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A Bibliografia é mapa e índice da literatura, da ciência e da cultura enquanto atividade que se funda e se exprime por meio dos testemunhos documentários (SERRAI, 2001). Enquanto disciplina, a Bibliografia não se reduz às propostas técnicas de enumeração documentária, embora estas técnicas sejam a matriz para o desenvolvimento de modelos práticos e conceituais para organização e mediação de documentos ao longo de distintos contextos histórico-culturais. Portanto, para além do aspecto enumerativo dos documentos, a Bibliografia é o esquema da realidade destes. É aquilo que o bibliógrafo italiano Alfredo Serrai (2001) chama de evidência ordenada das referências relativas a tudo que já foi escrito e, eventualmente, publicado ou reproduzido. Constituída por interfaces teóricas, práticas e discursivas, a Bibliografia fundamenta o tratamento documental do ponto de vista de sua descrição, classificação, indexação, circulação e mediação. A Bibliografia possui uma longa história, cuja eminência está nas contribuições do cientista, erudito e bibliógrafo suíço, Conrad Gesner (1516-1565), e no seu maior projeto bibliográfico: Bibliotheca Universalis (1545) e as Pandectae (1548, 1549). Neste sentido, a presente pesquisa está balizada pela busca do método bibliográfico de Conrad Gesner, tendo por norte as seguintes indagações: qual é a estrutura documentária de Bibliotheca Universalis e das Pandectae? Qual a natureza, dimensão e princípio das obras? Em que consiste o método bibliográfico gesneriano? Qual é a relação entre o método bibliográfico gesneriano e os fundamentos e ecos da Bibliografia enquanto disciplina? Nesta perspectiva nossos objetivos são: 1) mapear a estrutura documentária de Bibliotheca Universalis e das Pandectae, 2) caracterizar a natureza, dimensão e princípio das obras; 3) identificar, apresentar e discutir o método bibliográfico gesneriano; 4) posicionar, de forma preliminar, a relação entre o método bibliográfico gesneriano e os fundamentos e ecos da Bibliografia enquanto disciplina. Para tanto, a investigação percorre o campo bibliográfico e documental, tendo como aporte bibliográfico notadamente a literatura científica italiana no contexto dos estudos bibliográficos e a análise histórico-documental da edição original de Bibliotheca Universalis (1545) e das Pandectae (1548, 1549). Portanto, tais edições são tanto fonte quanto objeto da pesquisa. Conrad Gesner delineou as práticas bibliográficas da Europa Moderna e, neste sentido, é considerado o pai da Bibliografia e fundador da disciplina bibliográfica. O método bibliográfico gesneriano é um método de ordenação bibliográfica e de organização do conhecimento, de bases teóricas e aplicadas, que configura-se pela dupla dimensionalidade: 1) a primeira, de caráter descritivo-repertorial, está fundamentada na seleção bibliográfica e na ordenação alfabético-nominal; 2) a segunda, de caráter taxonômico, indicial e semântico, está fundamentada na organização multinível do conhecimento em hierarquias universais e particulares: da classe mais geral (as Partições) até os loci communes - que representam o núcleo semântico mais fino, específico e intimamente coligado aos argumentos e aos conceitos que compõem os documentos. Conclui que dimensão histórico-interpretativa da informação e do documento, que perpassa pelo gesto e método bibliográfico gesneriano, não pode ser negligenciada para uma compreensão retrospectiva, crítica e ao mesmo tempo atual do campo informacional e documentário. / Bibliography is a map and index of literature, science and culture as an activity that is founded and expressed through documentary testimonies (SERRAI, 2001). As a discipline, the Bibliography is not limited to the technical proposals of documentary enumeration, although these techniques are the matrix for the development of practical and conceptual models for organization and mediation of documents along different historical-cultural contexts. Therefore, in addition to the enumerative aspect of the documents, Bibliography is the scheme of their reality. It is what the Italian bibliographer Alfredo Serrai (2001) calls an ordered evidence of references to everything that has already been written and eventually published or reproduced. Constituted by theoretical, practical and discursive interfaces, the Bibliography bases the documentary treatment from the point of view of its description, classification, indexation, circulation and mediation. The Bibliography has a long history, whose eminence lies in the contributions of Swiss scientist, scholar and bibliographer, Conrad Gesner (1516-1565), and his major bibliographical project: Bibliotheca Universalis (1545) and the Pandectae (1548, 1549). In this sense, the present research is marked by the search of the bibliographical method of Conrad Gesner, having for the north the following questions: What is the documentary structure of Bibliotheca Universalis and Pandectae? What is the nature, dimension and principle of works? What is the gesnerian bibliographical method? What is the relationship between Gesner\'s bibliographical method and the foundations and echoes of Bibliography as a discipline? In this perspective our objectives are: 1) to map the documentary structure of Bibliotheca Universalis and Pandectae; 2) to characterize the nature, dimention and principle of the works; 3) identify, present and discuss the gesnerian bibliographical method; 4) to position, in a preliminary way, the relation between the gesnerian bibliographical method and the foundations and echoes of Bibliography as a discipline. In order to do so, the research goes through the bibliographical and documentary field, having as bibliographical contribution notably the Italian scientific literature in the context of bibliographical studies and the historical-documentary analysis of the original edition of Bibliotheca Universalis (1545) and Pandectae (1548, 1549). Therefore, such editions are both the source and object of the research. Conrad Gesner delineated the bibliographical practices of Modern Europe and, in this sense, he is considered the father of the Bibliography and founder of the bibliographical discipline. The gesnerian bibliographical method is a method of bibliographical ordering and organization of knowledge, of theoretical and applied bases, that is configured by the double dimensionality: 1) the first, of a descriptive-repertoiral character, is based on bibliographical selection and alphabetic-nominal ordering; 2) the second, of a taxonomical, indicial and semantical character, is based on the multilevel organization of knowledge in universal and particular hierarchies: from the more general class (the Partitions) to the loci communes - which represent the finer, specific and closely related semantic nucleus arguments and the concepts that make up the documents. It concludes that the historical-interpretative dimension of information and of the document, which permeates the gesnerian gesture and bibliographical method, cannot be neglected for a retrospective, critical and at the same time current understanding of the informational and documentary field.

Romancier reconnu de son vivant, Louis Guilloux n’a néanmoins pas accédé au statut de grand écrivain. Nous voudrions mettre ici en valeur la diversité des formes littéraires exploitées par le romancier, en proposant un parcours générique et diachronique de son œuvre, à partir du Sang noir. L’approche poétique de ses récits sera ancrée dans l’histoire des idées et des représentations. Nous souhaiterions également éclairer les choix esthétiques de Louis Guilloux par les stratégies de positionnement qu’il a adoptées pour renforcer sa place dans le champ littéraire. Nous nous appuierons sur des documents d’archives pour mieux comprendre le geste littéraire de l’écrivain et sa conception du roman. Louis Guilloux s’est distingué par Le Sang noir avec lequel il a renouvelé l’horizon d’attente de la littérature de guerre. Il n’a cessé par la suite d’interroger les rapports entre la fiction et l’Histoire, en problématisant leurs frontières et en s’essayant à des genres en marge du roman, le témoignage et le reportage. Néanmoins, à partir des années cinquante, son œuvre et sa carrière prennent un nouveau tournant. Alors qu’il entre dans une phase de consécration, il aspire à renouveler fondamentalement son art. Les modalités de son engagement politique changent également : il soutient la diffusion de la culture. Louis Guilloux rompt avec son univers romanesque et se réapproprie les codes de la littérature d’évasion. Il s’engage par ailleurs dans un ultime projet autobiographique dans lequel il propose une dernière variation romanesque de son parcours. L’œuvre de Louis Guilloux illustre ainsi une exploration foisonnante du genre romanesque. Elle recouvre également de nombreuses tensions qu’il s’agira d’éclairer. / Although Louis Guilloux was a recognized novelist in his lifetime, he was never considered as a major writer. The purpose of my thesis is to emphasize the diversity of the literary forms he used and to offer a generic as well as a diachronic reading of his work, starting from Le Sang noir. The poetical approach to his narratives will be grounded in the history of ideas and representations. Guilloux’s aesthetic choices will also be discussed in the light of the positioning strategies he adopted to carve out a place for himself in the literary world. Archival documents will be a starting point for a better understanding of the writers’s literary achievements and his conception of the novel. Louis Guilloux became famous for Le Sang noir, which created new expectations for war literature. Subsequently, he ceaselessly explored the link between fiction and history, looking at their dividing line and trying his hand at accounts and reports, two genres close to the novel. However, in the 1950s, he came to a turning point both in his career and his work. Even as he was consecrated as a writer, he became eager to renew his art completely. His political commitment also changed in its form as he now supported the diffusion of culture. Guilloux broke away from the world of his novels and appropriated the codes of escapist literature. Moreover he launched into his last autobiographical attempt, in which he offered one ultimate novelistic variation on his progress. Louis Guilloux’s work thus exemplifies a rich exploration of the novel as a genre. It is also fraught with numerous tensions that will have to be clarified.

A Bibliografia é mapa e índice da literatura, da ciência e da cultura enquanto atividade que se funda e se exprime por meio dos testemunhos documentários (SERRAI, 2001). Enquanto disciplina, a Bibliografia não se reduz às propostas técnicas de enumeração documentária, embora estas técnicas sejam a matriz para o desenvolvimento de modelos práticos e conceituais para organização e mediação de documentos ao longo de distintos contextos histórico-culturais. Portanto, para além do aspecto enumerativo dos documentos, a Bibliografia é o esquema da realidade destes. É aquilo que o bibliógrafo italiano Alfredo Serrai (2001) chama de evidência ordenada das referências relativas a tudo que já foi escrito e, eventualmente, publicado ou reproduzido. Constituída por interfaces teóricas, práticas e discursivas, a Bibliografia fundamenta o tratamento documental do ponto de vista de sua descrição, classificação, indexação, circulação e mediação. A Bibliografia possui uma longa história, cuja eminência está nas contribuições do cientista, erudito e bibliógrafo suíço, Conrad Gesner (1516-1565), e no seu maior projeto bibliográfico: Bibliotheca Universalis (1545) e as Pandectae (1548, 1549). Neste sentido, a presente pesquisa está balizada pela busca do método bibliográfico de Conrad Gesner, tendo por norte as seguintes indagações: qual é a estrutura documentária de Bibliotheca Universalis e das Pandectae? Qual a natureza, dimensão e princípio das obras? Em que consiste o método bibliográfico gesneriano? Qual é a relação entre o método bibliográfico gesneriano e os fundamentos e ecos da Bibliografia enquanto disciplina? Nesta perspectiva nossos objetivos são: 1) mapear a estrutura documentária de Bibliotheca Universalis e das Pandectae, 2) caracterizar a natureza, dimensão e princípio das obras; 3) identificar, apresentar e discutir o método bibliográfico gesneriano; 4) posicionar, de forma preliminar, a relação entre o método bibliográfico gesneriano e os fundamentos e ecos da Bibliografia enquanto disciplina. Para tanto, a investigação percorre o campo bibliográfico e documental, tendo como aporte bibliográfico notadamente a literatura científica italiana no contexto dos estudos bibliográficos e a análise histórico-documental da edição original de Bibliotheca Universalis (1545) e das Pandectae (1548, 1549). Portanto, tais edições são tanto fonte quanto objeto da pesquisa. Conrad Gesner delineou as práticas bibliográficas da Europa Moderna e, neste sentido, é considerado o pai da Bibliografia e fundador da disciplina bibliográfica. O método bibliográfico gesneriano é um método de ordenação bibliográfica e de organização do conhecimento, de bases teóricas e aplicadas, que configura-se pela dupla dimensionalidade: 1) a primeira, de caráter descritivo-repertorial, está fundamentada na seleção bibliográfica e na ordenação alfabético-nominal; 2) a segunda, de caráter taxonômico, indicial e semântico, está fundamentada na organização multinível do conhecimento em hierarquias universais e particulares: da classe mais geral (as Partições) até os loci communes - que representam o núcleo semântico mais fino, específico e intimamente coligado aos argumentos e aos conceitos que compõem os documentos. Conclui que dimensão histórico-interpretativa da informação e do documento, que perpassa pelo gesto e método bibliográfico gesneriano, não pode ser negligenciada para uma compreensão retrospectiva, crítica e ao mesmo tempo atual do campo informacional e documentário. / Bibliography is a map and index of literature, science and culture as an activity that is founded and expressed through documentary testimonies (SERRAI, 2001). As a discipline, the Bibliography is not limited to the technical proposals of documentary enumeration, although these techniques are the matrix for the development of practical and conceptual models for organization and mediation of documents along different historical-cultural contexts. Therefore, in addition to the enumerative aspect of the documents, Bibliography is the scheme of their reality. It is what the Italian bibliographer Alfredo Serrai (2001) calls an ordered evidence of references to everything that has already been written and eventually published or reproduced. Constituted by theoretical, practical and discursive interfaces, the Bibliography bases the documentary treatment from the point of view of its description, classification, indexation, circulation and mediation. The Bibliography has a long history, whose eminence lies in the contributions of Swiss scientist, scholar and bibliographer, Conrad Gesner (1516-1565), and his major bibliographical project: Bibliotheca Universalis (1545) and the Pandectae (1548, 1549). In this sense, the present research is marked by the search of the bibliographical method of Conrad Gesner, having for the north the following questions: What is the documentary structure of Bibliotheca Universalis and Pandectae? What is the nature, dimension and principle of works? What is the gesnerian bibliographical method? What is the relationship between Gesner\'s bibliographical method and the foundations and echoes of Bibliography as a discipline? In this perspective our objectives are: 1) to map the documentary structure of Bibliotheca Universalis and Pandectae; 2) to characterize the nature, dimention and principle of the works; 3) identify, present and discuss the gesnerian bibliographical method; 4) to position, in a preliminary way, the relation between the gesnerian bibliographical method and the foundations and echoes of Bibliography as a discipline. In order to do so, the research goes through the bibliographical and documentary field, having as bibliographical contribution notably the Italian scientific literature in the context of bibliographical studies and the historical-documentary analysis of the original edition of Bibliotheca Universalis (1545) and Pandectae (1548, 1549). Therefore, such editions are both the source and object of the research. Conrad Gesner delineated the bibliographical practices of Modern Europe and, in this sense, he is considered the father of the Bibliography and founder of the bibliographical discipline. The gesnerian bibliographical method is a method of bibliographical ordering and organization of knowledge, of theoretical and applied bases, that is configured by the double dimensionality: 1) the first, of a descriptive-repertoiral character, is based on bibliographical selection and alphabetic-nominal ordering; 2) the second, of a taxonomical, indicial and semantical character, is based on the multilevel organization of knowledge in universal and particular hierarchies: from the more general class (the Partitions) to the loci communes - which represent the finer, specific and closely related semantic nucleus arguments and the concepts that make up the documents. It concludes that the historical-interpretative dimension of information and of the document, which permeates the gesnerian gesture and bibliographical method, cannot be neglected for a retrospective, critical and at the same time current understanding of the informational and documentary field.

Le roman d’aventures anglais du dix-neuvième siècle, héritier d’une tradition issue des écrits de Defoe, de Scott, et de Dumas, trouvera ses chefs-d’œuvre dans L’île au trésor et Enlevé! de Robert Louis Stevenson. Ces textes représentent à la fois l’apogée du genre, et sa réécriture, sa subversion. Joseph Conrad, dans ses fictions aventureuses, répond à cette remise en question des conventions génériques. Les deux auteurs doivent se situer par rapport aux débats littéraires de leur époque, et à la prédominance du réalisme qui touchait à sa fin. En France, au tournant du vingtième siècle, les critiques littéraires cherchent une alternative dans la fiction étrangère au roman moribond qu’ils voient autour d’eux. Face à cette « crise du roman », Marcel Schwob trouvera, en Robert Louis Stevenson, l’auteur qui lui semble donner forme, dans ses œuvres, à un roman d’aventures qui dépasse les oppositions stériles qui alimentent le débat sur l’avenir du roman en France. Cette rencontre littéraire est le point de départ d’une réflexion qui se poursuit dans les années 1900 dans les revues littéraires, où les critiques menés par André Gide commencent à élaborer une théorie du roman d’aventures. Ce concept de l’aventure permet d’étudier la réception de l’œuvre de Stevenson, et de celle de Conrad, dans la culture littéraire spécifique de la France au début du vingtième siècle. Dans la correspondance, les revues telles que La Revue des Deux Mondes, Le Mercure de France, La Nouvelle Revue Française, les traductions, et les éditions françaises des deux écrivains, un phénomène littéraire se dessine, un transfert culturel entre les grands écrivains cosmopolites de la période. / The English adventure novel of the nineteenth century, descending from a tradition shaped by the writings of Defoe, Scott, and Dumas, was to find its masterpieces in Tresaure Island and Kidnapped! by Robert Louis Stevenson. These texts represent both the high-point of the genre, and its rewriting and subversion. Joseph Conrad, in his adventurous fiction, responds to this problematizing of the conventions of the genre. Both authors had to situate themselves in relation to the literary debates of their era, and the soon-to-end dominance of realism. In France, at the turn of the twentieth century, literary critics were seeking an alternative in foreign fiction to the moribund novel that they had inherited. In the face of the this “crisis of the novel”, Marcel Schwob was to find, in Robert Louis Stevenson, the author who seemed to give form, in his fiction, to a novel of adventure which transcended the stale oppositions which had fed the debate on the future of the novel in France. This literary encounter is the starting point for a discussion which continued into the 1900s in the literary reviews, where critics led by André Gide begin to develop a theory of the roman d’aventures. This concept of adventure permits us to examine the reception of the works of Stevenson, and those of Conrad, in the literary culture specific to France at the beginning of the twentieth century. In writers’ correspondence, in literary reviews such as the Revue des Deux Mondes, the Mercure de France, or the Nouvelle Revue Française, in translations and French editions of the two authors, a literary phenomenon takes shape, a cultural transfer between the great cosmopolitan writers of the period.

Johannes Conrad (1929 Radeberg – 2005 Berlin). Der Radeberger Johannes Conrad war eine sehr vielschichtig tätige Persönlichkeit. Conrads Verdienste gehen in zwei Richtungen, zum einen hat er sich als Schriftsteller, Satiriker und Humorist einen großen Namen gemacht, zum anderen war er mehr als 40 Jahre, von 1956 bis 1996, Schauspieler an einem der berühmtesten deutschen Theater, dem legendären „Berliner Ensemble“. Seine literarische Heimstatt war das Satiremagazin „Eulenspiegel“, er war einer der Hauptautoren und wurde auch der „Woody Allen des DDR-Humors“ genannt. Conrads Stil prägte den Eulenspiegel über Jahrzehnte. Er hatte die „Funzel“ mitentwickelt, seine Kolumnen waren beim breiten Publikum beliebt und in Satiriker-Kreisen anerkannt. „Quer durch die Menschenseele“ ist der Titel einer seiner Kolumnen, der sein gesamtes Schaffen charakterisiert. In seinen Arbeiten liest und spürt man die tiefe innere Achtung und den würdevollen Umgang mit dem Thema „Menschlichkeit“, den er in einen Schreib-Stil eingebettet hat, der unnachahmlichen Humor, Ironie, bittere Satire und mitunter Sarkasmus enthält, der direkt - aber niemals verletzend ist und der eine fast geniale Menschenbeobachtung und auch deutliche Stellungnahmen zu den Problemen der von ihm erlebten 3 Gesellschaftsordnungen widerspiegelt.

This thesis explores the citation of documents in the modernist novel. From contracts to newspaper articles, telegrams to reports, documents are invoked as interleaved texts in ways that, to date, have not been critically interrogated. I consider a range of novels, including works by Ford Madox Ford, Virginia Woolf, Nella Larsen, and Willa Cather, which are selected, in part, as a litmus of Anglo-American modernism, though they can more productively also be understood as coalescing around the example set by Joseph Conrad. Replete with allusions to documents, Conrad’s oeuvre is developed across the thesis as a meta-commentary on the document in modernist literature. In placing the document at the centre of analysis, and in using Conrad as a diagnostic of the document in modernity, the manifold ways in which authors use interpolated texts to perform denotative and connotative “work” in their narratives emerge, with the effect of revising our understanding of documents. These authors reveal the power of mass produced documents to lay claim to novelistic language; the historical role of documents in reifying inequality; on the level of narrative, the thematic potential of the document as a reiterable text; and finally, the capacity of the document, in its most depersonalized form, to realize social collectivity and community. This project therefore asks us to rethink and relocate the document as central to the modernist novel.

Thesis (MPhil)--University of Stellenbosch, 2011. / ENGLISH ABSTRACT: This thesis investigates the human capacity of modifying established myth in the light of new circumstances. It focuses on the changing status of myth and mythical cosmologies in Western culture as advances in telematics and techno-culture has led to the abundant proliferation of mythic content in modern society. The rise of scientific, secular and rational tendencies in the Occident has resulted in the demystification and negation of some myths and the cultural realities they once supported. Mythical symbols, however, do exhibit a certain degree of independence from their original set ontologies, growing and transforming continuously within contemporary culture as they are communicated to all social spheres. A particular focus is placed on the demystification of myth and its ability to be appropriated within other discourses, most notably fiction. As such, myth tends to exhibit certain migratory and conservational qualities that this study investigates. This serves as background for this thesis that is primarily located within the broader theoretical argument of myth as a system of world-representation in society, the main point of discussion is the re-appropriation of myth within the narrower field of visual signification, specifically the comics medium, as exemplified in the works of Neil Gaiman and Conrad Botes, as well as in my own work. / AFRIKAANSE OPSOMMING: Die tesis ondersoek die menslike kapasiteit om gevestigde mites te wysig in die lig van nuwe omstandighede. Dit fokus op die veranderlike status van mites en mitiese kosmologieë in die Westerse kultuur, aangesien vooruitgang in die telematiek en tegnokultuur gelei het tot ’n ryk proliferasie van mitiese inhoud in die moderne samelewing. Die opkoms van wetenskaplike, sekulêre en rasionele tendense in die Weste het die demistifikasie en negasie van sommige mites en kulturele realiteite wat hulle eens ondersteun het, tot gevolg gehad. Mitiese simbole vertoon egter ’n sekere graad van onafhanklikheid van hul oorspronklike vasgestelde ontologieë en groei wild binne die kontemporêre kultuur, aangesien hulle deurlopend gekommunikeer word aan verskillende sosiale sfere. Daar word veral gefokus op die demistifikasie van die mite en sy vermoë om geapproprieer te word binne ander diskoerse, veral in fiksie. As sodanig is mites geneig tot migrasie en die vertoon van konserverende kwaliteite, soos ondersoek in hierdie studie. Alhoewel die tesis eerstens gelokaliseer is binne die breër teoretiese argumentasie rondom mite as ’n sisteem van wêreldrepresentasie in die samelewing, is die kern van diskussie die re-appropriasie van die mite binne die smaller veld van visuele betekenisgewing, spesifiek in strippe as medium, soos uitgelig in die werke van Neil Gaiman en Conrad Botes, asook in my eie werk.

This thesis aims to revise the established history of the passage of the Second Crusade through the Byzantine Empire and Anatolia in 1147. In particular, it seeks to readdress the ill-fated advance of the army nominally headed by King Conrad III Staufen of Germany towards Ikonion, the fledging Seljuk capital of RÅ«m. The work consists of four mutually supportive parts. Part I serves to introduce the thesis, the historiographical trends of the current scholarship, and the Byzantine notion of the Latin 'barbarian', a stock, literary representation of the non-Greek other which distorts the Greek textual evidence. Part II analyses the source portrayal of particular incidents as the army marched through the Byzantine Empire, provides analyses of those events based on new approaches to interpreting the sources and a consideration of the army's logistical arrangements, and argues that the traditional historiography has been and continues to be subject to textual misrepresentation. An understanding of the topology of Anatolia is required to appreciate why the army failed to reach Ikonion. Part III therefore consists of chapters devoted to the geography of Anatolia, the form, function and the population density of the typical twelfth-century town, the country's changeable medieval geopolitical landscape, and the settlement patterns and the way of life of western Anatolia's pastoral-nomadic warriors. Part IV revisits the Latin, Syriac and Greek sources which constitute the written history of the crusade in Anatolia, analyses the concerns of the army's executive decision makers within geopolitical, logistical, topographical and tactical frameworks, and offers a reconsideration of the established location of where the army ceased to advance on Ikonion, and a new version of the circumstances which led to the decision to retreat.

This is an exploratory study of women’s childbearing decisions and outcomes in non-medically indicated cesarean section childbirths (CS). Focusing on the structure-agency dichotomy, the research is guided by Anthony Giddens’ theory of structuration used in the context of the medicalization framework in order to analyze elements of personal choice and medical jurisdiction in childbearing methods. Quantitative analysis of secondary data and a thematic content analysis of Internet forums are conducted in order to analyze women’s perceptions of autonomy and constraint in their childbearing decisions and outcomes. The findings suggest that the polarization between second- and third wave feminist critiques on medical intervention in childbirth, and between structure and agency, impede our understanding of the complex phenomenon. Applying structuration theory to the medicalization framework helps to work through this polarization, further lending support to third-way feminism.