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1
Shea, Colleen Erin. « "Author of Prodigies" : representing the female letter-writer in English Renaissance literature ». Kingston, Ont. : [s.n.], 2008. http://hdl.handle.net/1974/1628.
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Murphy, Katharine Anne. « Pio Baroja and English literature : a comparative approach to the novels ». Thesis, University of Exeter, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267209.
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Cottle, Brent. « Superfluous absence : The secret life of the author in twentieth-century literature and film ». Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/279822.
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Superfluous Absence examines how writers of fictional narratives imagine readers that might read their texts and use these imagined readers--and the voices they represent--as leavening agents for the fictions they produce. In this theory, writers do not appeal to these readers except as they function as language and its desire to be decoded--as they function as language's desire for itself. Ultimately, the texts of fiction reach real-life readers and Superfluous Absence traces how authors struggle with the leavening agent of the reader's voice when the reader's voice becomes an actual social presence in an actual historical moment. This struggle consists of writers trying to preserve a non-space, and readers try to turn this non-space into praxis and presence. In Superfluous Absence I trace this struggle in James Joyce's Finnegan's Wake, Samuel Beckett's trilogy of Molloy, Malone Dies, The Unnamable and Stephen King's Misery . I also explore what happens to this reading desire when it is translated into a visual format, as is so often the case in the twentieth-century when literature is adapted into film. The test case is Stanley Kubrick's 2001: A Space Odyssey, an appropriate choice as it is a movie that tries to eradicate the linguistic in favor of the purely visual. Finally, this project is not just an objective charting of the various locations and non-locations of the writer's voice in twentieth-century fiction and film, but is also a very subjective attempt on the part of this writer to understand the presence or non-presence of his authorial voice in acts of fiction. Therefore, the author of this dissertation frequently writes autobiographically and frequently turns his critical voice into the voice of fictional narration.
4
Weiss, Katherine. « The Plays of Samuel Beckett : Author Meets the Critics ». Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/2254.
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Brunning, Jane. « Wandering between two worlds : Schopenhauer's pessimism, Feuerbach's optimism, and the quest for salvation in George Eliot and Thomas Hardy ». Thesis, University of Central Lancashire, 2008. http://clok.uclan.ac.uk/18391/.
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This thesis examines George Eliot's novel Middlemarch (1872) and Thomas Hardy's Jude the Obscure (1896) in the context of the philosophical quest for salvation in a secularising nineteenth century. This is a quest which retains an exalted ideal of human self-realisation, and foregrounds an ethical basis to the relationship between self and the world, individual and society. In the struggle between the potential for seeing the human as a reduced and ephemeral being, condemned to wander without object or value in an essentially purposeless world, and the quest for a still-transcendent vision of human possibility and a progressive future, pessimistic and optimistic visions of human place and the world are central. Fiction and non-fictional literature of the period interrogate the questions of human place, ethics, and destiny in both individual and social terms, and the role of philosophy in offering an alternative to religious constructions of the world is key for both Eliot and Hardy. Arthur Schopenhauer's pessimism is often recognised as having been influential on Hardy's work, while Ludwig Feuerbach's optimism is noted as having influenced Eliot. These two philosophies will be examined in detail, and measured against their value of and accessibility for ordinary existential human individuals in the world. This thesis makes an original contribution to current thinking by showing the extent to which Eliot's Middlemarch and Hardy's Jude develop dynamic relationships with both Schopenhauer's and Feuerbach's philosophical constructions of the world. This thesis shows that questions of optimism and pessimism rely on a complex set of relations, both in these two novels and in the philosophies of Schopeithauer and Feuerbach themselves, which belie previous critical tendencies to place all four writers in a polarised "pessimistic" or "optimistic" position, and reveals that both novels develop nuanced engagements with both pessimistic and optimistic visions of ethical salvation.
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Schneider, Molly B. « Naming the Author : Incorporating Theory into Classroom Practice ». Miami University Honors Theses / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1177680826.
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Lavin, Matthew Josef. « Collaborative momentum : the author and the middle man in U.S. literature and culture ». Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/1352.
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In the frame introduction to Willa Cather's My Ántonia (1918), an unnamed author encounters her childhood friend Jim Burden on a cross-country train. Jim asks the author why she has never written anything about their mutual friend Ántonia. To answer Jim's criticism, she proposes they both write stories about Ántonia, but only Jim honors the agreement. The rest of the novel is put forth as Jim's manuscript "substantially" as he brought it to the author (xii). This scenario is but one of several ways My Ántonia evokes Cather's experience ghostwriting S.S. McClure's My Autobiography (1914) for, just as the authorial voice in My Ántonia dissolves into Jim's, Cather had to adopt McClure's perspective to write her former employer's life story. Going further, Cather worked closely with her book editor Ferris Greenslet and the production editor R.L. Scaife to be sure Houghton Mifflin would paginate the introduction with roman numerals and thereby produce the effect of a true authorial preface. The introduction recalls the preface of McClure's autobiography, which acknowledged Cather for "cooperation" that contributed to "the very existence" of his book.
Interpreting My Ántonia and My Autobiography as projects connected by authorial process, textual allusion, and even typesetting suggests the complicated and elusive nature of collaborative labor in the literary marketplace, as well as the extent to which modern literary texts responded to those complexities. Working on a task or project with a partner or in a group can frustrate, energize or empower those involved, but whatever feelings it inspires, interactive labor often has a life of its own. This is the idea of collaborative momentum. My dissertation examines relationships among authors, agents, editors, publishers, and unofficial "middle men" to argue that supportive and adversarial cycles of interactive labor in the modern American literary marketplace created the basic parameters of modern authorship. I show that as professional specialization becomes more rigid and institutionalized, the literary field paradoxically created new spaces for nebulous but crucial cooperative labor. In particular, the effect I call collaborative momentum facilitated the exchange of economic and symbolic capital. Additionally, I show that narratives of the modern period are inextricably invested in corporate and institutional labor systems that surround them and can be interpreted as rhetorical attempts to reform and improve those systems.
By analyzing the author's cultural identity in relation to rising institutional collaborators of the modern era, I contribute to the steadily growing field of authorship studies while adding to ongoing scholarly conversations about individual authors and texts. My chapters analyze the systemic production of literary identity, reciprocal relationships between editors and authors, the modern apparatus of literary debut, and the role bibliophilia and book collecting played in the production of The New Negro. I therefore highlight four paradigmatic examples of interactive labor while simultaneously emphasizing that collaborative momentum as I describe it was crucial not only to those with privilege but also to individuals and groups struggling against inequality, whether it was Salish novelist D'Arcy McNickle, Alain LeRoy Locke, or self-employed literary agent Flora May Holly. My work helps scholars see a power structure that granted disproportionate credibility to white men as literary creators and publishing industry insiders, yet it also shows a modern American literary culture shaped as much by the experience of marginalized individuals and groups negotiating a discriminatory publishing industry as it was by aesthetic contests between popular fiction and high modernism.
My first chapter, Character, Personality, and the Editor Figure: William Dean Howells and the Institution of Image-Building establishes that the same cultural logic that allowed Samuel Clemens to develop a public persona as a fictional character also empowered William Dean Howells to create his literary identity as the nation's foremost editor figure. Further, I argue that image-building was a collaborative affair; Howells and many others helped define Mark Twain, and countless authors and critics came to define Howells as the Dean of American Letters in the 1890s and as America's "pious old maid" after his death in 1920. I argue that Howells' persona-work extends to his novel A Hazard of New Fortunes (1890). The main characters--co-founders of a fictional literary magazine--have contrasting identities: one is ostentatious but lacks substance; the other is so unsure he hardly has an identity. Labor crises at the magazine and in the city streets gesture at the problematic nature of a personality-driven culture that had come to define selfhood without emphasizing a moral or ethical element.
In chapter two, "Reciprocity and the `Real' Author: Willa Cather as S.S. McClure's Ghostwriter," I trace a cycle of debt--monetary and symbolic--from McClure's rise as magazine editor to a moment of financial crisis in 1912 that led his corporate board to oust him from his own magazine. To pay off his debts, he asked Willa Cather to author his autobiography. I read the ghostwriting project as an example of how mutual debt is generative, for Cather accepted the role out of personal loyalty and took no money for her work. Cather's fictional works, including My Ántonia and The Professor's House (1925), engage with the cycle of debt and indebtedness and imagine a narrative exchange unclouded by any question of money but tied, instead, to a dream of self-sacrificing friendship. My article "It's Mr. Reynolds Who Wishes It: Profit and Prestige Shared by Cather and Her Literary Agent," in Cather Studies Volume 9, "Willa Cather and Modern Cultures," draws on material from this chapter.
My third chapter, "Discovery of the Month: D'Arcy McNickle and the Apparatus of Literary Debut" takes up as its interpretive focus changing institutions of literary career-launching. My approach brings together two scholarly conversations, one preoccupied with McNickle's refinement of his perception of Native cultures and the other, informed by a history of the book methodology, concerned with the cultural systems that codified twentieth-century authorial identity and credibility. McNickle is an important example of how institutions of discovery functioned. The exceptional aspects of McNickle's story--the nine-year duration of his effort to publish his first book, his outsider identity, and the number of avenues he tried in order to become established make him an ideal example. To better understand McNickle's relationship with literary agent Ruth Rae, I frame my analysis with the story of the literary agent's rise as an integral figure in literary debut. Turning to McNickle's fiction in the second part of this chapter, I analyze his The Surrounded as a reaction to cultural institutions of literary discovery. McNickle narrates the tragedy of failed mediation and gestures at an alternative model of interaction. He embeds this thematic exploration in his allusions to the Salish oral tradition, so that the text itself mediates an experience of cultural discovery.
Chapter four, "Irrepressible Anthologies, Collectible: Bibliophilia and Book Collecting in the New Negro," continues my analysis of the literary middle man's collision with American modernity by tracing the intersection of anthology, book collecting, and bibliophilia as they pertain to The New Negro's book design, artistic form, and multi-generic content. While recent studies have linked the anthology to Boazian ethnography and modernist collage, I provide a more immediate reading of the philosophies of collecting inherent to modern and African American print cultures. I read The New Negro as a book production process structured by efforts to produce an object worthy of being collected. My also analyzes of how the anthology's book design interacts with the positions on materiality and collecting at play in its collected prose and poetry. This case study of the creator-intermediary as collector historicizes modern book collecting and appreciates African American bibliophiles as an alternative to the dominant white American and European book collecting traditions. Appreciating these distinctions suggests, ultimately, that a significant aspect of the exchange of economic and symbolic capital in the modern age was to mediate a contested present day by refashioning ideas about the past.
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Hudson, Elaine C. « Writing the author : Sylvia Plath, Henry James, Virginia Woolf and the biographical novel ». Thesis, University of Nottingham, 2015. http://eprints.nottingham.ac.uk/30403/.
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This thesis explores the effect produced when contemporary novelists write about fellow authors. Since the mid-1990s, the biographical novel, which fictionalises the lives of real-life historical authors, has become an increasingly popular literary genre in Britain and the United States. This contemporary exploration of authorial subjectivity, viewed here through the lens of life-writing, provides a reengagement with debates surrounding the crisis of the author-figure (exemplified by Roland Barthes), and the unreliability of biography as a discourse of subjectivity at the turn of the twenty-first century. Through its inherent self-reflexivity (with its exposure of both the author-biographer alongside the author-subject), I consider how the biographical novel succeeds in reconciling the author-figure with the literary text in new ways. While critical interest in the biographical novel has tended to focus on a limited number of texts, little attention has been paid to their status as an emergent sub-genre of life-writing. Through the exemplary figures of Sylvia Plath, Henry James and Virginia Woolf and their corresponding biographical novels, I draw together a core body of texts to demonstrate their unity as a literary form. With an emphasis upon the role of life-writing in the construction of authorial subjectivity, I consider how each of the three author-subjects have cultivated — and been cultivated by — particular recurrent motifs: firstly through their own texts (whether fictional or biographical), then as they become manifest once again in the writing of the contemporary biographical novelists. Modernist developments in biographical modes, particularly Woolf's revision of the relationship between the biographer and his or her subject, provide both context for the biographical novel, and a rich framework upon which to build contemporary forms of life-writing and authorial subjectivity. Taking these as a starting point through which to view the 'author question', my thesis reveals how the genre of the biographical novel offers a redefinition of both the author as a multiple, progressive and changing figure, and a highlighting how the reinterpretation of life-writing in fictional form both enhances and supports the future of biography and autobiography as an equally evolutionary form.
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Madrinkian, Michael Alex. « Producing 'Piers Plowman' to 1475 : author, scribe, and reader ». Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:1d0f9bd5-04d8-4edd-bccb-2f95b403165e.
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My doctoral thesis, "Producing Piers Plowman to 1475: Author, Scribe, and Reader," charts a new material history of William Langland's fourteenth-century dream vision, Piers Plowman, from its earliest composition to the onset of print in England. The study is divided into three sections, which examine the production of Piers from three perspectives: textual history, manuscript circulation, and medieval reception. The first section of the thesis conducts a study of Langland's revisionary process, presenting a new theory of authorial revision from the A to B version that has important implications for our understanding of authorship in Piers Plowman and for the future editing of the poem. The second section transitions into an examination of the early circulation of the Piers manuscripts in various geographical and social milieux. It examines two case studies of manuscript circulation in the Southwest Midlands and East Anglia, linking them to regionalized networks of scribes and patrons. Finally, Section III moves into a discussion of the literary contexts in which Piers circulates, particularly in multi-text manuscripts, examining how the poem's reception by a medieval audience affected its development as a literary text. This section treats production from a more theoretical standpoint, investigating the relationship between the poem's audience and the "production" of meaning in a social and historical context. As I will argue, each of these sections acts as an important frame of reference for understanding the multifaceted formation of Piers Plowman as a literary text and cultural landmark. In particular, the thesis emphasizes the importance of Piers's various contexts, from its textual genesis in the author's composition and revision to its circulation and reception in an unstable manuscript culture. It suggests that the people and the places that surrounded Piers Plowman in its early development fundamentally shaped the poem we have today.
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Rutter, John. « The only voice : a creative and critical exploration of the modern short story in context, and the emergence of the author as an essential force ». Thesis, Edge Hill University, 2017. http://repository.edgehill.ac.uk/9963/.
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Greene, Justin R. « I Am an Author : Performing Authorship in Literary Culture ». VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5346.
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Authorship is not merely an act of putting pen to paper or fingers to keyboard; it is a social identity performance that includes the use of multiple media. Authors must be hyper- visible to cut through the dearth of information, entertainment options, and personae vying for attention in our supersaturated media environment. As they enter the literary world, writers consciously create characters and narratives around themselves, and through the consistent and believable enactment of these features, authors are born. In this dissertation, I analyze the performance of authorship in U.S. literary culture through an interdisciplinary framework. My work pulls from authorship studies, performance studies, celebrity/persona studies, and sociological studies of art to uncover how writers create and disseminate their authorial identities. The writers used in this project embody four types of authorial identity: Jonathan Franzen as the professional artist, David Foster Wallace as the Romantic genius, Tao Lin as the digital eccentric, and Roxane Gay as the Intersectional Feminist. These writers flirt with popular recognition, but they remain tied firmly to the serious, or in a Bourdieuvian sense, restricted area of cultural production. As my case studies progress, I highlight how print, audio/visual, and digital media are used or not used by these writers as sites for their performances. I claim that as writers develop their characters on such digital platforms as Twitter and Tumblr that they are more accepting of the validity of digital authorship. However, this acceptance is diminished by the dominant role print media have in the conceptions of authorship. The varying ways literary tradition, media, and celebrity intersect are brought to the forefront in these examples, shedding light on the need for larger conceptions of authorship in the literary world. My interpretation of authorship as social identity performance broadens a relatively restrictive and, in many ways, stagnant area, adding nuance to how literary culture actively works to maintain and dilute the value of one of its most prominent features.
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Mayerchak, Justin Philip. « Kurt Vonnegut Jr. Confronts the Death of the Author ». FIU Digital Commons, 2016. http://digitalcommons.fiu.edu/etd/2440.
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Kurt Vonnegut Jr.’s literary style transforms from his first novel, "Player’s Piano" (1952), to his final book, "Timequake" (1997). Most of his novels adhere to a similar style – the narrators face a puzzling societal fault that is exaggerated in their dystopian societies, which hides Vonnegut’s humanistic leanings.
This thesis, however, focuses on Vonnegut’s authorial identity, his use of the alter ego, and eventual entrance into the novel. His authorial role challenges the literary theory expressed in “The Death of the Author”(1967) by Roland Barthes and further discussed in “What is an Author”(1969) by Michel Foucault. Barthes explains an author metaphorically dies after his book is published and Foucault questions the author’s role and importance to his novel.
Vonnegut juxtaposes fictional and nonfictional material whereby his character is paramount to his work. Therefore, Vonnegut challenges Barthes and Foucault’s notion that an author restricts his work; rather, Vonnegut’s identity empowers his novels.
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Garrett, Richard Lee. « Medieval anxieties : translation and authorial self-representation in the vernacular beast fable ». Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/967.
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Baker, Marianne Lind. « Humphry Davy : Science, Authorship, and the Changing Romantic ». BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2647.
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In the mid to late 1700s, men of letters became more and more interested in the natural world. From studies in astronomy to biology, chemistry, and medicine, these "philosophers" pioneered what would become our current scientific categories. While the significance of their contributions to these fields has been widely appreciated historically, the interconnection between these men and their literary counterparts has not. A study of the "Romantic man of science" reveals how much that figure has in common with the traditional "Romantic" literary figure embodied by poets like William Wordsworth and Samuel Taylor Coleridge. This thesis interrogates connections between Romantic literature and science by examining the figure of the "Romantic" author. In his 1969 essay "What is an Author?" Foucault called into question the way we think about authorship. Foucault states that before the late eighteenth-century, what we call "literary" texts "were accepted, put into circulation and valorized without any question about the identity of the author" (108). Simultaneously, scientific texts "were accepted in the Middle Ages, [. . .] only when marked with the name of their author" (109). Foucault argues that norms of authorship underwent a reversal in the eighteenth century. The result of this shift is that "literary discourses came to be accepted only when endowed with the author function" while in the sciences, the author function faded away (109). A case study of the scientist Humphry Davy disrupts Foucault's suggestion that a total reversal in the workings of the author function was achieved by the Romantic period. I argue that Davy is an exception to Foucault's history of authorship and that Davy's authorial identity in the sciences as "the public man of science" is equal to the author function of literary figures of the same period. Davy pioneered the "public man of science," a figure who corresponds nearly perfectly with the emerging figure of the "author" in the literary sphere. Ultimately we see Davy as a figure who embodies and reconstructs the "Romantic I" and requires us to reconsider the category of scientific authorship and the figure of the scientist as author.
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Safran, Morri. « "Unsex'd" texts : history, hypertext and romantic women writers / ». Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3026209.
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Dawson, Sian. « A lost legacy : a critical assessment and catalogue of the illustrated work of Ernest Aris : Alfred Ernest Walter George Aris (22 April, 1882-1963) children's author, illustrator and commercial artist ». Thesis, Cardiff University, 2011. http://orca.cf.ac.uk/19515/.
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Ernest Alfred Walter George Aris FZS, SGA, (1882-1963) was born in Islington and moved to Bradford where he spent his formative years and attained a diploma at the Bradford Technical College of Fine Art in 1900. Aris was a professionally trained commercial artist, author, and prolific illustrator of 170 children’s and natural history books. He also illustrated over 250 books for other authors, including Enid Blyton, Beatrix Potter, and May Byron, as well as contributing to a number of leading periodicals, magazines and newspapers. Aris was not a member of any of the active artists’ clubs or societies and was possibly shunned by his contemporaries and peers, who considered him unoriginal and an unscrupulous opportunist. Volume I of this thesis seeks to examine these suggestions and assesses why Aris’s name, despite his significant output, has remained relatively anonymous and why much of his legacy appears to have been unidentified, overlooked or forgotten. Chapter 1 discusses the historical influences of anthropomorphism on Aris’s style and those of his immediate predecessors. I have categorised Aris’s books into three periods for this appraisal and examined his technical attributes and qualities, together with his trademark features and characteristics, with the purpose of identifying what makes Aris’s creative design instantly recognisable and his output of illustration so distinctive. Chapter 2 discusses Aris’s relationship with the children’s author and illustrator, Beatrix Potter. Aris holds a unique place in history in that he was commissioned by Beatrix Potter to provide illustrations for her book and was the only artist with whom she seriously contemplated a professional working partnership (1916). However, Frederick Warne and Beatrix Potter later accused Aris of plagiarism and of exploiting any opportunity to achieve a commercial advantage. There is an argument to suggest that Aris’s affiliation with Potter and the allegations of plagiarism had a significant impact on his long term reputation and was possibly the reason for adopting the pseudonym Robin A. Hood. Chapter 3 examines the creative scope and features of Aris’s prestigious commercial partnerships. These start from the beginning of his professional career at the turn of the twentieth century, which coincided with the technical development and advancement of the colour picture postcard. Aris was at the forefront of this revolution, designing several series of comic and humorous postcards for leading printers that are now associated with and representative of a bygone era. In 1915 Aris was commissioned to design six tram posters, which were selected by Frank Pick at London Transport, as part of the National Collection of Posters. Pick single handedly revolutionised poster art in Britain and was responsible for establishing the national collection, where these posters now reside and have remained forgotten and out of sight for the last century. In the 1920s the trend for collecting novelty cigarette cards enabled Aris to produce a number of outstanding natural history designs as well as the infamous Frisky series, where his mischievous sense of humour is much evident in his trademark characters. Perhaps Aris’s final and greatest legacy, however, lies in the legendary Cococubs campaign for Bournville Children’s Cocoa, which was described as ‘one of the cleverest publicity schemes of the year.’1 The success of the advertising campaign meant demand outstripped supply of the product, as youngsters eagerly sought the ‘free toy in every tin’ promotional figurines that Aris designed (1934-1936). Volume II of this thesis comprises of a unique catalogue of Aris’s creative output over fifty years and spans a range of commercial fields of art. The catalogue is divided into four parts. Part one consists of Aris’s literary publications, with a detailed bibliographic record and image of the cover of each book that he wrote and illustrated under his own name and pseudonyms, as well as prominent books Aris illustrated for other eminent authors and a compendium list of books Aris illustrated for authors and other publications. Part two is a record of Aris’s commercial work, including the early series of pictorial postcards that he completed for leading quality publishers at the start of his career (1904-1909) and the six pictorial natural history posters, which Aris was commissioned to undertake for the London Transport tram system (1915). Part three comprises of Aris’s collectables and contains the four unique series of cigarette cards that Aris designed for leading tobacco manufacturers (issued 1929-1935). Part four includes a comprehensive description of each of the limited editions and subtle colour variants of the Cococub lead figurines inserted into Bournville Children’s Cocoa (1934-1936). The aim of the thesis is to justify why I believe Aris deserves further merit for his contribution within the field of illustration and commercial artwork. I have sought to highlight the factors that make his contribution and the success of his creative designs within these different fields so significant. 1 The Grocery and the Provision Merchant Journal, November 1934, p. 276.
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Rex, Cathy Wyss Hilary E. « Indianness and womanhood textualizing the female American self / ». Auburn, Ala, 2008. http://repo.lib.auburn.edu/EtdRoot/2008/SUMMER/English/Dissertation/Rex_Cathy_12.pdf.
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Loman, Lilia. « Suicide-authors : a deconstructive study ». Thesis, University of Nottingham, 2005. http://eprints.nottingham.ac.uk/30977/.
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The purpose of this thesis is to problematize the relationship between suicide and the author. On the basis of a deconstructive approach, it will study the effect of the self-inflicted death of the writer, namely the emergence of a dual figure, the "suicide-author". To deconstruct the suicide-author, this thesis will combine theoretical issues with examples taken from authors who killed themselves, including texts written by the suicides and by their survivors. Such texts will be referred to as "memorial texts" and will constitute a key element in the deconstruction of the figure of the author, namely his/her "posthumous persona". The thesis is divided into two parts. Part I, comprising the first three chapters, will propose an anti-teleological theorizing of suicide, followed by a study of the role of memorial texts in the deconstruction of the figure of the suicide author and a problematizing of Roland Barthes's concept of the "death of the author" in the context of the multiplicity of deaths of the suicide-author. In Chapter Two, the study of memorial texts will be developed in conjunction with analysis of selected examples, such as Yukio Mishima, Mario de Sa-Carneiro, Vladimir Mayakovsky, Sergei Esenin, Raymond Roussel, Walter Benjamin, Anne Sexton, and Virginia Woolf. Also divided into three chapters, Part II is dedicated to an extended analysis of the thesis' case study, namely Sylvia Plath. Rather than focusing on Plath's suicide as an individual unique case, the second part aims at extending and complementing the discussion of the issues previously proposed. Of particular interest is the magnifying of such issues offered by the mythical aura of the Plath case. Chapter Four deals with the "voice of the other", the deconstruction of Plath's image by the living, including both those who had known her in person and the so called "anonymous witnesses" to her suicide, namely critics, journalists, et al. Chapter Five focuses on the "voice of the deceased", as emanating from Plath's writings. Finally, Chapter Six analyses the Plath-Hughes dialogue, with attention to Hughes's particular role in the deconstruction of her posthumous persona.
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Ramgrab, Ana Iris Marques. « Meets Jane Austin : the author as character in contemporary derivative works ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/76218.
Texte intégralRésumé :
A escritora inglesa Jane Austen possui, além do status de autora canônica, um apelo popular não apenas em função de sua qualidade como escritora, mas também pela força imagética de suas obras quando adaptadas para o cinema. Em Amor e Inocência (2007), o diretor Julian Jarrold apresenta um episódio ocorrido na vida da autora, com base em fatos extraídos da biografia Becoming Jane Austen, escrita em 2003 por Jon Spence. O filme explora um possível envolvimento entre a jovem Jane e o estudante irlandês Tom Lefroy. Essa produção, enquanto apresenta o início da carreira da escritora, sugere que o trauma da relação mal sucedida com Lefroy possa ter sido a fonte temática que inspirou sua obra ficcional posterior. Esta dissertação verifica de que forma o filme articula as questões históricas sobre a vida de Austen com as situações ficcionais apresentadas em seus romances para chegar a um produto final tão coeso e verossímil, embora ficcional. Especial atenção é dada ao estudo da construção da personagem protagonista, que resulta da combinação entre o conteúdo imagético das obras de Austen e os elementos biográficos pesquisados por Spence. Além dessas fusões, há ainda que ser considerado o ícone Jane Austen, que habita o imaginário dos ingleses e dos leitores pelo mundo afora. Na evolução das adaptações fílmicas das obras de Austen testemunhamos a fusão entre as personagens e a própria autora, especialmente no caso de Elizabeth Bennet, em Orgulho e Preconceito (1813). Para realizar esta análise, lanço mão dos conceitos de adaptação e apropriação propostos por Linda Hutcheon, e do conceito de metaficção historiográfica estabelecido pela mesma autora em A Poetics of Postmodernism: History, Theory, Fiction (1988). Ao término do trabalho, espero que esta discussão investigativa e argumentativa seja útil em três aspectos: contribuindo para o debate sobre autores usados como personagens na ficção derivativa contemporânea; identificando certas necessidades culturais que subjazem ao culto do ícone Jane Austen, conhecido como Austenmania; e verificando até que ponto o conceito de metaficção historiográfica dá conta de propostas narrativas em que a personagem histórica retratada é também uma escritora.Jane Austen enjoys more than the status of canonical author: she is also popular not only because of her achievements as a writer but also for the cinematic appeal of her novels. In Becoming Jane (2007), director Julian Jarrold presents the story of Jane Austen from an episode occurred early in the author’s life. Based on facts extracted from Jon Spence’s biography Becoming Jane Austen (2003), the film explores a supposed relationship between young Jane and an Irish Law student, Tom Lefroy. In Becoming Jane we witness the beginning of Austen’s writing career, and the film speculates that the trauma of a failed relationship with Lefroy was the inspiration for Austen’s mature novels. This work verifies the ways in which the film articulates the historical aspects of Jane Austen’s life with fictional events as presented in her novels to reach a cohesive and credible – although fictional – result. Special attention is paid to the process of constructing a fictional Jane as main character, combining the images contained in her novels with the biographical elements presented by Spence; it is also considered in this analysis the evolving nature of Jane Austen as an icon that inhabits not only the English imaginary but also that of readers all over the world. In the evolution of Austen filmic adaptations, we witness a fusion between her characters and the author herself, especially Elizabeth Bennet from Pride and Prejudice (1813), which adds to the intertextual layers of any film analysis. To deal with the questions of film adaptations, I refer to the concepts of adaptation and appropriation as posed by theoretician Linda Hutcheon. For the specific analysis of the phenomenon of author as character, I turn again to Linda Hutcheon and the concept of historiographic metafiction presented in A Poetics of Postmodernism: History, Theory, Fiction (1988). I hope, by the end of this thesis, that this investigative and argumentative analysis is helpful in three instances: contributing to the discussion of the use of authors as characters in contemporary fiction, be it filmic or literary; identifying the cultural needs of readers and critics that perpetuate the cult of Jane Austen, known as Austenmania; and verifying to what extent historiographic metafiction alone is enough to deal with narratives in which the historical character portrayed is also a writer.
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Baverstock, Alison Mary. « How books became less 'different' : an exploration of the rise of marketing within the publishing industry 1980-2010, and consideration of how this not only changed the business model, but impacted on the role of the author : with consideration of the likely associated implications of these developments in future ». Thesis, Oxford Brookes University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.564133.
Texte intégral
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Mazhar, Syeda Faiqa. « A study of the theme of borderland in Nadine Gordimer's fiction ». Thesis, University of Bedfordshire, 2007. http://hdl.handle.net/10547/134375.
Texte intégralRésumé :
This doctoral project is an analytical study of South African writer, Nadine Gordimer's fiction produced from 1949 to 1994. She presents a theme similar to the post-colonial critic, Homi Bhabha's notion of borderland which he propounds as a place of creativity and cultural hybridity in his work The Location of Culture (1994). The "borderland" in Gordimer's fiction acts as a liminal space and becomes a connective tissue in her characters' lives. It emerges in the form of crossing physical frontiers and mental barriers which existed in South African society. Through moments of transition, Gordimer makes her characters aware of a liberal person's marginal position, between the reactionary colonial past and the "inbetween-ness" of the borderland in radical future of South Africa. Along with this introductory background, Chapter One establishes the dual working of physical and psychological processes through which Gordimer develops the theme of "borderland" in her fiction. The subsequent three chapters focus on the variety in the presentation of "borderland" encounters in her fiction written before and after Sharpeville (1960). The thesis concludes that the dual development of physical and psychological processes is a central narrative strategy which determines a link between chronology and the presentation of "borderland" in Gordimer's fiction.
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Head, Dominic John. « The modernist short story : theory and practice in five authors ». Thesis, University of Warwick, 1989. http://wrap.warwick.ac.uk/106470/.
Texte intégralRésumé :
I am proposing a connection between the generic capacities of the short story and the way in which writers have depicted their social world, a connection which stems from a special kind of literary experience relevant to readers, as well as to writers, of short stories. LP. Hartley, discussing the status of the short story in the sixties, noted how readers were apt to 'devour them singly on a news sheet' but would be disinclined to read them in collections. The reason for this was (and is) the 'unusual concentration’ the genre demands, a concentration which permits no respite in a series of short stories because '"starting and stopping” exhausts the reader's attention just as starting and stopping uses up the petrol In a car'.* Hartley's yardstick was the comparatively favourable fate of the novel, and this same comparison - novel versus short story — has proved pervasive in short story criticism, as we shall see. The main point here, however, is Hartley's emphasis on a unique kind of attention demanded by the short story. Susan Lohafer writes that short stories 'put us through something — reality warp is the shorthand for it', and this may be the best shorthand definition we can come up with, indicating as it does two key elements of the short story: its intensity and its exaggerated artifice.
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Spencer, Lynda Gichanda. « Writing women in Uganda and South Africa : emerging writers from post-repressive regimes ». Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86251.
Texte intégralRésumé :
Thesis (PhD)--Stellenbosch University, 2014.ENGLISH ABSTRACT: The thesis examines how women writers from Uganda and South Africa simultaneously offer a critique of nationalist narratives and articulate a gendered nationalism. My focus will be on the new imaginings of women in and of the nation that are being produced through the narratives of emerging women writers in post-repressive nation-states. I explore the linkages in post-conflict writing by focusing on the literary representations of women and womanhood, while taking into account some of the differences in how these writers write women in these two post-repressive regimes. I read the narratives from these two countries together because, in the last fifty years, both Uganda and South Africa have been through prolonged periods of political repression and instability followed by negotiated transitions to new political dispensations. I use the phrase post-repressive to refer to the post-civil war era after 1986 in Uganda and the post-apartheid period subsequent to the 1994 first democratic elections in South Africa. From the late 1990s, there has been a steady increase in fiction written by emerging women writers in Uganda and South Africa. The term emerging women writers in the Ugandan literary context refers to the writers who have benefitted from the emergence of FEMRITE Publications, the publishing house of the Ugandan Women Writers’ Association; in the South African setting, I use the term to define black women writers publishing for the first time in a liberated state. The current political climate in both countries has inaugurated a new era for women writers; cracks are widening for these new voices, creating more spaces that allow them to foreground, interrogate, engage and address wide-ranging topics which lacked more forms of expression in the past. This study explores how women writers from Uganda and South Africa attempt to capture women’s experiences in literary texts and seeks to find ways of interpreting how such constructs of female identity in the aftermath of different forms of oppression articulate various signs of rupture and continuation with earlier representations of female experience in these two nation states. There are three core chapters in this thesis. I approach the gendered experience as represented in the fictional narratives of emerging women writers through three different perspectives; namely, war and the aftermath, popular literary genres, and identity markers. In the process, I try to think through the following questions: How are writers reclaiming and re-evaluating women’s participation during the oppressive regimes of civil war in Uganda and apartheid in South Africa? How are women writers rethinking and repositioning the roles of women as they continue to live in patriarchal societies that marginalize and oppress them? To what extent have things changed for women in the aftermath of these oppressive regimes as represented in the texts? What new representations of women are emerging? For whom, and from what positions, are these women writing? Is literary representation a reiteration of political representation that ends up not being effective? What is the relation between literary and political representation? Do these narratives open up alternative avenues for writers to represent women’s interests? How do new female literary representations emerge in different novels such as chick lit and crime fiction?
AFRIKAANSE OPSOMMING: Hierdie proefskrif ondersoek die wyses waarop vroueskrywers uit Uganda en Suid-Afrika krities kyk na nasionalisitiese narratiewe en tegelyk ook na ‘n gendered nasionalisme. Daar word gefokus op die nuwe uitbeeldinge van vroue in en van die nasies wat spruit uit die narratiewe van opkomende vroueskrywers in nasiestate in die post-onderdrukking-tydperk. Deur te fokus op die uitbeeldinge van vroue en vroulikheid word die verbande tussen post-konflik-skryfwerk ondersoek, en word ook rekening gehou met etlike verskille in die wyses waarop vroue deur sodanige skrywers in spesifieke post-onderdrukking-regimes uitgebeeld word. Die narratiewe uit die twee lande word saam gelees, want in die loop van die afgelope vyftig jaar ondervind sowel Uganda as Suid-Afrika langdurige politieke onderdrukking en onbestendigheid, gevolg deur onderhandelde oorgange na nuwe politieke bedelings. Die term post-onderdrukking verwys na die tydperk na 1986 na die burgeroorlog in Uganda en na die post-apartheid-era na afloop van die eerste demokratiese verkiesing in Suid-Afrika in 1994. Sedert die laat-1990’s was daar ‘n geleidelike toename in fiksie deur opkomende vroueskrywers in Uganda en Suid-Afrika. In die Ugandese letterkundige konteks verwys die term opkomende vroueskrywers na skrywers wat gebaat het by die totstandkoming van FEMRITE Publications, die uitgewery van die Ugandese vroueskrywersvereniging; in die Suid-Afrikaanse opset word die term gebruik om swart vroueskrywers te beskryf wat vir die eerste keer in ‘n bevryde land kon publiseer. Die huidige politieke klimaat in albei lande het vir vroueskrywers ‘n nuwe era ingelei; vir sulke vars stemme gaan daar breër barste oop wat hulle toelaat om al hoe meer ruimte te skep waarin wyduiteenlopende onderwerpe, wat in die verlede minder uitdrukkingsgeleenthede geniet het, vooropgestel, ondersoek, betrek en aangespreek kan word. Die proefskrif ondersoek die maniere waarop vroueskrywers uit Uganda en Suid-Afrika die vroulike ervaring in letterkundige geskrifte uitbeeld. Daar word gepoog om te vertolk hoe sodanige konstrukte vroulike identiteit verwoord in die nadraai van verskeie soorte onderdrukking en uiting gee aan verskillende tekens van beide die onderbreking in en die voortsetting van vroeëre uitbeeldinge van die vroulike ervaring in die twee nasiestate. Die proefskrif bevat drie kernhoofstukke. Die gendered ervaring word uit drie afsonderlike hoeke benader soos dit in die narratiewe verteenwoordig word, naamlik: oorlog en die nadraai daarvan; populêre letterkundige genres; en identiteitskenmerke. In die loop daarvan word getrag om die volgende vrae te deurdink: Hoe word vroue se deelname tydens die onderdrukkende regimes van die burgeroorlog in Uganda en apartheid in Suid-Afrika hereien en herwaardeer? Hoe herdink en herposisioneer vroueskrywers tans die rolle van vroue soos hulle steeds in patriargale samelewings voortleef waar hulle opsygeskuif en onderdruk word? In hoe ‘n mate het sake vir vroue verander in die nadraai van die onderdrukking, soos dit in die tekste uitgebeeld word? Watter vars representasies van vroue kom onder die nuwe bedeling tot stand? Vir wie, en uit watter posisies, skryf hierdie vroue tans? Is die letterkundige representasie bloot ‘n herhaling van die politieke representasie, wat dan op niks doeltreffends uitloop nie? Wat is die verhouding tussen politieke en letterkundige representasie? Baan hierdie narratiewe alternatiewe weë oop waar skrywers die belange van vroue kan verteenwoordig? Hoe kom nuwe vroulike letterkundige representasies in verskillende narratiewe vorms soos chick lit en misdaadfiksie voor?
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Reimer, L. Douglas. « Surplus at the border, Mennonite minor literature in English in Canada ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq23655.pdf.
Texte intégral
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Evans, Gareth Ian. « Welsh writing in English : case studies in cultural interaction ». Thesis, Swansea University, 2012. https://cronfa.swan.ac.uk/Record/cronfa42616.
Texte intégralRésumé :
Welsh Writing in English: Case Studies in Cultural Interaction This thesis explores and analyses instances of cultural interaction in the English-language literature of Wales. It explores the encounters that Anglophone Welsh writers have had with non-European territories and cultures, such as the complex textual record of Alun Lewis's experience of 1940s India, Welsh writers' experiences of Australia since the 1960s and Robert Minhinnick's writing about Brazil in the 1990s. It also explores the images and impressions of Llanybri inscribed in the poetry of the Argentine-born modernist poet Lynette Roberts. Using a broad range of theories from the fields of postcolonial studies, travel writing studies and interpretive anthropology, it explores issues such as the construction of cultural difference, the identity politics of cultural assimilation, and the reproduction and subversion of colonial tropes and stereotypes. By examining the diverse ways in which the Welsh have written about their experience of a range of cultures and environments throughout the twentieth century the thesis attempts to uncover hitherto undiscovered territory within the study of Welsh Writing in English.
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Pentolfe-Aegerter, Lindsay Alexandra. « "You have met the woman ; you have struck the rock" : Southern African women's writing as resistance / ». Thesis, Connect to this title online ; UW restricted, 1992. http://hdl.handle.net/1773/9526.
Texte intégral
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Palmer, Beth Lilian. « Strategies of sensation and the transformation of the Press, 1860-1880 : Mary Braddon, Florence Marryat and Ellen Wood, female author-editors, and the sensation phenomenon in mid-Victorian magazine publishing ». Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:30a509c7-2ba3-4477-9d3e-801f61e1b8c1.
Texte intégralRésumé :
This thesis examines the processes of writerly and editorial literary production undertaken by women sensation authors in the 1860s and 1870s. This focus represents a shift from the prevailing critical emphasis on the consumption of sensation fiction to the realm of production and therein allows the thesis to analyse the ways in which sensation operates as a set of rhetorical and linguistic strategies for women writers in the changing publishing conditions of mid-to-late Victorian society. I consider the ways in which sensation is an idiom that permeates all aspects of magazine publishing in this period and demonstrate how it could be adapted and become an empowering discourse for women writers and editors. Furthermore, this thesis sees sensation as an important component in the transformation of the press in the 1860s and 1870s. By analysing the specific ways in which sensational strategies were appropriated and transformed, this thesis reassesses the role of sensation in the creation of women’s writing in the second half of the nineteenth century, and consider its legacies in later ‘New Woman’ writers. I achieve this by examining three women editors, who were part of the transformation of magazine publishing in the period. Mary Elizabeth Braddon (1835-1915), Ellen (Mrs. Henry) Wood (1814-1887), and Florence Marryat (1837-1899) all operated as writers and editors in the mid-to-late nineteenth century. They produced varying types of sensational fiction that they serialised in their own monthly magazines, Belgravia, Argosy, and London Society respectively. Sensation provided a dynamic and flexible means for these women author-editors to assert their status in the context of the expansion of the press in the 1860s and 1870s. I argue that their work invites a more fluid and generous critical definition of sensation.
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Assinder, Semele Jessica Alice. « Greece in British women's writing, 1866-1915 ». Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608061.
Texte intégral
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Barlow, Jenna Elizabeth. « Womens historical fiction after feminism : discursive reconstructions of the Tudors in contemporary literature ». Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86303.
Texte intégralRésumé :
Thesis (PhD)--Stellenbosch University, 2014.ENGLISH ABSTRACT: Historical fiction is a genre in a constant state of flux: since its inception in the nineteenth century, it has been shaped by cultural trends and has persistently responded to the way in which history is popularly conceptualised. As such, historical novels have always revealed as much about the socio-political context of their moment of production as they do about their historical settings. The advent of feminism was among the most significant movements which shaped the evolution of the women’s historical novel in the twentieth century, prompting as it did a radical shift in historiographic methodology. As feminist discourse became embedded in popular culture in the latter decades of the twentieth century, this shift in turn allowed authors of historical fiction the opportunity to reconsider the ways in which women have been traditionally represented in both historical narrative and fiction. The historical novel thus became a site for exploring the female perspective of history, a perspective that had been denied or ignored by more male-centred historical narratives. This dissertation will assess the impact wrought by the popularisation of feminist discourse on the genre of women’s historical fiction during the twentieth and twenty-first centuries. An examination of a selection of contemporary women’s novels set during the Tudor era will prove particularly useful in executing this assessment, not least because of the Tudors’ unprecedented popularity as the focus of literature and film in the last decade. More significantly, the women of this period have proven to be ideal subjects for their authors to imaginatively reconstruct in the mould of third wave feminist icons in the twenty-first century. By examining how Tudor women have been represented in the contemporary historical fiction of Jean Plaidy, Philippa Gregory, Mavis Cheek, Suzannah Dunn and Emily Purdy, this dissertation will demonstrate the ways in which popular feminist discourse has impacted on the development of women’s historical fiction in the last century, focusing specifically on texts published within the last decade. Three key aspects of the genre will be assessed in detail in this regard: the author’s self-conscious feminist intervention in the characterisation of her historical heroines; the shift in the narrative perspective adopted and the deployment of postmodern literary devices; and the representation of female sexuality. The evolution of the genre as a whole will also be examined in some detail, and the shifting parameters of modern feminisms will be interrogated in order to fully understand their manifestations in popular culture.
AFRIKAANSE OPSOMMING: Historiese fiksie is ’n voortdurend veranderende genre: sedert die ontstaan daarvan in die negentiende eeu is dit beïnvloed deur kulturele neigings en het dit aanhoudend bly reageer op die manier waarop die geskiedenis populêr gekonseptualiseer word. As sodanig het historiese romans altyd net soveel oor die sosiopolitieke konteks van hulle produksiemoment as oor hul historiese milieus onthul. Feminisme was een van die betekenisvolste bewegings wat gedurende die twintigste eeu die evolusie van die historiese roman vir vroue sou beïnvloed, en het sodoende aanleiding gegee tot ’n radikale verandering in historiografiese metodologie. Namate feministiese diskoers in die latere dekades van die twintigste eeu deel van die populêre kultuur geword het, het hierdie verandering op sy beurt die skrywers van historiese fiksie die geleentheid gegun om die maniere waarop vroue tradisioneel in sowel historiese narratief as fiksie uitgebeeld is, te heroorweeg. Die historiese roman het dus ’n terrein geword waarop die vroulike perspektief op die geskiedenis verken is, naamlik ’n perspektief wat deur meer manlik-gesentreerde historiese narratiewe ontken of geïgnoreer is. Hierdie verhandeling sal die impak evalueer wat die popularisering van feministiese diskoers op die genre van historiese fiksie vir vroue gemaak het tydens die twintigste en een-en-twintigste eeue. ’n Ondersoek na ’n seleksie van kontemporêre vroueromans wat in die Tudor-tydperk afspeel, is veral nuttig in hierdie verband, onder andere as gevolg van die Tudors se ongekende gewildheid as die fokus van letterkunde en film in die afgelope dekade. Wat meer veelseggend is, is dat dit blyk die vroue van hierdie tydperk was ideale subjekte wat verbeeldingryk deur hulle outeurs gerekonstrueer kon word in die vorm van derdegolf-feministiese ikone in die een-en-twintigste eeu. Deur te ondersoek hoe Tudorvroue uitgebeeld is in die kontemporêre historiese fiksie van Jean Plaidy, Philippa Gregory, Mavis Cheek, Suzannah Dunn en Emily Purdy sal hierdie verhandeling die impak demonstreer wat populêre feministiese diskoers in die afgelope eeu op die ontwikkeling van historiese fiksie vir vroue gemaak het, met die fokus spesifiek op tekste wat in die afgelope dekade gepubliseer is. In hierdie verband sal drie sleutelaspekte van die genre uitvoerig geassesseer word: die skrywer se selfbewuste feministiese ingryping in die karakterisering van haar historiese heldinne; die verskuiwing in die vertellingsperspektief en die ontplooiing van postmoderne letterkundige tegnieke; en die uitbeelding van vroulike seksualiteit. Die evolusie van die genre as geheel word ook beskou, en die veranderende parameters van moderne feminismes word ondervra sodat hul manifestasies in die populêre kultuur ten volle verstaan kan word.
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Samson, Chantal. « Translation into english of Marie-Célie Agnant's "Vingt petits pas vers Maria" and "Le Noël de Maïté" accompagnied by a study of the author, her oeuvre and her place in Canadian literature ». Mémoire, Université de Sherbrooke, 2011. http://savoirs.usherbrooke.ca/handle/11143/2668.
Texte intégralRésumé :
Abstract : This thesis is divided into two parts: the first part provides an introduction to my translations from French into English of two children's books by Haitian-Canadian writer Marie-Célie Agnant: Vingt petits pas vers Maria, a short story about domestic workers living in Montréal, and Le Noël de Maïté, a story about a girl spending Christmas in Canada with her Haitian grandmother. I give a short overview of Marie-Célie Agnant, her literary oeuvre, and her reception in Canada. I discuss the Haitian diaspora, especially within the Canadian context. I include an overview of some writers, men and women, from Haiti who have produced migrant writing. I then describe the place of minority writing in Canada and draw parallels between Agnant and Dionne Brand, Makeda Silvera and Althea Prince, English-language writers in Caribbean-Canadian literature who address Black women's realities in Canada. Like these women, Agnant writes to fight the silence that is imposed by racism and sexism. The introductory essay concludes with comments on my translation process and examples of my translation strategies. The second part of this thesis consists of my two translations, Twenty Tiny Steps Towards Maria and Maïté's Christmas . These are the first of Agnant's young adult books to be translated into English. Also included in this section are my translations of the appendices of these two books, which include notes, questions, games, interviews and recipes designed to make the books more interactive for children and teach them about Haiti and the life of immigrants in Canada||Résumé : Ce mémoire de maîtrise se divise en deux parties. La première partie est une introduction à mes traductions vers l'anglais de deux livres de jeunesse de l'auteur québécoise d'origine haïtienne, Marie-Célie Agnant, Vingt petits pas vers Maria, l'histoire d'immigrantes domestiques vivant à Montréal, et Le Noël de Maïté, l'histoire d'une fille qui passe Noël au Canada avec sa grand-mère haïtienne. Je donne une courte biographie de Marie-Célie Agnant, en décrivant son oeuvre littéraire et sa réception au Canada. Je fais un bilan de la diaspora haïtienne avec une attention surtout à la situation du Canada. J'inclus un survol d'auteurs haïtiens, hommes et femmes, qui ont publié de la littérature migrante au Canada. Ensuite, je décris la place de l'écriture minoritaire au Canada et j'indique des parallèles entre Agnant et certaines écrivaines canadiennes d'origine antillaise qui écrivent en anglais, dont Dionne Brand, Makeda Silvera et Althea Prince, qui se sont penchées sur la situation de la femme noire au Canada. Comme ces femmes, Agnant écrit pour combattre le silence imposé par le racisme et le sexisme. Je termine cette partie avec des commentaires sur mon processus de traduction et mes stratégies de traduction, prenant des exemples de mes traductions. La deuxième partie présente mes traductions, Twenty Tiny Steps Towards Maria et Maïté's Christmas. Ceux-ci sont les premières traductions en anglais des livres de jeunesse d'Agnant. On trouve aussi dans cette section ma traduction des annexes des deux livres, qui contiennent des notes, des questions, des jeux, des entrevues et des recettes, qui ont I'objectif de faire une activité interactive de la lecture de ces livres et d'apprendre aux jeunes lecteurs davantage sur la vie en Haïti et la situation des immigrants au Canada.
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Montoya, Martinez Lilliana Maria. « Translation as a metaphor in the transcultural writing of two Latino Canadian authors, Carmen Rodriguez and Sergio Kokis ». Thesis, University of Ottawa (Canada), 2009. http://hdl.handle.net/10393/28099.
Texte intégralRésumé :
More often than not, in theoretical discussions about translation, there has been a predominance of Western thought (Tymoczko, 2006). This dominance has been reflected principally in the concentration on linguistic aspects of translation, as well as in the importance given to written texts over any other form of expression. This fact has led to skepticism about metaphorical or non-linguistic studies of translation and non-Western approaches to this field. Nevertheless, there is a growing belief in Translation Studies that translation does not always involve a textual or linguistic practice, but that it can also take place within only one language, and even more, without implying any text at all (Bhabha, 1994; Venuti, 1992; Douglas, 1997; Young, 2003). Moving in that same direction, this thesis offers a metaphorical approach to translation that attempts to expand the boundaries of Translation Studies and resist certain previous Western-oriented conceptualizations of translation.
Through examination of the works and a body to remember with and Le pavillon des mirors, written by Carmen Rodriguez and Sergio Kokis, respectively, this thesis contends that their fictional characters may be considered as both linguistically and culturally "translated beings" (Rushdie, 1991). Throughout this discussion, the concept of metaphorical translation refers to the never-ending process of transformation and transculturation that Rodriguez and Kokis' fictional characters undergo in their migrant experience. In other words, this thesis examines Rodriguez and Kokis' literary representations of migrants and their experience with translation as a transformation process. The dislocation caused by migration takes the form of social, linguistic, cultural, and psychological disarticulations, which are typified through images and metaphors of translation. These images and metaphors represent the main focus of analysis in this study. Therefore, this thesis brings about a broader idea of translation than the explicit interlingual transference of meaning. Both migration and its subsequent cultural mingling produce complex situations that are discussed in the works analyzed.
First, this thesis examines the spatial and temporal related images and metaphors of translation within Rodriguez and Kokis' works. The aim here is to determine how these characters manage to overcome the loss of their place after migration and how this fact affects their roots. Second, in an attempt to evaluate whether the metaphorical translation of Rodriguez and Kokis' characters symbolizes a successful or a failed translation, this thesis considers specific aspects in characters' identity construction throughout the stories. Finally, their discourses are evaluated to discuss the linguistic conflicts stemming from the tension between mother tongue and adoptive language.
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Stiles, Ronald Peter. « An examination of selected binary oppositions in the work of Elizabeth Gaskell which serve to demonstrate the author's response to unitarianism and other prevalent influences within mid-Victorian society ». Thesis, University of Glasgow, 1995. http://theses.gla.ac.uk/1699/.
Texte intégralRésumé :
This dissertation examines in detail the work of Elizabeth Gaskell, a mid-Victorian English author. It establishes that she was significantly influenced in her writing by the Unitarian social milieu to which she belonged during her lifetime, and by a wide range of other dominant influences, such as Romanticism and the rise of Darwinism. It demonstrates that conflicting doctrinal strains within Unitarianism, and emphases in Unitarianism differing from that of other prevailing influences within society, jointly contributed to the particular nature of her literary output. Elizabeth Gaskell's work is characterised by a series of binary oppositions, a feature of her fiction which serves to illustrate her individual response to conflicting values or concepts. Rather than dogmatically resolving the series of antinomies revealed throughout her work, she maintains their co-existence in such a manner that the mutual interdependence of each set of polarities is perpetuated. This suggests that she preferred, despite varying emphases at certain points, an intelligent open-endedness regarding opposing views. In fact, her work infers an acceptance that textual vitality and purpose is fostered by allowing such tensions to exist. The binary oppositions exhibited in her work that are discussed in this dissertation are varied in nature. In Chapters Two and Three, the Priestleyan notion of necessarianism, a form of moral determinism, is set against the equally evident notion of free-will and divine benevolence. In Chapter Four, the radical edge of her Unitarian faith is balanced by an equally strong appreciation of the benefits of social respectability. Elizabeth Gaskell's work reflects a recurrent commitment to the Unitarian espousal of truthfulness, but she also understands the textual benefits of concealment and deception.
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Basea, Erato. « Literature and the Greek auteur : film adaptations in the Greek cinema d' auteur ». Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:cab79d67-f602-43f4-96b4-4f017b2b8efa.
Texte intégralRésumé :
The focus of this thesis is to trace the dialogue between the Greek cinéma d' auteur and Greek literature focusing on film adaptations of Greek literature from 1964 to 2001. It is argued that film adaptations are a sensitive prism through which to examine the auteurs’ cultural politics regarding their work and, through that, understand the economy of the auteurist cultural production itself. The thesis consists of five chapters. Chapter One presents the history of the creation of the Greek cinéma d' auteur and traces its developments in relation to the concepts of national and high art. The principle argument is that Greek literature, endowed with notions of high art and national identity, played a key role in the gradual emergence, formation and consolidation of auteurism as a cinema that enunciates national identity and articulates high art values. The next four chapters examine four film adaptations each made by an acclaimed auteur. The chapters endeavour to investigate the identity politics of each director in relation to the categories of high and national art that defined the Greek cinéma d' auteur. Moreover, the chapters aim to study the politics involved in the validation or renegotiation of auteurism itself. The major contribution of the thesis is the exploration of film adaptations of Greek literature in the Greek cinéma d' auteur which has not been systematically discussed so far. Furthermore, the investigation of the two separate components that make up the subject of the thesis, namely cinema and literature, both from a theoretical perspective and within the framework of film studies, aligns the thesis with recent discussions in Modern Greek Studies and theoretical debates about authorship in films, film adaptations as well as peripheral cinemas.
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Sun, Christine Yunn-Yu. « The construction of "Chinese" cultural identity : English-language writing by Australian and other authors with Chinese ancestry ». Monash University, School of Languages, Cultures and Linguistics, 2004. http://arrow.monash.edu.au/hdl/1959.1/5438.
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Fisher, Joshua Benjamin. « Misreading and the parameters of exemplarity in early modern England / ». Thesis, Connect to this title online ; UW restricted, 2002. http://hdl.handle.net/1773/9352.
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Lu, Liang-Yuan 1962. « Teaching Chinese-Canadian literature to Taiwanese students : an educational strategy ». Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99380.
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This thesis explores alternative ways for English literature students in Taiwanese Science Universities to choose more culturally accessible works in addition to the canonical English and American literature. Currently, many students consider their experience of reading Western literature to be both perplexing and frustrating because of inadequate language capability as well as unfamiliarity with Western culture. The rationale for introduction to works emerging from the Chinese diaspora is to enable students to situate their personal experiences within the context of different cultures, but ones that nonetheless have accommodated Chinese communities and values. Bearing this in mind, choosing English language works from within the Chinese diaspora is a natural progression and is based on the assumption that its content shares the same cultural identity that Taiwanese students are already familiar with. My hope is to provide teaching strategies for literature teachers of Taiwan to consider. The learning culture in Taiwan tends to dissociate the self and sentiments from the learning experience. Accordingly, it is hard for them to express their own feelings within the learning environment. In this thesis I try to address these problems through examination of Rosenblatt's transactional theory (1995), and exemplification of the theory through Nussbaum's literary exegesis of Henry James' Golden Bowl. I then attempt a parallel study of Wayson Choy's The Jade Peony (1995) as an example of how a work from the Chinese diaspora might be used in a Taiwanese classroom. I argue that the application of transactional theory could enhance meaning making in English literature classes for Taiwanese students. The thesis concludes with a discussion of strategic emphases for teachers of English literature in Taiwan.
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Hansen, Vanessa, et Maximilian Broberg. « "Reality has an author" : An analysis of how Inner and Outer circle speakers are constituted in English language textbooks in Sweden ». Thesis, Uppsala universitet, Institutionen för pedagogik, didaktik och utbildningsstudier, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-167971.
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English is a global language with hundreds of millions of speakers all over the world. In Sweden,English is one of the most important subjects in primary and upper secondary school. As a guideand supplement, many teachers use textbooks in their teaching, but not much research has beenconducted on the contents of textbooks and how it may influence students’ worldview.This study aims to investigate how different speakers of English are constituted in four textbooksfrom English level 5 in the Swedish upper secondary school. The purpose of the study is to shedlight on possible problems that might arise with unreflected use of textbooks and it is based ondiscourse theory and the Concentric Circles Model. The authors reach the conclusion that thetextbooks constitute a reality where the traditional core of native English speaking countriesdominates the English-speaking world. Furthermore, the analysed textbooks were found not tofollow several of the directives set down in the national curriculum. Hopefully this study willcontribute to broaden the research field of textbook analysis in Sweden.
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Gaylard, Rob. « Writing black : the South African short story by black writers / ». Thesis, Link to the online version, 2008. http://hdl.handle.net/10019/3224.
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Eriksson, Rebecca. « Differences in Applying the Terms “Sex” and “Gender” Across Scientific Authors Active in English and Non-English Speaking Countries ». Thesis, Umeå universitet, Institutionen för psykologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-184141.
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The aim of this present study was to examine whether scientific authors active in English-speaking countries differ from those in non-English-speaking countries in their use of the terms ‘sex’ and ‘gender’. Based on earlier science, findings have shown that the first language (L1) and second language (L2) differ in the neural processes of the brain and working memory. Research has also shown that women tend to communicate in a more polite and involved manner compared to men. Based on such findings, we compare authors’ tendency to use the terms sex and gender correctly, as a function of their sex and whether they were affiliated to a country with English as first language (EFL) or English as second language (ESL). The hypothesises of this study were (1) scientists affiliated to universities located in EFL countries are more likely to use the terms sex and gender correctly, compared to scientists affiliated to universities in ESL countries, and (2) female scientists are more likely to use the term gender, when they are actually referring to sex, than male scientists and are also less likely to use the term sex when they are referring to gender, compared to male scientists. Results supported the first but not the second hypothesis. Further results are analyzed and discussed based on theories from cognitive science.Syftet med denna studie var att undersöka om vetenskapliga författare som är verksamma i engelsktalande länder skiljer sig från dem i icke-engelsktalande länder när det gäller att använda de engelska termerna ”sex” och ”gender”. Baserat på tidigare vetenskap har fynd visat att första språket (L1) och andraspråket (L2) skiljer sig åt i arbetsminne och hjärnans neurala processer. Forskning har också visat att kvinnor tenderar att kommunicera på ett mer artigt och involverat sätt jämfört med män. Baserat på sådana resultat jämför vi författarnas tendens att använda termerna kön och kön korrekt, som en funktion av deras kön och om de var affilierade till ett land med engelska som första språk (EFL) eller engelska som andraspråk (ESL). Hypoteser i denna studie var (1) forskare som är anslutna till universitet i EFL-länder är mer benägna att använda termerna kön och kön korrekt, jämfört med forskare som är anslutna till universitet i ESL-länder, och (2) kvinnliga forskare är mer benägna att använda begreppet gender, när de faktiskt menar sex, än manliga forskare och är också mindre benägna att använda termen sex när de menar gender, jämfört med manliga forskare. Resultaten stödde den första men inte den andra hypotesen. Ytterligare resultat analyseras och diskuteras utifrån teorier från kognitionsvetenskap.
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Partyja, Jaclyn. « The Author’s Doppelgänger : Celebrity, Canonicity, and the Anxiety of the Literary Marketplace in the Contemporary Novel ». Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/401342.
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EnglishPh.D.
This dissertation investigates how and why contemporary canonical authors such as Vladimir Nabokov, Philip Roth, J.M. Coetzee, and Salman Rushdie incorporate their celebrity and canonical status as authors into the fictional worlds of their novels. The contemporary celebrity author in general is at the mercy of a more globalized publication industry that depends on a circuit of international circulation, translation, and the diverse reactions of a transnational readership. More specifically, each of the authors I focus on in this dissertation have become notorious, both for their professional literary achievements as well as various political or sexual scandals running alongside their publication history. The decentralization of the author’s power to control his own image as it becomes stratified across a multiplicity of competing discourses, audiences, and marketplaces is spurred on by a literary marketplace that favors world literature, international circulation, and the whims of readership response. Thus, the need to revise or challenge the public perception of their authorship is constantly at stake for these figures – so much so that they introduce doppelgänger versions of themselves into their fiction to negotiate this relationship. I argue that the hybrid-generic form of autobiographical-metafiction allows these authors to integrate this struggle for authority over their own authorship into both the form and content of their fictional worlds. Ultimately, the project of tracing different iterations of the doppelgänger novelist across national and historical markers helps us formulate a contemporary theory of authorship that asserts how the “author” must always operate in a liminal space between the constructed fictional world and the real historical world.
Temple University--Theses
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Anandan, Prathim. « Child/subject : children as sites of postcolonial subjectivity and subjection in post-Independence South Asian fiction in English ». Thesis, University of Oxford, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711768.
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Marsh, Rebecca Kirk. « Refiguring Milton in Virginia Woolf's A Room of One's Own ». CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2602.
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Since 1979 feminist scholars have misread key images in Virginia Woolf's 'A Room of One's Own'. They delineated the extended essay as a groundbreaking feminist polemic that advocates abolishing the literary patriarchy, expressing distain for John Milton as chief offender. Through rhetorical analysis and close readings of passages, there seems advocacy for change in patriarchial education and for opening of the literary canon to women.
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Barai, Aneesh. « Modernist repositionings of Rousseau's ideal childhood : place and space in English modernist children's literature and its French translations ». Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/7903.
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It is a little-known fact that several modernists wrote for children: this project will focus on T.S. Eliot‘s Old Possum‟s Book of Practical Cats, James Joyce‘s The Cat and the Devil, Gertrude Stein‘s The World is Round and Virginia Woolf‘s Nurse Lugton‟s Curtain. While not often thought of as a modernist, I contend that Walter de la Mare‘s short stories for children, especially The Lord Fish, take part in this corpus of modernist texts for children. These children‘s stories, while scarcely represented in critical circles, have enjoyed a wide popular audience and have all been translated into French. Modernism is often considered an elitist movement, but these texts can contribute to its reassessment, as they suggest an effort towards inclusivity of audience. The translation of children‘s literature is a relatively new field of study, which builds from descriptive translation studies with what is unique to children‘s literature: its relation to pedagogy and consequent censorship or other tailoring to local knowledge; frequently, the importance of images; the dual audience that many children‘s books have in relating to the adults who will select, buy and potentially perform the texts; and what Puurtinen calls ‗readaloud- ability‘ for many texts. For these texts and their French translations, questions of children‘s relations to place and space are emphasised, and how these are complicated in translation through domestication, foreignisation and other cultural context adaptations. In particular, these modernists actively write against Rousseau‘s notion of the ―innocent‖ boy delighting in the countryside and learning from nature. I examine the international dialogue that takes place in these ideas of childhood moving between France and England, and renegotiated over the span of the twentieth and twenty-first centuries. This study thus seeks to contribute to British modernist studies, the growing field of the translation of children‘s literature, and children‘s geographies.
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Miskin, Kristana. « A Transnational Study : Young Adult Literature Exchanged Between the US and Germany ». BYU ScholarsArchive, 2008. https://scholarsarchive.byu.edu/etd/1612.
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Both young adult literature and transnational literature occupy transitional spaces and defy simple classifications. Their commonalities naturally suit the two sets of literature for concurrent study. However, the field is underdeveloped, particularly in the United States. With a concentration on the exchanges taking place between the U.S. and Germany, this thesis addresses the need to assemble primary materials and pertinent critical commentary into a single place available to educators, scholars, and researchers to acquire background on transnational YAL themes. The thesis delineates methods used in conducting and compiling research on U.S.-German YAL exchange and highlights the translation and publication concerns associated with this process. It examines how prizes for translations are granted in each nation, identifying organizations that facilitate the process of exchange and describing transnational trends rising out of these circumstances. The concluding chapter visits concerns and complications raised during the investigation, posing questions for further study of the U.S.-German young adult literature relationship and advocating the pursuit of similar research in other world regions. The appendices provide sites for continued examination. They include lists of award-winning translations available in the U.S., novels by American authors that have been translated and published in Germany, and novels by German-language authors that have been translated and published in the U.S.
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Allen, Melanie. « The Short Fiction of Bobbie Ann Mason : Exposing the Problems in American Society & ; Searching for Some Solutions ». TopSCHOLAR®, 1990. https://digitalcommons.wku.edu/theses/2113.
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Bobbie Ann Mason uses her fiction to portray the problems in American society. She devotes most of her time to average persons who are suffering from the rapid changes that society is going through. These characters at times seem lost and helpless, but ultimately they do not give up hope for a brighter future. Through social problems such as divorce, lack of communication, loss of identity and place, obsession with the past, submersion in rock music and TV, loss of ritual, proliferation of objects, lack of education, and the need to face mortality, these characters still seem to have hope and strength. There are serious problems to deal with, but there is also a future that can possibly bring better times if the problems can be solved successfully.
But Mason's world is not completely pessimistic and not all of her characters are miserable. Many of them take advantage of the changes in society, and improve their lives. Also, there are still positive values left. They are not as obvious, but they are still there if a person takes the time to look. Not everything has changed for the worse. For example, Mason seems to suggest later marriages. Early marriages lead to discontentment and more
than an abundance of problems, and most of Mason's characters who married younp. are very dissatisfied with their lives. Mason also stresses the fact that most people have the freedom of choice since people no longer have to behave in a certain manner, and society is more accepting than it once was. Mason also points out the peace and contentment that can be found with the land. She says as well that simplicity many times is preferable to the "technological advances" that have driven people to large cities where everyone seems the same, and she Insists that there are still small towns and contented people who inhabit them. Other positive qualities are the fact that we have the opportunity to receive an education, and we still have humor. We can look at the mistakes we have made and find humor in them as well as learn from them. Mason also seems to retain the hope that changes will keep occurring, that people still care enough to fight for a better, less problem-filled life. In subtle ways, Mason's fiction is optimistic.
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Jin, Xiaotian, et 金小天. « A generation 'betwixt and between' : youth, gender and modernity in 1920s and 30s middlebrow women's writing ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45814934.
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Kumar, Priya Haryant. « Ruptured nations, collective memory & ; religious violence : mapping a secularist ethics in post-partition South Asian literature and film ». Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37904.
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This dissertation maps the emergence of a 'secularist ethics' in post-independence South Asian literature and film, an ethics which is a deeply felt poetic response to particular historical conjunctures marked by religio-nationalist conflict in the Indian subcontinent. It is my argument that literary and cultural productions, in striving to dream and envision a world free of violence, terror and religious intolerance, have some central contributions to make to contemporary intellectual and political debates on secularism. Through close readings of fictions by Salman Rushdie, Amitav Ghosh, Mukul Kesavan, Bapsi Sidhwa, Saadat Hasan Manto, Khwaja Ahmad Abbas, Rajinder Singh Bedi, Jamila Hashmi, Jyotirmoyee Devi, and Lalithambika Antherjanam, as well as films by M. S. Sathyu, Saeed Akhtar Mirza, Khalid Mohamed and Shyam Benegal, which are concerned to address the issue of peaceful co-existence between different religious communities and nations in the Indian subcontinent, I argue that literary and imaginative endeavors by way of their alternative secularist imaginaries enable us to begin to imagine the possibilities of more habitable futures. Significantly, the 'secularist' fictions and films I invite attention to in my project enable a revisioning of the secular in terms quite different from normative understandings of liberal secularism. Such a renewed secularism seeks to make visible the normalization and neutralization of majoritarian religious beliefs and practices as constitutive of the representative secular-nationalist self in post-Partition India; it also emerges, significantly, from a gendered critique of the deep-seated patriarchal norms underlying most religious communities. Responding to different moments of crisis, predominantly the Partition of India in 1947, the 1984 anti-Sikh riots, and the destruction of the Babri Masjid in 1992, the radical secularist poetics of these works call attention to the fundamentalist agenda of Hindu nationalism, the limit
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Harris, Susan C. « Bodies and blood : gender and sacrifice in modern Irish drama / ». Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/fullcit?p9837975.
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Stone, Heather Brenda. « Companionable forms : writers, readers, sociability, and the circulation of literature in manuscript and print in the Romantic period ». Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:63f652fc-c4c2-4c3a-bc5c-893d4b922db1.
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Following recent critical work on writers' representations of sociability in Romantic literature, this thesis examines in detail the textual strategies (such as allusion, acts of address, and the use of 'coterie' symbols or references) which writers used to seek to establish a friendly or sympathetic relationship with a particular reader or readers, or to create and define a sense of community identity between readers. The thesis focuses on specific relationships between pairs and groups of writers (who form one another's first readers), and examines 'sociable' genres like letters, manuscript albums, occasional poetry, and periodical essays in a diverse series of author case-studies (Anna Barbauld, Samuel Taylor Coleridge, Charles Lamb, John Keats and Leigh Hunt). Such genres, the thesis argues, show how manuscript and print culture could frequently overlap and intersect, meaning that writers confronted the demands of two co-existing audiences - one private and familiar, the other public and unknown - in the same work. Rather than arguing that writers used manuscript culture practices and produced 'coterie' works purely to avoid confronting their anxieties about publishing in the commercial sphere of print culture, the thesis suggests that in producing such 'coterie' works writers engaged with and reflected contemporary philosophical and political concerns about the relationship between the individual and wider communities. In these works, writers engaged with the legacy of eighteenth-century philosophical ideas about the role (and limitations) of the sympathetic imagination in maintaining social communities, and with interpretative theories about the best kind of reader. Furthermore, the thesis argues that reading literary texts in the specific, material context in which they are 'published' to particular readers, either in print, manuscript, or letters, is vital to understanding writer/reader relationships in the Romantic period. This approach reveals how within each publication space, individual texts could be placed (either by their writers, by editors, or by other readers) in meaningful relationships with other texts, absorbing or appropriating them into new interpretative contexts.
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Naidu, Sam. « Towards a transnational feminist aesthetic : an analysis of selected prose writing by women of the South Asian diaspora ». Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1012941.
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This thesis argues that women writers of the South Asian diaspora are inscribing a literary aesthetic which is recognisably feminist. In recent decades women of the South Asian diaspora have risen to the forefront of the global literary and publishing arena, winning acclaim for their endeavours. The scope of this literature is wide, in terms of themes, styles, genres, and geographic location. Prose works range from grave novelistic explorations of female subjectivity to short story collections intent on capturing historical injustices and the experiences of migration. The thesis demonstrates, through close readings and comparative frameworks, that an overarching pattern of common aesthetic elements is deployed in this literature. This deployment is regarded as a transnational feminist practice.