No abstract available. / Thesis (Ph.D.)-University of Natal, Durban, 1982.

No description available.

Many American novels of the late nineteenth and early twentieth centuries discuss prostitution. Some works like Reginald Wright Kauffman's The House of Bondage, (1910) exaggerate the threat of "white slavery," but others like David Graham Phillips's Susan Lenox: Her Fall and Rise (1917) more honestly depict the harsh conditions which caused many women to prostitute themselves for survival. Contemporary critical interpretations of novels addressed in this dissertation began before major shifts in women's roles in the workplace, before trends towards family planning, before women could respectably live on their own, and especially before women won the right to vote. Yet, a century of progress later, this vestigal criticism still influences our study of these texts.Relying on primary source materials such as prostitute autobiographies and vice commission reports, I compare fictional representations of prostitution to historical data, focusing on the prostitute's voice and her position in society. I examine actual prostitutes' life stories to dispel the misconception that prostitution was always a lower-class business. My chapters are ordered in regards to the prominence of the prostitute characters' voices: in Stephen Crane's Maggie: A Girl of the Streets (1893) the heroine seldom speaks for herself; in two Socialist novels--Upton Sinclair's The Jungle (1906) and Estelle Baker's The Rose Door (1911)--prostitutes debate low wages, political corruption, and organized vice; and in Phillips's Susan Lenox, the title character is almost always allowed to speak for herself, and readers can see what she is thinking as well as doing. As my chapters progress, I demonstrate how the fictions become more like the prostitutes' own autobiographies, with self-reliant women telling their stories without shame or remorse. My conclusion, "Revamping `Fallen Women' Pedagogy for Teaching American Literature," suggests how social history and textual scholarship of specific "fallen women" novels should affect our teaching of these texts. / Department of English

LD2668 .T4 1947 G75 / Master of Science

No description available.

This thesis examines the forms of utopianism which developed in U.S. fiction after the Civil War, from Mark Twain to Jack London. It covers the genres and subgenres of the utopia of reform, the fiction of occult utopianism, the lost-race romance, the post-catastrophe utopia, and the dystopia. Its central argument is that utopianism provides a means of developing alternative horizons of historiosophy and of building images of otherness, as it is also an argumentative apparatus which allows utopists to comment on their empirical society, as the other side of otherness. Nineteenth-century U.S. utopian fiction conveyed, through an increasing deconstruction of the utopian genre, conflicting interpretations of such elements of American myth-history as the stock image of America as a new Eden and paradise of abundance, the American Dream, and Manifest Destiny. This helps explain the fragmentation of the utopian genre within literary discourse and its cooptation by modern science fiction as it developed after the first decade of the twentieth century.

This study examines the relation between gender and genre in four novels that chart the development of American domestic life from the Colonial to the Gilded Age. In these novels, the presence in the house of women--mothers, daughters, sisters, servants, slaves--often threatens the fathers' dynastic ambitions and subverts the formal intentions of the narrative. These women represent familiar but strange forces of the uncanny which lurk beneath the apparently placid surface of domestic narrative. In "house" novels by Hawthorne, Stowe, Alcott, and James, interactions of the uncanny feminine with dynastic concerns threaten not only the novel's social message of destiny and dynasty, but the traditional form of the novel itself. In The House of the Seven Gables, Hawthorne constructs a narrative in which patrician fathers and domestic daughters struggle for control of the House and its story. Slavery disrupts domestic life in Uncle Tom's Cabin, inverting and thereby perverting traditional notions of home and family and producing monstrous mothers and failed households. Alcott details the abuses and dangers of reified gender roles in family life, while depicting a young woman's attempt to reconstruct domesticity as a female community in Work. Finally, James displaces domestic concerns entirely from The Other House, portraying instead the violent nature of feminine desire unrestrained by tradition, community, or family. Story and telling work at cross-purposes in these novels, creating a tension between Romantic structures and realistic narrative strategies. These authors depart from the tropes of their times, using gothic devices to reveal monstrous mothers, uncanny children, and failed or fallen houses within the apparently conservative domestic novel. Such gothic devices transcend literary historians' distinctions of romance and sentimental fiction as respectively male and female stories and reveal the fundamentally subversive nature of domestic fiction. For these writers, the uncanny presence of the feminine produces a counternarrative of gender, class, and race, redefines the cultural boundaries of home and family, and exposes the fictive nature of social constructions of gender and domesticity.

Although the term modernismo means many things to many people, it is generally agreed upon that as a literary period it gave a legitimacy to Spanish-American letters and that it was the coming of age of that continent's literature. In addition to modernista works themselves, this period has also generated an unprecedented body of criticism, both of which have been studied with a unique intensity in Latin American letters. However, in spite of this vast body of criticism, certain aspects of the modernista sensibility have never been addressed by critics. This study begins by questioning the absence of women writers of this generation (in spite of the fact that women were living and writing before, during, and after modernismo). The most celebrated female protagonist of the modernista novel, the femme fatale, contrary to her reputation as destroyer of men, frequently suffers a premature and often violent death at the hands of the male artist/protagonist/poet. While examining the turn-of-the-century ideal of womanhood, using both literary and extra-literary sources, this study postulates that because modernistas considered themselves to be a literary men's club, a fraternity, in their own words, the female writer may have purposely eschewed becoming a part of an aesthetic which destroyed women. Through the analysis of three representative modernista novels, El triunfo del ideal (Pedro César Domínici, Venezuela, 1901), Juana Lucero (Augusto d'Halmar, Chile, 1902), and La gloria de don Ramiro (Enrique Larreta, Argentina, 1908), parallels can be drawn between the modernista aesthetic and the pornographic one. While modernismo has been called the "effeminate" literature of a group of dandies, it is, in fact, profoundly misogynist. The rape, torture, murder and burning at the stake and otherwise objectification of the female protagonists tends to confirm this reading. The Latin American dichotomy of civilización/barbarie can also be expressed in the pornographic one of culture versus nature. Rather than a tragedy, the deaths of beautiful young women are perceived as a requisite for the artist's source of inspiration. If the death of a beautiful woman produces poetry, the turn-of-the-century female writer's reluctance to join this club becomes more understandable.

This dissertation explores a history of the grotesque and its meaning in art and literature along with those of its related term, the arabesque, since their co-existence, specifically in literature, is later treated by a well-known nineteenth-century American writer in Tales of the Grotesque and Arabesque- Theories or views of the grotesque (used in literature), both in Europe and America, belong to twelve theorists of different eras, ranging from the sixteenth century to the present period, especially Modernism (approximately from 1910 to 1945)--Rabelais, Hegel, Scott, Wright, Hugo, Symonds, Ruskin, Santayana, Kayser, Bakhtin, (William Van) O'Connor, and Spiegel. My study examines the grotesque in American literature, as treated by both nineteenth-century writers--Irving, Poe, Hawthorne, and, significantly, by modernist writers--Anderson, West, and Steinbeck in Northern (or non-Southern) literature; Faulkner, McCullers, and (Flannery) O'Connor in Southern literature. I survey several novels and short stories of these American writers for their grotesqueries in characterization and episodes. The grotesque, as treated by these earlier American writers is often despised, feared, or mistrusted by other characters, but is the opposite in modernist fiction.

Women characters in American literature of the nineteenth century form an overwhelmingly lovely group, but a search through some of the overlooked works reveals a thin but discernible thread of plain, even homely, heroines. Most of these fall into the stereotypical "old maid" category, and, like their real-life counterparts, these "undesirable" women are considered failures, even if they have money or satisfying careers, because they do not have boyfriends, husbands, or children. During the twentieth century, the old maid figure develops into someone not just homely, but downright ugly; in addition, the number of these characters increases, especially in the latter half of the century. In many works written since the 1960s, the woman's ugliness is such an intrinsic part of the story that it could not take place if she were beautiful. In subtle ways, these "ugly woman" stories begin to question the overwhelming value placed on beauty, to question the narrow definition of beauty in American society as a whole, and to suggest that the price for such a "blessing" might indeed be too high. Rather than settling for being a mere "heroine"—which still carries feminine connotations of passive behavior and second-class status—the ugly woman's increase in power over her own life and the lives of others, allows her to achieve a status more in keeping with the more "masculine" and active role of hero.