Dissertations / Theses: 'American fiction Chinese authors History and criticism'

1

Chan, Suet Ni. "Women at crossroads : a study of women's search for identity in twentieth century Chinese-American fiction." HKBU Institutional Repository, 2009. https://repository.hkbu.edu.hk/etd_ra/1095.

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Zheng, Baoxuan, and 鄭寶璇. "The theme of alienation in modern Chinese and Anglo-American fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31206803.

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Go, King-fan, and 吳景勛. "Burdens of the past: a study of Chinese-American writings." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B37642832.

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4

李仕芬 and Shi-fan Lee. "Love and marriage." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1989. http://hub.hku.hk/bib/B31208721.

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Shea, Maureen Elizabeth. "Latin American women writers and the growing potential of political consciousness." Diss., The University of Arizona, 1987. http://hdl.handle.net/10150/184310.

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This dissertation provides a feminist reading of the works of Latin American women writers since the decade of the sixties to the present who focus on the particular historical moment of their times from a political perspective. A systematic study of the narrative figure in novels by Dora Alonso, Elena Poniatowska, Claribel Alegria and Darwin Flakoll, and Isabel Allende, reveals an awareness of the undercurrents of oppression existent in their societies based on racial and class stereotypes with a growing understanding of oppression based on sex. From the perspective of the female narrator in Tierra Inerme by the Cuban writer Dora Alonso, the Cuban social structure before 1959 is condemned for its inequality on the basis of class, race, and sex. However, the perspective of the narrator reveals that she has not entirely escaped the prejudices that permeate her society concerning women. Hasta no verte Jesus mio, by the Mexican writer Elena Poniatowska concentrates on the testimony of Jesusa Palancares who condemns the structural inequality existent in Mexican society. Although Palancares' perspective reveals an awareness of the unequal treatment of women, because of her underprivileged status she concentrates on oppression based on class. In Cenizas de Izalco by Darwin Flakoll from the United States and the Salvadoran Claribel Alegria, the 1931 massacre of the peasants in El Salvador is condemned. However, through the contrasting perspectives of the male and female narrators, oppression on the basis of sex is most emphasized. La casa de los espiritus by the Chilean Isabel Allende depicts brutal class, racial and sexual oppression in Chile from the 1920's to 1973. It is in this novel that sexual oppression is portrayed most vividly, again through the contrasting perspectives of the male and female narrators. Although a growing awareness of sexual oppression emerges in the novels studied becoming most emphatic in this decade through an awakening feminist consciousness, the perspective of the narrators emphasize to varying degrees the importance of solidarity among women to combat injustice of every form to achieve a more equitable existence for all oppressed people.

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Traves, Julie. "Writing himself and others : Philip Roth and the autobiographical tradition in Jewish-American fiction." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26763.

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Philip Roth's parody of autobiography in the Zuckerman series is part of a larger debate concerning the problems of Jewish art. As Roth manipulates personal and personified autobiography, he both underlines and undermines Jewish traditions of reading and writing. To be sure, Zuckerman's struggle for artistic identity articulates a long-standing Jewish concern with the tensions of collective representation. It is from a culture consistently threatened by alienation and extermination that Roth finds his terms of reference. Zuckerman and his creator are subject to a whole discourse of Jewish textuality: to Jewish notions about the relationship between the individual and the group; between fact and fiction and between aesthetics and morality.
However, the Zuckerman books are at once part of a continuum of Jewish culture and a unique response to the pressures of contemporary American Judaism. Through his humorous manipulations of autobiographical fiction, Roth finally counter-turns the very compasses by which he has oriented himself. He offers a potent commentary on the fatuity of Jewish "facts" and on the fictitious nature of the collectivized Jewish voice. For Roth, it is not only the Jew's experience, but his/her imagination, his/her individual frame of understanding, that determines ethnic identity. In the end, Roth challenges the cohesion of the Jewish cultural text. He places himself in a house of mirrors, where life and art, self and group, Jewish reverence and Jewish rebellion, endlessly reflect off one another.

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Yu, Yuen-yee Frankie, and 余婉兒. "Living on the margin." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45015168.

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Potts, Henry M. "Native American values and traditions and the novel : ambivalence shall speak the story." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26754.

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The commitment to community shared by Native American authors such as N. Scott Momaday, James Welch, and Louise Erdrich is partially evinced by each author's readiness to inscribe in novel form the values and traditions of the tribal community or communities with which he/she is closely associated. Many students of the novel will attest to its pliant, sometimes transmutable nature; nevertheless, as this study attempts to make clear, there are some reasons why Native American authors should reconsider using the novel as a means to express their tribal communities' values and traditions. Unambivalent prescriptions, however, seem more suited to the requirements of law or medicine; and so this study also examines some of the reasons why Native American authors should continue to embrace this relatively "new" art form persistently termed the novel.

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李仕芬 and Shi-fan Lee. "The male characters in the fiction of contemporary Taiwanese women writers." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31235979.

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Su, Suocai. "Inventing transnational Chinese American identities in Amy Tan's The Joy Luck Club, Shirley Geok-lin Lim's Among the white moon faces, and Shawn Hsu Wong's American knees." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1301632.

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My dissertation investigates how Chinese American writers invent transnational Chinese American identities in the 1980s and 1990s. In particular, I focus on Amy Tan's The JoyLuck Club (1989), Shirley Geok-lin Lim's Among the White Moon Faces: An Asian American Memoir of Homelands (1996), and Shawn Hsu Wong's American Knees(1995). 1 argue that Tan, Lim, and Wong challenge the conventional ideas of a singular, pure, and fixed identity but instead create Chinese American identities in the post-1965 era as multiple, hybrid, and constantly changing to accommodate to an open, diverse, and multicultural America. Specifically, in Tan's work, by describing both the conflicts and connections between the Chinese mothers and their American horn daughters, she represents a group of Chinese American women who transcend their cultural, generational, and linguistic differences to achieve an identity that connects the West with the East. In Lim's work, by portraying the domestic and international movements of herself as an immigrant, she reveals the long and painful process of negotiating multiple cultures and identities that enables her to change from a Chinese Malaysian to a new Asian American woman. In Wong's work, by focusing on how the fourth- and fifthgeneration of Chinese and/or Asian American men and women negotiate racial, ethnic, gender, and sexual identities, Wong meditates on what the term Asian American means in the new age. Together the three works reflect the range, diversity, and invention of contemporary Chinese American identities by Chinese American writers in the new era.
Department of English

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Chew, Laureen. "Chinese American images in selected children's fiction for kindergarten through sixth grade." Scholarly Commons, 1986. https://scholarlycommons.pacific.edu/uop_etds/2131.

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The purpose of this study is to investigate Chinese American images in selected children's fiction to determine whether or not data support the position of the Council on Interracial Books for Children, that the works of fiction studied tend to stereotype Chinese Americans. After reading the selected fifteen works of fiction, a criterion checklist was devised by the investigator to examine the behavior and lifestyle of Chinese Americans depicted in a variety of circumstances. validity of the criterion checklist was established by a panel of experts in the area of Chinese American studies. Inter-rater reliability was determined by two readers who utilized the criterion checklist to analyze the content of one lower elementary grade and one upper elementary grade work of fiction. Finally, the criterion checklist was used to analyze the fifteen works of fiction and draw conclusions related to the purpose of this study. The findings in this study do support the conclusions of the Council on Interracial Books for Children that this group of fiction portrays Chinese Americans in a one dimensional, stereotypic manner. In the checklist items related to environment, food, utensils, physical attributes, cultural celebrations, occupations, and recreation, Chinese Americans were portrayed as adhering to Chinese-specific characteristics. However, in cross-cultural and behavioral items, Chinese Americans were portrayed as desiring Western-specific characteristics. This tendency was especially prevalent in upper elementary grade fiction. A more integrative or multi-dimensional view of Chinese Americans appreciating, and able to function well in, both cultural contexts is disconcertingly absent. Based on the findings of this study, the following recommendations are made: 1. That teachers, librarians, and other school personnel who use this collection of books, supplement them with materials containing contemporary and realistic information about Chinese Americans. 2. That future writers of children's fiction dealing with Chinese Americans portray them in a multidimensional manner. 3. That curriculum writers of textbooks use a similar criterion checklist to offset the one-dimensionality of Chinese American images in existing children's literature. 4. That future writers of children's fiction on Chinese Americans utilize a criterion checklist such as the one in this study to assist them in developing multi-dimensional characters.

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Erickson, Stacy M. "Animals-as-Trope in the Selected Fiction of Zora Neale Hurston, Alice Walker, and Toni Morrison." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2227/.

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In this dissertation, I show how 20th century African-American women writers such as Zora Neale Hurston, Alice Walker, and Toni Morrison utilize animals-as-trope in order to illustrate the writers' humanity and literary vision. In the texts that I have selected, I have found that animals-as-trope functions in two important ways: the first function of animal as trope is a pragmatic one, which serves to express the humanity of African Americans; and the second function of animal tropes in African-American women's fiction is relational and expresses these writers' "ethic of caring" that stems from their folk and womanist world view. Found primarily in slave narratives and in domestic fiction of the 19th and early 20th centuries, pragmatic animal metaphors and/or similes provide direct analogies between the treatment of African-Americans and animals. Here, these writers often engage in rhetoric that challenges pro-slavery apologists, who attempted to disprove the humanity of African-Americans by portraying them as animals fit to be enslaved. Animals, therefore, become the metaphor of both the abolitionist and the slavery apologist for all that is not human. The second function of animals-as-trope in the fiction of African-American women writers goes beyond the pragmatic goal of proving African-Americans's common humanity, even though one could argue that this goal is still present in contemporary African-American fiction. Animals-as-trope also functions to express the African-American woman writer's understanding that 1) all oppressions stem from the same source; 2) that the division between nature/culture is a false onethat a universal connection exists between all living creatures; and 3) that an ethic of caring, or relational epistemology, can be extended to include non-human animals. Twentieth-century African-American writers such as Hurston, Walker, and Morrison participate in what anthropologists term, "neototemism," which is the contemporary view that humankind is part of nature, or a vision that Morrison would most likely attribute to the "folk." This perspective places their celebration of the continuous relations between humans and animals within a spiritual, indeed, tribal, cosmological construction. What makes these particular writers primarily different from their literary mothers, however, is a stronger sense that they are reclaiming the past, both an African and African-American history. What I hope to contribute with this dissertation is a new perspective of African-American women writers' literary tradition via their usage of animals as an expression of their "ethic of caring" and their awareness that all oppression stems from a single source.

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Boettcher, Anna Margarete. "Through Women's Eyes: Contemporary Women's Fiction about the Old West." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/4966.

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The myth of the West is still very much alive in contemporary America. Lately, there has been a resurgence of new Western movies, TV series, and fiction. Until recently the West has been the exclusive domain of the quintessential masculine man. Women characters have featured only in the margins of the Western hero's tale. Contemporary Western fiction by women, however, offers new perspectives. Women's writing about the Old and New West introduces strong female protagonists and gives voice to characters that are muted or ignored by traditional Western literature and history. Western scholarship has largely been polarized by two approaches. First, the myth and symbol school of Turner, Smith, and followers celebrated American exceptionalism and rugged male individualism on the Western frontier. Second, the reaction against these theories draws attention to the West's legacy of racism, sexism and violence. The purpose of the present study is to collapse these theoretical fences and open a dialogue between conflicting theoretical positions and contemporay Western fiction. Molly Gloss's 1989 The Jump-Off Creek and Karen Joy Fowler's 1991 Sarah Canary selfcritically re-write the Old West. This study has attempted to explore the following questions: How can one re-write history in the context of a postmodern culture? How can "woman," the quintessential "Other" escape a modernist history (and thus avoid charges of essentialism) when she has not been in this history to begin with? In this study I analyze how these two contemporary feminist authors, Molly Gloss, and Karen Joy Fowler, face the dual challenge of writing themselves into a history that has traditionally excluded them, while at the same time deconstructing this very historical concept of the West. Fowler's and Gloss's use of diverse narrative strategies to upset a monolithic concept of history-- emphasizing the importance of multiple stories of the Old West-- is discussed in detail.

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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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Young, Erin S. "Corporate heroines and utopian individualism: A study of the romance novel in global capitalism." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11460.

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x, 195 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
This dissertation explores two subgenres of popular romance fiction that emerge in the 1990s: "corporate" and "paranormal" romance. While the formulaic conventions of popular romance have typically centralized the gendered tension between hero and heroine, this project reveals that "corporate" and "paranormal" romances negotiate a new primary conflict, the tension between work and home in the era of global capitalism. Transformations in political economy also occur at the level of personal and emotional life, which constitute the central problem that contemporary romances attempt to resolve. Drawing from sociological studies of globalization and intimacy, feminist criticism, and queer theory, I argue that these subgenres mark the transition from what David Harvey calls Fordist capitalism to flexible or global capitalism as the primary social condition negotiated in the popular romance. My analysis demonstrates that corporate and paranormal romance novels reflect changing ideals about intimacy in a globalized world that is increasingly influenced, socially and culturally, by the values and philosophies that dominate the marketplace. Each of these subgenres offers a distinct formal resolution to the cultural and social effects of a flexible capitalist economy. The "corporate" romances of Jayne Ann Krentz, Nora Roberts, Elizabeth Lowell, and Katherine Stone feature heroines who constantly navigate the dual and intersecting arenas of work and home in an effort to locate a balance that leads to success and happiness in both realms. In contrast, the "paranormal" romances of Laurell K. Hamilton, Charlaine Harris, Kelley Armstrong, and Carrie Vaughn dissolve the tension between home and work, or the private and the public, by affirming the heroine's open and endless pursuit of pleasure, adventure, and self-fulfillment. Such new forms of romantic fantasy at once reveal the tension in globalization and the domination of corporate and masculinist values that the novels hope to overcome.
Committee in charge: David Leiwei Li, Chair; Mary Elene Wood; Cynthia H. Tolentino; Jiannbin L. Shiao

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Tait, Lisa Olsen. "Mormon Culture Meets Popular Fiction: Susa Young Gates and the Cultural Work of Home Literature." Diss., CLICK HERE for online access, 1998. http://patriot.lib.byu.edu/u?/MTNZ,25499.

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Pan, Yu Lan. "Desire for the other in Maxine Hong Kingston's The Woman Warrior : Memoirs of a Girlhood among Ghosts." Thesis, University of Macau, 2010. http://umaclib3.umac.mo/record=b2456358.

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Lam, Chou I. "A descriptive study of how culture-specific terms are glossed in a Chinese translation of Angels and Demons." Thesis, University of Macau, 2012. http://umaclib3.umac.mo/record=b2586620.

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Davies, Ben. "Exceptional intercourse : sex, time and space in contemporary novels by male British and American writers." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/2582.

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This thesis provides a theory of exceptional sex through close readings of contemporary novels by male British and American writers. I take as my overriding methodological approach Giorgio Agamben’s theory of the state of exception, which is a juridico-political state in which the law has been suspended and the difference between rule and transgression is indistinguishable. Within this state, the spatiotemporal markers inside and outside also become indeterminable, making it impossible to tell whether one is inside or outside time and space. Using this framework, I work through narratives of sexual interaction – On Chesil Beach, Gertrude and Claudius, Sabbath’s Theater, and The Act of Love – to conceptualise categories of sexual exceptionality. My study is not a survey, and the texts have been chosen as they focus on different sexual behaviours, thereby opening up a variety of sexual exceptionalities. I concentrate on male writers and narratives of heterosexual sex as most work on sex, time and space is comprised of feminist readings of literature by women and queer work on gay, lesbian or trans writers and narratives. However, in the Coda I expand my argument by turning to Emma Donoghue’s Room, which, as the protagonist has been trapped for the first five years of his life, provides a tabula rasa’s perspective of exceptionality. Through my analysis of exceptionality, I provide spatiotemporal readings of the hymen, incest, adultery, sexual listening and the arranged affair. I also conceptualise textual exceptionalities – the incestuous prequel, auricular reading and the positionality of the narrator, the reader and literary characters. Exceptional sex challenges the assumption in recent queer theory that to be out of time is ‘queer’ and to be in time is ‘straight’. Furthermore, exceptionality complicates the concepts of perversion and transgression as the norm and its transgression become indistinct in the state of exception. In contrast, exceptionality offers a new, more determinate way to analyse narratives of sex.

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Veillette, Marie-Paule. "La représentation de la folie dans l'écriture féminine contemporaine des Amériques." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ57482.pdf.

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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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Regoczy, Lucia Graciela, and n/a. "Espiritu de subversion : la construccion del discurso de la mujer en la narrativa posmoderna hispanoamericana." University of Otago. Department of Languages and Cultures, 2007. http://adt.otago.ac.nz./public/adt-NZDU20070927.141659.

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This thesis offers a typology of Postmodern women�s discourse from a sociological perspective. By focusing on the reading of Gioconda Belli�s Sofia de los presagios, Isabel Allende�s Paula, and Anacristina Rossi�s La loca de Gandoca, it examines how each writer achieves, thanks to the process of dialogism and the carnivalesque, a critique of social and aesthetic values, associated with Eurocentric discourse. Thanks to these two processes, the values associated with the marginalized position of women in Latin America, are brought to the surface, offering a better understanding of the relation that exists between women�s literary production and the cultural environment. Chapter one offers an overview of the concepts associated with Posmodernism, and its relevance in the Latin American context. This chapter also outlines the key concepts associated with dialogism and the carnivalesque. Chapter two examines the use of the carnivalesque in two plays by Sor Juana Ines de la Cruz, Los empenos de una casa and Amor es mas laberinto as antecedents of subversive writing in Spanish American women�s writing. It discusses how Sor Juana through appropriation and inversion, transforms her texts into a critique of marginalized social groups. This chapter proposes that Sor Juana sets the model for the subversive nature of Spanish American women�s writing. Chapter three offers a reading of Cristina Peri Rossi�s El libro de mis primos as an example of radical feminist discourse produced in the 60�s, focusing on the use of parody and irony as means of transgressing patriarchal discourse. Chapter four examines Gioconda Belli�s Sofia de los presagios, and the incorporation of ancestral and modern myths, to accentuate women�s marginality and the conflicting and contradictory nature of Nicaraguan society. Chapter five focuses on a reading of Isabel Allende�s Paula in which the techniques of magical realism and the carnivalesque are brought together to criticize social and cultural practices that marginalize women. Chapter six examines Anacristina Rossi�s La loca de Gandoca. It focuses on the way Rossi makes use of popular music, romantic literature, poetry, and bureaucratic discourse, to denounce the exploitation and destruction of Costa Rica�s natural resources through ecotourism.

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王靖. "許地山香港時期創作論 = Studies of XuDishan's composition during the Hong Kong period." Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2485471.

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Munoz, Cabrera Patricia. "Journeying: narratives of female empowerment in Gayl Jones's and Toni Morrison's ficton." Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210259.

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This dissertation discusses Gayl Jones’s and Toni Morrison’s characterisation of black women’s journeying towards empowered subjectivity and agency.

Through comparative analysis of eight fictional works, I explore the writers’ idea of female freedom and emancipation, the structures of power affecting the transition from oppressed towards liberated subject positions, and the literary techniques through which the authors facilitate these seminal trajectories.

My research addresses a corpus comprised of three novels and one book-long poem by Gayl Jones, as well as four novels by Toni Morrison. These two writers emerge in the US literary scene during the 1970s, one of the decades of the second black women’s renaissance (1970s, 1980s). This period witnessed unprecedented developments in US black literature and feminist theorising. In the domain of African American letters, it witnessed the emergence of a host of black women writers such as Gayl Jones and Toni Morrison. This period also marks a turning point in the reconfiguration of African American literature, as several unknown or misplaced literary works by pioneering black women writers were discovered, shifting the chronology of African American literature.

Moreover, the second black women's renaissance marks a paradigmatic development in black feminist theorising on womanhood and subjectivity. Many black feminist scholars and activists challenged what they perceived to be the homogenising female subject conceptualised by US white middle-class feminism and the androcentricity of the subject proclaimed by the Black Aesthetic Movement. They claimed that, in focusing solely on gender and patriarchal oppression, white feminism had overlooked the salience of the race/class nexus, while focus by the Black Aesthetic Movement on racism had overlooked the salience of gender and heterosexual discrimination.

In this dissertation, I discuss the works of Gayl Jones and Toni Morrison in the context of seminal debates on the nature of the female subject and the racial and gender politics affecting the construction of empowered subjectivities in black women's fiction.

Through the metaphor of journeying towards female empowerment, I show how Gayl Jones and Toni Morrison engage in imaginative returns to the past in an attempt to relocate black women as literary subjects of primary importance. I also show how, in the works selected for discussion, a complex idea of modern female subjectivities emerges from the writers' re-examination of the oppressive material and psychological circumstances under which pioneering black women lived, the common practice of sexual exploitation with which they had to contend, and the struggle to assert the dignity of their womanhood beyond the parameters of the white-defined “ideological discourse of true womanhood” (Carby, 1987: 25).

Doctorat en philosophie et lettres, Orientation langue et littérature
info:eu-repo/semantics/nonPublished

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""五四"女作家書信體小說(1917-1927)研究." 2006. http://library.cuhk.edu.hk/record=b5896480.

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梁珊珊.
"2006年8月"
論文(哲學碩士)--香港中文大學, 2006.
參考文獻(leaves 133-146).
"2006 nian 8 yue"
Abstracts in Chinese and English.
Liang Shanshan.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2006.
Can kao wen xian (leaves 133-146).
Chapter 第一章 --- 緒論 --- p.1
Chapter 第一節 --- 硏究對象 --- p.1
Chapter 第二節 --- 硏究範圍 --- p.5
Chapter 第三節 --- 他人硏究成果槪述 --- p.18
Chapter 第四節 --- 女性主義敘事學理論簡介 --- p.20
Chapter 第二章 --- “五四´ح時期書信體小說興起的源流及槪况 --- p.26
Chapter 第一節 --- 客觀歷史條件的具備 --- p.27
Chapter 第二節 --- 晚清以迄“五四´ح書信體小說的流變 --- p.31
Chapter 第三節 --- 西方文學理論的影響 --- p.42
Chapter 第三章 --- 書信體小說的文體特徵 --- p.46
Chapter 第一節 --- 真實性 --- p.46
Chapter 第二節 --- 私密性/封閉性 --- p.48
Chapter 第三節 --- 對話性/公共性 --- p.53
Chapter 第四節 --- 兼容性 --- p.56
Chapter 第四章 --- 書信體小說的敘述視點及敘述層次 --- p.58
Chapter 第一節 --- 敘述視點 --- p.58
Chapter 第二節 --- 敘述層次 --- p.74
Chapter 第三節 --- 小結 --- p.87
Chapter 第五章 --- 書信體小說的女性主義敘事學硏究 --- p.88
Chapter 第一節 --- 作者型敘述聲音 --- p.94
Chapter 第二節 --- 個人型敘述聲音 --- p.100
Chapter 第三節 --- 集體型敘述聲音 --- p.108
Chapter 第四節 --- 小結 --- p.110
Chapter 第六章 --- 書信體小說的衰落 --- p.113
Chapter 第七章 --- 結論 --- p.118
Chapter 第一節 --- 總結 --- p.118
Chapter 第二節 --- 硏究意義 --- p.123
[附錄一]“五四´ح女作家小傳 --- p.125
[附錄二] “五四´ح女作家書信體小說(1917-1927)列表 --- p.131
參考文獻 --- p.133
Chapter 一、 --- 作家作品 --- p.133
Chapter 二、 --- 參考. --- p.135
Chapter 三、 --- 學位論文 --- p.141
Chapter 四、 --- 期刊論文 --- p.141

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"中國當代女作家小說創作中女性形象系列硏究(1978-1987)." 2000. http://library.cuhk.edu.hk/record=b6073795.

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Abstract:

霍玉英.
論文(博士)--香港中文大學, 2000.
參考文獻 (p. 215-274)
中英文摘要.
Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Huo Yuying.
Lun wen (bo shi)--Xianggang Zhong wen da xue, 2000.
Can kao wen xian (p. 215-274)
Zhong Ying wen zhai yao.

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27

Crowell, Ellen Margaret. "Aristocratic drag : the dandy in Irish and Southern fiction." 2004. http://hdl.handle.net/2152/12765.

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28

"Strategies of authorship by ethnic minorities: construction of identity by three Chinese-American writers." 2002. http://library.cuhk.edu.hk/record=b5891202.

Full text

Abstract:

Wong Yuen-wing Catherine.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2002.
Includes bibliographical references (leaves 110-112).
Abstracts in English and Chinese.
Acknowledgements --- p.i
Abstract --- p.ii
摘要 --- p.iv
Introduction Ethnicity and Novel Writing in the Multicultural Society --- p.1
Chapter Chapter One --- Working Against Assimilation: Reassurance of Her Chinese Cultural Ethnicity in Her Memoirs --- p.17
Chapter Chapter Two --- Breaking the Mirage of the Assimilating Culture: Empowering One's Identity by Embracing One's Ethnic Culture --- p.46
Chapter Chapter Three --- Emerging of Two Different Identities: Ethnicity Formation by Means of Adjustment --- p.74
Conclusion Articulating One's Ethnicity: Moving to a Larger Self --- p.101
Selected Bibliography --- p.109

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29

"The murderous woman: madness in four modern western and Chinese stories by woman." 2000. http://library.cuhk.edu.hk/record=b5895792.

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Abstract:

by Lui Sha-Lee.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2000.
Includes bibliographical references (leaves 143-149).
Abstracts in English and Chinese.
Acknowledgements --- p.vi
Chapter Chapter One --- Introduction --- p.1
Chapter Chapter Two --- Ideological Implications of “Madness´ح in Western and Chinese Culture --- p.12
Chapter Chapter Three --- Madwoman as the Murderous Daughter: Kitty Fitzgerald's Marge and Tie Ning's The Cliff in the Afternoon --- p.36
Chapter Chapter Four --- "Madwoman as the Murderous Wife: Elsa Lewin's I, Anna and Li Ang's The Butcher ´ةs Wife" --- p.83
Chapter Chapter Five --- Conclusion --- p.121
Notes --- p.134
Works Cited --- p.143

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Dissertations / Theses on the topic 'American fiction Chinese authors History and criticism'

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