Rozprawy doktorskie: „Jewish authors – history and criticism”

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Traves, Julie. "Writing himself and others : Philip Roth and the autobiographical tradition in Jewish-American fiction". Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26763.

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Philip Roth's parody of autobiography in the Zuckerman series is part of a larger debate concerning the problems of Jewish art. As Roth manipulates personal and personified autobiography, he both underlines and undermines Jewish traditions of reading and writing. To be sure, Zuckerman's struggle for artistic identity articulates a long-standing Jewish concern with the tensions of collective representation. It is from a culture consistently threatened by alienation and extermination that Roth finds his terms of reference. Zuckerman and his creator are subject to a whole discourse of Jewish textuality: to Jewish notions about the relationship between the individual and the group; between fact and fiction and between aesthetics and morality.
However, the Zuckerman books are at once part of a continuum of Jewish culture and a unique response to the pressures of contemporary American Judaism. Through his humorous manipulations of autobiographical fiction, Roth finally counter-turns the very compasses by which he has oriented himself. He offers a potent commentary on the fatuity of Jewish "facts" and on the fictitious nature of the collectivized Jewish voice. For Roth, it is not only the Jew's experience, but his/her imagination, his/her individual frame of understanding, that determines ethnic identity. In the end, Roth challenges the cohesion of the Jewish cultural text. He places himself in a house of mirrors, where life and art, self and group, Jewish reverence and Jewish rebellion, endlessly reflect off one another.

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Soloway, Jason A. "Negotiating a hyphenated identity, three Jewish-Canadian writers". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ39887.pdf.

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Schroeder, Elfrieda Neufeld. "Fragmented identity, a comparative study of German Jewish and Canadian Mennonite literature after World War II". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ60565.pdf.

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Kay, Devra. "Women and the vernacular : the Yiddish tkhine of Ashkenaz". Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670310.

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Molkou, Elizabeth. "Contributions d'ecrivains juifs a la problematique de l'autofiction". Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37784.

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The present literary production in France indicates the return of the subject, which has been proclaimed dead since the New Novel. With the proliferation of autobiographical texts in the nineteen-eighties, a generalized movement towards an aesthetic genre valuing this particularity was noticed. This proliferation renders the scope of this literary form immense. It covers a range from strictly historical texts, including autobiographies, memoirs and intimate journals to semi-referential texts, qualified as autobiographical fictions, "autofictions" or again "factual fictions". Midway between the autobiography and the novel, autofiction, this little studied literary practice, inaugurates a new writing form which we believe constitutes one of the boldest modern incarnations of the writing of the self. This thesis considers the possibility of a correlation existing in the problematics of autofiction and those of Jewishness in writing. Already off-centered, the Jewish writer, can be seen as the emblematic figure of the writer himself. Drawing on a corpus of four writers (Serge Doubrovsky, Marcel Benabou, Regine Robin and Patrick Modiano), we examine the structure, as well as its functionning rules, woven through texts sharing Jewish authorship. These writers pose, each from his own specific perspective, the problem of Jewishness in writing. This correlation brings to light the exemplary nature of these texts with regards to the more generalized and thus far unprecedented strategy that is autofiction. The intersection of these historically marked problems, autofiction and Jewishness in writing, leads us inevitably to further reflection upon the tragedy of modernity, the Shoah and its omnipresent shadow in the works of our corpus.

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Meir, Amira. "Medieval Jewish interpretation of pentateuchal poetry". Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28842.

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This dissertation studies parts of six medieval Jewish Torah commentaries in order to examine how they related to what we call Pentateuchal poetry. It examines their general approaches to Bible interpretation and their treatments of all Pentateuchal poems. It focusses on qualities we associate with poetry--parallelism, structure, metaphor, and syntax--and explores the extent to which they treated poems differently from prose.
The effort begins by defining Pentateuchal poetry and discussing a range of its presentations by various ancient writers. Subsequent chapters examine its treatment by Rabbi Saadia Gaon of Baghdad (882-942), Abraham Ibn Ezra of Spain (1089-1164), Samuel Ben Meir (1080-1160) and Joseph Bekhor Shor (12th century) of Northern France, David Kimhi of Provence (1160-1235), and Obadiah Sforno of Italy (1470-1550).
While all of these commentators wrote on the poetic passages, none differentiated systematically between Pentateuchal prose and poetry or treated them in substantially different ways. Samuel Ben Meir, Ibn Ezra, Bekhor Shor, and Kimhi did discuss some poetic features of these texts. The other two men were far less inclined to do so, but occasionally recognized some differences between prose and poetry and some phenomena unique to the latter.

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Spergel, Julie. "Canada's "second history": the fiction of Jewish Canadian women writers". Hamburg Kovač, 2009. http://d-nb.info/997540079/04.

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Weekes, Ann Owens. "BEGINNING A TRADITION: IRISH WOMEN'S WRITING, 1800-1984 (EDGEWORTH, JOHNSTONE, KEANE, IRELAND)". Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/183990.

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In search of an Irish women's literary tradition, this dissertation examines the fiction of Irish women writers from Maria Edgeworth in 1800 to Jennifer Johnston in 1984. Contemporary anthropological, psychoanalytical, and literary theory suggests that women, even those of different cultures, excluded from public life and limited to the domestic sphere, would develop similar interests. When these interests ran counter to those of the dominant group, the women would have had to develop a technique to simultaneously express and encode these interests and concerns. This technique in literature, and specifically in the writers considered, often results in a muted plot. On the overt level the plot reifies the values and tenets of the establishment, but, at the muted level, the plot often expresses contradictory and subversive values. In 1800, Maria Edgeworth employs a "naive" narrator who both expresses male disinterest in the awful situations of the women he depicts and also distances the author from any implied criticism of this male perspective. Edgeworth combines her subtle expose with a critique of the desires encoded as "human," but actually merely "male," in canonical literature. At the end of the nineteenth century, E. OE. Somerville and Martin Ross again use an arguably deceptive narratorial device, as does Molly Keane in 1981. Elizabeth Bowen employs a more subtle narratorial device in The Last September, but one which still distances the author from her text. The re-vision of texts, literary and historical, indeed the re-visioning of history, recurs in Bowen, Keane, Kate O'Brien, Julia O'Faolain and Jennifer Johnston. Finally, one can trace similarities of both theme and technique over the whole period, despite the modifications of time and social change. We can also point to the major thematic and structural change which occurs when, in the past ten to fifteen years, writers have reversed the placement of muted and overt plot.

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Poetini, Christian. "Weiterüberleben, Jean Améry und Imre Kertész". Doctoral thesis, Universite Libre de Bruxelles, 2013. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209520.

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Synopsis :

La thèse démontre la force du discours de la survivance à travers tant l’essai que le roman, respectivement chez deux auteurs représentatifs et exemplaires. Jean Améry est l’initiateur d’un discours où l’accent est mis sur l’expérience de la privation totale de liberté et sur le suicide comme paroxysme de l’acte libre voulu par le survivant des camps de concentration. Imre Kertész fonde, lui, une écriture synonyme de stratégie de survie. Le suicide y constitue le moyen fictionnel, pour l’être survivant, de regagner sa liberté et son propre « destin ».

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La thèse se propose d´analyser l´articulation littéraire du thème de la survivance, thème étudié à travers un corpus déterminé. « Articulation littéraire » est à entendre ici au sens de vecteur d’écriture dans l’acception la plus riche, à savoir depuis la représentation, les procédés littéraires jusqu’au processus lui-même. Le titre original du texte s’articule autour du vocable « Weiterüberleben », lequel opère une synthèse entre les deux facettes « survivre » et « continuer à vivre ».

A cet égard, le choix du terme « survivance » en français semblait très approprié. Celui-ci s’oppose dans un premier temps au mot usuel de « survie » par l’accent qu’il met sur l’action, la durée, la continuité ainsi que l’irréversibilité de cette expérience.

Dans un deuxième temps, dire « survivance » signifie introduire d’emblée un impact philosophique intentionnel qui place le phénomène étudié dans le sillage conceptuel de Derrida – différance, restance, absence, démeurance. A ce titre, la survivance peut être considérée comme trace et hantise au même moment.

Dès lors, le mouvement exprimé dans le titre sert de matrice ;dans le « discours sur la survivance », la survie n’est plus la condition d’écriture mais le véritable objet et, si l’on veut, l’objectif de cette écriture. Ce discours articule a) une reconquête de la dignité et liberté qui contient la possibilité du suicide, b) le vœu de continuer à faire vivre la mémoire à la Shoah et aux survivants et c) l’écriture comme stratégie de survie et résistance contre l’oubli.

Le centre de gravité de ce travail est l’étude du rapport entre l´expérience des survivants des camps de concentration et l’écriture de celle-ci. Il s´agit dès lors de se pencher sur les formes d´écriture qui traitent de cette problématique. Le témoignage, d´abord :quel est son rôle en tant que mise en parole d’une expérience ?A côté du témoignage, on observe l´émergence du traitement fictionnel de la thématique.

Une interrogation sur les modes d´émergence littéraire de ce sujet nécessite le passage par une historiographie parcourant les principales tentatives antérieures de représentation. Le témoignage a d´ores et déjà offert des possibilités intéressantes en tant que vecteur de représentation mais a également révélé ses limites. La fiction a montré quelle portée elle peut avoir ;si elle permet entre autres une ouverture du discours, elle se heurte aussi à des obstacles tels que les problèmes de la factualité, de la vérité, de l´authenticité.

Tout en puisant chez bon nombre d´autres écrivains, la thèse se base sur un corpus de deux auteurs emblématiques pour ce qu´ils ont apporté dans le domaine concerné :Jean Améry et Imre Kertész.

Le choix de Jean Améry se justifie notamment par le fait qu’il est l’initiateur d´un discours de la survivance où l´accent est mis sur l´expérience de la privation totale de liberté et sur le suicide comme paroxysme de l´acte libre voulu par le survivant. Kertesz, prix Nobel 2002, apparaît comme l’héritier d´Améry mais, dans une sorte de retournement, transforme le discours négatif de celui-ci en un discours positif par une analyse en termes de dialogicité et d´intertextualité.

Notre point de départ dans l’œuvre d’Améry est son essai sur la torture (« Par-delà le crime et le châtiment », 1966). C’est là qu’il insiste sur l’irréversibilité du moment subjectif qu’est la torture (« Celui qui a été torturé reste torturé ») ;Améry construit à cet endroit le fondement de la « perspective de la victime » et pose, dans le voisinage immédiat, la question de savoir comment surmonter l’insurmontable.

Avec le concept de « contre-violence », Améry explore le paradoxe de la libération – ou la « réversibilité de l’irréversible » – à travers les crises existentielles de son protagoniste (et alter ego) Lefeu (artiste-survivant); son roman-essai « Lefeu ou la démolition » donne lieu à l’analyse de ce phénomène paradoxal, cher à l’auteur.

L´exposé des quatre concepts fondamentaux d´Améry, également fondateurs de tout discours sur l´Holocauste – la perte de la confiance existentielle, le ressentiment, l´exil et la judéité – prépare la voie à une analyse détaillée du discours sur le suicide déployé dans « Porter la main sur soi ». En franchissant les frontières de la psychologie et les limites de la langue, Améry procède à une phénoménologie du suicide qui souligne la liberté individuelle mais qui écarte en même temps l´individu de la société.

Imre Kertész, dont l´œuvre marque le passage vers la fiction par sa trilogie « Etre sans destin », « Le refus », « Kaddish pour l´enfant qui ne naîtra pas », place l´individu dans toute sa fragilité face à l´Histoire nazie et communiste en faisant de celui-ci un survivant « sans destin », c´est-à-dire sans existence personnelle. Regagner son propre destin devient la modalité de la survivance.

Une analyse détaillée de son essai « L’Holocauste comme culture » inscrit d’emblée Imre Kertész dans la filiation de Jean Améry. Cet essai peut être lu comme un manifeste éthico-esthétique ;il insiste sur la nécessité de transposer l’expérience vécue dans l’espace littéraire. A cette condition seulement, le survivant réussit à survivre grâce et à travers les œuvres qu’il crée. Il y réussit en effet à figurer la « catharsis » ou à transfigurer la matière brute du vécu pour pouvoir continuer à survivre.

Tout en refusant catégoriquement le suicide pour des raisons éthiques, Kertész met paradoxalement en scène au cœur de Liquidation le suicide d´un écrivain né à Auschwitz. Il pose ainsi la question de « ce qui reste » de l’expérience de la survie après la disparition des survivants et, donc, au-delà de la possibilité d’en témoigner.

L’analyse monographique de ces deux auteurs permet, d’une part, de démontrer la relation référentielle qui lie Kertész à Améry, d’autre part, d’étudier la problématique à travers deux générations, deux appartenances historiques et deux univers culturels différents. Elle débouche ainsi sur une histoire interculturelle et transgénérationelle de la survivance à l’époque des totalitarismes.

Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

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Marron, Rosalyn Mary. "Rewriting the nation : a comparative study of Welsh and Scottish women's fiction from the wilderness years to post-devolution". Thesis, University of South Wales, 2012. https://pure.southwales.ac.uk/en/studentthesis/rewriting-the-nation(acc79b10-cd63-48ee-b045-dabb5af2f77c).html.

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Since devolution there has been a wealth of stimulating and exciting literary works by Welsh and Scottish women writers, produced as the boundaries of nationality were being dismantled and ideas of nationhood transformed. This comparative study brings together, for the first time, Scottish and Welsh women writers’ literary responses to these historic political and cultural developments. Chapter one situates the thesis in a historical context and discusses some of the connections between Wales and Scotland in terms of their relationship with ‘Britain’ and England. Chapter two focuses on the theoretical context and argues that postcolonial and feminist theories are the most appropriate frameworks in which to understand both Welsh and Scottish women’s writing in English, and their preoccupations with gendered inequalities and language during the pre- and post-devolutionary period. The third chapter examines Welsh and Scottish women’s writing from the first failed referendum (1979) to the second successful one (1997) to provide a sense of progression towards devolution. Since the process of devolution began there has been an important repositioning of Scottish and Welsh people’s perception of their culture and their place within it; the subsequent chapters – four, five, six and seven – analyse a diverse body of work from the symbolic transference of powers in 1999 to 2008. The writers discussed range from established authors such as Stevie Davies to first-time novelists such as Leela Soma. Through close comparative readings focusing on a range of issues such as marginalised identities and the politics of home and belonging, these chapters uncover and assess Welsh and Scottish women writers’ shared literary assertions, strategies and concerns as well as local and national differences. The conclusions drawn from this thesis suggest that, as a consequence of a history of sustained internal and external marginalization, post-devolution Welsh and Scottish women’s writing share important similarities regarding the politics of representation. The authors discussed in this study are resisting writers who textually illustrate the necessity of constantly rewriting national narratives and in so doing enable their audience to read the two nations and their peoples in fresh, innovative and divergent ways.

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Clifford, Dafna. "Unifying elements in European Jewish fiction, 1890-1945 : between disillusion and destruction". Thesis, University of Oxford, 1994. http://ora.ox.ac.uk/objects/uuid:9701edaa-38b6-4816-942b-6071418ba395.

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This study seeks to identify and describe the characteristic elements of European Jewish fiction during the period 1890-1945. Writings that deal with overtly religious themes or which have Zionist publicistic tendencies have been excluded and emphasis is placed on works with settings that are sim- ilar to those to be found in contemporary European fiction by non-Jewish writers. In order to provide a broad comparison, the study incorporates representative literary material by Jews from both Western and Eastern intellectual traditions, and includes texts in the three major languages of artistic expression in these communities: German, Yiddish, and Hebrew. On the basis of this material, it is argued that, in three respects at least, there is an identifiable unity in secular Jewish writing. Firstly, there is a thematic preoccupation with thwarted idealism, which is elaborated in a complex interaction among such themes as social alienation, ambivalence in interpersonal relationships, political altruism and impotence. Secondly, there is a consistent treatment of the characterisation of women, the devel- opment of their relationships to men, and the role of the family. Finally, there is a special reliance on the literary device of irony, in both its verbal and situational forms. The introductory chapter provides historical background and gives a general outline of the thesis. Subsequent chapters are organised as a sequence of thematic and stylistic comparisons; firstly between represen- tative texts from Eastern and Western Jewish communities and finally between the writings of a Jewish and a non-Jewish author, in an analysis of the use of irony in the works of Siegfried Kracauer and Thomas Mann. The German texts studied are Der Weg ins Freie by Arthur Schnitzler, Junge Frau von 1914 by Arnold Zweig, Kafka's Das Schlofl, Georg and Ginster by Siegfried Kracauer and Die Flucht ohne Ende by Joseph Roth. The Yid- dish writings are Di mishpokhe Karnovski and Khaver Nakhmen by I.J. Singer, Tsvishn emigrantn, Nokh Alemen and Mides-hadin by Dovid Bergelson and Di gas by Yisroel Rabon and the Hebrew texts are Nokhah hayam and Hayey nisu'im by David Vogel.

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Tagore, Proma. "The shapes of silence : contemporary women's fiction and the practices of bearing witness". Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36793.

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This dissertation examines the complex and multi-faceted ways in which contemporary minority women's fictions may be thought of, both generically and individually, as practices of bearing witness to silence---practices of giving testimony to the presence of lives, experiences, events and historical realities which, otherwise, have been absented from the critical terrain of North American literary studies. For the most pact, the texts included in this study all tell tales of various, and often extreme, forms of sexual, racial, gender, colonial, national and cultural violence. Through readings of select works by Toni Morrison, Shani Mootoo, Arundhati Roy, Louise Erdrich, M. K. Indira, Mahasweta Devi and Leslie Feinberg, I argue for the ways in which these fictions may be understood as situated within the bounds of a genre---a genre that attempts to provide an account of what we might call "the half not told." I examine these fictions, both generically and specifically, as texts which have the ability to make several important critical interventions in the field of literary studies. Firstly, these texts have the potential to negotiate the impasse that feminist and postcolonial literary scholarship finds itself in around debates about the relationship between theory, activism and experience---as well as in debates about the relationship between violence, beauty, culture, subjectivity and desire. Secondly, the fictions under study help to challenge our very definitions of witnessing. Witnessing, in these works, is not simply a matter of "speaking out" against violence, but rather the issue of making space for the affective and emotive dimensions of various kinds of silences and silencings. Finally, in attempting to chart more precise vocabularies with which to assume readings of these narratives, my thesis also helps to think about the ways in which reading, writing and storytelling may, themselves, be seen as profoundly ethical undertakings that seek to give evidence

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Sun, Christine Yunn-Yu. "The construction of "Chinese" cultural identity : English-language writing by Australian and other authors with Chinese ancestry". Monash University, School of Languages, Cultures and Linguistics, 2004. http://arrow.monash.edu.au/hdl/1959.1/5438.

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Visel, Robin Ellen. "White Eve in the "petrified garden" : the colonial African heroine in the writing of Olive Schreiner, Isak Dinesen, Doris Lessing and Nadine Gordimer". Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/29445.

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Olive Schreiner, writing in the tradition of George Eliot and the Brontës, was an isolated yet original figure who opened up new directions in women's fiction. In her novels, The Story of an African Farm (1883) and From Man to Man (1926) she developed a feminist critique of colonialism that was based on her own coming-of-age as a writer in South Africa. Schreiner's work inspired and influenced Isak Dinesen, Doris Lessing and Nadine Gordimer, who have pursued their visions of the colonial African heroine in changing forms which nevertheless consciously hark back to the "mother novel." Dinesen's Out of Africa (1937), Lessing's Martha Quest (1952) and Gordimer's The Lying Days (1953) are in a sense revisions of Schreiner's Story of an African Farm. These texts, together with later novels by Lessing and Gordimer (such as Shikasta and Burger's Daughter, 1979) and key short stories by the four writers, form a body of writing I call the "African Farm" texts. Written in different colonial countries—South Africa, Kenya and Rhodesia—in response to different historical circumstances, from different ideological and aesthetic stances, the "African Farm" fictions depict the problematic situation of the white African heroine who is alienated both from white colonial society and from black Africa. Through her own rebellion against patriarchal mores as she struggles to define herself as an artistic, intellectual woman in a hostile environment, she uncovers the connections between patriarchy and racism under colonialism. She begins to identify with the black Africans in their oppression and their incipient struggle for independence; however she cannot shed her white inheritance of privilege and guilt. Just as colonial society (the white "African Farm") becomes for her a desert, a cemetery, a false, barren, "petrified garden," so black Africa becomes its idealized counterpart: a fertile realm of harmony and possibility, the true Garden of Eden from which she, as White Eve, is exiled. I trace the "African Farm" theme and imagery through the work of other white Southern African writers, such as J.M. Coetzee, whose stark, poetic, postmodernist novels can be read as a coda to the realistic fiction of the four women writers. Finally, I look at the post-"African Farm" texts of such transitional writers as Bessie Head, whose novels of black Africa preserve a suggestive link with Schreiner.
Arts, Faculty of
English, Department of
Graduate

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Papineau, Joane. "Le recit amoureux feminin actuel ; suivi de Si tes rèves m'étaient contes". Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22613.

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This masters thesis in creative writing is comprised of two sections, a critical review of contemporary love stories written by women in the narrative mode and a novel entitled Si tes reves m'etaient contes.
In our study of Le recit amoureux feminin actuel, we attempt to explain women's preference for the narrative mode, to describe the new vocabulary of love and highlight its specific meaning and style. How do women write about love, how do they portray men, what have become their amorous preoccupations in the recent years?
Si tes reves m'etaient contes is the story of Catherine who, fast approaching her forties, reflects upon her life and her marriage. She is forced to conclude that her husband, whom she thought she knew so intimately, is no longer the man she married. He has become a stranger to her.

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Potts, Henry M. "Native American values and traditions and the novel : ambivalence shall speak the story". Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26754.

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The commitment to community shared by Native American authors such as N. Scott Momaday, James Welch, and Louise Erdrich is partially evinced by each author's readiness to inscribe in novel form the values and traditions of the tribal community or communities with which he/she is closely associated. Many students of the novel will attest to its pliant, sometimes transmutable nature; nevertheless, as this study attempts to make clear, there are some reasons why Native American authors should reconsider using the novel as a means to express their tribal communities' values and traditions. Unambivalent prescriptions, however, seem more suited to the requirements of law or medicine; and so this study also examines some of the reasons why Native American authors should continue to embrace this relatively "new" art form persistently termed the novel.

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林英霞 i Insia Lin. "The mentality of the Russian intelligentsia as seen through the novelsof Dostoyevsky and Turgenev". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31227612.

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Welch, Edward. "A Catholic novelist in context : suggestions for a reassessment of the work of Francois Mauriac". Thesis, University of Oxford, 2000. http://ora.ox.ac.uk/objects/uuid:73570115-4495-4492-a21f-59ee6b6543d0.

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This thesis focuses on a writer who was a constant presence in the French literary field for a large part of the 20^th Century and who, by the time of his death, had established himself as one of the major post-war intellectuals, yet who is increasingly typecast simply as a 'Catholic Novelist'. The thesis aim to counter this tendency by highlighting other, intriguing and overlooked aspects of his work and career : the pervasive presence of the body in his novels, his Sartrean sensitivity to the problem of intersubjectivity, or his post-war intervention over decolonisation, and the ethical questions this forced him to confront. The distinctiveness of the thesis lies in its stress on the need to resituate literary texts and other works of art in their socio-cultural contexts - that is to say, in the context of other discourses or representations of the world in circulation at the same time. Thus, Part 1 explores how both his artistic theory and practice are shaped, in unpredictable ways, by the ideological framework of Catholicism into which he is inserted in his early years. Part 2 argues that despite, or perhaps because of, his innate conservatism, Mauriac emerges as a writer who is sensitive to, and captures the nature of, the modern world, and the experience of living in that world. His modern sensibility is reflected in his preoccupation with intersubjectivity, one he shares with other writers of the period who are, perhaps, more recognisably modern. Part 3 examines how his political interventions, and his corresponding transformation from novelist to intellectual, are managed by L'Express magazine, and how in fact he came to collaborate with a journal whose politics were radically different from his own. Overall, through an approach which can be described as materialist and, from a religious perspective, agnostic, the thesis aims to demonstrate how Mauriac can still be seen to have relevant and interesting things to say to a contemporary audience.

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Go, King-fan, i 吳景勛. "Burdens of the past: a study of Chinese-American writings". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B37642832.

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Li, Ha, i 李夏. "A study on Ji Xiaolan's (1724-1805) life, couplets and theories of couplets = Ji Xiaolan (1724-1805) sheng ping zi liao jiao zheng ji dui lian, lian lun yan jiu". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hdl.handle.net/10722/206454.

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Chin, Voon-sheong Grace, i 秦煥嫦. "Expressions of self/censorship: ambivalence and difference in Chinese women's prose writings from Malaysia andSingapore". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31245237.

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Hill, Geoffrey Burt. "'A breeding-ground of authors' : South East Asia in British fiction, 1945-1960". Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708370.

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Balletti-Thomas, Joanne. "Women's writing and the "anxiety of authorship" in nineteenth-century Italy : Bruno Sperani and others". Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26718.

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As women's literature emerged in late nineteenth-century Italy, female authors encountered many obstacles. Foremost among them was the near-total absence of Italian female literary role models. Female writers often expressed ambivalence towards the writing of other women, which was considered inferior to male writing. However, their reverence for male writers revealed how conflictive their identities as writers were, and it was an impediment to the establishment of a serious women's literary tradition. In addition to such personal conflicts, these writers also faced the challenge of gaining acceptance by the male-dominated literary community and by their readers. These two groups expected that women's writing conform to a moral code which did not apply to men's writing. This thesis is an analysis of the specific problems that female novelist Bruno Sperani and others faced as they strove to establish themselves in Italian literature.

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Yu, Yuen-yee Frankie, i 余婉兒. "Living on the margin". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45015168.

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Haley, Jennifer M. "Encomium, agency, and subversion : the feminist recovery of baby books as women's domestic rhetoric". Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1370879.

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In this dissertation I conduct a feminist recovery of the baby book as one kind of ordinary women's domestic rhetoric. I analyze the ways in which the baby book's evolution reflects changes in cultural practices over time and the means by which the baby book constitutes acts of potentially subversive agency in its power to resist patriarchal structuring. I classify the baby book within the ancient rhetorical genre of encomium, allowing us to perceive how a culture, situated in time and place, values the perception and presentation of an infant and the culturally-assigned role of the mother in the formation of that presentation. The genre of encomium must be redefined as an ongoing, dynamic, adaptive genre.I conduct an interpretation of more than the mere artifact, but of the production and experience of that artifact as well. Thus, this study establishes a unique and significant role for a de-reading methodology as a viable introduction and theoretical foundation to approaching domestic texts, involving self figuration on the part of the researcher and an empathic approach to reading that privileges a loving, appreciative standpoint.My analysis of over fifty baby books from 1885 through 2007 reveals that the role of the baby books and the role of the mother are assigned, to a great extent, by the definition of "family" and shaped by socioeconomic forces. Mothers subvert or comply with the directives from the publishers, thereby implying rejection of or compliance with the maternal script through such strategies as appropriation of space, inclusion of artifacts, and omission. This discovery expands our notion of agency in terms of the power of form, the role of the audience, and the connections to material and symbolic cultural context.My research establishes a line of inquiry into the material practices of production and simultaneously brings into view an array of texts that have been outside the conventional purview of rhetorical scholarship. For those who want to recover women's rhetoric and to extend an understanding of rhetorical praxis, baby books are a valuable primary and, until now, untapped source, as well as a "new" type of rhetorical evidence.
Department of English

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26

Benson, Derrick. "Josephus' reasons for the Jewish War". Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52313.

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Thesis (MA)--Stellenbosch University, 2001.
ENGLISH ABSTRACT: In this thesis I will examine and discuss the reasons given for the Jewish War of AD 66 - 70. Reasons put forward by modern scholars specializing in the study of the works of Flavius Josephus are examined and discussed. However, the bulk of my study centres on the reasons that Flavius Josephus supplies for the war as found in his major work Bellum Judaicum. One is lead to the conclusion that he firmly believes that reasons on the human and transcendent planes contributed to the catastrophic events that lead to the destruction of Jerusalem and the Temple. The worldview of this Jewish priest, general and accomplished historiographer was strongly influenced by the religious tenets of the Torah and the past history of the Jewish nation. He cannot countenance the wicked and evil deeds committed shamefacedly by his people against the clear standards that God had given to the nation, and believes that retribution by God will follow. He cannot forget occasions on the past when God intervened in the affairs of his nation by using a pagan world power to accomplish the purposes of God. He sees a similar recurrence of the events that lead to the destruction of the Jerusalem and the Temple in 587/6 BC being manifested in the Jewish War of AD 66 - 70.
AFRIKAANSE OPSOMMING: In hierdie tesis word die redes wat vir die Joodse Oorlog van AD 66-70 aangebied word, ondersoek en bespreek. Veral die redes wat moderne geleerdes wat in die bestudering van Flavius Josephus se werk spesialiseer, word nagespeur en bespreek. Die grootste deel van die studie fokus egter op die redes wat Flavius Josephus self vir die gebeurtenis voorhou, soos wat hy dit in sy belangrike werk, Bellum Judaicum, uiteensit. 'n Mens kom tot die gevolgtrekking dat hy met groot oortuiging glo dat die redes wat tot die katastrofiese gebeure rondom die vernietiging van Jerusalem en die Tempel 'n bydrae gelewer het, op die vlak van sowel die menslike as bomenslike te vinde is. Die wêreldbeskouing van hierdie bedrewe geskiedskrywer en Joodse priester is deur beide die Torah se godsdienstige voorskrifte en volksgeskiedenis sterk beïnvloed. Hy kan nie sy steun aan die blatante en bose dade van sy volksgenote teen die duidelike standaarde wat God gegee het, toesê nie. Volgens hom moes God se vergelding volg. Hy kan ook nie vergeet hoe God in sy volk se verlede ingegryp het deur om goddelose wêreldmagte aan te wend om sy Goddelike doelwitte te bereik nie. Hy gewaar 'n soortgelyke herhaling van gebeurtenisse wat tot die vernietiging van Jerusalem en die tempel in 587/6 vC gelei het, in die aanloop tot die Joodse Oorlog van AD 66-70.

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李仕芬 i Shi-fan Lee. "Love and marriage". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1989. http://hub.hku.hk/bib/B31208721.

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Skyes, Gillian E. "The new woman in the new world : fin-de-siècle writing and feminism in Australia". Phd thesis, Faculty of Arts, 2002. http://hdl.handle.net/2123/16473.

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Grossman, Michèle 1957. "Entangled subjects : talk and text in collaborative indigenous Australian life-writing". Monash University, School of Literary, Visual and Performance Studies, 2004. http://arrow.monash.edu.au/hdl/1959.1/5269.

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Haslam, Jason W. (Jason William) 1971. "Writing from the pen : a study of selected works from American prisons". Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23842.

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This essay closely studies several works written by American male writers--either while the author was in an American prison, or shortly after he was released. The first works studied, from the nineteenth century, introduce the themes and questions for the later discussion of the other works, all of which are taken from the twentieth century. A central focus of the essay is on the process by which all of the authors studied attempt a textual reversal of the positions of reader and author. In each of the works, the reader, generally seen as a member of 'outside' society, is portrayed as a representative of the imprisoning society. Thus, the textual confrontation is between a prisoner/author and a warden/reader; and the subsequent reversal that takes place through the medium of the text places the reader in the position of being a prisoner, with the author becoming the prison-authority, or warden. This reversal is used by the authors examined as means or attempt at freeing themselves from both the defining and imprisoning texts of society, as well as from the actual prison where the author finds himself. The writing of the prison-text, therefore, is a verbal act intimately associated with the gaining of various forms of at least visionary freedom.

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Davidson, Elizabeth Macleod. "Women's writing in exile : three Austrian case studies, Veza Canetti, Anna Gmeyner, Lilli Korber". Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:17215528-0abb-41d2-8f22-883fc185e7c9.

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Despite the recent increase in scholarship on the subject of the female experience in exile, there is still much to be done. Exile scholars now have at their disposal an abundance of broad, general overviews of the circumstances and fates of displaced women writers, but a dearth of scholarship that considers specific literary works in an individualised fashion still exists. This is especially true of those female writers who have only recently been 'rediscovered', such as the three under discussion in this thesis. This thesis explores in detail the exile writings of Veza Canetti, Anna Gmeyner, and Lili Korber, about which little scholarship exists, and uses them as case studies to illuminate the situation of exiled women writers in general The exile works of these three authors repay study both for their own literary merits and for what they can tell us about the individual experience of exile. In their broad similarities, these writers also provide us with case studies of the larger experience of authorial exile - particularly, but by no means exclusively, the gendered experience - that allow us to derive more general lessons about the influence of forced flight on literary art. By giving due consideration to work produced in exile, this thesis calls into question some of the generalisations commonly found in recent scholarship and demonstrates that, despite hardsrnps and setbacks and contrary to common scholarly contention, all three women continued to write well into their exile years and that in those years they took their writing in new, skilful, and creative directions.

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Watson, Stephen. ""Bitten-off things protruding" : the limitations of South African English poetry post-1948". Doctoral thesis, University of Cape Town, 1993. http://hdl.handle.net/11427/22545.

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Bibliography: p. 362-393.
In this thesis, the discussion of South African English poetry is undertaken in terms of critical questions to which the body of work, to date, has not been subjected. In the nineteen-seventies and -eighties, several anthologies of South African English poetry were published which, despite their differing foci, attested to the strength, innovation, and international stature of the work. Their editors made claims which emphasised both the importance of Sowetan poetry and the emancipation of white poetry, particularly in the last three decades, from the legacy of a stultifying colonial past. This thesis sets out to examine the validity of these critical evaluations. The impetus for such an examination is threefold. Firstly, in comparison with a world literature, South African English poetry has had little impact on the kinds of aesthetic questions which have led to the radical work of international figures like Milosz, Walcott, Neruda. Secondly, South African English poetry tends to be bifurcated by critical analysis, both locally and internationally, into the work of black poets and the work of white poets. Despite the realities of social history which have indeed dichotomised the human experience of South Africa in racial terms, this dichotomy does not seem the most fertile assumption from which to approach the achievement of a nation's poetry. Thirdly, as a poet himself, the writer of this thesis embarked upon the scholarly analysis of a poetic ancestry to which his own work looked ,in vain for location. The re-examination of the roots and value of South African English poetry begins in the thesis with the dilemmas posed by a legacy of romanticism in its displaced relation to a British colony. From this point the discussion argues that this legacy is visible in the unsatisfactory work of liberal poets in the nineteen-seventies and eighties, and argues that such choices cannot be nourishing to a South African cultural originality. Turning to the work most forcefully emphasised as culturally original - i.e. the work of the Soweto poets in the nineteen-seventies and after - the thesis explores this poetry's claims to stylistic and conceptual innovation. The poetry of the late eighties is then examined in relation to its desire to support, and even to drive, anti-apartheid philosophy and practice. The conclusions of the final chapter, presaged throughout the entire argument, suggest that earlier critical estimations of South African English poetry ignore crucial aspects of what has usually been meant by a fully achieved poetic tradition and that such neglect amounts to the betrayal of the very meaning of the term "poem".

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Shea, Maureen Elizabeth. "Latin American women writers and the growing potential of political consciousness". Diss., The University of Arizona, 1987. http://hdl.handle.net/10150/184310.

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This dissertation provides a feminist reading of the works of Latin American women writers since the decade of the sixties to the present who focus on the particular historical moment of their times from a political perspective. A systematic study of the narrative figure in novels by Dora Alonso, Elena Poniatowska, Claribel Alegria and Darwin Flakoll, and Isabel Allende, reveals an awareness of the undercurrents of oppression existent in their societies based on racial and class stereotypes with a growing understanding of oppression based on sex. From the perspective of the female narrator in Tierra Inerme by the Cuban writer Dora Alonso, the Cuban social structure before 1959 is condemned for its inequality on the basis of class, race, and sex. However, the perspective of the narrator reveals that she has not entirely escaped the prejudices that permeate her society concerning women. Hasta no verte Jesus mio, by the Mexican writer Elena Poniatowska concentrates on the testimony of Jesusa Palancares who condemns the structural inequality existent in Mexican society. Although Palancares' perspective reveals an awareness of the unequal treatment of women, because of her underprivileged status she concentrates on oppression based on class. In Cenizas de Izalco by Darwin Flakoll from the United States and the Salvadoran Claribel Alegria, the 1931 massacre of the peasants in El Salvador is condemned. However, through the contrasting perspectives of the male and female narrators, oppression on the basis of sex is most emphasized. La casa de los espiritus by the Chilean Isabel Allende depicts brutal class, racial and sexual oppression in Chile from the 1920's to 1973. It is in this novel that sexual oppression is portrayed most vividly, again through the contrasting perspectives of the male and female narrators. Although a growing awareness of sexual oppression emerges in the novels studied becoming most emphatic in this decade through an awakening feminist consciousness, the perspective of the narrators emphasize to varying degrees the importance of solidarity among women to combat injustice of every form to achieve a more equitable existence for all oppressed people.

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Cheng, Oi Man. "Model missives : epistolary guidebooks for women in early twentieth century China". HKBU Institutional Repository, 2012. https://repository.hkbu.edu.hk/etd_ra/1466.

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Grace, Elizabeth Ellen. "Women, nation, narration : a comparative study of Japanese and Korean proletarian women's writing from the interwar years (1918-1941)". Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709209.

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Hopper, Keith. "Imagining otherwise : Neil Jordan's counter-narratives". Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669873.

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Lunt, Lora G. "Mosaique et memoire : paradigmes identitaires dans le roman feminin tunisien". Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37768.

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Mosaique et memoire studies paradigms that contribute to the construction of identity in the writings of thirteen Tunisian women novelists writing in French: Emna Bel Haj Yahia, Aicha Chaibi, Annie Fitoussi, Behija Gaaloul, Annie Goldmann, Souad Guellouz, Jelila Hafsia, Souad Hedri, Turkia Labidi Ben Yahia, Alia Mabrouk, Nine Moati, Katia Rubenstein, and Fawzia Zouari. Drawing upon post-colonial and feminist perspectives, this thesis analyzes texts through their poetics and in linguistic, cultural and literary contexts. Novels by women offer an inside view of women's evolution through a variety of characters representing three generations, just as they explore alternate ways of entering modernity based upon harmonizing traditional values (cultural roots, family, faith, community solidarity, a Mediterranean warmth of spirit, thinking "in Arabesques") with 'modern' values such as sexual equality and individual freedom.
Multiple women's voices protest patriarchal and colonial or racist discourse, but also reveal spaces of happiness in women's lives. Jewish voices at times reinforce views by Muslim authors but at others present opposing viewpoints, deconstructing concepts such as 'Arab identity' and questioning nationalist claims to Islamic tolerance and multiculturalism.
In these French-language novels, images and metaphors, as well as expressions in dialectical Arabic, recall the rich cultural heritage underlying national consciousness, the memory and the mosaic which form both individual and national identities. The juxtaposition of Arabic and French suggests both the cross-fertilization of cultures and the impossibility of naming the inexpressible, just as it contributes to deconstructing identity through the medium of the novel.

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Marsh, Rebecca Kirk. "Refiguring Milton in Virginia Woolf's A Room of One's Own". CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2602.

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Since 1979 feminist scholars have misread key images in Virginia Woolf's 'A Room of One's Own'. They delineated the extended essay as a groundbreaking feminist polemic that advocates abolishing the literary patriarchy, expressing distain for John Milton as chief offender. Through rhetorical analysis and close readings of passages, there seems advocacy for change in patriarchial education and for opening of the literary canon to women.

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Gossage, Ann. "Between the lines : the representation of Canadian women in English-language novels written by women in the 1930s". Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=24085.

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This thesis examines the role of Canadian women as presented in English language novels of the 1930s written by women authors. Within the context of the Great Depression it focuses on issues that are central to women's daily lives such as work, love, marriage and motherhood. It also isolates recurring themes in the novels and attempts to understand the authors' messages within their social context. Social reform, politics and gender relationships are among the subjects explored.

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Nakasa, Dennis Sipho. "The dialectic between African and Black aesthetics in some South African short stories". Master's thesis, University of Cape Town, 1993. http://hdl.handle.net/11427/22394.

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Most current studies on 'African' and/or 'Black' literature in South Africa appear to ignore the contradictions underlying the valuative concepts 'African' and 'Black'. This (Jamesonian) unconsciousness has led, primarily, to a situation where writers and critics assume generally that the concepts 'African' and 'Black' are synonymous and interchangeable. This study argues that such an attitude either unconsciously represses an awareness of the distinctive aspects of the worldview connotations of these concepts or deliberately suppresses them. The theoretical and pragmatic approach which this study adopts to explore the distinctive aspects of the worldview connotations of these concepts takes the form, initially, of a critique of such assumptions and their connotations. It is argued that any misconceptions about the relations between the concepts 'African' and 'Black' can only be elucidated through a rigorous and distinct definition of each of these concepts and the respective world views embodied in them. Each of the variables of these definitions is also examined thoroughly through an application of, inter alia, Frederick Jameson's 'dialectical' theory of textual criticism, Pierre Macherey's 'theory of literary production' and also through the post-colonial notions of 'hybridity' and 'syncreticity' propounded by Bill Ashcroft et.al (eds). In this way the study examines the dialectical interplay between, for instance, such oppositional notions as 'African' and 'Western' (place-conscious), 'Black' and 'White' (race-conscious), and other forms of ideological 'dominance' and 'marginality' reflected in the 'African' and/or 'Black' writers' motivations for the acquisition, appropriation and uses of the language of the 'other' (i.e. English) and its literary discourse in South Africa, Africa and elsewhere in the world. A close textual reading of the stories in Mothobi Mutloatse's (ed) Forced Landing, Mbulelo Mzamane's (ed) Hungry Flames underlies an examination of the processes of anthologisation and their implications of aesthetic collectivism, reconstruction and world view monolithicism which repress the distinctive world outlooks of the stories in these anthologies. The notions of aesthetic monolithicism implicit in each of these anthologies are interrogated via the editors' truistic assumptions about the organic nature of the relations between the concepts 'African' and 'Black'. The notion of a monolithic 'African' and 'Black' aesthetic is further decentred through a close textual reading of the uses of the 'African' and 'Black' valuative concepts in the short story collections The Living and the Dead and In Corner B by Es'kia (formerly Ezekiel) Mphahlele. The humanistic pronouncements in Mphahlele' s critical and short story texts suggest various ways of resolving the racial demarcations in both the 'Black' and 'White' South African literary formations. According to Mphahlele, a predominant racial consciousness inherent in the racial capitalist mode of economic production has deprived South African literature and culture an opportunity of creating a national humanistic and 'Afrocentric' form of aesthetic consciousness. The logical consequence of such a deprivation has been that the racial impediments toward the formation of a single national literature will have to be dismantled before the vision of a humanistic and 'Afrocentric' aesthetic can be realised in South Africa. The dismantling of both the 'Black' and 'White' monolithic forms of consciousness may pave the way toward the attainment of a synthetic and place-centred humanistic aesthetic. Such a dismantling of racial monolithicism will, hopefully, stimulate a debate on the question of an equally humanistic economic mode of production.

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Bokwe, Goliath Dumezweni. "Sarcasm, conflict and style in Mtywaku's plays". Thesis, Rhodes University, 1993. http://hdl.handle.net/10962/d1002169.

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Kelly, Alice Rose. "'A change of heart' : representations of death and memorialisation in First World War writing by women, 1914-39". Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708210.

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Maxedon, Tom. "A course portfolio, what is "Irishness?" : surveying Ireland's struggle to define a unified national identity, depicted in the country's literature from 1801-present". Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1027119.

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The purpose of this creative project was to advance scholarship in areas suffering a lack of attention by Ball State University. Exploring a broader scope of Irish writing than most theses would cover, this project could easily be incorporated by other universities which share Ball State's departmental impotence with regard to Irish literary studies. I chose a time frame of two-hundred years to focus attention for this course.My directed readings from my project chairperson and my research at the Dublin Writers Museum led me to the design of this hypothetical course in contemporary Irish Literary Studies. I chose texts from 1801-Present which examine the varied cultural assumptions that various sects of the Irish citizenry hold, as depicted in their literature. What I found is that as time progresses, the emphasis toward violent preservation of cultural identity increases literally. This portfolio maps out those assumptions via Irish literature.
Department of English

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Parker, Louise Jane. "Shadows, struggles and poetic guilt : Glyn Jones, his literary doubles and the Welsh-language tradition". Thesis, Swansea University, 2011. https://cronfa.swan.ac.uk/Record/cronfa42983.

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An 'Anglo Welsh' writer who emerged in the 1930s to considerable acclaim in Wales and London, Glyn Jones was a contemporary and friend of Dylan Thomas. An innovative Welsh Modernist, he found the genres of poetry and the short story best suited to the exhibition of his concise, imagist and often grotesque experimentalism. Unlike Thomas, he wrote two novels, was a 'gentle' satirist of Welsh culture, and was deeply embroiled in the 'post-colonial' cultural conflicts of his nation. Jones struggled to find expression between two languages and worked insistently (often antagonistically) in the Welsh literary scene throughout its most controversial century, when it fought to save the Welsh language and resolve its conflicting cultural factions into a consolidated national identity. Jones was, to adopt the rubric of Bhabha, stranded in the cultural margins at the intersection of the English and Welsh languages, and this thesis situates itself accordingly. The first of six chapters examines the ways in which the Welshlanguage culture of Wales engaged Glyn Jones, and explores how a liminal voice can establish its cultural validity via rewriting autobiography into a 'mythical' history. The second chapter adopts Harold Bloom, the concept of intertext and psychological notions of the 'other', to address Jones's conflicted relationship with Dylan Thomas. The third attempts to analyse his twentieth-century dialogue with Dafydd ap Gwilym as he seeks affirmation from his fourteenth-century double. The fourth continues this 'othering' of Welsh ancients and considers how Wales is refracted in some of his work through the literary excavation of Llywarch Hen, tenth-century defender of his princedom, but willing forfeiter of his sons. The fifth chapter considers how Jones inherited but re-invented the role of the cyfarwydd (storyteller), and the sixth explores how Hen Benillion (Welsh folk poetry) fostered his peculiarly Welsh Modernism.

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Bredin, Renae Moore. "Guerilla ethnography". Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187034.

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Using contemporary paradigms from Native American, African American, feminist, and post-colonial critical theories, as well the debates around what constitutes anthropology, this dissertation examines the ways in which Native American written literary production and European American ethnography converge in the social production and construction of the "raced" categories of "red" and "white." The questions of how discourses of power and subjectivity operate are asked of texts by Paula Gunn Allen, Leslie Marmon Silko, and Elsie Clews Parsons, all of whom have lived and worked in and around Laguna Pueblo in New Mexico. The matrix in their texts of location (Laguna Pueblo), discourses (fiction and ethnography), "races" (Laguna and White), and gender (female), facilitates an examination of the scripting of "Indian-ness" and "White-ness" and how these categories sustain each other, and how each "contains" and "represents" the other, based in relative domination and subordination. What is posited here is a practice of guerilla ethnography, a practice which reflects "white" back upon itself, creating a picture of what it means to be culturally "white" by one who is "other than white." Texts are examined in terms of a racial and ethnic "whiteness" as a socially constructed category, upsetting the underlying assumption of whiteness as the given or natural center, rather than as another socially constructed category.

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Shen, Li Ting Sherry. "Blurring in Celeste Ng's Everything I Never Told You". Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3953897.

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Boyd, Shelley Elizabeth. "How does her garden grow? : the garden topos and trope in Canadian women's writing". Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102791.

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This study offers additional nuance to the garden topos and trope within nineteenth- and twentieth-century Canadian women's writing and extends the critical discussion of landscape and the garden as archetype in Canadian literature. This dissertation cross-fertilizes literary analysis with garden theory, using the work of such garden historians as John Dixon Hunt, Mark Francis, and Randolph Hester. The argument emphasizes that gardens in literature, like their actual counterparts, are an art of milieu, reflective of their socio-physical contexts. Both real and textual gardens are rhetorical: their content and formal features invite interpretation. A textual garden performs similarly to an actual garden by providing a spatial frame; a means of naturalization; a vivid exemplar of growth, fertility and beauty; a mediation of the artificial and the natural; a space of paradox; and a site of social performance.
The specific focus of this study is "domestic gardens": gardens that are intimate, immediate to the home, and part of daily life. Chapter one separates the garden from archetypal models by studying the garden as an actual place (specifically, the backwoods kitchen garden) described in the works of Susanna Moodie and Catharine Parr Traill. Chapter two examines how the garden influences Moodie's and Traill's writing of the "transplanted" female emigrant. Chapter three presents the bower as an important precursor to the domestic garden through Gabrielle Roy's Enchantment and Sorrow (1984) and "Garden in the Wind" (1975). Through the bower, Roy mediates the female artist's ambivalence toward home in her pursuit of independence. Chapter four explores Carol Shields' sanctification of the domestic in her fiction through the concept of paradise as both an ideal setting and a mode of being. Chapter five provides a "garden tour" of the poetry of Lorna Crozier, culminating in the garden as a model for the text itself and for the genre of palimpsest. For these writers, literal and figurative gardens are ways of "planting" their characters and personae, "plotting" their narratives, mediating social conventions, and providing an interpretative lens through which readers may perceive the texts as a whole.

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Lo, Keng-chi, i 盧勁馳. "Politicizing female subjectivity: performativity and sublimation in leftist writers Yang Mo, Xiao Hong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48199503.

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The thesis deals with the concept of feminine sublimation among Chinese feminist writings and theory. Previous feminist readings of literary works of Chinese female writers tended to confuse the Freudian concept of sublimation with “aestheticized politics” and utopian desire. These feminist readings have concentrated on articulating an authentic subject beyond power relations. I would however, redefine the concept of feminine sublimation as a theoretical trope to articulate the possible emergence of female subjectivity within specific power relations. Although gender performativity has become a universally circulated concept to theorize the subversive depiction of female bodies in particular cultural contexts, I argue that any performative reiteration would not be adequately contextualized and historicized when its usage ignores issues of female subjectivity in terms of sublimation. Chapter one of the thesis begins with various feminist approaches to the relationship of sublimation and performativity. Chapter two re-reads a novel Song of Youth in the socialist era. The conventional conception of sublimation is re-examined contextually in a way that the consideration of gender performativity alone would not be able to do. Through reading a canonical work of the “nationalist feminist” writer Xiao Hong, chapter three delineates the relation between my redefined concept of feminine sublimation and the possibility of political coalition, and explains how this relation provides a totally different understanding of performative reiteration. I would finally redefines the fundamental relationship between feminist subjectivity and performative politics.
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Comparative Literature
Master
Master of Philosophy

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49

Larson, Sidner John. "Issues of identity in the writing of N. Scott Momaday, James Welch, Leslie Silko and Louise Erdrich". Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186638.

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A Native American Aesthetic: The Attitude of Relationship discusses issues of identity that arise from my own experience and in the writing of N. Scott Momaday, James Welch, Leslie Silko, and Louise Erdrich.

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Donovan, Kathleen McNerney. "Coming to voice: Native American literature and feminist theory". Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186769.

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This dissertation argues that numerous parallels exist between Native American literature, especially that by women, and contemporary feminist literary and cultural theories, as both seek to undermine the hierarchy of voice: who can speak? what can be said? when? how? under what conditions? After the ideas find voice, what action is permitted to women? All of these factors influence what African American cultural theorist bell hooks terms the revolutionary gesture of "coming to voice." These essays explore the ways Native American women have voiced their lives through the oral tradition and through writing. For Native American women of mixed blood, the crucial search for identity and voice must frequently be conducted in the language of the colonizer, English, and in concert with a concern for community and landscape. Among the topics addressed in the study are (1) the negotiation of identity of those who must act in more than one culture; (2) ethnocentrism in ethnographic reports of tribal women's lives; (3) misogyny in a "canonical" Native American text; (4) the ethics of intercultural literary collaboration; (5) commonality in inter-cultural texts; and (6) transformation through rejection of Western privileging of opposition, polarity, and hierarchy.

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