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Eppel, Ruth. "The limitations and possiblilites of identity and form in selected recent memoirs and novels by white, female Zimbabwean writers : Alexandra Fuller, Lauren Liebenberg". Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001985.
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This study examines selected works by four white female Zimbabwean writers: Alexandra Fuller, Lauren Liebenberg, Bryony Rheam and Lauren St John, in light of the controversy over the spate of white memoirs which followed the violent confiscation of white farms in Zimbabwe from 2000 onwards. The controversy hinges on the notion that white memoir writers exploit the perceived victimhood of white Zimbabweans in the international sphere, and nostalgically recall a time of belonging – as children in Rhodesia – which fails to address the fraught colonial history which is directly related to the current political climate of the country. I argue that such critiques are too generalised, and I regard the selected texts as primarily critical of the values and lifestyles of white Rhodesians/Zimbabweans. The texts I have selected include a range of autobiographical and fictional writing, or memoirs and pseudo-memoirs, and I focus on form as a medium enabling an exploration of identity. The ways in which these authors conform to and adapt particular narratives of becoming is examined in each chapter, with a particular focus on the transition from innocence to experience, the autobiography, and the Bildungsroman. Gender is a recurring point of interest: in each case the female selves/protagonists are situated in terms of the family, which, in reflecting social values, is a key site of conflict. In regard to trends in white African writing, I explore the white African (farm) childhood memoir and the confessional mode. Ultimately I maintain that while the texts may be classified as white writing, as they are fundamentally concerned with white identity, and therefore evince certain limitations of perspective and form, including clichéd tendencies, all the writers interrogate white identity and the fictional texts more self-reflexively deconstruct tropes of white writing.
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Walker, Victoria Carborne. "The fiction of Anna Kavan (1901-1968)". Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8627.
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This thesis is a study of the British writer Anna Kavan (1901-1968). It begins by tracing Kavan’s life and examining the mythologies around her radical selfreinvention (in adopting the name of her own fictional character), madness and drug addiction. It attempts to map a place for her previously neglected work in twentieth-century women’s writing and criticism. Close reading of Kavan’s fiction attends to her uses of narrative voice in representing a divided self. Given Kavan’s treatment by the Swiss existential psychiatrist Ludwig Binswanger, the thesis explores connections between her writing and the British anti-psychiatry movement, especially R D Laing. Focussing primarily on the Modernist and Postmodern aspects of Kavan’s work, it also notes Gothic and Romantic inflections in her writing, establishing thematic continuity with her early Helen Ferguson novels. The first chapter looks at Kavan’s first collection of stories, Asylum Piece (1940) and her experimental novel, Sleep Has His House (1947). It reads her portrait of institutionalization as a nascent critique of asylum treatment, and considers Anaïs Nin’s longstanding interest in her work. Chapter Two draws on research into Kavan’s experiences during the Second World War, particularly her time working with soldiers in a military psychiatric hospital. Reading her second collection of stories I Am Lazarus (1945) as Blitz writing, it connects her fiction with her Horizon article ‘The Case of Bill Williams’ (1944) and explores the pacifist and anarchistic views in her writing. The third chapter, a reading of the novel Who Are You? (1963), argues that Kavan engages with existential philosophy in this text and explores parallels with Jean Rhys’ Wide Sargasso Sea. The final chapter looks at Kavan’s last and best known work, Ice (1967). Following Doris Lessing, this chapter reads the novel’s sadism as a political response to the Second World War. Contesting critical interpretations which have pathologized Kavan’s fiction as solipsistic representations of her own experiences, this thesis aims to resituate her as a politically-engaged writer of her time.
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Smillie, Rachel Jane. "The lady vanishes : women writers and the development of detective fiction". Thesis, University of Aberdeen, 2014. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=225765.
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The history of detective fiction has frequently centred on three key figures: Edgar Allan Poe, Wilkie Collins and Arthur Conan Doyle. These writers hold a privileged place in the canon of detective fiction and represent key sites in a linear narrative of development which has often overlooked the complexity and variability of the detective genre. This dissertation explores the disappearance of female writers from the critical history of detective fiction. Focusing on the mystery and detective narratives of Mary Elizabeth Braddon, LT Meade, Baroness Emmuska Orczy and CL Pirkis, this project aims to restore these overlooked authors to critical view. As this dissertation will argue, the erasure of these writers (among others) from critical histories of detective fiction has led to studies of the genre being based on a limited data set. This unstable foundation has resulted in a number of problematic assumptions about the nascent detective genre; namely, that it is conservative, prescriptive and phallocentric. By exploring the work of overlooked and forgotten writers, this project aims to explore the paradigms which have governed their disappearance; at the same time, this dissertation will examine established critical models and interrogate entrenched assumptions and approaches to detective fiction. Chapter one explores the figure of the female servant as household spy in Braddon's novels and considers her role in opposition to Braddon's male detectives. Chapter two focuses on the collaboratively-authored crime fiction of LT Meade; in particular, it addresses the battle for narrative agency and control which occurs in her texts and examines the breakdown of gender and genre roles. Chapter three considers Orczy's work in the context of the anxiety of the author and explores the potentially restrictive nature of genre fiction. Finally, chapter four addresses CL Pirkis's detective fiction alongside her work in other genres and uses these texts to interrogate traditional models of detective fiction.
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Magosvongwe, Ruby. "Land and identity in Zimbabwean fiction writings in English from 2000 to 2010 critical analysis". Doctoral thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/9292.
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Includes bibliographical references.The major aim of this study is to analyse how Zimbabwean literary voices across the racial divide explore the land-identity conundrum that is hotly contested in the aftermath of Zimbabwe's post-2000 land occupations and other redistribution processes. It aims to interrogate how the selected fictional narratives depict both long-held views and emerging perspectives on Zimbabwe's land question. Further, the study examines the land realities that the writers depict with a view to promoting national dialogue. The latter aims to promote greater social cohesion, peace and oneness that are critical for more sustainable human development in post-independence Zimbabwe.
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Mukherjee, Srilata. "Truncated transgressions : fictions of female authorship by British women writers of the late-nineteenth and early-twentieth centuries /". Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004346.
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Chern, Joanne. "Restoring, Rewriting, Reimagining: Asian American Science Fiction Writers and the Time Travel Narrative". Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/449.
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Asian American literature has continued to evolve since the emergence of first generation Asian American writers in 1975. Authors have continued to interact not only with Asian American content, but also with different forms to express that content – one of these forms is genre writing. Genre writing allows Asian American writers to interact with genre conventions, using them to inform Asian American tropes and vice versa. This thesis focuses on the genre of science fiction, specifically in the subgenre of time travel. Using three literary case studies – Ken Liu’s “The Man Who Ended History,” Charles Yu’s How to Live Safely in a Science Fictional Universe, and Ted Chiang’s “Story of Your Life” – this thesis seeks to explore the ways in which different Asian American writers have interacted with the genre, using it to retell Asian American narratives in new ways. “The Man Who Ended History” explores the use of time travel in restoring lost or silenced historical narratives, and the implications of that usage; How to Live Safely is a clever rewriting of the immigrant narrative, which embeds the story within the conventions of a science fictional universe; “Story of Your Life” presents a reimagining of alterity, and investigates how we might interact with the alien in a globalized world. Ultimately, all three stories, though quite different, express Asian American concerns in new and interesting ways; they may point to ways that Asian American writers can continue to write and rewrite Asian American narratives, branching out into new genres and affecting those genres in turn.
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Macedo, Lynne. "Fiction and film : the influence of cinema on writers from Trinidad and Jamaica 1950-1985". Thesis, University of Warwick, 2001. http://wrap.warwick.ac.uk/63585/.
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This thesis considers the relationship between film and novels that were published by writers from Trinidad and Jamaica between the years 1950 - 1985. Through close textual analysis and by utilising a combination of cinematic and literary theories, the thesis examines the extent to which filmic references have been absorbed into fictional writing and reflects upon the implications for such cultural transformations. The thesis also provides a detailed, historical background to the development of cinema in both islands, with a further analysis of the specific role played by the Hindi film in Trinidad. The interdisciplinary nature of the literary analysis and the detailed historical data contained herein should be considered an original contribution to knowledge within the field of Caribbean studies.
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Chihota, Clement. "Towards Marxist stylistics: incorporating elements of critical discourse analysis into Althusserian Marxist criticism in the interpretation of selected Zimbabwean fiction". Doctoral thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/13117.
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Includes bibliographical references.The thesis - which locates itself at the interface between linguistic and literary studies - explores the possibility of developing a ‘Marxist- stylistic’ method of text interpretation, which primarily proceeds from Althusserian Marxist Criticism, but which also incorporates salient elements of Critical Discourse Analysis. In construction of the method, the thesis first investigates the need for Althusserian Marxist criticism to be mediated, and more specifically, the areas in which this mediation is required. The thesis then crosses over to the field of Critical Discourse Analysis where it identifies relevant theoretical and methodological resources that are capable of mediating the ‘gaps’ identified in Althusserian Marxist criticism. The construction of the Marxist stylistic method is then effected through the transfer of germane theoretical and methodological resources from Critical Discourse Analysis to Althusserian Marxist criticism. The distinctive properties of the emergent Marxist-stylistic method are delineated before the method is practically applied to the interpretation of at least four fictional texts – all written and set in Zimbabwe. The key outcome of the thesis is that a distinctive method of text interpretation, which meaningfully separates itself from Althusserian Marxist criticism, on the one hand, and Critical Discourse Analysis, on the other, emerges. The thesis concludes with a reflection on the application of the method and makes some suggestions for further research and development in the area herein labelled as ‘Marxist stylistics.’
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Jones, Mary C. "Fashioning Mobility: Navigating Space in Victorian Fiction". UKnowledge, 2015. http://uknowledge.uky.edu/english_etds/24.
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My dissertation examines how heroines in nineteenth-century British Literature manipulate conventional objects of feminine culture in ways which depart from uses associated with Victorian marriage plots. Rather than use fashionable objects to gain male attention or secure positions as wives or mothers, female characters deploy self-fashioning tactics to travel under the guise of unthreatening femininity, while skirting past thresholds of domestic space. Whereas recent Victorian literary and cultural criticism identifies female pleasure in the form of consumption and homosocial/erotic desire, my readings of Victorian fiction, from doll stories to the novels of Charlotte Brontë, Wilkie Collins, and Marie Corelli, consider that heroines find pleasure in deploying fashionable objects – such as dolls, clothes, cosmetics, and jewelry – which garner access to public space typically off limits for Victorian women. In the first chapter, girls use dolls to play in wilderness spaces, fostering female friendships. Muted dress provides a cloak of invisibility, allowing the heroine to participate in the pleasure of ocular economies in the second chapter. The third chapter features a female detective who uses cosmetics to disguise her infiltration of men’s private spaces in order to access private secrets. Finally, the project culminates with jewelry’s re-signification as female success in the publishing world.
Tracing how female characters in Victorian fiction use self-fashioning as a pathway, this study maps the safe travel heroines discover through wild landscapes, urban streets, and professional arenas. These spaces were often coded with sets of conditions for gendered interactions. Female characters’ proficient self-styling provides mobility through locations guarded by the voices of neighbors, friends, and family who attempt to keep them in line with Victorian gender conventions. Female characters derive an often unexplored pleasure: the secret joy of being where they should not and going against what they are told. In the novels I examine, female protagonists navigate prolific rules and advice about how to arrange and manage their appearances, not to aspire to paragons of Victorian beauty and womanhood but in order to achieve physical and geographic mobility outside domestic interiors.
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Garner-Mack, Naomi Jayne. "Eighteenth-century women writers and the tradition of epistolary complaint". Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:a4b7a20d-b36f-4657-929b-e5f375a49cd7.
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This thesis considers the presence of the epistolary tradition of female complaint in the writings of five late eighteenth-century women writers: Hester Thrale Piozzi, Mary Wollstonecraft, Charlotte Turner Smith, Mary Robinson, and Frances Burney D’Arblay. The epistolary female complaint tradition is premised on the suggestion that readers are permitted, through the literary endeavours of male authors/transcribers, a glimpse into the authentically felt woes of women; the writers in this study both question and exploit this expectation. Often viewed by critics like John Kerrigan as a tradition that stifled female creativity, epistolary female complaint proves, this thesis argues, a lively and enlivening tradition for women writers; it provided opportunities for literary experimentation and enabled them to turn their experiences into artistic form. Five themes central to the epistolary female complaint tradition are considered: betrayal, absence, suicide, falls, and authorship. Each chapter looks at one theme and one author specifically. Chapter 1 examines the narrative of betrayal Hester Thrale Piozzi established in her journals from 1764 to 1784. Chapter 2 turns to Mary Wollstonecraft and her accounts of absence in her private letters to Gilbert Imlay, and her epistolary travel account, A Short Residence in Sweden, Norway, and Denmark (1796). Chapter 3 discusses Charlotte Turner Smith’s engagement with the theme of suicide in her Elegiac Sonnets (1784) and her epistolary novel, Desmond(1792). Chapter 4 considers the strategies employed in Mary Robinson’s autobiographical, poetic, and fictional writings, which work to move beyond the moral fall the tradition implied. Chapter 5 focuses on the recurrent theme of authorial debt in Frances Burney D’Arblay’s journals, plays, and fiction. I conclude by considering Jane Austen’s appropriation of the tradition in her final novel, Persuasion (1818), and her transformation of the tradition by providing a resolution to the cause of complaint.
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Gantzert, Patricia L. "Throwing voices, dialogism in the novels of three contemporary Canadian women writers". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq23313.pdf.
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Chung, Wing-yu, i 鍾詠儒. "British women writers and the city in the early twentieth century". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2702409X.
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Johnston, Elizabeth. "Competing fictions eighteenth-century domestic novels, women writers, and the trope of female rivalry /". Morgantown, W. Va. : [West Virginia University Libraries], 2005. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=4149.
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Thesis (Ph. D.)--West Virginia University, 2005.Title from document title page. Document formatted into pages; contains v, 297 p. Vita. Includes abstract. Includes bibliographical references (p. 283-294).
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LeStage, Gregory. "Forces in the development of the British short story, 1930-1970 : some writers, editors, and periodicals". Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670227.
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Vasil, Christina Jane. "Ann-Marie MacDonald in the context of Hugh MacLennan and Alistair MacLeod, gender formation in three Cape Breton writers". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0026/MQ33830.pdf.
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Sojka, Eugenia. "Search procedures, carnivalization in language- and theory-focused texts of four Canadian women writers". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25775.pdf.
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Meisel, Jacqueline Susan. "The deepest South : a comparative analysis of issues of exile in the work of selected women writers from South Africa and the American South". Thesis, University of Cumbria, 2013. http://insight.cumbria.ac.uk/id/eprint/3991/.
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This thesis examines the ways in which exile, both actual and metaphorical, informs the work of four path breaking female writers from South Africa and the American South: Carson McCullers, Bessie Head, Zoë Wicomb and Dorothy Allison. In this study, exilic consciousness is closely linked to postcolonial, nomadic feminisms which can best be understood as liminal, as fundamentally ‘out of place’. The border-crossings involved here are not only geographical, they also signify a change in critical consciousness, as the foundational texts of this thesis – Rosi Braidotti’s Nomadic Feminism and Francoise Lionnet and Shu-Mei Shih’s Minor Transnationalism – indicate. By exploring writers who problematise the categories of race, gender, sexuality and class I demonstrate how these writers offer new ways of reading the postcolonial condition as nomadic, and I examine the shared processes that nations and individuals undergo as they experience political and personal liberation struggles. My thesis is divided into four main parts. The opening section offers both an introduction to, and rationale for, the study, providing historical and sociocultural contextualisation linking South Africa and the American South; it goes on to establish my choices of Carson McCullers and Dorothy Allison as the southern US writers in this study and Bessie Head and Zoë Wicomb as the South Africans. In the opening chapter I interrogate self-representation and variations in autobiography by the four writers. Chapter 2 has as its focus body and exilic consciousness in selected work by all four writers. My final chapter examines identity formation as situated subjectivity in the work of Allison and Wicomb who are foregrounded here. I contend that transnationalism need not be seen as inevitably homogenising; rather, I show that minority individuals and groups can establish agency through transversal, lateral networks.
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Rogers, Ted. "Evil and Englishness representations of traumatic violence and national identity in the works of the Inklings, 1937-1954 /". restricted, 2007. http://etd.gsu.edu/theses/available/etd-08062007-153431/.
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Thesis (M.A.)--Georgia State University, 2007.Title from file title page. Ian C. Fletcher, committee chair; Jared Poley, committee member. Electronic text (136 p.) : digital, PDF file. Description based on contents viewed Nov. 5, 2007. Includes bibliographical references (p. 131-136).
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Richter, Yvonne Nicole. "A Critic in Her Own Right: Taking Virginia Woolf's Literary Criticism Seriously". Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_theses/56.
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Considered mostly ancillary to her fiction, Virginia Woolf’s prolific career in literary criticism has rarely been studied in its entirety and in its own right. This study situates her in the common critical practices of her day and crystallizes basic tenets and a critical theory of sorts from her critical journalism published 1904–1928: the author argues that Woolf does not advocate a policing role for the critic, but rather that critics foster art in collaboration with readers and writers. Finally, this work discusses Woolf’s appeal to writers to invest all their energy in improving their skills in character portrayal to adequately depict all classes and genders in order to invent a new kind of psychological fiction.
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Harrison, Rebecca L. "Captive Women, Cunning Texts: Confederate Daughters and the "Trick-Tongue" of Captivity". unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-04232007-094815/.
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Thesis (Ph. D.)--Georgia State University, 2007.Thomas L. McHaney, committee chair; Audrey Goodman, Pearl A. McHaney, committee members. Electronic text (247 p.) : digital, PDF file. Title from file title page. Description based on contents viewed Mar. 27, 2008. Includes bibliographical references (p. 233-247).
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Molloy, Carla Jane. "The art of popular fiction : gender, authorship and aesthetics in the writing of Ouida : a thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in English in the University of Canterbury /". Thesis, University of Canterbury. Culture, Literature and Society, 2008. http://hdl.handle.net/10092/1956.
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This thesis examines the popular Victorian novelist Ouida (Maria Louisa Ramé) in the context of women’s authorship in the second half of the nineteenth century. The first of its two intentions is to recuperate some of the historical and literary significance of this critically neglected writer by considering on her own terms her desire to be recognised as a serious artist. More broadly, it begins to fill in the gap that exists in scholarship on women’s authorship as it pertains to those writers who come between George Eliot, the last of the ‘great’ mid-Victorian women novelists, and the New Woman novelists of the fin de siècle. Four of Ouida’s novels have been chosen for critical analysis, each of which was written at an important moment in the history of the nineteenth century novel. Her early novel Strathmore (1865) is shaped by the rebelliousness towards gendered models of authorship characteristic of women writers who began their careers in the 1860s. In this novel, Ouida undermines the binary oppositions of gender that were in large part constructed and maintained by the domestic novel and which controlled the representation and reception of women’s authorship in the mid-nineteenth century. Tricotrin (1869) was written at the end of the sensation fiction craze, a phenomenon that resulted in the incipient splitting of the high art novel from the popular novel. In Tricotrin, Ouida responds to the gendered ideology of occupational professionalism that was being deployed to distinguish between masculinised serious and feminised popular fiction, an ideology that rendered her particularly vulnerable as a popular writer. Ouida’s autobiographical novel Friendship (1878) is also written at an critical period in the novel’s ascent to high art. Registering the way in which the morally weighted realism favoured by novelists and critics at the mid-century was being overtaken by a desire for more formally oriented, serious fiction, Ouida takes the opportunity both to defend her novels against the realist critique of her fiction and to attempt to shape the new literary aesthetic in a way that positively incorporated femininity and the feminine. Finally, Princess Napraxine (1884) is arguably the first British novel seriously to incorporate the imagery and theories of aestheticism. In this novel, Ouida resists male aesthetes’ exploitative attempts to obscure their relationship to the developing consumer culture while confidently finding a place for the woman artist within British aestheticism and signalling a new acceptance of her own involvement in the marketplace. Together, these novels track Ouida’s self-conscious response to a changing literary marketplace that consistently marginalised women writers at the same time that they enable us to begin to uncover the complexity of female authorship in the second half of the nineteenth century.
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Wallace, Linda M. "Negotiating place, explorations of identity and nature in select novels by contemporary Canadian women writers". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0018/MQ49460.pdf.
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Huguley, Piper Gian. "Why Tell the Truth When a Lie Will Do?: Re-Creations and Resistance in the Self-Authored Life Writing of Five American Women Fiction Writers". unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-04252006-174728/.
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Thesis (Ph. D.)--Georgia State University, 2006.Title from title screen. Audrey Goodman, committee chair; Thomas L. McHaney, Elizabeth West, committee members. Electronic text (253 p.) : digital, PDF file. Description based on contents viewed May15, 2007. Includes bibliographical references (243-253).
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Tait, Michelle Louise. "Navigating terragraphica : an exploration of the locations of identity construction in the transatlantic fiction of Ama Ata Aidoo, Paule Marshall and Caryl Phillips". Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71769.
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Thesis (MA)--Stellenbosch University, 2012.ENGLISH ABSTRACT: Seeking to navigate and explore diasporic identity, as reflected in and by transatlantic narrative spaces, this thesis looks to three very different novels birthed out of the Atlantic context (at different points of the Atlantic triangle and at different moments in history): Our Sister Killjoy or Reflections from a Black-eyed Squint (1977) by Ama Ata Aidoo, The Chosen Place, The Timeless People (1969) by Paule Marshall and Crossing the River (1993) by Caryl Phillips. Recognising the weight of location – cultural, geographic, temporal – on the literary construction of transatlantic identity, this thesis traces the way in which Aidoo, Marshall and Phillips use fictional texts as tools for grappling with ideas of home and belonging in a world of displacement, fracture and (ex)change. Uncovering the impact of roots, as well as routes (rupta via) on the realisation of identity for the diasporic subject, this study reveals and wrestles with various narrative portrayals of the diasporic condition (a profoundly human condition). Our Sister Killjoy presents identity as inherently imbricated with nationalism and pan-Africanism, whereas The Chosen Place presents identity as tidalectic, caught in the interstices between western and African subjectivities. In Crossing the River on the other hand, diasporic identification is constructed as transnational, fractal and perpetually in-process. This study argues that in the absence of an established sense of terra firma the respective authors actively construct home through narrative, resulting in what Erica L. Johnson has described as terragraphica. In this way, each novel is perceived and explored as a particular terragraphica as well as a fictional lieux de mémoire (to borrow Pierre Nora’s conception of “sites of memory”). Using the memories of transatlantic characters as (broken) windows through which to view history, as well as filters through which the present can be understood (or refracted), are techniques that Aidoo, Marshall and Phillips employ (although, Aidoo’s use of memory is less obvious). Tapping into various sites of memory in the lives of the fictional characters, the novels themselves become mediums of remembering, not as a means of storing facts about the past, but for the ambivalent purpose of understanding the impact of the past on the present.
AFRIKAANSE OPSOMMING: In ’n poging om diasporiese identiteit te karteer en te ondersoek, betrek hierdie verhandeling drie uiteenlopende romans wat in die Atlantiese konteks, naamlik vanuit die verskillende hoeke van die Atlantiese driehoek en verskillende geskiedkundige Atlantiese momente, ontstaan het. Die drie romans sluit in: Our Sister Killjoy or Reflections from a Black-eyed Squint (1977) deur Ama Ata Aidoo, The Chosen Place, The Timeless People (1969) deur Paule Marshall en Crossing the River (1993) deur Caryl Phillips. Deur die belangrikheid van plek – kultureel, geografies en temporeel – in die literêre konstruksie van transatlantiese identiteit, te beklemtoon, spoor hierdie verhandeling die manier waarop Aidoo, Marshall en Phillips fiktiewe tekste aanwend na om sin te maak van idees oor tuiste en geborgenheid in ’n wêreld van verdringing, skeuring en (ver)wisseling. Deur die impak van die oorsprong op, asook die weg (rupta via) na, die verwesenliking van identiteit vir die diasporiese subjek te toon, onthul en worstel hierdie tesis met verskeie narratiewe uitbeeldings van die diasporiese toestand (’n toestand eie aan die mens). Our Sister Killjoy stel identiteit as inherent vermeng met nasionalisme en pan-Afrikanisme voor, terwyl The Chosen Place identiteit as tidalekties uitbeeld – vasgevang tussen westerse en Afrika-subjektiwiteite. In Crossing the River word diasporiese identifisering egter gekonstrueer as transnasionaal, fraktaal en ewigdurend in ’n proses van ontwikkeling. Hierdie studie voer verder aan dat die onderskeie skrywers tuiste aktief deur narratief konstrueer in die afwesigheid van ’n gevestigde bewustheid van terra firma, of onbekende land of plek. Die gevolg is ’n voortvloeiing van wat deur Erica L. Johnson beskryf word as terragraphica. Vervolgens word elk van die romans gesien en verken as ’n spesifieke terragraphica asook ’n fiktiewe lieux de mémoire, gegrond in Pierre Nora se konsep “sites of memory”. Die benutting van transatlantiese karakters se herhinneringe as (gebreekte) vensters waardeur die geskiedenis bespeur kan word en filters waardeur die hede verstaan (of gerefrakteer) kan word, is die tegnieke wat Aidoo, Marshall en Phillips aanwend – alhoewel Aidoo se gebruik van geheue minder ooglopend is. Deur verskeie terreine van geheue in die lewens van die fiktiewe karakters te betrek, ontwikkel die romans tot mediums van onthou, nie in die sin van feite van die verlede wat gestoor word nie, maar met die dubbelsinnige doel om die impak van die verlede op die hede te verstaan.
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Davies, Ben. "Exceptional intercourse : sex, time and space in contemporary novels by male British and American writers". Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/2582.
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This thesis provides a theory of exceptional sex through close readings of contemporary novels by male British and American writers. I take as my overriding methodological approach Giorgio Agamben’s theory of the state of exception, which is a juridico-political state in which the law has been suspended and the difference between rule and transgression is indistinguishable. Within this state, the spatiotemporal markers inside and outside also become indeterminable, making it impossible to tell whether one is inside or outside time and space. Using this framework, I work through narratives of sexual interaction – On Chesil Beach, Gertrude and Claudius, Sabbath’s Theater, and The Act of Love – to conceptualise categories of sexual exceptionality. My study is not a survey, and the texts have been chosen as they focus on different sexual behaviours, thereby opening up a variety of sexual exceptionalities. I concentrate on male writers and narratives of heterosexual sex as most work on sex, time and space is comprised of feminist readings of literature by women and queer work on gay, lesbian or trans writers and narratives. However, in the Coda I expand my argument by turning to Emma Donoghue’s Room, which, as the protagonist has been trapped for the first five years of his life, provides a tabula rasa’s perspective of exceptionality. Through my analysis of exceptionality, I provide spatiotemporal readings of the hymen, incest, adultery, sexual listening and the arranged affair. I also conceptualise textual exceptionalities – the incestuous prequel, auricular reading and the positionality of the narrator, the reader and literary characters. Exceptional sex challenges the assumption in recent queer theory that to be out of time is ‘queer’ and to be in time is ‘straight’. Furthermore, exceptionality complicates the concepts of perversion and transgression as the norm and its transgression become indistinct in the state of exception. In contrast, exceptionality offers a new, more determinate way to analyse narratives of sex.
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Bergheaud, Lise. "Raymond Queneau, une formation au modernisme et à la modernité : 1917-1938, lectures fondatrices du récit anglo-saxon des XIXe-XXe siècles". Paris 3, 2008. http://www.theses.fr/2008PA030075.
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Le présent travail se donne pour objectif d’éclairer les liens entre l’œuvre narrative de Raymond QUENEAU et les récits anglo-saxons qu’il a lus et recensés de 1917 à 1938. Dans un premier temps, un classement raisonné à partir des listes de lectures queniennes nous a permis de délimiter une assemblée de dix auteurs, précurseurs ou emblèmes de la modernité en littérature, dont les écrits entrent en résonance précoce et prolongée avec les textes queniens (Edgar Allan POE, Lewis CARROLL, Joseph CONRAD, Henry JAMES, James JOYCE, William FAULKNER, Gertrude STEIN, Ernest HEMINGWAY, Henry MILLER, Erskine CALDWELL). L’établissement de ce socle empirique nous a permis, dans un second temps, de dépasser les filiations déjà amplement discutées par la critique et, grâce à une confrontation minutieuse des écritures, d’identifier des corrélations plus souterraines, parfois méconnues. C’est dans ce cadre que nous avons cherché à répondre à nos questions : comment QUENEAU inscrit-il sa singularité littéraire dans le terreau d’une poétique moderne qui déstabilise radicalement les composantes de la fiction classique en soupçonnant la viabilité d’une représentation signifiante ? Ou encore : comment QUENEAU, entouré de ses pairs anglo-saxons favoris, figure-t-il littérairement l’ontologie de l’inquiétude face à l’abolition possible du sens du monde et des êtres ?This study aims at clarifying the connections between Raymond QUENEAU’s prose works and the narratives from the English-speaking world which he read and listed from 1917 to 1938. On the basis of a rational perusal of QUENEAU’s reading lists, we first delineated a group of ten writers who announce or epitomize literary modernity and whose writings reveal a concurrence, both precocious and lasting, with the French writer’s own texts (Edgar Allan POE, Lewis CARROLL, Joseph CONRAD, Henry JAMES, James JOYCE, William FAULKNER, Gertrude STEIN, Ernest HEMINGWAY, Henry MILLER, Erskine CALDWELL). This empirical foundation having been firmly established, we were then able to go beyond the links which have been widely discussed in current criticism and to identify less detectable and sometimes underrated relations. Within that framework we investigated several issues : how does QUENEAU express his literary originality against the background of modern poetics where the basic features of classical fiction are thoroughly undermined because of the doubt cast upon the validity of meaningful representation? Once seen in the company of his favourite English-speaking authors, how does Queneau use the art of writing to outline an ontology of anxiety when facing the possible annihilation of both mundane reality and beings?
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Pasi, Juliet Sylvia. "Theorising the environment in fiction: exploring ecocriticism and ecofeminism in selected black female writers’ works". Thesis, 2017. http://hdl.handle.net/10500/23789.
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Text in EnglishThis thesis investigates the relationship between humans and the nonhuman world or natural environment in selected literary works by black female writers in colonial and post-colonial Namibia and Zimbabwe. Some Anglo-American scholars have argued that many African writers have resisted the paradigms that inform much of global ecocriticism and have responded to it weakly. They contend that African literary feminist studies have not attracted much mainstream attention yet mainly to raise some issues concerning ecologically oriented literary criticism and writing. Given this unjust criticism, the study posits that there has been a growing interest in ecocriticism and ecofeminism in literary works by African writers, male and female, and they have represented the social, political (colonial and anti-colonial) and economic discourse in their works. The works critiqued are Tsitsi Dangarembga’s Nervous Conditions (1988) and The Book of Not (2006), Neshani Andreas’ The Purple Violet of Oshaantu (2001) and No Violet Bulawayo’s We Need New Names (2013). The thrust of this thesis is to draw interconnections between man’s domination of nature and the subjugation and dominance of black women as depicted in different creative works. The texts in this study reveal that the existing Anglo-American framework used by some scholars to define ecocriticism and ecofeminism should open up and develop debates and positions that would allow different ways of reading African literature. The study underscored the possibility of black female creative works to transform the definition of nature writing to allow an expansion and all encompassing interpretation of nature writing. Contrary to the claims by Western scholars that African literature draws its vision of nature writing from the one produced by colonial discourse, this thesis argues that African writers and scholars have always engaged nature and the environment in multiple discourses. This study breaks new ground by showing that the feminist aspects of ecrocriticism are essential to cover the hermeneutic gap created by their exclusion. On closer scrutiny, the study reveals that African women writers have also addressed and highlighted issues that show the link between African women’s roles and their environment.
English Studies
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Muganiwa, Josephine. "Shifting identities: representations of Shona women in selected Zimbabwean fiction". Thesis, 2018. http://hdl.handle.net/10500/26875.
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Bibliography: leaves 215-230This thesis uses a postcolonial framework to analyse the construction and representation of identities of Shona women in selected black and white Zimbabwean-authored fiction in English published between 1890 and 2015. The study traces meanings associated with Shona women’s identities as ascribed by dominant powers in every epoch to create narratives that reflect the power dynamics. The thesis argues that identities are complex, characterized by various intersections such as race, gender, class and ethnicity. Shona women have to negotiate their identities in various circumstances resulting in shifting multiple identities. The thesis focuses on how such identities are represented in the selected texts. Findings reveal that the colonial project sought to write the Shona women out of existence, and when they appeared negative images of dirt, slothfulness and immorality were ascribed to them. These images continued after independence to justify male dominance of women. However, the lived experience of women shows they have agency and tend to shift identities in relation to specific circumstances. Shona women’s identities are dynamic and multifarious as they aim at relevance in their socioeconomic and political circumstances. Representations of Shona women’s identities are therefore influenced by the aim of the one representing them. All representations are therefore arbitrary and must be interrogated in order to deconstruct meaning and understand the power dynamics at play. The works analysed are Olive Schreiner’s Trooper Peter Halket of Mashonaland (1897), Doris Lessing’s The Grass is Singing (1950), Yvonne Vera’s Nehanda (1993), Cythia Marangwanda’s Shards (2014), Valerie Tagwira’s The Uncertainty of Hope (2006), Violet Masilo’s The African Tea Cosy (2010), Eric Harrison’s Jambanja (2006), Dangarembgwa’s The Book of Not (2006), Christopher Mlalazi’s Running with Mother (2012) and Brian Chikwava’s Harare North (2009).
English Studies
D. Litt. et Phil. (English)
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Parnell, Jo. "Creative empathy: how writers turn experience not their own into literary non-fiction". Thesis, 2013. http://hdl.handle.net/1959.13/1039417.
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Research Doctorate - Doctor of Philosophy (PhD)The creative component to this thesis is a form of life writing which straddles both memoir and literary documentary. The writer-researcher interviews the subject for her or his unusual life-experience, and audio-tapes the discussion as resource material for a creative nonfiction docu-memoir. In a work of this type, the memoir is primarily not that of the writer, but that of the subject. The documentary component can take the form of photographs, and also factual elements which the subject mentions in relation to their experience, and which gives a documentary-type effect to their narrative. My docu-memoir records the stories of seven subjects, five of whom are Forgotten Australians, of whom I am one. These people are of mainly Anglo-Celtic heritage, and were in care as children in Australia in the mid-part of the twentieth century. Two of the subjects are not Forgotten Australians, but one tells what it is like to be the long-lost sibling of a Forgotten Australian, and the other tells what it was like to have been a child in an orphanage in England so that, in my work, I can show that Australian orphanages were not greatly different to those in England, and the experience of being an incarcerated child was much the same regardless of geographical distance. The inclusion of all these people’s stories is intended to give a concise picture of the experience of being a Forgotten Australian: what it is like to be a “forgotten” and abused child, what it means as an adult to be a care-leaver, how their experiences have affected their lives and those of others around them, and how the experience and the effects of that are much the same no matter whether they were in care as children in England or in Australia. This is a story which has not been previously told from inside the group, in a literary work. In the exegesis, I study what docu-memoir is, and how to write a creative nonfiction work and tailor it to my topic. As models for my own docu-memoir I chose the works of Tony Parker, and especially *Lighthouse*, Sheila Stewart’s three docu-memoirs, *Country Kate*, *Lifting the Latch: A Life on the Land*, and *Ramlin Rose: The Boatwoman’s Story*, and Helen Garner’s *Joe Cinque’s Consolation*. From Parker and Stewart I learnt how to structure a docu-memoir of the type in which I am most interested, and various techniques that I could use when recreating the memories of others: such as, how to make the subjects in the work appear as real people, how to dwell on the metaphorical and philosophical in the words of people, and use the transcript material in a way that lets the subjects talk for themselves. From Garner I learnt how one might include oneself in the work as a point of reference for added credibility, and ways in which to enhance my work of nonfiction with creative elements like braiding the narratives with stories suggested by the subject matter, but which take the reader outside the interview situation, and use rhetoric to draw the reader into the literary landscape. From these writers I also learnt ways in which to maintain a code of ethics for a nonfiction writer when crafting a creative work of docu-memoir.
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Saneliso, Thambo. "Mobilities, Migration and Identities in Selected Zimbabwean Fictional Narratives". Diss., 2018. http://hdl.handle.net/11602/1156.
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MA (English)Department of English
This study examines the representation of the Zimbabwean migrant experiences in both regional and international migrations. It utilizes narratives that highlight the experiences of the Zimbabweans who migrate thereby exploring issues of mobility and identity. These narratives are Harare North (2010), An Elegy for Easterly (2010), Zebra Crossing (2013), We Need New Names (2014) and The Maestro, The Magistrate and The Mathematician (2014). These narratives have been utilized in the study to argue that migrants encounter traumatic experiences as they cross either the regional or international spaces they move to in search of better economic prospects. It further explores the kinds of trauma that they are subjected to, ranging from racism, the threat and reality of xenophobic attacks, the intricacy of negotiating an existence and a livelihood in these new spaces, searching for employment, to mention a few. The study argues that the migration experience has a catastrophic effect on the migrants’ psychological state, represented as partially being caused by the realization that the host country presents its own set of challenges and is also hostile, a different reality from the preconceived romanticized view of the countries they migrate to. The study argues that the selected novels foreground the inhospitable nature of the Zimbabwean post-2000 political instabilities and the socio-economic meltdown as fostering the forced trans-migrations of Zimbabweans in an effort to escape poverty and political challenges.
NRF
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Mbatha, P. "A feminist analysis of Tsitsi Dangarembga's Nervous conditions (1988)". Thesis, 2009. http://hdl.handle.net/10413/477.
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Franceschi, Valeria. "ELF Users as Creative Writers: Plurilingual Practices in Fan Fiction". Doctoral thesis, 2014. http://hdl.handle.net/11562/692564.
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I processi di globalizzazione e la diffusione di pratiche transnazionali nella società contemporanea hanno favorito la comunicazione internazionale in molteplici campi. Queste interazioni avvengono tramite una lingua condivisa, molto spesso l'inglese, che assume il ruolo di lingua franca (ELF). La prospettiva ELF può essere infatti applicata a contesti comunicativi internazionali, virtuali e non, in cui l'inglese costituisce la lingua di lavoro. Un contesto frequente di utilizzo dell' ELF si può identificare nei gruppi internazionali online, formatisi in relazione a hobby e interessi comuni. Ad esempio, gli appassionati di testi relativi alla cultura di massa - i fan - sono molto attivi all'interno di queste comunità virtuali, in cui stabiliscono rapporti interpersonali e si cimentano in attività creative per mezzo dell'ELF. La scrittura creativa ispirata da questi testi, o fan fiction, è particolarmente diffusa; i fan pubblicano i loro lavori online, assumendo il ruolo di 'scrittori' all’interno di queste comunità virtuali. Nonostante l'inglese costituisca la lingua primaria nei gruppi internazionali, i fan portano con loro un bagaglio socioculturale e linguistico che trova spazio nelle fan fiction: dialoghi e segmenti narrativi includono infatti spesso elementi di altre lingue, che sono stati analizzati allo scopo di determinare quali funzioni svolgano nei racconti. Le nozioni di eteroglossia linguistica e super-diversità sono applicate in relazione all'analisi qualitativa dell'uso delle risorse plurilingui degli scrittori, in un corpus di fan fiction costituito da storie ispirate da fumetti e cartoni giapponesi - manga e anime - pubblicate online da 26 scrittori la cui lingua madre è diversa dall'inglese. Un'analisi preliminare degli elementi paratestuali e dei commenti dei lettori ha evidenziato supporto e collaborazione da parte di questi ultimi, e ha sottolineato come le risorse plurilingui dei fan siano utilizzate per promuovere il rapporto interpersonale tra scrittori e lettori, indicando affiliazione o supporto a specifiche linguaculture, oltre che per esprimere identificazione con la comunità manga/anime. L'inserimento nel testo di elementi dal giapponese è particolarmente frequente e significativo, e costituisce un elemento di 'autenticità' in rapporto al testo originale. Inoltre, il giapponese e le altre lingue svolgono una serie di funzioni nelle fan fiction analizzate che si possono raggruppare in: sociali, pragmatiche e narrative. Le risorse plurilingui sembrano dunque essere utilizzate consapevolmente per scopi specifici all'interno di questi testi di narrazione creativa. Ulteriori studi su altri aspetti relativi all’ELF nel contesto del fandom potrebbero contribuire allo studio dell'ELF nel mondo digitale.Globalization processes and the increase of transnational practices in contemporary society have promoted international dialogue in a variety of fields and settings. Such interactions occur in a shared common language, most often English. The English as a Lingua Franca (ELF) perspective may be applied to all communicative contexts where English acts as the working language of international interactions in both physical and digital environments. International, interest-based groups on the Internet are a common context of use for ELF. Aficionados of pop culture texts - fans - are very active members of such virtual communities, engaging in social and creative practices with like-minded people via ELF. Creative writing inspired by these pop culture texts – fan fiction - is especially popular, and fans publish their work online, positioning themselves as successful writers within their communities. While employing ELF as the primary language of their texts, fan writers bring their sociocultural and linguistic repertoires to their stories, interspersing narration and dialogue with non-English language elements. These were analyzed in order to determine which functions they play within the texts. The notions of linguistic heteroglossia and super-diversity are adopted in relation to the qualitative analysis of plurilingual resource exploitation in a fan fiction corpus constituted of online-published stories - inspired by Japanese comics and animation, known as manga and anime - written by 26 non-native users of English. A preliminary analysis of the paratext and of reader reviews highlights the supportive and participatory attitude of the readers in relation to non-native writers, and how plurilingual resources are employed to foster social cohesion between writers and readers, who show affiliation or solidarity to specific linguacultures as well as mark themselves as members of the manga/anime community. The insertion of Japanese elements in the text is particularly frequent and significant in the story texts as well, where it acts as an authenticity device in both dialogues and narrative segments. In addition, Japanese and other languages fulfill a number of functions in the fan fiction analyzed: social, pragmatic, and narrative. Plurilingual resources appear then to be employed deliberately and to specific purposes in these creative texts. Analysis of other aspects of ELF use in fandom may help shed light on ELF in CMC contexts.
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Manase, Irikidzayi. "The mapping of urban spaces and identities in current Zimbabwean and South African fiction". Thesis, 2003. http://hdl.handle.net/10413/3428.
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The dissertation focuses on the mapping of the southern African urban spaces and how it is linked to the urban dwellers' constitution of their identities, agency and subversion of the obtaining bleak and hegemonic conditions as represented in current fiction set in South Africa and Zimbabwe. Chapter 1 of the dissertation gives an overview of the social and historical developments characterising the construction of the southern African city from the colonial up to the current global city. The subordinate and marginal identities inscribed upon the Southern Africans as well as early forms of agency and subversion of the Western social, political and economic hegemony that has defined the city through out history will be looked at. Michael de Certeau's (1993) ideas showing the hegemonic
Western socio-economic agenda's creation of ordinary urban dwellers' invisibility and fragmentation, which they later subvert by renaming and remapping the alienating urban spaces of New York to improve their own lives, will be taken into consideration in this chapter's definition of the construction of the city and urban identities. In Chapter 2, the representation of the southern African urban spaces' cartography in the fiction is discussed. The characteristic spaces ranging from the socially and morally decayed inner-city, the well-built postmodern and elite Central
Business District, the affluent low-density suburbs and the far-away impoverished highdensity suburbs will be explored. The discussion attempts a complex unpacking of linkages between the mapping of Harare and Johannesburg with the hegemonic western social and economic agenda as well as the current urban dwellers' state of individual and
psychological fragmentation. Chapter 3 examines the way in which the current southern African urban social dislocation is represented in the fiction. The complexity of the urban dislocation signified by the prevalence of violence, xenophobia and HIV/AIDS is discussed. There is also a dialectical analysis ofhow the depicted urban dislocation is located within the legacy of colonialism and apartheid, the western global cultural and economic influence as well as individual effort and decision-making in the chapter. Chapter 4 explores the ways in which gendered urban spaces are portrayed in the fiction. The subordination of primarily women, as well as the weak and dependent irrespective of gender is discussed. The resultant anxieties, alienation, marginalisation of women and the subservient are viewed from the traditional and colonial patriarchy's construction of the city as a predominantly masculine space excluding women. The western global cultural and economic hegemony's creation of a new gendered ideology
characterised by the exclusion and feminisation of the poor, invisible and dependent is also discussed in this chapter. Nevertheless, the chapter ends with a discussion of the existing possibilities of female empowerment notably inscribed in the city's open education system, informal trade space as well as the provision of a social space encouraging pragmatic female decision-making especially in relation to HIV and AIDS. Finally the dissertation's concluding note is based on an evaluation of the postcolonial condition of southern Africa in relation to the mapping of the urban spaces
and various identities represented in the fiction. An attempt is also made to place the research within the problematic of whether the mapping is based on postcolonialism or postmodernism. The objective here is to offer the importance of a cross-reading between the two as enabling a more meaningful conception of the region's current urban space.Thesis (M.A.)-University of Natal, Pietermaritzburg, 2003.
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Farca, Paula Anca. "Roots to routes contemporary indigenous fiction by women writers in the United States, Canada, Australia, and New Zealand /". 2009. http://digital.library.okstate.edu/etd/Farca_okstate_0664D_10631.pdf.
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Naidoo, Salachi. "Gender violence and resistance : representation of women's agency in selected literary works by Zimbabwean female writers". Thesis, 2016. http://hdl.handle.net/10500/22609.
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The aim of this study is to offer a critical analysis of representations of gender violence and resistance to such violence in selected novels by Zimbabwean women writers. A great deal of scholarship on Zimbabwean women writers focuses on well-known authors such as Yvonne Vera and Tsitsi Dangarembga. Even here, the critical emphasis tends to be on the representation of women’s suffering under patriarchy and their status as victims. Although the exposure of gendered suffering is important, these studies often fail to take into consideration the female characters’ agency and survival strategies, including how they go about rebuilding lives and identities in the aftermath of violence. This thesis argues that the fictional texts of other, lesser known Zimbabwean authors are similarly worthy of critical scrutiny, yielding as they can important insights into female characters’ resistance to gender violence. The current study analyses Zimbabwean women writers’ literary contributions to discourses on gender-based violence and explores how female characters have embraced the concept of agency to recreate their identities and to introduce a new gender ethos into the contexts of lives that are often shaped by severe restrictions and oppression. Violence is a phenomenon that is always shaped by specific cultural, ideological and socio-economic forces. As the study shows, characters’ identities are constituted by the complex intersections of a number of markers of difference, including their gender, race and class. This study thus regards identity as intersectional and takes all these factors into consideration in its analysis of the representations of violence and resistance in the selected texts. The study also aims to determine whether these literary representations offer any solutions to the difficulties of characters affected by or living with violence. The works critiqued are Lillian Masitera’s The Trail (2000), Valerie Tagwira’s The Uncertainty of Hope (2006), Virginia Phiri’s Highway Queen (2010) and Violet Masilo’s The African Tea Cosy (2010).English Studies
D. Litt. et Phil. (English)
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Janzen, Beth E. "The boundary between "us" and "them": readers and the non-English word in the fiction of Canadian Mennonite writers". Thesis, 1993. http://hdl.handle.net/2429/1805.
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This study asks whether the use of non-English words in the novels of Canadian Mennonites perpetuates a cultural binary, and concludes that it does not. The use of the non-English word, rather than enforcing a binary between "us and them", ultimately reveals that cultural boundaries are permeable and unstable. Recent reader-response theory, which sees the reader as always influenced by a context, is central to this inquiry. Analysis of readers' responses in the form of questionnaires constitutes part of the support for my assertions, while an examination of typography, orthography, interlingua, and theme in three novels by Canadian Mennonites provides the balance.
Chapter one lays the theoretical framework for the investigation. It discusses: reader-response theory and the impossibility of accessing a stable textual meaning coincidental with the author's intention, the challenge of the non-English word to the concept of universality, and the distinction between proper “English" and non-institutional "english". Chapter two examines some readers' responses to non-English words and finds that “inside" readers have interpretations in common with "outside” readers, and that variations exist between the interpretations of “inside" readers. A binary model is too simplistic to encompass the range of contexts from which readers read. Chapter three discusses typography, orthography, and interlanguage in relation to (Low) German, and suggests the importance of these features to a discussion of the texts. Chapters four through six examine Rudy Wiebe's The Blue Mountains of China (1970), Anne Konrad's The Blue Jar (1985), and Armin Wiebe's The Salvation of Yasch Siemens (1984) respectively. Each novel's thematic concern with cultural boundaries serves as a framework for interpreting its physical and linguistic features. Chapter seven concludes by examining the influence of my own fragmented identity on the development of my argument, and revisits the issue of authorial intent in our politically less-than-perfect world. A lengthy appendix serves as a pluralistic glossary to the texts, and contains the responses to my questionnaires. A brief section outlines some of the appendix's interesting patterns and trends. An index to the appendix is provided since the appendix is not arranged alphabetically.
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Fourie, Fiona Hilary. "Responses to imperialism of four women writers at the Cape Eastern frontier in the nineteenth century". Thesis, 2011. http://hdl.handle.net/10539/9953.
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Rickard, Suzanne. "On the shelf : women writers, publishing and philanthropy in mid-nineteenth-century England". Phd thesis, 1995. http://hdl.handle.net/1885/139147.
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Mukiwa, Faresi Rumbidzai. "Women and utterance in contexts of violence : Nehanda, Without a name and The strange virgins by Yvonne Vera". Thesis, 2006. http://hdl.handle.net/10413/1632.
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This dissertation is a study of women and utterance in contexts of violence in the three selected novels written by the late Yvonne Vera: Nehanda (1993), Without a Name (1994), and The Stone Virgins (2002). A study of the representation of women in particular is appropriate because their role in the making of the history of Zimbabwe has been deliberately undermined or ignored by 'patriotic' historians and politicians alike. This study incorporates a historical and post-colonial feminist analysis of women and their empowerment through utterance in Vera's novels. Their achieving utterance is seen as a way of countering a past tendency to focus on women being victims of patriarchal ideologies with little being done to expose the degree and nature of women's resistance against oppressive, socially constructed gender relations. The kind of violence experienced by Vera's women is both physical (rape and murder) and psychological. Two dimensions of utterance have been explored in this study. Firstly, the study examined what the characters can and cannot say about their conditions of suffering. This entailed an examination of their cultural and contextual limitations as well as their personal difficulties. Secondly, the study investigated how Vera, writing some fifteen years after the events she depicts and with the advantage of hindsight, represents her women characters as agents of their own recovery from the violation perpetrated against them. This involved an analysis of Vera's utterance and her thematic concerns, especially her revisioning of history in breaking the silence of her women characters. Positioned in relation to existing critical works on Vera's novels, this study's contribution to the critical debate has been its demonstration of how Vera, through the use of her narrative technique and unique poetic style was able to challenge the conditions of women in the past in a way that has relevance to present-day Zimbabwe and offers possibilities for the future Zimbabwe.Thesis (M.A.)-University of KwaZulu-Natal, 2006.
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Mangwanda, Khombe M. "The Zimbabwean nation as cultural construct in the works of John Eppel, Dambudzo Marechera and Yvonne Vera". Thesis, 2006. http://hdl.handle.net/2263/27635.
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Chigwedere, Yuleth. "Head of darkness : representations of "madness" in postcolonial Zimbabwean literature". Thesis, 2015. http://hdl.handle.net/10500/20981.
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This study critically explores the numerous strains of “madness” that Zimbabwean authors represent in their postcolonial literature. My focus is on their reflection of “madness” as either an individual state of being, or as symptomatic of the socio-political and economic condition in the country. I have adopted insights from an existential psychoanalytic framework in my literary analysis in order to bring in an innovative dimension to this investigation of the phenomenon. I consider this an appropriate stance for this study as it has enriched my reading of the literary texts under study, as well as played a crucial role in providing me with effective conceptual tools for understanding the manifestations of “madness” in the texts. The literary works that I critique are Shimmer Chinodya’s Chairman of Fools (2009), Mashingaidze Gomo’s A Fine Madness (2010), Brian Chikwava’s Harare North, Petina Gappah’s An Elegy for Easterly (2009), Tsitsi Dangarembga’s The Book of Not (2006) and Yvonne Vera’s Without a Name (1994) and Butterfly Burning (1998). These selected texts offer me an opportunity to analyse the gender dynamics and discourses of “madness”, which I do from a peculiarly indigenous and feminist perspective. My study reveals that these authors’ representations are located in and shaped by very specific temporal and spatial contexts, which, in turn, shed light on the characters’ existential reality, revealing aspects of their relationship with the world around them. It demonstrates that their notions of “madness” denote different markers of identity, such as race, class, gender, and religion, amongst others. Significantly, my literary analysis illustrates the varied permutations of “madness” by exposing how these authors characterise the phenomenon as trauma, as alienation, as depression, as insanity, as subversion, as freedom, and even as a sign of the
state of affairs in Zimbabwe. This investigation also reveals that because “madness” in these authors’ fiction is intricately linked to the question of identity, it manifests in situations where the characters’ sense of ontological security is compromised in some way. What emerges is that “madness” can either signify a grapple with identity, a loss of it, or a struggle for its redefinitionEnglish Studies
D.Litt. et Phil. (English)
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Chigidi, Willie L. "A study of Shona war fiction : the writer's perspectives". Thesis, 2009. http://hdl.handle.net/10500/3118.
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This thesis is an in-depth study of Shona fiction about the liberation war in Zimbabwe. It looks at the way Zimbabwe’s liberation war is portrayed in Shona fiction and focuses on the factors that shaped writers’ perspectives on that war. It is argued that Shona war fiction writers romanticised the war and in the process simplified and distorted history. The researcher postulates that writers’ perspectives on this liberation war were shaped by factors that include the mood of celebration and euphoria, the dominant ideology of the time, the situations of independence and freedom, and literary competitions. The thesis further raises and illustrates the point that writers produced romances of adventure because they were writing on the theme of war, and if one writes on the theme of war one ends up writing an adventure story. However, it is also acknowledged that because authors were writing on a historical event they could not ignore history completely. Some aspects of history are incorporated into the fiction, thereby retaining a semblance of historical realism. The post-independence period is also seen as a time of cultural revival and this is considered as the reason behind the authors’ tendency to celebrate Shona traditional institutions and culture. The celebration of Shona traditional religion and culture introduced into the fiction the element of the supernatural that strengthened the romance aspect of the novels. Shona war fiction writers also perpetuate female stereotyping. Female characters are depicted as everything except guerrilla fighters. It is argued that there are no female characters that play roles of guerrilla fighters because during the actual war women were not visible at the war front, fighting. The thesis argues that men, who were pioneers of the guerrilla war and writers of the war stories, excluded women from liberation war discourse and ultimately from literary discourse as well. A few writers who comment on the quality of Zimbabwe’s independence and freedom show the disillusionment and despair of the peasants and ex-combatants as they struggled to settle down and recover from the war.African Languages
D.Litt. et Phil.
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Mbwera, Shereck. "Short stories for life : implications of the Canonisation of the Zimbabwe story-telling tradition, with special reference to selected Zimbabwean short stories". Thesis, 2016. http://hdl.handle.net/10500/22592.
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This study examines the myth of the surrogate power of canonicity by exposing the condition of liminality of the Zimbabwean short story genre within African literary canon. Building on the hypothesis that canonisation distorts literature the study postulates that literary canon produce predictable biases in construing the position of the short story. It fossilises and condenses the marginal genres to the extent that the existing canon repertoire hardly recognises them. The peripheral but de facto canon of the short story genre entertains a strong relationship of heteronomy to the mainstream/central canon. This thesis studies this relationship which determines canon formation within the African literary systems. It challenges the prevailing status quo in which the short story is polarised against other literary modes. The polarity creates a charged diametric force between the presumed canonical genres and the supposedly non-canonical short story mess. What lacks in this equation of conflicts is a sense of revival, reformation and continuity of the short story canon. The marginality of the short story canon is predicated on factors external to the genre itself, such as the influence of colonial institutions, collegiate institutions and publishers on writers. These factors pervade the dialectics of canonical marginality of the genre. The study, which argues that there is no unanimity on theory of canon, proposes Africulture, as both a theory and praxis of Afrocentricity, to function as an arbiter of short story literary reputation and consecration. The research reveres the autonomous value of African story-telling tradition which withstood the test and movement of time, in the process, surviving not only the historical-cum-cultural threat of colonial loss and canonical displacement, but also the throes and will power of new media and digital technologies. The ascendancy of the electronic short story genre to canonical status remains questionable. Critical controversies abound about the canonicity of electronic literature. The study employs Technauriture as a theoretical model for rethinking the transcendence of the electronic short story canon. The study concludes that, by virtue of its resilience, the short story ought to be treated as a wholesale and independent genre, worth of full scale appreciation.African Languages
D. Litt. et Phil. (African Languages)
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Mitras, Joao Luis. "Postmodern or post-Catholic? : a study of British Catholic writers and their fictions in a postmodern and postconciliar world". Diss., 1997. http://hdl.handle.net/10500/18636.
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This thesis is an investigation into the nature of the 'postmodern' narrative strategies and fictional
methods in the work of two British Catholic writers. The work of David Lodge and Muriel Spark is
here taken as an example ofthe 'Catholic novel'. In order to determine ifthe overlap ofpostmodern.
and Christian-influenced narrative strategies constitutes more than a convergence or coincidence of
formal concerns, narrative form in these novels is analyzed in the light of neo-Tho mist and Tho mist
aesthetics, a traditional Catholic Christian theory of the arts. The 'postmodern' in these 'Christian'
texts becomes largely a coincidence of terminology. Narrative forms which can be classified as
'postmodern' can also be categorized using the terminology of Thomas Aquinas. The apparent
similarities betray radically divergent metaphysical presuppositions, however. The nature of the
Catholic 'difference' lies in the way postmodern forms are used to challenge the metaphysical
bases of those forms.English Studies
M.A. (English)
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Sisimayi, Weston. "The representation of marginalized voices and trauma in selected novels of Tsitsi Dangarembga and Yvonne Vera". Diss., 2017. http://hdl.handle.net/10500/25133.
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Includes bibliographical references (leaves 84-91)My thesis focuses on the representation of marginalized voices and trauma in the selected fiction of Tsitsi Dangarembga and Yvonne Vera. I analyze three novels written by the Yvonne Vera—Without a Name (1994), Under the Tongue(1996) and The Stone Virgins(2002) set during the Zimbabwe liberation struggle period and postcolonial Zimbabwe dissident era respectively and Nervous Conditions(1988) and its sequel, The Book of Not (1996), by Dangarembga set during the 1960s to 1970s colonial Rhodesia period (the colonial name for Zimbabwe) and during the period of white‐minority rule in Rhodesia to the attainment of independence in 1980. I analyze these novels from the feminist/womanist, gender and postcolonial literary models. The rational for grouping these theoretical models in the analysis in this thesis is that they commonly highlight from a gender perspective the complex factors which oppress and marginalize women in the colonial and postcolonial contexts in which the two authors set their writings. These literary paradigms highlight the oppression of women from an African perspective and all acknowledge the need to address all factors which oppress and subordinate women (gender, race, class) if total emancipation for them is to be achieved. I also posit that Vera and Dangarembga offer discourses that challenge the silencing of narratives of oppression and violation in their novels selected for analysis in this thesis. The thesis has five chapters. In Chapter 1, I set out the argument of the thesis and give a brief history of gendered colonialism and the historical period which provides a setting for the fiction of the two authors. Next, I describe the conceptual framework I will use in analyzing the works of the two postcolonial Zimbabwe female writers. Then I will outline the research questions and hypothesis and expose the research methodology and approach that will serve as my vehicle for data collection, analysis and interpretation. In Chapter 2, I will focus on gender, class and race and discuss the ways Dangarembga explores these factors in Nervous Conditions and The Book of Not. I will also discuss innovate ways women explore to champion their freedom and voice in the fiction of Dangarembga. Chapter 3 focuses on the novels of Yvonne Vera— Without a Name, Under the Tongue and The stone Virgins —which articulate narratives of violated subjects and silenced voices. I will discuss the ways Vera explores to show how narratives of violated subjects are silenced by patriarchy, colonialism and masculine narratives of nationalism in these novels. Chapter 4 focuses on narratives of trauma. Using theories of trauma, I will analyze Without a Name, Under the Tongue and The Stone Virgins by Vera and show how these narratives articulate colonial and postcolonial trauma and female child trauma. I will also discuss The Book of Not by Dangarembga and show how the novel articulates colonial and racial trauma. My discussion of the novels of Vera and Dangarembga in this chapter will show that these novels work out traumatic experiences in the colonial and postcolonial eras and will also reveal the challenges of representing tra
English Studies
M.A. (English)
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Moyo, Thamsanqa. "The unsettling of colonialist and nationalist spaces : John Eppel's writings on Zimbabwe". Thesis, 2018. http://hdl.handle.net/10500/25320.
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The Rhodesian and Zimbabwean space-time involved the creation and adoption of hegemonic discourses that influenced ways of behavior, thinking, perceiving reality and particular ways of identity construction based on mystifying nationalisms. In raced and politically charged spaces, such grand narratives depended, for their currency, on stereotypes, essentialisms, domination and dichotomization of ‘nation as narration’. The metanarratives of the two spaces functioned as discursive tools for the legitimation of particular forms of exclusions, elisions and distortions. As discursive and polemical literary tools, these discourses always found sustenance and perpetuation in the existence of a different other. In other words, these constructed narratives sought to use difference as a basis for scapegoating and naturalizing racial, economic, political and resource asymmetries in the Rhodesian and Zimbabwean spaces. Power was wielded not in the service of, but against, the majority who are marginalized. This study explores John Eppel’s writings on the constructions of both Rhodesia and Zimbabwe as ideological spaces for the legitimation of power based on class, race and politics. I argue that Eppel’s selected writings are a literary intervention that proffers a satirically dissident critique of the foundational myths, symbols and narratives of Rhodesian and Zimbabwean space-time. The study argues that Eppel offers literary resistance to unproblematized identity compositions predicated on socially constructed but skewed categories that limit the contours of belonging and citizenship. The Rhodesian space is viewed as a palimpsest upon which is overwritten the Zimbabwean patriotic discourse that also authorize racism, marginalization, power abuse and other forms of exclusion. In examining Eppel’s satiric disruption of both spaces, I use certain strands of the Postcolonial Theory that problematize issues of nation, identity, race, tribe and power. Its usefulness lies in its rejection of fixities, of absolutes and in its general counter-hegemonic thrust. I therefore invoke the theorizations of Frantz Fanon, Homi Bhabha, Maria
Lara, Paul Gilroy, Mikhail Bakhtin and Benita Parry. These form the theoretical base with which the study confronts Eppel’s writings on Rhodesia and Zimbabwe. The focal texts used are: Absent: The English Teacher (2009), selected short stories in White Man Crawling (2007) and The Caruso of Colleen Bawn (2004), The Holy Innocents (2002), Hatchings (2006), selected poems from Spoils of War (1989), Songs my Country Taught me: Selected Poems 1965-2005(2005) and D.G.G.Berry’s The Great North Road (1992). I conclude by arguing that Eppel creates a fictional life-world where race, origin, politics, class and culture are figured as polarizing identity markers that should be re-negotiated and even transcended in order to materialize a more inclusive multicultural society. To the extent that both the colonial and post-independence eras cross-fertilize each other in terms of occlusions, creating hegemonic narratives, resort to race, violence, silencing and erasure of certain subjectivities, Eppel advocates the ‘hatching’ of a new national, moral and inclusive ethos that supersedes the claustrophobia of both spaces.English Studies
D. Litt. et Phil.(English)