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Dissertations / Theses on the topic 'Gender identity in literature'
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Tsang, Ching-man Irene, and 曾靜雯. "Gender and gender roles in Virginia Woolf." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B38598747.
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Mitchell, J. M. "Gender and identity in Philip Sidney's Arcadia." Thesis, University of Sussex, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.370418.
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Pollard, Kathryn Anne. "Gender, Space and Identity in Early Eighteenth-Century Literature." Thesis, University of Leeds, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487382.
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This thesis explores the cultural impact of Locke's Essay Concerning Human , Understanding in forging a new and highly influential gendered language of ideas. It examines a range of early. eighteenth-century literature by men and women to explore the ways in which' alternative forms of property were harnessed to differently define the spaces of,the male and female minds. Engaging with recent criticism which has pinpointed this period as being central to a number of new'conceptions and categorisations of space, it therefore examines the consequences of this new language of intellectual property on the ways in which men and women differently perceive and represent the changing world around them. Focussing . particularly on the early periodical it analyses the problems and possibilities of the coffee-house and the drawing room for writers of, and within, Jiirgen Habermas's,emerging public sphere to discover the ways in which real or textual access to, and manipulation of, these spaces determined the authority of the publication. It then examines theways in which metaphors of landed property, linked particularly to colonial exploration and aligned with the male mind, enabled the male writer to assume a textual dominance over the unfamiliar terrain of the postFire city and which defined the archetypal urban observer as exclusively and enduringly male. Finally, it examines the w,llrk of Benedict Anderson and Linda Colley in order to explore contemporary responses to, and perceptions of, new understandings of the nation. It investigates the ways in which metaphors of consumption used to define the female mind meant that the concept of nationhood was anathema to women. Rather it explores the ways in which, through a language of commodity goods, women were able to come to a more extensive knowledge of the world.
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Tsang, Ching-man Irene. "Gender and gender roles in Virginia Woolf." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B38598747.
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Urich, Brittany. "Sexual identity and fluidity| An analysis of the literature." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1528061.
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The purpose of this research is to examine sexual identity and sexual fluidity from a multicultural social work perspective. Examination includes having an understanding of the components of sexual identity development, the stability of sexual identity overtime and the challenges of sexual fluidity and identity. This provides a more substantial evaluation of themes within sexuality.
This content analysis of existing literature on sexual identity and sexual fluidity reveals findings and gaps in the research. In addition, it identifies areas in which further research is needed. This allows for more competent social work practices to effectively address issues of sexual identity. Findings suggest that it is difficult to capture the basic process that each individual experiences because circumstances can be unique for everyone. Patterns based on categorization within sexuality suggest that sexuality should be understood on a continuum.
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Msiska, Hangson Burnett Kazinga. "Gendered subjectivity : a study of gender ideology in contemporary African popular literature." Thesis, University of Stirling, 1989. http://hdl.handle.net/1893/24392.
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This is a study of gender ideology in African popular literature published from the seventies onwards. First the thesis argues that, far from being merely the demonised Other of high literature, contemporary African popular literature can be profitably studied as a distinct modality of ideological signification. Secondly, it is argued that there are three dominant modes of representation of gender ideology in contemporary African popular literature. There is the conservative model which merely reproduces dominant gender ideology in a fictive modality. Then there are those texts which operate with a liberal model of ideological representation, within which the principle of pragmatic management of crisis within gender ideology is contained by an ideological ambivalence. The third mode of representation of dominant gender ideology employs a radical reading of gender difference and goes beyond mere analysis to envisioning the possibility of gender egalitarianism. Each mode of representation is illustrated by an in-depth study of select texts. All in all, what is offered is a materialist theory of cultural authenticity and taxonomy.
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Tagore, Proma. "The poetics of displacement : rethinking nation, race and gender." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23739.
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This thesis examines representations of nation, race and gender in three postcolonial texts: Salman Rushdie's Midnight's Children; Meena Alexander's autobiographical memoirs Fault Lines; and Bengali writer Mahasweta Devi's collection of short stories entitled Imaginary Maps. All three texts reconfigure conventional accounts of nationhood by positing fictions based on what I am calling the poetics of displacement. The diasporic perspective provides Salman Rushdie's novel with the ability to suggest hybrid identities arising from the experience of cultural migration. In Meena Alexander's autobiography, displacement is figured in terms of both a diasporic and feminist vision that allows for the deconstruction of masculinist narratives of identity and nation. Mahasweta Devi's short stories, by contrast, represent displacement in terms of the violences and dislocations suffered by the Indian subaltern as a result of ecological degradation and cultural uprootment. In looking at these differential articulations of displacement, this thesis thus attempts to illustrate that what is often seen as an unified body of postcolonial literature emerges from a heterogeneous set of textual practices which are the products of varying social, cultural, political and economic contexts. In this way, this thesis rethinks the categories of nation, race and gender in order to consider the bases upon which people make claims to identity along with the boundaries of inclusion or exclusion often invoked by such claims.
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Salzer, Maureen Shannon 1959. "Modernism's ventriloquist texts: American poetry, gender, and Indian identity." Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/282683.
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This dissertation analyzes the intersections of modern American poetry, Native American literature, American anthropology, modernist movements in literature and art, and American social and political history between 1890 and 1930. These seemingly disparate phenomena, taken together, constitute a revolution in American literary and cultural history. To connect the subject areas, the initial chapter develops a theoretical framework based upon postmodern, feminist, postcolonial, and cultural studies theories which analyze power relationships among groups. Issues germane to the discussion include: the politics of representation, particularly of marginalized groups such as Native Americans; the marketing of experimental, modernist literature; the translation of texts from oral cultural traditions into printed English; the factor of gender as it relates to dominant culture appropriations of non-dominant-culture texts and materials; and the commodification of the landscape and native cultures of the Western and Southwestern United States. Each of the next three chapters focuses on a non-Indian woman who, in some fashion, placed what came to be known as Indian literary art before the non-Indian reading public: Natalie Curtis, Mary Austin, and Harriet Monroe. While two of these women considered themselves advocates of Indian rights, all contributed, in various ways, to the stereotyping of Indian peoples and cultures prevalent between 1890 and 1930 and continuing today. Each chapter demonstrates a move forward in time and further from the Native American contexts in which the texts originated. Ethnomusicologist Natalie Curtis published The Indians' Book in 1907 and introduced the reading public to a large collection of Indian verbal art. Poet and writer Mary Austin wrote and published "re-expressions" of Indian verbal art and, in 1923, published The American Rhythm, a book which argues that indigenous models offer non-Indian writers the greatest potential for the development of a truly American literature. Editor Harriet Monroe published "Indian-like" poetry in her highly-influential Poetry: A Magazine of Verse, including two "aboriginal" numbers or issues. The final chapter analyzes the work of contemporary poet Wendy Rose (Hopi-Miwok), arguing that Rose effectively speaks back against the damaging influence of non-Indian appropriations of Indian texts.
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Cui, Yan, and 崔燕. "Gender representation in the tales of Jin Deshun." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B30162415.
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Hart, Krystal. "Scotland Expecting: Gender and National Identity in Alan Warner's Scotland." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5459/.
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This dissertation examines the constructions of gender and national identity in four of Alan Warner's novels: Morvern Callar, These Demented Lands, The Sopranos, and The Man Who Walks. I argue that Warner uses gender identity as the basis for the examination of a Scottish national identity. He uses the metaphor of the body to represent Scotland in devolution. His pregnant females are representative of "Scotland Expecting," a notion that suggests Scotland is expecting independence from England. I argue that this expectation also involves the search for a genuine Scottish identity that is not marred by the effects of colonization. Warner's male characters are emasculated and represent Scotland's mythological past. The Man Who Walks suggests that his female characters' pregnancies result in stillbirths. These stillbirths represent Scotland's inability to let go of the past in order to move towards a future independent nation.
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Bennett, Sophie. "Gender and identity in the modern Egyptian short story (1954-1992)." Thesis, SOAS, University of London, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.281942.
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Kendrick, Michelle R. "The technological subject : gender, writing and hypermedia /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/9357.
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Wan, Pauline Gail. "Female trauma and memory in constructions of black identity." Thesis, Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21510969.
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Cramer, David Wayne. "The power of gender and the gender of power in ancient Rome /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
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Cheng, Oi-yee, and 鄭靄儀. "Marriage and women's identity in the novels of Virginia Woolf." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hdl.handle.net/10722/197828.
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Lai, Amy T. Y. "Identity quest and gender representation by writers of Asian English of Chinese origin." Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249065.
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Turner, Helen M. "Gender, Madness and the Search for Identity in selected works of F. Scott Fitzgerald." Thesis, University of Essex, 2015. http://repository.essex.ac.uk/16820/.
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In this thesis I engage with the subject of identity and how it is formed and undermined in the work of F. Scott Fitzgerald. In many of the novels and short stories a tension exists between two opposing forces. The first is the pursuit of a social identity which values inherited wealth and familial connections, mirroring in the values of the Old European World. In opposition to this is the protagonists’ personal identity that is not dependent on these long established connections to others. In characters such as Jay Gatsby and Dick Diver the latter is sacrificed in order to pursue the former. However, such an act of self-betrayal is shown to have significant, indeed disastrous consequences resulting in alcoholism, narcissism and melancholia. Alongside this study of Fitzgerald’s male characters is a consideration of women in his work and the manner in which they are used as symbols of masculine success. I chart the development of these female characters from his first novel, This Side of Paradise, in which women are primarily used to demonstrate the fears, desire and indeed character of the protagonist to more complex representations in the mature novels The Great Gatsby and Tender is the Night. In Gatsby, Daisy Buchanan demonstrates a growing awareness of the female voice, even as, at times, Nick Carraway’s narration attempts to suppress it. In Tender is the Night, I suggest that there are two distinct stories evident in one narrative. In this novel “her” story is as significant as “his” story. I argue that this dialogism is, in part, a product of the author’s biography at the time of the novel’s composition. The depiction of these masculine acts of self-betrayal result in locating the most important aspects of identity in work. Or, as Fitzgerald wrote in 1936, “I have at last become a writer only.”
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Rogers, Janine. "Gender and the literature culture of late medieval England." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35053.
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This dissertation explores the impact of gender ideologies held by medieval readerships on the production of books and circulation of texts in late medieval England. The first chapter explores how the professional book trade of late medieval London circulated booklets of Chauceriana which constructed masculinity and femininity in strict adherence to the courtly love literary tradition. In the second chapter, I demonstrate that such a standardized representation of courtly gender could be adapted by a readership removed from the professional book trade, in this case the rural gentry producers of the Findern manuscript, who present a revised vision of femininity and courtliness in their anthology. This revised femininity includes several texts which privilege the female speaking voice. The third chapter goes on to investigate the use of the female voice in one particular genre, the love lyric, and asks if the female lyric speaker can be associated with manuscripts in which women participated as producers or readers. Finally, the fourth chapter turns to masculinity, examining how the commonplace book of an early 16th century grocer, Richard Hill, contains selections from didactic and recreational literature which reinforce the ideals of masculine conduct in the merchant community of late medieval London. The dissertation concludes that manuscript contexts must be taken into account when reading gender in medieval English literature.
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Blum, Joanne. "Defying the constraints of gender : the male/female double of women's fiction /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487265555440577.
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Khan, Robert Omar. "Ariake no Wakare, genre, gender, and genealogy in a late 12th century Monogatari." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0008/NQ34561.pdf.
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Rudakova, Irina V. ""Uncertain nature" : history of the castrato singer in the early modern gender paradigm /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/10233.
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Perren, Sara. "Balzac and gender : sexual identity into text in three novels by Honere de Balzac." Thesis, University of York, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328477.
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Oswald, Dana M. "Indecent bodies gender and the monstrous in medieval English literature /." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1116868190.
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Flavin, Christopher Michael. "The Self, the Church, and Medieval Identities: The Evolution of the Individual in Medieval Literature." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/dissertations/335.
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This dissertation examines the construction of literary identities by medieval women, recognizable as an authorial voice that is distinct from those of her contemporaries yet congruent with the gender norms and expectations of her contemporary culture, in both religious and secular literatures from late antiquity through the waning of the Middle Ages. The argument posited here is that texts authored by women, as informed by concurrent male texts and the literary traditions in which individual authors seek to participate, can be read as a taxonomy of responses to the traditions individual authors appropriate and to their contemporaries, directly responding to and incorporating elements from each in order to position themselves within the literate culture by accessing the shared traditions, norms and memories of the community. Focusing on primary texts authored by women makes it possible to more fully examine the intertextual nature of women's identity in medieval literature, the impact of male discourse on the identities available to women as writers and as women, and the diverse positions they assign to themselves through the construction of literary identities, both orthodox and heterodox. The delimination of the culture and the traditions in which individual authors participate clarifies both the self-positioning engaged in by individual authors and the function of their text, in its native context, while placing these texts and their authors in a meaningful context for modern scholars. The project is divided into six broadly chronological chapters which engage with key authors and place them in dialogue with both their male contemporaries and previous generations of women's writings. The first chapter, "(En)Gendering Texts," focuses on the texts from late antiquity which have the most measurable and lasting impact on subsequent women's writings and engage directly with the patristic sources for communal Christian identity in the period. The second chapter, "Perpetua and Her Daughters," highlights the role of women's texts in the education of both genders throughout the period and begins the process of contextualizing women's independent identities within the rubric of the Christian West. Chapter Three, "Constructing a New Self," approaches the letters of Heloise to Abelard and her other correspondents as a model for women's writing and the construction of polysemic identities within the traditions. Chapter Four, "Re-Envisioning the Passions," places mystics such as Hildegard of Bingen and Julian of Norwich in dialogue with the patristic traditions and medieval philosophy in order to illustrate the degrees of self-determination possible in women's texts while continuing to be viewed as orthodox. The fifth chapter examines the phenomena of affective piety, ascetic mysticism, and the uses of the body in creating a tangible identity for women writers in the period. The final chapter examines the tensions between the medieval and patristic traditions and the changing political and social geography of the later Middle Ages and the impact of these cultural shifts on women's writing and their access to the traditions.
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Simani, Nobathembu Alicia. "Gender and culture in the Xhosa novel." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52859.
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Thesis (MA)--University of Stellenbosch, 2002.ENGLISH ABSTRACT: This study examines gender and culture in L.L. Ngewu's novel, Koda kube nini na? The aim is to examine the influence of culture on how women and men as characters are portrayed. The study is motivated by the fact that despite the new democratic dispensation in South Africa since 1994, there is still a lot of gender discrimination in the Xhosa society. This is the result of the old traditional practices that severely discriminated against women on the bases that they are women. Chapter 2 of the study presents theoretical aspects of gender and culture. Chapter 3 analyses character and space in Ngewu's novel, Koda kube nini na? It is found that the characters of the novel are well-rounded. They are complex and dynamic. Space in the novels is concrete, but it also assumes symbolic significance in the way it represents a bigger picture: South African that is still in the legacy of apartheid. Chapter 4 deals with gender, and the concentration is on male and female characters. It is observed from the analyses that men dominate women. Women are subordinates of men by virtue of being women. In Chapter 5 we examine culture and find that culture can be used as an instrument in the patriarchal Xhosa society to oppress women. Our conclusion is that Ngewu's novel, Koda kube nini na? does not present democratised images of men and women. The images still depict in traditional Xhosa culture.
AFRIKAANSE OPSOMMING: Hierdie studie ondersoek gender en kultuurvraagstukke in L.L. Ngewu se novelle Koda kube nini na? Die doelstelling is om die invloed te ondersoek van hoe mans en vroue as karakters voorgestel word. Die studie is veral gemotiveer deur die feit dat afgesien van die nuwe demokratiese bestel in Suid-Afrika sedert 1994, bestaan daar steeds aansienlike genderdiskriminasie in die Xhosa gemeenskap. Dit is die resultaat van ou tradisionele praktyke wat teen vroue diskrimineer op grond van hulle geslag. Hoofstuk 2 van die studie gee 'n oorsig van relevante teoretiese perspektiewe oor gender en kultuur. Hoofstuk 3 ontleed die aspekte van karakter en ruimte in Ngevu se novelle Koda kube nini na? Daar word bevind dat die karakters van die novelle afgerond is. Hulle is kompleks en dinamies. Die ruimte in die novelle is konkreet, maar dit neem ook simboliese betekenis aan daarin dat dit 'n groter beeld bied. Suid-Afrika bevind hom steeds in die nagevolge van apartheid. Hoofstuk vier ondersoek gender, en daar word aandag gegee aan manlike sowel as vroulike karakters. Daar word aangetoon uit die analises dat mans tot 'n groot mate vir vroue domineer. Vroue is ondergeskik aan mans op grond van hulle geslag. In hoofstuk 5 word aandag gegee aan kultuur. Daar word bevind dat kultuur as 'n instrument gebruik kan word in 'n patriargale Xhosa gemeenskap om vroue te onderdruk. Die bevinding is dat Ngevu se novelle Koda kube nini na? nie 'n gedemokratiseerde uitbeelding van mans en vroue gee nie. Die uitbeelding reflekteer steeds tradisionele Xhosa kultuur.
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Honka, Agnes. "Writing an alternative Australia : women and national discourse in nineteenth-century literature." Master's thesis, Universität Potsdam, 2007. http://opus.kobv.de/ubp/volltexte/2008/1650/.
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In this thesis, I want to outline the emergence of the Australian national identity in colonial Australia. National identity is not a politically determined construct but culturally produced through discourse on literary works by female and male writers. The emergence of the dominant bushman myth exhibited enormous strength and influence on subsequent generations and infused the notion of “Australianness” with exclusively male characteristics. It provided a unique geographical space, the bush, on and against which the colonial subject could model his identity. Its dominance rendered non-male and non-bush experiences of Australia as “un-Australian.”
I will present a variety of contemporary voices – postcolonial, Aboriginal, feminist, cultural critics – which see the Australian identity as a prominent topic, not only in the academia but also in everyday culture and politics. Although positioned in different disciplines and influenced by varying histories, these voices share a similar view on Australian society: Australia is a plural society, it is home to millions of different people – women, men, and children, Aboriginal Australians and immigrants, newly arrived and descendents of the first settlers – with millions of different identities which make up one nation. One version of national identity does not account for the multitude of experiences; one version, if applied strictly, renders some voices unheard and oppressed.
After exemplifying how the literature of the 1890s and its subsequent criticism constructed the itinerant worker as “the” Australian, literary productions by women will be singled out to counteract the dominant version by presenting different opinions on the state of colonial Australia. The writers Louisa Lawson, Barbara Baynton, and Tasma are discussed with regard to their assessment of their mother country. These women did not only present a different picture, they were also gifted writers and lived the ideal of the “New Women:” they obtained divorces, remarried, were politically active, worked for their living and led independent lives. They paved the way for many Australian women to come.
In their literary works they allowed for a dual approach to the bush and the Australian nation. Louisa Lawson credited the bushwoman with heroic traits and described the bush as both cruel and full of opportunities not known to women in England. She understood women’s position in Australian society as oppressed and tried to change politics and culture through the writings in her feminist magazine the Dawn and her courageous campaign for women suffrage. Barbara Baynton painted a gloomy picture of the Australian bush and its inhabitants and offered one of the fiercest critiques of bush society. Although the woman is presented as the able and resourceful bushperson, she does not manage to survive in an environment which functions on male rules and only values the economic potential of the individual. Finally, Tasma does not present as outright a critique as Barbara Baynton, however, she also attests the colonies a fascination with wealth which she renders questionable. She offers an informed judgement on colonial developments in the urban surrounds of the city of Melbourne through the comparison of colonial society with the mother country England. Tasma attests that the colonies had a fascination with wealth which she renders questionable. She offers an informed judgement on colonial developments in the urban surrounds of the city of Melbourne through the comparison of colonial society with the mother country England and demonstrates how uncertainties and irritations emerged in the course of Australia’s nation formation.
These three women, as writers, commentators, and political activists, faced exclusion from the dominant literary discourses. Their assessment of colonial society remained unheard for a long time. Now, after much academic excavation, these voices speak to us from the past and remind us that people are diverse, thus nation is diverse. Dominant power structures, the institutions and individuals who decide who can contribute to the discourse on nation, have to be questioned and reassessed, for they mute voices which contribute to a wider, to the “full”, and maybe “real” picture of society.Das heutige Australien ist eine heterogene Gesellschaft, welche sich mit dem Vermächtnis der Vergangenheit – der Auslöschung und Unterdrückung der Ureinwohner – aber auch mit andauernden Immigrationswellen beschäftigen muss. Aktuelle Stimmen in den australischen Literatur-, Kultur- und Geschichtswissenschaften betonen die Prominenz der Identitätsdebatte und weisen auf die Notwendigkeit einer aufgeschlossenen und einschließenden Herangehensweise an das Thema. Vor diesem Hintergrund erinnern uns die Stimmen der drei in dieser Arbeit behandelten Schriftstellerinnen daran, dass es nicht nur eine Version von nationaler Identität gibt. Die Pluralität einer Gesellschaft spiegelt sich in ihren Texten wieder, dies war der Fall im neunzehnten Jahrhundert und ist es heute noch. So befasst sich die vorliegende Arbeit mit der Entstehung nationaler Identität im Australien des späten neunzehnten Jahrhunderts. Es wird von der Prämisse ausgegangen, dass nationale Identität nicht durch politische Entscheidungen determiniert wird, sondern ein kulturelles Konstrukt, basierend auf textlichen Diskurs, darstellt. Dieser ist nicht einheitlich, sondern mannigfaltig, spiegelt somit verschiedene Auffassungen unterschiedlicher Urheber über nationale Identität wider. Ziel der Arbeit ist es anhand der Texte australischer Schriftstellerinnen aufzuzeigen, dass neben einer dominanten Version der australischen Identität, divergierende Versionen existierten, die eine flexiblere Einschätzung des australischen Charakters erlaubt, einen größeren Personenkreis in den Rang des „Australiers“ zugelassen und die dominante Version hinterfragt hätten. Die Zeitschrift Bulletin wurde in den 1890ern als Sprachrohr der radikalen Nationalisten etabliert. Diese forderten eine Loslösung der australischen Kolonien von deren Mutterland England und riefen dazu auf, Australien durch australische Augen zu beschreiben. Dem Aufruf folgten Schriftsteller, Maler und Künstler und konzentrierten ihren Blick auf die für sie typische australische Landschaft, den „Busch“. Schriftsteller, allen voran Henry Lawson, glorifizierten die Landschaft und ihre Bewohner; Pioniere und Siedler wurden zu Nationalhelden stilisiert. Der australische „bushman“ - unabhängig, kumpelhaft und losgelöst von häuslichen und familiären Verpflichtungen - wurde zum „typischen“ Australier. Die australische Nation wurde mit männlichen Charaktereigenschaften assoziiert und es entstand eine Version der zukünftigen Nation, die Frauen und die Australischen Ureinwohner als Nicht-Australisch propagierte, somit von dem Prozess der Nationsbildung ausschloss. Nichtsdestotrotz verfassten australische Schriftstellerinnen Essays, Romane und Kurzgeschichten, die alternative Versionen zur vorherrschenden und zukünftigen australischen Nation anboten. In dieser Arbeit finden Louisa Lawson, Barbara Baynton und Tasma Beachtung. Letztere ignoriert den australischen Busch und bietet einen Einblick in den urbanen Kosmos einer sich konsolidierenden Nation, die, obwohl tausende Meilen von ihrem Mutterland entfernt, nach Anerkennung und Vergleich mit diesem durstet. Lawson und Baynton, hingegen, präsentieren den Busch als einen rechtlosen Raum, der vor allem unter seinen weiblichen Bewohnern emotionale und physische Opfer fordert.
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Majola, Nontuthuzelo Angelina. "Gender stereotypes versus gender equality: a critical analysis of some characters in Swaartbooi's "UMandisa" and Saule's "Idinga"." Thesis, Nelson Mandela Metropolitan University, 2006. http://hdl.handle.net/10948/553.
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The focus of this study will be on gender stereotypes versus gender equality in Swaartbooi's novel “UMandisa” and in Saule's novel “Idinga”. CHAPTER ONE will be the introductory chapter where the aim of the study, methodology, motivation and definition of terms will be given, as well as the biographical outline of Ncedile Saule and that of V.N.M. Swaartbooi. CHAPTER TWO will focus on developing the theoretical framework of the study. Theories are used to advocate a change of approach in the teaching and reading of literature. The theory to be employed in this study will be based on aspects of the female gender and feminism. CHAPTER THREE will explore the issues of gender stereotypes as portrayed in Swaartbooi's “UMANDISA” CHAPTER FOUR will focus on gender equality as portrayed in “IDINGA” by Saule and “UMANDISA” by Swaartbooi. The two novels raised the question of equality between women and men. CHAPTER FIVE will serve as the concluding chapter where the evaluation of the study will be made.
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Sam-Abbenyi, Juliana. "Gender in African women's writing : (re)constructing identity, sexuality, and difference." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=41764.
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This thesis offers a feminist analysis of women and gender in the novels of Buchi Emecheta, Ama Ata Aidoo, Tsitsi Dangarembga, Delphine Zanga Tsogo, Calixthe Beyala, Werewere Liking, Mariama Ba, Miriam Tlali and Bessie Head. My analyses appropriate and rethink western feminist theories of gender and post-colonial literary theory. I maintain that the texts analyzed are also theoretical, since feminist theory is embedded in the polysemy of the texts themselves. The study demonstrates that identity and sexuality are not static sites of oppression for women. They are contesting terrains where the subversion of difference, and the construction of identity, subjectivity and sexuality, are interlocking issues. Women's positional perspectives and varying subject positions are shown to be their strengths.
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Barlow, Rachelle Louise. "The 'land of song' : gender and identity in Welsh choral music, 1872-1918." Thesis, Cardiff University, 2015. http://orca.cf.ac.uk/91290/.
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This thesis concerns Wales as the ‘land of song’. In particular, it looks at choral singing in Wales which has long been considered a male tradition. From definitions of Welsh musical traditions featured in encyclopaedias to the continued use of male voice choirs at cultural events (such as rugby matches), men are continually promoted as the only bearers of the Welsh choral tradition. By contrast, this thesis questions such an assertion by arguing that women were also key players in its development in the late nineteenth and early twentieth centuries. In this matter, I interrogate two gendered stereotypes: Wales as ‘the land of my mothers’ (with reference to the suffrage movement) and Wales as ‘the land of my fathers’ (with reference to music, sport and nationhood). Conceived as a historical ethnography, this thesis draws upon extensive primary and secondary sources to provide the first in-depth study of gender and identity in Welsh choirs. The core of the thesis is comprised of historical narratives of four case study choirs from the period under study, namely the South Wales Choral Union (led by ‘Caradog’), the Rhondda Glee Society (led by Tom Stephens) and the two Royal Welsh Ladies’ Choirs (led by Clara Novello Davies and Hannah Hughes-Thomas respectively). In each case, I provide a discussion of the choir’s origin and the social context in which it developed, details about performance practice, membership, social class, repertoire and each choir’s relationship to notions of gender and identity in Wales. Moreover, I present a new understanding of the choirs’ conductors through biographical accounts; information regarding Clara Novello Davies and Hannah Hughes-Thomas especially has not been featured in previous scholarly studies. Informed by my perspective as a Welsh woman, I present a nuanced reading of Wales as ‘the land of song’ by considering both historical narratives and personal ethnographic experiences today. In this manner, this thesis contributes to ethnomusicological literature on gendered discourse and concepts of nationhood.
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Hirth, Brittany Brooke. "The limits of language : gender, trauma and the Holocaust /." Abstract Full Text (HTML) Full Text (PDF), 2008. http://eprints.ccsu.edu/archive/00000489/02/1945FT.htm.
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Thesis (M.A.) -- Central Connecticut State University, 2008.Thesis advisor: Aimee L. Pozorski. "... in partial fulfillment of the requirements for the degree of Master of Arts in English." Includes bibliographical references (leaves 113-115). Also available via the World Wide Web.
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Kohl, David. "Moments and Futures:Queer Identity in Medieval Literature of the Twelfth and Thirteenth Centuries." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1555943642040506.
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Fitzpatrick, Kristin. "What she carries with her : gender and American national identity in nineteenth-century women's travel narratives /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/6616.
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Tasker, Kevin. "ALTHOUGH OF COURSE THEY END UP CONSTRUCTING THEIR SELVES: Performative Gender Identity in The Pale King." Cleveland State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=csu158452666063426.
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Hussain, Sarah. "'Said to be a writer' : tradition, gender and identity in the poetry of Charlotte Mew." Thesis, Queen Mary, University of London, 2002. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1506.
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This thesis studies the poetry of Charlotte Mew (1869-1928) and explores how this still relatively obscure poet, writing at the turn of the last century, has a key role in any discussion of poetic tradition and ideas of gender and female identity as these are configured in the early twentieth century. This thesis examines why Mew's work has been condemned to obscurity in spite of her comparative success during her own lifetime and goes on to suggest that the very reasons for her rejection from the literary canon - the critical approbation of her peers, biography and the problem of placement in literary culture - are the methods of exploring her true contribution to it. Chapters two to five study Mew's work from four different but related critical standpoints: the figure of the fallen woman, the Victorian women's poetic tradition, Modernism and impersonality and female Modernisms and ideas of the feminine sublime. One of the major problems in establishing Mew's work in the critical culture has been the difficulty in placing her as either a Victorian or a Modernist. This thesis studies her writing in both critical contexts suggesting that Mew's work challenges the absolute categories of the literary canon. The chapters are divided into a study of the critical arguments surrounding ideas of tradition and gender followed by a detailed textual study of her poems. Her poetry is compared to that of writers as diverse as D.G . Rossetti, Augusta Webster, Christina Rossetti, Robert Browning, T. S. Eliot and H. D. Through a constant balancing of Mew's individual voice and her place in the literary culture, I suggest that her work is integral to an understanding of literary tradition and that her work is central to discussions of gender poetics and female subjectivity in the twentieth century.
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Finini, Cyntheria Nozipho. "Gender and culture in the novel Ukuqhawuka kwembeleko." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/49763.
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Thesis (MA)--University of Stellenbosch, 2003.ENGLISH ABSTRACT: The objective of this study is to examine culture and gender in the Xhosa novel, Ukuqhawuka kwembeleko, which was one of the popular novels in the 1980s. The novel is about forced marriages, but the fact that such marriages are forced on educated children has disastrous ends. In as far as the Xhosa culture of forced marriages is concerned, the novelist makes a point that it is a soulless marriage, it dehumanises both the minors who are involved in it and it treats the woman being married as if she were an object that is sold. In the humiliating process the father of the young woman gets good cattle to his satisfaction. In the Xhosa novel, Ukuqhawuka kwembeleko, the fact that Zoleka resisted such a marriage to the end of her life shows that traditional Xhosa women used to be treated as objects of their patriarchal society that sees them as objects that should die at their in-laws. Because that is where they belong, their fathers need cattle with such an exchange. But Zoleka, as a modern educated woman, has been empowered to resist such dehumanisation. She rebels against hlonipha culture of her in-laws. She shows them that she is not their bought property, and also that she would not bow to the pressure of their patriarchal rules. She does everything possible in the book to flaunt the rules of their hlonipha culture, and eventually they feel she is a makoti not worthy their valuable cattle. She consequently leaves and claims her independence. Her rebellious acts are a feminist declaration that the educated women of the 1980s challenge the male dominated system by not obeying to its rules. Yet how her father tracts her down after her departure from her in-laws and chases her with a horse home, whilst he severely beats her up in public to the horror of onlookers, is an indication that the gate keepers of the Xhosa patriarchal system are prepared to go to all lengths, including using the cruelest methods, to defend the system that has, over the years, benefited them in all aspects of life. But the fact that Zoleka eventually wins and retains her independence and later commits suicide, is a feminist statement that the modern Xhosa women are willing to liberate themselves even if it means taking their lives.
AFRIKAANSE OPSOMMING: Die doelstelling van hierdie studie is om kultuur en gender te ondersoek in die Xhosa novelle, Ukuqhawuka kwembeleko, wat In populêre novelle in die tagtigerjare was. Die novelle handel oor geforseerde huwelike, en die feit dat die afdwing van sulke huwelike op opgeleide kinders, rampspoedige gevolge het. Aangaande die Xhosa kultuurverskynsel van geforseerde huwelike, maak die skrywer 'n punt dat dit 'n siellose huwelik is, dit verneder sowel die kinders wat betrokke is, sowel as behandel die vrou wat in die huwelik tree as 'n voorwerp wat verkoop word. In hierdie vernederende proses kry die vader van die jong vrou beeste wat hom tevrede stel. In die Xhosa novelle, Ukuqhawuka kwembeleko toon die feit dat Zoleka so 'n huwelik teengestaan het tot die einde van haar lewe aan dat Xhosa vroue tradisioneel as voorwerpe behandel is van 'n patriargale gemeenskap wat hulle beskou het as eiendom van hulle skoonfamilie. Die vroue se vaders kry beeste in ruil hiervoor. Maar Zoleka, as 'n moderne opgeleide vrou, is bemagtig om sulke vernedering teen te staan. Sy rebelleer teen die hlonipha-kultuur van haar skoonfamilie en sy wys vir hulle dat sy nie hulle aangekoopte eiendom is nie, en dat sy nie sal buig voor die patriargale reëls nie. Sy gaan verder en daag die hlonipha-kultuur uit totdat die skoonfamilie eventueel dink dat sy nie 'n waardige skoondogter is nie en nie hulle beeste werd is nie. Zoleka gaan gevolglik weg en eis haar onafhanklikheid op. Haar handelinge is 'n feministiese verklaring dat die opgeleide vroue die mans-gedomineerde sisteem uitdaag. Zoleka se eie vader agtervolg haar egter en verneder haar in die openbaar. Hy dui daarmee aan dat die patriargale bewaarders tot enige uiterste sal gaan om die sisteem te beskerm. Die feit dat Zoleka egter haar onafhanklikheid behou en later selfmoord pleeg is 'n feministiese stelling dat sy haarself bevry het van die patriargale sisteem.
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卓紹雯 and Siu-man Maggie Cheuk. "The construction of gender and morality in crime novels." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31222316.
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Cheuk, Siu-man Maggie. "The construction of gender and morality in crime novels /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22142666.
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Fang, Hong, and 方紅. "The ethnic trickster in Maxine Hong Kingston's Tripmaster monkey: his fake book." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31244154.
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Cohenour, Gretchen M. "Eighteenth-century Gothic novels and gendered spaces : what's left to say? /." View online ; access limited to URI, 2008. http://0-digitalcommons.uri.edu.helin.uri.edu/dissertations/AAI3314452.
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Sherwood, Jane. "Perceptions of gender and the divine in Greek texts of the second and third centuries A.D." Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:e8ab1177-499c-4572-9395-dc22c53fe886.
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This thesis investigates the construction and reflection of gender identities in the religious sphere, namely the gods, their worshippers, and the rituals which link them. Religiously-interested Greek texts written by Artemidoros, Pausanias, Plutarch and Heliodoros in the second and third centuries A.D. form the basis of four chapter- studies. The introduction explores how deploying gender as a tool for investigating the texts reveals the author's own perceptions of how male and female operate within his discourse, and considers how these perceptions relate to the world beyond the text. Chapter two examines Artemidoros' Interpretation of Dreams: his analytical system of dream interpretation reveals contemporary thought patterns. Artemidoros places striking reliance on gender in his structuring of divine and human power, and employs two differing divine models of gender, which have significant implications for the social construction of human gender. Chapter three emphasizes Pausanias' fascination with the marvellous in his Guide to Greece, and focuses on why he considers female priests more noteworthy than male. The problematic sexuality of female priests is frequently his focus in descriptions of myth and rite. The fourth chapter considers Plutarch's Pythian dialogues and Isis and Osiris. It is the marriage-like nature of their relationship with their gods that makes both human and divine females perfect mediators between worshippers and their male god, the Pythia with Apollo, and Isis with Osiris. Chapter five finds a middle way between opposing views that Heliodoros' An Ethiopian Story is either a religious mystery text or entertainment without religious meaning. It focuses on how the relationship between the two lovers, Theagenes and Charikleia, is patterned by their relationship to their gods, Apollo and Artemis. The concluding chapter draws out the significance of gendered hierarchy amongst the gods, and the importance of gender in the role and function of priests and prophets. It also considers the implications of the thesis' findings and approach for Jewish and Christian texts of the same period.
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Powers, Paula Sian. "Home economics : identity and substitutability in the eighteenth-century epistolary novel /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9901444.
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Gonzalez-Posse, Maria Eugenia. "Galatea’s Daughters: Dolls, Female Identity and the Material Imagination in Victorian Literature and Culture." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1330820345.
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Brinkman, Inge. "Kikuyu gender norms and narratives." Leiden, the Netherlands : Research School CNWS, 1996. http://books.google.com/books?id=u8LZAAAAMAAJ.
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Borhan, Burcu. "Gendered narratives in Victorian literature identity formation in empire-focused children's literature /." Fairfax, VA : George Mason University, 2008. http://hdl.handle.net/1920/3246.
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Thesis (M.A,)--George Mason University, 2008.Vita: p. 101. Thesis director: Amelia Rutledge. Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Interdisciplinary Studies. Title from PDF t.p. (viewed Aug. 27, 2008). Includes bibliographical references (p. 97-100). Also issued in print.
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Hempen, Daniela. "The negotiation of gender and power in medieval German writings." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0005/NQ34531.pdf.
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Archer, Leona Mary. "Gender and space in the Old French Lancelot-Grail cycle." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648670.
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Preslar, Stephanie. "Fanfiction: A Look into the Disruptions of Gender Identity through Tropes." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etd/3885.
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Fanfiction provides the unique opportunity to explore disruptions of heteronormativity through tropes. By exploring different fanfictions in the Soulmate AU, ABO Dynamics, and Mpreg tropes, the disruptions indicate a desire to explore gender, identity, and sexuality through queered characters. Male slash fanfiction provides the chance to examine the disruption of the heteronormative through the queering of male characters and placing them into situations that may embrace the feminine or a female-gendered experience. The situating of heterosexual male characters into queered roles allows an examination of how this disrupts canonical ideas of gender, identity, and sexuality. By reviewing the male slash relationships in these tropes, the narratives may explain why the disruption of heteronormativity seems so appealing to fanfiction authors and readers. Heteronormativity restricts exploration of new dynamics and experiences that fanfiction authors and readers may crave to investigate. Disrupting that heteronormativity presents new opportunities for experiences in areas that may receive underrepresentation.
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Schweizer, Frederick William. "Queen Elizabeth 1 and Shakespeare : images of gender, power, and sexuality /." View online ; access limited to URI, 2008. http://0-digitalcommons.uri.edu.helin.uri.edu/dissertations/AAI3314460.
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Godinho, Sally C. "The portrayal of gender in the Children's Book Council of Australia honour and award books, 1981-1993." Connect to thesis, 1996. http://repository.unimelb.edu.au/10187/1121.
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This study examines the portrayal of gender in Australian Children’s Book Council award and honour books in the Younger Reader and Older Reader categories over the years 1981-1993. Its purpose is to discover whether the books portray females and males in equally positive ways, which both reflect their changing roles in our society and provide models for gender construction to young readers. This is done by means of a qualitative analysis of the text from selected books, supported by a quantitative analysis in the form of frequency counts of gender representations. Relevant Government policies and feminist ideologies which have influenced them are reviewed, and compared with the study’s findings to ascertain how far the CBC books’ gender portrayals are in line with current education policies and research. The findings suggest a review of CBC judging criteria, and highlight the need for a critical literacy approach in classroom literacy teaching. Recommendations for the broadening of research in literature are made.
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Wakota, John. "The making and remaking of gender relations in Tanzanian fiction." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86389.
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Thesis (PhD)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This study examines the fictional representation of gender relations in novels set during five historical periods in Tanzania – the pre-colonial, colonial, nationalism, Ujamaa, and the current neoliberalism period – each of which is marked by important shifts in the nation’s economic contours. Analysing novels written in both Swahili and English, it tracks the shifts in fictionalized household and extra-household gender relations; analyses how the community and the state (colonial and post-colonial) variously map and remap the way male and female characters relate; and interrogates how male and female characters variously accommodate, appropriate, bargain with and/or resist the shifts. The study employs the concepts of power and intersectionality to analyse how selected authors depict gender relations as a product of intersecting identity categories, complex socio-economic shifts and historical processes. Defining labour as productive work done for wage and fulfilment of gender roles, the study argues that labour is one of the major aspects shaping power relations between men and women. It reveals that labour is the major aspect in which the economic shifts have had great impact on gender relations as represented in Tanzanian fiction. As an aspect of power, labour is also the area within which gender relations have continuously been negotiated and contested throughout the fictionalized history. In negotiating or resisting given economic shifts, both male and female characters variously deconstruct and or endorse existing notions of power, labour, and gender relations. The study shows that the cross-fertilization among the periods, the interaction between gender and other identity categories (such as race, religion, class, and age), the synergy between indigenous patriarchy and other patriarchies (such as colonial and capitalist), and, the interactions between global and local dynamics account for the complex and contradictory nature of the shifts in gender relations throughout the nation’s history. Consequently, the study’s major observation is that across the fictionalized history, characters variously seek to maintain and or transform existing gender relations and or discard or restore past gender relations.
AFRIKAANSE OPSOMMING: Dié studie ondersoek die fiksionele verteenwoordiging van geslagsverhoudings in romans wat gestel word gedurende vyf historiese periodes in Tanzanië – pre-koloniale, koloniale, nasionalisties, Ujamaa en die huidige neoliberalisme – elkeen waarvan gekenmerk is deur belangrike verskuiwings in die nasie se ekonomiese kontoere. Deur die analisering van romans wat in Engels en Swahili geskryf is volg dit die verskuiwings in fiktiewe huishouding- en ekstrahuishoudelike geslagsverhoudings; dit analiseer hoe die gemeenskap en die staat (koloniale en post-koloniale) die manier van hoe manlike en vroulike karakters verband hou verskillend en afwisselend kaart en herkaart; dit interrogeer hoe manlike en vroulike karakters verskillend die verskuiwings akkommodeer, bewillig en weerstaan. Die studie maak gebruik van die konsepte van krag en intersektionaliteit om te analiseer hoe die geselekteerde skrywers geslagsverhoudings verteenwoordig as ʼn produk van kruisende identiteitskategorieë, komplekse sosio-ekonomiese verskuiwings en historiese prosesse. Arbeid word as produktiewe werk wat gedoen word vir loon en geslagsrolle definieer, en die studie argumenteer dat arbeid een van die hoof aspekte is wat magsverhoudings bepaal tussen mans en vrouens. Dit onthul dat arbeid die hoof aspek is in die ekonomiese verskuiwings wat ʼn groot impak gehad het in geslagsverhoudings in Tanzaniese fiksie. As ʼn aspek van mag is dit ook die area waarin geslagsverhouding aanmekaar onderhandel en betwis word dwarsdeur die fiktiewe geskiedenis. Wanneer dit kom by die onderhandel en twis van ekonomiese verskuiwings is dit beide manlike en vroulike karakters wat afwisselend bestaande idees van mag, arbeid en geslagsverhoudings dekonstrueer en endosseer. Die studie bewys dat kruisbestuiwing tussen die periodes, die interaksies tussen geslag en ander identiteitskategorieë (soos ras, geloof, klas en ouderdom), die sinergie tussen patriargie en ander patriargies (soos koloniale en kapitalistiese) en die interaksies tussen globale en plaaslike dinamika verantwoordelik is vir die komplekse en teenstrydige natuur van die wisselinge in geslagsverhoudings regdeur die nasie se geskiedenis. Gevolglik is die studie se hoofobservasie dat die karakters regdeur die geskiedenis op verskeie maniere poog om bestaande geslagsverhoudings te behou of te transformeer of om vorige geslagsverhoudings te herstel of verwyder.