Tesis: "Chick lit"

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Boyd, Emilie. "Chick Lit och Existentialismen. : En undersökning kring Chick Lit -hjältinnan". Thesis, Halmstad University, School of Humanities (HUM), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-4355.

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The purpose of this essay is to try and bring clarity to the question, what is Chick Lit and which factors make it so popular. My thesis endeavors to explain that it is not only the promise of light entertainment that draws the reader, but also the possibility that in an easy way they can read about existential questions such as self-development and life -choices.

As well as mapping out Chick Lit´s specific characteristics, followed by previous research on the subject and the litterateur’s history, I have found it interesting to discuss the female characters, their personalities and life choice’s against a backdrop of existentialistic philosophy.

In my research of this form of literateur I have discovered that chick lit often deals with existential universal problems, and that in order to be entertaining these books must contain a serious element.

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Lundhag, Malin E. "Svensk chick-lit 1996-2006 : En undersökande genrediskussion av svensk chick-lit". Thesis, Umeå University, Sociology, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-1309.

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Syftena med denna uppsats har varit flera. Dels att genomföra en undersökande genrediskussion av svensk chick-lit i stort där det som uppfattats som den huvudsakliga kritiken av genren omformulerats till frågeställningar. Huvudfrågan har därmed varit att ta reda på om svensk chick-lit är intressant, men också om den har några litterära kvaliteter och om den är en feministisk backlash. I uppsatsen arbetas även en definition av svensk chick-lit fram, samt empiriskt grundad teori ur materialet. Avsikten är att detta arbete ska kunna verka som förebild för andra utredningar av nya och marginaliserade genrer. En undersökning av vilka principer biblioteken, här representerade av Umeåregionens bibliotek, utgår från vid inköp av skönlitteratur i stort och chick-lit i synnerhet har också genomförts.

The aims of this paper have been more than one. One aim is to conduct an investigative genre discussion of Swedish chick lit as a whole, where what is conceived as the main critique of the genre is reformulated into questions. The main questions here are if Swedish chick lit is of interest, if it possesses any literary qualities and if it constitutes a feminist backlash. This paper also draws up a definition of Swedish chick lit and empirically grounded theory from the material. The intent is for this paper to serve as a model for other analyses of new and marginalized genres. A study of the principles adopted by libraries, here represented by libraries in the Umeå district, in fiction purchases as a whole and purchases of chick lit in particular, has also been carried out.

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3

Barber, Jennifer P. "Indian chick-lit : form and consumerism /". Electronic version (PDF), 2006. http://dl.uncw.edu/etd/2006/barberj/jenniferbarber.pdf.

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4

Brassman, Anna-Stina. "Chick Lit + Comic Lit = Sant? : En genreanalys av Jennifer Esteps Karma Girl". Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-105679.

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5

Glasburgh, Michele M. "Chick lit: the new face of postfeminist fiction?" Thesis, School of Information and Library Science, 2006. http://hdl.handle.net/1901/349.

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This study is a content analysis of ten chick lit books, a genre of women’s fiction. Books were analyzed for five postfeminist characteristics as defined by Susan Faludi’s backlash theory, outlined in Backlash: The Undeclared War Against Women and in further research on popular culture’s notions of womanhood: 1) negative reaction to second wave feminism, 2) focus on the individual instead of a collective sisterhood, 3) desire for more traditional femininity through domesticity, consumerism, romance, and motherhood, 4) female identity crisis causing fears of a man shortage, a loudly ticking biological clock, and career burnout, and 5) feelings of anxiety over ability to make the correct future decisions. Analysis has found that chick lit does generally reinforce the notions of postfeminism/backlash, however the characters displayed anxiety over how to incorporate feminine paths into their lives and generally disregard motherhood.

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6

Ljunggren, Sofie. "Om utvecklingsvägar och genuskonstruktion i svensk Chick Lit". Thesis, Kristianstad University College, School of Teacher Education, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-4907.

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Abstract

Uppsatsen syftar dels till att undersöka om den feministiska kritik som riktats mot genren chick lit i fråga om genusstereotypa karaktärer har sin motsvarighet i romanerna, och dels till att undersöka med vilken rimlighet någon kan påstå att chick lit-romaner också är utvecklingsromaner. Studier av övergripande och vetenskapliga texter rörande populärkultur samt feminism, ligger till grund för de resonemang som förs och aktualiseras då de ställs i relation till nedslag i primärmaterialet vilket närlästs.

Genom närläsning och analys konstateras chick lit med hjälp av Kristin Järvstads avhandling Att utvecklas till kvinna (1996) i vissa fall och avseenden fungera som en populärlitterär variant av utvecklingsromanen. Hjältinnorna i chick lit-romanerna genomgår en kort, inre utveckling, vilken till viss del följer den manliga utvecklingsromanens struktur, trots att den substantiellt anses kvinnlig. Vidare konstateras hjältinnan i chick lit till stor del vara fast i genusstereotypa konstruktioner vilka ur ett feministiskt perspektiv är oacceptabla, samtidigt som feministiska tendenser i form av självförverkligande och kritik av genussystemet står att finna. Sammantaget tillåts genren därmed representera konceptet ”feminism light” genom sin hjältinna.

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Schaefer, Rachel R. Rode. "Consciousness-Raising: A New Direction for Chick Lit". Miami University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=miami1438077427.

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8

Peitz, Annette. "Chick lit genrekonstituierende Untersuchungen unter anglo-amerikanischem Einfluss". Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2009. http://d-nb.info/999978209/04.

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9

Karlsson, Maria. "Ladies av Mara Lee– en chick-lit som alla andra? : En narratologisk och diskursanalytisk studie av Ladies och chick-lit-genren". Thesis, Södertörn University College, School of Gender, Culture and History, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1776.

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My thesis deals with the novel Ladies, written in 2007 by the Swedish author Mara Lee. When published, it was received as a book belonging to the chick lit genre but still got good reviews. This combination is really unusual and awoke my interest in the novel. My thesis is therefore an analysis whether Ladies can be considered a chick lit novel or not, and in what way it is similar to or differs from the genre.

I start my thesis with an overview of former research of chick lit and what earlier was called trivial literature. Here Lisbeth Larsson’s En annan historia, [Another Story], Janice Radway’s Reading the Romance and Suzanne Ferriss’ and Mallory Young’s anthology Chick Lit The New Woman’s Fiction were necessary to understand the background of the genre.

After the research overview I continue with a narratological analysis, using the concepts of Maria Nikolajeva’s Barnbokens byggklossar [The Bricks of the Children Book] to look at the structure of a chick lit story. After finishing my chick lit genre analysis I try to complete my own definition of the genre.

I find the themes love, sexuality and body focus in Ladies especially interesting and therefore choose to look closer into how these areas are represented in the book. By using Judith Butler’s concepts the heterosexual matrix, the represented gender and Tiina Rosenberg’s hetero normativity I analyse the representation of the themes.

In the final discussion I compare my different analyses and my conclusion shows that Ladies can’t be considered belonging to the chick lit genre. The biggest difference lies in how love and sexuality are represented in the book compared to chick lit novels. Whereas chick lit in many cases confirms gender stereotypes and conservative norms, Ladies actually, according to my analysis, questions them.

In the end I am finally doing a short reflection about the novel and the author using Pierre Bourdieus concepts about symbolic resources and ”habitus”.

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10

Askemyr, Marie. "Teenage chick lit a heterogeneous genre - A comparative study of The Princess Diaries and Gossip Girl : A novel". Thesis, Halmstad University, School of Teacher Education (LUT), 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-4164.

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This essay is a comparative study of The Princess Diaries and Gossip Girl: A novel. The study aims to give support to the argument that teenage chick lit is a heterogeneous genre. Initially, the background to the essay is presented and then follows a presentation of the genre chick lit. Next, the method that is used in this essay is explained followed by a brief summary of the novels. Subsequently, the comparative study of how the novels handle several topics is presented. The topics discussed are friendship, family bonds, the importance of appearance, sex, and love. The discussion of each topic emphasises similarities and differences between the novels. Furthermore, the significance of the differences is analysed and discussed.

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11

Sormus, Megan. "Collage Grrrls : reclaiming contradictory femininities in anti-chick lit". Thesis, Northumbria University, 2017. http://nrl.northumbria.ac.uk/36254/.

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Collage Grrrls represents the first sustained attempt to define, historicise and analyse the contentious genre of ‘anti-chick lit’. In this thesis, I argue that anti-chick lit – while critically neglected – represents a key development in women’s writing from the 1990s onwards; alighting on the girl and the grrrl as figures of contradiction and transitional possibility, anti-chick fictions generate spaces in which the darker aspects of female experience – from mental illness, self-harming and unwanted pregnancies, to sexual excess and consumerism – can be creatively (re)imagined. In this way, Collage Grrrls makes a timely intervention into debates about feminine identity and feminism in popular culture. At the heart of these debates, however, exists a fraught paradox that Collage Grrrls will interrogate: at the same time as celebrating a female subject that is ‘untamed, ungroomed and unglossed’, does anti-chick lit’s alignment with the mass- market appeal of chick lit mean that the subject is simultaneously re-tamed, re-groomed and re-glossed in order to preserve her appeal – paradoxically – to a mass audience? I identify Emma Forrest, an Anglo-American author and journalist, as a representative for the genre. Along with Forrest’s novels Namedropper (1998), Thin Skin (2002) and Cherries in the Snow (2005), I will also include detailed reference to Stephanie Kuehnert’s I wanna be your Joey Ramone (2008) and Kristin Hersh’s Rat Girl (2010). Collage Grrrl’s scope of literary genres includes Young Adult fiction and memoir, with each key work presenting an unapologetic portrait of female pathology. The discussion will address the impact of third wave and postfeminism, and the cultural shifts in mainstream representations of gender, specifically in light of the fluxional identity politics of the 90s and their effect on young women. The politics and practices of this era paved the way for movements such as riot grrrl, with the grrrl becoming a notable figure for challenging normative meanings of femininity. By examining authors and works on which there is little critical material, Collage Grrrls aims to do the same, seeking out authors and texts that have yet to be recuperated to academic discourse.

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O'Mahony, Lauren. "In search of feminist romance in Australian 'Chick Lit'". Thesis, O'Mahony, Lauren (2015) In search of feminist romance in Australian 'Chick Lit'. PhD thesis, Murdoch University, 2015. https://researchrepository.murdoch.edu.au/id/eprint/25543/.

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In November 2005, Australian author Melanie La’Brooy published a defence of ‘chick lit’ in the Review section of Australia’s national newspaper, The Weekend Australian. La’Brooy responded to criticisms of the genre, particularly those made by prize winning authors Beryl Bainbridge and Doris Lessing. Bainbridge had asserted that people were wasting their time reading ‘chick lit’ while Lessing dismissed the genre’s authors for writing “instantly forgettable books.” La’Brooy referred to other critics who decried the genre for being antifeminist because the search for and acquisition of romantic love was a central concern of the plot. In defending ‘chick lit’, La’Brooy asked, “Does romantic idealism immediately polarise a desire for political, professional and social equality?” Her question highlights two concerns raised by contemporary literary and feminist scholars including Pamela Regis, Stephanie Harzewski and Imelda Whelehan. The first concern focuses on the compatibility of romance novels in particular and the romance plot more widely with ‘feminism.’ Historically, feminists such as Germaine Greer have criticised romance novels for their form (including their plot, characters and endings) and their supposed affect on readers. Yet, as early as 1984, Margaret Ann Jensen’s Love’s Sweet Return: The Harlequin Story showed that mass market paperback romances had changed in response to feminist criticism. Likewise, Janice Radway’s Reading the Romance (1984) argued that romance novels have a complex affect on their readers. The second concern of feminist and literary scholars in relation to romance novels is how best to define and apply ‘feminism’ as a concept and set of theories when studying contemporary literature. This concern has been complicated by the ‘posting’ of feminism, where feminism’s meaning is now determined largely by whom is speaking and the context of the discussion. Many definitions of feminism abound including the different perspectives mapped in Rosemarie Tong’s Feminist Thought (1989) to the more recent theories of feminism as first wave, second wave, third wave and/or postfeminism. Thus, these recent theoretical developments have led to ‘feminism’ becoming an ‘overloaded’ concept and a highly contested theoretical terrain. This complexity is problematic for literary analysis. The relatively new genre of ‘chick lit’, female authored novels with contemporary settings and eighteen to forty-five year old heroines, enables an exploration of these concerns about romance and feminism. Most chick novels employ a traditional romance plot to represent a heroine living in the 1990s or 2000s. The use of contemporary settings means that ‘chick lit’ automatically represents Western culture radically transformed by the modern women’s movement of the 1960s and 1970s. The most interesting avenue for inquiry raised by ‘chick lit’ is the inherent tension between the genre’s representation of a post ‘second wave feminist’ setting and the romantic narrative structure. This thesis explores the relationship between romance and feminism in a selection of Australian chick lit novels. I undertake a traditional literary analysis focusing on the plot, character and themes of the novels. Five permutations of Australian chick lit are examined: urban romances, cosmopolitan Koori lit (Indigenous chick lit), comical suburban novels, the rural romance and the red dirt romance. My reading of Australian chick lit draws upon Pamela Regis’s A Natural History of the Romance Novel (2003) to examine how the novels utilise romantic narrative elements, construct romantic characters and represent themes of love and romance. I do this to determine the degree to which chick novels adhere to the essential elements of romance and explore how companionate love is portrayed. My feminist reading of Australian chick lit also examines the plot, characterisation and themes of the selected novels. I assess whether chick lit deviates from the romance plot and whether such deviations can be deemed feminist. I apply feminist theory to explore the representation of the protagonists in chick lit, particularly the genre’s heroines. I focus on the gendered identities of each heroine and consider whether they exhibit postfeminist and/or third wave feminist characteristics. I then apply contemporary feminist theory to critically analyse the central themes raised by each subgenre of Australian chick lit including consumption, body image, gender and racial discrimination, social relationships, success and ‘having it all’ and gender inequality in the workplace. I argue that my selected novels use their narrative structure to critically engage with these themes while seeking out resolutions for the main characters. My analysis of Australian chick lit reveals that some novels can be read as strong examples of feminist romance. However, this depends on the text, who is reading it and the characteristics of feminism and romance being applied. I argue that the subgenres of Australian chick lit examined here continue the tradition of prose romance while engaging with, and sometimes championing, the quest for women’s empowerment.

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Gervais, Corinne. "« Pour moi, un homme, c'est papa » : représentations de l’amoureux dans la chick lit québécoise". Mémoire, Université de Sherbrooke, 2015. http://hdl.handle.net/11143/8074.

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Depuis près de dix ans, les lectrices québécoises peuvent retrouver une panoplie de romans de chick lit « Made in Québec » sur le marché. Si l'engouement pour ce type de production est important, très peu d'études se sont consacrées à l'observation de ce phénomène en contexte québécois et francophone. L'objectif de cette recherche est de faire la nomenclature des caractéristiques fondatrices des personnages masculins possédant un potentiel amoureux auprès de l'héroïne et étant issus de la chick lit québécoise. En somme, il s'agit de mettre au jour les traits distinctifs de la chick lit québécoise par le truchement des personnages masculins qui constituent une piste d'analyse des plus riches pour y parvenir. Tout d'abord, afin de bien positionner le sous-genre dans le marché du livre, le premier chapitre retrace l'émergence de la chick lit anglo-saxonne et québécoise, en plus de dresser le portrait actuel de l'édition de chick lit au Québec. Dans le but de bien saisir ses composantes et sa structure narrative, les liens de continuité ou de rupture de la chick lit québécoise avec, d'une part, le roman sentimental et, d'autre part, le roman d'apprentissage sont observés dans le premier chapitre. Même si la quête amoureuse de l'héroïne de chick lit possède une importance non négligeable, elle s'accompagne néanmoins d'une véritable quête d'autonomie. Cependant, malgré les ressemblances soulevées entre le roman d'apprentissage et la chick lit, nous croyons que la quête d'autonomie de l'héroïne achoppe à la fin de ces romances modernes, lorsqu'elle trouve enfin le grand amour. Afin de vérifier cette hypothèse, le deuxième chapitre expose les caractéristiques inhérentes à quatre groupes de personnages masculins possédant un potentiel amoureux, soit les anciens amoureux, les amants, les amis et les amoureux. En outre, ce chapitre présente la fonction de ces personnages masculins dans la trame narrative, en plus de faire ressortir les modalités de leur relation avec l’héroïne. Finalement, le troisième chapitre met en lumière les liens unissant le père de l'héroïne et l’amoureux, puisque la recherche pose, a priori, que le père de l'héroïne de chick lit québécoise possède une relation avec sa fille se distinguant de ce qui se retrouve dans les productions anglophones, relation qui ferait du père un véritable modèle amoureux pour la fille.

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Noregran, Elisabeth. "Könsroller i populärlitteratur : Chick lit i jämförelse med en herrgårdsroman". Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-31878.

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15

Cooke, Maureen Lynch. "The Great Escape: Modern Women and the Chick Lit Genre". Thesis, Boston College, 2006. http://hdl.handle.net/2345/418.

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Thesis advisor: Elizabeth K. Wallace
This thesis uses a cultural studies approach to study the contemporary "chick lit" genre. These novels written by women, for women may be dismissed as frivolous, but their immense popularity proves that they have tapped into a cultural tension. Their target readers are young women who have grown up in a post-feminist revolution society and face unique issues unknown to any other generation of women. Blending feminist, Marxist, and formalist theories, this thesis attempts to discover how this genre functions in contemporary society – what does it do to its readers? While trying to respect the readers at all times, this thesis will discuss the failure of the genre to provide a new space for women to escape to. The conclusion discusses the potential of chick lit to do more; the genre has captured a "zeitgeist" among young women and its popularity reaches a wide audience. In the future, chick lit could serve as a genre that discusses women's issues, prompting its readers to question gender roles, consumerism, and the global status of women
Thesis (BA) — Boston College, 2006
Submitted to: Boston College. College of Arts and Sciences
Discipline: English
Discipline: College Honors Program

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Taujanskaitė, Aurelija. "Pride and Prejudice by Jane Austen and Bridget Jones’s Diary by Helen Fielding: The Situation of Writing a Novel". Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120831_092258-48880.

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The object of the research is Austen’s and Fielding’s situation of writing a novel through their works Pride and Prejudice by Austen and Bridget Jones’s Diary by Fielding. Though, these women authors are representatives of the two different epochs of English literature their novels are frequently taken in parallel. In order to carry out the research, the comparative and feminist criticism methods were applied. The comparative methodology was useful in order to analyze the meanings of similarity or distinction in the novels Pride and Prejudice by Austen and Bridget Jones’s Diary by Fielding, also, to compare two different contexts for writing two novels.
Tyrimo objektas – Džeinės Austen ir Helenos Fielding romano rašymo situacija remiantis jų kūriniais: Austen Puikybė ir prietarai bei Fielding Bridžitos Džouns dienoraštis. Nors autorės yra skirtingų laikotarpių anglų rašytojos, jų kūriniai yra dažnai lyginami.Bakalauro darbe buvo naudojami lyginamosios bei feministinės kritikos metodai. Lyginamasis metodas buvo taikomas ištirti romanų Puikybė ir prietarai ir Bridžitos Džouns dienoraštis panašumo ar savitumo reikšmes, palyginti kūrinių rašymo kontekstus. Kadangi Austen ir Fielding yra moterys rašytojos, feministinės kritikos metodas buvo naudojamas atskleisti moterų literatūros savitumą.

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17

Lindahl, Charlotte. "Sex, shopping och singlar - Vad måste en bra chick lit innehålla?" Thesis, Växjö University, School of Humanities, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-2560.

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Lindeborg, Hanna. "Chick lit i litteraturundervisningen? : - om kritisk läsning inom svenskämnet på gymnasiet". Thesis, Södertörns högskola, Lärarutbildningen, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-8348.

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I have with this thesis sought to understand how chick lit could be useful in the classroom in the teaching of Swedish B-course in high school. Based on the model of critical literacy I am arguing that this genre would help to meet the objectives of the policy documents which, among other things, are to critically examine and analyze various types of texts. I have found that some of these texts could be used for analyzing and critically examine the ideological dimensions of texts and cultural heritage by the model of critical literacy, and also as a counterweight to the more traditional teaching of the canonical literature as a literary historical stuff that students should learn. I have also wanted to create a basis for discussions about literature in the classroom based on the chick lit genre. To do this I have, based on three themes and questions from the model of critical literacy, tried to focus on issues that might emerge from the ideological analysis and critical review. The model aims to deconstruct norms of society, and in the work of chick lit, I wanted to show how you could deconstruct norms around gender.

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Gormley, Sarah J. "Constructing and negotiating meaning : a dialogic approach to analysing 'chick lit'". Thesis, Sheffield Hallam University, 2013. http://shura.shu.ac.uk/19706/.

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The aims of this thesis are two-fold. This thesis seeks to critically interrogate the complex web of meaning-making practices and processes which circulate around the form of popular fiction by, about and largely for women known as chick lit. In order to address this objective, this thesis develops theoretical and analytical frameworks that are sufficiently nuanced to conceptualise and analyse the construction and negotiation of the meanings of a cultural object as dynamic, emergent, and firmly embedded in social life. Scholarly analyses of chick lit have largely been undertaken from the viewpoint of literary and cultural studies, which has resulted in a predominantly textually determined view of the genre's meanings that isolates the novels from the contexts of their production and consumption. This thesis, however, treats chick lit as a cultural phenomenon, attempting to connect a group of widely read texts with the conditions of their production, examining the way chick lit's meanings are constructed and negotiated by both the 'professional' reader in the academy and the media and the 'nonprofessional' reader in the 'everyday world', and interrogating the societal norms, beliefs and values that impact upon these appraisals. In order to conceptualise meaning-making in the complex and multifaceted way required by these aims, this thesis adopts dialogism as an interactional and contextual theory for human sense-making, and that, by placing the work of V.N. Volosinov at its centre, is linguistically oriented. However, the dialogic theoretical framework proposed in this thesis is a modified one, in that it addresses the weaknesses that arise from Volosinov's failure to adequately theorise the interrelationships between social, situated, interaction and social structure. This attempt to more adequately integrate the social into dialogism extends to the form of dialogic discourse analysis also developed in this thesis, a framework that seeks to address the limitations of current models by providing a nuanced set of tools and concepts to deal specifically with the analysis of the multiply located, multifaceted meanings that accrue to a cultural object.

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Žemaitytė, Erika. "The Image of Writing Women: the Comparative Aspect on Women’s Literature in English". Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120831_092347-18443.

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The object of the research is the image of writing women of the two periods which is revealed in novels written by Helen Fielding and Candace Bushnell as well as Virginia Woolf’s essay. In the novels written by the contemporary writers, the The novels written by Candace Bushnell and Helen Fielding reveal the contemporary cosmopolitan female writers. Each of the novels emphasizes sexual equality, freedom of choice and woman’s emancipation. Olivia is a fearless journalist who finds evil traces in every beauty topic that she covers. Moreover, writing is the essential matter for travelling and facing hazardous situations.
Tyrimo tikslas yra atskleisti rašytojų moterų įvaizdį Candacės Bushnell ir Helenos Fielding romanuose ir palyginti jį su Virginijos Woolf pateiktu rašytojų moterų įvaizdžiu esė Savas Kambarys.Postfeministinė literatūros kritika taikyta siekiant apibūdinti moterų rašytojų situaciją dvidešimto amžiaus pradžioje. Feminizmo teorija naudota pabrėžti feminizmo kaip politinio judėjimo svarbą rašytojoms ir įvertinti moterų rašytojų įvaizdžius literatūros kūriniuose.Galima teigti, kad dvidešimtojo amžiaus pradžioje moterys rašytojos rašė literatūrinius kūrinius norėdamos skleisti švietimą tarp skaitytojų bei tuo pačiu praturtėti.

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21

Falk, Towe. "Have You Met Miss Jones? : Identity Construction of a Chick Lit Heroine". Thesis, Högskolan Dalarna, Engelska, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:du-4112.

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Take a random woman in her mid-twenties, with a crazy mother, a lousy job and no sex life, add some insecurity and a lot of alcohol and wrap her up in pink, and congratulations, you have just created your own chick lit heroine.The question is whether a chick lit heroine is this simplistic, or if she carries an important message to the readers. The most important traits in a chick lit novel are the complicated mother-daughter relationship, the career and the love life.Thus, this essay will outline to what extent the postfeminist features are depicted in theidentity of Bridget Jones, as an epitome of later chick lit heroines.

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22

Adams, Kelly. "Hunger pangs foodways, racial melancholia, and gender in Asian American chick lit /". [Gainesville, Fla.] : University of Florida, 2009. http://purl.fcla.edu/fcla/etd/UFE0024412.

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23

Armstrong, Erin Lynn. "Hepburn hatches chick-lit: feeding the appetite for labels, lawyers and love". Thesis, The University of Arizona, 2009. http://hdl.handle.net/10150/192281.

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Naugle, Briel Nichole. "Nobody Does It Better: How Cecily Von Ziegesar’s Controversial Novel Series “Gossip Girl” Spawned The Popular Genre of Teen Chick Lit". Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1205333187.

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Kidwell, Kelli Decker. "The thongs that bind : how Georgia Nicolson negotiates her identity as an adolescent girl /". Electronic version (PDF), 2007. http://dl.uncw.edu/etd/2007-1/kidwellk/kellikidwell.pdf.

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Gronewold, Laura. "Chick Lit and Its Canonical Forefathers: Anxieties About Female Subjectivity in Contemporary Women's Fiction". Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/238894.

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This dissertation examines the anxieties that the contemporary genre of women’s fiction known as "chick lit" expresses about female sexuality, women and work, and the relationship between female identity and the global consumer marketplace. Furthermore, this project argues that chick lit can be productively traced to male-authored canonical texts that establish tropes and themes that chick lit novelists still grapple with at the turn of the twenty-first century. Chick lit heroines have benefitted from feminist progress, but they frequently participate in a backlash against the advances that empower them to pursue sexual pleasure outside marriage, find fulfilling careers, and challenge constructions of identity. Chapter 1 examines scholarship on constructions of gender and sexuality, affect theory, and Marxist theories. It also explores historical context through critiques of popular women writers. Chapter 2 argues that Samuel Richardson’s Pamela (1740) establishes the first-person confessional narrative voice and a sexualized secondary female character who is punished for her non-normative sexuality. Helen Fielding’s Bridget Jones’s Diary (1996) and Lauren Weisberger’s The Devil Wears Prada (2003) demonstrate that female sexuality must still be negotiated and contained in postfeminist culture. Chapter 3 explores how work contributes to female agency in literature. Theodore Dreiser’s Sister Carrie (1900) depicts a heroine who successfully manages her gender, race, and class performances in order to thrive in an urban space, while Kate Reddy, from Allison Pearson’s I Don’t Know How She Does It (2002), must pass as a non-mother in order to participate in the affective economies that prevail in the gendered workplace. Chapter 4 analyzes the role of consumer culture in female subject formation in a capitalist material culture. In Truman Capote’s Breakfast at Tiffany’s (1958) and Blake Edwards’s film version (1961), heroine Holly Golightly’s proximity to the luxury retailer legitimates her identity. But in Sophie Kinsella’s Confessions of a Shopaholic (2000), heroine Becky Bloomwood struggles against a shopping addiction and strives to define herself outside of the discourse of consumerism. Overall, this dissertation provides an important contribution to the conversation on women’s writing and contemporary identity formation because it addresses literary criticism, contemporary culture, and constructions of female subjectivity.

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Berūkštienė, Donata. "Slanguage as a way of characterization in the Lithuanian translation of Marian Keyes’s Chick Lit Novel "Anybody Out There"". Master's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120627_214718-29055.

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This thesis focuses on the way in which slanguage, treated as a way of characterization, is rendered in the Lithuanian translation of Marian Keyes’s chick lit novel Anybody Out There (2006) by Regina Šeškuvienė (2007). The main characters in the novel are women who use slang words and swear words in different situations both at work and their personal lives. In this respect, these women are different from traditional heroines of the romance who tend to use language in a traditionally feminine way, i.e. their language is polite and suited to reflect their impeccably feminine character. Swear words for heroines of chick lit serve as a means to express their oftentimes excessive and not always socially approved emotions and attitudes. The use of proper and specific slang helps them to make their conversations sound informal, to show familiarity and friendliness and to speak about uncomfortable issues such as sexual orientation or drug addiction. Slanguage becomes a significant means of characterization in Anybody Out There. Therefore, the aim of this thesis is to analyse how the use of language by female characters reveals their character in the source text and in the target text and how slanguage as a means of characterization functions in the Lithuanian translation of the novel. The thesis consists of two main parts, theoretical and analytical. The material and the aim of the thesis are presented in the introduction. Chapter two presents the theoretical background of the... [to full text]
Šiame darbe nagrinėjamos slengo kalbos kaip charakterizavimo priemonės vertimo strategijos airių rašytojos Marian Keyes „chick lit“ romano „Ar ten kas nors yra?“ („Anybody Out There“, 2006 m.) lietuviškame vertime. „Ar ten kas nors yra?“ 2007 m. į lietuvių kalbą išvertė vertėja Regina Šeškuvienė. Pagrindinės romano herojės yra moterys, kurios įvairiose gyvenimo situacijose vartoja slengo žodžius ir keiksmažodžius. Šiuo aspektu jos yra nutolusios nuo tradicinių romano herojų, kurios vartojo gražią, taisyklingą kalbą. „Chick lit“ žanro moterims keiksmažodžiai yra būdas išreikšti savo požiūrį, jausmus ir emocijas. Paprasto ir specifinio slengo žodžių vartojimas joms padeda išvengti formalumo pokalbiuose, parodyti draugiškumą, familiarumą bei leidžia nevaržomai kalbėti tokiomis nepatogiomis temomis kaip seksualinė orientacija ar priklausomybė narkotikams. Slengo kalba romane „Ar ten kas nors yra?“ tampa svarbia herojų charakterizavimo priemone, todėl šio darbo tikslas – išanalizuoti, kaip romano herojų kalba atskleidžia jų charakterį originaliame tekste ir vertime. Šį darbą sudaro dvi pagrindinės dalys – teorinė ir praktinė analizės. Darbo tyrimo medžiaga ir tikslas yra pristatomi įžangoje. Antrą teorinės dalies skyrių sudaro keturi poskyriai, kuriuose aptariama slengo kilmė, apibrėžimas, slengui būdingi požymiai, slengo funkcijos ir slengo kalbos klasifikacija. Šiame skyriuje taip pat yra apžvelgiamos slengo kalbos vertimo problemos ir vertimo strategijos. Trečiame skyriuje... [toliau žr. visą tekstą]

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Smedlund, Helen. "How to Find Yourself First : Shopaholic, Queen of Babble and Chick Lit as a Genre". Thesis, University of Gävle, Department of Humanities, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-7548.

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This essay focuses on the genre of Chick Lit and two novels in that genre: Confessions of a Shopaholic by Sophie Kinsella and Queen of Babble by Meg Cabot. The essay examines the origins of the Chick Lit genre and discusses its influences and the typical trademarks of the Chick Lit novel. The essay also discusses how some of the current research has come to the conclusion that Chick Lit is sprung from the genre of romance novels. In the second section of the analysis, the conventional formula of the popular romance novel is presented, followed by a discussion about the ways in which the Chick Lit novels differ from that formula. The primary research question of the essay asks “Is the Chick Lit novel a new version of the romance novel or can it not be seen as a distinct literary genre?” The third section of the essay consists of a comparative reading of the two Chick Lit novels, where it is argued that they can be seen as novels about personal growth and development, and how they deal with self-discovery more than anything else. In the conclusion, the essay discusses how although Chick Lit novels have borrowed some themes and characteristics from the romance novels, there is also more to the Chick Lit novel than just the romance theme. Friendships and family relations are as important to the two heroines as finding love is, and it is important for the protagonists to understand themselves first, and only after that do they begin thinking about love.

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Anderson, Emma Kate School of English UNSW. "Representations of female sexuality in chick-lit texts and reading Anais Nin on the train". Awarded by:University of New South Wales. School of English, 2006. http://handle.unsw.edu.au/1959.4/27319.

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My critical essay uses Foucault???s theory of discursive formation to chart the emergence of the figure of the single modern woman as she is created by the various discourses surrounding her. It argues that representations of the single modern woman continue a tradition of perceiving the female body as a source of social anxiety. The project explores ???chick-lit??? as a site within the discursive formation from which the single modern woman emerges as a paradoxical figure; the paradoxes fundamentally linked to her sexuality. This essay, then, essentially seeks to investigate representations of female sexuality within chick-lit, exposing for scrutiny the paradoxes inherent in and around the figure of the single modern woman. My fictional piece is a work of erotica. It is divided into four sections: The Reader, The Writer, The Muse and The Critic. Essentially it explores the relationships between female sexuality and literature; between female sexuality and feminist, post-feminist and patriarchal values and between literature and issues of truth, perspective and representation. The two works complement each other to illuminate the paradox of female sexuality: one from a theoretical perspective and the other from a fictional perspective. The critical work focuses on female sexuality and its relationship to, and development within, the current social context. Chick-lit, as a new and immensely popular genre of fiction which holistically explores the lives of single modern women was useful for examining the relationship between the sexual persona of the single modern woman and society. The fiction is concerned with a narrower focus: specifically the sexual life of the single modern woman. Through the creative process, it became apparent that working within the genre of ???erotica??? would be not only more useful than working within chick-lit, but more powerful in exploring the themes I was interested in. The creative work draws on numerous points of interest raised in the critical work from, for example, the grander notions of the relationship between object and discourse ??? in this case female sexuality and literature ??? and the female body as a source of social fascination and anxiety to finer observations such as what it means to have sex ???like a man.??? In essence, the creative work seeks to examine the many faces of the single modern woman as a sexual being and to illuminate, on an intimate level, the many conflicts between and surrounding those faces and to suggest that while paradox remains in female sexual ideology, the single modern woman will remain suspended in a kind of sexual paralysis.

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30

Kjellsdotter, Ylva. "”En kärlekshistoria vi alla drömmer om” : En analys av chick lit ur ett genusteoretiskt perspektiv". Thesis, Högskolan i Borås, Institutionen Biblioteks- och informationsvetenskap / Bibliotekshögskolan, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-18474.

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The purpose of this Master’s thesis is to examine how the gender system is described in chick lit. The analysis is based upon seven chick lit novels. The primary theoretical point of departure is Yvonne Hirdman’s theory about the gender system, the hierarchical order and the separation of the sexes. Also Carin Holmberg’s theory about how gender is constructed and the asymmetrical role taking among young couples and Anna G. Jónasdóttir’s theory about the distribution of love power in relationships are part of the theoretical framework. The method used is a textual analysis. A model of analysis has been constructed based on the theoretical points of departure mentioned above. The themes of the model are the separation of the sexes, the creation and maintenance of the gender system and the asymmetrical role taking. The result shows that the gender system is very distinct in chick lit, which is shown in particular in the separation of the sexes and how the women’s self-esteem is depending on men’s approval, thus making women subordinate to men. The conclusion is that chick lit describes a traditional gender system where the hierarchical order of the sexes is evident.
Uppsatsnivå: D

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Carvalho, Charmaine Austin. "Romances of the self: single women, neoliberalism and the nationalist imaginary in Indian chick lit". HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/526.

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In the mid-2000s, novels written by Indian women featuring a single woman's adventures in work and romance joined a transnational genre of writing called "chick lit" epitomized by novels such as Bridget Jones's Diary (Fielding 1996) and Sex and the City (Bushnell 1997). While chick lit has garnered some scholarly attention (Ferriss and Young 2006; Gill 2007; Harzewski 2011), studies remain largely focused on Anglo-American writing even while acknowledging the genre's global spread. There has been no in-depth analysis of chick lit written by Indian women in India, and it is this lacuna that this study seeks to fill.;The emergence of chick lit in India roughly a decade after economic liberalization makes the novels a useful lens through which to observe the formation of a new feminine neoliberal subjectivity - "the Indian singleton". I argue that the discourse of singleness in Indian chick lit novels is deployed not so much to solve the problem of being unmarried, but to resolve the tension between the demands of "Indian tradition" on urban, middle-class, young women and their desire for a selfhood inflected by transnational, neoliberal discourses of autonomy. By shifting my analytical focus away from the protagonist and her romantic partner to the mother-daughter relationship in the novels, I show how "tradition" and "modernity" are crystallized through discourses of food, fashion and the body. While "tradition" and "modernity" are conceptualized in these narratives as a binary, the protagonists seem to be attempting to articulate a selfhood that merges the two poles without having to pick a side. I draw on postcolonial, poststructuralist and feminist theory to argue that in their refusal to conform to ideas of Indian selfhood wherein individualism is circumscribed by community, the single women in Indian chick lit present, if not entirely represent, the idea of synthesis.

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Arosteguy, Katie O'Donnell. "The clothes do make the woman : the politics of fashioning femininity in contemporary American Chick lit". Pullman, Wash. : Washington State University, 2009. http://www.dissertations.wsu.edu/Dissertations/Spring2009/k_arosteguy_040109.pdf.

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Pollara, Federica. "Proposta di traduzione di un esempio di narrativa chick lit: Summer at sea di Beth Labonte". Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/9193/.

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Il seguente elaborato presenta una proposta di traduzione dei primi due capitoli del romanzo autopubblicato “Summer at sea” della scrittrice americana Beth Labonte, uscito nel 2015. L'elaborato si articola a partire da un'analisi approfondita del genere della chick lit, cui il romanzo appartiene, e prosegue con un riassunto delle principali tappe all'interno della storia della teoria della traduzione. Segue il commento alla traduzione, che evidenzia le difficoltà riscontrate e le soluzioni traduttive impiegate durante la stesura dell’elaborato.

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VIVAS, MICHELE ABREU. "CHICK LIT: THE CONSTRUCTION OF FEMININITIES IN COMIC STRIPS SERIES WOMEN ON THE EDGE BY MAITENA". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2005. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=8419@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
O estudo focaliza o gênero Literatura Mulherzinha em tirinhas cômicas da série Mulheres Alteradas da cartunista argentina Maitena Inés Burundarena. Atualmente, especialmente a partir dos anos 90, muitas obras consideradas pela mídia como literatura de auto-ajuda das mulheres modernas vêm sendo publicadas. Do surgimento ao apogeu do Movimento Feminista na década de setenta é que encontramos o boom das publicações sobre o discurso feminino. Tratar das tirinhas da obra de Maitena nos possibilita fazer uma reflexão crítica sobre esse imaginário feminino que se torna cada vez mais popular. Com os pressupostos teóricos do discurso de opinião e a partir de uma abordagem de leitura como prática social procuro articular como se dão as leituras deste gênero, representado pelas tiras de Maitena. A leitura e interpretação das tirinhas é realizada, também, em uma relação dialógica com as teorias sobre gênero/sexo e a lingüística feminista. Os resultados apontam para diversas feminilidades em conflito nas tirinhas de Maitena, que se apresentam ora nos parâmetros das teorias essencialistas, ora nas construcionistas. É interessante perceber que Maitena aponta para tais feminilidades, em grande parte, a partir de recursos de indiretividade que acionam o deboche, a dissimulação e a ironia em seu discurso de opinião através do humor em suas Mulheres Alteradas.
The study focuses the literary gender Chick Lit in comic strips series Women on the Edge by the Argentinean cartoonist Maitena Inés Burundarena. Nowadays, especially since the 90s, a lot of literary writings, considered by the media as literature of the modern women`s self-help, have been published. Since the appearance to the acme of the Feminist Movement in the decade of the seventies we can see the boom of publications on the feminine discourse. Discussing the strips of Maitena`s work it gives us the possibility to carry out a critical reflection on that feminine imaginary which becomes more and more popular. From the theoretical presumptions of the opinion discourse and starting from a reading approach, as social practice, I try to articulate, as the readings of this gender happen, presented by Maitena`s comic strips. The reading and interpretation of the strips is also done in a discourse relationship with the theories on gender /sex and the feminist linguistics. The results show us several aspects of the female universe in conflict, which we can be seen in Maitena`s strips, sometimes they are shown as parameters of the existentialist theories, sometimes as constructionists. It is interesting to notice that Maitena points out such femininities, mainly, based on resources of indirect approaches that awaken the mock, the dissimulation and irony in her opinion discourse through the humors in Women on the Edge.
El estudio enfoca el género Literatura Mujercita en cómics de la serie Mujeres Alteradas de la humorista gráfica argentina Maitena Inés Burundarena. Actualmente, especialmente a partir de los años 90, muchas obras consideradas por la midia como literatura de autoayuda de las mujeres modernas están siendo publicadas. Del surgimiento al apogeo del Movimiento Feminista en la década de setenta es que encontramos el boom de las publicaciones sobre el discurso femenino. Tratar de los comics de la obra de Maitena nos posibilita hacer una reflexión crítica sobre ese imaginario femenino que se torna cada vez más popular. Con los presupuestos teóricos del discurso de opinión y a partir de un abordaje de lectura como práctica social procuro articular como se dan las lecturas de este género, representado por los cómics de Maitena. La lectura e interpretación de los cómics se realizan, también, en una relación dialógica con las teorías sobre género/sexo y la lingüística feminista. Los resultados señalan para diversas feminidades en conflicto en los cómics de Maitena, que se presentan unas veces en los parámetros de las teorías esencialitas, otras en las construccionistas. Es interesante percibir que Maitena señala para tales feminidades, en gran parte, a partir de recursos indirectos que accionan el escarnio, la disimulación y la ironía en su discurso de opinión a través del humor en sus Mujeres Alteradas.

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Berglund, Lisa. "Chick lit i svenskundervisningen? : En analys av genrens tematiska innehåll och dess potential i litteraturundervisningen på gymnasiet". Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-67870.

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Andersson, Johanna. "Better Off Alone Anyway: Independent Women in Two Marian Keyes Novels". Thesis, Mid Sweden University, Department of Humanities, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-9392.

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Antonsson, Karin. "”Han har diskhandskar. Rosa.” En litteratursociologisk analys av kärlekstemat i genren chick lit, exemplet Mossvikenfruar : Chansen av Emma Hamberg". Thesis, Högskolan i Borås, Institutionen Biblioteks- och informationsvetenskap / Bibliotekshögskolan, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-18552.

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Libraries are often associated with positive values such as democracy and equal rights. The contents of the literature on offer should therefore be of great interest to the librarian, the supplier of said literature. The topic of this Master’s thesis is the popular literary genre known as chick lit. The purpose is to investigate the love theme in Swedish chick lit, and how it relates to Anthony Giddens’ theory on love in late modernity. The genre in this instance is represented by Mossvikenfruar: Chansen by Emma Hamberg. The theoretical anchor of the Master’s thesis is sociology of literature, which focuses on the relationship between literature and society. The starting point for the analysis of the love theme is Anthony Giddens’ theory on love and late modernity. A modified version of Shlomit Rimmon-Kenans thematical method is used as an analytical tool. The reality of love is considerably bleaker (albeit humourously described) in Mossvikenfruar: Chansen than in the writings of Giddens. The similarities, however, are great. The novel contains manifestations of ‘plastic sexuality’, set apart from reproduction, and the relationship between the novel’s protagonists can be seen as an example of Giddens’ description of couple-relationship in late modernity. Although the novel ends on a heteronormative, couple-centrered note which can be considered conservative and repressive, it is argued in this Master’s thesis that it must be valued in the light of the following question: “What constitutes an equal society?” a discussion which therefore concludes the study.
Uppsatsnivå: D

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Cantora, Tuñón Laura. "Proper names as cultural referents in British chick lit : a corpus-based analysis of their translations into Spanish and Italian". Thesis, University of Leeds, 2013. http://etheses.whiterose.ac.uk/7870/.

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This thesis considers the role that proper names play in British mass market women’s fiction (genre generally known as Chick Lit) by means of an analysis of the way in which those proper names have been translated into Spanish and Italian. The relationship between source text and target text is explored in terms of the procedures employed to translate each proper name. Our main hypothesis is that Toury’s (1995) law of growing standardization would prevail in the translated text in an attempt to bring the connotations and foreign elements of the source language text nearer to the target language readership. This hypothesis is tested by creating a parallel trilingual corpus containing three novels in their original English versions as well as their translations into Spanish and Italian. Using corpus processing tools, such as named-entity recognition programs and trilingual concordancers, a total of 1500 distinct proper names are extracted from these texts which means that 3000 translation instances are available for analysis. These names are categorised using a novel faceted taxonomy, and the translations are classified using a purpose-built map of translation procedures. These categorisations are then analysed using corpus processing measurements such as raw and relative frequency to detect any possible patterns in the translation of proper names in modern literature. The research shows that translators attempt to identify an ‘equilibrium’ between conserving certain elements and explaining others; while attempting to bring the connotations and foreign elements closer to the target language culture a wide variety of procedures are used. The data also reveals a more marked tendency to conserve the proper names in their original form in the Spanish target texts than in the Italian target texts, where there is more variation in the range of procedures employed. In addition to these results, a major contribution to knowledge of this research is the creation and successful application of the taxonomy and map of procedures and the processes devised for the analysis which are now available to be used in other investigations.

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Černiauskaitė, Ieva. "Moters tapatybė: Kerė Candacės Bushnell knygų serijoje „Kerės dienoraščiai“, „Vasara ir miestas“ ir „Seksas ir miestas“". Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130802_113333-80900.

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Candacės Bushnell romanai atskleidžia šiuolaikinės moters tapatybės problemas. Romanų veikėja Kerė Bradšo atspindi nepriklausomą, savo vienišumu patenkiną moterį, kuriai vyras reikalingas tik tam, kad pildytų jos užgaidas. Be to, Kerė yra moteris, kuriai mada padeda atskleisti jos asmenybę. Šiuolaikinė moterų literatūra turi tikslą ne tik suteikti savo skaitytojams gerų emocijų, bet ir apibrėžti šiuolaikines moterų, ieškančių savosios asmenybės, problemas.
The novels written by Candace Bushnell reveal the problems of identity of a contemporary woman. The female character of the novels, Carrie Bradshaw, represents an independent woman who is satisfied being single and needs a man only to fulfil her desires. Moreover, Carrie is a fashion-oriented female; through fashion, she shows her individuality. Contemporary women’s literature has the goal not only to entertain its readers but also to define the contemporary problems that female face when they seek for self- identity.

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Nelaupe, Emmanuelle. "Transition politique et production romanesque : l'écriture féminine noire en Afrique du Sud de 1998 à 2011". Thesis, La Réunion, 2017. http://www.theses.fr/2017LARE0036/document.

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Le passage de l'Afrique du Sud d'un système politique répressif à un système démocratique a ouvert un nouvel espace de parole aux exclus, notamment aux femmes noires à travers les Commissions pour la Vérité. La parole féminine noire libérée suite à la transition politique du pays se reflète aussi dans le développement d'une production littéraire féminine, donnant lieu à l'émergence de nouvelles formes d'écriture romanesque, étudiées dans ce travail qui porte sur dix romans publiés par huit auteures entre 1998 et 2011 : S. Magona, K.L. Molope, K. Matlwa, A.N. Sithebe, A. Makholwa, H.J. Gololai, Z. Wanner et C. Jele. Nous étudions dans un premier temps comment les écrivaines s'approprient le genre romanesque durant la période transitionnelle, s'éloignant d'une écriture réaliste politiquement engagée, courante durant l'apartheid, pour se tourner vers une écriture de l'intime qui met en lumière les traumatismes d'un passé national qui hante le présent. Puis, nous étudions dans les trois parties suivantes comment les auteures émergeant durant la période post-transitionnelle explorent des genres jusqu’ici peu utilisés par les femmes noires sud-africaines : le Bildungsroman, le roman policier et la chick lit, mettant en mots les peurs et les angoisses de la nouvelle Afrique du Sud. Revisitant des genres européens, pour certains populaires, à travers une perspective féminine noire nouvelle, ces auteures continuent d'innover tant dans les thématiques abordées que dans une écriture fondée sur le mélange. Le roman devient un moyen subversif pour critiquer une société patriarcale fortement occidentalisée, qui ne doit pas renier son passé afin de faire face aux nouveaux défis à venir
The South African political transition from a repressive system to a democratic one opened new spaces to a marginalized part of the population among whom the black woman to express themselves, such as the Truth and Reconciliation hearings. This black feminine voice, made free by the political transition is reflected through the development of a literary female production. It gave way to the emergence of new novelistic forms, analysed in our study through ten novels written by eight different female writers between 1998 and 2011: S. Magona, K.L. Molope, K. Matlwa, A.N. Sithebe, A. Makholwa, H.J. Gololai, Z. Wanner and C. Jele. In a first part, we analyse the way these authors rewrite the novel during the transitional period, moving away from a realistic writing, deeply involved in politics and largely used during the apartheid era, towards a more intimate way of writing which reflect the traumas of a national past haunting the present. Then, we examine in three parts how the writers emerging during the post-transitional period explore new genres, rarely used by black South African women until then, namely the Bildungsroman, detective fiction and chick lit, which reflect their fears in the new South Africa. These authors rewrite these European genres, among which popular ones, through a new feminine perspective, thus innovating the themes they deal with and creating a literature made of mixtures. The European novel becomes a subversive tool to criticise a patriarchal and Europeanised society, which, according to these authors, should not deny the past in order to solve the new challenges coming

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Larsson, Sara. "Good and Bad Mothering in the Fiction of Marian Keyes : A Discourse Analysis". Thesis, Umeå universitet, Institutionen för språkstudier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-89944.

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The object of this essay is to map the discourses of good versus bad mothering in four selected novels by Marian Keyes, and to analyze how they relate to hegemonic Western discourses of motherhood. The analytical approach is based on Ernesto Laclau and Chantal Mouffe’s discourse theory. In the essay I identify six central discursive structures in Keyes’ fictive representation of good and bad mothering. The explored structures deal with the proper social conditions for mothering, the mother’s unique role and function, mothering and professional pursuits, the rejection of children, depression and aggression in the mother, and mothering and substance abuse. They are described and contextualized with the aid of Laclau and Mouffe’s terminology and perspective on discursive struggle. The conclusion is that Keyes’ literary discourse connects good mothering with sustained maturing and individuality in the mother, while suggesting that bad mothering is related to relinquished integrity and personal potential.

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42

Engstrand, Cecilia. "Can chick-lit be canonical? : a feminist reading och Jane Austen's Pride and Prejudice and Candace Bushnell's Sex and the city". Thesis, Södertörns högskola, Institutionen för genus, kultur och historia, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-6197.

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By using Austen’s and Bushnell’s two novels as my primary sources I hope to find out whether what has been seen as typically female themes, plots and settings are perceived as less important from a canonical viewpoint. Do the terms “chick-lit” and “women’s literature” determine the status of a novel? I hope to find out what made Austen an esteemed writer and if the same criteria of evaluation can be applied to Bushnell. Are there any similarities between today’ most famous “chick-lit” author who gained her fame by writing about women and their sex lives in an unromantic and shocking fashion, and a pre-Victorian author whose works are part of the literary canon?

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43

Naugle, Briel Nichole. "Nobody does it better how Cecily Von Ziegesar's controversial novel series "Gossip girl" spawned the popular genre of teen chick lit /". Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1205333187.

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44

Soran, Stéphanie. "Le roman sentimental et ses avatars dans le roman contemporain de langue anglaise". Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040127/document.

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Une nouvelle forme de roman sentimental est apparue durant les années 1990, faisant suite à la parution de Bridget Jones’s Diary destinée à la fois aux femmes (chick-lit) et aux hommes (lad-lit). Ces deux types de fiction se distinguent du roman sentimental sériel par leur narration et leurs thèmes qui n’avaient jusqu’à présent jamais été évoqués puisqu’ils offrent aux lecteurs un reflet de notre société actuelle. La thèse analyse ce nouvel avatar du roman sentimental et en dégage les spécificités aussi bien sur le plan narratif que thématique ainsi que les liens qu’il entretient avec le genre, sans négliger son aspect commercial
When Helen Fielding published Bridget Jones’s Diary in the middle of the 1990s, she gave birth to a new kind of romantic fiction written for women (chick-lit) and men (lad-lit). The difference with formulaic novels such as Mills and Boon, lies in the narration, characterisation and themes related to our times and society, that no romance writer had dealt with so far. The plots focus on men and women's every day lives. The thesis analyses the specificities of chick-lit regarding its narration and themes, the links with women’s fiction from earlier generations and the genre as well as its influence on mainstream novels

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45

Dungen, Katharina von. "Integration schreiben". Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2015. http://dx.doi.org/10.18452/17371.

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Spätestens seit Beginn der Gastarbeitermigration ab Mitte der 1950er Jahre geistert der Begriff Integration meist als unbestimmte Anpassungsforderung an Zugezogene durch Deutschland. Dabei haben die Eingliederungsprozesse von Türken und ihren Nachkommen bis heute besonderes Gewicht. Ziel der Dissertation ist es, anhand deutsch-türkischer Gegenwartsliteratur festgefahrene Denkmuster im Integrationsdiskurs zu hinterfragen und neue Perspektiven hierzu aufzuzeigen: Was ist Integration, wer integriert sich in was und warum? Die Arbeit untersucht, welche Integrationsmodi und -typen in der ausgewählten Literatur artikuliert werden, mit welchen Parametern Integration verknüpft ist und welche Faktoren als entscheidend für eine gelungene oder gescheiterte Integration gelten. Gegenstand sind Texte türkeistämmiger Autoren der ersten und zweiten Generation, die zwischen 2007 und 2011 erschienen sind insbesondere die Romane Ali zum Dessert von Hatice Akyün und Cafe Cyprus von Yade Kara. Den theoretischen und methodischen Rahmen bilden die interkulturelle Literaturwissenschaft nach Norbert Mecklenburg und Michael Hofmann (u. a. zu Identitäts- und Differenzkonzepten), die sozialwissenschaftlichen Ausführungen zum Integrationsbegriff von Hartmut Esser sowie das Diskursverständnis und archäologische Analyseverfahren nach Michel Foucault. Zu den Ergebnissen gehören die Ästhetische und thematische Charakterisierung der deutsch-türkischen Gegenwartsliteratur, die Bestimmung des dem jeweiligen Text zugrunde liegenden Integrationsverständnisses sowie die Bewertung der künstlerischen Ausarbeitung und des Diskursbeitrags. Besonders erhellend ist die Analyse, wenn die Texte einen abweichenden Diskurs von jenem in den Medien, der Politik und Gesellschaft dominanten entwerfen und Aspekte verhandeln, die bislang nicht in soziologischen Konzepten berücksichtigt werden. Dann zeigen sich im Diskurs neue Formationen und für die Integration entscheidende Faktoren sowie damit eine divergierende Einschätzung der Integrationsrealität.
Since the onset of guest worker migration in the mid-1950s, the notion of integration has been coming up in Germany as the diffuse demand for adaptation on the part of the migrants. Up to the present day, the processes of integration of Turks and their offspring have carried particular weight. The goal of this dissertation is to explore German-Turkish contemporary fiction in order to call intransigent patterns of thought in the discourse on integration into question and develop new perspectives: What is integration, who integrates into what, and why? The dissertation analyzes the modes of integration literature articulates, the parameters with which integration is bound up, and the factors considered decisive for successful or failed integration. Its subject are writings by first- and second-generation authors of Turkish origin that have appeared between 2007 and 2011, in particular the novels Ali zum Dessert by Hatice Akyün and Cafe Cyprus by Yade Kara. The theoretical and methodical framework is derived from intercultural literary studies as according to Norbert Mecklenburg and Michael Hoffmann (e.g. on concepts of identity and difference); Hartmut EsserÕs sociological account of integration; and Michel Foucault`s notion of discourse and archaeological analysis. The dissertation accomplishes the aesthetic and thematic characterization of German-Turkish contemporary fiction, reveals on which concept of integration each text is based, and evaluates the texts aesthetic realizations and their contributions to the current discourse. The analysis proves particularly insightful in those instances in which literary texts project a discourse that deviates from that of the media, politics, and society, and treat aspects that sociology has hitherto neglected. In these instances, new discursive formations along with new decisive factors for integration arise, and it becomes necessary to evaluate the reality of integration differently.

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46

Carpenter, Kaci. "Anglofile". TopSCHOLAR®, 2011. http://digitalcommons.wku.edu/theses/1064.

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Anny Sterling is stuck. After a freak accident that left her father disabled and without a steady income, she returned home after one semester of college to help pay the bills while her older sister Emily fled to Europe to spend her time chasing dark-haired men named Franco and Pablo. At twenty-five, Anny now spends her days at the local insurance agency running errands for other people and reciting the alphabet song in the file room. There’s little to no hope for advancement as she is short the required college hours to qualify for even an associate degree, but she can’t leave the job. The only thing keeping Britophile Anny sane is her daily dream of one day winning the lottery and moving her family to an old English castle. However her weekly daydreams come to a halt when not only does she encounter her real-life Prince William, but Emily decides to make a return appearance after a nearly six year absence. Ultimately, Anglofile is the story of a girl too wrapped up in a culture that’s not hers to notice what's happening in the one that is.

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47

Engdahl, Erica. "”När man själv rasar,var finns nåden?” : Analys av Stella Björk i Johanna Nilssons Rebell med frusna fötter i förhållande till den typiska chick lit-karaktären". Thesis, Högskolan Dalarna, Litteraturvetenskap, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:du-4782.

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Denna uppsats syfte är en tematisk jämförelse mellan Johanna Nilssons Rebell med frusna fötter och Helen Fieldings Bridget Jones’s Diary beträffande huvudkaraktärerna för att komma fram till hur felplacerad Stella Björk skulle vara i en chick lit-berättelse. Jag använder Bridget som representativ för en typisk huvudkaraktär i chick lit då det är vid publiceringen av Bridget Jones’s Diary forskarna anser att chick lit föddes. Vid en tematisk jämförelse mellan Stella och Bridget där miljö- och karaktärsbeskrivning och även karaktärsutveckling avhandlas blir resultatet att dessa två fiktiva kvinnor är lika på många sätt men det finns skillnader. Karaktärernas komplexitet är en stor skillnad, då Stella är en mer komplex karaktär än Bridget. De funderar mycket båda två men över olika ämnen. En sista stor skillnad är att Bridget tänker på hur hennes egen kropp ser ut medan Stella funderar mer över hur hemska andra människors kroppsliga ideal är.

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48

D'Anjou, Catherine. "Chick lit : l'ironie comme prise de parole métaféministe dans "Soutien-gorge rose et veston noir, Gin tonic et concombre et Volte-face et malaises" de Rafaële Germain". Master's thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/33258.

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Le présent mémoire s’emploie à analyser la manière dont l’ironie supporte dans les trois romans de Rafaële Germain (Soutien-gorge rose et veston noir, Gin tonic et concombre et Volte-face et malaises) une parole métaféministe, soit un féminisme actualisé, en continuité avec les luttes passées et qui s’intègre à l’écriture plutôt que d’en être le motif. Il est vrai, ces romans, comme toute bonne série de chick lit, ont d’abord pour objectif de divertir leurs lecteur·rice·s. Fidèles au genre, l’alcool, les conquêtes et les relations amoureuses tordues s’y côtoient. Il n’en demeure pas moins qu’omettre d’interroger ces textes en raison de leur côté rose bonbon consisterait en une erreur : les sourires qu’ils provoquent sont souvent annonciateurs de l’ironie qui s’y terre. Ce qui n’est pas anodin puisque l’ironie, comme le constate Lucie Joubert, recèle souvent un potentiel dénonciateur. Ainsi, malgré ce que les préjugés entourant ce genre associé à la littérature de grande consommation laissent supposer, il ne se cache pas seulement une douce étourderie sous ces premières de couverture colorées. En prenant principalement en compte les relations interpersonnelles que les différentes héroïnes entretiennent avec leur entourage, c’est-à-dire avec leur mère, leur père, leurs ami·e·s, et leurs amoureux, ce mémoire exposera que l’ironie joue en quelque sorte un rôle de gardien qui les prémunit contre certaines constructions sociales particulièrement coriaces (par exemple qu’une femme doit absolument partager sa vie avec un homme, peu importe lequel, pour espérer être heureuse). Sans sombrer dans un optimiste débonnaire, puisque la chick lit reconduit, il faut en convenir, plusieurs stéréotypes de genre associés au féminin et au masculin, en même temps qu’un discours hétéronormatif restreignant, cette analyse démontrera que l’ironie permet aux romans de s’inscrire dans une trajectoire métaféministe, tout en prenant çà et là du recul vis-à-vis des discours plus conservateurs.
This thesis aims to analyze the ways in which irony supports a metafeministic voice, a contemporary feminism, in continuity with past struggles, which is integrated into the writing rather than being the motive in Rafaële Germain's novels (Soutien-gorge rose et veston noir, Gin tonic et concombre et Volte-face et malaises). Certainly, these novels, like any good series of chick lit, are primarily intended to entertain their readers. True to the genre, alcohol, conquests and twisted relationships rub shoulders. Nevertheless, omitting to analyze these texts due to their rosy-candy nature would be a mistake: the smiles they induce often herald the irony within these words. As observed by Lucie Joubert, this is not trivial since irony often conceals a potential whistleblower. Thus, despite the prejudices surrounding this genre associated with mass-consumption literature, look beyond the giddiness of their colorful covers. By mainly considering the interpersonal relationships that the various heroines have with their entourage, that is their mother, father, friends, lovers, this thesis sheds light on how irony plays, in a way, the role of a guard that protects them against certain particularly stubborn social conceptions. (For example, that a woman must absolutely share her life with a man, any man, if she wishes to be happy.) Always without indulging into a debonair optimism since the chick lit perpetuates many gender stereotypes associated to both, women and men – simultaneously a restrictive heteronormative speech – this analysis will demonstrate that irony allows novels to be part of a metafeminist trajectory, and take a step back, here and there, towards more conservative speeches.

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49

Jonsson, Ida. "Petticoats or Miniskirts: A Comparative Analysis of Feminine Narration in Pride and Prejudice and Bridget Jones's Diary". Thesis, Stockholms universitet, Engelska institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-164773.

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Abstract Both Pride and Prejudice (Jane Austen) and Bridget Jones’s Diary (Helen Fielding) have been thoroughly examined by literary critics. When discussed from a feminist perspective, critics are ambiguous as some claim that the novels work against feminist values rather than the reverse. This essay aims to add to the existing discussion, with focus on narration, specifically the narrative authority heroines Elizabeth and Bridget claim. Thus, it is situated within feminist narratology, examining the discourse of the narrative rather than the story. Analysis is conducted with Alison Case’s concept feminine narration, where women traditionally have been narrative witnesses without authority. Through acts of plotting and preaching, authority is claimed by which the narrator can control the meaning the reader is meant to derive from the narrative. I argue that Elizabeth and Bridget both assert narrative authority throughout their stories, thus breaking gendered conventions by claiming agency in traditionally male positions. Additionally, the comparative analysis enables discussion on “Chick lit” literary status, which has been questioned by critics. Analysis shows that both Elizabeth and Bridget assert narrative authority throughout their stories, by acts of plotting and preaching. Often, both heroines meet male characters attempting to usurp narrative authority by assuming the role of master-narrator, a figure who traditionally possesses more authority. By avoiding these attempts, Elizabeth and Bridget escape the position as narrative witnesses and claim authority, thus directing the readers towards the intended meaning of respective narratives. Furthermore, the comparative analysis opens up for a broader discussion of issues women have faced, and continue to face, throughout time.

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50

Folie, Sandra. "Frauenliteratur". Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-219444.

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Frauenliteratur ist ein gattungs- und epochenübergreifend verwendeter Sammelbegriff für die Literatur von/für/über Frauen. Die Definition erfolgt im Gegensatz zur unmarkierten ("Männer"-)Literatur über das Geschlecht der Autor_innen, Leser_innen und Protagonist_innen. Feministische Literaturwissenschaftler_innen haben der Homogenisierung und Marginalisierung der Literatur von oder für Frauen Strategien wie Sichtbarmachung (Frauenliteraturlexika/-geschichten) und Resignifikation ("Neue Frauenliteratur") entgegengesetzt.

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