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Dissertations / Theses on the topic 'Witches in literature'
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Anderson, Maureen Clare Shields John C. ""Witch" as metaphor in America an interdisciplinary analysis of the linguistic shaping of women in literature /." Normal, Ill. : Illinois State University, 2007. http://proquest.umi.com/pqdweb?index=0&did=1390282941&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1202750211&clientId=43838.
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Thesis (Ph. D.)--Illinois State University, 2007.Title from title page screen, viewed on February 11, 2008. Dissertation Committee: John Shields (chair), Bruce Hawkins, Ronald Fortune. Includes bibliographical references (leaves 255-281) and abstract. Also available in print.
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DeLong, Anne M. "Medea and Medusa the archetype of the witch in literature /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2001. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University of Pennsylvania, 2001.Source: Masters Abstracts International, Volume: 45-06, page: 2822. Typescript. Abstract precedes thesis as preliminary leaf. Includes bibliographical references (leaves 121-126).
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Vogele, Yvonne Alice. "The reluctant witches in Benedikte Naubert's Neue Volksmährchen der Deutschen, 1789-1792 /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/9941.
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Mallett-Birkitt, Diane. "“Fetch M’Dear”: Healers, Midwives, Witches, and Conjuring Women in Select YA and Toni Morrison Novels." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3845.
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Accusations and persecution of witchcraft have been embedded in global culture for centuries. For as long as these persecutions have occurred, women have found themselves accused most frequently. Older women with herbal knowledge were often called on to assist with childbirth or termination of pregnancies and this “secret knowledge” often led them to be suspected of supernatural abilities, often of a satanic nature. Intrigued by these wise women who appeared to have mysterious powers and a penchant for arousing the ire of men in the legal, medical, and religious communities, I began to notice their frequent appearance in novels. Does the presence of actual or perceived magic serve to improve the women’s status in their community? I reviewed several examples of YA literature, two picture books, and four Toni Morrison novels to determine if magic, conjuring, and witchcraft were more powerful threats than sexism and racism.
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Goff, Jennifer. "The Serpent in the Garden: How early-modern writers and artists depicted devils and witches." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1396523520.
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Matthews, Michelle M. "MAGICIAN OR WITCH?: CHRISTOPHER MARLOWE'S DOCTOR FAUSTUS." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1143482826.
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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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Coleman, Alex. "Foul Witches and Feminine Power: Gendered Representations of Witchcraft in the Works of Shakespeare and His Contemporaries." Ohio Dominican University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=odu1562624942402741.
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Loar, Patrice. "Magical Process." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/honors_theses/40.
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The use of supernatural beings in four of Shakespeare’s plays – A Midsummer Night’s Dream, Romeo and Juliet, Macbeth, and The Tempest – is examined in order to show the change in Shakespeare’s thinking about magic, and how the mortal and supernatural can co-exist. The shift from properly controlled benevolent female power, to out-of-control malevolent female power, to the eradication of female power and triumph of the male magus is examined; the ideal co-existence of the human and supernatural worlds is assessed.
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Carlsson, Stefan. "Healing, häxor och helhetstänkande : en studie av new age-litteraturens tillgänglighet på folkbibliotek = [Healing, witches and holistic thinking] : [a study of the availability of new age literature in public libraries] /." Borås : Högsk. i Borås, Bibliotekshögskolan/Biblioteks- och informationsvetenskap, 2004. http://www.hb.se/bhs/slutversioner/2004/04-45.pdf.
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El-Mouelhy, Mossino Lauretta. "Tra magia, incantesimo e immaginario : (an tra masche, mascheugn e mistà) : la figura della masca dall'antichità celtica alla letteratura piemontese odierna." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85159.
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Questa dissertazione e imperniata sulla parola masca, che denota un personaggio popolare e antichissimo di genere femminile, riscontrabile esclusivamente nel folclore e nella letterature della regione italiana del Piemonte. Si attribuisce a questo personaggio la facolta rarissima di esercitare tanto il bene che il mate, a seconda de¡ casi.La tesi si basa su ricerche storiche e linguistiche che traggono i loro dati dai recessi piu remoti della civilta celtica in territorio piemontese, dove essa e prosperata dall'inizio del 4° secolo a.C. fino al 1° secolo della nostra era, epoca alta quale questa regione fu inglobata dall'impero romano.
Basandosi su dati storici e archeologici, la ricerca prende atto di un substrato celtico persistente e profondo nella cultura e nella tradizione piu antiche del Piemonte. In modo particolare si concentra l'attenzione sulla derivazione dei personaggio della masca da una figura religiosa dei Druidi, venerata fervidamente dai Celti, i quali attribuivano a questa divinita il dualismo tipico (bene-male) che si riscontra nel personaggio oggetto di questo studio.
In seguito si traccia il discrimine tra la masca e le streghe demoniache con cui la prima e spesso e del tutto erroneamente confusa ed associata. Una volta tracciata questa distinzione si possono riallacciare i legami tra la masca e il suo sacrale pristino ove ('equilibrio sotteso tra bene e mate e permanente e inestricabile dagli attributi fondamentali della dea celtica centrale, la Grande Madre.
Le ricerche etimologiche per appurare l'origine della parola masca non fanno che confermare la dualita e l'equilibrio tra il bene e il mate inevitabilmente compresente in questa parola e nel personaggio ch'essa denota.
Si passa in rassegna la tradizione orale e la letteratura del Piemonte (tanto in lingua piemontese che in lingua italiana) per, inventariare i diversi significati che possono assumere questa parola e questo personaggio. Si perviene a dimostrare che la dicotomia di valori e di poteri contrastanti insiti nella religione dei druidi rimane ad un dipresso la stessa nel personaggio delta masca. Ci si puo imbattere in questo dualismo di valori opposti e antitetici anche in altri personaggi del folclore piemontese, strettamente connessi alta masca, quali il mascon, i1 setmin o anche in personaggi mitologici, come la faja, il faunet e il servan.
La somma di queste prove letterarie, folcloriche, archeologiche e filologiche avalla l'attribuzione di un carattere unico, non demoniaco, al personaggio della masca, che riannoda strettamente la letteratura e la tradizione orale del Piemonte alta religione dei druidi e al passato celtico, fornendo altresi scorci preziosi su uno dei capitoli piu oscuri del passato delle etnie europee.
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Young, Penelope M. "Witch images in Australian children's literature." University of Southern Queensland, Faculty of Education, 2001. http://eprints.usq.edu.au/archive/00001527/.
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In this dissertation it is argued that the European witch trials that took place between 1450 and 1700 have resulted in a legacy of stereotypical themes in Australian children's literature. Those accused of witchcraft were almost always women who were old, without protection, and physically ugly. They were accused of consorting with the devil, making harmful spells, flying through the night on a magic staff and exhibiting malevolent intent towards others. An analysis of this period forms the contextual framework for identifying themes that appear in contemporary Australian children's literature. A survey of twenty-three books, identified as stories about witches, was conducted to ascertain whether the stereotypical witch from the European witch-hunts continues to be characterised in Australian children's literature. The findings suggest that the witch figure in Australian children's literature mirrors the historical evidence from the European witch trials, but has evolved into a more powerful and proactive character than that identified in the historical literature. The characterisation of the witch in the books for older readers is powerful and evil, compared to the witch as a trivial and diminished figure in the books for younger readers. Gender is also a major influence in the characterisation of the witch, with all readers exposed to themes that may influence their expectations regarding the behaviour and role of women. The representation of the witch in the books reinforces the misogyny of the witchcraft era, and weaves patterns of meaning in the texts that construct undesirable female images. Readers of all ages can link these images to the social world beyond the text.
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Mattsson, Emil. "Dialect representation : Language varieties in The Witcher 3: The Wild Hunt." Thesis, Högskolan Väst, Avd för utbildningsvetenskap och språk, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-13168.
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This study examines the dialect representation in CD PROJEKT RED's video game The Witcher: Wild Hunt. The study intends to contribute to an already narrow sociolinguistic field of research of how dialects are represented in video games, more precisely role-playing games. The purpose of this study is to find out: 1) What are the pronunciation, word choice and grammar features of the farmer Bruno and the Witcher Geralt in the game, The Witcher 3: Wild Hunt, and 2) What social status, class, traits are the two characters' pronunciation, word choice and grammar features associated with?. The study looked into language varieties, regional dialects and stereotyping with support from sociolinguistic variables to help analysing the dialects. Character 1 was assumed to use West Country English. Character 2 was assumed to have a General American dialect. Each dialect was compared to dialects with similar linguistic features, and the case for each dialect was argued and proved through analysing the grammar, vocabulary and pronunciation. The study had two assumptions, 1) that the dialects used in The Witcher: Wild Hunt were used because of the real-life associations they have. There was no clear answer to this. However, it could be suggested that there indeed was a deliberate choice to assign the characters with their dialects, since many linguistic features correlated to real-life dialects and so did the associations we make with the dialect. The first character of low socioeconomic background and low social status had a dialect often associated with these traits. The second character had a linguistically neutral language, and had a dialect associated with similar traits. The second hypothesis was 2) the dialects in The Witcher: Wild Hunt run a risk of enforcing stereotypes. This was vaguely proven to be true, as it depends on how aware the players are when they play the game, as they might otherwise subconsciously enforce them. Disregarding the stereotypes as humorous representations was argued to be equally dangerous as a simple dismissal might do harm as well.
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Monbeig, Fanny. "Représentation et performance de genre et de « race » dans la littérature féminine noire (africaine-américaine, caribéenne, française)." Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30038.
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L'esclavage constitue le chronotope de "Tituba" de M. Condé et de "Beloved" de T. Morrison. Il est un héritage paradigmatique dans les autres œuvres de ces auteures, ainsi que chez Alice Walker et Gisèle Pineau, déterminant les rapports raciaux contemporains. La fragmentation du corps esclave convoque le motif de la couture, entre tissage conteur, re-membrement du corps social, et reconfiguration d'une tâche traditionnellement féminine. La mise en exergue du pouvoir performatif des mots des maîtres rappelle l’historicité et la dimension politique de l'invention du racisme dans le régime plantocratique. L'exemple de la beauté féminine et de sa racialisation illustre l'intrication complexe de la construction du genre et de la race. Mais le récit du passé esclavagiste, s'il peut éclairer et expliquer le présent, n'est fait qu'au prix d'un combat douloureux contre divers processus de refoulements, individuels et collectifs. Si "Beloved" et "La couleur Pourpre" rappellent le rôle essentiel de la réminiscence, "Paradis", "Morne Câpresse" et "Heremakhonon" mettent en scène des hypertrophies mémorielles problématiques ou drolatiques. La critique de la prétention historienne à l'objectivité y participe d'une remise en cause globale de la scientificité et de l'héritage des Lumières. Les ambivalences de la postmémoire s'opposent à la sacralisation contemporaine de la littérature mémorielle ou testimoniale, et la hantise postcoloniale se donne à voir sous un jour nouveau, ironique. L'analyse des maternités dialectiques dans "Beloved", "Tituba" ou "Rosie Carpe" permet de réfléchir le lien entre narration de la nation, racialisation de la maternité et contrôle du corps des femmes. Une lecture des œuvres du corpus à l'aune du concept d'intersectionnalité permet d'envisager une déconstruction globale de la féminité libérée de l'injonction à la sexualité reproductive. Au croisement du pouvoir de donner la vie et de son refus, le personnage de la sage-femme est récurrent. Souvent accusée de sorcellerie, elle nourrit une mythologie féminine qui peut retourner le stigmate magique. Fruit de rivalités dans les champs médicaux et religieux, la figure de la sorcière chez Toni Morrison, Maryse Condé ou Marie NDiaye est une invention interculturelle dont la force performative et parodique ébranle les catégories littéraires. Issus du traumatisme de l'esclavage, les romans étudiés esquissent les contours d'utopies concrètes. Leur dimension totalitaire et séparatiste cependant se révèle dans le visage grimaçant de l'espérance eschatologie contemporaine : la secte. Si la projection dans le futur semble ainsi dérisoire, le retour en un espace premier, refuge utérin et remontée dans le temps, s'abîme dans l'impossibilité du retour en Afrique. La Négritude césairienne est ainsi mise à distance, tandis que les espoirs de la Créolité semblent battus en brèche par une littérature récusant l'utopie post-raciale. Les migrations contemporaines et les douleurs de la condition exilique sont narrées sans idéalisation de la mobilité, tandis que les stratégies narratives des auteures diffèrent, tout en se retrouvant dans un désir de révéler en même temps que de dépasser la ligne de couleurSlavery is the chronotope of "Tituba" by M. Condé and "Beloved" by T. Morrison. Slavery is a paradigmatic heritage in other novels by these authors, as well as in Alice Walker's and Gisèle Pineau's art ; it determines the contemporary racial relationships. The splitting up of the slave's body calls to mind the pattern of sewing, narrative weaving, re-membering of the social body, and reinventing a traditionally feminine work. The highlighting of performative power of the master's words reminds us the historicity and the politic aspect of the invention of racism in the plantation system. The example of women's beauty and its racialization illustrates the complicated co-construction of gender and race. The writing of past history of slavery points out and explains the present time, but it requires a painful fight against various processes of individual and collective repression. "Beloved" and "The Color Purple" remind us of the importance of rememory, while "Paradise", "Morne Câpresse" and "Heremakhonon" tell about memory in excess. The criticism of historian claim for objectivity belongs to a global questioning of science on the one hand, and of the heritage of Enlightenment on the other. The ambivalences of postmemory confront the contemporary sacralization of memorial and testimonial literature. Postcolonial haunting is seen in a nex light, quite ironic. The analysis of dialectic motherhood in "Beloved", "Tituba" or "Rosie Carpe" allows us to conceptualise the link between national storytelling, racialization of motherhood and political control of women's bodies. Reading and analysing the novels with the concept of intersectionality shows a global deconstruction of womanhood, freed from the stress of reproductive sexuality. At the crossroad of women's power to give birth and death, the midwife is a recurring character. The midwife is often accused of being a witch, and she belongs to a feminine mythology that can turn the stigma around. The witch is born from rivalry in both religious and medical fields. In Toni Morrison's, Maryse Condé's or Marie Ndiaye's novels, the witch is an intercultural invention ; her parodic and performative strength undermines literary categories. Born from the trauma of slavery, the novels outline the pattern of concrete utopias. The totalitarian and separatist aspect of these utopias appears in the grinning face of the contemporary eschatological hope: the sect. Therefore any hope of a better future seems to be ridiculous ; when the return to a primary space, turning back in time, is dying in the impossible way back to Africa. The "Négritude" of Aimé Césaire is dismissed, and so are the hopes of "Créolité", by a literature that rejects post-racial utopia. There is not any idealization of movement in these novels, which tell contemporary migrations and pains of exile condition. Although the narrative strategies are different, they all intend to expose and overcome the color line
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Stamatopoulos, Konstantinos [Verfasser], Heinz-Günther [Akademischer Betreuer] Nesselrath, Stephen [Gutachter] Harrison, and Ulrike [Gutachter] Egelhaaf-Gaiser. "Embracing the Occult: Magic, Witchcraft, and Witches in Apuleius’ Metamorphoses / Konstantinos Stamatopoulos ; Gutachter: Stephen Harrison, Ulrike Egelhaaf-Gaiser ; Betreuer: Heinz-Günther Nesselrath." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2018. http://d-nb.info/1172970718/34.
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Breuer, Heidi Jo. "Crafting the witch: Gendering magic in medieval and early modern England." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280400.
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This project documents and analyzes the gendered transformation of magical figures occurring in Arthurian romance in England from the twelfth to the sixteenth centuries. In the earlier texts, magic is predominantly a masculine pursuit, garnering its user prestige and power, but in the later texts, magic becomes a primarily feminine activity, one that marks its user as wicked and heretical. The prophet becomes the wicked witch. This dissertation explores both the literary and the social motivations for this transformation. Chapter Two surveys representations of magic in the texts of four authors within the Arthurian canon: Geoffrey of Monmouth, Chretien de Troyes, Marie de France, and Layamon. These writers gender magic similarly (representing prophecy and certain forms of transformative magic as masculine and healing as feminine) and use gendered figures to mitigate the threat of masculine power posed by the feudal patriarchy present in England and France in the twelfth century. Chapter Three explores representations of two magical characters who appear in a group of fourteenth- and fifteenth-century romances associated with Gawain: the churlish knight and the loathly lady. The authors of these romances privilege gender conventions radically different from those in earlier models and conjure a figure neglected by the earlier writers, the wicked witch. In particular, representations of the witch as a wicked step-mother reflect the anxiety created by expanding space for women (especially mothers) in previously exclusively male arenas of English society. In Chapter Four, I follow the romance tradition into early modern England, studying the work of Malory, Spenser, and Shakespeare. For these authors, the wicked witch (alternately represented as temptress or crone) is connected specifically to maternity; the severe anxiety about maternity in these texts is representative of widespread concern about mothers and motherhood in sixteenth-century England. Chapter Five traces the legislative policy governing prosecution of witches in England and offers suggestions about the relationship between legal climates and literary representations of magic. Though prosecution of witchcraft is now extremely rare in the U.S., filmmakers still rely on medieval and Renaissance models to inform their representations of witches. Once she arrived, the witch never left.
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Cole, Heather. "The Woman Behind the Witch's Mask: The Evolution of the Female Villain in Western Literature From Shakespeare to the Present." Miami University Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1111688376.
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Clauser, Mark Douglas. "Lucan's Erictho and the Roman witch tradition /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487847761305957.
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Lindberg, Marlene. "Patriarchal Princesses and Wicked Witches : A Feminist Reading of the Depiction of Women in Arthur Miller’s The Crucible." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-66002.
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Based on the Salem witch trials of 1692-1693, Arthur Miller’s play The Crucible treats a historical event that could be considered overflowing with patriarchal oppression. Despite the author’s clear disapproval of the historical cruelty, the play continuously reveals patriarchal structures and shows misogynist tendencies in its depiction of women. This essay suggests that the two main female characters Abigail Williams and Elizabeth Proctor function as representations of binary oppositions based on the patriarchal assumption of two categories of women: the ‘bad girl’ and the ‘good girl,’ which both reinforce the idea of women as unnuanced objects rather than multifaceted subjects. By arguing that Abigail and Elizabeth represent the binary pairs ‘selfish/sacrificing’ and ‘promiscuous/frigid,’ the essay finds that the two women are depicted as ‘either/or’ and that the unnuanced portrayals result in an unsympathetic reading of them. Finally, the essay concludes that regardless if the woman is a ‘good girl’ or a ‘bad girl,’ she is socially punished or given unflattering characteristics in order not to compete with the male protagonist in terms of reader sympathy.Arthur Millers pjäs The Crucible skildrar häxprocesserna i Salem 1692-1693, en historisk händelse som kan anses vara genomsyrad av patriarkalt förtryck. Trots författarens uttalade förakt gentemot häxprocessernas grymhet finns det tydliga och återkommande patriarkala strukturer i den stundom misogyna pjäsen, särskilt i dess kvinnoporträtt. Denna uppsats visar hur de två kvinnliga huvudkaraktärerena Abigail Williams och Elizabeth Proctor fungerar som representationer av binära motsatser baserade på den patriarkala idén om två kategorier av kvinnor: den ’dåliga flickan’ och den ’duktiga flickan’, vilka förstärker synen på kvinnor som onyanserade objekt snarare än mångfacetterade subjekt. Genom att argumentera för hur Abigail och Elizabeth representerar de binära paren ’självisk/självuppoffrande’ och ’promiskuös/frigid’ finner denna uppsats att Abigail och Elizabeth är porträtterade som ’antingen/eller’ och att den onyanserade karaktäriseringen resulterar i en osympatisk läsning av dem. Slutligen påvisar uppsatsen att oavsett om kvinnan är en ’duktig flicka’ eller en ’dålig flicka’ blir hon socialt bestraffad eller försedd med osmickrande karaktärsdrag i syfte att inte konkurrera med den manliga protagonisten om läsarens sympati.
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Hare, Nicola Tracy. "The goddess, the witch and the bitch : three studies in the perception of women." Thesis, University of Port Elizabeth, 2001. http://hdl.handle.net/10948/278.
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In the minds of many people all over the world, women are ‘second class citizens’, standing accused of the downfall of mankind ever since Eve allegedly ate the apple. Even amongst those who do not openly denigrate women, there are many who do so in other, more subtle ways even if they are unaware of it. This study proposes to challenge such a view of women by exposing the ways in which perceptions of women are constructed by society, which frequently wants to maintain the status quo of male dominance. This study employs a feminist approach in examining this gynocentric theme, along with cultural studies which, with its focus on power relations and ways of decentring power structures, is also clearly of use. In addition, this multidisciplinary approach of cultural studies offers the possibility of studying literary texts as well as popular culture. Three specific time periods are examined, with a view to uncovering negative perceptions of women and ways that women can resist such attempts to control them. In chapter one, the focus turns to contemporary perceptions of prehistoric women and the ways that so-called ‘objective’ science has failed to represent women accurately. Similarly, ‘objective’ accounts of Goddess-worship – which frequently fail to examine this phenomenon adequately – are revisited. Alice Walker’s The Temple of My Familiar (1989) is discussed as a text which acts as a site of resistance to societally-informed perceptions. Chapter two continues this investigation by turning to the concept of the witch and its maligned association with women. Woman and witchcraft, having been associated for centuries, are investigated as a pairing which frequently results because iii of attempts to control women by androcentric society. In such situations, the practising of witchcraft can actually become a form of resistance to patriarchy. The pernicious effect of society’s need to purge itself – by witch hunts – of witches is also investigated. The Devil’s Chimney (1997) by Anne Landsman and “The prophetess” (1994) by Njabulo S. Ndebele are discussed as texts which examine fictionalised South African versions of this phenomenon. Sinead O’Connor, the Irish singer, is the ‘bitch’ discussed in chapter three. She is examined as a woman who offers strong and on-going resistance to patriarchal ways of thinking which would ‘box’ women in. This singer refuses to accept societal roles which are offered to women and so offers means of resistance to patriarchy, many of which are discussed in this chapter. This study concludes that it is the responsibility of women to resist patriarchy and to define roles for themselves. The three chapters examine various means of resistance and offer women insight into the forms of opposition they themselves can take.
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Sparks, Amy M. "The white witch : Emily Dickinson and colonial American witchcraft /." View online, 1990. http://repository.eiu.edu/theses/docs/32211998880715.pdf.
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Lahti, Davidsson Elisabeth. "Batikhäxan – ett kvinnligt supermonster : En kritisk diskursanalys av tre politiska pamfletter." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-86034.
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This thesis shows how misogynous and stereotypical images of women, which historically have been used to transform them into witches and monsters, are now reused in the construction of the term “batikhäxa” (“tie-dye witch”). Feminist and discourse theory form the framework of this study which includes the analysis of three opinion pieces, or political pamphlets, that were published between 2010 – 2018: "Batikhäxorna och makten" by the pseudonym Julia Caesar, "Refugee 'Children" & The Women Who Sexually Exploit Them" by the pseudonym Angry Foreigner and "De ansvariga för Sveriges kaos behöver en intervention för att ställas till svars " by Katerina Janouch. I use critical discourse analysis to study how discursive strategies are applied in these political pamphlets to delegitimate women, making them the scapegoats of society by use of the concept of the tie-dye witch. My thesis argues that the use of the tie-dye witch discourse reproduces patriarchal power relations by denying women the right to have and express their opinions, decide over their own bodies and exercise power in society. The tie-dye witch can therefore also be understood as an anti-feminist counterimage to the feminist witch who was established as a female role model in the 1960s. The study also uncovers the psychological function of the tie-dye witch as a female super monster who demarks the borders of nation, culture, religion, body and gender. In the studied texts, the tie-dye witch is constructed to separate "us" from "the others", and in doing so she also acts as a unifying figure in and of anti-feminist, islamophobic, xenophobic, nationalist and apocalyptic discourses.
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Elsley, Susan Jennifer. "Images of the witch in nineteenth-century culture." Thesis, University of Chester, 2012. http://hdl.handle.net/10034/253452.
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This thesis examines the witch imagery used during the nineteenth century in children’s literature, realist and gothic fiction, poetry and art, and by practitioners and critics of mesmerism, spiritualism and alternative spirituality. The thesis is based on close readings of nineteenth-century texts and detailed analysis of artwork, but also takes a long view of nineteenth-century witch imagery in relation to that of preceding and succeeding periods. I explore the means by which the image of the witch was introduced as an overt or covert figure into the work of nineteenth-century writers and artists during a period when the majority of literate people no longer believed in the existence of witchcraft; and I investigate the relationship between the metaphorical witch and the areas of social dissonance which she is used to symbolise. I demonstrate that the diversity of nineteenth-century witch imagery is very wide, but that there is a tendency for positive images to increase as the century progresses. Thereby the limited iconography of malevolent witches and powerless victims of witch-hunts, promulgated by seventeenth-century witch-hunters and eighteenth-century rationalist philosophers respectively, were joined by wise-women, fairy godmothers, sorceresses, and mythical immortals, all of whom were defined, directly or indirectly, as witches. Nonetheless I also reveal that every image of the witch I examine has a dark shadow, despite or because of the empathy between witch and creator which is evident in many of the works I have studied. In the Introduction I acknowledge the validity of theories put forward by historians regarding the influence of societal changes on the decline of witchcraft belief, but I argue that those changes also created the need for metaphorical witchery to address the anxieties created by those changes. I contend that the complexity of social change occurring during and prior to the nineteenth century resulted in an increase in the diversification of witch imagery. I argue that the use of diverse images in various cultural forms was facilitated by the growth of liberal individualism which allowed each writer or artist to articulate specific concerns through discrete images of the witch which were no longer coloured solely by the dictates of superstition or rationalism. I look at the peculiar ability of the witch as a symbolic outcast from society to view that society from an external perspective and to use the voice of the exile to say the unsayable. I also use definitions garnered from a wide spectrum of sources from cultural history to folklore and neo-paganism to justify my broad definition of the word ‘witch’. In Chapter One I explore children’s literature, on the assumption that images absorbed during childhood would influence both the conscious and unconscious witch imagery produced by the adult imagination. I find the templates for familiar imagery in collections of folklore and, primarily, in translations of ‘traditional’ fairy tales sanitised for the nursery by collectors such as Perrault and the Brothers Grimm. I then examine fantasies created for Victorian children by authors such as Mary de Morgan, William Makepeace Thackeray, George MacDonald and Charles Kingsley, where the image of witch and fairy godmother is conflated in fiction which elevates the didactic fairy tale to a level which in some cases is imbued with a neo-platonic religiosity, thereby transforming the witch into a powerful portal to the divine. In contrast the canonical novelists whose work I examine in Chapter Two generally project witch imagery obliquely onto foolish, misguided, doomed or defiant women whose witchery is both allusionary and illusionary. I begin with the work of Sir Walter Scott whose bad or sad witches touch his novels with the supernatural while he denies their magic. Scott’s witch imagery, like that of Perrault and Grimm, is reflected in the witches who represent women’s exclusion from autonomy, education and/or the literary establishment in the works of Charlotte and Emily Brontë, Elizabeth Gaskell and George Eliot. Traditional fairy-tale imagery is particularly evident in Charles Dickens’ use of the witch to represent negative aspects in the development of society or the individual. In contrast Scott’s impulse to distance himself from the pre-urban world represented by his witches contrasts with Thomas Hardy’s mourning of the female earth spirits of Wessex, thereby linking fluctuating and evolving images of nature with images of the nineteenth-century witch. In Chapter Three I explore poetry and art through Romantic verse, Tennyson’s Camelot, Rossetti and Burne-Jones’ Pre-Raphaelite classicism, Rosamund Marriot Watson and Mary Coleridge’s shape-shifting, mirrored women, and Yeats’ Celtic Twilight: in doing so I find representations of the witch as the destructive seductress, the muse, the dark ‘other’ of the suppressed poet, the symbol of spellbinding amoral nature, and the embodiment of the Celtic soul. In the final chapter witch imagery is attached to actual practitioners of so-called ‘New Witchcraft’, yet they also become part of a story which seeks to equate neo/quasi science with the supernatural. I demonstrate a gender realignment of occult power as the submissive mesmerist’s tool evolves into the powerful mother/priestess. I note the interconnectedness of fiction and fact via the novels of authors such as Wilkie Collins and Edward Bulwer-Lytton; and identify the role of the campaigning godmother figure as a precursor of the radical feminist Wiccan. I believe that my thesis offers a uniquely comprehensive view of the use of metaphorical witch imagery in the nineteenth century.
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Rusanen, Sirius. "Character voice in subtitles: a case study of the Japanese subtitles of The Witcher." Thesis, Högskolan Dalarna, Institutionen för språk, litteratur och lärande, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:du-37461.
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In storytelling, one of the most important functions of dialogue is to create characterisation. Character voice is each character's unique style of speaking, which can impart explicit or implicit information about characters, such as their personality, age, or gender. Japanese language texts are known to use gendered language and role language (yakuwarigo) as a way of creating characterisation and character voice.This case study examines the English dialogue and the Japanese subtitles of four characters (Tissaia, Yennefer, Geralt, and Jaskier) from the series The Witcher. The aim was to categorize the strategies used to recreate the original character voice, to mark the differences in the character voices, and to examine their possible impact on the overall characterisations. The study concludes that the main strategy in creating character voice was gendered language and role language. Overall, the English and Japanese character voices were roughly equivalent with each other, and the used gendered language was supported by the characters’ personalities or appearance. The character Jaskier had the most differences between his English and Japanese dialogue, most likely due to the difficulties in recreating his brand of humorous tone in subtitle form.
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Paule, Maxwell Teitel. "Canidia: A Literary Analysis of Horace's Witch." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343685076.
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Saul, MaryLynn. "A rebel and a witch: the historical context and ideological function of Morgan Le Fay in Malory's Le Morte Darthur." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243624407.
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Kamali, David. "The Lion, the Witch, and the Wardrobe : The Importance of Dialogues and Actions." Thesis, Mittuniversitetet, Institutionen för humaniora och samhällsvetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-43016.
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Larsson, Lisette. "Datorspel i undervisningen : En analys av hur intrigen i The Witcher 2: Assassins of kings kan användas i svenskundervisningen." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-78797.
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Analysens syfte var att presentera om ett datorspel kan betraktas som en berättande text, hur ett datorspel skiljer sig från andra berättande texter, samt hur datorspelet The Witcher 2: Assassins of kings (2011) kan användas som en berättande text i gymnasieämnet svenska. Analysarbetet genomfördes genom att spela datorspelet, skriva loggbok och spela in spel-tillfällena. För att klargöra om datorspelet kan betraktas som en berättande text använde jag mig av forskning som definierar en berättande text. Sedan jämförde jag datorspelets berättelse mot forsknings-resultaten. Gällande användningen i gymnasieämnet svenska reflekterade jag över Skol-verkets formuleringar i det centrala innehållet för kurserna. Resultatet som jag kunde utläsa var att datorspel kan betraktas som berättande text och är möjliga att använda i gymnasieämnet svenska. Beträffande skillnaderna från andra berättande texter är ett The Witcher 2 ett icke-linjärt datorspel med interaktiva inslag, vilket innebär att berättelsen kräver större engagemang från en spelare i jämförelse med en läsare.
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Gånge, David. "Realistisk fantasy : Förklaringsramen i Andrzej Sapkowskis The Last Wish." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-70207.
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Denna studie har utgått från Wayne A Chandlers och Carrol L Frys teori kring så kallade ”frames of explicability” (förklaringsramar) inom fantasygenren och applicerat denna på novellsamlingen The Last Wish av Andrzej Sapkowski. Syftet var att precisera Sapkowskis förklaringsram, det vill säga hur han förmedlar en illusion av sanning trots novellernas övernaturliga element, med fokus på den fiktiva värld som byggs upp i novellerna. Genom en närläsning av The Last Wish med Wolfgang Iser, Kathleen McCormick och Jonathan Cullers teorier om repertoarer och litterär kompetens i åtanke visade studien att Sapkowskis förklaringsram till största del består av intertextuella referenser men även en paradoxal realistisk framställning av övernaturliga fenomen. Det senare attribueras till framställningar som går att härleda till den verkliga världen, dess historia och moraliska tvetydighet.
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Oliver, Cheyenne. "Which witch?| Morgan le Fay as shape-shifter and English perceptions of magic reflected in Arthurian legend." Thesis, Florida Atlantic University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10096028.
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Descended from Celtic goddesses and the fairies of folklore, the literary character of Morgan le Fay has been most commonly perceived as a witch and a one-dimensional villainess who plagues King Arthur and his court, rather than recognized as the legendary King’s enchanted healer and otherworldly guardian. Too often the complexity of Morgan le Fay and her supernatural abilities are lost, her character neglected as peripheral. As a literary figure of imaginative design this thesis explores Morgan le Fay as a unique “window” into the medieval mindset, whereby one can recover both medieval understandings of magic and female magicians. By analyzing her role in key sources from the twelfth to fifteenth century, this thesis uses Morgan le Fay to recover nuanced perceptions of the supernatural in medieval England that embraced the ambiguity of a pagan past and remained insulated from continental constructions of demonic witchcraft.
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Marques, Mirane Campos. "Da floresta ao guarda-roupa : the Lion, the Witch and the Wardrobe eo caminho para Faërie /." São José do Rio Preto : [s.n.], 2011. http://hdl.handle.net/11449/99098.
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Orientador: Álvaro Luiz HattnherBanca: Karin Volobuef
Banca: Orlando Nunes de Amorim
Resumo: Este trabalho propõe-se a rediscutir o conceito corrente de conto de fadas, tal como proposto por autores como Jolles (1976) e Propp (1983), a partir de um contraponto dessas teorias com as formulações de J. R. R. Tolkien em seu ensaio "Sobre histórias de fadas" (2006). Partindo dessa revisão, pretende-se demonstrar como As crônicas de Nárnia, de C. S. Lewis, pode ser lida como o que Tolkien denomina "história de fadas", pois a presença da oposição entre o "mundo real", com tempo e espaço histórico bem definidos, e o mundo maravilhoso ou "outro mundo" parece ser um fator decisivo para diferenciar um conto de fadas de uma história de fadas
Abstract: This research proposes to revisit the current concept of fairy tale as proposed by authors such as Jolles (1976) and Propp (1983), counterpointing those theories with the formulations of J.R.R. Tolkien in his essay "On Fairy-Stories" (2006). The aim is to demonstrate how The Chronicles of Narnia, by C. S. Lewis, can be read as a "fairy story" according to Tolkien, since the presence of an opposition between the "real world", with well defined time and historical space, and the wonderful world or "other world" seems to be a decisive factor to differentiate a fairy tale from a fairy story
Mestre
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McCain, Katharine Elizabeth. "Today Your Barista Is: Genre Characteristics in The Coffee Shop Alternate Universe." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1595512930155036.
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Marques, Mirane Campos [UNESP]. "Da floresta ao guarda-roupa: the Lion, the Witch and the Wardrobe eo caminho para Faërie." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/99098.
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Este trabalho propõe-se a rediscutir o conceito corrente de conto de fadas, tal como proposto por autores como Jolles (1976) e Propp (1983), a partir de um contraponto dessas teorias com as formulações de J. R. R. Tolkien em seu ensaio “Sobre histórias de fadas” (2006). Partindo dessa revisão, pretende-se demonstrar como As crônicas de Nárnia, de C. S. Lewis, pode ser lida como o que Tolkien denomina “história de fadas”, pois a presença da oposição entre o “mundo real”, com tempo e espaço histórico bem definidos, e o mundo maravilhoso ou “outro mundo” parece ser um fator decisivo para diferenciar um conto de fadas de uma história de fadas
This research proposes to revisit the current concept of fairy tale as proposed by authors such as Jolles (1976) and Propp (1983), counterpointing those theories with the formulations of J.R.R. Tolkien in his essay “On Fairy-Stories” (2006). The aim is to demonstrate how The Chronicles of Narnia, by C. S. Lewis, can be read as a fairy story according to Tolkien, since the presence of an opposition between the real world, with well defined time and historical space, and the wonderful world or other world seems to be a decisive factor to differentiate a fairy tale from a fairy story
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Webb, Julia B. "A Thing to Burn." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1587047485421102.
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Tokdemir, Gokce. "Worlds Subverted: A Generic Analysis Of The Lion, The Witch And The Wardrobe, The Subtle Knife, And Harry Potter And The Philosopher." Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/3/12609698/index.pdf.
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This dissertation aims to study three very important works in English children&rsquos fiction: C. S. Lewis&rsquo
s The Lion, the Witch and the Wardrobe, Philip Pullman&rsquo
s The Subtle Knife, the second book of his trilogy His Dark Materials, and J. K. Rowling&rsquo
s Harry Potter and the Philosopher&rsquo
s Stone. The novels will be analyzed in terms of their approaches toward the conventions of fairy tale, fantasy and romance
to this end, the novels are to be evaluated in relation to their concept of chronotope, and the quest of good versus evil. While the secondary world or multiple worlds presented are going to be analyzed in terms of their perception of time and space along with the presentation of the supernatural elements, the characters will be evaluated in terms of the common classification good versus evil. The main argument of this study concentrates on the gradual estrangement from the crystal clear distinctions of the fairy tale genre to a more shadowy, pessimistic, and ambivalent vision of the fantastic in the children&rsquo
s literature.
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Stenberg, Felicia. "A Liminal Existence, Literally : A Deconstruction of Identity in Diana Wynne Jones’ Howl’s Moving Castle." Thesis, Södertörns högskola, Engelska, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-37623.
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This essay examines the inherent instability present in Diana Wynne Jones’ 1986 novel Howl’s Moving Castle. I suggest that in relying on the ambiguity of the story and the setting, Jones creates not only a more complex universe, but allows the characters to be multidimensional -- both literally and figuratively -- without having any stable selves. Using deconstruction as a (non-existent) foundation for my analysis, I contend that the strength of the story is in the looseness of it. Thus, by using a Derridean approach with added Cixousian feminist elements and a heap of Kristevian intertextuality, I further argue that Jones invites the reader to embrace the ambiguity of identity by closely analyzing the conflicting behaviours of the two main characters in the novel, Sophie Hatter and Wizard Howl. In conclusion, I argue that Diana Wynne Jones through subverting classic fairy tale tropes in an ingenious way, suggests that there is no such thing as a final finished growing person and that there is comfort to be found in embracing this incompleteness.
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DeVoe, Lauren E. "Erichtho’s Mouth: Persuasive Speaking, Sexuality and Magic." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2020.
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Since classical times, the witch has remained an eerie, powerful and foreboding figure in literature and drama. Often beautiful and alluring, like Circe, and just as often terrifying and aged, like Shakespeare’s Wyrd Sisters, the witch lives ever just outside the margins of polite society. In John Marston’s Sophonisba, or The Wonder of Women the witch’s ability to persuade through the use of language is Marston’s commentary on the power of poetry, theater and women’s speech in early modern Britain. Erichtho is the ultimate example of a terrifying woman who uses linguistic persuasion to change the course of nations. Throughout the play, the use of speech draws reader’s attention to the role of the mouth as an orifice of persuasion and to the power of speech. It is through Erichtho’s mouth that Marston truly highlights the power of subversive speech and the effects it has on its intended audience.
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Rivera, Alexandra. "Conjurer la Révolution : Sorciers, Païens et Justice Sociale dans la France contemporaine." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1376.
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Witches and pagans have long faced historical persecution from the Catholic church and other patriarchal systems of power. In the eyes of mainstream society, they have been reduced to fragments of ancient history and entertaining media stereotypes. Real practitioners of witchcraft and paganism have remained fairly marginalized and trapped in the shadows, but this is starting to change. Witches and pagans have begun to involve themselves in large-scale political movements, combining spiritual power with direct action. While this phenomenon has a longer track record in the United States, in France it is extremely new. France is a country that has an even deeper history of pagan origins and Inquisition witch trials, wih a currently conflicted religious dynamic of being both secular and Catholic. Therefore, the reclamation and practice of witchcraft within an activist setting has even more revolutionary significance. Because the basic tenets of most witch and pagan spiritualities emphasizes fighting oppression, witchcraft has attracted marginalized groups, especially the LGBT community. The occult offers valuable new ways of examining activism and social justice using spirituality and magic.
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Oliveira, Davi da Silva. "As falas do silêncio das personagens Sebastiana Maria de Jesus, D. Maria Ana Josefa e Blimunda de Jesus no romance Memorial do Convento de José Saramago." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/14871.
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In this dissertation, an analysis was carried out concerning the speeches of silence performed by women characters in the novel Memorial do Convento, written by José Saramago. The characters are: D. Maria Ana Josefa, Sebastiana de Jesus and Blimunda de Jesus. The inductive methodology was used, starting from the particular premises while we observed the incidences of the discourse of silence in the corpus, with the purpose of reaching another premise, which is the identification and characterization of this phenomenon in the literary discourse. The research has a qualitative and phenomenological nature, since we believe that the knowledge of the problem is the result of the vision we have about what is perceived: the speech of silence of the characters. This perception reveals us that the absence of voices does not mean a gap in the saying, taking into account that the silence of women has a meaning. The silence of characters is one recorded by the author and has a resounding of the story as a determining ingredient for the behavior of such characters. Therefore, the construction of the saying of the silence has a structure based on the conception the society had regarding women and witches. In order to cover the problem thoroughly, our starting point was a careful reading of the novel, looking at the behavior of the characters under consideration, considering not only the historical and social circumstances that impacted the women of the 18th century, period covered by the narrator, but also the lines of literary discourse in the novel. For the theoretical underpinning of this study, we researched intensively the postulates of the Literary Theory about novels related to History and Fiction, focusing mainly on the concepts of characters and narrator
Nesta Dissertação, fizemos uma análise das falas do silêncio das personagens femininas do romance Memorial do Convento de José Saramago: D. Maria Ana Josefa, Sebastiana de Jesus e Blimunda de Jesus. Utilizamos o método indutivo, ou seja, partimos das premissas particulares na observação da incidência do discurso do silêncio no corpus, em direção a outra premissa que é o nosso objeto, isto é, a identificação e caracterização da existência deste fenômeno no discurso literário. A pesquisa é de caráter qualitativo e fenomenológico, pois o conhecimento do problema é o resultado da visão que temos sobre o percebido: a fala do silêncio das personagens. Esta observação nos garante revelar que a ausência da voz não significa a lacuna do dizer, pois o silêncio das mulheres tem um significado. O calar das personagens é um calar registrado pelo narrador e tem uma ressonância da história como ingrediente determinante para o comportamento das mesmas. Portanto, a construção do dizer do silêncio tem uma estrutura alicerçada na concepção que a sociedade tinha das mulheres e bruxas. Para cobrirmos o problema cabalmente, partimos da leitura atenta, analisando os atos das personagens focalizadas, no estudo, desde as circunstâncias históricas e sociais que marcaram as mulheres no período contemplado pelo narrador, século XVIII, até as linhas do discurso literário no romance. Para o suporte deste estudo, nos debruçamos nos postulados da Teoria Literária sobre o romance (enfocando principalmente os conceitos de personagens e narrador), da História e da ficção
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Widén, Anita. "Roten till det onda : en studie i häxmotiv, kvinnlig sexualitet, husmoderlighet och moderlighet i Ulla Isakssons historiska roman Dit du icke vill." Thesis, Södertörn University College, School of Gender, Culture and History, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1819.
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Ulla Isaksson (1916 – 2000) wrote many novels, often with a woman or several women as protagonists. In Dit du icke vill (“Where Thou Willst Not”) from 1956 she depicts a crisis of faith in a woman, which would not have been successful had she chosen a contemporary setting. She uses an adequate historical framework, the prosecution of witches in Sweden in the 17th century, well documented in reliable sources. Her novel includes a message about oppression of women, manifest in patriarchal ambition to control ancient wisdom about healing and herbs and the denial of pre-Christian habits that include knowledge about female fertility, earlier exercised by midwives and wise women and men.
In “The Root of Evil” the novel is placed in a feminist tradition, where the author, like older writers like Fredrika Bremer, Ellen Key and Elin Wägner, pleads for “social mothering”. A major difference is that, in her own life, Ulla Isaksson has experienced pregnancy, giving birth and breastfeeding which none of the pioneering Swedish feminist writers had. Emilia Fogelklou, pioneering theologian, wrote about witches as wise women, a study that influenced Ulla Isaksson. The witches are described as mirroring Hanna “the Good Mother”. Their fantasies about life at “Blåkulla” are similar to the everyday life at a wealthy farmstead. This kind of mirroring reminds of the theories of Gilbert and Gubar, who assume that female writers in the 19th Century hid their revolt against patriarchy in mad women, like “The Madwoman in the Attic” in Jane Eyre. In the 1950s, golden age of the Swedish housewife, a female writer might well hide her anger at the circumscribed role model dedicated to women in a similar use of Anti-Women. The real witches clearly contrast the obedient protagonist, a true “Angel in the house”.
The villagers´ struggle to clear the ground from the ensnaring roots that hinder the male prosecution of witches imply a symbolic reading: this evil root is ancient matriarchal knowledge of childbearing and birth control. A theory on the original causes for the witch hunts in western Europe is introduced: the population sank in the 15th century and one reason, beside plagues, starvation and warfare, was that women aware of how to prevent childbearing and giving birth to a lot of children were killed during the witch hunt. Churches and kings introduced the prosecution of witches and wise women, including midwives.
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Brion, Nicolai Henrique Dianim. "A Releitura de O Leão, a Feiticeira e o Guarda-Roupa no Cinema." www.teses.ufc.br, 2013. http://www.repositorio.ufc.br/handle/riufc/8115.
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BRION, Nicolai Henrique Dianim. A Releitura de O Leão, a Feiticeira e o Guarda-Roupa no Cinema. 2013. 114f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2013.Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-05-20T12:01:06Z No. of bitstreams: 1 2013_dis_nhdbrion.pdf: 2187439 bytes, checksum: 0f737692e173eaab7640718412c8b869 (MD5)
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Made available in DSpace on 2014-05-20T13:42:42Z (GMT). No. of bitstreams: 1 2013_dis_nhdbrion.pdf: 2187439 bytes, checksum: 0f737692e173eaab7640718412c8b869 (MD5) Previous issue date: 2013
The Lion, the Witch and the Wardrobe (1950), by C. S. Lewis, is a typical fantasy narrative. Thus, its form and contents are shaped by characteristics which have traditionally marked the genre, such as the appeal to a medieval atmosphere. The story was adapted to the Hollywood cinema by Andrew Adamson in 2005 keeping the same title. The main goal of this dissertation is to discuss the strategies employed by the director to produce an action blockbuster in the format of the classical Hollywood narrative through the exploration of the fantastic and medieval elements of the novel. It starts from the idea that the film adaptation, although it comes from a text which occupies a peripheral position in the British literary system, manages to stand out in the Hollywood cinematographic system. This research is descriptive and has a qualitative approach, which consists of the reading of both the novel and the film to analyse how fantasy and medievalism are configured in these narratives. The analysis led us to conclude that the adaptation was able to resignify the elements of the novel which are responsible for its marginalization. The theoretical bases for this work are the principles of the descriptive translation studies, especially the concept of rewriting, by Lefevere (2007), and the premises of the polysystem theory, by Even-Zohar (1990). Theoretical references still include Todorov (2010, 2006) and Propp (2006), to characterize the novel as a fantasy narrative; Cecire (2009) and Hobsbawm (1997), to approach the matter of medievalism; Compagnon (1999) and Wellek and Warren (2003), to discuss the literary canon; and Bordwell (1985), to delimitate the properties of the classical Hollywood narration pattern.
O Leão, a Feiticeira e o Guarda-Roupa (1950), de C. S. Lewis, é uma típica narrativa de fantasia. Assim, apresenta características de forma e conteúdo que têm sido tradicionalmente empregadas pelo gênero, entre elas o apelo a uma atmosfera medieval. A história foi adaptada para o cinema de Hollywood em 2005 por Andrew Adamson, com título homônimo. O objetivo principal desta dissertação é discutir as estratégias utilizadas pelo diretor para produzir um blockbuster de ação no formato da clássica narrativa hollywoodiana, explorando os elementos fantásticos e medievais da obra. Parte-se da ideia de que a adaptação, embora oriunda de um texto que ocupa um espaço periférico no sistema literário britânico, consegue se destacar no sistema cinematográfico de Hollywood. A pesquisa tem caráter descritivo, com abordagem qualitativa, que consiste na leitura da obra literária e do filme para analisar como a fantasia e o medievalismo são configurados nessas narrativas. A análise levou-nos a concluir que a adaptação foi capaz de ressignificar os elementos da obra literária responsáveis por sua marginalização. Como base teórica, apoia-se nos princípios dos estudos descritivos de tradução, sobretudo no conceito de reescritura, de Lefevere (2007), e nos pressupostos da teoria dos polissistemas, de Even-Zohar (1990). Os referenciais teóricos ainda incluem Todorov (2010, 2006) e Propp (2006), para caracterizar a obra como uma narrativa de fantasia; Cecire (2009) e Hobsbawm (1997), para abordar a questão do medievalismo; Compagnon (1999) e Wellek e Warren (2003), para discutir o cânone literário; e Bordwell (1985), para delimitar as propriedades do padrão narrativo clássico de Hollywood.
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Liagre, Sebastien. "John Neal, une écriture-frontière." Thesis, Lille 3, 2015. http://www.theses.fr/2015LIL30029.
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Cette thèse se propose d’étudier comment, à travers sa singulière écriture, John Neal, prenant son contemporain James Fenimore Cooper pour anti-modèle, ambitionne de réformer la littérature américaine, afin de satisfaire au besoin naissant d’indépendance et de renouveau national. Dans une certaine tradition américaine, la frontière est moins une limite territoriale qu’un seuil dynamique, un locus americanus, lieu de tous les possibles. Et c’est bien en ce sens que le romancier du Maine, homme des transgressions, homme de l’entre-deux, écrit «à la frontière» : entre littérature et engagement, entre la scène et la chaire, le masculin et le féminin, l’Indien et le Blanc, sa prose hésite, souvent. Il conviendra en somme d’analyser au plus près cette fabrique alternative de littérarité qu’est l’écriture nealienne, dans l’incertitude des commencements, lorsque l’expression du «génie national» prétend s’instaurer en critère de jugement et faire table rase des modèles d’importationThis thesis explores how, through his singular writing style, John Neal, using fellow-writer James Fenimore Cooper as an anti-model, sets out to pioneer a thorough reformation of the so-called American literature, in an attempt to satisfy the ever-increasing need for independence and national renewal. In a certain American tradition, the frontier is less a territorial boundary than a « dynamic threshold », a locus americanus where wishful thinking comes true. Thus it is that this transgressive Maine author, a man of the neutral ground, or, rather, of the middle ground, writes «at the frontier»: between literature and committed literature, between the stage and the pulpit, the masculine and the feminine, or the Indian and the white man, his prose often wavers. Hence, our focus will be on the alternative literary vision for « the great Republic of Letters », encapsulated within Neal’s own writing, shaped as it was by the uncertainties of a nation in the making. Those were the days when «national genius» had an edge on European models. Those were John Neal’s days
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Stamatopoulos, Konstantinos. "Embracing the Occult: Magic, Witchcraft, and Witches in Apuleius’ Metamorphoses." Doctoral thesis, 2015. http://hdl.handle.net/11858/00-1735-0000-002E-E51B-1.
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Kaustinen, Katrina. "Midwife-Witches : examining midwives and women's magick in Ami McKay's The Birth House." Thèse, 2019. http://hdl.handle.net/1866/23723.
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Ce mémoire explore le concept de la sagefemme-sorcière dans le contexte de la masculinisation
et la médicalisation du processus de l'accouchement. En m'appuyant sur le roman The Birth
House, par Ami McKay, je développerai trois chapitres qui traitent de l'histoire du domaine
obstétrique, la chasse aux sorcières, ainsi que l'historique de l'archétype de la sorcière dans un
contexte féministe afin d'illuminer la caractérisation de Dora et Miss Babineau en tant que des
véritables sorcières, malgré qu'elle ne pratiquent pas de magie dans l'histoire. De plus, ce
mémoire examinera les implications féministes de l'adoption littéraire de l'archétype de la
sorcière en ce qui concerne la culture populaire et le climat politique actuel en Amérique du Nord
grâce à l'adoption d'une perspective historique afin d'illustrer l'importance culturelle non
seulement du roman, mais des personnages qui y habitent.In this paper, I explore the notion of the midwife-witch and how it relates to the medicalization and masculinization of birth as portrayed in The Birth House by Ami McKay. This subject is divided in three chapters that give historical context to the emergence of obstetrics and the prosecution of midwives, the history of the archetype of the witch and how it is explored in the characterization of Dora and Miss Babineau, as well as the feminist implications of the figure of the midwife-witch and how it is relevant to the current political and cultural climate. I argue that McKay's novel fictionalizes the question of how witchcraft influenced the process of excluding women from medicine as well as reinforces the overall patriarchal subjugation of women. In turn, the text suggests that the key to transcending gender-based oppression lies in embracing the magick of womanhood: the power to create life. This thesis draws a timeline in the history of women's medicine, witch hunts, and feminism to show how these three elements interact in McKay's novel, which serves as a feminist retelling of the real-world implications and power of negotiating and claiming identity.
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Rodrigues, Debbie June. "Funny little witches and venerable-looking wizards: a social constructionist study of the portrayal of gender in the Harry Potter series." Diss., 2011. http://hdl.handle.net/10500/4774.
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In this study I apply social constructionism as propounded by Vivian Burr (1998) to show that although J. K. Rowling uses stereotypes in the Harry Potter series as a reflection of how gender is constructed across a wide range of societal institutions in contemporary Britain, she created complex characters who on an individual level subvert social constructs and thereby offers her readers alternatives to culturally defined concepts of gender. I explore the all-pervasive social phenomenon of gender and examine how it is constructed in present-day Britain and reflected in the series (bearing in mind that the first book was published in 1997 and the last one in 2007). My analysis of female and male characters in the books, and their interpersonal relationships, shows that Rowling's often tricky portrayal of femininities and masculinities gives us an honest view of teenagers’ lives and contemporary gender relations in an ever-changing, complex world.English Studies
M. A. (English)
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Razdow, Kari Adelaide. "Enchanted Pedagogy: Archetypal Forms, Magic, and the Transmission of Knowledge in Fantasy Literature." Thesis, 2020. https://doi.org/10.7916/d8-mkn7-2460.
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This study examines pedagogical patterns associated with wizard, witch, and fairy archetypes in fantasy literature. The fact that magic exists in fantasy literature as a mysterious and elusive element allows narratives to maintain and validate various means of knowledge acquisition – one archetypal form, such as a wizard, pursues a radically different mode of pedagogical engagement with magic than another archetypal form, such as a fairy. According to Carl Jung, archetypes are anchored by ancient elements of mythological lore, yet continuously shape-shift in the present day. My qualitative research process involved close readings of selected passages in popular works of fantasy literature, selected for analysis based on their salient educational themes as well as a presence of witches, wizards, and fairies. I examine how archetypes in fantasy literature frame various approaches to education, investigating whether these pedagogical multiplicities tend to re-codify magic itself. I investigate how these archetypes acquire, dispel, manipulate, and embody magic with opposing or unique tactics, while considering how each archetype confronts the unknown. I also reflect on the relevant folkloric and mythic dimensions of each archetype, examining the extent in which the magical discourse surrounding each archetype relates to ideas about teaching and learning. Each archetype presents pedagogic nuances, subtle parallels, layers, and metaphorical veins of meaning. How does education in fantasy literature establish broad and vexing challenges to the realities that we are familiar with or conscious of in the everyday contemporary educational field? Are there idiosyncratic pedagogical possibilities (and impossibilities) through archetypal representations in fantasy literature, allowing for multifaceted and meaningful representations of teaching and learning? I find that each archetype’s distinct pedagogical model includes variations as well as overlapping representations of creative agency, amplified possibilities, enhanced notions of growth, radical receptivity, calls for empathy, and visions of transformation. After examining each archetype in consecutive chapters, my conclusion summarizes the prismatic meaning of their pedagogical engagements, while reflecting on the implications and cross-pollination of education and magic. The intersection of praxis and knowledge for each archetype induces a mythopoeic imagination in relation to education, as each reconciles and renews significant transformational elements of pedagogy.
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Szachowicz-Sempruch, Justyna. "Tracing cultural un/belonging : the witch in Western feminist theory and literature." Thesis, 2003. http://hdl.handle.net/2429/14921.
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The aim of this study is to examine selected narrative and theoretical feminist constructs of the 'witch' produced by women in the Western world over the last thirty years. The hypothesis is that the 'witch' figure is deployed to convey the diasporic or transgressive status of the/a 'woman' whose position is constructed as incompatible with the dominant phallogocentric discourse. The texts considered have been written in English, German, or Polish, since 1970. Bringing in a comparative dimension from the beginning, this dissertation demonstrates that despite differing political, cultural, and linguistic contexts, common 'threads' intertwine the destinies of the women conceptualized in these narratives as feminist (newly born, or re-discovered) witches, archaic mothers, and transgressive female boundary breakers. These reformulations of the 'witch' into a multiple site of strategic un/belonging, as proposed by the textual analyses in this study, converge with a number of theoretical concepts, such as Irigaray's proposal of a feminine "fluidity" that could shift the social order, Kristeva's "different legality" associated with a provisional, carnivalesque, but also strategically feminist project, as well as Butler's subversion of (Western) cultural foundations by undermining gender distinctions. While representing a range of theoretical standpoints, different languages, and different cultural backgrounds, all the texts discussed here contribute to the feminist deconstruction and redeployment of a phallogocentric archetype of the witch-woman. What this coming together implies in the end is that transnational exchanges of feminist theories and narratives produce 'boundary work' - works 'on the edge' that reveal the witch as a set of constructs that is both contested and difficult to displace in contemporary representations of 'woman'. This recognition offers a point of departure for a new political theorizing on 'woman' that rejects the Western epistemological dichotomies of subject/object, I/the other, or belonging and unbelonging as basic categories of identification.
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"Rehabilitating the Witch: The Literary Representation of the Witch from the "Malleus Maleficarum" to "Les Enfants du sabbat"." Thesis, 2012. http://hdl.handle.net/1911/70211.
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The representation of the witch in French literature has evolved considerably over the centuries. While originally portrayed as a benevolent and caring healer in works by Marie de France, Chrétien de Troyes, and the anonymous author of Amadas et Ydoine , the witch eventually underwent a dramatic and unfortunate transformation. By the fifteenth century, authors began to portray her as a malevolent and dangerous agent of the Christian Devil. Martin Le Franc, Pierre de Ronsard, Joachim du Bellay, François Rabelais, and Pierre Corneille all created evil witch figures that corresponded with this new definition. It was not until the eighteenth century, through the works of Voltaire and the Encyclopédistes, that the rehabilitation of the witch began. By the twentieth century, Anne Hébert, Jean-Paul Sartre, Maryse Condé, and Sebastiano Vassalli began to rewrite the witch character by engaging in a process of demystification and by demonstrating that the "witch" was really just a victim of the society in which she lived. These authors humanized their witch figures by concentrating on the victimization of their witch protagonists and by exposing the ways in which their fictional societies unjustly created identities for their witch protagonists that were based on false judgments and rumors. Hébert attacks Sigmund Freud's association of the witch and the hysteric, Sartre utilizes his witches to expose many of his existential ideals, Condé highlights the role that racism played in witchcraft, and Vassalli strives to rewrite history by telling the story from the point of view of his witch character. Each twentieth-century author provides a story that deconstructs the very nature of the witch as this had been constructed over time, and shows how witches expose the problems associated with understanding one's place in the world in both their individual and their social dimensions. The witch, for these authors, challenges dominant norms and reveals how much our identities are influenced by our interactions with other individuals. And, because the witches in each text are marginal beings, they expose the repressiveness of their particular environments and the idiosyncrasies of their cultures. In all these ways, or so these 20 th -century authors contend, we as modern readers, can relate to their situations and learn from their stories.
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Brownell, Roseann. "Poems of the new archetypes Madonna, Venus, Eve, and the Witch." 2008. http://hdl.rutgers.edu/1782.2/rucore10005600001.ETD.17616.
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Nieto, Cuebas Glenda Yael. "“How can you be a witch? You are not old”: Women, society and spectacle in the Spanish Golden Age theater." 2012. https://scholarworks.umass.edu/dissertations/AAI3498363.
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The trials of the Basque witches conducted during the 16th and early 17th centuries had a significant effect on the development of Golden Age Spanish Literature. Taunts and jests alluding to the punishment and humiliation of witches abound throughout many texts, as do scenes where characters are questioned about family histories that include connections to witchcraft; all this at a time when state and church authorities took the matter very seriously. In spite of this, many characters in the Spanish literature of the period were directly associated to magic. The most famous and imitated of these is la Celestina, who helped shape many subsequent female characters that exhibited magical abilities. Although magical characters are fairly abundant in the literature, witches per se, who would be portrayed as characters that violate Christian dogma or renege on their faith and engage in a pact with the devil, were not often seen in Golden Age Theater. This project will study a number of plays known today that feature witches; among them, Entremés famoso de las brujas (1675) by Agustín Moreto, Las brujas fingidas y berza en boca (late 17th century), an anonymous work, and Amazona en las Indias (1635) by Tirso de Molina. A fourth play will also be studied, Entremés de las brujas (1742) by Francisco de Castro. Although this fourth play was published in the 18th century, it makes use of the aquelarre as a narrative element, as seen in the work of Moreto and in Las brujas fingidas. Having selected these works, this project will focus on the socio-historical context under which they existed in order to determine if the witches they portray violate established social norms or if, on the contrary, they help preserve and strengthen them. We also seek to determine whether they uphold or challenge the perceived need to eliminate and/or punish social disorder. To answer these and other questions, we will study how beliefs and myths about witches are incorporated into these plays, how witches and witch-like characters interact with other dramatic personae, and how given social norms are inverted, especially when practices forbidden or regulated by the Spanish Inquisition are concerned. Lastly, this dissertation analyzes the social paradox that emerges from the portrayal of female characters associated with witchcraft in these four theatrical works. These characters are framed as contradictory figures that correspond, in one way or another, with the contrasting cultural forces of the era. Their presence on stage communicates the crisis of the baroque, under which the plot aligns with the mechanisms of control of patriarchal culture. To this end, we analyze the representation of witches not only as sources of divergent discourse, but also as a means of disseminating mainstream discourse and propaganda; since the portrayal of these women highlights their identity as “the other” to an audience that at the same time applauds them.