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Chassin, de Kergommeaux C. Danielle. "Autofictional practices : self-fashioning in Diana Thorneycroft's self-portraits." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82695.
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This thesis explores autobiographical practices and their relationship to autofiction, by focusing on practices of identity construction and artistic performance, as well as identity construction through performance. Emphasis is given to the ways gender and sexuality enter into, and shape, these practices by examining, in particular, the way they are expressed in Diana Thorneycroft's photographic performances. Chapter 1 discusses the history and key debates in autobiography theory, the ways gender has been introduced into the analysis of autobiography, and non-literary forms of autobiography. Chapter 1 also briefly discusses the (Western) history of art by women. Chapter 2 examines Thorneycroft's oeuvre and selected responses to it. Chapter 3 presents an analysis of autofictional practices through an examination of Thorneycroft's photographic self-portraits, thereby questioning the distinctions between autobiography and autofiction and suggesting that there is considerable overlap in their definition. The Conclusion briefly discusses agency in relation to autofictional (self-making) practices.
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Pei, Yun. "The prophetic Wordsworth : anxiety and self-fashioning." Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/58875/.
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The thesis investigates the prophetic in Wordsworth's ‘golden decade' (1798-1808). It establishes the following arguments: the prophetic in Wordsworth should not be treated of only incidental interest; it is a mode of his self-fashioning, as well as a mode of his writing, channelling the poet's anxieties about his authorship, readership, reception and posterity. The thesis contains an introduction and a short conclusion, with two main sections amounting to 7 chapters. Chapter 1 to 3 form Part I, focusing on the prophetic as a mode of self-fashioning. Chapter 1 re-examines The Prelude, arguing that self-doubts and struggle are inherent to Wordsworth's prophetic aspirations. Chapter 2 discusses three major reasons that make Wordsworth's self-fashioning as a poet of prophetic quality possible: personal aspirations, knowledge economy, and prophetic discourse of his time. Chapter 3 investigates anxieties generated in self-fashioning: anxiety of influence and anxiety about reception. Chapter 4 to 7 form Part II, exploring the prophetic as a mode of writing. Chapter 4 studies the apocalyptic vision of the rupture in human history in Lyrical Ballads. Chapter 5 looks into Wordsworth's concern with the nation in ‘Sonnets Dedicated to Liberty'. Chapter 6 focuses on the dual prophetic quality of The White Doe of Rylstone and its links to discourse of duty and Catholic Emancipation. Chapter 7 studies the prophet-like speaker and the prophetic nature of the narrative in Peter Bell. It also considers the discrepancy between the poet's ideal reader and his actual reader as the reason why the poem fails to appeal. The claim to innovation in the thesis is that it offers a corrective reading of the prophetic as a mode of self-fashioning and a mode of writing in Wordsworth. It also sheds new light on the poet's acclaimed major works such as Lyrical Ballads, as well as widely criticised minor ones such as Peter Bell.
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Maye, Kira. "Artificiality in Mannerism: the Influence of Self-fashioning." Thesis, Boston College, 2007. http://hdl.handle.net/2345/495.
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Thesis advisor: Stephanie Leone<br>Despite a surge of scholarly and public interest in the mid-twentieth century, Mannerism remains an ill-defined and problematic period label. The first goal of my thesis is to define the style in its chronology and stylistic attributes. Noting its artificiality and the influence of self-fashioning, I identify its clearest definition in Giorgio Vasari's writing and art. Second, I discuss the use of the sophisticated style by the artist and his patron, Cardinal Alessandro Farnese, as a means of social advancement and legitimization. Finally, I analyze the iconography and style of the Sala dei Cento Giorni in the Palazzo della Cancelleria, Rome as the collaborative apex of the self-fashioning of Vasari and Farnese<br>Thesis (BA) — Boston College, 2007<br>Submitted to: Boston College. College of Arts and Sciences<br>Discipline: Fine Arts<br>Discipline: College Honors Program
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Kirksey, Cort H. "Shavian Self-Fashioning: Authorized Biography and Shaw's Superman." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2184.
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George Bernard Shaw exercised an above-average level of authorial control, which even extended to his relationship with his biographers. Shaw crafts a persona, with the help of his "authorized" biographer Archibald Henderson, which displays a process of evolutionary development and progress along the lines of the Shavian philosophy of the Life Force and the Superman. In essence, Shaw is casting himself as a prototype for the Superman through the autobiographical manipulation of his biographers and aesthetic modes of self-fashioning.
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Barnes, Emma. "Fashioning a natural self-guides to self-presentation in Victorian England." Thesis, University of Cambridge, 1995. https://www.repository.cam.ac.uk/handle/1810/271912.
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McHattie, Lynn-Sayers. "The situal self : fashioning identity discourses and loved objects." Thesis, Glasgow School of Art, 2012. http://radar.gsa.ac.uk/3998/.
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That we are what we have... is perhaps the most basic and powerful fact of consumer behaviour’ (Belk 1988 p. 139). Women’s individual identity discourses are encoded socially and culturally through relationships with material objects and practices of dress. Relationships with loved objects yield an emotional and intellectual approach that literally unpicks fashion, exposing its operations, its relations to the body whilst at the same time binding feminine structures. This more expansive view of fashion situates the relationship material objects have to the self and how women relate to the material world as a universe of meaning making. The phenomenological inquiry presents a set of methods for practice based research including observations from workshops, in-depth interviews, case studies, films and questionnaires. The research as practice approach includes visual and verbal narratives that portray the essence of the self, interpreting the conceptual complexities that are inherently tentative, temporal and temporary in identity construction. The intimate research portraits are presented as the interplay between image and text; whilst the films portray the silent spaces in research contexts. These visual apparatus speak of expressions of embodiment. It is the articulation of these feminine practices that elucidates the incorporation of the socially constructed body into the corporeal. The situal thus embodies the lived relation as a result of the phenomena experienced in the specific social encounter. The situal, positions the social practices of fashion as a series of intimate identity discourses. Through this collective engagement, heterogeneous forms of knowledge emerge, transforming the act of dressing into a wider view of self and life.
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Redden, Guy Francis. "The new agents : new age ideology and the fashioning of self /." [St. Lucia, Qld.], 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17148.pdf.
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McEwan, Alice. "Bernard Shaw at Shaw's Corner : artefacts, socialism, connoisseurship, and self-fashioning." Thesis, University of Hertfordshire, 2016. http://hdl.handle.net/2299/20780.
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This thesis analyses artefacts belonging to the playwright, socialist and critic Bernard Shaw, which form part of the collections at Shaw’s Corner, Hertfordshire, now managed as a National Trust property. My original contribution to knowledge is made by revealing Shaw through the artefacts in new or under-explored roles as socialist-aesthete, art patron, connoisseur, photographer, celebrity, dandy, and self-commemorator. The thesis therefore challenges the stereotypical views expressed in the literature which have tended to focus on Shaw at Shaw’s Corner as a Fabian with ascetic characteristics. The thesis aims are achieved by contextualizing the Shaw’s Corner Collections, both extant and absent. Historically the artefacts in the house have been viewed from the perspective of his socialist politics, ignoring his connoisseurial interests and self-fashioning. Hence there was a failure to see the ways in which these elements of his consuming personality overlapped or were in conflict. By examining artefacts from the perspectives of art and design history, focussing on furniture, private press books, clothing, painting and sculpture, Shaw is shown to be a highly complex and at times contradictory figure. The discontinuities and ambiguities become clearer once we examine the possessions from the house which were removed and sold by the National Trust after Shaw’s death. Whilst some Shavian scholars and art historians have acknowledged Shaw’s role as an art critic and the impact it had on his dramaturgy, there has been little recognition of the ways in which this influenced his domestic interiors, consumption, and personal taste, or indeed his interest in the decorative arts and design. Artefacts and furniture in the house today reflect Shaw’s role as a socialist-aesthete, and his involvement with Arts and Crafts movement practitioners and Aestheticism. As an art patron Shaw also shared the aims of artists, connoisseurs and curators working in the first decades of the twentieth century, and we see evidence of this through certain artefacts at Shaw’s Corner. With a strong aesthetic sense, he devoted time to matters of beauty and art, but was equally governed by economics and a desire to bring ‘good’ art and design to everyone. Shaw was considered to be one of the greatest cultural commentators and thinkers of his generation, but he was at the same time a renowned celebrity and influential figure in the mass media. The literature has tended to dismiss the latter role in order to preserve his place among the former, but I argue here that Shaw did not necessarily view the two as separate endeavours. In fact items from the house, notably Shaw’s clothing and sculpture, are considered as the bearers of complex philosophical, symbolic or iconographic meanings relating to his self-fashioning, aesthetic doctrines, and desire for commemoration, which demonstrate the links between the celebrity and the critic. By considering the artefacts in conjunction with the Trust’s archive of Shaw photographs, as well as his representation in popular culture, and by then relating this material dimension to his writings, the thesis brings a new methodological approach to the study of Shaw. More importantly this thesis reveals new knowledge about the philosophical ideas, humanity, generosity, and personal vanity of the man that lay behind those artefacts.
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Davison, Jez. "Self-fashioning in the poetry of Robert Lowell and John Ashbery." Thesis, University of Sunderland, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323470.
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My thesis focuses on the work of two American poets, John Ashbery and Robert Lowell. I argue that both construct a personality in their work. Lowell's construct is more obviously related to his own personality than Ashbery's is; this is perhaps unsurprising, since writing his autobiography became Lowell's primary poetic practice from Life Studies onwards. Yet despite Ashbery's well-known claim that writing about the particularities of his life does not interest him or other readers, I demonstrate that the personality in his poetry adopts attitudes which are similar to his own. I explore Lowell's admission in his later poetry that writing the self involves a fictionalisation of the self that lives and acts in the real world. In these poems, he is more keen to acknowledge the failure of his autobiographical project than to emphasise the details of his daily existence. Ashbery, too, takes the view that any representation of self distorts the truth of our everyday life, but unlike Lowell, shows no angst about this in his p~etry. I argue that, despite his cheerful acceptance of art's inability to capture the self, he nonetheless endeavours to preserve a sense of self in the work. My thesis demonstrates that he does not merely mimic the general movement of consciousness at the expense of portraying the attitudes and idiosyncrasies of a distinctive personality. At times this personality bears no discernible relation to the poet's own, but consistently Ashbery presents his idea of self as a personality, just as Lowell does in his work. We are struck by the whimsical humour of Ashbery's engaging 'character', just as we sympathise with his anxieties, fears and loneliness. In chapter one I explore Lowell and Ashbery's belief that the self is simultaneously defined and fictionalised by language. Chapter two moves on to discuss the self against its society: what relationship does the textual self have with its surroundings, and how does this relationship reflect the poets' view of their own position within society? In chapter three I argue that Lowell weakens the force of his confessions by encouraging the reader to rewrite his text. Yet Ashbery, in keeping the reader on the edge of surprise, allows a mischievous personality to reveal itself. The final chapter deals with the subject of time. Lowell's autobiographical project is hindered by his inability to revivify the past in his poems, yet the sense of personality in Ashbery's work is made more acute by the appearance of an inquisitive individual who forever needs to encounter new experiences as a stay against time's quick passing.
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Elder, Lara Frances. "Heinrich Heine in Paris : the poetics and politics of self-fashioning." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:a41acb1e-84bd-4687-abc8-331bdacd30e5.
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Drawing on the concept developed in Stephen Greenblatt’s Renaissance Self-fashioning: From More to Shakespeare, this thesis presents Heinrich Heine as an extreme case of the ‘self-fashioning’ writer. I argue that his preoccupation with self-construction determines what and how he writes, how he treats his reading public and, crucially, how he perceives and evaluates his own career. Though self-fashioning occurs in his earliest works, Heine’s decision to move to Paris (1831) was the single biggest self-determining act of his life; he constructs it as a moment of rebirth. Inspired by the July Revolution, he sought a new authorial identity in harmony with the supposed new world order and his own social, political and artistic ideals. However, the reality of juste-milieu society—a continual seesawing between modernisation and restoration—cast doubt on the possibility, even the desirability, of novelty and progress, the goals of revolution. In this context, Heine cultivates the identity of a perpetually embattled writer through confrontational dialogue with contemporary ideologies and his readership alike; ever ambivalent in his attitude to the role of art in a modernising world, he is also engaged in an internal battle with the self. First I show how he establishes himself in the role of cultural correspondent in the early journalism by developing a mode of self-conscious spectatorship which enables him to negotiate between contemporary French conditions and German readership expectations. Second I investigate the strategies he uses to free himself from his Buch der Lieder legacy and redefine his identity as a poet in Paris; I show how the Neue Gedichte (1844) are assembled to record and reflect on this transitional process, making the collection a monument to his self-fashioning tendencies. Finally I explore how Heine manipulates the relationship between public and private within a concept of self to construct his authorial identity; I consider a number of self-editing and self-reconstructive practices in prefaces, letters and autobiographical writing.
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Ludwig, Amber. "Becoming Emma Hamilton: portraiture and self-fashioning in late enlightenment Europe." Thesis, Boston University, 2012. https://hdl.handle.net/2144/31587.
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Thesis (Ph.D.)--Boston University<br>PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>How Emy Lyon became Emma Hamilton (1765-1815) through the creation, display, and circulation of painted portraits, portrait prints, letters, and architectural imagery is the focus of this dissertation. In it, I make four main claims. First, Emma's introduction to the rituals and rewards of genteel female behavior began in George Romney's studio, and sitting for portraits was an educational process that continued throughout her life. Second, Emma's education continued during her residency in Naples under the care and direction of Sir William Hamilton, and the imagery from this period participates in Emma's transformation from Sir William's mistress to his wife. Portraits and letters after the 1791 marriage advertised traits that Sir William's social circle would find desirable and helped to justify her elevated position. Third, Emma's relationships with powerful women were as essential to her self-fashioning as her relationships with men. Elisabeth Vigée-Lebrun, Angelica Kauffman, and Queen Maria Carolina of Naples served as important role models for Emma, and opportunities for fame and power resulted from her association with them. Finally, upon her return to England in 1800, Emma sought to manipulate the architecture, decoration, and visual representations of Nelson's country home to showcase her virtuous conduct.
Throughout the dissertation, I aim to suggest that Emma contributed to the fashioning of her identity and show the ways in which her involvement increased during her lifetime. The other people who contributed to such fashioning of her identity--from artists to lovers to royalty--necessarily play a part in this study. How Emma adapted and responded to the situations that others created is central to my analysis and understanding of self-fashioning. The dissertation ultimately proposes that becoming Emma Hamilton was a complex, life-long process with both constructive and destructive consequences.<br>2031-01-01
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Sabitt, Claire. "Wearing the Hat of an Other: Alterity and Self-Fashioning in Giovanni Benedetto Castiglione's Oriental Heads." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20673.
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In the late 1640s, Giovanni Benedetto Castiglione produced two series of etchings, which historians have named his Oriental Heads, depicting a variety of figures in exotic headgear. The persistence of Oriental headdresses throughout the series suggests a pervasive interest in costume on the part of both Castiglione and his society. In the seventeenth-century Western European imagination, the turbaned figure represented the epitome of alterity: the Ottoman Turk. Signed “CASTIGLIONE, GENOVESE,” the etchings reveal the artist’s important Genoese origins as a part of his artistic identity. Castiglione’s eccentric tendencies, especially in his own personal mode of dress, coupled with the prevalence of exotic costume in the Oriental Heads speaks to the artist’s self-fashioned image as a fashionable, yet controversial eccentric persona. These etchings were tools to attract potential patrons, encourage buyers to purchase the etchings, and above all, to fashion his artistic identity in the international art center of Rome.
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Stearns, Shannon Emily. "The Collection of Queen Christina of Sweden: Repurposing Ancient Iconography to Redefine Modern Queenship." Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/403153.
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Art History<br>M.A.<br>In this paper, I analyze the life and collection of Christina, Queen of Sweden (1626-1689), as a complex and shifting performance of gender, authority, and other aspects of identity. I argue that Christina’s education and life experiences actively informed her collecting preferences for certain types of mythological figures, which became an effective tool of her self-fashioning as a ruler who broke away from what she viewed as the confines and expectations of her gender. I will demonstrate how her strategies as an astute patron and collector of the arts were central to her subversive presentation as an almost androgynous self-exiled ruler in Rome, who could emulate both male and female virtues equally in order to transfer her former political power to new social and cultural capital. Christina’s collection, newly assembled in the Palazzo Riario in Rome, served this purpose by creating a controlled environment that enforced particular relationships between collector and spectator, spectator and collected objects, as well as among the objects themselves. This thesis weds the various theories of Queen Christina and her collection into a comprehensive theory of her larger project of self-fashioning, arguing that her collecting practices regarding both ancient and contemporary works followed a cohesive philosophy in her politics of collection and display, even while largely challenging the decorum of female patronage. Christina’s self-promoted identity as Minerva of the North forces the viewer to contemplate the items in the collection both on their own and in conversation with one another as part of a larger display. In the nudes of the Stanza dei Quadri on her second floor, as well as the antiquities featured on the ground floor, Christina used the relationship between images and sculptures to create an allegorical pantheon focused on her own self-control and authority. In understanding objects’ interactivity, it is possible to interpret Christina’s renovations to the Palazzo Riario and the display of her collection as a modern day Parnassus or Arcadia, which she used to establish her Roman home as a primary location of scholarship and creation. The contents and display of her collection extended her desired persona as a leader of wisdom and user of knowledge not easily bound by the constraints of either gender. The metaphorical space of Arcadia that she created strengthened her alignment with Minerva, the goddess of wisdom and warfare, and implicitly also with Apollo, who presided over Parnassus. In the case of Queen Christina, we have found that in addition to the personal prestige associated with obtaining valued items, the display of these items in a kind of curated space added value and meaning to the viewing experience.<br>Temple University--Theses
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Entwistle, Joanne. "Fashioning the self : women, dress, power and situated bodily practice in the workplace." Thesis, Goldsmiths College (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287489.
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Chattopadhyay, Sayan. "Foreign selves : Indian self-fashioning as European and twentieth-century Indian English literature." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648897.
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Sheets, Whitney Caitlin. "Acting the Part: Emma Hamilton's Self-Fashioning and the Transgression of Class Boundaries." Thesis, The University of Arizona, 2010. http://hdl.handle.net/10150/146673.
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Emma Hamilton, an eighteenth‐century British social icon, rose from classless obscurity and an unconventional past to fame and widespread popularity among Britain's elite. Like contemporary eighteenth‐century British actresses who often struggled with associations with immorality, Emma too struggled to progress beyond the public's understanding of her as a prostitute or mistress. Emma can be viewed as similar to actresses, an association which serves to illuminate potential motives in portraits of Emma. Both Emma and actresses recognized the utility of portraiture in the reversal of their negative images and the construction of a public persona that more closely aligned them with the virtues assumed to be inherent in female members of the aristocratic class. Particularly in George Romney's portraits of Emma, her journey towards acceptance by the British social scene was in part the result of a conscious self‐fashioning and construction a public persona for Emma by both Emma and Romney. Romney's portraits of Emma reveal an image of her that deliberately imitates portraits of the social elite in terms of virtue and respectability while also incorporating the celebrity and glamour found in contemporary portraits of actresses into Emma's own portraits.
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Su, Genxing. "The seduction of culture: Representation and self-fashioning in Anglo-American popular culture." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/290379.
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One important means by which a society maintains and reproduces its dominant ideology is through cultural seductions. By creating in its viewers/readers a good feeling about themselves and the world they live in, popular culture entices individuals into approving of, supporting and embracing the dominant social, political and economic orders of our world. What Louis Althusser calls ideological "interpellation," therefore, is frequently a form of seduction involving the use of sweeteners that render certain values, beliefs and social positions enticing and attractive. Among such seducers are money, women (sexual pleasure), fear, an illusion of power and the semblance of dissent/rebelliousness, many of which are, or are generated by the representation of, the cultural and political "others" of the West. At the same time, the reproduction and maintenance of the dominant orders in the West, to which these "others" make no insignificant contributions, ultimately reinforce their subordinate and underprivileged statuses. Driving such illusion-based ideological seductions are capitalism and its colossal culture industry--a symbol of the postmodern convergence of the cultural, ideological and the economic--whose insatiable desire for profit casts the "others" of the West into the vicious circle of mis-representation and domination.
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Nichols, Marden Fitzpatrick. "Vitruvius and the rhetoric of display : wall painting, domestic architecture and Roman self-fashioning." Thesis, University of Cambridge, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.611534.
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Gillott, David James. "Authority, authorship, and Lamarckian self-fashioning in the works of Samuel Butler (1835-1902)." Thesis, Birkbeck (University of London), 2013. http://bbktheses.da.ulcc.ac.uk/24/.
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The Lamarckian thought of Samuel Butler (1835–1902) has been much observed in relation to his evolutionary works, but my thesis offers a wider ranging examination, and argues for the pervasiveness of Lamarckian ideas across the whole breadth of Butler’s varied oeuvre. In his intervention into evolutionary debate, Butler differentiated between Darwinian luck and Lamarckian cunning, and I show how this distinction informs his notions of authority and authorship, and how he employs Lamarckian concepts in his attempt to fashion for himself an authoritative position as a man of letters. Via an examination of two of his earliest works on evolution, Chapter 1 demonstrates how Butler satirically subverts the argument by analogy employed by theologians Bishop Butler and William Paley, as well as by Charles Darwin, in order to highlight the dangers of logical argument as a means of establishing authority. Chapter 2 extends this critique through a consideration of Butler’s more mature evolutionary works. These amount to a condemnation of what he believes to be the underhand means by which Darwin had sought to appropriate evolutionary theory as his own, without acknowledging the efforts of earlier evolutionists. Chapter 3 describes Butler’s developing epistemology through the lens of his theological writings. It concludes that his epistemological trajectory is best read as a ‘reconversion narrative’, in which reason is subordinated to faith, and which is a necessary consequence of his evolutionary theory. In Chapter 4 I argue that Butler’s writings on art constitute a ‘Lamarckian aesthetics’ that offers both a new reading of the Renaissance, as well as an optimistic alternative to ideas of fin-de-siècle cultural degeneration. Finally, in Chapter 5 I show how Butler’s last works are the culmination of his self-fashioning as he sought to position himself favourably for posterity.
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Igmen, Ali F. "Building Soviet Central Asia, 1920-1939 : Kyrgyz houses of culture and self-fashioning Kyrgyzness /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/10385.
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Ring, Freeman Wendy Lynn. "'In Her Own Fashion': Marie de Gournay and the Fabrication of the Writer's Persona." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/194459.
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Marie de Gournay (1565-1645) was bold. Following a profound, epiphanic experience while reading Montaigne's Essais, she would turn the despair of a young woman, ambitiously seeking her own voice, into literary performances as part of a continuous exercise of staging herself. Indeed, she would fabricate for herself a mythic persona, a Virgo nobilis, in order to control her own destiny as an author, and as a literary, political and social commentator. She also had some very powerful friends and supporters. Following a prominent fifty-year career, though, she would virtually disappear from the French literary world. Shortly after her death, Gournay's work was erased behind the ridicule, parodies and mystification that had targeted her during her lifetime. Gournay would become counter-fashioned, her own myths turned against her. My intent in this study of Gournay's persona is to provide an example of the dynamics at work in subversive creations, specifically how the construct of Gournay evolved into what humanist Justus Lipsius had presaged as a novum monstrum.I propose to analyze the fabrication of her persona from two different perspectives: first of all, from the point of view of her own self-fashioning, how she appears as both author and character of her own creation, putting into flux the notions of copy - original and imitation - invention. Critical theories on reception, self-fashioning, mystification, originality and feminism will be used within the context of the development of politesse and the honnête homme, in early modern France. Close study of the works of fiction in which her persona appears, only to be mocked, and an analysis of texts which praised her will then reveal how and why Gournay continues to suffer from the binds constructed during the seventeenth century after which she, and many other women writers, were no longer read. She was either scornfully dismissed, or simplified to the point of distortion out of the need to classify and explain a woman whose positions and actions rendered her a phenomenon in a patriarchal society where women were excluded from creating meaning for themselves.
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Dorsey, Carol G. "Self-fashioning (im)possibilities a literary tapestry of women at work in nineteenth-century America /." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2434.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2005.<br>Thesis research directed by: English Language and Literature. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Atkinson, Anna Louise. "Fruitful in the land of my affliction, narratives of captivity and female self-fashioning, 1666-1824." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/NQ63401.pdf.
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Knoell, Stefanie A. "Commemoration and academic 'self-fashioning' : funerary monuments to professors at Oxford, Tübingen, and Leiden, 1580-1700". Thesis, University of Sussex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394252.
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Tocchetti, Sara. "How did DNA become hackable and biology personal? : tracing the self-fashioning of the DIYbio network." Thesis, London School of Economics and Political Science (University of London), 2014. http://etheses.lse.ac.uk/3098/.
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The DIYbio (Do-It-Yourself biology) group was established with the aim of turning biology and biotechnology into a creative practice accessible to everyone. The group is composed of graduate and post-graduate students and drop-out graduate students, but also disenfranchised researchers and professionals who see in the initiative the possibility of reviving their passion for science. Inspired by the analogy of the personal computer as a 'spokes-technology' for a free, egalitarian and decentralized society, that of the free and open-source software movement, and inspired by the image of the Victorian amateur and his home laboratory, DIYbio members organize regionally in what they call 'community laboratories,' or they practice in the comfort of their homes. Based on a series of interviews with DIYbio members, participants' observations of DIYbio's transient practices and a literary analysis of DIYbio members' use of social media, this thesis traces what I provisionally call 'the making of a personal biology.' Starting from the narrative formation the network, it then moves from the foundation of the DIYbio network in 2008 to the establishment of the first 'community laboratories', tracing the contingent orchestration of a diverse set of people, sites, tools and events, into a four-year community building effort. Due to its recent emergence in the field of Science and Technology Studies, only a limited number of research initiatives engage with the DIYbio network. Such works, mainly in the form of dissertations chapters and short articles, are analytically rich but limited in their observations, and often focus only on specific aspects of the network (Aguiton, 2010; Roosth, 2010; Delfanti, 2011; Meyer, 2012). This thesis recognizes the emergence of the DIYbio network as a cultural phenomenon in itself, and addresses the gap in the literature by tracing how DNA became hackable and biology became personal. Following Donna Haraway's effort to critically address the politics of technoscience as a practice of 'turning tropes into worlds' (1997: 59), the overarching topic of this research is how the trope of the biohacker became a world, and what type of world it became. The aim of this research is, therefore, to explore how members of the DIYbio network and biohackers define themselves, construct their identities and organize their work. This research also aims to situate the discourses and practices of DIYbio members in a context where governments and industries are intensifying their effort to make the coming century of biology into a reality.
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Mansfield, Jayne D. "The self-fashioning of Oliver Cromwell an analysis of the letters and speeches of Oliver Cromwell." Saarbrücken VDM Verlag Dr. Müller, 2006. http://d-nb.info/989180034/04.
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Clark, Marcella. "A failed performance in self-fashioning: an interpretation of Francis Beaumont's The knight of the burning pestle." Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/9828.
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Weingärtner, Tanja. "Écouen and the patronage of Anne de Montmorency (1493-1567) : politics and self-fashioning in the French Renaissance." Thesis, University of Cambridge, 1999. https://www.repository.cam.ac.uk/handle/1810/265433.
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Turner, Catherine Elizabeth. "Self-fashioning, consumption and japonisme : the power of collecting in Tissot's Jeunes femmes regardant des objets japonais, 1869." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003180.
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Merlin, Monica. "The late Ming courtesan Ma Shouzhen (1548-1604) : visual culture, gender and self-fashioning in the Nanjing pleasure quarter." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:0da584bf-16fc-4372-8a1b-b97afd3bcf8a.
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Ma Shouzhen (1548-1604) was a cultured courtesan who lived in the famous pleasure quarter along the Qinhuai River in Nanjing, the southern capital of the Ming dynasty (1368-1644). She was talented in dance and music, painting and poetry, and surprisingly for her time, she was also a playwright. Although she was a celebrity of the prolific Nanjing cultural milieu and there is a good corpus of extant material by and about her, the particular contribution of Ma Shouzhen - her character and her work - have been marginalised, or even neglected, by the previous scholarship. This thesis is a cross-disciplinary study of Ma Shouzhen and is the first in-depth scholarly investigation into the entirety of her activities. It employs material and methods traditionally pertaining to the disciplines of sinology, history, art history, literary and drama studies. The thesis has a dual aim: first, to provide a nuanced understanding of the courtesan, her cultural production and social practice; second, to reclaim the agency and legacy of her character within the cultural milieu of late Ming Nanjing and beyond. These aims will be achieved through two main research objectives: (1) recovering and re-evaluating visual and written sources by and about the courtesan; (2) investigating those sources in order to comprehend her modes of self-representation and strategies of self-fashioning, analysed especially through the lens of gender. The main body of the thesis is composed of an introduction, five core chapters, and an epilogue; the chapters are structured so as to provide as complete a picture of Ma Shouzhen as possible. Chapter Two explores the space of the pleasure quarter, Ma’s biography and its entwinement within the complexities of the historical moment. Chapter Three focuses on her painting, Chapter Four considers her poetry, and Chapter Five explores her theatre practice; Chapter Six extends the investigation to focus on the construction of Ma’s historical character in later decades. In its content and aims, this thesis contributes to women’s and gender history, as well as to studies in visual culture and literature.
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Caffaro, Geraldo Magela. "The house, the world, and the theatre: self-fashioning and authorial spaces in the prefaces of Hawthorne, Dickens, and James." Universidade Federal de Minas Gerais, 2015. http://hdl.handle.net/1843/ECAP-9WJQXR.
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This Dissertation examines self-fashioning processes in prefaces and introductions by Nathaniel Hawthorne, Charles Dickens, and Henry James. The general argument is that in these texts authorial identity is constructed through spatial metaphors and authorial figures of ideological and cultural resonance. The readings proposed connect these spatial metaphors and authorial figures - organized according to the groups 'house,' 'world,' and 'theater' - to the specific historical context and to ideologies circulating in the nineteenth-century. The main theoretical perspectives that support these readings are genre criticism, Greenblattian new historicism, and literary history. Greenblatt's concept of 'self-fashioning', in particular, constitutes an important operative device that enables the perception of authorship as a category that blurs the boundaries between social life and 'performance' (or between the 'authorial' and the 'actorial' modes). The authors studied appear, in this light, both as biographical subjects and participants in a 'theatre of images;' and the prefaces that 'house' these authors gain renewed interest for their historical relevance and imaginative quality.<br>Esta tese examina processos de auto-modelamento em prefácios e introduções de Nathaniel Hawthorne, Charles Dickens e Henry James. O argumento geral é o de que a identidade autoral nesses textos é construída por meio de metáforas espaciais e figuras autorais de ressonância ideológica e cultural. As leituras propostas ligam essas metáforas espaciais e figuras autorais - organizadas de acordo com os grupos'casa', 'mundo' e 'teatro' -ao contexto histórico específico e às ideologias em circulação no século XIX. As principais perspectivas teóricas que apóiam essas leituras são a crítica dos gêneros literários, o novo historicismo greenblattiano, e a história literária. O conceito de auto-modelamento de Greenblatt, em particular, constitui um importante dispositivo de análise que viabiliza a percepção da autoria como uma categoria que confunde as fronteiras entre vida social e 'performance', (ou entre os modos 'autoral' e 'performativo'). Os autores estudados aparecem, sob essa luz, como sujeitos biográficos e partícipes de um 'teatro de imagens'; e os prefácios que 'abrigam' esse autores ganham interesse renovado por sua relevância histórica e qualidade imaginativa.
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Smirnova, Daria, and Daria Smirnova. "The Petersburg Text in Russian Literature of the 1990s." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12526.
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The image of Saint Petersburg has influenced the imagination of Russian writers since the establishment of this city in 1703. Today, it is common to speak about the Petersburg Text in Russian literature that has its own mythology, imagery, and stylistics. However, the research in this sphere is predominately concentrated on works written before the second half of the 20th century.
This thesis addresses the revival of the Petersburg mythology in the 1990s in works by such authors as Mikhail Veller, Andrei Konstantinov, and Marusia Klimova. It illustrates how the reinvention of traditional Petersburg themes contributed to the representation of the "wild 1990s" reality. It also examines the influence of mass media and popular culture on the development of Petersburg narration in terms of genre, style, and the creation of an author's public persona. The cultural significance of the cityscape in these works is of particular interest.
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Turner, Catherine Elizabeth. "Self-fashioning, Consumption, and Japonisme: The Power of Collecting in Tissot’s Jeunes Femmes Regardant des Objets Japonais, 1869." Scholar Commons, 2009. https://scholarcommons.usf.edu/etd/58.
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This study examines self-fashioning and the practice of collecting in Second Empire Paris as manifest in James Tissot's Jeunes femmes regardant des objets japonais (1869, Cincinnati Museum of Art). The painting, exhibited in the Salon of 1869, conspicuously portrays Tissot's own collection of exotic Asian collectibles and the artist's private luxe interior. When scholars investigate and interpret Jeunes femmes, it is regularly defined within the prescriptive realm of Tissot's later London paintings, or of his well known series, La Femme à Paris. I argue for a less circumspect engagement with the painting, by focusing on the portrayal of the collectible objects and the decadent interior as evidence of bourgeois self-fashioning and the decorous display and consumption concomitant with Second Empire Paris.
This thesis considers the history of collecting in Second Empire Paris; in particular, the early impact of japonisme on Tissot's artwork. Recent scholarship largely regards Tissor's initial engagement with japonisme, as demonstrated by Japonaise au bain (1864, Muse des Beaux-Arts, Dijon) and Jeune femme tenant des objets japonais (1865, Private Collection), as trite. I argue that such categorizing biased sound consideration of Jeunes femmes. I investigate Tissot's interaction with Japanese aristocracy and contend that his appointment as drawing instructor to Prince Akitake marked a turning point in his artistic career and in his reputation as a collector.
This thesis also explores the role of fetish as an operative analytical tool. By employing the theories of Freudian and Marxist fetish, I am able to scrutinize the collectible objects' inclusion and meticulous representation, account for the obsessive nature of the collector and investigate specific strategies of posturing and self-promotion. Moreover, I can discuss the painting, and the collection it portrays, as a producing agent for Tissot's own artistic and social legacy. Ultimately, I conclude that Jeunes femmes, a richly detailed painting of Tissot's collectibles and interior space, is implicitly concerned with bourgeois self-fashioning and Tissot's own need for financial and social legitimization.
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Groom, Angelica. "The role of rare and exotic animals in the self-fashioning of the early modern court : the Medici court in Florence as a case study." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/42399/.
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The principal aim of this study is to investigate the role rare and exotic animals played in the cultural self-fashioning and political imaging of the Medici's Ducal and Grand-ducal Court in Florence (1531-1737). The exclusive focus on this topic will contribute to Medicean scholarship in an area of research that has hitherto received only scant and fragmentary attention. This study will provide the first comprehensive and systematic analysis of the numerous ways in which both real and depicted animals were manipulated to serve the interests of the Medici regime. The thesis is formed of five chapters. Chapter one examines the zoological spaces established by the Medici; chapter two focuses on the procurement of animals and their use in diplomatic gift exchange. The remainder of the thesis takes the form of three case studies. These will examine a wide range of Medici-commissioned works of art, from different points in the family's history, in which unusual fauna feature as a central element of the iconography. The works discussed will make clear how individual members of the regime deployed animal imagery to express their political aspirations and courtly magnificence. Case study one traces how early members of the Medici family used images of rare beasts to assert their dynastic and political legitimacy, primarily to a home audience. Case study two examines the role of zoological illustrations in the Medici's wider ambition to establish an international reputation as patrons of the natural sciences and to promote the court as a centre of artistic production. The final case considers a series of zoological paintings commissioned by the last two Medici rulers, to argue that the pictures reflected not only the shifting values elite society attached to unusual fauna, but that they also mirrored the decline of the regime itself.
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Ragazzoli, Chloé. "Les Artisans du texte. La culture de scribe en Égypte ancienne d’après les sources du Nouvel Empire." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040171.
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Au Nouvel Empire (1539-1075 av. J.-C.), les scribes – « ceux qui écrivent » en égyptien – prennent le devant de la scène dans les sources littéraires. Ils construisent et promeuvent une image d’eux-mêmes, qui révèle l’existence d’une communauté et d’un « monde social » (A. Strauss), fondés non pas sur la classe mais sur l’appartenance à une profession. Parmi les textes consacrés au métier de scribe, les florilèges appelés « miscellanées » ou « Enseignement par lettres » constituent une sorte de vademecum de la production écrite de l’époque, qui accompagne le scribe dans sa carrière et jusque dans sa tombe. Ils fonctionnent comme des véritables machines à produire d’autres textes, quand les deux autres types d’enseignements de l’époque, « l’Enseignement pour délier l’esprit » (les onomastica) et les « Enseignements par exemples » (les sagesses) portent respectivement sur le savoir théorique et le savoir pratique. Les scribes braconnent dans les modes d’expression du sommet de la société pour développer leur code de valeurs, qui repose sur l’éducation, les compétences au travail et leur rôle de transmetteurs (et non pas de créateurs). Des structures sociales fondées sur les relations professionnelles plutôt que familiales sont mises en avant. L’émergence d’une telle conscience communautaire se fait dans les termes des mutations idéologiques en cours. Une place plus grande est accordée à l’individu dans la société en mettant de côté les autorités traditionnelles au profit d’une divinité personnelle toute puissante. Les scribes peuvent ainsi faire de l’écriture une pratique de piété placée sous l’égide de Thot – les écrits leur survivront après la mort et assureront leur postérité. Chaque manuscrit devient un possible monument funéraire à travers le colophon. Les scribes réinvestissent en outre les tombes traditionnelles qu’ils visitent, en y laissant, sous la forme de graffiti, des textes commémoratifs à leur bénéfice mais aussi des offrandes littéraires.Cette promotion du mot écrit par rapport au discours trouve un écho dans les biographies monumentales des très hauts dignitaires et témoigne d’une diffusion des idéaux lettrés à l’époque<br>In the New Kingdom (c. 1539-1075 BC) scribes – ‘those who write in Egyptian’ – took a prominent role in literary texts. There they constructed and promoted a self-image, framing themselves as the members of a specific ‘social world’ defined by their profession rather than belonging to a social class.This period corresponds to the flourishing of sources dedicated to the scribal trade, especially the Late Egyptian Miscellanies aka ‘Teaching by letters’. These collections of small texts were scribal tools and a vademecum of the textual production of the time. Kept by the scribe throughout his career and accompanying him to his tomb, they were a device for producing other texts, while the two other types of teaching, ‘Teaching to clear the mind’ (onomastica) and ‘Teaching from examples’ (wisdom texts) dealt respectively with theoretical and practical knowledge.Scribes borrowed phraseology from the top-elite to develop their own code of values, which was based on education, craftsmanship and personal skills. Social structures dependent on professional relationships rather than family were promoted. The development of such a community feeling reflected changes of ideology in progress at the time. A new position was granted to the individual in society through the shift of allegiance from traditional authorities to a personal, almighty god. Thus scribes could turn writing into a pious practice under the aegis of Thot – texts and copies would survive them and grant them posterity. Each manuscript became a potential funerary monument through colophons and signatures. Furthermore, scribes used the decorum of traditional tombs where they left prayers and commemorations as graffiti to their own benefit along with literary offerings. This promotion of the written word over the spoken one is echoed in monumental biographies of the top-elite and bears witness to the diffusion of learned values during this period
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Weakley, Anne. "Conscious of Her Own Power: Hester Piozzi's Character Creation in Anecdotes of the Late Samuel Johnson LL.D., During the Last Twenty Years of His Life." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/477.
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This project highlights aspects of Hester Piozzi’s approach to biography in Anecdotes of the Late Samuel Johnson LL. D. During the Last Twenty Years of His Life in order to analyze her use of accumulated cultural and social capital. I highlight similarities between Anecdotes and Samuel Johnson’s model for biography given in Rambler #60 and show how Piozzi adheres to his advice as she characterizes Johnson as a pious genius, intolerantly opinionated, and self-indulgent, yet unwilling to accept those qualities in others. I analyze how her editorial choices characterize her as a reliable source of information and a blameless victim of Johnson’s need for attention. This study proves Anecdotes and the corresponding entries in Thraliana are important because her deliberate revisioning of her history speaks to her ability to manipulate social expectations in order to revive her literary career and actively contribute to eighteenth-century British economy, culture, and society.
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Pitman, Sophie. "The making of clothing and the making of London, 1560-1660." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/269651.
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In recent years, urban historians have established that the period from 1560 to 1660 was a key era for London’s development from a relatively small European urban centre into a large dynamic global capital. This dissertation attempts to intervene in London scholarship by drawing attention to the economic, political, religious and – most significantly – cultural importance of clothing in the city in this period. Using material, visual, literary and archival sources, it explores the ways clothing contributed to the development of early modern London and, in turn, how London’s rapid growth changed the making, wearing, and meaning of clothing. This dissertation places material evidence at the fore using extant objects from museum collections. It also employs the new methodology of reconstruction to explore craft, ingenuity, and emotional self-expression in dress. As clothing infused economic and social life, it draws upon on a wide range of evidence, from London guild records, to portraits, travel accounts, personal letters, diaries and account books, plays, sermons and poems. With a focus on urban experience, this dissertation discusses not only elite luxury consumption, but also investigates the wardrobes of guildsmen, immigrant craftspeople, apprentices and maids – asking what they wore, what they thought about what they were wearing, and how they used clothing to navigate through the city during this time of rapid change. A chapter on the ‘London Look’ shows how inhabitants and visitors documented the visual and material styles of the city. Exploring the collaborative processes by which clothing was made, worn and appreciated by craftspeople and consumers, a chapter on making and buying clothing demonstrates how clothes were made and charts the emergence of a new consumer culture. Existing scholarship on sumptuary laws is challenged in a chapter that demonstrates how laws were enforced in the city while also integrating extant objects into the discussion for the first time. Finally, using a sample of London wills, the dissertation shows how Londoners owned, bequeathed and inherited clothing, and imbued it with emotional meaning. In sum, this dissertation aims to integrate scholarship on early modern London with material culture studies, and to promote the new methodology of reconstruction for historians. In revealing how London was conceived during a time of rapid change, clothing can be used as a lens through which to explore wider discourse about a city that by 1657 was being described as ‘Londinopolis.’ Clothing helped to make London into a wealthy, dynamic, and diverse urban centre, and these changes dramatically shaped the way clothing was made and appreciated.
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Valk, Karl. "Le projet intellectuel d'un réformateur : Philippe de Mézières (1327-1405)." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL145.
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Cette thèse est consacrée à l'étude de l'activité littéraire de Philippe de Mézières (1327-1405) dans une perspective d'histoire intellectuelle. Elle s'appuie sur des concepts élaborés par l'« École de Cambridge », en mettant l'accent sur l'interaction entre les langages intellectuels - des façons de parler fondées sur des autorités - et les actes de langage - des énoncés réalisés à l'aide de ces langages. Je commence par souligner le rôle de Philippe de Mézières lui-même dans la construction de récits biographiques repris par l'historiographie. Une enquête sur les principales références utilisées dans les œuvres de Mézières m'amène ensuite à souligner un recours ostentatoire aux sources bibliques et patristiques. Je l'explique par ses affinités avec une culture intellectuelle émergente, centrée sur la cour papale d'Avignon et pratiquée par un cercle influent et mobile de clercs et de laïcs ayant un penchant pour la création littéraire et la pensée réformatrice. Des études de cas consacrées à Nicole Oresme et à Brigitte de Suède me permettent d'illustrer les relations sociales et intellectuelles soudant ce réseau. Une dernière partie est consacrée aux fondements de la vision du monde de Mézières. Son œuvre met en évidence la relation historique entre Dieu et la congrégation des fidèles. Son intérêt pour l'Église primitive et son plaidoyer en faveur d'un concile général incluant des laïcs le rapprochent à la fois des critiques de la papauté d'Avignon et des partisans du mouvement conciliaire. Son projet d'Ordre de la Passion témoigne d'une préférence pour l'ecclésiologie des ordres militaires ainsi que pour les institutions politiques des cités-états de l'Italie du Nord<br>This thesis is devoted to the study of the literary activity of Philippe de Mézières (1327-1405) from an intellectual historical perspective. It draws from concepts elaborated by the “Cambridge school”, focusing on the interplay between intellectual languages - ways of speaking based on authoritative traditions - and language acts - particular utterances made using those languages. I begin by emphasising the importance of Philippe de Mézières himself in forming the narratives upon which historiographical accounts of his life have largely been based. An investigation of the main references used in Mézières' works then leads me to underline an ostentatious reliance on Biblical and Patristic sources. I explain this tendency by Mézières' affinities with an emerging intellectual culture centred around the papal court of Avignon and practised by an influential and highly mobile circle of clerics and laypeople with a penchant for literary creation and reformist thought. Case studies devoted to Nicole Oresme and Bridget of Sweden permit me to exemplify the social and intellectual relations that bind this network together. A final section is devoted to the basic tenets of Mézières's world-view. His work brings to the fore the historical relationship between God and the congregation of the faithful. Mézières' interest for the early church and his advocacy for a general council including laypeople connect him with both critics of the Avignon papacy and proponents of the conciliar movement. His project of the Order of the Passion evinces a preference for the vanguardist ecclesiology of the military orders as well as for the political institutions of Northern-Italian city-states
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Chakrabarti, Ishan. "The venture of self-fashioning in Mughal India." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-1507.
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Individuality – both as a philosophical category and a way of living – forms the focal point of a resonance between our times and the 17th-century. Impelled by this haunting resonance, and in an attempt to understand it, my paper examines the literary history of biographical writing in both Europe and South Asia, from 560 BCE to 1700 CE. What is it about the 17th century that is so specific? Why do only these biographies strike us as records of the lives of true individuals? And why do individuals first appear in 17th century South Asia?
To adequately comprehend this nomadic literary genre, we must abstract ourselves from the geography and examine the thematic aspects of our texts. I suggest it is imperative to look at modes of life as they are formed over time, across Europe and South Asia. That is, we most focus on the philosophically-rich questions of the categories that structured lives.
Pausing in the 17th century, I examine the Viaggi of Pietro Della Valle (an Italian traveler in Turkey, Iran and South Asia) and the Ardhakathānaka of Banārasīdāsa (the first Indian autobiography, comprising the records of a Jain merchant roaming South Asia). For just one generation, from 1600-1650, autobiographical writing becomes an ethical practice by which they reflect on and build individuality.<br>text
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Kershner, Stephen M. "Self-fashioning and Horatian allusion in Statius's "Silvae"." 2008. http://proquest.umi.com/pqdweb?did=1594494831&sid=11&Fmt=2&clientId=39334&RQT=309&VName=PQD.
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Thesis (Ph.D.)--State University of New York at Buffalo, 2008.<br>Title from PDF title page (viewed on Jan. 21, 2009) Available through UMI ProQuest Digital Dissertations. Thesis adviser: Dugan, John Includes bibliographical references.
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Lodhia, SHEETAL. "Material Self-Fashioning and the Renaissance Culture of Improvement." Thesis, 2008. http://hdl.handle.net/1974/1513.
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This dissertation argues that in Renaissance discourses of the body the body is progressively evacuated of the spirit, as we move from texts of the late Medieval period to texts of the Jacobean period. Where New Historicists have suggested that the practice of “self-fashioning,” which dictates behaviour, speech and dress, takes place in the Renaissance, I argue that there was a material self-fashioning of the body occurring simultaneously. Such corporeal fashioning, motivated by desire for physical improvement, frustrates the extent to which the soul shapes the body. My Introduction lays theoretical and historical groundwork, situating the body/soul relationship in relation to Christian theology, Senecan-Stoicism, Epicureanism and philosophical materialism. Discourses of artistic creation, informed by neo-Platonism, also influence corporeal fashioning in that the most radical bodily modifications are imagined through literature, where artificers are often privileged as creators. Chapter One examines “The Miracle of the Black Leg,” a transplant, by the doctor-Saints Cosmas and Damian, of a Moor’s black leg to a white Sacristan, whose gangrenous leg is amputated. In written and pictorial representations Cosmas and Damian, initially figured as Saints, are later presented as doctors who perform a medical procedure. Alongside the doctors’ increasing agency, the black leg itself, inflected by Renaissance notions of Moors and Moorishness, troubles the soul’s immanence in the body. Chapter Two examines Elizabeth I’s practices of bodily fashioning through her wigs, dentures and cosmetics. I argue that Elizabeth’s symbolic value, which includes components of monarchical rule, as well as attitudes toward female beauty, is always already pre-empted by her body. In Book III of The Faerie Queene, moreover, Edmund Spenser writes an alternative history of England through Britomart’s body to provide an heir to Elizabeth’s otherwise heirless throne. Chapters Three and Four perform close readings of Book II of The Faerie Queene, Thomas Tomkis’s Lingua, Thomas Middleton’s The Maiden’s Tragedy and Revenger’s Tragedy, and John Webster’s The Duchess of Malfi. I argue that both the allegorical and theatrical modes demand a level of materialism that paradoxically makes the body the centre of attention, and anticipates Cartesian mechanistic dualism.<br>Thesis (Ph.D, English) -- Queen's University, 2008-09-25 22:59:31.67
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Sloan, Casey Lauren. "Tearing up the nun : Charlotte Brontë's gothic self-fashioning." 2013. http://hdl.handle.net/2152/22741.
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This report explores the ideological motivations behind Charlotte Brontë's inclusion of and alterations to gothic conventions in Villette (1853). By building on an account of the recent critical conversation concerning the conservative Enlightenment force of the gothic, this report seeks to explain the political significance of a specific, nineteenth-century mutation in the genre: Lucy Snowe as an experiment in the bourgeois paradigm. Lucy Snowe's sophisticated consciousness of genre manifests in her minute attention to dress, but the persistence of her personal gothic history means that Villette enacts political tension between individualistic "self-fashioning" and historical determinism as clashing models for the origin of identity.<br>text
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Buczek, Christopher Richard. "Horatius auctor ideological self-fashioning in the Augustan age /." 2008. http://proquest.umi.com/pqdweb?did=1594494821&sid=12&Fmt=2&clientId=39334&RQT=309&VName=PQD.
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Thesis (Ph.D.)--State University of New York at Buffalo, 2008.<br>Title from PDF title page (viewed on Jan. 15, 2009) Available through UMI ProQuest Digital Dissertations. Thesis adviser: Dyson, Stephen, Woodard, Roger Includes bibliographical references.
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Devonshire, Elizabeth-Anne. "Fashioning an academic self: a study of managing and making do." 2009. http://hdl.handle.net/2100/985.
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This study investigates how academics are managing and being managed by the demands of their everyday work. Specifically, it sets out to examine how a small cohort of academics located in a former college of advanced education (CAE), now integrated as a Faculty in a traditional Australian university, negotiate the dominant discourses and power relations in this setting. It considers the role played by government policy directives in shaping this particular workplace and its inhabitants. It also explores the tactics and strategies academics employ to manoeuvre the complexities of their day-today work life, and how these practices of the everyday fashion academics in this setting. To date, few studies have explored the changing nature and intensification of contemporary academic work from the perspective of academics working in a former CAE. In taking up this focus, observing the historical and cultural legacy of the institution, the study provides a situated perspective about academic work: one located in a particular workplace, at a particular point in its history. It illustrates how the academic self is fashioned through and within the disciplinary technologies and power relations operating within the workplace setting: how different types of academic performances are taken up and/or valued in this context, and how these performances are then implicated in the production of academic subjects. The research data comprised historical and institutional documentation, as well as semi-structured conversations with academics. A range of related theoretical ideas and positions are used to analyse three specific perspectives about being an academic: work(ing) policies, work(ing) narratives, work(ing) practices. Personal writing about experiences as an insider/outsider in this research study further informs the discussion, with insights about doing academic work in this (and other) workplace settings, and the role of the doctoral process in the subjectification of the academic self highlighted. The thesis puts forward the argument that managing everyday work is a complex and (self) productive process: one situated in, and shaped by, the institutional spaces – textual, discursive and operational – within which work performances are enacted. It depicts how academics take up, negotiate and/or self-regulate their work practices within these institutional spaces. The process of managing academic work is thus represented as an interactive yet bounded practice, subject to and subjectified through the specificities of the workplace setting and its inhabitants, and the power relations and disciplinary forces operating on and within the institution. The thesis also demonstrates the fashioning of the academic self involves a set of practices of managing and making do. These practices of the self, which are shaped by the aspirations and positioning (personally, professionally and institutionally) of academics, and the past and current circumstances of the workplace setting, highlight the mutually constitutive nature of discipline and desire in shaping academic work in an institutional context.
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Greene, Carlnita Peterson. "Beyond the binaries to self-fashioning: identity as the rhetoric of social style." Thesis, 2006. http://hdl.handle.net/2152/3058.
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Nagy, Andrea Ruth. "Dictionaries and linguistic self-fashioning in the English Renaissance : the prehistory of cultural literacy /." 1996. http://wwwlib.umi.com/dissertations/fullcit/9708542.
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Li, Juo-han, and 李卓翰. "Yeats’s Poetics of Oscillation: Self-fashioning and the Construction of Three Identities in The Tower." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/14084544373639180232.
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碩士<br>國立東華大學<br>創作與英語文學研究所<br>93<br>This thesis explores Yeats’s characteristic oscillation in The Tower, and tries to illustrate how Yeats exploits oscillation to examine, affirm, and construct three different identities: an aged poet, an old man as a lover, and a poet in troubled times.
Chapter one concerns how the poet deals with his own aging, how he struggles in dejection and rage but manages to accept/transcend his age, and finally establish his faith and pride in poetry. The discussion covers “Sailing to Byzantium” and “The Tower” and observes how the poet’s image, after the process of self-negation and self-questioning, develops from the decrepit scarecrow and angry old dog to the golden bird and determined swan. In fact, the poet’s oscillation is not only between negation and affirmation of age, but also between the two places and poems of Byzantium and Ballylee.
Chapter two discusses how Yeats portrays lovers’ ambivalent oscillation between love’s bitterness and sweetness. As a participator, observer and commentator of love, the poet also oscillates between two loves. This chapter covers “The Hero, the Girl, and the Fool,” “Owen Aherne and His Dancers,” and “A Man Young and Old,” and examines what kind of lover the poet has become after the process of oscillation in the bitterness and sweetness of love.
Chapter three explores Yeats’s stance as a poet in troubled times. The discussion covers “Meditations in Time of Civil War” and “Nineteen Hundred and Nineteen;” in the former, although the poet oscillates between the contemporary bitterness and sweet visions of future, as a whole he is satisfied with the “daemonic images” in the chamber of Il Penseroso’s Platonist. On the contrary, in “Nineteen Hundred and Nineteen” the poet is not so sure of his “ghostly solitude,” and thus oscillates between the involvement with the worldly turbulence and insistence on the solitary poetic career. The conclusion is, with constant self-negation and self-doubts under different conditions, Yeats re-examines his different identities and re-situates himself in history, and with such oscillation re-affirms his self and poetic career.
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Lazzarini, Lisa. "Un po´di sana follia. The process of denegation in shamanic technologies of self-fashioning." Doctoral thesis, 2020. http://hdl.handle.net/10362/104275.
Full textAbstract:
The main purpose of this research is to explore the role of denegation in activating, directing,
sustaining and protecting the process of self-fashioning through specific case study of
shamanic practicing. The fieldwork has been based mainly in Florence, Italy, and in Lisbon,
Portugal, following the transnational circulation of the global and online shamanic field
through a snowball sampling that led me to the practitioners and their cosmopolitan networks.
Italian and Portuguese practitioners share a willingness to change their lives and intentionally
shape themselves through a shamanization process that is perceived as cultural
deprogramming.
In this ethnography with shamanic practitioners, the process of self-fashioning turns
out to be an un-ending training which embodies progressive layers of denegation according to
the anthropotechnical project. Denegation is here defined as a process of concealment of
contradictions whose invisibility activates an otherwise impossible practice and, can lead to
paradoxical effects. The unnoticed coexistence of contradictions engenders a perpetual motion
of opposite conditions that recursively necessitate each other. In this sense, shamanic
denegation processes of taming untamedness are particularly acrobatic and clearly illustrate
the very role and mechanism of denegation. This research will show how denegation renders
invisible to practitioners that their project of emancipation from socio-cultural conditioning is
finely-tuned to neoliberal policies which encourage free choice, individualism, selfresponsibility
and flexibility.
The thesis identifies how shamanic practices have become over the years an appealing
metaphor of the antidote to modernity and a resource for self-fashioning that is nowadays a
successful global brand which spans a variety of therapies. The antidote of shamanic selffashioning
is dispensed through different practices precisely because they are grounded on the
same layers of denegation. The self-fashioning project is actualized as a form of autoimmunization
that, to some extent, is acknowledged among some practitioners. Throughout
the thesis, I will trace this process of progressive auto-immunization from beginner to
advanced practitioners through different therapeutic plans and in different contexts: how the shamanic antidote is activated by denegation; how different therapies are applied by
individuals to change/heal themselves; how shamanic self-fashioning becomes an ascetic path
of chronic healing with the support of the group; and how the circulation in the global field
has spread the shamanic anthropotechnic. This analysis reveals how the field of anthropology
and shamanism are mutually constitutive, calling for meta-reflection within the
anthropological discipline itself.<br>O principal objetivo desta pesquisa é explorar o papel da denegação na ativação, direção,
sustentação e proteção do processo de self-fashioning através do estudo de caso específico da
prática xamânica. O trabalho de campo decorreu principalmente em Florença, Itália, e em
Lisboa, Portugal. A circulação transnacional do campo xamânico global e online, guiou-me
aos praticantes e ao seu networking através de uma amostra por bola de neve. Os praticantes
Italianos e Portugueses partilham a vontade de mudar as suas vidas e moldar-se
intencionalmente através de um processo de xamanização que é entendido como uma
desprogramação cultural.
A partir desta etnografia com praticantes xamânicos, o processo de self-fashioning
acaba por ser um treino sem fim para incorporar camadas progressivas da denegação, de
acordo com o projeto antropotécnico. A denegação é aqui definida como um processo de
ocultação de contradições cuja invisibilidade ativa uma prática impossível de outra maneira e
pode levar a efeitos paradoxais. A coexistência invisível de contradições gera um moto
perpétuo de condições opostas que se necessitam recursivamente. Neste sentido, os processos
de denegação xamânica de domesticar a inadomesticabilidade são particularmente
acrobáticos e ilustram claramente o próprio papel e mecanismo da denegação. A pesquisa
mostrará como a denegação torna invisível aos praticantes que o seu projeto de libertação do
condicionamento sociocultural é ajustado às políticas neoliberais que incentivam a livre
escolha, o individualismo, a auto-responsabilidade e a flexibilidade.
A tese mostra como as práticas xamânicas se tornaram ao longo dos anos uma
metáfora atraente como antídoto da modernidade e um recurso para o self-fashioning que hoje
é uma marca global de sucesso que abrange uma variedade de terapias. O antídoto de selffashioning
xamânico é dispensado através de diferentes práticas, precisamente porque elas se
baseiam nas mesmas camadas de denegação. O projeto de self-fashioning é realizado como
uma forma de auto-imunização que, em certa medida, é reconhecida por alguns praticantes.
Ao longo da tese, traçarei o processo xamânico de auto-imunização progressiva, do praticante
iniciante ao avançado, através de diferentes planos terapêuticos e em diferentes contextos:
como o antídoto xamânico é ativado através da denegação; como diferentes terapias são
aplicadas pelos indivíduos para mudar / curar; como o self-fashioning xamânico se torna um
percurso ascético de cura crónica com o apoio do grupo; como a circulação no campo global
espalhou a antropotécnica xamânica. Esta análise revela como o campo da antropologia e do
xamanismo são mutuamente constitutivos, solicitando uma meta-reflexão disciplinar.
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Wu, HsiangChun, and 吳香君. "Family- And Self-Fashioning: Tragic Conflict In Romeo And Juliet And The Duchess Of Malfi." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/42392777982272220226.
Full textAbstract:
碩士<br>靜宜大學<br>英國語文學系<br>100<br>William Shakespeare’s Romeo and Juliet and John Webster’s The Duchess of Malfi abound with a host of accidents and coincidences. There are so many such chance occurrences that critics hold that the Wheel of Fortune must be what controls the protagonists’ fate. This thesis aims to refute the prevailing critical analysis that the tragedies arise under the concept of the Wheel of Fortune. By applying Stephen Greenblatt’s new historicism and his concept of Renaissance Self-Fashioning, the thesis explores the two female protagonists’ strong self-fashioning behavior in relationship with their families’ family-fashioning drive for power and influence in these two plays. The thesis considers that the resulting conflict between the two types of fashioning is what triggers both protagonists’ tragic end.
The thesis is divided into five chapters. Chapter One introduces the Italian historical background that both English playwrights used for the setting. The socio-political conditions influence both the main and minor characters’ thought and action. Chapter Two explains Stephen Greenblatt’s theory of new historicism and links it to Michel Foucault’s power discourse, and other theorists’ concepts of the ideal self-fashioning. Chapter Three manifests how family-fashioning dominates the two female protagonists’ thought, behavior, and identities. Chapter Four examines how the two heroines shape themselves to revolt against the mighty force of family-fashioning and how devious minor characters, also with a strong will to refashion themselves, are implicated in the heroines’ downfall. With the overall review, the thesis concludes that the tragic outcome springs from the conflicting desires emerging during the age of the Renaissance: the family desire for wealth and power and the individual will for self-determination. The misfortunes thus cannot be attributed to the Wheel of Fortune but ironically to the social conditions and conflicting thoughts fashionable during the period.
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Dale, James. "Incognitos: Shakespeare’s Uses of Disguise in the Light of New Historicism and Its Legacy." Doctoral thesis, 2021. https://depotuw.ceon.pl/handle/item/4003.
Full textAbstract:
The dissertation focuses on the interpretative significance of the convention of disguise in Shakespeare’s plays viewed against a wider cultural background of the Elizabethan and Jacobean period. The analysis foregrounds the construction of stage disguise as a combination of controlled discourse and sartorial device, a powerful distortion of reality with multiple psychological, social, and political implications. The basic methodological framework derives from New Historicism, and revisits the seminal concept of renaissance self-fashioning by Stephen Greenblatt (1980), both elaborated and reshaped by Shakespeare criticism emergent in the following decades. The study consists in the analyses of Shakespeare’s characters in disguise, viewed as self-fashioning individuals whose masking strategies testify to a pre-existent identity crisis, a truly incognito condition, propelled by anxiety, political reasons, or societal pressure. The necessary employment of borrowed discourse(s) serves to suppress identity but it nevertheless proves revealing as regards the character’s inner motives and dispositions. In this sense the convention of disguise becomes a unique testing ground for the construction of the models of early modern subjectivity, and a fascinating feature of Shakespeare’s dramatic style.