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Fictions of the self : studies in female modernism : Jean Rhys, Gertrude Stein and Djuna BarnesGroves, Robyn January 1987 (has links)
This thesis considers elements of autobiography and autobiographical fiction in the writings of three female Modernists: Jean Rhys, Gertrude Stein and Djuna Barnes. In chapter 1, after drawing distinctions between male and female autobiographical writing, I discuss key male autobiographical fictions of the Modernist period by D.H. Lawrence, Marcel Proust and James Joyce, and their debt to the nineteenth century literary forms of the Bildungsroman and the Künstlerroman. I relate these texts to key European writers, Andre Gide and Colette, and to works by women based on two separate female Modernist aesthetics: first, the school of "lyrical transcendence"—Dorothy Richardson, Katherine Mansfield and Virginia Woolf—in whose works the self as literary subject dissolves into a renunciatory "female impressionism;" the second group—Rhys, Stein and Barnes--who as late-modernists, offer radically "objectified" self-portraits in fiction which act as critiques and revisions of both male and female Modernist fiction of earlier decades.
In chapter 2, I discuss Jean Rhys' objectification of female self-consciousness through her analysis of alienation in two different settings: the Caribbean and the cities of Europe. As an outsider in both situations, Rhys presents an unorthodox counter-vision. In her fictions of the 1930's, she deliberately revises earlier Modernist representations, by both male and female writers, of female self-consciousness. In the process, she offers a simultaneous critique of both social and literary conventions.
In chapter 3, I consider Gertrude Stein's career-long experiments with the rendering of consciousness in a variety of literary forms, noting her growing concern throughout the 1920's and 1930's with the role of autobiography in writing. In a close reading of The Autobiography of Alice B. Toklas, I examine Stein's parody and "deconstruction" of the autobiographical form and the Modernist conception of the self based on memory, association and desire. Her witty attack on the conventions of narrative produces a new kind of fictional self-portraiture, drawing heavily on the visual arts to create new prose forms as well as to dismantle old ones.
Chapter 4 focuses on Djuna Barnes' metaphorical representations of the self in prose fiction, which re-interpret the Modernist notion of the self, by means of an androgynous fictional poetics. In her American and European fictions she extends the notion of the work of art as a formal, self-referential and self-contained "world" by subverting it with the use of a late-modern, "high camp" imagery to create new types of narrative structure.
These women's major works, appearing in the 1930's, mark a second wave of Modernism, which revises and in certain ways subverts the first. Hence, these are studies in "late Modernism" and in my conclusion I will consider the distinguishing features of this transitional period, the 1930's, and the questions it provokes about the idea of periodization in general. / Arts, Faculty of / English, Department of / Graduate
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Identité, déplacement et différence dans trois textes autobiographiques fémininsMeda, Marie-Paule 11 1900 (has links)
Les récits autobiographiques modernes se distinguent par
leur hétérogénéité non seulement entre eux rnais à l’intérieur de
chaque texte. Trois textes, de facture autobiographique
équivoque, ont été choisis comme objets de cette étude parce
qu’ils illustrent cette hétérogénéité inter/intra-textuelle.
La Détresse et l’enchantement, de Gabrielle Roy,
représente le récit autobiographique supposérnent conventionnel,
garantissant la ‘véracité’ de son discours narratif par un
certain pacte de lecture; pourtant ce texte révèle une dimension
romanesque. Les Mots pour le dire, par contre, récit à saveur de
confidence de Marie Cardinal, est ambivalent dès le départ quant
à son statut: ii bascule entre des éléments romancés et les
souvenirs vérifiables, “événements vécus”, selon l’auteure.
Enfin, Les Samourals, roman à clefs de Julia Kristeva, s’éloigne
du récit-mémoires, rnais est lu comme une autobiographie à peine
voilée à cause des éléments correspondant à la vie de l’auteure.
La juxtaposition de ces trois récits montre que chaque texte se
situe à un point mobile sur un spectrum entre deux pôles
également impossibles à circonscrire—la fiction ou la ‘vérité’
pure. La fonction plutôt que la structure ou le style du texte
importe ici; esthétique dans le cas de Roy, thérapeutique chez
Cardinal et critique pour Kristeva.
L’autobiographie romancée, genre hybride ou “métissé”, est
privilégiée par ces écrivaines, toutes les trois déplacées
géographiquement et linguistiquement, ayant vécu un “métissage”
culturel. Le déplacement, associé à l’étrangeté, intervient dans
le récit et dans la narration pour engendrer un rnouvement
discursif où la différence entre le même et l’autre, entre l’ici
et l’ailleurs, étoffe la structure du texte. Les trois
écrivaines choisissent d’écrire en français, mais se considèrent
étrangères à la France. Pour ces femmes, leur ‘féminité’ (aussi
bien que leur exil) entre en jeu dans leur projet
autobiographique, cette double altérité se prolongeant dans
l’aliénation du moi/elle que produit la dimension fictive du
récit. L’analyse de ces trois récits montrera d’abord comment la
fiction s’immisce nécessairement dans le discours du ‘moi’
dédoublé et finit par imposer une texture/un métissage inhérent
et essentiel à sa facture. Par ailleurs, l’altérité, envisagée
sous le jour de l’étrangeté des autres et de soi—même, prend une
importance capitale dans le projet identitaire de ces auteures
expatriées. Enfin, l’écriture de ces trois femrnes conscientes de
leur féminité s’avère aussi individuelle que celle des
autobiographes masculins. Les trois parlent de leur rapport à la
mère/la maternité, mais leurs récits révélent des divergences
marquées par leur milieu, leur contexte socio—historique et leur
relation à la psychanalyse. Le passé qu’elles évoquent est
simple, imparfait ou composé, selon la fonction gui prime dans
le texte.
Ce que les trois auteures partagent, cest un désir de se
raconter et une foi dans le texte écrit comme moyen d’atteindre
l’autre à travers soi—même et soi—même à travers l’autre. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate
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The Problem of the Artist in Society : Hawthorne, James, and HemingwayBeggs, Jane K. 08 1900 (has links)
The relationship of James to Hawthorne and of Hemingway to James certainly indicates the close literary relationship of the three writers. This development makes it seem only natural that three such self-conscious artists would have recourse to similar interests and would employ in their writings common themes, ideas, and methods.
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Women speak : the creative transformation of women in African literatureHadjitheodorou, Francisca 02 August 2006 (has links)
This study seeks to focus on the total female experience of African women and the reappropriation of a more authentic portrayal of the identity of women in African literature. In this dissertation, a chapter is devoted to each of the female protagonists in the three novels selected for discussion which are One is Enough (1981) by Flora Nwapa, Second-class Citizen by Buchi Emecheta (1975) and The Stillborn (1988) by Zaynab Alkali. Each chapter is named after the woman whose transformation it explores and the chapters are organised in a chronological sequence, that is, in the order that the writers of the texts were first published as authors of African literature, rather than according to the publication date of the text under discussion. The mode of treatment of the texts is dictated primarily by the womanist thrust and the central question of the way in which each of the female characters transcends the triple jeopardy of colour, class and gender to become a creative non-victim. The epithet 'creative transformation' in the title, therefore, describes the emergence of female characters in African writing who overturn the literary characterisation of the one-dimensional African woman who is a 'shadowy figure who hovers on the fringes of the plot, suckling infants, cooking' and 'plaiting' hair {Frank, 1987:14). The theoretical approach adopted for this study is largely of an eclectic nature but every effort has been made to establish a strong sense of the authenticity and credibility of the African woman's experience. In other words, the three texts chosen have been treated as both essentially social realist and African feminist texts read from a womanist perspective. The term ‘womanist’ is particularly valuable in the context of this study. The definition of womanism used in this study is that forwarded by critics such as Chikwenye Ogunyemi (1985) who states that ‘womanism believes in the freedom and independence of women like feminism’ but that ‘unlike feminism’, womanism ‘wants meaningful union between women and men and will wait for men to change their sexist stance’. The findings of this study show that the female protagonists achieve transformation not by reforming patriarchal systems, but by being creative and reappropriating their own identities within these often antagonistic systems. That is, the women achieve a measure of fulfillment and a strong sense of their own individuality within an imperfect context. Particularly in their individual responses to the experiences of marriage and motherhood in a traditional context and in their seeking an authentic identity, the characters in the novels studies create a framework that enables them to be the women they want to be and not the women society would like them to be: Amaka bears twins fathered by Izu, a Catholic priest; Adah – a mother of five – leaves a violent relationship to pursue a career as a writer and Li, after establishing an independent academic life, returns to her errant husband in the hope that they can rebuild their life together. / Dissertation (MA (English))--University of Pretoria, 2007. / English / unrestricted
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Aspects of the treatment of time in some modern English novelists.Johnston, Patricia Marie. January 1948 (has links)
No description available.
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Loss unlimited : sadness and originality in Wordsworth, Pater, and AshberyKhalip, Jacques. January 1998 (has links)
No description available.
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Violent femmes : identification and the autobiographical works of Virginia Woolf, Radclyffe Hall, and Emily CarrStewart, Janice, 1966- January 1999 (has links)
No description available.
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Dystopies et eutopies féminines : L. Bersianik, E. Vonarburg, E. RochonTaylor, Sharon C. January 2002 (has links)
No description available.
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Maps of gender and imperialism in travel writing by Anna Jameson, Mina Hubbard, and Margaret LaurenceRoy, Wendy J. January 2002 (has links)
No description available.
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Naming and vocation in the novels of J.R.R. Tolkien, Patricia Kennealy and Anne McCaffreySkublics, Heather A. L. E. January 1994 (has links)
No description available.
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