Thesis (Ph. D.)--University of Wisconsin--Madison, 1956. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 499-510).

Hannover, Universiẗat, Diss., 1998.

Thesis (Ph. D.)--University of California, Santa Cruz, 1983. / Typescript. Includes bibliographical references (leaves 121-124).

Thesis(M.A.)--Auburn University, 2006. / Abstract. Vita. Includes bibliographic references.

In this thesis, I analyse four historical fiction novels as recharacterizations of Elizabeth I’s agency, to argue for the merit of fictionalized narratives of history. These narratives address the conflict between Elizabeth’s political and natural bodies, which I investigate in view of Ernst Kantorowicz’s concept of kingship, while emphasizing her learned experience and perseverance as responsible for her success. In doing so, historical fiction novels represent the motivations of the contemporary author and reader while also asserting the agency and capability of female rulers like Elizabeth, retroactively. In her own time, Elizabeth’s female body was a point of contention in patriarchal England, and early modern authors highlighted her chastity to represent the queen as beyond the rest of humanity, particularly women. In this thesis, I assess how contemporary authors respond to such history, to represent Elizabeth as a fallible woman in a novel way. Elizabeth’s fallibility in these texts represents the capabilities of women in power, credited to their female experience rather than the supernatural status or divine appointment of the early modern ruler. While there is a breadth of research available pertaining to historical depictions of Elizabeth, fewer critics focus upon contemporary accounts. Elizabeth’s legacy in film is represented in such research, but few critics have analysed her presence in historical fiction, though she is a popular heroine of the genre. This thesis examines the prioritization of Elizabeth’s female body in her youth in Robin Maxwell’s Virgin: Prelude to the Throne (2001), her experiences as an unwed queen in Alison Weir’s The Marriage Game (2014) and Susan Kay’s Legacy (1985), and her role as a mother figure in Anne Clinard-Barnhill’s Queen Elizabeth’s Daughter (2014). These authors assert Elizabeth’s agency and demonstrate the value of historical fiction as a genre, rewriting history to reflect female experience as an asset. / Thesis / Master of Arts (MA) / In the sixteenth and seventeenth centuries, authors depicted Elizabeth I as an extraordinary ruler appointed by God and an extraordinarily chaste woman. Such authors acknowledge Elizabeth’s flawed, natural body, as mortal and female, but praise her incomparable chastity as surpassing other women and ensuring a strong political body or government. While contemporary fiction authors also assess a separation between the political and private, they prioritize individual interiority and female capability as they construct Elizabeth’s navigation of a patriarchal court as a woman in power. This thesis investigates historical fiction, in four novels, as a valuable space for authors to rewrite the agency of Elizabeth I through narratives in which she demonstrates her own decision making and emotional complexity. In this thesis, I assess agency in Robin Maxwell’s Virgin: Prelude to the Throne (2001), Alison Weir’s The Marriage Game (2014), Susan Kay’s Legacy, and Anne Clinard Barnhill’s Queen Elizabeth’s Daughter (2014).

Elizabeth Bishop's phenomenal rise in the academic canon is due in large part to the way her writings about Brazil correlate with current critical concerns. However, U.S. scholars have relied on an inchoate understanding of Bishop's sociohistorical contexts as she performed complicated and at times contradictory Brazil(s). Using Yi-Fu Tuan's methodology of space and place and James Clifford's dichotomy of routes/roots, I delineate between four discrete Brazil(s) in Bishop's texts. Shifts between these Brazil(s) are predicated on changes in Bishop's relationship with her Brazilian partner, Lota Macedo de Soares. I explore the eleven poems of the "Brazil" section of Questions of Travel and "Crusoe in England," as well as the introductions and translations she worked on contemporaneously. Bishop's tourist poems examine the tension between her expectations of the banana-ized Brazil of the popular Carmen Miranda movies, and the reality that she discovered as she moves from a tourist-voyeur to a rooted expatriate. In her Samambaia poems, she writes from the position of insider/partner about the subaltern public sphere that Lota has created at her farm outside of Rio de Janeiro. The volatility of the Brazilian political situation, which Bishop blamed for the dissolution of her relationship with Lota, led Bishop to define the primitive aspects of Brazil that Lota disdained. Finally, I argue that her translation strategies as she writes about Brazil after Lota's death in 1967 are a nostalgic return to her earliest views of Brazil. / text

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Thesis (M.A.)--Brigham Young University. Dept. of English, 2006. / Includes bibliographical references (p. 124-133).

Thesis--University of Zurich. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 112-114).

Proefschrift-Amsterdam. / Bibliography: p. [230]-232.