The main question that this dissertation seeks to answer is, “If the character of Vashti on the one hand and that of Esther on the other are re-read from a gender-sensitive perspective which possibilities can the reading offer for the liberation and reconstruction of affirming identities for the Mongo women in the DRC today?” The study undertaken here challenges the fact that Mongo women of the DRC remain attached to their roles as wives and mothers which is viewed as a hindrance to their self-definition. The two characters Esther and Vashti from the book of Esther are examined in light of the experiences of Mongo women using the bosadi (womanhood) approach to deconstruct and problematize oppressive ideologies in the biblical text as well as in the Mongo context. It is argued that Vashti and Esther are not opposite characters but should be viewed in the light of each other as complementary characters. Despite the positive examples that the two women offer, both characters also offer oppressive possibilities for modern DR Congolese women. Therefore, they do not fully represent ideal role models for Mongo women in their efforts to affirm their identities. / Old Testament and Ancient Near Eastern Studies / D.Th. (Old Testament)

This dissertation analyses, through a rhetorical framework and a literary approach, texts written in Catalan and Castilian by four Catalan female writers (Dolors Monserdà, Maria Aurèlia Capmany, Esther Tusquets, Monserrat Roig ), whose works cover from 1900 to the 1980. Utilizing this urban feminine literature, it discusses the historical-geographical vision about the changes in Catalan society during the twentieth century with its consequences for the urban space, especially the space occupied by women. It is also established that Barcelona’s recovery and literary vindication by women has been done through the written text, as literary affirmation and as a matter of conscience in which the city could not be summed up as a backdrop, but rather as an active part of a literary creation, active in the double sense, as a socio-historical space in the novel and as characteristic of their works. The primary purpose of this dissertation is to demonstrate that the use of the city as a setting for the novels determines and characterizes those female writers’ texts. Consequently, these writings are literary material relevant and essential to the understanding of the Barcelonian women’s space. However their use of space is not arbitrary, on the contrary it corresponds to a social order established by the patriarchy where the relation of women to the world is embodied in the intentional and socially restricted space and movements of their bodies. The theoretical perspectives of this study are based on Montserrat Roig’s feminist urban space theories. Her theory advocates the right to individuality, denouncing the patriarchal and hierarchical social system present in gendered space from the outside male world to the domestic feminized space. I also turn to the writings of Maria Aurèlia Capmany, who addresses cultural aspects of women’s roles revealing a purposive controlled patriarchal society according to a historical-geographical analysis. This study of texts permits a new reading of the Catalan capital and demonstrates that Catalan women writers have consciously willed to give birth to a new history of the city: the history of women as protagonist citizens, producers, reproducers, and consumers of the space represented by the Catalan capital

Please read the abstract in the section 00front of this document / Thesis (PhD (Old Testament))--University of Pretoria, 1999. / Old Testament Studies / unrestricted

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Many art historians have debated the identity of the couple in Rembrandt's the Jewish Bride (1667). The painting is most often identified as an Old Testament theme. This is due to the seventeenth-century Dutch practice of using biblical "types" as ideal models for the structuring of the new republic founded on the Israelite ideology of nation building. Three of these biblical female types that have been separately associated with the female figure in the Jewish Bride are, Rebecca, Ruth, and Esther. As these biblical women represented different notions of power through their respective narratives, this thesis argues that Rembrandt deliberately left the identity of the female figure ambiguous so that all three types could be referenced by viewers. Consequently, these powerful female prototypes provided significant role models for the women of the Dutch Republic as they strived to carve out similarly strong positions for themselves in this new society.

My dissertation analyzes the portrayal of women in Jewish novels of the Greco-Roman period (300 BCE-100CE): Greek Esther, Judith, Susanna, and Aseneth. During the Greco-Roman period, the female heroine frequently became the focus in Jewish novels. This innovation coincides with a concern over maintaining Jewishness. Several areas surrounding the maintenance of social identity appear in the Jewish novels, including dietary restrictions and the preservation of the family. Although a great deal of literature exists regarding the above texts, there are currently no systematic examinations of the portrayal of women’s Jewishness in regards to the Jewish novels. My dissertation examines the portrayal of women in the Jewish novels through a literary critical approach and questions how their representation can inform scholarship on how authors depicted Jewishness during this period. This dissertation treats the Jewish novels collectively and contributes to the scholarly discussion with a systematic examination of depictions of Jewish women in these texts. Following a brief introduction in Chapter 1, where I provide an overview and assessment of earlier treatments on the Jewish novels and the topics of women and Jewishness, Chapters 2 through 5 examine the portrayal of women in the Jewish novels. These chapters are organized around four distinct aspects of Jewishness which center on the representation of the female protagonists and their relationships in the narratives: 1) the representation of women’s sexuality, 2) the preservation of foodways, 3) kinship ties, and 4) the role of the protagonist in their Jewish community. In Chapter 6, I use a comparative approach to examine the depiction of women’s Jewishness in the novels, which demonstrates women’s active roles in maintaining and defining Jewishness. Chapter 7 concludes the dissertation with a summary and recommendations for future work. / Dissertation / Doctor of Philosophy (PhD) / This dissertation analyzes the portrayal of women in Jewish novels of the Greco-Roman period (300 BCE-100CE): Greek Esther, Judith, Susanna, and Aseneth. I question how women’s representation in the Jewish novels can inform scholarship on how authors depicted Jewishness during this period. The analysis of women is organized around four categories of Jewishness centered on the representation of the female protagonists and their relationships in the narratives: 1) the representation of women’s sexuality, 2) the preservation of foodways, 3) kinship ties, and 4) the role of the protagonist in their broader Jewish community. This dissertation contributes to the scholarly discussion by providing a systematic examination of depictions of Jewish women found in these texts and demonstrates that the authors of the Jewish novels depict women playing active roles in maintaining and defining Jewishness.

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À partir d’une interrogation initiale sur l’Esther de Racine, cette étude repart de la Bible, analyse les sources puis suit le parcours du Livre d’Esther, son devenir religieux, littéraire et artistique au cours des siècles et à travers l’Europe. Cette démarche génétique a permis de dresser un immense tableau des créations les plus diverses. Il s’avère que cette composition biblique doit être comptée parmi les textes fondateurs ayant contribué à créer une culture commune. Rédigée quatre siècles avant notre ère, elle ne s’est pas limitée à alimenter la liturgie. Rapidement, la figure d’Esther a été vue comme un archétype de la Fidèle : on en a fait l’apologie en l’associant par analogie à Marie la médiatrice, et en reconnaissant en cette reine un exemplum édificateur. Plus largement, Esther et Assuérus représentent le modèle parfait d’un couple de souverains. Le Livre d’Esther a inspiré jusqu’à nos jours de multiples artistes et d’écrivains. Parmi l’énorme corpus de réécritures, c’est l’art dramatique qui a été privilégié, proposant des tragédies mais aussi des parodies : si Mardochée y reste digne d’éloges, Aman devient objet de blâme ou de risée. Parce qu’il abolit les frontières géographiques, historiques, politiques et sociales, ce texte appartient à la source d’une grande partie du patrimoine de l’Europe / Starting with a study of Racine's Esther, this thesis analyses the biblical story and its sources and follows its literary, artistic and religious becoming through the centuries and across Europe. This "genetic" approach results in a tableau portraying a wide variety of artistic creations. The biblical story appears to have been counted among a number of founding texts which contributed to a common (European) culture. Composed four centuries before our era, its uses and applications go beyond the religious and the liturgical. The figure of Esther quickly came to be seen as an archetype of the faithful: she is associated by analogy with Mary the mediator and recognised as an exemplary queen. More broadly, Esther and Ahasuerus represent the perfect model of the royal couple. Through the ages, the Book of Esther has inspired many artists and writers. Amidst the huge corpus of re-writings, theatrical adaptations hold a prominent place, made up of both tragedies and parodies. If Mordecai remains worthy of praise, Haman is generally portrayed as an object of rebuke or ridicule. Because it abolishes geographical, historical, political and social borders, this text is at the source of an important part of European heritage.

Five "critical" utopias by Quebec women writers ( L'Euguelionne and Le pique-nique sur l'Acropole by Louky Bersianik; Le silence de la Cite and Chroniques du Pays des Meres by Elisabeth Vonarburg and L'Espace du diamant by Esther Rochon) make up the corpus of this thesis which aims to explore how the three novelists exploit the possibilities of this particular form of contemporary utopian writing. For these authors, the transformation of society depends upon the transformation of the individual. We therefore propose to examine the ways in which Bersianik, Vonarburg and Rochon represent, through the experiences of their characters, the social construction of individual identity. For our corpus, this entails a study both of the representations of gender and of the role of language in the construction of identity. We explore gender from a feminist perspective by examining the initial dystopian situation of the individual living in society; we then analyze the positive (i.e. eutopian) process of change undergone by the individual. / This thesis begins by exploring a definition of literary utopia. We then trace the major periods in the history of literary utopia to provide background for our corpus. In chapter two, we examine the ways in which Bersianik, Vonarburg and Rochon denounce, through their fictional representations of the individual, dystopian configurations of gender. In particular, we study various "structural" metaphors used by the authors to interrogate the social role of women and the status of the female body in patriarchal society. In chapter three, we examine the new configurations of social and sexual identity proposed by the authors. We then study the author's treatment of the role of language in the social construction of individual identity in chapter four. After defining "sociolect" and introducing "sexualect", we apply these concepts to the study of the critique of sexist language and discourses of authority in our corpus. In chapter five, we explore how the authors employ discursive strategies, such as parody and "defamiliarization", to alter language and thus inscribe female subjectivity in language (Bersianik and Vonarburg) and to liberate individuals from the imprisonment of authoritarian discourses (Bersianik, Vonarburg and Rochon). Lastly, we find that after having examined the human condition in dystopian societies, our authors propose social projects that are infinitely dynamic and mutable rather than fixed models of an ideal social state.