.
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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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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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Floerke, Jennifer Jodelle. "A queer look at feminist science fiction: Examing Sally Miller Gearhart's The Kanshou." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2889.
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This thesis is a queer theory analysis of the feminist science fiction novel The Kanshou by Sally Miller Gearhart. After exploring both male and female authored science fiction in the literature review, two themes were to be dominant. The goal of this thesis is to answer the questions, can the traditional themes that are prevalent in male authored science fiction and feminist science fiction in representing gender and sexual orientation dichotomies be found in The Kanshou? And does Gearhart challenge these dichotomies by destabilizing them? The analysis found determined that Gearhart's The Kanshou does challenge traditional sociological norms of binary gender identities and sexual orientation the majority of the time.
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Boisclair, Isabelle. "Ouvrir la voie/x, le processus constitutif d'un sous-champ littéraire féministe au Québec, 1960-1990." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0020/NQ46684.pdf.
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Kopcik, Corinne. "A Meaning-Full Bouquet: Margaret Fuller's and Elizabeth Stoddard's Use of Flowers to Grow Feminist Discourse." restricted, 2007. http://etd.gsu.edu/theses/available/etd-07312007-174931/.
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Thesis (M.A.)--Georgia State University, 2007.Title from file title page. Janet Gabler Hover, committee chair; Paul Schmidt, Robert Sattelmeyer, committee members. Electronic text (75 p.) : digital, PDF file. Description based on contents viewed Jan. 7, 2008. Includes bibliographical references (p. 72-75).
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Erickson, Stacy M. "Animals-as-Trope in the Selected Fiction of Zora Neale Hurston, Alice Walker, and Toni Morrison." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2227/.
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In this dissertation, I show how 20th century African-American women writers such as Zora Neale Hurston, Alice Walker, and Toni Morrison utilize animals-as-trope in order to illustrate the writers' humanity and literary vision. In the texts that I have selected, I have found that animals-as-trope functions in two important ways: the first function of animal as trope is a pragmatic one, which serves to express the humanity of African Americans; and the second function of animal tropes in African-American women's fiction is relational and expresses these writers' "ethic of caring" that stems from their folk and womanist world view. Found primarily in slave narratives and in domestic fiction of the 19th and early 20th centuries, pragmatic animal metaphors and/or similes provide direct analogies between the treatment of African-Americans and animals. Here, these writers often engage in rhetoric that challenges pro-slavery apologists, who attempted to disprove the humanity of African-Americans by portraying them as animals fit to be enslaved. Animals, therefore, become the metaphor of both the abolitionist and the slavery apologist for all that is not human. The second function of animals-as-trope in the fiction of African-American women writers goes beyond the pragmatic goal of proving African-Americans's common humanity, even though one could argue that this goal is still present in contemporary African-American fiction. Animals-as-trope also functions to express the African-American woman writer's understanding that 1) all oppressions stem from the same source; 2) that the division between nature/culture is a false onethat a universal connection exists between all living creatures; and 3) that an ethic of caring, or relational epistemology, can be extended to include non-human animals. Twentieth-century African-American writers such as Hurston, Walker, and Morrison participate in what anthropologists term, "neototemism," which is the contemporary view that humankind is part of nature, or a vision that Morrison would most likely attribute to the "folk." This perspective places their celebration of the continuous relations between humans and animals within a spiritual, indeed, tribal, cosmological construction. What makes these particular writers primarily different from their literary mothers, however, is a stronger sense that they are reclaiming the past, both an African and African-American history. What I hope to contribute with this dissertation is a new perspective of African-American women writers' literary tradition via their usage of animals as an expression of their "ethic of caring" and their awareness that all oppression stems from a single source.
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Drodge, Susan. "The feminist romantic, the revisionary rhetoric of Double negative, Naked poems, and Gyno-text." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25770.pdf.
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Regoczy, Lucia Graciela, and n/a. "Espiritu de subversion : la construccion del discurso de la mujer en la narrativa posmoderna hispanoamericana." University of Otago. Department of Languages and Cultures, 2007. http://adt.otago.ac.nz./public/adt-NZDU20070927.141659.
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This thesis offers a typology of Postmodern women�s discourse from a sociological perspective. By focusing on the reading of Gioconda Belli�s Sofia de los presagios, Isabel Allende�s Paula, and Anacristina Rossi�s La loca de Gandoca, it examines how each writer achieves, thanks to the process of dialogism and the carnivalesque, a critique of social and aesthetic values, associated with Eurocentric discourse.
Thanks to these two processes, the values associated with the marginalized position of women in Latin America, are brought to the surface, offering a better understanding of the relation that exists between women�s literary production and the cultural environment.
Chapter one offers an overview of the concepts associated with Posmodernism, and its relevance in the Latin American context. This chapter also outlines the key concepts associated with dialogism and the carnivalesque.
Chapter two examines the use of the carnivalesque in two plays by Sor Juana Ines de la Cruz, Los empenos de una casa and Amor es mas laberinto as antecedents of subversive writing in Spanish American women�s writing. It discusses how Sor Juana through appropriation and inversion, transforms her texts into a critique of marginalized social groups. This chapter proposes that Sor Juana sets the model for the subversive nature of Spanish American women�s writing.
Chapter three offers a reading of Cristina Peri Rossi�s El libro de mis primos as an example of radical feminist discourse produced in the 60�s, focusing on the use of parody and irony as means of transgressing patriarchal discourse.
Chapter four examines Gioconda Belli�s Sofia de los presagios, and the incorporation of ancestral and modern myths, to accentuate women�s marginality and the conflicting and contradictory nature of Nicaraguan society.
Chapter five focuses on a reading of Isabel Allende�s Paula in which the techniques of magical realism and the carnivalesque are brought together to criticize social and cultural practices that marginalize women.
Chapter six examines Anacristina Rossi�s La loca de Gandoca. It focuses on the way Rossi makes use of popular music, romantic literature, poetry, and bureaucratic discourse, to denounce the exploitation and destruction of Costa Rica�s natural resources through ecotourism.
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Lasserre, Audrey. "Histoire d’une littérature en mouvement : textes, écrivaines et collectifs éditoriaux du Mouvement de libération des femmes en France (1970-1981)." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030139/document.
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Le Mouvement de libération des femmes en France ne fut pas seulement un mouvement politique et social, ce fut également l’une des dernières, si ce n’est la dernière, avant-garde littéraire que la France a connue. Du point de vue international, l’activité des littératrices au sein du Mouvement constitue un des principes distinctifs de la lutte des femmes en France. Les manifestantes qui déposent publiquement une gerbe de fleurs à la femme plus inconnue encore que le soldat inconnu sous l’Arc de Triomphe le 26 août 1970, sont déjà pour certaines – appelées à le devenir pour d’autres – des écrivaines. Dix ans plus tard, le MLF, depuis peu marque déposée à l’Institut national de la propriété industrielle, appartient à une éditrice, Antoinette Fouque, promotrice d’une écriture dite féminine. Dans l’espace circonscrit par ces deux points fixes, paraît un ensemble de textes qui s’inscrivent au sein de deux tendances majoritaires – mais antagonistes – du Mouvement, le féminisme d’une part et la néo-féminité, ou éloge de la différence, d’autre part. En miroir, un double rhizome éditorial se développe, partageant maisons d’édition et revues en deux factions militantes et littéraires bien distinctes. Pendant dix ans, la littérature se met tout autant au service du Mouvement des femmes que le Mouvement irradie la littérature, chacun-e influençant et informant la pratique et la pensée de l’autre. C’est de cette coïncidence entre littérature et Mouvement de libération des femmes que le présent écrit se propose de rendre compte, afin de retracer un mouvement politique qui fut et se fit littéraire, et, dans le même élan, une littérature qui fut et se fit politique. Par là même, la thèse redouble la question posée par tout un mouvement de femmes à la littérature elle-même, contestant ses définitions premières et repoussant les limites qui lui ont été assignéesThe Women’s Liberation Movement (MLF) was not only a political and social movement, but one of the last, if not the very last, literary avant-garde that France has experienced. From an international perspective, the activity of the literary women within the movement represents one of the fundamental principles of the fight for women’s rights in France. The demonstrators, who publicly placed a bouquet of flowers for the unknown wife of the Unknown Soldier under the Arc de Triomphe on August 26th 1970, are for some, and are soon to become for others, women writers. Ten years later, the MLF, a recently registered trademark with the National Institute for Intellectual Property Rights, belongs to the editor, Antoinette Fouque, promotor of female writing. Within the space determined by these two fixed points, there exists a collection of texts that adhere to two major trends – although antagonistic – of the movement, Feminism on one hand and Neofeminity, or the praise for “difference”, on the other hand. Mirroring each other, a dual editorial form develops, sharing publishers and scholarly journals, into two distinct literary and militant factions. For ten years, literature served the purpose of the Women’s Liberation Movement as much as the latter promoted literature, each influencing and informing the other by practice and thought. It is precisely this coexistence between literature and the Women’s Liberation Movement that the present dissertation proposes to examine, in order to trace the political movement that was and made itself literary, and, by the same token, a literature that was and made itself political. At the same time, the dissertation continues the question asked of literature by an entire women’s movement, challenging its assigned definitions and pushing back its boundaries