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Dowd, Ann Karen. "Elizabeth Bishop: her Nova Scotian origins and the portable culture of home". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31238427.
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Riley, Peter. "Moonlighting in Manhattan : American poets at work 1855-1930". Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610494.
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Park, Christopher 1966. "La modernité poétique des femmes chinoises : écriture et institution". Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56656.
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Women's poetic writing in modern China, its context and position in literary history as well as its ideological and social constitution are at the root of this thesis' subject. Having stated my intellectual and personal limitations regarding its writing as an introduction, examples of contemporary women's poetic text will serve to broaden its conclusion. My analysis begins with a reflection on its own terminology in philosophical debate, followed by a study of the modernist background that from 1977 leads to what is termed as neo-modernity in literature. A paradox in the women's avant-garde of antipatriarchal antagonism against the literary institution will be illustrated by examples of critical text on women's poetic production. My point is to address this paradox with the identification of false values placed from the very beginnings of poetic modernity on women's poetry within the avant-garde.
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Irvine, Dean J. (Dean Jay). "Little histories : modernist and leftist women poets and magazine editors in Canada, 1926-56". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37900.
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This study incorporates archival and historical research on women poets and editors and their roles in the production of modernist and/or leftist little-magazine cultures in Canada. Where the first three chapters investigate women poets who were also magazine editors and/or members of magazine groups, the fourth chapter takes account of women magazine editors who were not themselves poets. Within this framework, the dissertation relates women's editorial work and poetry to a series of crises and transitions in Canada's leftist and modernist little-magazine cultures between 1926 and 1956. This historical pattern of crisis and transition pertains at once to the poetry of Dorothy Livesay, Anne Marriott, P. K. Page, and Miriam Waddington and to the little-magazine groups in which they and other women were active as editors and/or contributing members. Chapter 1 deals with Livesay's editorial activities and poetry in the context of two magazines of the cultural left, Masses and New Frontier, between 1932 and 1937. Chapter 2 concerns Livesay, Marriott, their involvement in poetry groups in Victoria and Vancouver, and their publications in Contemporary Verse and Canadian Poetry Magazine, between 1935 and 1956. Chapter 3 addresses the poetry of Page and Waddington published in Preview and First Statement from 1942 to 1945, their poetry appearing in Contemporary Verse from 1941 to 1952--53, and their editorial activities in and/or relationships to these Montreal and Victoria - Vancouver magazine groups between 1941 and 1956. Chapter 4 documents the histories of some often forgotten women who edited modernist or leftist little magazines in Canada between 1926 and 1956. These core chapters are prefaced and concluded by histories of the antecedents to and descendants of Canadian modernist and leftist magazine cultures.
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Black, Latoya R. "Breaking barriers : oral histories of 20th century African-American female journalists in Indiana". Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1371196.
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This study introduced six African-American female journalists in Indiana and provided an intimate account of their perception of media in regards to African-American female journalists of the 21st century. The women were publicly analyzed with a series of questions and candidly discussed the role of Black female journalists at work, in their personal lives, and their communities in general. The women shared similar responses in regards to four main topics: diversity in media, gender-related challenges, career enjoyment and impact on their communities. The most pressing issue of concern was diversity. All of the women agreed that diversity is ineffectively addressed and provided suggestions. The two research questions concluded (1) none of the women credited any female pioneer in Black journalism to their success and (2) the women did not credit early Black female journalists toward their decision to obtain longevity in journalism.Department of Journalism
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Li, Jing. "Self in community: twentieth-century American drama by women". HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/322.
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This thesis argues that twentieth-century American women playwrights spearhead the drama of transformation, and their plays become resistance discourses that protest, subvert, or change the representation of the female self in community. Many create antisocial, deviant, and self-reflexive characters who become misfits, criminals, or activists in order to lay bare women's moral-psychological crises in community. This thesis highlights how selected women playwrights engage with, and question various dominant, regional, racial, or ethnic female communities in order to redefine themselves. Sophie Treadwell's Machinal and Marsha Norman's 'night, Mother are representative texts that explore how the dominant culture can pose a barrier for radical women who long for self-fulfillment. To cultivate their personhood, working class Caucasian women are forced to go against their existing community so as to seek sexual freedom and reproductive rights, which are regarded as new forms of resistance or transgression. While they struggle hard to conform to the traditional, gendered notion of female altruism, self-sacrifice and care ethics, they cannot hide their discontent with the gendered division of labor. They are troubled doubly by the fact that they have to work in the public sphere, but conform to their gender roles in the private sphere. Different female protagonists resort to extreme homicidal or suicidal measures in order to assert their radical, contingent subjectivities, and become autonomous beings. By becoming antisocial or deviant characters, they reject their traditional conformity, and emphasize the arbitrariness and performativity of all gender roles. Treadwell and Norman both envision how the dominant Caucasian female community must experience radical changes in order to give rise to a new womanhood. Using Beth Henley's Crimes of the Heart and Lorraine Hansberry's A Raisin in the Sun as examples, this thesis demonstrates the difficulties women may face when living in disparate communities. The selected texts show that Southern women and African-American women desperately crave for their distinct identities, while they long to be accepted by others. Their subjectivity is a constant source of anxiety, but some women can form strong psychological bonds with women from the same community, empowering them to make new life choices. To these women, their re-fashioned self becomes a means to reexamine the dominant white culture and their racial identity. African-American women resist the discourse of assimilation, and re-identify with their African ancestry, or pan-Africanism. In the relatively traditional southern community, women can subvert the conventional southern belle stereotypes. They assert their selfhood by means of upward mobility, sexual freedom, or the rejection of woman's reproductive imperative. The present study shows these women succeed in establishing their personhood when they refuse to compromise with the dominant ways, as well as the regional, racial communal consciousness. Maria Irene Fornes' Fefu and Her Friends and Wendy Wasserstein's The Heidi Chronicles are analyzed to show how women struggle to claim their dialogic selfhood in minoritarian communities (New England Community and Jewish Community). Female protagonists maintain dialogues with other women in the same community, while they choose their own modes of existence, such as single parenthood or political activism. The process of transformation shows that women are often disturbed by their moral consciousness, a result of their acceptance of gender roles and their submission to patriarchal authority. Their transgressive behaviors enable them to claim their body and mind, and strive for a new source of personhood. Both playwrights also advocate women's ability to self-critique, to differentiate the self from the Other, to allow the rise of an emergent self in the dialectical flux of inter-personal and intra-personal relations. The present study reveals that twentieth-century American female dramatists emphasize relationality in their pursuit of self. However, the transformation of the self can only be completed by going beyond, while remaining in dialogue with the dominant, residual, or emergent communities. For American women playwrights, the emerging female selves come with a strong sense of "in-betweenness," for it foregrounds the individualistic and communal dimensions of women, celebrating the rise of inclusive, mutable, and dialogic subjectivities.
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McCann-Washer, Penny. "An American voice : the evolution of self and the awareness of others in the personal narratives of 20th century American women". Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1063194.
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The purpose of this study is to understand the connections between the public and private worlds of American women as described in their journals and diaries and to show how the interaction between the two realms changed the way women thought about themselves, their roles, and their environment.A total of ninety-four personal narratives were examined for the study and from that number, four were profiled. Two personal narratives were examined that were published following the Suffrage Movement and two personal narratives were chosen that were published following the Liberation Movement. Methods of rhetorical analysis were used to focus on changing levels of women's awareness of self, community, roles available to women, and issues appropriate for women's attention. I examined text divisions and organization, sentence structures, and markers of audience awareness.A pattern emerges demonstrating five metamorphoses: as the twentieth century continues, women's personal narratives are exhibiting greater self-awareness, greater audience-awareness, awareness of responsibility to the community of women, and awareness of expanding opportunities for women as well as generating an ever increasing readership.Department of English
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Hubbs, Holly J. "American women saxophonists from 1870-1930 : their careers and repertoire". Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1259304.
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The late nineteenth century was a time of great change for women's roles in music. Whereas in 1870, women played primarily harp or piano, by 1900 there were all-woman orchestras. During the late nineteenth century, women began to perform on instruments that were not standard for them, such as cornet, trombone, and saxophone. The achievements of early female saxophonists scarcely have been mentioned in accounts of saxophone history. This study gathers scattered and previously unpublished information about the careers and repertoire of American female saxophonists from 1870-1930 into one reference source.The introduction presents a brief background on women's place in music around 1900 and explains the study's organization. Chapter two presents material on saxophone history and provides an introduction to the Chautauqua, lyceum, and vaudeville circuits. Chapter three contains biographical entries for forty-four women saxophonists from 1870-1930. Then follows in Chapter four a discussion of the saxophonists' repertoire. Parlor, religious, and minstrel songs are examined, as are waltz, fox-trot, and ragtime pieces. Discussion of music of a more "classical" nature concludes this section. Two appendixes are included--the first, a complete alphabetical list of the names of early female saxophonists and the ensembles with which they played; the second, an alphabetical list of representative pieces played by the women.The results of this study indicate that a significant number of women became successful professional saxophonists between 1870-1930. Many were famous on a local level, and some toured extensively while performing on Chautauqua, lyceum, and vaudeville circuits. Some ended their performing careers after becoming wives and mothers, but some continued to perform with all-woman swing bands during the 1930s and 40s.The musical repertoire played by women saxophonists from 1870-1930 reflects the dichotomy of cultivated and vernacular music. Some acts chose to use popular music as a drawing card by performing ragtime, fox-trot, waltz, and other dance styles. Other acts presented music from the more cultivated classical tradition, such as opera transcriptions or original French works for saxophone (by composers such as Claude Debussy). Most women, however, performed a mixture of light classics, along with crowd-pleasing popular songs.School of Music
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Adair, Vivyan C. "From "good ma" to "welfare queen" : a "genealogy" of the poor woman in 20th century American literature, photography and culture /". Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/9511.
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Yang, Jing, i 杨静. "The construction of the Chinese woman in 1990s American cinema". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B43813185.
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Shea, Maureen Elizabeth. "Latin American women writers and the growing potential of political consciousness". Diss., The University of Arizona, 1987. http://hdl.handle.net/10150/184310.
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This dissertation provides a feminist reading of the works of Latin American women writers since the decade of the sixties to the present who focus on the particular historical moment of their times from a political perspective. A systematic study of the narrative figure in novels by Dora Alonso, Elena Poniatowska, Claribel Alegria and Darwin Flakoll, and Isabel Allende, reveals an awareness of the undercurrents of oppression existent in their societies based on racial and class stereotypes with a growing understanding of oppression based on sex. From the perspective of the female narrator in Tierra Inerme by the Cuban writer Dora Alonso, the Cuban social structure before 1959 is condemned for its inequality on the basis of class, race, and sex. However, the perspective of the narrator reveals that she has not entirely escaped the prejudices that permeate her society concerning women. Hasta no verte Jesus mio, by the Mexican writer Elena Poniatowska concentrates on the testimony of Jesusa Palancares who condemns the structural inequality existent in Mexican society. Although Palancares' perspective reveals an awareness of the unequal treatment of women, because of her underprivileged status she concentrates on oppression based on class. In Cenizas de Izalco by Darwin Flakoll from the United States and the Salvadoran Claribel Alegria, the 1931 massacre of the peasants in El Salvador is condemned. However, through the contrasting perspectives of the male and female narrators, oppression on the basis of sex is most emphasized. La casa de los espiritus by the Chilean Isabel Allende depicts brutal class, racial and sexual oppression in Chile from the 1920's to 1973. It is in this novel that sexual oppression is portrayed most vividly, again through the contrasting perspectives of the male and female narrators. Although a growing awareness of sexual oppression emerges in the novels studied becoming most emphatic in this decade through an awakening feminist consciousness, the perspective of the narrators emphasize to varying degrees the importance of solidarity among women to combat injustice of every form to achieve a more equitable existence for all oppressed people.
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Coffelt, J. Roberta. "She "Too much of water hast": Drownings and Near-Drownings in Twentieth-Century American Literature by Women". Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc3059/.
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Drowning is a frequent mode of death for female literary characters because of the strong symbolic relationship between female sexuality and water. Drowning has long been a punishment for sexually transgressive women in literature. In the introduction, Chapter 1, I describe the drowning paradigm and analyze drowning scenes in several pre-twentieth century works to establish the tradition which twentieth-century women writers begin to transcend. In Chapter 2, I discuss three of Kate Chopin's works which include drownings, demonstrating her transition from traditional drowning themes in At Fault and “Desiree's Baby” to the drowning in The Awakening, which prefigures the survival of protagonists in later works. I discuss one of these in Chapter 3: Zora Neale Hurston's Their Eyes Were Watching God. Although Janie must rely on her husband to save her from the flood, she survives, though her husband does not. In Chapter 4, I discuss two stories by Eudora Welty, “Moon Lake” and “The Wide Net.” In “Moon Lake,” Easter nearly drowns as a corollary to her adolescent sexual awakening. Although her resuscitation is a brutal simulation of a rape, Easter survives. “The Wide Net” is a comic story that winks at the drowning woman tradition, showing a young bride who pretends to drown in order to recapture the affections of her husband. Chapter 5 analyzes a set of works by Margaret Atwood. Lady Oracle includes another faked drowning, while “The Whirlpool Rapids” and “Walking on Water” feature a protagonist who feels invulnerable after her near-drowning. The Blind Assassin includes substantial drowning imagery. Chapter 6 discusses current trends in near-drowning fiction, focusing on the river rafting adventure stories of Pam Houston.
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Balic, Iva. "Always Painting the Future: Utopian Desire and the Women's Movement in Selected Works by United States Female Writers at the Turn of the Twentieth Century". Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc11060/.
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This study explores six utopias by female authors written at the turn of the twentieth century: Mary Bradley Lane's Mizora (1881), Alice Ilgenfritz Jones and Ella Merchant's Unveiling Parallel (1893), Eloise O. Richberg's Reinstern (1900), Lena J. Fry's Other Worlds (1905), Charlotte Perkins Gilman's Herland (1915), and Martha Bensley Bruère's Mildred Carver, USA (1919). While the right to vote had become the central, most important point of the movement, women were concerned with many other issues affecting their lives. Positioned within the context of the late nineteenth century women's rights movement, this study examines these "sideline" concerns of the movement such as home and gender-determined spheres, motherhood, work, marriage, independence, and self-sufficiency and relates them to the transforming character of female identity at the time. The study focuses primarily on analyzing the expression of female historical desire through utopian genre and on explicating the contradictory nature of utopian production.
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Sagorje, Marina. "Self and society in Mary McCarthy's writing". Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:8fd1de71-c10c-4341-8283-ccebfeebf2a7.
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My thesis analyses the oeuvre of the American writer Mary McCarthy (1912-1989), with the focus on the figure of the outsider looking in. McCarthy uses outsider figures in her texts as prisms through which distinctive historical moments as well as problems of gender, race and religion are studied against the backdrop of the changing climate of the American 'red' 1930s, the anxious '50s, and the late '60s torn by the Vietnam war. Examples of McCarthy's recurring protagonists are the New York Bohemian girl of the '30s in the predominantly male world marred by the Great Depression, the Jewish character stereotyped as the Other by the poorly hidden anti-Semitism of the American society of the early 1940s, and the orphan child exposed to adult cruelty, who finds her only solace in the Catholic religion. Their position of being outsiders who live in a society not their own by birthright, is shown to be crucial for their acquisition and knowledge of truth, and links insight to marginality, which is reinforced by McCarthy's technique of ironically detached observation, the 'cold eye' of her prose. McCarthy herself appears as an outsider character throughout her writing, both as the historical figure and as the protagonist of her autobiographies. Her self-image, shaped by her orphaned childhood and her youth as a Bohemian girl among leftist intellectuals, is subject to conflicting impulses of confession and concealment. McCarthy's wide use of autobiographical details in her fiction and elements of fiction in her autobiographies led most critics to study her work from a chiefly biographical point of view. My own approach to Mary McCarthy's writing takes their findings into consideration, and includes the analysis of the historical, political, and social contexts of McCarthy's texts, as well as the intertextual dialogue with a few select writings by McCarthy's contemporaries such as Philip Roth and Sylvia Plath.
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Wright, Charlotte M. "Plain and Ugly Janes: the Rise of the Ugly Woman in Contemporary American Fiction". Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278032/.
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Women characters in American literature of the nineteenth century form an overwhelmingly lovely group, but a search through some of the overlooked works reveals a thin but discernible thread of plain, even homely, heroines. Most of these fall into the stereotypical "old maid" category, and, like their real-life counterparts, these "undesirable" women are considered failures, even if they have money or satisfying careers, because they do not have boyfriends, husbands, or children. During the twentieth century, the old maid figure develops into someone not just homely, but downright ugly; in addition, the number of these characters increases, especially in the latter half of the century. In many works written since the 1960s, the woman's ugliness is such an intrinsic part of the story that it could not take place if she were beautiful. In subtle ways, these "ugly woman" stories begin to question the overwhelming value placed on beauty, to question the narrow definition of beauty in American society as a whole, and to suggest that the price for such a "blessing" might indeed be too high. Rather than settling for being a mere "heroine"—which still carries feminine connotations of passive behavior and second-class status—the ugly woman's increase in power over her own life and the lives of others, allows her to achieve a status more in keeping with the more "masculine" and active role of hero.
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Knazan, Jennifer. "A vague and lovely thing : gender, cultural identity and performativity in contemporary poetry by Russian women". Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112402.
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Poetry by Russian women which has been published since the fall of the Soviet Union reveals that the quest to explore female identity and experience is no longer inviolable in Russian literature. This thesis examines female personae, gender and cultural identity in the work of Russian poets Nina Iskrenko (1951--1994), Tatiana Voltskaia (b. 1960), and Iuliia Kunina (b. 1966). Although the poetics of these writers' texts are broad-ranging, all of their work takes up the subjects of gender and cultural identity. Their poems explore identity as a discursive practice, rather than a fixed construct within the strictures of authoritative metanarratives' binary oppositions (male/female, feminine/masculine, Russian/non-Russian). This lends their poetry to postmodern analysis, an approach that heretofore has rarely been applied to poetry by Russian women. Within this theoretical framework, Judith Butler's formulation of "performativity" and Mikhail Epstein's theory of "transculturalism" are particularly well-suited to the task, as each entails non-essentialist conceptions of identity. Donna Haraway's formulation of "woman" as cyborg" is also a fitting theoretical complement, as it suggests the hybridization of identity, as well as the increasing role of the Internet in contemporary and future developments in Russian literature. The rapid changes in the late- and post-Soviet cultural landscape have engendered in contemporary poetry by Russian women powerful, new expressions of gender and cultural identity, which are resulting in startling subversions of authoritative discourses while at the same time forging coalitional "transmodern" identities.
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Bellarsi, Franca. "Confessions of a Western buddhist "Mirror-Mind": Allen Ginsberg as a Poet of the Buddhist "Void"". Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211366.
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Wolfe, Andrea P. "Black mothers and the nation : claiming space and crafting signification for the black maternal body in American women's narratives of slavery, reconstruction, and segregation, 1852-2001". CardinalScholar 1.0, 2010. http://liblink.bsu.edu/uhtbin/catkey/1560845.
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“Black Mothers and the Nation” tracks the ways that texts produced by United States women throughout the nineteenth and twentieth centuries position the black maternal body as subversive to the white patriarchal power structure for which it labored and that has acted in many ways to abject it from the national body. This study points to the ways in which the black mother’s subversive potential has been repeatedly, violently, and surreptitiously circumscribed in some quarters even as it succeeds in others. Several important thematic threads run throughout the chapters of this study, sometimes appearing in clear relationship to the texts discussed and sometimes underwriting their analysis in less obvious ways: the functioning of the black maternal body to both support the construction of and undermine white womanhood in slavery and in the years beyond; the reclamation of the maternal body as a site of subversion and nurturance as well as erotic empowerment; the resistance of black mother figures to oppressive discourses surrounding their bodies and reproduction; and, finally, the figurative and literal location of the black mother in a national body politic that has simultaneously used and abjected it over the course of centuries. Using these lenses, this study focuses on a grouping of women’s literature that depicts slavery and its legacy for black women and their bodies. The narratives discussed in this study explore the intersections of the issues outlined above in order to get at meaningful expressions of black maternal identity. By their very nature as representations of historical record and regional and national realities, these texts speak to the problematic placement of black maternal bodies within the nation, beginning in the antebellum era and continuing through the present; in other words, these slavery, Reconstruction, and segregation narratives connect personal and physical experiences of maternity to the national body.The subordination of embodied power : sentimental representations of the black maternal body in Harriet Beecher Stowe's Uncle Tom's cabin and Harriet Jacobs's Incidents in the life of a slave girl -- Recuperating the body : the black mother's reclamation of embodied presence and her reintegration into the black community in Pauline Hopkins's Contending forces and Toni Morrison's Beloved -- The narrative power of the black maternal body : resisting and exceeding visual economies of discipline in Margaret Walker's Jubilee and Sherley Anne Williams's Dessa Rose -- Mapping black motherhood onto the nation : the black maternal body and the body politic in Lillian Smith's Strange fruit and Alice Randall's The wind done gone -- Michelle Obama in context.
Access to thesis permanently restricted to Ball State community only
Department of English
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Boettcher, Anna Margarete. "Through Women's Eyes: Contemporary Women's Fiction about the Old West". PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/4966.
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The myth of the West is still very much alive in contemporary America. Lately, there has been a resurgence of new Western movies, TV series, and fiction. Until recently the West has been the exclusive domain of the quintessential masculine man. Women characters have featured only in the margins of the Western hero's tale. Contemporary Western fiction by women, however, offers new perspectives. Women's writing about the Old and New West introduces strong female protagonists and gives voice to characters that are muted or ignored by traditional Western literature and history. Western scholarship has largely been polarized by two approaches. First, the myth and symbol school of Turner, Smith, and followers celebrated American exceptionalism and rugged male individualism on the Western frontier. Second, the reaction against these theories draws attention to the West's legacy of racism, sexism and violence. The purpose of the present study is to collapse these theoretical fences and open a dialogue between conflicting theoretical positions and contemporay Western fiction. Molly Gloss's 1989 The Jump-Off Creek and Karen Joy Fowler's 1991 Sarah Canary selfcritically re-write the Old West. This study has attempted to explore the following questions: How can one re-write history in the context of a postmodern culture? How can "woman," the quintessential "Other" escape a modernist history (and thus avoid charges of essentialism) when she has not been in this history to begin with? In this study I analyze how these two contemporary feminist authors, Molly Gloss, and Karen Joy Fowler, face the dual challenge of writing themselves into a history that has traditionally excluded them, while at the same time deconstructing this very historical concept of the West. Fowler's and Gloss's use of diverse narrative strategies to upset a monolithic concept of history-- emphasizing the importance of multiple stories of the Old West-- is discussed in detail.
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Brown, Rebekah A. S. "The League of Women Voters, Social Change, and Civic Education in 1920's Ohio". Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu155473074939274.
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Winans, Adrienne Ann. "Race, Space, and Gender: Re-mapping Chinese America from the Margins, 1875-1943". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437702859.
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Erickson, Stacy M. "Animals-as-Trope in the Selected Fiction of Zora Neale Hurston, Alice Walker, and Toni Morrison". Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2227/.
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In this dissertation, I show how 20th century African-American women writers such as Zora Neale Hurston, Alice Walker, and Toni Morrison utilize animals-as-trope in order to illustrate the writers' humanity and literary vision. In the texts that I have selected, I have found that animals-as-trope functions in two important ways: the first function of animal as trope is a pragmatic one, which serves to express the humanity of African Americans; and the second function of animal tropes in African-American women's fiction is relational and expresses these writers' "ethic of caring" that stems from their folk and womanist world view. Found primarily in slave narratives and in domestic fiction of the 19th and early 20th centuries, pragmatic animal metaphors and/or similes provide direct analogies between the treatment of African-Americans and animals. Here, these writers often engage in rhetoric that challenges pro-slavery apologists, who attempted to disprove the humanity of African-Americans by portraying them as animals fit to be enslaved. Animals, therefore, become the metaphor of both the abolitionist and the slavery apologist for all that is not human. The second function of animals-as-trope in the fiction of African-American women writers goes beyond the pragmatic goal of proving African-Americans's common humanity, even though one could argue that this goal is still present in contemporary African-American fiction. Animals-as-trope also functions to express the African-American woman writer's understanding that 1) all oppressions stem from the same source; 2) that the division between nature/culture is a false onethat a universal connection exists between all living creatures; and 3) that an ethic of caring, or relational epistemology, can be extended to include non-human animals. Twentieth-century African-American writers such as Hurston, Walker, and Morrison participate in what anthropologists term, "neototemism," which is the contemporary view that humankind is part of nature, or a vision that Morrison would most likely attribute to the "folk." This perspective places their celebration of the continuous relations between humans and animals within a spiritual, indeed, tribal, cosmological construction. What makes these particular writers primarily different from their literary mothers, however, is a stronger sense that they are reclaiming the past, both an African and African-American history. What I hope to contribute with this dissertation is a new perspective of African-American women writers' literary tradition via their usage of animals as an expression of their "ethic of caring" and their awareness that all oppression stems from a single source.
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Craig, Maddison L. "Women in the Foreign Service: A Case Study of Margaret Parx Hays, 1942-1964". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609150/.
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This project seeks to include the historical significance of women in the Foreign Service and subsequently the United States Department of State between 1942 and 1964. Using the life and experience of Margaret Parx Hays, one of fewer than three hundred female foreign service officers before 1960, this study explores the importance of examining women at the "ground level." This narrative examines the life of Hays at several different duty stations and her experience navigating a male-dominant workplace congruent to the political and diplomatic missions of each stations. Hays was stationed in Buenos Aires, Argentina (1942-1945); Bogota, Columbia (1945-1947); Rio de Janeiro, Brazil (1948-1950); Washington D.C., U.S. (1951-1954; 1959-1962); Manila, Philippines (1954-1956); Mexico City, Mexico (1956-1958); and Hong Kong, China (1962-1964). Throughout the deployment at each station, Hays was confronted with major political events in her duty station's history or in the intersection of American foreign and domestic policy. Through the use of Hays's archived collection of personal papers, including letters and newspapers, this thesis presents a more representative story about women and about the Department of State as a larger whole than previous scholarship that has ignored how gender affected diplomatic history.
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Young, Erin S. "Corporate heroines and utopian individualism: A study of the romance novel in global capitalism". Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11460.
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x, 195 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.This dissertation explores two subgenres of popular romance fiction that emerge in the 1990s: "corporate" and "paranormal" romance. While the formulaic conventions of popular romance have typically centralized the gendered tension between hero and heroine, this project reveals that "corporate" and "paranormal" romances negotiate a new primary conflict, the tension between work and home in the era of global capitalism. Transformations in political economy also occur at the level of personal and emotional life, which constitute the central problem that contemporary romances attempt to resolve. Drawing from sociological studies of globalization and intimacy, feminist criticism, and queer theory, I argue that these subgenres mark the transition from what David Harvey calls Fordist capitalism to flexible or global capitalism as the primary social condition negotiated in the popular romance. My analysis demonstrates that corporate and paranormal romance novels reflect changing ideals about intimacy in a globalized world that is increasingly influenced, socially and culturally, by the values and philosophies that dominate the marketplace. Each of these subgenres offers a distinct formal resolution to the cultural and social effects of a flexible capitalist economy. The "corporate" romances of Jayne Ann Krentz, Nora Roberts, Elizabeth Lowell, and Katherine Stone feature heroines who constantly navigate the dual and intersecting arenas of work and home in an effort to locate a balance that leads to success and happiness in both realms. In contrast, the "paranormal" romances of Laurell K. Hamilton, Charlaine Harris, Kelley Armstrong, and Carrie Vaughn dissolve the tension between home and work, or the private and the public, by affirming the heroine's open and endless pursuit of pleasure, adventure, and self-fulfillment. Such new forms of romantic fantasy at once reveal the tension in globalization and the domination of corporate and masculinist values that the novels hope to overcome.
Committee in charge: David Leiwei Li, Chair; Mary Elene Wood; Cynthia H. Tolentino; Jiannbin L. Shiao
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Regoczy, Lucia Graciela, i n/a. "Espiritu de subversion : la construccion del discurso de la mujer en la narrativa posmoderna hispanoamericana". University of Otago. Department of Languages and Cultures, 2007. http://adt.otago.ac.nz./public/adt-NZDU20070927.141659.
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This thesis offers a typology of Postmodern women�s discourse from a sociological perspective. By focusing on the reading of Gioconda Belli�s Sofia de los presagios, Isabel Allende�s Paula, and Anacristina Rossi�s La loca de Gandoca, it examines how each writer achieves, thanks to the process of dialogism and the carnivalesque, a critique of social and aesthetic values, associated with Eurocentric discourse.
Thanks to these two processes, the values associated with the marginalized position of women in Latin America, are brought to the surface, offering a better understanding of the relation that exists between women�s literary production and the cultural environment.
Chapter one offers an overview of the concepts associated with Posmodernism, and its relevance in the Latin American context. This chapter also outlines the key concepts associated with dialogism and the carnivalesque.
Chapter two examines the use of the carnivalesque in two plays by Sor Juana Ines de la Cruz, Los empenos de una casa and Amor es mas laberinto as antecedents of subversive writing in Spanish American women�s writing. It discusses how Sor Juana through appropriation and inversion, transforms her texts into a critique of marginalized social groups. This chapter proposes that Sor Juana sets the model for the subversive nature of Spanish American women�s writing.
Chapter three offers a reading of Cristina Peri Rossi�s El libro de mis primos as an example of radical feminist discourse produced in the 60�s, focusing on the use of parody and irony as means of transgressing patriarchal discourse.
Chapter four examines Gioconda Belli�s Sofia de los presagios, and the incorporation of ancestral and modern myths, to accentuate women�s marginality and the conflicting and contradictory nature of Nicaraguan society.
Chapter five focuses on a reading of Isabel Allende�s Paula in which the techniques of magical realism and the carnivalesque are brought together to criticize social and cultural practices that marginalize women.
Chapter six examines Anacristina Rossi�s La loca de Gandoca. It focuses on the way Rossi makes use of popular music, romantic literature, poetry, and bureaucratic discourse, to denounce the exploitation and destruction of Costa Rica�s natural resources through ecotourism.
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Modzelewski, Ann Shirley. "Internal dialogues: Construction of the self in The Woman Warrior". CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2468.
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This thesis considers past autobiographical theory and questions whether it addresses the autobiography of the female writer. Autobiographies of Harriet Jacobs, Margaret Sanger, and Maxine Hong Kingston are examined to reveal their polyvocality, use of the autobiographical "I", and rhetorical strategies maintained in order to create a close relationship with the reader. Particular attention is paid to Mikhail Bakhtin's theory of dialogism and Sidonie Smith's autobiographical "I."
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Munoz, Cabrera Patricia. "Journeying: narratives of female empowerment in Gayl Jones's and Toni Morrison's ficton". Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210259.
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This dissertation discusses Gayl Jones’s and Toni Morrison’s characterisation of black women’s journeying towards empowered subjectivity and agency. Through comparative analysis of eight fictional works, I explore the writers’ idea of female freedom and emancipation, the structures of power affecting the transition from oppressed towards liberated subject positions, and the literary techniques through which the authors facilitate these seminal trajectories.
My research addresses a corpus comprised of three novels and one book-long poem by Gayl Jones, as well as four novels by Toni Morrison. These two writers emerge in the US literary scene during the 1970s, one of the decades of the second black women’s renaissance (1970s, 1980s). This period witnessed unprecedented developments in US black literature and feminist theorising. In the domain of African American letters, it witnessed the emergence of a host of black women writers such as Gayl Jones and Toni Morrison. This period also marks a turning point in the reconfiguration of African American literature, as several unknown or misplaced literary works by pioneering black women writers were discovered, shifting the chronology of African American literature.
Moreover, the second black women's renaissance marks a paradigmatic development in black feminist theorising on womanhood and subjectivity. Many black feminist scholars and activists challenged what they perceived to be the homogenising female subject conceptualised by US white middle-class feminism and the androcentricity of the subject proclaimed by the Black Aesthetic Movement. They claimed that, in focusing solely on gender and patriarchal oppression, white feminism had overlooked the salience of the race/class nexus, while focus by the Black Aesthetic Movement on racism had overlooked the salience of gender and heterosexual discrimination.
In this dissertation, I discuss the works of Gayl Jones and Toni Morrison in the context of seminal debates on the nature of the female subject and the racial and gender politics affecting the construction of empowered subjectivities in black women's fiction.
Through the metaphor of journeying towards female empowerment, I show how Gayl Jones and Toni Morrison engage in imaginative returns to the past in an attempt to relocate black women as literary subjects of primary importance. I also show how, in the works selected for discussion, a complex idea of modern female subjectivities emerges from the writers' re-examination of the oppressive material and psychological circumstances under which pioneering black women lived, the common practice of sexual exploitation with which they had to contend, and the struggle to assert the dignity of their womanhood beyond the parameters of the white-defined “ideological discourse of true womanhood” (Carby, 1987: 25).
Doctorat en philosophie et lettres, Orientation langue et littérature
info:eu-repo/semantics/nonPublished
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Wheeler, Belinda. "AT THE CENTER OF AMERICAN MODERNISM: LOLA RIDGE’S POLITICS, POETICS, AND PUBLISHING". Thesis, 2008. http://hdl.handle.net/1805/1683.
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Indiana University-Purdue University Indianapolis (IUPUI)Although many of Lola Ridge's poems champion the causes of minorities and the disenfranchised, it is too easy to state that politics were the sole reason for her neglect. A simple look at well-known female poets who often wrote about social or political issues during Ridge's lifetime, such as Edna St. Vincent Millay and Muriel Rukeyser, weakens such a claim. Furthermore, Ridge's five books of poetry illustrate that many of her poems focused on themes beyond the political or social. The decisions by critics to focus on selections of Ridge's poems that do not display her ability to employ multiple aesthetics in her poetry have caused them to present her work one-dimensionally. Likewise, politically motivated critics often overlook aesthetic experiments that poets like Ridge employ in their poetry. Few poets during Ridge's time made use of such drastically varied styles, and because her work resists easy categorization (as either traditional or avant-garde), her poetry has largely gone unnoticed by modern scholars. Chapter two of my thesis focuses on a selection Ridge's social and political poems and highlights how Ridge's social poetry coupled with the multiple aesthetics she employed has played a part in her critical neglect. My findings will open up the discussion of Ridge's poetry and situate her work both politically and aesthetically, something no critic has yet attempted. Chapter three examines Ridge’s role as editor of Modern School, Others and Broom. Ridge's work for these magazines, particularly Others and Broom, places her at the center of American modernism. My examination of Ridge's social poetry and her role as editor for two leading literary magazines, in conjunction with her use of multiple aesthetics, will build a strong case for why her work deserves to be recovered.
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(5930297), Abby L. Stephens. "Unusual Archives and Unconventional Autobiographies: Interpreting the Experience of Rural Women, 1940-1985". Thesis, 2019.
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This study analyzes eleven collections created, saved, and preserved by rural Iowa women, during the middle of the twentieth-century to interpret change in the experience of rural American women, and consider their role in the preservation of historical evidence. Analysis of privately-held and institutional collections of calendars, journals, scrapbooks, notebooks, and club meeting records provides details of farm life, rural communities in transition, and the way collection creators conceptualized and enacted the identity of rural womanhood. In making decisions about which events to write down in a journal or clip-and-save from the local newspaper, these women “performed archivalness” in preserving their experience for family and community members and scholars.
The women who created the collections considered in this study experienced a rural landscape altered by the continuation and aftermath of agricultural specialization, mechanization, and capital consolidation. These changes altered rural community systems, economies, and institutions reshaping the experience of rural womanhood, as women upheld and adjusted the norms and values that defined the rural way of life. This study takes a three-part approach to considering the eleven collections as case studies. Chapter two analyzes five of the collections as unconventional forms of autobiographical writing, finding that nowhere else were women truer to themselves and their experiences than in their daily writing. In journals or on calendars, these women wrote their life stories by recording the daily details of work, motherhood, and marriage, and occasionally providing subtle commentary on local and national events. Changes in women’s work, education, responsibilities in marriage and motherhood, and involvement in public life and civic affairs happened in gradual and rapid ways during the middle of the twentieth-century. The third chapter in this study analyzes the collections of three women who used their writing to document, prescribe, and promote notions of rural womanhood during this time of change. Chapter four provides a meditation on the relationship between evidence and history by examining the ways in which three women performed archivalness in creating their collections. Consideration of the means by which the collections have been saved, provides insight into the importance of everyday individuals in the preservation of historical evidence.
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Landwehr, Selma Louise. "Die korrelasie tussen tematiek en prosodie in die poësie van Wilma Stockenstrom". Thesis, 2014. http://hdl.handle.net/10210/9480.
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M.A.Although critics have acknowledged the work of Wilma Stockenstrom and have responded favourably, and although she has received four awards and prizes for her poetry up to the publication of Monsterverse, no all-embracing study of her poetry has been undertaken. Many of the reviews and critical analyses have failed to give proper recognition to her first two volumes of poetry. Consequently the process of development in her work has been largely overlooked, and Monsterverse, although acclaimed, has been assessed as "problematic" and totally "foreign". This study therefore attempts to determine the tendencies which figure in Wilma Stockenstrom's poetry, and examines in particular the iconicity of thematics and prosody as it has developed throughout successive volumes. Most of the themes developed in the later volumes are introduced in her debut work, Vir die Bysiende Leser. Some of the themes explored in this volume, however, lose their significance in later volumes. Although the prosody is still somewhat uncertain in some of the poems, a few poems already suggest her unique and individualistic application of this aspect of style. In this early work it is already apparent that her real power lies in the writing of free verse. She exploits this verse form with rich variety throughout her four volumes. Vir die Bysiende Leser clearly functions as a unit. The intratextuality of the poems is a striking structural aspect of. this work. Unity is also emphasized in the following three volumes, but progressively more attention is given to intertextuality. Stockenstrom's work clearly links up with the intertextual tradition which N. P. van Wyk Louw's Tristia and D.J. Opperman's Komas uit n Bamboesstok have established in Afrikaans literature.
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""Undismayed By Any Mere Man": Women Lawmakers and Tax Policy in Nevada, 1919-1956". Doctoral diss., 2011. http://hdl.handle.net/2286/R.I.8878.
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abstract: Women have played a vital role in Nevada's lawmaking process since first lobbying the Territorial Legislature in 1861. In subsequent decades, women increased in numbers as lobbyists, staff, and reporters. By 1914, when Nevada women won the right to vote and be elected to office, male legislators were accustomed to a female presence in the Capitol. With enfranchisement, however, came a more direct role for women in the state's lawmaking process. Featuring the twenty-nine women who served in the Nevada Legislature in the first half of the twentieth century, this dissertation enhances knowledge about public women between what are commonly called the two feminist waves. In addition to a general analysis of their partisan and legislative activities, this dissertation specifically contemplates women's participation in shifting Nevada's tax base from residents to nonresidents. This dissertation argues that these women legislators were influenced primarily by their experiences in the business sector. Suffrage provided the opportunity to hold public office, but it did not define their politics. More useful for understanding women lawmakers in the first half of the twentieth century is what I call "fiscal maternalism." Women legislators mitigated their social concerns with their understanding of the state's economic limitations. Their votes on controversial issues such as legalized gambling, easy divorce, and regulated prostitution reflected a perspective of these issues as economic first and moral second. Demonstrating a motherly care for the state's economy and the tax burden on families, women invoked both their maternal authority and financial acumen to construct their legislative authority. Combining policy history and women's history, this dissertation documents that a legislator's sex did not necessarily predict her vote on legislation and advances the gendered analysis of state lawmaking beyond the dichotomy that emerges with the application of the label "women's issues." In addition, this dissertation demonstrates that the digitization of newspapers provides a fruitful new resource for historians, particularly those interested in women. The ability to search within articles removes the reliance on headlines and reveals that the previously-disregarded society pages are valuable tools for tracing women's business activities and political networks.Dissertation/Thesis
Ph.D. History 2011
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House, Veronica Leigh. "Backward to your sources, sacred rivers: a transatlanitic feminist tradition of mythic revision". Thesis, 2006. http://hdl.handle.net/2152/2504.
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Hester, Jessica Lynn. "White trash fetish: representations of poor white southern women and constructions of class, gender, race and region, 1920-1941". Thesis, 2005. http://hdl.handle.net/2152/1565.
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Garrett-Scott, Shennette Monique. "Daughters of Ruth : enterprising black women in insurance in the New South, 1890s to 1930s". Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3471.
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The dissertation explores the imbricated nature of race, gender, and class in the field of insurance within the political economy of the New South. It considers how enterprising black women navigated tensions between New South rhetoric and Jim Crow reality as well as sexism and racism within the industry and among their industry peers. It complicates the narrative of black southern labor history that focuses more on women as agricultural laborers, domestics, and factory workers than as enterprising risk takers who sought to counterbalance personal ambition and self-interest with communal empowerment.
Insurance organizations within black-run secret fraternal societies and formal black-owned insurance companies emerged as not only powerful symbols of black business achievement by the early decades of the twentieth century but also the most lucrative business sector of the separate black economy. Negro Captains of Industry, a coterie of successful, influential, self-made men, stood at the forefront; they represented the keystone of black economic, social, and political progress. The term invoked a decidedly masculinist image of “legitimate” leadership of black business. Considering fraternal and formal insurance, gender-inscribed rhetoric, shaped by racism and New South ideology, imagined black men as the ideal protectors and providers; women became the objects of protection rather than agents of economic development, job creation, and financial security. The dissertation explores how women operated creatively within and outside of normative expectations of their role in the insurance business.
The dissertation considers the role of state regulation and zealous regulators who often targeted insurance organizations and companies, the primary symbols of black business success; in other ways, regulation dramatically improved profitability and stability. The dissertation identifies three key periods: the Pre-Regulatory Era, 1890s to 1906; the Era of Regulation, 1907-World War I; and the Professionalization of Black Insurance, Post-WWI to the Great Depression. It also considers the barriers to black women’s involvement in professional organizations. By the late 1930s, enterprising women in insurance lost ground as fraternal insurance waned in influence and as the strongest proponents of the black separate economy promoted a vision that embraced women as consumers rather than business owners.text
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Lamfers, Jordan Scott. ""A dame to kill for" or "a slut-- worth dying for" : women in the noir of Frank Miller". Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3545.
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The depictions of women in film noir and neo-noir have long been objects of interest for feminist scholars. In this report, I extend this scholarship to examine Frank Miller's Sin city graphic novel series as a version of neo-noir that is both intimately connected to noir tradition and innovative in its approach, specifically in terms of his representation of women. Miller depicts his female characters in a variety of ways that reflect both the positive and negative imagery of women in classic noir and neo-noir; in doing so, he creates a new and complex vision of women in noir. This report uses three different characterizations of women in film noir--the spider woman, the femme moderne, and the angel--to explore the ways in which Miller's female characters can be understood to simultaneously uphold and challenge these conventions.text
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Sousa, Rita Paula Queirós de. "Da realidade à ficção : a singular heroína em The Scarlet Letter". Master's thesis, 2007. http://hdl.handle.net/10400.2/536.
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Smith, Alex. "Infinite regress: the problem of womanhood in Edith Wharton's lesser-read works". Thesis, 2015. http://hdl.handle.net/1805/7951.
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Indiana University-Purdue University Indianapolis (IUPUI)Wharton’s heroines are ordinary women who fight to secure material comfort and create selves that satisfy their emotional and sexual needs. These women often find that the two goals are mutually exclusive, since society strictly dictates appropriate behavior. This code of behavior stems from their relation to men: as objects to be won, as wives, and as mothers. In many instances, women are not even aware of their prescriptive roles and confuse their search for self with a search for security. Material comfort does not nurture Wharton’s heroines’ inner selves and they feel a metaphysical dissatisfaction, often seeking to find contentment through divorce or affairs. What they find in either case is that the cure to their ennui is not material, but mental. Wharton’s women seek a transcendent self—a self that is not dependent upon popular notions of respectability; a spiritual state that is independent from any attachment to social imperatives.