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Nadeau, Martin. "Theatre et esprit public : le role du Theatre-Italien dans la culture politique parisienne a l'ere des revolutions (1770-1799)." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37795.
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Taking as a case study the Theatre-Italien, here considered both as a particular theatrical practice and as a specific stage in Paris---one of the most popular at the time---this dissertation asks what role this theatre played in the novel competition of discourses which characterized political culture in the era of Revolutions. All too often, historians have overestimated print culture as the main medium through which discourses were produced in the eighteenth century, and this despite the fact that theatre played a fundamental role in the public life of this period. Furthermore, when theatre is studied, historians emphasize too often the written form of the plays.The dissertation's structure seeks to underline the specificity of the cultural practice represented by the theatre. The discrepancies between the meaning of a play written by a particular author and the same play as it is performed on stage are emphasized. Political messages emerge out of the language of the actors and actresses without any possibility to control them, so that the players become, in effect, co-authors of the play. Similarly, the variety of the nature of the audience and the way in which it becomes at once judge, co-author and co-actor make the public, neither intangible nor invisible, but simply gathered, a crucial feature of this cultural practice which allows us to argue that theatre was actually a very bad instrument of propaganda. Instead, theatre can be seen at the time to be a public scene of immediate political debate. The conflicting opinions expressed there turn theatre not into the minor of political reality intended by various regimes confronted to the diversity of the polity---what some people have called "a school for the people"---but rather as the mirror of the reality experienced by a large number of Parisians at the time. It is in this sense that we relate the theatrical practices studied with the concept of public spirit, expressing the people's understanding of the general interest, instead of that of public opinion, expressing the unified message imposed by a dominant political group.
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Choi, Hoi-sze Elsie. "Working women in China and Japan in 20th century history : a comparative analysis /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B23425556.
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Henderson, Nancy Ann. "British Aristocratic Women and Their Role in Politics, 1760-1860." PDXScholar, 1994. https://pdxscholar.library.pdx.edu/open_access_etds/4799.
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British aristocratic women exerted political influence and power during the century beginning with the accession of George III. They expressed their political power through the four roles of social patron, patronage distributor, political advisor, and political patron/electioneer. British aristocratic women were able, trained, and expected to play these roles. Politics could not have existed without these women. The source of their political influence was the close interconnection of politics and society. In this small, inter-connected society, women could and did influence politics. Political decisions, especially for the Whigs, were not made in the halls of government with which we are so familiar, but in the halls of the homes of the social/political elite. However, this close interconnection can make women's political influence difficult to assess and understand for our twentieth century experience. Sources for this thesis are readily available. Contemporary, primary sources are abundant. This was the age of letter and diary writing. There is, however, a dearth of modern works concerning the political activities of aristocratic women. Most modern works rarely mention women. Other problems with sources include the inappropriate feminization of the time period and the filtering of this period through modern, not contemporary, points of view. Separate spheres is the most common and most inappropriate feminist issue raised by historians. This doctrine is not valid for aristocratic women of this time. The material I present in this thesis is not new. The sources, both contemporary and modern, have been available to historians for some time. By changing our rigid definition of politics by enlarging it to include the broader areas of political activities such as social patron, patronage distributor, political advisor, and political/electioneer, we can see British aristocratic women in a new light, revealing political power and influence.
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Crowder, Alexandra. "Community through Consumption| The Role of Food in African American Cultural Formation in the 18th Century Chesapeake." Thesis, University of Massachusetts Boston, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10788842.
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Stratford Hall Plantation’s Oval Site was once a dynamic 18th-century farm quarter that was home to an enslaved community and overseer charged with growing Virginia’s cash crop: tobacco. No documentary evidence references the site, leaving archaeology as the only means to reconstruct the lives of the site’s inhabitants. This research uses the results of a macrobotanical analysis conducted on soil samples taken from an overseer’s basement and a dual purpose slave quarter/kitchen cellar at the Oval Site to understand what the site’s residents were eating and how the acquisition, production, processing, provisioning, and consumption of food impacted their daily lives. The interactive nature of the overseer, enslaved community, and their respective botanical assemblages suggests that food was not only used as sustenance, it was also a medium for social interaction and mutual dependence between the two groups.
The botanical assemblage is also utilized to discuss how the consumption of provisioned, gathered, and produced foods illustrate the ways that Stratford’s enslaved inhabitants formed communities and exerted agency through food choice. A mixture of traditional African, European, and native/wild taxa were recovered from the site, revealing the varied cultural influences that affected the resident’s cuisine. The assemblage provides evidence for ways that the site’s enslaved Africans and African Americans adapted to the local environment, asserted individual and group food preferences, and created creolized African American identities as they sought to survive and persist in the oppressive plantation landscape.
The results from the Oval Site are compared to nine other 18th- and 19th-century plantation sites in Virginia to demonstrate how food was part of the cultural creolization process undergone by enslaved Africans and African Americans across the region. The comparison further shows that diverse, creolized food preferences developed by enslaved communities can be placed into a regional framework of foodways patterns. Analyzing the results on a regional scale acknowledges the influence of individual preferences and identities of different communities on their food choices, while still demonstrating how food was consistently both a mechanism and a product of African American community formation.
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Choi, Hoi-sze Elsie, and 蔡凱詩. "Working women in China and Japan in 20th century history: a comparative analysis." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31952975.
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Kiger, Joshua A. "THE DIARY OF MARGARET GRAVES CARY:FAMILY & GENDER IN THE MERCHANT CLASS OF 18th CENTURY CHARLESTOWN." Miami University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=miami1406980949.
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Zingg, Olgica. "The role of Lomonosov in the formation of the early modern Russian literary language." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37245.pdf.
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Boyer, Laura Kate. "The feminization of clerical work in early twentieth-century Montreal /." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37873.
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This research examines the changing relationships of gender, place and identity wrought by women's entrance into Montreal's financial service sector between 1900 and 1930. I seek to answer two related questions. First, what kinds of identities were enabled in the new spaces created by the feminization of clerical work? In particular, how was gender, sexual, and ethno-linguistic difference constructed within the mixed-sex clerical workspace? Second, what effect did women's entrance into corporate workspaces in the financial district have on prevailing notions about gender, class and urban space? How did this change in labour markets affect representations of women in public more generally?I make three arguments about women's entrance into Montreal's white-collar workforce. First, I argue that this process created a new kind of "contact zone" within and beyond the white-collar workplace. In these spaces, people came together across cleaves of difference, and ideas about nationalism, class, religion, and language were negotiated in new ways. Secondly, I argue that women's entrance into this sector of the labour market was marked by contradiction. On the one hand, women were held responsible for bringing sexuality into the white-collar workplace, and were sexualized within corporate culture. On the other hand, ideas about "respectability" defined through sexual propriety and corporeal restraint were central to the corporate image as well as media representations of female clerical workers. Finally, I argue that the feminization of clerical work re-mapped relations of gender, class and space. In the highly modernized offices of the financial district, ideas about public womanhood competed. I argue that this change in labour helped legitimize representations of modern womanhood which were consummately urban in nature.
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Mei, Zhen, and 梅真. "A study of the third generation poetry from the gender perspective = Xing bie shi jiao xia de "di san dai" shi ge." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/207897.
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The Third Generation Poetry that existed in the 1980s’ Chinese literary circle has usually been regarded as the rebellion of the prevailing Misty Poetry. The Third Generation poets began to experiment with colloquial poems which were emphasizing on individual expressions and advocating for the importance of “self”, including the ego and sub-consciousness of both male and female. Through the gender perspective, it could be observed the Third Generation Poetry was rich in gender flavor. The poets especially those of the Female Poetry and the Boorish Fellows Poetry had respectively expressed the awareness and concerns of their own with poem writings.
The Female Poetry, featured with the structure of group poems, the rhetoric of metaphor and symbol, the connotation of the nocturnal consciousness and the lyric of confession, was a showcase for female perception. The issues regarding ego, private space, social identity, pain and love as well as "body writing" had been narrated and depicted by most of women writers. In the meantime, the poetry written by male turned to the descriptions of the lack of masculinity, or the flaunting of male power, or groaning with bitterness. Besides, the desire to vent, the memories of growth and even the detestation on the phenomenon of female being butchered had also been illustrated. Therefore an alternate inspection of the male poets’ views on female and vice versa would help to have a better understanding of gender concepts and the changing relationship between men and women in the last few decades of Chinese society.
Apart from thinking of gender differences and sexual identities the Third Generation Poetry not only focused on the relationship between parents and their children, but also on the connotations of the traditional idea of reproduction and the infant imagery, and even on portraying the rare image of the ego of androgyny. In addition, The Third Generation poetry also presented abundant interlinked gender imagery, such as natural things and body, the darkness and death, the space and items etc., which had been created for the enrichment of the symbolic meanings and the aesthetic significance of the poems.
In short, the social and cultural significance of various gender issues in line with the artistic techniques of the Third Generation Poetry had been scrutinized deeply in the chapters.published_or_final_version
Chinese
Doctoral
Doctor of Philosophy
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Kong, Wai-ping Judy, and 江偉萍. "Gender and sexuality in modern Shanghai: Chinese fiction of the early twentieth century." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31245432.
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Chanda, Geetanjali. "Indian women in the house of fiction : place, gender, and identity in post-independence Indo-English novels by women /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19736617.
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Barnhill, Gretchen Huey, and University of Lethbridge Faculty of Arts and Science. "Fallen angels : female wrongdoing in Victorian novels." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2005, 2005. http://hdl.handle.net/10133/241.
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In the Victorian novel, gender-based social norms dictated appropriate behaviour. Female wrongdoing was not only judged according to the law, but also according to the idealized conception of womanhood. It was this implicit cultural measure, and how far the woman contravened the feminine norms of society, that defined her criminal act rather than the act itself or the injury her act inflicted. When a woman deviated from the Victorian construction of the ideal woman, she was stigmatized and labelled. The fallen woman was viewed as a moral menance, a contagion. Foreign women who committed crimes were judged for their 'lack of Englishness.' Insanity evolved into not only a medical explanation for bizarre behaviour, but also a legal explanation for criminal behaviour. Finally, the habitual woman criminal and the infanticidal mother were seen as unnatural. Regardless of the crime committed, female criminals were ostracized and removed from 'respectable' English society.vii, 163 leaves ; 29 cm.
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Roth, Jenny. "Law, gender and culture : representations of the female legal subject in selected Jacobean texts." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14658.
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This thesis addresses some of the extant gaps in law and literature criticism using an historical cultural criticism of law and literature that focuses on the Jacobean female legal subject in cases of divorce and adultery. It examines the intellectual milieu that constructs law and literature in this period to contribute to research on female subject formation, and looks specifically at how literature and law work to construct identity. This thesis asks what views Jacobean literature presents of the female legal subject, and what do those views reveal about identity and gender construction? Chapter one offers some essential historical contexts. It establishes the jurisprudential conditions of the period, defines the ideal female legal subject, touches on recent historical scholarship regarding women and law, explores how literature reveals law's artificiality, and links the Inns of Court to the theatres. Chapter two focuses on women and divorce. The first sections discuss the theology and ideology which impacted on divorce law. The latter sections examine Elizabeth Cary's Tragedy of Mariam, ca. 1609, and two manuscript accounts of Frances Howard's 1613 divorce trial, William Terracae's poem, A Plenarie Satisfaction, ca. 1613, and The True Tragi-Comedie Formarly Acted at Court, a play by Francis Osborne, 1635. These texts reveal the legal construction and frustrations of married women, and illustrate a gendered divide in attitudes towards women's legal position. Chapter three examines women and adultery law. It then juxtaposes representations of women justly accused of adultery, like the real-life Alice Clarke, and the fictional Isabella in John Marston's The Insatiate Countess, 1613, and unjustly accused, like the virtuous wives in Marston's play. This chapter reveals how male anxiety creates the stereotypes that constrain the female legal subject within systems of patrilineal inheritance. As a whole, this thesis uses literature to explore the Jacobean female legal subject's relationship to her husband and to the law, and, in some cases, it challenges the assumption that women were effectively constrained by legal dictates which would keep them chaste, silent and submissive. Literature, in some cases, works alongside law to sustain constructed identities, but radical literature can undermine law by challenging the stereotypes and identities law works to maintain.
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Mills, Pamela J. "Double vision : the dual roles of women on the homefront during World War II through the lens of government documentary films." Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/834129.
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World War II was a time of great changes. Many aspects of American society underwent profound shifts but one predominant part of American culture did not change -- theaccepted roles of women. The government documentary films of World War II reveal attitudes, ideas, and assumptions which not only reinforced traditional roles but also reflected theresistance to gender-role alterations. Women during the war were not only shaped by such cultural messages but many subscribed to them wholeheartedly. The films emphasize twospecific images of women -- Susie Homemaker and Rosie the Riveter -- and also reflect society's image of women as homemakers first and war workers second. This double vision,reflected throughout the documentary films became the catalyst which maintained women in traditional roles and, in turn, rejected attempts to alter those roles in any significant way.This study uses the vehicle of World War II documentaryfilms, utilizing the World War II Historical Film Collection, Bracken Library, Ball State University (the largest collection outside the National Archives), the Office of War Information papers, and extensive secondary research, to investigate the images of women during the war years.Department of History
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Götting, Elena Rebekka. "Challenging maleness : the new woman's attempts to reconstruct the binary code." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6612.
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This thesis explores the construction of masculinity in novels written by New Women authors between the years 1881-1899. The fin de siècle was a period during which gender roles were renegotiated with fervour by both male and female authors, but it was the so-called New Woman in particular who was trying to transform the Victorian notion of femininity to incorporate the demands of the burgeoning women's movement. This thesis argues that in their fiction, New Women authors often tried to achieve this transformation by creating male characters who were designed to justify and to mitigate the New Woman protagonist's departure from traditional structures of heterosexual relationships. The methodology underlying this thesis is the notion that men and women were perceived as binary opposites during the Victorian period. I refer to this as the binary code of the sexes. This code assumes that men and women naturally possess diametrically opposed character attributes, and also that “masculine” attributes are perforce better than “feminine” ones. In the body of this work, I argue that New Women authors attempted to contest both of these assumptions by creating, on the one hand, traditional male characters whose masculinity is corrupted in crucial and recurring ways, and on the other, impaired male characters who cannot assume the traditional role of man. The comparison of the New Woman protagonist with the corrupt traditional man elevates her feminine attributes, while the impaired man's dependency legitimises her acquisition of what were otherwise considered “masculine” attributes and privileges, thereby contesting the notion that men and women possess sex-specific attributes at all. The second part of my thesis examines contrasting examples, in which this way of characterising masculinity – as traditional or impaired – is questioned and manipulated. It examines the limitations of the New Women authors' specific approach to reconstructing the binary code.
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Berlando, Maria Elena, and University of Lethbridge Faculty of Arts and Science. "De-colonizing bodies : the treatment of gender in contemporary drama and film." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2007, 2007. http://hdl.handle.net/10133/648.
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Dramatic literature and film are often political and work to deconstruct and dismantle some of the assumptions of a dominant ideology. Tomson Highway’s Dry Lips Oughta Move to Kapuskasing, Caryl Churchill’s Cloud Nine, and Neil Jordan’s The Crying Game, show how gender roles are used in oppression and show that other social categories like race, class, and sexuality are interrelated and constructed. This shows the hollowness of the so-called inherent categories that cause “naturalized” divisions between people and groups. Through exploring these works I hope to draw attention to how these artists use theater and film to educate their audiences, as well as challenge them to take control over complicated issues surrounding power and oppression. These writers encourage their audiences to employ social criticism and to re-evaluate the social order that is often naturalized through dominant ideology and discourse.v, 104 leaves ; 29 cm.
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Ramday, Morna B. "Man up : a study of gendered expectations of masculinity at the 'fin de siècle'." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5551.
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The main themes of this thesis are masculinities, fluctuations in socially constructed gender roles at the fin de siècle and how a number of cathartic issues influenced these. The strongest of these issues was the New Woman Question which, while demanding developments for women, threatened the stability of Victorian gender norms. This forced both sexes to rethink and renegotiate their positions within society. Women sought options that would free them from the vagaries of the marriage market and looked to move into a more public sphere. Many saw this as a threat to the patriarchal status quo and the debates that ensued were many and vociferous. In response to this, men had to look within and question various modes of masculinity and manliness that they had previously taken for granted and that they now viewed as under threat. The fin de siècle was a time of major gender upheaval which, I propose, is reflected in its literature. I intend to explore the anxieties of both genders by examination of the selected texts which cover pertinent aspects of the similarities and contrasts in the way male and female authors negotiate masculinities in relation to social and gendered spaces. In this way, I hope to investigate the underlying themes which inform the novels. I aim to research reasons for disparity in approaches to gender issues, to highlight the importance of masculinities in relation to gendered positions in fin-de-siècle discourses and to show why relations between the sexes had to evolve.
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Webb, Joel C. "Drawing Defeat: Caricaturing War, Race, and Gender in Fin de Siglo Spain." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/theses/283/.
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Buchsbaum, Robert Michael III. "The Surprising Role of Legal Traditions in the Rise of Abolitionism in Great Britain’s Development." Wright State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=wright1416651480.
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Brown, James A. O. C. "Anglo-Moroccan relations in the late eighteenth and early nineteenth centuries, with particular reference to the role of Gibraltar." Thesis, University of Cambridge, 2009. https://www.repository.cam.ac.uk/handle/1810/225445.
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This dissertation presents new evidence about Anglo-Moroccan relations in the late eighteenth and early nineteenth centuries, with particular reference to the development of the links between the Gharb region of Morocco and Gibraltar and the establishment of the Moroccan consulate there. This evidence is used to re-evaluate prevailing arguments about Moroccan isolationism, especially during the reign of Mawlay Sulaymān (r. 1792-1822), linking this to the nature of the Moroccan sultanate's foreign and trade policy over the longer term. It is argued that the Sīdī Muḥammad b. 'Abd Allāh's (r. 1757-90) well-known 'opening up' of the country should be seen not just as a response to European expansion, but also as a continuation of the sultanate's historical development as a state based partly on the control of trade. It is further argued that Mawlay Sulaymān and his successor Mawlay 'Abd al-Raḥmān (r. 1822-59) essentially followed Sīdī Muḥammad's policy. With reference to this context, the dissertation analyses the development of the Moroccan consulate in Gibraltar, including re-dating its initial establishment. The example of the consulate is also applied to reconsidering dominant assumptions about the role of religious discourse in limiting Morocco's contact with the outside world by assessing the wider social and economic context in which it operated, specifically the growth of trade between Gibraltar and the Gharb and the related development of a group of both Jewish and Muslim Moroccan merchants who partly conducted it. The dissertation finally assesses the political importance of these trade links and commercial interests, and how they influenced the operation of power and authority in the Gharb. The overall case is presented in the context of a critique of civilisational or culturalist approaches to the study of reactions to European expansion and modernity that prioritise cultural difference between Western and, in this case, Muslim societies. It is argued that the Straits of Gibraltar - a ubiquitous symbol of the supposed dividing line between different civilisations - actually illustrate the importance of the interaction between different societies for accurately understanding their development and the agency of actors on both sides.
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Lawrence, Clinton Martin Norman. "Charles I and Anthony van Dyck portraiture : images of authority and masculinity." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of History, c2013, 2013. http://hdl.handle.net/10133/3370.
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This thesis is an examination of Charles I of England’s projection of kingship
through Sir Anthony van Dyck portraits during his personal rule. These portraits provide
important insight into Charles’ vision of kingship because they were commissioned by
the king and displayed at court, revealing that his kingship rested on complementary
ideals of traditional kingship in addition to divine right. In this thesis, Charles’ van Dyck
portraits are studied in the context of seventeenth-century ideals of paterfamilias, knight,
and gentleman. These ideals provide important cultural narratives which were seen to be
reflective of legitimacy, power, and masculinity, which in turn gave legitimacy to
Charles’ kingship. The system of values and ideals represented in Charles’ portraits
reveal that his vision of kingship was complex and nuanced, demonstrating that divine
right was just one aspect of many, upon which his kingship was premised.viii, 164 leaves : [18] leaves of color plates ; 29 cm
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Riley, Kate E. "The good old way revisited : the Ferrar family of Little Gidding c.1625-1637." University of Western Australia. School of Humanities, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0026.
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[Truncated abstract] The Ferrars are remembered as exemplars of Anglican piety. The London merchant family quit the city in 1625 and moved to the isolated manor of Little Gidding in Huntingdonshire. There they pursued a life of corporate devotion, supervised by the head of the household, Nicholas Ferrar, until he died in December 1637. To date, the life of the pious deacon Nicholas Ferrar has been the focus of histories of Little Gidding, which are conventionally hagiographical and give little consideration to the experiences of other members of the family, not least the many women in the household. Further, customary representations of the Ferrars have tended to remove them from their seventeenth-century context. Countering the biographical trend that has obscured many details of their communal life, this thesis provides a new, critical reading of the family's years at Little Gidding while Nicholas Ferrar was alive. It examines the Ferrars in terms of their own time, as far as possible using contemporary documents instead of later accounts and confessional mythology. It shows that, while certain aspects of life at Little Gidding were unusual, on the whole the family was less exceptional than traditional histories have implied; certainly the family was not so unified and unworldly as the idealised images have suggested. Moreover, the Ferrars were actively engaged in making those images, for immediate effect and for posterity. The Ferrars' identities, corporate and individual, and their largely textual practices of self-fashioning are central to the study. Other key concerns are the Ferrars' moral and religious ideals and practices, gender in the family, and intra-familial relationships. Evidence for the thesis is drawn from family documents dating from the early years of the seventeenth century to the time of Nicholas Ferrar's death. ... The Little Academy is considered first: in this unique dialogue circle, young women discussed morally edifying historical tales, offering them a textually-mediated experience of the world and working to reinforce conventional gender roles and religious values. The final three chapters pertain to the copious and little-studied family correspondence. A chapter that develops a theory of the functions of the family correspondence network is followed by one studying the affective relationships that the celibate sisters Mary and Anna Collet maintained through their letters with their unmarried uncle and spiritual mentor, Nicholas Ferrar. These chapters consider the identities as single people that all three developed through these relationships, within the maritally-focused framework of the Protestant family. The last chapter also concerns the lives of the unmarried, examining the relationships of single male adults and their roles in the family, focusing on the friendship of Nicholas Ferrar and his cousin Arthur Woodnoth. The thesis closes by reflecting on the fact that returning the Ferrars to their seventeenth-century context reveals their multi-faceted nature, comprising ideals and identities sometimes incongruous with one another, and certainly unaccounted for in the traditional narratives. It thus demonstrates the importance of the overall project of reconceiving the Ferrars? history, which forms an original contribution to the study of the social, cultural and religious history of early seventeenth-century England.
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Ernie-Steighner, Jennifer A. "Beyond the Summit: Traversing the Historical Landscape of Annie S. Peck's and Fanny Bullock Workman's High-Altitude Ascents, 1890-1915." Oxford, Ohio : Miami University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1240609828.
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Taylor, Chloë. "The aesthetics of sadism and masochism in Italian renaissance painting /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79810.
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This thesis analyses selected paintings and aspects of life of the Italian Renaissance in terms of the aesthetic properties of sadistic and masochistic symptomatologies and creative production, as these have been explored by philosophers such as Michel Foucault, Roland Barthes, Marcel Henaff, and Gilles Deleuze. One question which arises from this analysis, and is considered in this thesis, is of the relation between sexual perversion and history, and in particular between experiences of violence, (dis)pleasure and desire, and historically specific forms of discourse and power, such as legislation on rape; myths and practices concerning marriage alliance; the depiction of such myths and practices in art; religion; and family structures. A second question which this thesis explores is the manners in which sadistic and masochistic artistic production function politically, to bolster pre-existing gender ideologies or to subvert them. Finally, this thesis considers the relation between sadism and masochism and visuality, both by bringing literary models of perversion to an interpretation of paintings, and by exploring the amenability of different genres of visual art to sadism and masochism respectively.
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Schnoor, Andrea. "Redefining masculinity : the image of civilian men in American home front documentaries, 1942-1945." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1133730.
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Redefining Masculinity presents an analysis of the American government's portrayal of civilian men in World War II documentary films. The majority of the films, which serve as a primary source for this study, were created by the Office of War Information (OWI) as a means of stimulating home front support for the war. The government's portrayal of civilian men advocated a significant modification of gender roles. According to the OWI, men understood the politics of war, were aware of the national context of sacrifices, and were able to carry the government's message into American households and defense plants. As a result of their war consciousness, civilian men in government documentary films partially claimed the traditional domestic realm of women and redefined American gender roles as interactive and overlapping. The intersecting gender spheres in OWI films exemplify that men experienced manhood not in isolation from women. This propagandized image of civilian men during the Second World War supports the claims of scholars who criticize the ideology of "separate spheres" to describe socially constructed domains of the male and female gender. In contrast, the thesis findings show that the social, political, and economic definitions of male and female roles can be altered, extended, or adjusted when economically, politically, and culturally expedient.Department of History
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Adams, Dana W. (Dana Wills). "Female Inheritors of Hawthorne's New England Literary Tradition." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc279406/.
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Nineteenth-century women were a mainstay in the New England literary tradition, both as readers and authors. Indeed, women were a large part of a growing reading public, a public that distanced itself from Puritanism and developed an appetite for novels and magazine short stories. It was a culture that survived in spite of patriarchal domination of the female in social and literary status. This dissertation is a study of selected works from Nathaniel Hawthorne, Sarah Orne Jewett, and Mary E. Wilkins Freeman that show their fiction as a protest against a patriarchal society. The premise of this study is based on analyzing these works from a protest (not necessarily a feminist) view, which leads to these conclusions: rejection of the male suitor and of marriage was a protest against patriarchal institutions that purposely restricted females from realizing their potential. Furthermore, it is often the case that industrialism and abuses of male authority in selected works by Jewett and Freeman are symbols of male-driven forces that oppose the autonomy of the female. Thus my argument is that protest fiction of the nineteenth century quietly promulgates an agenda of independence for the female. It is an agenda that encourages the woman to operate beyond standard stereotypes furthered by patriarchal attitudes. I assert that Jewett and Freeman are, in fact, inheritors of Hawthorne's literary tradition, which spawned the first fully-developed, independent American heroine: Hester Prynne.
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Watson, Anna Elizabeth. "Music lessons and the construction of womanhood in English fiction, 1870-1914." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5479.
Full textAbstract:
This thesis explores the gendered symbolism of women's music lessons in English fiction, 1870-1914. I consider canonical and non-canonical fiction in the context of a wider discourse about music, gender and society. Traditionally, women's music lessons were a marker of upper- and middle-class respectability. Musical ‘accomplishment' was a means to differentiate women in the ‘marriage market', and the music lesson itself was seen to encode a dynamic of obedient submission to male authority as a ‘rehearsal' for married life. However, as the market for musical goods and services burgeoned, musical training also offered women the potential of an independent career. Close reading George Eliot's Daniel Deronda (1876) and Jessie Fothergill's The First Violin (1877), I discuss four young women who negotiate their marital and vocational choices through their interactions with powerful music teachers. Through the lens of the music lessons in Emma Marshall's Alma (1888) and Israel Zangwill's Merely Mary Ann (1893), I consider the issues of class, respectability and social emulation, paying particular attention to the relationship between aesthetic taste and moral values. I continue by considering George Du Maurier's Trilby (1894) alongside Elizabeth Godfrey's Cornish Diamonds (1895), texts in which female pupils exhibit genuine power, eventually eclipsing both their music teachers and the artist-suitors for whom they once modelled. My final chapter discusses three texts which problematize the power of women's musical performance through depicting female music pupils as ‘New Women' in conflict with the people around them: Sarah Grand's The Beth Book (1895), D. H. Lawrence's The Trespasser (1912) and Compton Mackenzie's Sinister Street (1913). I conclude by looking forward to representations of women's music lessons in the modernist period and beyond, with a reading of Katherine Mansfield's ‘The Wind Blows' (1920) as well as Rebecca West's The Fountain Overflows (1956).
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SEBASTIANI, Silvia. ""Razza", donne, progresso : tensioni ideologiche nel dibattito dell'Illuminismo scozzese." Doctoral thesis, 2003. http://hdl.handle.net/1814/5976.
Full textAbstract:
Examining board: Prof. John Brewer, EUI (supervisor) ; Prof. John Robertson, St. Hugh's College, Oxford (external supervisor) ; Prof. Hans-Erich Bödeker, Max-Planck-Institut, Göttingen ; Prof. Girolamo Imbruglia, Università Orientale, NapoliDefence date: 3 October 2003
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
29
McCutcheon, Shawn. "Winckelmann et ses désirs (presque) secrets : amour entre hommes et idéaux de la masculinité à l’ère néoclassique (1755-1768)." Thèse, 2014. http://hdl.handle.net/1866/11952.
Full textAbstract:
L’étude des œuvres et de la correspondance de Johann Joachim Winckelmann, produites entre 1755 et 1768, offre un regard nouveau sur l’amour entre hommes au 18e siècle et sur sa relation à la construction de la masculinité. Le cas de Winckelmann illustre le caractère construit et changeant de l’érotisme. En effet, l’influence de l’exemple hellénique est visible dans le fantasme homoérotique qu’il élabora dans ses œuvres dans le but de s’expliquer ses désirs. L’Antiquité, par son autorité culturelle, représenta un espace relativement sécuritaire où Winckelmann put exprimer sa sensibilité homoérotique à laquelle le contexte occidental était alors très défavorable : la littérature antique exaltait l’affection entre hommes et sa statuaire, le corps masculin nu. Le fantasme que fit Winckelmann fut capital pour sa compréhension et la justification de ses relations avec d’autres hommes, surtout après son arrivée en Italie en 1755. Loin de se cantonner à la répression de l’homoérotisme par la société européenne des Lumières, le cas de Winckelmann en illustre le potentiel d’intégration partielle. En effet, l’originalité de Winckelmann tient à sa façon de communiquer ses idéaux homoérotiques dans des textes savants, tout en rendant sa perception du beau masculin et son amour des hommes socialement acceptables. Enfin, plusieurs indices dans les œuvres et la correspondance de Winckelmann portent à penser qu’il était conscient de sa différence et qu’il se constitua entre 1755 et 1768 une communauté discrète d’hommes aussi sensibles aux désirs homoérotiques.Studying the works and letters of Johann Joachim Winckelmann written between 1755 and 1768 gives new insights on love between men in the 18th century and on its relation to the construction of masculinity. The case of Winckelmann illustrates the constructed and changing nature of eroticism: the influence of the Hellenic example is visible in the homoerotic fantasy that Winckelmann used to interpret his desires. Antiquity, given its cultural authority, represented a relatively safe space where Winckelmann was able to express his homoerotic sensibility to which the western context was hostile. Greek literature exalted the display of affection between men and its statuary, the nude male body. This fantasy would later prove to be the capital in Winckelmann’s comprehension and justifications of his relations with other men in Italy after 1755. Far from being confined to the repression of homoeroticism by the 18th century European society, the case of Winckelmann illustrates its potential for partial integration. The originality of Winckelmann lies in the way he used to communicate his homoerotic ideas in scholarly texts while rendering them socially acceptable. Finally, several clues in his works and letters bear to think that Winckelmann was aware of his difference and that between 1755 and 1768 he created for himself a discrete community of men also sensitive to homoerotic desires.
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""Sending the women back home": wartime nationalism, the state, and nationalist discourses on women in Nazi Germany and nationalist China, 1930s-1940s." 2005. http://library.cuhk.edu.hk/record=b5896427.
Full textAbstract:
Yeung Shuk Man.Thesis (M.Phil.)--Chinese University of Hong Kong, 2005.
Includes bibliographical references (leaves 150-162).
Abstracts in English and Chinese.
Abstract --- p.i
論文摘要 --- p.ii
Acknowledgements --- p.iii
Transliteration --- p.iv
Table of Contents --- p.v
Chapter Chapter 1 --- Introduction: Sending the women back home --- p.1
Chapter Chapter 2 --- Connections between Germany and China --- p.20
Post-First World War experience --- p.22
Sino-German relationship --- p.28
Similar characteristics in nationalistic leadership and political ideology …… --- p.36
Chapter Chapter 3 --- "´ب´بNew women, liberated women"": The 1920s" --- p.44
New roles and images --- p.46
New sexualities and moralities --- p.61
The “old´ح values --- p.70
Chapter Chapter 4 --- Women under NSDAP and GMD --- p.76
Home and family --- p.78
Employment --- p.97
War years --- p.105
Chapter Chapter 5 --- Women leaders in NSDAP and GMD --- p.114
The profile of the women leaders --- p.115
Women organizations --- p.124
Viewpoints of the women leaders --- p.132
Chapter Chapter 6 --- Conclusion: Nationalism and women --- p.141
Bibliography --- p.150
31
"從女學生到五四時期天津女權運動先鋒: 以女性言說與經驗為中心的研究." Thesis, 2009. http://library.cuhk.edu.hk/record=b6075411.
Full textAbstract:
李淨昉.Thesis (Ph.D.)--Chinese University of Hong Kong, 2009.
Includes bibliographical references (leaves 205-219)
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
Li Jingfang.
32
Shukalo, Alice Marie. "Communing with the gods: body building, masculinity, and U.S. imperialism, 1875-1900." Thesis, 2005. http://hdl.handle.net/2152/1716.
Full text
33
Derico, Brian Thomas. "Rhetoric, religion and epistemological stumbling blocks : a rhetorical analysis of the Stone-Campbell movement's failure to achieve unity." 2013. http://liblink.bsu.edu/uhtbin/catkey/1738079.
Full textAbstract:
Access to abstract permanently restricted to Ball State community only.Explanations of the failure of unity in the Stone-Campbell movement -- Rhetorical flexibility in common sense philosophy -- Rhetoric about women in the first half of the 19th century -- Rhetoric about women in the second half of the 19th century -- Developing a new rhetorical practice.
Access to thesis permanently restricted to Ball State community only.
Department of English
34
"Gender and nationalism in Chinese films between 1949 and 1989." 2006. http://library.cuhk.edu.hk/record=b5896468.
Full textAbstract:
Gao Yang.Thesis submitted in: June 2005.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2006.
Includes bibliographical references (leaves 123-133).
Abstracts in English and Chinese.
GENDER AND NATIONALISM IN CHINESE FILMS BETWEEN 1949 AND 1989 --- p.I
摘要 --- p.III
ABBREVIATIONS --- p.VIII
Chapter CHAPTER 1 --- INTRODUCTION --- p.1
Chapter 1.1 --- Literature Review --- p.2
Chapter 1.1.1 --- "Nation, State and Nationalism" --- p.2
Chapter 1.1.2 --- Gender and Nation in Chinese Cinematic Narration --- p.6
Chapter 1.2 --- Methodology --- p.10
Chapter 1.2.1 --- Typology --- p.10
Chapter 1.2.2 --- Film Analysis as Method --- p.11
Chapter 1.2.3 --- Case Selection --- p.16
Chapter CHAPTER 2 --- SOCIAL BACKGROUND OF CHINA: 1949-1989 --- p.22
Chapter 2.1 --- Background of the First Period:1949-1978 --- p.22
Chapter 2.1.1 --- "New China, New Women" --- p.22
Chapter 2.1.2 --- The Cooperative Movement and the Communization Movement:1952- --- p.24
Chapter 2.1.3 --- The Great Leap Forward and the Suppression of Individualism:1958-1960 --- p.26
Chapter 2.1.4 --- The Magnification of Class Struggle and the Cultural Revolution --- p.28
Chapter 2.1.5 --- The Unchanged Philosophy behind the Changing Policies: the Strategic Opening Up of Public Domain for Women --- p.30
Chapter 2.2 --- Economic and Political Landscape after the Cultural Revolution: 1979-1989 --- p.31
Chapter 2.2.1 --- Economic Reform and the Concomitant Social Problems --- p.31
Chapter 2.2.2 --- Political Liberalization and the Backlashes --- p.32
Chapter 2.2.3 --- "The ""Cultural Fever"" and the ""Fifth Generation"" Filmmakers" --- p.33
Chapter 2.2.3.1 --- Collective Frustration: The Social Sentiment after the National Trauma --- p.33
Chapter 2.2.3.1.1 --- Traumatic Experiences during the Cultural Revolution --- p.33
Chapter 2.2.3.1.2 --- The Lost Past --- p.36
Chapter 2.2.3.1.3 --- The Meaningless Present --- p.36
Chapter 2.2.3.2 --- The Specter of Westernization --- p.37
Chapter 2.2.3.2.1 --- "The ""Anti-Wholesale Westernization"" Campaign" --- p.37
Chapter 2.2.3.2.2 --- "New Social Crisis and the Nationalism behind ""Anti- Wholesale Westernization""" --- p.38
Chapter 2.2.3.3 --- The Fifth Generation in the Cultural Fever and the Root-Searching Movement --- p.40
Chapter 2.2.4 --- Shifts of Women's Issues in the Reform Era --- p.44
Chapter 2.2.4.1 --- Women and Labor under the Economic Reform --- p.44
Chapter 2.2.4.2 --- Femininity in Flux --- p.45
Chapter 2.2.4.3 --- The Representation of Women --- p.46
Chapter 2.2.4.3.1 --- Women in the Public Space ´ؤ Discourse and Visuality --- p.46
Chapter 2.2.4.3.2 --- Women and the Nation in Representation --- p.47
Chapter CHAPTER 3 --- CLASSIC REVOLUTIONARY FILMS --- p.49
Chapter 3.1 --- "Ghost of the Old Society, Master of the New State, a Case Study of The White- Haired Girl" --- p.50
Chapter 3.1.1 --- Gender Conflicts in the Form of Class Confrontations --- p.51
Chapter 3.1.2 --- The Fading Female Sexuality in the Evolving Adaptations of the Story --- p.52
Chapter 3.1.3 --- Male Desire and Male Sexuality --- p.53
Chapter 3.1.4 --- The Reason behind the Desexualization of both Sexes --- p.54
Chapter 3.1.5 --- State Feminism: Where Will Women's Liberation Led to? --- p.55
Chapter 3.2 --- Gender Dynamics and Socialist Discourse in Xie Jin's The Red Detachment of Women --- p.56
Chapter 3.2.1 --- "Sexuality, Body and the Inscription of Class Struggle" --- p.57
Chapter 3.2.2 --- The Myth of Class and Class Struggle in the Construction of Nationalism --- p.58
Chapter 3.2.3 --- Constructing Class and Nation in Collective Memories --- p.61
Chapter 3.2.4 --- "The Interpellation of Individuals by “Ideological State Apparatus""" --- p.62
Chapter 3.3 --- A Comparison between The White-Haired Girl and The Red Detachment of Women --- p.64
Chapter 3.3.1 --- The Representation of the Daughterhood --- p.64
Chapter 3.3.2 --- The Representation of the Wifehood --- p.65
Chapter 3.3.3 --- The Representation of the Motherhood --- p.66
Chapter 3.3.4 --- Understanding the Differences between the Two Films --- p.67
Chapter CHAPTER 4 --- THE FIFTH GENERATION'S FILMS --- p.71
Chapter 4.1 --- Case Study of Yellow Earth --- p.72
Chapter 4.1.1 --- "Reading the Reviews, Reading the Film" --- p.72
Chapter 4.1.2 --- "Class, Gender and Nation in Yellow Earth" --- p.74
Chapter 4.1.2.1 --- Class and Gender in the Characterization --- p.75
Chapter 4.1.2.1.1 --- The Invisible and the Visible: Departing from the Socialist Rhetoric of Class Struggle --- p.75
Chapter 4.1.2.1.1.1 --- No Villain --- p.75
Chapter 4.1.2.1.1.2 --- No Hero --- p.77
Chapter 4.1.2.1.1.3 --- The Party's Folksong-Collection and the Peasants' Taciturnity --- p.78
Chapter 4.1.2.1.1.4 --- The Estrangement between the Party and the Peasantry --- p.80
Chapter 4.1.2.1.2 --- Gender Images in a Gendered Narration --- p.81
Chapter 4.1.2.1.2.1 --- The Gender Separation --- p.82
Chapter 4.1.2.1.2.2 --- The Impossible Romance --- p.83
Chapter 4.1.2.1.2.3 --- The Refusal and the Death --- p.85
Chapter 4.1.2.2 --- The Significant Setting in a National Allegory --- p.86
Chapter 4.1.2.2.1 --- The Natural Landscape --- p.86
Chapter 4.1.2.2.2 --- The Rituals --- p.87
Chapter 4.1.3 --- Debates and Awards --- p.89
Chapter 4.1.3.1 --- Debates --- p.89
Chapter 4.1.3.2 --- Awards --- p.91
Chapter 4.2 --- Case Study of Red Sorghum --- p.93
Chapter 4.2.1 --- An Egalitarian Myth of National Heroes --- p.93
Chapter 4.2.1.1 --- The Villains --- p.93
Chapter 4.2.1.2 --- The Heroes --- p.94
Chapter 4.2.1.3 --- The Ideology of the Body --- p.96
Chapter 4.2.1.4 --- Carnivals ´ؤ Festive Rituals that Connect the Personal with the National --- p.98
Chapter 4.2.2 --- Rebuilding Desirable Masculinity through Female Sexuality --- p.100
Chapter 4.2.3 --- Red Sorghum ´ؤ Searching Root in a National Allegory --- p.106
Chapter 4.2.4 --- Debates and Awards --- p.108
Chapter 4.3 --- Comparing Yellow Earth and Red Sorghum --- p.110
Chapter CHAPTER 5 --- CONCLUSION --- p.114
Chapter 5.1 --- Before the Cultural Revolution --- p.114
Chapter 5.2 --- The Cultural Revolution --- p.116
Chapter 5.3 --- After the Cultural Revolution --- p.117
Chapter 5.4 --- Conclusion --- p.120
35
Golaszewski, Devon. "Reproductive Labors: Women’s Expertise and Biomedical Authority in Mali, 1935-1999." Thesis, 2020. https://doi.org/10.7916/d8-ag2j-b274.
Full textAbstract:
Over the 20th century, Malians relied on local reproductive specialists: excisers (who oversaw initiation and circumcision ceremonies), nuptial counselors (who provided sexual education at marriage), and midwives. These older women’s work remained vital to social conceptions of proper reproduction, even as the biomedical maternal health system expanded, and Malians adjusted to new forms of religiosity and new ideas of status. Reproductive Labors: Women’s Expertise and Biomedical Authority in Mali 1935-1999 traces how, as biomedical care expanded over the 20th century, women and their families, feminist activists, medical professionals, and non-profit workers began to debate the importance of local reproductive practices.
Part 1 explores the role of specialist labor in socializing sexuality and gender norms. In Chapter 1, I argue that following the end of slavery in the early 20th century, Malian families used nuptial counseling to instill concepts of honorable sexuality and demonstrate status at marriage (1935-1958). After independence, public outcry over unwed mothers revealed different visions of extra/marital sexuality and adolescence for nuptial counselors and state-affiliated women activists (1959-1986). In Part 2, I turn to reproductive health interventions. Chapter 3 reveals how the colonial maternal health system relied on external actors, from benevolent associations to Malian midwives, all of whom defined women’s bodies as childbearing bodies (1935-1958). Successive post-colonial governments sought to develop policies to ensure rural health access, toggling between training medical professionals to work in rural places and training local specialists, such as midwives, in biomedical techniques (1957-1976). The integration of midwives into biomedical clinics created substantial overlap between various therapeutic interventions, as I show in Chapter 5. Finally, Chapter 6 demonstrates how Malian participation in anti-excision activism owed as much to previous debates over marriage, unwed mothers, and rural maternity care as to transnational feminist movements and developmentalist interventions (1984-1999).
Reproductive Labors is based on interdisciplinary research in Mali, Senegal, France and the US, including archival research, oral histories, and ethnographic work. In addition to working in national archives, the project engages with the floatsam of project reports now safe-guarded in people’s homes, bureaucratic documents from institutional archives like Mali’s National Health Directorate, and student theses. However, women’s specialist labor is less visible in archival material. In response to this elision of gendered knowledge, the project integrates ethnographic observation and French and Bamanakan oral history interviews with women specialists, as well as medical personnel and gender-rights activists.
Reproductive Labors demonstrates how Malians were socialized into heterosexuality not simply through family or media, but through specific specialist interventions which linked heterosexuality to biological reproduction and gendered identities, deepening key themes in gender and sexuality studies. Reproductive specialists’ expertise was defined by their gender, skill, age, and social status, as most were older women of endogamous social group descent. Conversely, the activists who campaigned against them were usually highly-educated young women with close ties to international feminist institutions, although these linkages were structured by the colonial afterlives of educational and financial networks. Over the 20th century, questions about which group should have authority over young women’s reproductive experiences led to numerous debates for women and their families. Secondly, this project demonstrates that the continued value of local specialists for Malians, alongside the medical system’s reliance on external actors and instability in rural areas, created a specific form of Malian biomedicine driven as much by local therapeutic practices and social hierarchies as by international norms, enriching recent scholarship on the local specificities of biomedicine. Finally, this dissertation deepens scholarship on state-making in Africa. It demonstrates that reproductive health was not simply a subfield of the post-colonial Malian health system but that it became a key site for innovation in governance. As the first academic history of reproductive health in Mali, which has one of the world’s highest rates of maternal and child mortality, this dissertation seeks to understand the history of reproductive practices as a step towards reproductive justice.
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Du, Plessis Sandra Elizabeth. "Exploding the lie : 'angelic womanhood' in selected works by Harriet Martineau, Anne Bronte, Charlotte Bronte and George Eliot." Diss., 1997. http://hdl.handle.net/10500/18635.
Full textAbstract:
Each of these novelists, in her own way, presents a critique of the idealised
woman of the nineteenth-century. My aim in this dissertation is to reveal the
degree to which each is successful in her mission to 'explode the lie' of angelic
womanhood, and, in so doing, free her long-incarcerated Victorian sisters.
It took great courage and fortitude to utter at times a lone dissenting voice; and
female writers of the present owe a great debt of gratitude to their pioneering
Victorian counterparts, who cleared the way for them to take up the banner and
continue the march towards female liberation from a stifling ideology.English Studies
M.A. (English)
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Khoo, Gaik Cheng. "Gender, modernity and the nation in Malaysian literature and film (1980s and 1990s)." Thesis, 1999. http://hdl.handle.net/2429/10823.
Full textAbstract:
This dissertation examines the impact of modernity, in the form of modernization,
rapid industrialization and the introduction of Western ideas about nationalism and female
emancipation, on gender and gender relations in contemporary Malaysian film and
literature. Drawing upon theories ranging from Lacanian psychoanalysis, feminism,
postcolonialism, nationalism, existentialism to theories about fascism, I examine and
critique the representations of gender from the predominantly middle-class writers and the
works of the new wave Malay filmmakers. I make the case that these films and literary
works reflect the outcome of the National Economic Policy (1971-1990) and, in my
analyses, show that these modernizing imperatives, though received positively, are
sometimes greeted with a cautionary ambivalence, depending on one's class, gender,
ethnicity, and political and religious beliefs. Such ambivalence towards feminism, for
example, appears in K.S. Maniam's portrayal of independent female characters, whom I
call "fascist 'feminists'," or in the representations of hypermasculinity or male violence in
current Malay cinema.
Films and literature by some Malays reflect a desire to recover Malay custom, adat,
while forging a unique, modern, postcolonial identity that distinguishes itself from the
West, other former British colonies and other Muslim nations. However, this subversive
postcolonial move must be treated with caution to ensure that it does not replicate prevalent
negative stereotypes of women as sexualised beings. A key distinction in this dissertation is
that the representations of the modern Malay woman vary according to the gender of the
cultural producer: male writers and filmmakers portray the negative impact of modernity on
women, whereas their female counterparts portray women at ease with modernity.
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"神異真實的跨性別少年: 重繪英文幻設小說的酷兒陽剛世界." Thesis, 2010. http://library.cuhk.edu.hk/record=b6075272.
Full textAbstract:
Another major endeavor of this thesis concentrates on self-formulations of these queer sf bodies and textualities. My elaboration concerns their delineation of ontological pursuit, multi-hybrid post/non-humanity, and a highly self-aware appropriation of obscene, ambivalent and amoral performatives to constitute deviant cultural strategies which have by far successfully counter-written dominant politics' desire to assimilate dissident voices and recalcitrant sites.My thesis provides three different approaches to re-read non-realistic, fantasmatic queer gender formations and trans-masculine sexualities. From these positions and perspectives, I will argue for the emergent force of queer transboyhood and gradual recognition given to several non-normative transgender masculine presences, starting from their connections and disagreements with old-guard lesbian feminist agenda and homo-normative les-bi-gay politics. This multitude built by trans-masculine affects not only greatly disturbs hetero-normativity and homo-normative discourses, such charismatic inscriptions which link into marginal territories also have created a persistent intervention to interfere and even convert/pervert canonized texts and representational modes. In these chapters to extrapolate this queer masculine sf heterogenesis, I focus on analyzing three archetypes of trans-masculine personalities and their highly different subjectivities. My aim for these analyses is to theorize how these marginal genders and bodies counterattack, infect, and thus re-write mega-historical narratives by their cultural momentum and anti-human poetics/politics. By performing these "infections", queer masculine subjectivity twists and transforms a seemingly liberal hegemony devoted to excluding the non-normative in the name of single-minded progress and bi-polar gender dichotomy.
This dissertation proposes to closely study writings on queer masculinity in English science fiction and fantasy, forming a trajectory of queer transboy representations from 1930s to the beginning of 21st century. By this project, I embark to articulate multi-layered historical contexts between speculative literature, sub-cultural sites, transgender politics, and constructions on marginal queer-gendered bodies. Through intertextual dynamics embedded within and among theoretical frameworks such as sf study, paraliterary interaction, penumbra sub-subjective tactics, post-human/trans-species writings, I will conduct articulations to generate forms and genealogies of queer masculinity in sf realm, building their continuum and ruptures, agency and subversive power.
洪泠泠.
Adviser: Natalia Chan.
Source: Dissertation Abstracts International, Volume: 73-03, Section: A, page: .
Thesis (Ph.D.)--Chinese University of Hong Kong, 2010.
Includes bibliographical references (p. 296-313).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
Hong Lingling.
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White, Jessica Barbara. "Confined by conservatism : power and patriarchy in the novels of Charlotte Brontë." Diss., 2013. http://hdl.handle.net/10500/13786.
Full textAbstract:
This dissertation explores the ambiguous nature of the social criticism in Charlotte Brontë’s novels — Jane Eyre, Shirley, Villette and The Professor — particularly pertaining to patriarchal ideology and its associated power relations. I shall explore how, through her novels, Brontë sought to redefine subjectivity and the feminine ideal, and in so doing, reconfigure patriarchy’s gender norms and its ideologies which were oppressive to women. However, Brontë’s varying contestation of and acquiescence to female Victorian stereotypes, along with her equivocal representation of ideology, identity, gender, and the self, undermine her efforts to create a new model of womanhood and female empowerment. Nonetheless, through Brontë’s intimate depiction of her characters’ struggles between their desires and patriarchal prescripts, she offers a novel, more indirect and significant challenge to the patriarchal status quo. In this way, Brontë’s social criticism is confined by her conservatism.English Studies
40
"Clothes make the wo/man: cross-dressing and gender on the English renaissance stage and in the late Imperial Chinese theatre." 2004. http://library.cuhk.edu.hk/record=b6073650.
Full textAbstract:
Liao Weichun."August 2004."
Thesis (Ph.D.)--Chinese University of Hong Kong, 2004.
Includes bibliographical references (p. 249-268).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Abstracts in English and Chinese.
41
Sureau, dit Blondin Jean-Philippe. "Représentations françaises du rôle des femmes dans l’univers cérémoniel Wendat à l’époque de la Nouvelle-France (1615-1744)." Thèse, 2019. http://hdl.handle.net/1866/23770.
Full textAbstract:
Ce mémoire propose d’analyser les représentations françaises du rôle des femmes dans l’univers cérémoniel wendat à l’époque de la Nouvelle-France. Divisé en deux parties, il explore d’abord les représentations des femmes à l’époque de la France d’Ancien Régime, en se concen-trant d’une part sur les représentations symboliques, puis, d’autre part, sur les perceptions sociales des femmes d’Ancien Régime. Pour ce faire, nous consultons un vaste répertoire d’ouvrages d’histoire socioreligieuse qui permet de pénétrer dans l’épistémè française d’Ancien Régime en ce qui a trait aux représentations des femmes. La deuxième partie est réservée à l’analyse ethno-historique des représentations françaises du rôle de la femme dans l’univers cérémoniel wendat à l’époque de la Nouvelle-France. L’ensemble des écrits français constituant la littérature de con-tact franco-autochtone est utilisé afin d’étudier ces représentations des rituels liés à la « fécondi-té », à la « guérison » et enfin « funéraires ». Au final, l’analyse révèle que, si les observateurs français attestent de l’aspect « complémentaire » et « égalitaire » de la dynamique interaction-nelle genrée gouvernant l’univers cérémoniel wendat, ils étaient incapables d’en capter toute l’ampleur et la valeur d’intégration car ils évaluaient la valeur des comportements cérémoniels wendat selon leur degré d’adéquation ou d’inadéquation au projet de colonisation française et d’évangélisation chrétienne.This thesis proposes to analyze the French representations of the role of women in the Wendat cerermonial universe at the time of New France. Divided into two parts, it first explores the representations of women in France’s Ancien Régime period, focusing on symbolic represen-tations on the one hand and, on the other hand, on the social perceptions of Ancien Régime women. To do this, we consult a vast repertoire of works of socioreligious history which makes it possible to penetrate the French episteme of Ancien Régime regarding the representation of women. The second part is devoted to the ethno-historical analysis of French representations of the role of women in the Wendat ceremonial universe during the New France era. All the French writings constituting Franco-Native contact literature are used to study these representations of rituals re-lated to “fertility”, “healing” and finally “funeral”. In the end, the analysis reveals that, while French observers attest to the “complementary” and “egalitarian” aspect of the gendered interac-tional dynamics governing the Wendat ceremonial universe, they were unable to capture the full extent and value of integration because they assessed the value of ceremonial wendat behaviors according to their degree of adequacy or inadequacy to the project of French colonization and Christian evangelization.
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Townshend, Patricia Olwyn. "A gender-critical approach to the Pauline material and the Zimbabwean context with specific reference to the position and role of women in selected denominations." Diss., 2008. http://hdl.handle.net/10500/2032.
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In this work I have used Pierre Bourdieu's concept of habitus as a springboard to examine the
Pauline tradition in the light of Zimbabwe-African, cultural, legal and social attitudes to women. I
have highlighted the conflict between the practices defined by Zimbabwean Constitutional law
regarding the status of women and what is the actual situation on the ground, also considering the
role of the church in confronting or conforming to the cultural norms. I have likewise highlighted
the conflict in the Pauline tradition where one hand women are given more active roles in the
church than could be expected according to the customs of the time, but on the other hand are still
bound by an oppressive tradition. I have concluded by suggesting how the church can act in order
to break free of this oppressive tradition and bring about change in the habitus of the society.New Testament
M. Th. (New Testament)
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Nyhuis, Jeremiah E. ""A field lately ploughed" : the expressive landscapes of gender and race in the antebellum slave narratives of Frederick Douglass and William Grimes." Thesis, 2013. http://hdl.handle.net/1805/3628.
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Indiana University-Purdue University Indianapolis (IUPUI)The complicated state wherein ex-slaves found themselves, as depicted in the narratives of Bibb, Jacobs, and others, problematizes the dualistic relationship between North and South that the genre’s structural components work to enforce, forging an odyssey that, although sometimes still spiritual in nature, does not offer the type of resolutions that might easily persuade fellow slaves to abandon their masters and seek a similarly ambiguous identity in the so-called “free” land of the North. For blacks and especially fugitive slaves, such restrictive legal provisions provided an “uncertain status” where, writes William Andrews, “the definition of freedom for black people remained open.” In those slave narratives that dare to depict the limits of liberty in the North, this “open” status is particularly reflected in the texts’ discursive terrain itself, which portends a series of candid observations and brutal details that actively work to deconstruct any sort of mythological pattern associated with the slave narrative genre, thereby offering a more expansive view of the experience for most fugitive slaves. The Life of William Grimes, a particularly frank and brutal diary of a man’s trials within and without slavery, is one such slave narrative, depicting a journey that, while more consistent with the general experience of ex-slaves in the antebellum U.S., often works outside the parameters of traditional, straight-forward slave narratives like Douglass’s. “I often was obliged to go off the road,” Grimes admits at one point in his autobiography, and although his remark refers to the cautious path he must tread as a fugitive slave, it might just as well describe the thematic and structural characteristics of his open-ended autobiography. Reputedly the first fugitive slave narrative, the publication of Grimes’s Life in 1825 initiated the beginning of a genre whose path had not yet been forged, which likely contributed to its fluid nature. At the time of his narrative’s publication, Grimes’s self-expressed testimony of injustice under slavery was about five years ahead of its time; it wouldn’t be until the 1830s that the U.S. antislavery movement would begin to consciously seek out ex-slaves to testify to their experience in bondage. Once this literary door was open, however, antislavery sentiment became for many early African American authors “a ready forum” for self-expression. Whereas in twenty years’ time Douglass would take full advantage of this opportunity by drawing inspiration from a number of already established narratives, Grimes as an author found himself singularly “off the road” and essentially alone in new literary territory, uncannily reflecting his sense of alienation and helplessness in the North after escaping from slavery aboard a cargo ship in 1815.
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Potter, Mary-Anne. "The worlds between, above and below : "growing up" and "falling down" in Alice in Wonderland and Stardust." Diss., 2012. http://hdl.handle.net/10500/11870.
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The purpose of my dissertation is to conduct an intertextual study of two fantasy texts — Alice in Wonderland by Victorian author Lewis Carroll, and Stardust by postmodern fantasy author Neil Gaiman — and their filmic re-visionings by Tim Burton and Matthew Vaughn respectively. In scrutinising these texts, drawing on insights from feminist, children’s literature and intertextual theorists, the actions of ‘growing up’ and ‘falling down’ are shown to be indicative of a paradoxical becoming of the text’s central female protagonists, Alice and Yvaine. The social mechanisms of the Victorian age that educate the girl-child into becoming accepting of their domestic roles ultimately alienate her from her true state of being. While she may garner some sense of importance within the imaginary realms of fantasy narratives, as these female protagonists demonstrate, she is reduced to the position of submissive in reality – in ‘growing up’, she must assume a ‘fallen down’ state in relation to the male.English Studies
M.A. (English)
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Jacobs, Martha Christina. "Konsep volksmoeder soos dit in die Afrikaanse drama neerslag vind." Diss., 2009. http://hdl.handle.net/10500/2588.
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The central problem in this dissertation entails how the concept volksmoeder (mother of the nation) gradually developed to secure a place in the Afrikaans drama. Chapter 1 determines the hypothesis of this dissertation. Chapter 2 focusses on the volksmoeder characteristics. The conclusion reached in Chapter 2 is that Maria in Langenhoven’s Die vrou van Suid-Afrika (1918) reveals similarities and contrasts with female characters in Dutch plays. Chapter 3 ascertains that characteristics of female personages as mothers of the nation determine their positions in patriarch/volksmoeder relationships in W.A. de Klerk’s Die jaar van die vuur-os (1952). Different types of volksmoeder appear in the above-mentioned farm play and in H.A. Fagan’s Ousus (1934). Chapters 4 and 5 identify how the present day volksmoeder in recent plaasdramas such as Deon Opperman’s Donkerland (1996), André P. Brink’s Die jogger (1997), Ek, Anna van Wyk (1986) and Die koggelaar (1988) by Pieter Fourie, indicate a further development in the concepts patriarch and volksmoeder. In the latter’s Koggelmanderman (2003) the man and woman are removed from the idea of gender.Die sentrale probleem in die verhandeling behels hoe die konsep volksmoeder met verloop van tyd in die Afrikaanse drama neerslag gevind het. Hoofstuk 1 bepaal die hipoteses van die verhandeling. Hoofstuk 2 fokus op die kenmerke van die volksmoeder. Die gevolgtrekking in hoofstuk 2 is dat Maria in Langenhoven se Die vrou van Suid-Afrika (1918) ooreenstem en kontrasteer met Nederlandse vrouefigure. Hoofstuk 3 stel vas dat vrouefigure se kenmerke as volksmoeders hul posisie binne die patriarg/volksmoederverhouding in W.A. de Klerk se Die jaar van die vuur-os (1952) bepaal. Verskillende soorte volksmoeder -verskyn in bogenoemde plaasdrama en in H.A. Fagan se Ousus (1934). Hoofstukke 4 en 5 identifiseer hoe hedendaagse volksmoeders in nuwe plaasdramas, soos Deon Opperman se Donkerland (1996), Andre P. Brink se Die jogger (1997), Ek, Anna van Wyk (1986) en Die koggelaar (1988) van Pieter Fourie, verder binne die patriarg/volksmoederverhouding ontwikkel. In laasgenoemde se Koggelmanderman (2003) beweeg die man en vrou weg van die konsepte patriarg en volksmoeder.
Afrikaans & Theory of Literature
M.A. (Afrikaans)
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Rowe, Amy Harrison, Jeffrey M. Dudiak, Nik Ansell, Steve Martin, and Stuart Williams. "Perspective vol. 24 no. 3 (Jun 1990)." 2013. http://hdl.handle.net/10756/251329.
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Rowe, Amy Harrison, Jeffrey M. Dudiak, Nicholas John Ansell, Steve Martin, and Stuart Williams. "Perspective vol. 24 no. 3 (Jun 1990)." 1990. http://hdl.handle.net/10756/277659.
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