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1
Briggs, Marlene Anne. "The Great War and British fiction by women, 1917-1925". Thesis, University of Ottawa (Canada), 1993. http://hdl.handle.net/10393/6667.
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This study of British women writers of the Great War highlights the connections between literature and social history in the first quarter of the twentieth century. An examination of The Tree of Heaven (1917), The Return of the Soldier (1918), The Crowded Street (1924), and Mrs. Dalloway (1925) will reveal the manner in which male and female gender roles were subject to acute interrogation in wartime and post-war British society. Chapter 1 surveys literary and cultural scholarship on the Great War in order to emphasize the failure of gender-specific narratives of social change to address the complex dynamics of gender conflict which characterized the period. Chapter 2 investigates the non-combatant communities of women created through the gender-segregation of the War, revealing that the constructions of feminism in The Tree of Heaven and The Crowded Street are contextualized within their appropriation of military models for female collectivity and interaction. Chapter 3 focuses on the relationships between non-combatant women and shell-shocked veterans in The Return of the Soldier and Mrs. Dalloway, illustrating that the male and female subjects of these texts are constructed in terms of their mutual subjection to the discursive institutions of the State in wartime and post-war society. All four texts provide both Modernism and feminism with a compelling, if contradictory, dimension which needs to be recovered.
2
Emanuel, Elizabeth Frances. "Writing the oriental woman : an examination of the representation of Japanese women in contemporary Australian crime fiction". Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/64475/1/Elizabeth_Emanuel_Exegesis.pdf.
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This study considers the challenges in representing women from other cultures in the crime fiction genre. The study is presented in two parts; an exegesis and a creative practice component consisting of a full length crime fiction novel, Batafurai. The exegesis examines the historical period of a section of the novel—post-war Japan—and how the area of research known as Occupation Studies provides an insight into the conditions of women during this period. The exegesis also examines selected postcolonial theory and its exposition of representations of the 'other' as a western construct designed to serve Eurocentric ends. The genre of crime fiction is reviewed, also, to determine how characters purportedly representing Oriental cultures are constricted by established stereotypes. Two case studies are examined to investigate whether these stereotypes are still apparent in contemporary Australian crime fiction. Finally, I discuss my own novel, Batafurai, to review how I represented people of Asian background, and whether my attempts to resist stereotype were successful.
My conclusion illustrates how novels written in the crime fiction genre are reliant on strategies that are action-focused, rather than character-based, and thus often use easily recognizable types to quickly establish frameworks for their stories. As a sub-set of popular fiction, crime fiction has a tendency to replicate rather than challenge established stereotypes. Where it does challenge stereotypes, it reflects a territory that popular culture has already visited, such as the 'female', 'black' or 'gay' detective. Crime fiction also has, as one of its central concerns, an interest in examining and reinforcing the notion of societal order. It repeatedly demonstrates that crime either does not pay or should not pay. One of the ways it does this is to contrast what is 'good', known and understood with what is 'bad', unknown, foreign or beyond our normal comprehension. In western culture, the east has traditionally been employed as the site of difference, and has been constantly used as a setting of contrast, excitement or fear. Crime fiction conforms to this pattern, using the east to add a richness and depth to what otherwise might become a 'dry' tale. However, when used in such a way, what is variously eastern, 'other' or Oriental can never be paramount, always falling to secondary side of the binary opposites (good/evil, known/unknown, redeemed/doomed) at work.
In an age of globalisation, the challenge for contemporary writers of popular fiction is to be responsive to an audience that demands respect for all cultures. Writers must demonstrate that they are sensitive to such concerns and can skillfully manage the tensions caused by the need to deliver work that operates within the parameters of the genre, and the desire to avoid offence to any cultural or ethnic group. In my work, my strategy to manage these tensions has been to create a back-story for my characters of Asian background, developing them above mere genre types, and to situate them with credibility in time and place through appropriate historical research.
3
Saeger, J'Leen Manning. "The recuperation of historic memory recognizing suppressed female voices from the Spanish Civil War and Francoist repression /". Diss., [Riverside, Calif.] : University of California, Riverside, 2009. http://proquest.umi.com/pqdweb?index=1&did=1957395191&SrchMode=2&sid=12&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1270050392&clientId=48051.
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Thesis (Ph. D.)--University of California, Riverside, 2009.Includes abstract. Title from first page of PDF file (viewed March 31, 2010). Available via ProQuest Digital Dissertations. Includes bibliographical references (p. 267-283). Also issued in print.
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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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Wallace, Diana J. "Sisters and rivals : the theme of female rivalry in novels by women, 1914-1939". Thesis, Loughborough University, 1997. https://dspace.lboro.ac.uk/2134/10952.
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This thesis will explore representations of female rivalry in novels by women between 1914 and 1939. It will focus especially on women writers' reversal of the 'erotic triangle' paradigm theorised by Rem\ Girard (1961) and Eve Kosofsky Sedgwick (1985). By using a female-male-female triangle these women novelists are able to examine the conflict between women's primary bonds to other women and their desire for the sexual fulfilment and social/economic status offered by a relationship with a man. The first chapter will offer an historical overview and reasons for a particular interest in this theme during this period. Chapter Two will compare the models of female rivalry which can be drawn from the work of Freud (of key importance in the inter-war period) and Luce Irigaray, from studies of blood sister relationships, and from a Bakhtinian model of subjectivity constructed through dialogue. Both chapters will include brief analyses of novels. The central chapters will use these models of female rivalry to offer detailed analyses of texts by five women writers: May Sinclair, Rebecca West, Vera Brittain, Winifred Holtby and Rosamond Lehmann. The chapter on May Sinclair explores her use of psychoanalysis to problematise the motif of self-sacrifice in Victorian women's novels - the woman who sacrifices her own desires in order to cede the man she loves to her friend or sister. The chapter on Rebecca West looks at her use of her sisters as models for her female characters, and at her exploration of relations between women who are brought together only by their relation to the man they both love. The following two chapters will offer an extended analysis of the friendship between Vera Brittain and Winifred Holtby and their intertextual rivalry over the meaning of their friendship and female friendship in general. The chapter on Rosamond Lehmann explores her valorisation of sister relationships and her examination Of the romance plot and the way that it constructs women as rivals. Finally, the conclusion will focus on a reading of Lehmann's retrospective The Echoing Grove (1953), which fuses the figures of the rival and the sister. It will argue for the need for a model of female rivalry which can encompass the tension generated by the simultaneous and competing positions occupied by women as rival commodities within a 'male economy' and as 'sisters' within a 'female economy'. I will suggest that we need new plots and narratives which can encompass rivalry between women which is not over a man. We also need to consider the possibility that some kinds of rivalry between women can, ironically, be both positive and energising.
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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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De, Wet Michelle. "Fiction en tant qu histoire: une etude de l evolution des roles de la femme dans le vingtieme siecle dans le roman La Poussiere des Corons par Marie-Paul Armand". Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/d1008392.
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Georges Duby and Michelle Perrot’s work, Histoire des femmes en Occident, Antoine Prost and Gérard Vincent’s work A History of Private Life as well as Chantal Antier’s work Les Femmes dans la Grande Guerre and Carol Mann’s work Femmes dans la Guerre, show that women have been largely ignored in the annals written about the twentieth century. This period was one marked by two World Wars, which had an enormous impact on women, especially in terms of their roles in society. These events resulted in women moving from the home to the world of work. These writers acknowledge that women in the twentieth century were mostly excluded from history. In contrast to others who have written about this time, these writers consider women and their roles in society and how these roles have changed as a consequence of the historical events of the time. Marie-Paul Armand was a popular writer of French fiction. At first glance her novels seem to be enjoyable historical, romantic fiction for readers who enjoy sentimental love stories. However on closer examination one can see that she rigorously researched the period in which her novels are set. These novels reconstitute the reality of women’s lives during the twentieth century. In her first award-winning novel La poussière des corons, Armand depicted the life of her main character, Madeleine, through the various stages of a woman’s life from her birth at the turn of the century, early childhood, adolescence during the First World War until old age in the 1960s. This novel mirrors the life of a woman in working class French mining society from the beginning of the twentieth century until the fifties and sixties when Western women underwent an unprecedented metamorphosis of their role. These novels would appeal to a wider readership than works by Historians with the same subject matter.
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Cooper, Valerie Y. "The crying of the blood : a collection of short stories". Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1337191.
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The Crying of the Blood is a collection of short stories with the two characters Mariah and Mary, born one hundred years apart, who deal with the challenges of life dealt them. Through descriptive language and the strong presence of place and setting, the author explores the under-girding strength of human nature in dealing with the external and internal pressures of the various forms of war and its aftermath. By examining the effects of the human condition through inherited and acquired traits passed to succeeding descendents of the characters, the author exposes the foibles of human nature. People live a specific way and repeat patterns of thinking and choosing without knowing why or stopping to consider the ensuing results of their actions. The collection of stories reveals the dark shadows of the Civil War that continue to shape the Southern culture and also the enduring strength and charm of the people and their traditions.This collection of stories is a work of fiction. Names, characters, places, and incidents are either a figment of the author's imagination or used in a fictitious manner. Resemblances to actual people, settings, and events are purely coincidental.Department of English
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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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Park, Sowon S. "Fiction and politics in the suffragette era". Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365634.
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Dudas, Timea <1990>. "The Representation of Women in British First World War Propaganda and Fiction: Identities of women in Non-Combatants and Others by Rose Macaulay and Testament of Youth by Vera Brittain". Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/9116.
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In recent years, the revolution in communication and mass media had a significant impact on war operations. However, many don’t realize that the history of propaganda goes way back to the First World War staging the first organized official propaganda campaign to shape public opinion. In my thesis I intend to discuss the events and beliefs that led to the outbreak of the war, to the extensive use of propaganda and most importantly the representation of women reflected in propaganda. In the second chapter I will attempt to define war motivation and focus on the meaning and the operation of propaganda based on the theories of Walter Lippmann and Harold Lasswell, as well as the different propaganda techniques and their functions, while I will mediate upon the importance of feminism and gender identity during the First World War. Analyzing articles from The War on Land and Water and various propaganda posters I will examine how the propaganda agencies used the different techniques to manipulate the masses with regards to portraying women, while drawing upon Rose Macaulay’s Noncombatants and Others and Vera Brittain’s Testament of Youth as my major source, I will delineate the various representations of women. Finally, I will argue that during the First World War the representations of women in fiction mirror the various stereotypes that were reinforced by propaganda, although the idea of the “new woman” is introduced.
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McQuain, Kelly. "Cheat River". ScholarWorks@UNO, 2007. http://scholarworks.uno.edu/td/1065.
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Cheat River is a novel about balancing family obligations against self-preservation. That is what's at stake for Allison and Andrew McKenna, a pair of siblings in rural Appalachia who must endure their father's abandonment and their pregnant mother's breakdown. At first, the two find solace from their parents' problems on the banks of the river from which the novel takes its name. But eventually, Andrew's homosexual feelings drive him to the bohemian streets of Philadelphia in the early '90s where he falls in with political activists and a household of misfits. He disappears, and Allison comes to the city to look for him. By retracing her brother's life, she realizes not only what he meant to her but what it will take to survive on her own.
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Martin, Tamra Artelia. "The fates of Clytemnestra and Cassandra". Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1302.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
English
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Hale, Frederick. "Literary challenges to the heroic myth of the Voortrekkers : H.P. Lamont's War, wine and women and Stuart Cloete's Turning wheels". Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52325.
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Thesis (PhD)--University of Stellenbosch, 2001.ENGLISH ABSTRACT: This dissertation is an interdisciplinary study of various historical novels which dealt to a greater or lesser degree with the Great Trek and were written between the 1840s and the 1930s in Dutch, Afrikaans and English but with particular emphasis on H.P. Lamont's War, Wine and Women and Stuart Cloete's Turning Wheels (1937). The analysis of all these fictional reconstructions focuses on the portrayal of the Voortrekkers found in them. Much attention is also paid to the historical contexts in which the two principal works in question were written and the great controversies which they occasioned because both of their authors had had the temerity to challenge the long-established myth of the heroic Voortrekkers, one of the holiest of the iconic cows in the barns of their Afrikaner descendants. Chapter I, "Introduction", is a statement of the purpose of the study, its place in the context of analyses of the history of Afrikaner nationalism, its structure and the sources on which it is based. Chapter II, "The Unfolding of the Myth of the Heroic Voortrekkers", traces its evolution from the 1830s to the 1930s and explores how both English-speaking South Africans and Afrikaners, especially Gustav PrelIer, purposefully contributed to it. Also highlighted in this chapter is the significance of the Great Trek Centenary and the events leading up to it in the middle and late 1930s in intensifying Afrikaner nationalism. Chapter III, "The Heroic Myth in Early Dutch and Afrikaans Novels about the Great Trek", considers especially how these works were used as vehicles for placing before Afrikaners the historic virtues of their ancestors both to provide models for emulation and to stimulate their ethnic pride. Chapter IV, "Sympathetic English Reconstructions of the Great Trek", deals with two novels, Eugenie de Kalb's Far Enough and Francis Brett Young's They Seek a Country, both of which reproduced the heroic myth to some extent. Chapter V, "Rendezvous with Disaster? The South Africa in Which Lamont Wrote War, Wine and Women" establishes the context of intensifying Afrikaner nationalism which this immigrant from the United Kingdom encountered in the late 1920s when he accepted a lectureship at the University of Pretoria and why this context was hostile to a novel which was critical of Afrikanerdom. Chapter VI, "Wa1~ Wine and Women: Its General Context and Commentary on South Africa" explores how this work, conceived as a "war book" dealing with the 1914-1918 conflict in Europe, depicted both Englishmen and Afrikaners negatively. Chapter VII, "Academic Freedom vs. Afrikaner Nationalism: The Consequential Strife over War, Wine and Women" deals with the hostile reception of Lamont's pseudonymously published novel, the physical assault on him and his dismissal from his lectureship at the University of Pretoria. Chapter VIII, "The Rhetoric of Revenge in Lamont's Halcyon Days in Africa", explores how the author, after relurning lo England, used his pen as a weapon for striking back al his Afrikaans foes in South Africa. Chapter IX, "Stuart Cloete's Portrayal of the Voortrekkers in Turning U'heels", focuses on the portrayal of various ethnic types in his gallery of characters. Chapter X, "The Con troversy over Turning U'heels", handles the hostile and apparently orchestrated reaction to Cloete's book and how it was eventually banned. Chapter XI, "Conclusion: Quod Eral Demonstrandum", summarises several thematic findings which a detailed examination of the novels in their historical context yields.
AFRIKAANSE OPSOMMING: Hierdie verhandeling is 'n interdissiplinêre studie van verskeie historiese romans waarin daar in 'n mindere ofmeerdere mate op die Groot Trek gefokus word en wat geskryfis tussen die 1840's en die 1930's in Nederlands, Afrikaans en Engels, maar met die klem op H. P. Lamont se War, Wine and Wamen en Stuart Cloete se Turning Wheels (1937) in die besonder. Die analise van al hierdie fiktiewe rekonstruksies fokus op die uitbeelding van die Voortrekkers daarin. Daar word ook in die besonder aandag gegee aan die historiese kontekste waarbinne hierdie twee hoofwerke geskryfis en die groot polemiek daarrondom, omdat beide outeurs die vermetelheid gehad het om die lank reeds gevestigde mite van die heldhaftige Voortrekkers, een van die heiligste ikoniese koeie in die skure van die Afrikanernageslagte, uit te daag. Hoofstuk I, "Introduction", stel die doel van die studie, waar dit staan in die konteks van analises van die geskiedenis van Afrikanernasionalisme, die skruktuur en die bronne waarop dit gebaseer is. Hoofstuk II, "The Unfolding of the Myth of the Herioc Voortrekkers", volg die evolusie van Afrikanernasionalisme van die 1830's tot die 1930's en ondersoek op beide Engelssprekende Suid-Afrikaners en Afrikaners, veral Gustav Preller, doelgerig hiertoe bygedra het. In hierdie hoofstuk word daar ook beklemtoon hoe betekenisvol die honderdjarige herdenking van die Groot Trek en die gebeure wat daartoe aanleiding gegee het gedurende die middel- en laat 1930's, bygedra het tot die versterking van Afrikanernasionalisme. Hoofstuk III, "The Heroic Myth in Early Dutch and Afrikaans Novels about the Great Trek", bespreek veral hoe hierdie werke gebruik is om aan Afrikaners die historiese deugsaamheid van hulle voorvaders voor te hou en wat as voorbeelde moet dien wat nagestreef moet word en om hulle etniese trots te stimuleer. Hoofstuk IV, "Sympathetic English Reconstructions of the Great Trek", bespreek twee romans, Far Enough van Eugenie de Kalb en TheySeek a Country van Francis Brett Young, wat altwee die heroïse mite in 'n sekere mate herproduseer. Hoofstuk V, "Rendezvous with Disaster? The South Africa in Which Lamont Wrote War, Wine and Women" vestig die konteks van groeiende Afrikanernasionalisme wat hierdie immigrant van die Verenigde Koninkryk in die laat 1920's teëgekom het toe hy 'n lektoraat aan die Universiteit van Pretoria aanvaar het, en hoekom hierdie konteks vyandiggesind was teenoor 'n roman wat krities was teenoor die Afrikanerdom. Hoofstuk VI, "Wa1~ Wine and Women: Its General Context and Commentary on South Africa" ondersoek hoe hierdie werk, beskou as 'n "oorlogsboek" wat handeloor die 1914-1918 konflik in Europa, beide die Engelse en die Afrikaners in 'n negatiewe lig gestel het. Hoofstuk VII, "Academic Freedom vs. Afrikaner Nationalism: The Consequential Strife over War, Wine and Women" skenk aandag aan die vyandige ontvangs van Lamont se roman (gepubliseer onder 'n skuilnaam), die fisieke aanval op hom en sy ontslag as lektor van die Universiteit van Pretoria. Hoofstuk VIII, "The Rhetoric of Revenge in Lamont's Halcyon Days inAfrica", ondersoekhoe die outeur, na hy na Engeland teruggekeer het, sy pen as wapen gebruik het in 'n teenaanval op sy Afrikaanse vyande in Suid-Afrika. Hoofstuk IX, "Stuart Cloete's Portrayal of the Voortrekkers in Turning Wheels", fokus op die uitbeelding van verskeie etniese tipes in sy gallery karakters. Hoofstuk X, "The Controversy over Tumng Wheels", bespreek die vyandige en klaarblyklike georkestreerde reaksie op Cloete se boek, en hoe dit uiteindelik verban is. Hoofstuk XI, "Conclusion: Quod Era! Demonstrandum", bied 'n opsomming van verskei tematiese bevindinge aan, wat deur 'n gedetaileerde ondersoek van die romans opgelewer is.
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Buchberger, Michelle Philips. "Metafiction, historiography, and mythopoeia in the novels of John Fowles". Thesis, Brunel University, 2009. http://bura.brunel.ac.uk/handle/2438/6558.
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This thesis concerns the novelist John Fowles and analyses his seven novels in the order in which they were written. The study reveals an emergent artistic trajectory, which has been variously categorized by literary critics as postmodern. However, I suggest that Fowles's work is more complex and significant than such a reductive and simplistic label would suggest. Specifically, this study argues that Fowles's work contributes to the reinvigoration of the novel form by a radical extension of the modernist project of the literary avant-garde, interrogating various conventions associated with both literary realism and the realism of the literary modernists while still managing to evade a subjective realism. Of particular interest to the study is Fowles's treatment of his female characters, which evolves over time, indicative of an emergent quasi-feminism. This study counters the claims of many contemporary literary critics that Fowles's work cannot be reconciled with any feminist ideology. Specifically, I highlight the increasing centrality of Fowles's female characters in his novels, accompanied by a growing focus on the mysterious and the uncanny. Fowles's work increasingly associates mystery with creativity, femininity, and the mythic, suggests that mystery is essential for growth and change, both in society and in the novel form itself, and implies that women, rather than men, are naturally predisposed to embrace it. Fowles's novels reflect a worldview that challenges an over-reliance on the empirical and rational to the exclusion of the mysterious and the intuitive. I suggest that Fowles's novels evince an increasingly mythopoeic realism, constantly testing the limits of what can be apprehended and articulated in language, striving towards a realism that is universal and transcendent.
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Piep, Karsten H. "Embattled Homefronts: Politics and Representation in American World War I Novels". Miami University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=miami1109634736.
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Kato, Megumi Humanities & Social Sciences Australian Defence Force Academy UNSW. "Representations of Japan and Japanese people in Australian literature". Awarded by:University of New South Wales - Australian Defence Force Academy. School of Humanities and Social Sciences, 2005. http://handle.unsw.edu.au/1959.4/38718.
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This thesis is a broadly chronological study of representations of Japan and the Japanese in Australian novels, stories and memoirs from the late nineteenth century to the twenty-first century. Adopting Edward Said???s Orientalist notion of the `Other???, it attempts to elaborate patterns in which Australian authors describe and evaluate the Japanese. As well as examining these patterns of representation, this thesis outlines the course of their development and change over the years, how they relate to the context in which they occur, and how they contribute to the formation of wider Australian views on Japan and the Japanese. The thesis considers the role of certain Australian authors in formulating images and ideas of the Japanese ???Other???. These authors, ranging from fiction writers to journalists, scholars and war memoirists, act as observers, interpreters, translators, and sometimes ???traitors??? in their cross-cultural interactions. The thesis includes work from within and outside ???mainstream??? writings, thus expanding the contexts of Australian literary history. The major ???periods??? of Australian literature discussed in this thesis include: the 1880s to World War II; the Pacific War; the post-war period; and the multicultural period (1980s to 2000). While a comprehensive examination of available literature reveals the powerful and continuing influence of the Pacific War, images of ???the stranger???, ???the enemy??? and later ???the ally??? or ???partner??? are shown to vary according to authors, situations and wider international relations. This thesis also examines gender issues, which are often brought into sharp relief in cross-cultural representations. While typical East-West power-relationships are reflected in gender relations, more complex approaches are also taken by some authors. This thesis argues that, while certain patterns recur, such as versions of the ???Cho-Cho-San??? or ???Madame Butterfly??? story, Japan-related works have given some Australian authors, especially women, opportunities to reveal more ???liberated??? viewpoints than seemed possible in their own cultural context. As the first extensive study of Japan in Australian literary consciousness, this thesis brings to the surface many neglected texts. It shows a pattern of changing interests and interactions between two nations whose economic interactions have usually been explored more deeply than their literary and cultural relations.
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Piep, Karsten H. "Embattled homefronts politics and representation in American World War I novels /". Oxford, Ohio : Miami University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1109634736.
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Bindslev, Anne M. "Mrs. Humphry Ward a study in late-Victorian feminine consciousness and creative expression /". Doctoral thesis, Stockholm, Sweden : Almqvist & Wiksell International, 1985. http://books.google.com/books?id=l3ZbAAAAMAAJ.
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Milquet, Sophie. "Ecrire le traumatisme : mémoire féminine dans les fictions sur la guerre civile espagnole : représentations, formes, enjeux (1975-2010)". Thesis, Rennes 2, 2013. http://www.theses.fr/2013REN20022.
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La présente étude porte sur l'expression de la mémoire féminine dans les fictions traitant de la guerre civile espagnole(1936-1939) et du franquisme. Elle s’intéresse plus particulièrement aux oeuvres publiées depuis la fin de la dictature (1975) jusqu’en 2010, en français (Agustin Gomez-Arcos et Mercedes Deambrosis) et en espagnol (Dulce Chacón, Carme Riera, Josefina Aldecoa, Jesús Ferrero, Marifé Santiago Bolaños et Ángeles Caso).Nous nous attachons d’abord à l’étude globale des représentations des expériences féminines de la guerre et de la répression. Dans l’écriture des violences subies comme dans celle des luttes et résistances, la double dimension politique et de genre émerge. L’analyse se resserre ensuite sur les représentations du traumatisme, entre manifestations pathologiques et tentatives de ritualisation. Nous montrons à cet égard comment le récit peut assumer une fonctionrituelle.La « poétique du traumatisme » mise au jour dans le corpus d’étude qualifie des réalisations formelles diverses, rassemblées en trois ensembles, correspondant à autant de lieux possibles d’ancrage du traumatisme : le rapport générationnel, le corps et la voix. Une attention spéciale est accordée à la figure de la victime. Des phénomènes tels que la répétition et la délinéarisation, apparaissant à divers niveaux du récit, éclairent le rapport que les fictions entretiennent avec le passé ainsi que leurs positions éthiques et politiques dans le présent de la démocratieThe current study explores the expression of women’s memory in literary works dealing with the Spanish Civil War (1936-1939) and Francoism. It focuses on the fictional narratives published between the end of the dictatorship (1975) and 2010, in French (Agustin Gomez-Arcos and Mercedes Deambrosis) and Spanish (Dulce Chacón Carme Riera, Josefina Aldecoa, Jesús Ferrero, Marifé Santiago Bolaños and Ángeles Caso).The thesis first conducts a global analysis on the representations of women’s experiences of war and repression. In thewriting of violence, struggle and resistance, the double political and gendered dimension emerges. The research focuses subsequently on the trauma representations, between pathological manifestations and ritual attempts, and shows how narrative can assume a ritual function.The « poetics of trauma » characterises various formal realisations, divided into three groups. Each of them embodies a possible space for the inscription of trauma : the generational link, the body and the voice. Special attention is given to the figure of the victim. Phenomena such as repetition and delinearisation, that appear at various levels, clarify the relationship that fictional narratives build with the past as well as their ethical and political positions in the democracy
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Milquet, Sophie. "Ecrire le traumatisme: mémoire féminine dans les fictions sur la guerre civile espagnole :représentations, formes, enjeux, 1975-2011". Doctoral thesis, Universite Libre de Bruxelles, 2013. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209501.
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La présente étude porte sur l'expression de la mémoire féminine dans les fictions traitant de la guerre civile espagnole (1936-1939) et du franquisme. Elle s’intéresse plus particulièrement aux œuvres publiées depuis la fin de la dictature (1975) jusqu’en 2010, en français (Agustin Gomez-Arcos et Mercedes Deambrosis) et en espagnol (Dulce Chacón, Carme Riera, Josefina Aldecoa, Jesús Ferrero, Marifé Santiago Bolaños et Ángeles Caso). Nous nous attachons d’abord à l’étude globale des représentations des expériences féminines de la guerre et de la répression. Dans l’écriture des violences subies comme dans celle des luttes et résistances, la double dimension politique et de genre émerge. L’analyse se resserre ensuite sur les représentations du traumatisme, entre manifestations pathologiques et tentatives de ritualisation. Nous montrons à cet égard comment le récit peut assumer une fonction rituelle.
La « poétique du traumatisme » mise au jour dans le corpus d’étude qualifie des réalisations formelles diverses, rassemblées en trois ensembles, correspondant à autant de lieux possibles d’ancrage du traumatisme :le rapport générationnel, le corps et la voix. Une attention spéciale est accordée à la figure de la victime. Des phénomènes tels que la répétition et la délinéarisation, apparaissant à divers niveaux du récit, éclairent le rapport que les fictions entretiennent avec le passé ainsi que leurs positions éthiques et politiques dans le présent de la démocratie.
The current study explores the expression of women’s memory in literary works dealing with the Spanish Civil War (1936-1939) and Francoism. It focuses on the fictional narratives published between the end of the dictatorship (1975) and 2010, in French (Agustin Gomez-Arcos and Mercedes Deambrosis) and Spanish (Dulce Chacón Carme Riera, Josefina Aldecoa, Jesús Ferrero, Marifé Santiago Bolaños and Ángeles Caso).
The thesis first conducts a global analysis on the representations of women’s experiences of war and repression. In the writing of violence, struggle and resistance, the double political and gendered dimension emerges. The research focuses subsequently on the trauma representations, between pathological manifestations and ritual attempts, and shows how narrative can assume a ritual function.
The « poetics of trauma » characterises various formal realisations, divided into three groups. Each of them embodies a possible space for the inscription of trauma :the generational link, the body and the voice. Special attention is given to the figure of the victim. Phenomena such as repetition and delinearisation, that appear at various levels, clarify the relationship that fictional narratives build with the past as well as their ethical and political positions in the democracy.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
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Volz, Jessica A. "Vision, fiction and depiction : the forms and functions of visuality in the novels of Jane Austen, Ann Radcliffe, Maria Edgeworth and Fanny Burney". Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/4438.
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There are many factors that contributed to the proliferation of visual codes, metaphors and references to the gendered gaze in women's fiction of the late-eighteenth and early-nineteenth centuries. This thesis argues that the visual details in women's novels published between 1778 and 1815 are more significant than scholars have previously acknowledged. My analysis of the oeuvres of Jane Austen, Ann Radcliffe, Maria Edgeworth and Fanny Burney shows that visuality — the nexus between the verbal and visual communication — provided them with a language within language capable of circumventing the cultural strictures on female expression in a way that allowed for concealed resistance. It conveyed the actual ways in which women ‘should' see and appear in a society in which the reputation was image-based. My analysis journeys through physiognomic, psychological, theatrical and codified forms of visuality to highlight the multiplicity of its functions. I engage with scholarly critiques drawn from literature, art, optics, psychology, philosophy and anthropology to assert visuality's multidisciplinary influences and diplomatic potential. I show that in fiction and in actuality, women had to negotiate four scopic forces that determined their ‘looks' and manners of looking: the impartial spectator, the male gaze, the public eye and the disenfranchised female gaze. In a society dominated by ‘frustrated utterance,' penetrating gazes and the perpetual threat of misinterpretation, women novelists used references to the visible and the invisible to comment on emotions, socio-economic conditions and patriarchal abuses. This thesis thus offers new insights into verbal economy by reassessing expression and perception from an unconventional point-of-view.
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Abdullah, Angham. "Contemporary Iraqi women's fiction of war". Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/11414/.
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In this thesis I examine selected works by contemporary Iraqi women novelists written during three periods of wars: the Iraq-Iran War (1980-1988), the First Gulf War (1990-1991) and the US-led invasion and occupation of Iraq in 2003. I argue that the unceasing chain of wars portrayed in the open-ended narratives I analyze unsettles mainstream conceptions of women as victims at the home front and men as brave fighters at the battle front. Instead women are constructed as survivors, working to preserve the memory of Iraq and its history, gesturing towards a possible rebirth of Baghdad. The stories the writers provide entail a testimonial account where a record of historical happenings is presented to the reader in fictional form. My thesis has five chapters: an introduction, three analysis chapters and a conclusion. In each analysis chapter, I examine two narratives from each of the three war periods. For this I draw on Caruth’s, Freud’s, Felman’s and Laub’s and LaCapra’s trauma theories, on Ann Whitehead’s ideas about the way trauma is narrated in fiction and on Ikram Maṣmudi’s treatment of the Derridean concept of the unexperienced experience of death. My research constructs a link between the three stages of war in Iraq and addresses the ramifications of these periods for the work of Iraqi women writers. This research enables an understanding of the historical referentiality of fiction, of the way gender roles are challenged and war is construed and resisted from a female perspective.
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Diniz, Maria Zenóbia. "Love and war in Hemingway's fiction". reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/handle/123456789/106129.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Florianópolis, 1980.Made available in DSpace on 2013-12-05T19:21:19Z (GMT). No. of bitstreams: 1 321904.pdf: 2947793 bytes, checksum: bc860ea614dbeb642f73025a5d7a8a1a (MD5)
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Patterson, Celia Ann. "On the edge of the war zone American women's fiction and World War I /". Access abstract and link to full text, 1990. http://0-wwwlib.umi.com.library.utulsa.edu/dissertations/fullcit/9022958.
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Hoops, Janet Lynn. "Women in Rohinton Mistry's fiction". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0005/MQ46285.pdf.
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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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Boyle, Brenda Marie. "Prisoners of war formations of masculinities in Vietnam war fiction and film /". Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1060873937.
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Light, Alison. "Forever England : femininity, literature, and conservatism between the wars /". London ; New York : Routledge, 1991. http://www.loc.gov/catdir/enhancements/fy0648/91000587-d.html.
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Gonçalves, Adriana de Souza Jordão. "Silenced women in Joan Rileys fiction". Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=2337.
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Conselho Nacional de Desenvolvimento Científico e TecnológicoEsta dissertação busca analisar como Joan Riley, escritora jamaicana que vive na Inglaterra, expõe e denuncia em suas obras a submissão feminina diante da opressão e violência sexual sofridas por mulheres negras. Objetivamos apontar a crítica ao papel dos discursos patriarcal e pós-colonial, práticas de poder que tornam o contexto social das mulheres representadas em seus romances propício para o exercício do jugo masculino, através da exploração do silêncio de mulheres vítimas de abusos sexuais. O necessário recorte do objeto restringiu a análise às duas personagens centrais dos romances The Unbelonging (1985) e A Kindness to the Children (1992), mulheres cujas subjetividades foram anuladas pela objetificação de seus corpos e a desumanização de suas identidades
The present work aims at analyzing how Joan Riley, Jamaican writer who lives in England, exposes and denounces in her work the female submission in face of the oppression and sexual violence suffered by black women. The objective of the study is to point out the authors criticism of patriarchal and post-colonial discourses, power practices which insert the women represented in her fiction into the proper social context for the exercise of male domination, through her exploration of silence of women who are victims of sexual abuse. The necessary cut of the object restricted the analysis to the two central characters in the novels The Unbelonging (1985) and A Kindness to the Children (1992), women whose subjectivities were made null by the objectification of their bodies and the dehumanization of their identities
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Gallagher, Ron. "Science fiction and language : language and the imagination in post-war science fiction". Thesis, University of Warwick, 1986. http://wrap.warwick.ac.uk/90798/.
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This study examines the claims for a privileged status for the language of science fiction. The analysis of a series of invented languages, including 'nadsat', 'newspeak' and 'Babel-17', establishes that beneath these constructions lie deep-seated misconceptions about how language works. It is shown that the various theories of language, implicitly or explicitly expressed by writers and critics concerned with invented languages and neologism in science fiction, embody a mistaken view about the relation between language and the imagination. Chapter two demonstrates, with particular reference to the treatment of time and mind, that the themes on which science fiction most likes to dwell, reflect very closely the concerns of philosophy, and as such, are particularly amenable to the analytical methods of linguistic philosophy. This approach shows that what science fiction 'imagines' often turns out to be a product of the deceptive qualities of the grammar of language itself. The paradoxes of a pseudo-philosophical nature, in which science fiction invariably finds itself entangled, are particularly well exemplified in the work of Philip K. Dick. Chapter Three suggests that by exploiting the logically impossible, by making a virtue of the tricks and conventions which have become science fiction's stigmata (time-travel, telepathy, etc.), Dick indicates a means of overcoming the genre's current problems concerning form and seriousness. In conclusion it is demonstrated through the work of J. G. Ballard, that any attempt to throw off science fiction's 'pulp' conventions is likely to lead the genre further into the literary wilderness.
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Reeves, Kate. "Laughter and madness in post-war American fiction". Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/4521/.
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Two philosophical positions seem evident in post-war American fiction: one realist, one anti-realist. Using the terms 'revelation' and 'apocalypse' to reflect the former, and 'entropy' the latter, this thesis proposes that distinctions between the two can be made by analysis of a text's treatment of the nexus between laughter and madness. After an Overview that identifies and defines key terms, the Introduction considers various theoretical treatments of laughter from which its function can be ascertained as being both to reinforce stability within social groups and to explore new alternatives to existing modes of thought. Madness being defined as an inability to balance the opposing forces of system and anti-system, laughter is therefore vital to maintain sanity. The Fool emerges as a crucial figure in this process. Chapter One explores, with reference to Heller's Catch-22, Kesey's One Flew Over the Cuckoo's Nest and Kerouac's On The Road, the Laughter of Revelation: a laughing relationship between a Protagonist who is trapped within the system of an Institution and a Fool who communicates to the Protagonist (through laughter) a means of escape. Chapter Two then discusses, with reference to Blatty's The Exorcist, King's It, Morrison's Sula, and Nabokov's Lolita, the Laughter of Apocalypse: a laughing relationship in which the Fool's laughter (as mockery) is potentially destructive of both the Protagonist's sanity and the stability of the Institution. Chapter Three explores, with reference to Vonnegut's Slaughterhouse-5, Ellis's American Psycho, and Heller's Closing Time, the Laughter of Entropy: the failure of the laughing relationship that obtains when the dialectic between Institution (as system) and Fool (as anti-system) collapses. The concluding remarks reflect the metafictional implications of the foregoing analyses. It is suggested that, with the collapse of this dialectic (expressed by the Laughter of Entropy), the traditional relationship between Author and Reader becomes problematic.
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Smith, Warwick. "War and space in English fiction, 1940-1950". Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/61022/.
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This thesis argues that a preoccupation with space is a characteristic feature of English fiction in the years following the outbreak of the Second World War and, more specifically, that the war's events caused this heightened interest in the spatial. Writing from the 1940s exhibits an anxious perplexity in its spatial descriptions which reveals an underlying philosophical uncertainty; cultural assumptions about spatial categories were destabilised by the war and this transformation left its mark on literature. Writers in London during the war were among civilians shocked by new sensory assaults and dramatic changes to the urban landscape. These material facts exerted pressures on the collective imagination and a major part of the literary response was an urgently-renewed interest in the problematics of space. The primary literary focus here is on Elizabeth Bowen and Henry Green, though work by other writers including Graham Greene, Mervyn Peake and William Sansom is also discussed. I draw on the philosophy of Maurice Merleau-Ponty to illustrate the challenge phenomenological thinking posed to prevailing cultural conceptions of space in this period and to suggest how the war directed writers' attention to the role that embodied perception plays in composing spaces. I also examine how technological change, particularly development of the V2 rocket, shook established spatial thinking and I discuss how conceptual categories such as adjacence, linearity and sequence were further disrupted by the political divisions of post-war Europe. Documentary and diary sources are used to support literary evidence. English fiction changed abruptly and significantly in the 1940s because of a fresh spatial understanding emerging from the war which shaped the culture of the Cold War and the space race. This change demands reassessment of a decade often dismissed in literary history as a dull interlude between temporally-dominated high modernism and a postmodern ‘turn to the spatial.'
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Enticknap, Leo Douglas Graham. "The non-fiction film in post-war Britain". Thesis, University of Exeter, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302538.
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Burton, Ruth Emma. "Single women, space, and narrative in interwar fiction by women". Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/13381/.
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In this thesis I examine single women in the interwar fiction of five women writers. Jean Rhys, Rosamond Lehmann, Dorothy L. Sayers, Sylvia Townsend Warner, and Virginia Woolf were all writing during a period of intense speculation about unmarried women and all gave major roles to them in their fiction. During the period following the First World War the single woman was repeatedly dismissed as ‘surplus’ or ‘superfluous’, with the suggestion that there was no place for her in Britain. Anxieties circulated about her financial status, her moral standing, and her sexual and psychological stability. I propose that single women offered distinct textual challenges and revolutionary opportunities to women writers, and I consider the effects of these women on the narratives of writers who chose to offer them a place in their texts.
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Dickerson, Curtis. "Wage This War". Miami University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=miami1408015785.
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House, Felice. "War women: a motivating legacy enhanced". Texas A&M University, 2005. http://hdl.handle.net/1969.1/3781.
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Motivated by the need for strong female depictions in our culture, as well as the
desire to research and pay tribute to the women workers of World War II, the author
initiated the War Women project as the focus of this thesis. The objective of the project
was to create a series of large-scale paintings of the women defense workers of World
War II that could be used to pass down these womenÂs motivating legacy and reveal its
contemporary context. To begin the project, nine historical photographs were chosen as
source material for an original set of nine paintings. A problem arose when attempting
to paint these images because the photographs chosen were low in resolution, leaving
them vague and undefined. Though sufficient for creating the basic idea for a painting,
the chosen photographs needed to be enhanced and re-created to become useful source
material for the series of representational paintings. To enhance the images, props and
models were found, photographed, and, in one instance, three-dimensionally modeled to
replace their counterparts in the original photograph. Digital techniques like
compositing, colorizing, and color correcting were essential tools for reinventing the
source material. The resulting images were adequate source material for the series of
nine paintings completed for the War Women project.
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Martinez, Morales Jennifer. "Women and war in Classical Greece". Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2042479/.
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This thesis examines the lives of women in Classical Greece in the context of war. War is often regarded as the domain of men but actually it is a social phenomenon where everybody is involved. Scholarship has begun to be interested in issues of women and war in Classical Greece, while they are insightful and demonstrate portions of women’s experience, studies to date have not attempted to create a holistic view. In such studies, women are generally depicted as a single homogeneous group, their involvement in war is viewed as limited and exceptional, and they are only seen as the marginal victims of war. This thesis, by contrast, strongly argues for diversity in women’s experiences during war. It demonstrates the centrality of war to women’s lives in Classical Greece, as well as how women’s experience might vary according to (for example) their social and economic circumstances. By analysing both written sources and archaeological material across the Classical period, this thesis intends to produce a broader perspective. By providing the first full-length study on the subject, this thesis, thus, contributes to the disciplines of both gender studies and warfare studies. This thesis begins by investigating the way in which ancient sources outlined wartime boundaries for women. While there were no formal ‘rules of war’, ancient writers nonetheless suggest that there were certain social conventions particular to the treatment of women in Classical Greece at times of war. As chapter 1 shows, perhaps surprisingly, women were not always evacuated from their communities as is commonly thought, they were not supposed to be maltreated, nor killed in Classical Greek warfare. Chapter 2 then examines ancient authors’ positive and negative evaluations on the behaviour of women in war. By analysing the way in which different sources rationalized women’s wartime behaviour, this thesis shows that there existed boundaries for women in war. Having established women’s potential involvement in war, an exploration follows of their contributions to the war effort, both in the city and abroad. Two observations emerge from chapter 3. First, women were heavily involved in crucial wartime activities such as defending the city, distribution of food and missiles, giving military advice, among others. However, they also participated in negative and traitorous wartime behaviour such as facilitating enemy soldiers to escape a city under conflict. Second, their wartime contributions were not perceived to be ‘breaking social norms’ as is commonly maintained in much scholarly discussion. In chapter 4, the analyses of the different social and economic impacts of war on women reveals that war affected them directly through their experience of evacuations and their necessity to find employment due to wartime poverty, but war also affected women in more insidious ways, especially in their family life and relationships. Finally, chapter 5 then analyses the impact of war with special reference to women’s experiences in post-war contexts such as captivity, slavery, and rape and sexual violence. By showing the variety of experiences and how there existed selection processes with regards to women, this chapter demonstrates that not all women were going to experience the same fates after war. The result is the emergence of a rounded picture of the wartime lives of women in Classical Greece.
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Riccardelli, Charlie Frank. "The Hoboken War Bride: A Novel". Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248470/.
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The Hoboken War Bride is a work of historical fiction set in Hoboken, New Jersey during World War II. A young soldier named Daniel and an aspiring actress named Hildy marry days after meeting, though the marriage is doomed to fail. This young couple is not compatible. Daniel ships out to basic training the day after their hasty marriage, leaving Hildy behind with his family, the Anellos, who she quickly becomes attached to. Hildy is exposed to family in a way she had never lived with her own, embracing them even though she doubts she'll ever have a future with Daniel. When Daniel returns after the end of the war, the young couple try to make their marriage work, but it fails almost immediately. Both Hildy and Daniel struggle to pick themselves up after their divorce, finding themselves making choices they never thought they would when they were younger.
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Shaw, Debra Benita. "The feminist perspective : women writing science fiction". Thesis, University of East Anglia, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.386254.
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Neal, Lynn S. "Romancing God : evangelical women and inspirational fiction /". Chapel Hill : the University of North Carolina press, 2006. http://catalogue.bnf.fr/ark:/12148/cb40145393b.
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Cooke, Mary Lee. "Southern women, southern voices Civil War songs by southern women /". Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1477CookeML/umi-uncg-1477.pdf.
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Thesis (D.M.A.)--University of North Carolina at Greensboro, 2007.Title from PDF t.p. (viewed Feb. 29, 2008). Directed by Nancy Walker; submitted to the School of Music. Includes bibliographical references (p. 160-176).
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Abram, Zachary. "Knights of Faith: The Soldier in Canadian War Fiction". Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/34613.
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The war novel is a significant genre in twentieth-century Canadian fiction. Central to that genre has been the soldier’s narrative. Canadian war novelists have often situated the soldier’s story in opposition to how war has functioned in Canadian cultural memory, which usually posits war as a necessary, though brutal, galvanizing force. This dissertation on how novelists depict the Canadian soldier represents a crucial opportunity to examine Canadian cultures of militarization and how Canadian identity has been formed in close identification with the mutable figure of the soldier. The most sophisticated Canadian war novels engage with how militarism functions as a grand narrative in Canadian society, while enabling Canadians to speak about issues related to war that tend to be over-simplified or elided. This dissertation examines emblematic Canadian war novels – The Imperialist by Sara Jeanette Duncan, Generals Die in Bed by Charles Yale Harrison, Turvey by Earle Birney, Execution by Colin McDougall, The Wars by Timothy Findley, Broken Ground by Jack Hodgins, The Stone Carvers by Jane Urquhart, etc. – in order to trace how the representation of the Canadian soldier has shifted throughout the twentieth-century. Canadian war novels are culturally cathartic exercises wherein received notions of Canadian moral and military superiority can be safely questioned. The Canadian soldier, often characterized in official discourse as the personification of duty and sacrifice, has been reimagined by war novelists throughout the twentieth century as a site of skepticism and resistance. In many Canadian war novels, the soldier affords the opportunity to claim counter-histories, reject master narratives, and posit new originary myths.
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Moss, Julian Dominic. "The whole truth? : war in Viktor Astaf'ev's prose fiction". Thesis, University of Birmingham, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419723.
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Siberian novelist Viktor Astafev (1924-2001) spent much of his fifty-year career writing about the Second World War (known in Russia as the Great Patriotic War), focusing initially on the distant effects of the war, in the rear and in military hospitals, and on its long-lasting after-effects. Through a broadly chronological analysis of his output the thesis argues that the war is a key theme, underlying most of his major works. As Astaf ev developed as a writer he felt better able to write about military operations and battles, with a growing emphasis on the laborious work of war, while continuing to consider the war's wider effects. Some character types remain constant throughout his work, such as the quietly heroic signaller, while others change: Germans are initially absent and then denigrated, but are later portrayed as sympathetically as their Russian counterparts, while Soviet commanders are more frequently featured as time goes on, and more negatively. What runs through all Astafev's prose about the war is a belief that war is inhuman, and a desire to tell what he saw as the whole truth about the war as seen from the trenches, which he felt was missing from many Soviet accounts.
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Roberts, Ronald Lewis. "John Dos Passos's inter-war fiction : texts and contexts". Thesis, University of Strathclyde, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410206.
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Jones, Portland. "Seeing the elephant: Learned helplessness and Vietnam War fiction". Thesis, Jones, Portland (2014) Seeing the elephant: Learned helplessness and Vietnam War fiction. PhD thesis, Murdoch University, 2014. https://researchrepository.murdoch.edu.au/id/eprint/24538/.
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The major part of this dissertation (70%) is a work of fiction titled Seeing the Elephant: a novel set mostly in the Vietnamese Highlands in the period 1962-65. In 2009, Minh, a Vietnamese refugee who is recovering from cancer in Australia recalls memories of his work as a translator for Frank, a member of the Australian Army Training Team Vietnam (AATTV). The two men work closely together and, through their shared experiences, form a relationship that will have a lasting impact on both of their lives.
The thesis, Everything will always do nothing: Learned helplessness, trauma and the Vietnam War novel, argues that the concept of learned helplessness adds to the scope of what is currently perceived as traumatic response in literary theory, contributing to resolving the tension between literary trauma theory and the study of trauma within other academic disciplines. Learned helplessness is a condition that can affect trauma sufferers, leading to the belief that “no amount of effort can lead to success” (Eggen and Kauchak, 412). The thesis analyses several Vietnam War novels and examines the issues that are foregrounded by reading representations of trauma through the lens of learned helplessness. The thesis offers insights into the role that culture, gender and place play in traumatic representation. It also examines the role of silence in the text, not as a neurobiological symptom of trauma, but as an outcome of cultural censorship. Finally the thesis examines how, when the concept of learned helplessness is employed in literary analysis different representations of healing allow the analysis to move beyond abreactive, linguistic methods to encompass all behaviour that leads to the restoration of contingency.
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Wey, Rebecca. "Fiction and Necessity: Literary Interventions in the Drug War". Thesis, The University of Arizona, 2014. http://hdl.handle.net/10150/347098.
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This thesis investigates Nuestra Aparente Rendición, or "Our Apparent Surrender," a literary project launched in response to narco-violence in Mexico. I consider the potential of literature to intervene on violence by elaborating a theory of fiction as a strategy of naturalization. Fiction dissembles artifice and contingency, imposing sense-making frames on the imagination. The role of fiction in politics is to work the very limits of intelligibility. It has long been held that language requires external moorings to anchor discourse to a stable place. This has been conceived, alternatively, as an idealized speech community or an intersubjective commitment to veracity, as objective truths, a privileged experience, external reality or God. In the absence of such moorings, it has been claimed that language would be a sea of unending deferral, and communication would be impossible. A theory of fiction suggests instead that the place where meaning is 'fixed' and stabilized is internal to discourse itself. Fiction works to halt the imagination, limit what is possible, and transform infinite contingency into necessity. Ultimately, I suggest that what is needed is a deepening of the rhetorical turn. It has been argued--and feared--that that the rhetorical turn devolves into relativism and renders scholarship ineffectual. Against such claims, I contend that we have not yet accounted for the effects of necessity, which is caught up with contingency in an inextricable embrace.
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Daley, Christopher. "British science fiction and the Cold War, 1945-1969". Thesis, University of Westminster, 2013. https://westminsterresearch.westminster.ac.uk/item/8yz67/british-science-fiction-and-the-cold-war-1945-1969.
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This thesis examines British Science Fiction between 1945 and 1969 and considers its response to the Cold War. It investigates the generic progression of British SF in the post-war years, assessing the legacy of the pre-war style of scientific romance in selected works from the late 1940s, before exploring its re-engagement with the tradition of disaster fiction in works by John Wyndham and John Christopher in the 1950s. The thesis then moves on to contemplate the writings of the British New Wave and the experimentations with form in the fiction of J.G. Ballard and Brian Aldiss as well as the stories and articles incorporated within New Worlds magazine during Michael Moorcock’s period as editor. Following on from this is a consideration of the emergence of SF film and television in Britain, marking out its convergence with literary works as well as its own distinctive reactions to the changing contexts of the Cold War. This thesis therefore diverges from existing literary histories of post-war British writing, which have largely focused on the numerous crises affecting the literary novel. Such examinations have tended to represent the Cold War as an ancillary theme – despite Britain being the third nation to acquire nuclear weapons – and have generally overlooked Science Fiction as a suitable mode for engaging with the major transformations taking place in post-war British society. Reacting to such assumptions, this thesis argues that British SF was not only a form that responded to the vast technological changes facilitated by the Cold War, but equally, that cultural life during the Cold War presented considerable challenges to Science Fiction itself – with visions of nuclear war and authoritarianism no longer the exclusive property of the speculative imagination but part of everyday life. Additionally, by concentrating on overtly British responses to the Cold War this thesis aims to further illuminate an area of cultural history that has otherwise received limited attention.
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Defrancis, Theresa M. "Women-writing-women : three American responses to the woman question /". Saarbrucken, Germany : Verlag Dr. Muller, 2005. http://0-wwwlib.umi.com.helin.uri.edu/dissertations/dlnow/3186902.
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Tierney, John. ""Plunged Back with Redoubled Force": An Analysis of Selected Fiction, Non-Fiction, and Poetry of the Korean War". University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1396829149.
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