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Dissertations / Theses on the topic 'Women novelists'

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Published: 4 June 2021

Last updated: 29 July 2024

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1

Spriggs, Bianca L. "Women of the Apocalypse: Afrospeculative Feminist Novelists." UKnowledge, 2017. http://uknowledge.uky.edu/english_etds/56.

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“Women of the Apocalypse: Feminist Afrospeculative Writers,” seeks to address the problematic ‘Exodus narrative,’ a convention that has helped shape Black American liberation politics dating back to the writings of Phyllis Wheatley. Novels by Zora Neale Hurston, Octavia Butler, and Alice Walker undermine and complicate this narrative by challenging the trope of a single charismatic male leader who leads an entire race to a utopic promised land. For these writers, the Exodus narrative is unsustainable for a number of reasons, not the least of which is because there is no room for women to operate outside of the role of supportive wives. The mode of speculative fiction is well suited to crafting counter-narratives to Exodus mythology because of its ability to place marginalized voices in the center from the stance of ‘What next?’ My project is a hybrid in that I combine critical theory with original poems. The prose section of each chapter contextualizes a novel and its author with regard to Exodus mythology. However, because novels can only reveal so much about character development, I identify spaces to engage and elaborate upon the conversation incited by these authors’ feminist protagonists. In the tradition of Black American poets such as, Ai, Patricia Smith, Rita Dove, and Tyehimba Jess, in my own personal creative work, I regularly engage historical figures through recovering the narratives of underrepresented voices. To write in persona or limited omniscient, spotlighting an event where the reader possesses incomplete information surrounding a character’s experience, the result becomes a kind of call-and-response interaction with these novels.

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2

Mothersole, Brenda. "Female philanthropy and women novelists of 1840-1870." Thesis, Brunel University, 1989. http://bura.brunel.ac.uk/handle/2438/4389.

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Many women writers between 1840 and 1870 were producing a particular form of social or "social protest" novel which is identified here as a "philanthropic novel", a form distinguishable in content and tone from social novels written by men of the same period. The philanthropic novel is a work which has as its main protagonist a philanthropic heroine who is modelled - perhaps more covertly than overtly but significantly so - on the great revolutionary female philanthropists and social campaigners of the day, such as Elizabeth Fry, Florence Nightingale and Josephine Butler. Despite the social and economic constraints imposed on women, the middle years of the nineteenth century saw an unprecedented upsurge of both women novelists and women philanthropists. A high proportion of women writers, including Elizabeth Gaskell and Charlotte Yonge, were philanthropists themselves; others, like Charlotte Bronte and George Eliot, admired the activities of eminent women philanthropists. Although, the majority of women novelists lacked the wider experience of politics, the law and commerce which was available to male writers, they now had available to them this new experience of philanthropy to draw upon for their novels. Notably, philanthropic heroines created by male authors, such as Charles Dickens, Benjamin Disraeli and Charles Kingsley, were more commonly depicted along conventional stereotyped lines as "ministering angels" : the male authors were less inclined to rely on actual women philanthropists as models even though they were personally acquainted with many of these revolutionary women. This analytical and psychological enquiry into the social history and novels of the period, reveals that the philanthropic novel not only played a crucial part in the developing literary tradition of women; it also led to a new, freer consciousness for women which assisted in a reappraisal of themselves and their worth to the wider community.

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3

Kickham, Lisbet. "Protestant women novelists and Irish society, 1879-1922 /." Lund : Lund university, 2004. http://catalogue.bnf.fr/ark:/12148/cb41128080m.

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4

González, María Carmen. "Toward a feminist identity : contemporary Mexican-American women novelists /." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu148769438939502.

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5

Mamelouk, Douja. "Redirecting al-nazar contemporary Tunisian women novelists return the gaze /." Connect to Electronic Thesis (ProQuest) Connect to Electronic Thesis (CONTENTdm), 2010. http://worldcat.org/oclc/649823780/viewonline.

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6

Harsh, Mary Anne. "From muse to militant francophone women novelists and surrealist aesthetics /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1199254932.

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7

Prescott, Sarah Helen. "Feminist literary history and British women novelists of the 1720s." Thesis, University of Exeter, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361324.

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8

Rivers, Bronwyn Anne. "Mid-nineteenth-century women novelists and the question of women's work." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365499.

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9

Stephan, Megan A. "Monstrous likenesses : British women novelists and the 'femme fatale' figure, 1847-97." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399463.

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10

Margrave, Christie L. "Women and nature in the works of French female novelists, 1789-1815." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/6391.

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On account of their supposed link to nature, women in post-revolutionary France were pigeonholed into a very restrictive sphere that centred around domesticity and submission to their male counterparts. Yet this thesis shows how a number of women writers – Cottin, Genlis, Krüdener, Souza and Staël – re-appropriate nature in order to reclaim the voice denied to them and to their sex by the society in which they lived. The five chapters of this thesis are structured to follow a number of critical junctures in the life of an adult woman: marriage, authorship, motherhood, madness and mortality. The opening sections to each chapter show why these areas of life generated particular problems for women at this time. Then, through in-depth analysis of primary texts, the chapters function in two ways. They examine how female novelists craft natural landscapes to expose and comment on the problems male-dominant society causes women to experience in France at this time. In addition, they show how female novelists employ descriptions of nature to highlight women's responses to the pain and frustration that social issues provoke for them. Scholars have thus far overlooked the natural settings within the works of female novelists of the late eighteenth and early nineteenth centuries. Yet, a re-evaluation of these natural settings, as suggested by this thesis, brings a new dimension to our appreciation of the works of these women writers and of their position as critics of contemporary society. Ultimately, an escape into nature on the part of female protagonists in these novels becomes the means by which their creators confront the everyday reality faced by women in the turbulent socio-historical era which followed the Revolution.

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11

Chaplin, Joyce. "Mrs. Oliphant and Victorian moral philosophy : a view of social morality." Thesis, University of Reading, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369569.

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12

Godsland, Shelley. "Writing reflection, reflection on writing : Lacan's mirror stage and female self-construction in Helena Parente Cunha and Sylvia Molloy." Thesis, University of Liverpool, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364206.

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13

Ribadeneira, Alegría D. "Esferas trizadas la guerra y el género en seis escritoras del mundo hispanohablante /." [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0013560.

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14

Riddell, Aileen M. "At the verge of their proper sphere : early nineteenth century Scottish women novelists." Thesis, University of Glasgow, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.241736.

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15

Alsharekh, Alanoud. "Angry words softly spoken : a comparative study of English and Arab women novelists." Thesis, SOAS, University of London, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405657.

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16

Nicol, Rhonda M. Harris Charles B. "The spaces between feminism and postmodernism in contemporary women's fiction /." Normal, Ill. Illinois State University, 2004. http://wwwlib.umi.com/cr/ilstu/fullcit?p3196671.

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Thesis (Ph. D.)--Illinois State University, 2004.
Title from title page screen, viewed May 23, 2006. Dissertation Committee: Charles Harris (chair), Christopher Breu, Janice Neuleib. Includes bibliographical references (leaves 151-163) and abstract. Also available in print.

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17

Alatawi, Ahmed Saleem. "The Representation of Social Hierarchy in Saudi Women Novelists’ Discourse Between 2004 and 2015." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149857309025208.

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18

Howard, James Joseph. "The English novel's cradle the theatre and the women novelists of the long eighteenth century /." Diss., [Riverside, Calif.] : University of California, Riverside, 2010. http://proquest.umi.com/pqdweb?index=0&did=2019834031&SrchMode=2&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1274465922&clientId=48051.

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Thesis (Ph. D.)--University of California, Riverside, 2010.
Includes abstract. Available via ProQuest Digital Dissertations. Title from first page of PDF file (viewed May 21, 2010). Includes bibliographical references. Also issued in print.

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19

Baldwin, Ruth Margaret Anne. "Redeeming flesh : portrayals of women and sexuality in the work of four contemporary Catholic novelists." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0019/NQ46315.pdf.

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20

Agorni, Mirella. "Translating Italy for the eighteenth century : British women novelists, translators and travel writers 1739-1797." Thesis, University of Warwick, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287087.

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21

Ibinga, Stephane Serge. "The representation of women in the works of three South African novelists of the transition." Thesis, Stellenbosch: University of Stellenbosch, 2007. http://hdl.handle.net/10019.1/1100.

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Thesis (DLitt (English))--University of Stellenbosch, 2007.
The dissertation focuses on literary representation of female characters in selected novels by three particular South African writers working within the transitional phase (from the formal ending of apartheid up to the present) of South African history. By means of textual analysis, the study investigates how the representation of numerous female characters in these texts reflects on and reflects the sector of South African society that forms the social setting of each text. This thesis explores the portrayal of female characters in selected fictional works by examining the ways in which the novelists Mandla Langa, Zakes Mda (both of them black and male writers) and Nadine Gordimer (a white and female novelist) characterise women in novels depicting this adapting society. In scrutinising these texts of the transition period, the thesis writer employs detailed individual delineation of female characters, to some extent by means of a comparative approach, with emphasis on parallels between as well as differences among the abovementioned authors’ ways of describing South African women’s circumstances and responses to their social predicaments. In this study literary representations of women are examined in order to evaluate the effects of social and cultural transformation in post-apartheid South Africa. This is done by analysing these authors’ portrayals of women’s circumstances both in the private and public spheres. The thesis therefore contributes to the movement towards a greater recognition of women’s crucial, catalytic function in the achievement of social development and delineates these authors’ expressed awareness of many women’s actual direct involvement in the struggle against all forms of discrimination in society. This research project has been undertaken as an opportunity to investigate the different qualities and types of conduct attributed to female characters in ten selected novels of the transition, on the assumption that the texts reflect something of the way women are perceived and are playing new roles in a changing society. In studying how three significant ‘post-apartheid’ authors depict women affecting and affected by the social conditions of this period, the thesis traces the way the focus of more recent South African writing has shifted from an apartheid-era preoccupation with racial-political issues towards the depiction of private and public, rural and urban social and gender roles available to some contemporary South African women – and of those factors still constraining some other women. Taking in these authors’ portrayals of female political activism and leadership, the thesis also balances previous preoccupation (in South African English literature) with depictions of male political activity.

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22

Wood, Lisa. ""Vehicles" of "sound doctrine"? anti-revolutionary novels by women, 1793-1815 /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0007/NQ39317.pdf.

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23

Curlin, Jane Renee. "Writing women feminine self-figuration in the work of Elizabeth Gaskell /." Access abstract and link to full text, 1990. http://0-wwwlib.umi.com.library.utulsa.edu/dissertations/fullcit/9318169.

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24

Cole, Jean Lee. "Winnifred Eaton : guided by voices /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004241.

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25

Anim-Addo, Joan Lilian. "Breaking the silence : first-wave Anglophone African-Caribbean women novelists and dynamics of history, language and publication." Thesis, Goldsmiths College (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368878.

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26

Hayhurst, Lauren Amy. "Fictive responsibility : why all novelists are political writers (whether they like it or not)." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/33196.

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This PhD is part novel and part thesis. The novel, The Girl Upstairs (TGU), is in three parts. Parts one and two are included here in full. A synopsis of part three is included in the appendices. The thesis presents an original “action model” for Creative Writing (CW) called “fictive responsibility”. TGU can be treated as a case study, demonstrating the practical application of this new model. TGU follows a Bengali-Muslim family as they confront the wayward behaviour of Kifah Rahman, a feisty sixteen-year-old. Set somewhere in south-west England, Kifah’s misadventures start when she discovers an envelope discarded in a drawer. The address is her mother’s childhood home across the city, but she’s never heard of the addressee, Zubi Rahman. Kifah sneaks off school to investigate. Kifah’s clandestine visits incite rumours and soon Kifah is accused of tarnishing the family’s reputation. TGU confronts the difficult subjects of “honour”-based-violence (HBV), domestic violence and “crimes-of-passion”. By exploring different types of violence-against-women (VAW), TGU shows how perceived differences in, for example, “culture”, religion, or heritage, rather than dividing us, can present new ways to connect across moral values or lifestyles, ultimately promoting togetherness and empathy between different cultures. The thesis explores how the “political” relates to “literature” through the writer’s creative process, suggesting that all novelists are inherently politicised individuals and fictions are produced through an inherently politicised process. The significance of this is undermined by those who claim fiction writers just “make it up”. Failing to recognise the “politics of representation” that operates alongside invention in CW has contributed to the recent exacerbation around “cultural appropriation”. For some writers this presents a threat to “free” expression. For others, “free” expression must be treated with respect, especially when fictionalising characters that appear external to the writer’s own experience. Theoretical and conceptual analysis is drawn from cultural studies, ethnography, literary criticism and philosophy. Case studies include fictions with Muslim female characters in a post-9/11 setting. In addition to literary analysis, the thesis explores how “authenticity” interacts with an author’s perceived affiliation with characters or themes within the fiction.

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27

Gardarsdóttir, Hólmfrídur. "At the end of a millennium : the Argentinean novel written by women /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3036598.

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28

Philo-Gill, Samantha Adele. "Novelists and women in WW1: challenging traditional binarisms: a critical essay, and, The half painted war: an original novel." Thesis, Brunel University, 2013. http://bura.brunel.ac.uk/handle/2438/9245.

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Academic study of women and WW1 literature has taken place since the 1970s, with a focus on female novelists published pre-1939. Despite the variety of studies, questions remain as to whether the breadth of women’s roles in WW1 is accurately represented in fiction. The purpose of this study was to examine female characters in WW1 novels (published in Britain) who challenge traditional war binarisms i.e. war (male)/peace (female), by taking on war work. It specifically compared novels published pre-1939 and historical (post-1939) novels written by both female and male novelists. The methods employed were the critical reading of forty novels, as well as data collection related to the roles of female characters and the language used to describe them. he study found that there is little representation of women’s war work in the forty novels. A key factor is that they are by middle class authors and written from a middle class point of view. Although historical novels are often used to re-imagine the role of women, WW1 is an exception. Key factors here include the perpetuation of stereotype and nervousness around detracting from the horrific experiences of the male soldier. Challenges to binarisms in subsequent wars (e.g. women in the armed services) have not stimulated a re-visioning of women’s roles in WW1. Society will continue to accept and endorse traditional binarisms, if they are not challenged by cultural representations of war. There is no novel based on the female military experience of WW1. In response, I was inspired to write a historical novel: The Half-Painted War. The protagonist is a female artist who enrols in the Women’s Army Auxiliary Corps (WAAC). It is intended as an act of remembrance but also allows the reader to consider the role of women in the military, both in WW1 and today.

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29

Taylor, Anthea School of English UNSW. "Stones, ripples, waves: refiguring The first stone media event." Awarded by:University of New South Wales. School of English, 2005. http://handle.unsw.edu.au/1959.4/22506.

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This interdisciplinary study critically revisits the Australian print media???s engagement with Helen Garner???s controversial work of ???non-fiction???, The First Stone (1995). Print news media engagement with the book, marked by intense discursive contestation over feminism, has been constituted both by feminists and other critics as a significant cultural signpost. However, the highly visible print media event following the book???s publication raised a plethora of critical questions and dilemmas that remain unsatisfactorily addressed. Building upon John Fiske???s work on media events as sites of maximum visibility and discursive turbulence (Fiske: 1996), this study re-theorises the public dialogue following The First Stone???s publication in terms of four constitutive elements: narrative, celebrity, audience, and history and conflict. Through an analysis of these four diverse yet interconnected aspects of the media event, I create a critical space not only for its limitations to emerge but also the frequently overlooked possibilities it offers in terms of the wider feminism and print media culture relationship. As part of its central aim to refigure The First Stone media event, this thesis argues against prior characterisations of the debate as constitutive of either a monologic articulation of conservative, antifeminist voices or an unmitigated attack on its author by a homogenous feminism. In particular, I use this media event as indicative of the sophistication and complexity of media engagement with contemporary feminism, despite both continued derision and overly simplistic celebration of this relationship. Texts subject to analysis here include: The First Stone, various ???mainstream??? media representations and self-representations of three ???celebrity feminists??? (Helen Garner, Anne Summers and Jenna Mead), letters to the editor of newspapers and magazines, ???popular??? feminist books by Kathy Bail and Virginia Trioli, and a number of media texts in which those claiming a feminist subject position and those sympathetic to feminism act as either news sources or columnists/commentators. Although Garner???s narrative is throughout identified to be deeply problematic, I argue that the media event it precipitated provides valuable insights into both the opportunities and the constraints of the print media-feminism nexus in 1990s Australia.

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30

Ivey, Adriane Louise. "Rewriting Christianity : African American women writers and the Bible /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9987234.

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Thesis (Ph. D.)--University of Oregon, 2000.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 211-216). Also available for download via the World Wide Web; free to University of Oregon users.

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31

Thomas, Elizabeth Ann. "Appropriation, subversion and separatism : the strategies of three New Zealand women novelists : Jane Mander, Robin Hyde and Sylvia Ashton-Warner." Thesis, University of Canterbury. School of Humanities, 1990. http://hdl.handle.net/10092/2022.

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In this thesis I propose to examine the relationship between three New Zealand woman novelists, Jane Mander, Robin Hyde and Sylvia Ashton-Warner, and the literary and social structures which prevailed in New Zealand at the time when each writer produced her works. My analysis is based on the contemporary feminist literary theory and criticism which highlights the importance of studying women writers' interaction with the cultural system and the literary differences which arise from the difference in gender. I begin with an outline of the feminist literary theories which have shaped my approach. Then I deal with each of my subjects in succession. In respect of each, I outline the social circumstances, in particular the prevailing ideologies pertaining to women's roles. This is followed by discussion of the literary circumstances, once again with special attention to the position of women writers. The analysis of the texts which follows focusses on three main areas, namely the response of each to the patriarchal dominance of society, to the constructs of female identity imposed by society and to the norms of the dominant literary tradition. The conclusions I reach are that these writers adopt three main strategies in their texts in reaction to the social and literary contexts, namely appropriation, subversion and separatism.

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32

O’Neill, Patrick Nathaniel. "Paul Solanges : soldier, industrialist, translator : a biographical study and critical edition of his correspondence with Antonio Fogazzaro and Henry Handel Richardson." Monash University. Faculty of Arts. School of Languages, Cultures and Linguistics, 2007. http://arrow.monash.edu.au/hdl/1959.1/53105.

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Paul Solanges was one of the most prolific (in correspondence) and enthusiastic fans of Australian author Henry Handel Richardson (HHR). What was it about him that made HHR invest so much time in his translation of her novel, and to what extent can credence be given to the self-portrait in his letters? This thesis reveals his illegitimate royal background, considers his early career as a cavalry officer in North Africa and in the Franco-Prussian War, and describes his long career as manager of the gasworks in Milan. It also portrays in detail his other life as a translator of songs, short stories and operas from Italian to French. Finally, it compares his relationship with Italian novelist Antonio Fogazzaro to his relationship with HHR. A critical edition of Solanges’s correspondence with Fogazzaro and HHR offers the reader a privileged insight into the life and character of this Franco-Italian littérateur.

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33

Garay, Collcutt Evelina. "Women Writers on a Wartime Liminal Voyage: A Critical Study of the Changing face of Blitzed London through the Eyes of Five Novelists." Doctoral thesis, Universidad de Alicante, 2018. http://hdl.handle.net/10045/91716.

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Esta tesis tiene una doble funcionalidad. Por una parte desea rescatar la obra literaria de varias mujeres autoras de la época y por otra parte destacar la permeabilidad de los espacios privados y públicos así como otros espacios limítrofes durante la guerra. Se pretende demostrar que el estudio de estos espacios liminales dentro de una literatura olvidada nos aporta nuevos datos y un conocimiento más amplio sobre la situación de la mujer durante la guerra en la ciudad de Londres, así como el alcance de su emancipación durante la contienda.

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34

Joubert, Lucie 1957. "L' ironie dans la prose fictionnelle des femmes du Québec: 1960-1980." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=41624.

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This thesis explores the various manifestations of irony in prose-fiction by women in Quebec from 1960 to 1980. Traditionally used by men, irony is gradually becoming more widespread in women's writing, which in itself is an interesting reversal: more often "objects" of irony, women now reverse the rules of the game and become ironizing "subjects". The first part of the thesis investigates explicit irony; that is, irony which is duly identified and already decoded for the reader; for example, the author might emphasize an ironic fate or destiny for her characters, or might invest a character with an attitude, a smile, or remarks that are ironic. Explicit irony most often appears in works published during the first decade of our corpus; use of this form of irony constitutes a critical initial phase in women's writing because it enabled women authors to learn about the resources of irony and employ them in their work.
Explicit irony, therefore, operates within the text and requires minimal competence in the reader for its decoding; the decoding of the text will play a central role in implicit irony, which will be focus of part two of the thesis. Implicit irony manifests itself in the text in three principal forms: rhetorical, structural, and chromosomic. Rhetorical irony emerges from knowledge of the language and requires the reader to identify occurrences of antiphrases, innuendoes, metaphors, and other types of word-games in the text; structural irony depends upon the inner-workings of the text and demands an aptitude for discerning instances of parody, structural paradox, or intertextuality; that form of irony which we have named chromosomic requires a specific decoding that is effected in function of the author's feminine gender.
Following part two, which highlights the reader's role in the process of interpreting irony, the third and final part reveals the principal targets of irony in these women's writings. This tableau of "victims" completes our study by identifying the types of persons, institutions, or ideas that provoke the criticism of women writers. Such a broad range of types, comprising the clergy, education, the family, and foreigners, among others, tends to point toward a common denominator: Power. The authors scrutinize power relationships in all their forms; inspired by their "collective destiny", that persists, even today, in excluding them from positions of decision-making, women now propose a different vision of the world. Irony in the feminine permits an original reading of their struggle and their demands.

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35

McFarland, Michele. "The intellectual life of Catherine Helen Spence." Thesis, University of Ballarat, 2004. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/60437.

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This thesis will argue that Catherine Helen Spence, a writer, preacher and reformer who migrated from Scotland to Australia in 1839, performed the role of a public intellectual in Australia similar to that played by a number of women of letters in Victorian England. While her ideas were strongly influenced by important British and European nineteenth-century intellectual figures and movements, as well as by Enlightenment thought, her work also reflects the different socio-political, historical and cultural environment of Australia. These connections and influences can be seen in her engagement with what were some of the "big ideas" of the nineteenth century, including feminism, socialism, religious scepticism, utopianism and the value of progress. In arguing that Spence was a public intellectual, I will consider the ways in which she used the literary genres of fiction and journalism, as well as her sermons, to try to help her fellow citizens make sense of the world, attempting to organise and articulate some of the significant ideas affecting the political, social and cultural climates in which they lived. Through the exploration of Spence's intellectual work, I will show how she can be regarded as making a significant contribution to nineteenth-century Australian intellectual life, one that has been under-recognised and under-valued.
Doctor of Philosophy

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36

Dredge, Sarah. "Accommodating feminism : Victorian fiction and the nineteenth-century women's movement." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36917.

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The research field of this thesis is framed by the major political and legal women's movement campaigns from the 1840s to the 1870s: the debates over the Married Women's Property Act; over philanthropy and methods of addressing social ills; the campaign for professional opportunities for women, and the arguments surrounding women's suffrage. I address how these issues are considered and contextualised in major works of Victorian fiction: Anne Bronte's The Tenant of Wildfell Hall (1848), Elizabeth Gaskell's North and South (1855), Charlotte Bronte's Villette (1853), and George Eliot's Middlemarch (1871--2).
In works of fiction by women, concepts of social justice were not constrained by layers of legal abstraction and the obligatory political vocabulary of "disinterest." Contemporary fiction by women could thus offer some of the most developed articulations of women's changing expectations. This thesis demonstrates that the Victorian novel provides a distinct synthesis of, and contribution to, arguments grouped under the rubric of the "woman question." The novel offers a perspective on feminist politics in which conflicting social interests and demands can be played out, where ethical questions meet everyday life, and human relations have philosophical weight. Given women's traditional exclusion from the domain of legitimate (authoritative) speech, the novels of Gaskell, the Bronte's, and Eliot, traditionally admired for their portrayal of moral character, play a special role in giving voice to the key political issues of women's rights, entitlements, and interests. Evidence for the political content and efficacy of these novels is drawn from archival sources which have been little used in literary studies (including unpublished materials), as well as contemporary periodicals. Central among these is the English Woman's Journal. Conceived as the mouthpiece of the early women's movement, the journal offers a valuable record of the feminist activity of the period. Though it has not been widely exploited, particularly in literary studies, detailed study of the journal reveals close parallels between the ideological commitments and concerns of the women's movement and novels by mid-Victorian women.

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Bailey, Jillian. "The Dangerous Women of the Long Eighteenth Century: Exploring the Female Characters in Love in Excess, Roxana, and A Simple Story." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3583.

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The Long Eighteenth Century was a period in which change was constant and proceeding the Restoration Era; this sense of change continued throughout the era. Charles II created an era in which women were allowed on the theatre stage, and his mistresses accompanied him to court; Charles II set the stage for the proto-feminist ideas of the eighteenth century that would manifest themselves in Eliza Haywood’s Love in Excess, Daniel Defoe’s Roxana, and Elizabeth Inchbald’s A Simple Story. These novels showcase the enlightenment of women and some of their male contemporaries and the beginning struggles of female agency. The eighteenth century was a time in which the separate sphere mentality grew ever stronger within the patriarchal society, and yet, women began to question their subservient place in this society—although this struggle would continue to intensify throughout the nineteenth century and eventually come to fruition in the late nineteenth century.

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38

Kinnison, Dana K. "Defiant landscapes : space and subjectivity in early twentieth-century women's farm novels /." free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9904853.

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39

Francis, Diana Pharaoh. "Models to the universe : Victorian hegemony and the construction of feminine identity." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1159142.

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Parker, Cynthia Ann. "The malaise of patriarchy : Spanish women's voices in the realist novel /." free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9840025.

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41

Khan, Scheherazade. "Weathering Challenges to the Separate Sphere Ideology: The Persistence of Convention in Victorian Novels, 1850-1901." Thesis, Université d'Ottawa / University of Ottawa, 2021. http://hdl.handle.net/10393/42671.

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The separate sphere ideology, dominant but never hegemonic in Victorian Britain, dictated that women’s natural vocation was to be wives and mothers. Between the years 1850 to 1901, the surplus woman problem and a nascent feminist movement challenged the separate sphere ideology. It was also reinforced by imperialist ideologies that held the British family as a sign of Britain’s superiority, and eugenics which placed great importance on heterosexual marriage and reproduction. How did novelists, especially women novelists, respond to the challenges against the separate sphere ideology? How did they depict unconventional women such as surplus women, women who behaved in transgressive ways, feminist women, lesbians, and women who were in interracial relationships? The conventional narrative stressed the importance of marriage, and unconventional characters either reformed themselves or met tragic fates. This remained consistent throughout the second half of the 19th century. At mid-century, unconventional women were the ones who rejected marriage, had an affair, etc. As women began to gain rights in education, work, and civic rights, the temptations that drew middle class women away from conventional life shifted to wanting to work or becoming feminists. Novels also depicted alien others, such as lesbians and non-white people, as menaces and threats to conventional marriage. Acceptable unconventionalities were limited: it was acceptable for women to be unconventional if they were exceptional or they broke one convention but upheld another, such as motherhood. At the end of the century, New Women novelists and other novelists that sympathetically depicted unconventional women critiqued the separate sphere ideology, but were overwhelmingly pessimistic about the possibility that women could escape convention.

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Young, Katie Elizabeth. "More than "Wisteria and Sunshine": The Garden as a Space of Female Introspection and Identity in Elizabeth von Arnim's The Enchanted April and Vera." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/3033.

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Recent scholarly interest in Elizabeth von Arnim has related Elizabeth and Her German Garden and The Solitary Summer to the New Woman and Female Aesthete movements, concluding that von Arnim does not align herself with any movement per se. Rather, in these early works, Elizabeth advocates and adamantly defends her right to time in her garden, which becomes her sanctuary for reading and thinking. Little critical attention has been paid to von Arnim's later works; however, many of the themes established in von Arnim's early works can be traced through her later novels. In The Enchanted April Lady Caroline retreats to the garden at San Salvatore in order to escape the attention of others and discover who she really is and what she wants out of life. Because she follows the early von Arnim model by defending her garden sanctuary, she is able to find the strength to insist on being treated as a person rather than a beautiful object. Additionally, Lucy Enstwhistle's interrupted time in the garden in Vera demonstrates the importance of the role of von Arnim's garden in forming an identity and developing the ability to make decisions for oneself. Because Lucy allows Everard Wemyss to rob her of these opportunities, she loses the opportunity to create her identity. She soon becomes the second Mrs. Wemyss, realizes that she is abject, and begins taking on first wife Vera's attributes and passions to cope with Everard's constant demands. Because Lucy has forfeited the formative experiences the garden space can provide, Lucy is left to take up Vera's identity and tragic fate.

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Kashou, Hanan Hussam. "War and Exile In Contemporary Iraqi Women’s Novels." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1386038139.

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44

Götting, Elena Rebekka. "Challenging maleness : the new woman's attempts to reconstruct the binary code." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6612.

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This thesis explores the construction of masculinity in novels written by New Women authors between the years 1881-1899. The fin de siècle was a period during which gender roles were renegotiated with fervour by both male and female authors, but it was the so-called New Woman in particular who was trying to transform the Victorian notion of femininity to incorporate the demands of the burgeoning women's movement. This thesis argues that in their fiction, New Women authors often tried to achieve this transformation by creating male characters who were designed to justify and to mitigate the New Woman protagonist's departure from traditional structures of heterosexual relationships. The methodology underlying this thesis is the notion that men and women were perceived as binary opposites during the Victorian period. I refer to this as the binary code of the sexes. This code assumes that men and women naturally possess diametrically opposed character attributes, and also that “masculine” attributes are perforce better than “feminine” ones. In the body of this work, I argue that New Women authors attempted to contest both of these assumptions by creating, on the one hand, traditional male characters whose masculinity is corrupted in crucial and recurring ways, and on the other, impaired male characters who cannot assume the traditional role of man. The comparison of the New Woman protagonist with the corrupt traditional man elevates her feminine attributes, while the impaired man's dependency legitimises her acquisition of what were otherwise considered “masculine” attributes and privileges, thereby contesting the notion that men and women possess sex-specific attributes at all. The second part of my thesis examines contrasting examples, in which this way of characterising masculinity – as traditional or impaired – is questioned and manipulated. It examines the limitations of the New Women authors' specific approach to reconstructing the binary code.

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Randall, Jennifer. "Fractures de l'histoire post-Partition dans les romans féminins issus du sous-continent indien." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080145.

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La Partition de l’Inde (1947) et la Guerre de libération du Bangladesh (1971) sont deux moments de transition qui exposent la violence de constructions nationales post-coloniales. Les actes perpétrés sur une base ethno-religieuse ont donné lieu à des récits privés pourtant occultés au profit de récits nationaux hégémoniques auto-légitimants. Ces récits attestent tout particulièrement de l’instrumentalisation de figures et de corps de femmes comme lieu de marquage de conflits communautaires. Face au silence imposé par les divers appareils d’État patriarcaux, trois générations de romancières ont cherché à renverser les récits hégémoniques en Inde, au Pakistan et au Bangladesh, par le biais d’une fiction romanesque caractérisée par son incoercibilité et son engagement féministe. Leur écriture de fiction répond à la violence de la fracture de l’Histoire par une poétique de la fragmentation, dont le tout dresse un portrait obscène, monstrueux et carnavalesque de la formation d’États-nations contemporains. Cette écriture romanesque, qu’elle soit sous-continentale ou diasporique, résiste à toute forme de frontières (idéologiques, littéraires, commerciales, etc.), et se consolide par sa prise de position à la fois complexe et engagée. La poétique de fragmentation est amenée par des phénomènes linguistiques, littéraires, sociologiques et politiques. Ce corpus se compose de romans couvrant l’ensemble de la deuxième moitié du XXe siècle, publiés (chronologiquement) par Jyotirmoyee Devi, Anis Kidwai, Mumtaz Shah Nawaz, Attia Hosain, Amrita Pritam, Sophia Mustafa, Bapsi Sidhwa, Anita Rau Badami , Shauna Singh Baldwin Meena Arora Nayak, Sorayya Khan, Kamila Shamsie et Tahmima Anam
The Partition of India (1947) and the Bangladesh Liberation War (1971) are two transitory moments which reveal the violence of post-colonial nation-building. The acts performed upon an ethno-religious basis have given rise to many private stories, themselves stifled by self-legitimating national master narratives. These stories particularly highlight the instrumentalisation of the idea and the bodies of women in carrying out communal conflict. Three generations of women novelists have sought to break the silence imposed by patriarchal State apparatuses and religious radicalism. They turn to the impetuousness of the literary genre of the novel in order to thwart Indian, Pakistani and Bangladeshi master narratives. As such they write back to the violent fracture of History, through a poetics of the fragment, and together draw an obscene, monstrous and carnival-like portrait of contemporary Nation-States. Such novels, whether sub-continental or diasporic, resist all forms of borders (whether ideological, literary, commercial, etc.), driven instead by their commitment to contradiction. The fragmentation which defines them is all at once linguistic, literary, sociological and political. Our study comprises novels written (chronologically) by Jyotirmoyee Devi, Anis Kidwai, Mumtaz Shah Nawaz, Attia Hosain, Amrita Pritam, Sophia Mustafa, Bapsi Sidhwa, Anita Rau Badami , Shauna Singh Baldwin Meena Arora Nayak, Sorayya Khan, Kamila Shamsie and Tahmima Anam

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46

Randall, Jennifer. "Fractures de l'histoire post-Partition dans les romans féminins issus du sous-continent indien." Electronic Thesis or Diss., Paris 8, 2015. http://www.theses.fr/2015PA080145.

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La Partition de l’Inde (1947) et la Guerre de libération du Bangladesh (1971) sont deux moments de transition qui exposent la violence de constructions nationales post-coloniales. Les actes perpétrés sur une base ethno-religieuse ont donné lieu à des récits privés pourtant occultés au profit de récits nationaux hégémoniques auto-légitimants. Ces récits attestent tout particulièrement de l’instrumentalisation de figures et de corps de femmes comme lieu de marquage de conflits communautaires. Face au silence imposé par les divers appareils d’État patriarcaux, trois générations de romancières ont cherché à renverser les récits hégémoniques en Inde, au Pakistan et au Bangladesh, par le biais d’une fiction romanesque caractérisée par son incoercibilité et son engagement féministe. Leur écriture de fiction répond à la violence de la fracture de l’Histoire par une poétique de la fragmentation, dont le tout dresse un portrait obscène, monstrueux et carnavalesque de la formation d’États-nations contemporains. Cette écriture romanesque, qu’elle soit sous-continentale ou diasporique, résiste à toute forme de frontières (idéologiques, littéraires, commerciales, etc.), et se consolide par sa prise de position à la fois complexe et engagée. La poétique de fragmentation est amenée par des phénomènes linguistiques, littéraires, sociologiques et politiques. Ce corpus se compose de romans couvrant l’ensemble de la deuxième moitié du XXe siècle, publiés (chronologiquement) par Jyotirmoyee Devi, Anis Kidwai, Mumtaz Shah Nawaz, Attia Hosain, Amrita Pritam, Sophia Mustafa, Bapsi Sidhwa, Anita Rau Badami , Shauna Singh Baldwin Meena Arora Nayak, Sorayya Khan, Kamila Shamsie et Tahmima Anam
The Partition of India (1947) and the Bangladesh Liberation War (1971) are two transitory moments which reveal the violence of post-colonial nation-building. The acts performed upon an ethno-religious basis have given rise to many private stories, themselves stifled by self-legitimating national master narratives. These stories particularly highlight the instrumentalisation of the idea and the bodies of women in carrying out communal conflict. Three generations of women novelists have sought to break the silence imposed by patriarchal State apparatuses and religious radicalism. They turn to the impetuousness of the literary genre of the novel in order to thwart Indian, Pakistani and Bangladeshi master narratives. As such they write back to the violent fracture of History, through a poetics of the fragment, and together draw an obscene, monstrous and carnival-like portrait of contemporary Nation-States. Such novels, whether sub-continental or diasporic, resist all forms of borders (whether ideological, literary, commercial, etc.), driven instead by their commitment to contradiction. The fragmentation which defines them is all at once linguistic, literary, sociological and political. Our study comprises novels written (chronologically) by Jyotirmoyee Devi, Anis Kidwai, Mumtaz Shah Nawaz, Attia Hosain, Amrita Pritam, Sophia Mustafa, Bapsi Sidhwa, Anita Rau Badami , Shauna Singh Baldwin Meena Arora Nayak, Sorayya Khan, Kamila Shamsie and Tahmima Anam

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47

Forsyth, Michael. "Julia Kavanagh in her times : novelist and biographer, 1824-1877." Thesis, n.p, 1999. http://oro.open.ac.ukk/18817/.

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48

Morrissey, Colleen. "Struck: The Victorian Female Novelist and Male Pain." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524145187359308.

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49

Bell, Alan Nigel. "The male novelist and the 'woman question' George Meredith's presentation of his Heroines in The Egoist (1879) and Diana of the Crossways (1885)." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002245.

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Focusing on four early works, then three from his middle period and three from the 1890s, this dissertation explores Meredith’s role as a novelist in the unfolding of a social and literary paradox, namely, that with the death of George Eliot in 1880, the dominant writers of fiction were male, and this remained the case until the advent of Virginia Woolf, while at the same time the woman’s movement for emancipation in all spheres of life—domestic, commercial, professional and political—was gathering in strength and conviction. None of the late nineteenth-century male novelists—James, Hardy, Moore and Gissing, as well as Meredith—was ideologically committed to the feminist cause; in fact the very term ‘feminist’ did not begin to become current in England until the mid-1890s. But they were all interested in one aspect or another of the ‘Woman Question’, even if James was ambivalent about female emancipation, and Gissing, on the whole, was somewhat hostile. Of all these novelists, it was Meredith whose work, especially in its last two decades, most copiously reveals a profound sympathy for women and their struggles to realize their desires and ambitions, both inside and outside the home, in a patriarchal world. The dissertation therefore concentrates on his presentation of his heroines in their relationships with the men who, in one way or another, dominate them, and with whom they must negotiate, within the social and sexual conventions of the time, a modus vivendi—a procedure that will entail, especially in the later work, some transgression of those conventions. Chapter 1 sketches more than two centuries of development in female consciousness of severe social disadvantage, from literary observations in the mid-seventeenth century to the intensifying of political representations in the writings of Mary Wollstonecraft, and the rise of the woman’s movement in the course of the Victorian century. The chapter includes an account of the impact on Meredith of John Stuart Mill’s The Subjection of Women (1869), and an examination of some of his female friendships by way of illuminating the experiential component of his insights into the ‘Woman Question’ as reflected in his fiction and letters. His unhappy first marriage is reserved for consideration in Chapter 2, as background to the discussion of The Ordeal of Richard Feverel (1859). This early novel, Meredith’s first in the realist mode, is widely accepted as being of high quality, and is given extended treatment, together with briefer accounts of three other early works, The Shaving of Shagpat (1855), Evan Harrington (1861), and Rhoda Fleming (1865), and one from Meredith’s middle period, Beauchamp’s Career (1876). Two more novels of this period, The Egoist (1879) and Diana of the Crossways (1885), are generally considered to be among his best works, and their heroines are given chapters to themselves (3 and 4). Chapter 5 provides further contextualization for the changing socio-political circumstances of the 1880s and 1890s, with particular reference to that heightening of feminist consciousness represented by the short-lived ‘New Woman’ phenomenon, to which Diana of the Crossways had been considered by some to be a contribution. Brief discussion of some other ‘New Woman’ novels of the 80s and 90s follows, giving literary context to the heroines of Meredith’s three late candidates in the genre, One of Our Conquerors (1891), Lord Ormont and His Aminta (1894), and The Amazing Marriage (1895). The dissertation concludes with a glance at Meredith’s influence on a few early twentieth-century novelists.

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Hernan, Rachael. "An Alternative Woman: Breaking From the Binary Options of Sir Walter Scott's Heroines and Their Successors in Historical Fiction." Cleveland State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=csu1599610638064843.

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