Las veladas literarias que organizó Juana Manuela Gorriti en 1876 y 1877 significó un espacio de difusión y discusión, entre hombres y mujeres de letras, acerca del devenir nacional, la situación de la mujer y su función dentro de este, y el cuestionamiento de su educación para potenciar o limitar el cumplimiento de los mandatos de madre y patriota en el progreso de la república. Las mujeres ilustradas disertaron abiertamente sobre dichas cuestiones, aunque, claro está, de forma solapada, pues podrían ser tildadas como ridículas o pedantes. Al respecto, sin perder de vista los trabajos sistemáticos previos acerca de la posición de la mujer frente a los discursos liberales o modernos que se desarrollaron en Argentina y Perú (como los realizados por Cristina Iglesia, Lea Fletcher, en calidad de editoras, y Francine Masiello para el país argentino, y por Francesca Denegri para el caso peruano), la presente tesis tiene como finalidad demostrar que la novela Peregrinaciones de una alma triste (sic) de Juana Manuela Gorriti se separa de las ficciones fundacionales que buscaban construir un proyecto nacional homogéneo y socava las formas decimonónicas de concebirlo, pues en ella se cuestiona los mandatos sociales que exige dicho proyecto e indaga su imposibilidad en los sujetos y espacios marginales. Por ello, la novela esboza una respuesta solapada a los dictámenes que la élite criolla demandaba a la mujer (cuidado de la familia y formadora de los hijos en ciudadanos) y un cuestionamiento a los discursos que intentaban menguar su desarrollo social y ciudadano. / Tesis

This thesis is comprised of two articles that examine sympathy, material culture, and ownership in Victorian literature. In the first article, I explore the figure of the heiress in the Victorian literary tradition, focusing on Charlotte Bronte's Jane Eyre and Charles Dickens's Great Expectations. George Eliot marked the heiress figure as unsympathetic, no matter her incarnation: whether the moralist of popular fiction or madwoman of gothic fiction, she is representative of excess and indulgence—ideas that society wanted to condemn in harmony with Georges Batailles's observation that a time of indulgence will be checked by a return to conservative bourgeois ideals. The heiress is made a vessel for these cultural anxieties, representing both the desire for and reaction against material possession within the larger male imperial imaginary landscape. The heiress is a way for the male protagonist to indulge in a decadent coming-of-age narrative before being scalded by his secular desires, abandoning this dream for bourgeois security. I employ the criticism of Batailles, Laura Brown, Sandra Gilbert and Susan Gubar, etc., in order to discover how the heiress is objectified and controlled, yet, in the greater narrative structure, finds ways to act outside of the male linguistic system as an agent for change—bringing about the collapse of the fake set and props of the material world. In the second article, I examine Charles Dickens's attempts to control his printed materials and his belief that he could coalesce the expanding literate public into a faithful readership. However, Dickens was troubled by illicit reproductions of his work by the popular presses. In order to look at Dickens's concerns not only over losing control of his product, but also having the emotional essence of his characters and stories compromised, I turn to Bleak House which, critics have established, is in part a treatise against unlicensed copies. I argue that the character of Lady Dedlock serves as a representation of Dickens since she, like him, relies on the popular press in order to maintain her social standing, yet she also imagines that she is above them—though, in reality, much of her "private" life is already in public hands. I focus, specifically, on an unlicensed image of Lady Dedlock (that she is unaware of) that has been reproduced in a collection that anyone can purchase. In the end, Dickens allows his fiction to speak for him, forcing the reader to process the invasive horror of unlicensed copies through the emotion they feel for the actual, authentic woman. / Graduation date: 2012 / Access restricted to the OSU Community at author's request from June 20, 2012 - June 20, 2014

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Thesis (MA)--Stellenbosch University, 2001. / ENGLISH ABSTRACT: In Charlotte Bronte's novels, the importance accorded to female homosocial relationships - such as friendship and the mother-daughter relationship - challenges the conventional structure of the Victorian realist novel, in which the focus of the female protagonist's development is almost exclusively on the eventual achievement of heterosexual marriage Structurally. heterosexual marriage at closure re-establishes the status quo that has been threatened or destabilised during the unfolding of the plot. Yet what Bronte's novels reveal, is that the status quo thus re-established also confirms patriarchy as a system in which the bonds between men are consolidated to maintain social, political and economic power as a male prerogative By contrast, the ideology that promotes marriage as the sine qua non of women's existence positions women as rivals and the representation of female homosocial relationships in the nineteenth-century novel is either relegated to the margins of the text or erased entirely. In Bronte's novels, the structural relationship between this conventional displacement of female homosocial relationships and the silencing and containment of female desire in heterosexual marriage at closure is consistently explored and subverted. In an increasingly complex process of rewriting the Victorian novel from a female perspective, Bronte's novels construct alternative plots that privilege the representation of female homosocial relationships even as they imitate conventional plot structure In so doing. the gendering of narrative voice as female lays claim to a female discourse of desire. which is rooted in female homosociality and inclusive of lesbian desire. Compulsory (female) heterosexuality which is exclusively domestic and maternal. IS therefore challenged by an alternative representation of female desire as defiant of the ngid categories Imposed by heterosexuality. because it is fiurd and multiple in Its expression This thesis explores the process of recuperation through which Bronte both places the representation of female hornosocial relationships at the centre of her novels and reveals patriarchal structures of control at work / AFRIKAANSE OPSOMMING: In die romans van Charlotte Bronte konfronteer the sentraliteit van vroulike homososiale verhoudings - soos vriendskap en die moeder-dogter verhouding - die konvensionele struktuur van die Victoriaanse realistiese roman. Volgens hierdie konvensionele struktuur is die fokus van die vroulike protagonis se ontwikkeling bykans uitsluitlik gerig op haar uiteindelike toetrede tot 'n heteroseksuele huwelik. Struktureel gesproke herstel die heteroseksuele huwelik by die sluiting van die roman die status quo wat bedreig of gedestabiliseer is gedurende die ontplooing van die roman. Wat Bronte se romans egter aan die lig bring, is dat die status quo wat so herstel word, ook die patriargale sisteem bevestig - waarbinne die bande tussen mans gekonsolideer word ten einde sosiale politieke en ekonomiese mag as 'n manlike prerogatief te waarborg Die ideologie wat die huwelik voorhou as die sine qua non van die vrou se bestaan posisioneer vroue as mededingers, en hierdeur word die uitbeelding van vroulike homososiale verhoudings in die negentiende-eeuse roman verskuif na die buitewyke van die teks, of word dit algeheel uitgewis. In Bronte se romans word die strukturele verwantskap tussen hierdie konvensionele verplasing van vroulike homososiale verhoudings en die demping of beheer van vroulike begeerte in die heteroseksuele huwelik voortdurend in die roman se sluiting ondersoek en ondermyn In 'n proses wat 'n toenemend ingewikkelde herskrywing van die Victonaanse roman vanuit 'n vroulike qesiqspunt inhou. stel Bronte se romans alternatiewc verwikkelinqsplanne saam wat voorrang gee aan die uitbeelding van vroulike hornososiale verhoudings terwyl hierdie storieplanne konvensionele struktuurplanne naboots. Ole manier waarop die verteller se stem so vervroulik word gee uiting aan 'n vroulike diskoers van begeerte wat gewortel IS In vroulike hornososialiteit en wat lesbiese begeerte insluit Verpliqte (vroullke) heteroseksualiteit. wat uitsluitlik huislik en moederlik IS, word dus gekonfronteer deur 'n alternatiewe uitbeeldinq van vroulike begeerte wat die rigiede kateqoriee opqele deur heteroseksualiteit verwerp en meer vloeibare en veelsoortiqe vorme van ultdrukklng daarstel Hierdie tests ondersoek die herstellinqsprcses waardeur Bronte die uitbeeldinq van vroulike hornososiale verhoudinqs sentraal plaas In haar romans, terwyl sy terselfdertyd die werkswyses van patriargale beheerstrukture aan die lig bring.

Esta dissertação de mestrado tem como objetivo apresentar uma reflexão acerca de como o processo de anotação crítica da História geral do Brasil de Francisco Adolfo de Varnhagen, realizado pelos historiadores João Capistrano de Abreu e Rodolfo Garcia colaborou no processo de instituição discursiva do Visconde de Porto Seguro enquanto a autoridade fundamental da historiografia brasileira durante aproximadamente cem anos, quando da publicação da quarta edição de sua História anotada por Garcia. O exame das notas de rodapé e de finais de seção são os objetos privilegiados de análise pois acreditamos que desta forma o reconhecimento essencial a todo fenômeno de autoridade pode ser observado na própria materialidade e discurso constitutivo da referida obra. / This master thesis aims to present a conderation on how the critical annotation process of Francisco Adolfo de Varnhagen’s masterpiece, História geral do Brasil, made by the historians João Capistrano de Abreu and Rodolfo Garcia worked for the establishment of the discursive authority of Visconde de Porto Seguro on the Brazilian history for almost one hundred years, when the fourth edition of his História, annotated by Garcia, was published. The footnotes and the final section notes of Varnhagen’s work are privileged objects of analysis for our postulate because the essential acknowledgement process of any authority phenomenon can be observed on its own constitutive materiality and discourse.

Esta dissertação de mestrado tem como objetivo apresentar uma reflexão acerca de como o processo de anotação crítica da História geral do Brasil de Francisco Adolfo de Varnhagen, realizado pelos historiadores João Capistrano de Abreu e Rodolfo Garcia colaborou no processo de instituição discursiva do Visconde de Porto Seguro enquanto a autoridade fundamental da historiografia brasileira durante aproximadamente cem anos, quando da publicação da quarta edição de sua História anotada por Garcia. O exame das notas de rodapé e de finais de seção são os objetos privilegiados de análise pois acreditamos que desta forma o reconhecimento essencial a todo fenômeno de autoridade pode ser observado na própria materialidade e discurso constitutivo da referida obra. / This master thesis aims to present a conderation on how the critical annotation process of Francisco Adolfo de Varnhagen’s masterpiece, História geral do Brasil, made by the historians João Capistrano de Abreu and Rodolfo Garcia worked for the establishment of the discursive authority of Visconde de Porto Seguro on the Brazilian history for almost one hundred years, when the fourth edition of his História, annotated by Garcia, was published. The footnotes and the final section notes of Varnhagen’s work are privileged objects of analysis for our postulate because the essential acknowledgement process of any authority phenomenon can be observed on its own constitutive materiality and discourse.