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Dissertations / Theses on the topic 'Women authors, Canadian'

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Published: 4 June 2021
Last updated: 30 January 2023

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1

Kaufman, Anne Lee. "Shaping infinity American and Canadian women write a North American west /." College Park, Md. : University of Maryland, 2003. http://hdl.handle.net/1903/173.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2003.
Thesis research directed by: English Language and Literature. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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2

Iwama, Marilyn Joy. "When Nikkei women write, transforming Japanese Canadian identities, 1887-1997." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ34557.pdf.

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Spergel, Julie. "Canada's "second history": the fiction of Jewish Canadian women writers." Hamburg Kovač, 2009. http://d-nb.info/997540079/04.

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4

Kardynal, Kevin John. "The construction of identity in the life writing of Native Canadian women." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0018/MQ54716.pdf.

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Yan, Qigang. "A comparative study of contemporary Canadian and Chinese women writers." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq21657.pdf.

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Gantzert, Patricia L. "Throwing voices, dialogism in the novels of three contemporary Canadian women writers." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq23313.pdf.

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Gossage, Ann. "Between the lines : the representation of Canadian women in English-language novels written by women in the 1930s." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=24085.

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This thesis examines the role of Canadian women as presented in English language novels of the 1930s written by women authors. Within the context of the Great Depression it focuses on issues that are central to women's daily lives such as work, love, marriage and motherhood. It also isolates recurring themes in the novels and attempts to understand the authors' messages within their social context. Social reform, politics and gender relationships are among the subjects explored.
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Boyd, Shelley Elizabeth. "How does her garden grow? : the garden topos and trope in Canadian women's writing." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102791.

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This study offers additional nuance to the garden topos and trope within nineteenth- and twentieth-century Canadian women's writing and extends the critical discussion of landscape and the garden as archetype in Canadian literature. This dissertation cross-fertilizes literary analysis with garden theory, using the work of such garden historians as John Dixon Hunt, Mark Francis, and Randolph Hester. The argument emphasizes that gardens in literature, like their actual counterparts, are an art of milieu, reflective of their socio-physical contexts. Both real and textual gardens are rhetorical: their content and formal features invite interpretation. A textual garden performs similarly to an actual garden by providing a spatial frame; a means of naturalization; a vivid exemplar of growth, fertility and beauty; a mediation of the artificial and the natural; a space of paradox; and a site of social performance.
The specific focus of this study is "domestic gardens": gardens that are intimate, immediate to the home, and part of daily life. Chapter one separates the garden from archetypal models by studying the garden as an actual place (specifically, the backwoods kitchen garden) described in the works of Susanna Moodie and Catharine Parr Traill. Chapter two examines how the garden influences Moodie's and Traill's writing of the "transplanted" female emigrant. Chapter three presents the bower as an important precursor to the domestic garden through Gabrielle Roy's Enchantment and Sorrow (1984) and "Garden in the Wind" (1975). Through the bower, Roy mediates the female artist's ambivalence toward home in her pursuit of independence. Chapter four explores Carol Shields' sanctification of the domestic in her fiction through the concept of paradise as both an ideal setting and a mode of being. Chapter five provides a "garden tour" of the poetry of Lorna Crozier, culminating in the garden as a model for the text itself and for the genre of palimpsest. For these writers, literal and figurative gardens are ways of "planting" their characters and personae, "plotting" their narratives, mediating social conventions, and providing an interpretative lens through which readers may perceive the texts as a whole.
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Kaminski, Margot. "Challenging a literary myth, long poems by early Canadian women." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0024/MQ37562.pdf.

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10

Mellor-Hay, Winifred Mary Catherine. "Writing the gap : the performance of identity in texts by four Canadian women /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ54839.pdf.

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Martin, Margaret Kathleen. "Discovering Lily Lewis, a Canadian journalist and new woman." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq63899.pdf.

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Hill, Sydney M. "She must write her self, feminist poetics of deconstruction and inscription : six Canadian women writing." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0025/MQ26957.pdf.

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Scowcroft, Ann. "Escaping the hegemony of the written word : Canadian women writers and the dislocation of narrative." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61803.

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14

Sojka, Eugenia. "Search procedures, carnivalization in language- and theory-focused texts of four Canadian women writers." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25775.pdf.

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15

Campbell, Leslie Marion. "Scottish influence and the construction of Canadian identity in works by Sara Jeannette Duncan, Alice Munro, and Margaret Laurence." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ57276.pdf.

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16

Pilon, Simone. "Constitution du corpus des écrits des femmes dans la presse canadienne-française entre 1883 et 1893 et analyse de l'usage des pseudonymes." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0016/NQ48549.pdf.

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17

Wallace, Linda M. "Negotiating place, explorations of identity and nature in select novels by contemporary Canadian women writers." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0018/MQ49460.pdf.

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Marcotte, Sophie 1973. "Gabrielle Roy épistolière : la correspondance avec Marcel Carbotte." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36779.

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Gabrielle Roy kept up, throughout her literary life, a regular correspondence with relatives, friends, business relations and readers: to date, more than 2000 letters have been preserved in different archive collections. The 482 letters she wrote to her husband, Doctor Marcel Carbotte, between 1947 and 1979, form the largest subset of the correspondence; a critical edition of these hitherto unpublished letters is presented in the second part of the thesis.
Surprisingly, the correspondence contains few reflexions of an aesthetic nature, and few explicit traces of the novelist's published work, apart from occasional references to the texts she is working on at the moment she is writing to Marcel. Instead, it is the details of her day-to-day life that Roy describes most abundantly. In the first part of the thesis, we study the letters to Marcel in the light of a possible connection with Roy's canonical work: we start by examining the link between the letter and autobiographical genre; we then show that the letters to Marcel can be read as a personal diary; finally, we suggest that the "autobiographical turn" taken by Roy in both her published work and her letters to Marcel indicates that the letters form part of the same system as the autobiographical works.
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Langston, Jessica. "Writing herself in : mother fiction and the female Künstlerroman." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79957.

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This project examines the 'mother-writer problem' within contemporary Canadian fiction by women. Using three novels that tell the story of a mother who is also a writer, Margaret Laurence's The Diviners, Audrey Thomas' Intertidal Life and Carol Shields' Unless, I will outline the manner in which the roles of mother and writer are negotiated by the authors and their central characters. Further, I will investigate how creating a narrative about a female artist who is also a mother challenges and changes the structure and content of the standard female kunstlerroman. Finally, this thesis will attempt to determine how or if such challenges and changes improve the portrait-of-the-female-artist novel.
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Macfarlane, Karen E. "The politics of self-narration : contemporary Canadian women writers, feminist theory and metafictional strategies." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0016/NQ44504.pdf.

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Muus, Elaine Janice. "Articulate bodies, or, Encore, en corps, sense-ing the body as (re)presentation of women's subjectivities." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ26934.pdf.

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22

Henderson, Jennifer. "Conducting selves, race and government in Canadian settler women's narratives." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ56234.pdf.

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Aujla, Angela. "Contesting identities in diasporic spaces, multigenerational South Asian Canadian women's literature." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ51290.pdf.

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Coupal, Sophie. "Discours métalinguistique et pratiques d'écriture féministes." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33278.

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During the seventies, a new discourse on language emerged and built up in Quebec. While the "querelle du joual" was almost finished, feminists became more and more aware of their so-called "mother tongue"'s inherent sexism. Believing in determinist linguistic theories, the vast majority of them came to the conclusion that language was a symbolic system that rejected women and women's experience.
While some American feminists were proposing an important reform of the language, in Quebec, a few women writers incorporated their preoccupations with language in their literary texts. These women dedicated themselves to intensive textual researches, with the intention of creating a new "women's language" that would override the patriarchal law ruling the symbolic order. The different works studied in this thesis have been chosen between those of the women most representative of feminist metalinguistic discourse in Quebec: L'Euguelionne (1976), by Louky Bersianik, L'Amer ou le chapitre effrite (1977), by Nicole Brossard, Une voix pour Odile (1978) by France Theoret and Lueur: roman archeologique (1979) by Madeleine Gagnon.
The analysis of these texts will particularly be focused on the tensions building between discursive and formal aspects of each work. We'll see if and how the metalinguistic discourse, which we can find in the texts themselves and in more theoretic articles, is manifesting itself by a radical manipulation of the language at a formal level. The variety of ways some women writers of Quebec tried to inscribe feminine experience in language can be shown as a proof of the extreme difficulty of these textual practices, which elaborate themselves through what they are desperately trying to overcome.
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Veillette, Marie-Paule. "La représentation de la folie dans l'écriture féminine contemporaine des Amériques." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ57482.pdf.

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Carrière, Marie J. "Poetics of the other, five feminist writers from English Canada and Quebec." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/NQ45662.pdf.

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Drodge, Susan. "The feminist romantic, the revisionary rhetoric of Double negative, Naked poems, and Gyno-text." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25770.pdf.

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Holton, Danica Lynn. "Class and stratification in the works of Alice Munro and Margaret Laurence." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0020/MQ49367.pdf.

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Becker, Charity Dawn. "Constructing the mother-tongue, language in the poetry of Dionne Brand, Claire Harris, and Marlene Nourbese Philip." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0016/MQ54604.pdf.

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Rukavina, Alison Jane. "Cultural Darwinism and the literary canon, a comparative study of Susanna Moodie's Roughing it in the Bush and Caroline Leakey's The broad arrow." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ61491.pdf.

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Boisclair, Isabelle. "Ouvrir la voie/x, le processus constitutif d'un sous-champ littéraire féministe au Québec, 1960-1990." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0020/NQ46684.pdf.

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32

Kerskens, Christel. "Escaping the labyrinth of deception: a postcolonial approach to Margaret Atwood's novels." Doctoral thesis, Universite Libre de Bruxelles, 2007. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210726.

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La thèse propose une lecture postcoloniale des romans de Margaret Atwood s'articulant sur le thème du mensonge. A travers l'étude de six aspets communs aux romans (l'intertextualité, le mensonge, le réalisme magique, le "trickster", l'hybridité et la quête), la thèse démontre l'importance du motif du mensonge dans une lecture postcoloniale de l'auteur.

The thesis produces a postcolonial reading of Margaret Atwood's novels, based on the concept of deception. Articulated on six major elements of analysis (intertextual parody, deception, magic realism, trickster figures, hybridity, and quest pattern, the thesis shows how Margaret Atwood's novels can be read from a postcolonial point of view, within which the motif of deception plays a central role.
Doctorat en philosophie et lettres, Orientation langue et littérature
info:eu-repo/semantics/nonPublished

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Calvo, Martin Beatriz. "La recuperación de la memoria en la obra de Dulce Chacón y de Marie-Célie Agnant: guerra, migración, esclavitud, represión." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209793.

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Tras un trauma histórico, la memoria colectiva puede sufrir patologías similares a las de la memoria individual. Para tratar esta memoria herida, las sociedades – o los segmentos de estas aquejados de una memoria herida – deben iniciar un proceso de anamnesis para realizar un trabajo de duelo. Una de las manifestaciones de ese proceso anamnésico es la cultura de la memoria, de la que forma parte la “escritura de la memoria” en la que se inscriben Dulce Chacón y Marie-Célie Agnant.

Dulce Chacón desea recuperar la memoria de las vencidas en la Guerra Civil española, víctimas de la represión de la postguerra. En el caso de Marie-Célie Agnant, se trata de la voluntad de recuperar la memoria de las inmigrantes haitianas llegadas a Quebec huyendo de la represión del régimen duvalierista. Esta memoria herida remonta hasta la herida originaria de la esclavitud y rinde homenaje a las esclavas cimarronas.

En esta Tesis, proponemos un análisis comparativo desde una perspectiva transdisciplinar de la recuperación de la memoria en la obra de estas dos autoras.

L’objet de ce travail est l’étude comparée de l’œuvre de Dulce Chacón et de Marie-Célie Agnant sous l’angle de l’écriture de la mémoire. Bien que fondamentalement littéraire, cette étude est abordée sous un angle transdisciplinaire, puisqu’elle a recours à des outils psychanalytiques, sociologiques, philosophiques ou historiques.

L’écriture de la mémoire, dans laquelle s’inscrivent ces deux auteures, fait partie de façon active du procesus d’anamnèse collective.

Tout aussi bien Marie-Célie Agnant, écrivaine québécoise d’origine haïtienne, que Dulce Chacón, écrivaine espagnole, se positionnent en tant qu’écrivaines-témoin pour récupérer la mémoire blessée. Dans le cas d’Agnant, il s’agit de la mémoire de la migration, de la répresion du régime duvalieriste et, plus loin encore, de la mémoire de l’esclavage et du marronnage. Dans le cas de Chacón, il s’agit de la mémoire de la guerre civile espagnole et de la répresion franquiste de l’après-guerre.

À travers l’analyse de l’oeuvre littéraire de ces deux auteures issues de deux contextes différents, ainsi que du constat des caractéristiques communes, cette thèse doctorale propose une poétique de l’écriture de la mémoire basée sur une grille d’analyse qui comprendra des aspects contextuels, paratextuels et intratextuels au niveau discursif, sémantique et stylistique.


Doctorat en Langues et lettres
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Birkwood, M. Susan. "(D)ifferent sides of the picture, four women's views of Canada, 1816-1838." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq21279.pdf.

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Derksen, Céleste Daphne Anne. "Female subjects in selected dramatic comedies by Canadian women." Thesis, 1998. https://dspace.library.uvic.ca//handle/1828/8728.

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This dissertation examines five dramatic comedies by Canadian women and the female subject positions they provide. Through these analyses, it examines how constructions of female subjectivity are both constrained and enabled by comedic discourse. The Introduction argues that traditional patterns and formalist conceptions of comedy have not made a place for female subjects and that, while feminist critics have begun to examine women's comedies and the female subjects they construct, those studies need to be complicated in order to make space for the variety and complexity of female subject positions elicited by the plays under consideration. In dialogue with contemporary theories regarding gender performance, language, and subjectivity (with particular reference to theorists Judith Butler and Catherine Belsey), this study goes on to examine the entangled and indeterminate qualities of female subjects in a selection of Canadian women's comedies. Chapter One discusses the didactic and hidden subject positions within Sarah Anne Curzon's The Sweet Girl Graduate, a nineteenth-century revision of the comedy of manners. Chapter Two discusses the gender anxiety inscribed in Erika Ritter's Automatic Pilot, a comedy about a female stand-up comic. Chapter Three considers the Jungian feminist conception of subjectivity dramatized in Ann-Marie MacDonald's Goodnight Desdemona (Good Morning Juliet). Chapter Four proposes that Margaret Hollingsworth's The House that Jack Built constructs a feminist and absurdist subject position. Chapter Five examines gender parody and play in Karen Hines' Pochsy's Lips, and argues that this bouffon performance piece conceives of female subjectivity as a playful and critical realm. Chapter analyses focus on variances in how these comedies represent and understand women's capacities to intervene in genre and gender formations, and in social and psychic realms, which in turn reflect their different conceptions of female subjectivity. In conclusion, this study advocates the benefits of reading women's comedies not only in terms of patterns of genre or gender revisions, but also as destabilizing forms of linguistic, psychic, and bodily performance. Its feminist appeal lies in the assertion that change is effected not only by overt alterations of comedic or social patterns, but also by the issue of multiple and potentially new subject positions, which are produced by different forms of comedic and comic practice.
Graduate
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Medovarski, Andrea Katherine. "Un/settled migrations : rethinking nation through the second generation in Black Canadian and Black British women's writing /." 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR29339.

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Thesis (Ph.D.)--York University, 2007. Graduate Programme in English.
Typescript. Includes bibliographical references (leaves 343-355). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR29339
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Seaton, Dorothy. "Balancing discourse and silence : an approach to First Nations women’s writing." Thesis, 1993. http://hdl.handle.net/2429/1806.

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This thesis considers the critical implications of a cross-cultural reading of First Nations women’s writing in this time of sensitivity to the issues of appropriation and power inequities between dominant and minority cultures. A genre-based study, it is written from a deliberately split perspective: reading as both a white academic implicated in the dominant culture's production of meaning and value, and as a lesbian alienated from these same processes, I both propose and perform several modes of response to First Nations texts. Interspersed with a conventional commentary is a secondary, personal commentary that questions and qualifies the claims of the critical. Then, another level of response, in the form of fiction and poetry based on my own experiences growing up with my Assiniboine sister, also proposes the appropriateness, in this critical power dynamic, of a third response of simply answering story with story. Chapter One examines the construction of individual identity and responsibility in Maria Campbell's Halfbreed, particularly as the text demands an emotionally-engaged response conventionally discouraged in critical discourse, and as a result redefines the genre of autobiography. Chapter Two considers the possibility of a communal and spiritual, as well as an individual, emotional, response to First Nations texts, examining the community of stories that comprise each of the novels Slash, In Search of April Raintree, and Honour the Sun. From this consideration of narrative as eliciting emotional and spiritual reading practices, Chapter Three discusses the nature of language itself as a vehicle of spiritual transformation and subversion, specifically in the poetry of Annharte and Beth Cuthand. Chapter Four, on the mixed-genre The Book of Jessica, shifts focus from the discursive strategies of First Nations writing, to examining the way these practices redefine time and history as newly accessible to First Nations spiritual construction. Finally, the Conclusion re-examines the reading strategies developed throughout the thesis, noting the pitfalls they avoid, while discussing their limitations as cross-cultural tools. The ultimate effect is to propose the very beginning of the kinds of changes the academy must consider for a truly non-appropriative cross-cultural interaction.
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Kim, Christine. "The politics of print : feminist publishing and Canadian literary production /." 2004. http://wwwlib.umi.com/cr/yorku/fullcit?pNQ99196.

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Thesis (Ph.D.)--York University, 2004. Graduate Programme in English.
Typescript. Includes bibliographical references (leaves 329-359). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ99196
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Thompson, Dawn. "A politics of memory : cognitive strategies of five women writing in Canada." Thesis, 1994. http://hdl.handle.net/2429/7031.

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This dissertation attempts to develop a counter—memory, a cognitive strategy that provides an alternative to the most prevalent mode of political action by members of minority or subaltern groups: identity politics. It begins with Teresa de Lauretis’ semiotics of subjectivity, which posits the human subject as a shifting series of positions or habits formed through semiotic and cognitive “mapping” of, and being “mapped” by, its environment. De Lauretis maintains that the subject can transform social reality through an “inventive” mode of mapping. The first chapter of this study is a semiotic analysis of the memory system at work in Nicole Brossard’s Picture Theory. It argues that Brossard’s use of holographic technology is an invention that attempts to alter women’s maps of social reality. Quantum physicist David Bohm has also employed the hologram as a theoretical model. By merging Brossard’s holographic memory with Bohm’s theory of a “holomovement,” this study develops an epistemological strategy that alters not only the map of reality, but also the dominant representational mode of cognitive mapping. This enquiry then moves on to other novels written in Canada which have a strong political impetus based on gender, nationality, ethnicity, race and/or class: Margaret Atwood’s Surfacing, Marlene Nourbese Philip’s Looking for Livingstone, Beatrice Culleton’s In Search of April Raintree and Régine Robin’s La Ouébécoite. Through textual analysis, it attempts to establish that although these novels make no mention of holography, each of them employs a memory system that inscribes itself holographically. That holographic memory provides an alternative political strategy to the “identity politics” at work in each of these texts. Each text, in turn, like a fragment of a hologram, adds another structural and political dimension to the hologram. The processual structure of the holographic theory provides a ground for alliances between different political agendas while resisting closure. As an epistemological strategy, it promises to alter both the method and the ground of knowledge.
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Hiebert, Luann E. "Encountering maternal silence: writing strategies for negotiating margins of mother/ing in contemporary Canadian prairie women's poetry." 2016. http://hdl.handle.net/1993/31201.

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Contemporary Canadian prairie women poets write about the mother figure to counter maternal suppression and the homogenization of maternal representations in literature. Critics, like Marianne Hirsch and Andrea O’Reilly, insist that mothers tell their own stories, yet many mothers are unable to. Daughter and mother stories, Jo Malin argues, overlap. The mother “becomes a subject, or rather an ‘intersubject’” in the text (2). Literary depictions of daughter-mother or mother-child intersubjectivities, however, are not confined to auto/biographical or fictional narratives. As a genre and potential site for representing maternal subjectivities, poetry continues to reside on the margins of motherhood studies and literary criticism. In the following chapters, I examine the writing strategies of selected poets and their representations of mothers specific to three transformative occasions: mourning mother-loss, becoming a mother, and reclaiming a maternal lineage. Several daughter-poets adapt the elegy to remember their deceased mothers and to maintain a connection with them. In accord with Tanis MacDonald and Priscila Uppal, these poets resist closure and interrogate the past. Moreover, they counter maternal absence and preserve her subjectivity in their texts. Similarly, a number of mother-poets begin constructing their mother-child (self-other) relationship prior to childbirth. Drawing on Lisa Guenther’s notions of “birth as a gift of the feminine other” and welcoming the stranger (49), as well as Emily Jeremiah’s link between “‘maternal’ mutuality” and writing and reading practices (“Trouble” 13), I investigate poetic strategies for negotiating and engaging with the “other,” the unborn/newborn and the reader. Other poets explore and interweave bits of stories, memories, dreams and inklings into their own motherlines, an identification with their matrilineage. Poetic discourse(s) reveal the limits of language, but also attest to the benefits of extra-linguistic qualities that poetry provides. The poets I study here make room for the interplay of language and what lies beyond language, engaging the reader and augmenting perceptions of the maternal subject. They offer new ways of signifying maternal subjectivities and relationships, and therefore contribute to the ongoing research into the ever-changing relations among maternal and cultural ideologies, mothering and feminisms, and regional women’s literatures.
May 2016
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41

QUIRK, LINDA ELIZABETH. "Breaking New Ground: The First Generation of Women to Work as Professional Authors in English Canada (1880-1920)." Thesis, 2011. http://hdl.handle.net/1974/6845.

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In the later decades of the nineteenth century and the early decades of the twentieth, large numbers of Canadian women were stepping out of the shadows of private life and into the public world of work and political action. Among them, both a cause and an effect of these sweeping social changes, was the first generation of Canadian women to work as professional authors. Although these women were not unified by ideology, genre, or date of birth, they are studied here as a generation defined by their time and place in history, by their material circumstances, and by their collective accomplishment. Chapters which focus on E. Pauline Johnson (Tekahionwake), the Eaton sisters (Sui Sin Far and Onoto Watanna), Joanna E. Wood, and Sara Jeannette Duncan explore some of the many commonalities and interrelationships among the members of this generation as a whole. This project combines archival research with analytical bibliography in order to clarify and extend our knowledge of Johnson’s and Duncan’s professional lives and publishing histories, and to recover some of Wood’s “lost” stories. This research offers a preliminary sketch of the long tradition of the platform performance (both Native and non-Native) with which Johnson and others engaged. It explores the uniquely innovative ethnographic writings of Johnson, Duncan, and the Eaton sisters, among others, and it explores thematic concerns which relate directly to the experiences of working women. Whether or not I convince other scholars to treat these authors as a generation, with more in common than has previously been supposed, the strong parallels revealed in these pages will help to clarify and contextualize some of their most interesting work.
Thesis (Ph.D, English) -- Queen's University, 2011-10-14 20:59:21.45
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