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Dissertations / Theses on the topic 'Theater Feminism in literature'

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Published: 4 June 2021

Last updated: 8 February 2022

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1

Meier, Cynthia Mildred. "A feminist archetypal analysis of Diane di Prima's Loba poems for performance." Diss., The University of Arizona, 1990. http://hdl.handle.net/10150/185269.

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Uncovering the feminine myth has been the topic of numerous studies. In recent years, research has focused on the return of ancient images of the goddess as the primary metaphor for the feminine myth. Utilizing feminine typologies from Jungian archetypalists and feminist scholars, this study summarizes the research on the archetypal feminine in order to analyze Diane di Prima's Loba poems. An analysis of the poems is undertaken and reveals patterns of feminine images which are consistent with other revisionist literature by women. The analysis is then used to frame a production of poems as a ritual celebrating the Loba as goddess. As Christine Downing suggests in The Goddess, women need images of the goddess to recognize the divine in themselves. The adaptation of the Loba poems for performance creates such an image. It also creates a theatre piece with what Sue-Ellen Case calls "woman as subject." As a result of this study, the goals of feminist archetypal theory are advanced as well as the goals of feminist theatre.

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2

Huston-Findley, Shirley A. "Subverting the dramatic text : folklore, feminism, and the images of women in three canonical American plays /." free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9901243.

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3

Bai, Di. "A feminist brave new world : the cultural revolution model theater revisited." Connect to resource, 1997. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1129217899.

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Thesis (Ph. D.)--Ohio State University, 1997.
Advisors: Kirk Denton and Marlene Longenecker, Interdisciplinary Program. Includes bibliographical references (leaves 196-202). Available online via OhioLINK's ETD Center

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4

Najar, Daronkolae Esmaeil. "Pam Gems: Rethinking Her Life and the Impact of Her Plays on British Stage." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523487108676837.

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5

Rapoo, Connie. "Figures of sacrifice Africa in the transnational imaginary /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1610482411&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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6

Rathbun, Jennifer. "The dramatic feminine discourse of Cristina Escofet." Diss., The University of Arizona, 2002. http://hdl.handle.net/10150/289798.

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The Dramatic Feminine Discourse of Cristina Escofet interrogates this author's use of language as a way to unravel her feminist discourse. In her writings on theater, her public pronouncements and her theater workshops Escofet employs the term "kaleidoscope" to describe her approach to language: colorful, changing and composed of many components. Therefore, my search to describe Escofet's feminine discourse uses a definition of discourse that embraces its kaleidoscopic nature. My approach is grounded in the theoretical insights of Helene Cixous, first and primary disseminator of the theory of feminine discourse, who maintains that feminine writing is elusive and must be approached from different angles. Consequently, my thesis also encompasses a study of the images of women, and their sexuality, and the effects of simulacra on feminine identity. In Cristina Escofet's search for a contemporary image of women her feminine discourse reevaluates, destabalizes or reinvents the image of women that has been perpetuated through Hollywood and through the telling and retelling of fairy and folk tales. The image of or reference to heroines like Little Red Ridding Hood, Sleeping Beauty, Cinderella, or Snow White and of actresses such as Marilyn Monroe, Bette Davis, Greta Garbo, and the character Annie Hall are integrated into almost every one of Escofet plays. These images of Hollywood actresses and fairy and folk tale heroines stem from their performative gender roles. As Judith Butler explains, gender is an act created by society that has been mistaken for reality. To mistake the act for the real is a direct consequence of simulacra as explained by Jean Baudrillard. Escofet, conscious of the nature of signs in today's society, presents and explores the problems that arise out of the performative nature of gender, or rather, out of simulacra in relation to female's identity in her plays. The exploration of the image of women and the effects of simulacra on feminine identity continue in Escofet's characters' exploration of sexuality. Escofet adequately represents women's sexual beliefs, attitudes and experiences.

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7

Lee, Melissa. "Staging the Actress: Dramatic Character and the Performance of Female Identity." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397823196.

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8

Brown, Terri L. "Me and my shadow an exploration of doppelgänger as found in the music and text of Susan Glaspell's The verge /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1208826442.

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9

Bruton, Rita Tovar. "A Feminist Rereading of Selected Works by Carlos Morton." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984223/.

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Carlos Morton is a prominent Chicano playwright that has contributed greatly to Chicano theatre, creatively and academically, since in 1970s. This thesis offers a feminist analysis of the gender representation in three of his works: Lilith (1977), La Malinche (1984), and Dreaming on a Sunday in the Alameda (1992). The female characters in these three plays possess a unique agency that allows them to challenge oppressive patriarchal standards imposed on their gender identity. The second chapter explores Morton's Lilith, a play based on a Jewish creation myth. In the play, Lilith possesses agency of her gender identity and forms a bond with Eve to fight the patriarchal gender norms used to restrict women in Chicano culture. La Malinche is an adaptation of Eurpides's Medea set in post-Conquest New Spain. Chapter three focuses on the agency displayed by La Malinche through her indigenous roots to fight for her own form of motherhood and freedom from patriarchy. The final play analyzed in this thesis is Dreaming on a Sunday in the Alameda, a dream-like play that is based on Diego Rivera's mural by the same name. Several female characters in the play demonstrate agency through their androgynous sexual identities as they unite to resist male character's sexualized perceptions and expectations of females within Mexican and Chicano culture.

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10

Wilder, Nicole Marie. ""Set me free at once" exploring feminism and freedom in the text, performance, and production of Lanie Robertson's The insanity of Mary Girard /." Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1217004796.

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11

Roberts, David. "The ladies : female patronage of Restoration drama 1660-1700." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670377.

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12

Martin, Lene Karine. "Lost in the Woods: A Theatrical Journey Through Gender and Media Analysis." Oxford, Ohio : Miami University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1133997072.

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13

Lusardi, Laura Ann. ""¿Y este teatrillo se llama 'realidad'?": La (re)presentación de realidades sexuales y de género en seis dramaturgas mexicanas contemporáneas." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/34920.

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Spanish
Ph.D.
He estudiado seis obras de teatro en un acto por dramaturgas mexicanas contemporáneas a la luz de las teorías del feminismo materialista y las de la construcción cultural y social del género y la sexualidad para verificar cómo todas ellas cuestionan la realidad dominante y su carácter natural. Las obras analizadas son Feliz nuevo siglo doktor Freud (2000) de Sabina Berman, La coincidencia (1994) de Leonor Azcárate, Tren nocturno a Georgia (1994) de María Luisa Medina, Nocturnos (2003) de Edna Ochoa, Plagio de palabras (2000) de Elena Guiochins y Oste ni moste (2002) de Denisse Zúñiga. En las seis obras estudiadas aquí he intentado demostrar cómo una temática común--la construcción social y cultural del género y la sexualidad--establece un diálogo entre dramaturgas de diferentes generaciones. Cada obra propone de manera diferente la posibilidad de una recreación existencial de una identidad cultural: en Feliz nuevo siglo doktor Freud Berman examina el caso famoso de Dora desde las perspectivas freudiana y feminista para demostrar cómo diferentes interpretaciones pueden producir realidades dispares; en La coincidencia Azcárate cuestiona la identidad de género en una sociedad donde los medios de comunicación participan en la construcción de la identidad personal; Medina en Tren nocturno a Georgia concibe la identidad sexual como un papel teatral para desmentir la heterosexualidad compulsiva; en Nocturnos Ochoa presenta la imitación de los papeles de género por una pareja matrimonial para negar la asociación natural entre el sexo y la identidad de género; en Plagio de palabras la mirada futurista de Guiochins demuestra cómo las categorías de sexualidad y de género cambian constantemente a través del tiempo; Zúñiga en Oste ni moste extiende el examen constructivista a la función de las instituciones religiosas y se vale del teatro de títeres para denunciar el poder eclesiástico.
Temple University--Theses

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14

Cody, Suzanne Marie. "Love. Sex. Shoes. A collection of performance essays." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4596.

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The essay is an exploration of a thought, an idea, an experience. To essay is simply to attempt. A conclusion is not always reached, a solution is not always found, but the writer is compelled to attempt to contain the thought, the idea, the experience, in words on the page. The performance essay makes the same attempt. But where the written essay is complete on the page, the performance essay is subject to constant transformation by the necessity of the physical body to the finished work. Not the body of the writer, but the body of the performer who stretches and bends the writer-shaped space of the essay to make it fit, completing the work in the creation of this new shape. This is the excitement for the writer of the performance essay. To surrender control of the work to another artist and see what they will make of it.

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15

Rocha, Carol Martins da 1983. "Perfume de mulher = riso feminino e poesia em Casina." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269083.

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Orientador: Isabella Tardin Cardoso
Dissertação (mestrado) - Universidade Estadual de Campinas. Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-15T14:07:05Z (GMT). No. of bitstreams: 1 Rocha_CarolMartinsda_M.pdf: 1639829 bytes, checksum: 7991e0e6cb303ae428ac9305de04cbce (MD5) Previous issue date: 2010
Resumo: A peça Cásina (Casina), provável produção do fim da carreira do poeta romano Tito Mácio Plauto (III-II a.C.), carece de observação mais atenta no cenário mais recente dos estudos sobre o autor. É notável que essa comédia, ao que saibamos, não tenha recebido anteriormente tradução em nosso país, sobretudo porque um passar de olhos pelas intrigas e confusões da peça, já nos revela uma infinidade de aspectos da poesia plautina. Em muitos casos se trata de características sutis, muitas das quais têm passado despercebidas para a maioria dos críticos, que notaram sobretudo brincadeiras mais explícitas ali presentes, envolvendo inclusive travestimento e referências a partes pudicas. Como pretendemos ressaltar, outros recursos humorísticos e poéticos abundam em Cásina: desde o próprio nome dos personagens até passagens em que podemos notar teatro dentro do teatro (fenômeno tratado mais recentemente como ?metateatralidade?). A trama, mesmo que típica do drama plautino, constrói-se de tal maneira a destacar de modo especial personagens que em outras peças não recebem tanto realce: as mulheres. Seja no papel da típica matrona plautina (esposa ciumenta), seja num papel contrário (a esposa submissa), seja ainda, na inventividade da escrava, ou até mesmo, na figura de uma falsa mulher, os personagens femininos de Cásina chamam a atenção dos leitores modernos, e, provavelmente, também cativariam o público da época. Nossa tradução e análise da peça buscam, entre outros resultados, proporcionar a percepção de tais efeitos humorísticos e póeticos. Para tanto será necessário observar fatores distintos: possíveis interferências pós-plautinas (pressupostas a partir do prólogo); aspectos de teatro dentro do teatro presentes no texto; o tratamento cauteloso da linguagem plautina
Abstract: The play Casina (Casina), probably a production of the end of the Roman poet's career Titus Maccius Plautus (III-II b. C.), lacks a more exhaustive observation in the recent scenario of the studies about the author. It is noteworthy that, as far as I know, this comedy hadn't received any translation in our country, above all because a look over to the Casina's intrigues and confusions may reveal an infinity of instigating aspects of Plautine poetry. In many cases, subtle characteristics haven't received a proper treatment by the critics that have noted above all tricks more explicit there, involving cross-dressing and references to chaste parts. As I intend to highlight, other humorous and poetics resources also abound in Casina: since the speaking names of the characters until passages where one may note play-within-the-play (phenomenom treated more recently as ?metatheater?). The plot, although typical in the Plautine drama, is built in such a way that emphasizes specially characters that in other plays don't receive much attention: the women. As the typical Plautine matrona (the jealous wife) or in an opposite role (the submissive wife), or, in the inventivity of the female slave, or even in the image of a false woman, the feminine characters of Casina drawn attention of the modern readers and, probably, should have delighted the public of the Plautine epoch. The translation and analysis here proposed aim, among other results, to provide the perception of such humorous and poetics effects. In order to accomplish this task it will be necessary to observe different elements: possible post-Plautine interventions (noted from the prologue); aspects of play-within-the-play noticeable in the text; the cautious treatment of the Plautine language
Mestrado
Linguistica
Mestre em Linguística

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16

Tasker, Elizabeth Anne. "Low Brows and High Profiles: Rhetoric and Gender in the Restoration and Early Eighteenth Century Theater." Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/english_diss/18.

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The Restoration and early eighteenth-century theaters of London formed an important mixed-gender rhetorical venue, which was acutely focused on the age-old “querrelle des femmes” (or woman question). The immediate popularity of the newly opened Restoration theaters, the new practice of casting actresses rather than actors in female roles, and the libertine social climate of London from 1660 to the early 1700s created a unique rhetorical situation in which women openly participated as speakers and audience members. Through a methodology combining feminist historiography, performance theory, Bitzer’s rhetorical situation, and Habermas’ notion of the public sphere, this dissertation reclaims the Restoration theatre as one of the earliest public, secular, mixed-gender rhetorical venues in the English-speaking world. London theater of the Restoration and the early eighteenth century presents a feminist kairos for rereading and revisioning the actress from object to subject, from passive receiver to deliverer of performative rhetoric. Overall, the attention given to issues of femaleness in the plays of this period exceeds that of preceding and subsequent periods. The novelty of the actresses, as well as disillusionment with the male-dominated government and system of patriarchy, were major contributing factors that led to the female focus on stage. This phenomenon of female rhetoric also reflects the charisma, elocutionary skill, and visual rhetoric of the best female performers of the period, including: Nell Gwyn, Mary Saunderson Betterton, Elizabeth Barry, Anne Bracegirdle, Susannah Mountfort Verbruggen, Anne Oldfield, and Lavinia Fenton, all of whom are discussed from a rhetorical perspective in this dissertation.

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17

Breedlove, Allegra B. "Hamlet #PRINCEOFDENMARK: Exploring Gender and Technology through a Contemporary Feminist Re-Interpretation Of Hamlet." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/667.

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18

Solomon, Zanne. "The dionysian in performance reclaiming the female transgressive performing body." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002380.

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In this thesis I investigate the theoretical or philosophical notion/archetype of the Dionysian in relation to the transgressive female body in performance. I do so through 1) an investigation into the theories behind the Dionysian and the transgressive; 2) an examination of the performative practice of the transgressive female body; and 3) a personal exploration of the theatrical practice. 1) In the first chapter I introduce and thoroughly explore the archetypal concept of the Dionysian, and identify its significance because of its intrinsic association with the transgressive. I associate it with its oppositional force, the Apollonian, which is similarly significant because it is through the Dionysian disruption of the Apollonian from which the very notion of the transgressive springs. Through a review of Camille Paglia's seminal text on the subject of the Dionysian¹, this chapter provides a historical, mythological and theoretical context for the schism between the two archetypal aesthetics, starting from the description of the mythology of the ancient Greek gods, Dionysus and Apollo, and unpacks the transgressive nature of the Dionysian. Drawing on concurring theories of Friedrich Nietzsche and Julia Kristeva, as well as Hans Thies-Lehmann's writings on post-dramatic theatre², Chapter One attempts to firmly establish the inherent link between the Dionysian and theatre and performance, as well as the Dionysian and the transgressive, and provide a thorough theoretical framework for the rest of the thesis. 2) The second chapter investigates the work of two female performance artists³ who (re)present⁴ their bodies as transgressive in performance, namely Marina Abramovic and Karen Finley. It critically examines specific performance works of theirs, and through this examination it explores how they (re)present their bodies as transgressive in performance, and why they do so. This chapter furthermore establishes the connection between the transgressive female performing body, as (re)presented by Abramovic and Finley, and the Dionysian. In so doing it explores how they negotiate this ancient aesthetic or practice in a contemporary performance context. I believe that these performance artists are in fact striving to celebrate and reclaim the Dionysian within their work, and I attempt to establish this within this chapter. 3) The third chapter of this thesis analyses my own practical exploration of the transgressive female body in performance in a piece entitled Bleeding Mermaid (2008). It examines this exploration in the context of the theory of the Dionysian, as well as investigating how and why I (re)presented my body as transgressive in the performance. The analysis furthermore questions how I understand my work on the (re)presentation of the transgressive female body in relation to, and within the context of, Finley and Abramovic's work on the same subject. Through this investigation, I aim to establish a link between the Dionysian and the transgressive female performing body; and investigate the motivation(s) behind the (re)presentation of the transgressive female body in performance. I hope to open up a pathway to the reclamation of the Dionysian, both in performance practice and research. ¹Paglia, Camille. Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson. England: Penguin Books, 1990. ²Lehmann, Hans-Thies. Postdramatic Theatre. Trans. and Intro. Karen Jürs-Munby. London and New York: Routledge, 2006. ³Performance Art began around the 1960s in Europe and America. It is performance with a sense of immediacy – in that it is hard to replicate as it interacts with each unique audience – it is thus effectively a fresh/new experience each time. It breaks the boundaries of traditional theatre (form, structure, venue, time etc) and is often shocking or provocative in nature. It mixed the aesthetics of theatre and art, often taking place in installation settings. Performance Art has developed and morphed throughout the years, and is also referred to as Live Art in Britain. A performance artist is someone who produces performance art. It is possible that Performance Art no longer exists/is possible because it no longer shocks or affects the audience. ⁴My use of the brackets in (re)presented/(re)present throughout this thesis is because I would like to make simultaneous reference to the words/connotations of "presentation" and "representation", without being bound to the connotations of illusion/falseness/non-reality as is associated with the word "representation" (in opposition to the concept of the "real"), and thus be left only with the one-dimensional approach/meaning of "presentation".

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19

Savas, Minae Yamamoto. "Feminine Madness In The Japanese Noh Theatre." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1222076003.

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20

Copenhaver, Bonny Ball. "A portrayal of gender and a description of gender roles in selected American modern and postmodern plays." [Johnson City, Tenn. : East Tennessee State University], 2002. http://etd-submit.etsu.edu/etd/theses/available/etd-0212102-095131/unrestricted/copenhaverb.pdf.

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21

Gibson, Alanna Marie. "Salome: Reviving the Dark Lady." University of Dayton / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1398693802.

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22

Gontovnik, Monica. "Another Way of Being: The Performative Practices of Contemporary Female ColombianArtists." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1420473106.

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23

Porterfield, Melissa Rynn. "Warning, Familiarity and Ridicule: Tracing the Theatrical Representation of the Witch in Early Modern England." Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1114108678.

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Thesis (M.A.)--Miami University, Dept. of Theatre, 2005.
Title from first page of PDF document. Document formatted into pages; contains [1], ii, 104 p. Includes bibliographical references (p. 101-104).

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24

Adebayo, Adebanke. "West African Feminism| Maneuvering the Reality of Feminism Using Osun." Thesis, Southern Illinois University at Edwardsville, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10682016.

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West African Women writers are constantly looking for ways to maneuver the patriarchal system within their indigenous cultures. To say maneuvering implies the dilemma in consciously navigating patriarchal epistemology as West African women, which in reality is not exotic to other feminist struggles outside the continent. To deal with the dilemma of constantly maneuvering, this thesis suggest for an indigenous framework. It suggests Osun –a Nigerian goddess– as a response to the theoretical problems and as a methodology to navigating a postcolonial patriarchal worldview in order to express West African feminist discourse. The specificity of Osun is essential, but the fluidity of Osun across borders cannot be undermined as it paves the way for flexibility within feminist and gender discourse and draws upon various gender oppressed experiences. The idea of specificity and fluidity is fundamental to developing Osun as West African feminist discourse because of her ability to transcend space. The combination of specificity and fluidity are necessary within any feminist discourse as it allows for women from different regions to relate and align the tenets to their specific struggles found in the diversity of Osun.

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Kastelein, Barbara. "Popular/post-feminism and popular literature." Thesis, University of Warwick, 1994. http://wrap.warwick.ac.uk/36104/.

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This thesis is concerned with the ambivalence expressed towards feminism by many women in the last decade and identifies post-feminism as a problematic through which to explore this in contemporary women's writing. It focuses on selected fictional and non-fictional texts of the 1980s and 1990s and examines the ways in which they engage with feminist concerns. Until now, post-feminism has not been studied through its articulations in popular literature. To do justice to the wide range of views held by women and avoid a defensive and pessimistic reading of commercialised mainstream culture, I have made use of intertextual readings. The methodology is derived from feminist critical theory and cultural studies in order to address the relation between feminist and non-feminist literary texts and the dynamic interchange between what have been labelled as feminist politics and mainstream or consumer women' s interests. The significance of the research lies in the identification of ways in which such works of fiction and nonfiction provide an outlet for women's voices which could serve as a basis for developing feminist criticism and politics. The thesis is divided into three chapters, the different themes of which illustrate post-feminist concerns. In the first, I address the literature of popular therapy by women. The second chapter focuses on contemporary fictional and non-fictional writings by women on sex. The final chapter examines women' s relationship to transgression through genres of crime writing. I have found that popular literary forms used by women may offer a progressive and complex reading of post-feminism. I conclude that post-feminism has drawn on popular elements of feminism and that, at the beginning of the 1990s, one may identify a reincorporation of feminism into postfeminism.

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Leith, Hope Mary. "Moral and social constraints on femininity in the comedie larmoyante." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28102.

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This study has attempted to show that the plays of La Chaussée, which were popular in France in the middle to lat eighteenth century, were popular because they appealed to social values of the period, and particularly because they expressed a conservative view of society and of the role of women in that society. The introduction sets forth the historical and biographical background of La Chaussée, the extent of the success achieved by his "comédies larmoyantes" in performance and in publication during the eighteenth century, and the reasons for selecting the five plays on which this study concentrates. The focus on, female characters is explained by the number of plays "about" women: Mélanide, La Gouvernante, L'Ecole des méres and by the tendency in literary criticism to consider eighteenth-century French tastes in theatre dictated by women. Chapter I presents a content analysis of the five plays. This technique, taken from Goodlad, A Sociology of Popular Drama, provides plot summaries of these now unfamiliar plays which are used as a basis for chapter II. Furthermore it permits determination and comparison of these themes, settings, areas of conflict explored and types of resolution offered in the plays under examination. La Chaussée most frequently presents the problems of marital and familial love, and resolves conflicts with reconciliation, marriage, or another form of social integration. Goodlad brings out the relationship between popular success and a play's at least implicit didacticism and its conservatism in form and content. Chapter II uses narratological analysis techniques from Bremond, Logique du récit. The plays are considered as texts. The purpose here is to bring to light the structure of plot: how resolution in delayed or achieved, what roles -- victim, beneficiary, assistant, frustrator -- female character play in that structure. Heroines are found to be passive victims, beneficiaries, or even frustrators. Secondary female characters play minor assistant roles, or act as frustrators for the heroines. Resolution is achieved by male characters. Chapter III turns to discourse, how much and what is said about the female sex and/or by female characters. It examines the quantity, content and situation of female discourse in these plays, and particularly the social and situational restraints on discourse. A female character usually only has one scene with male characters in which she speaks half or more of the total lines, unless she is alone with someone over whom she has affective influence, and not her husband. Maids are used to express generalizations about the situation of women in society, and sympathy for the heroine. The discourse of heroines centres on the standards of virtue to which society holds them: patience, endurance, chastity, obedience. In the conclusion, critical judgments on La Chaussée from the eighteenth century to the present are reviewed and examined. Doubt is cast on the extent to which La Chaussée should be seen as promoting theatrical or social reform, and increased emphasis in placed on the nature of his didacticism, and the pervasiveness of his conservatism.
Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate

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Whittington, Amanda. "Bad girls and blonde bombshells : lived feminism in popular theatre." Thesis, University of Huddersfield, 2016. http://eprints.hud.ac.uk/id/eprint/34413/.

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This project examines texts from a body of work which numbers fifteen performed across the country. The accompanying commentary identifies the ways in which 'Be My Baby' and 'The Thrill of Love' tell female-centred stories in a popular dramatic voice which explore aspects of women's lived experience. It engages with feminist theory and practice to identify the diffuse and sometimes contradictory feminisms within the plays. Dramatic structure is considered with close reference to realist and expressionist forms. The exegesis investigates their engagement with popular culture, the importance of music in the narratives and the methods by which they seek to reclaim women's history. The commentary brings together academic mainstream sources to contextualize the study. Playtexts are examined with reference to a broad range of theorists, practitioners and cultural commentators including Eileen Aston and Geraldine Harris, Erin Hurley, Angela McRobbie, Graham Saunders, Lucy O'Brien, Carol Ann Lee and Lyn Gardner. The distinctive aspects of affective solidarity and feeling are identified as unifying elements of the play's personal and political concerns.

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Munt, Sally Rowena. "Feminism and the crime novel." Thesis, University of Sussex, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.387221.

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Rodrígues, Suárez Lisa. "La représentation des femmes dans l’œuvre romanesque et théâtrale d’Octave Mirbeau." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040024.

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Cette thèse a pour objet d’étudier le rapport entre la réalité objective des femmes au XIXe siècle et la représentation qu’en donne Octave Mirbeau dans ses œuvres romanesques et théâtrales. L’analyse se divise en trois parties, qui étudient le sujet en partant des aspects les plus concrets de l’écriture de Mirbeau et en allant vers les plus allégoriques. La première partie, intitulée « la femme, entre réalisme et caricature », analyse le degré de réalisme présent dans la construction des personnages féminins, en prenant appui sur différents critères de classification (les catégories sociales, les relations au sein du couple, les transgressions). La deuxième partie, intitulée « Une entreprise de mythification ? », analyse les influences scientifiques, littéraires et philosophiques prégnantes à la fin du XIXe siècle et qui constituent le contexte culturel dans lequel baigne l’écrivain. La troisième partie, « une entreprise symbolique plaçant la femme au cœur des combats politiques de Mirbeau » est un dépassement des questions évoquées précédemment, analysant la création d’un type novateur de féminité. Le but de cette troisième partie est de montrer que la femme incarne une valeur ambivalente, tantôt symbole de la société corrompue, tantôt symbole de liberté et de résistance à cette corruption. Le monde a beaucoup changé ces dernières années et en conclusion des aspects contemporains de la pensée de Mirbeau seront abordés, ainsi que la dimension postmoderne de son univers
The purpose of this thesis is to study the link between the feminine figure in Octave Mirbeau’s novels and plays and the whole meaning of his work (in particular its political aiming). The key question to be answered is : Is the feminine figure a mimetic representation of the objective reality of late nineteenth century women or does it have a deeper meaning ? The analysis is divided into three parts, and evolves from the most objective to the most symbolic. The first part, entitled « The woman, between realism and caricature » is aimed to analyse the degree of realism that can be found in the construction of feminine figures. In the second part, entitled « A mystification process ? », a further aim is to bring understanging to the influences (scientific, literal and philosofical) that had an impact upon most of the writers in the end of the nineteenth century and Mirbeau in particular, even though his work always remains very personal. The third part, « A symbolic construction placing the woman at the core of Mirbeau’s political fights » goes beyond the questions studied before and analyses how Mirbeau managed to create a new kind of feminity. The objective of this third part is to show that the woman embodies an ambivalente value in Mirbeau’s work, and is at the same time a symbol of the corrupted society and a symbol of freedom and resistance to this same corruption. In recent years, the world has changed a lot and the conclusion of the study is focused on the contemporary aspects of Mirbeau’s world, as well as on the postmodern dimension of his universe

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King, Portia Jane. "Shake it hard feminist identity and the burly-Q /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5798.

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Thesis (M.A.)--University of Missouri-Columbia, 2008.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 12, 2009) Includes bibliographical references.

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Kerr, Joanna. "Learning from the novel : feminism, philosophy, literature." Thesis, University of Edinburgh, 1998. http://hdl.handle.net/1842/26656.

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Analytic philosophy since Plato has been notoriously hostile to literature, and yet in recent years, increasing numbers of philosophers within the tradition have sought to take seriously the question of how it is that literature can be philosophical. Analytic philosophy has also been noted for its hostility to women and resistance to feminism. In this thesis I seek to make connections between firstly the prejudice against, and then the potential for, the contribution of the perspectives of literature and feminism in philosophy, attempting to answer simultaneously the two questions; How can literature be philosophical? How can feminists write philosophy? In the sense that I attempt to take these questions seriously, and answer them precisely, this thesis fits into the analytic philosophical tradition. However, my response to these questions, and thus the majority of this thesis, takes the form of a non-traditional demonstration of the philosophical potential of literature presented through three feminist literary genres; autographical fiction, utopian fiction, and detective fiction. Using generic divisions seems to be an appropriate strategy for reclaiming literature as philosophical, since it suggests an identification with the Aristotelian defence of literary arts against Plato's assault. However, I will argue that these literary genres have traditionally been defined in terms which prohibit a philosophical reading. I will expose and then recover this anti-philosophical bias, particularly when it coincides with feminist genre revisions. This recovery will take the form of a philosophical reconceptualizing of each genre, and a specific comparative analysis of two texts adopted as representative of each genre as I conceive it. In this way I hope to show that it is not only possible, but highly advantageous, to learn from the novel.

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Libbon, Stephanie E. "Frank Wedekind's fantasy world : a theater of sexuality." Connect to resource, 2000. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1229696568.

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Wilson, Timothy H. "The question of representation in Elizabethan literature." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0008/NQ38802.pdf.

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McIver, Victoria. "Psychoanalytic feminism: a systematic literature review of gender." AUT University, 2010. http://hdl.handle.net/10292/905.

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Using a modified, systematic literature review I will examine issues of subjectivity, gender, and differnce in relation to psychoanalytic feminist theory. Psychoanalytic feminism evolved out of a reaction to classical psychoanalytic theory. In particular, the works of Chodorow (1978), Kristeva, (1977, 1989) and Benjamin (1988) were used. The literature revew will discuss the development of these theoretical perspectives and the understanding of subjectivity, gender and difference in psychoanalytic feminism and the implication this has for clinical practice.

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Young, Kathyrn M. "Withdrawn from Curriculum: Feminism and Young Adult Literature." Ohio University Honors Tutorial College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1307377432.

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Gale, Heather. "Constance Beresford-Howe's interrogation of integrative feminism." Thesis, University of Ottawa (Canada), 1994. http://hdl.handle.net/10393/6537.

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This thesis analyzes Constance Beresford-Howe's novels in terms of their place in the contemporary feminist debate over women's traditional roles as mothers, daughters, sisters, and wives. Her treatment of these roles supports Andrea O'Reilly's assertion that Beresford-Howe espouses what Angela Miles has called "integrative feminism", "a feminism which affirms and celebrates women's specificity and asks not for the eradication of women's traditional roles and values but for the recognition of their importance" (O'Reilly 69). Chapter One deals with a range of feminist literary criticism and particularly with the notion of "integrative feminism" and its applicability to the novels of Beresford-Howe, as well as entertaining complementary and divergent readings of this theory offered by such critics as Germaine Greer and Judith Stacey. Chapter Two considers the portrayal of sisters, daughters, and other female "helpers" in such novels as Of this Day's Journey (1947), The Invisible Gate (1949), My Lady Greensleeves (1955), A Population of One (1977), and Prospero's Daughter (1988). Chapter Three examines the portrayal of the institutionalized roles of mother and wife in such novels as The Unreasoning Heart (1946), My Lady Greensleeves 1955), The Book of Eve (1973), and Night Studies (1985). Chapter four extends the discussion of mothers and wives, with an emphasis on the protagonist's successful redefinition of those roles in The Marriage Bed (1981) and A Serious Widow (1991).

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Teoh, Remedios A., and remedios teoh@deakin edu au. "Gender and national identity: The people's theatre in the Philippines (1967-2000)." Deakin University. School of Social and International Studies, 2004. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20061207.150434.

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The Philippine Education Theater Association (PETA), the Peoples Theatre in the Philippines was founded within the bounds of the nationalist leftist tradition. Its origin therefore determines to a great extent the contours of the discourse on the feminist movement in the Philippines, its participation within the cultural movement and the founding years of the pioneering Peoples Theatre in the country. As a grass roots theatre from a Third World nation, the PETA theatre model responded to the needs in raising socio-political and economic consciousness and can therefore serve as an alternative tool to formal education for other Third World countries. This thesis argues, the Peoples Theatre development is determined within the matrix of gender, class, politics and the nationalist movement to which it is intertwined or inextricably linked. The feminist, nationalist and radical movements have become superimposed upon the history of the Peoples Theatre and have nurtured its development as a consciousness raising educational tool.

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Easton, Kirsten Elana. "WHAT’S IN A NAME? THAT WHICH WE CALL A WHORE, BY ANY OTHER NAME, IS SOCIALLY ACCEPTABLE: THE ORIGIN, DEVELOPMENT, AND PRODUCTION OF WIFE/WORKER/WHORE." OpenSIUC, 2016. https://opensiuc.lib.siu.edu/theses/1921.

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This thesis details the development of my full-length play Wife/Worker/Whore from outlining and pre-writing to full production at Southern Illinois University over the course of the 2015/2016 school year. In writing Wife/Worker/Whore, I was inspired by Norma Jean Almodovar’s From Cop to Call Girl, in which she details her life as a housewife, police officer and eventually high-class call girl in 1970s Los Angeles. Almodovar’s life story served as the impetus for this script, as I sought to complicate the discourses surrounding prostitution in its various forms. This play, therefore, examines the covert ways in which women are forced to prostitute themselves, even when they don’t call themselves a “whore” by profession. Chapter One includes a statement of the project, the origin, and development of the script, initial structure and plot considerations for the script, research that impacted the creation of the script, character development, and tools for self-evaluation. Chapter Two covers the pre-writing process, feedback from my peers from two in-class readings, notes from my advisor, Jacob Juntunen, and the director, Segun Ojewuyi, about the script’s development and an overall description of the play’s progression through drafts one to eight. Chapter Three describes the design meetings held in preparation for the production of Wife/Worker/Whore. Chapter Four details the audition process as well as rehearsals for the piece. Chapter Five evaluates Wife/Worker/Whore’s production, describes ideas for future productions of the piece as well as possible revisions. Chapter Six concludes the thesis by tracking my progression in the playwriting program over the past three years. It includes my writing growth in terms of structure and developing my artistic voice. It also discusses my professional development over the time in the program, as well as the evolution of my teaching practice. I have also included in the thesis the production script of Wife/Worker/Whore, excerpts from previous drafts of the script, and publicity materials.

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Allen-Johnstone, Claire. "Dress, feminism, and British New Woman novels." Thesis, University of Oxford, 2018. https://ora.ox.ac.uk/objects/uuid:dd38da33-efbb-463f-86fd-9fcc1c4f707e.

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This thesis examines the close and complex relationship between dress, feminism, and British New Woman novels. It provides in-depth analysis of six New Woman novels and draws comparisons with numerous other works. The case study texts are Olive Schreiner's The Story of an African Farm (1883) and From Man to Man: Or Perhaps Only ... (1926, posthumously), Sarah Grand's Ideala: A Study from Life (1881) and The Heavenly Twins (1893), and Grant Allen's The Woman Who Did (1895) and The Type-Writer Girl (1897). I explore why dress was so important to such novels, and examine the diverse, individual, developing, and shared ways in which authors engaged with dress as a feminist strategy and feminist concern. Areas considered include From Man to Man's use of functional clothes and dress production to celebrate female labour, Grand's interest in both dress reform and dressing to impress, Allen's shift in focus from the white-clad free lover to the sensibly-dressed working woman, and authors' use of deceptively clean clothes to address male immorality and disease. The thesis looks beyond as well as within New Woman narratives, demonstrating that writers, and publishers, were broadly concerned with dress in its various literal and more metaphorical manifestations. Focuses include self-styling, authorial cross-dressing, and bindings. Dress does not, however, always seamlessly support these texts' feminisms, I argue. For example, Grand elevated cross-class feminism, but she belittled middle-class women's taste, side-lined poor women's most pressing sartorial concerns, and dressed to impress. I also stress that dress, being so closely bound up with New Woman novels' feminisms and their ambiguities, is a revealing lens through which to read such texts, and one often capable of prompting re-readings. Attention to Allen's rejection of sartorial realism in parts of The Woman Who Did problematises the dominant conception of this novel as straightforwardly pro-free union, for instance. The thesis, as well as gesturing towards dress's centrality to the production and interpretation of literary feminisms and anti-feminisms broadly, emphasises the importance of dress to New Woman literature and its analysts, and uses dress to provide fresh readings of various novels and genre-wide issues.

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Fargo, Emily Layne. ""The fantasy of real women" new burlesque and the female spectator /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211331939.

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41

Grubbs, Anthony John. "Defending innovation : dramatic theory in practice in early modern Spain /." [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3162287.

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Thesis (Ph.D.)--Indiana University, Dept. of Spanish and Portuguese, 2005.
Title from PDF t.p. (viewed Nov. 11, 2008). Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0194. Chair: Catherine Larson.

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Karr, Kasi. "Indoctrinated Spheres: Intergenerational Education and Gender Constructs in Githa Sowerbys Rutherford and Son." Kent State University Honors College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1450101317.

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43

Wood, Jennifer Linhart. "Sounding Otherness in Early Modern Theater and Travel Writing." Thesis, The George Washington University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3587221.

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My dissertation explores how sound informs the representation of cross-cultural interactions within early modern drama and travel writing. "Sounding" implies the process of producing music or noise, but it also suggests the attempt to make meaning of what one hears. "Otherness" in this study refers to a foreign presence outside of the listening body, as well as to an otherness that is already inherent within. Sounding otherness enacts a bi-directional exchange between a culturally different other and an embodied self; this exchange generates what I term the sonic uncanny, whereby the otherness interior to the self vibrates with sounds of otherness exterior to the body. The sonic uncanny describes how sounds that are perceived as foreign become familiar through the vibratory touch of the soundwave that attunes a body to its sonic environment or soundscape. Sounds of foreign Eastern and New World Indian otherness become part of English and European travelers; at the same time, these travelers sound their own otherness in Indian spaces. Sounding otherness occurs in the travel narratives of Jean de Lèry, Thomas Dallam, Thomas Coryate, and John Smith. Cultural otherness is also sounded by the English through their theatrical representations of New World and Oriental otherness in masques including The Masque of Flowers, and plays like Robert Greene's Alphonsus, respectively; Shakespeare's The Tempest combines elements of East and West into a new sound—"something rich and strange." These dramatic entertainments suggest that the theater, as much as a foreign land, can function as a sonic contact zone.

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SILVA, Vanuza Souza. "O Teatro de Lourdes Ramalho e a invenção da autoria nordestina." Universidade Federal de Campina Grande, 2005. http://dspace.sti.ufcg.edu.br:8080/jspui/handle/riufcg/1893.

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Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2018-10-04T13:44:17Z No. of bitstreams: 1 VANUZA SOUZA SILVA - DISSERTAÇÃO PPGCS 2005..pdf: 18489316 bytes, checksum: 61f53d0e72fcaaa8de79ccadf8cf6ac2 (MD5)
Made available in DSpace on 2018-10-04T13:44:17Z (GMT). No. of bitstreams: 1 VANUZA SOUZA SILVA - DISSERTAÇÃO PPGCS 2005..pdf: 18489316 bytes, checksum: 61f53d0e72fcaaa8de79ccadf8cf6ac2 (MD5) Previous issue date: 2005
Este trabalho discute as condições históricas da construção da autoria e obra de Lourdes Ramalho, percorrendo a trajetória de vida e intelectual da autora, perscrutando as relações que manteve com seus contemporâneos, com os livros que leu e como leu para pensar a maneira como essa autora imprimiu em seus textos a idéia de Nordeste e de nordestino. Pensar a autoria como um lugar histórico e social, significa ao mesmo tempo discutir as brechas e as contradições que também constituem a mesma, por isso a necessidade de ter discutido a idéia de povo enquanto lugar de distanciamento do lugar da autora, o modelo de feminino que a mesma constrói como um lugar de masculinização das mulheres da região, e por fim, a construção do riso em seus textos como um lugar, também, de regramento da inversão dos costumes da cultura nordestina. Inspirada na proposta Foucaultiana de análise de discurso, que sugere ver as relações de poder nas linhas de discurso, as verdades e os embates que são parte de todo escrever, na teoria de gênero de Butler e Foucault que pensam os sexos, os corpos, o gênero como dimensões outras dos discursos que tentam definir uma verdade para os sujeitos, e na proposta de Durval Muniz, que inspira o (re)pensar as identidades sociais, culturais e sexuais que inscreveram uma dada forma de ver e se fazer nordestino, imprime-se nesse texto uma outra maneira de ler a obra de Lourdes Ramalho e tudo o que ela cria, de (re)ver o lugar que ocupa a autoria nordestina e a naturalização que a define, porque as nossas identidades regionais misturadas às identidades de gênero naturalizaram a cultura nordestina e tudo o que nela é produzido, criando silêncios, negando a diferença, a diferença de ser homem, mulher, autor e obra no Nordeste, dentro e fora desse espaço.
This research discuss about the historic conditions of the authorship construction and Lourdes Ramalho's work, going through the authoress' intellectual and life path, descriting the relationships kept with her conteporaneans, with the books that she read and how she read to think about the way how this authores printed in her texts the Northeast and northeast people idea. Think about the authorship as a social and historic place, means at same time to discuss the gap and the contradictions that also make-up itself, that's why the need of have discussed the idea of folk while place of great distance from the authoress' place, the feminine model that herself makes as a place of male-processing of the women on this region, and the end, the making of the lagh in her text as a placealso, about inversion of the rules of the northeast culture uses. Base don the foucaultian proposal of speech analysis, that suggest to see the relations of power in the speech lines, the truths and conflicts that are parto f all the writtings, on the treory about genus of Butler and Foucault that thin about the sex, the bodies, the gens as other dimensions of the speech that inspire the (re)thinking of the social identities, culturally and sexually that mark a way of seeing and making a northeast, it can be found on this text another way for reading the work f Lourdes Ramalho and everything that she creates, to (re)see the place that ocupies he northheaster authorship and the naturalization that defines it, because our regional identities of this genus neutralized the northeaster culture and everything produced on it, producing silences, denying the difference, the difference of being a man, womwn, authoress and work on Northeast, in ando ut this space.

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Politte, Paul Edwin. "Contrapunteo: The Question of "National" Theater in Turn-of-the-Century Argentina and Mexico." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11196.

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This project explores the phenomenon of National Theater in both Argentina and Mexico, specifically reevaluating the former's exemplarity and the latter's "failure." I propose that Fernando Ortiz's notion of contrapunteo is useful when thinking about the tensions found in National Theater, and I deploy this understanding to argue that, contrary to critical opinion, the "frivolous" Mexican theater scene was a key factor in the Mexican Revolution.
Romance Languages and Literatures

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46

Flaherty, Patricia. ""Poor girl!" feminism, disability and the other in Ulysses /." Diss., Connect to the thesis, 2006. http://hdl.handle.net/10066/634.

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Smith, Roberta. "Les Précieuses Ridiculisées." Thesis, Högskolan Dalarna, Franska, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:du-30813.

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Cette recherche, à partir de la pièce de Molière Les Précieuses ridicules, analyse l'opinion de l'auteur à l'égard du phénomène de la préciosité afin de déterminer les raisons de son attaque satirique contre les salonnières. Le mémoire s'ouvre sur une analyse du cadre historique dans laquelle sont établies les limites temporelles du mouvement précieux en France au XVIIe siècle et ses causes. Ces dernières sont à trouver dans les changements politiques et sociaux qui ont suivi la période de la Fronde et l’instauration de la monarchie absolutiste de Louis XIV. La deuxième partie, en passant en revue les satiristes les plus en vogue à l’époque, établit les sources plausibles de la pièce de Molière et détermine la nature politique de la satire. Ensuite, notre analyse met en lumière que les vraies cibles de Molière ne sont pas les précieuses mais les bourgeois qui aspirent à s’élever au niveau de l’aristocratie. La dernière partie est une réflexion sur le modèle de féminisme adopté par l’auteur et ses similarités avec la pensée de Mlle de Scudéry
This research paper, based on Molière's Les Précieuses ridicules, analyses the author's opinion of the phenomenon of “précieusité” in order to determine the reasons for his satirical attack on the “salonnières”. The essay opens with a historical framework in which are established the temporal limits and the causes of the precious movement in France in the seventeenth century. The latter are located in the political and social changes that followed the period of the Fronde and the establishment of the absolutist monarchy of Louis XIV. The second part, by reviewing the most popular satirists of the time, establishes the plausible sources of Molière's play and determines the political nature of satire. Then, our analysis highlights how the true targets of Molière are not the précieuses but the bourgeois who aspire to rise to the level of the aristocracy. The last part is a reflection on the model of feminism adopted by the author and its similarities with Miss de Scudéry.

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Sydeman, Melissa. "Misogynist politics : film theory, feminism and Brian De Palma." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.386520.

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Xing, Jia. "Ting Ling." Miami University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=miami1084912718.

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York, Regina. "Feminism, Selfhood & Emily Dickinson." TopSCHOLAR®, 1991. https://digitalcommons.wku.edu/theses/3019.

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This paper will draw on the work of leading feminist critics and the works of Dickinson, her biographers, and her critics. No effort is being made to trace the history of feminist criticism; that has been done numerous times by critic after critic. Nor does this paper attempt to provide a concordance to critical thought on Dickinson. That, too, is unnecessary. Rather, this paper looks at the relationship between self-identity in Dickinson's poetry and the fundamental need for such a pronounced sense of identity to serve as the cornerstone of feminist criticism. Dickinson's courage to be female and the implications of that courage on her world view are at the core of neofeminist or post-feminist criticism. Dickinson exhibited an independence of mind that broke out of the boxes of cultural constraints developing a strong sense of identity as a woman and as a poet. She expressed a strong moral view of the world solidly grounded in, but often critical of, the Christian tradition. With her strong sense of self, her overarching moral vision, and her disregard for the "oughts" and "shoulds" of her culture, Dickinson held her work to a high standard of significance. Feminist criticism is only now reaching such a standard of significance. As Dickinson achieved personal wholeness and creative integrity through the integration of (not the obliteration or repression of) opposing qualities, feminist criticism, too, must have that same courage to stand firm in the face of powerful opposition and defy social and political pressures to conform. Conforming to a mediocre, and consequently powerless but socially acceptable, integrated position within mainstream criticism places feminist criticism once again on the sidelines waiting for the next popular trend to relegate it even further from the intellectual center.

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