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In 1890, famed Scottish novelist Robert Louis Stevenson settled with his family at an estate called Vailima, outside Apia, Samoa, following two years of cruising around the Pacific. While in Oceania, the family assembled a large collection of tapa, or barkcloth, from various islands, the majority of which were received as gifts from Indigenous associates, staff, and dignitaries. These textiles are evidence of, witnesses to, and participants in a remarkably global and interwoven history of Victorian-era colonial exchange. My dissertation utilizes this suite of objects to reposition Stevenson’s legacy in the region as well as to challenge existing methodological norms in the history of collecting, expanding the possibilities of how we determine provenance in the colonial Pacific. Drawing on the framework of collaborative collecting, or co-collecting, established by Sean Mallon, I expand the attribution of this collection to multiple actors, recognizing many proactive Pacific Islanders who strategically gave the family gifts of barkcloth, including chief Mata’afa Iosefo. I also argue that Stevenson’s wife Fanny should be viewed as a passionate collector of barkcloth and I situate her activities in a broader conversation about gender and the controls frequently imposed on female collectors. I turn in closing to contemporary Samoan writers and thinkers, centering their explorations of Stevenson’s legacy in Samoa. The tapas I center are revelatory objects, and studying their exchange illuminates their givers and receivers, as well as the social and cultural networks in which they circulated.

This paper aims to examine the heteronormativity that is present in John Galsworthy’s The Forsyte Saga. This is achieved by performing a queer reading of the text with the help of Swedish Queer theorists Fanny Ambjörnsson and Tiina Rosenberg. I study the norm and how it is enforced by law, society and family. To get a complete image of the heteronormativity I also need to analyze the gender presented in the saga. For that task I use Judith Butler’s definitions of gender identity and the heterosexual matrix. I conclude that there is only a slight gender variation in the saga, mostly concerning the woman. Meanwhile the norms are broken repeatedly by different people and for different reasons. Generally all the non-normative behavior that is out of the public eye gets included and silenced by the family who acts as the norm. / Den här uppsatsen behandlar genus och heteronormativitet i romansviten Forsytesagan, hur dessa tar sig uttryck och vilken inverkan de har på romanfigurerna. Detta görs genom en queerläsning fokuserad på vad som sägs och än mer inte sägs i sagan. Det som analyseras är relationerna mellan människor, kraven som ställs på dem och deras begär till makt över egendom och över varandra. Vidare diskuteras hur heteronormen förändras under romanens gång, hur romanfigurerna bär sig åt för att hålla sig inom normen och vad som händer med dem som bryter mot normen. Slutsatsen blir att sagan behandlar förvånansvärt många frågor som än idag är aktuella, vissa av dem inlindade för att kunna tas upp i en sekelskiftsroman. Dessutom visas hur både genus och heteronorm förändrats under romanens gång, både i samhället i stort och inom familjen. Inte minst ges exempel på hur familjen agerar som norm och inkluderar alla avvikelser så länge som dessa sköts privat.

This thesis analyses the depiction and its function of politically active women in novels by six female authors from the margins of the democratic revolution of 1848 and the first German women’s movement. The thesis asks (i) what their political stance was in relation to democratic developments and women’s rights, (ii) how they rendered their political convictions into literary form, (iii) which literary images they used, criticised, or invented in order to depict politically active women in their novels in a positive light, and (iv) which narrative strategies they employed to ‘smuggle’ politically and socially radical ideas into what were sometimes only ostensibly conventional plots. The thesis combines intertextual analysis with poetic analyses of individual texts in order to highlight deviant elements in narrative strategy, imagery, or text-internal appraisals by the narrator or author. In order to contextualise the chosen texts as well as my analyses, it draws on the historical environment (social and legal developments, revolutions, technological progress) for the definition of what can be considered radical and political in the period 1845-1919. Additionally, the thesis is firmly grounded in feminist theory, which provides the instruments for highlighting the concepts and circumstances in which the six authors’ works are situated. The essays and novels analysed were written before feminist theory was established; however, their proto-feminist observations, demands, and discursive tactics contributed much to the formation and institutionalisation of feminist thought and, ultimately, theory. In their efforts to construct a positive role model for the political woman, the six authors chosen are united in their notion that such a role model should evolve from bourgeois values of family and work ethics, but the examples manifested in their novels show a great variety of degrees of radicalism.

Esta investigación contrasta la estrategia de campaña que se elaboró en torno a la imagen de Verónika Mendoza, candidata del Frente Amplio a las elecciones presidenciales peruanas del 2016, con los contenidos periodísticos que elaboraron en torno a ella dos de los principales diarios peruanos, El Comercio y La República, con el objetivo de determinar hasta qué punto se logró plasmar esta estrategia en ambos diarios. Este estudio tiene un carácter empírico descriptivo y utiliza las entrevistas a profundidad a los jefes del equipo de campaña del Frente Amplio para establecer los atributos que quisieron resaltar de Mendoza; así como el análisis de contenido a la luz de la teoría del encuadre o framing en los medios seleccionados. El análisis muestra que se logró posicionar estas cualidades de forma parcial en el diario La República y contribuyó a atenuar la posición contraria de El Comercio a Mendoza, a través de una mayor presencia de notas de carácter positivo que balanceó el contenido adverso hacía la candidata / Tesis

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New, old novels, contemporary fictions that parody the forms, conventions, and devices of eighteenth- and nineteenth-century novels, form a significant and increasingly popular subclass of postmodernist fiction. Paradoxically combining realistic and metafictional conventions, these works establish an ironic dialogue with the past, employing yet simultaneously subverting traditional fictional techniques. / In this dissertation, I subject five new, old novels--John Barth's The Sot-Weed Factor and LETTERS, Erica Jong's Fanny, T. Coraghessan Boyle's Water Music, and John Fowles's The French Lieutenant's Woman--to a detailed analysis, which compares the parodic role of archaic devices in each contemporary novel to the serious use made of such devices in the past. I argue that new, old novels, by juxtaposing old and new world views, foreground the ontological concerns of fiction and suggest that literary representation is constitutive rather than imitative of reality. Their examination of the relationship between fiction and reality places them at the centre of contemporary concern.

Univ., Diss.--Mannheim, 2002. / Literaturverz. S. 295 - 304.

Romantic heroes are questers, according to Harold Bloom and Northrop Frye. Whether employing physical strength or relying on the power of the mind, the traditional Romantic hero invokes questing for some sense of self. Chapter 1 considers this hero-type, but is concerned with defining a non-questing British Romantic hero. The Romantic hero's identity is problematic and established through contrasting narrative versions of the hero. This paper's argument lies in the "inconclusiveness" of the Romantic experience perceived in writings throughout the Romantic period. Romantic inconclusiveness can be found not only in the structure and syntax of the works but in the person with whom the reader is meant to identify or sympathize, the hero(ine). Chapter 2 explores Byron's aesthetics of literature equivocation in The Giaour. This tale is a consciously imbricated text, and Byron's letters show a purposeful complication of the poet's authority concerning the origins of this Turkish Tale. The traditional "Byronic hero," a gloomy, guilt-ridden protagonist, is considered in Chapter 3. Byron's contemporary readers and reviewers were quick to pick up on this aspect of his verse tales, finding in the Giaour, Selim, Conrad, and Lara characteristics of Childe Harold. Yet, Byron's Turkish Tales also reveal a very different and more sentimental hero. Byron seems to play off the reader's expectations of the "Byronic hero" with an ambiguous hero whose character reflects the Romantic aesthetic of indeterminacy. Through the accretive structure of The Giaour, Byron creates a hero of competing component characteristics, a focus he also gives to his heroines. Chapters 4 and 5 address works that are traditionally considered eighteenth-century sentimental novels. Mathilda and Evelina, both epistolary works, present their heroines as worldly innocents who are beset by aggressive males. Yet their subtext suggests that these girls aggressively maneuver the men in their lives. Mathilda and Evelina create a tension between the expected and the radical to energize the reader's imagination.

Der Beitrag untersucht an Hand von Fanny Hensels Lied Ich kann wohl manchmal singen die Konstruktionsprinzipien eines intertextuelles musikalischen Idioms. Dabei spielen nicht nur Vorbildkompositionen, hier Ludwig van Beethovens Klaviersonate Op. 14/2 eine wesentliche Rolle, sondern auch der kulturelle Hintergrund der Textvorlage sowie die Rezeptionsgeschichte der musikalischen Vorlage. Da sowohl Joseph von Eichendorffs Roman Ahnung und Gegenwart als auch die einschlägige Rezeption von Beethovens Klaviersonate op. 14/2 durch Adolf Bernhard Marx eine starke gendertheoretische Konnotation haben, spielt dieser Metaphernhof in die Analyse des Liedes hinein mit der Hypothese, dass Fanny Hensel vor dem Hintergrund und mit den Mitteln einer gerade in der Salonkultur gepflegten interdisziplinären Konversation einen künstlerischen Beitrag zum Gender-Diskurs der Biedermeierzeit geleistet hat. / The article examines the construction principles of an intertextual musical idiom on the basis of Fanny Hensel’s song Ich kann wohl manchmal singen. Not only do model compositions play an important role, in this case Ludwig van Beethoven’s Piano Sonata Op. 14/2, but also the cultural background of the text as well as the reception history of the musical model. Since both Joseph von Eichendorff’s novel Ahnung und Gegenwart and the relevant reception of Beethoven’s Piano Sonata op. 14/2 by Adolf Bernhard Marx have a strong gender-theoretical connotation, this metaphorical court of metaphors plays into the analysis of the song with the hypothesis that Fanny Hensel made an artistic contribution to the gender discourse of the Biedermeier period against the background and with the means of an interdisciplinary conversation cultivated especially in salon culture.