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Braun, Alice. "Janet Frame : le féminin et la marge." Paris 10, 2008. http://www.theses.fr/2008PA100147.
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Il s’agira dans cette thèse d’observer l’articulation entre centre et marge qui est centrale à tous les romans de Janet Frame, et de démontrer comment la marge est, chez elle, le lieu privilégié de l’émergence d’une alternative au langage dominant. On verra comment cette alternative prend la forme d’une pratique du langage qu’on nommera « féminine », au sens où l’entendent des théoriciennes comme Cixous ou Irigaray, c’est-à-dire plus souple, plus fluide, et dont la coexistence des contraires est l’un des principes fondamentaux. Cette alternative se compose à la fois d’une déconstruction du langage dominant, mais également de la tentative de définition d’un nouveau langage. Quant à la marge, Frame l’envisage essentiellement comme espace : de l’hôpital psychiatrique où se déroulent ses premiers romans, aux espaces qu’habitent les différentes figures d’artistes qui apparaissent dans la dernière partie de son œuvre (le « Maniototo », « Mirror City »), on verra comment évolue la condition marginale, ainsi que les différentes modalités de subversion qu’elle proposeThe purpose of this dissertation is to focus on the relationship between centre and margin which is at the heart of Janet Frame’s novels, and to show how, in her works, the margin is the locus where an alternative to dominant language can emerge. I will see how this alternative manifests itself as the use of a language that can be referred to as « feminine », as the term is understood by such theorists as Cixous and Irigaray, meaning a more flexible and fluid form of language, with the coexistence of contraries as one of its main principles. This alternative both takes the shape of a deconstruction of dominant language, as well as an attempt to define a new language altogether. Frame conceives of the margin essentially as a space. By looking at the development of this space, from the psychiatric hospitals where her first novels are set, to the spaces inhabited by the different artist figures who appear in her later works (such as the « Maniototo » or « Mirror City »), I’ll study the evolution of the marginal condition, as well as the different forms of subversion that are displayed in her works
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Cowman, Colleen Jean. "Poetry and style in works by Janet Frame." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq22938.pdf.
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Cronin, Jan S. "Attending and avoiding the 'explorations' of Janet Frame." Thesis, University of Leeds, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413920.
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Hawkey, M. C. "Imagination and empathy in the novels of Janet Frame." Thesis, University of Canterbury. English, 2000. http://hdl.handle.net/10092/6942.
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This thesis investigates the claims Janet Frame makes for the imagination in her novels and three volumes of autobiography. Proceeding from an outline of the Romantics' conception of the imagination, the thesis moves on to a discussion of the philosopher Immanuel Kant's theories of the imagination, and concludes that there are striking similarities in the arguments that both Kant and Frame make for the imagination. The argument of the thesis is structured along the development of Frame's oeuvre, and is discussed in terms of three broad phases which I have labelled romantic or modernist, apocalyptic postmodernist and finally transcendental postmodernist, and Ihab Hassan's writings on postmodernism have been used to outline the features of this third phase. A major feature of the first two of these phases is the narcissism of those characters that Frame deems imaginative, and the thesis demonstrates the attempts Frame makes to resolve the narcissism of her characters by reconciling them to their role in society, while allowing them to keep their artistic authenticity. The writings of psycho-analyst Heinz Kohut are used in the discussion of narcissism, and they complement Kant's writings on the imagination in their emphasis on the importance of empathy in maintaining worthwhile relationships. It is the emphasis that both these writers and Janet Frame herself place on empathy that motivates the changes she makes in her concept of the imagination, and which allows the possibility of 'immanence', glimpsed in the final phase of her writing to date. The final chapter of this thesis applies these phases and the conclusions drawn from Frame's novels to her autobiography, arguing that each volume of the autobiography represents one of those phases. I draw the conclusion that this is a conscious attempt by Frame to argue against the sometimes negative critical receptions of both her novels and particularly her personal decisions as a writer.
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Mortelette, Ivane. "Le temps et l'espace dans l'oeuvre de Janet Frame." Paris 10, 2004. http://www.theses.fr/2004PA100169.
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L'objectif de cette thèse est de considérer l'oeuvre de l'écrivain néo-zélandais Janet Frame (1924-2004) dans son ensemble, en s'appuyant sur une étude du temps et de l'espace. La première partie montre que le temps et l'espace sont les repères fondamentaux qui structurent ses ouvrages et la vie de ses personnages. A fin de mieux en comprendre la portée politique, la deuxième replace l'oeuvre de Frame dans son contexte historique, géographique et culturel. Après avoir analysé les problèmes théoriques liés à la perception et à la représentation du temps et de l'espace, la troisième partie met en relation l'écriture avec d'autres modes de représentation de l'espace, tels que peinture et photographie. La quatrième partie examine les rapports entre espace-temps social et espace-temps intérieur. Enfin, la dernière partie se concentre sur la mémoire et sur le rôle qu'elle joue dans la création littéraireThe object of this thesis is to consider the work of the New Zealand writer Janet Frame (1924-2004) as a whole, through an exploration of time and space. The first part shows that time and space are major structuring landmarks in both Frame's works and her characters' lives. In order to fully understand its political dimension, the second part sets Frame's work back into its historical, geographical and cultural context. After an analysis of the theoretical issues related to the perception and representation of time and space, the third part draws a parallel between writing and other ways of representing space, such as painting and photography. The fourth part examines the relationship between time and space in society and time and space on an individual level. Finally, the last part focuses on memory and on the role it plays in the process of literary creation
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Gorini, Andrea <1981>. "My Place. Luoghi, viaggi, identità nei romanzi di Janet Frame." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/2423/.
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Il lavoro si propone un’analisi dell’elemento spaziale e del movimento per ricostruire lo spazio della cultura neozelandese e lo spazio letterario di Janet Frame. La tesi si concentra in particolar modo sui romanzi con alcune incursioni nella fiction breve e nell’autobiografia. Si sviluppa in quattro capitoli nella forma di un itinerario attraverso la fiction dell'autrice preceduto da un capitolo che offre alcune coordinate teoriche e metodologiche sul concetto di spazio e la sua percezione. In particolare, una prospettiva fenomenologica e esistenziale alla questione appare congeniale all'analisi delle opere dell'autrice.
Nell'ordine, quattro spazi concettuali si aprono a partire dai romanzi: linguaggio, etica, trascendenza e arte. Essi costituiscono i nuclei tematici e strutturali attorno ai quali si raccolgono i romanzi di Janet Frame e che consentono di analizzare i luoghi descritti nelle opere proponendo però una riflessione che va oltre la rappresentazione dello spazio per aprirsi sul retroterra culturale, intellettuale e filosofico dell'autrice. Emerge così l'originalità della sua posizione rispetto all'identità culturale del suo paese e alla relazioni che legano la Nuova Zelanda alla metropoli inglese e agli altri Paesi anglosassoni.The thesis is an analysis of the concept of space and its representations in the novels of Janet Frame. Geography, movements, travels, places and dwellings are the basic elements that are examined in order to reveal the cultural and philosophical background of the author. In this perspective, both as an intellectual and as a fiction writer, Frame reveals her extremely original position in relation to some crucial issues such as New Zealand identity and the cross-cultural ties between the English-speaking countries.
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Barry, Brigitte. "De l'autobiographie à la fiction : la poétique de Janet Frame." Paris 10, 1999. http://www.theses.fr/1999PA100118.
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Qu'est-ce que raconter une vie ? c'est la question que pose l'etude de la trilogie autobiographique de janet frame, ecrivain neo-zelandais, et de son adaptation cinema♭ tographique. La premiere partie de ce travail etudie le lien entre biographie, autobiographie et roman autobiographique ; l'analyse des regles constitutives de la biographie permet d'interpreter le passage aux deux autres genres. Entre autobiographie et fiction, la trilogie est a la fois l'<< histoire d'une vie >> et la << vie d'une histoire >>. Construite par le langage et construisant son propre langage, l'auteur-narrateur-personnage tente de se dire et de dire je. Dans to the island, an angel at my table et the envoy from mirror city, janet frame associe a l'oubli et a la resurgence des souvenirs l'image de souvenirs << forever staying beneath the surface >> ou << rising to the surface at different times >>. Elle refute ainsi l'existence d'une autobiographie << 'pure' >> et confirme l'impossibilite d'un recit exhaustif qu'en est-il de l'ecriture de l'autobiographie ? comment souvenirs et oublis sont-ils faconnes pour (re)construire la trace ecrite de << l'histoire d'une vie >> ? si cette oeuvre utilise les techniques narratives propres a toute histoire, qu'en est-il du passage du recit ecrit au recit filmique dans an angel at my table, le film de jane campion ? comment envisager la representation du <
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Faith, Wendy. "Metaphor in the work of Janet Frame, an alter/native postcolonial perspective." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq30468.pdf.
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Finnie, Annabel Robin. "Framing the beast: human-animal narratives in selected works by Janet Frame." Thesis, University of Canterbury. Humanities, 2010. http://hdl.handle.net/10092/5676.
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This thesis explores the way Janet Frame uses animals to expose some of her
primary concerns regarding the impact of modernity on the marginalised. Her
work reveals scepticism towards modernity as progressive by exploring the
underbelly of its so-called advancements. She questions the impact of capitalism,
urbanisation, materialism, imperial expansion, agriculture, rational science and
the clinical side of orthodox modern medicine by showing that these practices
result in the dehumanisation of society. They ostracise certain groups as misfits
and oddballs, or transform subjects into commodity goods. Many of the themes
and ideas she tackles are retold through an animal framework which alludes to
the plight of the real animal as well as using the figurative animal to discuss the
predicament of the “other” in human terms. Animal representations appear in her
work as allegories, metaphors and symbols. And yet there are also moments at
which certain creatures emerge without the constrictions of a cultural affiliation
and these animals are deemed authentic according to their apparent escape from
the general project of modernity. In conjunction with these animal
representations, Frame often uses the perspective of the child to defamiliarise
taken-for-granted ideas of normality. I concentrate on those examples of Frame’s
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writing which combine the child’s point of view with stories where animals
predominate. But even the figure of the child – portrayed as bridging the gap
between humanity and animality – proves limited as the violent hierarchies that
exist between those deemed acceptable and those classified as marginalised are
normalised through society’s collective amnesia. These distinctions are created
by the divide between humanity and animality based on the concept of human
dominion. Nonetheless, in certain works, Frame shows that these principles of
dominance and control infiltrate the human sphere as well as the animal, and
these points are played out through the animal narratives addressed in this thesis.
It is important to make it clear that I am not suggesting Frame is a covert animal
activist. But she clearly spells out that the horrors which manifest in modern
western bourgeois societies have links to the horrors of current animal practices,
whereby certain animals are imprisoned, tortured or slaughtered. References in
Frame’s work to the treatment of animals in “advanced” societies operate as hints
and evidence of the violence inherent in modernity.Not available for download. Print copy available for consultation in the Macmillan Brown Library.
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Lawn, Jennifer. "Trauma and recovery in Janet Frame's fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25087.pdf.
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Lorphelin, Elsa. "Intertextualité, interdiscursivité et autorité dans les nouvelles de Jean Rhys, Janet Frame et Anita Desai." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL113.
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Couvrant la quasi-totalité du XXe siècle, les écrits de Jean Rhys, Janet Frame et Anita Desai témoignent de la relation de la Caraïbe, de la Nouvelle-Zélande et de l’Inde à l’Empire britannique. Cette thèse s’intéresse en particulier aux nouvelles de trois auteures plus connues en tant que romancières, car, genre marginal et fragmentaire, la nouvelle fait écho à un certain nombre de problématique postcoloniales, modernistes et postmodernes. Il s’agira en l’occurrence de s’attarder sur la question de la voix et du discours, et notamment sur la façon dont l’omniprésence de discours idéologiques, politiques, sociaux, se trouve doublé de la présence d’un réseau intertextuel mis en œuvre par les auteures. La récupération de la voix d’autrui, et en particulier du canon littéraire occidental, dans un contexte où l’autorité féminine et postcoloniale est des plus précaires, pose la question de l’autorité littéraire. On observera que sous la plume de ces auteures, la nouvelle devient plus que jamais un genre hybride, plurivocal, aux contours fuyants, dont le genre est sans cesse requalifié. Loin du monolithisme du roman, la nouvelle apparaît comme un espace de liberté et de création où l’autorité est sans cesse réaffirmée tout autant que diffractée, et où les présences auctoriales tout à la fois s’effacent et se manifestent. Véritables lieux d’une mise en scène de la figure de l’Auteur, la nouvelle et le recueil déjouent les limites du genre, tissant un réseau discursif et intertextuel complexe, où Jean Rhys, Janet Frame et Anita Desai élaborent une esthétique de la voixThe literary production of Jean Rhys, Janet Frame, and Anita Desai, which covers nearly all the twentieth century, testifies to the relationship between the Caribbean, New-Zealand, India and the British Empire. Even though Rhys, Frame and Desai are mostly known as novelists, this thesis dwells on their short stories. As a marginal and fragmentary genre, the short story echoes a variety of issues related to Postcolonialism, Modernism and Postmodernism. My issue is the study of the themes of the voice and of discourse, and especially of the way in which the omnipresence of ideological, political and social discourses is further complexified by the presence of intertextuality. The use of alien voices, borrowed notably from the western literary canon, poses the question of literary authority – especially in a context where postcolonial and feminine authority is so precarious. We shall observe that, in these authors’ short stories, the genre becomes hybrid, plurivocal, harder to define, which entails its requalification. Far from the monolithic nature of the novel, the short story appears as a space of liberty and creation where authority is both tampered with and constantly reaffirmed, and where authorial presences in turn appear and disappear. As places where the figure of the Author is continuously staged, the short story and the collection of short stories redefine the limits of the genre by weaving an intricate discursive and intertextual fabric where Jean Rhys, Janet Frame and Anita Desai work towards the elaboration of an aesthetic of the voice
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Olmi, Alba. "Janet Frame : uma escritora de ficção e a ficção de uma escritora : os múltiplos processos da autobiografia estética." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2001. http://hdl.handle.net/10183/1799.
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A escritora objeto desta tese, figura proeminente da literatura neozelandesa, voltou-se ao gênero autobiográfico após um longo percurso na área da ficção, para definir-se como uma primeira pessoa, depois de sua vida particular ter sido insistentemente confundida com sua obra por parte da crítica. Uma questão que logo vem à tona é que praticamente toda ficção resulta ser, até um certo grau, fundamentalmente autobiográfica e que a análise crítica da obra de um escritor possibilita o conhecimento de sua vida. Nosso argumento, opondo-se a esse pressuposto, parte da vida para melhor compreender a obra, evidenciando que Janet Frame manteve um grande distanciamento entre os eventos reais e sua ficcionalização, realizando uma tarefa que a coloca lado a lado dos nomes mais ilustres da literatura ocidental do século XX. Numa atitude comparatista, procuramos extrair os diversos processos de transmutação estética realizados pela escritora, buscando sanar algumas distorções que impediram uma análise mais confiável de sua obra, problematizando, entre outros aspectos, a questão do gênero autobiográfico, da mímese e do realismo ficcional. A manipulação artística da vida particular de Janet Frame foi resgatada por um conjunto de processos, entre os quais a antimímese, a poetização do quotidiano, a intertextualidade e a interdiscursividade, que revelam um alcance estético e uma auto-referencialidade deslocada muito além do mero biografismo. Outros aspectos analisados na obra como um todo indicam que novas abordagens da ficção de Janet Frame, a partir de enfoques pós-modernos, pós-coloniais, pós-estruturalistas e feministas podem superar as posturas reducionistas das quais ela foi alvo.
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Jennings, Olivia. "Framing a settler literature : a reading of the work of Janet Frame at the postmodern/postcolonial intersection." Thesis, Royal Holloway, University of London, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406307.
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Froud, Mark. "'Towards another language': the journey of the lost child in the works of Janet Frame and David Malouf." Thesis, University of the West of England, Bristol, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.601196.
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The purpose of this thesis is to analyse the symbolism and meaning of the figure of the 'lost child' within the works of the two authors. My argument extends from the work of these authors to discuss the importance of the 'lost child' within Anglocentric culture and society. I will also discuss the authors' presentation of language as both restrictive and potentially transformative. My Introduction sets out the theoretical and historical associations of childhood with language and with memory. The modem conception of memory developed alongside modem concepts of childhood as a distinct state, separate from adulthood. The idea of a ' lost child' within the self implies a gap between past and present which is perhaps fundamental to fragmentations within individuals and society. The argument of this thesis begins from a broadly " physical" or material perspective, looking at the social and individual fragmentations surrounding the figure of the child, as represented specifically in short stories by Malouf and Frame. The stories discussed are most notable for their presentations of family trauma and social violence. I then discuss, through reference to the authors' life-writing, how writing is a "doubling" of the physical self and world. Following the theory of Derrida that '[d]eath strolls between letters' I argue that the figure of the lost child is an absent presence moving through the gap between signifier and signified. I develop the concept of death, along with silence, as essential to positive transformation of being and language respectively. acknowledging a beyond outside of signification. My thesis then proceeds from the analysis of how language restricts and categorises behaviour, to the ways Malouf and Frame advocate the power of the imagination and creativity to make the "gaps" - in life, in society, in the self - sites oftransfonnation .
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Cozzone, Iolanda. "Una poeta : perspectives on the translation of Janet Frame's Verse into Italian." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/16610.
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Janet Frame (1924-2004) is known for being one of the most prolific, translated, and unconventional New Zealand novelists. Her work, however, includes a vast production of poems, which scholars and translators have ignored or, at least, not considered worthy for a comprehensive approach to her. Frame's work has undergone the further limitation of a strongly biography-based hermeneutics: from the gossiping around her alleged schizophrenia, to the popularity of the filmic version of her autobiography (An Angel at My Table) by Jane Campion, and the countless legends that have sprung around her, she has often been stigmatised and labelled the 'mad writer' of Campion's movie. This thesis links the risks of the life/myth-driven perspectives to the current lack of interest in Frame's poetry. Her poetic production is here presented as a fundamental part of her oeuvre and her idiosyncratic approach to writing. Therefore, this study aims to fill this gap in the literature on Frame and thus reconfigure her role as a poet. Through a combination of methodologies grounded in literary and verse translation theories, creativity and genre studies, poststructuralism and postcolonialism, this thesis investigates the most significant traits of Frame's prose and poetry, particularly the traits shared by both. It critiques past translations of Frame's prose into Italian where these have not taken into account the poetic value of her work, and suggests strategies for the translation of her verse into Italian, arguing that an informed approach to her poetry in translation may greatly contribute to a reconfiguration and re-evaluation of her legacy.
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Blowers, Tonya. "Locating the self : re-reading autobiography as theory and practice, with particular reference to the writings of Janet Frame." Thesis, University of Warwick, 1998. http://wrap.warwick.ac.uk/36297/.
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The thesis is a three-part study of the theory and practice of autobiography. The writing of the New Zealand novelist, poet and autobiographer Janet Frame (1924-) is used as casestudy throughout, juxtaposed to canonical texts of autobiography (typically written by white western males) which have been used to draw conclusions about the self. Frame's 'autobiographical' writings (in particular her three-volume autobiography, To the Is-Land, An Angel at My Table and The Envoy From Mirror City; and her novels Faces in the Water and Owls Do Cry) are used to suggest a new approach to interpreting both the self in society and the relationship between narrated self and context. Part One is a re-reading of three classic texts of the genre, St.Augustine's Confessions, Dante's Vita Nuova and John Bunyan's Grace Abounding. The assumption that such texts describe an 'autonomous, unitary' male protagonist is thoroughly questioned and the texts are read to reveal instead the characteristics of fragmentation and alterity usually reserved for descriptons of the self in women's autobiographies. The point is emphasised that the narrated self of autobiography must always be precisely located in time and space. In Part Two, the definition of autobiography as genre is explored. Two schools of thought are identified: one which focuses on the contract between reader and writer (Lejeune), the other which highlights that the self is constructed in and through the narrative which purports to represent it (Bruss, Barthes). Frame's writing is then used to test the application of such models. The relationship between 'history' and 'fiction' is discussed as the pivotal distinction on which the notion of autobiography hinges. Through a reading of Frame's autobiographies and Paul Ricoeur's Time and Narrative, the notion of a 'textual contract' as a new definition of autobiography as genre is developed: this definition maintains both the importance of the life outside the text but also the representative nature of narrative to transform that reality within the text. Part Three puts into practice the theory of 'locating the self'. Frame's autobiographies are first analysed through a series of categories of 'belonging': gender, class, race, nationality and coloniality. It is suggested, using Elspeth Probyn's notion of Outside Belonging, that Frame invents and performs the categories of both poet and schizophrenic in order to find a place to belong. Finally, Frame's narrated self is analysed in the very specific context of the local and national writing culture, demonstrating that the narrated self of autobiography is, to a large extent, instructed in society and rehearsed by the author long before she puts pen to paper. The thesis concludes with the notion of autobiography as metaphor which is seen as resolving many of the theoretical dilemmas posed throughout.
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Neale, Emma Jane. "Why can't she stay home? : expatriation and back-migration in the work of Katherine Mansfield, Robin Hyde, Janet Frame and Fleur Adcock." Thesis, University College London (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365046.
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My thesis examines changing conceptions of colonial, artistic and female identity. I build on the work of previous critics (including Ash, Parkin-Gounelas, Pride, Sandbrook, Wevers), but I seek to place renewed emphasis on literary-historical context and questions of aesthetic value. My introductory chapter grounds the twentieth-century works in literary analyses of a sample of published nineteenth-century accounts by British women of their emigration to New Zealand. These women align expatriation with bereavement, yet advocate the colony's new egalitarianism. The chapter ends with a reading of Victorian fiction by 'Alien' (Louisa Baker: once popular, but now seldom read), for whom expatriation was already a complex matter. For 'Alien', the New Zealander's return to England connotes artistic selfbetterment and women's entry into valuable work: themes crucial to Mansfield, in whose early prose expatriation represents similar liberation. However, connections between travel and social freedom become increasingly questionable; Mansfield's stories illustrate the restrictiveness of European sexual moeurs, establishing disturbing correspondences between expatriation, the lost past, the undermining of identity, and death. Hyde takes up Mansfield's preoccupations, in works which richly dramatise the scope and limits of expatriation for a colonial woman artist. The inclusion of backmigration in her narratives reconciles expatriation with rising literary nationalism. Adcock's initial poetry repeats Mansfield's adolescent depiction of New Zealand as stifling. Although her stance on the relationship between self and homeland grows more conflicted throughout her career, she rejects Hyde's idea of redemptive backmigration. Return merely leads to reiteration of insoluble debates over identity. Janet Frame's novels parody - and repudiate - previous perspectives on expatriation. Her autobiography partially returns to modernist structures (expatriation as arrival at self-possession), yet her total oeuvre finds its only possibility of home in interiority. . I conclude with a brief examination of fiction by Kirsty Gunn and Emily Perkins, both of whom use expatriation to signify moral uncertainty. My study aims to deepen a sense of the intertextual relationships between the selected authors. I hope that my account opens new ways of interpreting the links between history and gender in narratives of leaving home.
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Sörensen, Susanne. "In Splendid Isolation : A Deconstructive Close-Reading of a Passage in Janet Frame's "The Lagoon"." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-6090.
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In reading the literary criticism on Janet Frame's work it soon turns out that Frame was deconstructive before the concept was even invented. Thus, deconstruction is used in this essay to close-read a passage in the title story of her collection of short stories, The Lagoon (1951). The main hierarchical dichotomy of the passage is found to be the one between "the sea" and "the lagoon," in which the sea is proven to hold supremacy. "The sea" is read as an image of the great sea of English literary/cultural reference whereas "the lagoon" is read as an image of the vulnerably interdependent, peripheral pool of it, in the form of New Zealand literary/cultural reference. Through this symbolic and post-colonial reading the hierarchical dichotomy between "the sea" and "the lagoon" is deconstrued and reversed. In the conclusion, a post-colonial trace of Maori influence displaces the oppositional relation between "the sea" and "the lagoon."
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Boileau, Nicolas Marret Sophie. "Une expérience de l'impossible l'écriture autobiographique dans Moments of Being de Virginia Woolf, The Bell Jar de Sylvia Plath, An Autobiography de Janet Frame /." Rennes : Université Rennes 2, 2008. http://theses.scdbases.uhb.fr:8000/theseBoileau.pdf.
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Gagneret, Diane. "Explorer la frontière : folie et genre(s) dans la littérature anglophone contemporaine." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSEN056/document.
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Souvent conceptualisée comme l’envers ou l’opposé de la raison, la folie, presque toujours synonyme de débordement, semble vouée à outrepasser toute limite définitoire ou conceptuelle posée par la pensée rationnelle. Cette pulsion de délimitation ou de classification inhérente à la rationalité, trouve dans le genre l’une de ses expressions les plus représentatives. Partant du constat que la folie ne cesse de transgresser les frontières traditionnelles de genre, ce travail étudie les liens entre les représentations littéraires de la maladie mentale et les questions de genre sexué (« gender ») comme littéraire, dans un corpus composé de romans, nouvelles et pièces de théâtre de six auteurs (Janet Frame, Jenny Diski, Sarah Kane, Ian McEwan, Anthony Neilson et Will Self), publiés entre 1951 et 2004. Animées par une dynamique toujours renouvelée de subversion des catégories établies, ces oeuvres invitent à une réflexion sur le rapport particulier qu’entretient la folie à la frontière, qui de simple ligne de démarcation ou de séparation se fait point de contact, puis espace à part entière. À travers leurs représentations de la folie, les récits étudiés privilégient le plus souvent, en effet, une esthétique et une épistémologie de l’entre. Cette réflexion s’articule donc principalement autour des images et des usages de la liminalité dans ces histoires de fous et de folles qui, au fil de leur (re)définition de l’appartenance et de l’identité des textes et des individus, esquissent une cartographie mobile des « contrées à venir » dont Deleuze et Guattari font la destination de toute écritureTraditionally conceptualised as the underside or the outside of reason, madness most often rhymes with excess; as such, it continually threatens to transgress all definitional or conceptual limits set by rational thought. Indeed, at the core of rationality is an impulse to delimit and classify, of which categories of genre and gender are quintessential examples. Starting from the observation that depicting madness regularly entails crossing, questioning and redefining genre and gender boundaries, this work investigates how literary representations of madness relate to the classification and conceptualisation of gender and genre in a selection of novels, short stories and plays by six different writers – Janet Frame, Jenny Diski, Sarah Kane, Ian McEwan, Anthony Neilson, and Will Self – published between 1951 and 2004. With the subversion of established categories as their central aim and dynamics, these works call for an exploration of the specific way in which depictions of madness, by using the border as one of their core motifs, impact the conceptualisation of borders. No longer a mere demarcation or dividing line between spaces, or simply a meeting point, the border becomes a full-blown space for individuals and texts to inhabit. Indeed, through their representations of madness, the borderline stories under study seem to embrace and promote both an aesthetics and an epistemology of the in-between. This work therefore focuses on the images and uses of liminality in stories of madmen and madwomen that, by remapping textual and sexual identities, have begun to chart these “lands to come” which, according to Deleuze and Guattari, are the true destination of all writing
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Dean, Andrew. "Foes, ghosts, and faces in the water : self-reflexivity in postwar fiction." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:4c2e3b07-2454-457a-bf9f-a3f0734c89ba.
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This thesis examines the nature and value of metafictional practices in the careers of postwar novelists. Discussions of metafiction have been central to accounts of postwar literature. Where debates in the 1980s and 1990s about metafiction tended to make claims about its distinctive political and theoretical power, recent work in the study of institutions has folded metafiction into the routine operation of the literary field, and attacked previous claims to distinctive value. In this thesis I both historicize self-reflexive literary practices in the literary field, an element largely absent from the earlier scholarship, and present historically determinate claims about the value of these practices, an element I suggest is missing from the more recent work. To do so, I turn to the study of autobiography, specifically Philippe Lejeune's concept of 'autobiographical space.' In the first chapter, I explore how J. M. Coetzee develops academic literary criticism in his fiction. In the second chapter, I examine how Janet Frame responds to both the demands of a national literature and biographical inquiry into her life. In the third chapter, I address how Philip Roth handles the relationship between the politics of identity and the postwar novel. Self-reflexive practices, I show throughout, are ways of writing that were encouraged by particular formations in the literary field and were handled by writers through more or less explicit treatments of autobiographical space. I argue, though, that while these practices can be remarkably inventive, they carry no guarantees for political, theoretical, or aesthetic value.
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Casertano, Renata. "Perceiving the vertigo : the fall of the heroine in four New Zealand writers." Thesis, University of Stirling, 1999. http://hdl.handle.net/1893/1695.
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In this study I analyse the role of the heroine in the work of four New Zealand writers, Katherine Mansfield, Robin Hyde, Janet Frame and Keri Hulme, starting from the assumption that such a role is influenced by the notion of the fall and by the perception of the vertigo entailed in it. In order to prove this I turn to the texts of four New Zealand writers dedicating one chapter to each. In the first chapter a few of Katherine Mansfield's short stories are analysed from the vantage point of the fall, investigated both in the construction of the character's subjectivity and in the construction of the narration. In the second chapter a link is established between Katherine Mansfield and Robin Hyde. A particular emphasis is put on the notion of subjectivity in relationship developed by the two writers, highlighting the link between this kind of subjectivity and the notion of the fall. In the third chapter the focus is subsequently shifted to Robin Hyde's work, in particular one of her novels, Wednesday's Children, which is read in the context of Mikhail Bakhtin's theory of the carnivalistic. In the fourth chapter the notion of the fall is analysed in the fiction of Janet Frame, which is related to the treatment of the notion of the fall present in Keri Hulme's The Bone People. The fifth chapter is dedicated to the analysis of The Bone People as in the novel the notion of the fall and the vertigo perception find their fullest expression, whilst in the sixth chapter a significant parallel is drawn between Janet Frame's Scented Gardens for the Blind and Keri Hulme's The Bone People and links are established with their predecessors. Finally in the seventh chapter the critical perspective is broadened to comprise those common elements in the writing of Katherine Mansfield, Robin Hyde, Janet Frame and Keri Hulme that have been neglected by focusing uniquely on the notion of the fall, and thus to contribute to a more complete overall picture of the comparison presented in this study.
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Worthy, Blythe. "The Lake in the Frame: intellect, education and philosophy in the television work (1986-2017) of Jane Campion." Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/23235.
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This dissertation is the first comprehensive study of the complex style and formal operations of the television work of New Zealand auteur Jane Campion (1954-). The principal argument of this thesis is that the ongoing scholarly positioning of Campion’s television work as “cinematic television” needs to be reconsidered to include an Antipodean broadcasting framework, given the director’s Southeast Asian, New Zealand and Australian (SEANZA) television preoccupations. Exploring Campion’s televisual critiques of culture between these territories, this thesis aims to reconfigure the director’s broadcast career according to region. Although I diverge from narrow and highly personal readings of Campion’s work generated by feminist and psychoanalytic scholars, my argument is in fact located within the same interpretive neighborhood. I see Campion’s engagements with transnational cultural flows as often “framing” her distinct critiques of regional feminist discourses, incorporating accessible neo-Marxist interpretations of political and cultural hegemony within the deep trans-Tasman “lake” connecting the SEANZA region. Individual chapters of this thesis re-evaluate Campion’s work in step with televisual development. An episode of Dancing Daze (1986), telefilms Two Friends (1986) and An Angel at My Table (1990), and the Top of the Lake series (2013-2017) are examined to show Campion’s trans/inter/national intellect, pedagogy and philosophy as intrinsic to the SEANZA broadcasting landscape. By specifying Campion’s geographical coordinates in this way, I will outline how the director has been one of the first truly Antipodean auteurs to produce and construct sound and images for the transnational broadcast market that organise and redistribute SEANZA space and time.
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Lawn, Jennifer. "Trauma and recovery in Janet Frame’s fiction." Thesis, 1997. http://hdl.handle.net/2429/6719.
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Focusing on four novels by Janet Frame in dialogue with texts by Freud, Zizek, Lacan, and
Silverman, my project theorizes trauma as the basis for both an ethical and an interpretive
practice. Frame's fiction develops a cultural psychology, showing how the factors of
narcissistic fantasy and the incapacity to mourn contribute to physical and epistemic
aggression committed along divides of ethnicity, gender, and linguistic mode of expression.
Employing trauma as a figure for an absolute limit to what can be remembered or known, I
suggest that reconciliation with whatever is inaccessible, lacking, or dead within an individual
or collective self fosters a non-violent relation with others.
I begin by querying the place of "catharsis" within hermeneutic literary interpretation,
focusing on the construction of Frame within the New Zealand literary industry. With
Erlene's adamantine silence at its centre, Scented Gardens for the Blind (1964) rejects the
hermeneutic endeavour, exemplified by Patrick Evans' critical work on Frame, to make a text
"speak" its secrets. My readings of Intensive Care (1910) and The Adaptable Man (1965)
address inter-generational repetitions of violence as the consequences of the failure to
recognise and work through the devastations of war. The masculine fantasy of totality
driving the Human Delineation project in Intensive Care has a linguistic corollary in Colin
Monk's pursuit of the Platonic ideality of algebra, set against Milly's "degraded" punning
writing. In The Adaptable Man, the arrival of electricity ushers in a new perceptual regime
that would obliterate any "shadow" of dialectical negativity or internal difference.
The thesis ends with a swing toward conciliation and emotional growth. The homosexual
relationship depicted in Daughter Buffalo (1972) offers a model of transference, defined as a
transitional, productive form of repetition that opens Talbot to his ethnic and familial
inheritance. Working from within a radical form of narcissism, the novel reformulates
masculinity by embracing loss as "phallic divestiture" (Kaja Silverman).
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Finney, Vanessa. "Speaking for herself : the autobiographies of Janet Frame." Thesis, 1993. http://hdl.handle.net/2123/1997.
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Haarhaus, Isabel. ""Turning the stone of being": Migrant Poetics in the Novels of Janet Frame." 2006. http://hdl.handle.net/2292/382.
Full textAbstract:
Whole document restricted, see Access Instructions file below for details of how to access the print copy.This thesis sets out to examine Janet Frame’s eleven published novels in terms of a migrant poetics, born of Frame’s enduring concern with displacement and the tropes of journey and quest. The study will show that, while not literally a migrant writer, Frame expresses a migrant poetics in her characters and plots as well as in her use and examination of language, which together present the migrant’s trajectory as an evolution of subjectivity, climaxing in glimpses of the revivification of self and/as place; of what this thesis calls subjective arrival. Frame’s migrant poetics will be examined in terms of it operating on a continuum from literal through metaphorically transferred to ultimately universal expressions of the indeterminacy that is migration, so as to show that her migrant poetics thereby signifies most profoundly the possibility for transformation of not only the self, but also of the context that may provide one with a place-world in which to be. In so doing, Frame’s fiction will be shown to chart and excavate what this thesis refers to as the unbearable place so as to reveal therein the possible place that may sustain the migrant subject’s subjective arrival. Perhaps most importantly, this study concerns itself with charting the migrant subject’s transformed perspective as he or she traverses the unbearable place, and thereby with the migrant subject’s relative willingness and ability to recognise and occupy the possible place, or what is referred to as the new-country. As such, this thesis argues that Frame’s migrant poetics speaks to a universal condition and maintains that Frame’s fiction is primarily and fundamentally concerned with the ontology of Being: with what Martin Heidegger called Being-in-the-world. But while therefore largely concerned with the ontological implications of Frame’s writing, and therein largely influenced by theories of Being and discourses of displacement, rather than by Frame criticism per se, this study remains committed to the project of close-reading the actual texts at hand. Indeed, this thesis maintains that crucially Frame’s work never loses sight of the rudimentary, the material and the actual, and in fact works to refuse the separation between the expressions born thereof – the literal – with their metaphorically transferred and increasingly universal implications and manifestations. While informed by her autobiographical writing and poetry, this thesis almost exclusively concentrates on Frame’s long fiction, which it tends to consider as one body of work that traces the evolution of the writer’s project for reappraising the things of subjectivity and place.
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Loosemore, Philip. "The Politics of Security and the Art of Judgment in the Writings of Herman Melville and Janet Frame." Thesis, 2011. http://hdl.handle.net/1807/31841.
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This dissertation pairs a nineteenth-century American writer, Herman Melville, and a twentieth-century New Zealand writer, Janet Frame, to consider points of overlap between two novelists who were unusually sensitive to the problem of political thinking and decision in situations of state emergency. Consisting of three chapters on Melville’s later maritime fiction (Moby-Dick, Benito Cereno, and Billy Budd, Sailor) and two interleaving chapters on Frame’s late autobiographical and fictional writings (An Angel at My Table and The Carpathians), the dissertation explores how, in the work of these writers, figural work builds around interlinked questions of emergency and judgment. Both writers are interested in situations of peril when the fragility of bodily life is exposed and when the coherence of given political orders is tested. Both probe the response of the human legislative urge and the limits of the power of judgment in the time of crisis and exception, producing narratives of the tense moment of executive decision. Their literary forms heighten awareness of the mechanisms, frameworks, and effects of different modes of judgment--whether cognitive, moral, legal, aesthetic, or political--under emergency conditions. Out of this engagement with the nexus of judgment and security, both writers ask what might happen if we were to abide with precariousness and insecurity rather than default to the often destructive praxis of security. Melville and Frame also push the capacities of language and form in their attempt to represent the possibility of modes of judgment adequate to such political renewal. In their rhetoric and formal structures--including their experimental “disfiguration” of narrative lines--and in their creation of intricate, reflexive literary voices, these writers imagine what it would mean to come up against the limit of, and even to overturn, accepted categories of knowledge and thought, of calculation and judgment.
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Rockel, AM. "Reframing : transformations of subjectivity through writing." Thesis, 2000. https://eprints.utas.edu.au/2279/2/ReFraming_-_Transformations_of_Subjectivity_Through_Writing.pdf.
Full textAbstract:
ReFramingl comprises an introduction, five chapters and a conclusion. The introduction describes the inception of the project in a study of writing practices among a group of fiction writers, which identifies a process of self-transformation as an experience common to members of the group. Having identified this experience as the subject of study for a thesis, it gives a rationale for a choice of the work of poet and novelist Janet Frame, in that she enacts through her writing a process of subjective change that embodies the self-transformation identified as integral to creative practice. The introduction also signals the project of reading the work of Midhel de Certeau, and Gilles Deleuze and Felix Guattari alongside that of Frame, as theorists who offer approaches to understanding subjective trasformation.
Chapter One places the work of Frame alongside that of the literary theorist and philosopher Michil de Certeau as a way of reading motivation in Frames's work. This chapter conducts a thematic survey of the novels' concerns with experiences of subjective confinement, using Certeau's figuration of language structures as sites of constraint and subversion, and linking Frame's response with Certeau's ideas of tactics and strategies.
Chapter Two surveys the work of the philosophers Gilles Deleuze and Felix Guattari on processes of creative thought as they relate to narratorial practices in Frame's novels, and relates her project to their concept of becoming, via the genre of minor literature. The chapter presents an argument that Frame's writing enacts a double becoming in that her creation of altered subjective space for herself also creates possibilities of collective change.
Chapter Three conducts a chronological survey of Frame's novels, identifying structural elements and linguistic approaches to the creation of altered subjectivity in writing. It treats Frame's body of work a written entity characterised by an elaboration of the procedures and concepts through which subjective change can be understood. Another movement of double becoming is presented in the movement by which the praxis of each successive book forms a "theoretical" base for further praxis in the work that follows.
Chapter Four approaches the relation of a reading/writing collective to this transformative theorising of subjectivity through a writing practice. The chapter begins by considering ways in which Frame gives voice to the connection of writing to the collective, tracing her characters' articuilation of a responsibility to speak before those who have been unable to do so. It goes on to consider the reflex of this doubling of Frame's becoming, through responses of the collective to her work.
Chapter Five comprises a collection of poems written as part of the thesis, enacting and meditating on ways my own theoretical and writing practices have modified one another in the process of thinking and writing. The poems are also a direct response to Frame's work, thus forming an extension of the previous chapter's considerations of collectivity in reading/writing.
The conclusion summarises the movement of ideas throughout the thesis using Frame's references to-point of view as a structuring device.
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Grenier, Geneviève. "Deux portraits de soi : mise en scène de la mort de l'auteur et de l'hybridité des genres au sein de l'écriture du moi de David Wojnarowicz et de Janet Frame." Thèse, 2007. http://hdl.handle.net/1866/17963.
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Townsend, Rosemary. "Narration in the novels of selected nineteenth-century women writers : Jane Austen, The Bronte Sisters, and Elizabeth Gaskell." Thesis, 1999. http://hdl.handle.net/10500/18634.
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In this studyi apply a feminist-narratological grid to
the works under discussion. I show how narration is used as
strategy to highlight issues of concern to women, hereby
attempting to make a contribution in the relatively new field
of feminist narratology.
Chapter One provides an analysis of Pride and Prejudice
as an example of a feminist statement by Jane Austen. The use
of omniscient narration and its ironic possibilities are
offset against the central characters' perceptions, presented
by means of free indirect style.
Chapter Two examines The Tenant of Wildfell Hall as a
critique of Wuthering Heights, both in its use of narrative
frames and in its at times moralistic comment. The third and
fourth chapters focus on Charlotte Bronte. Her ambivalences
about the situation of women, be they writers, narrators or
characters, are explored. These are seen to be revealed in her
narrative strategies, particularly in her attainment of
closure, or its lack.
Chapter Five explores the increasing sophistication of
the narrative techniques of Elizabeth Gaskell, whose early
work Mary Barton is shown to have narrative inconsistencies as
opposed to her more complex last novel Wives and Daughters.
Finally, I conclude that while the authors under
discussion use divergent methods, certain commonalities
prevail. Among these are the presentation of alternatives
women have within their constraining circumstances and the
recognition of their moral accountability for the choices they
make.English Studies
D. Litt. et Phil. (English)