No description available.

No description available.

L'hypothèse à la source ce mémoire est que, dans le roman Emma, Jane Austen nous place devant le problème de l'incomplétude humaine et suggère que sa meilleure solution réside en une relation amoureuse fondée dans l'amitié vertueuse. Notre premier chapitre montre, en relevant les erreurs que commet Emma dans ses liens avec ses trois amies et trois amants, les conséquences néfastes d'un aveuglement sur la finalité naturelle de l'être humain, qui a besoin d'autrui pour se perfectionner et atteindre le bonheur. Notre second chapitre analyse et hiérarchise trois solutions offertes dans Emma au problème de l'incomplétude. Il conclut que le couple Knightley, qui est fondé dans une estime réciproque et un souci mutuel de rectitude morale et intellectuelle, incarne la forme supérieure de sociabilité humaine: ce couple est en mesure de s'entraider, de s'entr'éduquer et de s'entreconnaître, ce qui comble au mieux l'incomplétude qui est le lot de l'humanité.

Le travail porte sur la lecture de Madame Bovary de Flaubert. Menacée d’être proscrite en 1857, elle devient ensuite progressivement prescrite par les programmes de littérature au lycée et à l’université en France et dans les pays anglo-américains. La chercheuse explore le processus de « classicisation » du roman et l’histoire de la réception de son personnage principal par trois communautés interprétatives : les journalistes et critiques contemporain·e·s de Flaubert, les critiques universitaires français et anglo-américain·e·s des années 1960-1980 et des lycéen·ne·s français·e·s en 2016. Le travail interroge donc la constitution des interprétations dominantes ainsi que la dynamique des phénomènes d’identifications au cœur de ces différentes lectures en relation avec l’esthétique de l’auteur. Des problématiques de légitimation structurent en effet ces discours lectoraux et révèlent dans les valeurs qu’ils convoquent la « valence différentielle des sexes », universelle selon Françoise Héritier, qui fait d’une lecture masculine la référence de toute lecture légitime du roman en invalidant des attitudes lectorales perçues comme féminines. Cette situation a pour conséquence un encadrement pédagogique spécifique des interprétations lectorales dans le cadre scolaire dont la thèse interroge les présupposés et les effets sur les lecteurs et lectrices contemporain·e·s.Diverses méthodologies ont été utilisées pour mener la recherche. Les articles de journaux et les textes judiciaires publiés lors du procès de Madame Bovary ont été analysés. Un corpus de travaux structuralistes et post-structuralistes, des théories de la réception et féministes a également été examiné. La chercheuse a par ailleurs eu recours aux techniques de l’explication de texte pour comprendre l’esthétique de Flaubert et la confronter aux réactions des divers lecter·rice·s. Enfin, la chercheuse a mené une enquête de terrain basée sur un questionnaire, des journaux de lecture et des entretiens avec une classe de lycéen·ne·s français. / This work carries on reading Madame Bovary by Flaubert. Although reading the novel threatened to be prohibited when it was first published in 1857, it progressively became mandatory in French studies in French high schools and at French universities and Anglo-American universities. The thesis explores the « classicisation » process of the novel as well as the reception of its principal character by three interpretive communities: journalists and critics who were Flaubert’s contemporaries, French and Anglo-American academics between the sixties and eighties, and high school French students in 2016. The work thus examines the making of dominant interpretations and the dynamics of identifications at play in relation with the aesthetics of the author. Readers discourses are indeed shaped by self-legitimation purposes and by the universal « differential valency of genders » that Françoise Héritier conceptualized. Masculine reading is thought to be the template of « good » readings of the novel, while all readers’ demeanours perceived as « feminine » are invalidated. This situation results in a specific framing of pedagogical expectations, expectations of which the thesis intents to decipher the assumptions and effects on French high-school readers.To do so, the researcher used a variety of methodologies. She analyzed articles published in newspapers when the book was first published as well as the judiciary speeches and texts written during the trial of Madame Bovary. She also analyzed academic papers and structuralist, post-structuralist, reader-response and feminist theories. She used literary close reading to understand the aesthetics of Flaubert and confront his writing to the reactions of his readers. Finally, she gathered and analyzed empirical data through a survey, reading diaries and interviews with a class of French high school students.This thesis therefore belongs to the field of cultural studies, in the sense that it uses various academic approaches to understand a cultural object and its effects on its readers and because it tries to shift the epistemological viewpoint from which a classic such as Madame Bovary as been examined in Western culture.

This Bachelor’s thesis in Creative Writing examines how to use metaphors and poetic language in Easy Language/Easy Readers novels. The purpose is to find out how a poetic approach to Easy Language can contribute to a more artistic and literary way of writing, while still keeping in mind the target readers of the text. These readers often face challenges when it comes to reading texts written in standard language. The method includes an analysis of two Easy Language novels in Swedish, Vilhelm Moberg’s Sista brevet till Sverige retold by Johan Werkmäster and Det som inte får hända by Emma Frey-Skøtt, as well as experimentation with writing a new text. The conclusion is that there are many ways to use metaphors and poetic language without making the text more difficult. / <p>C-uppsats i Kreativt skrivande</p>

abstract: Among the hundreds of hymnals published in the United States during the Second Great Awakening (1790–1850), the first official hymnal of The Church of Jesus Christ of Latter-day Saints is a rare example of a hymnal compiled by a woman. The Latter-day Saints wanted a hymnal adapted to their unique beliefs and emerging identity, and Emma Smith—the wife of founding prophet Joseph Smith—was given sole charge of selecting the hymns. The hymnal is also significant because Emma Smith selected and arranged hymns from 1830–1835, years of an emerging rhetoric for the early women’s rights movement. Nevertheless, few studies attend to Smith’s agency and priorities as a compiler, being preoccupied with the contributions of W. W. Phelps, the editor, printer, and most represented poet of the hymnal. Drawing on Karlyn Kohrs Campbell’s theories of agency and of feminine style as well as Kenneth Burke’s theory of form, this thesis uses close textual analysis and coding to examine the rhetorical strategies Smith employed in the hymnal’s preface and in the organization of the Sacred Hymns section. The analysis reveals the hymnal’s recurring themes as well as the ideas it circulates about sex, gender, agency, and community inclusion/exclusion. It also uncovers tension between Smith’s and Phelps’ priorities for the hymnal, particularly in how Smith and Phelps characterize those who should and should not be included with equal authority in Zion, the ideal community the Latter-day Saints sought to build. / Dissertation/Thesis / Masters Thesis English 2019

This study focuses on a series of late-century works by women writers that incorporate facets of theatrical performance into the printed book. Literary drama was a common genre of the Victorian and Edwardian period, used by writers such as Robert Browning, Alfred Tennyson, and Matthew Arnold to elevate drama to the status of literature, a term synonymous with the printed page and the experience of reading. However, this project examines a series of women writers who, in contrast, used this hybrid form to challenge the assumed superiority of text. The values ascribed to the printed page—that it was a disembodied enterprise unattached to the whims of its audience or the particularities of its author—were antithetical to the experiences of women writers, whose work was often read in the context of their gendered bodies. My study proceeds chronologically, reading the literary dramas of five writers—George Eliot, Augusta Webster, Katharine Bradley and Edith Emma Cooper (writing under the pseudonym “Michael Field”), and Elizabeth Robins—alongside changes in print practice and theatrical staging as well as evolving discourses about “literariness.” I argue that these women allude to theatrical performance in the text to show that the page always bears the physical traces of its authors and its audience. Each chapter blends book studies with performance studies, showing the way the form of a work invites particular responses from its readers. Overall, this project has two goals: one, to recover marginalized texts by women writers and revise narratives about the period to incorporate these pieces; and two, to span the scholarly chasm between Victorian poetry and drama and demonstrate, instead, the mutually constitutive relationship of these two art forms.

This study examined how Fox News, CNN, MSNBC, ABC, NBC, and CBS portrayed the Citizens United v. Federal Election Commission decision from the time of the decision, January 21, 2010 until the mid-term elections November 2, 2010. The broadcast transcripts were read for emergent frames to see how the stations framed coverage. The cable channels had the most coverage. MSNBC, ABC, NBC, and CBS framed the decision negatively, Fox News portrayed it positively, and CNN was neutral to negative in coverage.

The creative work, Black-Winged Angels, is a collection of nine re-written fairytales. The collection is divided into three sections: Maiden, Mother, Crone and the three stories in each section explore various aspects of these traditional periods in a woman's life. The tales are re-written, or 're-loaded', to offer alternative views of the tales of childhood, to examine other forces that may be at work inside the stories themselves, and the possible consequences of 'living' those tales differently. The exegesis examines the colonisation and reclamation of a range of fairy tales. It traces the historical shift from oral to literary fairy tale traditions, and the ensuing patriarchal rewriting of those fairytales. The exegesis then considers the writing of Angela Carter and Emma Donoghue (specifically The Bloody Chamber and Kissing the Witch, respectively), in terms of how their work in the fairytale genre has both succeeded in, and failed to, avoid a simple inversion of gender with their revisions of the colonised literary fairytales. The exegetical work has grown, in large part, out of the process of critical reflexivity to which I have subjected my creative work. I chose Angela Carter's and Emma Donoghue's works of revisionist fairytales to act as 'bookends' for my own work; Carter as a starting point for fairytale reclamation and Donoghue as a more recent incarnation of the fairytale revisionist. In reflecting on my own work, I often looked back at what these two authors had done, to guide me in the eternal writers' struggle of what to leave in, what to leave out, and where to take the tale.

Thesis (Ph. D.)--Indiana University of Pennsylvania. / Includes bibliographical references.