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Dissertations / Theses on the topic 'English poetry Women authors History and criticism'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

Kaminski, Margot. "Challenging a literary myth, long poems by early Canadian women." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0024/MQ37562.pdf.

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2

Carrière, Marie J. "Poetics of the other, five feminist writers from English Canada and Quebec." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/NQ45662.pdf.

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3

Jadezweni, Mhlobo Wabantwana. "Aspects of isiXhosa poetry with special reference to poems produced about women." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1006364.

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This study investigates the use of modern and izibongo (praise poetry) techniques in representing women in selected isiXhosa poems. The main interest of the study is to determine whether the same techniques to depict men are used when writing about women. It is also the interest of the study to ascertain how gender issues are dealt with in the selected poems. Seminal studies on izibongo by eminent scholars in this field show a serious lack of critique and little recognition of women in African languages’ poetry in general and in isiXhosa in particular. Pioneering studies in Nguni poetry about women have thus recommended that serious studies on poetry about women be undertaken. The analyses of selected poems by established isiXhosa poets show that modern poetry conventions are significantly used together with izibongo techniques. These techniques are used without any gender differentiation, which is another point of interest of this study. There are however instances where images specific to women are used. Such use has however not been found to be demeaning of women in any way. Poems where modern poetry forms and conventions are used tend to deal with subjects who have international or an urban area background. Even though the modern poetry conventions are used with izibongo techniques the presence of the modern literary conventions is prominent. This is the case particularly with poems about women in politics. That some female poet seems to accept some cultural practices that are viewed to be undermining the status of women does not take away the voice of protest against this oppression by some of the selected poets. These two voices, one of acceptance and the other one of protest are used as a basis for a debate around a need for a literary theory that addresses the question of African culture with special reference to isiXhosa poetry about women. The success of the selected poets with both modern and izibongo techniques is a good sign for the development of isiXhosa poetry in general and isiXhosa poetry about women. It is strongly recommended that continued research of a serious nature concerning poetry about, and produced by women, be undertaken.

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4

Becker, Charity Dawn. "Constructing the mother-tongue, language in the poetry of Dionne Brand, Claire Harris, and Marlene Nourbese Philip." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0016/MQ54604.pdf.

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5

Drodge, Susan. "The feminist romantic, the revisionary rhetoric of Double negative, Naked poems, and Gyno-text." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25770.pdf.

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6

Watson, Stephen. ""Bitten-off things protruding" : the limitations of South African English poetry post-1948." Doctoral thesis, University of Cape Town, 1993. http://hdl.handle.net/11427/22545.

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Bibliography: p. 362-393.
In this thesis, the discussion of South African English poetry is undertaken in terms of critical questions to which the body of work, to date, has not been subjected. In the nineteen-seventies and -eighties, several anthologies of South African English poetry were published which, despite their differing foci, attested to the strength, innovation, and international stature of the work. Their editors made claims which emphasised both the importance of Sowetan poetry and the emancipation of white poetry, particularly in the last three decades, from the legacy of a stultifying colonial past. This thesis sets out to examine the validity of these critical evaluations. The impetus for such an examination is threefold. Firstly, in comparison with a world literature, South African English poetry has had little impact on the kinds of aesthetic questions which have led to the radical work of international figures like Milosz, Walcott, Neruda. Secondly, South African English poetry tends to be bifurcated by critical analysis, both locally and internationally, into the work of black poets and the work of white poets. Despite the realities of social history which have indeed dichotomised the human experience of South Africa in racial terms, this dichotomy does not seem the most fertile assumption from which to approach the achievement of a nation's poetry. Thirdly, as a poet himself, the writer of this thesis embarked upon the scholarly analysis of a poetic ancestry to which his own work looked ,in vain for location. The re-examination of the roots and value of South African English poetry begins in the thesis with the dilemmas posed by a legacy of romanticism in its displaced relation to a British colony. From this point the discussion argues that this legacy is visible in the unsatisfactory work of liberal poets in the nineteen-seventies and eighties, and argues that such choices cannot be nourishing to a South African cultural originality. Turning to the work most forcefully emphasised as culturally original - i.e. the work of the Soweto poets in the nineteen-seventies and after - the thesis explores this poetry's claims to stylistic and conceptual innovation. The poetry of the late eighties is then examined in relation to its desire to support, and even to drive, anti-apartheid philosophy and practice. The conclusions of the final chapter, presaged throughout the entire argument, suggest that earlier critical estimations of South African English poetry ignore crucial aspects of what has usually been meant by a fully achieved poetic tradition and that such neglect amounts to the betrayal of the very meaning of the term "poem".

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7

Underwood, Jan. "Revolution, connectedness and kinwork : women's poetry in Nicaragua." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61970.

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8

Gossage, Ann. "Between the lines : the representation of Canadian women in English-language novels written by women in the 1930s." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=24085.

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This thesis examines the role of Canadian women as presented in English language novels of the 1930s written by women authors. Within the context of the Great Depression it focuses on issues that are central to women's daily lives such as work, love, marriage and motherhood. It also isolates recurring themes in the novels and attempts to understand the authors' messages within their social context. Social reform, politics and gender relationships are among the subjects explored.

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9

Chin, Voon-sheong Grace, and 秦煥嫦. "Expressions of self/censorship: ambivalence and difference in Chinese women's prose writings from Malaysia andSingapore." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31245237.

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10

Marron, Rosalyn Mary. "Rewriting the nation : a comparative study of Welsh and Scottish women's fiction from the wilderness years to post-devolution." Thesis, University of South Wales, 2012. https://pure.southwales.ac.uk/en/studentthesis/rewriting-the-nation(acc79b10-cd63-48ee-b045-dabb5af2f77c).html.

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Since devolution there has been a wealth of stimulating and exciting literary works by Welsh and Scottish women writers, produced as the boundaries of nationality were being dismantled and ideas of nationhood transformed. This comparative study brings together, for the first time, Scottish and Welsh women writers’ literary responses to these historic political and cultural developments. Chapter one situates the thesis in a historical context and discusses some of the connections between Wales and Scotland in terms of their relationship with ‘Britain’ and England. Chapter two focuses on the theoretical context and argues that postcolonial and feminist theories are the most appropriate frameworks in which to understand both Welsh and Scottish women’s writing in English, and their preoccupations with gendered inequalities and language during the pre- and post-devolutionary period. The third chapter examines Welsh and Scottish women’s writing from the first failed referendum (1979) to the second successful one (1997) to provide a sense of progression towards devolution. Since the process of devolution began there has been an important repositioning of Scottish and Welsh people’s perception of their culture and their place within it; the subsequent chapters – four, five, six and seven – analyse a diverse body of work from the symbolic transference of powers in 1999 to 2008. The writers discussed range from established authors such as Stevie Davies to first-time novelists such as Leela Soma. Through close comparative readings focusing on a range of issues such as marginalised identities and the politics of home and belonging, these chapters uncover and assess Welsh and Scottish women writers’ shared literary assertions, strategies and concerns as well as local and national differences. The conclusions drawn from this thesis suggest that, as a consequence of a history of sustained internal and external marginalization, post-devolution Welsh and Scottish women’s writing share important similarities regarding the politics of representation. The authors discussed in this study are resisting writers who textually illustrate the necessity of constantly rewriting national narratives and in so doing enable their audience to read the two nations and their peoples in fresh, innovative and divergent ways.

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11

Nkatingi, R. O. "Nxopoxopo wa switlhokovetselo leswi ndhunduzelaka vavasati eka xitsonga." Thesis, University of Limpopo, 2014. http://hdl.handle.net/10386/1415.

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12

Marsh, Rebecca Kirk. "Refiguring Milton in Virginia Woolf's A Room of One's Own." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2602.

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Since 1979 feminist scholars have misread key images in Virginia Woolf's 'A Room of One's Own'. They delineated the extended essay as a groundbreaking feminist polemic that advocates abolishing the literary patriarchy, expressing distain for John Milton as chief offender. Through rhetorical analysis and close readings of passages, there seems advocacy for change in patriarchial education and for opening of the literary canon to women.

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13

Huang, Qiaole 1976. "Writing from within a women's community : Gu Taiqing (1799-1877) and her poetry." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81496.

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This thesis examines the life and poetry of the woman poet Gu Taiqing (1799-1877) within the context of a community of gentry women in mid-nineteenth century Beijing. This group of women was a "community" in the sense that their contact, sociability, friendship and poetry writing were meaningfully intertwined in their lives. The thesis is divided into three interconnected chapters. Two separate biographical accounts of Gu Taiqing's life---one centered around the relationship with her husband, and the second around her relationship with her female friends---are reconstructed in the first chapter. This biographical chapter underlines the importance of situating Gu in the women's community to understand her life and poetry. The second is comprised of a reconstruction of this women's community, delineating its members and distinctive features. In the third chapter, a close-reading of Gu's poems in relation to the women's community focuses on the themes of xian (leisure), parting, and friendship. This chapter shows how each of these themes are represented by Gu and how her representations are closely related to the experiences of this women's group.

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14

Cook, Méira. "Speaking in tongues, contemporary Canadian love poetry by women." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0025/NQ31971.pdf.

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15

Collins, Margo. "Wayward Women, Virtuous Violence: Feminine Violence in Restoration and Eighteenth-Century British Literature by Women." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2474/.

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This dissertation examines the role of "acceptable" feminine violence in Restoration and eighteenth-century drama and fiction. Scenes such as Lady Davers's physical assault on Pamela in Samuel Richardson's Pamela (1740) have understandably troubled recent scholars of gender and literature. But critics, for the most part, have been more inclined to discuss women as victims of violence than as agents of violence. I argue that women in the Restoration and eighteenth century often used violence in order to maintain social boundaries, particularly sexual and economic ones, and that writers of the period drew upon this tradition of acceptable feminine violence in order to create the figure of the violent woman as a necessary agent of social control. One such figure is Violenta, the heroine of Delarivier Manley's novella The Wife's Resentment (1720), who murders and dismembers her bigamous husband. At her trial, Violenta is condemned to death "notwithstanding the Pity of the People" and "the Intercession of the Ladies," who believe that although the "unexampled Cruelty [Violenta] committed afterwards on the dead Body" was excessive, the murder itself is not inexcusable given her husband's bigamy. My research draws upon diverse archival materials, such as conduct manuals, criminal biographies, and legal records, in order to provide a contextual grounding for the interpretation of literary works by women. Moving between contemporary accounts of feminine violence and discussions of pertinent literary works by Eliza Haywood, Susanna Centlivre, Delarivier Manley, Aphra Behn, Mary Pix, and Jane Wiseman, the dissertation examines issues of interpersonal violence and communal violence committed by women.

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16

Naidu, Sam. "Towards a transnational feminist aesthetic: an analysis of selected prose writing by women of the South Asian diaspora." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1012941.

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This thesis argues that women writers of the South Asian diaspora are inscribing a literary aesthetic which is recognisably feminist. In recent decades women of the South Asian diaspora have risen to the forefront of the global literary and publishing arena, winning acclaim for their endeavours. The scope of this literature is wide, in terms of themes, styles, genres, and geographic location. Prose works range from grave novelistic explorations of female subjectivity to short story collections intent on capturing historical injustices and the experiences of migration. The thesis demonstrates, through close readings and comparative frameworks, that an overarching pattern of common aesthetic elements is deployed in this literature. This deployment is regarded as a transnational feminist practice.

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17

劉陽河. "清代女性詩詞的日常化書寫研究= A study of women's poetry on everyday life in the Qing dynasty." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/570.

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閨秀是清代文壇的一股新興力量，她們以獨特的女性寫作風格和視角為清代文學乃至整個中國文學注入了新鮮的水源。清代閨秀作家相較於前代，在詩詞創作方面出現一個不容忽視的特點，即在前代女作家重複傳遞的閨情閨怨之外，開拓了對日常生活的書寫。然而目前學界未有圍繞清代閨秀詩詞日常生活書寫的專著，涉及清代閨秀詩詞日常化的論文也十分稀少。有見於此，本文圍繞「清代閨秀如何書寫日常生活」這一問題展開論述，試圖彌補前人之不足。本文包含七章，除第一章「緒論」及第七章「結論」之外，二至六章的主要內容分別如下: 第二章主要通過史料文獻還原清代女性的日常生活樣貌。清代閨秀的日常生活，既有中饋理家和侍親課子等方面對於婦德的順從，又有讀書吟詠和閨外行旅等傳統婦德之外的內容。第三章以清代女性詠物詩詞為重點研究文本，主要分析詠物詩詞中大量湧現的日常化吟詠對象；同時探討詠物詩詞的日常化寫作手法和情志表達。第四章重點分析自清代才大量出現的女性家務詩詞。一方面與男性文人筆下對勞動女性的書寫作對比研究，另一方面探討家務書寫對於閨秀的意義。第五章從三個方面對清代閨秀書寫日常生活的方式進行梳理，包括拓展選材範圍、增添日記元素和關注現實生活。第六章考察清代女性詩詞日常化的原因。清代女性詩詞出現日常化的趨勢，是創作主體的改變、儒家禮儀道德規範的引導，以及文壇風氣等多重因素共同作用的結果。Elite women writers (guixiu 閨秀)were are vitalizing force in the literary field of the Qing Dynasty. With their unique gendered writing style and perspective, they brought fresh blood to Qing Dynasty literature, and in a broader sense, to Chinese literature as well. Compared with the previous generations, Qing elite women writers had a prominent feature in their writing of poetry. That is, in addition to the lyrical themes already repeatedly dealt with by earlier female writers, they started writing about their daily life. However, no monograph has been published on the writing of daily life in Qing elite women's poetry and little has been discovered on how their attention turned to the writing of daily life. This thesis fills this research gap through addressing the following question: how did Qing elite women write about everyday life? This article is divided into seven chapters, flanked by an introduction in Chapter One and a conclusion in Chapter Seven. Abstracts of Chapters Two to Six are as follows: Chapter Two outlines a reconstruction of the daily life of women in the Qing Dynasty through historical texts. It touches upon the expansion of Qing elite women's living space through comparison with previous generations. Besides taking on familial and parental responsibilities, Qing elite women expanded their living space by writing poetry and traveling. Chapter Three focuses on poems on objects (yongwu shici詠物詩詞) written by women in the Qing Dynasty. It analyzes the daily objects that appeared in a large number of poems. It also discusses the writing techniques and artistic expressions of these poems. Chapter Four focuses on women's poems on housework, a genre which did not appear until the Qing Dynasty. On the one hand, the chapter compares such poems with working women depicted by male literati; on the other hand, it discusses the significance of writing about housework for elite women of the time. Chapter Five organizes the approach Qing elite female writers had taken in writing about daily life from three aspects, namely, broadening their scope of topic selection, adding diary-like elements to their works and showing interests in family livelihood. The Sixth Chapter investigates the reasons behind the popularization of writing about daily life in Qing women's poetry. This trend is the result of a number of reasons: the change of writing subject, the guiding of Confucian moral norms and the climate of the literary circle at the time.

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18

Chung, Wing-yu, and 鍾詠儒. "British women writers and the city in the early twentieth century." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2702409X.

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19

Bennett, Sarah. "The American contexts of Irish poetry, 1950-present." Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669957.

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20

Xu, Sufeng. "Lotus flowers rising from the dark mud : late Ming courtesans and their poetry." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102831.

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The dissertation examines the close but overlooked relationship between male poetry societies and the sharp rise of literary courtesans in the late Ming. I attempt to identify a particular group of men who devoted exclusive efforts to the promotion of courtesan culture, that is, urban dwellers of prosperous Jiangnan, who fashioned themselves as retired literati, devoting themselves to art, recreation, and self-invention, instead of government office. I also offer a new interpretation for the decline of courtesan culture after the Ming-Qing transition.
Chapter 1 provides an overview of the social-cultural context in which late Ming courtesans flourished. I emphasize office-holding as losing its appeal for late Ming nonconformists who sought other alternative means of self-realization. Chapter 2 examines the importance of poetry by courtesans in literati culture as demonstrated by their visible inclusion in late Ming and early Qing anthologies of women's writings. Chapter 3 examines the life and poetry of individual courtesans through three case studies. Together, these three chapters illustrate the strong identification between nonconformist literati and the courtesans they extolled at both collective and individual levels.
In Chapter 4, by focusing on the context and texts of the poetry collection of the courtesan Chen Susu and on writings about her, I illustrate the efforts by both male and female literati in the early Qing to reproduce the cultural glory of late Ming courtesans. However, despite their cooperative efforts, courtesans became inevitably marginalized in literati culture as talented women of the gentry flourished.
This dissertation as a whole explores how male literati and courtesans responded to the social and literary milieu of late Ming Jiangnan to shed light on aspects of the intersection of self and society in this floating world. This courtesan culture was a counterculture in that: (1) it was deep-rooted in male poetry societies, a cultural space that was formed in opposition to government office; (2) in valuing romantic relationship and friendship, the promoters of this culture deliberately deemphasized the most primary human relations as defined in the Confucian tradition; (3) this culture conditioned, motivated, and promoted serious relationships between literati and courtesans, which fundamentally undermined orthodox values.

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21

Kelly, Alice Rose. "'A change of heart' : representations of death and memorialisation in First World War writing by women, 1914-39." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708210.

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22

Hawkins, Judith Bernadette. "A difference in women's and men's academic prose." CSUSB ScholarWorks, 1994. https://scholarworks.lib.csusb.edu/etd-project/854.

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23

Kardynal, Kevin John. "The construction of identity in the life writing of Native Canadian women." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0018/MQ54716.pdf.

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24

Li, Xiaorong 1969. "Rewriting the inner chambers : the boudoir in Ming-Qing women's poetry." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100645.

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My dissertation takes the social and symbolic location of women---the inner chambers [guige or gui]---as a point of departure to examine Ming-Qing women's unique approach to the writing of poetry. In Ming-Qing China, women continued to be assigned to the inner, domestic sphere by Confucian social and gender norms. The inner chambers were not only a physically and socially bounded space within which women were supposed to live, but also a discursive site for the construction of femininity in both ideological and literary discourses. The term gui embraces a nexus of meanings: the material frame of the women's chambers; a defining social boundary of women's roles and place; and a conventional topos evoking feminine beauty and pathos in literary imagination. Working with the literary context of boudoir poetics, yet also considering other indispensable levels of meanings epitomized in the cultural signifier guige, my dissertation demonstrates how Ming-Qing women poets re-conceive the boudoir as a distinctive textual territory encoded with their subjective perspectives and experiences. Compared with the poetic convention, the boudoir as inscribed in Ming-Qing women's texts is far more complex as its depiction is informed by nuances in their historical, social and individual experiences.

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Knazan, Jennifer. "A vague and lovely thing : gender, cultural identity and performativity in contemporary poetry by Russian women." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112402.

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Poetry by Russian women which has been published since the fall of the Soviet Union reveals that the quest to explore female identity and experience is no longer inviolable in Russian literature. This thesis examines female personae, gender and cultural identity in the work of Russian poets Nina Iskrenko (1951--1994), Tatiana Voltskaia (b. 1960), and Iuliia Kunina (b. 1966). Although the poetics of these writers' texts are broad-ranging, all of their work takes up the subjects of gender and cultural identity. Their poems explore identity as a discursive practice, rather than a fixed construct within the strictures of authoritative metanarratives' binary oppositions (male/female, feminine/masculine, Russian/non-Russian). This lends their poetry to postmodern analysis, an approach that heretofore has rarely been applied to poetry by Russian women. Within this theoretical framework, Judith Butler's formulation of "performativity" and Mikhail Epstein's theory of "transculturalism" are particularly well-suited to the task, as each entails non-essentialist conceptions of identity. Donna Haraway's formulation of "woman" as cyborg" is also a fitting theoretical complement, as it suggests the hybridization of identity, as well as the increasing role of the Internet in contemporary and future developments in Russian literature. The rapid changes in the late- and post-Soviet cultural landscape have engendered in contemporary poetry by Russian women powerful, new expressions of gender and cultural identity, which are resulting in startling subversions of authoritative discourses while at the same time forging coalitional "transmodern" identities.

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Wang, Bo. "Inventing a Discourse of Resistance: Rhetorical Women in Early Twentieth-Century China." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1188%5F1%5Fm.pdf&type=application/pdf.

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27

Jin, Xiaotian, and 金小天. "A generation 'betwixt and between': youth, gender and modernity in 1920s and 30s middlebrow women's writing." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45814934.

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28

Gantzert, Patricia L. "Throwing voices, dialogism in the novels of three contemporary Canadian women writers." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq23313.pdf.

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29

Holmgren, Michele J. "Native muses and national poetry, nineteenth-century Irish-Canadian poets." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq28493.pdf.

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30

Hoffman, Megan. "Women writing women : gender and representation in British 'Golden Age' crime fiction." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/11910.

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In this thesis, I examine representations of women and gender in British ‘Golden Age' crime fiction by writers including Margery Allingham, Christianna Brand, Agatha Christie, Ngaio Marsh, Dorothy L. Sayers, Josephine Tey and Patricia Wentworth. I argue that portrayals of women in these narratives are ambivalent, both advocating a modern, active model of femininity, while also displaying with their resolutions an emphasis on domesticity and on maintaining a heteronormative order, and that this ambivalence provides a means to deal with anxieties about women's place in society. This thesis is divided thematically, beginning with a chapter on historical context which provides an overview of the period's key social tensions. Chapter II explores depictions of women who do not conform to the heteronormative order, such as spinsters, lesbians and ‘fallen' women. Chapter III looks at the ways in which the courtships and marriages of detective couples attempt to negotiate the ideal of companionate marriage and the pressures of a ‘cult of domesticity'. Chapter IV considers the ways in which depictions of women in schools, universities and the workplace are used to explore the tensions between an expanding role in the public sphere and the demand to inhabit traditionally domestic roles. The thesis concludes with a discussion of the image of female victims' and female killers' bodies and the ways in which such depictions can be seen to expose issues of gender, class and identity. Through its examination of a wide variety of texts and writers in the period 1920 to the late 1940s, this thesis investigates the ambivalent nature of modes of femininity depicted in Golden Age crime fiction written by women, and argues that seemingly conservative resolutions are often attempts to provide a ‘modern-yet-safe' solution to the conflicts raised in the texts.

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Hogue, Cynthia Anne. "Figuring woman (out): Feminine subjectivity in the poetry of Emily Dickinson, Marianne Moore, and H.D." Diss., The University of Arizona, 1990. http://hdl.handle.net/10150/185054.

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Historically, women have not been "speaking subjects" but "spoken objects" in Western culture--the ground on which male-dominated constructions have been erected. In literature, women have been conventionally held as the silent and silenced other. Lyric poetry especially has idealized not only the entrenched figures of masculine subject/feminine object, but poetry itself as the site of prophecy, vision, Truth. Most dramatically in lyric poetry then, the issue of women as subjects has been collapsed into Woman as object, that figure who has been the sacrifice necessary for the production of lyric "song" and the consolidation of the unified masculine voice. It has thus been difficult for women poets to take up the position of speaking subject, most particularly because of women's problematic relationship to Woman. Recent feminist theorists have explored female subjectivity, how women put into hegemonic discourse "a possible operation of the feminine." This dissertation analyzes that possibility in poetry as exemplified in the works of Emily Dickinson, Marianne Moore, and H.D. I contend that these paradigmatic American poets constitute speaking subjects in their poetry that both figure Woman conventionally and reconfigure it, i.e. subvert the stability of those representations, thereby disturbing our view. I argue that this double identification produces, in effect, a divided or split subjectivity that is enabling for the female speaker. As an alternative to the traditionally specularized figure of Woman then, such a position opens up distinctly counter-hegemonic spaces in which to constitute the female subject, rendering problematic readerly consumption of the image of Woman as a totality. I explore the attempts to represent women's difference differently--the tenuous accession to, rejection of, or play with the lyric "I" in these poets' works. Dickinson, Moore, and H.D. reconfigure Woman and inscribe female speakers as grammatically and rhetorically, but not necessarily visually, present, thereby frustrating patriarchal economies of mastery and possession.

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32

Cossíos, Susana. "El kitsch en la poesía femenina de los 90 : Ana Rossetti y Rocío Silva Santisteban." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30155.

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The last years of the twentieth century have been characterized by an increased presence of women in Hispanic poetry, who inevitably brought forth a new poetic language. Typical of this new expression are the Spaniard Ana Rossetti and the Peruvian Rocio Silva Santisteban, who give free rein to their emotions and desires in their poetic texts, which reflect love as both eroticism and joyful sexuality. In their poetry the body becomes the instrument for the fulfillment of desire and the production of erotic states. Thus, love is despised almost innocently but through the use of Kitsch as pop songs and advertising slogans, love is rehabilitated and the pleasure-death relation is seen in multiple perspectives.

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33

Mellor-Hay, Winifred Mary Catherine. "Writing the gap : the performance of identity in texts by four Canadian women /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ54839.pdf.

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34

Vrtis, Christina E. 1979. ""Death is the Only Reality": a Folkloric Analysis of Notions of Death and Funerary Ritual in Contemporary Caribbean Women's Literature." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10697.

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viii, 91 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
Caribbean cultural ideas and values placed on death and mourning, especially in relation to cultural roles women are expected to perform, are primary motivating factors in the development of female self and identity in Caribbean women's literature. Based on analysis of three texts, QPH, Annie John, and Beyond the Limbo Silence, I argue that notions of death and funerary rituals are employed within Caribbean women's literature to (re)connect protagonist females to their homeland and secure a sense of identity. In addition, while some texts highlight the necessity of prescribing to the socially constructed roles of women within the ritual context and rely on the uproper" adherence to the traditional process to maintain the status quo, other texts show that the inversion or subversion of these traditions is also an important aspect of funerary rituals and notions of death that permeate contemporary Caribbean culture.
Committee in Charge: Dr. Dianne Dugaw, Folklore; Dr. Lisa Gilman, English; Dr. Phil Scher, Anthropology

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35

Macfarlane, Karen E. "The politics of self-narration : contemporary Canadian women writers, feminist theory and metafictional strategies." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0016/NQ44504.pdf.

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36

Birkwood, M. Susan. "(D)ifferent sides of the picture, four women's views of Canada, 1816-1838." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq21279.pdf.

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37

Ten, Hacken Hilde. "Self-definition through poetry in the work of Gloria Fuertes and Pilar Paz Pasamar in the period 1950-1970." Thesis, St Andrews, 2007. http://hdl.handle.net/10023/421.

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38

Campbell, Leslie Marion. "Scottish influence and the construction of Canadian identity in works by Sara Jeannette Duncan, Alice Munro, and Margaret Laurence." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ57276.pdf.

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39

Sojka, Eugenia. "Search procedures, carnivalization in language- and theory-focused texts of four Canadian women writers." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25775.pdf.

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40

Hall, Karen Peta. "Discovering the lost race story : writing science fiction, writing temporality." University of Western Australia. English and Cultural Studies Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0216.

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Genres are constituted, implicitly and explicitly, through their construction of the past. Genres continually reconstitute themselves, as authors, producers and, most importantly, readers situate texts in relation to one another; each text implies a reader who will locate the text on a spectrum of previously developed generic characteristics. Though science fiction appears to be a genre concerned with the future, I argue that the persistent presence of lost race stories where the contemporary world and groups of people thought to exist only in the past intersect in science fiction demonstrates that the past is crucial in the operation of the genre. By tracing the origins and evolution of the lost race story from late nineteenth-century novels through the early twentieth-century American pulp science fiction magazines to novel-length narratives, and narrative series, at the end of the twentieth century, this thesis shows how the consistent presence, and varied uses, of lost race stories in science fiction complicates previous critical narratives of the history and definitions of science fiction.

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41

Glover, Jayne Ashleigh. ""A complex and delicate web" : a comparative study of selected speculative novels by Margaret Atwood, Ursula K. Le Guin, Doris Lessing and Marge Piercy." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002241.

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This thesis examines selected speculative novels by Margaret Atwood, Ursula K. Le Guin, Doris Lessing and Marge Piercy. It argues that a specifiable ecological ethic can be traced in their work – an ethic which is explored by them through the tensions between utopian and dystopian discourses. The first part of the thesis begins by theorising the concept of an ecological ethic of respect for the Other through current ecological philosophies, such as those developed by Val Plumwood. Thereafter, it contextualises the novels within the broader field of science fiction, and speculative fiction in particular, arguing that the shift from a critical utopian to a critical dystopian style evinces their changing treatment of this ecological ethic within their work. The remainder of the thesis is divided into two parts, each providing close readings of chosen novels in the light of this argument. Part Two provides a reading of Le Guin’s early Hainish novels, The Left Hand of Darkness, The Word for World is Forest and The Dispossessed, followed by an examination of Piercy’s Woman on the Edge of Time, Lessing’s The Marriages Between Zones Three, Four and Five, and Atwood’s The Handmaid’s Tale. The third, and final, part of the thesis consists of individual chapters analysing the later speculative novels of each author. Piercy’s He, She and It, Le Guin’s The Telling, and Atwood’s Oryx and Crake are all scrutinised, as are Lessing’s two recent ‘Ifrik’ novels. This thesis shows, then, that speculative fiction is able to realise through fiction many of the ideals of ecological thinkers. Furthermore, the increasing dystopianism of these novels reflects the greater urgency with which the problem of Othering needs to be addressed in the light of the present global ecological crisis.

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42

Martin, Margaret Kathleen. "Discovering Lily Lewis, a Canadian journalist and new woman." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq63899.pdf.

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43

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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44

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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45

Rukavina, Alison Jane. "Cultural Darwinism and the literary canon, a comparative study of Susanna Moodie's Roughing it in the Bush and Caroline Leakey's The broad arrow." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ61491.pdf.

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46

Henderson, Jennifer. "Conducting selves, race and government in Canadian settler women's narratives." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ56234.pdf.

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47

Lobban, Paul. "Inhabited space : writing as a practice in early modern England; Margaret Hoby, Eleanor Davies, Katherine Philips." Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phl796.pdf.

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48

Aujla, Angela. "Contesting identities in diasporic spaces, multigenerational South Asian Canadian women's literature." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ51290.pdf.

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49

Wallace, Linda M. "Negotiating place, explorations of identity and nature in select novels by contemporary Canadian women writers." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0018/MQ49460.pdf.

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50

Holton, Danica Lynn. "Class and stratification in the works of Alice Munro and Margaret Laurence." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0020/MQ49367.pdf.

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