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Dissertations / Theses on the topic 'Feminist writer'

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Published: 4 June 2021

Last updated: 8 February 2022

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1

Hartshorn, Sarah-Louise. "Le couple : male-female relations and the viability of the heterosexual couple in the work of Marie Cardinal." Thesis, University of Leeds, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275575.

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2

Tsai, Shu-Fen. "Ruth Adam (1907-1977), novelist, journalist, broadcaster, biographer, social historian : a representative English feminist writer?" Thesis, University of Sussex, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262721.

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3

Gray, Lena W. "A woman('s) writer? : Some issues in feminist reading of the work of Rosamond Lehmann." Thesis, University of Strathclyde, 1995. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=21233.

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4

Bosch, Marta (Bosch Vilarrubias). "Post-9/11 Representations of Arab Men by Arab American Women Writers: Affirmation and Resistance." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/392705.

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This dissertation provides an analysis of the representation of Arab American men in post-9/11 writings by Arab American women. This thesis contributes a new inquiry regarding Arab American literature in joining the subject of literature written by women and the study of Arab American masculinities. It delves into the construction (from both outsider and insider perspectives) of Arab American masculinities, at the same time as it expounds on the history of Arab (American) feminisms, placing Arab American women writers in a privileged space of contestation and critique in their fight against both sexism and racism. This dissertation wants to visibilize the nuanced depiction of Arab and Arab American men provided by Arab American women writers after 9/11, who have been informed by feminism since the 1990s. In their attempt to fight both sexism and racism, Arab American women provide ambivalent representations of Arab men that counter stereotypical discourses historically entrenched in the American psyche and also recurrent after 9/11. Furthermore, this thesis also intends to provide an analysis of fiction as a representation of reality, while also understanding literature as a potential conductor of change in cultural discourses. To do so, the dissertation is structured in four main parts which examine the context, reasons, and potential consequences of the specific portrayals of Arab American masculinities published by Arab American women after 9/11. The first chapter covers the historical vilification and racialization of Arab men in the United States, by taking on theories on biopolitics (Foucault), necropolitics (Mbembe, Puar), and monster-terrorist (Puar and Rai) in relation to the traumatic experience of September 11. The second deals with the discourses that aid in the social construction of Arab American identities and masculinities, with a special emphasis given to the theories of neopatriarchy (Sharabi), heterotopia (Foucault) and thirdspace (Soja, Bhaba). The construction of Arab American identities is also analyzed (David), as well as Arab American masculinities (Harpel). The third chapter examines the development and characteristics of Arab American feminisms (Hatem), as well as their influence to Arab American women writers. Finally, the fourth part takes on the theories from previous chapters and provides a literary analysis of the male characters in a group of selected novels published after 9/11. Those are: Diana Abu-Jaber's Crescent (2003), Laila Halaby's West of the Jordan (2003), Alicia Erian's Towelhead (2005), Laila Halaby's Once in A Promised Land (2007), Frances Kirallah Noble's The New Belly Dancer of the Galaxy (2007), Susan Muaddi Darraj's The Inheritance of Exile: Stories from South Philly (2007), Randa Jarrar's A Map of Home (2008), and Alia Yunis's The Night Counter (2009).<br>Esta tesis proporciona un análisis de la representación de los hombres árabo-americanos en novelas escritas por mujeres después del 11 de septiembre. Este estudio contribuye una novedosa investigación en relación a la literatura árabo-americana al juntar el estudio de la literatura escrita por mujeres y el análisis de las masculinidades árabo-americanas. La tesis explora la construcción de las masculinidades árabo-americanas, al mismo tiempo que explica la historia de los feminismos árabo-americanos, situando a las mujeres árabo-americanas en un espacio privilegiado de contestación y crítica en su lucha contra el sexismo y contra el racismo. Esta tesis quiere visibilizar la compleja representación de los hombres árabes y árabo-americanos ofrecida por mujeres árabo-americanas después del 11 de septiembre, mujeres influenciadas por el feminismo desde los años noventa. En su lucha contra el sexismo y el racismo, estas mujeres proporcionan representaciones ambivalentes de hombres árabes que contrarrestan los discursos estereotípicos recurrentes después del 11 de septiembre y arraigados en la psique norteamericana. Además, proporciona un análisis de la ficción como representación de la realidad, entendiendo la literatura como conductor potencial de cambio en los discursos culturales. Para ello, el estudio se estructura en cuatro partes que examinan los contextos, razones y potenciales consecuencias de las representaciones específicas de las masculinidades árabo-americanas publicadas por mujeres después del 11 de septiembre. El primer capítulo cubre la vilificación y racialización históricas del hombre árabe en los Estados Unidos, tomando las teorías de “biopolitics” (Foucault), “necropolitics” (Mbembe, Puar), y “monster-terrorist” (Puar y Rai) para entender la experiencia traumática del 11 de septiembre. El segundo trata sobre los discursos que ayudan a la construcción social de las identidades y masculinidades árabo-americanas, dando especial énfasis a las teorías de “neopatriarchy” (Sharabi), “heterotopia” (Foucault) y “thirdspace” (Soja, Bhaba). La construcción de identidades árabo-americanas también es analizada, así como las masculinidades árabo-americanas. El tercer capítulo examina el desarrollo y características de los feminismos árabo-americanos, así como su influencia para las escritoras árabo-americanas. Finalmente, el cuarto capítulo recoge las teorías expuestas en los capítulos previos y proporciona un análisis literario de los personajes masculinos en un grupo de novelas publicadas después del 11 de septiembre: Crescent (2003) de Diana Abu-Jaber, West of the Jordan (2003) de Laila Halaby, Towelhead (2005) de Alicia Erian, Once in A Promised Land (2007) de Laila Halaby, The New Belly Dancer of the Galaxy (2007) de Frances Kirallah Noble, The Inheritance of Exile: Stories from South Philly (2007) de Susan Muaddi Darraj, A Map of Home (2008) de Randa Jarrar, y The Night Counter (2009) de Alia Yunis.

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5

Sloggett, Maria. ""Multicultural" writers and the feminine subject /." Title page and preface only, 1992. http://web4.library.adelaide.edu.au/theses/09AR/09ars6343.pdf.

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6

McGrath, Fiona. "The new women writers : creating feminist literary voices and identities." Thesis, Ulster University, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.706465.

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This thesis examines the work of a group of prolific New Woman writers of the fin-de-siecle. Mona Caird, George Egerton, Charlotte Perkins Gilman, Sarah Grand, Menie Muriel Dowie and Netta Syrett made a dramatic impact on their Anglo-American reading publics, both for their daring fiction and for their non-fiction prose, which rased issues of eugenics, education, employment, gender roles, marriage and female sexuality. Yet these prominent women were all but forgotten by the early decades of the twentieth century. Such rapid demise of New Woman fiction is often taken as evidence of its aesthetic limitations: for some critics this writing, while important for breaking a literary silence, is ultimately didactic andmonological, with only one story to tell - female oppression. A closer reading of these texts, however, reveals a number of complex narrative strategies at work, some of which participate in the non-verbal or pre-verbal aspects of communication. Specifically, the semiotic theory of Julia Kristeva can help to deepen the critical conversation about these writers and illuminate the tensions involved in identity formation. In the Introduction I pay attention to the notion of Language as a gendered construct, highlighting the difficulty facing women writers in the construction o f a female literary identity and voice. Chapters One to Four examine the musicality of language; the hysterical mother’s voice; fashion as language; gardens and wild spaces as discourse. Chapter Five analyses how collective female experiences and speech manifest in New Woman narratives as a dialogic semi-autobiographical voice.

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7

Allen, Diane F. "MFK Fisher : food and feminist identity /." Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/AllenDF2004.pdf.

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8

Carrière, Marie J. "Poetics of the other, five feminist writers from English Canada and Quebec." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/NQ45662.pdf.

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9

Bretag, Tracey. "Subversive mothers : contemporary women writers challenge motherhood ideology /." Title page, contents and abstract only, 1999. http://web4.library.adelaide.edu.au/theses/09ARM/09armb844.pdf.

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10

Crawford, Amy S. "Re-charting the present : feminist revision of canonical narratives by contemporary women writers." Thesis, Anglia Ruskin University, 2015. http://arro.anglia.ac.uk/582051/.

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In this thesis, I explore the textual strategy of feminist revision employed by contemporary women writers. After investigating Jean Rhys’s Wide Sargasso Sea as a prototype of feminist revision, I focus specifically on Angela Carter’s “The Bloody Chamber” as a revision of Charles Perrault’s “Bluebeard,” Michèle Roberts’s The Book of Mrs Noah as a revision of the Old Testament Flood narrative, Margaret Atwood’s The Penelopiad as a revision of Homer’s Odyssey and the Troy narratives, and Ursula K. Le Guin’s Lavinia as a revision of Vergil’s Aeneid. Through investigating the historical and literary contexts of each revisioned text, I identify the critical focus of the revision and analyse the textual effect produced by the revision. In each case, the feminist revision exposes the underlying ideological assumptions of the source text. By rewriting the canonical narrative from an alternative perspective, each revision extends beyond the source text, altering meaning and reinterpreting key symbols for feminist ends.

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11

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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12

Chabwera, Elinettie Kwanjana. "Writing black womanhood : feminist writing by four contemporary African and black diaspora women writers." Thesis, University of Leeds, 2004. http://etheses.whiterose.ac.uk/7186/.

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This thesis explores the concept of black womanhood and female identity in Africa and its diaspora. It examines questions of black womanhood in relation to cultural concepts of black women. It analyses the ways black women perceive and represent themselves and how they articulate their self-perceptions within and outside the traditional cultures of their societies. The problems of black women foregrounded in most postcolonial black women's texts reflect their marginal and oppressed position. The study will explore the textual voice, social and political agency, and how black women's experiences and histories are articulated in the writing of four contemporary black women writers from Africa and the Caribbean. Contesting and reacting against distorted and marginalizing constructions in black men's texts, Bessie Head, Ama Ata Aidoo, Ema Brodber and Olive Senior portray a black womanhood which challenges black women's marginality in literature and in society. I suggest that the writers' concerns, focus and narrative strategies contribute to an understanding of the ways in which black women perceive themselves. The four writers create a variety of characters who illustrate individual as well as communal gender and class-specific conflicts produced by their socio-historical realities. The writers’ perceptions and sensibilities as women are informed by their different backgrounds and relationships to their societies. Their narrative points of view which are grounded in history and which involve use of the oral storytelling techniques of their societies reflect the diversity and complexity of black women's lives and experiences.

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13

McIlvanney, S. J. "Gendering mimesis : realism and feminism in the works of Annie Ernaux and Claire Etcherelli." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282021.

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14

Igbaria, Khaled. "Laylá Ba‘albakī and feminism throughout her fiction." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/17974.

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A number of Lebanese women writers of the period of 1950s and 1960s have received considerable attention by scholars. This is not the case, however, for Laylá Ba‘albakī, whom the field has failed to address in any substantive manner. In not paying sufficient attention to Laylá Ba‘albakī, the field has failed to appreciate the distinctly feminist dimension of her work. To date, most scholars have only repeated commonly held views about her and her fiction. By addressing Ba‘albakī’s biography and fiction, this thesis hopes to contribute to a fuller understanding of Lebanese women writers of 1950s and 1960s. It shows that Ba‘albakī joined the group Shi‘r, but none of the Lebanese or Syrian political parties; and that she faced conflict not only with her parents, community and the state, but also, unexpectedly, with the Lebanese women’s groups. This study discusses the reasons why Ba‘albakī was brought before the courts, supporting the view that the underlying reason was political, not moral; and it further explores the reasons why the writer ceased publishing. It now seems probable that she will soon release a new work, after a long hiatus, which may be controversial within Muslim and Arab society. Moreover, this thesis shows that throughout her novels and short stories there is diversity in styles and techniques, and the use of poetic and figurative language which displays the influence of several Arab and Western poets (including her father’s own zajal poetry). Furthermore, the study focuses in particular on feminist themes in her work, and the various literary devices she employs for advancing her feminist agenda. The study of these devices further supports the claim that the court case against her was motivated by politics, not ethics. This thesis opens the doors for new discussions such as the impacts of her being Shiite as and when sources become available.

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15

Powell, Sara. "Women Writers in Revolution: Feminism in Germaine de Staël and Ding Ling." TopSCHOLAR®, 1994. http://digitalcommons.wku.edu/theses/948.

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In this essay, the concern is feminism in the writings of the two revolutionary women, Germaine de Stael, who lived and wrote during the French revolutionary era, and Ding Ling, who lived and wrote during the Chinese Communist revolutionary era. The main theme of the essay is to determine whether the feminism in their work is of a similar nature despite the vast differences in the times and places in which they each lived. Concomitantly, the theme is also an attempt to discover through such similarities if feminism is of a universal nature. Through biographical sketches and analysis of selected works, the two women are compared within their historical context. The conclusion is, despite many differences in their lives and works, there are significant similarities which seem to indicate that many aspects of feminism do indeed cross lines of time and space.

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16

Hurst, Isobel. "Victorian women writers and the classics : the feminine of Homer /." Oxford : Oxford university press, 2006. http://catalogue.bnf.fr/ark:/12148/cb40935892j.

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17

Monteith, Sharon. "White writers advancing sisterhood : black and white women's friendships in contemporary Southern fictions." Thesis, University of Nottingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339614.

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18

Hodgson-Blackburn, Jacqueline. "Beyond mourning and melancholia : depression in the work of five contemporary North American women writers." Thesis, Sheffield Hallam University, 1999. http://shura.shu.ac.uk/19804/.

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This dissertation is an investigation into the representation of mourning and melancholia in the work of Elizabeth Smart, Evelyn Lau, Siri Hustvedt, Sarah Sheard and Kathryn Harrison. The thesis addresses women's historic exclusion from the discourse of melancholia from a feminist perspective. It will consider the political and theoretical implications of women's absence from this discursive field by focusing on the cultural legacy of their devalorised status. Freud's essay, 'Mourning and Melancholia', first published in 1917, is cited as an important conceptual model exercising considerable influence over subsequent theoreticians working within this area. My thesis builds on Freud's attempt to establish a clear-cut binary division between the twinned states of mourning and melancholia. The thesis reveals how Freud's construction of melancholia as a pathological condition, shadowing the normative state of mourning, has been linked with psychoanalytic constructions of femininity by leading feminist theorists such as Irigaray, Silverman and Kristeva. The first chapter provides an overview of melancholia as a gendered discourse privileging male practitioners; the subsequent chapters provide symptomatic readings of five novels written by five contemporary North American women. The psychoanalytic interpretation of these readings, ranging from blocked or postponed mourning to the ideological loss of a father through incest, illustrate the close epistemological relationship between the construction of femininity and melancholia within Western historical and philosophical traditions. This thesis is not concerned with merely re-interpreting Western cultural prejudices related to the discourse of melancholia from a late twentieth century postfeminist perspective. Instead, the thesis demonstrates how contemporary women writers are engaged in a revisionary approach to the representation of loss within their work, by insistently inscribing their active, desiring bodies on the discourses of heterosexual femininity and melancholia. By refusing to disappear from the margins of the melancholic text, I show how the resisting melancholic daughter produces a counter-discourse that destroys the conventional dynamics of the family romance within Western literary traditions. The 'writing cure' replaces the 'talking cure' in this context. By removing the patriarchal figurehead from the text, and the psychoanalytic confessional discourse surrounding it, women writers challenge misogynist constructions of femininity within contemporary literature.

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19

Welser, Tracie Anne. "Fantastic Visions: On the Necessity of Feminist Utopian Narrative." [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001166.

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20

Hewson, Marc A. "The male writer and the feminine text, Hemingway's major novels from a Cixousian perspective." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/NQ66154.pdf.

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21

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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22

Hill, Sydney M. (Sydney Margaret) 1971 Carleton University Dissertation Comparative literature. ""She must write her self": Feminist poetics of deconstruction and inscription (six Canadian women writing)." Ottawa.:, 1997.

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23

Gibbs, Amanda (Amanda Susan) Carleton University Dissertation Canadian Studies. ""Memory work": imaginal memory as feminist praxis in the works of selected contemporary Canadian women writers." Ottawa, 1994.

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24

Fox, Heather A. "Arranging Stories: The Implications of Narrative Decision in Short Story Collections by Southern Women Writers, 1894-1944." Scholar Commons, 2017. https://scholarcommons.usf.edu/etd/7254.

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Southern writer Ellen Glasgow once told an audience that “the longer one lives in this world of hazard and disaster, the more reckless one should become . . . in the matter of words.” Between the 1880s and the 1940s, opportunities for southern women writers like Glasgow increased dramatically, first bolstered by readership demands for southern stories in northern periodicals and followed by their acceptance into the southern literary canon during the 1920s-30s Southern Renaissance movement. And yet, it remained difficult for southern women writers to be reckless with words. Confined by magazine requirements and sociocultural expectations, writers often used regional settings to attract publishers and readers. Once a readership was established, they sought to publish a collection of stories separate from popular magazine contexts. This project examines the selection and arrangement of previously-published magazine stories into first short story collections by Kate Chopin, Ellen Glasgow, Marjorie Kinnan Rawlings, and Katherine Anne Porter. Publishing a collection enabled authors to revise their stories outside of magazines’ requirements and provided the agency to arrange individual stories into a collective narrative. In “Arranging Stories,” I argue that selecting and ordering magazine stories for these collections was not arbitrary nor dictated by editors. Instead, it allowed women writers to privilege stories, or to contextualize a particular story by its proximity to other tales, as a form of sociopolitical commentary. This project, supported by archival research at ten institutional repositories, invites a reconsideration of women writers’ authorial control throughout the publication process.

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25

Han, Andrea N. "LEARNING OUR PLACE: A FEMINIST ANALYSIS OF PRACTITIONER TEXTS WRITTEN FOR WOMEN SCHOOL ADMINISTRATORS." Oxford, Ohio : Miami University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1259961405.

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26

Hurteau, Alicia. "Pedagogies of Solidarity: Feminist Poetry Written by Arab American Women Post September 11, 2001." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/910.

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This thesis materialized out of an urgency to legitimize more creative, plural, and curious ways of thinking critically about the implications of 9/11 specifically, and global terrorism generally. This thesis actively grapples with the question: how has feminist poetry written by Arab American women post 9/11 complicated, resisted, and re-imagined the creation of one homogenizing national narrative of the event? The data used in order to answer this research question comes from an analysis of the poetic work of five Arab American women, each of whom write explicitly within an anti-imperialist feminist framework. My thesis analyzes these poems in conversation with one another in order to synthesize and establish a pattern. In doing so, I extract three of the most prominent commonalities between the poems: (1) An insistence on dehomogenizing the Arab and the Arab American in direct contrast to the Western stereotypes that polarize and essentialize the Arab “other” (2) a desire to re-negotiate the politics of identity and visibility and (3) an ability to teach a way of suturing solidarity that is anti-imperialist, necessarily plural, and embodied as art. This thesis serves as a reminder that the groundwork for building more imaginative, creative, and generative coalitions has already been laid. It concludes that in learning from places of artistic re-visioning, it becomes more possible to chart connections and provoke loyalties that are resonant, resilient, and revolutionary.

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27

Kellett, Janine. "A study of working women in selected postwar texts by French women writers." Thesis, University of Glasgow, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325394.

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28

Steenkamp, Lize-Maree. "Place, space and patriarchal femininities in selected contemporary novels by African women writers." University of the Western Cape, 2019. http://hdl.handle.net/11394/6639.

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Philosophiae Doctor - PhD<br>In much feminist literature, women’s spaces are analysed as constructive and supportive sites that may offer respite from patriarchy. However, women’s spaces are not inherently emancipatory. Through the socio-spatial dispersal of patriarchal power, places and spaces varying in scale – nations, cities, rural towns, private-public places and the home – can construct women who further the interests of men. Specifically, homosocial spaces, spaces where women interact with other women, can produce femininities that oppress other women by actively advancing patriarchal concerns. The selected primary texts consider spaces in regionally diverse but socially similar African contexts: Sefi Atta’s Swallow (2011) and Lola Shoneyin’s The Secret Lives of Baba Segi’s Wives (2010) are set in Nigeria, Miral al-Tahawy’s The Tent (1998) is set in Egypt, while Leila Aboulela’s Lyrics Alley (2010) is set in both Egypt and Sudan. I use the selected novels as cartographies for socio-geographical inquiry to establish how space and place construct patriarchal women. Literary spaces and places are studied from largest to smallest scale: The analysis of national spaces in the novels is followed by a study of urban and rural spaces, followed by private-public places, domestic place and, finally, at a micro-scale, the body-as-place. The analyses of these literary spaces will reveal the mechanisms by which patriarchal women are spatially produced, and may use space to oppress other women.

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29

Bretag, Tracey. "Mum's the word : feminist theory and the representation of motherhood in three novels by contemporary Australian women writers /." Title page and contents only, 1994. http://web4.library.adelaide.edu.au/theses/09AR/09arb844.pdf.

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30

Mtuze, Peter Tshobiso. "A feminist critique of the image of woman in the prose works of selected Xhosa writers (1909 - 1980)." Doctoral thesis, University of Cape Town, 1990. http://hdl.handle.net/11427/23636.

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The study examines, from a feminist point of view, the stereotypic image of woman in Xhosa prose fiction from pre-literate times to the era of written literature (1909 - 1980). Attaching feminist critical theory to conventional literary characterisation gives this pioneering study a human dime,n sion that is bound to rejuvenate traditional critical appredation and highlight the tremendous power of art to reflect or parallel real-life experiences. Consequently, the study transcends the confines of traditional literary criticism. It throws interdisciplinary light on the African feminist dilemma over the past 70 years while focusing on gender stereotyping as a characterisation technique. Chapter 1 clearly demarcates the scope of study and the critical position adopted, while chapter 2 traces stereotypes back to Xhosa folk-tales. In this way, an interesting link or parallel in stereotyping between oral and written literature is highlighted. It is worth pointing out that Chapter 3 is significant in that no women writers' works produced in the first and the second decades have survived. The male writers of the period describe women in strict stereotypic fashion, without fear of contradiction, from Woman as Eve to Woman as Witch, among other archetypal images. The female stereotypic image in the third and the fourth decades, the role of the first two female novelists and the early seeds of female. resistance to male domination, are discussed. in Chapter 4 while Chapter 5 highlights the depiction of female characters by male and female prose writers in the Fifties, culminating in Mzamane's exposure of glaring anti-female social norms and practices. In Chapter 6 the spotlight is cast on the woman of the Sixties and the rise of active resistance to male dominance. Some contemporary women, as pointed out in Chapter 7, have crossed the Rubicon in diverse ways. They are assertive, independent, proactive and relentlessly opposed to male dominance. Chapter 8 sums up the main points in relation to the Xhosa woman's attitude towards Western feminism: while many Xhosa women feel justifiably unhappy about male dominance, they refuse to let their frustrations affect their unity with men in the greater struggle against racism. Although the study concludes on an anti-climactic note for Western feminists, it focuses on this crucial and unique distinction between Western and black feminism.

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31

Milatovic, Maja. "Reclaimed genealogies : reconsidering the ancestor figure in African American women writers' neo-slave narratives." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/10656.

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This thesis examines the ancestor figure in African American women writers’ neoslave narratives. Drawing on black feminist, critical race and whiteness studies and trauma theory, the thesis closely reads neo-slave narratives by Margaret Walker, Octavia Butler, Gayl Jones, Toni Morrison and Phyllis Alesia Perry. The thesis aims to reconsider the ancestor figure by extending the definition of the ancestor as predecessor to include additional figurative and literal means used to invoke the ancestral past of enslavement. The thesis argues that the diverse ancestral figures in these novels demonstrate the prevailing effects of slavery on contemporary subjects, attest to the difficulties of historicising past oppressions and challenge post-racial discourses. Chapter 1 analyses Margaret Walker’s historical novel Jubilee (1966), identifying it as an important prerequisite for subsequent neo-slave narratives. The chapter aims to offer a new reading of the novel by situating it within a black feminist ideological framework. Taking into account the novel’s social and political context, the chapter suggests that the ancestral figures or elderly members of the slave community function as means of resistance, access to personal and collective history and contribute to the self-constitution of the protagonist. The chapter concludes by suggesting that Walker’s novel fulfils a politically engaged function of inscribing the black female subject into discussions on the legacy of slavery and drawing attention to the particularity of black women’s experiences. Chapter 2 examines Octavia Butler’s Kindred (1978), featuring a contemporary black woman’s return to the antebellum past and her discovery of a white slaveholding ancestor. The chapter introduces the term “displacement” to explore the transformative effects of shifting positionalities and destabilisation of contemporary frames of reference. The chapter suggests that the novel challenges idealised portrayals of a slave community and expresses scepticism regarding its own premise of fictionally reimagining slavery. With its inconclusive ending, Kindred ultimately illustrates how whiteness and dominant versions of history prevail in the seemingly progressive present. Chapter 3 discusses Gayl Jones’ Corregidora (1975) and its subversion of the matrilineal model of tradition by reading the maternal ancestor’s narrative as oppressive, limiting and psychologically burdening. The chapter introduces the term “ancestral subtext” in order to identify the ways in which ancestral narratives of enslavement serve as subtexts to the descendants’ lives and constrict their subjectivities. The chapter argues that the ancestral subtexts frame contemporary practices, inform the notion of selfhood and attest to the reproduction of past violence in the present. Chapter 4 deals with Toni Morrison’s Beloved (1987) and Phyllis Alesia Perry’s Stigmata (1998) exploring complex ancestral figures as survivors of the Middle Passage and their connection to Africa as an affective site of identity reclamation. The chapter identifies the role the quilt, the skill of quilting and their metaphorical potential as symbolic means of communicating ancestral trauma and conveying multivoiced “ancestral articulations”. The chapter suggests that the project of healing and recovering the self in relation to ancestral enslavement are premised on re-connecting with African cultural contexts and an intergenerational exchange of the culturally specific skill of quilting.

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32

Prevedello, Michela. "Feminisms and postfeminisms : Italian women writers in the 1970s and the new millennium." Thesis, University of Bristol, 2017. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.743002.

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33

Jahed, Yasaman. "Simin Daneshvar's Savushun: Examining Gender Under Patriarchy." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/462.

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The author covers issues of gender and Iranian national identity as reflected in Iran’s first published woman novelist, Simin Daneshvar. Her novel, Savushun, is the first novel to be published by an Iranianwoman in 1969. The novel depicts Iran at the start of the country’s governmental factions in 1941 when Reza Shah Pahlavi overthrew years of Iranian dynasty and established a monarchy. This thesis explores how the novel is a vital part of Iran’s historical literature as well as essential to the present day discussion of gender and politics, especially for women within the patriarchal paradigm.

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34

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.<br>published_or_final_version<br>Comparative Literature<br>Master<br>Master of Philosophy

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35

Ucar, Ozbirinci Purnur G. "Mythmaking In Progress: Plays By Women On Female Writers And Literary Characters." Phd thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/2/12608981/index.pdf.

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This thesis analyzes the process of women&rsquo<br>s mythmaking in the plays written by female playwrights. Through writing the lives of female writers and rewriting the literary characters, which have been created by male writers, the women playwrights assume the role of a mythmaker. A mythmaker possesses the power to use the &lsquo<br>word,&rsquo<br>thereby possesses the power to control &lsquo<br>reality.&rsquo<br>However, for centuries, women have been debarred from generating their own myths, naming their own experiences, and controlling their own &lsquo<br>realities.&rsquo<br>Male mythmakers prescribed the roles women were required to perform within the society. Feminist archetypal theorists believe that through a close study of related patterns in women&rsquo<br>s writing, common grounds, and experiences, the archetypes shared by women will be disclosed. Unveiling these archetypes will eventually lead to the establishment of new myths around these archetypes. As myths are regarded as the source of collective experiences, analyzing how women have rewritten, revised, devised, and originated myths would thus permit women to reclaim the power to name, and hence to influence the so-called reality established by the patriarchy. Hence, this study analyzes the constantly developing process of women&rsquo<br>s mythmaking/mythbreaking in Liz Lochhead&rsquo<br>s Blood and Ice, Rose Leiman Goldemberg&rsquo<br>s Letters Home, Bilgesu Erenus&rsquo<br>Halide, Timberlake Wertenbaker&rsquo<br>s The Love of the Nightingale, Bryony Lavery&rsquo<br>s Ophelia, and Zeynep Avci&rsquo<br>s Gilgamesh. These playwrights try to depose the stereotypical images attributed to women by male mythmakers.

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36

Dworak, Almut-Isabella Erica. "Presentations of sickness and health in novels and selected journals by German women writers : (1771 to 1820)." Thesis, University of Exeter, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324747.

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37

Chaudary, Fariha. "Hiding and seeking identity : the female figure in the novels of Pakistani female writers in English : a feminist approach." Thesis, University of Huddersfield, 2013. http://eprints.hud.ac.uk/id/eprint/17563/.

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Pakistani female writers in English continue to highlight the struggles of women within patriarchal Pakistani society. The emphasis of my research project has been to explore and analyse the struggle and resistance of female figures against patriarchal structures as presented through the fiction of my chosen female writers. I have analysed the works of Pakistani Anglophone women writers, Bapsi Sidhwa and Qaisra Shahraz. The thesis concludes with the analysis of a novel by a contemporary Urdu Pakistani female writer, Umera Ahmad. Analysing an Urdu feminist writing along with feminist writing in English has allowed my thesis a broader scope as Urdu feminist writings are an indispensible part of the Pakistani literary canvas in general and feminist literary canvas in particular. Through sexual awakening, sexual victimisation (rape, forced marriage) and sexual discrimination Sidhwa, Shahraz and Ahmad’s women learn of the gendered oppression that works through their bodies. Grappling with a range of victimisations, the female figures, from across the chosen works, expose how female sexuality and bodies are defined, controlled and exploited by men under the guise of socio-cultural and religious traditions. My research explores both the violent and subtle ways in which patriarchy represses female sexuality to control and restrict women in Pakistani society. A further underlying motive of my research has been to stress the importance of writing in allowing the female figures a ‘voice’ to aid their struggle against patriarchal structures. I believe feminist writings, specifically by female authors, both in English and Urdu, are a much needed contribution to the already existing Pakistani literary canon. Therefore, the works of chosen female writers are critically examined in order to understand their role and importance towards addressing, exploring and devising solutions, through a literary medium, to the issues women face in patriarchal society.

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38

Ainsworth, Diann Elizabeth Smith. ""Strangely tangled threads" American women writers negotiating naturalism, 1850-1900 /." Fort Worth, Tex. : Texas Christian University, 2007. http://etd.tcu.edu/etdfiles/available/etd-12072007-113413/unrestricted/ainsworth.pdf.

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39

Marshall, Sharon Margaret. "The Aeneid and the illusory authoress : truth, fiction and feminism in Hélisenne de Crenne’s Eneydes." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3249.

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In 1541, writing under the pseudonym Hélisenne de Crenne, the French noblewoman Marguerite Briet produced a translation of the first four books of Virgil’s Aeneid that remains largely unknown. As a female author, Hélisenne provides a sixteenth-century woman’s perspective on the Aeneid, an on classical literature more generally, and the uniqueness of her translation in this respect makes her work extremely significant, particularly given the relatively recent interest in women and other marginal voices within the field of classics. This thesis contributes to an understanding of the need for a holistic approach to Classical Reception Studies, through a thorough examination of Hélisenne’s translation not only with regard to her gender but also the social, historical and literary climate in which she writes. Focussing on the mise en livre, as well as the text, my approach also stresses the need to reevaluate the relationship between the author and the text that we often assume in classics is more direct than is actually the case. Through such an examination of her Eneydes, Hélisenne emerges as a serious participant in the humanist tradition who engages with classical literature in such a way as to question masculine textual authority and the notion of an objective truth, whilst deliberately implicating herself through her translation in a web of authorities who are not to be trusted.

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40

Chia, Chieh Ting Evelyn. "Women “Auto” Write Differently: A Case Study of Feminist Rhetorical Practices in Professional Email Communication in the Automotive Industry." University of Dayton / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1557347967478935.

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41

Arimbi, Diah Ariani Women's &amp Gender Studies UNSW. "Reading the writings of contemporary Indonesian Muslim women writers: representation, identity and religion of Muslim women in Indonesian fictions." Awarded by:University of New South Wales. Women's and Gender Studies, 2006. http://handle.unsw.edu.au/1959.4/25498.

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Indonesian Muslim women???s identity and subjectivity are not created simply from a single variable rather they are shaped by various discourses that are often competing and paralleling each other. Discourses such as patriarchal discourses circumscribing the social engagement and public life of Muslim women portray them in narrow gendered parameters in which women occupy rather limited public roles. Western colonial discourse often constructed Muslim women as oppressed and backward. Each such discourse indeed denies women???s agency and maturity to form their own definition of identity within the broad Islamic parameters. Rewriting women???s own identities are articulated in various forms from writing to visualisation, from fiction to non fiction. All expressions signify women???s ways to react against the silencing and muteness that have long imposed upon women???s agency. In Indonesian literary culture today, numerous women writers have represented in their writings women???s own ways to look at their own selves. Literary representations become one group among others trying to portray women???s strategies that will give them maximum control over their lives and bodies. Muslim women writers in Indonesia have shown through their representations of Muslim women in their writings that Muslim women in Indonesian settings are capable of undergoing a self-definition process. However, from their writings too, readers are reminded that although most women portrayed are strong and assertive it does not necessarily mean that they are free of oppression. The thesis is about Muslim women and gender-related issues in Indonesia. It focuses on the writings of four contemporary Indonesian Muslim women writers: Titis Basino P I, Ratna Indraswari Ibrahim, Abidah El Kalieqy and Helvy Tiana Rosa, primarily looking at how gender is constructed and in turn constructs the identity, roles and status of Musim women in Indonesia and how such relations are portrayed, covering issues of authenticity, representation and power inextricably intertwined in a variety of aesthetic forms and narrative structures.

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42

ALQutami, Mais Yusuf. "Feminist resistance in contemporary American women writers of color unsettling images of the veil and the house in Western culture /." Open access to IUP's electronic theses and dissertations, 2009. http://hdl.handle.net/2069/177.

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43

McCann, Brandy R. "Reading Alfred C. Kinsey: Sexuality and Discourse in Mid-Century America." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/32179.

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This project concerns various 20th-century rhetorical strategies for sexual liberation. First, I examine the work of Alfred C. Kinsey through the theories of Louis Althusser and Michel Foucault. In the second chapter I look at Kinseyâ s Female volume and argue that he uses the mid-century concern for marriage as a strategy for sexual liberation. Next, I trace the ways in which four female, post-Kinsey writers use Kinsey (explicitly or implicitly) for their own particular strategies for sexual liberation. Finally, my conclusion asks how we can develop an effective strategy for this new century.<br>Master of Arts

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44

Hurst, Isobel. "The feminine of Homer : classical influences on women writers from Mary Shelley to Vera Brittain." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275748.

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45

Peteet, Julia Clare. "Andalusia." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-07192006-143237/.

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Thesis (M.A.)--Georgia State University, 2006.<br>Title from title screen. Jack Boozer, committee chair; Shirlene Holmes, Marian Meyers, committee members. Electronic text (138 p.) : digital, PDF file. Description based on contents viewed June 19, 2007. Includes bibliographical references (p. 28-30).

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46

Hale, Julie Elizabeth. "Creating the Appalachian Woman: An Anthology of Appalachian Women Writers, 1865-1884." Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etd/990.

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This anthology of nineteenth-century women’s regional fiction, written in the mode of canon revision, explores how persistent stereotypes of Appalachian women originated. These stereotypes are not merely identified but are also considered in the context of women’s studies. Works by the following six authors are included: Elizabeth Appleton, Rebecca Harding Davis, Frances Hodgson Burnett, Constance Fenimore Woolson, Sherwood Bonner, and Mary Noailles Murfree. Topics addressed include nineteenth-century women as authors, the influence of northern literary magazines on regional writing, the image of the Appalachian woman in fiction, and the critical evaluation of primary texts. Original work required for the completion of a master’s thesis comes by way of a thirty-page analytical introduction, six biographical headnote entries, and an extended bibliography of primary works by Appalachian women writers.

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47

Sosa, Ricardo Antonio. "ANÁLISIS DEL PODER Y LA SEXUALIDAD EN LOS CUENTOS DE MARVEL MORENO." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1334021389.

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48

Lewis, Damion Deena Seodial. "Postcolonial African American Female Writers and their Three-Way battle against Imperialism, Canonization, and Sexism: Developing a New Multicultural Feminism." [Greenville, N.C.] : East Carolina University, 2010. http://hdl.handle.net/10342/2831.

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49

Jackson, Laura Ann. "Representations of the hysteric in contemporary women's writing in French." Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8944.

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This thesis explores how the celebratory figure of the hysteric as imagined by proponents of écriture féminine is developed and complicated in more recent representations of hysterical female bodies in contemporary women’s writing in French. With the aim of understanding the evolution of the hysteric from a traditionally negative embodiment of patriarchal parameters of femininity to a potentially revolutionary female figure, this thesis undertakes single-chapter studies of the most telling contemporary representations of hysterical bodies. The first chapter focuses on the physicality of Lorette Nobécourt’s writing in La Démangeaison (1994) and La Conversation (1998), and argues that the abject subject matter of the former coupled with the innovative and experimental form and style of the latter constitutes an almost physical performance of ‘madness’. The second chapter focuses on Marie Darrieussecq’s Truismes (1996) and argues that Darrieussecq’s hybrid narrator harnesses the anti-establishment carnival force of the hysteric in a shifting and grotesque body which forms the epitome of all that threatens order. The final two chapters focus on anorexia as a contemporary equivalence of Victorian hysteria. The first of these deals with Petite (1994) by Geneviève Brisac and Thornytorinx (2005) by Camille de Peretti and examines how these writers recreate the fragmentation of the anorexic self through a realist, performative ‘rhetoric of anorexia’. The second deals with Amélie Nothomb’s Robert des noms propres (2002), Biographie de la faim (2004) and Métaphysique des tubes (2000), and argues that Nothomb privileges a disembodied aesthetic that presents a masculine fantasy of the female body which all but erases the feminine. Ultimately, this thesis seeks to discover how and why selected contemporary female authors choose to engage with – and reject – 1970s models in which writing by women was presented as a means of finding one’s own voice, as well as a platform for politically significant action. It argues that new configurations of the hysteric nevertheless achieve a certain social and political impact.

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50

Wheeler, Collette. "Re-reading women's patronage : the Cavendish/Talbot/Ogle Circle." Thesis, Brunel University, 2018. http://bura.brunel.ac.uk/handle/2438/17592.

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