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1
Meoto, Elvira N. Huff Cynthia Anne. "The evolution and formation of identity a case study of West African women's fiction from 1960s to 1990s /." Normal, Ill. : Illinois State University, 2007. http://proquest.umi.com/pqdweb?index=0&did=1432770681&SrchMode=2&sid=2&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1216232418&clientId=43838.
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Thesis (Ph. D.)--Illinois State University, 2007.<br>Title from title page screen, viewed on July 16, 2008. Dissertation Committee: Cynthia A. Huff (chair), Ronald L. Strickland, Paula Ressler. Includes bibliographical references (leaves 270-282) and abstract. Also available in print.
2
West, Mary Eileen. "White women writing white : a study of identity and representation in (post-)apartheid literatures of South Africa." Thesis, Nelson Mandela Metropolitan University, 2006. http://hdl.handle.net/10948/442.
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This thesis examines aspects of identity and representation using contemporary theories and definitions emerging out of a growing body of work known as whiteness studies. The condition of whiteness as it continues to inform identity politics in post-apartheid South Africa is explored in an analysis of selected texts written by white women, to demonstrate the ways in which whiteness continues to suggest normativity. In reading a representative selection of literatures produced in contemporary South Africa by white women writers, this study aims to illustrate the ambivalence apparent in the interstitial manifestations of emergent reconciliatory gestures that are at odds with residual traces of superiority. A sampling of disparate texts is examined to explore the representations of race and belonging in post-apartheid South Africa in the light of contemporary theories of whiteness which posit it as a powerful and invisible identification. The analysis attempts to plot a continuum from writers who are least, through to those who are most, aware of whiteness as a cultural construct and of their own positionality in relation to the discursive dynamics that inform South African racial politics. A contextualising overview of the terrain of whiteness studies is provided in Chapter One, marking the ideological and theoretical affiliations of this project, and foregrounding the construction of whiteness as an imagined identity in contemporary cultural criticism. It also provides a justification for the selection of the textual material under scrutiny. Chapter Two explores a genre that has been identified as a growing trend in South African fiction: the production of pulp fiction written by white middle-class women. Two such texts are the focus of this chapter, namely, Pamela Jooste’s People like Ourselves (2004) and Susan Mann’s One Tongue Singing (2005), and the complicities and clichés that are characteristic of popular literature are examined. Antjie Krog’s A Change of Tongue (2003) is the focus of Chapter Three. It is examined as a book offering the writer’s personal response to the difficulties of transformation within the first decade of South African democracy. Krog confronts her own defensiveness, her sense of normalcy, and her sense of alienation in relation to multiple encounters with different people. Chapter Four focuses on the journalism of Marianne Thamm. Her role as columnist for the popular women’s magazine, Fairlady is explored, particularly in relation to the inclusion of a contending voice writing against the general tenets of Fairlady. Thamm’s critique of the mores governing bourgeois white womanhood is read in relation to her role as officially sanctioned Court Jester. Her Fairlady columns have been collected in Mental Floss (2002) but the analysis includes selected columns from 2003 to 2005. Echo Location: A Guide to Sea Point for Residents and Visitors (1998) by Karen Press is the focus of Chapter Five. Her work is read as examining a white South African crisis of belonging in relation to the implications of mapping the co-ordinates of whiteness in South Africa. Chapter Six offers a reading of four short stories, written by Nadine Gordimer and Marlene van Niekerk. These stories are juxtaposed to trace an anxious impasse in white responses to suburbia, the place of enactment of white bourgeois mores, which both writers interrogate.
3
Kortsch, Christine Bayles. "Women's handiwork dress culture, literacy, and social activism in British women's fiction, 1883--1900 (South Africa, Olive Schreiner, Ella Hepworth, Sarah Grand, Gertrude Dix, Margaret Oliphant) /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 3.85 Mb., 259 p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3221129.
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St, Clair Barbara. "Scissors paper rock." [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001896.
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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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Moore-Barnes, Shannon-Lee. "Nature, narrative and language in Marlene van Niekerk's Agaat." Thesis, Nelson Mandela Metropolitan University, 2010. http://hdl.handle.net/10948/1235.
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Conrad Aiken’s observation that the “landscape and the language are the same, and we ourselves are language and are land,” depicts the material terrain we inhabit as necessarily informing the language we speak. An important corollary to Aiken’s observation is language itself writes the land. I argue that the binary division between culture and nature, as well as the attempts to universalise languages, abstracts discourse from necessary situated knowledges, alienating the land from the language it embodies. The severing of culture and nature as implied by Aiken’s observation is indicative of humanity’s progressive isolation from the land through language, as well as from their embodied natures. Remoteness results in what Marlene van Niekerk’s novel Agaat (2006) terms a “poverty disease” (2006: 251). Michiel Heyns confirms that the character Agaat relates this barrenness of spirit to her “diagnosis of spiritual ills through human dealings with the soil” (2009: 132). I illustrate the novel’s revitalisation of language as an act of ecological recuperation that alleviates dis-eased consciousnesses by potentially recognising, valuing and responding to situated knowledges revealed in land narratives.1 My argument therefore uncovers the challenges that the novel directs at an unreformed and universal Western2 To this end I use critiques of colonialism that reveal culture’s assimilation of the Other, rationalist discourse that continues to appropriate nature as resource for a hierarchical culture. 3 By combining this literary analysis with a wider eco-theoretical enquiry I position my study in an interdisciplinary field of investigation. This is in response to the damaging consequences of the inherited and fragmentary nature of specialisation. In addition, by detailing literary and feminist especially the work of Val Plumwood, Donna Haraway and Nicole Brossard. I use these critiques to analyse self/Other oppositions that Western culture constructs and patrols to maintain a defensive culture of domination. I show how nature and all those feminised and marginalised by Western discourses that hierarchise culture have been consistently overlooked and under-represented by those who purport to ‘control’ the environment and privilege the symbolic language as the carrier of culture. Agaat provides fruitful terrain for the reflection of marginalised voices; voices that confirm the environment and language as necessarily both feminist and social justice issues. 1 My preference for the hyphenated usage of the word ‘dis-ease’ signals the equation between discomfort or unease and disease or sickness. 2 While I am concerned over emphasising words such as Western and Apartheid by capitalising them, I have decided to retain this form so as not to diminish the magnitude of the effect these discourses have had on global and regional communities. 3 When referring to Others I, like Karen J. Warren, capitalise the term. Warren defines Others as all earth Others subjected to “unjustified domination-subordination relationships” (2005: 252). responses to Western patriarchal discourse and its impact on nature, I show the ways in which literature negotiates the possible re-conceptualisation of our collective cultural imagination. Van Niekerk’s novel offers a sustained critique of the oppressive Western conceptual frameworks that have dominated Others through hegemonic constructions. Furthermore, I investigate what this writer might offer as an alternative to systems of social, political and ecological control and the violence it inflicts.
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Hale, Frederick. "Literary challenges to the heroic myth of the Voortrekkers : H.P. Lamont's War, wine and women and Stuart Cloete's Turning wheels." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52325.
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Thesis (PhD)--University of Stellenbosch, 2001.<br>ENGLISH ABSTRACT: This dissertation is an interdisciplinary study of various historical novels which dealt to a greater or
lesser degree with the Great Trek and were written between the 1840s and the 1930s in Dutch,
Afrikaans and English but with particular emphasis on H.P. Lamont's War, Wine and Women and
Stuart Cloete's Turning Wheels (1937). The analysis of all these fictional reconstructions focuses on the
portrayal of the Voortrekkers found in them. Much attention is also paid to the historical contexts
in which the two principal works in question were written and the great controversies which they
occasioned because both of their authors had had the temerity to challenge the long-established myth
of the heroic Voortrekkers, one of the holiest of the iconic cows in the barns of their Afrikaner
descendants.
Chapter I, "Introduction", is a statement of the purpose of the study, its place in the context
of analyses of the history of Afrikaner nationalism, its structure and the sources on which it is based.
Chapter II, "The Unfolding of the Myth of the Heroic Voortrekkers", traces its evolution
from the 1830s to the 1930s and explores how both English-speaking South Africans and Afrikaners,
especially Gustav PrelIer, purposefully contributed to it. Also highlighted in this chapter is the
significance of the Great Trek Centenary and the events leading up to it in the middle and late 1930s
in intensifying Afrikaner nationalism.
Chapter III, "The Heroic Myth in Early Dutch and Afrikaans Novels about the Great Trek",
considers especially how these works were used as vehicles for placing before Afrikaners the historic
virtues of their ancestors both to provide models for emulation and to stimulate their ethnic pride.
Chapter IV, "Sympathetic English Reconstructions of the Great Trek", deals with two novels,
Eugenie de Kalb's Far Enough and Francis Brett Young's They Seek a Country, both of which reproduced
the heroic myth to some extent.
Chapter V, "Rendezvous with Disaster? The South Africa in Which Lamont Wrote War,
Wine and Women" establishes the context of intensifying Afrikaner nationalism which this immigrant
from the United Kingdom encountered in the late 1920s when he accepted a lectureship at the
University of Pretoria and why this context was hostile to a novel which was critical of Afrikanerdom.
Chapter VI, "Wa1~ Wine and Women: Its General Context and Commentary on South Africa"
explores how this work, conceived as a "war book" dealing with the 1914-1918 conflict in Europe,
depicted both Englishmen and Afrikaners negatively.
Chapter VII, "Academic Freedom vs. Afrikaner Nationalism: The Consequential Strife over
War, Wine and Women" deals with the hostile reception of Lamont's pseudonymously published novel,
the physical assault on him and his dismissal from his lectureship at the University of Pretoria. Chapter VIII, "The Rhetoric of Revenge in Lamont's Halcyon Days in Africa", explores how
the author, after relurning lo England, used his pen as a weapon for striking back al his Afrikaans foes
in South Africa.
Chapter IX, "Stuart Cloete's Portrayal of the Voortrekkers in Turning U'heels", focuses on the
portrayal of various ethnic types in his gallery of characters.
Chapter X, "The Con troversy over Turning U'heels", handles the hostile and apparently
orchestrated reaction to Cloete's book and how it was eventually banned.
Chapter XI, "Conclusion: Quod Eral Demonstrandum", summarises several thematic findings
which a detailed examination of the novels in their historical context yields.<br>AFRIKAANSE OPSOMMING: Hierdie verhandeling is 'n interdissiplinêre studie van verskeie historiese romans waarin daar in 'n
mindere ofmeerdere mate op die Groot Trek gefokus word en wat geskryfis tussen die 1840's en
die 1930's in Nederlands, Afrikaans en Engels, maar met die klem op H. P. Lamont se War, Wine
and Wamen en Stuart Cloete se Turning Wheels (1937) in die besonder. Die analise van al hierdie
fiktiewe rekonstruksies fokus op die uitbeelding van die Voortrekkers daarin. Daar word ook in die
besonder aandag gegee aan die historiese kontekste waarbinne hierdie twee hoofwerke geskryfis en
die groot polemiek daarrondom, omdat beide outeurs die vermetelheid gehad het om die lank reeds
gevestigde mite van die heldhaftige Voortrekkers, een van die heiligste ikoniese koeie in die skure van
die Afrikanernageslagte, uit te daag.
Hoofstuk I, "Introduction", stel die doel van die studie, waar dit staan in die konteks van
analises van die geskiedenis van Afrikanernasionalisme, die skruktuur en die bronne waarop dit
gebaseer is. Hoofstuk II, "The Unfolding of the Myth of the Herioc Voortrekkers", volg die evolusie
van Afrikanernasionalisme van die 1830's tot die 1930's en ondersoek op beide Engelssprekende
Suid-Afrikaners en Afrikaners, veral Gustav Preller, doelgerig hiertoe bygedra het. In hierdie
hoofstuk word daar ook beklemtoon hoe betekenisvol die honderdjarige herdenking van die Groot
Trek en die gebeure wat daartoe aanleiding gegee het gedurende die middel- en laat 1930's, bygedra
het tot die versterking van Afrikanernasionalisme.
Hoofstuk III, "The Heroic Myth in Early Dutch and Afrikaans Novels about the Great
Trek", bespreek veral hoe hierdie werke gebruik is om aan Afrikaners die historiese deugsaamheid
van hulle voorvaders voor te hou en wat as voorbeelde moet dien wat nagestreef moet word en om
hulle etniese trots te stimuleer.
Hoofstuk IV, "Sympathetic English Reconstructions of the Great Trek", bespreek twee
romans, Far Enough van Eugenie de Kalb en TheySeek a Country van Francis Brett Young, wat altwee
die heroïse mite in 'n sekere mate herproduseer.
Hoofstuk V, "Rendezvous with Disaster? The South Africa in Which Lamont Wrote War,
Wine and Women" vestig die konteks van groeiende Afrikanernasionalisme wat hierdie immigrant van
die Verenigde Koninkryk in die laat 1920's teëgekom het toe hy 'n lektoraat aan die Universiteit van
Pretoria aanvaar het, en hoekom hierdie konteks vyandiggesind was teenoor 'n roman wat krities was
teenoor die Afrikanerdom. Hoofstuk VI, "Wa1~ Wine and Women: Its General Context and Commentary on South Africa"
ondersoek hoe hierdie werk, beskou as 'n "oorlogsboek" wat handeloor die 1914-1918 konflik in
Europa, beide die Engelse en die Afrikaners in 'n negatiewe lig gestel het.
Hoofstuk VII, "Academic Freedom vs. Afrikaner Nationalism: The Consequential Strife over
War, Wine and Women" skenk aandag aan die vyandige ontvangs van Lamont se roman (gepubliseer
onder 'n skuilnaam), die fisieke aanval op hom en sy ontslag as lektor van die Universiteit van
Pretoria.
Hoofstuk VIII, "The Rhetoric of Revenge in Lamont's Halcyon Days inAfrica", ondersoekhoe
die outeur, na hy na Engeland teruggekeer het, sy pen as wapen gebruik het in 'n teenaanval op sy
Afrikaanse vyande in Suid-Afrika.
Hoofstuk IX, "Stuart Cloete's Portrayal of the Voortrekkers in Turning Wheels", fokus op die
uitbeelding van verskeie etniese tipes in sy gallery karakters.
Hoofstuk X, "The Controversy over Tumng Wheels", bespreek die vyandige en klaarblyklike
georkestreerde reaksie op Cloete se boek, en hoe dit uiteindelik verban is.
Hoofstuk XI, "Conclusion: Quod Era! Demonstrandum", bied 'n opsomming van verskei tematiese bevindinge aan, wat deur 'n gedetaileerde ondersoek van die romans opgelewer is.
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Ivey, Adriane Louise. "Rewriting Christianity : African American women writers and the Bible /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9987234.
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Thesis (Ph. D.)--University of Oregon, 2000.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 211-216). Also available for download via the World Wide Web; free to University of Oregon users.
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Hebbar, Reshmi J. "Modeling minority women : heroines in African and Asian American fiction /." New York : Routledge, 2005. http://catalogue.bnf.fr/ark:/12148/cb400508717.
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Thomas, T. Tipper. "The Wonder Woman Papers." Miami University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=miami1192205726.
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Marais, Marcia Helena. ""Passing women": gender and hybridity in the fiction of three female South African authors." Thesis, University of the Western Cape, 2012. http://hdl.handle.net/11394/3696.
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A key aim of this study is to shed light on the representation of coloured women with reference to racial passing, using fictive characters depicted in Sarah Gertrude Millin’s (1924) God’s Stepchildren,Zoë Wicomb’s (2006) Playing in the Light, and Pat Stamatélos’s (2005) Kroes, as presented by these three racially distinct female South African authors.Since I propose that literature provides a link between a subjective history and the under-represented narratives from the margins, I use
literature to reimagine these. I analyse the ways in which the authors present ‘hybrid’ identities within their characters in different ways, and provide an explanation and contextual basis for the exploration of the theme of ‘passing for and as white’ within South Africa’s complex history. I provide a sociological explanation of the act of racial passing in South Africa with reference to the United States by incorporating Nella Larsen’s (1929) Passing. Since the analyses will concentrate on coloured females within the texts, gendered identity and female
sexuality and stereotypes will be the focus. I look at the act and agent of passing, the role of raced and gendered performance in giving meaning to social identities, and the way in which the female body is constructed in racial terms in order to confer identity. Tracing the historical origins of coloured identity and coloured female identity, I interrogate this colonial, post-colonial, apartheid and post-apartheid history by employing a feminist lens. A combination of postcolonial feminist discourse analysis, sociological inquiry and feminist narrative analysis
are therefore the methods I use to achieve my research aims.<br>Magister Artium - MA
12
Piper, Gemmicka F. "Black intimacy in the popular imagination: re-examining African American women’s fiction from 1965-2000." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/6622.
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Contemporary African American fiction repeatedly explores intimacy. These explorations have been most sustained in black women’s writing. Although female authors share an interest in romantic interactions, their portrayals reveal wide-ranging attitudes about this theme. Some accounts depict intimacy as a barrier to female advancement. In other texts, feminine success hinges on maintaining a committed relationship. These distinct outlooks not only reflect competing gender discourses within late 20th, early 21st century America but also significant developments in black women’s literature. In this dissertation, I analyze how fictional depictions of heterosexual intimacy reveal crucial facts about black women’s writing. I argue that various subgenres captured under the heading, popular black women’s literature, include narratives about male-female relationships that complicate the efforts celebrated as the black women’s literary renaissance of the 1970s. By focusing on the span from 1965-2000, I suggest that at the same moment when Toni Morrison, Alice Walker, and Gloria Naylor were expressing post-civil rights era black femininity in fictions filled with deteriorating heterosexual intimacy, other black women writers were using popular fiction to expose different possibilities for male-female interconnection. These authors exist in the same socio-cultural milieu as their high modernist peers; however, their writings reflect different reactions to decisions about where intimacy fits in the construction of black identity.
My dissertation contains four chapters, and each chapter engages roughly a decade and considers different dimensions of black female popular literature. Looking at the mid-1960s to the mid-1970s roots of this genre’s interest in intimacy, chapter one establishes Toni Cade Bambara as a founding figure. Chapter two studies the black romance novel from the late 1970s to the mid-1980s concentrating on pioneers, Rosalind Welles and Sandra Kitt. Dealing with Terry McMillan’s rise to fame between the late 1980s and the mid-1990s, chapter three examines chick lit, the site where capitalist feminism and black relationship concerns converge. The final chapter uses Terri Woods’ work to interpret ghetto fiction of the late-1990s. Popular black women’s literature notes the dynamic nature of black cultural identity and responds to that dynamism with portraits of intimacy that register shifting intra-racial realities within the broader context of evolutions in inter-racial democracy. By identifying intimacy as a telling theme in post-civil rights era experience, my research points out the variegated textures of black civic exertion in both literary and political terms.
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Anim-Addo, Joan Lilian. "Breaking the silence : first-wave Anglophone African-Caribbean women novelists and dynamics of history, language and publication." Thesis, Goldsmiths College (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368878.
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Mears, Mary D. "Choice and discovery an analysis of women and culture in Flora Nwapa's fiction /." [Tampa, Fla.] : University of South Florida, 2009. http://digital.lib.usf.edu/?e14.2845.
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Goremusandu, Tania. "Gender possibilities in the African context as explored by Mariama Ba's So long a letter, Neshani Andrea's The purple violet of Oshaantu and Sindiwe Magona's Beauty gift." Thesis, University of Fort Hare, 2016. http://hdl.handle.net/10353/6469.
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Gender oppression has been a significant discussion to the development of gender, cultural and feminist theories. The primary focus of this study is to investigate how patriarchal traditions, colonialism, and religious oppression force women to struggle under constrictions oppositional to empowerment. Thus, the project provides a comparative analysis of three texts from different African postcolonial societies by three African female writers: Mariama Bâ, Neshani Andreas and Sindiwe Magona. The author‟s biographies and historical context of their novels will be analyzed, as well as a summary of their stories will be included in order to provide the context for gender criticism. These writer‟s work; So Long a Letter, The Purple Violet of Oshaantu and Beauty‟s Gift depict patriarchal, cultural and religious laws which exist in Senegal, Namibia and South Africa, respectively, that limit the position of women. Therefore, this study will interrogate the experience of African women as inscribed in these selected texts, uncovering the literary expressions of gender oppression as well as the possibilities of empowerment. The selected texts will be analyzed through the lens of Gender studies, African feminism and Cultural studies. From these theories, the focus of the study is on the struggles of the female characters living in patriarchal societies as well as on the idea that gender is constructed socially and culturally in the African context. In conclusion, the emergence of these renowned female African writers together with the emancipation of African countries from colonial supremacy has opened a space for women to compensate and correct the stereotyped female images in African literature and post- colonial societies. Most contemporary African writers like Buchi Emecheta, Tsitsi Dangarembga, Sindiwe Magona, Mariama Bâ and Neshani Andreas have shown that women are seeking to attain empowerment. As a result, this study can be viewed as an opportunity to highlight such experiences by continuing to interrogate the writings of African women writers and to explore their gender-based themes so as to inform and or inspire the implementation of women empowerment. It will broaden and encourage further academic discussion in the field of Cultural studies and gender criticism of women‟s literature within the African context.
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Istomina, Julia. "Property, Mobility, and Epistemology in U.S. Women of Color Detective Fiction." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429191876.
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Wood, Susan M. "Seeing into the mirror the reality of fiction in the work of Carrie Mae Weems /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4900.
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Thesis (M.A.)--University of Missouri-Columbia, 2007.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on November 6, 2007) Includes bibliographical references.
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Moffler, Kirsten A. ""A Plea for Color:" The Construction of a Feminine Identity in African American Women's Novels." Fogler Library, University of Maine, 2001. http://www.library.umaine.edu/theses/pdf/MofflerKA2001.pdf.
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Birge, Amy Anastasia. ""Mislike Me not for My Complexion": Shakespearean Intertextuality in the Works of Nineteenth-Century African-American Women." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278175/.
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Caliban, the ultimate figure of linguistic and racial indeterminacy in The Tempest, became for African-American writers a symbol of colonial fears of rebellion against oppression and southern fears of black male sexual aggression. My dissertation thus explores what I call the "Calibanic Quadrangle" in essays and novels by Anna Julia Cooper, Frances Ellen Watkins Harper, and Pauline Elizabeth Hopkins. The figure of Caliban allows these authors to inflect the sentimental structure of the novel, to elevate Calibanic utterance to what Cooper calls "crude grandeur and exalted poesy," and to reveal the undercurrent of anxiety in nineteenth-century American attempts to draw rigid racial boundaries. The Calibanic Quadrangle enables this thorough critique because it allows the black woman writer to depict the oppression of the "Other," southern fears of black sexuality, the division between early black and white women's issues, and the enduring innocence of the progressive, educated, black female hero ~ all within the legitimized boundaries of the Shakespearean text, which provides literary authority to the minority writer. I call the resulting Shakespearean intertextuality a Quadrangle because in each of these African-American works a Caliban figure, a black man or "tragic mulatto" who was once "petted" and educated, struggles within a hostile environment of slavery and racism ruled by the Prospero figure, the wielder of "white magic," who controls reproduction, fears miscegenation, and enforces racial hierarchy. The Miranda figure, associated with the womb and threatened by the specter of miscegenation, advocates slavery and perpetuates the hostile structure. The Ariel figure, graceful and ephemeral, usually the "tragic mulatta" and a slave, desires her freedom and complements the Caliban figure. Each novel signals the presence of the paradigm by naming at least one character from The Tempest (Caliban in Cooper's A Voice from the South; "Mirandy" in Harper's Iola Leroy; Prospero in Hopkins's Contending Forces; and Ariel in Hopkins's Hagar's Daughter).
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Reeser, Alanna L. ""She believed her ballyhoo" women and advertising in fiction by Edna Ferber, Jessie Redmon Fauset, and Fannie Hurst /." Click here for download, 2007. http://proquest.umi.com/pqdweb?did=1317334401&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.
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Ross-Stroud, Catherine Trites Roberta Seelinger. "Non-existent existences race, class, gender, and age in adolescent fiction; or Those whispering Black girls /." Normal, Ill. Illinois State University, 2003. http://wwwlib.umi.com/cr/ilstu/fullcit?p3106763.
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Thesis (Ph. D.)--Illinois State University, 2003.<br>Title from title page screen, viewed October 12, 2005. Dissertation Committee: Roberta Seelinger Trites (chair), Karen Coats, Janice Neuleib. Includes bibliographical references (leaves 217-236) and abstract. Also available in print.
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Dantzler, Camille Ciara. "Exchange of Fictions: Exploring the Intersections of Gendered Self-narration and Testimonio Representations on the Rwandan Genocide." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343847882.
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Calabre, Roberta Ventura. "Fighting the Strai(gh)tjacket: black women bonding in Loving Her and The Color Purple." Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=2812.
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O objetivo deste trabalho é analisar como as relações lésbicas são retratadas nas obras Loving Her e The Color Purple. Ao analisar as relações entre homens/mulheres e mulheres/mulheres, este estudo também revê e critica o golpe triplo sofrido por lésbicas negras, por serem, ao mesmo tempo, mulheres, afro-americanas e homossexuais. Utilizando fatos históricos para situar as obras em um contexto social, além da teoria do lesbian continuum afim de atestar a riqueza e diversidade do laço afetivo entre mulheres, este trabalho vem por desmistificar as noções simplistas em relação à literatura lésbica Afro-Americana, afugentando a sombra que pairava sobre o tabu e elevando a mulher negra, lésbica ou não, a seu lugar de direito na sociedade<br>The aim of this work is to analyze how lesbian relationships are portrayed in the fictional works Loving Her and The Color Purple. By analyzing the relationships between men/women and women/women depicted in the chosen literary works, this study also revises and criticizes the triple strike suffered by black lesbians for being females, African-Americans and homosexuals. Using historical facts to place the fictional works in a social frame, and using the theory of lesbian continuum to attest the richness and diversity of women bonding, this work demystifies the simplistic notions of African-American lesbian literature, casting away the shadow upon the unspeakable and elevating black women, lesbians or not, to their rightful place in society
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Lynch, Sibongile B. "Carnival, Convents, and the Cult of St. Rocque: Cultural Subterfuge in the Work of Alice Dunbar-Nelson." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/english_theses/136.
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In the work of Alice Dunbar-Nelson the city and culture of 19th century New Orleans figures prominently, and is a major character affecting the lives of her protagonists. While race, class, and gender are among the focuses of many scholars the eccentricity and cultural history of the most exotic American city, and its impact on Dunbar-Nelson’s writing is unmistakable. This essay will discuss how the diverse cultural environment of New Orleans in the 19th century allowed Alice Dunbar Nelson to create narratives which allowed her short stories to speak to the shifting identities of women and the social uncertainty of African Americans in the Jim Crow south. A consideration of New Orleans’ cultural history is important when reading Dunbar-Nelson’s work, whose significance has often been disregarded because of what some considered its lack of racial markers.
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Jones, Esther L. "Traveling discourses subjectivity, space and spirituality in black women's speculative fictions in the Americas /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1155665383.
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Kim, Min-Jung. "Renarrating the private : gender, family, and race in Zora Neale Hurston, Alice Walker, and Toni Morrison /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9926560.
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Ullrich-Ferguson, Loretta N. "The beauty of her survival : being Black and female in Meridian, The salt eaters, Kindred, and The bluest eye /." View online, 2008. http://repository.eiu.edu/theses/docs/32211131464907.pdf.
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Jones, Esther. "Traveling discourses: subjectivity, space and spirituality in black women’s speculative fictions in the Americas." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1155665383.
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Erickson, Stacy M. "Animals-as-Trope in the Selected Fiction of Zora Neale Hurston, Alice Walker, and Toni Morrison." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2227/.
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In this dissertation, I show how 20th century African-American women writers such as Zora Neale Hurston, Alice Walker, and Toni Morrison utilize animals-as-trope in order to illustrate the writers' humanity and literary vision. In the texts that I have selected, I have found that animals-as-trope functions in two important ways: the first function of animal as trope is a pragmatic one, which serves to express the humanity of African Americans; and the second function of animal tropes in African-American women's fiction is relational and expresses these writers' "ethic of caring" that stems from their folk and womanist world view. Found primarily in slave narratives and in domestic fiction of the 19th and early 20th centuries, pragmatic animal metaphors and/or similes provide direct analogies between the treatment of African-Americans and animals. Here, these writers often engage in rhetoric that challenges pro-slavery apologists, who attempted to disprove the humanity of African-Americans by portraying them as animals fit to be enslaved. Animals, therefore, become the metaphor of both the abolitionist and the slavery apologist for all that is not human. The second function of animals-as-trope in the fiction of African-American women writers goes beyond the pragmatic goal of proving African-Americans's common humanity, even though one could argue that this goal is still present in contemporary African-American fiction. Animals-as-trope also functions to express the African-American woman writer's understanding that 1) all oppressions stem from the same source; 2) that the division between nature/culture is a false onethat a universal connection exists between all living creatures; and 3) that an ethic of caring, or relational epistemology, can be extended to include non-human animals. Twentieth-century African-American writers such as Hurston, Walker, and Morrison participate in what anthropologists term, "neototemism," which is the contemporary view that humankind is part of nature, or a vision that Morrison would most likely attribute to the "folk." This perspective places their celebration of the continuous relations between humans and animals within a spiritual, indeed, tribal, cosmological construction. What makes these particular writers primarily different from their literary mothers, however, is a stronger sense that they are reclaiming the past, both an African and African-American history. What I hope to contribute with this dissertation is a new perspective of African-American women writers' literary tradition via their usage of animals as an expression of their "ethic of caring" and their awareness that all oppression stems from a single source.
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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.<br>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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Munoz, Cabrera Patricia. "Journeying: narratives of female empowerment in Gayl Jones's and Toni Morrison's ficton." Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210259.
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This dissertation discusses Gayl Jones’s and Toni Morrison’s characterisation of black women’s journeying towards empowered subjectivity and agency. <p><p>Through comparative analysis of eight fictional works, I explore the writers’ idea of female freedom and emancipation, the structures of power affecting the transition from oppressed towards liberated subject positions, and the literary techniques through which the authors facilitate these seminal trajectories.<p><p>My research addresses a corpus comprised of three novels and one book-long poem by Gayl Jones, as well as four novels by Toni Morrison. These two writers emerge in the US literary scene during the 1970s, one of the decades of the second black women’s renaissance (1970s, 1980s). This period witnessed unprecedented developments in US black literature and feminist theorising. In the domain of African American letters, it witnessed the emergence of a host of black women writers such as Gayl Jones and Toni Morrison. This period also marks a turning point in the reconfiguration of African American literature, as several unknown or misplaced literary works by pioneering black women writers were discovered, shifting the chronology of African American literature. <p><p>Moreover, the second black women's renaissance marks a paradigmatic development in black feminist theorising on womanhood and subjectivity. Many black feminist scholars and activists challenged what they perceived to be the homogenising female subject conceptualised by US white middle-class feminism and the androcentricity of the subject proclaimed by the Black Aesthetic Movement. They claimed that, in focusing solely on gender and patriarchal oppression, white feminism had overlooked the salience of the race/class nexus, while focus by the Black Aesthetic Movement on racism had overlooked the salience of gender and heterosexual discrimination. <p><p>In this dissertation, I discuss the works of Gayl Jones and Toni Morrison in the context of seminal debates on the nature of the female subject and the racial and gender politics affecting the construction of empowered subjectivities in black women's fiction.<p><p>Through the metaphor of journeying towards female empowerment, I show how Gayl Jones and Toni Morrison engage in imaginative returns to the past in an attempt to relocate black women as literary subjects of primary importance. I also show how, in the works selected for discussion, a complex idea of modern female subjectivities emerges from the writers' re-examination of the oppressive material and psychological circumstances under which pioneering black women lived, the common practice of sexual exploitation with which they had to contend, and the struggle to assert the dignity of their womanhood beyond the parameters of the white-defined “ideological discourse of true womanhood” (Carby, 1987: 25).<p><p><p><br>Doctorat en philosophie et lettres, Orientation langue et littérature<br>info:eu-repo/semantics/nonPublished
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Weber-Fève, Stacey A. "There's no place like home homemaking, making home, and femininity in contemporary women's filmmaking and the literature of the Métropol and the Maghreb /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1148746370.
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Balestra, Alisa. "Shift in Work, Shift in Representation: Working-Class Identity and Experience in U.S. Multi-Ethnic and Queer Women's Fiction." Miami University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=miami1303080667.
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Smith, Roslyn Nicole. "Medias Res, Temporal Double-Consciousness and Resistance in Octavia Butler's Kindred." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-11242007-230409/.
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Thesis (M.A.)--Georgia State University, 2007.<br>Title from file title page. Elizabeth West, committee chair; Layli Phillips, Kameelah Martin Samuel, committee members. Electronic text (52 p.) : digital, PDF file. Description based on contents viewed Jan. 30, 2008. Includes bibliographical references (p. 49-52).
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Nelaupe, Emmanuelle. "Transition politique et production romanesque : l'écriture féminine noire en Afrique du Sud de 1998 à 2011." Thesis, La Réunion, 2017. http://www.theses.fr/2017LARE0036/document.
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Le passage de l'Afrique du Sud d'un système politique répressif à un système démocratique a ouvert un nouvel espace de parole aux exclus, notamment aux femmes noires à travers les Commissions pour la Vérité. La parole féminine noire libérée suite à la transition politique du pays se reflète aussi dans le développement d'une production littéraire féminine, donnant lieu à l'émergence de nouvelles formes d'écriture romanesque, étudiées dans ce travail qui porte sur dix romans publiés par huit auteures entre 1998 et 2011 : S. Magona, K.L. Molope, K. Matlwa, A.N. Sithebe, A. Makholwa, H.J. Gololai, Z. Wanner et C. Jele. Nous étudions dans un premier temps comment les écrivaines s'approprient le genre romanesque durant la période transitionnelle, s'éloignant d'une écriture réaliste politiquement engagée, courante durant l'apartheid, pour se tourner vers une écriture de l'intime qui met en lumière les traumatismes d'un passé national qui hante le présent. Puis, nous étudions dans les trois parties suivantes comment les auteures émergeant durant la période post-transitionnelle explorent des genres jusqu’ici peu utilisés par les femmes noires sud-africaines : le Bildungsroman, le roman policier et la chick lit, mettant en mots les peurs et les angoisses de la nouvelle Afrique du Sud. Revisitant des genres européens, pour certains populaires, à travers une perspective féminine noire nouvelle, ces auteures continuent d'innover tant dans les thématiques abordées que dans une écriture fondée sur le mélange. Le roman devient un moyen subversif pour critiquer une société patriarcale fortement occidentalisée, qui ne doit pas renier son passé afin de faire face aux nouveaux défis à venir<br>The South African political transition from a repressive system to a democratic one opened new spaces to a marginalized part of the population among whom the black woman to express themselves, such as the Truth and Reconciliation hearings. This black feminine voice, made free by the political transition is reflected through the development of a literary female production. It gave way to the emergence of new novelistic forms, analysed in our study through ten novels written by eight different female writers between 1998 and 2011: S. Magona, K.L. Molope, K. Matlwa, A.N. Sithebe, A. Makholwa, H.J. Gololai, Z. Wanner and C. Jele. In a first part, we analyse the way these authors rewrite the novel during the transitional period, moving away from a realistic writing, deeply involved in politics and largely used during the apartheid era, towards a more intimate way of writing which reflect the traumas of a national past haunting the present. Then, we examine in three parts how the writers emerging during the post-transitional period explore new genres, rarely used by black South African women until then, namely the Bildungsroman, detective fiction and chick lit, which reflect their fears in the new South Africa. These authors rewrite these European genres, among which popular ones, through a new feminine perspective, thus innovating the themes they deal with and creating a literature made of mixtures. The European novel becomes a subversive tool to criticise a patriarchal and Europeanised society, which, according to these authors, should not deny the past in order to solve the new challenges coming
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Piep, Karsten H. "Embattled Homefronts: Politics and Representation in American World War I Novels." Miami University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=miami1109634736.
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Piep, Karsten H. "Embattled homefronts politics and representation in American World War I novels /." Oxford, Ohio : Miami University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1109634736.
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Martinez, Kamir. "Entre violence et resistance : la réinsertion de la femme africaine subsaharienne dans l'histoire." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA018/document.
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Se situant dans l’histoire immédiate, la littérature africaine contemporaine participe de la dénonciation de la violence des régimes postcoloniaux et des guerres civiles. Ce sont des nouvelles formes d’écriture caractérisées à la fois par l’urgence et par l’intention de s’éloigner des formes européennes, donnant lieu à une expression universelle et à la revendication du roman comme œuvre d’art. Cette contribution se propose, à partir de neufs romans francophones, anglophones et hispanophones publiés entre 1990 et 2000, d’explorer et d’analyser la réinsertion de la femme africaine subsaharienne dans les archives officielles. À travers des témoignages fictionnels inspirés des faits réels et des histoires relevant de la sphère privée, ces auteur(e)s créent un nouvel imaginaire sur la femme africaine évoluant entre violence et résistance. Par une approche interdisciplinaire, nous tenterons d’identifier les images de la femme dans ces romans, ainsi que les moyens stylistiques et langagiers dans le processus de la réinterprétation des archives et de la réinsertion de la femme africaine subsaharienne dans l’Histoire<br>In relation to the immediate history, contemporary African literature contributes to the denunciation of the violence of postcolonial regimes and civil wars. These new forms of writing are characterized both by the urgency and by the intention to move away from European forms, giving rise to a universalizing writing and the claim of the novel as a work of art. This contribution is proposed, from nine Francophone, Anglophone and Hispanophone novels published between 1990 and 2000, to explore and analyse the reintegration of Sub-Saharan African women in the official archives. Through fictional testimonies inspired by real facts and stories of the private sphere, these authors create a new imagination about African women evolving between violence and resistance. Through an interdisciplinary approach, we will try to identify the images of the woman in these novels, as well as the stylistic and linguistic means in the process of the reinterpretation of the archives and the reintegration of the African Sub-Saharan woman in history<br>En relación a la historia inmediata, la literatura africana contemporánea contribuye a la denuncia de la violencia de los regímenes poscoloniales y de las guerras civiles. Estas nuevas formas de escritura se caracterizan tanto por la urgencia de escribir como por la intención de alejarse de las formas de expresión europeas, dando lugar a una escritura universal y a la reivindicación de la novela como obra de arte. Esta contribución se propone de explorar y analizar la reintegración de las mujeres africanas subsaharianas a los archivos oficiales, a partir de nueve novelas de expresión francesa, inglesa y española, publicadas entre 1990 y 2000. A través de testimonios ficticios inspirados por hechos reales e historias de la vida privada, estos autores y autoras crean una nueva imagen de las mujeres africanas desenvolviéndose entre la violencia y la resistencia. A través de un enfoque interdisciplinario, intentaremos identificar las imágenes de la mujer en estas novelas, así como el estilo y el lenguaje en el proceso de reinterpretación de los archivos y la reintegración de la mujer africana subsahariana en la historia
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Schulman, Marc. "The nasciturus non-fiction: the Libby Gonen story: contemporary reflections on the status of nascitural personhood in South African law." Thesis, 2014. http://hdl.handle.net/10539/15607.
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Thesis (L.L.M.)--University of the Witwatersrand, Faculty of Commerce, Law and Management, School of Law, 2014.<br>The non-consensual destruction of a nasciturus is a disturbing societal phenomenon that negatively
permeates the lived realities of pregnant women with positive maternal intention. These women choose
to experience a full term gestation and they choose to give birth to a live and healthy infant. At some
point during their gestation they are non-consensually deprived of their choices through active third
party violence by commission or passive third party negligence by omission. These women have no
legal recourse for their loss, because in South African law, the non-consensual destruction of a
nasciturus is not a crime. The nasciturus is not recognised as a victim separate from the pregnant
woman despite the manner in which the pregnant woman freely chooses to interpret her pregnancy. The
consensual destruction of a nasciturus enjoys legal protection in South African law by virtue of the
provisions contained in the Choice on Termination of Pregnancy Act 92 of 1996. The choice to
terminate a pregnancy is therefore legally recognised in South African law, whereas the choice to
continue a pregnancy is not legally recognised. Argument is advanced in this dissertation for the legal
recognition of the choice to continue a pregnancy by criminalising non-consensual nascitural
destruction through the creation of a Choice on Continuation of Pregnancy Act. Non-Consensual
nascitural destruction occurs as a result of violence against pregnant women as well as in situations of
medical negligence. Empirical data is provided to demonstrate how non-consensual nascitural
destruction can occur in medical settings where negligence is suspected. The inherent human need to
safeguard and protect the nasciturus has been in existence since time immemorial. Despite this need, in
South African law, legal subjectivity, and the ability to be recognised as a separate victim of crime,
remain contingent upon a live birth. Evidence suggests that the requirement of live birth in law
developed as an evidentiary mechanism and not as a substantive rule of law. Its relevance in
circumstances of non-consensual nascitural destruction is doubtful at best. The law in South Africa has
failed to take cognisance of the psychosomatic dimensions of personhood and argument is advanced in
favour of a nuanced and constitutionally sensitive approach to matters of moral as well as legal
personhood. Authentic female autonomy and reproductive freedom requires a re-evaluation of the
paradigms that surround nascitural safeguarding and protection, and a transformative approach to
constitutional interpretation. The establishment of a legislative scheme to criminalise the nonconsensual
destruction of a nasciturus is proposed. Within this legislative scheme certain precautions
and fortifications are suggested in order to avoid any potential erosion of the rights of pregnant women
who have negative maternal intention. It is demonstrated that it is in fact possible for pregnant women
with positive maternal intention and pregnant women with negative maternal intention to both enjoy
legal protection without encroaching upon one another’s constitutional rights to reproductive freedom,
bodily autonomy and privacy. It is contended that achieving the aforementioned is the final barrier to
authentic female reproductive freedom in South Africa.
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Kohaly, Dawn Felicity. "The Nollybook phenomenon." Diss., 2015. http://hdl.handle.net/10500/19843.
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Moodley, Logambal. "Linking private and public personal and political transition in Sindiwe Magona's forced to grow." Thesis, 2004. http://hdl.handle.net/10413/9032.
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Mathye, Hlamalani Ruth. "The image of women in selected Tsonga novels." Diss., 2003. http://hdl.handle.net/10500/2135.
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This dissertation is a critical examination of selected Tsonga novels by male and female writers. Positive and negative images of women by these authors are analysed, compared and evaluated from a feminist perspective.
Emphasis is laid on the manner in which Tsonga writers portray female characters in a changing society and the extent to which the images of women in this literature represent the present day woman. Adherence to ideological, cultural and traditional values as well as the differences in portrayal of women by male and female writers is also investigated.
Through a comparison of novels written by male and female writers it is established that because of patriarchy these writers differ markedly in their portrayal of female characters. In all the novels analysed, the sociol-cultural context influences the way in which these writers portray female characters. Male writers promote traditional values which female writers strive to discard by portraying female characters who predominantly undermine stereotypical cultural sex-roles.<br>African languages<br>M.A. (African languages)
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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 English<br>This 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.<br>English Studies<br>D. Litt. et Phil. (English)
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Chiriseri, Zoe Tessa Takudzwa. "South African chick lit and the ghost of the township: Cynthia Jele's happiness is a four-letter word." Thesis, 2017. https://hdl.handle.net/10539/24541.
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Submitted in the partial fulfilment for the Degree of Master of Arts in the Department of African Literature University of the Witwatersrand, March 2017<br>This research reads the popular literature genre, chick lit, as a site for the elaboration of new forms of womanhood in post-Apartheid South Africa and through an analysis of the novel Happiness is a Four-Letter Word seeks to discover how new constructs of black female identity in the genre of chick lit disrupt as well as extend earlier representations of female experience in South Africa.
The literary aspect of this research is essentially a genre study that attempts to identify how we recognize genre. Chick lit was initially read as a homogenously white normative genre, it was imagined, theorized and researched through the western gaze to the exclusion of other races and classes. This research rejects this essentialism of gender and as such recognizes that when addressing gender in Africa not only race and class need to be contextualized but further historical and cultural contexts are fundamental when constructing the black woman’s subjectivity.
Postfeminism is understood as a modern social sensibility declaring that women are ‘now empowered,’ and celebrating and encouraging their consequent ‘freedom’ to return to normatively feminine pursuits. There is a growing field of research around postfeminism and chick lit pertaining to black African women and this is where this research locates itself. By positioning existing western literature, on chick lit, in dialogue with scholarship around chick lit in Africa, a transnational analytic and methodological approach to the critical study of chick lit and postfeminism can be made.
Chick lit signals a transition for black women living in post-Apartheid South Africa, one of upward social mobility. This research looks at the contradictory space that black middleclass women occupy in this transition. There is a spectral ‘other’ that restricts black women in fully expressing their agency in the private sphere despite the progress made for women on a national scale. This I have called ‘the Ghost of the Township.’
I explore the extent to which the narrative opens up alternative avenues for writers to represent women’s interests. The author, Cynthia Jele, like other authors writing chick lit
about black African women, illustrates how women writers can rethink and reposition the roles of women as they continue to live in patriarchal societies that marginalize and oppress them. In this research, I endeavor to explore if and how these new roles for women create contradictory zones for women by at once empowering and oppressing them. I also ask to what extent things have changed for black women and examine the effects of these changes.<br>XL2018
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Quansah, Ekua A. "Women of African ancestry's contribution to scholarship: Voices through fiction (Edwidge Danticat, Haiti, Tsitsi Dangarembga, Zimbabwe, Dionne Brand)." 2005. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=370494&T=F.
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Van, Dyk Vanessa. "Gender, games and landscape in Njabulo Ndebele's The Cry of Winnie Mandela." Thesis, 2004. http://hdl.handle.net/10413/9049.
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Jackson, Kimberly Renee. "Black female communion uncovering a model for reading fiction by women of African descent /." 1991. http://catalog.hathitrust.org/api/volumes/oclc/24471450.html.
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Melancon, Trimiko C. "Disrupting dissemblance: Transgressive black women as politics of counter-representation in African American women's fiction." 2005. https://scholarworks.umass.edu/dissertations/AAI3179902.
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My dissertation examines post-civil rights novels by Toni Morrison, Ann Allen Shockley, and Alice Walker, and investigates their subversion of myopic representations of black women in the American literary and cultural imagination. More precisely, this study examines these writers' characterizations of black women who not only diverge from stereotypical images imposed by ideologies of “whiteness,” but who also rebel unapologetically against constructions of female identity imposed by nationalist discourse generally and black nationalism particularly. Drawing upon black feminist theoretical frameworks, performance theory, and postmodernist notions, this study analyzes these characters' transgressive behavior, specifically with regards to their sexuality, as, in part, a means to create a modern identity. While these notions have been engaged in non-literary texts that explicate how race and nationalism construct gender roles, they have been largely understudied in black women's fiction. This dissertation seeks to establish, then, a nexus in which literary texts, movement ideologies, and politics of identity and representation meet to provide an interdisciplinary and broad discursive framework. Organized conceptually, this study explores the aesthetics of transgression in an introduction, four representative chapters, and a conclusion. Chapter One introduces and situates transgressive black women characters within both the African American literary tradition and particular socio-cultural, historical, and political contexts. Chapter Two analyzes Toni Morrison's Sula (1973), and examines the protagonist Sula, who emblematizes transgressive behavior, as subverting the “classical black female script.” Foregrounding politics of sexuality, Chapter Three employs Shockley's Loving Her (1974) and investigates the ways Shockley's black female protagonist Renay, via her interracial same-gender loving relationship, transgresses essentialist binaries regarding blackness, same-sex desire, and homosexuality. Exploring the dialectics of transgression and belonging, Chapter Four examines Alice Walker's Meridian and analyzes the ways Meridian Hill transgresses circumscriptions for women, while concomitantly playing a participatory activist role in various communities. And, reemphasizing the potential of this study, the concluding chapter illustrates this project's centrality to African American and American literature, African American and American Studies, and Women's and Gender Studies.
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Sood, Abha. "Empowernment of the African American women through the use of myth in Toni Morrison's fiction." Thesis, 2000. http://localhost:8080/xmlui/handle/12345678/5772.
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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 215-230<br>This 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).<br>English Studies<br>D. Litt. et Phil. (English)