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Owen, A. "Subversive spirit : Women and nineteenth century spiritualism." Thesis, University of Sussex, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.378374.
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Bretag, Tracey. "Subversive mothers : contemporary women writers challenge motherhood ideology /." Title page, contents and abstract only, 1999. http://web4.library.adelaide.edu.au/theses/09ARM/09armb844.pdf.
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Hui, Suet-hung. "Subversive females : the politics of defiance in Zhang Yimou's films /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20059966.
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Hui, Suet-hung, and 許雪紅. "Subversive females: the politics of defiance in Zhang Yimou's films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951648.
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Barnett, Katrina. "Nine Lives: A History of Cat Women, Subversive Femininity, and Transgressive Archetypes in Film." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707290/.
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The intention of this thesis is to identify and analyze the cat woman archetype as a contemporary extension of the transgressive witch archetype, which rampantly appears over the course of cinema history, working as a signifier of a patriarchal society's fear of autonomous and subversive women. The character of Catwoman is the ultimate representation for this archetype on grounds of her visibility, longevity, and ability to return again and again. More importantly, Catwoman and her sisterhood of cat women work against male creators as a means of female empowerment through trickery. Within this thesis, key films of varying genres are drawn from throughout cinema history and analyzed in order to demonstrate the intertextual network of characters that make up the cat woman archetype, and the importance of the Catwoman character in her many forms.
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Wagner, Marcina M. "Not quite so excellent women the subversive element in the early novels of Barbara Pym /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1994. http://www.kutztown.edu/library/services/remote_access.asp.
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D'almeida, Editha-Nefertiti. "Discours des femmes dans la littérature contemporaine d'expression française : Exemple de : Riwan ou le chemin de sable (Ken Bugul), Les Vaisseaux du coeur (Benoîte Groult), L'Empreinte de l'ange (Nancy Houston), La Joueuse de go (Shan Sa)." Thesis, Limoges, 2017. http://www.theses.fr/2017LIMO0013.
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Les débats sur la spécificité ou non d’une écriture féminine à caractère sexuée, l’investissement exponentiel des femmes dans le champ littéraire de ces dernières décennies dans des thématiques variées et des discours transgressif et subversif, justifient notre intérêt pour l’analyse du discours de femmes dans la fiction littéraire contemporaine. En littérature comme dans d’autres disciplines, les discours des femmes sont presque toujours en conflit entre le besoin de dire les hiérarchies sociales, et celui de revendiquer une légitimité universelle. Aussi, à travers une analyse immanente et structurelle des textes qui constituent notre corpus à savoir : Riwan ou le chemin de sable (Ken Bugul,), Les vaisseaux du coeur (Benoîte Groult), L’empreinte de l’ange (Nancy Huston), La Joueuse de go (Shan Sa), ce travail de recherche s’interroge sur la spécificité du discours de ces femmes et la valeur de l’autofiction associé à ces discours. En nous servant des méthodes de l’analyse du discours et des Women Studies, cette thèse se donne de lire les thématiques, le contour des stratégies discursives des femmes, ce qu’elles disent d’elles et du monde qui relèvent ou non de l’influence féministe afin d’en dévoiler la performativité<br>The debates on the specificity or not of a feminine gendered writing. The exponential investment of women in the literary field of these recent decades, in various themes, justify our interest of discourse analysis of women in contemporary literary fiction. In literature as in other discipline, the women’s discourses are mostly in conflict between the need to say social hierarchies of genders and to claim universal legitimacy. Also, through an immanent and structural analysis of the texts that constitute our corpus: Riwan ou le chemin de sable (Ken Bugul,), Les vaisseaux du coeur (Benoîte Groult), L’Empreinte de l’ange (Nancy Huston), La Joueuse de go (Shan Sa). This research is about the specificity of these women discourses, and the autofiction value associated with these discourses. Thoroughly using the methods of Discourse Analysis and Women Studies, this thesis aims to read themes, the outline of women's discursive strategies, what they say about them and the world that is or not influenced by feminism and then reveals the performativity of their discourse
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Sánchez, Campos Noelia. "Subtle subversion: an analysis of female desire in the works of Frances Sheridan, Frances Brooke, Elizabeth Griffith and Sophia LEE." Doctoral thesis, Universitat Autònoma de Barcelona, 2017. http://hdl.handle.net/10803/405313.
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Esta tesis examina el tema del deseo femenino en la obra de cuatro autoras poco conocidas de finales del siglo XVIII. Los textos primarios son Memoirs of Miss Sidney Bidulph (1761) de Frances Sheridan, The History of Lady Julia Mandeville (1763) de Frances Brooke, The Delicate Distress (1769) de Elizabeth Griffith y The Recess (1783) de Sophia Lee. El objetivo principal de mi tesis es determinar el discurso de deseo producido por las autoras que he seleccionado.
La cuestión de la tesis tiene como objetivo la detección del alcance del nivel de resistencia a la marcada configuración de la mujer “correcta” que puede observarse en la obra de estas autoras y, especialmente, el propósito de esa resistencia. La tesis también propone que estas autoras representan personajes femeninos aparentemente convencionales que logran conseguir un dominio considerable sobre ellas mismas.
Uno de los aspectos analizados en esta tesis es la noción de la virtud femenina en apuros, introducida por Samuel Richardson y continuada por otros novelistas, Frances Sheridan incluida. La ficción amorosa es otra tradición considerada, lo cual crea una dinámica complicada en la que el rol que la mujer juega en la seducción es examinado.
Esta tesis pone en duda suposiciones generales sobre la vida familiar (y sus implicaciones para la mujer). Mediante un minucioso análisis de la figura de la ‘heroína’, se examinan las representaciones culturales y sociales de la mujer y los elementos perturbadores inherentes en la figura de la mujer fatal.
Tradiciones literarias con gran prevalencia, como la ficción histórica y el Gótico Femenino, también son consideradas. Algunos elementos del psicoanálisis, pertenecientes a figuras destacadas como Freud y Julia Kristeva, son utilizadas para determinar las maneras en las que el psicoanálisis puede ser usado para acceder textos literarios. Otra tradición importante bajo análisis es la ausencia materna, la cual es usada para detectar los efectos que este aspecto literario tiene sobre la narrativa.<br>This thesis examines the topic of female desire in the work of four lesser-known late eighteenth century women writers. The texts under analysis are Frances Sheridan’s Memoirs of Miss Sidney Bidulph (1761), Frances Brooke’s The History of Lady Julia Mandeville (1763), Elizabeth Griffith’s The Delicate Distress (1769) and Sophia Lee’s The Recess (1783). The main objective of my thesis is to determine the discourse of desire produced by the authors I have selected.
My thesis question aims at detecting the extent to which these women writers resist the strict configuration of the ‘proper’ woman and, especially, the purpose that lies behind that resistance. It also aims to propose that those women writers depict apparently conventional female characters who achieve a significant amount of self-command.
One of the aspects analysed in this thesis is female virtue in distress, introduced by Samuel Richardson and continued by later novelists, Frances Sheridan included, is examined. Amatory fiction is yet another significant tradition which is analysed, which creates a complicated dynamics in which the role women play in seduction is examined.
The present thesis interrogates general assumptions about family life – and its implications for women – and also, most importantly, in its careful analysis of the figure of the ‘heroine, women’s cultural and social representations and the disruptive components inherent in femme fatale figures are carefully examined.
Mainstream, powerful literary traditions such as Historical Fiction and the Female Gothic, are also considered. Some elements of psychoanalytical thought, such as Freud’s notion of the uncanny or Julia Kristeva’s notion of abjection, are used to determine the ways in which Psychoanalysis can be used to access literary texts. Maternal absence is yet another traditional trope which is analysed to detect the effects such influential and perpetual literary trope has on the narratives.
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Sourbati, Athanassia. "Reading the subversive in contemporary Greek women's fiction." Thesis, King's College London (University of London), 1992. https://kclpure.kcl.ac.uk/portal/en/theses/reading-the-subversive-in-contemporary-greek-womens-fiction(efd7d64a-3180-4982-9c2c-4418ee3879b7).html.
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Mohanram, Radhika Thiruvalam. "Narrative techniques and subversion in the novels of Edith Wharton." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185791.
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There are two branches of scholarship on Edith Wharton. One branch tends to focus upon a comparison of her novels with her life, and tends to document her work as that of a social historian and custodian of manners of old New York. The other branch, represented by feminist critics, uses a Marxist approach to read the thematics of Wharton's novels, and argues that her heroines are perched between the cusp of the "old" and the "new" woman. This study of Wharton extends and intertwines both these lines of scholarship to argue that Wharton's novels must be read against her life, and that the critical focus must be kept on her "new" woman, who, as the gendered speaking subject, speaks from the margins of cultural edifices. This study will focus on the idea of the splintered self, particularly the quandaries of the gendered self, an issue that shapes and determines the form of her narratives. This analysis shows that in the intersection of her fiction, her letters, and her autobiography, Wharton's gendered speaking subject enunciates a radical critique of the culture in which she lived.
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Iftimie, Paula. "Le personnage de la Tsigane dans les littératures française et roumaine du XIXe siècle." Thesis, Paris Est, 2015. http://www.theses.fr/2015PESC0019.
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Les représentations de la Bohémienne dans la littérature française du XIXe siècle sont le résultat d’une présence scénique assez ancienne en France, sous la forme des personnages de la commedia dell’arte. Les circonstances historiques et socio-culturelles des deux pays ont ajouté de nouvelles fonctions à ce personnage. Depuis les plus anciennes images des personnages des contes merveilleux et jusqu’au roman qui lui offre des perspectives diverses, la Tsigane se remarque par son exotisme, étant une figure de l’altérité. L’étrangeté de ce personnage apparaît dès qu’on analyse les ethnonymes européens, très divers et signifiant une origine supposée ou légendaire. Dans l’espace linguistique roumain il existe une variété de surnoms et de noms signifiant des métiers ou des traditions interprétées par ce peuple, certains noms représentant aussi des marques de l’ironie ou de rejet social. Nous avons considéré utile de commencer par l’étude des noms pour continuer avec une analyse par genres littéraires. Ainsi, les Bohémiennes des ballets et des romans d’aventures surprennent le lecteur par le mélange de bien et de mal dans leurs actions. Leur caractère d’initiatrices est présent dans la plupart des ballets. Les Bohémiennes interviennent dans le conflit initial, offrant une solution et leur intrusion est révélatrice pour les autres personnages. Les romans d’aventures spéculent le caractère duel du personnage, popularisant les motifs du déguisement et de l’enfant enlevé et retrouvé. La Tsigane y opère une transformation des autres personnages et impose une réflexion à la liberté et à la vérité sociale. Les personnages se déguisent en Bohémienne pour échapper aux restrictions ou aux poursuites. Nous avons analysé les images de la Tsigane dans les textes littéraires roumains du début du XIXe siècle et surtout des décennies 1830-1860. L’hypothèse d’un personnage à fonction de symbole idéologique s’en est détachée. La Tsigane y est une voix des oppressés, une image de la misère mais aussi une métaphore du changement et du progrès. Elle fait partie des manifestations d’un mouvement subversif dirigé par des intellectuels pro-occidentaux. Dans la même période où la Bohémienne est pleinement représentée dans les arts romantiques français, la Tsigane apparaît elle aussi dans les premiers textes des auteurs roumains. Elle devient peu à peu une figure de la révolte. Les images de la Tsigane-Bohémienne dans les deux littératures sont une preuve de l’influence française sur la génération des intellectuels roumains de la moitié du XIXe siècle. Elles montrent aussi une synchronisation entre les deux littératures, résultat des efforts extraordinaires de cette élite formée presque entièrement en France<br>The representations of Gypsies in the French and the Romanian literature of the nineteenth century are part of a romantic cultural movement. Since the oldest images, the characters of fairy tales and the ballets, to novel that offers them various perspectives, the Gypsy is noted for its exoticism, being a figure of otherness. The literary representations of the nineteenth century are an extension of the old collective images. The characters of Romanian literature further illustrate the ancestral types of the woman blacksmith, and the mythical image of Isis exists in both literatures. The gypsy ballet and adventure novels surprise the reader by the mixture of good and evil in their actions. Their initiation function is present in most of the ballets. The Gypsy women are involved in the initial conflict, offering a solution. The adventure novels speculate the dual nature of the character, proliferating the grounds of disguise and of the children abducted and found after several years. The Gypsy also operates there a change of the other characters and places the reflection on freedom and social truth. The characters disguise themselves into Bohemians to escape the restrictions or prosecution. The images of Gypsies in the Romanian literary texts from the early nineteenth century and especially in the decades from 1830 to 1860 sustain the hypothesis of a subversive character. The Gypsy woman is chosen to speak the social truth, being a face of misery but also a symbol of change and of progress in the cultural movement led by the generations of pro-Western intellectuals. She is one of the voices of the oppressed and gradually becomes a figure of revolt. In the same period that the Gypsy is everywhere in the French romantic arts, she also appears in the first texts of the Romanian authors. This proove the French influence on the young Romanian generation. It also shows a synchronization between the two literatures, the result of the extraordinary efforts made by this elite formed almost entirely in France
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Burns, Ladonna Michelle, and Ladonna Michelle Burns. "A Hero in Our Time: Stories of the Fictionally Subversive Soviet Woman of the 1980s." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/620724.
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Citizens who lived in the Soviet Union in the early 1980s did so amid a changing political atmosphere. For their extreme patience, they were rewarded with new policies (after 1985) that promised less censorship and more openness from the government to the people. The Soviet woman received special attention and promises in the shape of new reforms in the social spheres of education and employment. As often happens with political change, there were unintended results. As the policy of glasnost' or "openness" attempted to create and provide new possibilities for women, the unforeseen byproduct of the change was that a non-idyllic and even subversive female emerged in literature and society. This thesis will explore the prevailing cultural attitudes surrounding women before glasnost', as well as glasnost' itself and its policies affected the cultural attitudes as they related to the traditional woman's role in society. The thesis will also examine how glasnost' enabled the literary debut of the subversive female character, and foster this previously forbidden type and other prohibited topics. Finally, the discussion will turn to the immediate aftermath of glasnost' with some observations about the stunted position of the Russian woman in literature, and in society, after the breakup of the Soviet Union.This thesis will include brief studies of published shorter works-all by contemporary female Soviet writers of the 1980s-and their fictional characters. As the gender specific deep-seated beliefs, proverbs, laws and anecdotes connected to the "suggested" ideal life of the virtuous Soviet females are analyzed, the thesis will show how these fictional characters' behaviors directly and indirectly allowed Russian contemporary female writers to challenge taboo subjects within Russia through a new literary category of alternative women's prose.
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Holm, Tanya. ""Shut Up, Fuck Off!" : Micro-politics amongst Young Women in Beirut." Thesis, Södertörn University College, School of Gender, Culture and History, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-2124.
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<p>People are creators of their own acts. That is a premise of this thesis. Social contexts offer action alternatives but given their individuality people, to various extents, put the set of alternatives into question, re-shape them and make them into theirs. What people do in their everyday life has political significance. The theories that frame this work focus on how people reappropriate culture and in so doing bring forth infinitesimal changes in society.</p><p>I have interviewed seven young women in Beirut who take action to get to do what they desire. Given their social conditions and individuality they find different ways around the prohibitions that they are facing. Organized independently and within networks of foremost relatives they find their ways. They negotiate with family and community, make allies and create paths to 'forbidden' spaces. They seize opportunities and increase their space for a day, night or occasion. Then they accord their life to the surrounding's restrictions – until opportunity strikes again. The women also create an imaginary space where they are ruling queens. From there they tell the surrounding to shut up and fuck off, in there they hope, smile and fall in love.</p><p>The thesis then goes on to discuss the socio-political effects of young women's spacing practices. When the women do what they desire they enter, what they claim are, forbidden spaces. Their entry appears to be a threatening force; it diminishes gaps between the 'allowed' and the 'unacceptable' and between the 'good' and 'bad' girl- and womanhood. These practices, sprung from the daily life, challenge the surrounding and young women's spacing is thereby a micro-political phenomenon with subversive potential.</p>
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Fleitz, Elizabeth J. "Troubling gender : bodies, subversion, and the mediation of discourse in Atwood's The edible woman." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1112551802.
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Haley, Jennifer M. "Encomium, agency, and subversion : the feminist recovery of baby books as women's domestic rhetoric." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1370879.
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In this dissertation I conduct a feminist recovery of the baby book as one kind of ordinary women's domestic rhetoric. I analyze the ways in which the baby book's evolution reflects changes in cultural practices over time and the means by which the baby book constitutes acts of potentially subversive agency in its power to resist patriarchal structuring. I classify the baby book within the ancient rhetorical genre of encomium, allowing us to perceive how a culture, situated in time and place, values the perception and presentation of an infant and the culturally-assigned role of the mother in the formation of that presentation. The genre of encomium must be redefined as an ongoing, dynamic, adaptive genre.I conduct an interpretation of more than the mere artifact, but of the production and experience of that artifact as well. Thus, this study establishes a unique and significant role for a de-reading methodology as a viable introduction and theoretical foundation to approaching domestic texts, involving self figuration on the part of the researcher and an empathic approach to reading that privileges a loving, appreciative standpoint.My analysis of over fifty baby books from 1885 through 2007 reveals that the role of the baby books and the role of the mother are assigned, to a great extent, by the definition of "family" and shaped by socioeconomic forces. Mothers subvert or comply with the directives from the publishers, thereby implying rejection of or compliance with the maternal script through such strategies as appropriation of space, inclusion of artifacts, and omission. This discovery expands our notion of agency in terms of the power of form, the role of the audience, and the connections to material and symbolic cultural context.My research establishes a line of inquiry into the material practices of production and simultaneously brings into view an array of texts that have been outside the conventional purview of rhetorical scholarship. For those who want to recover women's rhetoric and to extend an understanding of rhetorical praxis, baby books are a valuable primary and, until now, untapped source, as well as a "new" type of rhetorical evidence.<br>Department of English
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Thomas, Elizabeth Ann. "Appropriation, subversion and separatism : the strategies of three New Zealand women novelists : Jane Mander, Robin Hyde and Sylvia Ashton-Warner." Thesis, University of Canterbury. School of Humanities, 1990. http://hdl.handle.net/10092/2022.
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In this thesis I propose to examine the relationship between three New Zealand woman novelists, Jane Mander, Robin Hyde and Sylvia Ashton-Warner, and the literary and social structures which prevailed in New Zealand at the time when each writer produced her works. My analysis is based on the contemporary feminist literary theory and criticism which highlights the importance of studying women writers' interaction with the cultural system and the literary differences which arise from the difference in gender. I begin with an outline of the feminist literary theories which have shaped my approach. Then I deal with each of my subjects in succession. In respect of each, I outline the social circumstances, in particular the prevailing ideologies pertaining to women's roles. This is followed by discussion of the literary circumstances, once again with special attention to the position of women writers. The analysis of the texts which
follows focusses on three main areas, namely the response of each to the patriarchal dominance of society, to the constructs of female identity imposed by society and to the norms of the dominant literary tradition. The conclusions I reach are that these writers adopt three main strategies in their texts in reaction to the social and literary contexts, namely appropriation, subversion and separatism.
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Schmidt, Heidi. "Sarah Ruhl's Women| Gender, Representation and Subversion in The Clean House, Eurydice and In the Next Room, or the vibrator play." Thesis, University of Missouri - Columbia, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13850749.
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Sucena, Junior Edson. "Na vibe das mulheres DJs: sentimento, mixagem e subversão." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7561.
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Previous issue date: 2017-06-02<br>This dissertation it is proposed to understand how the process of construction of identities of women DJs in the scene GLS in Goiânia, from the point of view that the DJ's are performers in the musical, as it cut through the mix, the relationship with the music and creating, they have the power to bring the crowd to ecstasy and trance in the club scene. This is a study about the narrative of women who act as professional DJs who now approaching, now distance themselves with regard to musical styles, because each one has its identity in the construction of his sets and in their performances. By understanding that identity is a social and cultural construction, we are led to think and problematize notions such as “feeling” (sensation), subversion and performance. These are women who are in their subordinate modes of being and expressing ourselves in the world while the genre and artists on the margin, in spaces with strong markers of social difference. Bring the voices of these women means enhancing movements and shifts of identity that will put you in check the heteronormativity compulsory. Is it so that this “feminine plural” starts to be questioned in their becomings and multiplicities. Therefore, to interrogate these identities allows us to question: a DJ is performance? How to build a DJ? Can the DJ talk? Performances and performatividades bypass their identities? Therefore, listening to the narratives of these women and go through their intimate allows us to create conditions and possibilities to which the subaltern can indeed speak and show their you can actually talk and show their potential subversive.<br>Esse estudo dissertativo propõe compreender como se dá o processo de construção das identidades das mulheres DJs na cena GLS em Goiânia, a partir do ponto de vista de que as DJs são performers musicais, pois através da mixagem, da relação com a música e da criação elas têm o poder de levar a multidão ao êxtase e ao transe nas baladas. Trata-se de um estudo acerca da narrativa das mulheres que atuam como profissionais DJs que ora se aproximam, ora se distanciam no que diz respeito aos estilos musicais, pois cada uma possui a sua identidade na construção de seus sets e em suas performances. Por compreender que a identidade é uma construção social e cultural, somos levados a pensar e problematizar noções como sentimento (feeling), subversão e performance. São mulheres que encontram na sua subalternidade modos de ser e de se expressar no mundo enquanto gênero e artistas na margem, em espaços com fortes marcadores sociais da
diferença. Trazer as vozes dessas mulheres significa potencializar trânsitos e deslocamentos identitários que colocarão em xeque a heteronormatidade compulsória. É assim que esse “feminino plural” passa a ser questionado em seus devires e multiplicidades. Logo, interrogar essas identidades nos permite questionar: DJ é performance? Como se fabrica uma DJ? Pode a DJ falar? Que performances e performatividades contornam as suas identidades? Portanto, escutar as narrativas dessas mulheres e percorrer as suas intimidades nos permite criar condições e possibilidades para que o subalterno possa de fato falar e mostrar as suas potencialidades subversivas.
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Torrissen, Wenche. "The Gaiety girl as a new, 'new woman' : pleasure, female desire and sexual subversion in late-Victorian and Edwardian musical comedy." Thesis, Royal Holloway, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521776.
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Adams, Megan E. "Flicking the Bean on the Silver Screen: Women’s Masturbation as Self-Discovery and Subversion in American Cinema." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300749024.
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Regoczy, Lucia Graciela, and n/a. "Espiritu de subversion : la construccion del discurso de la mujer en la narrativa posmoderna hispanoamericana." University of Otago. Department of Languages and Cultures, 2007. http://adt.otago.ac.nz./public/adt-NZDU20070927.141659.
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This thesis offers a typology of Postmodern women�s discourse from a sociological perspective. By focusing on the reading of Gioconda Belli�s Sofia de los presagios, Isabel Allende�s Paula, and Anacristina Rossi�s La loca de Gandoca, it examines how each writer achieves, thanks to the process of dialogism and the carnivalesque, a critique of social and aesthetic values, associated with Eurocentric discourse.
Thanks to these two processes, the values associated with the marginalized position of women in Latin America, are brought to the surface, offering a better understanding of the relation that exists between women�s literary production and the cultural environment.
Chapter one offers an overview of the concepts associated with Posmodernism, and its relevance in the Latin American context. This chapter also outlines the key concepts associated with dialogism and the carnivalesque.
Chapter two examines the use of the carnivalesque in two plays by Sor Juana Ines de la Cruz, Los empenos de una casa and Amor es mas laberinto as antecedents of subversive writing in Spanish American women�s writing. It discusses how Sor Juana through appropriation and inversion, transforms her texts into a critique of marginalized social groups. This chapter proposes that Sor Juana sets the model for the subversive nature of Spanish American women�s writing.
Chapter three offers a reading of Cristina Peri Rossi�s El libro de mis primos as an example of radical feminist discourse produced in the 60�s, focusing on the use of parody and irony as means of transgressing patriarchal discourse.
Chapter four examines Gioconda Belli�s Sofia de los presagios, and the incorporation of ancestral and modern myths, to accentuate women�s marginality and the conflicting and contradictory nature of Nicaraguan society.
Chapter five focuses on a reading of Isabel Allende�s Paula in which the techniques of magical realism and the carnivalesque are brought together to criticize social and cultural practices that marginalize women.
Chapter six examines Anacristina Rossi�s La loca de Gandoca. It focuses on the way Rossi makes use of popular music, romantic literature, poetry, and bureaucratic discourse, to denounce the exploitation and destruction of Costa Rica�s natural resources through ecotourism.
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Drewett, Anne. "Curses, Ogres and Lesbians : An Examination of the Subversion and Perpetuation of Fairy Tale Norms in Two Adaptations of Beauty and The Beast." Thesis, Umeå universitet, Institutionen för språkstudier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-117268.
Full textAbstract:
Fairy tales as a form of social acculturation can subvert and/or perpetuate potentially harmful social norms. In this essay, Chris Anne Wolfe’s lesbian romance novel Bitter Thorns (1994) and the film Shrek (2001) are analysed as adaptations of the fairy tale Beauty and the Beast, with a focus on the extent to which they challenge and/or reinforce three fairy tale norms: women as tradeable objects, heteronormativity and idealised beauty. Both these texts can be seen as subversive, Bitter Thorns in how it challenges heteronormativity and Shrek in how it challenges the norm of idealised beauty. This subversion, however, is limited, as both texts do more to perpetuate fairy tale norms than to challenge them. They both reinforce the idea of women as objects for trade, Bitter Thorns perpetuates the norm of idealised beauty, and Shrek advocates heteronormative relationships and the dominance of heterosexual masculinity.
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Fleitz, Elizabeth J. "Troubling Gender: Bodies, Subervision, and the Mediation of Discourse in Atwood's the Edible Woman." Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1112551802.
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Verma, Tarishi. "The Legitimacy of Online Feminist Activism: Subversion of Shame in Sexual Assault by Reporting it on Social Media." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1617396334881314.
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Kirkendoll, Elizabeth. "“Slightly Overlooked Professionally”: Popular Music in Postmillennial Romantic Comedies." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1531250614267114.
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"Norse Romanticism: Subversive Female Voices in British Invocations of Nordic Yore." Master's thesis, 2013. http://hdl.handle.net/2286/R.I.17774.
Full textAbstract:
abstract: The mid-eighteenth century publication of national British folk collections like James MacPherson's Works of Ossian and Thomas Percy's Reliques of Ancient English Poetry, placed a newfound interest in the ancient literature associated with Northern/Gothic heritage. This shift from the classical past created a non-classical interest in the barbarism of Old Norse society, which appeared to closely resemble the Anglo-Saxons. In addition to this growing interest, Edmund Burke's seminal treatise, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, provided a newfound aesthetic interest in objects of terror. The barbaric obscurity and exoticism associated with the Norse culture provided the perfect figures to explore a Gothic heritage while invoking the terror of the sublime. This interest accounted for a variety of works published with Gothic themes and elements that included Old Norse pagan figures. Though a few scholars have attempted to shed light on this sub-field of Romanticism, it continues to lack critical attention, which inhibits a more holistic understanding of Romanticism. I argue that "Norse Romanticism" is a legitimate sub-field of Romanticism, made apparent by the number of primary works available from the age, and I synthesize the major works done thus far in creating a foundation for this field. I also argue that one of the tenets of Norse Romanticism is the newfound appreciation of the "Norse Woman" as a democratized figure, thus opening up a subversive space for dialogue in women's writing using the Gothic aesthetic. To illustrate this, I provide analysis of three Gothic poems written by women writers: Anna Seward's "Herva at the Tomb of Argantyr," Anne Bannerman's "The Nun," and Ann Radcliffe's "Salisbury Plains. Stonehenge." In addition, I supplement Robert Miles' theoretical reading of the Gothic with three philosophical essays on the empowerment of the imagination through terror writing in Anna Letitia Aikin (Barbauld) and John Aikin's "On the Pleasure Derived from Objects of Terror" and "On Romances" as well as Ann Radcliffe's "On the Supernatural in Poetry."<br>Dissertation/Thesis<br>M.A. English 2013
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Dowling, Finuala Rachel. "Subversive narrative and thematic strategies : a critical appraisal of Fay Weldon's Fiction." Thesis, 1995. http://hdl.handle.net/10500/16680.
Full textAbstract:
Fay Weldon is a popular, prolific author whose oeuvre stretches from 1967 to the present
and includes 20 novels, three collections of short stories and numerous stage, radio and
television plays, scripts and adaptations. This thesis limits itself to her fiction and follows
the chronological course of Weldon's writing career in five chapters.
Fay Weldon's fiction, situated at the intersection of postmodemism and feminism, is
doubly subversive. It both overturns 'reasonable' narrative conventions and wittily
deconstructs the specious terminology used to define women. Weldon's disobedient female
protagonists - madwomen, criminals, outcasts and she-devils - assert the power of the Other.
Gynocentric themes - single parenthood, sisterhood, reproduction, motherhood, sex and
marriage - are transformed by Weldon into uproarious feminist revenge comedy. This she
achieves through an intertextuality which often involves unorthodox typography, genreswopping
and metafictional devices. Moreover, a unique ventriloquism enables her
omniscient first-person narrators to mimic 'Fay Weldon' herself.
Since her narrators are rebels and iconoclasts, Weldon has always been viewed as a
subversive individual worthy of media attention, especially interviews. For this reason, and
because she is a woman writer who struggled initially against social and domestic odds, the
thesis incorporates in its argument the author's biography and public personae.
Chapter One explores the connections between Weldon's first novels - notably Down
Among the Women (1971) - and early liberationist and anthropological feminism. In Chapter
Two, Bakhtin's dialogic imagination and Derrida's differance provide the basis for a
discussion of multiplicity in Weldon's novels of the late 1970s, particularly Praxis (1979),
shortlisted for the Booker prize. Chapter Three tests the limits of a psychoanalytical model
in accounting for Weldon's novels of (m)Otherhood, including The Life and Loves of a SheDevil
(1983).
Theories of humour and carnival inform Chapter Four's analysis of how Weldon's wit
- at its tendentious best in The Heart of the Country (1987) - declines into innocence.
Finally, Chapter Five sees Weldon's flagging literary reputation as the symptom of authorial
exhaustion and retreat from a feminist agenda. This concluding chapter is, however,
ultimately optimistic that the mercurial author's undeniable talents may reassert themselves<br>English Studies<br>D.Litt. et Phil. (English)
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Kgoshiadira, Pitsi Rebeccah. "Female subversion in Zakes Mda's novel, The Madonna of Excelsior." Thesis, 2015. http://hdl.handle.net/10386/1659.
Full textAbstract:
Thesis (M.A. (English Studies)) -- University of Limpopo, 2015<br>This dissertation examines different modes of female subversion in the novel, The Madonna of Excelsior (2002) by Zakes Mda. Using feminist theory, the study explores how women in the novel transgress apartheid laws and how they use existing discriminatory laws to their own advantage. In addition, it illustrates how these women rise above those existing laws to establish their own subjectivity and independence.
The Madonna of Excelsior is a novel set in apartheid South Africa where laws prohibiting sexual relationships between whites and blacks were in effect. Niki, the main character in the novel, transgresses these laws by having sexual intercourse with white men, one of whom eventually fathers her baby. Niki gives birth to Popi who is ostracised by the Mahlatswetsa community because of her mixed racial identity. In spite of growing up in a prejudiced community, Popi works hard and becomes an important member of the town council later on when apartheid gives way to black rule. Popi subverts apartheid and the prejudice of her community by accepting herself as a coloured person, by being active in the political affairs of the Mahlatswetsa community, by engaging with the community through her service at the library and during funerals, and by reconciling with Tjaart Cronje, her half-brother.
Popi’s mother, Niki, also subverts apartheid’s discriminatory laws by having sexual relationships with Afrikaner men such as Johannes Smit and Stephanus Cronje. Through these affairs, she exposes the hypocrisy of the Afrikaners and the unfairness of their laws. However, Niki’s subversion goes beyond the use of sex and the body. In her marriage with Pule, she suffers wife battering and marital infidelity. In this instance, Niki subverts traditional expectations of women by leaving Pule and establishing an independent life for herself and her children. In giving birth to Popi and raising her as a coloured child, Niki exposes the double standards of Afrikaner morality. She subverts
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the judgmental attitude of the Mahlatswetsa community by withdrawing from the community and resorting to bee-keeping. In this isolated space, she finds healing.
Other female characters in the novel, such as Maria, Mampe and The Seller of Songs, also subvert the apartheid system and their communities through their sexual escapades with white men and their service to the community. On her part, Cecilia Mapeta subverts apartheid by her direct rejection of illicit sex with white men and her pursuit of education. In contrast to her, Maria and Mampe use mainly sex and the body to ensure their survival in a racist South Africa. The Seller of Songs, like Popi, uses her service to the community to subvert its prejudice.
In their different circumstances, the women characters in this novel employ different subversive strategies, all of which work ultimately to their advantage. On the whole, this study argues that female subversion in Zakes Mda’s The Madonna of Excelsior is effected through various media, including sex and the body, racial differentiation, education, silence, community engagement, political activity, and family reconciliation.
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Swan, Sarah Lynnda. "Law's Erotic Triangles: A Conversion, Inversion, and Subversion." Thesis, 2016. https://doi.org/10.7916/D82B8Z2M.
Full textAbstract:
The erotic triangle, in which two men compete for a desired woman, is a foundational archetype of Western culture. This dissertation, through its three separately-published articles, examines how this cultural archetype is manifested in law and legal structures, and the relationship between law’s erotic triangulations, gender inequality, and third-party responsibility. Each of the three articles of this dissertation focuses on a different manifestation of third-party responsibility, and each offers its own self-contained argument. At the same time, the “graphic schema” of the erotic triangle analytically enriches each of them. The erotic triangle is a “sensitive register […] for delineating relationships of power and meaning,” and using it in this context illuminates the shifting ways gender, power, and legal responsibility circulate in these male-female-male legal structures. Together, the articles suggest that law both replicates and reproduces erotic triangulations in ways that contribute to gender inequality, but also that it may be an important site for their renegotiation.
The first article, A New Tortious Interference with Contractual Relations: Gender and Erotic Triangles in Lumley v. Gye, explores how the tort of interference with contractual relations was created out of a factual scenario involving an erotic triangle (two rival opera-house managers competing for the services of a renowned chanteuse). The court converted past regulations of erotic triangles (in particular, criminal conversation, which allowed a husband to bring an action against a man for sexual interference with his wife) into a new cause of action, one which removed a triangulated woman’s responsibility for breaching a contract, and instead assigned responsibility to the man who induced her to breach. While this first iteration involves the removal of responsibility from a triangulated woman, the second article, Home Rules, involves an inversion of this responsibility allocation: here responsibility is removed from a usually male wrongdoer and instead imposed upon a triangulated woman. Home Rules examines how, through a series of ordinances, local governments are imposing responsibility on female heads of household for the wrongful actions of their typically male household members. In so doing, local governments disrupt kinship structures and assert the state’s dominance over the family and intimate life. The third article, Triangulating Rape, evidences a more positive shift in responsibility. It traces the transformation of rape law as a progression from a tradition of erotic triangulation to a subversion thereof. Unlike the historical rape law triangle, in which rape is legally constructed as a wrong that one male does to another through the body of a woman; and unlike the criminal rape law triangle, in which rape is legally constructed as a wrong that one man does to the state through the body of a woman; civil actions in which women bring claims against both perpetrators of sexual assault and the third-party entities that facilitate or fail to prevent those assaults allow harmed women to assert their own subjectivity and climb out of their traditionally passive role in the erotic triangle. In so doing, this reconfigured triangulation ultimately challenges the gender status quo that produces sexual harms, and suggests that subverting the usual functioning of triangulated patterns may hold promise as a tool of social change.
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Chou, Chao-lan, and 周兆蘭. "Contesting Socio-Ideological Languages in The Woman Warrior: Subversive Voices within/from the Dialogized Interactions of Diverse Consciousnesses." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/17864169036355407086.
Full textAbstract:
碩士<br>國立清華大學<br>外國語文學系<br>89<br>Abstract
Maxine Hong Kingston’s The Woman Warrior has been widely discussed for its heteroglot and dialogic elements of diverse socio-cultural ideologies. However, critics who apply Bakhtinian assumptions in their investigation simply focus on the demonstration of the heteroglot and dialogic phenomena interwoven within the text. Left without further research are not only how the young narrator (also the protagonist) dialogizes with multicultural conceptions, ideological belief systems, and individual consciousnesses, but also the motivation and purpose of her utilizing the heteroglot and dialogic strategy. My thesis examines how the narrator-protagonist, a Chinese American woman, challenges the established moral traditions and customs, and the authoritative ideological frameworks of gender and race. Through her (re)telling stories of other women, the narrator-protagonist intermixes multiple contesting socio-cultural ideologies derived from multicultural conceptions of different female characters. The heteroglot sphere of diverse consciousnesses nourishes a dialogical environment for deconstructing the accepted male-oriented and white-oriented views. Moreover, this thesis studies closely how this young narrator- protagonist, with the narrative strategies of heterogenization and dialogization, subverts the imposed patriarchal and racist definitions, voices out her individual ideological consciousness in a unique multicultural background, and forms her alternative self-identity as a Chinese American woman.
To develop my argument, the introduction in Chapter One begins with a brief presentation of the diverse socio-cultural background for Chinese American women and then a survey of the scholarship on The Woman Warrior. By indicating the insufficiency of the researches, this examination anticipates my further investigation of (1) the contesting socio-cultural ideologies within the arena of The Woman Warrior and (2) the subversive voices created throughout the process of challenging, deconstructing, and self-inventing. In Chapter Two, I elaborate the theoretical bedrock on which my discussion bases. First, in M. M. Bakhtin’s views on self, community, heteroglossia, and dialogue, the former Russian critic has argued that one’s self-invention depends on the dialogic relations with other consciousnesses. One’s internal consciousness must be re-accentuated to create new meanings for oneself within the arena of intense interaction and never-ending struggle with others. Throughout the becoming of one’s self, the continual dialogic interaction repeatedly (re)defines and (re)constructs one self toward the formation of an individual ideological consciousness. So, Bakhtin’s assumptions are employed to analyze how the narrator-protagonist in The Woman Warrior dialogizes with the dominant ideological discourses and effects her voicing-out for self-identity. In addition, certain theoretical propositions of Michel Foucault are drawn as a supplement to my theoretical framework for the discussions on the operations of existing power relations, the functioning of absolute ideological discourses, and subversive voices of resistance within the text. And these discussions serve to examine further the dialogic interactions of multiple alien voices from the dominant discourses, the characters’ world views, and the narrator-protagonist’s value pattern.
The third chapter analyzes how the narrator-protagonist blurs the boundary between reality and fiction, questions the authority of dominant views, and gives legitimacy to the created multiple and provisional individual discourses. Kingston asserts that a story changes from telling to telling according to the needs of the listener, and to the interest of time and environment. The Woman Warrior gives expression to Kingston’s view about story-telling. The unique multicultural background of the narrator-protagonist leads her to undermine the authority of the stories her mother tells, to question the fixed messages carried in them, and to accentuate her own re-interpretations. By retaining skepticism, uncertainty, and ambiguity in her narratives, the narrator-protagonist brings out multiple possibilities of contingent individual discourses to legitimize her marginal difference. Next, Chapter Four examines how the narrator-protagonist struggles to confront the racist and patriarchal norms and to subvert the traditional superstitions and customs throughout the process of voicing-out and self-inventing. It explores the complex dialogic interactions between and among the narrator-protagonist’s world view, Brave Orchid’s belief system, multicultural perspectives, and pre-existing ideological discourses. Within the never-ending negotiation with external socio-cultural ideologies, she (re)accentuates and (re)invents her self, and comes to develop the alternative formation of her hybrid uniqueness, forever changing and developing. In the concluding chapter, I re-examine the book reviews and critical essays of both Euro-American and Chinese American critics and further talk about the alternative identity, which the narrator-protagonist comes home to claim. By breaking down the dominant racist, sexist, and ethnic ideologies, she ultimately creates her self-identity as a Chinese American woman, fluid and dialogized with both Chinese and American cultures.
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Ngomane, George Nkhesani. "Gender, genre and identity in selected short stories by Bessie Head." Diss., 2004. http://hdl.handle.net/10500/1152.
Full textAbstract:
This study probes selected stories from Bessie Head's The Collector of Treasures (1977) in order to elicit instances of contiguity and disjuncture between orality and literacy, to establish Head's complex identity configurations which are often manifested in the interactions between aesthetic form and content, authorial consciousness, character delineation, and narrative voice. At the same time, the dissertation explores her portrayal of the proscribed condition of women, the subversive consciousness that undercuts women's subjugation by patriarchy, and her vision for the liberatory possibilities for women from the exigencies of patriarchal domination. I also examine Head's (re-)vision of culture within the framework of hybridity and creolity and determine how some of these perspectives are crystallized in discourses such as When Rain Clouds Gather (1968), Maru (1971) and A Question of Power (1973). I juxtapose my reading of Head with other African writers such as Bâ, Emecheta and Nwapa to draw references in instances where the context permits. The dominant critical approach adopted in this thesis is a contextual approach. I consider this approach useful for my purposes because of its flexibility, the attention it pays to the formal properties of literary texts and, its cognizance of the socio-historical genesis of texts and its demonstration of literature's timeless value.<br>English Studies<br>M.A. (English)
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Napier, Rebecca Annette. "Active submission the subversion of gendered binary oppositions in three post-war novels authored by international women /." 2006. http://etd.utk.edu/2006/NapierRebecca.pdf.
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楊詩恬. "The subversion of male domination in John fowles's the collector and the french lieutenant's woman." Thesis, 1992. http://ndltd.ncl.edu.tw/handle/54470296987726327282.
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Desloover, Elise. "Une double subversion de genre(s) chez Nietzsche, ou comment philosopher par le poétique." Thesis, 2020. http://hdl.handle.net/1866/25480.
Full textAbstract:
Friedrich Nietzsche fait appel à un nouveau langage au service de la philosophie de l’avenir dans Par-delà le bien et le mal (1886). Son écriture s’en fait l’ostentation là même où elle se refuse à des descriptions explicites jugées trop conceptuellement fixes. Fidèle à une perspective résolument pluridisciplinaire, ce mémoire propose de souligner comment Nietzsche se tient à dessein sur la frontière mouvante entre philosophie et littérature pour mettre en œuvre ces nouveautés. Puisque la complexité du monde s’avère irréductible aux concepts philosophiques traditionnels, il s’agit plutôt d’illustrer ses vérités perspectivistes en ayant recours à la stylisation poétique et joueuse du texte. Ainsi s’expriment et s’élaborent maintes interprétations artistiquement créatrices du réel. La métaphore de la femme filée dans les œuvres de Nietzsche, qui personnifie tour à tour la vérité, la vie et la sagesse, s’avère centrale à cette pensée pleinement affirmative de la réalité. Elle met en scène des personnages féminins d’apparence voilée et pudique, entités qui se dérobent à la saisie conceptuelle tentée par la philosophie. Obéissant au principe de dévoilement de l’alètheia, la visée de celle-ci se compare à l’indécence juvénile du prétendant qui ne saurait s’y prendre pour conquérir l’objet de son amour et par là lui ferait violence.
Nous proposons une exposition chronologico-thématique des diverses occurrences de la métaphore de la femme, enrichie de nombreux parallèles avec les écrits et commentaires de Jacques Derrida, de Sarah Kofman et d’Hélène Cixous. La caractérisation de figures mythologiques féminines (Sphinx, Baubô, Méduse) s’entrelaçant dans les passages étudiés indiquera que les textes de Nietzsche opèrent subrepticement des subversions de genres. La théorie queer de Judith Butler sera mobilisée afin de saisir les subtilités du bouleversement des figures canoniques de la vérité/vie/sagesse-femme et de la philosophie-homme. Il apparaîtra que ces subversions de l’identité de genre sont intimement liées à des subversions du genre textuel. L’interprétation du motif du voile, qui rattache tangiblement la métaphore de la femme à l’acception nietzschéenne du poète-philosophe de l’avenir, montrera que la valorisation des apparences par l’écriture poétique, habituellement perçues comme trompeuses, défie les formes consacrées de l’écriture philosophique et, par conséquent, l’appréhension du réel.<br>In Beyond Good and Evil (1886), Friedrich Nietzsche proclaims the necessity of a new language serving the philosophy of the future he envisions. While his writing refuses to advocate for explicit descriptions deemed too conceptually fixed, it becomes the ostentation of this new language. Faithful to a resolutely multidisciplinary perspective, this dissertation proposes to underline how Nietzsche’s work purposefully blurs the border between philosophy and literature. Since the complexity of the world is irreducible to traditional philosophical concepts, it is rather a matter of illustrating perspectivist truths through poetic and playful textual stylization. Many artistically creative interpretations of reality are thus expressed and elaborated through writing. Specifically, the metaphor of the woman spun in Nietzsche’s works personifies in turn truth, life and wisdom, and is central to his affirmative philosophy of reality. It depicts veiled, modest female characters, such entities evading philosophy’s attempted conceptual grasp. Obeying aletheia’s (truth’s) principle of unveiling, its aim is comparable to the juvenile indecency of the suitor who knows not how to conquer the object of his love, hence committing acts of violence toward it.
I propose to exhibit chronologically and thematically the various occurrences of the metaphor of the woman, which will then be read in parallel to the works or commentaries by Jacques Derrida, Sarah Kofman and Hélène Cixous. A characterization of certain female mythological figures intertwined in the examined passages (namely the Sphinx, Baubo and Medusa) will indicate that Nietzsche’s texts surreptitiously operate gender subversions. I will call upon Judith Butler’s Queer Theory to grasp in detail the upheaval of that canonical figures represented by truth/life/wisdom-woman and philosophy-man. As a result, these gender identity subversions will appear intimately tied to subversions of the textual genre. An interpretation of the veil motif, by tangibly linking the metaphor of the woman to the Nietzschean meaning of the future poet-philosopher, will show that the valorization of appearances by poetic writing, usually perceived as deceptive, defies the consecrated forms of philosophical writing. Consequently, it has a significant incidence on human beings’ apprehension of reality or realities.
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Fernandes, Andreia Miriam Marantes. "Os estereótipos na representação do feminino na ficção queirosiana." Master's thesis, 2020. http://hdl.handle.net/10400.2/9962.
Full textAbstract:
A presente dissertação analisa a representação do feminino na ficção queirosiana,
considerando as personagens centrais dos três romances de Eça de Queirós mais
comprometidos com o retrato da sociedade, isto é, O Crime do Padre Amaro, O Primo
Basílio e Os Maias, mas não descurando a relação com outras obras do autor.
As personagens, tais como Luísa, Juliana, D. Felicidade, Maria Monforte, Maria
Eduarda, Raquel Cohen, a Condessa de Gouvarinho, Amélia, as irmãs Gansosos, a Sr.ª D.
Maria da Assunção e D. Josefa Dias, são analisadas de acordo com a componente física e
psicológica, o vestuário, o estatuto social e o perfil moral, procurando detetar
características comuns que conduzem à identificação de estereótipos na construção das
mesmas.
Apesar de a galeria de personagens femininas da ficção queirosiana ser extensa, os
estereótipos a que estas pertencem é bastante mais restrito, porque integram grupos, de
acordo com modelos assentes em perfis específicos. Assim, as mulheres apresentadas por
Eça de Queirós revelam pontos de contacto em diversos níveis, que permitem situar a
figura feminina numa tipologia: a adúltera, a solteirona, a beata ou a estrangeira.
Os estereótipos são transversais à generalidade da ficção queirosiana, apesar de ser
possível identificar casos pontuais em que são subvertidos, numa perspetiva de oposição
ou de heterogeneidade face às restantes personagens femininas, como sucede com
Leopoldina, que está nos antípodas da mulher oitocentista, ou com Maria Eduarda, que
conjuga múltiplas facetas.<br>This dissertation analyses the representation of the female characters in the fiction
of Eça de Queirós, taking into account the three romances that best portray the society, O
Crime do Padre Amaro, O Primo Basílio and Os Maias, relating them also with other fictional
works of the author.
Characters, such as Luísa, Juliana, D. Felicidade, Maria Monforte, Maria Eduarda,
Raquel Cohen, Condessa de Gouvarinho, Amélia, the sisters Gansosos, D. Maria da
Assunção and D. Josefa Dias, are seen according to the physical and psychological
perspective, the clothes used, the moral profile and social status shown. Therefore, it is
possible to find common characteristics that lead to the identification of stereotypes in
these characters.
Despite the extensive gallery of female characters in the fictional work of the
author, the stereotypes to which they belong are restricted because they are included in
groups, based on specific profiles such as the adulterous, the spinster, the pious and the
foreigner.
Although the stereotypes are part of the fictional work of Eça de Queirós, it is also
possible to identify some cases of subversion of the stereotypes through opposition or
heterogeneity. Comparing to the other female characters, Leopoldina and Maria Eduarda
are examples of subversion as the first is the opposite of the other women and the second
congregates multiple profiles.
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Chigwedere, Yuleth. "Head of darkness : representations of "madness" in postcolonial Zimbabwean literature." Thesis, 2015. http://hdl.handle.net/10500/20981.
Full textAbstract:
This study critically explores the numerous strains of “madness” that Zimbabwean authors represent in their postcolonial literature. My focus is on their reflection of “madness” as either an individual state of being, or as symptomatic of the socio-political and economic condition in the country. I have adopted insights from an existential psychoanalytic framework in my literary analysis in order to bring in an innovative dimension to this investigation of the phenomenon. I consider this an appropriate stance for this study as it has enriched my reading of the literary texts under study, as well as played a crucial role in providing me with effective conceptual tools for understanding the manifestations of “madness” in the texts. The literary works that I critique are Shimmer Chinodya’s Chairman of Fools (2009), Mashingaidze Gomo’s A Fine Madness (2010), Brian Chikwava’s Harare North, Petina Gappah’s An Elegy for Easterly (2009), Tsitsi Dangarembga’s The Book of Not (2006) and Yvonne Vera’s Without a Name (1994) and Butterfly Burning (1998). These selected texts offer me an opportunity to analyse the gender dynamics and discourses of “madness”, which I do from a peculiarly indigenous and feminist perspective. My study reveals that these authors’ representations are located in and shaped by very specific temporal and spatial contexts, which, in turn, shed light on the characters’ existential reality, revealing aspects of their relationship with the world around them. It demonstrates that their notions of “madness” denote different markers of identity, such as race, class, gender, and religion, amongst others. Significantly, my literary analysis illustrates the varied permutations of “madness” by exposing how these authors characterise the phenomenon as trauma, as alienation, as depression, as insanity, as subversion, as freedom, and even as a sign of the
state of affairs in Zimbabwe. This investigation also reveals that because “madness” in these authors’ fiction is intricately linked to the question of identity, it manifests in situations where the characters’ sense of ontological security is compromised in some way. What emerges is that “madness” can either signify a grapple with identity, a loss of it, or a struggle for its redefinition<br>English Studies<br>D.Litt. et Phil. (English)
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Vojtíšková, Věra. "Magický realismus v perské a saúdské próze." Doctoral thesis, 2016. http://www.nusl.cz/ntk/nusl-353514.
Full textAbstract:
The dissertation Magical Realism in Persian and Saudi Narrative Writing views as essential the assumption that the phenomenon of magical realism is not restricted solely to the cultures with colonial legacy, but is transferable to literary works created under systematic and systemic violence anywhere in the world. Previous research of the dissertation's author proved the existence of parallels in the dynamics of sociopolitical development of Iran and Saudi Arabia in the 20th century, foremost in the power relation of the states to their citizens and in the status of women in the society, while there was a strong tendency towards institutionalization of the traditional patriarchal, androcentric and misogynic societal paradigms since the second half of the 20th century. In the last thirty years, women have countered this situation through increased literary activity that has turned out to be an important means of self-fulfillment and emancipation. The fact that some of the most significant Iranian and Saudi women writers use magical realism directed the research to examination of this concept's relevance for the Persian and Saudi narrative writing, inquiry into the reflection of the gender issues and their comparison in both literatures. A detailed case study of two works, each from one country, led...