Dissertations / Theses on the topic 'Women’s writing'
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Kačkutė, Eglė. "Women’s Identities in Contemporary British and French Women’s Writing." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110525_110752-56993.
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This thesis focuses on how identity in contemporary British and French women’s writing has developed since the times of second wave feminism, when identity in women’s literature was virtually narrowed down to gender identity and women’s identities more often than not were portrayed as discriminated against, alien and other in world dominated by patriarchy. The thesis addresses different aspects of identity explored in the work of four contemporary female authors: British Trezza Azzopardi and A.L. Kennedy, French Marie NDiaye and Marie Darrieussecq. It also articulates the structure of identity as it appears in the work of each author. The study suggests that Azzopardi, NDiaye, Kennedy and Darrieussecq address a wide range of aspects of identity in their work. Nevertheless, gender identity remains a significant preoccupation in their writing and is often explored together with other discriminated identities and their combinations (i.e. gender/race/social/class or gender/age/national identities. It is argued that self identity in the work of all four authors takes the form of the other in different guises. It is argued that a prominent concern with the exploration of self as other is the distinguishing mark of the latest generation of women writers compared to previous ones. It is the contention of this thesis that the change in the female speaking position has inevitably transformed the way the female speaking subject perceives herself and functions in discourse and culture.Disertacijoje siekiama atskleisti, kaip moterų tapatumo problema naujausioje prancūzų ir britų moterų literatūroje pakito nuo antrosios feminizmo bangos laikų, kai moterų literatūroje ji buvo tapati lyties tapatumui, o moters tapatumas vaizduojamas kaip diskriminuojamas, svetimas, kitas vyrų pasaulyje. Lyties tapatumas šiuolaikinėje moterų kūryboje išsirutuliojo į sudėtingą ir platų tapatumų tinklą. Disertacijoje nagrinėjami įvairūs tapatumo aspektai ir jų raiška keturių šiuolaikinių rašytojų – prancūzių Marie NDiaye ir Marie Darrieussecq bei bričių velsietės Trezzos Azzopardi ir škotės Alison Louise Kennedy (pasirašinėjančios A. L. Kennedy) – kūryboje. Per minėtų autorių kūrybą aptariami XX–XXI amžių sandūros britų ir prancūzų moterų literatūroje aktualizuojami tapatumo aspektai ir jų konstravimo principai. Daromos išvados, kad šiuolaikinių rašytojų nebeslegia lyties identifikacijos, joms rūpi aktualizuoti ne vieną, bet daugelį tapatumo aspektų, kurie vis dėlto dažniausiai yra diskriminuojami. Vyraujantis mąstymo apie tapatumą būdas Azzopardi, NDiaye, Kennedy ir Darrieussecq kūryboje yra kito neišvengiamumo deklaravimas. Tai simbolizuoja visavertį moterų rašytojų dalyvavimą diskursyvinėje erdvėje, tai, kad kūrybą jos suvokia ne kaip kito dominuojamą erdvę, bet kaip areną, kurioje jų talentas, jų kūrybinė savastis gali skleistis ir skleidžiasi per santykį su kitu, kitais, jų tekstais, kūrybiniais ir meniniais ieškojimais.
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Al-Ramadan, Raidah I. "ARAB WOMEN’S REPRESENTATION IN ARAB WOMEN’S WRITING AND THEIR TRANSLATION." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1501154806668996.
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MacDonald, Sarah Nicole. "WORKING WOMEN’S LIFE WRITING AND AUTHORIAL COMPETENCY." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1511353472506823.
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Žemaitytė, Erika. "The Image of Writing Women: the Comparative Aspect on Women’s Literature in English." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120831_092347-18443.
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The object of the research is the image of writing women of the two periods which is revealed in novels written by Helen Fielding and Candace Bushnell as well as Virginia Woolf’s essay. In the novels written by the contemporary writers, the The novels written by Candace Bushnell and Helen Fielding reveal the contemporary cosmopolitan female writers. Each of the novels emphasizes sexual equality, freedom of choice and woman’s emancipation. Olivia is a fearless journalist who finds evil traces in every beauty topic that she covers. Moreover, writing is the essential matter for travelling and facing hazardous situations.Tyrimo tikslas yra atskleisti rašytojų moterų įvaizdį Candacės Bushnell ir Helenos Fielding romanuose ir palyginti jį su Virginijos Woolf pateiktu rašytojų moterų įvaizdžiu esė Savas Kambarys.Postfeministinė literatūros kritika taikyta siekiant apibūdinti moterų rašytojų situaciją dvidešimto amžiaus pradžioje. Feminizmo teorija naudota pabrėžti feminizmo kaip politinio judėjimo svarbą rašytojoms ir įvertinti moterų rašytojų įvaizdžius literatūros kūriniuose.Galima teigti, kad dvidešimtojo amžiaus pradžioje moterys rašytojos rašė literatūrinius kūrinius norėdamos skleisti švietimą tarp skaitytojų bei tuo pačiu praturtėti.
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McDaniel, Jamie Lynn. "Trespassing Women: Representations of Property and Identity in British Women’s Writing 1925 – 2005." Case Western Reserve University School of Graduate Studies / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=case1278650822.
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Slivka, Jennifer A. "Strangers at Home: Threshold Identities in Contemporary Irish Women’s Writing." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/534.
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This dissertation examines how contemporary Irish women writers dismantle national conceptions linking Irish women to the hearth and home by offering an alternate version of women’s lived experience, which nationalist ideologies have simplified. I consider how these writers define “home”—the domestic, the familiar, the intimate—as complicated by sexuality, exile, and violence. Using Freud’s theory of the uncanny as a lens, I analyze how these writers question established social relations in order to uncover uneasy relationships to self, home, and homeland. In my project, postcolonial theory and transnational feminisms, coupled with trauma theory, facilitate the contextualization of the uncanny as a response to the hybrid identities, dislocations, and effects of violence on gender roles within the nation. The first two chapters examine Edna O’Brien’s later fiction, which unsettles conceptions of the nation by emphasizing the experiences of marginal figures, thereby questioning who belongs within the nation’s borders. The next two chapters on the fiction of Jennifer Johnston and Mary Beckett reveal how the crossing of the public into the private sphere exposes a paradoxical homespace that is both haven and prison for rich Anglo-Irish Dubliners and working-class Catholics in Belfast. The final chapter on Kate O’Riordan’s novels explores issues of exile, alienation, and trauma through a multi-generational lens, revealing how memories of “home” and fraught parent-child relationships at once hinder and facilitate identity formation. In the epilogue, I briefly discuss how contemporary Irish poetry could address the issues raised by the works of fiction examined in my project.
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Smit, Lizelle. "Narrating (her)story : South African women’s life writing (1854-1948)." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/97034.
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Thesis (MA)--Stellenbosch University. 2015ENGLISH ABSTRACT: Seeking to explore modes of self-representation in women’s life writing and the ways in which these subjects manipulate the autobiographical ‘I’ to write about gender, the body, race and ethnic related issues, this thesis interrogates the autobiographies of three renegade women whose works were birthed out of the de/colonial South African context between 1854-1948. The chosen texts are: Marina King’s Sunrise to Evening Star: My Seventy Years in South Africa (1935), Melina Rorke’s Melina Rorke: Her Amazing Experiences in the Stormy Nineties of South-African History (1938), and two memoirs by Petronella van Heerden, Kerssnuitsels (1962) and Die 16de Koppie (1965). My analysis is underpinned by relevant life writing and feminist criticism, such as the notion of female autobiographical “embodiment” (239) and the ‘I’s reliance on “relationality” (248) as discussed in the work of Sidonie Smith and Julia Watson (Reading Autobiography). I further draw on Judith Butler’s concept of “performativity” (Bodies that Matter 234) in my analysis in order to suggest that there is a performative aspect to the female ‘I’ in these texts. The aim of this thesis is to illustrate how these self-representations of women can be read as counter-conventional, speaking out against stereotypical perceptions and conventions of their time and in literatures (fiction and criticism) which cast women as tractable, compliant pertaining to patriarchal oversight, as narrow-minded and apathetic regarding achieving notoriety and prominence beyond their ascribed position in their separate societies. I argue that these works are representative of alternative female subjectivities and are examples of South African women’s life writing which lie ‘dusty’ and forgotten in archives; voices that are worthy of further scholarly research which would draw the stories of women’s lives back into the literary consciousness.
AFRIKAANSE OPSOMMING: In ‘n poging om metodes van self-uitbeelding te bespreek en die manier waarop die ‘ek’ van vroulike ego-tekste manipuleer om sodoende te skryf oor geslagsrolle, die liggaam, ras en ander etniese kwessies, ondersoek hierdie verhandeling die outbiografieë van drie onkonvensionele vrouens se werk, gebore vanuit die de/koloniale konteks in Suid-Afrika tussen 1854-1948. Die ego-tekste wat in hierdie navorsingstuk ondersoek word, sluit in: Marina King se Sunrise to Evening Star: My Seventy Years in South Africa (1935), Melina Rorke se Melina Rorke: Her Amazing Experiences in the Stormy Nineties of South-African History (1938), en twee memoirs geskryf deur Petronella van Heerden, Kerssnuitsels (1962) en Die 16de Koppie (1965). My analise word ondersteun deur relevante kritici van feministiese en outobiografiese velde. Ek bespreek onder andere die idee dat die vroulike ‘ek’ liggaamlik “vergestalt” (239) is in outobiografie, asook die ‘ek’ se afhanklikheid van “relasionaliteit” (248) soos uiteengesit in die werk van Sidonie Smith en Julia Watson (Reading Autobiography). Verder stel ek voor, met verwysing na Judith Butler, dat daar ‘n “performative” (Bodies that Matter 234) aspek na vore kom in die vroulike ‘ek’ van Suid- Afrikaanse outobiografie. Die doel van hierdie tesis is om uit te lig dat hierdie selfvoorstellings van vroue gelees kan word as kontra-konvensioneel; dat die stereotipiese uitbeelding van vroue as skroomhartig, nougeset, gedweë ten opsigte van patriargale oorsig, en willoos om meer te vermag as wat hul onderskeie gemeenskappe vir hul voorskryf, weerspreek word deur hierdie ego-tekste. Die doel is om sodanige outobiografiese vertellings en -uitbeeldings te vergelyk en sodoende uiteenlopende vroulike subjektiwiteite gedurende die periode 1854-1948 te belig. Ek verwys deurlopend na voorbeelde van ander gemarginaliseerde Suid-Afrikaanse vroulike ego-tekse om aan te dui dat daar weliswaar ‘n magdom ‘vergete’ en ‘stof-bedekte’ vrouetekste geskryf is in die afgebakende periode. Ek voor aan dat die ‘stem’ van die vroulike ‘ek’ allermins stagneer het, en dat verdere bestudering waarskynlik nodig is.
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She, Chia-Ling. "Breaking the silence : nationalism and feminism in contemporary Egyptian women’s writing." Thesis, University of Leicester, 2012. http://hdl.handle.net/2381/10945.
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The works I examine in this thesis for Egyptian women’s narrative liberation strategies span from the nationalist-feminist works of the 1920s in Egypt throughout the twentieth century. I include works by Huda Shaarawi, Zainab al-Ghazali, Nawal El Saadawi, Latifa al-Zayyat, the post-1970s generation such as Ibtihal Salem, Alifa Rifaat and Salwa Bakr and finally, Ahdaf Soueif. The works for examination are organised chronologically and surround anti-colonial independence struggles in Egypt. I argue that writing corporeality for contemporary Egyptian women complicates the modern national space and histories. Qasim Amin (1863-1908) is deemed Egypt’s feminist founding father. His modernist reformist discourse is one of the attempts to create the interstitial space for Egyptian women’s liberation in Homi Bhabha’s concept. Amin’s ‘imitative’ Western gender equality discourse renders the heterosexual relationship complex within Egyptian nationalist heteronormative discourses. It kindles numerous debates about Islamic definitions of womanhood. Not only does this cause the tension between Islam and Egyptian feminism but it also makes Islamic culture open to changes and a plethora of discourses. This thesis aims at assessing narrative strategies through female bodies, which form an interstitial space in Egypt’s histories. Romantic love narratives in contemporary Egyptian women’s writing re-signify national space. Re-writing heterosexual relationships in El Saadawi’s (1931-) secular gender politics unsettles heterosexual constitution in Egyptian modern fiction, which disrupts a sense of a linear time in inventing national identities. Writing against Freudian masculine discursive power, El Saadawi distinguishes her feminist stance from Western feminist colonialist discursive hegemony. Her strategy renders an instantaneous frame of time, to use Bhabha’s concept. It targets the assumption of tradition as a nationalist discourse. Latifa al-Zayyat (1923-1996), through the creation of Layla in The Open Door, suggests that female sexuality can articulate historical perspectives of Egyptian modernity which has been dominated by male-centred views. The central space conferred on female sexuality in The Open Door reveals the symbolic representation of female sexuality in the male-led nationalist and nationalist-feminist debates. In Return of the Pharaoh, al-Ghazali (1917-2005) demonstrates her body to be able to endure tortures better than men; it involves a complication of the nationalist invention revolving around feminine ‘spirituality’, dependent on women’s roles of respectability. Her autobiographical writing is fluid between the personal and political and it becomes a vehicle for negotiating the national and female selves. Therefore, writing corporeality constitutes strategies for creating narrative time and space in Egypt as a nation. Also, Egyptian women’s writing techniques bring forth narratives of the lower class in Egyptian women’s movement. In the writing of the post-1970s generation, Ibtihal Salem’s (1949-) daily description of women’s lives disrupts the masculine national linear time. For Salem, sexual life expresses disillusionment toward Jamal Abdel Nasser’s socialist nationalism, lament for neo-colonialism and the fundamentalist revival. Alifa Rifaat’s (1930-1996) representation of female genital mutilation integrates suturing, i.e. healing, and infibulations. Rifaat’s writing renders nationalist discourse split by demonstrating this practice as a sense of belonging and a wound, and thus, she creates an alternative space for nationalist discourses. The short story genre is a strategy of conveying Egyptian women’s culturally mixed daily life. Salwa Bakr (1949-) devises female madness as a strategy to create new space within the domestic sphere. Her approach is based on revisiting Islam. She describes female psychological problems and carves out a representational possibility for Third World urban female subalterns. The zar ritual and psychoanalytic institutions introduce feminine circular time in Bakr’s works. Ahdaf Soueif (1950-) adopts the feminine romance genre to seek narrative possibility for female sexuality and for formulating space for historical subalterns. I suggest that women’s corporeality in Egyptian modern fiction articulates a series of performative ever-changing national identities.
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Seran, Justine Calypso. "Intersubjective acts and relational selves in contemporary Australian Aboriginal and Aotearoa/New Zealand Maori women's writing." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/21999.
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This thesis explores the dynamics of intersubjectivity and relationality in a corpus of contemporary literature by twelve Indigenous women writers in order to trace modes of subject-formation and communication along four main axes: violence, care, language, and memory. Each chapter establishes a comparative discussion across the Tasman Sea between Indigenous texts and world theory, the local and the global, self and community. The texts range from 1984 to 2011 to cover a period of growth in publishing and international recognition of Indigenous writing. Chapter 1 examines instances of colonial oppression in the primary corpus and links them with manifestations of violence on institutional, familial, epistemic, and literary levels in Aboriginal authors Melissa Lucashenko and Tara June Winch’s debut novels Steam Pigs (1997) and Swallow the Air (2006). They address the cycle of violence and the archetypal motif of return to bring to light the life of urban Aboriginal women whose ancestral land has been lost and whose home is the western, modern Australian city. Maori short story writer Alice Tawhai’s collections Festival of Miracles (2005), Luminous (2007), and Dark Jelly (2011), on the other hand, deny the characters and reader closure, and establish an atmosphere characterised by a lack of hope and the absence of any political or personal will to effect change. Chapter 2 explores caring relationships between characters displaying symptoms that may be ascribed to various forms of intellectual and mental disability, and the relatives who look after them. I situate the texts within a postcolonial disability framework and address the figure of the informal carer in relation to her “caree.” Patricia Grace’s short story “Eben,” from her collection Small Holes in the Silence (2006), tells the life of a man with physical and intellectual disability from birth (the eponymous Eben) and his relationship with his adoptive mother Pani. The main character of Lisa Cherrington’s novel The People-Faces (2004) is a young Maori woman called Nikki whose brother Joshua is in and out of psychiatric facilities. Finally, the central characters of Vivienne Cleven’s novel Her Sister’s Eye (2002) display a wide range of congenital and acquired cognitive impairments, allowing the author to explore how the compounded trauma of racism and sexism participates in (and is influenced by) mental disability. Chapter 3 examines the materiality and corporeality of language to reveal its role in the formation of (inter)subjectivity. I argue that the use of language in Aboriginal and Maori women’s writing is anchored in the racialised, sexualised bodies of Indigenous women, as well as the locale of their ancestral land. The relationship between language, body, and country in Keri Hulme’s the bone people (1984) and Alexis Wright’s Carpentaria (2006) are analysed in relation to orality, gesture, and mapping in order to reveal their role in the formation of Indigenous selfhood. Chapter 4 explores how the reflexive practice of life-writing (including fictional auto/biography) participates in the decolonisation of the Indigenous self and community, as well as the process of individual survival and cultural survivance, through the selective remembering and forgetting of traumatic histories. Sally Morgan’s Aboriginal life-writing narrative My Place (1987), Terri Janke’s Torres Strait Islander novel Butterfly Song (2005), as well as Paula Morris and Kelly Ana Morey’s Maori texts Rangatira (2011) and Bloom (2003) address these issues in various forms. Through the interactions between memory and memoirs, I bring to light the literary processes of decolonisation of the writing/written self in the settler countries of Australia and Aotearoa/New Zealand. This study intends to raise the profile of the authors mentioned above and to encourage the public and scholarly community to pay attention and respect to Indigenous women’s writing. One of the ambitions of this thesis is also to expose the limits and correct the shortcomings of western, postcolonial, and gender theory in relation to Indigenous women writers and the Fourth World.
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Waddell, Katherine. "AMERICAN MNEMONIC: RACIAL IDENTITY IN WOMEN’S LIFE WRITING OF THE CIVIL WAR." UKnowledge, 2018. https://uknowledge.uky.edu/english_etds/71.
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American Mnemonic: Racial Identity in Women’s Life Writing of the Civil War takes up three American women's autobiographies: Emilie Davis’s pocket diaries (1863-65), Elizabeth Keckley’s Behind the Scenes: Thirty Years a Slave and Four in the White House (1868), and Louisa May Alcott’s Hospital Sketches (1863). Chapter one is devoted to literary review and methodology. Chapter two, "the all-absorbing topic': Belonging and Isolation in Emilie Davis’s Diaries," explores the everyday record of Emilie Davis in the context of Philadelphia’s free black community during the war. Davis’s position as a working-class free woman offers a fresh perspective on the much-discussed “elite” black community in which she participated. Chapter three, “'The Past is Dear': Nostalgia and Geotemporal Distance in Elizabeth Keckley’s Behind the Scenes,” explores Keckley’s memories of the South as she narrates them from her position as an upwardly mobile free black woman in Washington, D.C. My analysis illuminates the effect of shifting subject positions (e.g., from slave to free) on the process of self-narration, a process that I argue ultimately recasts Keckley in a more abolitionist light. Finally, chapter four, “'A Forward Movement': Louisa May Alcott’s Hospital Sketches and the Racialized Temporality of Progress,” argues that Alcott uses the geotemporal conditions of the war hospital to gain social mobility. This forward movement for Alcott leads her to cast black characters in a regressive light, revealing the racial hierarchy of progress. All of these authors express their experiences of time in unique ways, but in each case, the temporal cultural shifts catalyzed by the Civil War impact how they process their racial identities, and the genre of autobiography offers an intimate view of that process.
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Tekeli, Gokce. "WHERE WE BELONG: SPATIAL IMAGINING IN AMERICAN WOMEN’S LIFE NARRATIVES, 1859-1912." UKnowledge, 2019. https://uknowledge.uky.edu/english_etds/86.
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Where We Belong: Spatial Imagining in American Women’s Life Narratives, 1859-1912, studies three marginalized and disadvantaged American women’s self-life narratives during a transitional period in American history. In this dissertation, I am taking an interdisciplinary approach. Where We Belong borrows from social geography, new materialism, and autobiography studies in order to complicate critical discussions of women’s space and place in nineteenth-century women’s self-life narratives. Each chapter of Where We Belong presents a case study with the goal to provide a broader understanding of women’s strategies of belonging due to and despite their spatial exclusions. The overarching emphasis in each chapter remains on the female body’s spatial movement. Exploring Eliza Potter’s A Hairdresser’s Experience in High Life (1859), Elizabeth Keckley’s Behind the Scenes; Or Thirty Years a Slave, and Four Years in the White House (1868), and Mary Antin’s The Promised Land (1912), I claim that material spaces and these women’s corporeal bodies are inseparable. The three cases I present in this project exemplify how marginal women develop strategies of belonging in spaces from which they have been excluded. These women demonstrate ways of belonging (where they are assumed not to) enacted by self-life narratives. Belonging is not a passive way of being: it is activism that disrupts strict categories and definitions, such as blackness, in American literary scholarship. It contains paradoxes of acquiescence and self-declaration.
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Bleizgienė, Ramunė. "Female Identity Problem in Lithuanian Women’s Creative Writing in the Late 19th – Early 20th Century." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2009~D_20090917_095559-56463.
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Ramunė Bleizgienė‘s dissertaiton Female Identity Problem in Lithuanian Women’s Creative Writing in the Late 19th – Early 20th Century analyses identity as a result of an interaction between a person and his/her socio-cultural context, by raising a question how the development of modern Lithuanian society influenced the forms of female identity. A heterogeneous methodological perspective introduces a shift in female identity as an inseparable part of the process of women becoming public individuals. The exploration of creative texts by Žemaitė, Gabrielė Petkevičaitė-Bitė, Šatrijos Ragana, Ona Pleirytės-Puidienė Vaidilutė and Sofija Kymantaitė-Čiurlionienė reveals how the writing women bring up and establish themselves as a speaking public subject. A thorough analysis of women’s writing, their diaries, letters, and memoirs reveals the ways in which the writing women experience their sociability, and emphasizes the impact that socio-cultural definitions of an individual/woman made on women’s self-perception. Structural changes in female identity undergo analysis in a condensed socio-cultural context with a review and a presentation of many texts by female authors that were circulating in public space, which gives a view of the multiple nature and complexity of the process. The study presents a lot of journalistic and fiction texts that were written in the late 19th – early 20th century, but were not in the scope of analysis up to the present moment.
Ramunė Bleizgienė‘s... [to full text]Ramunės Bleizgienės disertacijoje „Moters tapatybės problema XIX a. pabaigos–XX a. pradžios moterų kūryboje“ tapatumas nagrinėjamas kaip abipusės asmens ir sociokultūrinio konteksto sąveikos rezultatas, klausiant, kaip vykęs modernios lietuviškos visuomenės kūrimasis veikė moters tapatumo formas. Remiantis keleriopa metodologine perspektyva, moterų tapatybės kaita pristatoma kaip neatsiejama moterų tapimo viešais asmenimis proceso dalis. Analizuojant Žemaitės, Gabrielės Petkevičaitės-Bitės, Šatrijos Raganos, Onos Pleirytės-Puidienės Vaidilutės ir Sofijos Kymantaitės-Čiurlionienės kūrybą siekiama išsiaiškinti, kaip rašydamos moterys įsteigia ir įtvirtina save kaip kalbantįjį viešumos subjektą. Nuodugniai nagrinėjant moterų kūrinius, daugiausia – pirminius variantus, dienoraščius, laiškus, atsiminimus, stebima, kaip rašančiosios patyrė savąjį socialumą, ryškinama, kaip moterų savivoka buvo veikiama sociokultūrinių asmens / moters apibrėžčių. Moters tapatybės struktūriniai pokyčiai tyrinėjami sutankintame sociokultūriniame kontekste, apžvelgiant ir pristatant daugybę viešojoje erdvėje cirkuliavusių moterų tekstų, padedančių įsivaizduoti vykusio proceso daugialypiškumą ir kompleksiškumą. Disertacijoje pristatoma nemažai XIX a. pabaigos–XX a. pradžios moterų publicistikos ir grožinės kūrybos tekstų, kurie iki šiol nebuvo patekę į tyrinėjimų akiratį.
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Greene, Cantice G. "Writing and Wellness, Emotion and Women: Highlighting the Contemporary Uses of Expressive Writing in the Service of Students." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_diss/63.
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In an effort to connect women’s spiritual development to the general call for professors to reconnect significantly with their students, this dissertation argues that expressive writing should remain a staple of the composition curriculum. It suggests that the uses of expressive writing should be expanded and explored by students and professors of composition and that each should become familiar with the link between writing and emotional wellness. In cancer centers, schools of medicine, and pregnancy care centers, writing is being used as a tool of therapy. More than just a technique for helping people cope with the stresses of loss, pain, and abuse, teaching personal writing techniques enables writers to transfer their skill in writing narratives to other forms of writing, including the more traditional academic essay. By presenting interdisciplinary blending of composition and performance studies, the discussion introduces contemporary tools of writing that engage digital environments and digital storytelling techniques already familiar to students. An important highlight of the research, that allowing students to treat personal themes in the writing classroom boosts students’ overall academic performance, is a discussion relevant to professors outside of the English department. Spurred by the public health calls for intervention in the HIV and HPV spread on minority, tribal, and HBCU campuses, the essay also considers the appropriateness of offering the Life-Support Class (a mainstay of Pregnancy Care Centers) in campus clinics. The subject of emotion is treated in the essay in relation to women’s relationships on campus and the evasion and stigmatization of emotion among professors in the academic setting. Further, the essay highlights research which suggests that a fear of feminist retaliation interferes with campus psychologists’ recommendations for the best outcomes for sexual health. This dissertation follows the trend of feminist research methodology by explicitly exposing the author’s hopes and goals, which connect women’s spiritual formation to expressive writing.
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Stanford, Roslyn, and res cand@acu edu au. "Righting Women’s Writing: A re-examination of the journey toward literary success by late Eighteenth-Century and early Nineteenth-century women writers." Australian Catholic University. School of Arts and Sciences, 2002. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp25.09042006.
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This thesis studies the progressive nature of women’s writing and the various factors that helped and hindered the successful publication of women’s written works in the late eighteenth and early nineteenth centuries. The thesis interrogates culturally encoded definitions of the term “success” in relation to the status of these women writers. In a time when success meant, according to the Oxford English Dictionary, “attainment of wealth or position”, women could never achieve a level of success equal to the male elite. The dichotomous worldview, in which women were excluded from almost all active participation in the public sphere, led to a literary protest by women. However, the male-privileged binary system is seen critically to affect women’s literary success. Hence, a redefinition of success will specifically refer to the literary experience of these women writers and a long-lasting recognition of this experience in the twentieth century. An examination of literary techniques used in key works from Catherine Macaulay, Mary Wollstonecraft, Hannah More, Mary Shelley and Jane Austen suggests that there was a critical double standard with which women writers were constantly faced. The literary techniques, used by the earlier writers, fail in overcoming this critical double standard because of their emphasis on revolution. However, the last two women writers become literary successes (according to my reinterpretation of the term) because of their particular emphasis on amelioration rather than revolution. The conclusion of the thesis suggests that despite the “unsuccessful” literary attempts by the first three women authors, there is an overall positive progression in women’s journey toward literary success. Described as the ‘generational effect’, this becomes the fundamental point of the study, because together these women represent a combined movement which challenges a system of patriarchal tradition, encouraging women to continue to push the gender relations’ boundaries in order to be seen as individual, successful writers.
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Visser, Liezel. "The contextual compass : a literary-historical study of three British women’s travel writing on Africa, 1797 – 1934." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2673.
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Thesis (MA (English Studies))--University of Stellenbosch, 2009.ENGLISH ABSTRACT: Texts by women travellers describing their journeys date back almost as far as those produced by their male counterparts, yet women’s travel writing has only become an area of academic interest during the past ten to fifteen years. Previously, women’s travel writing was mostly read for its entertainment value rather than its academic merit and – as Sara Mills notes in her Discourses of Difference – appeared almost exclusively in the form of coffee table books or biographies offering romanticized accounts of heroic, eccentric women who undertook epic journeys to Africa (4). The growing interest in women’s travel writing as part of colonial discourse coincides with the emergence of gender studies and related subjects. The emergence of these areas of academic enquiry can be attributed to the systematic dismantling of the patriarchal structures, which previously dominated social and academic domains. The aim of this study is to examine European women’s travel writing as a subversive discourse which, while sharing some characteristics with traditional male-produced travel texts from the colonial era, was informed by the discursive constraints of femininity. These texts thus differ from male-produced texts in the sense that, because of the different discursive constraints informing women’s travel writing, they offer commentary on aspects of Africa and its peoples which men had omitted in their travel accounts. Three specific texts by British women who recorded their travels in Africa form the basis of the discussion in this dissertation: the travel writing of Lady Anne Barnard (South African Cape Colony, 1797 – 1801), Mary Kingsley (West Africa: Gabon and the Congo, 1896 – 1900) and Barbara Greene (Liberia, 1935). Since, as Mills argues, “feminist textual theory has restricted itself to the analysis of literary texts and has been concerned with analysis of the text itself” (12), which limits the extent to which one can provide interesting, discerning, and relevant comment on women’s writing, the readings of these texts are not limited to feminist theory of women’s travel writing. Social expectations until as recently as the early twentieth century located women firmly in the domestic sphere. It was almost unthinkable for women to undertake travels other than the traditional Grand Tour. To attempt to venture into the predominantly male territory of travel writing was to expose oneself to harsh criticism and to risk being labelled as eccentric and unfeminine. Thus women had to find a way of making both their travels and writing seem acceptable by social standards, while still presenting as true as possible a picture of Africa in their writing. These constraints of the discourse of femininity on their texts necessarily make women’s writing seem concerned almost exclusively with matters of feminine interest. Mills attributes this to women travel writers’ “problematic status, caught between the conflicting demands of the discourse of femininity and that of imperialism.” (Mills, Discourses of Difference 22)
AFRIKAANSE OPSOMMING: Reisbeskrywings deur vroue dateer byna so ver terug as dié wat deur mans geskryf is. Tog het vroue se reisbeskrywings eers in die afgelope tien tot vyftien jaar akademiese belangstelling begin ontlok. Voorheen is vroue se reisbeskrywings meestal vir vermaak eerder as akademiese meriete gelees, en – soos Sara Mills in haar Discourses of Difference opmerk – het dit byna uitsluitlik verskyn as koffietafelboeke of verromantiseerde biografieë van heldhaftige, sonderlinge vroue wat epiese reise na Afrika onderneem het (4). Die toenemende belangstelling in vroue se reisbeskrywings as deel van koloniale diskoers val saam met die verskyning van gender-studies en verwante vakgebiede. Die ontstaan van hierdie akademiese vakgebiede kan toegeskryf word aan die stelselmatige aftakeling van die paternalistiese strukture wat sosiale en akademiese arenas voorheen oorheers het. Die doel van hierdie studie is om Europese vroue se reisbeskrywings te ondersoek as ‘n ondermynende diskoers wat, hoewel dit sekere eienskappe van tradisionele reisbeskrywings deur manlike skrywers uit die koloniale tydperk toon, gegrond is in die beperkende diskoers van vroulikheid. Hierdie tekste verskil dus van tekste deur manlike skrywers in die opsig dat dit, as gevolg van die verskillende diskoersbeperkinge waarin dit gegrond is, kommentaar lewer op aspekte van Afrika en sy bevolking wat mans in hul reisbeskrywings uitgelaat het. Drie spesifieke tekste deur Britse vroue wat hul reise beskryf het vorm die grondslag van hierdie verhandeling; dit is die reisbeskrywings van Lady Anne Barnard (Suid-Afrikaanse Kaapkolonie, 1797 – 1801), Mary Kingsley (Wes- Afrika: Gaboen en die Kongo, 1896 – 1900) en Barbara Greene (Liberië, 1935). Mills voer aan: “Feminist textual theory has restricted itself to the analysis of literary texts and has been concerned with analysis of the text itself” (12). Dít beperk die mate waartoe interessante, skerpsinnige en toepaslike kommentaar oor vroue se reisbeskrywings gelewer kan word; dus is die interpretasie van hierdie tekste nie beperk tot feministiese teorie met betrekking tot vrouereisbeskrywings nie. Tot so onlangs as die vroeë twintigste eeu het die samelewing se verwagtinge vroue streng tot die huishoudelike sfeer beperk. Afgesien van die tradisionele Grand Tour was dit bykans ondenkbaar vir vroue om te reis. As ‘n vrou inbreuk sou probeer maak op die tradisioneel manlike gebied van die skryfkuns sou sy haarself blootstel aan skerp kritiek en onwenslike etikettering as eksentriek en onvroulik. Dus moes vroue ‘n manier vind om sowel hul reise as hul skryfwerk sosiaal aanvaarbaar te maak en terselfdertyd so ‘n egte beeld as moontlik van Afrika te skets in hul skryfwerk. Die beperkinge wat die diskoers van vroulikheid op hul tekste plaas, lei noodwendig daartoe dat vroue se skryfwerk as byna geheel en al beperk tot sake van vroulike belang voorkom. Mills skryf dít toe aan vroue-reisbeskrywers se “problematic status, caught between the conflicting demands of the discourse of femininity and that of imperialism.” (Mills, Discourses of Difference 22)
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Arsenault, Kaitlyn. "“In Specie”: Educational Advocacy, the Material Book, and Female Intellectual Communities in Seventeenth-Century British Women’s Writing." Thesis, Université d'Ottawa / University of Ottawa, 2021. http://hdl.handle.net/10393/41973.
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In the early seventeenth century, a number of female writers began to exercise a strong degree of agency in the materials they published and the discourse in which they participated. Discussions of expanded female education abounded in their writing, and by the end of the century, female writers had become bold enough to write tracts proposing entirely new educational institutions for women. These proposed all-female schools would have provided teachers and students alike with both an intellectual space free from patriarchal strictures and the opportunity to expand their minds unimpeded. Through analysis of works by Rachel Speght, Elizabeth Isham, Margaret Cavendish, Bathsua Makin, and Mary Astell, this thesis traces the broad preoccupation of female writers with female intellectual communities across the seventeenth century. This project adds to current and past scholarly discussions of female reading in the early modern period, notes rhetorical continuities between the works of these various writers, and hopes to contribute to our understanding of early feminist thought.
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Naghib, Saghar L. "The Afghan Women’s Writing Project: A Critical Discourse Analysis of Poetry and Narrative as Conflict Resolution Tools." Diss., NSUWorks, 2018. https://nsuworks.nova.edu/shss_dcar_etd/93.
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The Afghan Women’s Writing Project (AWWP) emerged in 2009 as a platform through which Afghan women could express their lived experiences and perspectives on a range of culturally relevant issues while retaining their anonymity. The purpose of this research was to understand poetry as a conflict resolution tool that Afghan women are using to be active participants in the social, political and cultural dialogue that is determining their rights. This research focused on three questions: 1) How do Afghan women describe the state of womanhood in Afghanistan? 2) How do Afghan women describe the conflict they experience in their everyday lives? 3) How might poetry and narrative be used to manage the conflict that Afghan women are facing? This research presents a critical discourse analysis (CDA) of one hundred published poems from the AWWP poetry database. Data analysis included open coding, thematic analysis, and the use of van Dijk’s six-step CDA model to evaluate the semantic macrostructures, local meanings, linguistic markers, global and local discourse forms, linguistic realizations, analysis of context, and the researcher’s own interpretive analysis. The findings identify and explain the major themes derived from the study as well as describe how Afghan women feel about womanhood and conflict. The major themes included: child brides/forced marriage, hijab/burqa/niqab, women’s resistance, parents as protectors and/or perpetrators, the power of writing and stress as a result of conflict. This dissertation concludes with a discussion of implications for sustainable norm change using poetry, directions for future research, and recommendations for policy and programming.
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Montan~ez, Morillo Mari´a Soledad. "Creation and marginalisation in women’s writing in mid-twentieth-century Uruguay : the case of Concepción Silva Bélinzon’s poetry." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3098.
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This thesis explores how women's writing in mid-twentieth century Uruguay enables a reconsideration of the intertwined hegemonic practices of literary canon formation and national identity in this seminal period. Within a national history and a cultural tradition conceived of as patriarchal, progressive and homogeneous, in correspondence to a European/Eurocentric concept of time and historicism, women writers struggled to find a recognised position from which to speak. Nevertheless, like other marginal groups, women writers have challenged the hegemonic discourses of modernity in Uruguay, as elsewhere in Latin America, producing what can be described, following Elaine Showalter, as a double-voiced textual strategy that replicates as well as subverts the dominant order. In this respect, Concepción Silva Bélinzon (Montevideo, 1900-1987) offers a remarkable case study to show how women's poetry destabilises and renegotiates the great discourses of modernity. Socially and culturally marginalised, Silva Bélinzon's life demonstrates the failures and limitations of a patriarchal/paternalistic society, while her poetry problematises the homogeneous national discourses of modern Uruguay, exposing the discontinuity inherent to a national history conceived of as masculine, linear and teleological. Silva Bélinzon's poetry has been defined as a synthesis of Modernismo and Surrealism, and described as a combination of free associations, biblical references and metaphysical concerns, all expressed within conventional metric forms, notably, the sonnet. Her poetry has been considered incoherent and bizarre, and has thus received little critical attention. However, one of the most interesting characteristics of her poetry has been overlooked. That is, the juxtaposition of different artistic trends and the dialectical tension that exists between the use of random, discontinuous and disconnected images within strict traditional poetic forms. The theoretical approach of this thesis is predominantly framed by postcolonial, feminist and gender theories, including those of Homi K. Bhabha and Judith Butler. In addition, drawing on Henri Bergson's work, Matière et mémoire (1896) and Marcel Proust's well-known idea of mémoire involontaire, I interpret Silva Bélinzon's elliptical poetry as a virtual journey through layers of the personal and national pasts that thereby deterritorialises the national, hegemonic discourses of the modern nation. Thus, using Silva Bélinzon's poetry as a case study, the thesis aims to demonstrate how women writers ‘overlap in the act of writing the nation' (Bhabha 2003: 292).
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Bernstein, Sarah. "Social-scientific imagination : the politics of welfare in fiction by women, 1949-1979." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23493.
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This thesis explores how writers mobilise what I call the “social-scientific imagination” to think through the welfare state during its “golden age.” Given the ongoing rollback of welfare programmes in Britain and elsewhere, the study offers timely insight into the history of the welfare state and its possible future. To that end, the chapters concentrate on postwar writers’ indirect and mediated representations of the welfare state in the form of a “social-scientific imagination” manifested in both cultural ideology and literary style. The term “social-scientific imagination” describes these writers’ engagements with the language and technique of social scientific disciplines like sociology, psychiatry, criminology, sexology and the science of city planning in their fiction, and how they imagine these disciplines as shaping the construction and maintenance of the British “welfare state” and its institutions. The texts I explore here capture the tension between care and control, between freedom and security, that is fundamental to the operation of social welfare programmes and that complicates women’s orientation to the welfare state; it is a relationship characterised by ambivalence, even though, as Jane Lewis has argued, women during the war and since perceived they would be – and have been – the welfare state’s primary beneficiaries. This, then, is the central problem examined in this thesis: that the novels represent welfare policies as integral to women’s security at the same time as they point up their coercive tendencies.
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Mpoke-Bigg, Amba. "Leadership, Voice, and Visibility Strengthening African women’s voice and representation: A case study of the African Women Development Fund’s social justice writing workshop for women writers." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21974.
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Despite recent gains in areas such as school attendance and literacy, the struggle for women’s rights and equality in Africa remains constant. Alongside the socio-economic barriers holding down millions of women, is the fight against the gender bias and stereotyping which puts women in the backseat of decision-making, policy-driving, or leadership roles.This dissertation project is a case study of a women’s social justice writing workshop run by the African Women’s Development Fund (AWDF), a Pan-African grant-making organisation. Convened three times since 2014, it brings together women from across the continent for a residential camp to sharpen participants’ skills in writing and communicating about social justice issues.This research project attempts to examine the workshop in the context of media for development theory and strategies, which see the media (print, electronic and new media) as the fundamental strategies that drive the process of communicating. (Manyozo). It also looks at its relevance in the context of gender inequalities in media representation in Africa in line with Beijing 1995’s global call.Although to a very limited scale, the study suggests that the workshop has played a small, yet significant role in conceptualising and implementation of a communication for development strategy that emphasizes capacity-building.Harnessing the power of storytelling, the five years since the workshop, has seen many of the African women who participated, produce local content, confidently representing and analysing “our own issues for ourselves in our diversities.” Through their writings, radio shows, news stories, blogs and public speaking engagements, they are joining powerful agents of change in bringing transformation to the struggle to combat gender stereotypes and inequality, which is still far from over.
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Serraf, Lola. "Writing the ‘People’s War’. Evaluating the myth of the blitz in british women’s fiction of the second World War." Doctoral thesis, Universitat Autònoma de Barcelona, 2018. http://hdl.handle.net/10803/664058.
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En la memoria popular de los británicos, el Blitz se recuerda como un periodo de la guerra durante el cual la moral de los civiles se mantuvo alta, las producciones del país se vieron poco afectadas por los bombardeos y la voluntad de vencer a los Nazis permaneció más fuerte que nunca en una sociedad fraternal, sin jerarquía social. La «guerra del pueblo» convirtió a los civiles en héroes extraordinarios en su rutina ordinaria, mientras ese nuevo tipo de «guerra total» se libraba tanto en las primeras líneas como en el «frente interno».
Sin embargo, desde fines de los años 1980, varios historiadores han empezado a cuestionar esa versión idealizada del coraje invencible del pueblo británico. En The Myth of the Blitz, Angus Calder escribe que la imagen de una nación unida en la adversidad y resistiendo las dificultades fue casi exclusivamente construida por la propaganda política de los años 1940. Considera necesario cuestionar la memoria colectiva del evento del Blitz, explicando que se ha ignorado lo aterrador y confuso que fueron los bombardeos (1991, p. 18).
Esta tesis sale del capítulo «Formulations of Feeling» en el libro de Calder, en el cual se le da poco crédito a la capacidad de los escritores de la segunda guerra mundial de ver más allá de la propaganda del gobierno británico. El historiador sugiere que la literatura del conflicto ofrece poco material para entender cómo fue realmente la experiencia individual durante los bombardeos, ya que pocos autores trabajan fuera del paradigma del «Mito» (1991, pp. 143-144).
Aunque sea verdad que la literatura fue reclutada dentro del esfuerzo de guerra por un gobierno que la recogía como un principio democrático (Hartley, 1997, pp. 6-7), me parecen reductivos e incompletos los argumentos de Angus Calder y Mark Rawlinson según los cuales los escritos de la guerra eran fuertemente determinados por su relación con los discursos oficiales de las autoridades británicas (Rawlinson, 2000, p. 205). Sostengo que es imprudente considerar que autores de la guerra no podían reflexionar críticamente sobre la sociedad y solamente crearon obras que participaban en la defensa de los objetivos del gobierno.
Esta tesis es entonces uno de los primeros trabajos de recerca que se basa en el marco teórico del «Mito del Blitz» de Angus Calder para analizar obras poco conocidas, escritas por mujeres en los años 1940. En su análisis, Calder deconstruye el ‘mito’ confrontándolo con datos históricos. En este trabajo, sigo la misma metodología, comparando aspectos específicos de la retórica de la «guerra del pueblo» con la producción literaria de escritoras. He destacado tres aspectos principios del estudio de Calder que considero cruciales en su definición del «Blitz spirit»: las «clases socioeconómicas», el «patriotismo» y, más abstracto, la «representación del cuerpo herido». Reflexiono sobre esos temas en los tres capítulos de ese trabajo, centrándome en tres textos diferentes en cada uno de ellos.
A través del análisis de los nueve textos elegidos, mi objetivo es echar luz sobre autoras olvidadas que produjeron obras que nos presentan una visión de la guerra que contesta, y hasta cuestiona, el contexto de propaganda política en el cual fueron escritas. Mi propósito principal es ayudar a colocar escritoras femeninas en una categoría de autores de la guerra talentosos y reconocidos, destacando su capacidad de mantener su individualidad y su habilidad de criticar y opinar, incluso estando rodeadas por la convincente y efectiva propaganda de Churchill.In popular memory, civilians’ morale during the Blitz remained high, war production was little affected by the bombings and the will to fight the Nazis was stronger than ever in a classless, fraternal society. The ‘People’s War’ turned civilians into extraordinary heroes in their ordinary city life, as this new kind of ‘total war’ was fought equally as hard on the ‘frontline’ as on the ‘home front’. However, since the late 1980s, historians have started to question this seemingly idealised vision of the determined, invincible spirit of the Blitzed population. In The Myth of the Blitz, Angus Calder argues that the image of a nation united in adversity and resisting hardship was almost entirely constructed by the political propaganda of the 1940s. He believes it necessary to critically rethink the collective memory of the Blitz, stating that it has been ignoring ‘how frightening and confusing the period [...] was for the British people’ since ‘the Myth stands in our way’ (1991, p. 18). Taking as a point of departure Calder’s chapter ‘Formulations of Feeling’, the main objective of my thesis is to oppose the historian’s idea that writers during the Second World War had a very limited ability to produce work that stood outside the People’s War rhetoric. Calder explains that although ‘the writer […] is in a position to defy the myth’s status as an adequate and convincing account of human feeling and behaviour’, unfortunately only few ‘work outside the myth’s paradigm’ (1991, pp. 143-144). Whilst it is true that literature ‘was conscripted into the war effort’ by a government that ‘enshrined [it] as a democratic principle’ (Hartley, 1997, pp. 6-7), I believe too reductive Angus Calder and Mark Rawlinson’s argument according to which ‘the character of wartime writing was strongly determined by its relations to the discourses with which, in the broadest sense, Britain’s war effort was administered’ (Rawlinson, 2000, p. 205). I contend that it is unwise to consider that authors writing in a time of overwhelming social and cultural propaganda could not critically reflect on their surroundings and solely contributed to a literature that aimed to form a coherent defence of war. This thesis is therefore one of the first pieces of research to take Angus Calder’s theoretical framework of the ‘myth of the Blitz’ as the main point of reference to discuss lesser known women’s texts of the 1940s. In his study, Calder deconstructs the ‘myth’ by confronting it with historical facts. In my thesis, I follow the same method by comparing specific values of the ‘People’s WaR4 rhetoric against the literary production of women writers. I have selected three main aspects of Calder’s work crucial to his definition of the constructed and superficial rhetoric of the ‘Blitz Spirit’: ‘class’, ‘patriotism’, and the more abstract ‘representation of the hurt body’. I analyse several novels by different authors in three separate chapters dedicated to each theme. Through the close reading of the nine texts I focus on, my aim is to shed light on forgotten authors who produced works that present us with a vision of the war that questions, and even challenged the propaganda setting they were written in. My main objective is to help place women writers in a category of valuable, talented and recognised war writers by highlighting their ability to maintain their individuality and capacity to criticise even when surrounded with Churchill’s very forceful propaganda.
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Balsawer, Veena. "Auto/ethnographical Métissage of Ho[me] Stories in the Hyphens: A Living Pedagogy of Indo-Canadian Women’s Be/coming and Be/longing." Thesis, Université d'Ottawa / University of Ottawa, 2017. http://hdl.handle.net/10393/36851.
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My auto/ethnographical journey stems from my experience where, as an I-m-migrant, I feel like I live in the hy-phens negotiating between “a here, a there and an elsewhere” (Trinh, 2011), straddling cultures, homelands, I-dentities, and languages. This identity crisis has made me quest/ion how other i-m-migrant women, especially the Indo-Canadian women in Ottawa, navigate their hyphe-nated existence(s) with/in these liminal spaces which are both home and not-home. As both insider and outsider, I engaged in complicated conversations with Indo-Canadian women to hear about their live(d) experiences and to understand the process of my / our be/com/ing’ and be/long/ing in these hybrid spaces. The questions that guided me through this inquiry are: How do Indo-Canadian women re-produce and re-create this notion called home? What are some of influences of (im)migration on this notion of ho[me]? How do they navigate and per/form their hyphenated currere with/in these hybrid liminal spaces which are both home and not-home? What do these performances dis/close about the women’s understanding of their lives in the hyphens? Through a post-colonial, feminist perspective, and drawing from qualitative research methodologies such as “autoethnography” (Ellis, 2003), “bricolage” (Denzin & Lincoln, 2008; Kincheloe, 2001), “narrative inquiry” (Clandinin, 2013), and “found poetry” (Butler-Kisber, 2010), I perform a “literary métissage” (Hasebe-Ludt, Chambers & Leggo, 2009) of the live(d) narratives of women who, like me, are members of the Indo-Canadian diaspora. I juxtapose our conversations with artifacts, photographs, recipes, and literary pieces that depict our hyphe-nation(s). From an educational perspective, I hope that my “performance [auto]ethnography” (Alexander, 2000) of ho[me]stories of Indo-Canadian women will become a “living pedagogy” and have “the potential to become trans/formative curriculum inquiry” (Hasebe-Ludt, et al, 2009), which might help to de/construct the stereotypical image of the “universal Indian woman” (Sharma, 2009).
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Murray, Peta. "Things that fall over : Women's playwriting, poetics and the (anti-)musical." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/53579/1/Peta_Murray_Thesis.pdf.
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Abstract: This study explores the contradictions and ambivalences experienced by a working artist at a time when her age, her gender, and broader cultural shifts are all potential obstacles or liabilities to creative flourishing. It is the product of practice-led research into the creative process from the perspective of the female "late bloomer". In this phrase, I have in mind the mature-aged woman who is, in mid-life, suddenly seized with inspiration and fired with creative energy. At its heart is the question: If an Elizabeth Jolley were in our midst today, would we hear from her? The result is a full-length libretto and accompanying exegetical binoculars in the form of a Preface and an Afterword. The creative work, Things That Fall Over (TTFO) is conceived in two parts: a libretto and oratorio for performance. It begins as a play, but over three acts and into a coda, the work becomes something entirely other - an (anti-) musical.
The work grew from a personal interest in the nexus between women, ageing and creative practice, via investigation into the oeuvre of two Australian artists, Elizabeth Jolley, author, first published at age 53, and Rosalie Gascoigne, sculptor, first exhibited at 58. A second strand of the research grew from a fascination for the stage musical, especially in its more alternative modes as in the hands of Stephen Sondheim, or in more provocative manifestations as witnessed in recent Tony Award winners Avenue Q and The Book of Mormon.
Contextually, this research is conducted at a time when anecdotal evidence suggests that women’s work in the performing arts and in literature is being pushed to the margins after a late twentieth century Golden Age on page and stage. Using hybrid practice-led methodologies - bricolage, log-keeping - and working within queer and feminist paradigms, this study seeks to counter that push with a new work that is all-female, part-pantomime, part monstrous allegory. In illuminating the creative process of a mature-aged playwright it concludes that hybrid and interstitial forms still offer an inclusive and democratic space in which voices that may otherwise be muted will continue to be heard.
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Ng, Po-chu, and 伍寶珠. "Writing about women and women's writing." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36259019.
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Roundtree, Sherita Vaungh. "Pedagogies of Noise: Black Women’s Teaching Efficacy and Pedagogical Approaches in Composition Classrooms." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1557207486934335.
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Stohler, Ursula [Verfasser], and Emily [Übersetzer] Lygo. "Disrupted Idylls : Nature, Equality, and the Feminine in Sentimentalist Russian Women’s Writing (Mariia Pospelova, Mariia Bolotnikova, and Anna Naumova) – With translations by Emily Lygo / Ursula Stohler." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2016. http://d-nb.info/1165487217/34.
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Crabb, Dawn Nora. "Navigating the Wreck: Writing women’s experience of the Japanese Occupation of Singapore. Salvaged from the Wreck: A novel -and- Diving into the Wreck: A critical essay." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2416.
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This thesis is in two parts. The first and major part consists of a historical novel followed, in part two, by an essay. The title of this thesis, “Navigating the Wreck”, refers metaphorically to the Fall of Singapore in 1942, the ensuing human tragedy unleashed on the people of Singapore and Malaya, and the literary and historical processes of exploring, interpreting and depicting the past. The Japanese occupation of Singapore has, to date, been described mostly by Western historians and former prisoners of war who have forged a predominant patriarchal narrative. In that narrative—despite the all-encompassing nature of the occupation and the cataclysmic effect it had on civilians—women are virtually invisible.
The objective of this thesis is to privilege women’s experiences by ethically gathering, analysing and re-imagining the accounts of a group of women of different ethnic and cultural backgrounds—Chinese, Indian, Malay, Eurasian—who lived through the occupation, using historical fiction to engage as broad a readership as possible. As well as literary praxis, research centres on analysis of relevant literature, including eight ethnically diverse published female memoirs and eleven women’s oral histories held by the National Archive of Singapore.
The essay discusses the artefact-centred, pragmatic and self-reflexive bricolage approach of this thesis, its feminist and phenomenological framework and my ethical responsibility and outsider authorial position as a white Australian woman reliant on local witness accounts. Feminist concerns addressed in the thesis are invisibility, plurality and intersectionality and I adopt a critical feminist phenomenology based on five aspects of Simone de Beauvoir’s The Second Sex to discuss the aims and the research and writing processes of the thesis.
Working within that framework, I summarised and categorised female oral interview data from audio and written transcripts enabling comparison of each woman’s individual experience of the war and the effects that the occupation had on each woman’s life situation, revealing a diverse set of experiences, some of which influenced my literary choices. By immersing myself in the particular remembered experiences of each of the female interviewees and considering their stories against the tapestry of my own extensive lived experience of the physical, cultural and social world of Singapore, as well as an in-depth investigation of other historical data and male and female written memoirs, I identified gaps and silences that needed to be addressed. These include the strategic household, wage earning, food-supplying and charitable role that women played in the dangerous and difficult situation of the occupation as well as the ignored or marginalised active participation of women in Singapore’s pre-war anti-colonial communist movements, support for and armed participation in anti-Japanese activities in China as well as the jungle-based guerrilla militias in Malaya, and the urban anti-Japanese underground in Singapore.
The essay weaves the creative thinking and practical processes of researching and writing the novel through discussion of practice, literature, theory, methodology and craft, retrieving and exposing what is usually submerged in the creative process to indicate a matrix of production.
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Stotesbury, John A. "Apartheid, liberalism and romance : a critical investigation of the writing of Joy Packer /." Doctoral thesis, Umeå (Sweden) : Umeå university, 1996. http://catalogue.bnf.fr/ark:/12148/cb36972376r.
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Fleitz, Elizabeth J. "The multimodal kitchen cookbooks as women's rhetorical practice /." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1240934967.
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Souza, Natália Salomé de. "A escrita feminina na lírica de Maria Teresa Horta." Universidade Federal de Mato Grosso, 2015. http://ri.ufmt.br/handle/1/202.
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Na busca de uma escrita que falasse do corpo feminino pela própria mulher, encontrei a lírica de Maria Teresa Horta. Em seus poemas, a eu-lírica dá voz a um corpo, de forma a desamarrá-lo de um jugo patriarcal. Há, portanto, uma voz e uma escrita feminina que partem de uma imanência, analisadas, a princípio, a partir de um movimento interior que nos responderá perguntas essenciais, tais como: o que torna esta escrita verdadeiramente feminina? Em quais aspectos ela diverge de uma escrita masculina? Esta escrita é uma manifestação biológica ou seu conceito não se funda nesta perspectiva? Na concepção de Hélène Cixous e Luce Irigaray, teóricas do feminismo da diferença, há um ser mulher que foi constantemente apagado pela lei do pai e do logos, portanto a escrita e a fala feminina precisariam subverter o falogocentrismo e deixarem-se fluir através do próprio corpo feminino. Seria a retomada da linguagem semiótica de Kristeva, essencialmente feminina e circular, que não se prende na denominação e estaticidade do nome. Numa linguagem poética e erótica, encontramos esta fala do corpo que em si ultrapassa uma ordem imposta à sociedade, e isto nos leva ao segundo movimento – um movimento exterior. As implicações de uma retomada do corpo feminino pelas mulheres fora da soberania patriarcal levariam a uma mudança completa da sociedade, em que homens e mulheres não ocupariam espaços verticais; antes disso, suas posições sociais dar-se-iam num eixo horizontal em que não haveria hierarquia, logo as mulheres não seriam subalternas aos homens e vice-versa. Haveria respeito mútuo dentro da diferença e politicamente a diferença de gênero não seria motivo de discriminação e subalternidade. A poesia representa, portanto, a possibilidade de subversão da ordem patriarcal, da ordem do falo, desde que, quando produzida por mulheres, seja uma escrita do corpo feminino, uma escrita feminina que se diz a partir da voz de uma eu-lírica. Da mesma forma que do devir mulher surge uma lírica feminina, emerge também a ginocrítica – teoria literária que marca uma tradição feminina nos estudos da literatura que rejeita a crítica tradicional.
In the search for writings by women that talked about the female body I found Maria Teresa Horta’s lyric. In her poems, the eu-lírica gives voice to a body as a way to untie it from the patriarchal domain. Thus, there is a woman’s voice and a woman’s writing that derive from an immanence. They are analyzed, at first, from an internal movement that will answer some essential questions, such as: what makes this writing truly feminine? In what aspects is it different from a masculine one? Is it a biological manifestation or is this concept not founded in such perspective? According to the ideas of Hélène Cixous and Luce Irigaray, theoreticians of the difference feminism, there is a ‘woman being’ that has constantly been erased by the “father”’s and the logos’s laws, therefore women’s writing and speech need to subvert phallogocentrism and let themselves flow through female body. It would be the return of the semiotic language of Kristeva, essentially feminine and circular, which is not tied to the denomination and immobility of the name. In a poetic and erotic language, we find this speech of the body that surpasses an imposed social order, thus leading us to a second movement – an external one. The implications of a recovery of the female body by women outside the patriarchal sovereign would lead to a complete change in society, in which men and women would not occupy vertical spaces; on the contrary, their social positions would be established in a horizontal axis with no hierarchy, so women would not be subordinated to men and vice-versa. There would be mutual respect inside the difference. Politically, gender difference would not be a reason for discrimination and subordination. Hence, poetry represents the possibility of subversion of the patriarchal order from the phallus, as long as, when produced by women, it is the writing of a female body, a woman’s writing that voices the eu-lírica. From the becoming of a woman, women’s lyrics is born. Similarly, there comes gynocritics– a literary theory that marks a women’s tradition in the literary studies that rejects traditional criticism.
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Meredith, Robert Beorn. "Reviving women : Irish women's prose writing 1890-1920." Thesis, Queen's University Belfast, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300779.
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Moussa, Imèn. "Paroles et écritures des femmes au vingt-et-unième siècle dans les trois pays du Maghreb l'Algérie, le Maroc et la Tunisie." Thesis, CY Cergy Paris Université, 2020. http://www.theses.fr/2020CYUN1080.
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Sous le titre « Dire les femmes, paroles et écritures de femmes au XXIème siècle dans les pays du Maghreb : Algérie, Maroc et Tunisie » notre réflexion montre comment les mots des femmes sur les femmes dépassent l’ordre normatif, phallocratique et sexiste pour annoncer de nouveaux rapports entre le féminin et le masculin. À travers l’étude du discours et de l’image des personnages féminins, nous montrons dans ce travail comment les normes incorporées par les sociétés maghrébines contemporaines, installent encore les femmes sous contrainte et donnent naissance à des individus en semi-liberté et particulièrement « inquiets »« Tell women, words and writings of women in the 21st century in the Maghreb countries: Algeria, Morocco and Tunisia ». Our reflection shows how women’s words about women go beyond the normative, phallocratic and sexist order to announce new relationships between the feminine and the masculine. Through the study of the discourse and the image of female characters, we show in this work how the standards incorporated by contemporary Maghreb societies, still install women under duress and give birth to individuals in semi-freedom and particularly “worried”
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Johansson, Nina. "". . . die grenzen der Witwen wird er feste machen . . ." : Konstruktionen von Weiblichkeit im lyrischen und didaktischen Werk der Herzogin Elisabeth von Braunschweig-Lüneburg (1510-1558)." Doctoral thesis, Stockholms universitet, Institutionen för baltiska språk, finska och tyska, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-7161.
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The present dissertation examines constructions of femininity in the lyrical and didactical works of Elisabeth von Braunschweig-Lüneburg (1510-1558). It shows how this widow ruler and promoter of the reformation transforms and re-interprets contemporary ideas about women and gender according to her own personal interests, and how gender roles are thus negotiated in her texts. In accordance with current theoretical ideas about subjectivity, discourse, and gender, it is shown among other things how Elisabeth von Braunschweig-Lüneburg uses established genres to further her own personal agenda, and how she manipulates contemporary notions of gender in order to create authority for herself as a political force, as an upholder of Christian virtues, and, most importantly, as a writer. The analysis is based on an understanding of subjectivity as dialogical – as a negotiation with the surrounding culture – and of gender as socially constructed. Using the theories presented by Judith Butler and Joan Wallach Scott as a basis, the study shows how Elisabeth works within the various discourses available to her in order to describe established gender roles in a fashion that challenges prevailing notions of femininity and a woman’s place in society. The study focuses on a number of aspects of femininity important in Elisabeth’s texts as well as in the cultural context in which they were written. The textual construction of woman as writer, ruler, preacher, wife, mother, and widow is examined. The dissertation presents not previously acknowledged insights into the ambivalence coloring Elisabeth’s descriptions of women and femininity.
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Weaver, Kimberly C. "Mothering and Surrogacy in Twentieth-Century American Literature: Promise or Betrayal." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/english_diss/77.
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Twentieth-century American literature is filled with new images of motherhood. Long gone is the idealism of motherhood that flourished during the eighteenth and nineteenth centuries in life and in writing. Long gone are the mother help books and guides on training mothers. The twentieth-century fiction writer ushers in new examples of motherhood described in novels that critique the bad mother and turn a critical eye towards the role of women and motherhood. This study examines the trauma surrounding twentieth-century motherhood and surrogacy; in particular, how abandonment, rape, incest, and negation often results in surrogacy; and how selected authors create characters who as mothers fail to protect their children, particularly their daughters. This study explores whether the failure is a result of social-economic or physiological circumstances that make mothering and motherlove impossible or a rejection of the ideal mother seldom realized by contemporary women, or whether the novelists have rewritten the notion of the mother’s help books by their fragmented representations of motherhood. Has motherhood become a rejection of self-potential?
The study will critique mother-daughter relationships in four late twentieth-century American novels in their complex presentations of motherhood and surrogacy: Toni Morrison’s The Bluest Eye (1970), Kaye Gibbons’s Ellen Foster (1990), Dorothy Allison’s Bastard Out of Carolina (1992) and Sapphire’s Push (1997). Appropriated terminology from other disciplines illustrates the prevalence of surrogacy and protection in the subject novels. The use of surrogate will refer to those who come forward to provide the role of mothering and protection.
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Rajaeidoust, Samanehsadat. "L'effet-personnage chez Zoyâ Pirzâd et Anna Gavalda, étude comparée." Thesis, Université Côte d'Azur (ComUE), 2018. http://www.theses.fr/2018AZUR2030.
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La littérature populaire est considérée comme le genre le plus lu en France et en Iran. Pirzâd et Gavalda font parties des écrivaines contemporaines les plus lues et les plus traduites. Ces deux auteures appartiennent à deux cultures et deux mondes tout à fait différents, néanmoins, elles ont réussi à satisfaire leur public étranger. Pirzâd et Gavalda, comme beaucoup d’autres écrivains contemporains, placent le personnage au cœur de leur intérêt romanesque. Par l’attribution de noms propres mimétiques, l’emploi d’un espace fictionnel familier, ainsi que la mise en scène de l’intériorité des personnages, de leurs dilemmes et de leurs sentiments, elles créent des personnages vraisemblables et transparents. Les protagonistes de leurs romans sont majoritairement des femmes. Leurs statuts, leurs caractéristiques, leurs rôles, ainsi que leurs mondes intérieurs sont développés et approfondis au cours de l’histoire, dans un style simple et souvent dialogique. Les personnages comme représentants de l’individu du monde moderne s’imposent comme personne et deviennent l’élément primordial des écrits de Pirzâd et Gavalda. L’ambition de ces deux romancières est également de brosser la réalité sociale de leur temps. Bien qu’elles écrivent dans le contexte de deux conditions sociales et culturelles différentes, les deux auteures représentent les mêmes préoccupations dans leurs écrits ; les relations humaines, la femme et sa situation dans la société moderne et la confrontation de l’homme et de la femme constituent l’essence de leurs récits. La figure féminine contemporaine que Pirzâd et Gavalda tentent de représenter chez le lecteur n’est pas toujours conforme aux images stéréotypées de la femme orientale ou occidentale. Les hommes aussi prennent une dimension hors du commun. Le lecteur des œuvres de Pirzâd et Gavalda, tantôt surpris, tantôt satisfait, est constamment poussé à renouveler l’image de la femme, ainsi que celle de l’hommePopular literature is considered to be the most widely read genre in France and Iran. Pirzad and Gavalda are among the most read and translated contemporary writers. These authors belong to two very different worlds and cultures yet they managed to satisfy their foreign readers. Pirzad and Gavalda, like many other contemporary writers, place the character at the center of interests of their stories. They stage characters that are probable and representative of each individual of the society where they live. The protagonists of their novels are mostly women. Their status, characteristics and roles, as well as their inner worlds are developed and deepened over the course of history, in a simple and often dialogical style. The character is highlighted and the novel exists only through him. The ambition of these two novelists is also to give an outline of the social reality of their time. Although they write in the context of two different social and cultural conditions, the two authors represent the same concerns in their writings. Human relations, the woman and her situation in modern society and confrontation of man and woman constitute the essence of their stories. The contemporary feminine figure that Pirzad et Gavalda try to portray in the reader does not always conform to the stereotypical images of Eastern or Western women. Men also take on extraordinary dimension. The reader, sometimes surprised, sometimes satisfied, is constantly urged to renew the image of the woman
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Aramand, Anne. "Can women have it all?| Hesitant feminism in American women's popular writing." Thesis, University of Massachusetts Boston, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1550547.
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Twilight by Stephenie Meyer and The Hunger Games by Suzanne Collins are two of the bestselling series of our generation. These series are meeting widespread popularity just as the contemporary feminist debate of: "Can women have it all?" is occurring around the country. Although Twilight and The Hunger Games are not considered overtly feminist texts, they have emerged in a time when women are reexamining the possibility of empowering themselves both in the public and the domestic sphere. Meyer and Collins have introduced female protagonists that deal with precisely this issue.
First, I will be outlining why cultural studies are important to discussions of popular literature, as argued by both Jane Tompkins and Cathy N. Davidson, especially in terms of female readers and writers. I will also be exploring the bestselling works of Louisa May Alcott's Little Women and Jacqueline Susann's Valley of the Dolls which emerged during the first and second waves of feminism and how they expressed a hesitation to give women a happy ending outside domesticity within their respective historical contexts. Next, I will review the current "lean in" culture of the third wave of feminism. I will also show how both Twilight and The Hunger Games continue the pattern of female protagonists that cannot be empowered unless they are wives and mothers. Finally, I will analyze how my own creative writing has been affected by cultural debates involving women's roles. Popular women's writing that emerges in the context of major feminist moments in American history shows ambivalence towards empowering women outside the home. This ambivalence is also reflected in my own writing through poetry. By first examining the work of best-selling women writers in the last two centuries and then analyzing my own writing in concurrence with the evolution of feminist ideals, I will show that women writers display a hesitant feminism despite emerging alongside progressive cultural moments in American history.
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Dantas, Ana Luiza Libanio. "The Autonomous Sex: Female Body and Voice in Alicia Kozameh's Writing of Resistance." Ohio University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1212634746.
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Makota, Gillian. "Narratives of women victims of GBV-POWA Johannesburg women's writing project, 2008-2013." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/6432.
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Gender-based Violence (GBV) has emerged as a major issue on the international human rights agenda and a major public health challenge throughout the world. A large proportion of the violence committed against women is perpetrated by their intimate partners. According to the World Health Organization’s Multi-country Study on Women’s Health and Domestic Violence, it is estimated that approximately 10% to 60% of married women have experienced physical intimate-partner violence during their lifetimes (Garcia-Moreno, Jansen, Ellsberg, Heise and Watts, 2006). Once the extent of GBV in South Africa was realised interventions were put in place to address the issue and the Domestic Violence Act No 116 of 1998 (DVA) was instituted by the South African government, aimed at protecting and combating violence against women. The notion of ending GBV was also acknowledged by the late former South African president, Nelson Mandela (Nelson Mandela’s first State of the Nation Address in Parliament in Cape Town, South Africa, 24 May 1994) said: “Freedom cannot be achieved unless the women have been emancipated from all forms of oppression." (www.ehow.com, first accessed 9 August, 2013). People Opposing Woman Abuse (POWA), a Johannesburg-based non-governmental organization (NGO), initiated interventions to address GBV. POWA offers services to women in South Africa (SA) who have experienced domestic violence, sexual harassment or rape and other forms of violence, by aiming to creating a safe society where women are powerful, self –reliant and respected. Driven by the need to create a collective space through which women could share their stories of surviving GBV, POWA established the Women’s Writing Project (WPP) in 2005. The project publishes annual anthologies with specific themes for a particular year, giving women survivors a platform and opportunity to tell their stories as an important part of the healing process. Though the first anthology was published in 2005, this thesis only provides an analysis of the POWA WWP anthologies from 2008-2013. The notion that narratives can be used as therapeutic tools had prompted the researcher to use existing narratives as a basis to investigate GBV. The study is a qualitative, interpretive study, using content analysis as a method and working within the framework of the Ecological model (1999:18) which talks about the multi-faceted nature of GBV. A total of 65 English narratives, 13 per anthology, by survivors of GBV were used and common themes that emerged were identified to obtain accounts of these selected women’s perceptions, experiences and articulations on GBV. Informed by a theoretical framework consisting of Heise, Ellsberg and Gottemoeller’s Ecological model (1999:18), the USAID GBV Life cycle model (2009:15) and the United Nations High Commission for Refugees (UNHCR) GBV health effects document (2005:23), the researcher extracted the main overarching themes which emerged from the women’s narratives. Drawing on the study’s content analysis methodology and the subsequent emerging main narrative themes, the researcher could draw certain conclusions about general similarities in the experiences and perceptions about GBV of the women who participated in POWA’s Johannesburg-based five-year Women’s Writing Project (2008-2013). The most salient of these conclusions are that the following issues are major factors contributing to GBV in the specific sample group, and by assumption also among the larger population that it represents: alcohol abuse and the absence of mother figures. Conclusions about the effects of GBV include that most women suffer from psychological health effects due to GBV experiences. Based on the selected narratives in this study the researcher could conclude that self-narrative storytelling and the recounting of traumatic experiences had therapeutic potential in the treatment and recovery of survivors of GBV. Many of the narrators said that structured self-narration and the publication of their stories had helped to construct a recovery support system not only for themselves but also for those who are possibly still suffering from the consequences of violence. In this way survivors of GBV can therapeutically construct new identities for themselves, which transcend their abuse and thereby actively participate in the construction of meaning in their lives.
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Reynolds, Sadie. "Writing against time : the life histories and writings of women in Santa Cruz County jail /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2008. http://uclibs.org/PID/11984.
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Atayurt, Zeynep Zeren. "'Excessive' embodiment in contemporary women's writing." Thesis, University of Leeds, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487703.
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The 'obese' female body has often been portrayed as the 'other' to the slender body. However, this process of 'othering', or viewing as different, has created a repressive discourse, where 'excess' has increasingly come to be studied as a 'physical abnormality' or a signifier of a 'personality defect'. A tendency to stabilise the implications of obesity through medical, biological or statistical data has been a recurring characteristic of Westem society's current cultural view of obesity.
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Lury, Celia. "Feminist literary theory and women's writing." Thesis, University of Manchester, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.370953.
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Shaw, Deborah Anne. "Fragmented identities : contemporary Mexican women's writing." Thesis, King's College London (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298833.
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Wimbush, Antonia Helen. "Exile in Francophone women's autobiographical writing." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8100/.
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This thesis examines exile in contemporary autobiographical narratives written in French by women from across the Francophone world. The analysis focuses on work by Nina Bouraoui (Algeria), Gisele Pineau (Guadeloupe), Veronique Tadjo (Cote d'Ivoire), and Kim Lefevre (Vietnam), and investigates how the French colonial project has shaped female articulations of mobility and identity in the present. This comparative, cross-cultural, and cross-generational study engages with postcolonial theory, gender theory, and autobiographical theory in order to create a new framework with which to interpret women's experiences and expressions of displacement across the Francosphere. The thesis posits that existing models of exile do not fully explain the complex situations of the four authors, who do not have a well-defined 'home' and 'host' country. Although marginalised by their gender, they are economically privileged and have chosen to live a rootless existence, which nonetheless renders them alienated and 'out of place'. The thesis thus argues that women's narratives of exile challenge and complicate existing paradigms of exile which have a male, patriarchal focus. By turning our attention to these women and their specific postcolonial gendered narratives, a more nuanced understanding of exile emerges: exile is experienced as a sexual, gendered, racial, and/or linguistic otherness.
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Canpolat, Seda. "Hybridity in British Muslim women's writing." Thesis, Kingston University, 2014. http://eprints.kingston.ac.uk/29994/.
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A key paradigm in postcolonial studies, Homi Bhabha’s notion of cultural hybridity has become the dominant model for understanding migrant identity formation. However, its assumed universality and widespread currency are problematic because this concept is not equally applicable or relevant to all migrants. This dissertation focuses on the representation of cultural hybridity in contemporary British Muslim women’s writing, which is well-suited to pointing out the limitations and biases of Bhabha’s celebratory concept of hybridity. Because of its mostly religious, dark-skinned, female and working-Class protagonists, British Muslim women’s texts expose the secular, white, male and middle-class biases on which Bhabha’s idealised subject is predicated. Accordingly, the major literary texts under scrutiny are Leila Aboulela’s novels The Translator (1999) and Minaret (2005), Monica Ali’s Brick Lane (2003) and Fadia Faqir’s My Name Is Salma (2007). By means of an intersectional approach the thesis identifies, one by one, the biases inherent in Bhabha’s vision of hybridity, particularly as it has been appropriated within the field of postcolonial studies. Each of the four chapters addresses one subject position that the heroines inhabit: that is, religion, gender, race and class. Embedded within wider contemporary debates on religion, gender theory, postracialism and class mobility, each chapter illuminates the ways in which these subject positions complicate British Muslim women’s cultural self-fashioning and our understanding of hybridity. The original contribution of this gendered Islamic critique of hybridity is twofold: first of all, it shows that hybridity is not the only model of migrant identity formation. With reference to the value and belief system of Muslim cultures, the dissertation introduces competing Islamic epistemes of cultural self-fashioning. Secondly, it shows that, where hybridity is the preferred cultural choice of British Muslim women, their various female hybridities are the product of gendered reworkings and appropriations of male-centred postcolonial and Islamic paradigms.
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Steadman, Jennifer Bernhardt. "Traveling economies : American women's travel writing /." Columbus : the Ohio state university press, 2007. http://catalogue.bnf.fr/ark:/12148/cb410936852.
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Voaden, Rosalynn. "God's words, women's voices : discretio spirituum in the writing of late-medieval women visionaries." Thesis, University of York, 1994. http://etheses.whiterose.ac.uk/4279/.
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Barzilai-Lumbroso, Ruth. "Turkish men, Ottoman women popular Turkish historians and the writing of Ottoman women's history /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1481675031&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Krummel, Sharon A. "Women's movement : the politics of migration in contemporary women's writing." Thesis, University of Sussex, 2004. http://sro.sussex.ac.uk/id/eprint/2486/.
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This thesis focuses on fiction and poetry written by women who have migrated from former British colonies in the Caribbean, Africa and South Asia, to Britain or North America; it explores how issues of race, gender, sexuality, belonging and power are raised through the writings‘ accounts of migration, displacement and changing identity. The thesis stresses the importance of these writings in addressing key issues in feminist politics and in women‘s lives, and in making significant contributions to these debates. It argues that women‘s migration, and literary accounts of migration, are important to feminism, as is feminism to understanding migration. Key texts include Nervous Conditions by Tsitsi Dangarembga; The Unbelonging, by Joan Riley; Lucy, by Jamaica Kincaid; and No Language is Neutral, by Dionne Brand. I also draw on a number of other novels, poems and anthologies of migrant women‘s writings. The diversity of the texts by migrant women that form the basis of the thesis has shaped my understanding of the issues they raise; the breadth and variety of the writing calls for a wide range of critical approaches in order that the writing is, as far as possible, illuminated rather than constrained by any one critical model. I am committed throughout the thesis to a feminist approach which incorporates an attention to women‘s activism along with 'the theoretical'; and which takes seriously the personal/emotional implications both of the kinds of imbalances of power which many migrant women explore and resist in their writings, and of feminist theorising and practice. The thesis consists of six chapters, the middle four of which are organised into two pairs. I begin the thesis with a chapter looking at accounts of women‘s decisions and journeys of migration, and the personal, political and historical contexts in which their migration takes place. Chapters Two and Three, which are paired under the title 'Women and Place', examine the impact of migrant women‘s changing relationships with place, before and after migration, on their sense of home, belonging and identity. In Chapters Four and Five, I move on to address the significance of these writings in terms of feminist politics and contemporary debates about identity, difference and racism. I have paired the chapters under the common title 'Literary Activism' in order to highlight connections between reading, writing and political activism. In conclusion, the thesis looks at representations of women‘s emotional and bodily experiences of the liberatory and/or oppressive aspects of their migrations. It addresses the possibilities –or impossibilities—of migrant women living with, coming to terms with, and resisting their oppressions, both personally and politically. This final chapter brings together, and takes further, various issues addressed throughout the thesis, in terms of writers‘ portrayals of both the effects of migration on women‘s sense of themselves, and of their explorations and responses to the impact of migration.
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Murphy, Maria Christine. "Parts of Women." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2748/.
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Parts of Women contains a scholarly preface that discusses the woman's body both in fiction and in the experience of being a woman writer. The preface is followed by five original short stories. "Parts of Women" is a three-part story composed of three first-person monologues. "Controlled Burn" involves a woman anthropologist who discovers asbestos in her office. "Tango Lessons" is about a middle-aged woman who's always in search of her true self. "Expatriates" concerns a man who enters the lives of his Hare Krishna neighbors, and "Rio" involves a word-struck man in his attempt to form a personal relationship.
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Sumner, Karen E. "Whiteness and women's writing in the Caribbean." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0025/NQ32329.pdf.
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