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Articles de revues sur le sujet "Women authors, French – 19th century – Biography"
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Miszalska, Jadwiga. « Przekład w służbie studiów literackich : Waleria Marrené-Morżkowska ». Experimental Translation, no 47 (2024) : 48–65. http://dx.doi.org/10.4467/16891864pc.23.015.18846.
Texte intégralRésumé :
The paper presents the activity of Waleria Marrené-Morżkowska as that typical of women who aspired to be present in literary circles at the turn of the 19th and 20th centuries. She was a novelist, publicist, literary critic and women’s activist who also devoted herself to translation. She translated from English, French, Italian and German, bringing to the Polish reader’s market some authors who were important but not yet widely known. She published several hundred papers on literary subjects in the most important Polish periodicals. She herself attempted to create a women’s magazine and to build a network of female authors around it. By presenting some facts from her biography and analysing her critical and literary works, we try to show the connection between her translations and her literary studies and the poetics she adhered to. This allows us to define Morżkowska as a a cultural transmitter who promoted foreign literatures through translations and journalism, who was characterised by her knowledge of recent European literature, her progressive mindset, her tolerance and independence of judgement, and who paid a great deal of attention to the social and cultural situation of women.
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Foghel, Ecaterina, et Anjela Coșciug. « Roxelane, figure historique et personnage littéraire ». Philologica Jassyensia 38, no 2 (30 décembre 2023) : 167–80. http://dx.doi.org/10.60133/pj.2023.2.13.
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The legal wife of the Turkish Sultan Suleiman II the Magnificent, Roxelana, also known as Hurrem Haseki Sultan or Anastasiya Lisovska, has enjoyed great popularity and recognition over the years. This fact is reflected in numerous literary works. The fictional character Roxelana figures in plays and historical novels by Turkish, French, Italian, English authors, from the 16th century onwards. Ukrainian authors became interested in this heroine relatively late (beginning with the 19th century). The novel 'Roxolana' by Osyp Nazaruk, first published in 1930, achieved the most remarkable success in this sense. An incredible story of the extraordinary destiny of a slave from Ruthenia who became the sultan’s legal wife in the Ottoman Empire, edifyingly reveals all the firmness, ambition and dignity that characterize Ukrainian women, used to facing the scourges of life. It took the author an extensive and in-depth historical research to create a convincing authentic character who became the symbol of female power and patriotism.
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Carson, Anne M. « Lyricism in the World of George Sand ». Axon : Creative Explorations 13, no 2 (21 février 2024) : 45–56. http://dx.doi.org/10.54375/001/fneqz1eboa.
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Lyric poetry’s metier is figurative language – metaphor, simile and imagery – used to represent happenings at human/world intersections, and within the world and the individual, covering, as Jane Hirschfield writes, “both senses and psyche” (2015).1 These affordances render it particularly suited to the writing of character in poetic biography. The creative artefact from my creative writing PhD is a poetic biography of 19th century French social radical and prolific author, George Sand. As a work of ‘restitution poetics’ it proposes to contribute to repair of a creative, literary women’s lineage damaged by the exclusion or misrepresentation of women. Sand’s multiple milieux lend themselves to lyric representation both in the variety of roles and settings she chose for herself, and in her own rich lyric representation of those worlds in her various writings. She straddled political worlds – lunch with the first minister, urgent correspondence with Napoléon’s nephew – as well as more personal settings – conversing with famous artists, writers, and musicians, love trysts, as well as the world of her country property. “The language of the poem”, Mary Oliver avers, “is the language of particulars”2 and particulars feature in the lyric and narrative modes I employ to hone in on Sand’s world, seeking to capture camembert-and-rough-red, chicken-ammonia, heart-piercing nightingales, rough Berrichon, and lined-foolscap-blue ink worlds. These are conveyed as strategies both to honour her, and to communicate her life in compelling visceral, sensory, and I hope, impactful ways.
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Sysolyatina, Sofiya V. « “Jephthah’s Daughter” by Amy Beach : the Biblical World in the Words of a Woman ». ICONI, no 2 (2019) : 59–67. http://dx.doi.org/10.33779/2658-4824.2019.2.059-067.
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The article examines from the positions of musical content by means of analysis of the musical and poetical the composition “Jephthah’s Daughter” by Amy Beach, an American composer of the late 19th and early 20th century, a member of the “Boston six” — a group of American composers of the turn of the century, also known as the New England School, among which Amy Beach was the only woman. “Jephthahʼs Daughter” is a concert aria for voice and orchestra, which is interesting in the context of the composer’s musical legacy, as well as an exemplary composition of its era. The aria is devoted to the Biblical subject matter or, more precisely, the well-known Old Testament plot of the sacrifi ce of the daughter of the Israelite judge Jephthah. Besides the analysis of the musical fabric, the article examines the author’s approach to the subject of the principle of the choice of the material and the work with the textual sources — the Biblical story and the French poem, which comprised the basis of the aria’s text. As a result, the conclusion is arrived at about the composer’s artistic intentions and about the conceptual component of the work. The article contains information about Amy Beach’s biography, her artistic approach, her attitude to religious subject matter and social problems of the society contemporary to her, in particular, the issues of equal rights for women.
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OULADIB, Hakima, et Fatine LEMOUALDI. « THE FEMININE GENDER IN LINGUISTICS : IS THERE ANY EGALITARIAN LANGUAGE WITH RESPECT TO MASCULINE ? » International Journal of Humanities and Educational Research 05, no 04 (1 août 2023) : 174–87. http://dx.doi.org/10.47832/2757-5403.21.11.
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For several years, the theme of gender has been the subject of debate between several linguists, especially since the revival of feminism, during the second half of the 19th century. By default, the masculine grammatical gender, in French, refers to the male gender, while having a generic value allowing it to designate the female gender as well. Along the same lines, several feminist authors and linguists have revolted in order to promote a non-sexist language as well as an epicene language, eradicating the generic masculine and its stereotype of the superiority of men over women. Following the grammatical rule commonly learned at school which stipulates that "The masculine prevails over the feminine" decreed by several grammarians in the 17th century, we were witnessing a form of linguistic sexism, going as far as pejorative or even sexual connotations. For a few expressions, once transformed into the feminine.. It is in this context of linguistic genre that our present work takes place, relying on the Sapir-Whorf hypothesis addressing linguistic relativity, while providing examples concerning the Arabic language as well.
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Kuzmenko (Staryshkina), Anastsiya A. « “Anxious Times Were Coming” : The Images of the Past in Ego-Documents of Russian Women-Journalists in the 2nd Half of the 19th – Early 20th Century ». Vestnik NSU. Series : History and Philology 20, no 1 (2021) : 125–35. http://dx.doi.org/10.25205/1818-7919-2021-20-1-125-135.
Texte intégralRésumé :
The article aims to reveal characteristics of the images of the past in the ego-documents of Russian women journalists in the 2nd half of the 19th and early 20th centuries. Historical epochs that were described by women-journalists in their text most often are the primary focus of our attention. These texts served as a means of commemoration, women tried to reinterpret historical background and recreate, by some means even construct the image of their professional community. The article indicates that women-journalists made a historical excursus rather rare, and also that the ego-documents contained reflection on the Great French revolution which was typical for the general historical culture of the Russian empire. Their perceptions of the degree of freedom, the role of the periodical press and literary figures in society served as one of the ways to construct the images of the past. Opinions on1860s and contribution of journalist’s community in events of this time supported a claim of the socio-professional group on high status, that was one of the major reasons for sacralizing and stereotyping image of the epoch led to the memory wars. The authors of the ego-documents considered the 1860s as the starting point to characterize other epochs. Their descriptions of the past were full of stamps typical for the historical culture of that period. Women-journalists strove to show the position of women in the family and their capability for professional self-realization in different historical periods described in the ego-documents.
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Lambert, Maria de Fátima. « Anne-Thérèse Marguenat de Courcelles, Mme De Lambert – o «gosto» de uma Salonnière protofeminista ». Revista Portuguesa de Humanidades 27, no 1-2 (31 décembre 2023) : 71–108. http://dx.doi.org/10.17990/rph/2023_27_1_071.
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Anne-Thérèse Marguenat de Courcelles, Marquise or Madame de Lambert was the author of a significant published work, dealing with pregnant themes and concepts that are consistent with philosophical thought and literary culture in France in the 18th century. Ideas and sources that characterize her writing were mapped – namely the concept of taste; studies dedicated to it in the 19th and early 20th centuries, compared to most recent ones. Highlights are arguments in favor of a critical and “aware” education of women, reflections on moral philosophy and aesthetic considerations based on a plethora of authors from Greece to their contemporaries. She addressed the societal / intellectual phenomenon of the Salon and the Salonières that directed them in the 18th century, inquiring about: common denominators and / or deviations; mutual dependencies; conceptual nuances and repercussions, weighted in the context of feminist studies. Therefore, exclusive characteristics are listed in terms of posture, status and performance. In her Bureau d’ Esprit (1710-1732) “new” ideas of philosophical, literary, moral impact and under the aegis of poetic mediations fermented. Attention was paid to the singularities of her aesthetics and writing of an “epistolary” typology that was intended for her own children. It is finally thought-how much, how and if-her particularities and circumstances had repercussions / contributed to the understanding and evaluation of her work in an academic context and, also, to a French proto-feminist culture.
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Nechesnyi, Ihor. « Etienne Ozi – «a great bassonist of incredible talent» ». Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 68, no 68 (28 novembre 2023) : 33–53. http://dx.doi.org/10.34064/khnum1-68.02.
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Statement of the problem. Etienne Ozi stands out as a bassoonist due to his significant creative achievements in various spheres of his multifaceted activities. As a bassoonist soloist, he successfully debuted in the “Concerts Spirituels” and for more than two decades was actively performed in front of Parisians in the best halls of the capital. An equally significant achievement of Ozі as a teacher was the preparation of the first instructional manual for the specialists “Nouvelle méthode de basson adoptue par le Conservatoire” (1803), which remained the main official publication of the Paris Conservatory for many years. The composer’s work also became an important part of the bassoon repertoire, which was actively used by him and his students in performing and teaching activities. Despite the importance of E. Ozi’s contribution to all spheres of bassoon art, the artist’s multifaceted creative activity still has not been properly assessed by modern researchers and requires a more detailed study. Recent research and publications. Among the works of domestic scientists, there are hardly any publications dedicated to E. Ozi’s creative activity. An outstanding Ukrainian musician, teacher and scientist V. M. Apatsky (2017) in his fundamental reference publication «Bassoon from A to Z» covers only individual episodes of the musician’s biography. The figure of the French artist is considered more deeply by foreign researchers, among which it is necessary to single out the dissertation and monograph of H. E. Griswold «Etienne Ozi (1754–1813): Bassoonist, Teacher, and Composer» (1979), in which E. Ozi’s work is revealed in sufficient detail. However, over the forty-year period of its existence, a certain updating of historical materials took place, which requires clarification and correction of some facts. Among the latest publications, which in one way or another highlight E. Ozi’s work, it is worth mentioning O. Tiffou’s monograph «The French Bassoon in the 19th Century. Theory and Repertoire» (2022) and Á. D. Moreno’s thesis «Bassoon Playing in Perspective. Character and Performance Practice from 1800 to 1850» (2013). In each of the studies, the authors partly consider individual aspects of the musician’s creative work according to the chosen research direction. Objectives, methods, and novelty of the research. The purpose of the study is to identify the main directions of Etienne Ozi’s performance and his role in the process of formation of the French bassoon school of the late 18th – early 19th centuries. The scientific novelty of the paper is determined by disclosing little-known facts of E. Ozi’s performance and his contribution to the formation of the French bassoon school. The study of E. Ozi’s performance required the use of a number of methods, such as historical to reveal the ideological and socio-economic factors of influence of the French Revolution on the development of musical art; historiography analyses to study and interpret musical and critical sources of the 18th century, chronological one to determine the time sequence of E. Ozi’s main concert performances; contextual and biographical approaches to highlight important stages of the artist’s creative work. Research results. The process of becoming Ozi as a performer is related to military brass bands, which, due to the lack of special musical educational institutions in France in the 18th century, remained the only place, where it was possible to learn to play wind instruments. Then, successful bassoon lessons under the leadership of the outstanding German bassoonist G. V. Ritter opened him the door to the concert stage. From 1779, he became an active performer-soloist of the prestigious “Concerts Spirituels” in the royal palaces. After the French Revolution and the overthrow of the monarchy, E. Ozi continued a successful performing and teaching career in the Paris Conservatory, the orchestras of the Théâtre Italien, Théâtre Feydeau and Théâtre de la République et des Arts. An important achievement of the talented musician was a convincing victory in the competition of nominees for the post of soloist of the Grand Opéra Théâtre, which allowed him to take the most prestigious place for a bassoonist in France. Conclusion. E. Ozi is one of the first French musicians who presented the bassoon as a solo instrument and created a multi-genre concert repertoire for it. Regular performances at the most prestigious halls of Paris allowed him to confidently occupy a leading positions not only among the French, but also European bassoonists. Active performing activity of E. Ozi and his fruitful teaching practice at the Paris Conservatory had a crucial influence on the development of European bassoon art of the late 18th and early 19th centuries.
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Repina, Anastasija S. « Folk Adaptation of the Sentimental Romance by M. V. Zubova “I`m Going to the Desert ». Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 68 (2023) : 181–89. http://dx.doi.org/10.37816/2073-9567-2023-68-181-189.
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The paper presents the collection and analysis of the folklore adaptations of Maria Zubova's sentimental romance “I am going away into the desert” in the 19th and 20th centuries. The transformation of the author's work in folk song and theatre culture demonstrates a complex interaction between folklore and book poetry. The biography of the author, a representative of the artistic milieu and one of the few female poets of the late 18th century, is reflected in some journal sources (“Materials for the History of Russian Female Authors” by M. N. Makarov) and fiction sources (“Russian Women of New Times” by D. L. Mordovtsev) which confirm possible authorship of the poetess. The study highlights stylistic features of love, spiritual and prison lyrics, as well as the work of folk theatre, which uses the text under study. Women's love songs, including choral songs, vary the motif of infidelity, transform the spiritual meaning of the image of the desert into a symbol of conjugal loneliness. In an Old Believer environment, the work was included in spiritual songs developing a motif of renunciation of the secular life in the wilderness. Researcher P. A. Bessonov discusses the devastating impact of “pseudo-folk” song on Russian spiritual culture. Echoes of the sentimental romance may also be found in the prison lyrics of the 20th century collected from the Siberian narrator I. K. Beketov. The final part of the study deals with the folk drama “King Maximilian”, where the cited text appears as a precedent for the Russian culture, which is proved later by its active use in numerous works of fiction.
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« The Survival Strategy of Diaspora Javanese Women in New Caledonia in the Novel La Bayou de Djakarta à Nouméa ». Jordan Journal of Modern Languages and Literatures 15, no 4 (2023) : 1445–62. http://dx.doi.org/10.47012/jjmll.15.4.18.
Texte intégralRésumé :
Liliane Saintomer is one of the few authors on Javanese women’s diaspora in the Southwest Pacific region. In the late 19th to early 20th century, the Dutch rulers of the Dutch East Indies sent people from Java to work as contract laborers in French-controlled areas of the Southwest Pacific. This article explores the survival strategy of adolescent Javanese girls who became part of the historical events that unfolded in New Caledonia. The research used data from the novel La Bayou de Djakarta à Nouméa (The Older Sister from Jakarta to Nouméa) as the primary material. Using the textual analysis method, the story was analyzed by examining the words, sentences, and paragraphs in the novel, providing insight into the different aspects of the survival strategy. The findings show that the Javanese diaspora carried out individual and collective forms of resistance. The Javanese women experienced multi-layered oppression due to gender, ethnicity, social class, and age differences. Keywords: Women; Diaspora; Javanese; New Caledonia; Survival strategy.
Thèses sur le sujet "Women authors, French – 19th century – Biography"
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Pauk, Filgueira Barbara. « Crossing the channel : socio-cultural exchanges in English and French women's writings - 1830-1900 ». University of Western Australia. School of Social and Cultural Studies, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0083.
Texte intégralRésumé :
The focus of this study is an investigation of cross-channel exchanges represented in travelogues, historical works, journalism, letters and journals written by English women Frances Trollope, Lady Margaret Blessington, George Eliot and Julia Kavanagh on France and by French women Flora Tristan and Marie Dronsart on England. The work is based on the view that narratives about another culture betray preconceptions and beliefs and are never innocent descriptions. Nineteenth-century English descriptions of France, for instance, are not only marked by the stereotype of the gregarious French bon vivant but also by the often tense political relationship and economical concurrence between the two countries. French descriptions of England reflect the consciousness of England's superiority in the domains of economy, industry and colonialism as well as the stereotype of the boring, monosyllabic, haughty, egoistic and often xenophobic Englishman. Given that writings on the other culture are marked by practices and belief systems as well as notions of superiority and inferiority like texts emerging from a colonial context, ideas which have been developed in this field by scholars such as Sara Mills and Reina Lewis have been used as a basis for this investigation. I argue that the women whose texts I analyse strategically employ 'discourses of difference' (to use Sara Mills' term), or alignment and 'othering' in regard to nation, class, and political opinion, in order to gain positions which allow them to challenge contemporary ideologies of femininity. They take advantage of their positions in very different ways, according to their personal, class and economic situations, their agenda, and their gendered position within society which changes significantly during the century. The English women Frances Trollope, Lady Margaret Blessington, George Eliot and Julia Kavanagh construct themselves as part of the tradition of French salonnières from the seventeenth century to the present, while the French women Flora Tristan and Marie Dronsart align themselves with English travel writers, particularly Lady Mary Wortley Montagu. Through a careful construction of these foremothers, which often differed from other representations of them, they criticise gender politics in their own country and endeavour to normalise their own activities as intellectuals and writers, in the case of Tristan as a socialist and feminist activist. This strategy is complemented by 'othering' with regard to nation, class and political convictions which confers on the women an authoritative authorial voice and / or allows them to support their argument. They endorse ideologies of gender, nation and class at the same time as they reject some aspects of them. This study reveals new aspects of nineteenth-century discussions of the so-called 'woman question' through a broader approach which encompasses not only the parameters of gender, class and political orientation but also cross-cultural experience.
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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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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.
Texte intégralRésumé :
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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Clarke, Patricia, et n/a. « Life Lines to Life Stories : Some Publications About Women in Nineteenth-Century Australia ». Griffith University. School of Arts, Media and Culture, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040719.150756.
Texte intégralRésumé :
This thesis consists of an introduction and six of my books, published between 1985 and 1999, on aspects of the history of women in nineteenth-century Australia. The books are The Governesses: Letters from the Colonies 1862-1882 (1985); A Colonial Woman: The Life and Times of Mary Braidwood Mowle 1827-1857 (1986); Pen Portraits: Women Writers and Journalists in Nineteenth Century Australia (1988); Pioneer Writer: The Life of Louisa Atkinson, Novelist, Journalist, Naturalist (1990); Tasma: The Life of Jessie Couvreur (1994); and Rosa! Rosa! A Life of Rosa Praed, Novelist and Spiritualist (1999). At the time they were published each of these books either dealt with a new subject or presented a new approach to a subject. Collectively they represent a body of work that has expanded knowledge of women's lives and writing in nineteenth-century Australia. Although not consciously planned as a sequence at the outset, these books developed as a result of the influence on my thinking of the themes that emerged in Australian social and cultural historical writing during this period. The books also represent a development in my own work from the earlier more documentary-based books on letters and diaries to the interpretive challenge of biographical writing and the weaving of private lives with public achievements. These books make up a cohesive, cumulative body of work. Individually and as a whole, they make an original contribution to knowledge of the lives and achievements of women in nineteenth-century Australia. They received critical praise at the time of publication and have led to renewed interest and further research on the subjects they cover. My own knowledge and expertise has developed as a result of researching and writing them. The Governesses was not only the first full-length study of a particular group of letters but it also documented aspects of the lives of governesses in Australia, a little researched subject to that time. A Colonial Woman, based on a previously unpublished and virtually unknown diary, pointed to the importance of 'ordinary' lives in presenting an enriched view of the past. Pen Portraits documented the early history of women journalists in Australia, a previously neglected subject. Three of the women I included in Pen Portraits, Louisa Atkinson, Tasma and Rosa Praed, the first two of whom were pioneer women journalists as well as novelists, became the subjects of my full-length biographies. In my biographies of women writers, Pioneer Writer, Tasma, and Rosa! Rosa!, I recorded and interpreted the lives of these important writers placing them in the context of Australian cultural history as women who negotiated gender barriers and recorded this world in their fiction. My books on Louisa Atkinson and Tasma were the first full-length biographies of these significant but largely forgotten nineteenth-century women writers, while my biography of Rosa Praed was the first for more than fifty years. Each introduced original research that changed perceptions of the women's lives and consequently of attitudes to their creative work. Each provided information essential for further research on their historical significance and literary achievements. Each involved extensive research that led to informed interpretation allowing insightful surmises essential to quality biography.
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Clarke, Patricia. « Life Lines to Life Stories : Some Publications About Women in Nineteenth-Century Australia ». Thesis, Griffith University, 2004. http://hdl.handle.net/10072/365578.
Texte intégralRésumé :
This thesis consists of an introduction and six of my books, published between 1985 and 1999, on aspects of the history of women in nineteenth-century Australia. The books are The Governesses: Letters from the Colonies 1862-1882 (1985); A Colonial Woman: The Life and Times of Mary Braidwood Mowle 1827-1857 (1986); Pen Portraits: Women Writers and Journalists in Nineteenth Century Australia (1988); Pioneer Writer: The Life of Louisa Atkinson, Novelist, Journalist, Naturalist (1990); Tasma: The Life of Jessie Couvreur (1994); and Rosa! Rosa! A Life of Rosa Praed, Novelist and Spiritualist (1999).
At the time they were published each of these books either dealt with a new subject or presented a new approach to a subject. Collectively they represent a body of work that has expanded knowledge of women's lives and writing in nineteenth-century Australia. Although not consciously planned as a sequence at the outset, these books developed as a result of the influence on my thinking of the themes that emerged in Australian social and cultural historical writing during this period. The books also represent a development in my own work from the earlier more documentary-based books on letters and diaries to the interpretive challenge of biographical writing and the weaving of private lives with public achievements. These books make up a cohesive, cumulative body of work. Individually and as a whole, they make an original contribution to knowledge of the lives and achievements of women in nineteenth-century Australia. They received critical praise at the time of publication and have led to renewed interest and further research on the subjects they cover. My own knowledge and expertise has developed as a result of researching and writing them. The Governesses was not only the first full-length study of a particular group of letters but it also documented aspects of the lives of governesses in Australia, a little researched subject to that time. A Colonial Woman, based on a previously unpublished and virtually unknown diary, pointed to the importance of 'ordinary' lives in presenting an enriched view of the past. Pen Portraits documented the early history of women journalists in Australia, a previously neglected subject. Three of the women I included in Pen Portraits, Louisa Atkinson, Tasma and Rosa Praed, the first two of whom were pioneer women journalists as well as novelists, became the subjects of my full-length biographies. In my biographies of women writers, Pioneer Writer, Tasma, and Rosa! Rosa!, I recorded and interpreted the lives of these important writers placing them in the context of Australian cultural history as women who negotiated gender barriers and recorded this world in their fiction. My books on Louisa Atkinson and Tasma were the first full-length biographies of these significant but largely forgotten nineteenth-century women writers, while my biography of Rosa Praed was the first for more than fifty years. Each introduced original research that changed perceptions of the women's lives and consequently of attitudes to their creative work. Each provided information essential for further research on their historical significance and literary achievements. Each involved extensive research that led to informed interpretation allowing insightful surmises essential to quality biography.Thesis (PhD Doctorate)
Doctor of Philosophy by Publication (PhD)
School of Arts, Media and Culture
Full Text
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Beauchamp, Claude. « Henry-Emile Chevalier et le feuilleton canadien-français (1853-1860) ». Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61277.
Texte intégralRésumé :
Henry-Emile Chevalier was forced in exile by the December 1851 Coup d'Etat in France. In March 1853, he came to Montreal and joined Georges-Hippolythe Cherrier who had just started a new periodical called La Ruche Litteraire Illustree. In addition, during his stay in Montreal, Chevalier worked for several periodicals, was an active member of the Institut canadien de Montreal, and wrote many novels and serials depicting Canada's exoticism. This thesis will provide the most accurate biography of Chevalier up to date, it will also present an analysis of the exoticism in his novels and serials (1853-1960), and of his contribution to the evolution of serials in French Canada.
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Letcher, Valerie Helen. « Trespassing beyond the borders Harriet Ward as writer and commentator on the Eastern Cape frontier ». Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002283.
Texte intégralRésumé :
The aim of this thesis is to provide an introduction to the work of writer and journalist Harriet Ward, resident in the Eastern Cape from 1842 to 1848. She was a prolific correspondent to various periodicals published both in South Africa and in London. It would be true to say, to judge from the evidence, that she fulfilled a need felt by the British public for information on life and events in South Africa, and that she became the trusted guide of the middle-class reader. Her range covers reports from the frontiers of war, journalistic articles, memoirs, short stories, novels, autobiography, and editions of other writers' work. After the publication of her articles on the Seventh Frontier War (1846-7), she was recognised and respected as a commentator on the situation at the Eastern Cape, an unusual role for a woman at this time. She was also amongst the foremost victorian women writers published from the early eighteen forties until the end of the eighteen-fifties. Harriet Ward has left a vivid historical and sociological account of the Cape frontier, and her observations and judgements provide a hitherto virtually unknown perspective on an important part of South African history and letters. What makes her even more interesting, as this study seeks to show, is that she was far from conventional in her response to her new environment, both as as a woman and as a representative of a colonialist power. The record she has left of her thoughts on the people, landscape and situations of the time has the capacity to surprise the post-colonial literary critic and historian. Her struggle to find a discursive mode in which to express her consciousness of the oppression, patriarchal and colonial, of the marginalised, whether woman, indigene, Afrikaner, or creole, reveals a significantly transgressive or subversive response to the issues of the day. In re-discovering Harriet Ward, we are forced to reassess our assumptions regarding the period of colonial history to which she was a witness.
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Gemis, Vanessa. « Femmes de lettres belges, 1880-1940 : identités et représentations collectives ». Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210262.
Texte intégralRésumé :
Entre 1880 et 1940, la Belgique francophone voit un accroissement significatif du nombre de femmes de lettres. À la croisée de l’histoire des femmes et de l’histoire des lettres belges, ce phénomène enregistre les nouvelles modalités d’inscription des femmes dans l’espace public, et en particulier leur accès progressif aux professions intellectuelles. Partant des acquis des études de genre (gender studies) et de la sociologie de la littérature, la thèse se propose d’étudier le rapport collectif et individuel que les femmes de lettres entretiennent vis-à-vis du littéraire.Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
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McLaren, Annette. « '....you too have power over me' : oppression in the life and work of Charlotte Bronte ». Thesis, 2011. http://handle.uws.edu.au:8081/1959.7/524832.
Texte intégralRésumé :
The writings of Charlotte Brontë are informed by the oppression that underpinned her society. Within the hierarchically structured society of Victorian England Brontë occupied a space of ‘otherness’ by virtue of her social position and her gender. Her desire to enter into the arena of creative writing, not usually the precinct of women, resulted in Brontë experiencing further backgrounding through her exclusion to this world. This thesis interrogates Brontë as a victim of oppression through its analysis of her life, particularly the early formative period of childhood and adolescence, and how she translated this oppression in her writings. This thesis confines its textual analysis to Brontë’s most widely known texts, Jane Eyre and Villette. Through the characterisations of not only the heroines and narrators of these novels, Jane Eyre and Lucy Snowe, but also the other characters who inhabit these texts, Brontë consciously and unconsciously explored alienation, disenfranchisement, oppression and control. This thesis examines the way in which Brontë was informed by her world and indoctrinated by the hierarchical structure of her society making her as unaware to the manifestations of oppression in some situations as she was aware to it in others. The theoretical approach in this thesis is informed by sociologists who engaged in studies of oppression - Vilfredo Pareto and Robert Michels. In investigating alienation in both Brontë’s life and her work, this thesis also concerns itself with the research of Harry C. Triandis on collectivism and individualism. Central also to the arguments and analysis presented is the work of activist and writer Audre Lorde and her assertion of the ‘mythical norm’.
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Burkhart, Claire Lovell. « Reading and writing women : representing the femme de lettres in Stendhal, Balzac, Girardin and Sand ». Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-2836.
Texte intégralRésumé :
This dissertation explores the numerous literary representations of the femme de lettres during the first half of the nineteenth century in order to illustrate the complexities of women’s entrance into the male-dominated domain of literature and also to suggest the impact these fictional characters might have had on the reception of actual women writers as well as their omission from the century’s literary canon. The works that will be included in this analysis include: Mme de Staël’s Corinne, ou l’Italie, Stendhal’s Le Rouge et le noir, Honoré de Balzac’s Béatrix, La Muse du département and Illusions perdues, Delphine de Girardin’s La Canne de M. de Balzac, Napoline and La joie fait peur and George Sand’s Histoire de ma vie, Lettres d’un voyageur and Un Hiver à Majorque. In compiling such diverse works of literature, it becomes clear that both male and female authors from the early nineteenth century were unable to envision a publicly embraced female genius. Although almost all of the fictional femmes de lettres in this study faced a destiny of professional silence, the reasons given for their failures are split between the male and female authors. For the male authors, the woman as a successful intellectual, artist or author was ultimately impossible because of her inability to combine her female body and psyche with the “masculine” pursuit of knowledge. Conversely, the female authors wrote characters whose inability to fully embrace a public literary or artistic career stemmed from society’s unwillingness to tolerate her exceptionality rather than from an inherent disconnect between genius and the female sex.text
Livres sur le sujet "Women authors, French – 19th century – Biography"
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Lépouchard, Camille. Louise Swanton-Belloc : Du bon usage des modèles anglais et américains dans les milieux intellectuels français du XIXe siècle. La Rochelle : Rumeur des âges, 1994.
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Gregorj, Luisa. La vita di Hector Malot (1830-1907). Firenze] : Firenze Atheneum, 2005.
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Anatole France avant l'oubli. Paris : Publibook, 2006.
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Leduc, Edouard. Anatole France avant l'oubli. Paris : Publibook, 2006.
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Harold, Bloom, dir. British women fiction writers of the 19th century. Philadelphia : Chelsea House Publishers, 1998.
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Finch, Alison. Women's writing in nineteenth-century France. Cambridge, UK ; New York, NY, USA : Cambridge University Press, 2000.
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de, La Bruniere Anne, et Thomas-Maleville Agnès, dir. Hector Malot en Seine. Paris : Magellan, 2007.
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W, Warren Joyce, dir. The ( Other) American traditions : Nineteenth-century women writers. New Brunswick, N.J : Rutgers University Press, 1993.
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Cholakian, Patricia Francis. Women and the politics of self-representation in seventeenth-century France. Newark : University of Delaware Press, 2000.
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Mesch, Rachel. The hysteric's revenge : French women writers at the fin de siècle. Nashville, TN : Vanderbilt University Press, 2007.
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