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Dissertations / Theses on the topic 'Women’s memoir'
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Fiore, Nicole. "Reading Muslim women: The cultural significance of Muslim women's memoirs." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97094.
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This study looks at a growing trend in literature: memoirs written by women from Islamic countries. It will deal specifically with the cultural significance of these books in North American culture with special consideration of how the Muslim religion is depicted and therefore relayed to the North American audience. Finally, this paper will look at how these memoirs, and other texts like them, can be used in the classroom to teach against Islamophobia.Cette étude porte sur une tendance de plus en plus importante dans la littérature contemporaine, celles des mémoires écrits par les femmes des pays islamiques. Plus précisement, cette étude se penche sur la portée culturelle de ces livres dans la culture nord-américaine. Une attention particulière est porté à la façon dont la religion musulmane est représentée et, par conséquent, relayée au grand public nord-américain. Enfin, ce document examinera comment ces mémoires et d'autres similaires peuvent être utilisés en classe pour sensibiliser les élèves aux dangers de l'islamophobie.
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Percival, Madeleine Victoria. "French women's memoirs, 1789-1815." Thesis, University of Exeter, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426244.
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Latimer, Shana. "In Their Words: Women's Holocaust Memoirs." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/english_theses/129.
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Sara Tuvel Bernstein’s The Seamstress and Rena Kornreich Gelissen’s Rena’s Promise: A Story of Sisters in Auschwitz, both Holocaust memoirs, offer insight into the rise of violent anti-Semitism prior to World War II and the authors’ experiences in concentration camps. The purpose of this project is to better understand the unique trauma women experienced during the Holocaust and the impact of that trauma on their literary responses.
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Wells, Jennifer E. "Rough-Hewn: A Memoir." Miami University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=miami1122555509.
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Kolbeins, Melanie Vikki. "Towards a caregiving reading of women's memoirs." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ49509.pdf.
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Cantlie, Elizabeth Anne. "Women's memoirs in early nineteenth century France." Thesis, University of Glasgow, 1998. http://theses.gla.ac.uk/5510/.
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Although historians have acknowledged the importance of gender as a factor in the social and political life of post-revolutionary France, and bibliographical studies have revealed that vast quantities of memoirs were composed during the half century after the outbreak of the Revolution, the lives of women between the late 1790s and the 1830s, and the works in which they wrote about their lives and about the age in which they lived, have hitherto attracted relatively little attention from literary critics and historians. Previous research, moreover, has concentrated on women as writers of poetry and fiction, on the portrayal of women in novels, and on their position in society as it was defined by legislators, doctors, philosophers and the authors of manuals on female education and conduct. As a result, the diversity of women's writing and the complexity of their lives as historical subjects during this period have often been obscured. It is this diversity and complexity which are revealed by studying memoirs. This thesis examines women's memoirs from both a literary and a historical perspective, focusing on the relationship between gender, genre and historical circumstances. It argues that women wrote memoirs and wrote them in the way they did because of the political and social conditions of the age in which they lived. A short introduction outlines the reasons why the memoirs written by women in the first decades of the nineteenth century have been neglected: the preoccupation of literary scholars with memoirs of the ancien regime; the memoir's apparent lack of depth compared to 'true' or 'literary' autobiography; the weakness of most women's memoirs as sources of information on political and military affairs for the Revolution and Empire; and the narrow focus of recent women-centred histories. The rest of the thesis is an attempt to fill in some of these gaps.
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Hyder, Evelyn Ann. "Women in the Holocaust: the Memoirs of Ruth Kluger, Cordelia Edvardson, and Judith Magyar Isaacson." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1241209221.
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Marshall, Elizabeth. "Inventing American girlhood : gendered pedagogies in women's memoirs, 1950-1999 /." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486398528556704.
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余淸華 and Ching-wah Zita Yu. "Memory and identity in modern women's writing." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B42576362.
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Smith, David S. "The sociosexual function of women's episodic memory." Thesis, University of Aberdeen, 2014. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=210652.
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From an adaptive perspective human memory ought to be strategically attuned towards information deemed to be of value according to nature's criterion; i.e. that which promotes individual survival and reproduction. The experiments in this thesis represent an interdisciplinary venture to merge cognitive psychology with social perception research in order to study how sociosexual pressures may have shaped women's episodic memory systems. A vast literature has validated sexual dimorphism as a cue by which women comparatively judge the value of potential mates in terms of their perceived biological and behavioural characteristics (e.g. heightened sexual dimorphism in men correlates with positive biological attributes but also negative behavioural traits). The first 5 experiments extend this work by focusing on the functional contribution women's episodic memory systems may play in constraining generalisations. Experiments 1 and 2 reveal a mnemonic bias in women's memory for contents of encounters with men who have (attractive) masculinised low vs. (less attractive) feminised high pitch. Experiment 3 finds a similar memory benefit for information associated either with masculinised or feminised men's faces, depending on whether women prefer masculinised or feminised characteristics in men. Data from Experiments 6 and 7 reveal further evidence of sociosexual adaptation in women's episodic memory. Memory appears to be biased towards remembering the location of women with feminised (highly attractive) facial features, i.e. high-value competitors for potential mates. While no sociosexual bias was found in women's location memory for attractive male faces, a sociosexual bias was present in women's location memory for men with attractive, low-pitch voices. Considered along with other recent adaptive memory research, the data in this thesis further erode the idea of episodic memory as a general purpose mechanism.
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Yu, Ching-wah Zita. "Memory and identity in modern women's writing." Click to view the E-thesis via HKUTO, 2002. http://sunzi.lib.hku.hk/hkuto/record/B42576362.
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Hershkowitz, Robin Hershkowitz. "Popular Memoirs of Women Held Captive." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1530381667241048.
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Prodromou, Amy. ""That weeping constellation " : navigating loss in women's memoirs of textured recovery." Thesis, Lancaster University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.619276.
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This project explores the writing of grief within women's narratives of loss. It is concerned with the question, "How does one honour, in grief, all that up-rises? And how then does one write of it?" (Gail Jones 149). In Joan Didion's The Year of Magical Thinking, she laments the absence of any significant body of literature that will help her through her grief. I propose that the grief memoir-a term new enough not to have been included in Sidonie Smith and Julia Watson's 52 genres of life narratives (in Reading Autobiography)-fills this gap left by professional literature of bereavement and itself contributes to "that weeping constellation" (Jones 147) or community of mourners missing from contemporary grief practices as identified by Sandra Gilbert and Darian Leader. This genre, new to literary analysis, provides fertile ground for the discussion of recent literary and psychoanalytic analyses of mourning that have resisted the neat split Freud draws between normal and pathological grief. My chosen texts deliberately complicate "packaged and frozen" (Ellmann qtd. in Payne et al. 78) notions of recovery while honouring what Jenny Diski calls the "texture of experience" (Skating 185). I'm essentially identifying a sub-genre of the grief memoir which I call "memoirs of textured recovery." What sets them apart is the performance of complex "recovered" selves that show how "recovery," ambiguous and shifting in nature, calls for more complicated theories of mourning able to accommodate an understanding of grief not in terms of Freud's absolute recovery nor Tennyson's "loss forever new" (qtd. in Krasner 226), but rather, a space located somewhere in between. In their refusal to conform to the compensatory paradigms of the grief memoir, these texts contribute to "a dialogue of mournings" (Leader 85) and encourage us to think in a new ways about loss.
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Tsunematsu, Naomi 1966. "Japanese women's wartime patriotic organizations and postwar memoirs: Reality and recollection." Thesis, The University of Arizona, 1994. http://hdl.handle.net/10150/278444.
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Japanese women have often described themselves as passive "victims" of the Pacific War, and in their wartime memoirs (senso taikenki) they have related their suffering in the hope of preventing future wars. However, when we closely examine Japanese women' s activities and beliefs during the war, we find that women were not necessarily completely detached from wartime efforts. Many women actively and even enthusiastically cooperated with the state. Even if they did not actively fight on the battlefield and kill people on foreign soil, many women were part of the total war structure, helping to stir up the patriotism that drove Japanese to fight in the war. This thesis looks at how Japanese women, through patriotic women' s organizations, were involved in the Pacific War, and what they actually believed during the war, in contrast with their recollections of the war in their senso taikenki.
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Johnson, Thomas. "Oedipus' Wake: The (Neo-)Masculinization of the Self in Late Twentieth-Century American Women's Memoir." TopSCHOLAR®, 2006. http://digitalcommons.wku.edu/theses/283.
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Without pretensions to exhaustiveness, this study briefly examines the mid- to late-twentieth-century flowering of western theory and criticism built around autobiographical writing and follows the feminist branch(es) of that theory and criticism through a reading of the following four memoirs: Autobiography of a Face by Lucy Grealy, All the Lost Girls by Patricia Foster, Lying by Lauren Slater, and Prozac Nation by Elizabeth Wurtzel. Using both Freudian and Lacanian psychoanalytic theory as they relate to literature, I argue that the selves these four women write in their memoirs are not selves built around the model historically set for women by feminist criticism of autobiography. Instead, Grealy, Foster, Slater, and Wurtzel, each raised by a relatively ineffectual or absent father and a strong-willed mother, fashion autonomous Lacanian 'I's for themselves out of relationships with their mothers that more closely resemble the adversarial relationship Freud posited between fathers and sons than they do the communal and less autonomy-engendering mother-daughter relationships many feminist critics predict.
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Romeo, Caterina. "Narrative tra due sponde memoir di italiane d'America /." Roma : Carocci : Università degli studi di Roma "La Sapienza", 2005. http://catalog.hathitrust.org/api/volumes/oclc/60340203.html.
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Plummer, Sharbreon S. "Haptic Memory: Resituating Black Women’s Lived Experiences in Fiber Art Narratives." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1586990257051988.
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Demiri, Lirika. "Stories of Everyday Resistance, Counter-memory, and Regional Solidarity: Oral Histories of Women Activists in Kosova." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524073114946126.
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Gleghorn, Charlotte Elisabeth. "Body/memory/identity : contemporary Argentine and Brazilian women's film." Thesis, University of Liverpool, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.511053.
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Faith, Ian. "Voices of Authority: The Rhetoric of Women's Insane Asylum Memoirs During Nineteenth Century America." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1396362453.
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Ursino, Joanne Marie. "Piercing memory – marking history : the National Women's March Against Poverty and the quilt Women United Against Poverty 1996 and 2015." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/56297.
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The signature quilt Women United Against Poverty marks the National Women’s March Against Poverty that took place in 1996. The quilt top was created by Alice Olsen Williams from Curve Lake First Nation and Joanne Ursino. The content on the quilt (text, photographs, and images) is of great significance in seeking to better understand a particular moment in the social justice movement in Canada. A unique moment when women across the country - from divergent political, social and economic identities, backgrounds and relationships—worked together demanding an end to poverty under the political banner: “For Bread And Roses – For Jobs And Justice.” In the world of textiles, signature quilts, story quilts, political quilts and, more recently, the art quilt share a history that contributes to research in the field of narrative inquiry, feminist and queer discourse, and public art. This research study investigates how a practice of reflexive inquiry through the act of art making constitute a contribution to the public archive? It is both personal and political. The research is personal insofar as it is situated in a commitment to gender, sexual equality and studio art practice as a way of inquiring into and representing the world. It is political because it is anchored in the discourses of historical thinking, collective memory and contesting archives, mapping, materiality, material culture, making and coming to know through writing. It is an offering of meaning-making through arts-based research. I seek the unruly entanglements as I examine the liminal spaces in the materialities of writing and making and the intentional reading of post-modern feminist and queer theory, arts-based research and the challenge of data. The focus of this research study is on the location of the materiality of political action/praxis within the aesthetic realm. The quilt top was tucked away for almost twenty years. In returning to and un/finishing the artefact – making and quilting its layers is an integral act accompanying the writing of this thesis. Writing and stitching is an act of inquiry in and through the layers of meaning, matter and language.Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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Powley, Tammy. "MEMORY-CRAFT: THE ROLE OF DOMESTIC TECHNOLOGY IN WOMEN'S JOURNALS." Doctoral diss., University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3424.
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The term "memory-craft" refers to arts and crafts media where personal memorabilia and journaling are combined and assembled into book form. Examples of memory-crafts include scrapbooks, art journals, and altered books. Traditionally, women have been the primary assemblers of memory-crafts, using this form as a method of autobiography and genealogical archiving. Memory-crafting is often associated with the amateur home-crafter, and while historians have long understood its cultural significance, academia has not properly considered memory-craft as a type of alternative discourse. The purpose of this study is to examine the use of memory-crafting as a non-traditional method of writing, especially among women who use it to record personal and familial narratives. Just as women are usually the primary care-takers of the family, through memory-craft they also become responsible for collecting and preserving memories, which would otherwise become lost. These memories of the everyday – birthday parties, family vacations, and wedding anniversaries – grow to be culturally significant over time. Through the use of domestic technology, which today includes both paper scraps and home computer systems, memory-crafts assist in the interpretation of the present and provide insight into the past. To help explore the connection between domestic technology and memory-crafts, I have organized this study into four themes: history and memory-craft; women and domestic technology; feminist literary autobiography and memoir; and feminism and hypermedia. My approach is a mixture of fictionalized personal narrative and analysis loosely modeled after Writing Machines by N. Katherine Halyes and Alias Olympia by Eunice Lipton. Just as I discuss experimental methods of writing in the form of memory-crafting, I also use an experimental writing technique which gathers from personal memories in the form of a persona named Tess and from the life of my Great Aunt Mamie Veach Dudley. Mamie's journals and letter to her sister document the memories of the Dudleys including a tragic double suicide, which still haunts the Dudleys almost 100 years later. As narrator and storyteller, my stories connect to those documented by Mamie and link the past to the present. Along with Mamie's family records, I consider other memory-related works by women during the eighteenth and nineteenth centuries including Jane Austen, Anne Bronte, and Emily Dickinson, and I also examine contemporary memory-crafters such as those constructed by altered book artists Tom Phillips and Judith Margolis. Digital memory-craft is another source of support for my argument, and I look at web groups and bloggers. For example, I discuss the Wish Jar Journal, a weblog written by illustrator Keri Smith, where she journals her life and creative process and often mixes textual and visual elements in her blog posts. Writer and blogger Heather Armstrong from Dooce.com is another case study included in this project as her blog is an example of documenting familial events and memoir. Because of their fragmented formats and narrative elements, hardcopy and digitally-based memory-crafts become artifacts which combine text and visual elements to tell a story and pass on knowledge of the everyday through the mixture of text and domestic technology. Memory-craft construction does not follow conventional writing models. Therefore, this provides opportunity for experimentation by those writers who have traditionally been removed from established rhetorical writing methods.Ph.D.
Department of English
Arts and Humanities
Texts and Technology PhD;
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Karlberg, Eva. "The Europeanisation of the Swedish Women's Movement : A Case study of the Swedish Women's Lobby and its Member organisations." Thesis, Södertörns högskola, Institutionen för samhällsvetenskaper, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-21885.
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This thesis investigates the Europeanisation of civil society at national level through a case study of the Swedish Women’s Lobby (SWL), an umbrella organisation which serves as the Swedish member of the Brussels-based European Women’s Lobby (EWL). Conceptualising umbrella organisations as ‘meta-organisations’, in Ahrne and Brunsson’s term, Europeanisation is seen as a process which imposes meta-organisational structures on domestic-level civil society. Based largely on semi-structured interviews, the aim of the study is thus to analyse in what ways the women’s movement in Sweden has been affected by the imposed meta-organisational structure. The findings show that while the SWL has been successful in establishing itself as the actor for the Swedish women’s movement, this success also brought with it some problems. The meta-organisational structure has had certain formalising and excluding effects, as well as bringing internal tensions due to overlapping activities and the desire to speak with one voice. Applying a meta-organisation perspective on the Europeanisation of domestic civil society is thus shown to be useful as it contributes an understanding of how the EU has an impact on inter-organisational relations among civil society organisations.Denna studie undersöker europeiseringen av civilsamhället på nationell nivå genom en fallstudie av Sveriges Kvinnolobby, en paraplyorganisation och den svenska medlemmen i den europeiska kvinnolobbyn – European Women’s Lobby (EWL) – i Bryssel. Paraplyorganisationer förstås i detta sammanhang utifrån Ahrne och Brunssons begrepp metaorganisationer, dvs. ’organisationer av organisationer’. Därmed ses europeisering som en process vilken medför meta-organisatoriska strukturer till civilsamhället på nationell nivå. Studien syftar därmed till att analysera hur kvinnorörelsen i Sverige påverkats av den påbjudna metaorganisatoriska strukturen och baseras främst på semi-strukturerade intervjuer. Resultaten visar att Sveriges Kvinnolobby varit framgångsrik i att etablera sig som aktören för Sveriges kvinnorörelse men att denna framgång även medfört en del problem. Den metaorganisatoriska strukturen har medfört vissa formaliserande och exkluderande effekter, men också interna spänningar på grund av överlappande aktiviteter och lobbyns önskan att tala med en röst. Att applicera ett meta-organisatoriskt perspektiv på europeiseringen av civilsamhället på nationell nivå visar sig därmed vara användbart då det bidrar till förståelsen för hur EU har betydelse för inter-organisatoriska relationer bland civilsamhällets organisationer.
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Berthiaume, Alyssa Y. "Hold." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1289604382.
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Saeed, Humaira Zaineb. "Persisting partition : gender, memory and trauma in women's narratives of Pakistan." Thesis, University of Manchester, 2012. https://www.research.manchester.ac.uk/portal/en/theses/persisting-partition-gender-memory-and-trauma-in-womens-narratives-of-pakistan(f98704ee-424b-4639-ab10-b08f9e35560b).html.
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This project centres on the continuing relevance of the 1947 Partition of India in texts that engage with the national landscape of Pakistan. This approach proposes that Partition cannot be understood outside of a discussion of Pakistan, as Partition emerged through demands for liberty and enfranchisement for India’s Muslims that became articulated through the discourse of the nation-state; my analysis of cultural texts asks what the implications are of this proposal. This study moves beyond looking at Partition as an isolated series of events in 1947 and contextualises its processes, interrogating why Partition and Pakistan became such a persuasive demand, and what the ongoing ramifications are of its happening. This thesis also considers what the 1971 secession of Bangladesh suggests regarding the attempts of the original cartographic articulation of Pakistan to maintain a unified nation. This project seeks to understand Partition in new ways by utilising a framework that takes into account the broader context of Partition both temporally and spatially. It moves beyond work that solely focusses on texts that discuss the moment of Partition directly, by examining texts that approach the time that preceded Partition, and that which succeeded it. In so doing this thesis charts how texts articulate the arguments for Pakistan’s creation against the events and commemoration of its becoming. I aim to be broad temporally, geographically, and in how I engage with the notion of violence, extending this to include the bureaucratic violence of drawing borders and colonial withdrawal. This study maintains a focus on women’s narratives, arguing that due to the gendered experience of violence at the time of Partition, such as rape, abduction, and honour killing, women’s stories have a particular intervention to make. As such this thesis proposes that there is a pattern of specifically gendered trauma that emerges which disrupts dominant nationalist remembering of Partition. This work takes an interdisciplinary focus by analysing fiction, feature film and documentary. Central to the study is the deployment of a number of theoretical methodologies, such as affect, cultural memory and trauma. Engagement with this critical material enables a discussion of the cultural texts that considers the role of affects in generating and maintaining national belonging, the impact of trauma on individuals who lived through Partition and on the nation writ large, and the implications of how trauma and affect are negotiated when texts imagine reparative futures.
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Patrikeos, Margaret Anne. "Invisible Ink: A Daughter's Memoir of An Absent Father / Unravelling Women's Writing: Hearing Their Voices Against Patriarchal Influence." Thesis, Curtin University, 2015. http://hdl.handle.net/20.500.11937/799.
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My thesis comprises a creative work: Invisible Ink: A Daughter’s Memoir of An Absent Father — and exegesis — Unravelling Women’s Writing: Hearing Their Voices Against Patriarchal Influence. Invisible Ink unfolds from early memories of myself as the child Mags, interconnected with my mostly absent father, and from the emerging voice of Margaret, a woman in her late sixties. The exegesis investigates the embodiment of Hélène Cixous’s l’écriture féminine that dissipates patriarchal language in women’s memoirs about their author fathers.
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Glenn, Brittany Austin. "A sentient history : sensory memory in women's literature of the Caribbean diaspora." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/50753.
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The slave trade and colonial regimes disrupted the collectivity and history of the Caribbean populations. The absence of firsthand victim accounts in institutionalized historical records, e.g., chronicles of national history, and the current displacement of diasporic communities negate the effectiveness of ‘lieux de mémoire’, relegating collective memory to an abstraction of cultural remnants and personal narratives. However, several contemporary Caribbean works present a female protagonist with an embodied connection to history and culture, despite a lack of experiential knowledge and/or removal from the communal context. The corpus of this study includes Marie Célie-Agnant’s Le livre d’Emma (2001), Simone and André Schwarz-Bart’s Un plat de porc aux bananes vertes (1967), and Gisèle Pineau’s L’Exil selon Julia (1996).
I approach this phenomenon by investigating the meanings associated with physical sensations that trigger reminiscence and their connections to collective memory. I link trans-generational memory to the acculturation of Caribbean women’s bodies as sites of history and position sensory memory as a form of ‘living’ memory that transcends geographical displacement and temporal distance. The continuity of sensory memory establishes embodied solidarity between ancestors and the ‘postmemory’ generation who are faced with cultural alienation.Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
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Hirsiaho, Anu. "Shadow dynasties : politics of memory and emotions in Pakistani women's life-writing /." Tampere : University of Tampere, 2005. http://acta.uta.fi/pdf/951-44-6265-3.pdf.
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Bailey, Amy. "Fourteen by Seventy: A Memoir of Secrets and Consequence." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1564571937079218.
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Börjesson, Ida Maria. "Becoming Member, Becoming Sister : Orientating Relationships Between Women in the Soroptimist International Network." Thesis, Södertörns högskola, Stockholm, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-84134.
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This thesis examines how the relationships between women, inside and outside the international women's organization for professionally working women – Soroptimist International – is informed by proximity and distance, which orientates the organization in the direction of a multiculturalism informed by imperial feminism. Focus lies on the organizations use of terms such as “sister” and “professional woman”, and the imagined benefits and responsibilities of being a soroptimist. The thesis is centered on interviews with members from Soroptimist International Sweden, which is seen as a microlevel of the international organization. By interviewing members and comparing the statements with some of the official documents produced by the organization, I also examine the relation between policy and practice. Drawing on the affect theories of Sara Ahmed regarding emotions and bodily orientation; postcolonial perspectives on transnational feminism, sisterhood and solidarity; and anthropological perspectives on transnational women's network, I argue that the orientation of Soroptimist International is informed by white middle-class heterosexual women. When working for women's rights as human rights it is furthermore based on a UN discourse, which also orientate the organization in a universally western way. Furthermore, I also show how the network of Soroptimist International is end oriented, which means that its information and knowledge exchange is centered around its members and the expansion of the network, instead of advocacy making on behalf of women that are non-members. This leads to the conclusion that if Soroptimist International wishes to reorient away from its feminist imperialist and multiculturalist elements, it needs to engage with a praxis-oriented solidarity concept. This means obtaining a multifaceted communication between its local and global levels, as well as seizing the many different partial perspectives existing inside as well as outside the organization.
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Lee, Vanessa. "Women staging the French Caribbean : history, memory, and authorship in the plays of Ina Césaire, Maryse Condé, Gerty Dambury, and Suzanne Dracius." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:50c22b59-0d30-47f7-9325-f650904a89ae.
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This thesis analyses the themes of history, memory, and authorship in the works of four women playwrights from the French Caribbean islands of Martinique and Guadeloupe. In doing so, it aims to reveal the three levels of marginalization to which Caribbean women theatre practitioners are subjected: being a woman, being a French Caribbean woman, and being a French Caribbean woman who writes theatre. The thesis seeks to contribute to the expansion of the field of French Caribbean literary and drama studies, endeavours to redress the gender balance in studies on French Caribbean literature, and aspires to add to the existing body of work on French Caribbean women's writing. Therefore, the thesis aims to reveal and to analyse the world of French Caribbean women's theatre and to study how the playwrights address socio-political issues that affect their communities and influence their own writings and careers. The corpus consists of plays by Gerty Dambury, Ina Césaire, Maryse Condé, and Suzanne Dracius from the 1980s to the early 2000s. While focussing on a different theme, each chapter rests its analysis on theatrical works of a similar genre. The analysis of the plays deploys theories of the theatre pertaining to postcolonial drama and gender. The first chapter serves as an introduction to a group of female French Caribbean writers and their predecessors. The second chapter is a study of two historical plays, focussing on the collective experience of historical events and the role played by women in those events. The third chapter analyses plays that problematize the relationship between the collective and the individual. The fourth chapter looks at the image of the French Caribbean female artist and the multiple barriers she encounters in achieving creative independence.
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Chipman, Karen Anne. "No sex difference on incidental picture memory, despite better verbal memory in women." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0007/MQ32474.pdf.
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Waddell, Katherine. "AMERICAN MNEMONIC: RACIAL IDENTITY IN WOMEN’S LIFE WRITING OF THE CIVIL WAR." UKnowledge, 2018. https://uknowledge.uky.edu/english_etds/71.
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American Mnemonic: Racial Identity in Women’s Life Writing of the Civil War takes up three American women's autobiographies: Emilie Davis’s pocket diaries (1863-65), Elizabeth Keckley’s Behind the Scenes: Thirty Years a Slave and Four in the White House (1868), and Louisa May Alcott’s Hospital Sketches (1863). Chapter one is devoted to literary review and methodology. Chapter two, "the all-absorbing topic': Belonging and Isolation in Emilie Davis’s Diaries," explores the everyday record of Emilie Davis in the context of Philadelphia’s free black community during the war. Davis’s position as a working-class free woman offers a fresh perspective on the much-discussed “elite” black community in which she participated. Chapter three, “'The Past is Dear': Nostalgia and Geotemporal Distance in Elizabeth Keckley’s Behind the Scenes,” explores Keckley’s memories of the South as she narrates them from her position as an upwardly mobile free black woman in Washington, D.C. My analysis illuminates the effect of shifting subject positions (e.g., from slave to free) on the process of self-narration, a process that I argue ultimately recasts Keckley in a more abolitionist light. Finally, chapter four, “'A Forward Movement': Louisa May Alcott’s Hospital Sketches and the Racialized Temporality of Progress,” argues that Alcott uses the geotemporal conditions of the war hospital to gain social mobility. This forward movement for Alcott leads her to cast black characters in a regressive light, revealing the racial hierarchy of progress. All of these authors express their experiences of time in unique ways, but in each case, the temporal cultural shifts catalyzed by the Civil War impact how they process their racial identities, and the genre of autobiography offers an intimate view of that process.
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Encarnación, Pinedo Estibaliz. "Beat & beyond : memoir, myth and visual arts in women of the beat generation = Más allá del "Beat": memoria, mito y arte visual en las mujeres de la generación beat." Doctoral thesis, Universidad de Murcia, 2016. http://hdl.handle.net/10803/369842.
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El objetivo de esta tesis doctoral es revaluar el trabajo de las mujeres de la Generación Beat dentro de un discurso artístico y literario post(Beat) o más allá de lo “Beat.” El capítulo dos, en el que se analizan once memorias, se centra en el dilema entre lo personal y lo literario y sirve para delinear el contexto socio-político y artístico en el que las autoras escribieron. A través del análisis de temas comunes a las distintas memorias (la escritura, los roles de género, y la conexión con el movimiento Beat), este capítulo sitúa a las escritoras en un contexto artístico que fue común a los escritores masculinos, pero que se ve a la vez ampliado a través del estudio de temas como la maternidad, el aborto o la domesticidad. En cualquier caso, el capítulo va más allá de la experiencia personal para examinar el uso específico del género memoria. Usando como marco teórico y metodológico teorías de escritura autobiográfica y revaluaciones feministas, el capítulo reexamina el valor artístico y literario de las memorias, que son con demasiada frecuencia tachadas de anti-literarias. El tercer capítulo se centra en poesía, concretamente las colecciones The Tapestry and the Web (1965) de Joanne Kyger, Loba (1998) de Diane di Prima, y The Iovis Trilogy (2011) de Anne Waldman, para ver de qué manera estas poetas actualizan discursos, temática y personajes de la mitología. Kyger trabaja directamente con La Odisea de Homero para dotar a Penélope de una visión más contemporánea y un lugar más apropiado para auto-expresarse, si bien opta por mantener al personaje mitológico “atrapado” dentro de la estructura provista por Homero. Loba de Diane di Prima, una colección escrita durante los años setenta, está influenciada de una manera más clara por discursos feministas y por el llamado Movimiento de la Diosa. La última parte explora la deconstrucción de los mitos del patriarcado que lleva a cabo Waldman en su épica a través de la metáfora de “todo está lleno de Jove”, que alude al omnipresente y todopoderoso Zeus. Además de analizar el mito como una construcción ficticia, estas tres colecciones revalúan la posición de la mujer dentro del género de la épica. El último capítulo estudia el arte visual como contrapunto a la representación visual (estereotipada) de la mujer en la Generación Beat producida por los medios de comunicación. Además, el capítulo sitúa la escritura de estas autoras en un contexto multi-mediático y multidisciplinar que las ubica en la vanguardia artística y la experimentación literaria de los años sesenta en adelante. La primera parte del capítulo considera la involucración de las poetas con el vídeo y la película como medios audiovisuales a través de los cuales expandir su visión poética. La última parte se centra en la poesía y el arte visual producido por ruth weiss desde dos perspectivas distintas: la influencia de la pintura, escultura y las proyecciones psicodélicas en su poesía y la expansión de la poesía a través del teatro, la pintura, o el cine. La conclusión enfatiza la necesidad de situar la poesía de estas mujeres en el centro de los discursos académicos sobre la generación Beat. El enfoque empleado evita una comparación con el trabajo de los escritores de la generación, lo que sortea su victimización y establece la auto-suficiencia y el valor estético y temático de su obra. Para ello, la tesis usa de marco metodológico los estudios de género y culturales, así como la crítica feminista. El análisis formal está informado por lecturas temático-formales de la representación literaria y visual del género y la sexualidad desarrollada por la crítica feminista y queer.The aim of this dissertation is to reassess the position of women writers within the Beat Generation and re-evaluate their work within (post)Beat – and extra-Beat – literary and artistic discourses. To do so, the dissertation is divided into three main chapters which focus on different themes and, incidentally, on the work of different writers and poets. Chapter two tackles the personal/literary dilemma by analyzing eleven memoirs written by women associated with the Beat Generation. By investigating common themes in the memoirs – namely, writing, gender roles, and connection with the Beat Generation – this chapter situates the women in a specific socio-political and artistic context that was common to the male Beat writers, but also expands the concerns found in the works of the male Beats by dealing with themes such as motherhood, abortion, domesticity or even the responsibility of economically supporting the family. Nevertheless, this chapter goes beyond the personal position or personal experience of these authors by studying the specific use they make of memoir as a genre. Bringing into the fore life-writing studies and feminist reevaluations of the dialogue between genre and gender, this chapter argues for a thoughtful reexamination of the literary and artistic value of the – too-often – discarded memoirs. The third chapter moves on to poetry, specifically to Joanne Kyger’s The Tapestry and the Web (1965), Diane di Prima’s Loba (1998) and Anne Waldman’s The Iovis Trilogy (2011), to examine the way in which these poets revise or appropriate mythological themes, characters and discourses. Kyger, for instance, works directly with Homer’s The Odyssey to endow Penelope with a more contemporaneous mindset and space to express herself, while simultaneously keeping her “trapped” within Homer’s framework. Di Prima’s Loba – written mostly in the mid seventies – resonates more clearly with feminist appropriation of mythological characters as well as with the specific Goddess Movement. The last part of the chapter explores Anne Waldman’s deconstruction of the patriarchal myths through the ongoing metaphor of “all is full of Jove” – which alludes to the omnipresent and almighty patriarch, Zeus. In addition to the focus on mythology as a fictive construction, these three poetry collections reevaluate the position of women within the epic genre. The last chapter focuses on visual arts to counteract the visual representation of women in the Beat Generation generated by the mainstream media, and situates their writing in a multi- and trans-media context that places it at the forefront of 1960s artistic and literary experimentation. The first part of the chapter delineates the actual involvement of poets with film and video as, mainly, mediums from which to expand their poetry and artistic vision. The last part focuses on the connection between ruth weiss’s poetry and the visual art world in two different ways: the influence of visual arts like painting, sculpture and lightshows on her poetry, and the actual expansion of her poetry into other media such as painting, theater and film. The conclusion stresses the necessity of placing these women’s poetry and art in the foreground of academic and scholar discourses of the Beat Generation. The approach adopted avoids a comparison with the work of male writers of the generation, which allows for a much freer space from which to analyze their literature outside of a victimized position, while it also establishes the self-sufficiency and aesthetic and thematic relevance of their work. To do so, the dissertation uses as a methodological framework cultural and gender studies, as well as feminist criticism. The formal analysis, in addition, is informed by thematic and formal readings of the literary and visual representation of gender and sexuality developed by feminist and queer criticism.
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Bramley, Anne Frances. "Women and colonialism : archival history and oral memory." Thesis, University of Bristol, 2008. http://hdl.handle.net/1983/49aa5d75-3f4c-4485-822d-f91ceb0e6387.
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Representations of Britain's colonial history have predominantly been 'official' ones, which tend to focus on well-documented administrative accounts and imply that one 'true' account of the past exists. More recently, white women's accounts have been incorporated, highlighting their participation in Britain's imperial adventure, particularly during and after the World Wars. East Africa provides the context in which this range of narratives will be explored: Its 'racial' hierarchies; its different designation of land as colonies, protectorates and territories; and its active white settler population in Kenya, which of necessity sought a place for its women, all contribute to its interesting past. This thesis first explores the range of historical representations surrounding Britain's colonial relationship with East Africa, and subsequently focuses on the portrayal of white women. This enables an exploration of the ways these women negotiated their positions in both private spheres, as was more commonly expected; but also in public ways that challenged discourses of femininity at the time. Their challenge became increasingly prevalent as greater numbers of women sought independence, the Empire being one place that enabled white women who went there to realise their 'modern' ambitions to 'civilise' and 'develop' the colonial world. These ambitions however, existed in tension with the oppressive nature of colonialism. If traditional historical accounts have stuck to the 'grand narratives' of colonial history, then turning to white women's oral histories reveals more complex historical narratives. These personal stories emphasise the divisions the women lived within and maintained, as well as demonstrating how myth has come to exist through their memories, now sustaining a colonial image of East Africa. Furthermore, these narratives provide challenging examples of how we can interpret the legacies of 'colonialism' in contemporary, 'postcolonial' realities. The contradictions they reveal hold powerful implications for the way that colonial history is represented in Britain today.
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Michael, Olga. "Pastiche and family strife in contemporary American women's graphic memoirs : Phoebe Gloeckner, Lynda Barry and Alison Bechdel." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/pastiche-and-family-strife-in-contemporary-american-womens-graphic-memoirs-phoebe-gloeckner-lynda-barry-and-alison-bechdel(9bb5b568-9846-4c4c-8787-2493142564d3).html.
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This thesis examines pastiche in contemporary American women’s graphic memoirs. It investigates how the visual/verbal combination of the genre performs the contemporary women artists’ engagement with the male literary and artistic canon towards feminist reparative ends. Taking Phoebe Gloeckner, Lynda Barry and Alison Bechdel’s works as representative examples of the genre, I argue that pastiche reacts against the injuries inflicted on their autobiographical subjects by abusive parents, as well as the injuries inflicted on women artists by the marginalisation of their art. Chapter 1 examines Phoebe Gloeckner’s graphic memoirs A Child’s Life and Other Stories and The Diary of a Teenage Girl: An Account in Words and Pictures. It demonstrates how the girl protagonist is formed through the visual/verbal medium and allusions to previous texts, both of which negotiate the status of the female body – underage and adult – as a passive sexual spectacle under the authoritative male gaze. In addition, it shows that, while referencing those texts, Gloeckner’s graphic memoirs simultaneously undo and challenge their meanings towards the autobiographical subject’s reparation and the feminist reconfiguration of the female spectacle. Chapter 2 considers Lynda Barry’s One! Hundred! Demons! and What It Is in relation to canonical verbal/visual texts that engage with the subject of gender ambiguity and maternal monstrosity. It analyses how previous meanings and formal characteristics are repeated and revised in Barry’s works for the formulation of the autobiographical subject as reunited with the maternal body. It also demonstrates how Barry’s texts perform a feminist deconstruction of the boundaries between high and low art in a way that foregrounds the significance of everyday domestic artistic production. Chapter 3 investigates how Alison Bechdel’s engagement with the male homosexual literary canon in Fun Home: A Family Tragicomic allows the Oedipal reunion of the lesbian daughter with the closeted homosexual father. By showing how the canonical literary past is translated into the verbal/visual register of comics, this chapter introduces the potential of the medium for the performance of denaturalised and complex formations of gender and sexuality that repair the autobiographical subject’s injuries and underscore the cultural significance of the artistic daughter’s work. The conclusion draws my arguments together and underlines the function of pastiche as reparation and the cultural significance of American women’s graphic memoirs. It also briefly refers to two examples that demonstrate the continuity and variations of pastiche in contemporary texts, which call for academic attention and foreground the availability of comics to perform complex subject formations and a productive engagement with past traditions.
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Antonić, Maja. "Yugoslav Revolutionary Legacy: Female Soldiers and Activists in Nation-Building and Cultural Memory, 1941-1989." TopSCHOLAR®, 2019. https://digitalcommons.wku.edu/theses/3107.
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While women are often excluded and/or portrayed as victims in the historical scholarship on war, this research builds on recent scholarship that shows women as active agents in warfare. I focus on Yugoslavia’s WWII Partizankas, female soldiers and activists, who held visible positions in the war effort, public consciousness and, later memory. Using gender as a category of analysis, my thesis explores Partizankas’ legacy and their contributions in the National Liberation Movement (NLM) in WWII (1941- 1945) and post-war nation building. I argue that the organizational framework of the Anti-Fascist Women’s Front (AWF) under the guidance of the Communist Party of Yugoslavia (CPY) emphasized women’s ethnic/religious identities along with distinct social standings and geographic locations to motivate them to fight for the common cause and subsequently forge a shared South Slavic identity. This emphasis on ethnic/regional/class differences paradoxically led to the creation of a common Yugoslav national identity. Women’s involvement, therefore, becomes central to the nationbuilding in the post-war period while establishing the legacy for future feminists. I characterize NLM as a Marxist guerrilla movement with the intent to contextualize the organizational tactics and ideological efforts of CPY and showcase the commonalities and differences the Yugoslav resistance movement had vis-à-vis other revolutionary movements that actively recruited women. Furthermore, the thesis focuses on the representations of Partizankas in popular culture and official rhetoric from WWII to the demise of Yugoslavia in 1991 in order explore the fluidity of gender roles and their perceptions. This research is meaningful because NLM, as an organized Marxist guerrilla movement, stands out in its size, success and legacy. The Yugoslav experience broadens the understanding of why women go to war, how gender norms shift during and after the conflict, and how female soldiers are remembered.
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Du, Bon-Atmai Evelyn. "Competing Models of Hegemonic Masculinity in English Civil War Memoirs by Women." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc848084/.
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This thesis examines the descriptions of Royalist and Parliamentarian masculinity in English Civil War memoirs by women through a close reading of three biographical memoirs written by Margaret Cavendish, duchess of Newcastle; Lady Ann Fanshawe; and Lucy Hutchinson. Descriptions of masculinity are evaluated through the lens of Raewyn Connell's theory of hegemonic masculinity to understand the impact two competing models of masculinity had on the social and political culture of the period. The prevailing Parliamentarian hegemonic masculinity in English Civil War memoirs is traced to its origins before the English Civil War to demonstrate how hegemonic masculinity changes over time. The thesis argues that these memoirs provide evidence of two competing models of Royalist and Parliamentarian masculinities during the Civil War that date back to changes in the Puritan meaning of the phrase “man of merit”, which influenced the development of a Parliamentarian model of masculinity.
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Stephens, Liz. "The Days Are Gods: A Life in Place." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1353956511.
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Stone, Katherine Mary. "Gender and German memory cultures : representations of National Socialism in post-1945 women's writing." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708863.
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Jackson, Akia. "The mobility of memory and shame: African American and Afro-Caribbean women’s fiction 1980’s-1990’s." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6962.
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The purpose of this dissertation is to understand the mixed legacy of shame. I work through the interrelationship between productive shame and debilitating shame and a character’s journey through this spectrum. In my research, I define shame not in the pejorative, but rather I repurpose the term to show its beneficiality in reshaping Black female characters during the period of Black Arts and Power Movements in America and the Caribbean. Essentially, my dissertation will argue that although debilitative shame seems overwhelmingly negative for the female characters, gradually they come to reassess this shame as a positive asset that helps them reevaluate societal and nationalistic expectations associated with their Blackness. I seek to redefine the globalized multiple dimensions of shame that Black authors confront throughout their novels because shame involves an often painful, sudden awareness of the self and trauma previously endured.
Thus, the fluidity of Black transnational experiences frame my interrogation of the impact of colonialism and post-colonialism on the cultural history and collective shame of Afro-diasporic descended characters in Morrison’s Tar Baby (1981), Kincaid’s Annie John (1985), Cliff’s No Telephone to Heaven (1987), and Danticat’s Breath, Eyes, Memory (1994). My project complicates mobility by dissecting the disconnections that arise from separation from homelands, family, and cultural familiarity. I analyze the four novels through an ordered methodology of migration, disruption, discontinuity, and the renaming debilitative shame as a positive asset. This methodology informs my argument on the middle ground and Black female characters occupying multiple identities in their movement through different nation-states and empires.
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Shay, Catherine R. "What I Know And How I Came To Know It." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1515152135189124.
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Manohar, Namita-Naomi. "Memoirs of Bharitya naris (Indian women) gender, work and family in transnational migration /." [Gainesville, Fla.] : University of Florida, 2009. http://purl.fcla.edu/fcla/etd/UFE0024738.
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Lunt, Lora G. "Mosaique et memoire : paradigmes identitaires dans le roman feminin tunisien." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37768.
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Mosaique et memoire studies paradigms that contribute to the construction of identity in the writings of thirteen Tunisian women novelists writing in French: Emna Bel Haj Yahia, Aicha Chaibi, Annie Fitoussi, Behija Gaaloul, Annie Goldmann, Souad Guellouz, Jelila Hafsia, Souad Hedri, Turkia Labidi Ben Yahia, Alia Mabrouk, Nine Moati, Katia Rubenstein, and Fawzia Zouari. Drawing upon post-colonial and feminist perspectives, this thesis analyzes texts through their poetics and in linguistic, cultural and literary contexts. Novels by women offer an inside view of women's evolution through a variety of characters representing three generations, just as they explore alternate ways of entering modernity based upon harmonizing traditional values (cultural roots, family, faith, community solidarity, a Mediterranean warmth of spirit, thinking "in Arabesques") with 'modern' values such as sexual equality and individual freedom.Multiple women's voices protest patriarchal and colonial or racist discourse, but also reveal spaces of happiness in women's lives. Jewish voices at times reinforce views by Muslim authors but at others present opposing viewpoints, deconstructing concepts such as 'Arab identity' and questioning nationalist claims to Islamic tolerance and multiculturalism.
In these French-language novels, images and metaphors, as well as expressions in dialectical Arabic, recall the rich cultural heritage underlying national consciousness, the memory and the mosaic which form both individual and national identities. The juxtaposition of Arabic and French suggests both the cross-fertilization of cultures and the impossibility of naming the inexpressible, just as it contributes to deconstructing identity through the medium of the novel.
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Gibbs, Amanda (Amanda Susan) Carleton University Dissertation Canadian Studies. ""Memory work": imaginal memory as feminist praxis in the works of selected contemporary Canadian women writers." Ottawa, 1994.
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Doyle, Trista Dawn. "Insidious Vulnerability: Women's Grief and Trauma in Modern and Contemporary Irish Fiction." Thesis, Boston College, 2018. http://hdl.handle.net/2345/bc-ir:107960.
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Thesis advisor: James M. SmithThis dissertation examines individual experiences of grief and trauma in Irish writing from 1935 to 2013, focusing specifically on novels by Elizabeth Bowen, Samuel Beckett, Sebastian Barry, and Eimear McBride. It offers a feminist reclamation of personal forms of loss that fall outside the purview of documented history and that typically go overlooked in literary criticism. Examples in this study include the suffering caused by the natural death of a family member, infertility, domestic and sexual abuse, social ostracism, institutionalization, and forced adoption. Through careful close readings of Bowen’s The House in Paris (1935) and The Death of the Heart (1938), Beckett’s Molloy (1955), Barry’s The Secret Scripture (2008), and McBride’s A Girl Is a Half-Formed Thing (2013), I unpack how women’s insidious vulnerability to grief and trauma manifests in modern and contemporary Irish fiction. The works I discuss here reveal the depth and complexity of grief—making visible forms of loss and violence that society tends to ignore, working through what impedes the grieving process, and giving voice to underrepresented experiences of emotional and psychological suffering. Over three chapters, I engage with the discourses of trauma theory, Irish memory studies, and modernism and its afterlives. I draw on feminist psychiatrist Laura S. Brown’s discussion of “insidious trauma” to inform my own concept, “insidious vulnerability,” which I use to refer to the persistent threat of loss and violence that haunts marginalized groups in their daily lives. Likewise, I make reference to the American Psychiatric Association’s diagnostic definition of post-traumatic stress disorder (PTSD) to distinguish trauma from other forms of emotional and psychological distress. I contribute to Irish memory studies by extending the critical conversation beyond public historical events (like the Easter Rising of 1916)—to include private forms of grief and trauma, particularly in the lives of women. Furthermore, I focus on authors who innovate, whose novels exhibit dissatisfaction with the limitations of conventional realist narratives and who attempt new modes of representation in an effort to articulate the inexpressible and the unexpressed. Bowen and Beckett stand as representatives of late modernism (1930s-1950s), while Barry and McBride help extend literary modernist afterlives into the twenty-first century
Thesis (PhD) — Boston College, 2018
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: English
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So, Farina. "An Oral History of Cham Muslim Women in Cambodia under the Khmer Rouge (KR) Regime." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1276009791.
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Elledge, Zachary Lynn. "Defeat and memory at the Arkansas state capitol| The Little Rock Monument to the Women of the Confederacy, 1896-1914." Thesis, Arkansas State University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1593794.
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Resting in the southeast corner of the Arkansas state capitol is the Little Rock monument honoring the women of the Confederacy. Known as the Southern Mother, the Arkansas division of the United Confederate Veterans (UCV) erected this monument to commemorate the sacrifices of Arkansas women during the Civil War. Sculpted by J. Otto Schweizer, a Swiss-American from Philadelphia, Pennsylvania, this monument represents two versions of Arkansas’ Civil War history: that of the sculptor, and that of its patrons. Arkansas broke away from the national UCV in 1906 and proceeded on its own to memorialize Confederate women’s war time sacrifices. Paid for by a state appropriation of $10,000, the Arkansas UCV were able to commemorate in stone a specific memory of Arkansas history during the Civil War. The monument effort began on a national scale in 1896, but did not come to fruition in Arkansas until May 1913. Several conflicts occurred with members of the United Daughters of the Confederacy, who opposed the monument idea and preferred that donations were routed into more social programs like retirement homes and scholarship programs. This monument occurred during a time of vast memorialization during the height of the Lost Cause, but the history behind it shows a more individual nature of healing traumatic wounds.
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Cornelissen, Catriona. "Negotiating cultures, modes of memory in novels by African women." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ27899.pdf.
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