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1
Clasen, Kelly. "Reconsidering Regionalism: The Environmental Ethics of Sarah Orne Jewett, Kate Chopin, and Willa Cather." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc84189/.
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This study identifies environmentalist themes in the fiction and nonfiction of Sarah Orne Jewett, Kate Chopin, and Willa Cather and argues that these ideals are interdependent upon the authors’ humanistic objectives. Focusing on these three authors’ overlapping interest in topics such as women’s rights, environmental health, and Native American history, this dissertation calls attention to the presence of a frequently unexplored but distinct, traceable feminist environmental ethic in American women’s regional writing. This set of beliefs involves a critique of the threats posed by a patriarchal society to both the environment and its human inhabitants, particularly the women, and thus can be classified as proto-ecofeminist. Moreover, the authors’ shared emphasis on the benefits of local environmental knowledge and stewardship demonstrates vital characteristics of the bioregionalist perspective, a modern form of environmental activism that promotes sustainability at a local level and mutually beneficial relationships among human and nonhuman inhabitants of a naturally defined region. Thus, the study ultimately defines a particular form of women’s literary activism that emerged in the last decades of the nineteenth century and argues for these authors’ continued theoretical relevance to a twenty-first-century audience increasingly invested in understanding and resolving a global environmental predicament.
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Callaghan, Jennefer. "Spectral realism the ghost stories of William Dean Howells, Henry James, and Sarah Orne Jewett /." Restricted access (UM), 2009. http://libraries.maine.edu/gateway/oroauth.asp?file=orono/etheses/37803141.pdf.
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Thesis (Ph. D.)--Emory University, 2008.Title from PDF title page (viewed on May 25, 2010) Available through UMI ProQuest Digital Dissertations. Includes bibliographical references (leaves 236-269). Also issued in print.
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Frater, Graham Robert. "The mediated past in the work of Sarah Orne Jewett : aspects of theme and form." Thesis, University of Warwick, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389720.
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Gonzalez, Angela. "Private Voices Teaching Public Values in the Fiction of Harriet Beecher Stowe, Mary Wilkins Freeman, and Sarah Orne Jewett." TopSCHOLAR®, 1998. http://digitalcommons.wku.edu/theses/308.
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This thesis re-examines the purpose and value of New England women's local color fiction, asserting that local color functions as the groundwork on which the standards and practices of literary realism are based and as the way that nineteenth-century women writers could promote their domestic ministry. Furthermore, the thesis maintains that Stowe, Freeman, and Jewett utilized literary realism to publicize alternative theologies and progressive communities.
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Finn, Margaret Louise. "Immanent Nature: Environment, Women, and Sacrifice in the Nature Writing of Nathaniel Hawthorne, Catharine Maria Sedgwick, and Sarah Orne Jewett." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/60456.
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EnglishPh.D.
There remains in Hawthorne criticism today, despite critical rediscovery of his texts in terms of the public sphere, an echo of denunciation that he did not do the cultural work that his contemporaries did, that he "distrusted" and "punished" women, and that his work is irrelevant to today's young readers. He has been largely neglected, as well, by contemporary environmental critics who have found nature in his texts to be insufficiently mimetic. This ecocritical reading of Hawthorne in conjunction with that of Catharine Maria Sedgwick and Sarah Orne Jewett resolves these critical problems in that he is established as a nature writer, narratively rendering nature observation (sketches) and an environmental agenda (tales and novels) of expiation for maternal wilderness penetration. The all-important work of Hawthorne might then be called ecological, making him highly relevant in today's world. He is relevant in terms of women, as well, as nature unfolds in gendered terms in his works, and he, along with Sedgwick, positions the human female at scenes of primal violence at the heart of New England colonization, which set in motion the devastation of the American wilderness. Hawthorne's female is a corrective presence to which males remain blind. Jewett envisions a post-white-masculine-hegemonic world of female ascendancy, based on female symbiosis with nature, the fruition of Hawthorne and Sedgwick's preferencing of the female. Environmental criticism examines the human-nature relationships and ecological subtexts in literary texts and encompasses a critique of American culture, a gendered understanding of the landscape, an application of geographical discussion of place and of concepts from ecology and conservation biology. It employs a multi-disciplinary perspective and calls for the addition of "worldnature" or "environmentality" to the categories of cultural criticism. This ecocritical approach combines the historical philosophical, deconstructive, and psychoanalytic perspective of Patocka, Lacan, Derrida, and Staten with ecofeminism, integrating matters of geology, ecology, art, nature writing, and quantum mechanical physics.
Temple University--Theses
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Feusahrens, Ellen Teresa. "Exercising influence, hoping for change: Sarah Orne Jewett, Charlotte Perkins Gilman, and Zitkala-Sa negotiate feminism at the turn of the century." Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/feusahrens/FeusahrensE0507.pdf.
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By the mid 1800s, American feminism began gaining momentum. Politicians, scientists, and clergymen all responded to the evolving call for reforms. More and more people adopted the view that women were oppressed by a male-centered society, and most women were isolated within the home. Women writers belonged to a small group of women whose voices had cultural weight and they had to negotiate between the demands of their writing and audience and their involvement and interest in the women's movement. At the turn of the century, Sarah Orne Jewett, Zitkala-SÌŒa, and Charlotte Perkins Gilman each had their respective audiences and expectations, and each woman had to balance her writing and her interest in the debate over women's role in society. For each author, three years of her life and work are isolated in order to take an in-depth look at the influences of the women's movement. In order to fully appreciate the complexities affecting the writing and the changes that writers had to face, both privately and publicly, the writers' personal lives, the political atmosphere, and the writing produced are studied. Key questions are asked of each author: How did she respond to reform movements? How did she use her career to influence and change ideas about women in the United States? Spanning from the 1880s into the 1920s, Jewett, Zitkala-SÌŒa, and Gilman each approached their work differently, and their work during this time highlights the complexity and connections of writing, politics, and life.
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Buck-Perry, Cheri. "Authorizing the Reader: Narrative Construction in Sarah Orne Jewett's The Country of the Pointed Firs and Willa Cather's My Antonia." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/4872.
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Although Willa Cather's My Antonia and Sarah Orne Jewett's The Country of the Pointed Firs have been highly regarded by numerous literary critics, neither text conforms to conventional expectations for narrative content or structure. Episodic in construction, the novels lack such traditional narrative ingredients as conflict, action, drama, and romance. Furthermore, explicit connections between episodes and stories related within the narratives are not drawn for the reader. Formalist and structuralist critics have approached the problem of structure in Cather and Jewett's works by employing conventional literary tools of analysis, by "unearthing" the narrative elements that we as readers and critics have come to expect: identifiable structure, a plot complete with conflict and resolution, and characters that develop. Likewise, many feminist critics have sought to uncover in Cather and Jewett's work the ideal elements for a woman's text such as the employment of a feminine method of writing. Unfortunately, both approaches utilize interpretive templates that would pin down meaning and thus "solve" the texts' seeming peculiarities. Instead of prescribing structure according to accepted conventions or ideals, this study attempts to describe the narrative construction of My Antonia and The Country of the Pointed Firs. I argue that these texts are not structures in a traditional linear fashion, but rather are "conversations" among a variety of "readers" -the narrator, other characters, and the actual readers of the text - who attempt to construct an understanding of the world around them, or the meaning of the overall story. The chapters in this thesis explore this dialogue present in Cather and Jewett's work; the various participating, as well as their proposed constructions. Both Cather and Jewett, through their innovative narrative techniques, dramatize the human need to make sense of life, our capacity to create meaning, and at the same time the fallibility of such constructions. By employing a form which resists conventional strategies of explanation, Cather and Jewett encourage an interpretative approach that favors cumulative readings, a certain responsiveness, and an allowance for indeterminacy.
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Powers, Misty D. "Connecting to the Feminine and to the Inner Self in Sarah Orne Jewett's The Country of the Pointed Firs." [Johnson City, Tenn. : East Tennessee State University], 2002. http://etd-submit.etsu.edu/etd/theses/available/etd-0820102-124844/unrestricted/PowersM082302a.pdf.
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Roudeau, Cécile. "Pays, pages, paysages : écriture du lieu : la Nouvelle-Angleterre de Sarah Orne Jewet, Mary E. Wilkins Freemen, Alice Brown et Rose Terry Cooke." Paris 4, 2007. http://www.theses.fr/2007PA040225.
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Cette thèse se propose d’étudier comment, des années 1870 au tournant du XXe siècle, les récits des écrivains-femmes de Nouvelle-Angleterre, ceux de Sarah Orne Jewett notamment, vont choisir de récrire le lieu Nouvelle-Angleterre – territoire et locus littéraire –, à l’heure où, de centre symbolique de la nation, la Nouvelle-Angleterre devient région, non plus site d’une certaine généralité américaine, mais couleur locale. En optant pour un genre et un objet désormais considérés comme mineurs, ces écrivains-femmes vont faire de la place que leur désignent la nation et les lettres un « lieu » c’est-àdire un espace de création toujours continuée ; elles vont tirer parti de la malléabilité de la marge pour retailler à leur façon les tropes d’un imaginaire. En recentrant la lecture de ces textes sur le lieu Nouvelle-Angleterre, cette thèse ne veut pas tant réenraciner une écriture que redonner corps, histoire et mémoire, à un régionalisme que la critique s’est obstinée à dé-territorialiserThe thesis argues that New England women writers, and Sarah Orne Jewett principally among them, rewrote New England as a literary locus and territorial muse. Their rewriting is placed within the larger context of New England’s transition from a normative and synecdochic center of the nation to a region among others. By choosing a genre and a literary object which had been classified as minor, these women-writers transformed the place to which they had been assigned in the world of letters into a site of creation (lieu)–that is a site of continuous invention. They used the malleability of the margins to reshape the tropes of the New England imaginary in their own words. In lieu of a New England which has been interpreted alternatively as either a site of local color or, more recently, a deterritorialized region, the thesis reterritorializes the life and shape, history and memory of this locus which both framed the work of women writers at the turn of the twentieth century and was reinvented by them
10
Kirkland, Graham. "From Rivers to Gardens: The Ambivalent Role of Nature in My Ántonia, O Pioneers!, and Death Comes to the Archbishop." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_theses/78.
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Though her early writing owes much to nineteenth-century American Realism, Willa Cather experiments with male and female literary traditions while finding her own modern literary voice. In the process Cather gives nature an ambivalent role in My Ántonia, O Pioneers!, and Death Comes to the Archbishop. She produces a tension between rivers and gardens, places where nature and culture converge. Like Mary Austin and Sarah Orne Jewett, Willa Cather confronts the boundaries between humans and nature.
11
Adams, Dana W. (Dana Wills). "Female Inheritors of Hawthorne's New England Literary Tradition." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc279406/.
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Nineteenth-century women were a mainstay in the New England literary tradition, both as readers and authors. Indeed, women were a large part of a growing reading public, a public that distanced itself from Puritanism and developed an appetite for novels and magazine short stories. It was a culture that survived in spite of patriarchal domination of the female in social and literary status. This dissertation is a study of selected works from Nathaniel Hawthorne, Sarah Orne Jewett, and Mary E. Wilkins Freeman that show their fiction as a protest against a patriarchal society. The premise of this study is based on analyzing these works from a protest (not necessarily a feminist) view, which leads to these conclusions: rejection of the male suitor and of marriage was a protest against patriarchal institutions that purposely restricted females from realizing their potential. Furthermore, it is often the case that industrialism and abuses of male authority in selected works by Jewett and Freeman are symbols of male-driven forces that oppose the autonomy of the female. Thus my argument is that protest fiction of the nineteenth century quietly promulgates an agenda of independence for the female. It is an agenda that encourages the woman to operate beyond standard stereotypes furthered by patriarchal attitudes. I assert that Jewett and Freeman are, in fact, inheritors of Hawthorne's literary tradition, which spawned the first fully-developed, independent American heroine: Hester Prynne.
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Kealey, Josephene. "The Mythology of the Small Community in Eight American and Canadian Short Story Cycles." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/19938.
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Scholarship has firmly established that the short story cycle is well-suited to representations of community. This study considers eight North American examples of the genre: four by Canadian authors Stephen Leacock, Duncan Campbell Scott, George Elliott, and Alice Munro; and four by American authors Sarah Orne Jewett, Sherwood Anderson, John Cheever, and Joyce Carol Oates. My original idea was to discover whether there were significant differences between the Canadian and American cycles, but ultimately I became far more interested in the way that all of the cycles address community formation and disintegration. The focus of each cycle is a small community, whether a small town, a village, or a suburb. In all of the examples, the authors address the small community as the focus of anxiety, concern, criticism, and praise, with special attention to the way in which, despite its manifold failings, the small community continues to inspire longings for the ideal home and source of identity.
The narrative feature that ultimately provided the critical framework for the study is the recurring presence of the metropolis in all of the eight cycles. The city, set on the horizons of these small communities, consistently provides a backdrop against which author and characters seem to measure and understand their lives. Always an influence (whether for good or bad), the city’s presence is constructed as the other against which the small community’s identity is formulated and understood. The relationship between small community and city led me to an investigation into the mythology of the small community, a mythology that sets the small community in opposition to the city, portraying the former as the keeper of virtue and the latter as the disseminator of vice. The cycles themselves, as I increasingly discovered, challenge the mythology by identifying how the small community depends, in large part, on the city for self-understanding. The small community, however, as an idea, and a mythic ideal, is never dismissed as obsolete or irrelevant.
13
Kelly, Nancy Rita. "Sarah Orne Jewett and spiritualism." 1991. https://scholarworks.umass.edu/dissertations/AAI9207418.
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Sarah Orne Jewett's spiritual beliefs, fostered by Theophilus Parsons and influenced by the culture around her, permeated her early fiction and can be seen as late as "The Foreigner." Her relationship with Professor Theophilus Parsons of Harvard College was rich and proved fundamental to her development of spiritual tenets, especially Swedenborgianism. Parsons was instrumental not only in Jewett's personal development, but also in her growth as a young writer. He helped her to sort out his and Swedenborg's ideas, as well as offered her guidance to the publishing world of Boston in the 1870s. Jewett was also a writer very much in tune with her time. Many nineteenth century Americans were electrified by spiritualist phenomena and were in active pursuit of extrasensory communication among themselves and with the departed. This great energy did not bypass Jewett. She actively pursued the occult throughout her lifetime. In her private papers, letters and manuscripts, she explores elements of the occult. This pursuit is also manifested in her published work. From her first book, Deephaven, to "The Foreigner," one of her last stories published in the Atlantic, Jewett probes the elements of her spiritualist beliefs in the public eye. Another aspect of her spiritualism is the creation of women characters who are herbalists and healers. Almira Todd, Jewett's finest herbalist, is the quintessential woman, mature, wise, and knowledgable in the healing arts. Todd's experience in "The Foreigner" punctuates Jewett's lifelong belief. Todd's vision of the ghost makes her the living link between the two worlds. The gates are "standin' wide open," and Almira Todd is positioned in the doorway. Todd, too, not only knows of the close proximity of the two worlds, but also makes a strong community within this one. By examining these elements of Jewett's life and writing, we have a new lens through which to view her work. Understanding Jewett's relationship with Theophilus Parsons and her belief in Parson's faith enrich our knowledge of Jewett and offer another possibility for interpreting her work.
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Feusahrens, Ellen Teresa. "Exercising influence, hoping for change Sara Orne Jewett, Charlotte Perkins Gilman, and Zitkala-*Sa negotiate feminism at the turn of the century /." 2007. http://etd.lib.montana.edu/etd/2007/feusahrens/FeusahrensE0507.pdf.
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Hsu, Hui-yen, and 徐慧燕. "Women’s Nascent Consciousness in Nineteenth Century America:A Comparative Study of the Regional Novels ofKate Chopin, Sarah Orne Jewett, and Harriet Beecher Stowe." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/70053286209935572754.
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碩士國立東華大學
創作與英語文學研究所
92
English Abstract All three of the female American Regional writers: Kate Chopin, Sarah Orne Jewett and Harriet Beecher Stowe, depict the plight of women in the nineteenth century, caught between fulfilling their traditional role and searching for a new social order. Despite the difficulty of determining a new identity in a society where great pressure is placed on women to maintain the conventional social function, the protagonists in The Awakening, The Country of the Pointed Firs, and The Pearl of Orr’s Island manage to resist conventional responsibilities, achieving a level of autonomy, self-growth, personal identity, and spiritual awakening. This thesis is divided into six chapters. Chapter One, “Introduction,” includes a biological background of the three Regional writers, and a general social background of nineteenth century America, discussing “The Role of American Wife,” The Marriage Dilemma,” “The Work Situation among Women in the Nineteenth Century America,” and “The Etiquette of Women in the Nineteenth Century America.” Chapter Two to Chapter Five are divided by themes: “Women and Family,” “Women and Society,” “Women and Sexuality,” “Women and Spirituality.” Chapter Six provides a “Semiotic” approach by psychoanalyst, Julia Kristeva, exploring the female protagonists’ conscious and unconscious longing for their self-awakening and autonomy in the patriarchal nineteenth century American society. With enormous courage, these female protagonists choose to embrace their nascent consciousness of their selfhood regardless of their inability to change the conventional social order. They thus become definitive frontier fem
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Shu-Chen, Chang, and 張淑貞. "SARAH ORNE JEWETT’S THREE SHORT STORIES:." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/12256257209288081297.
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碩士國立中山大學
外國語文學系
87
Sarah Orne Jewett’s Three Short Stories: A Chinese Translation with an Introduction An Abstract By general critical opinion Sarah Orne Jewett is the greatest artist among the local colorists. The high regard for Jewett’s New England portraits has remained virtually constant. She is much lauded for her artistic control about regional subjects. Besides the post-war decay of rural New England, Jewett’s work is suffused with interest in women’s issues. She challenges the polarized gender system, and in her writings, she looks beyond this system and proffers a new mode of androgynous existence in which men and women are free from the traditional male/female stereotypes. Of the studies of Jewett’s work, the bulk of attention has been given to The Country of the Pointed Firs, recognized as a kind of capstone to Jewett’s writing. Rather, this thesis chooses to translate and introduce three of Jewett’s less-discussed short stories: “Jim’s Little Woman,” “Tom’s Husband,” and “An Autumn Holiday” with a hope to further the appreciation of her art. Jewett is a superb short story writer. This introduction of her three short stories is divided into four sections. The first one focuses on the critical reception of Jewett’s work as well as her literary education as an influence upon the subjects in her fiction. The second one analyzes Jewett’s interest in women’s issues─the way she deals with the position of women through the role stereotypes and role reversal. The third one is Jewett’s vision of mental androgyny as the most appropriate mode of living and the way to break social conventions and live beyond gender. The final part discusses translation problems and solutions that I arrive at by examining the context and the basic demands of the source and the target languages.
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Kuiken, Vesna. "Active Enchantments: Form, Nature, and Politics in American Literature." Thesis, 2015. https://doi.org/10.7916/D86Q1W08.
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Situated at the crossroads of literary studies, ecocriticism and political theory, Active Enchantments explores a strain of thought within American literature that understands life in all of its forms to be generated not by self determined identities, but by interconnectedness and self abandonment. I argue that this interest led American writers across the nineteenth century to develop theories of subjectivity and of politics that not only emphasize the entanglement of the self with its environment, but also view this relationship as structured by self overcoming. Thus, when Emerson calls such interconnectedness "active enchantment," he means to signal life's inherent ability to constantly surpass itself, to never fully be identical with itself. My dissertation brings to the fore the political and ecological stakes of this paradox: if our selves and communities are molded by self abandonment, then the standard scholarly account of how nineteenth century American literature conceptualized politics must be revised. Far from understanding community as an organic production, founded on a teleological and harmonizing principle, the writers I study reconceive it around a sense of a commonality irreducible to fixed identity. The politics emerging out of such redefinition disposes with the primacy of individual or human agency, and becomes ecological in that it renders inoperative the difference between the social and the natural, the human and the non human, ourselves and what comprises us.
It is the ecological dimension of what seems like a properly political question that brings together writers as diverse as Emerson and Sarah Orne Jewett, Margaret Fuller and Henry and William James. I argue, for example, that in Jewett's The Country of the Pointed Firs, racial minorities emerge from geological strata as a kind of natural archive that complicates the nation's understanding of its communal origin. When she sets her romances on Native American shell mounds in Maine, or makes the health of a New England community depend on colonial pharmacopoeia and herbalist healing practices of the West Indies, Jewett excavates from history its silent associations and attunes us not only to the violent foundation of every communal identity, but to this identity's entanglement in a number of unacknowledged relations. Her work thus ultimately challenges the procedures of democratic inclusiveness that, however non violent, are nevertheless always organized around a particular notion of identity. The question of the self's constitutive interconnectedness with the world is as central to Margaret Fuller's work. Active Enchantments documents how Fuller's harrowing migraines enabled her to generate a peculiar conception of the "earthly mind," according to which the mind is material and decomposable, rather than spiritual, incorruptible or ideal. This notion eventually led her to devise a theory of the self that absolves persons from self possession and challenges the distinctiveness of personal identity. My concluding chapter argues that Henry James's transnational aesthetics was progressively politicized in the 1880s, and that what scholarship celebrates as the peak of his novelistic method develops, in fact, out of a network of surprising and heretofore unexplored influences, William James's concurrent theories of corporeal emotion, Mikhail Bakunin's anarchism, and Henry James's friendship with Ivan Turgenev, which inflamed James's interest in British politics, the Russo Turkish War, and the Balkan revolutions.
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"Connecting to the Feminine and to the Inner Self in Sarah Orne Jewett's The Country of the Pointed Firs." East Tennessee State University, 2002. http://etd-submit.etsu.edu/etd/theses/available/etd-0820102-124844/.
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