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Pauk, Filgueira Barbara. "Crossing the channel : socio-cultural exchanges in English and French women's writings - 1830-1900". University of Western Australia. School of Social and Cultural Studies, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0083.
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The focus of this study is an investigation of cross-channel exchanges represented in travelogues, historical works, journalism, letters and journals written by English women Frances Trollope, Lady Margaret Blessington, George Eliot and Julia Kavanagh on France and by French women Flora Tristan and Marie Dronsart on England. The work is based on the view that narratives about another culture betray preconceptions and beliefs and are never innocent descriptions. Nineteenth-century English descriptions of France, for instance, are not only marked by the stereotype of the gregarious French bon vivant but also by the often tense political relationship and economical concurrence between the two countries. French descriptions of England reflect the consciousness of England's superiority in the domains of economy, industry and colonialism as well as the stereotype of the boring, monosyllabic, haughty, egoistic and often xenophobic Englishman. Given that writings on the other culture are marked by practices and belief systems as well as notions of superiority and inferiority like texts emerging from a colonial context, ideas which have been developed in this field by scholars such as Sara Mills and Reina Lewis have been used as a basis for this investigation. I argue that the women whose texts I analyse strategically employ 'discourses of difference' (to use Sara Mills' term), or alignment and 'othering' in regard to nation, class, and political opinion, in order to gain positions which allow them to challenge contemporary ideologies of femininity. They take advantage of their positions in very different ways, according to their personal, class and economic situations, their agenda, and their gendered position within society which changes significantly during the century. The English women Frances Trollope, Lady Margaret Blessington, George Eliot and Julia Kavanagh construct themselves as part of the tradition of French salonnières from the seventeenth century to the present, while the French women Flora Tristan and Marie Dronsart align themselves with English travel writers, particularly Lady Mary Wortley Montagu. Through a careful construction of these foremothers, which often differed from other representations of them, they criticise gender politics in their own country and endeavour to normalise their own activities as intellectuals and writers, in the case of Tristan as a socialist and feminist activist. This strategy is complemented by 'othering' with regard to nation, class and political convictions which confers on the women an authoritative authorial voice and / or allows them to support their argument. They endorse ideologies of gender, nation and class at the same time as they reject some aspects of them. This study reveals new aspects of nineteenth-century discussions of the so-called 'woman question' through a broader approach which encompasses not only the parameters of gender, class and political orientation but also cross-cultural experience.
2
Margrave, Christie L. "Women and nature in the works of French female novelists, 1789-1815". Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/6391.
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On account of their supposed link to nature, women in post-revolutionary France were pigeonholed into a very restrictive sphere that centred around domesticity and submission to their male counterparts. Yet this thesis shows how a number of women writers – Cottin, Genlis, Krüdener, Souza and Staël – re-appropriate nature in order to reclaim the voice denied to them and to their sex by the society in which they lived. The five chapters of this thesis are structured to follow a number of critical junctures in the life of an adult woman: marriage, authorship, motherhood, madness and mortality. The opening sections to each chapter show why these areas of life generated particular problems for women at this time. Then, through in-depth analysis of primary texts, the chapters function in two ways. They examine how female novelists craft natural landscapes to expose and comment on the problems male-dominant society causes women to experience in France at this time. In addition, they show how female novelists employ descriptions of nature to highlight women's responses to the pain and frustration that social issues provoke for them. Scholars have thus far overlooked the natural settings within the works of female novelists of the late eighteenth and early nineteenth centuries. Yet, a re-evaluation of these natural settings, as suggested by this thesis, brings a new dimension to our appreciation of the works of these women writers and of their position as critics of contemporary society. Ultimately, an escape into nature on the part of female protagonists in these novels becomes the means by which their creators confront the everyday reality faced by women in the turbulent socio-historical era which followed the Revolution.
3
Gemis, Vanessa. "Femmes de lettres belges, 1880-1940: identités et représentations collectives". Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210262.
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Entre 1880 et 1940, la Belgique francophone voit un accroissement significatif du nombre de femmes de lettres. À la croisée de l’histoire des femmes et de l’histoire des lettres belges, ce phénomène enregistre les nouvelles modalités d’inscription des femmes dans l’espace public, et en particulier leur accès progressif aux professions intellectuelles. Partant des acquis des études de genre (gender studies) et de la sociologie de la littérature, la thèse se propose d’étudier le rapport collectif et individuel que les femmes de lettres entretiennent vis-à-vis du littéraire.Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
4
Zhang, Jianqiao, e 張劍喬. "Marginalized women under the spotlight : Third Republic (1870-1940) schoolmistresses portrayed in French literature". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/211121.
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Juxtaposing historical evidence with fiction, this thesis probes into the social marginalization of Third Republic schoolmistresses reflected in literary stereotypes. Despite their manifold representation in novels, the general stereotype is still predominant: a displeasing teacher in misery. Mostly secluded in provincial posts, they suffered not only from material indigence and burdensome teaching, but also from the hostility projected from their surroundings. Under these unfavorable circumstances, many took refuge in professional devotion and abnegation. However, they sometimes developed an ideal of heroism and self-sacrifice, which were comparable to nuns’ religious credos.
Women teachers’ political portrait is often left out of literary representation. Because they could not even defend themselves and have their interests protected by superiors, political engagement would mean little to their secluded lives. Yet in the masculine Republic, women educators shouldered a political task of forming girls as qualified mothers and companions who embraced republican values. The Republic’s reinvention of the secular faith and the lay School manifested its inheritance of the Catholic legacy it strived to eradicate, best demonstrated by its imitation of a laicized religious discourse, epitomized in literature by institutrices’ spirit of martyrdom. Through their professional efforts, they came into the public sight and increased their political impact. With their pacifist ideal, militant teachers safeguarded the Republic as well as republican schooling. Above all, as a result of their continuous struggles, they shattered the image of domestic women by proving themselves to be independent and public, shaping the New Woman “prototypes” of the new century.
The “vices” of new career women were evident, for their new professional identity contravened conventional norms of gender roles. It was the teaching career that gave them an anomalous sexual experience, by depriving them of their womanly roles as wives and mothers. The image of the embittered “vieille fille” thus became a target for demonization, which was presumably a cultural motive behind Colette’s writings. She arguably employed the image of schoolmistress as a vehicle for exposing a public polemic between traditional and modern views on gender roles, in the context of major social transformations especially in thought.
Schoolmistresses are a metonymy of French republicanism: a republican experiment which conflicted with women’s traditional functions and undermined the inveterate masculinist order. Third Republic schoolmistresses underwent a metamorphosis from domestic to public as they acquired new social roles. While institutrice literature shares profound bonds with autobiographical accounts, many testimonies also suggest an inclination of being attached to and even governed by novels. Despite the fact that literature is fabricated upon a universe of stereotypes, many teachers spontaneously chose fictional texts as the representative of their professional voice, making these “republican mythologies” a collective autobiography which articulated institutrices’ individual career pathos to a broader audience.published_or_final_version
Modern Languages and Cultures
Master
Master of Philosophy
5
Stoltz, Taylor. "Aristocrats, Republicans, and Cannibals: American Reactions to French Women in Violence". Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/52780.
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This thesis discusses the reactions of American newspapers and elite individuals to French women in violence as perpetrators and victims during the French Revolution. Canvassing the years between 1789 and 1799, it includes papers, especially politically aligned ones, from across the states of America and attempts to assess the prescriptive nature of various reports. In includes case studies of common/working-class women, aristocratic revolutionaries (Charlotte Corday and Madame Roland), and Queen Marie Antoinette. Using newspapers with and without political affiliations, to either the Federalist or Democratic-Republican Party, it argues that the dividing ideological lines between these factions were not as steadfast and rigid as previously believed during this period. Though papers and individuals did adhere to party lines, their opinions toward women in violence were affected by other factors, such as their ideologies about violence. Building on historiographies of colonial and revolutionary American attitudes toward women in violence, gender ideology in the early Republic, and political parties in the 1790s, it seeks to illuminate American views toward women in violence during the years of the early Republic.Master of Arts
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Fronius, Helen. "The diligent dilettante : women writers in Germany, 1770-1820". Thesis, University of Oxford, 2003. http://ora.ox.ac.uk/objects/uuid:d95009fe-e8ea-4bcf-b520-29f2e9e849b5.
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The thesis sets out to explain the presence of women writers in the book market of the late eighteenth and early nineteenth centuries. In order to do so, it examines the position of women writers in Germany - in the context both of their discursive and of their social reality. The thesis investigates the ideological and material background for women's writing, by exploring the areas of gender ideology, contemporary concepts of authorship, women's reading, and the literary market. The final chapter examines women's freedom of expression in different public circumstances. The thesis argues that women's position in the business of culture in general and literature in particular is not as unpromising as has often been claimed. By investigating less well-known texts on gender roles, such as eighteenth-century journal articles, it is possible to show that the rhetoric of prohibitions, for example regarding women's reading and writing, was by no means uniform, but fragmentary and frequently contradictory. Women's own responses to the conditions under which they were working are highlighted throughout the thesis, and examined on the basis of a range of texts, including unpublished correspondence. The examination of non-literary factors, such as the expansion of the literary market and the emergence of a newly diverse reading public, enables the identification of causes other than gender as determining women's position as writers during this period. In the course of this study, numerous neglected texts are considered, which broaden our understanding of this period of literature. The creative and successful use which women writers made of the opportunities they were afforded is emphasised throughout, thereby making an important contribution to the study of women writers.
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Kirk, Elizabeth Gail. "Neo-orientalism : ugly women and the Parisian avant-garde, 1905-1908". Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28091.
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The Neo-Orientalism of Matisse's The Blue Nude (Souvenir of Biskra), and Picasso's Les Demoiselles d'Avignon, both of 1907, exists in the similarity of the extreme distortion of the female form and defines the different meanings attached to these "ugly" women relative to distinctive notions of erotic and exotic imagery. To understand Neo-Orientalism, that is, 19th century Orientalist concepts which were filtered through Primitivism in the 20th century, the racial, sexual and class antagonisms of the period, which not only influenced attitudes towards erotic and exotic imagery, but also defined and categorized humanity, must be considered in their historical context.
My introduction is an investigation of current art historical scholarship which has linked the manipulation of form by Matisse and Picasso and shifting avant-garde practice in Paris in the years 1905 - 1908, when Cubism displaced Fauvism, to the concepts of Orientalism and Primitivism. The problem of the ideological content of images of women, which I undertake to address, arises from these studies which rely upon the assumed metaphysical fascination with the exotic or the intuitive, personal concern for erotic symbolism by the artists as a solution to meaning. The absence of a rich critical discourse surrounding the paintings encourages my approach to the problem of meaning whereby in Chapter One I examine images of women produced in Paris in the specific discourses of popular and official culture in 1906. These representations of the female are identified as ideological constructions which functioned in relation to the important and broader issues of the moment affecting the dominance of French culture: class struggle and neo-colonialism.
In Chapter Two the "ugly" women of Matisse's The Blue Nude (Souvenir of Biskra) and Picasso's Les Demoiselles d'Avignon are analysed as intended avant-garde transformations
of images of female prostitutes and compared with the Images of women In popular and official culture and with each other, In recognition of their function within the historical context of their production. In conclusion I suggest that the difference in meaning between these paintings by Matisse and Picasso was Ideological, operating within the context of class struggle and neo-colonialism, and defined by their distinctive conscious and unconscious use of Primitivism.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Balletti-Thomas, Joanne. "Women's writing and the "anxiety of authorship" in nineteenth-century Italy : Bruno Sperani and others". Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26718.
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As women's literature emerged in late nineteenth-century Italy, female authors encountered many obstacles. Foremost among them was the near-total absence of Italian female literary role models. Female writers often expressed ambivalence towards the writing of other women, which was considered inferior to male writing. However, their reverence for male writers revealed how conflictive their identities as writers were, and it was an impediment to the establishment of a serious women's literary tradition. In addition to such personal conflicts, these writers also faced the challenge of gaining acceptance by the male-dominated literary community and by their readers. These two groups expected that women's writing conform to a moral code which did not apply to men's writing. This thesis is an analysis of the specific problems that female novelist Bruno Sperani and others faced as they strove to establish themselves in Italian literature.
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Borilot, Vanessa. "Feminine strategies of resistance comparative study of two XIXth century French literary pieces and two XXth century French Caribbean writings /". Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 111 p, 2009. http://proquest.umi.com/pqdweb?did=1885467531&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Lambert, Carolyn Shelagh. "Lingering 'on the borderland' : the meanings of home in Elizabeth Gaskell's fiction". Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/40499/.
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This thesis explores the meanings of home in Elizabeth Gaskell's fiction. I argue that there are five components to Gaskell's fictional iteration of homes, each of which is explored in the chapters of this thesis. I analyse the ways in which Gaskell challenges the nineteenth-century cultural construct of the home as a domestic sanctuary offering protection from the strains and stresses of the external world. Gaskell's fictional homes frequently fail to provide a place of safety. Even the architecture militates against a sense of peace and privacy. Doors and windows are ambiguous openings through which death can enter, and are potent signifiers of entrapment as well as protective barriers. The underlying fragility of Gaskell's concept of home is illustrated by her narratives of homelessness, which for her, is better defined as a psychological, social and emotional separation rather than the literal lack of shelter. Education takes place within the home and is grounded in Gaskell's Unitarian beliefs and associationist psychology. Gaskell creates challenging paradigms for domestic relationships in her fictional portrayals of feminized men and servants. Her detailed descriptions of domestic interiors provide nuanced and unconventional interpretations of character and behaviour. I draw on Gaskell's letters, her non-fiction writing and a range of other contemporary documents for insights into her fictional presentations of home. This methodology provides a creative, holistic interpretative framework within which Gaskell's achievement can be more adequately measured. I argue that Gaskell's own experience of home was that of an outsider lingering on the borderland, and her concept of home was therefore unstable, fluid and unconventional. The tensions she experienced in her personal life found their way into her fiction, where her portrayal of home is multifaceted and complex.
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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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Birge, Amy Anastasia. ""Mislike Me not for My Complexion": Shakespearean Intertextuality in the Works of Nineteenth-Century African-American Women". Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278175/.
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Caliban, the ultimate figure of linguistic and racial indeterminacy in The Tempest, became for African-American writers a symbol of colonial fears of rebellion against oppression and southern fears of black male sexual aggression. My dissertation thus explores what I call the "Calibanic Quadrangle" in essays and novels by Anna Julia Cooper, Frances Ellen Watkins Harper, and Pauline Elizabeth Hopkins. The figure of Caliban allows these authors to inflect the sentimental structure of the novel, to elevate Calibanic utterance to what Cooper calls "crude grandeur and exalted poesy," and to reveal the undercurrent of anxiety in nineteenth-century American attempts to draw rigid racial boundaries. The Calibanic Quadrangle enables this thorough critique because it allows the black woman writer to depict the oppression of the "Other," southern fears of black sexuality, the division between early black and white women's issues, and the enduring innocence of the progressive, educated, black female hero ~ all within the legitimized boundaries of the Shakespearean text, which provides literary authority to the minority writer. I call the resulting Shakespearean intertextuality a Quadrangle because in each of these African-American works a Caliban figure, a black man or "tragic mulatto" who was once "petted" and educated, struggles within a hostile environment of slavery and racism ruled by the Prospero figure, the wielder of "white magic," who controls reproduction, fears miscegenation, and enforces racial hierarchy. The Miranda figure, associated with the womb and threatened by the specter of miscegenation, advocates slavery and perpetuates the hostile structure. The Ariel figure, graceful and ephemeral, usually the "tragic mulatta" and a slave, desires her freedom and complements the Caliban figure. Each novel signals the presence of the paradigm by naming at least one character from The Tempest (Caliban in Cooper's A Voice from the South; "Mirandy" in Harper's Iola Leroy; Prospero in Hopkins's Contending Forces; and Ariel in Hopkins's Hagar's Daughter).
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Clarke, Patricia, e n/a. "Life Lines to Life Stories: Some Publications About Women in Nineteenth-Century Australia". Griffith University. School of Arts, Media and Culture, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040719.150756.
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This thesis consists of an introduction and six of my books, published between 1985 and 1999, on aspects of the history of women in nineteenth-century Australia. The books are The Governesses: Letters from the Colonies 1862-1882 (1985); A Colonial Woman: The Life and Times of Mary Braidwood Mowle 1827-1857 (1986); Pen Portraits: Women Writers and Journalists in Nineteenth Century Australia (1988); Pioneer Writer: The Life of Louisa Atkinson, Novelist, Journalist, Naturalist (1990); Tasma: The Life of Jessie Couvreur (1994); and Rosa! Rosa! A Life of Rosa Praed, Novelist and Spiritualist (1999). At the time they were published each of these books either dealt with a new subject or presented a new approach to a subject. Collectively they represent a body of work that has expanded knowledge of women's lives and writing in nineteenth-century Australia. Although not consciously planned as a sequence at the outset, these books developed as a result of the influence on my thinking of the themes that emerged in Australian social and cultural historical writing during this period. The books also represent a development in my own work from the earlier more documentary-based books on letters and diaries to the interpretive challenge of biographical writing and the weaving of private lives with public achievements. These books make up a cohesive, cumulative body of work. Individually and as a whole, they make an original contribution to knowledge of the lives and achievements of women in nineteenth-century Australia. They received critical praise at the time of publication and have led to renewed interest and further research on the subjects they cover. My own knowledge and expertise has developed as a result of researching and writing them. The Governesses was not only the first full-length study of a particular group of letters but it also documented aspects of the lives of governesses in Australia, a little researched subject to that time. A Colonial Woman, based on a previously unpublished and virtually unknown diary, pointed to the importance of 'ordinary' lives in presenting an enriched view of the past. Pen Portraits documented the early history of women journalists in Australia, a previously neglected subject. Three of the women I included in Pen Portraits, Louisa Atkinson, Tasma and Rosa Praed, the first two of whom were pioneer women journalists as well as novelists, became the subjects of my full-length biographies. In my biographies of women writers, Pioneer Writer, Tasma, and Rosa! Rosa!, I recorded and interpreted the lives of these important writers placing them in the context of Australian cultural history as women who negotiated gender barriers and recorded this world in their fiction. My books on Louisa Atkinson and Tasma were the first full-length biographies of these significant but largely forgotten nineteenth-century women writers, while my biography of Rosa Praed was the first for more than fifty years. Each introduced original research that changed perceptions of the women's lives and consequently of attitudes to their creative work. Each provided information essential for further research on their historical significance and literary achievements. Each involved extensive research that led to informed interpretation allowing insightful surmises essential to quality biography.
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Artino, Serene. "To Further the Cause of Empire: Professional Women and the Negotiation of Gender Roles in French Third Republic Colonial Algeria, 1870-1900". Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1342622253.
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Coupal, Sophie. "Discours métalinguistique et pratiques d'écriture féministes". Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33278.
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During the seventies, a new discourse on language emerged and built up in Quebec. While the "querelle du joual" was almost finished, feminists became more and more aware of their so-called "mother tongue"'s inherent sexism. Believing in determinist linguistic theories, the vast majority of them came to the conclusion that language was a symbolic system that rejected women and women's experience.While some American feminists were proposing an important reform of the language, in Quebec, a few women writers incorporated their preoccupations with language in their literary texts. These women dedicated themselves to intensive textual researches, with the intention of creating a new "women's language" that would override the patriarchal law ruling the symbolic order. The different works studied in this thesis have been chosen between those of the women most representative of feminist metalinguistic discourse in Quebec: L'Euguelionne (1976), by Louky Bersianik, L'Amer ou le chapitre effrite (1977), by Nicole Brossard, Une voix pour Odile (1978) by France Theoret and Lueur: roman archeologique (1979) by Madeleine Gagnon.
The analysis of these texts will particularly be focused on the tensions building between discursive and formal aspects of each work. We'll see if and how the metalinguistic discourse, which we can find in the texts themselves and in more theoretic articles, is manifesting itself by a radical manipulation of the language at a formal level. The variety of ways some women writers of Quebec tried to inscribe feminine experience in language can be shown as a proof of the extreme difficulty of these textual practices, which elaborate themselves through what they are desperately trying to overcome.
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Smit, Lizelle. "Narrating (her)story : South African women’s life writing (1854-1948)". Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/97034.
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Thesis (MA)--Stellenbosch University. 2015ENGLISH ABSTRACT: Seeking to explore modes of self-representation in women’s life writing and the ways in which these subjects manipulate the autobiographical ‘I’ to write about gender, the body, race and ethnic related issues, this thesis interrogates the autobiographies of three renegade women whose works were birthed out of the de/colonial South African context between 1854-1948. The chosen texts are: Marina King’s Sunrise to Evening Star: My Seventy Years in South Africa (1935), Melina Rorke’s Melina Rorke: Her Amazing Experiences in the Stormy Nineties of South-African History (1938), and two memoirs by Petronella van Heerden, Kerssnuitsels (1962) and Die 16de Koppie (1965). My analysis is underpinned by relevant life writing and feminist criticism, such as the notion of female autobiographical “embodiment” (239) and the ‘I’s reliance on “relationality” (248) as discussed in the work of Sidonie Smith and Julia Watson (Reading Autobiography). I further draw on Judith Butler’s concept of “performativity” (Bodies that Matter 234) in my analysis in order to suggest that there is a performative aspect to the female ‘I’ in these texts. The aim of this thesis is to illustrate how these self-representations of women can be read as counter-conventional, speaking out against stereotypical perceptions and conventions of their time and in literatures (fiction and criticism) which cast women as tractable, compliant pertaining to patriarchal oversight, as narrow-minded and apathetic regarding achieving notoriety and prominence beyond their ascribed position in their separate societies. I argue that these works are representative of alternative female subjectivities and are examples of South African women’s life writing which lie ‘dusty’ and forgotten in archives; voices that are worthy of further scholarly research which would draw the stories of women’s lives back into the literary consciousness.
AFRIKAANSE OPSOMMING: In ‘n poging om metodes van self-uitbeelding te bespreek en die manier waarop die ‘ek’ van vroulike ego-tekste manipuleer om sodoende te skryf oor geslagsrolle, die liggaam, ras en ander etniese kwessies, ondersoek hierdie verhandeling die outbiografieë van drie onkonvensionele vrouens se werk, gebore vanuit die de/koloniale konteks in Suid-Afrika tussen 1854-1948. Die ego-tekste wat in hierdie navorsingstuk ondersoek word, sluit in: Marina King se Sunrise to Evening Star: My Seventy Years in South Africa (1935), Melina Rorke se Melina Rorke: Her Amazing Experiences in the Stormy Nineties of South-African History (1938), en twee memoirs geskryf deur Petronella van Heerden, Kerssnuitsels (1962) en Die 16de Koppie (1965). My analise word ondersteun deur relevante kritici van feministiese en outobiografiese velde. Ek bespreek onder andere die idee dat die vroulike ‘ek’ liggaamlik “vergestalt” (239) is in outobiografie, asook die ‘ek’ se afhanklikheid van “relasionaliteit” (248) soos uiteengesit in die werk van Sidonie Smith en Julia Watson (Reading Autobiography). Verder stel ek voor, met verwysing na Judith Butler, dat daar ‘n “performative” (Bodies that Matter 234) aspek na vore kom in die vroulike ‘ek’ van Suid- Afrikaanse outobiografie. Die doel van hierdie tesis is om uit te lig dat hierdie selfvoorstellings van vroue gelees kan word as kontra-konvensioneel; dat die stereotipiese uitbeelding van vroue as skroomhartig, nougeset, gedweë ten opsigte van patriargale oorsig, en willoos om meer te vermag as wat hul onderskeie gemeenskappe vir hul voorskryf, weerspreek word deur hierdie ego-tekste. Die doel is om sodanige outobiografiese vertellings en -uitbeeldings te vergelyk en sodoende uiteenlopende vroulike subjektiwiteite gedurende die periode 1854-1948 te belig. Ek verwys deurlopend na voorbeelde van ander gemarginaliseerde Suid-Afrikaanse vroulike ego-tekse om aan te dui dat daar weliswaar ‘n magdom ‘vergete’ en ‘stof-bedekte’ vrouetekste geskryf is in die afgebakende periode. Ek voor aan dat die ‘stem’ van die vroulike ‘ek’ allermins stagneer het, en dat verdere bestudering waarskynlik nodig is.
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Beauchamp, Claude. "Henry-Emile Chevalier et le feuilleton canadien-français (1853-1860)". Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61277.
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Henry-Emile Chevalier was forced in exile by the December 1851 Coup d'Etat in France. In March 1853, he came to Montreal and joined Georges-Hippolythe Cherrier who had just started a new periodical called La Ruche Litteraire Illustree. In addition, during his stay in Montreal, Chevalier worked for several periodicals, was an active member of the Institut canadien de Montreal, and wrote many novels and serials depicting Canada's exoticism. This thesis will provide the most accurate biography of Chevalier up to date, it will also present an analysis of the exoticism in his novels and serials (1853-1960), and of his contribution to the evolution of serials in French Canada.
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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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Letcher, Valerie Helen. "Trespassing beyond the borders Harriet Ward as writer and commentator on the Eastern Cape frontier". Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002283.
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The aim of this thesis is to provide an introduction to the work of writer and journalist Harriet Ward, resident in the Eastern Cape from 1842 to 1848. She was a prolific correspondent to various periodicals published both in South Africa and in London. It would be true to say, to judge from the evidence, that she fulfilled a need felt by the British public for information on life and events in South Africa, and that she became the trusted guide of the middle-class reader. Her range covers reports from the frontiers of war, journalistic articles, memoirs, short stories, novels, autobiography, and editions of other writers' work. After the publication of her articles on the Seventh Frontier War (1846-7), she was recognised and respected as a commentator on the situation at the Eastern Cape, an unusual role for a woman at this time. She was also amongst the foremost victorian women writers published from the early eighteen forties until the end of the eighteen-fifties. Harriet Ward has left a vivid historical and sociological account of the Cape frontier, and her observations and judgements provide a hitherto virtually unknown perspective on an important part of South African history and letters. What makes her even more interesting, as this study seeks to show, is that she was far from conventional in her response to her new environment, both as as a woman and as a representative of a colonialist power. The record she has left of her thoughts on the people, landscape and situations of the time has the capacity to surprise the post-colonial literary critic and historian. Her struggle to find a discursive mode in which to express her consciousness of the oppression, patriarchal and colonial, of the marginalised, whether woman, indigene, Afrikaner, or creole, reveals a significantly transgressive or subversive response to the issues of the day. In re-discovering Harriet Ward, we are forced to reassess our assumptions regarding the period of colonial history to which she was a witness.
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Squires, Michele B. "Marcel Schwob Digital Collection". BYU ScholarsArchive, 2008. https://scholarsarchive.byu.edu/etd/1355.
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This project outlines the discovery and digitization of previously unpublished correspondence composed by late 19th century author and literary critic, Marcel Schwob. Inspired by the inquiry of Bibliothèque Nationale Librarian Bernard Gauthier, Professor Daryl Lee alerted me to the presence of Marcel Schwob materials at BYU. I found that former BYU Professor John Green established a Marcel Schwob Memorial Collection and successfully published two books using the materials he gathered: Chroniques and Correspondance Inédite. After thoroughly researching the catalogued Schwob materials at BYU and comparing the contents to other Schwob publications, I found 72 previously unpublished letters. The majority of the letters (62) were written by Schwob to family members, and the remaining 9 letters were written to Schwob by colleagues. International interest in Marcel Schwob materials is one of many indicators representing renewed interest in the author, his work, and his influence. Recent publications also reflect growing Schwob interest. In Marcel Schwob, d'hier et d'aujourd'hui (2002), Christian Berg and Yves Vadé shed new light on Schwob through the observations of his contemporaries and modern-day essays on the importance of his contes. In addition, Jean Lorrain: Lettres à Marcel Schwob (2006) furthers the effort to better understand Schwob through a collection of correspondence. In light of this renewed interest, I determined that the previously unpublished correspondence would serve as a useful research tool for Schwob scholars. With the guidance and assistance of employees at the Harold B. Lee Library, I subsequently converted the correspondence into a digital publication. Creating a digital publication is a multifaceted undertaking requiring the involvement and expertise of different individuals and library departments. I successfully learned how to use both the hardware and software involved in the digitization process, thereby facilitating my completion of project deliverables, including: scanning and transcribing the letters; writing letter summaries (in both French and English), extracting names, and completing other metadata; uploading metadata using the Lee Library's external database; establishing authority control records; writing website content (in both French and English), and publicizing the project. This document contains the major deliverables found in the digital publication, specifically the website content, the letter transcriptions, and the metadata.
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Costa, Junior Martinho Alves da 1979. "A figura feminina na obra de Théodore Chassériau : reflexões sobre nus, vítimas e o fim de século". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280086.
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Orientador: Jorge Sidney Coli JuniorTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-22T22:45:07Z (GMT). No. of bitstreams: 1 CostaJunior_MartinhoAlvesda_D.pdf: 155599444 bytes, checksum: f9af31b794d4119435386614a88bbad9 (MD5) Previous issue date: 2013
Resumo: Partindo do estudo das figuras femininas na obra de Théodore Chassériau (1819-1856), a tese se desenvolveu em três eixos precisos: o nu, as vítimas e uma notória sensibilidade decadentista e simbolista, própria da cultura do fim de século. O trabalho se interessa, sobretudo, pelas ramificações das obras e visa compreender como as imagens de Chassériau mantêm sua presença ou, por outro lado, quais são os limites de determinados aspectos de sua produção. O fator preponderante é a comparação das imagens, demonstrando elementos peculiares em cada uma analisada. Deste modo não se trata de abordagens cronológicas; antes, são temas que se desenvolvem a partir da obra do artista. A produção de Chassériau, que voltou com ímpeto aos holofotes a partir de 2002 (ano da grande retrospectiva de seu trabalho), permanece pouco estudada pelos especialistas. Mesmo o tema das figuras femininas, que em inúmeros artigos aparece claramente, nunca foi sistematizado nem confrontado com os diversos caminhos que a obra do artista pode sugerir
Abstract: From the study of the feminine figures in Théodore Chassériau's (1819-1865) work, the thesis has been developed in three precise ways: the nude, the victims and an evident decadentist and simbolist sensibility, characteristic of the fin-de-siècle culture. Most of all, the study is interested in his works' ramifications and it aims to comprehend how Chassériau's images maintain their presence or, on the other hand, what are the limits of specific aspects of his production. The prevailing factor is the comparison of the images, showing peculiar elements in each one analyzed. Therefore it is not about chronological approaches; rather, those are themes that come forth from the artist's work. Chassériau's production, which returned with impetus to the spotlight since 2002 (year of the great retrospective of his work), remains little studied by the specialists. Even the theme of the female figures, which appears clearly in numerous papers, has never been systematized nor confronted with the several directions that the artist's work may suggest
Doutorado
Historia da Arte
Doutor em História
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McKay, Kali, e University of Lethbridge Faculty of Arts and Science. "Gertrude Stein and her audience : small presses, little magazines, and the reconfiguration of modern authorship". Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of English, c2010, 2010. http://hdl.handle.net/10133/2479.
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This thesis examines the publishing career of Gertrude Stein, an American
expatriate writer whose experimental style left her largely unpublished throughout much
of her career. Stein’s various attempts at dissemination illustrate the importance she
placed on being paid for her work and highlight the paradoxical relationship between
Stein and her audience. This study shows that there was an intimate relationship
between literary modernism and mainstream culture as demonstrated by Stein’s need for
the public recognition and financial gains by which success had long been measured.
Stein’s attempt to embrace the definition of the author as a professional who earned a
living through writing is indicative of the developments in art throughout the first
decades of the twentieth century, and it problematizes modern authorship by reemphasizing
the importance of commercial success to artists previously believed to
have been indifferent to the reaction of their audience.iv, 89 leaves ; 29 cm
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Villafranca, Brooke. "Fashioning the Domestic Ideology: Women and the Language of Fashion in the Works of Elizabeth Stoddard, Louisa May Alcott, and Elizabeth Keckley". Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33208/.
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Women authors in mid to late nineteenth century American society were unafraid to shed the old domestic ideology and set new examples for women outside of racial and gender spheres. This essay focuses on the ways in which Elizabeth Stoddard's The Morgesons, Louisa May Alcott's Behind a Mask, and Elizabeth Keckley's Behind the Scenes, or, Thirty Years a Slave, and Four Years in the White House represent the function of fashion and attire in literature. Each author encourages readers to examine dress in a way that defies the typical domestic ideology of nineteenth century America. I want my readers to understand the role of fashion in literature as I progress through each work and ultimately show how each female author and protagonist set a new example for womanhood through their fashion choices.
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Morais, Inacia Maria Paiva Martins de. "O feminino na literatura Macaense". Thesis, University of Macau, 2006. http://umaclib3.umac.mo/record=b1873163.
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Volz, Jessica A. "Vision, fiction and depiction : the forms and functions of visuality in the novels of Jane Austen, Ann Radcliffe, Maria Edgeworth and Fanny Burney". Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/4438.
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There are many factors that contributed to the proliferation of visual codes, metaphors and references to the gendered gaze in women's fiction of the late-eighteenth and early-nineteenth centuries. This thesis argues that the visual details in women's novels published between 1778 and 1815 are more significant than scholars have previously acknowledged. My analysis of the oeuvres of Jane Austen, Ann Radcliffe, Maria Edgeworth and Fanny Burney shows that visuality — the nexus between the verbal and visual communication — provided them with a language within language capable of circumventing the cultural strictures on female expression in a way that allowed for concealed resistance. It conveyed the actual ways in which women ‘should' see and appear in a society in which the reputation was image-based. My analysis journeys through physiognomic, psychological, theatrical and codified forms of visuality to highlight the multiplicity of its functions. I engage with scholarly critiques drawn from literature, art, optics, psychology, philosophy and anthropology to assert visuality's multidisciplinary influences and diplomatic potential. I show that in fiction and in actuality, women had to negotiate four scopic forces that determined their ‘looks' and manners of looking: the impartial spectator, the male gaze, the public eye and the disenfranchised female gaze. In a society dominated by ‘frustrated utterance,' penetrating gazes and the perpetual threat of misinterpretation, women novelists used references to the visible and the invisible to comment on emotions, socio-economic conditions and patriarchal abuses. This thesis thus offers new insights into verbal economy by reassessing expression and perception from an unconventional point-of-view.
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Loriaux, Stéphanie. "Luid tussen twee stilten: vergeten vrouwenstemmen uit tempo doeloe. De Indisch-Nederlandse literatuur uit het negentiende-eeuwse damescompartiment". Doctoral thesis, Universite Libre de Bruxelles, 2003. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211227.
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Michaux, Marianne. "Entre politique et littérature: les écrivains belges du réel (1850-1880)". Doctoral thesis, Universite Libre de Bruxelles, 1997. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212119.
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Aubry, Sophie. "Philosophie amoureuse et destinée de la mal mariée au XIXe siècle". Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81478.
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This thesis examines the character of the unhappy bride in three French novels of the 19th century: Le Lys dans la vallee (1836) by Honore de Balzac, Madame Bovary (1857) by Gustave Flaubert and L'Assommoir (1877) by Emile Zola. It compares the heroines' tragic destinies based on the following points: childhood; education; marriage; the philosophy of love and psychology; and escapism and death. We are shown that it is education that leads to the philosophy of love, which is filled with ideas of platonic love, and that unhappy marriages involve compensation. Research by psychoanalyst Karen Horney is applied to the characters found in the novels to explain their deviant behaviour (masochism, bovarism, narcissism, detachment). Each heroine demonstrates a tendency towards the ideal and illusions inherited from romanticism. Their fates are sealed with the failure of their dreams and the victory of reality over fantasy.
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Guignard, Sophie. "Le cœur, l’âme et le corps : Expressions de l’intime féminin dans sept romans du XIXe siècle et de l’extrême contemporain". Doctoral thesis, Uppsala universitet, Romanska språk, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-260215.
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This thesis examines representations of the intimate as experienced by female protagonists, through expressions related to the heart, the soul and the body, in a comparative study of novels by French women writers from the 19th century and the present day. The corpus consists of seven novels : Ourika by Claire de Duras (1822), Lélia by George Sand (1833 & 1839), Monsieur Vénus. Roman matérialiste by Rachilde (1884), Femme nue, femme noire by Calixthe Beyala (2003), Vous parler d’elle by Claire Castillon (2004), Le Cœur cousu by Carole Martinez (2007), and Mon cœur à l’étroit by Marie NDiaye (2007). As a starting point, the thesis provides an extensive literature survey of existing research on the intimate as well as an introduction of the feminist and psychanalytic approaches underpinning the subsequent analyses, which are conducted in two parts, according to the personal and relational dimensions of the intimate. The theories of Beauvoir, Kristeva and Lacan offer perspectives on the intimate experience of women characters which is conveyed in literary imagery as the desire of the Other, and which is oppressed in a patriarchal symbolic order, although an aesthetic with specific narrative techniques related to women’s experience of the intimate is identified in most of the novels. These features include blurring and fragmentation of spatiotemporality, a marked intricacy of narrative voice, proximate first-person narrators, and the development of themes such as the writing of the body, sensed as a container. A discrepancy is noticed between the dominating androcentric posture of the heroines which is found in underlying discourse, and the sensorial dimension of their experience. This leads to a sublimation of body and sexuality in the romantic novels, a masochistic exaltation of the body and pain in the decadent novel and a psychotic and paranoid state in the novels from present day literature. The themes of female sacrifice and of death and denial of the body are very strong throughout the corpus. Relationships within the family are explored, including the mother-daughter relationships that are emphasised in the recent novels but not in those from the 19th century. Family structure, Christian culture and patriarchal, hierarchical social organisation are analysed as grounds for women’s alienation in the novels. The issue of perversion, which is striking in the novels on several different levels, is described as a transgression which involves the reader.
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Rondou, Katherine. "Le thème de sainte Marie-Madeleine dans la littérature d'expression française, en France et en Belgique, de 1814 à nos jours". Doctoral thesis, Universite Libre de Bruxelles, 2006. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210807.
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Le présent travail enrichit la thématologie à un double niveau, à la fois par une réflexion méthodologique sur les différents modes de manifestation du thème, et par une meilleure connaissance d'un "mythe" littéraire précis, celui de sainte Marie-Madeleine, dont la vitalité ne laisse aucun doute, tant dans la fréquence de l'utilisation du personnage depuis deux mille ans, que dans l'originalité des interprétations, malgré d'inévitables redites et banalités. Sur la base d'une analyse minutieuse des différentes composantes du thème magdaléen dans la littérature franco-belge d'expression française après 1814, et des incarnations féminines qui s'en dégagent, cette thèse définit les contours du visage de la Madeleine de ces deux derniers siècles, et démontre la raison fondamentale de la permanence de la figure évangélique à travers les siècles :sa rencontre immédiate, et constante, avec le motif de la Femme dans la civilisation judéo-chrétienne.
Doctorat en philosophie et lettres, Orientation langue et littérature
info:eu-repo/semantics/nonPublished
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Knels, Eva Maria. "Le Salon et la scène artistique à Paris sous Napoléon I. Politique artistique – Stratégies d’artistes – Échos internationaux". Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040065.
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Cette thèse de doctorat se propose d’étudier les Salons sous l’ère napoléonienne, connus surtout pour le rôle important qu’ils jouèrent dans le cadre de l’instrumentalisation politique de l’art contemporain. Ainsi, après 1799, le Salon devint rapidement un important outil de la vaste politique culturelle du Consulat et de l’Empire, qui servit à représenter de manière symbolique le système politique. Face à ce changement radical du Salon et de sa politique artistique, les artistes, eux aussi, ont dû se positionner et s’adapter aux nouvelles structures politiques et administratives, tout en réagissant aux nouvelles tendances artistiques et à l’évolution du milieu artistique, afin de s’imposer au Salon. Le succès rencontré par les Salons en ces années-là ne se manifeste pas seulement par le chiffre croissant des exposants et des visiteurs : les diverses formes de la réception du Salon – journaux, brochures, récits de voyage, lettres et œuvres graphiques - témoignent également de l’écho rencontré par l’exposition, et ceci bien au-delà des frontières nationales. Jouxtant les salles du fameux Musée Napoléon qui regroupe les chefs-d’œuvre artistiques les plus importants, saisis par les armées françaises dans des collections de l’Europe, le Salon profite de la forte fréquentation du Louvre entre 1800 et 1815, de la part de visiteurs aussi bien français qu’étrangers. L’objectif de cette thèse est d’analyser l’organisation de l’exposition, le paysage des artistes exposants ainsi que l’écho rencontré par cet évènement sur la scène internationale en tenant compte de cette mutation complexe de la vie artistique parisienne au début du XIXème siècle. Dans cette perspective, le présent travail s’interroge sur les rapports entre la politique artistique, les pratiques artistiques et culturelles ainsi que leur réceptionThis doctoral thesis examines the Salons of living artists under the reign of Napoleon I, which are primarily known for the prominent role they played in the context of cultural politics of that time. After 1799, the Salon rapidly became an important instrument of art and cultural politics used by the ruling government to symbolically legitimise and support the political system. Given the major changes to the exhibition in these years, artists had also had to adapt to the new political and administrative structures whilst, at the same time, reacting to new artistic trends in order to stand up to the strong competition at the Salon. The exhibition's success in these years is not only reflected by the rising numbers of exhibiting artists and visitors. Also its wide-ranging coverage in the media, such as newspaper articles, letters, travelogues and graphic anthologies, is further proof of the exhibition's relevance and reach, sometimes even beyond national frontiers. Indeed, the exhibition's close locality to the famous Musée Napoléon, with its large collection of master pieces confiscated from European collections by the French armies, added further attention paid by European travellers to the Salon and the French contemporary art on display there. The aim of this doctoral thesis is to analyse the organisation of the exhibition, the range of participating artists as well as the international response it created whilst taking into consideration the complex transformation of art and the French art scene at the beginning of 19th century. By doing so, the dissertation focuses on the reciprocal relationship between art politics, artistic production and their reception
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Hart, Hilary 1969. "Sentimental spectacles : the sentimental novel, natural language, and early film performance". Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/297.
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Advisor: Mary E. Wood.
xii, 181 leaves : ill. ; 29 cm. Print copy also available for check out and consultation in the University of Oregon's library under the call number: PS374.S714 H37 2004.The nineteenth-century American sentimental novel has only in the last twenty years received consideration from the academy as a legitimate literary tradition. During that time feminist scholars have argued that sentimental novels performed important cultural work and represent an important literary tradition. This dissertation contributes to the scholarship by placing the sentimental novel within a larger context of intellectual history as a tradition that draws upon theoretical sources and is a source itself for later cultural developments. In examining a variety of sentimental novels, I establish the moral sense philosophy as the theoretical basis of the sentimental novel's pathetic appeals and its theories of sociability and justice. The dissertation also addresses the aesthetic features of the sentimental novel and demonstrates again the tradition's connection to moral sense philosophy but within the context of the American elocution revolution. I look at natural language theory to render more legible the moments of emotional spectacle that are the signature of sentimental aesthetics. The second half of the dissertation demonstrates a connection between the sentimental novel and silent film. Both mediums rely on a common aesthetic storehouse for signifying emotions. The last two chapters of the dissertation compare silent film performance with emotional displays in the sentimental novel and in elocution and acting manuals. I also demonstrate that the films of D. W. Griffith, especially The Birth of a Nation, draw upon on the larger conventions of the sentimental novel.
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Brooklyn, Bridget. "Something old, something new : divorce and divorce law in South Australia, 1859-1918". Title page, contents and summary only, 1988. http://web4.library.adelaide.edu.au/theses/09PH/09phb872.pdf.
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Burkhart, Claire Lovell. "Reading and writing women : representing the femme de lettres in Stendhal, Balzac, Girardin and Sand". Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-2836.
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This dissertation explores the numerous literary representations of the femme de lettres during the first half of the nineteenth century in order to illustrate the complexities of women’s entrance into the male-dominated domain of literature and also to suggest the impact these fictional characters might have had on the reception of actual women writers as well as their omission from the century’s literary canon. The works that will be included in this analysis include: Mme de Staël’s Corinne, ou l’Italie, Stendhal’s Le Rouge et le noir, Honoré de Balzac’s Béatrix, La Muse du département and Illusions perdues, Delphine de Girardin’s La Canne de M. de Balzac, Napoline and La joie fait peur and George Sand’s Histoire de ma vie, Lettres d’un voyageur and Un Hiver à Majorque. In compiling such diverse works of literature, it becomes clear that both male and female authors from the early nineteenth century were unable to envision a publicly embraced female genius. Although almost all of the fictional femmes de lettres in this study faced a destiny of professional silence, the reasons given for their failures are split between the male and female authors. For the male authors, the woman as a successful intellectual, artist or author was ultimately impossible because of her inability to combine her female body and psyche with the “masculine” pursuit of knowledge. Conversely, the female authors wrote characters whose inability to fully embrace a public literary or artistic career stemmed from society’s unwillingness to tolerate her exceptionality rather than from an inherent disconnect between genius and the female sex.text
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Lewis, Daniel D. "Women writing men : female Victorian authors and their representations of masculinity". 2011. http://liblink.bsu.edu/uhtbin/catkey/1653349.
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This dissertation covers five female Victorian authors (Elizabeth Gaskell, M.E. Braddon, Dinah Craik, Juliana Horatia Ewing, Edith Nesbit) and the representations of masculinity in their novels. By taking a masculinity studies approach, this dissertation finds that these novels, in an attempt to gain authority and legitimacy in the male-dominated social sphere, often promoted middle-class masculine gender identities as the dominant, ideal masculinity for others. I will argue that female authors in the Victorian period took part in this struggle over re/defining hegemonic male gender identity in different ways, in different genres, for different purposes. Gaskell’s Mary Barton and North and South seek to ensure middle-class dominance over the working classes. Braddon’s novels Lady Audley’s Secret and Aurora Floyd illustrate the unnaturalness of gender (and thus to call into question notions of “natural” differences between men and women, or men and other men) and broaden the definition of acceptable gender identities for men and, by extension, women. The authors of late-period children’s literature created texts that either changed or shield from change both male and female gender identities to define the proper way to educate children during a time when gender roles were undergoing changes due to innovations in industry, education, and calls for equal rights for women and non-hegemonic men. All of these texts display a great amount of confidence in the power of literature to shape gender identity. The male characters in novels covered in this dissertation help govern the individual from abstract potential to concrete reality in terms of how masculinity is lived in the everyday world. While pamphlets, medical journals, and conduct books can instruct the reader on ideal conduct (or, conversely, warn against inappropriate conduct) for men, women, boys, and girls, these texts often function in the abstract. The belief held by these authors in the power of literature is enables them to position fictional men in the real world under the assumption that these characters are therefore able to “live out” these ideas of what is and what is not appropriate in performing one’s male gender identity.Department of English
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Bailey, Jennifer McNamara. ""An abyss of sorrow" : mourning and melancholia in 19th-century women's fiction /". Diss., 2000. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:9995559.
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Gallaway-Mitchell, Lee Anne. ""Words survive" : death and dying in women's letters". 2008. http://hdl.handle.net/2152/18072.
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During the nineteenth century, the publication of letter collections, often titled “Life and Letters,” became very popular and let the public in on the private lives of public figures. Women from literary families all wrote letters with an awareness of the possibility of the world reading them. Even as letters were viewed as ostensibly private forms of communication, they were serving an intimate public as a vehicle for public feelings long before publication. Exploring the epistolary remains of three nineteenth-century women writers from literary families, I focus, in particular, on how these writers confronted illness, grief, and death, all things that kept them isolated from others and made correspondence necessary. Sara Coleridge wrote about the deaths of those closest to her in order to learn from and plan her own death. While Alice James concentrated almost entirely on her own demise, Charlotte Brontë did not write about her death, even preferring that others at least hold off speculating on it while she was still living. Instead Bronte focused on her sisters’ deaths, knowing that their deaths would shape how her life got written. Indeed, the family narrative would never lose its association with death. Throughout the study, Virginia Woolf acts as a mediating figure who both engaged in these epistolary practices of bereavement and read and wrote about letter collections from the past. The significance of these letters is how they reflect attitudes towards death and dying in the nineteenth century, particularly in how narratives get worked into an epistolarity of death in which the narrating of grief itself provides a means to manage the challenges of bereavement. The work of death and the writing of it are creative acts that build toward leaving a written corpus more permanent, or at least more durable, than the body and less vulnerable than life.text
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Richter, Daniela Maria 1975. ""Die sanfte Bitte" ; women's writing on female gender roles in nineteenth-century Germany". 2007. http://hdl.handle.net/2152/11947.
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Brunache, Peggy Lucienne. "Enslaved women, foodways, and identity formation : the archaeology of Habitation La Mahaudière, Guadeloupe, circa late-18th century to mid-19th century". Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-08-4119.
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The most influential communities in modern Caribbean history have been the enslaved Africans and their descendant populations. As such, historical archaeology in the Caribbean has often focused on black lifeways under British, Dutch, and Spanish colonial powers. The utilization of various research strategies have included but not restricted to ethnoarchaeology, historical documents, material culture, oral history sources, settlement patterns, stable isotopic study, and burial practices. As one of the first historical faunal studies of the French Antilles, my work attempts to provide a contribution to the study of slave foodways. This dissertation examines the interrelationship between foodways and identity formation during the early modern French transatlantic expansion. My material evidence, exemplified via faunal remains, was retrieved from the slave village at Habitation La Mahaudière, once a prosperous sugar plantation in Guadeloupe established during the mid-18th century, whose domestic occupation spanned over 150 years and is currently a well-preserved archaeological site that offers the potential for understanding diachronic social and cultural processes of the French plantation system. My zooarchaeological results in combination with primary and secondary sources that discuss colonial subsistence practices will assist in establishing how slave foodways and French Antillean identity is created by and shaped one another.text
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Belluccini, Federica. "“A MUCH MILDER MEDIUM”: ENGLISH AND GERMAN WOMEN WRITERS IN ITALY 1840-1880". 2011. http://hdl.handle.net/10222/14358.
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Travel writing is by definition an open and hybrid form that encompasses a variety of genres, styles, and modes of presentation. This study focuses on four little-known travel texts about Italy written between 1840 and 1880 by two English and two German women writers and shows how, by exploiting the openness of the form of travel writing, they broadened its scope beyond mere description to provide insight into national ideologies and identities while expanding the boundaries of the female sphere of influence. This study considers the following texts: Mary Shelley’s Rambles in Germany and Italy, in 1840, 1842, and 1843 (1844), Adele Schopenhauer’s Florenz: Ein Reiseführer mit Anekdoten und Erzählungen (1847/48) (2007), Frances Power Cobbe’s Italics: Brief Notes on Politics, People, and Places in Italy, in 1864 (1864), and Fanny Lewald’s Reisebriefe aus Deutschland, Italien und Frankreich 1877, 1878 (1880).
In the first chapter, the four texts under consideration are presented against the backdrop of nineteenth-century sexual ideology of the ‘separate spheres’ and the conventions of women’s travel writing. A survey of the long tradition of English and German travellers to Italy and their writings is provided to establish the context in which the texts were produced. Also considered is the role they play in the narrative of Italian nation-building. In the second chapter, the discussion of Rambles in Germany and Italy examines how, by presenting herself as a mother and an educator, Shelley foregrounds the pedagogical purpose of the book, which aims at garnering the sympathy of her British audience for the oppressive political situation of the Italian people and their growing nationalism. The third chapter explores Schopenhauer’s attempt in Florenz to create her own gendered version of the guidebook for travellers in the style of Murray and Baedeker and to revive the memory of the democratic institutions of thirteenth-century Florence at a time when Italians were fighting for democratic reforms and independence. The fourth chapter shows how, in Italics, the representation of Italy in the wake of its partial unification in 1861 is closely intertwined with Cobbe’s own thinking on politics, religion, and women’s emancipation. The fifth chapter examines how, in Reisebriefe, the discussion of the social and political changes that had affected both Italy and Germany in the previous forty years allows Lewald to engage in a reflection on her own femininity and on the role of women in the newly formed German nation.
Shelley, Schopenhauer, Cobbe and Lewald each used travel writing to explore their own identities as women and as writers. Pushing the form beyond exposition into the realm of social commentary, they used it to shape public opinion and to explore new roles for women in society.
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Wakefield, Sarah Rebecca. "Folklore-naming and folklore-narrating in British women's fiction, 1750-1880". Thesis, 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3086727.
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Du, Plessis Sandra Elizabeth. "Exploding the lie : 'angelic womanhood' in selected works by Harriet Martineau, Anne Bronte, Charlotte Bronte and George Eliot". Diss., 1997. http://hdl.handle.net/10500/18635.
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Each of these novelists, in her own way, presents a critique of the idealised
woman of the nineteenth-century. My aim in this dissertation is to reveal the
degree to which each is successful in her mission to 'explode the lie' of angelic
womanhood, and, in so doing, free her long-incarcerated Victorian sisters.
It took great courage and fortitude to utter at times a lone dissenting voice; and
female writers of the present owe a great debt of gratitude to their pioneering
Victorian counterparts, who cleared the way for them to take up the banner and
continue the march towards female liberation from a stifling ideology.English Studies
M.A. (English)
43
Dalldorf, Tamaryn J. "The victimisation of genius : Mary Robinson's idealisation of the female author in sensibility literature during the decade of the 1790's". Diss., 2017. http://hdl.handle.net/10500/22689.
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Mary Robinson’s perceived entrapment within masculine discourse has led to a somewhat distorted portrayal of this author as ‘victim’: critical focus on how she and eighteenth-century society may have constructed her authorial identity, reflecting her primarily as a historical and cultural product, has contributed indirectly to diminish due recognition of the level of autonomy she attained within her own writing. However, recent political interpretations of Robinson’s work have largely challenged these views, acknowledging her considerable influence within the public realm of the ‘masculine’ Romantic. In this dissertation, I aim to build upon, and argue beyond, those readings which have explored Robinson’s political uses of victimisation, as well as those which have studied her promotion of female authorship. I will argue that, by exploring Robinson’s own portrayal of the female philosopher and author, as well as her manipulation of victimisation within sensibility literature, we may be able to better interrogate modern feminist thinking around the concept of the eighteenth-century female philosopher, and thus begin to situate the value of Robinson’s work within a firmer literary compass. I will focus upon the following novels: Walsingham (2003 b), The False Friend (1799), and The Natural Daughter (2003 a). While I will root my arguments in the abovementioned approach, I will avoid contributing further discussion to Robinson’s use of radical politics and defence or fostering of female authorship. First because these are relatively well explored issues around her writing, and secondly because it is wise to be cautious when affirming Robinson’s radical politics, as ultimately this impulse ties into a modern yearning to portray her as a radical feminist. Robinson certainly adopted a radical political stance in some of her novels; yet, I will argue, we cannot value her writing primarily in terms of its political bent, however tempting this approach may be.English Studies
M.A. (English Studies)
44
Collado, Mélanie Elmerenciana. "Femmes de lettres/l’être femme : émancipation et résignation chez Colette, Delarue-Mardrus et Tinayre". Thesis, 2002. http://hdl.handle.net/2429/13481.
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Since Elaine Showalter's proposal of "gynocriticism", a considerable amount of
work has been done in English-speaking countries to establish the existence o f a "female
tradition" in literature. In France, where feminist critics have focussed on new ways "to
write the feminine", there has been relatively little interest in reexamining the production
of lesser-known women writers. The canon of French literature remains comparatively
unchallenged, and few people are aware o f the many women who wrote at the beginning
of the twentieth century. This dissertation is a contribution to the rereading of three of
such authors, looking at the representation of femininity in relation to feminism. Three
novels, one by Sidonie Gabrielle Colette, one by Marcelle Tinayre and one by Lucie
Delarue-Mardrus. The careers of these "femmes de lettres", all established before World
War I, were comparable, yet two o f them have been forgotten.
These novelists remained ambivalent in relation to feminist efforts at that time to
achieve the emancipation o f women. Despite their own relative freedom and lack of
conformity in their lives, and the criticism o f established norms embedded in their
narratives, all three kept their distance from feminism as a movement. The three texts
compared here all have conservative endings, in spite of other elements that challenge the
status quo. A t the core of their ambiguity is the tension between two concepts which
remain in conflict today: on one hand the feminist agenda aimed at greater freedom and
autonomy for women is based on the idea that gender roles are constructed, whereas on
the other hand the concept of femininity is inseparable from the idea of an "essential"
woman, represented, in the early 1900's in France by a particular nationalist concept of
the French Woman. A close look at critical texts published in the first part o f the
twentieth century shows the weight of that concept in the evaluation o f women's writing
of that period. The growth in the number and reputation o f women writers ("femmes de
lettres") was accompanied by a declaration o f the need to maintain French femininity
("l'etre femme"), and individual women authors like Colette, Delarue-Mardrus and
Tinayre were caught in a dilemma.
They all proclaimed their allegiance to the French ideal of femininity, while
contributing to its denial and renewal by their own performance as successful women
writers. Their representation of femininity as performed in their novels (as it was in their
lives) shows the various ways in which it was possible to negociate a compromise
between being feminine and challenging that concept through writing. These texts also
demonstrate that women's literary production of that period in France is far more
diversified than standard anthologies of French literature would lead us to believe.
Colette appeals to reader's senses and aims to seduce, Tinayre appeals to reason and aims
to convince, while Delarue-Mardrus appeals to the emotions and aims to move. All three,
combine the "feminine" and the "feminist" in different ways, constructing literary models
that represent a range of responses to a similar problem: how to remain a woman while
contesting the notion of "woman".
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Townsend, Rosemary. "Narration in the novels of selected nineteenth-century women writers : Jane Austen, The Bronte Sisters, and Elizabeth Gaskell". Thesis, 1999. http://hdl.handle.net/10500/18634.
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In this studyi apply a feminist-narratological grid to
the works under discussion. I show how narration is used as
strategy to highlight issues of concern to women, hereby
attempting to make a contribution in the relatively new field
of feminist narratology.
Chapter One provides an analysis of Pride and Prejudice
as an example of a feminist statement by Jane Austen. The use
of omniscient narration and its ironic possibilities are
offset against the central characters' perceptions, presented
by means of free indirect style.
Chapter Two examines The Tenant of Wildfell Hall as a
critique of Wuthering Heights, both in its use of narrative
frames and in its at times moralistic comment. The third and
fourth chapters focus on Charlotte Bronte. Her ambivalences
about the situation of women, be they writers, narrators or
characters, are explored. These are seen to be revealed in her
narrative strategies, particularly in her attainment of
closure, or its lack.
Chapter Five explores the increasing sophistication of
the narrative techniques of Elizabeth Gaskell, whose early
work Mary Barton is shown to have narrative inconsistencies as
opposed to her more complex last novel Wives and Daughters.
Finally, I conclude that while the authors under
discussion use divergent methods, certain commonalities
prevail. Among these are the presentation of alternatives
women have within their constraining circumstances and the
recognition of their moral accountability for the choices they
make.English Studies
D. Litt. et Phil. (English)
46
Pierobon, Ermenegilda. "Trasgressione e consenso nella vocazione realistica di una scrittrice ottocentesca : Itinerario Artistico della Marchesa Colombi (Maria Antonietta Torriani, 1840-1920)". Thesis, 1994. http://hdl.handle.net/10500/15782.
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Il presente lavoro si propane di portare un contributo critico
all'opera della Colombi, delineandone quegli aspetti salienti che
caratterizzano la sua partecipazione alla scena letteraria come donna e
come professionista.
Le sue scelte poetiche, basate sull'ideale di un'intima,
inscindibile unita donna-parola-lingua e sull'armoniosa corrispondenza
vita-arte, contribuiscono ad acuire il confl itto con il repressivo e
misogino ambiente ottocentesco. Si crea una continua tensione tra la
tendenza all'adeguamento impasto dalla priorita di difendere la propria
presenza e l'altrettanto forte spinta alla trasgressione come necessita
di salvaguardare la coerenza a se stessa. L'ambivalenza vissuta verso
il padre, depositario dell 'ordine sociale, si riflette, coerentemente con
le premesse poetiche, nelle polemiche condotte nei confronti dei padri
della letteratura. Se queste ultime tendono a rimanere contenute a
livello metatestuale, in genera le, il genuino ed autentico messaggio
letterario viene soprattutto espresso attraverso il gusto antifrastico
dell'ironia ea livello metaforico e simbolico.
La messa in luce della repressione e della morte dei valori
femminili, la creativita intellettuale e fisica, che costituiscono la
vera essenza dell'individuo e della stessa esistenza umana, va di pari
passo con la maturazione di un sofferto compromesso con le dure leggi
imposte dalla vita. Dalla crudelta di lavori alienanti alla brutale
caduta degli ideali e dell'amore, si raggiunge, con le opere maggiori,
un rinnovato equilibrio vita-arte che, nella sublimazione delle
esperienze di morte, eleva l'espressione artistica a piano ultimo di
salvezza e di realizzazione individuale. Nell'affermazione di un'arte firmata al femminile e posta al servizio della giustizia e della verita,
si consuma cosi la disobbedienza nei confronti di ogni forma arbitraria
di potere. Connotato al maschile, esso viene evidenziato nei suoi
effetti deleteri ed alienanti anche nella connivenza e mancanza di una
reale autenticita delle stesse donne, in particolare le madri.
Dall'analisi dell'opera della Colombi emerge l'immagine di una
scrittrice che si distingue non solo per la sua originalita e
complessita, ma anche per l'indubbia modernita sia di stile che di
problematicheThe aim of the present study is to offer a critical contribution on the writings of the Marchesa Colombi by tracing and developing those aspects of her work which best characterise her personality as a woman and as a writer. Her poetical choices, based on the ideal of an intimate, indivisible unity of woman-word-language and on the harmonious correlation between life and art, focus sharply on her conflict with the repressive and misogynist ambience of nineteenth-century Italy. Her works reveal a constant tension between the need to adapt in order to defend her own presence (as a writer) and the urge to transgress as a means to safeguard her inner, personal coherence. The author's ambivalence towards the father, depositary of the social order, is further reflected, in keeping with her poetical vision, in the polemical debates held with the fathers of Italian literature. Whereas these debates remain embedded within a metatextual discourse, the genuine and authentic message of her works is generally expressed on the metaphorical and symbolic levels and by an extensive antiphrastic use of irony. The need to stress the repression and death of feminine values, the intellectual and physical creativity which constitute the true essence of the individual, goes hand in hand with the artist's achievement of maturity as a painful compromise with the hard rules imposed by life. From the cruelty of a alienating labour to the brutal collapse of her ideals and of love, Colombi is able to achieve in her major works a new form of balance between life and art which, by sublimating the experience of death, elevates the artistic expression to the heights of personal salvation and of self-realization. By affirming her art as a product of the feminine mind at the service of justice and truth, she plays out her disobedience against all arbitrary forms of power. This study of the works of the Marchesa Colombi reveals the image of a writer who distinguishes herself not only for her originality and complexity but also for the marked modernity both in her style and in her choice of subject
Department of Classics & Modern European Languages
D.Litt. et Phil. (Italian)
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Pillay, Ivan Pragasan. ""Could it be madness - this?" : bipolar disorder and the art of containment in the poetry of Emily Dickinson". Thesis, 2007. http://hdl.handle.net/10413/827.
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This dissertation engages in a critical analysis of the poetry of Emily Dickinson which, to me, suggests that the poet suffered from a type of manic-depression known specifically in psychiatric parlance as bipolar disorder. I argue that although Dickinson experienced much pain and suffering she learnt, through time, to address, understand and contain adversity - that ultimately, she transformed these experiences into the raw materials for poetic creation. Dickinson's poetic achievements are often obscured by a misunderstanding of her mental and emotional constitution. This thesis provides an alternative to the views of those commentators who maintain that Emily Dickinson was insane, neurotic or delusional. I intend, ultimately, to offer the reader a fresh insight into Emily Dickinson's poetry by reading it from the assumption that she suffered from bipolar disorder.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2007.
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Gordon-Chipembere, Natasha 1970. "From silence to speech, from object to subject: the body politic investigated in the trajectory between Sarah Baartman and contemporary circumcised African women's writing". Thesis, 2006. http://hdl.handle.net/10500/1660.
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NOTE FROM THE LIBRARY: PLEASE CONTACT THE AUTHOR AT indisunflower@yahoo.com OR CONSULT THE LIBRARY FOR THE FULL TEXT OF THIS THESIS....
This thesis investigates the trajectory traced from Sarah Baartman, a Khoisan woman exploited in Europe during the nineteenth century, to a contemporary writing workshop with circumcised, immigrant West African women in Harlem New York by way of a selection of African women's memoirs. The selected African women's texts used in this work create a new testimony of speech, fragmenting a historically dominant Euro-American gaze on African women's bodies. The excerpts form a discursive space for reclaiming self and as well as a defiant challenge to Western porno-erotic voyeurism. The central premise of this thesis is that while investigating Eurocentric (a)historical narratives of Baartman, one finds an implicitly racist and sexist development of European language employed not solely with Baartman, but contemporaneously upon the bodies of Black women of Africa and its Diaspora, focusing predominantly on the "anomaly of their hypersexual" genitals. This particular language applied to the bodies of Black women extends into the discourse of Western feminist movements against African female circumcision in the 21st century. Nawal el Saadawi, Egyptian writer and activist and Aman, a Somali exile, write autobiographical texts which implode a western "silent/uninformed circumcised African woman" stereotype. It is through their documented life stories that these African women claim their bodies and articulate nationalist and cultural solidarity. This work shows that Western perceptions of Female Circumcision and African women will be juxtaposed with African women's perceptions of themselves. Ultimately, with the Nitiandika Writers Workshop in Harlem New York, the politicized outcome of the women who not only write their memoirs but claim a vibrant sexual (not mutilated or deficient) identity in partnership with their husbands, ask why Westerners are more interested in their genitals than how they are able to provide food, shelter and education for the their families, as immigrants to New York. The works of Saadawi, Aman and the Nitandika writers disrupt and ultimately destroy this trajectory of dehumanization through a direct movement from an assumed silence (about their bodies, their circumcisions and their status as women in Africa) to a directed, historically and culturally grounded "alter" speech of celebration and liberation.English Studies
D. Litt. et Phil.(English)