To see the other types of publications on this topic, follow the link: Samaritan woman in fiction.
Dissertations / Theses on the topic 'Samaritan woman in fiction'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Samaritan woman in fiction.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Thomas, T. Tipper. "The Wonder Woman Papers." Miami University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=miami1192205726.
Full text
2
Hajibashi, Zjaleh Elizabeth. "The fiction of the post-revolutionary Iranian woman /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/fullcit?p9905742.
Full text
3
Daniels, Laura Allison. "Victorian Psychology in Sensation and New Woman Fiction." Thesis, University of Exeter, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.486765.
Full textAbstract:
My thesis takes as its basic premise that questions ofidentity are crucial to the genres of Sensation and New Woman fiction and explores how authors such as Wilkie Collins, MaryElizabeth Braddon, Sarah Grand, Mona Caird and George Egerton integrated contemporary theories about the self into their fiction. My first chapter considers how Sensation fiction mirrored the growing scientific belief that physiognomy, like phrenology before it, was ofno assistance in helping to either identify the self or diagnose mental disorder before tracing the way in which New . . Woman fiction also took such a position. My second chapter considers the way in which Sensation fiction represented the embodied self, charting the way in which the genre appropriated the tenets of eighteenth century psychology - that ofphrenology and association psychology - and the mid nineteenth century physiological psychology in order to do so. My fmal chapter examines the way in which Sensation fiction and New Woman fiction draw on the concept ofthe will within mid nineteenth century psychological discourse in order to represent the self. This work is based in New Historicist methodology and an immersion in textual detail.
4
Dalley, Lana Lee. "Writing the economic woman : gender, political economy, and nineteenth-century women's literature /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/9430.
Full text
5
Dunst, Maura. ""Such genius as hers" : music in New Woman fiction." Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/46493/.
Full textAbstract:
This thesis examines music and its relationship to gender and the related social commentary woven throughout New Woman writing, putting forth the New Woman musician figure for consideration. In contrast to the male-dominated world of Victorian music, New Woman fiction is rife with women who not only wish to pursue music, but are brilliantly talented musicians and composers themselves. These women are the focal point of this thesis. The primary texts used are Kate Chopin’s The Awakening (1899); Sarah Grand’s Ideala (1888), The Heavenly Twins (1893), and The Beth Book (1897); George Egerton’s Keynotes (1893), Discords (1894), Symphonies (1897), and Fantasias (1898); George Moore’s Evelyn Innes (1898) and Sister Teresa (1901); and Mona Caird’s The Daughters of Danaus (1894); with George du Maurier’s Trilby (1894) (and, to a lesser extent, the Moore texts) offered in contrast to the foregoing. This thesis seeks to answer the following question: what is music’s function in New Woman fiction, and to what end? Each chapter offers an answer to this question using different areas of women’s musicianship: stifled musicians, performers, composers, and auditors. In addition, the penultimate chapter works toward a theory of “melopoetic composition,” or the blending of literary and musical composition, and discusses the role of mirror neurons in creating a unique reading experience which is visual, aural, and neural. Ultimately, this thesis illustrates that the sister arts of music and literature were woven together by the sisterhood of the New Woman writers, who used fiction as a medium through which to assert their multi-layered creative capabilities.
6
Kridler, Jamie Branam, Linda M. Daughtery, and Terry L. Holley. "The Resilient Appalachian Woman: Lessons from Life and Fiction." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/5871.
Full text
7
Jacobson, Karin Kay. "Unsettling Questions, Hysterical Answers: The Woman Detective in Victorian Fiction." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392764399.
Full text
8
Shen, Ruihua. "New woman, new fiction : autobiographical fictions by twentieth-century Chinese women writers /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3113028.
Full textAbstract:
Thesis (Ph. D.)--University of Oregon, 2003.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 339-366). Also available for download via the World Wide Web; free to University of Oregon users.
9
Shahbazi, Laura Chadwick. "Life as the invisible woman : a partial manuscript of a novel." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1260624.
Full textAbstract:
The novel Life As the Invisible Woman, details the death, re-birth and life of a young woman who learns through her experience that she creates "good" and "bad" in the context of her own life, and will continue to do so in an eternal process until, as the character Sarah states in the book, "there is more light in her than water and clay." It is also a story about abuse, domestic violence, and their devastating psychological consequences in the lives of those who experience them.Life As the Invisible Woman is being submitted as a partial manuscript in fulfillment of the creative project requirement for the degree of Master of Arts in creative writing.<br>Department of English
10
Baker, Travis G. "Clara-An Elsewhere." Fogler Library, University of Maine, 2006. http://www.library.umaine.edu/theses/pdf/BakerTG2006.pdf.
Full text
11
Chang, Mei-Fang. "The child and the spirit : archetypal patterns in New Woman fiction." Thesis, Swansea University, 2007. https://cronfa.swan.ac.uk/Record/cronfa42231.
Full textAbstract:
This thesis offers a Jungian-inflected reading of three key New Woman novels: Mona Caird's The Daughters of Danaus (1894), Sarah Grand's The Beth Book (1897), and Olive Schreiner's From Man to Man (1926). By examining two archetypal images---the Child and the Spirit---not as psychological entities but as symbolic forms in the socio-cultural context of the fin de siecle, I explore the ways in which feminist New Woman writers seek to present women artists' collective experience and the extent to which their work revises the dominant discourses of female subjection and sacrifice. Part I is engaged with the Child Archetype with a focus first on the Abandoned Child, where I investigate sisterless children through a combined discourse of sisterhood and trickster. In Chapter 1, I add a discussion of Caird's maternal theory and a mythic reading to examine motherless children. In Chapter 2, I include a study of a loverless child to cast light on the conventional ideology of woman's purity. In the second section of this Part, where Chapter 3 is located, I scrutinize the ways in which Grand portrays the Nature Child in the Romantic and Transcendental fashions, the ethics of which, I argue, anticipate today's ecofeminism. Part II deals with the Spirit Archetype in different manifestations (the Wise Old Man in Chapter 4, the Romantic Knight in Chapter 5, and the Platonic Lover in Chapter 6), drawing attention to gender-power politics in relation to the New Man and the New Woman by adopting different approaches (revised Jungian, quasi-Bakhtinian Camivalesque, and narratology). Shifting signifiers, the Child and the Spirit archetypes, I argue, are New Woman writers' strategic vehicles to (con)textualize women's collective concerns. This act of female "unconsciousness-raising" caused a sensation at the time and can now serve to better our understanding of the diversity and discursiveness of the New Woman movement.
12
Alston, Sylvia, and n/a. "Take that woman : a creatie writing project." University of Canberra. Creative Communication & Culture Studies, 2002. http://erl.canberra.edu.au./public/adt-AUC20060531.161023.
Full textAbstract:
Take that woman explores social issues as a piece of mainstream fiction. The story
revolves around realistic characters, in a contemporary setting, facing situations which
many people encounter in their lives. The piece isn't didactic. Nor does it force-feed
the reader; rather it provides information in bite-sized pieces so it can be easily digested.
Take that woman is the story of a group of people brought together by a wedding. Set
in the present, the action takes place in Canberra on a day in early November. The story
moves between Australia and England, between the present and the past as it examines
the conflicts the day generates for the couple's families and friends.
Not only does the wedding serve as a device to bring the characters together, it also
highlights the seriousness of the issues being explored.
The account is a fictional piece as fiction can be an effective communication tool.
Information is disseminated in different forms through a variety of media, both
electronic and print. But, however widely, or creatively, the material is distributed,
there is nothing to ensure the recipient will read or understand the information.
Mainstream fiction can be a means of raising awareness about serious social issues, of
changing attitudes, and, ultimately, behaviours.
The research for the piece involved a search of literature, films and videos, and relevant
websites. It also consisted of personal interviews with subject experts, workers in the
field of domestic violence, and people who have been exposed to violence in their own
relationships.
13
Ghosh, Sutanuka. "Becoming a Bengali woman : exploring identities in Bengali women's fiction 1930-1955." Thesis, SOAS, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498725.
Full text
14
Defrancis, Theresa M. "Women-writing-women : three American responses to the woman question /." Saarbrucken, Germany : Verlag Dr. Muller, 2005. http://0-wwwlib.umi.com.helin.uri.edu/dissertations/dlnow/3186902.
Full text
15
Andermahr, Sonya. "Difference, identification and desire : contemporary lesbian genre fiction." Thesis, University of Warwick, 1993. http://wrap.warwick.ac.uk/39002/.
Full textAbstract:
The focus of this dissertation entitled 'Difference, Identification & Desire: Contemporary Lesbian Genre Fiction' is the representation of lesbian identity in four contemporary popular lesbian genres: autobiographical fiction, speculative fiction, romance fiction and crime fiction. The aim of the dissertation is three-fold. Firstly, it seeks to acknowledge and celebrate the large variety of representations of lesbianism produced by lesbian writers working with popular forms of the novel during the past twenty five years. Secondly, it explores the ways in which lesbian writers have reworked popular genres in order to highlight lesbian and feminist concerns and to depict aspects of lesbian existence. It analyzes the effects of introducing discourses of lesbianism into the plots of popular genres, showing how the latter have been subverted or adapted by lesbian use. Thirdly, the thesis seeks to specify the ways in which the generic forms themselves, according to their own codes and conventions, shape and mediate the representation of lesbian identity in the text. In addition to this focus, the dissertation traces a number of themes and concerns across and within the four genres under discussion. These include the relationship in the texts between the sign 'lesbian' and the discourse of feminism, and the oscillation between the representation of lesbian sexual identity in terms of woman-identification and difference-between women. The aim throughout the analysis of contemporary lesbian genre fiction is to identify both that which is specific to lesbian representation and that which is characteristic of the particular genre under discussion. The dissertation represents a contribution to three areas of literary study: Genre Studies and Feminist Studies in general, and to Lesbian Studies in particular.
16
Alvå, Gunilla. "The same procedure? : an analysis of conventional characteristics in contemporary woman detective fiction." Thesis, University West, Department of Social and Behavioural Studies, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-1471.
Full text
17
Gaetz, Lynne. "Wicked widows, crazy spinsters, and competent heroines, the single woman in sentimental fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ59248.pdf.
Full text
18
Partanen, Susanne. "“Fiction is woven into all” –The Deconstruction of the Binary Opposition Fiction/Reality in John Fowles’s The French Lieutenant’s Woman." Thesis, Högskolan Dalarna, Engelska, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:du-4186.
Full text
19
Morton, Nina. "Freeing fossils the novel as organism in John Fowles's The French lieutenant's woman /." Diss., Connect to the thesis, 2008. http://hdl.handle.net/10066/1462.
Full text
20
Lancaster, Daniel Foertsch Jacqueline. "A futile quest for a sustainable relationship in Welty's short fiction." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3652.
Full text
21
Rosso, Ana. "Female sexuality in French naturalism and realism, and British new woman fiction, 1850-1900." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/14126.
Full textAbstract:
The Victorian need to compartmentalise and define women’s sexuality in terms of opposing binaries was paralleled by the vague idea that the period’s French and British literatures were at odds with one another. Elucidating the deep connections between, and common concerns shared by, French Naturalist and Realist and British New Woman authors, this thesis shatters the dichotomies that attempted to structure and define women’s sexuality in the mid- to late- nineteenth century. The thesis focusses on novels and short stories by French authors Émile Zola and Guy de Maupassant, and New Woman authors Sarah Grand, Ménie Muriel Dowie and Vernon Lee. In a time during which the feminist movement was gaining momentum, and female sexuality was placed at the heart of a range of discourses, and scrutinised from a number of different angles – not only in literature, but in medicine, psychology, sexology, criminology – the consideration of the female sexual self and her subjectivity brings together the work of authors whose oeuvres have been largely considered as antithetical. Previous work has indeed shown the centrality of female sexuality to both literatures, yet never compared them. This thesis rediscovers the significance of both literatures’ investment in a discourse revolving around female sexuality by contrasting the French male authors with the British female writers, and uncovering unexpected parallels in their claims about the contemporary situation of women. Simone de Beauvoir’s Le Deuxième Sexe’s feminist philosophy frames the thesis’s comparative analysis, questioning and re-examining these authors’ representations of female sexuality. The ideas of sensuality and rationality, motherhood, reproduction, marriage, and prostitution thus become recurring concerns throughout it. The thesis’s first chapter considers the female as sexual subject and/or object of the male gaze, in a range of New Woman and French literature. The second and third chapters are organised around the themes of marriage and prostitution, and the final chapter considers issues of female sexuality within the fantastic short story.
22
Hewitt, Avis Grey. ""Myn owene woman, wel at ese" : feminist facts in the fiction of Mary McCarthy." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/862262.
Full textAbstract:
This study examines Mary McCarthy's three major female-protagonist works of fiction--The Company She Keeps (1942), A Charmed Life (1955), and The Group (1963)--in terms of the author's attitude towards femaleness. It confronts Elizabeth Janeway's assessment in Harvard Guide to Contemporary American Writing (1979) that McCarthy's works need not be reviewed in a survey essay on "Women's Literature" because they are "essentially masculine even if not conventionally so" (345). The thesis is that McCarthy's fiction receives a pattern of criticism faulting its lack of imagination and its inability to create "living" characters precisely because she maintained a high degree of self-censorship and control over parts of her awareness that were not male-identified. She was not free to imagine in areas that might unleash the horrors beneath what Norman Mailer has called "the thin juiceless crust" upon which McCarthy's "nice girls" live their lives.Each novel finds the protagonist at a different stage of modern womanhood and using a variety of male-identified responses. Meg Sargent of Company is a young New York sophisticate dealing with divorce, employment, travel, social life, political activism, casual sexual encounters, and the resolution of childhood trauma through psychoanalysis. Martha Sinnott of Charmed is a married woman returning with her second husband to the bohemian artists' community of her first husband in order to resolve the conflict of literary mentorship and patriarchal dominance that had marked the old relationship. In The Group Kay Strong and eight other Vassar Class of '33 females serve as literary embodiments of the social ailment that Betty Friedan cited in her 1963 polemic, The Feminine Mystique.McCarthy's three autobiographies--Memories of a Catholic Girlhood (1957), How I Grew (1985), and Intellectual Memoirs (1992)--illuminate many reasons for and consequences of her male-identified approach to living and writing. Social context for such a fate stems in part from having come of age in the 1930s, being a member of what Elaine Showalter refers to as "The Other Lost Generation." McCarthy's texts provide literary illustration of a common response to patriarchy.<br>Department of English
23
Wright, Charlotte M. "Plain and Ugly Janes: the Rise of the Ugly Woman in Contemporary American Fiction." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278032/.
Full textAbstract:
Women characters in American literature of the nineteenth century form an overwhelmingly lovely group, but a search through some of the overlooked works reveals a thin but discernible thread of plain, even homely, heroines. Most of these fall into the stereotypical "old maid" category, and, like their real-life counterparts, these "undesirable" women are considered failures, even if they have money or satisfying careers, because they do not have boyfriends, husbands, or children. During the twentieth century, the old maid figure develops into someone not just homely, but downright ugly; in addition, the number of these characters increases, especially in the latter half of the century. In many works written since the 1960s, the woman's ugliness is such an intrinsic part of the story that it could not take place if she were beautiful. In subtle ways, these "ugly woman" stories begin to question the overwhelming value placed on beauty, to question the narrow definition of beauty in American society as a whole, and to suggest that the price for such a "blessing" might indeed be too high. Rather than settling for being a mere "heroine"—which still carries feminine connotations of passive behavior and second-class status—the ugly woman's increase in power over her own life and the lives of others, allows her to achieve a status more in keeping with the more "masculine" and active role of hero.
24
Armitt, Lucie. "Pushing back the limits : the fantastic as transgression in contemporary women's fiction." Thesis, University of Warwick, 1992. http://wrap.warwick.ac.uk/2887/.
Full textAbstract:
Moving on from Jackson's belief in fantasy as the literature of subversion, this thesis argues that by filtering Todorov's concept of the fantastic through a contemporary theoretical understanding of transgression, the stasis which has resulted from the obsessive desire to pin down a single definition of literary fantasy can be transformed into a dynamic and interactive narrative process. This dynamism then provides a particularly useful strategy for the fictional exploration of the problematic positionality of women within patriarchal society. The Introduction sets out and contextualises this theoretical framework, the particular significance of transgression to socio-political marginalisation being illustrated by reference to the work of post-Bakhtinian theorists such as Stallybrass and White. The importance of the precarious threshold positionality offered by the adoption of fantastic hesitancy on the part of the woman writer is also introduced. The three main textual sections each focuses upon four novels by contemporary women writers, taking as their themes women and the domestic, women and nightmare and women who are "larger than life" respectively. In each case the intervention of the fantastic is seen to be inseparable from the problematic relationship between prohibition and transgression, a relationship largely set up and explored through a preoccupation with enclosure. Throughout there is a presiding concern with the importance of paradox and ambivalence as a radical literary and political strategy. To this end the concluding section sets this thesis within a feminist fantasy framework, arguing that the problematic dynamism of the fantastic offers far more transformative possibilities than the "closed-system" of the feminist utopia. The originality of this thesis resides in the fact that it adds two further dimensions to existing perspectives on the fantastic. By fully integrating the concept of transgression as a narrative positionality as well as a category of content, it aims to extricate fantasy criticism from the bounds of genre theory. In addition, by combining this with a variety of feminist theoretical perspectives and by taking as its focus contemporary women's fiction, this thesis provides something still not otherwise available: a full-length feminist reading of the application of the fantastic to contemporary women's fiction.
25
Effertz, Julia Irmgard. "The woman singer and her song in French and German prose fiction (circa 1790-1848)." Thesis, Oxford Brookes University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.501961.
Full textAbstract:
This thesis examines the woman singer and her song as a literary motif in French and German prose fiction between 1790 and 1848. In the form of selected case studies, I establish how, for some authors of this period, the singer constituted an important cipher for female artistic empowerment. Although substantial research on the cross-fertilization between music and literature exists, this specific motif has so far received very little attention in Comparative Literature studies. Additionally, literary critics have not previously explored the potential of the woman singer beyond the stereotypes associated with woman and song. By outlining the sociocultural background of singers at the time in chapter 2, and the theoretical context of idealized female song in chapter 3, I first show the strong ideological dimension of the singer as a character of ambivalence. I then investigate how literature responded to this theme, and how key authors developed the character as a reflection on aesthetic ideals pertaining to female musicality, and as a potentially subversive, empowered figure of female song performance. In chapter 41 examine the importance of early singer archetypes created by Goethe and Madame de Stadl, both of whose visions of musically inspired artistic genius paved the way for subsequent literary treatments of the singer and her increasing professionalism and artistic agency. In Chapter 5 I show to what extent marginalized authors like Caroline Fischer wrote explicitly against the cliche of the musical feminine ideal, proposing different views on female agency through art, whereas in chapter 7 I demonstrate how women authors of the July Monarchy period, such as Taunay, Sand, Ulliac and Desbordes-Valmore wrote strong narratives revolving around the life and genius of the prima donna singer. On the other hand, in chapter 6 I show that, although couching their narratives in seemingly more traditional, patriarchal imagery, male authors like Hoffmann, Balzac and Berlioz implicitly criticized the idealism associated with both music and woman and looked for narrative ways to portray the woman singer as an artist who maintains autonomy and integrity. My conclusion emphasizes that through their unique treatment of the woman singer,authors contributed to a complex, continuous discourse on woman and music which went beyond the stereotypical nature of cultural and aesthetic paradigms of female song
26
Sims, Caroline. "Detecting Gender : Images of the Contemporary Woman in Crime Fiction by Patricia Cornwell and Peter Robinson." Thesis, University of Gävle, Department of Humanities, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-7289.
Full textAbstract:
<p>Den här studien har sitt fokus inom krimnalromangenren. Det finns två huvudlinjer. Först koncentrerar studien sig på vilka strategier två kvinnliga protagonister är tvungna att anta för att nå yrkesmässig framgång i en mansdominerad miljö. För att var mer specifik så undersöks Chief Medical Examiner Kay Scarpetta från serien om Scarpetta av Patricia Cornwell och D.S Annie Cabbot från serien om Inspector Banks av Peter Robinson och deras förhållande till auktoritet, makt, äktenskap och moderskap. Fin-de-Siècle ger den underliggande definitionen av kön genom sin skeva syn på vad som anses vara normen för kvinnlighet. Kvinnan förväntades då att centrera sin existens inom hemmets sfär som den perfekta hustrun och modern. Hon ansågs dessutom vara olämpliga för en yrkeskarriär då hennes hälsa var alltför vacklande och tänkandet dominerat av känslor snarare än förnuft.</p><p>I denna uppsats argumenteras för att spår av detta sätt att tänka om kvinnan fortfarande står att finna i de aktuella romanerna. Protagonisterna tvingas därför att öppet utmana dessa normer för att nå framgång.</p><p>I överesnstämmelse med argument presenterade av Judith Halberstam i <em>Female Masculinity</em>, ger studien dessutom exempel på hur de valda protagonisterna blir bestraffade på grund av sin ovilja att följa den etablerade normen av kvinnlighet. Bestraffningen tar sig tre uttryck: psykologiskt genom att protagonisterna kritiseras, ignoreras och undervärderas; yrkesmässigt, genom att ifrågasättas rättsligt och genom anklagelser om allvarlig inkompetens, samt fysiskt genom att bli offer för sexuella övergrepp. Eftersom protagonisterna agerar enligt de traditionella normerna finns en indikation på att dessa normer fortfarande lever.</p><p>Som slutsats anges att även om hundra år har passerat sedan fin-de-siècle och etablerandet av de könsnormer som här nämns agerar protagnisterna enligt dessa. Karakteriseringen av Scarpetta och Cabbot är dessutom beroende av den tradition som finns etablerad inom kriminalgenrenvilket begränsar uttrycket av kön. Studien föreslår att kategoriseringen av kön i två kategorier enbart: män och kvinnor, är alltför snäv och att könsdefinitionen behöver utökas. I studien framkommer att de kvinnliga protagonisterna anses vara icke-typiska kvinnor eller homosexuella genom sitt sätt att utmana den traditionella synen på kvinnlighet.</p><br><p>This study maintains a focus within the genre: crime fiction. There are two main strands. First, there is an exploration of what strategies are adopted by two female protagonists to achieve professional success in a male dominated setting. More specifically, it investigates Chief Medical Examiner Kay Scarpetta from the Scarpetta-series by Patricia Cornwell and D.S Annie Cabbot from the Inspector Banks series by Peter Robinson and their relationship to authority, power, marriage and children. The Fin-de-Siècle provides the basis for the under-lying definition of gender through its skewed formulation of female norms. Women were to centre their existence within the domestic domain of life as perfect wives and mothers. Furthermore, they were considered unsuitable for professional commitments due to fragile health and domination of emotions over reason. In this essay it is argued that, in these novels, traces of these expectations regarding the nature of womanhood are still current and that the protagonists have to challenge these openly to reach success.</p><p>Secondly, in agreement with claims by Judith Halberstam in her work <em>Female Masculinity, </em>the study exemplifies how the selected protagonists are portrayed as punished because of their disobedience to the pre-established norm of womanhood. This punishment takes three forms: psychologically, by being devalued, criticised and ignored; professionally, by being legally questioned and accused of severe incompetence and physically by being victims of sexual assault.</p><p>The conclusion states that, in spite of a century having past since the establish-ment of the norms of womanhood referred to here, the female protagonists act accordingly which indicates that these norms are still current. Furthermore, the portrayal of Scarpetta and Cabbot is dependent on the genre in which they belong which limits the possible expression of gender. It is suggested that the gender categories: men and women are too narrow and that the definition of woman needs to be extended.Within the characterisation of the two prota-gonists in the study there is evidence that they are considered atypical women or homosexuals because of their opposing the traditional views of womanhood.</p>
27
Raya, Jessica S. "Her body symbolic, deconstructing the myth of the fallen woman in the fiction of Willa Cather." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0025/MQ37616.pdf.
Full text
28
Bube, June Johnson. ""No true woman" : conflicted female subjectivities in women's popular 19th-century western adventure tales /." Thesis, Connect to this title online; UW restricted, 1995. http://hdl.handle.net/1773/9508.
Full text
29
Khou, Carrie [Verfasser], and Ulfried [Akademischer Betreuer] Reichardt. "Trajectories of Change : Modernity - the Woman Question - New Woman Fiction, Progressive America (1890-1920) and Meiji Japan (1868-1912) [[Elektronische Ressource]] / Carrie Khou. Betreuer: Ulfried Reichardt." Mannheim : Universitätsbibliothek Mannheim, 2015. http://d-nb.info/1078852316/34.
Full text
30
Marais, Bennie. "Jesus en die buitestaanders in Johannes 4." Thesis, University of Pretoria, 2017. http://hdl.handle.net/2263/61390.
Full textAbstract:
Summary
This study deals with Jesus and the outsiders in John 4, with particular focus on John 4:1-42. Methodologically, the study focuses on social identity theory, and asks the question of how Jesus gets the Samaritan woman, who is a member of the outside group, into the insider group. The focus of the study is thus what the behaviour and attitude of the historical and non-conventional Jesus, in the strongly hierarchical social structure of his day, was toward outsiders.
John 4:1-42 is often used in works that focus on missional tendencies in the church. This research attempts to place the missionary responsibility of the church on the table in a new light, resulting from the research results. Firstly, the inter-relational connection between identity, ethos and ethics with regard to Jesus’ attitude toward the outsiders in John 4:1-42 is researched. Secondly, the interpretation history of John is described, whereafter the social-scientific approach and the way in which social identity theory can be applied to John 4:1-42, is described. The purpose of the study is to suggest a new missional approach for the church, based on the research results of the study. In John 4:1-42 Jesus did not only repair the relationship between Him as a Jew and the Samaritan woman, but also the broken relationship between the Samaritans and the Jews - two previously conflicting ethnic groups who are now born into the new family of God (John 1:12). In the narrative, the Samaritan woman becomes a μαρτυρούσης (John 4:39). The result of the Samaritan woman’s testimony (John 4:39) becomes a personal testimony that eventually convinces the others of Jesus’ true identity (John 4:39).
The woman’s testimony provided the initial impetus for them to come to Jesus, but now they have heard for themselves and have drawn their own conclusion.
Many had believed in Jesus on account of the Samaritan woman’s testimony. Many more believed on account of Jesus’ word. Jesus’ harvest among the Samaritans therefore signals the return of a part of the unbelieving world to God as a first sign of the universal scope of Jesus’ saving mission.<br>Thesis (PhD)-- University of Pretoria 2017.<br>New Testament Studies<br>PhD<br>Unrestricted
31
Clawson, Nicole Perry. "Obliterating Middle-Class Culpability: Sarah Grand's New Woman Short Fiction in George Bentleys Temple Bar." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6317.
Full textAbstract:
Scholars interested in the popular Victorian periodical Temple Bar have primarily focused on the editorship of George Augustus Sala, under whom the journal paradoxically began delivering controversial content to conservative middle-class readers. But while the Temple Bar's sensation fiction and social realism have already been considered, critics have not yet examined Temple Bar's New Woman fiction, which was published during the last decade of the 19th century and George Bentley's reign as editor-in-chief. While functioning as editor-in-chief, Bentley sought to adhere to the dictates found in the 1860 prospectus, to "inculcate thoroughly English sentiment: respect for authority, attachment to the Church, and loyalty to the Queen." The Temple Bar seems an odd publication venue for the audacious New Woman writer Sarah Grand. And yet, Grand published several short stories in Temple Bar under the editorship of Bentley. Knowing Bentley's infamous editorial hatchet work, we might assume that he would cut from Grand's writing any unsavory bits of traditional New Woman content. Instead, a comparison of Grand's Temple Bar stories, "Kane, A Soldier Servant" and "Janey, A Humble Administrator," with their later unedited, republished versions (found in Grand's Our Manifold Nature) suggests that Bentley had a different editorial agenda. This analysis of Grand's fiction demonstrates that it was not New Woman subjects that Bentley found objectionable but the culpability her texts placed on the upper-middle class for their failure to act on behalf of the lower classes. Examining Bentley's removal of this material thus sheds new light on the dangers of New Woman literature as perceived by its Victorian audiences.
32
Stephenson, William John. "Form, parody and history in 'The French lieutenant's woman' and 'A maggot' by John Fowles, and 'To the ends of the Earth: a sea trilogy' by William Golding." Thesis, University of Leeds, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249288.
Full text
33
Lancaster, Daniel. "A Futile Quest for a Sustainable Relationship in Welty's Short Fiction." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3652/.
Full textAbstract:
Eudora Welty is an author concerned with relationships between human beings. Throughout A Curtain of Green and Other Stories, The Wide Net and Other Stories, and The Golden Apples, Welty's characters search for ways in which to establish and sustain viable bonds. Particularly problematic are the relationships between opposite sexes. I argue that Welty uses communication as a tool for sustaining a relationship in her early work. I further argue that when her stories provide mostly negative outcomes, Welty moves on to a illuminate the possibility and subsequent failure of relationships via innocence in the natural world. Finally, Welty explores, through her characters, the attempt at marginalization and the quest for relationships outside the culture of the South.
34
Sterry, Emma. "Transgressive sexuality and cultural hierarchy : the representation of the single woman in women's fiction, 1920s to the 1940s." Thesis, University of Strathclyde, 2011. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=15573.
Full text
35
吳綺玲 and Yee-ling Ng. "Modern fiction and the creation of the new woman: Madame Bovary, Jude the obscure and Women in love." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951703.
Full text
36
Ng, Yee-ling. "Modern fiction and the creation of the new woman : Madame Bovary, Jude the obscure and Women in love /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2005970X.
Full text
37
Phillips, Jennifer K. "Anne Brontë's New Women: Agnes Grey and The Tenant of Wildfell Hall as Precursors of New Woman Fiction." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2834/.
Full textAbstract:
Anne Brontë's Agnes Grey and The Tenant of Wildfell Hall were published more than forty years before the appearance of the feminist type that the Victorians called the “New Woman;” yet, both novels contain characteristics of New Woman fiction. By considering how Brontë's novels foreshadow New Woman fiction, the reader of these novels can re-enact the “gentlest” Brontë as an influential feminist whose ideology informed the construction of the radical New Woman. Brontë, like the New Woman writers, incorporated autobiographical dilemmas into her fiction. By using her own experiences as a governess, Brontë constructs Agnes Grey's incongruent social status and a morally corrupt gentry and aristocracy through her depiction of not only Agnes's second employers, the Murrays, but also the morally debauched world that Helen enters upon her marriage to Arthur Huntingdon in The Tenant of Wildfell Hall. Moreover, Brontë incorporates her observations of Branwell's alcoholism and her own religious beliefs into The Tenant of Wildfell Hall. Although Brontë's novels contain autobiographical material, her heroines are fictional constructions that she uses to engage her readers with the woman question. Brontë accomplishes this engagement through her heroines' narrative re-enactments of fictional autobiographical dilemmas. Helen's diary and Agnes's diary-based narrative produce the pattern of development of the Bildungsroman and foreshadow the New Woman novelists' Kunstlerromans. Brontë's heroines anticipate the female artist as the protagonist of the New Woman Kunstlerromans. Agnes and Helen both invade the masculine domain of economic motive and are feminists who profess gender definitions that conflict with dominant Victorian ideology. Agnes questions her own femininity by internalizing the governess's status incongruence, and Helen's femininity is questioned by those around her. The paradoxical position of both heroines anticipates the debate about the nature and function of art in which the New Woman writers engaged. Through her reconciliation of the aesthetic and the political, Brontë, like the New Woman novelists who will follow, explores the contradiction between art and activism.
38
Larbalestier, Justine. "The battle of the sexes in science fiction from the pulps to the James Tiptree, Jr. memorial award /." Connect to full text, 1996. http://hdl.handle.net/2123/401.
Full textAbstract:
Thesis (Ph. D.)--University of Sydney, 1997.<br>Title from title screen (viewed Apr. 15, 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of English, Faculty of Arts. Degree awarded 1997; thesis submitted 1996. Includes: The James Tiptree Jr. Memorial Award list. Includes bibliography. Also available in print form.
39
Cheong, Weng Lam. "Beyond a feminist dystopia : Margaret Atwood's The Handmaid's Tale." Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2456330.
Full text
40
Hernan, Rachael. "An Alternative Woman: Breaking From the Binary Options of Sir Walter Scott's Heroines and Their Successors in Historical Fiction." Cleveland State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=csu1599610638064843.
Full text
41
Maclaren, Alistair Paccaud-Huguet Josiane. "Le réel, la réalité et la fiction dans "The Magus", "The French lieutenant's woman" et "A Maggot" de John Fowles." Lyon : Université Lumière Lyon 2, 2005. http://demeter.univ-lyon2.fr:8080/sdx/theses/lyon2/2005/maclaren_a.
Full text
42
Maclaren, Alistair. "Le réel, la réalité et la fiction dans "The Magus", "The French lieutenant's woman" et "A Maggot" de John Fowles." Lyon 2, 2005. http://theses.univ-lyon2.fr/documents/lyon2/2005/maclaren_a.
Full textAbstract:
Les romans de John Fowles s'inscrivent dans une démarche d'expérimentation avec la forme en même temps qu'ils affirment un attachement à la tradition réaliste, et nous disent quelque chose de la déchirure au cœur du vingtième siècle. Un mouvement contradictoire se dessine où le sujet moderne, divisé et incomplet, tend vers une complétude illusoire, perdue et irrécupérable, et en même temps anticipe la manière de faire consoner la faille de sa propre structure avec le vide indicible et informe dont les signifiants tracent le bord et qui ne devient perceptible que lorsque le sens se délite sous l'effet du travail de la lettre. L'incomplétude est de structure et Fowles s'interroge pour savoir comment l'écrire dans un texte qui, par définition, est complet. La fiction lui fournit le cadrage narratif de son désir de retrouver ce qui le meut. Quête impossible car le signifiant premier recouvre le manque qui est sa raison d'être. Une écriture qui se soutient d'une position symbolique masculine qui vise la maîtrise par l'imposition d'un sens qui voile le réel se trouve en échec. Une nouvelle écriture se fait jour sur les décombres da la première, fondée sur la position symbolique féminine qui, n'étant pas toute dans le langage, permet de faire percevoir le manque sur lequel la langage se fonde. Ce qui ne peut se dire relève de ce que nous nommons le réel et se différencie de la réalité qui est constituée du discours. Comment la réalité s'articule-t-elle au réel par le discours spécifique de la fiction ? Les romans de Fowles mettent en jeu deux discours inséparables mais antinomiques, l'un basé sur le désir qui est métonymique et linéaire, relevant du vouloir-dire de l'auteur, et l'autre qui travaille à défaire le premier en laissant parler dans les interstices qu'il ouvre quelque chose d'une jouissance perdue. Afin de laisser transpercer ce deuxième discours basé sur le vouloir-jouir inconscient, sous-jacent dans toute écriture, Fowles élabore une esthétique de l'inachevé<br>John Fowles's novels develop formal experimentation while attaching great value to the realistic tradition and express to some extent the rift at the heart of the century. There is a contradictory movement in his novels where the divided and therefore incomplete subject strives to achieve fulfilment in a unity that has been lost and cannot be recovered, simultaneously anticipating how to harmonize the fracture inherent in his position as subject with the unspeakable void outlined by the signifier and which is only perceptible when meaning crumbles through the work the letter. Lack of fulfilment is structural and Fowles is searching a means to write this into a text which is necessarily whole. Fiction provides the narrative framework for his desire to find what sets it in motion. He embarks on an impossible quest as the first signifier covers the original lack on which language is constituted. Writing from a symbolic masculine position whose aim is to control and impose a meaning in order to conceal “the real” is doomed to fail. A new form of writing must emerge on the ruins of the former based on a symbolic feminine position which cannot be totally framed in language and is thus able to reveal the lack on which language is founded. What cannot be said is what we call “the real” and differs from reality which is constructed by discourse. How can we articulate reality and the real through the specific discourse of fiction? Fowles's novels bring into play two forms of discourse that are both unseparable yet antinomical; one is based on desire whose nature is metonymical and linear, depending on the author's intention whereas the other endeavours to undo the first and create an opening through which the voice of the lost “jouissance” may be heard. In order to make way for the operation of this other discourse in which the unconscious desire for the form of jouissance which language permits is inherent, Fowles has elaborated an ethical response which we call his aesthetics of the impossible ending
43
Spears, Jamie. "A seance room of one's own : spiritualism, occultism, and the new woman in mid-to late-nineteenth century supernatural fiction." Thesis, University of Sunderland, 2016. http://sure.sunderland.ac.uk/6503/.
Full textAbstract:
This thesis will examine the nineteenth-century supernatural stories written by women connected to Spiritualism. These include ‘standard’ ghost stories, esoteric novels and works infused with Spiritualist and occult themes and tropes. The middle- and upper-class Victorian woman was already considered something of a spirit guide within her own home; following the emergence of Modern Spiritualism in the 1850s, women were afforded the opportunity to become paid spirit guides (that is, mediums and lecturers) in the public sphere. Spiritualism was an empowering force for female mediums like Elizabeth d’Espérance and Emma Hardinge Britten, and Spiritualist philosopher Catherine Crowe. In this thesis I will examine how these new power dynamics—to use Britten’s phrasing, the ‘place and mission of woman’—are reflected in society and literature. This thesis sees Spiritualism as the impetus for several occult movements which emerged near to the end of century, including Marie Corelli’s Electrical Christianity, Madame Blavatsky’s Theosophy, and Florence Farr’s Hermetic Order of the Golden Dawn. Each of these women founded, or had significant input in the founding of, their respective creeds. There is an area of critical neglect around the fiction written by these women. Corelli’s works are often analysed in the New Woman framework, but rarely in the spiritual or occult; scholarly interest in Blavatsky focuses on the incredible power she consolidated, but her Theosophical fiction tends to be dismissed in favour of her treatises; d’Espérance’s fiction has not been properly examined thus far. With this thesis I hope to offer a re-reading or re-framing of this supernatural literature by placing it, and its authors, in its socio-political context at the tumultuous end of the nineteenth century.
44
Mower, Christine Leiren. "Wasting women, corporeal citizens : race and the making of the modern woman, 1870-1917 /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/9387.
Full text
45
Tuft, Bryna. "This Is Not a Woman: Literary Bodies and Private Selves in the Works of the Chinese Avant-Garde Women Writers." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12934.
Full textAbstract:
During the period of economic expansion and openness to personal expression and individuality following Deng Xiaoping's reforms, the Chinese avant-garde women writers engaged in a project of resistance to the traditionally appropriated use of the female body, image, and voice. This resistance can be seen in the ways they consciously construct a private space in their fiction. In this dissertation, I argue that this space is created by presenting alternative forms of female sexuality, in contrast to the heterosexual wife and mother, and by adding details of their own personal histories in their writing. Key to this argument is the Chinese concept of si (privacy) and how the female avant-garde writers turn its traditionally negative associations into a positive tool for writing the self. While male appropriations of images of the female body for political or state-authored purposes are not new to the contemporary period or even the twentieth century, the female avant-garde writers are particularly conscious of the ways in which their bodies are not their own. Moreover, contemporary criticism that labels the works of the female avant-garde writers as self-exposing, titillating, and trite overlooks the difference between authorial intent and commercial or political appropriation, which has led to a profound misunderstanding of these works. In addition, it has also led to a conflation of the female avant-garde writers' works with those of the later body writers. Therefore the purpose of this dissertation is to provide a closer look at the concept of si-privacy and how it intersects with various forms of self-writing, as well as how it is used as a narrative strategy by three contemporary female authors, Xu Kun, Lin Bai, and Hai Nan. Specifically, I consider the similarities and differences in the ways that these authors create and orient themselves in both their memoirs and their self-referential fiction.
46
Lange, Janine Carol. "We dare not say." University of the Western Cape, 2016. http://hdl.handle.net/11394/5538.
Full textAbstract:
Magister Artium - MA<br>We Dare Not Say is an anthology of seven interlinked short stories with the general theme of intergenerational trauma among coloured families in Cape Town. The stories are arranged in a montage of internally, variably and externally focalised narratives that span over a century, from 1900 through to 2015, and are fictionalised accounts of real events, categorising them as biographical fiction. Some of the specific topics covered in the stories include incest, molestation, substance abuse, mental illness and humour as a coping mechanism. The body of work is conceived in the context of the twentieth century trauma narrative, the complexities of which run as undercurrents through most of the important English literary works created in South Africa since the 1800s up until John M. Coetzee, but which has often lacked a female perspective, especially women of colour. The stories in this volume aim to depict a group of people, who, through centuries of oppression in the form of serfdom, servitude and segregation, have developed various coping mechanisms to make sense of their own identity in an absurdly cruel social landscape. The stories focus on the inward turning of violence, substance abuse, silence and humour as survival mechanisms after generations of trauma that have been, in a sense, the hallmarks of coloured South Africa. The stories are told using a split narrative method, showing multiple viewpoints of the same story with perspectives ranging from young to old, crossing the gender divide in both time and space. Ultimately, We Dare Not Say, is a depiction of the complexities of lives lived under oppression, and the triumphs and challenges faced in trying to resolve, live through or deny the effects of such oppression on a group and the individuals that make up that group.
47
Gore, Ashley N. "Being the Beautiful Fool." TopSCHOLAR®, 2013. http://digitalcommons.wku.edu/theses/1283.
Full textAbstract:
Ernest Hemingway wrote to F. Scott Fitzgerald that “The good parts of a book may be only something a writer is lucky enough to overhear or it may be the wreck of his whole damn life — and one is as good as the other” (305). With that, I created a collection of short stories that analyzes my generation of women’s struggles. Framing the thesis are two stories involving three women, Lindsey, Jenny, and Sarah, “The Generation of Discontent” and “Revisions,” with the characters attempting to sort through love, success, and happiness in society. The piece “The Bachelor” has Amanda torn between her currently successful life and the glamour and sometimes infamy of being on ABC’s reality show The Bachelor. In “Eggs Kennedy Style,” the fine line between delusion and dreams becomes defined in both Nan and Kelley of being one of America’s royal Kennedy family. “Cops and Robbers” shows the inner turmoil of women who do not aspire to be mothers and feel guilty for their aspirations as well asthe resulting resentment when they have to give up their dreams. The ideas of taking your loved one for granted and life goals become the driving aspect of “Flat Tire” where story picks up in the middle of major fight between Nicole and Tommy stemming from him dropping the garter the night before at their friend’s wedding. “Almond Blossoms” between a flashback to Amsterdam with Sam’s Dutch fling Andric and present time suburban Ohio with her finance Kevin showing the conflict of being single compared to being settled. As Fitzgerald said, “An author ought to write for his generation” (ix) and I wrote based on my personal experiences as well as my friends’ tales and tribulations that tell of our generation’s struggle. Giving a voice to the high hopes and resulting discontent I feel is important which models the Modern writers like Fitzgerald’s Gatsby’s green lighted hope for Daisy. I hope to revive a bit of that Modern era in my time though our green light just might be the glow of The Bachelor from the television.
48
Clemens-Smucker, Judith A. "Major Kira of Star Trek: DS9: Woman of the Future, Creation of the 90s." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1601300905690302.
Full text
49
Mousavi, Minooalsadat. "D’Ovide à Racine : l’émergence de la femme à travers l’héroïne de fiction." Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL053.pdf.
Full textAbstract:
Dans la France du milieu du Grand siècle, la tragédie est l’art de représenter des passions. Cette thèse questionne la façon dont Racine réussit, mieux que ses contemporains, à peindre l’image de la femme passionnée, tout en respectant les principes de son époque. Répondre à cette problématique exige, d’une part, l’étude de l’histoire des femmes au XVIIe siècle - cela pour montrer le rôle du poète dans l’évolution de l’image des femmes dans la littérature – et, d’autre part, l’examen des apports du Grand siècle car Racine semble s’inscrire dans une longue tradition qui remonte jusqu’aux Héroïdes d’Ovide. Grâce à une remarquable peinture des passions, le dramaturge nous familiarise avec l'univers des femmes. Nous ne tentons pas de découvrir, dans son univers, ni une femme avec les qualités du héros, ni une femme parfaite, mais une héroïne qui nous attire par les qualités que l’auteur lui a donné et sa position centrale dans l’ œuvre : c’est une femme qui va jusqu’au bout d’une passion destructrice. Ainsi, Racine, dans ses œuvres, grâce à sa maîtrise des règles de la tragédie et son talent pour bien choisir ses sources d’inspiration, crée de manière savant des personnages féminins qui trouvent leur force dans l’amour et la haine, et ce pour le plaisir du spectateur. Mais comment les comportements féminins d’une reine du XVIIe siècle peuvent-ils influencer les sentiments de la femme au XXIe siècle ? En tentant de répondre à cette question, nous nous approchons de notre objectif, car, dans les pièces de Racine, on entrevoit le reflet des femmes universelles<br>In the France of the middle of the Great Century, tragedy is the art of representing passions. This thesis questions how Racine succeeded, better than his contemporaries, in painting the image of the passionate woman, while respecting the principles of his time. Responding to this problem requires, on the one hand, the study of the history of women in the 17th century - to show the role of the poet in the evolution of the image of women in literature - and, on the other hand, an examination of the contributions of the Great Century, since Racine seems to be part of a long tradition that goes back to Ovid's Heroes. Thanks to a remarkable painting of passions, the playwright familiarizes us with the world of women. We are not trying to discover, in her universe, a woman with the qualities of the hero, nor a perfect woman, but a heroine who attracts us by the qualities the author has given her and her central position in the work: she is a woman who goes to the end of a destructive passion. Thus, Racine, in his works, thanks to her mastery of the rules of tragedy and her talent for choosing his sources of inspiration, skillfully creates female characters who find their strength in love and hatred, for the pleasure of the spectator. But how can the feminine behaviours of a queen of the 17th century influence the feelings of women in the 21st century? In trying to answer this question, we are getting closer to our goal, for in Racine's plays we glimpse the reflection of universal women
50
Grosvenor, Rachel. "The Second Space ; and, A contribution to the narrative of women's literature : themes from the second space : the assumption of autobiographical writing and the label of women's fiction." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7216/.
Full textAbstract:
The Second Space is a novel that presents the place of women in a patriarchal society, exploring themes such as sexuality, reclamation of space, and the power of physical objects. It follows the story of a woman who escapes from the prospect of marriage and works to discover her self-identity, forging meaningful relationships with other women. The accompanying critical study contributes to the knowledge of women’s writing and the creative process by acknowledging the existence of a distinct space for women in a patriarchal society. This concept is called ‘The Second Space’. This study refutes the assumption that women’s fiction is autobiographical due to the use of themes such as domesticity and motherhood, demonstrating the value of building a narrative for women. The sources that support this research include creative, critical and feminist texts, as follows: Elena Ferrante’s The Days of Abandonment, Margaret Atwood’s Lady Oracle, and Miranda July’s The First Bad Man, Carla Kaplan’s The Erotic’s of Talk: Women’s Writing and Feminist Paradigms, Sean Burke’s Authorship: From Plato to the Postmodern, Micaela Maftei’s The Fiction of Autobiography, Margaret Atwood’s On Writers and Writing, Shulamith Firestone’s The Dialectic of Sex, and Germaine Greer’s The Female Eunuch.