To see the other types of publications on this topic, follow the link: Womanism in literature.
Dissertations / Theses on the topic 'Womanism in literature'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Womanism in literature.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Eaton, Kalenda C. "Talkin' bout a revolution Afro-politico womanism and the ideological transformation of the black community, 1965-1980 /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1093540674.
Full textAbstract:
Thesis (Ph. D.)--Ohio State University, 2004.Document formatted into pages; contains 185 p. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2007 Aug. 26.
2
Pu, Xiumei. "Spirituality a womanist reading of Amy Tan's "The bonesetter's daughter" /." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-07192006-191437/.
Full textAbstract:
Thesis (M.A.)--Georgia State University, 2006.Title from title screen. Layli Phillips, committee chair; Margaret Mills Harper, Carol Marsh-Lockett, committee members. Electronic text (64 p.) : digital, PDF file. Description based on contents viewed Apr. 20, 2007. Includes bibliographical references (p. 57-64).
3
Neumeister, Scott. "Border-Crossing Travels Across Literary Worlds: My Shamanic Conscientization." Scholar Commons, 2018. https://scholarcommons.usf.edu/etd/7553.
Full textAbstract:
Border-Crossing Travels Across Literary Worlds is an autocritographical journey that places a group of U.S. literary texts into critically conscious dialogue with the “text” of my life. As a white, American, middle-class, cishetero, able-bodied man, I historicize, contextualize, analyze, and deconstruct the process by which my ten years of graduate academic studies at the University of South Florida fostered my ongoing awakening to critical consciousness—the personal and political evolution Paolo Freire terms “conscientization.” I present the analytical insights I realized about landmark feminist and womanist texts I encountered during my graduate studies that resonate with the prominent literary works and events from my youth. By identifying personal contexts and identity-aware frameworks for how I read these influential texts in my past, I give concrete examples of how hegemonic systems of gender, race, class, sexuality, and ability operate within such writing. I also demonstrate how utilizing feminist and womanist theoretical lenses allows a scholar to re-vision and recover problematic texts. Across all my autocritographical travels, I imagine my own life experiences, as well as the positionality of my selected texts’ protagonists, in terms of the archetype of the shaman—a liminal, border-crossing person who walks between worlds to function in the capacity as a messenger, intermediary, and balance-bringing healer.
4
Veronesi, Raquel Barros. ""A Reescritura das Personagens 'womanistas' de The Color Purple para o Cinema"." www.teses.ufc.br, 2015. http://www.repositorio.ufc.br/handle/riufc/11178.
Full textAbstract:
VERONESI, Raquel Barros. A reescritura das personagens 'womanistas' de The Color Purple para o Cinema. 2015. 160f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2015.Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2015-03-31T12:54:43Z No. of bitstreams: 1 2015_dis_rbveronesi.pdf: 1893379 bytes, checksum: 8be8e578c998b24565a9290d5f0bf9ce (MD5)
Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2015-03-31T14:27:31Z (GMT) No. of bitstreams: 1 2015_dis_rbveronesi.pdf: 1893379 bytes, checksum: 8be8e578c998b24565a9290d5f0bf9ce (MD5)
Made available in DSpace on 2015-03-31T14:27:31Z (GMT). No. of bitstreams: 1 2015_dis_rbveronesi.pdf: 1893379 bytes, checksum: 8be8e578c998b24565a9290d5f0bf9ce (MD5) Previous issue date: 2015
The present dissertation analyses the translation of womanism in The Color Purple (1982), by Alice Walker, into its homonymous film adaptation in 1985, directed by Steven Spielberg. The term womanism, although it also refers to the black feminism, relates to a movement that transcends the social aspect; it is, therefore, a spiritual movement, committed to the survival and welfare of all people, independent on race, sex, religion, among others. The novel The Color Purple tells Celie’s story, a semi-illiterate black teenager who writes letters to God, telling situations about her life. Through friendship with other women and, consequently, the discovery of new ways of being and feeling, the character tries to overcome the trauma caused by the separation of her sister and her children, and the physical and psychological rapes she had suffered. In this research, we investigate, specifically, the rewriting of four female characters – Celie, Nettie, Sofia and Shug – since we perceive them as the main representative of womanism in the novel. Our hypothesis is that some womanist aspects, such as religion and homosexuality, were softened in the translation, due to contextual issues, whereas others were emphasized because they were adapted into both the poetics of the cinema of the 80’s, and of the director. As theoretical background, we take Even-Zohar’s postulates (1990), about the polysystem theory, and Toury’s assumptions (2012), which understand the studies of translation emphasizing the cultural factor, and considering the influence that the target culture has on the translation process. We also take Lefevere’s concept of rewriting (2007), which emphasizes the historical and cultural nature of the translated texts. Concerning the translation of literary works into the cinema, we use the studies by Cattrysse (1992), and the considerations of authors, such as Stam (2008; 2011) and Hutcheon (2013), who discuss the relationship between the two language systems. Finally, about womanism, the reflections by Maparyan (2012) and Walker (1983) are critical in conducting the analysis. The results showed that the strategies of softening and emphasis on the translation of the female characters’ womanist traits concern the translators’ poetic, as well as the specificities of the cinematic system. Therefore, in the adaptation, they reflect much more the poetics of Hollywood cinema of the 80’s, and of the director, than the womanism observed in the literary work.
A presente dissertação analisa a tradução do “womanismo” em The Color Purple (1982), da escritora Alice Walker, para o filme homônimo de 1985, dirigido por Steven Spielberg. O termo womanism, embora se refira também ao feminismo negro, diz respeito a um movimento que transcende o social; ele é, portanto, um movimento espiritual, comprometido com a sobrevivência e o bem-estar de todas as pessoas, independente de raça, sexo, religião, entre outros aspectos. O romance The Color Purple narra a história de Celie, uma adolescente negra semiletrada, que escreve cartas a Deus, contando sobre sua vida. Por meio da amizade com outras mulheres e, consequentemente, da descoberta de novas formas de ser e sentir, a personagem tenta superar os traumas causados pela separação da irmã e de seus filhos e pelos estupros físicos e psicológicos que sofreu. Nesta pesquisa, investigamos, especificamente, a reescritura de quatro personagens femininas – Celie, Nettie, Sofia e Shug – uma vez que as percebemos como as principais representantes do “womanismo” no romance. Partimos da hipótese de que alguns aspectos “womanistas”, tais como religião e homossexualidade, foram suavizados na tradução, devido a questões contextuais, enquanto outros foram enfatizados porque se adequavam à poética, tanto do diretor, quanto do cinema da década de oitenta. Como fundamentação teórica, recorremos aos postulados de Even-Zohar (1990), sobre a teoria dos polissistemas, e aos pressupostos de Toury (2012), que entendem os estudos da tradução com ênfase no fator cultural, considerando a influência que a cultura de chegada exerce sobre o processo tradutório. Baseamo-nos também no conceito de reescritura, de Lefevere (2007), que enfatiza o caráter histórico e cultural dos textos traduzidos. Sobre as questões de tradução de obras literárias para o cinema, empregamos os estudos de Cattrysse (1992), e as considerações de autores, tais como Stam (2008; 2011) e Hutcheon (2013), que discutem sobre a relação entre os dois sistemas de linguagem. Por fim, no que se refere ao “womanismo”, as reflexões de Maparyan (2012), bem como da própria Walker (1983) são fundamentais na condução da análise. Os resultados mostraram que as estratégias de suavização e ênfase na tradução dos traços “womanistas” das personagens femininas dizem respeito à poética dos tradutores, bem como às especificidades do sistema cinematográfico. Por isso, na adaptação, elas refletem muito mais a poética do diretor e do cinema hollywoodiano dos anos oitenta, do que o “womanismo” observado na obra literária.
5
van, Uitert Catherine Gardner Guyon. "Paradox and Paradise: Conflicting Perspectives on Race, Gender, and Nature in Aminata Sow Fall's Douceurs du bercail." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2352.
Full textAbstract:
In my thesis, I examine Aminata Sow Fall's sixth novel Douceurs du bercail "The Sweetness of Home" through three lenses: race, gender, and nature. I analyze the way Sow Fall approaches each of these three areas in terms of paradox to emphasize her understanding of the complexity of these issues and her reluctance to outline them rigidly. Instead of putting forth hard opinions about how race, gender, or nature should be understood, Sow Fall exhibits a propensity to allow each area to remain complicated. I study why she allows racial, gendered, and environmental paradoxes to circulate around one another in her text rather than attempting to resolve them, concluding that she uses this strategy both as an organizing principle and as an invitation to her readers to question the extant theories surrounding these three issues. Sow Fall's use of language in all three areas signals an underlying fascination with the paradoxes inherent in each. In the chapter on race, I discuss the contrasting narrative styles Sow Fall uses to describe European airport officials versus the protagonist Asta's best friend, a French woman named Anne. Sow Fall's language is significant here because she contrasts two white Europeans, one characterized as systematic and cold, the other warm and open, respectively. I also discuss the way Sow Fall uses an informal and lethargic narrative voice to characterize a black secretary living in Senegal, further highlighting the disconnect between the two racial groups. In the chapter on feminism, I discuss a shift in Asta's language as she becomes more assertive. I also analyze the various aspects of femininity in Douceurs du bercail which have led some scholars to carry out feminist readings of the text, such as Asta's decision to leave her domineering and abusive husband, but recognize the more traditional aspects of the novel, such as Asta's marriage to Babou at Naatangué, as problematic to a purely feminist reading of the text. In the chapter on nature, I study Sow Fall's problematic use of Westernized language to describe the development of the untouched land of Naatangué into a lucrative farm. Throughout the chapters, I interpret Naatangué as the ultimate paradoxical space which is at once wrought with complicated language and conflicting ideals yet acts as a quasi-paradise where Asta and her friends balance the conflicting forces of tradition and modernity. Naatangué also acts as an organizing principle where all three areas of my study intersect.
6
Nascimento, Heloísa do. "Com quantos retalhos se faz um quilt? costurando a narrativa de três escritoras negras contemporâneas." Universidade do Estado do Rio de Janeiro, 2008. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=696.
Full textAbstract:
A presente tese pretende estabelecer as confluências entre romances de três autoras distintas. Partindo de um viés womanista, dois romances de cada escritora foram analisados e suas similaridades enfocadas, principalmente no que concerne ao tratamento dado às personagens femininas. A tese é composta de cinco capítulos. O primeiro lida com conceitos e temas subjacentes ao debate em torno das literaturas produzidas pelas chamadas minorias. Já o segundo, mergulha no universo literário de Conceição Evaristo, nossa autora afro-brasileira. O terceiro segmento aborda a literatura da afro-americana Toni Morrison. No quarto capítulo, enfocamos a obra da moçambicana Paulina Chiziane. A costura do texto é alinhavada no quinto capítulo, quando tecemos considerações finais sobre as semelhanças e particularidades de cada autoraThe present thesis intends to establish the confluences between novels by three distinct authors. From a womanist perspective, two novels by each author were analyzed and their similarities were highlighted, especially concerning the treatment provided to the female characters. The thesis is made up of five chapters. The first one deals with concepts and themes underlying the debate about the literatures produced by the so-called minorities. The second chapter dives into the literary universe of our Afro-Brazilian writer, Conceição Evaristo. The third segment of the thesis focuses on the literature of the Afro-American Toni Morrison. The fourth sheds light on the works of the Mozambican Paulina Chiziane. The sewing of the text receives its finishing touches in the fifth chapter, where we elaborate final considerations on the similarities and peculiarities of each author
7
Wang, Yi Lin, and Xin Wang. "Woman’s Experience of Cesarean Delivery A descriptive literature review." Thesis, Högskolan i Gävle, Avdelningen för vårdvetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-30400.
Full text
8
Hami, Iman. "Alice Walker's womanist fiction : tensions and reconciliations." Thesis, University of Essex, 2016. http://repository.essex.ac.uk/16683/.
Full textAbstract:
A theory formulated by Alice Walker, womanism focuses on the unification of men and women with Nature and Earth. This thesis explores womanism with regards to its specific concerns with African American women’s rights, identities, and self-actualisation, and points towards its more overarching concerns with human relations and sexual freedom, as expressed in each of Walker’s seven novels. The seven novels discussed in the thesis are The Third Life of Grange Copeland (1970), Meridian (1976), The Color Purple (1982), The Temple of My Familiar (1989), Possessing the Secret of Joy (1992), By the Light of My Father’s Smile (1998), and Now Is the Time to Open Your Heart (2004). Although Walker introduces the term “womanism” in 1983, this thesis traces the development of the concept across her canon of fictional works. By analysing the novels written in the 1970s, I establish how the term came to be coined, and, by seeing through themes and issues addressed early on and how they can be mapped through analysis of her later works, I demonstrate how womanism went on to be further developed and complexly wrought. This thesis thus examines how Alice Walker’s own theory of womanism is reflected through the oeuvre of her fictional works, and considers where tensions arise in her application of what is intended to be a universalist, humanist, project. For, in many of her novels, it is women’s sexuality and sexual power that are the focus, often at the cost of developing the potential of male characters’ equivalent attributes. However, as will be argued, it is in Walker’s later, less appreciated, works that womanism is more fully developed in its universal claims. The integration of spiritual themes and concepts into her narratives reduce or remove the tensions that arise in the reconciliation between woman and man, as well as between humanity and nature.
9
Reeves, Alison Diann. "The construction of a womanist standpoint: self-definition and motherhood in Toni Morrison's Sula." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392301438.
Full text
10
Rogers, Janine. "The woman's voice in Middle English love lyrics /." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69671.
Full textAbstract:
Courtly love lyrics, like other courtly genres, are dominated by male-voiced texts that privilege male perspectives. In conventional courtly love lyrics, women are silenced and objectified by the male speaker. Still, a handful of women-voiced lyrics--"women's songs"--exist in the courtly love lyrical tradition. This thesis studies women's songs in Middle English and their role in the androcentric courtly love tradition.In the first chapter, I discuss critical perspectives on conventional courtly representations of women. In the second chapter, I locate Middle English women's songs in literary contexts other than courtly love: the Middle English lyrical tradition, the cross-cultural phenomenon of medieval women's songs, and the manuscript contexts of Middle English women's songs. In Chapter Three, I discuss the individual songs themselves and examine the range of perspectives found in woman-voiced lyrics.
My discussion of Middle English women's songs includes texts not previously admitted to the genre. This expanded collection of women's songs creates an alternative courtly discourse privileging female perspectives. Middle English women's songs create a space for women's voices in courtly love.
11
Codner, Paul Martin. "The repeating text : Signifyin(g), creolization and marronage in African diaspora womanist narratives." FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/2394.
Full textAbstract:
This thesis studied African-American and Caribbean fiction using models of African diasporization, creolization and womanism to discover how those theoretics affected understandings of black subjectivities.
The diverse theoretics above-mentioned were examined to discover how their intersections enabled productive cross-fertilizations, notwithstanding differences. Black women's literary texts crossing diverse locations and experiences were examined. It was shown that their metadiscursivity enabled creative theorizations of creolization and African diasporization around the repeating text formulation. Their Eyes Were Watching God was analyzed as a prototypical womanist diasporic text, whose attributes were repeated and re-elaborated across various boundaries in Jane and Louisa Will Soon Come Home and No Telephone to Heaven.
This study found that African diaspora womanist texts and theoretics, unbounded by location, engaged each other in conversations and contestations, affirmed kinship beyond differences and challenged various hegemonies. It concluded that the repeating text expanded parameters of black literary criticism and theory.
12
Manisty, Dinah. "Changing limitations : a study of the woman's novel in Egypt (1960-1991)." Thesis, SOAS, University of London, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263374.
Full text
13
Rankin, Cherie L. Breu Christopher. "Working it through women's working-class literature, the working woman's body, and working-class pedagogy /." Normal, Ill. : Illinois State University, 2007. http://proquest.umi.com/pqdweb?index=0&did=1417799101&SrchMode=1&sid=7&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1205258868&clientId=43838.
Full textAbstract:
Thesis (Ph. D.)--Illinois State University, 2007.Title from title page screen, viewed on March 11, 2008. Dissertation Committee: Christopher D. Breu (chair), Cynthia A. Huff, Amy E. Robillard. Includes bibliographical references (leaves 262-273) and abstract. Also available in print.
14
Youngkin, Molly C. "Men Writing Women: Male Authorship, Narrative Strategies, and Woman's Agency in the Late-Victorian Novel." Connect to this title online, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1037376119.
Full textAbstract:
Thesis (Ph. D.)--Ohio State University, 2002.Document formatted into pages; contains ix, 322 p. Includes bibliographical references (p. 303-322). Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2006 Sep. 25.
15
Gorrara, Claire. "A woman's occupation : women's writing and representations of the Occupation in post-1968 France." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319110.
Full text
16
Vroomen, Laura. "This woman's work : Kate Bush, female fans and practices of distinction." Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/3033/.
Full textAbstract:
This thesis proposes a broader understanding of the nature of women’s investments in popular music. Through a case-study of a group of mostly mature, middle class, white and heterosexual female fans for the British performer Kate Bush (1958- ) this thesis asks questions about the way in which gender, age, class, race/ethnicity and sexuality circulate within the field of popular music fandom, a field which has traditionally privileged masculinity and youth. Studies of popular music consumption have tended to emphasise the notion of resistance to dominant culture, often by young, working class men. This has obscured the investments more mature and middle class women might have in popular music. This thesis shows that these investments are, instead of wholly conservative as is usually implied, both resistant and reactionary. In a similar way, these investments do not necessarily lead to powerful positions for the women (for instance, in a domestic context), but they do empower them to deal with the demands of work and relationships. The women’s claims to distinction as serious music lovers are often made at the expense of other fans, especially young girls, and as such reinforce existing notions of the undiscriminating and ‘eroticised’ female fan. At the same time, however, their claims to distinction on account of their ‘feminine cultural capital’, enabled by Kate Bush’s blend of a ‘masculine’ musical virtuosity and a ‘feminine’ address, partly challenges the male domination of the popular music field. Furthermore, the women’s articulation of popular music and a mature sensibility challenges the medium’s youth ethos and offers an understanding of the way in which popular music returns its value for listeners through the long term.
17
Naidoo, Simone. "Woman's investment pays the best interest: Literature-based dissertation on gender difference in investing in emerging markets." Master's thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/8570.
Full textAbstract:
Includes bibliographical references.Gender differences in investing is an expanding research area in Behavioural Finance. Research has shown that males and females behave differently in many of their decision-making processes, but this dissertation will focus mainly on the differences in investing behaviours. Because males are generally overconfident and more likely to take risks, they partake more often in competitive types of activities such as trading. Because men overtrade, they incur friction costs which lowers their return. Thus research has shown that, on a risk-adjusted basis, females are better investors than males. This study, based on the findings of Willows (2012), is a literature-based dissertation that investigates gender differences among mutual fund investors and mutual fund managers, as well as the gender differences in mutual fund investors in both developed markets and emerging markets. This dissertation found no significant difference in fund performance based on the manager's or the investor's gender based on market context. However, research is currently very limited in terms of investor behaviour along gender lines in an emerging market such as South African. This dissertation's aim is to set the theoretical basis for a fuller empirical exploration of gender differences in emerging markets.
18
Evans, Josephine B. A. "A woman's place is in the struggle? : South African women writers and the politics of gender." Thesis, University of York, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.261085.
Full text
19
Sexton, Melanie. "The woman's voice: The post-realist fiction of Margaret Atwood, Mavis Gallant and Alice Munro." Thesis, University of Ottawa (Canada), 1993. http://hdl.handle.net/10393/6822.
Full textAbstract:
Since Margaret Atwood, Mavis Gallant, and Alice Munro do not frequently employ experimental or overtly metafictional forms, they are often read as realist writers in contradistinction to postmodernists. In fact, the assumptions upon which their work rests have little in common with the assumptions underlying realism, and they are as resoundingly post-realist as their postmodern counterparts. One of the key characteristics of realism is an assumption that language can be a neutral, transparent medium in which life can be rendered without distortion. Yet in the work of Atwood, Munro, and Gallant language is never transparent. Language creates reality, and this creation is always connected to power. The three writers share anxieties about the paradoxical nature of women's relationship to language: women must use language in order to assert their existence in the world, yet language exerts disturbing control, especially over women. This control is insistently depicted as a form of violence. Realism, to use Bakhtin's terms, is essentially monologic--its narrative strategy depends on a single unifying view, which the reader is encouraged to share. These writers, by contrast, parody the monologic view offered by society's master narratives--often depicted as largely male discourses--and expose it as absurdly limited. They explore the heteroglossia of the contemporary world and insistently expose the ways in which discourses exert power, especially over women. Many of their texts are mis-read as closed realist texts when in fact they remain unresolved and dialogic. Realism encourages a view of character as coherent and unitary, capable of undergoing development and reaching maturity. These writers depict the female self as lacking coherence. Often the boundaries between self and others, especially other women, are confused. Emphasis is placed on the importance of how the self is constructed in the eyes of others rather than on any sense of internal development. For these writers the female self is not a stable entity but a construction. Atwood, Gallant, and Munro do not construct fictions that attempt to mirror life--they recognize the power of voice to construct the world. They are therefore not the naive or conservative "realists" they are sometimes read as. In fact, their work, like that of the postmodernists, challenges and deconstructs the assumptions of realism. However, whereas language for the postmodernists has become little more than a play of empty signifiers, for these women writers it is still vitally allied to power.
20
Götting, Elena Rebekka. "Challenging maleness : the new woman's attempts to reconstruct the binary code." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6612.
Full textAbstract:
This thesis explores the construction of masculinity in novels written by New Women authors between the years 1881-1899. The fin de siècle was a period during which gender roles were renegotiated with fervour by both male and female authors, but it was the so-called New Woman in particular who was trying to transform the Victorian notion of femininity to incorporate the demands of the burgeoning women's movement. This thesis argues that in their fiction, New Women authors often tried to achieve this transformation by creating male characters who were designed to justify and to mitigate the New Woman protagonist's departure from traditional structures of heterosexual relationships. The methodology underlying this thesis is the notion that men and women were perceived as binary opposites during the Victorian period. I refer to this as the binary code of the sexes. This code assumes that men and women naturally possess diametrically opposed character attributes, and also that “masculine” attributes are perforce better than “feminine” ones. In the body of this work, I argue that New Women authors attempted to contest both of these assumptions by creating, on the one hand, traditional male characters whose masculinity is corrupted in crucial and recurring ways, and on the other, impaired male characters who cannot assume the traditional role of man. The comparison of the New Woman protagonist with the corrupt traditional man elevates her feminine attributes, while the impaired man's dependency legitimises her acquisition of what were otherwise considered “masculine” attributes and privileges, thereby contesting the notion that men and women possess sex-specific attributes at all. The second part of my thesis examines contrasting examples, in which this way of characterising masculinity – as traditional or impaired – is questioned and manipulated. It examines the limitations of the New Women authors' specific approach to reconstructing the binary code.
21
Page, Alfene. "Woman's Exponent: Cradle of Literary Culture Among Early Mormon Women." DigitalCommons@USU, 1988. https://digitalcommons.usu.edu/etd/3318.
Full textAbstract:
The purpose of this paper was to define and discuss the early Mormon women's newspaper, Woman's Exponent, and its editors in developing a literary culture among Mormon women. Woman's Exponent served as the primary source of research to show through its literature that the women of Utah were encouraged to express themselves freely, and present their way of life to a world that held a grossly distorted view of them. The Exponent provided the forum for skilled writers to polish their craft, and new writers to develop their talents. The literary influence of the Exponent encouraged the women writers to publish individual volumes of poetry, biography, and histories. The writers acknowledged the Woman's Exponent as their platform for expression, their window-on-the-world. It faithfully recorded their history and served as the cradle for literary culture among the mormon women.
22
Mancz, Allison N. "A Woman's Place Among the Pines: My Journey of Coping and Creating in the 21st Century." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1619195791473881.
Full text
23
Shearn, Jodi Growitz. "CHIVALRY THROUGH A WOMAN'S PEN: BEATRIZ BERNAL AND HER CRISTALIÁN DE ESPAÑA: A TRANSCRIPTION AND STUDY." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/189839.
Full textAbstract:
SpanishPh.D.
This doctoral dissertation is a paleographic transcription of a Spanish chivalric romance written by Beatriz Bernal in 1545. Cristalián de España, as the text is referred to, was printed twice in its full book form, four parts and 304 folios. It was also well-received outside of the Iberian Peninsula, and published twice in its Italian translation. This incunabulum is quite a contribution to the chivalric genre for many reasons. It is not only well-written and highly entertaining, but it is the only known Castilian romance of its kind written by a woman. This detail cannot be over-emphasized. Chivalric tales have been enjoyed for centuries and throughout many different mediums. Readers and listeners alike had been enjoying these romances years before the libros de caballerías reached the height of their popularity in Spain. Hundreds of contributions to the genre are still in print today and available in numerous translations. Given this reality, it seems highly suspect that this romance, penned by a woman, and of excellent quality, is not found on the shelves next to other texts of the genre. Cristalián, despite what scholars of the genre have erroneously posited, was not an obscure text in sixteenth-century Spain. Bookstore and print-shop inventories of its time list numerous copies of Bernal's romance in bound book form, which confirm that Cristalián was circulating for at least sixty years. The purpose of this dissertation is two-fold. In order for Cristalián to be included in conversations of any nature, it must be made available. This transcription of Book I and II seeks to accomplish that. Secondly, current scholarship must re-imagine erroneous constructions of sixteenth-century reader's preferences. These prevalent constructions have often excluded noteworthy contributions to literature, especially those written by women. My aim is to redress this imbalance by analyzing Beatriz Bernal's written text and her writing strategies. The first three sections of the accompanying study more thoroughly address the challenges facing women writers in sixteenth-century Spain while also considering issues of literacy, reader preferences, and text distribution of the period. The last sections of the study are devoted specifically to the chivalric genre, and to Bernal's exemplary romance, Cristalián de España. Also included in the appendix are woodcuts from both Castilian editions, the proemio from the second edition, the chapter rubrics from Book I and II, and an index of characters from the narration.
Temple University--Theses
24
Orjinta, Ikechukwu Aloysius [Verfasser], and Clemens [Akademischer Betreuer] Pornschlegel. "Womanism as a method of literary text interpretation : a study of emergent women’s images under religious structures in selected works of Heinrich Böll / Aloysius-Gonzagas Ikechukwu Orjinta. Betreuer: Clemens Pornschlegel." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2011. http://d-nb.info/1038152372/34.
Full text
25
Laing, Heather Ann. "Wandering minds and anchored bodies: music, gender and emotion in melodrama and the woman's film." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/2320/.
Full textAbstract:
This thesis examines the role of music and cultural conceptions of emotion and `the feminine' in gendered characterisation in 1940s melodrama and the woman's film. Music in melodrama and the woman's film predominantly follows the late-19th century Romantic style of composition. Many theorists have discussed this type of music in film as a signifier of emotion and `the feminine', a capacity in which it is frequently associated with female characters. The full effect of an association with this kind of music on either female or male characterisation, however, has not been examined. This study considers the effects of this association through three stages - cultural-historical precedents, the generic parameters of melodrama and the woman's film and the narrativisation of music in film. The specific study of films involves textual and musical analysis informed by cultural-historical ideas, film music theory and film theory. Since female characters are more commonly associated with music in this context, they form the primary focus of the study. Male musical-emotional characterisation, while of constant concern, comes under particular scrutiny as the final stage of the study. In conclusion I argue that cultural assumptions combine with the formal representations of film to construct a model of gender based on the idea of `inherent' emotionality. As a definitive element of this dynamic, music functions as more than just a signifier of emotion. Rather, it takes a crucial role in determining how we actually understand emotion as part of gendered characterisation.
26
Souza, Caroline Garcia de. "When All Boundaries Fall Apart : woman’s experience and trauma in the bell jar, “Tongues of stone,” and “Mothers”." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/168949.
Full textAbstract:
Linda Hogan é uma autora Chickasaw cuja extensa obra inclui romances, contos, poesia, drama e ensaios. Da mesma forma, ela é uma ambientalista cujo ativismo se baseia em uma compreensão Nativo-Americano da natureza e das relações entre os seres humanos e não-humanos. Focando em dois de seus romances, Solar Storms (1995) e Power (1998), a presente dissertação explora os processos de cura de suas protagonistas, Angela e Omishto, respectivamente. Em ambos romances, as personagens se engajam em um movimento de abandono do modo de ser Euro-americano – um modo de ser fortemente orientado pela ideologia do Destino Manifesto –, em direção a um reencontro com sua ancestralidade nativa e a uma apreensão tribal da vida e do mundo. Especificamente, esse trabalho explora o gradual engajamento das personagens no que a autora Laguna Paula Gunn Allen (1992) define como um senso de tempo cerimonial – a ceremonial time sense: uma experiência temporal particular que engendra uma integração psíquica, e se opõe à experiência cronológica e mecânica do tempo, a qual produz fragmentação no sentido de fortalecer a sensação de separação entre tempo e espaço, pessoa e lugar, natureza e cultura. Esse trabalho analisa como o movimento das personagens em direção a um rico autorreconhecimento enquanto indígenas (OWENS, 1994) representa um movimento de abertura aos fluxos do mundo, bem como um processo de dissolução de categorias fortemente enraizadas, tais quais sujeito e objeto, eu interno e mundo externo. Além disso, a presente dissertação examina de que forma um senso de tempo cerimonial se conecta à noção de sacred hoop (Plains tribes) – uma unidade abrangente que abarca a existência como um todo, e na qual todos os movimentos estão conectados e se relacionam entre si.Linda Hogan is a Chickasaw author whose extensive work includes novels, short stories, plays, poetry, and essays. She is also an environmentalist whose activism is built upon a Native understanding of nature and the relations between human and nonhuman beings. This thesis focuses on two of her novels, Solar Storms (1995) and Power (1998), and explores the healing processes of their protagonists, Angela and Omishto, respectively. In both novels, the characters engage in a movement of abandoning a mainstream American way of being – a way of being highly informed by the ideology of Manifest Destiny – toward a reconnection with their Native ancestry and a tribal apprehension of life and the world. Specifically, this work explores the characters’ gradual engagement in what Laguna author Paula Gunn Allen (1992) defines as a ceremonial time sense, a particular experience of time that engenders a psychic integration, as opposed to a mechanical, clock-based time sense, which generates fragmentation and enhances a separation between time and space, person and place, nature and culture. This work explores how the characters’ movement toward a rich self-recognition as Indians (OWENS, 1994) represents a movement of opening to the motions of the lifeworld, as well as the dissolution of deep-rooted categories such as subject and object, internal self and external world. Furthermore, this thesis examines how a ceremonial time sense is connected to the Plains tribes’ conception of a sacred hoop – an all-encompassing unity that contains the whole of existence, and in which all movement is related to all other movement.
27
Cedergren, Michaela. "Madness or Femininity – A Woman's Options : A Feminist Analysis of Mental Illness in Sylvia Plath's The Bell Jar." Thesis, Högskolan Dalarna, Engelska, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:du-35908.
Full text
28
Ghaemmaghami, Amy Carol. "Milk Enough for All: The African-American Woman's Quest for Identity and Authority in Toni Morrison's "Beloved"." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625561.
Full text
29
Harwell, Raena Jamila. "This Woman's Work: The Sociopolitical Activism of Bebe Moore Campbell." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/138885.
Full textAbstract:
African American StudiesPh.D.
In November 2006, award-winning novelist, Bebe Moore Campbell died at the age of 56 after a short battle with brain cancer. Although the author was widely-known and acclaimed for her first novel, Your Blues Ain't Like Mine (1992) there had been no serious study of her life, nor her literary and activist work. This dissertation examines Campbell's activism in two periods: as a student at the University of Pittsburgh during the 1960s Black Student Movement, and later as a mental health advocate near the end of her life in 2006. It also analyzes Campbell's first and final novels, Your Blues Ain't Like Mine and 72 Hour Hold (2005) and the direct relationship between her novels and her activist work. Oral history interview, primary source document analysis, and textual analysis of the two novels, were employed to examine and reconstruct Campbell's activist activities, approaches, intentions and impact in both her work as a student activist at the University of Pittsburgh and her work as a mental health advocate and spokesperson for the National Alliance for Mental Illness. A key idea considered is the impact of her early activism and consciousness on her later activism, writing, and advocacy. I describe the subject's activism within the Black Action Society from 1967-1971 and her negotiation of the black nationalist ideologies espoused during the 1960s. Campbell's first novel Your Blues Ain't Like Mine and is correlated to her emerging political consciousness (specific to race and gender) and the concern for racial violence during the Black Liberation period. The examination of recurrent themes in Your Blues reveals a direct relationship to Campbell's activism at the University of Pittsburgh. I also document Campbell's later involvement in the National Alliance on Mental Illness (NAMI), her role as a national spokesperson, and the local activism that sparked the birth of the NAMI Urban-Los Angeles chapter, serving black and Latino communities (1999-2006). Campbell's final novel, 72 Hour Hold, is examined closely for its socio-political commentary and emphasis on mental health disparities, coping with mental illness, and advocacy in black communities. Campbell utilized recurring signature themes within each novel to theorize and connect popular audiences with African American historical memory and current sociopolitical issues. Drawing from social movement theories, I contend that Campbell's activism, writing, and intellectual development reflect the process of frame alignment. That is, through writing and other activist practices she effectively amplifies, extends, and transforms sociopolitical concerns specific to African American communities, effectively engaging a broad range of readers and constituents. By elucidating Campbell's formal and informal leadership roles within two social movement organizations and her deliberate use of writing as an activist tool, I conclude that in both activist periods Campbell's effective use of resources, personal charisma, and mobilizing strategies aided in grassroots/local and institutional change. This biographical and critical study of the sociopolitical activism of Bebe Moore Campbell establishes the necessity for scholarly examination of African American women writers marketed to popular audiences and expands the study of African American women's contemporary activism, health activism, and black student activism.
Temple University--Theses
30
Grantham, Brianna Jene. "The collection : integrating attachment theory and theories of intergenerational development to write a woman's life." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7423/.
Full textAbstract:
The Collection tells the story of Barbara, a fifty-something, Christian, teacher, wife, and mother, as she is forced to return home after her estranged father's death. Named executrix of his estate, Barbara navigates family secrets, repressed childhood trauma, and her mentally ill father's legacy. Using Attachment Theory and Intergenerational Theories of Personal Development, this research discusses the development and relationships of the characters in The Collection to demonstrate the connections between their child and adult selves—specifically, the role of Barbara's parents and childhood in her suppressed anger. Framed within the context of Carolyn G. Heilbrun's feminist critique of women writers and women characters, this paper connects socio-psychological theories to investigate how the patriarchal gender norms Barbara's mother instilled in her daughter result in Barbara's suppressed anger, strained interpersonal relationships and adult religiosity. The relationship between adult Barbara and her aging mother is discussed in context of these theories and compared against women characters in Siri Hustvedt's The Blazing World and Elizabeth Strout's Olive Kitteridge. Finally, the paper calls for further research into and understanding of the causes and effects of women's anger, as well as an essential shift in how both men and women are permitted to express emotions.
31
Geary, Cynthia J. "Jane Eyre and the tradition of women's spiritual quest : echoes of the great goddess and the rhythms of nature in one woman's "private myth"." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/544126.
Full textAbstract:
Thanks, in part, to critical studies like Sandra Gilbert & Susan Gubar's The Madwoman in the Attic and Patricia Beer's Reader, I Married Him, Jane Eyre by Charlotte Bronte has come to be regarded as the standard feminist text; that is, when someone wants to demonstrate a particular principle of feminist criticism or a traditionally feminine concern, she generally points to Jane Eyre. As critics like Gilbert and Gubar have shown us, Bronte's novel is not merely a Gothic romance; it reveals a feminine consciousness struggling to assert itself within the nineteenth-century patriarchal social and religious structures. Jane Eyre, therefore, would naturally lend itself to a critical study based on the concerns of feminist spirituality, especially the notion of women's communities and reflections of a feminine divinity. I propose a critical study of Jane Eyre, like the one Carol Christ conducted on the works of Kate Chopin, Margaret Atwood, Doris Lessing, Adrienne Rich and Ntozake Shange in Diving Deep and Surfacing: Women Writers on a Spiritual Quest, in which Christ examines spiritual awakening of a female consciousness in the writings of these five authors.Though Jane Eyre, seems at first glance to work within a standard Christian, or patriarchal, religious structure, there are elements of a feminine divinity, even an attempt to re-create (as Mary Daly would say) God so that He perhaps more closely resembles the early, androgynous Hebrew Yaweh: Iahu-Anat, or Ashtoreth (Diane Stein, The Women's Spirituality Book, Llewellyn Publications, 1987, pp. 78). Jane Eyre asks guidance from the Moon, who in turn addresses her as "daughter'; then too, she clearly rejects the Christian Church, as evidenced by her highly symbolic refusal of St. John's proposal of marriage, for instance. However, despite her intuitive recognition of the feminine power and wisdom that is hers to draw upon and her rejection of the institution of patriarchal religion, she does not ultimately, I believe, reject a masculine God, nor does she replace Him with an androgynous God. Yet the aspects of the feminine divinity she discovers and the women's community (the nurturing influence of her cousins Diana and Mary, so named for the archetypal moon and the virgin) in which she finds herself lead lead her to a subconscious acceptance of the feminine divinity within herself.I propose then to trace the development of a feminine divinity in Jane Eyre, which culminates in a rejection of the Church and follows the individuation process of Jane Eyre herself. Completion of this project will requires research into four principal areas:1) Feminist literary criticism on Jane Eyre--in order to familiarize myself with the feminine and feminist significance of such a reflection, and possibly place Jane traditions it falls into and those, like Gilbert & Gubar's, that center on it and also to determine to what extent the notion of a feminine divinity has been recognized in the novel.2) Archetypal psychology and criticism--strictly concerning the process of individuation and manifestations of the Goddess and those figures associated with Her; for example, near the end of the novel Mr. Rochester is compared to Vulcan and I would like to pursue to what extent he can be seen in light of a Hephesties/Demeter syzygy.3) Jane Eyre criticism that discusses the spiritual or religious aspects of the novel--since Jane Eyre has obvious religious implications, spiritual issues have not been ignored by the critics (I am most eager to read Elisabeth Jay's The Religion of the Heart: Anglican Evangelicalism and the Nineteenth Century Novel, for instance); however, my previous research has not unearthed a feminist spirituality critical approach to Jane Eyre.4) Issues of women's spirituality--particularly those concerning communities of women, Goddess worship and ritual behavior, and images and symbols of the Goddess. Such research will allow me to determine to what extent a sense of a feminine divinity is reflected in Jane Eyre, come to a conclusion about the meaning and Eyre into a tradition of women writers on a spiritual Research in community management of the severely mentally ill has been scarce. Two primary components of community care in particular need evaluation,residential arrangements and styles of "case management." The purpose of this study was to evaluate the interaction of two types of residential arrangements (single- and double-occupancy) and two types of case management ("assertive" and "limited") in a 2 X 2 design. Participants were individuals with a severe mental illness served by CMHS, Inc. Individuals were matched on DSM-III-R diagnoses and sex: 8 had roommates and received assertive case management, 5 had roommates and limited case management, 5 lived alone and received assertive case management, and 5 lived alone with limited case management. Data were obtained from three independent sources: (1) each client was interviewed using the Denver Community Mental Health Questionnaire (DCMHQ) and the Inventory of Socially Supportive Behaviors (ISSB) on four separate occasions over three consecutive months; (2) frequency of client contact with family members over the same time interval was tracked by case managers; and (3) concurrent attendance in day treatment sessions, diagnosis, number of previous hospitalizations, and approximate number of months of previous hospitalization were obtained from community mental health center records. DCMHQ scores for acute symptoms and interpersonal conflict were combined into an index called problems, while ISSB scores measured social support received. Monthly followups for. three consecutive months were used to obtain stable estimates of problems and support. Significant positive correlations were found between family involvement and problems, family involvement and residential arrangements, social support and problems, group attendance percentage and age, problems and social support, and a marginal relationship between residence and social support. Statistically significant negative correlations were found between case management and problems, social support and number of previous hospitalizations, group attendance percentage and problems, and residence and age. In multiple regression involving all predictors, the variables other than roommating and case management, (i.e., average family involvement, number of previous hospitalizations, program attendance, and age, considered together) predicted both problems reported and support received, while as second and third steps in the regression analysis case management and residence did not significantly predict problems or social support. In other words, once chronicity (i.e., number of previous hospitalizations), family contact, age, and group attendance were controlled, case management and residence both vanished as predictors. Future studies should consider these factors, and other aspects of the natural context, when evaluating community interventions for the mentally ill in a more controlled experimental design. With respect to developing new research for community adjustment, recommendations for more controlled studies were made and two new community intervention procedures were described.Department of English
32
Lichfield, Diane Marie Quilty. "One woman's construction of self and meaning: A qualitative study of the life of Alice Koller based on her autobiographical texts: "An Unknown Woman" (1981) and "The Stations of Solitude" (1990)." Thesis, University of Ottawa (Canada), 1997. http://hdl.handle.net/10393/21827.
Full text
33
White, Breanne. "Gender and Resistance in the Israeli-Palestinian Conflict: The Woman's Voice in theLiterary Works of Sahar Khalifeh and David Grossman." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1373636550.
Full text
34
Pearson, Hilary E. "Teresa de Cartagena : a late medieval woman's theological approach to disability." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:c416992a-09f6-4516-b7cc-59bd88ff4717.
Full textAbstract:
This thesis studies, through a literary and theological analysis of her writings and an examination of her background, how a fifteenth century Spanish nun called Teresa de Cartagena dealt spiritually with disability. She was physically disabled, having become deaf as an adult but also having endured many illnesses. Her first book, Arboleda de los enfermos, was written to pass on to other sufferers the spiritual lessons she had learned from her own suffering; that suffering was good because it had saved her from sin and had brought her to God. Her second work, Admiraçión operum Dey, was written to answer those who had criticised her for the act of writing because of her gender, at that time a disability for any woman wishing to write or teach. She justified her writing as a special work of God, but did not claim mystical direct divine inspiration. Teresa was a member of a prominent family of Jewish Christians (conversos). At the time she was writing, the second half of the fifteenth century, anti-converso prejudice and violence were growing in Spain. This culminated in the introduction of the Inquisition in order to deal with the so-called 'judaising conversos'. In these circumstances her conversa status was a distinct social disability, but there is no express mention of this in her writings. However, there are traces in her writings of converso concerns, and of a specifically converso theology. Although there have been many studies of Teresa de Cartagena from the viewpoints of medieval Spanish literature, disability studies, feminist history and her use of rhetorical techniques, there has been no in depth study of her theology and spirituality. This thesis demonstrates that, although in general these were orthodox and unoriginal, they were unusual for a woman of her time and background.
35
Moring, Meg Montgomery 1961. "Death and the Concept of Woman's Value in the Novels of Jane Austen." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278475/.
Full textAbstract:
Jane Austen sprinkles deaths throughout her novels as plot devices and character indicators, but she does not tackle death directly. Yet death pervades her novels, in a subtle yet brutal way, in the lives of her female characters. Austen reveals that death was the definition and the destiny of women; it was the driving force behind the social and economic constructs that ruled the eighteenth-century woman's life, manifested in language, literature, religion, art, and even in a woman's doubts about herself.
In Northanger Abbey Catherine Morland discovers that women, like female characters in gothic texts, are written and rewritten by the men whose language dominates them. Catherine herself becomes an example of real gothic when she is silenced and her spirit murdered by Henry Tilney. Marianne Dashwood barely escapes the powerful male constructs of language and literature in Sense and Sensibility. Marianne finds that the literal, maternal, wordless language of women counts for nothing in the social world, where patriarchal,figurative language rules, and in her attempt to channel her literal language into the social language of sensibility, she is placed in a position of more deadly nothingness, cast by society as a scorned woman and expected to die. Fanny Price in Mansfield Park is sacrificed as Eve, but in her death-like existence and in her rise to success she echoes Christ, who is ultimately a maternal figure that encapsulates the knowledge of the goddess, the knowledge that from death will come life. Emma Woodhouse in Emma discovers that her perfection, sanctioned by artistic standards, is really a means by which society eases its fears about death by projecting death onto women as a beautiful ideal. In Persuasion, Anne Elliotfindsthat women endure death while men struggle against it, and this endurance requires more courage than most men possess or understand. Austen's novels expose the undercurrent of death in women's lives, yet hidden in her heroines is the maternal power of women—the power to bear children, to bear language and culture, to bear both life and death.
36
Baldwin, Lind Paula. "Looking for privacy in Shakespeare : woman's place and space in a selection of plays and early modern texts." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/5848/.
Full textAbstract:
Grounded in a multi-faceted theoretical framework that examines the dynamic interaction between the public and the private spheres of Elizabethan everyday life, this thesis aims to trace how the concept of privacy and its associated terms were developed, constructed, evoked, and configured both in Shakespearean drama and in other illustrative early modern texts. The author suggests that Shakespeare's configuration of space results from a combination of the conditions of representation - empty stages - metaphorical language, technical dramatic devices, and textual markers that create a sense of space in the texts and onstage. The research also explores the place and space of early modern women and of Shakespeare's female characters in terms of their relation to the private space; that is to say, their construction of 'self-in-relation-to-space', as well as their movements and activities within and outside the private's real or imagined boundaries, thus their ability to fashion the public sphere from within the private. Rather than analysing the role of women in the plays exclusively from the point of view of opposition between spheres - public man versus private woman - the study wants to question and pose, at the same time, the relevance of approaching Shakespearean texts from a spatial perspective, a choice that may have an impact on the very interpretation of them.
37
Tuerk, Cynthia M. ""Harmless delight but useful and instructive" : the woman's voice in Restoration adaptations of Shakespeare." Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/14895.
Full textAbstract:
The changes and upheaval in English society and in English ideas which took place during the seventeenth century had a profound effect upon public and private perceptions of women and of women's various roles in society. A study of the drama of this period provides the means to examine the development of these new views through the popular medium of the stage. In particular, the study of adaptations of early drama offer the opportunity to compare the stage perceptions of women which were prevalent during the late sixteenth and early seventeenth century with attitudes towards women which emerged during the Restoration and early eighteenth century; such an examination of these differing perceptions of women has not yet been undertaken. The adaptation of Shakespearean plays provide the most profitable study in this area; Shakespeare was not only a highly influential playwright, but was also one of the most adapted of all the early dramatists during the years of the Restoration. In order to facilitate this survey, I have selected plays which span the entire Restoration era, beginning with William Davenant's The Law Against Lovers and Macbeth as well as John Lacy's Sauny the Scot from the 1660's, through the late 1670's and early 1680's with Edward Ravenscroft's Titus Andronicus and Nahum Tate's The Ingratitude of a Common-Wealth, and finally into the reign of Anne Stuart with William Burnaby's Love Betray'd. The study of these plays offers the best opportunity for the examination, through the medium of the theatre, of the changes which occurred in the perception of women and their changing identity with the rapidly evolving society of Renaissance and Restoration English society.
38
Davis, Karen Maria. "Evolution of a self : one black woman's relationship with her hair as related through the literature and art of Toni Morrison, Carrie Mae Weems, and Lorna Simpson." Honors in the Major Thesis, University of Central Florida, 1996. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/151.
Full textAbstract:
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
Liberal Studies
39
Luong, Merry B. "A Woman's Touch in F. Scott Fitzgerald's Tender is the Night: Pulling the Women Out of the Background." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_theses/74.
Full textAbstract:
This is a critical study of F. Scott Fitzgerald‟s Tender Is the Night focusing primarily on the lack of examination and criticism surrounding the women characters. Included are reviews of Fitzgerald‟s personal and professional life from the publication of his critically acclaimed The Great Gatsby until the publication of his last complete novel, Tender Is the Night, discussion of the contemporary and current criticism of the novel, and a feminist reading of the novel in order to focus more significant critical attention upon the women characters in order to create a fuller understanding of Fitzgerald‟s novel.
40
Ajraoui, Najia. "Woman's search for identity in the Victorian, modern and contemporary English feminine novel: studies in C. Brönte, V. Woolf and D. Lessing." Doctoral thesis, Universite Libre de Bruxelles, 1995. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212500.
Full text
41
Petersen, Mariana Chaves. "The loss of language in Sylvia Plath’s narrative : woman's experience and trauma in the bell jar, "Tongues of stone," and "Mothers"." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/169004.
Full textAbstract:
Inicialmente publicado em 1963 sob o pseudônimo Victoria Lucas, A redoma de vidro traz como personagem principal e narradora Esther Greenwood, a qual faz duras críticas aos papeis atribuídos às mulheres nos Estados Unidos nos anos 1950, enquanto passa por um colapso, que culmina em tentativa de suicídio. Depois de o romance ser republicado, reconhecendo a autoria de Sylvia Plath, na Inglaterra em 1966 e nos Estados Unidos em 1971, ele foi objeto de diversas leituras críticas feministas, sendo mais recente o enfoque no romance como estudo de caso. Nesta dissertação, busco estabelecer um diálogo entre essas duas abordagens, relacionando gênero, feminismo, melancolia e trauma, fundamentando-me nos escritos de teóricos como Luce Irigaray, Cathy Caruth, Sigmund Freud e Nicolas Abraham e Maria Torok. Apesar de falarem de diferentes loci, ambas Irigaray e Caruth dão especial atenção à linguagem. No romance, Esther perde sua capacidade de ler e escrever, fato que está ligado não só às suas críticas a um mundo pertencente aos homens como também a certos acontecimentos que desencadeiam essa perda. Tendo isso em mente, relaciono a narrativa a dois contos de Plath: “Línguas de Pedra” e “Mães.” O primeiro, de 1955, traz uma personagem (sem nome) em um cenário semelhante ao de A redoma de vidro: em um hospital psiquiátrico, ela apresenta dificuldades de ler e de pensar. No segundo conto, escrito em 1962, a situação da protagonista, também Esther, pode ser comparada ao presente da narrativa de A redoma de vidro; ademais, uma vez estabelecido o paralelo, a personagem do conto parece apresentar uma perda ainda mais profunda da linguagem que a protagonista do romance.Initially published in 1963 under the pseudonym Victoria Lucas, The Bell Jar has as its protagonist and narrator Esther Greenwood, who seriously criticizes the roles attributed to women in the United States in the 1950s. At the same time, she is going through a breakdown, which culminates in a suicide attempt. After the novel was republished, under Sylvia Plath’s name, in England in 1966 and in the United States in 1971, it was the subject of several feminist critical readings, its focus as a case study being more recent. In this thesis, I aim to establish a dialogue between these two approaches, relating gender, feminism, melancholia, and trauma, grounded in the writings of theorists such as Luce Irigaray, Cathy Caruth, Sigmund Freud, and Nicolas Abraham and Maria Torok. In spite of speaking from different loci, both Irigaray and Caruth give special attention to language. In the novel, Esther loses her ability to read and write, a fact that is connected not only to her critiques of a world that belongs to men but also to certain events that lead to this loss. With this in mind, I relate the narrative to two of Plath’s short stories: “Tongues of Stone” and “Mothers.” The first, from 1955, displays its main (nameless) character in a setting that is similar to The Bell Jar’s: in a psychiatric hospital, she presents difficulties to read and think. In the second story, written in 1962, the protagonist, also named Esther, is in a situation that may be compared to the narrative present of The Bell Jar; furthermore, once a parallel with the novel is established, the story’s character seems to present an even more profound loss of language than the novel’s protagonist.
42
Block, Shelley R. "Nineteenth-century literary women and the temperance tradition temperance rhetoric in the fiction of Lydia Sigourney, Frances Ellen Watkins Harper, Rebecca Harding Davis and Elizabeth Stuart Phelps /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4675.
Full textAbstract:
Thesis (Ph. D.)--University of Missouri-Columbia, 2007.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 January 29, 2007) Vita. Includes bibliographical references.
43
Perez, Jeannina. "Matrilineal memories : revisionist histories in three contemporary Afro-American women's novels." Honors in the Major Thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1127.
Full textAbstract:
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
English
44
Lawrence, Ariel D. "Black Lives Examined: Black Nonfiction and the Praxis of Survival in the Post-Civil Rights Era." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5450.
Full textAbstract:
The subject of my thesis project is black nonfiction, namely the essay, memoir, and autobiography, written by black authors about and during the Post-Civil Rights Era. The central goals of this work are to briefly investigate the role of genre analysis within the various subsets of nonfiction and also to exemplify the ways that black writers have taken key genre models and evolved them. Secondly, I aim to understand the historical, political, and cultural contributions of the Post-Civil Rights Era, which I mark as hitting its stride in 1968. It is not my desire to create a definitive historical framework for the Post-Civil Rights Era, but instead to understand it as a period of transition, revolt, and transformation which asked many important questions that have remained unanswered. I apply multiple theoretical frameworks to my research — like queer theory, Afro-pessimism, fugitivity, and more — to offer insights into the nonfiction works of writers such as James Baldwin, Audre Lorde, Angela Davis, Alice Walker, Larry Neale, and Toni Cade Bambara. It is my hope to continue the work of such scholars as Hortense Spillers, Angela Ards, and Margo V. Perkins, by illustrating not only how these authors offered literary and aesthetic innovations, but also, through the archiving of their life experiences in print, create theories and practices for survival, forged in the past, which impact our current moment, and inspire us as scholars and activists to do the same.
45
Meeks, Kathryn Marie. "Mark Twain and Eliza R. Snow: The Innocents Abroad." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6893.
Full textAbstract:
This thesis will examine the surprising and delightful similarities between Mark Twain's The Innocents Abroad (1869) and Eliza R. Snow's letters to the Woman's Exponent published in a book titled Correspondence of Palestine Tourists (1875). Snow traveled abroad from 1872-1873, five years after Twain went abroad in 1867 and three years after The Innocents Abroad was published. She clearly states in her early letters that she was reading Twain and his influence is apparent in her letters. A careful look at her letters will also show that they are not merely an imitation of Twain. Snow takes on a Twainian style to write for her audience, the Latter-day Saint women readers of the Woman's Exponent in Salt Lake City.Reading Snow's letters alongside Twain's The Innocents Abroad is beneficial in understanding the power and influence a popular text can have not only on other texts, but also on how writers describe their personal experiences. Marielle Maco states: 'Works take their place in ordinary life, leaving their marks and exerting a lasting power' 'Ways of Reading, Modes of Being,' 213). The lasting power of Twain's work is clearly shown here in Snow's letters.
46
Loughridge, Anna L. "A Love Affair: Feminist Voice and Representation in the Romance Fiction Narrative." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/650.
Full textAbstract:
I focus on the changing and now contemporary feminist conceptualization of romance fiction. Through the genre’s mass-market success and complicated history, a definition of ro·mance (genre) is conjured. By depicting a fantasy world for the female reader to escape to, feminist critics and romance academics have found the genre’s influence to be an effective one. In an analysis if popular romance fiction author, Emily Giffin, and her most recent novel The One & Only, I demonstrate what has now resulted in the modern romance and further, how the modern heroine is understood today.
47
Wulu, Amber Michaela. "Liberating The Sexed Body: Oscar Wilde Erodes Victorian Conventions As A New World Is Created In The Importance Of Being Earnest." Cleveland State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=csu1395269953.
Full text
48
Goldwaser, Yankelevich Nathalie. "Figures de la femme dans les projets nationaux : littérature et politique dans la région du Rio de la Plata et en Nouvelle Grenade (1835 - 1853)." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010686/document.
Full textAbstract:
En 1853, des constitutions fédérales et républicaines sont votées, non sans conflits, dans la région du Rio de la Plata et en Nouvelle-Grenade. Dans les deux constitutions, l'exclusion de la femme comme sujet de droits politiques est explicite. De façon singulière, cette même année, l'Assemblée législative de Vélez, une province de la Nouvelle-Grenade, promulgue le droit de vote aux élections sans distinction de sexe, événement qui, s'il ne pourra prospérer à cause d'un véto présidentiel, représente le premier fait de reconnaissance politique de la femme sur le continent hispano américain. Malgré cet antécédent, la Colombie est une des les derniers des états d'Amérique Latine à avoir accordé le suffrage aux femmes (1954), alors qu'en Argentine il y eut plusieurs tentatives infructueuses avant la loi nationale de 1947. La décision de l'assemblée de Vélez peut être considérée comme un indice clair de la transition de la femme "objet d'écriture" à la femme "sujet de l'action". Mais ce n'est pas le seul: dans cette thèse, nous soutiendrons que des traces de cette transition apparaissent dans les écrits de ces hommes du dix-neuvième siècle qui étaient considérés comme les forgeurs de la Nation. Concrètement, nous ne rentrerons pas dans l'étude de la femme en tant que sujet, mais notre regard se portera sur la façon dont elle est construite comme «objet », en analysant ses caractéristiques et les interstices qui montrent cette transition. Contrairement à ce qu'on pourrait attendre d'une vision mécanique des causes et des effets, la femme n'a pas toujours été écrite "négativement" mais elle a été incluse dans un champ de forces dans lequel les significations se disputaient entre elles. Celle thèse cherche à meure en lumière les figures diverses et parfois contradictoires de la femme qui apparaissent dans les textes écrits par des hommes du dix-neuvième siècle préoccupés par la fondation de la NationIn 1853, in the Rio de la Plata as well as in Nueva Granada, promulgated federal and republican constitutions are dictated not without tensions. In both there is an explicit exclusion of women as subjects of political rights. Interestingly, that year the Legislature Assembly of Velez, province of Nueva Granada, promulgated electoral voting rights regardless of sex, an event that in spite of not prospering because of the presidential veto, represents the first political recognition of women in our continent. Despite this background, Colombia is the latest Latin American state which granted women's suffrage (1954) while in Argentina there were several failed attempts until the national law of 1947. The decision of the Assembly of Velez can be considered a clear indication of the transition of women from 'object of writing' to 'subject of the action'. But it is not the only one : in this thesis we will argue that in the writings of nineteenth-century men, who were considered forgers of the nation, there appear traces of that transition. Specifically, the look will be on how the woman is built as an "object", observing the characteristics and also the gaps that show this transition. Contrary to what is expected from a mechanical view of cause and effect, the woman was not always written 'negatively' but was included in a force field in which the senses vie with each other. This thesis seeks to uncover the different and sometimes contradictory figurations of the women that appear in texts written by me of the nineteenth century concerned about the founding of the nation
49
Chitando, Anna. "Narrating gender and danger in selected Zimbabwe woman's writing on HIV and AIDS." Thesis, 2011. http://hdl.handle.net/10500/4707.
Full textAbstract:
This thesis investigates how selected Zimbabwean female writers narrate HIV and AIDS. It argues that, generally, the prevailing images of women in Zimbabwean society and literature are incapacitating. Male authors have been portraying women in disempowering ways as loose, dangerous, weak and dependent on men. This unjust portrayal of women has been worsened by the prevalence of HIV and AIDS. Women have been depicted as vectors in the spread of HIV, thus perpetuating sexist ideologies. Presuming that women authors can do better in their depiction of female characters, this research investigates whether female authors differ in their representation of female characters in contexts of HIV and AIDS. The works critiqued are Virginia Phiri’s Desperate (2002), Sharai Mukonoweshuro’s Days of Silence (2000), Valerie Tagwira’s The Uncertainty of Hope (2006), Tendayi Westerhof’s Unlucky in Love (2005) and Lutanga Shaba’s Secrets of a Woman’s Soul (2006). The study further explores the extent to which Zimbabwe female authors sanction, conform, undermine, assess critically or do away with unconstructive images of women in contexts of HIV and AIDS. This study emphasized the possibility of literature to offer a platform for the liberation of women, or a counter- platform for reactionary politics. Predicated on the notion of gender and danger, the study questions whether female authors perpetuate the stereotypes of women’s roles as destructive, or whether some view ‘dangerous’ images of women in literature as liberating. Overall, this thesis argued that contrary to the postulation of female authors being similar in their understanding and depiction of the concept of gender and danger, they are not. It is at this juncture that this study breaks new ground by utilizing the concept of agency to show how different female writers interpret and narrate gender and danger in contexts of HIV and AIDS. This study applies the notion of agency as a means of evaluating the extent to which women employ nonconformist acts in order to undercut patriarchy and other oppressive socially constructed ideologies.English Studies
(D. Litt et Phil. ( English Studies))
50
Gudhlanga, Enna Sukutai. "Gender and land ownership in Zimbabwean literature : a critical appraisal in selected Shona fiction." Thesis, 2016. http://hdl.handle.net/10500/24806.
Full textAbstract:
The study has been prompted by the gap that exists regarding gender and land in Zimbabwean fiction. The study therefore seeks to interrogate the gender and land ownership discourse in Shona fiction in relation to the current conflict of access to land by race, class and gender. The study therefore examines the following fictional works; Feso (1956), Dzasukwa-Mwana-Asina-Hembe (1967), Pafunge (1972), Kuridza Ngoma Nedemo (1985), Vavariro (1990) and Sekai Minda Tave Nayo (2005). Of significance is the fact that the selected fictional works traverse the different historical periods that Zimbabwe as a nation has evolved through. Apart from analysing the selected fictional works, the study also collected data through open-ended interviews and questionnaires to triangulate findings from the fictional works. The selected fictional writers present the different experiences of black Zimbabweans through land loss and the strategies taken by the indigenous people in trying to regain their lost heritage, the land. The exegesis of the selected fictional works is guided by Afro-centred perspectives of Africana Womanism and Afrocentricity. Findings from most of the selected fictional works reveals the selective exclusion of blacks, both male and female, from accessing land and other vital resources from the colonial right up to post-independence periods in Zimbabwe. The study observes that Shona traditional culture accorded both genders the requisite space in terms of land ownership in the pre-colonial period. The study also establishes that colonialism through its numerous legislations stripped black men and women of the fertile land which they formerly collectively owned. The study also establishes that disillusioned black men and women worked extremely hard to regain their lost land as reflected in the unsanctioned land grabs as well as the government sanctioned Fast Track Land Reform Programme. Recommendations for future research include the expansion of such research to include works of fiction in other languages as well as different genres. Future land policies stand to benefit from the inclusion of women in decision making since women the world over have been confirmed as workers of the land. This is likely to deal with the gender divide regarding land ownership patterns both within and outside Zimbabwe.African Languages
D. Litt. et Phil. (African Languages)