Thesis (Honors)--College of William and Mary, 2009. / Includes bibliographical references (leaves 112-119). Also available via the World Wide Web.

The study investigates the spirituality of the Congregation of the Companions of Saint Angela Merici a Catholic women religious community. This religious Congregation was founded in 1954 in the diocese of Johannesburg, to serve the needs of the indigenous people. The person who founded this Congregation was Bishop William Patrick Whelan aMI, with the encouragement and support of Father Jean Verot aMI. At first the Catholic Church was a settler Church taking care of the needs of the settlers. It is only later that the Catholic Church became a missionary Church, outreaching to indigenous people. It is in the 1950's when the Congregation of the Companions of Saint Angela was founded , during the apartheid time. The history and the spirituality of the Congregation of the Companions of Saint Angela Merici are looked at. The first members of the Congregation of the Companions of Saint Angela Merici were trained and guided by the Ursulines, of the Roman Union in Munsieville, Krugersdorp. Some of the elements of the spirituality of this women 's religious Congregation that are explored are mutual love, hospitality, prayer life and education. The Sisters of the religious Congregation looked to Saint Angela Merici, their foundress and model , an Italian Saint who lived in the sixteenth century , and learned from her spirituality. The Sisters living In the twentieth century look at how relevant Saint Angela Merici's spirituality is to them, and how they as black women, in townships, can live this spirituality. Interviews were conducted to get some information about the religious Congregation of the Companions of Saint Angela Merici. A questionnaire was send to two Sisters who belong to this religious Congregation of the Companions of Saint Angela Merici but only Sister Mary Modise CSA responded positively to being interviewed. Father Thomas O'Dea, a Missionary Oblate of Mary Immaculate gave some direct information that he remembered regarding this particular Congregation of the Companions of Saint Angela Merici. A final conclusion to be drawn from this study is that the Congregation of the Companions of Saint Angela Merici is faced with the challenge to inculturate some of the elements of this spirituality and re-Iook at their charism at some General Chapters. Lastly, some of the challenges that face the present Congregation of Sisters of the Companions of Saint Angela Merici are formation and a way of practically living the charism and their prayer life. / Thesis (M.Th.)-University of Natal, Pietermaritzburg, 2003.

The thesis aims to produce a reconsideration of the queer spaces articulated in 1980s and 1990s literary criticism through the corporealising theory of gender and sexuality in the recent development of Australian material feminism and Rita Felski‟s idea of transient time. It particularly focuses on interpretations of transgender characters in critical readings of Renaissance drama and contemporary fiction. The academic fields investigated are thus late twentieth-century Renaissance criticism of gender and sexuality, late twentieth-century queer interpretations of transgenderism and transgender characters in contemporary literature, contemporary transgender studies and material feminist theory. Chapter 1 introduces a queer space articulated by discourses of gender and sexuality in 1980s and 1990s criticism of Renaissance drama. It concludes that the historical methodology of the critics is flawed and that the idea of Renaissance queerness is built as a contrast to late twentieth-century queerness. Chapter 2 is a reconsideration of the Renaissance anatomical sources used by the canonical critics introduced in the previous chapter. It establishes that the queer idea of sex and gender developed through these should rather be read in light of the more corporeal Renaissance discourse of monstrosity. Chapter 3 reconsiders the transgender characters in Shakespeare‟s Twelfth Night and As You Like It and introduces a reading of Middleton and Dekker‟s The Roaring Girl from a point of view that introduces Renaissance sexual monstrosity as a formation of corporealised though flexible gender subjectivity. Chapter 4 introduces a late twentieth-century queer space partly articulated in relation to the Renaissance queer space. It critiques the theoretical foundations of late twentieth-century queer theory, introducing transgender responses to „queering‟ readings of transgender bodies, as well as queer theorists‟ own attempts to narrativise themselves as points of incoherence in Butler‟s model and introduces a corporealising material feminist perspective of gender subjectivity as a more accommodating alternative. Chapter 5 reconsiders queer readings of transgender characters in Angela Carter‟s The Passion of New Eve. It concludes that the novel has been evaluated from a queer perspective and that it offers a more interesting comment on sex and gender if read from a material feminist point of view. Chapter 6 discusses John Cameron Mitchell‟s Hedwig and the Angry Inch as one transgender narrative that has been critiqued by transgender academia and Gore Vidal‟s Myra Breckinridge as a transgender narrative that has been approved. It analyses and critiques the reasons for the texts‟ reception and formulates a new poetics of corporeal gender based on the idea of nomadic gender subjectivity developed in the works of the Australian school of material feminists. The thesis finally exchanges a queer reading of transgender characters for a nomadic corporeal reading that better accommodates the historical discourses surrounding the Renaissance material, the literary content of the contemporary fiction, and the idea of transgender identity as it is considered in transgender studies.

This study sets out from the premise that the fantastic, in the hands of the women writers with feminist awareness,can be used as a tool to subvert patriarchal gender roles that are culturally constructed. The dissertation aims at analysing the fantastic novels by Angela Carter, The Infernal Desire Machines of Doctor Hoffman and Nights at the Circus, and by Jeannette Winterson, The Passion and The.PowerBook as examples in which the transgression of gender roles is achieved through the use of fantastic images. The analysis of the fantastic images in these novels is confined to the definitions by Tzetvan Todorov and Rosemary Jackson. The study asserts that through an efficient use of the fantastic mode, both Carter and Winterson negate culturally dominant notions of reality, whereby they resist the cultural constructions of gender. Within the framework of this dissertation, some concepts like the New Woman, historiographic metafiction, the lesbian continuum and compulsory heterosexualism are also studied where they become indispensable to the role that the fantastic images play. Thus, this study identifies each fantastic image in the novels studied with its possible cultural and political implications so that the &ldquo / un-seen&rdquo / of the culture, a term suggested by Jackson, can be seen. In other words, the study concentrates on the subversive nature of the fantastic images so as to see the ways in which the rigid boundaries of the gender roles in patriarchy can be transgressed

Thesis (Ph. D.)--University of Washington, 1989. / Vita. Includes bibliographical references (leaves [244]-254).

Thesis (M.A.)--University of Adelaide, Dept. of English Language and Literature, 1993. / Includes bibliographical references (leaves 173-192).

Thesis (Ph. D.)--University of Chicago, 2003. / Includes bibliographical references (p. 282-287). Also available on the Internet.

Thesis (M. Phil.)--University of Hong Kong, 1996. / Includes bibliographical references (leaf 198-219).

Thesis (Ph. D.)--University of Washington, 1999. / Vita. Includes bibliographical references (leaves 293-309).

Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-04-25Bitstream added on 2014-06-13T18:30:48Z : No. of bitstreams: 1 rodrigues_ta_me_assis.pdf: 1079958 bytes, checksum: 5b519ada8b640b395ac2c16ad94bab3b (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / A presente dissertação pretende realizar uma análise da representação feminina no romance da escritora inglesa Angela Carter intitulado The Magic Toyshop (1967), observando sua relação com os elementos presentes na obra. Tendo em vista a importância desta representação nas obras carterianas, este trabalho pretende elucidar como se realiza a construção das personagens femininas e da ambientação (uma vez que esta também vai contribuir para a representação dessas personagens) da obra referida. As informações colhidas têm o intuito de esclarecer aspectos como, por exemplo, o estilo da autora, frequentemente associado à literatura fantástica e ao pósmodernismo, dialoga com a ideologia presente na obra, a saber, a crítica ao modelo patriarcal de sociedade, o qual muitas vezes impunha estereótipos e certos papéis sociais às mulheres. Assim, ao mesmo tempo em que sua obra se aproxima do caráter fantástico, Angela Carter não dissocia sua escrita do tecido social, criando, assim, um estilo de escrita único. Verifica-se, dessa forma, que assim como suas personagens, a autora, através da subversão, busca seu próprio espaço na Literatura / This dissertation intends to conduct an analysis of the female representation in Angela Carter’s novel The Magic Toyshop (1967), observing its relation with the elements present in the book. Considering the importance of this representation in the writer’s works, this dissertation aims to elucidate how the construction of female characters and the setting (since it will also contribute to the representation of these characters) of the referred narrative is done. The information obtained have the intention of clarifying certain aspects, such as the the dialogue between the author’s style, frequently associated with fantasy literature and post-modernism, and the ideology present in the novel: the critique of the patriarchal model of society, which often imposed stereotypes and social roles for women. Thus, at the same time that her work approaches the fantastic features, Angela Carter doesn’t dissociate her writing of the social context, creating an unique style of writing. One notices that, like her characters, the author seeks, through subversion, her own space in Literature