O presente trabalho propôs-se a investigar a escritura literária de autoria feminina nas obras Ventos do Apocalipse (2006), de Paulina Chiziane, e Ponciá Vicêncio, de Conceição Evaristo, no sentido de estabelecer um diálogo com o espaço da experiência perceptiva e cultural geradora de imagens libertárias da consciência feminina nos contextos moçambicano e brasileiro. A opção por pesquisar obras produzidas em espaços sociais e políticos distintos reflete a preocupação em demonstrar que as mulheres continuam buscando formas de se fazerem ouvir, no campo do literário, criando discursos e estratégias enraizadas nas experiências femininas em Moçambique e no Brasil. O fato de este estudo ter buscado suporte interdisciplinar, na linha dos estudos culturais, sobretudo a reflexões históricas, sociológicas e até psicanalíticas, deriva de considerarmos a escrita literária de autoria feminina como um nicho relevante, a partir do qual as mulheres reinventam a sua identidade plural e atuam como agentes de conscientização e de transformação das relações sociais de gênero nos contextos em que suas obras se inserem. / This paper intends to investigate the literary writings by female authors in the works Ventos do Apocalipse (2006), by Paulina Chiziane, and Ponciá Vicêncio, by Conceição Evaristo, in order to establish a dialogue with the cultural and perceptive experience space where libertarian images of the feminine conscience in the Mozambican and Brazilian contexts are generated. The option to study works that were produced in diverse social and politic environments reflects the preoccupation to demonstrate that women are still searching ways to be heard in the literary field, by developing speeches and strategies whose roots lie in the feminine experiences lived in Mozambique and Brazil. In this paper we have searched a multidisciplinary basis, by means of cultural studies, mainly historical, sociological and even psychoanalytic reflections; and we have chosen this approach because we consider the feminine literary writing a relevant niche in which women reinvent their plural identity and perform the role of agents that arise awareness and lead to changes in the gender social relations of the contexts in which their works are embedded.

This thesis researches the construction of gender ideals for the new Middle Class and women’s involvement in the same by analysing fashion magazines published in Germany and Sweden between 1786 to 1827 and 1818 to 1844, respectively. The analysis consists of two parts: first, the share of women’s involvement in the public sphere as defined by Habermas as well as the justification of the inclusion of female-written texts and second, the nature of gender ideals in relation to the separate spheres’ framework. They show that the highest percentage of female contributions to fashion magazines was 5.3 % for the Swedish magazine from 1840 to 1844, while the lowest percentage of female contributions was 2.1 % for the German magazine from 1820 to 1827. Furthermore, the inclusion of texts written by women was often justified through their domestic virtue or the statement that they never wanted their texts to be published. The publication was thus against their will, which firmly anchors the female authors in the private sphere. In the second part, this study shows that women authors in the fashion magazines mainly advocated for the separation of the public and private but, in comparison to gender ideals shared by male authors, did not advocate for the submission of women. Regarding the stereotypes of emotionality and rationality, I find that women were mostly portrayed as emotional by men but would contest these negative portrayals of their sex. At the same time, men were portrayed as emotional and rational by both female and male authors, which is surprising considering the prominent male ideal of rationality.

In the aftermath of King Philip's War, Puritan Mary Rowlandson recorded her experiences as an Indian captive. In a vivid story that recollects the details of these events, Rowlandson attempts to impart a message to her community through the use of a variety of literary techniques. The genre of the Indian captivity narrative is a literary construct that she develops out of the following literary forms that existed at the time of her writing. These are the spiritual autobiography, a documentary method meant to archive spiritual and emotional growth through a record of daily activities; the conversion narrative, which made public one's theological assurance of God's grace; and the jeremiad, a sermon form designed to remind Puritans of their Covenant with God. To her contemporaries, Rowlandson served as an example of God's Providence. To later generations and specifically twenty-first century scholars, she represents America's first female literary prose voice.

No description available.

Submitted by Bruna Rodrigues (bruna92rodrigues@yahoo.com.br) on 2016-10-10T14:09:31Z No. of bitstreams: 1 DissVLF.pdf: 1248055 bytes, checksum: d5587500d238b97d17b0f49818eb466d (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-21T13:35:25Z (GMT) No. of bitstreams: 1 DissVLF.pdf: 1248055 bytes, checksum: d5587500d238b97d17b0f49818eb466d (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-21T13:35:34Z (GMT) No. of bitstreams: 1 DissVLF.pdf: 1248055 bytes, checksum: d5587500d238b97d17b0f49818eb466d (MD5) / Made available in DSpace on 2016-10-21T13:35:44Z (GMT). No. of bitstreams: 1 DissVLF.pdf: 1248055 bytes, checksum: d5587500d238b97d17b0f49818eb466d (MD5) Previous issue date: 2016-02-17 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Published in 1979, the work Florbela Espanca: vida e obra, by Agustina Bessa-Luís, shows itself as a complex characterization text to fitness in a unique literary genre, due to compose, in a first aspect, a narration of life. However, it is clear that it is not just from a pure character and simply biographical, suggesting a fluid possibility between referentiality and fictional categories. For this, the presented concerns revolve around the question how Agustina’s work feed in a hybrid communion of different textual categories. Our interests are, also, observe how this kind of genre complexity is an occurrence in author conception, mainly in the Portuguese scene after the Revolução dos Cravos placing it thus in line with female authors, allowing a contemporary work analysis, in addition to their compliance with certain neobarroco procedures that approaches the textual structure to a kaleidoscope image and its effects in the whole composition. / Publicada em 1979, a obra Florbela Espanca, de Agustina Bessa-Luís, apresenta-se, a partir dos seus primeiros indícios, como um texto de caracterização complexa quanto à adequação a um gênero literário único, em virtude de constituir, numa primeira perspectiva, um relato de vida. No entanto, é nítido que o mesmo não se realiza apenas a partir de um caráter pura e simplesmente biográfico, sugerindo, portanto, uma possível fluidez entre as categorias de referencialidade e de ficcionalidade. Por este viés de leitura, o estudo apresentado gira em torno da interrogação se esta obra Agustiniana não alimentaria uma comunhão híbrida de diferentes categorias textuais. Interessa-nos observar, também, como esse tipo de complexidade genológica constitui uma ocorrência na concepção efabulatória da autora, principalmente no cenário português de autoria feminina pós-Revolução dos Cravos, permitindo, assim, uma análise contemporânea da obra, além de sua consonância com certos procedimentos estéticos neobarrocos que aproximam a estrutura textual à imagem do caleidoscópio e de seus reflexos na totalidade da composição.

The diploma thesis deals with the profile of fiction published in the magazine Lada on the turn of the nineteenth century into the twentieth. The chosen representative sample of six volumes stretching over the period of twenty years was thoroughly analyzed, focusing on the most important aspects of the individual prosaic contributions, which are the following: the theme, both the main and the supporting characters, the plots, the time and space dimension of the stories, the autor's style, the tuning of proses and their belonging to different artistic movements. Another perspective of interest to this project is the author's background, its changes over time and its influence on the overall orientation and appearance of the magazine, with the overall characteristics of it also included. The deeper, intellectual background reflected in the individual proses is also discussed. Given the fact that the publishing timeline extends over two different historical epochs, this final thesis strives to find answers to the question of to which extent the author's thinking was influenced by the historically social context, i.e. to what degree the authors adopt the modern, progressive ideas of the newly shaping society of the twentieth century, and conversely, to what extent both their opinions and thinking are...

The focus of this study is the two autobiographical novels Den högsta kasten (1997) and Djävulsformeln (2000) by Swedish author Carina Rydberg. Both novels generated lively public debate regarding how they ought to be read and understood, what genre they belonged to, and the ontological status of the narrating “I”. The aim is to investigate why the protagonist, Carina, is perceived as unintelligible by many readers and explore how she can be understood in relation to what constitutes an intelligible identity from a literary and cultural perspective. The novels, as well as their protagonist, are approached from the perspective of genre theory, the argument being that Carina’s unintelligibility is directly dependent on what genre she is read in relation to. In the first part of the thesis the ambiguities of autobiographical texts are discussed, and the narrative and protagonist are analyzed in relation to the autobiographical genre. In the second part of the thesis the consequences of reading the texts as examples of the Gothic with emphasis on monstrosity, the uncanny and sexual transgression are examined. The two readings demonstrate how interpretations of text and character are highly influenced by the reader's expectations connected to genre. Rydberg’s transgression of the norms of genre, gender, and identity leaves the reader with a contradictory set of genre-specific expectations, which in turn makes it difficult to understand and accept the protagonist. The main theme of both novels is Carina’s unsuccessful attempts to reconcile what she sees as two separate, essentially incompatible identities: woman and author. The final chapter includes a comparative study in which Rydberg’s novels are linked to works by other Swedish female writers, both past and contemporary, to demonstrate that the conflict of woman versus author is a common problem for female writers. The thesis closes with a discussion about the possibility of placing Rydberg in a specifically female literary tradition and demonstrate how a feminist analysis can make the unintelligible intelligible.

This dissertation explores the numerous literary representations of the femme de lettres during the first half of the nineteenth century in order to illustrate the complexities of women’s entrance into the male-dominated domain of literature and also to suggest the impact these fictional characters might have had on the reception of actual women writers as well as their omission from the century’s literary canon. The works that will be included in this analysis include: Mme de Staël’s Corinne, ou l’Italie, Stendhal’s Le Rouge et le noir, Honoré de Balzac’s Béatrix, La Muse du département and Illusions perdues, Delphine de Girardin’s La Canne de M. de Balzac, Napoline and La joie fait peur and George Sand’s Histoire de ma vie, Lettres d’un voyageur and Un Hiver à Majorque. In compiling such diverse works of literature, it becomes clear that both male and female authors from the early nineteenth century were unable to envision a publicly embraced female genius. Although almost all of the fictional femmes de lettres in this study faced a destiny of professional silence, the reasons given for their failures are split between the male and female authors. For the male authors, the woman as a successful intellectual, artist or author was ultimately impossible because of her inability to combine her female body and psyche with the “masculine” pursuit of knowledge. Conversely, the female authors wrote characters whose inability to fully embrace a public literary or artistic career stemmed from society’s unwillingness to tolerate her exceptionality rather than from an inherent disconnect between genius and the female sex. / text

Les années 30 représentent un moment fondamental dans le processus culturel et identitaire du Brésil, où la fonction sociale de la littérature, notamment du roman, et le rôle de l’écrivain en tant que ‘conscience vivante’ du pays sont reconnus et problématisés. Cependant, dans la majorité des histoires, des anthologies et des manuels littéraires, aucun nom de femme ne figure parmi les auteurs canoniques de la période, à l’exception de celui de Rachel de Queiroz. L’analyse des sources de l’époque montre que, au contraire, auteures comme Lúcia Benedetti, Jenny Pimentel de Borba, Làsinha Luís Carlos de Caldas Brito, Maria José Dupré, Ondina Ferreira, Emi Bulhões Carvalho Fonseca, Ignez Mariz, Carolina Nabuco, Lúcia Miguel Pereira, Dinah Silveira de Queiroz, Tetrá de Teffé et bien d’autres sont publiées, lues et appréciées par la critique et le public. A partir d’une étude du contexte historique et littéraire, ainsi que de la réception et des aspects éditoriaux, les mécanismes qui ont permis leur effacement de la mémoire sont démontés et expliquée leur non intégration à la tradition littéraire brésilienne. La lecture des romans de ces auteures permet d’approfondir le discours sur la participation des femmes au moment littéraire et social des années 30 et 40 par une analyse des représentations. Les personnages qui peuplent ces ouvrages, et notamment les personnages féminins, sont un objet idéal pour analyser les phénomènes identitaires qui caractérisent ce moment historique avec ses contradictions. / The 1930’s represent a fundamental period in the development of Brazil’s culture and identity, as a time during which the social function of literature, specifically the novel, and the role of the author as the “living conscience” of the country are found and problematicized. However, in the majority of stories, anthologies, and literary manuals, not one female author’s name is found among the canonic authors of the period, with the exception of Rachel de Queiroz. The analysis of sources from the era demonstrate that, on the contrary, female authors such as Lúcia Benedetti, Jenny Pimentel de Borba, Làsinha Luís Carlos de Caldas Brito, Maria José Dupré, Ondina Ferreira, Emi Bulhões Carvalho Fonseca, Ignez Mariz, Carolina Nabuco, Lúcia Miguel Pereira, Dinah Silveira de Queiroz, Tetrá de Teffé and many others were published, read, and appreciated by the critic and the public. Following the examination of the historical and literary context of these writings, as well as their reception and editorial aspects, the mechanisms which allowed for their deletion from memory are dismantled, explaining the lack of integration of these writings in the Brazilian literary tradition. Reading and analyzing the representations of these female authors’ novels allows for the expansion of the discourse on the participation of women in the literary and social era of the 1930’s and 1940’s. The characters, notably the female ones, which populate these works are an ideal subject for the analysis of phenomena of identity which characterize this historical time period, along with their contradictions. / Os anos 30 representam um momento fundamental no processo cultural e identitário do Brasil, onde a função social da literatura, especialmente do romance, e o papel do escritor como « consciência viva » do país são reconhecidos e problematizados. Contudo, na maioria das histórias, antologias e manuais literários, nenhum nome feminino figura entre os autores canônicos do período, com a exceção de Rachel de Queiroz. A análise das fontes da época mostra que, pelo contrário, autoras como Lúcia Benedetti, Jenny Pimentel de Borba, Làsinha Luís Carlos de Caldas Brito, Maria José Dupré, Ondina Ferreira, Emi Bulhões Carvalho da Fonseca, Ignez Mariz, Carolina Nabuco, Lucia Miguel Pereira, Dinah Silveira de Queiroz, Tetrá de Teffé e tantas outras foram publicadas, lidas e apreciadas pela crítica e pelo público. A partir de um estudo do contexto histórico e literário, bem como da recepção e dos aspectos editoriais, os mecanismos que permitiram o desaparecimento de tais autoras da memória são desmontados, explicando sua falta de integração à tradição literária brasileira. A leitura dos romances destas autoras permite o aprofundamento do discurso sobre a participação das mulheres no contexto literário e social dos anos 30 e 40 através de uma análise das representações. As personagens que povoam estas obras, especialmente as personagens femininas, são um objeto ideal para analisar os fenômenos identitários que caracterizam este momento histórico e suas contradições.

My thesis explores why beauty became so much more important in nineteenth-century Britain, especially for marriageable young women in the upper and middle class. My argument addresses the consequences of that change in the status of beauty for plain or ugly women, how this social shift is reflected in the novel, and how authors respond to the issue of plainer women and issues of their marriageability. I look at how these authorial attitudes shifted over the century, observing that the issue of plain women and their marriageability was dramatized by nineteenth-century authors, whose efforts to heighten the audience's awareness of the plight of plainer women can be traced by contrasting novels written early in the century with novels written mid-century. I argue that beauty gained more significance for young women in nineteenth-century England because the marriage ideal shifted, a shift which especially influenced the upper and middle class. The eighteenth century brought into marriage concepts such as Rousseau's "wife-farm principle" the idea that a man chooses a significantly younger child-bride, mentoring and molding her into the woman he needs. But by the end of the century the ideal of marriage moved to the companionate ideal, which opted for an equal partnership. That ideal was based on the conception that marriage was based on personal happiness hence should be founded on compatibility and love. The companionate ideal became more influential as individuality reigned among the Romantics. The new ideal of companionate marriage limited parents' influence on their children's choice of spouse to the extent that the choice lay now largely with young men. Yet that choice was constrained because young men and women were restricted by social conventions, their social interaction limited. Thus, according to my reading of nineteenth-century authors, the companionate ideal was a charade, as young men were not able to get to know women well enough to determine whether or not they were compatible. So instead of getting to know a young woman's character and her personality, they distinguished potential brides mainly on the basis of appearance.