Thesis (Ph. D.)--University of California, Santa Cruz, 1995. / Typescript. Includes bibliographical references (leaves 237-248).

Thesis (Ph.D.)--University of Tulsa, 1976. / Bibliography: leaves 162-170.

Thesis (M.A.)--University of North Carolina at Wilmington, 2007. / Includes bibliographical references (leaves: 47-48)

Texte remanié de: Thesis Ph. D.--Oxford, GB--Oxford Brookes university. / Bibliogr. p. 219-232. Index.

Texte remanié de: Thesis Ph. D.--Göteborg, Suède--Université de Göteborg, 2003. / Bibliogr. p.193-204. Index.

The inhuman element in Djuna Barnes’s works has been widely acknowledged. So far the research has, however, concerned itself primarily with animality, thus neglecting the importance of things and thingliness in her texts. In this essay I outline a new way of approaching Barnes were things are taken into account as a vital element in her literary world, using theories on prostheses, fetishes and souvenirs. In Nightwood and four of the short stories, ”A Night Among the Horses”, ”Aller et Retour”, ”Cassation”, and ”The Grande Malade”, I examine clothing, interiors, collections, statues and dolls as objects that in different ways harbour meaning, dream, riddle, memory, history, longing and desire. The aim is not at translating these objects; my concern is not so much with what they mean, as how they mean; how they are used and thus how they interact with the characters.

This thesis discusses performative identity in Djuna Barnes' The Ladies Almanack and Nightwood. Barnes' characters create and perform their identities as an attempt to escape or subvert patriarchal norms and societal prejudices. In analyzing the marginalized performative identity categories (race, class, gender, sexuality), one can glean an understanding of the complex social tensions present during Barnes' era, and understand the socially constructed, confining nature of identity itself.

Thesis (M.A.)--University of North Texas, Aug., 2009. / Title from title page display. Includes bibliographical references.

Thesis (Ph. D.)--Illinois State University, 2006. / Title from title page screen, viewed on May 17, 2007. Dissertation Committee: Christopher D. Breu (chair), Charles B. Harris, Hilary K. Justice. Includes bibliographical references (leaves 277-294) and abstract. Also available in print.

H.D., Djuna Barnes et Laura (Riding) Jackson incarnent trois visages du modernisme américain expatrié. C’est autour de leur place paradoxale dans le contexte d’instabilité et de circulation de ce moment littéraire que s’articulent leurs parcours respectifs. Cette thèse cherche à montrer comment l’expérience du déplacement géographique s’incarne dans le texte thématiquement, stylistiquement, grammaticalement, génériquement et dans le genre (gender) pour produire une écriture autobiographique déplacée qui interroge et transgresse les frontières. On analysera comment l’expatriation des trois auteurs et leur marginalité dans la communitas des expatriés produisent une écriture qui remet en question la limite entre personnel et impersonnel. On explorera les représentations du déplacement géographique lui-même comme thématique et esthétique. En adoptant une méthode de cartographie littéraire, nous mettons au jour une écriture nomade et interrogerons le rapport à la nation dans les textes qui travaille le trope du Grand Tour. L’analyse de l’esthétique du déplacement de l’autobiographie sur les éléments organiques du texte met au jour la métaphorisation du déracinement et le processus de déterritorialisation/reterritorialisation de l’expatriation et du genre féminin chez H.D., Barnes et (Riding) Jackson. / H.D., Djuna Barnes and Laura (Riding) Jackson embody three facets of American expatriate modernism. Their trajectories hinge on their paradoxical place in modernism’s context of instability and circulation. This thesis purports to show how their works are imbued with the experience of geographical displacement at various levels (thematic, stylistic, grammatical, generically and in gender). This porosity between life and work results in a displaced autobiographical writing which questions and transgresses frontiers. The first section deals with how these authors’ expatriation and marginality in the expatriate communitas produce texts which probe the limit between the personal and the impersonal. The second part focuses on the representations of the geographical displacement itself—both as theme and aesthetics. By resorting to a literary cartography method, we argue for a nomadic writing and interrogate the writers’ relation to the concept of nation in texts which deploy the Grand Tour trope. The final section analyzes the aesthetic transference of the autobiography on the organic elements of the text. These motifs act as metaphors of the subject’s uprootedness and of the deterritorialization/reterritorialization process at work for expatriate women writers.