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Dissertations / Theses on the topic 'Women artists in fiction'

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Published: 4 June 2021

Last updated: 30 July 2024

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1

Wood, Susan M. "Seeing into the mirror the reality of fiction in the work of Carrie Mae Weems /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4900.

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Thesis (M.A.)--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 November 6, 2007) Includes bibliographical references.

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2

Molloy, Carla Jane. "The art of popular fiction : gender, authorship and aesthetics in the writing of Ouida : a thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in English in the University of Canterbury /." Thesis, University of Canterbury. Culture, Literature and Society, 2008. http://hdl.handle.net/10092/1956.

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This thesis examines the popular Victorian novelist Ouida (Maria Louisa Ramé) in the context of women’s authorship in the second half of the nineteenth century. The first of its two intentions is to recuperate some of the historical and literary significance of this critically neglected writer by considering on her own terms her desire to be recognised as a serious artist. More broadly, it begins to fill in the gap that exists in scholarship on women’s authorship as it pertains to those writers who come between George Eliot, the last of the ‘great’ mid-Victorian women novelists, and the New Woman novelists of the fin de siècle. Four of Ouida’s novels have been chosen for critical analysis, each of which was written at an important moment in the history of the nineteenth century novel. Her early novel Strathmore (1865) is shaped by the rebelliousness towards gendered models of authorship characteristic of women writers who began their careers in the 1860s. In this novel, Ouida undermines the binary oppositions of gender that were in large part constructed and maintained by the domestic novel and which controlled the representation and reception of women’s authorship in the mid-nineteenth century. Tricotrin (1869) was written at the end of the sensation fiction craze, a phenomenon that resulted in the incipient splitting of the high art novel from the popular novel. In Tricotrin, Ouida responds to the gendered ideology of occupational professionalism that was being deployed to distinguish between masculinised serious and feminised popular fiction, an ideology that rendered her particularly vulnerable as a popular writer. Ouida’s autobiographical novel Friendship (1878) is also written at an critical period in the novel’s ascent to high art. Registering the way in which the morally weighted realism favoured by novelists and critics at the mid-century was being overtaken by a desire for more formally oriented, serious fiction, Ouida takes the opportunity both to defend her novels against the realist critique of her fiction and to attempt to shape the new literary aesthetic in a way that positively incorporated femininity and the feminine. Finally, Princess Napraxine (1884) is arguably the first British novel seriously to incorporate the imagery and theories of aestheticism. In this novel, Ouida resists male aesthetes’ exploitative attempts to obscure their relationship to the developing consumer culture while confidently finding a place for the woman artist within British aestheticism and signalling a new acceptance of her own involvement in the marketplace. Together, these novels track Ouida’s self-conscious response to a changing literary marketplace that consistently marginalised women writers at the same time that they enable us to begin to uncover the complexity of female authorship in the second half of the nineteenth century.

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Chambers, Jacqueline M. "The needle and the pen : needlework and women writers' professionalism in the nineteenth century /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9999278.

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4

Bindslev, Anne M. "Mrs. Humphry Ward a study in late-Victorian feminine consciousness and creative expression /." Doctoral thesis, Stockholm, Sweden : Almqvist & Wiksell International, 1985. http://books.google.com/books?id=l3ZbAAAAMAAJ.

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5

Alkhudair, Maha. "Unveiling Artists: Saudi Female Artists Life Stories." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37502.

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This study tells the life stories of four Saudi female artists. Using life story narrative approach, I focused on the following research questions: How are Saudi female artists fulfilling their aspirations as artists in the conservative Saudi society? What are the common and divergent themes in the life stories of the Saudi women artists, namely Safeya Binzagr, Maha Almalluh, Tagreed Albagshi, and Fida Alhussan? The artists were interviewed using open-ended questions and asked to discuss their artwork. The postmodern feminism and social construction theories were used to understand their life experiences and how they came to be “successful artists” in the conservative Saudi society. The findings showed that family and formal education played an important role in these women’s life journeys as artists. The Saudi society was also a major influence, sometimes supporting them, at other times obstructing them. These artists share many personality features such as being persistent, believing in themselves, taking risks, facing challenges, being independent, being responsible as artists and as part of society, and being honest in their artwork. This study contributes to the art education curriculum in Saudi schools and universities. Globally, it contributes to women’s studies and to social and cultural studies in shedding light on the Saudi society, especially as it is experienced by women.

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Bolzt, Kerstin. "Women as artists in contemporary Zimbabwe /." Eckersdorf, Germany : Breitinger, 2007. http://www.loc.gov/catdir/toc/fy0804/2008400471.html.

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7

Davis, Peter B. "The curve of Kate's nose." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1041883.

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My creative thesis project will be a loosely composed story consisting of fragments of prose, poetry, and possibly random notes and/or letters. In length, my project will be somewhere between fifty and a hundred pages.The premise of my story will be this: Henry Egan is a painter. One day, Henry Egan paints a line that he believes is the first line of his masterpiece. (Henry Egan longs for the immortality afforded to the creators of masterpieces. He has waited, and nearly given up, on the divine luck required to be immortal.) Now, Henry Egan believes he has begun his masterpiece. He believes he is painting with genius and that his genius will be remembered. He is so sure (or, possibly, unsure) that this painting will ensure his immortality that he is documenting its completion.This is my creative project: The journal/study-guide that Henry Egan writes while painting his masterpiece. There is, of course, a problem. Henry Egan's masterpiece is of a woman he is in love with, Kate. She is both the inspiration and subject of his masterpiece. He associates his masterpiece and Kate so strongly that difficulties with Kate create difficulties in painting, and visa-versa. This problem manifests itself in a variety. At any rate, Henry Egan's inability to clearly distinguish artistic creation from reality is an issue, and the major part of the plot and theme revolve around this difficulty.The significance of this problem I do not feel I can accurately-judge, given that my feelings about this problem are of little significance compared to the feelings of the reader. I do not see how a writer can accurately judge (or impose upon) the significance of a problem he or she has invented.For lack of a better phrase, I will say that my project could be categorized as `stream of conscious' writing.
Department of English

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8

Guth, Gwendolyn. ""A world for women": Fictions of the female artist in English-Canadian periodicals, 1840-1880." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0018/NQ45175.pdf.

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9

Hoops, Janet Lynn. "Women in Rohinton Mistry's fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0005/MQ46285.pdf.

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10

Murphy, Maria Christine. "Parts of Women." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2748/.

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Parts of Women contains a scholarly preface that discusses the woman's body both in fiction and in the experience of being a woman writer. The preface is followed by five original short stories. "Parts of Women" is a three-part story composed of three first-person monologues. "Controlled Burn" involves a woman anthropologist who discovers asbestos in her office. "Tango Lessons" is about a middle-aged woman who's always in search of her true self. "Expatriates" concerns a man who enters the lives of his Hare Krishna neighbors, and "Rio" involves a word-struck man in his attempt to form a personal relationship.

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11

McKenna, Libby. "Audience interpretations of the representation of women in music videos by women artists." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001670.

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12

Addison, Rosemary Catharine. "Women artists and book illustration in Edinburgh, 1886-1945." Thesis, Heriot-Watt University, 2004. http://hdl.handle.net/1842/26313.

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This thesis documents a range of visual and textual records of women artists and illustrators in Edinburgh (1886-1945). It considers how women trained and applied skills to illustrate unique and multiple images for Edinburgh's printing and publishing houses. Research by Dr Elizabeth Cumming into the Arts and Crafts Movement in Edinburgh, studies by Professor Janice Helland of Professional Women Artists in Scotland and work by Professor Sian Reynolds into the cultural industries in Edinburgh, provide fundamental models of enquiry into women's occupations in this period. The following chapters discuss the ways in which women presented images of themselves. They generated images in book form, in design, illustration and the interpretation of texts. Nineteenth century debates about the necessity of roles for women in art, education, religion and politics challenged gendered norms of the political culture. In order to stress the agency o f women illustrators, a s scribes who wrote themselves into their culture, the thesis also marks the currency of changing attitudes about womanhood. Interaction between women as cultural facilitators, campaigners for women's rights and artists as illustrators emerges in a critical phase of Scottish history.

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McNeal, Joanne Carolyn. "Western Arctic women artists' perspectives on education and art." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25113.pdf.

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14

Lewis, Joanne Rebecca. "Women artists in Botswana in the late 20th century." Thesis, SOAS, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.525246.

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Women have always played a large part in the visual arts throughout Africa. In Botswana at the present time this is illustrated most immediately by the woven baskets, seen everywhere, in galleries, shops and at roadside stalls, that have come to represent the country and its arts and crafts; and with the odd exception they are all made by women in the most rural areas. However, women in Botswana currently practice other arts, including house decoration and pottery, although, for a variety of reasons, these are less immediately obvious. In contrast to these practices, representing traditions inherited from the past, there are others of relatively recent inception. Since the 1980s Botswana has seen the emergence of a small number of women ‘Fine’ artists, some of whom are Botswana nationals while others are expatriates settled in the country. In contrast to arts made for immediate local use, or sold in roadside stalls, the work of these artists is exhibited in the few art galleries that now exist. During the same period, art education has also been gradually introduced into the school and university system in Botswana. Art galleries both private and public are another recent development, beginning with the National Museums and Monuments Art Gallery, which opened in 1978, and which began to facilitate local exhibitions of Botswana art, while also encouraging exhibitions of this material in other countries. In addition to local tradition and an emerging Fine Art practice, art education, museums and galleries, a series of workshops has also been developed. Some of these were set up by expatriates on a more-or-less permanent basis with the aim of training women in various art forms, while others are temporary and artist-led, giving selected groups of artists the chance to meet, work and exchange ideas. I begin this thesis, therefore, with a survey of all the arts inherited from the past, and currently practised by women in Botswana, and then, in a series of chapters I look at each of the developments, including art education, museums and galleries, and workshops; and their histories, their aims, and their achievements with particular regard to the overall development of the arts in Botswana. This thesis thereby provides a comprehensive study of all the arts practised by women in Botswana through the last thirty years.

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15

Deepwell, Catherine Naomi. "Women artists in Britain between the two world wars." Thesis, Birkbeck (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282800.

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16

Low, Yvonne Yanmei. "Women Artists: Becoming Professional in Singapore, Malaya and Indonesia." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13843.

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This is a woman-centred study that examines women’s art: art which had enabled women artists to become professionals in a male-dominated art world, at specific historical moments of present day Singapore, Malaysia and Indonesia. This thesis argues for the need to re-evaluate women’s contributions in nationalist and modernist art discourses, so as to include perspectives of women’s creative and intellectual developments in what were undeniably male-dominated professional spheres. Although the issues of gender disparity and women’s absence in history are not in itself new, they remain prevalent. For this dissertation, I have employed the recover and revise strategy in the examination of historical records and visual materials. I argue that any meaningful discussion on the issue of gender disparity in the professional art activity must take into consideration historical factors. In my study, I have juxtaposed the ideological positioning of women artists in nationalist narratives with the recovered histories of women artists undertaking creative work. I do this to show how precisely women artists were written into and out of history to serve nationalist agendas. I have further used the concept of public sphere as a theoretical frame to exemplify and illuminate the criticality of women’s historical roles and place in the nascent art worlds of Singapore and Malaysia (then Malaya) and Indonesia. By tracing the historical development of the widening public sphere, it is possible to observe that women were always within rather than outside of the process. Second, it is possible to observe the different terms on which women acted in the male-dominated public sphere. Under the purview of established ideologies on art professionalism, women artists asserted their creative authority in the following ways: by transforming institutionalized visual language and institutionalized processes, and by creating new public sites for women. This study shows that women, often deemed “missing”, have always been a part of this enlarging process of the socio-cultural sphere even though their art did not attain the recognition or accolades that their male colleagues had. In their pursuit for an artist-existence, women faced cultural and ideological challenges. Their absence in colonial and anti-colonial histories is in part implicated by the nature of their struggles for women’s emancipation and their politicized positions, and in part by the restrictions they faced when participating in anti-colonial, liberation movements and national politics within the public sphere. The manifestations of cultural nationalism further restricted women’s participation in the public spheres and contravened the aspirations of women artists. By re-examining the roles women played in these countries, this thesis has identified the structures that restricted the participation of women artists, and the ways in which subsequent historiography reproduced their absence in historical narratives. As a preliminary exploration of women’s art based on comparable historical circumstances in then Malaya, Singapore and Indonesia, this thesis hopes to posit a model to uncover forgotten histories of women artists and to recover their subjectivity without necessarily separating them from their male counterparts, or inserting them into a separate discourse.

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17

Tolley, Rebecca. "Review of Life Stories of Women Artists 1550-1800." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etsu-works/5654.

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18

Byrne, Debra J. "Feminine identities and the structuring of postmodern portraiture /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3164493.

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19

Adley, Allyson Sarah. "Re-presenting diasporic difference, images of immigrant women by Canadian women artists, 1912-1935." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq39122.pdf.

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20

Gonçalves, Adriana de Souza Jordão. "Silenced women in Joan Rileys fiction." Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=2337.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico
Esta dissertação busca analisar como Joan Riley, escritora jamaicana que vive na Inglaterra, expõe e denuncia em suas obras a submissão feminina diante da opressão e violência sexual sofridas por mulheres negras. Objetivamos apontar a crítica ao papel dos discursos patriarcal e pós-colonial, práticas de poder que tornam o contexto social das mulheres representadas em seus romances propício para o exercício do jugo masculino, através da exploração do silêncio de mulheres vítimas de abusos sexuais. O necessário recorte do objeto restringiu a análise às duas personagens centrais dos romances The Unbelonging (1985) e A Kindness to the Children (1992), mulheres cujas subjetividades foram anuladas pela objetificação de seus corpos e a desumanização de suas identidades
The present work aims at analyzing how Joan Riley, Jamaican writer who lives in England, exposes and denounces in her work the female submission in face of the oppression and sexual violence suffered by black women. The objective of the study is to point out the authors criticism of patriarchal and post-colonial discourses, power practices which insert the women represented in her fiction into the proper social context for the exercise of male domination, through her exploration of silence of women who are victims of sexual abuse. The necessary cut of the object restricted the analysis to the two central characters in the novels The Unbelonging (1985) and A Kindness to the Children (1992), women whose subjectivities were made null by the objectification of their bodies and the dehumanization of their identities

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Lee, Andrea Kathleen Wahlman Maude. "Envisioning the sacred expressions of spirituality by contemporary women artists /." Diss., UMK access, 2006.

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Thesis (Ph. D.)--Dept. of Art and Art History and Center for Religious Studies. University of Missouri--Kansas City, 2005.
"A dissertation in art history and religious studies." Advisor: Maude Southwell Wahlman. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Jan. 29, 2007. Includes bibliographical references (leaves 354-398). Online version of the print edition.

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McLaughlin, Pamela Ann. "Mapping an identity how women artists develop an artistic identity /." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2006. http://proquest.umi.com/login?COPT=REJTPTU0NWQmSU5UPTAmVkVSPTI=&clientId=3739.

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23

Memarzia, Mitra. "Contemporary Iranian women artists : a practice based analysis of identity." Thesis, Sheffield Hallam University, 2006. http://shura.shu.ac.uk/20054/.

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This research has been concerned with the overall notion of the crisis of identity in Iran. More specifically, this research involved 20 contemporary Iranian women artists; 10 living in Iran and 10 living in exile and examines the position of women and the ways the notion of identity is reflected in their artworks, and viewpoints. The researcher's position as a contemporary Iranian woman artist living and working in the UK has been integral to the enquiry. As a member of the group being explored this position has allowed personal experience to be used in order to achieve a deeper understanding of the issues involved. Due to the lack of material on issues relating to the subject, the researcher made numerous visits to Iran in order to interview the artists and collect relevant data. This allowed the research to be conducted from the two viewpoints of the "East" and the "West". Due to the central role of the researcher in this practice-based study, a process of reflection in the spirit of the reflective practitioner was adopted as part of the overall methodology. Through a multimethod approach this investigation has used various forms of enquiry in order to integrate different elements in the research, such as the analysis of documentary sources and visual interpretation of artefacts. This has provided the research with a wide range of material that has enhanced the study's aims and outcomes. This investigation has also explored the historical changes that have affected Iranians, in particular the artists and the researcher. The prominent recent changes have been identified as the Islamic Revolution (1979), the Iran-Iraq war (1980-1988), and Western influences. These changes amongst others have been analysed from the perspective of literary and cultural theory. Theories of identity were studied and examined in relation to the artists in order to clarify their particular positions. This research has identified the complexities of the issues surrounding Iranian women's identities. The two groups of artists have shown similarities and differences due to similar underlying issues of being Iranian women and differences due to their audiences and positioning inside and outside Iran. Both groups have shown concerns with the notion of displacement expressed in interviews and illustrated in their artefacts. This research is a timely exploration of Iranian women's identities; a group of women that are still under-examined. With the current climate of political suspicion between Muslim countries such as Iran and the West, in particular the USA, this research is a valuable insight into understanding Iranian women's issues, and more generally Iranian identity.

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Montgomery, Janet Elise. "Women contemporary Western-style artists in Japan : Ethnographic case studies /." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487862399449621.

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25

McEwin, Florence Rebecca. "American women artists and the female nude image (1969-1983)." Thesis, North Texas State University, 1986. http://catalog.hathitrust.org/api/volumes/oclc/23638110.html.

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Thesis (Ph. D.)--North Texas State University, 1986.
Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 367-404).

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26

Thornton, Meghan Schwain Kristin. "The impression of humor Mary Cassatt and her rendering of wit /." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6530.

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Illustrations not reproduced. The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on January 25, 2010). Thesis advisor: Dr. Kristin Schwain. Includes bibliographical references.

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Burton, Ruth Emma. "Single women, space, and narrative in interwar fiction by women." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/13381/.

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In this thesis I examine single women in the interwar fiction of five women writers. Jean Rhys, Rosamond Lehmann, Dorothy L. Sayers, Sylvia Townsend Warner, and Virginia Woolf were all writing during a period of intense speculation about unmarried women and all gave major roles to them in their fiction. During the period following the First World War the single woman was repeatedly dismissed as ‘surplus’ or ‘superfluous’, with the suggestion that there was no place for her in Britain. Anxieties circulated about her financial status, her moral standing, and her sexual and psychological stability. I propose that single women offered distinct textual challenges and revolutionary opportunities to women writers, and I consider the effects of these women on the narratives of writers who chose to offer them a place in their texts.

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Gamelin, Anastasia Kamanos. "Home and away : the female artist in academia." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36933.

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This dissertation explores the conflicts, contradictions and paradoxes inherent in the lives of those women who, as artists and academics, seek to connect their personal and professional lives in their work. It explores how creativity and the pursuit of self-knowledge relate to the lives of female artists and academics. The dissertation arises from a study of my own experience as woman, writer and academic.
Inquiries into creativity and feminist, critical and cultural theory provide the framework for examining how the identity of the female artist is shaped within the patriarchal institution of academia, an institution originally created by, and for, men and still strongly influenced by this history. These inquiries allow a deeper understanding of the impact of this institution on the life and work of the female artist both within and beyond the academy. As a self-study, the distinctive voice of this dissertation is developed through autobiographical narratives, journals, letters and a development of personal metaphors, as well as through a dialogue with others. This is therefore a performative text in which narratives map a process of transformation that traces the artist's path from silence to voice.
This work has important implications for women in higher education as self-study is revealed to be an essential methodological instrument for the articulation of alternative, authentic perspectives of marginalized and under-represented women. Moreover, the acknowledgement of the academic/artist paradigm in teacher education opens the path for a re-viewing of the metaphors of self-denial, impersonation and masks that are part of the landscape of teacher knowledge.

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Leung, Mei-yin. "The Chinese Women's Calligraphy and Painting Society the first women's art society in modern China /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/HKUTO/record/B38628697.

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Franklin, Serena. "Ill beats : black women rap artists and the representations of women in hip hop culture." Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/336.

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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
Anthropology

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Dudley, Jennifer Ann. "Traversing the boundaries? : art and film in Indonesia with particular reference to Perbatasan/Boundaries : Lucia Hatini, paintings from a life /." Murdoch University Digital Theses Program, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20090716.145044.

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Chott, Laurence R. "The artist as prisoner in the fiction of Bernard Malamud." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/440948.

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The general idea of imprisonment in Bernard Malamud's ficiton manifests itself in his artists, who may be understood as "prisoners" dramatizing the artistic process as Malamud views it.Malamud's artists' struggle to balance art and life is expressed through the idea of imprisonment. When overemphasizing art, the artist is isolated, "imprisoned" in his or her work. Although this imprisonment is necessary temporarily, the artist must meet worldly responsibilities to find the freedom to create art, though artistic success is not guaranteed.Malamud's artists are always somehow imprisoned. In "The Girl of My Dreams" (1953), the writer Mitka rejects an uncooperative world, whereas the writer Olga transcends poverty and accepts the world. In "Man in the Drawer" (1968), the writer Levitansky is trapped in a totalitarian state. In "Rembrandt's Hat" (1973), the failed sculptor Rubin perseveres in art. And in "The Model" (1983), Elihu, mistaking himself for an artist, dehumanizes his model, Ms. Perry.In Pictures, Qj Fidelman (1969), Fidelman is imprisoned in artistic perfectionism. I n the Tenants (1971), writers Harry Lesser and Willie Spearmint are imprisoned in their obsessions. And in Dubin's Lives (1979), dubin is trapped in a false self-image.Malamud's artists are of two types: (1) the successful whose continued fulfillment is in question and (2) the so-far unsuccessful. Subtypes in the first group are the liberated (Dubin), the potentially liberated (Mitka, Levitansky), and the perpetually imprisoned (Lesser). Subtypes in the second group are the liberated (Fidelman, Ms. Perry) and the perpetually imprisoned (Rubin, Willie, Elihu).The exception is the successful a liberated Olga. Appearing in an early (1953) story, Olga embodies an answer to the problems of the artist; twenty-six years later, in Dubin's Lives (1979), Malamud's answer is the same: Maintain balance between art and life; keep the demands of art subordinate to those of life.The idea of the artist as prisoner in Malamud's fiction implies the difficulty of artistic endeavor. Malamud's artists, like his other characters, face suffering. Their art is a potentially imprisoning complication, not an escape from life's problems. Ultimately, the artist must face the world and its demands.

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Shaw, Debra Benita. "The feminist perspective : women writing science fiction." Thesis, University of East Anglia, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.386254.

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Neal, Lynn S. "Romancing God : evangelical women and inspirational fiction /." Chapel Hill : the University of North Carolina press, 2006. http://catalogue.bnf.fr/ark:/12148/cb40145393b.

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Meskimmon, Marsha Gretta. "Women artists and the Neue Sachlichkeit : Grethe Jürgens and Gerta Overbeck." Thesis, University of Leicester, 1992. http://hdl.handle.net/2381/35698.

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This work examines the complex relationship between gender and the work of women artists associated with the Neue Sachlichkeit. The critical 'realism' of the Weimar Republic has become best-known through the work of artists such as Otto Dix, George Grosz and Christian Schad, but a number of women artists also engaged with the aesthetic, including Grethe Jurgens and Gerta Overbeck. Jurgens and Overbeck were part of the Hanoverian regional variation of the Neue Sachlichkeit which flourished between 1925 and 1938. In this thesis, the works of Jurgens and Overbeck are examined with particular reference to the gender politics of the Weimar Republic. Rather than rely upon masculine-normative practices which privilege individual artists and biographical techniques, this thesis explores four themes in the representations of the artists within the wider context of gendered cultural ideology. The first chapter takes as its theme the asymmetrical situation of men and women with respect to the concept of the 'artist' and evaluates the ways in which women realists of the period produced strong, artistic identities through their art. Chapter Two explores the pervasive association of domesticity with women in terms of the representations produced by Jurgens and Overbeck. The third and fourth chapters turn toward the public sphere and examine the ways in which gender conditioned the responses of the artists to the subjects of other women and politics. This work is vital for three reasons. First, it provides information about the work of a number of artists hitherto under-researched and under-valued. Second, the work attests to the active role of gender in the Neue Sachlichkeit and exposes the male-centredness of the movement. Third, it combines theoretical ideas and practice meaningfully; it is an example of feminist praxis in the study of women artists.

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Broadhurst, Maura Lesley. "Strategic spaces : towards a genealogy of women artists' groups in Canada." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0002/MQ40226.pdf.

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Walker, Parker Sharon LaVon. "Embodied Exile: Contemporary Iranian Women Artists and the Politics of Place." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1432%5F1%5Fm.pdf&type=application/pdf.

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Perkins, Gillian Hugman. "Issues in the construction of identity of some contemporary women artists." Thesis, University of Northampton, 1999. http://nectar.northampton.ac.uk/2979/.

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This thesis is based on an empirical study of forty-three contemporary women artists. The aim of this research was to explore how a number of factors impact on these women’s construction of their identity as artists. The women were selected through the East Midlands Arts register of artists, and therefore targeted women who had already identified themselves as practitioners. Although they all registered themselves as painters, their use of such terms as painter and artist, as my research revealed, was fluid, being dependent on changing perceptions of self. The research was conducted in line with feminist theories, which privilege gender as a defining characteristic of people’s experience. This is not to sanction notions of essentialism and therefore the research does not seek to universalise the position “woman”, but rather attempts to gain an understanding of the diversity of women’s experiences. To that end, the research data were collected through the use of both questionnaires and in-depth, semi-structured interviews. Five main categories emerged from the interviews, which formed the basis of the data analysis and interpretation. These were: issues concerning the conventional image of the artist and the limited availability of role models this provides for women artists; the relationship between women’s sense of their identity as females and its impact on their ability to combine that with an artist identity; the role of higher art education in constructing images of the artist; the part played by women artists’ social relations, including their relationships and roles within the family; and the models and realities of working practices, including the implications of the site of production and forms of dissemination. Two patterns emerged in my sample group regarding the various ways of constructing an artist identity. They largely reflected the impact of socialisation which, it would appear, requires women to adopt either a traditional female role around which the artist identity somehow has to be worked, or a traditional artist role which still challenges the adoption of a certain kind of female identity. The women in my sample group, however, showed signs of attempting to negotiate their own pathways towards complex and multiple identities; a process made more intricate for women with an additional identity of mother

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Dalgleish, S. H. R. "'Utopia' redefined : Aboriginal women artists in the Central Desert of Australia." Thesis, University of East Anglia, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365051.

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Kidder, Alana D. "Women Artists in Pop: Connections to Feminism in Non-Feminist Art." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1388760449.

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Medema, Kara N. "Chiyo-ni and Yukinobu: History and Recognition of Japanese Women Artists." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3914.

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Fukuda Chiyo-ni and Kiyohara Yukinobu were 17th-18th century (Edo period) Japanese women artists well known during their lifetime but are relatively unknown today. This thesis establishes their contributions and recognition during their lifespans. Further, it examines the precedence for professional women artists’ recognition within Japanese art history. Then, it proceeds to explain the complexities of Meiji-era changes to art history and aesthetics heavily influenced by European and American (Western) traditions. Using aesthetic and art historical analysis of artworks, this thesis establishes a pattern of art canon formation that favored specific styles of art/artists while excluding others in ways sometimes inauthentic to Japanese values. Japan has certainly had periods of female suppression and this research illustrates how European models and traditions of art further shaped the perception of Japanese women artists and the dearth of female representation in galleries and art historical accounts.

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Missia, Frano G. "Painting the nude by male artists in Western art /." Access Digital Full Text version, 1993. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11396210.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1993.
Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: Rene Arcilla. Includes bibliographical references (leaves 112-113).

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Tyreman, Katie. "Between Women: Visualizing Victorian Women Artists’ Identities through Art Movements, Media and Scale, c. 1848-1898." Thesis, University of York, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.594222.

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Defrancis, Theresa M. "Women-writing-women : three American responses to the woman question /." Saarbrucken, Germany : Verlag Dr. Muller, 2005. http://0-wwwlib.umi.com.helin.uri.edu/dissertations/dlnow/3186902.

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Millis, Jessica M. "An artist's childhood : short stories." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1391234.

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Short stories follows five different characters as they attempt to develop their earliest artistic impulses. Through the use of young protagonists, these stories demonstrate the ways in which our earliest experiences with loss and trauma often create a space for imaginative discovery; the collection reveals that it is the uniqueness of this space, this blend of premature emotional depth and naïve whimsy, that opens up new psychological possibilities for the child-artist. Meant to be read as a collection of intimate character sketches, these stories reveal the artist's intensely visual approach toward growth and maturity. Several stories concentrate specifically on what it means to sustain one's imagination into adulthood, while others use flashbacks to demonstrate the profound influence of childhood memories on adult behavior.
Taylor's stories -- You'll call her tomorrow -- Where to look -- Filling in the gaps -- Certainly not me.
Department of English

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Mooney, Susan. "Drawing bridges : publicprivate worlds in Russian women's fiction." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60561.

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This thesis questions how Russian women's identity is attached to the textual use of public/private spaces in contemporary literature by Russian women writers by drawing from feminist theories. I. Grekova and N. Baranskaia portray female protagonists in their everyday lives, public and private worlds overlapping. While these heroines create stable support systems with other women, male figures enter as interruptive forces in women's lives. Hospital settings in several works by Russian women allow comparisons between women's fictional hospital experiences and those of Muscovite women interviewed. In L. Petrushevskaia's stories, women protagonists' identities are linked to the uncertain quality of locale and the tenuous relationships which transpire in it. Russian women's identity expressed in fiction may change as the self-perceptions of a younger generation of Russian women writers evolve toward a new, gendered concept of self.

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Parslow, Michelle Lisa. "Women, science and technology : the genealogy of women writing utopian science fiction." Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/3058.

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For centuries utopian and science fiction has allowed women to engage with dominant discourses, especially those which have been defined as the “domain” of men. Feminist scholars have often characterized this genealogy as one which begins with the destabilization of Enlightenment ideals of the rational subject in the Romantic Revolution, with the publication of Mary Shelley’s Frankenstein (1818) in particular. This thesis demonstrates that there has in fact been an enduring history of women’s cognitive and rational attempts to explore key discourses such as science, technology and architecture through Reason, as opposed to rage. This is a genealogy of women writing utopian science fiction that is best illuminated through Darko Suvin’s of the novum. Chapter One reveals how the innovative utopian visions of Margaret Cavendish (1626-1673) proffer a highly rational and feminist critique of seventeenth-century experimental science. Chapter Two demonstrates how Sarah Scott’s Millenium Hall (1762) explored the socio-political significance of the monstrous-looking “human” body some fifty years before Shelley’s Frankenstein. Following this, Chapter Three re-reads Frankenstein in light of the early nineteenth century zeitgeist of laissez-faire economics, technological advancement and global imperialism and argues that these were also the concerns of other utopian science fiction works by women, such as Jane Loudon’s The Mummy! (1827). Chapter Four analyses how the function of the novum is integral to L.T. Meade’s (1854-1915) depictions of male/female interaction in the scientific field. Chapter Five considers how important it is to acknowledge the materialist concern with popular science that informs texts such as Joanna Russ’s The Female Man (1975) and Pat Cadigan’s cyberpunk novel Synners (1991). This is the history of how women have used the form of utopian science fiction as a means with which to present a rational female voice. In addition to the historical works by women, it employs a range of utopian and science fiction theory from Suvin and Fredric Jameson to historical and contemporary feminism.

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Vogt-William, Christine Florence. "Women and transculturality in contemporary fiction by South Asian diasporic women writers." Thesis, University of York, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.489210.

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My thesis investigates how transculturality is articulated and theorised in contemporary fictional works from the 1990s onwards by South Asian diasporic women writers from England, Canada and America. Using the paradigm of transculturality, diasporic and postcolonial theories as well as gender concepts, the thesis takes a broadly chronological approach in addressing South Asian diasporic female identificatory processes in South Asian women's cultural production.

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Hoffman, Megan. "Women writing women : gender and representation in British 'Golden Age' crime fiction." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/11910.

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In this thesis, I examine representations of women and gender in British ‘Golden Age' crime fiction by writers including Margery Allingham, Christianna Brand, Agatha Christie, Ngaio Marsh, Dorothy L. Sayers, Josephine Tey and Patricia Wentworth. I argue that portrayals of women in these narratives are ambivalent, both advocating a modern, active model of femininity, while also displaying with their resolutions an emphasis on domesticity and on maintaining a heteronormative order, and that this ambivalence provides a means to deal with anxieties about women's place in society. This thesis is divided thematically, beginning with a chapter on historical context which provides an overview of the period's key social tensions. Chapter II explores depictions of women who do not conform to the heteronormative order, such as spinsters, lesbians and ‘fallen' women. Chapter III looks at the ways in which the courtships and marriages of detective couples attempt to negotiate the ideal of companionate marriage and the pressures of a ‘cult of domesticity'. Chapter IV considers the ways in which depictions of women in schools, universities and the workplace are used to explore the tensions between an expanding role in the public sphere and the demand to inhabit traditionally domestic roles. The thesis concludes with a discussion of the image of female victims' and female killers' bodies and the ways in which such depictions can be seen to expose issues of gender, class and identity. Through its examination of a wide variety of texts and writers in the period 1920 to the late 1940s, this thesis investigates the ambivalent nature of modes of femininity depicted in Golden Age crime fiction written by women, and argues that seemingly conservative resolutions are often attempts to provide a ‘modern-yet-safe' solution to the conflicts raised in the texts.

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Iggulden, Annette, and mikewood@deakin edu au. "Women's silence: In the space of words and images." Deakin University. School of Contemporary Arts, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.120456.

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My thesis is made up of words and images. This study investigates the way in which silence operates productively within and between the two modes of communication. I suggest that in the process of changing words into images or scripto-visual art-practice, the silence in women's lives can be articulated. I argue that women draw on the generative qualities of silence to create forms of speech that override the cultural constructions of gender which have placed them within the space of mute silence. To gain an historical perspective of this practice by women, I consider the lives of medieval nuns within religious enclosure and their work with words and images in the illuminated manuscript. I make a comparative study of original illuminated manuscripts, focussing mainly on visual language and locating aspects of the work closest to my own art-practice: the visual treatment of the space and inter-textual components of the page or folio. This project does not include an examination of miniatures or historiated initials. Rather, its aim is to identify and compare the use of other aesthetic devices available to the medieval scribe/artist through which they might have interacted with the text. I suggest links between verbal and visual performances of language and the repetition, or copying of texts by medieval nuns, as a means of female embodiment of words and their spaces. From the outcomes of my studio investigations and my consideration of other contemporary feminist art practices, I demonstrate how women artists may re-write the text and speak their silence through visual language and the acts of writing, drawing and painting the words of others. Through my engagement with feminist critical theory, the work of medieval scholars, original illuminated manuscripts and my studio research, I propose that scripto-visual practice remains particularly significant for women despite the differences between the medieval period and our own. As a generative practice, it negotiates some of the societal constraints on women's speech and visibility, because its language is silent and disembodied from the image of woman constructed by male discourse. It is a form of speech that acknowledges as it defies the social and cultural conditions that shaped its necessity, articulating an alternative voice of women in the space of words and images.

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