Shelby Hearon's four novels--Armadillo in the Grass, The Second Dune, Hannah's House, and Now and Another Time--are unified by the common elements of the vital female character and her quest for selfawareness, self-integration, and fulfillment. This study examines the four novels chronologically in order to understand the development of this character and the themes which are common to all four. The concluding chapter offers an assessment of Hearon as a novelist whose work is both universally lasting and relevant.

Ce mémoire porte sur les quatre premières tragédies lyriques de Quinault et Lully, soit Cadmus et Hermione (1673), Alceste (1674), Thésée (1675) et Atys (1676), et étudie la représentation des personnages féminins dans leur rapport à la violence. Se fondant sur des considérations sociohistoriques et dramaturgiques, il cherche à déterminer si, par leur liberté formelle, les premiers opéras français ont pu promouvoir une image plus libre et plus forte de la féminité que celle véhiculée par la doxa. Le premier chapitre aborde la question de la violence dans la société française du XVIIe siècle et du rapport des femmes à la violence, tant subie qu’engendrée. Il s’attarde ensuite aux particularités de la violence dans la tragédie lyrique, convoquant les notions de pathos et de catharsis, d’effet tragique et de représentation scénique. Recourant à une méthodologie basée sur les études littéraires et dramaturgiques et complétée par de brèves analyses musicales, le second chapitre analyse le rapport à la violence chez les personnages féminins du corpus : d’abord les mortelles, puis les surnaturelles, avant de comparer leur représentation dichotomique à celle plus diversifiée des personnages masculins. / This master's thesis will focus on the first four lyric tragedies that were written by Quinault and Lully, that is Cadmus et Hermione (1673), Alceste (1674), Thésée (1675), and Atys (1676), and examine the representation of female characters in their relation with violence. Based on socio-historical and dramaturgical considerations, it seeks to determine whether, through their formal freedom, the first French operas were able to promote a freer and stronger image of womanhood than the one conveyed by the doxa. The first chapter addresses the issue of violence in the French society of the 17th century and discusses women's relation with violence, suffered, as well as caused. It then details the peculiarities of violence in lyric tragedy by summoning the notions of pathos and catharsis, tragical effect and theatrical representation. Using a methodology based on literary and dramaturgical studies, complemented by short musical analysis, the second chapter analyzes the corpus' female characters' relation to violence – first, the deadly, followed by the supernatural, before comparing their dichotomous representation to the more diversified one of the male characters.

The following text deals with the problem of the representation of female characters in Arthur Schnitzlerʼs work. The initial point of the interpretation is the basic division of the literary types of the turn of the century into femme fatale, femme fragile and femme enfant. Based on the analysis of seven selected works (Märchen, Liebelei, Reigen, Frau Berta Garlan, Fräulein Else, Traumnovelle, Therese. Chronik eines Frauenlebens) it discusses their position in the narrative structure. In the end, it comments the question of the typification of these figures and Schnitzlerʼs tendency to relate them to concrete groups.

This diploma thesis focuses on the personality, life and work of German author Helga Königsdorf and the analysis of selected prosaic works. The aim of the first part is to provide a well-arranged and comprehensive set of biographical information about this author with an emphasis on her literary career, work and socio-political context. The second part is devoted to the study of selected prosaic texts with an emphasis on providing the detailed analysis of female characters. The aim of this part is to provide an overview of topics and standpoints related to the status of women in the society at that time. The analysed female characters deal with topics such as women's position in science at that time or problems in partner, family or professional relationships related to women's emancipation. The conclusion of the thesis offers a brief summary and comparison of differences and similarities considering the personalities, opinions and priorities of these female characters. KEY WORDS German literature, GDR literature, Helga Königsdorf, literary analysis, female characters' analysis

Esta tese analisa as personagens femininas da autora portuguesa Júlia Nery, presentes tanto nas narrativas ficcionais, quanto nos romances históricos, discutindo algumas questões pertinentes aos estudos de gênero, à crítica literária feminista e ao novo romance histórico. Desta forma, verifica em que medida se faz a reconstrução ficcional e, consequentemente, a representação destas personagens, tendo em vista os modelos femininos histórico e socialmente criados. Ao trabalhar com a hipótese de que a autora faz uma (re)leitura sobretudo transgressora e crítica da tradição e da História, construindo personagens que ficcionalmente rompem com os paradigmas que secularmente foram impostos ao gênero feminino, ao fim, procura evidenciar e sugerir à crítica literária mais atual, que a produção literária de Júlia Nery caracteriza-se como uma importante contribuição a uma vertente da Literatura Portuguesa, formada pelas vozes e pelos olhares das mulheres escritoras, que conjuntamente vem formando em Portugal uma nova tradição: a literatura de autoria feminina, de veio notadamente feminista. / This thesis analyzes the female characters by Júlia Nery, a Portuguese author. They are extant as in fictional narrative as in historical romance, where we argue about some issues belonging to gender studies, to female literary criticism and to new historical romance. Thus, we verify in what way are done the fictional reconstruction and, consequently, the representation of these characters, by aiming the female historical and social originated models. Our hypothesis is that the author does, markedly, a trespassed and critical (re)reading of the tradition and History. This reading is done with characters that break paradigms, which were imposed to the female gender, secularly. Also, this thesis seeks to evidence and to suggest to the recent literary criticism that, the literary production, by Júlia Nery, is marked with an important contribution to one slope of the Portuguese Literature, whose slope is formed by the voices and glances of female writers. Altogether, they are forming a new tradition in Portugal: the female authorship literature whose spindle is, notedly, feminist.

Esta tese analisa as personagens femininas da autora portuguesa Júlia Nery, presentes tanto nas narrativas ficcionais, quanto nos romances históricos, discutindo algumas questões pertinentes aos estudos de gênero, à crítica literária feminista e ao novo romance histórico. Desta forma, verifica em que medida se faz a reconstrução ficcional e, consequentemente, a representação destas personagens, tendo em vista os modelos femininos histórico e socialmente criados. Ao trabalhar com a hipótese de que a autora faz uma (re)leitura sobretudo transgressora e crítica da tradição e da História, construindo personagens que ficcionalmente rompem com os paradigmas que secularmente foram impostos ao gênero feminino, ao fim, procura evidenciar e sugerir à crítica literária mais atual, que a produção literária de Júlia Nery caracteriza-se como uma importante contribuição a uma vertente da Literatura Portuguesa, formada pelas vozes e pelos olhares das mulheres escritoras, que conjuntamente vem formando em Portugal uma nova tradição: a literatura de autoria feminina, de veio notadamente feminista. / This thesis analyzes the female characters by Júlia Nery, a Portuguese author. They are extant as in fictional narrative as in historical romance, where we argue about some issues belonging to gender studies, to female literary criticism and to new historical romance. Thus, we verify in what way are done the fictional reconstruction and, consequently, the representation of these characters, by aiming the female historical and social originated models. Our hypothesis is that the author does, markedly, a trespassed and critical (re)reading of the tradition and History. This reading is done with characters that break paradigms, which were imposed to the female gender, secularly. Also, this thesis seeks to evidence and to suggest to the recent literary criticism that, the literary production, by Júlia Nery, is marked with an important contribution to one slope of the Portuguese Literature, whose slope is formed by the voices and glances of female writers. Altogether, they are forming a new tradition in Portugal: the female authorship literature whose spindle is, notedly, feminist.

Made available in DSpace on 2016-03-15T19:47:47Z (GMT). No. of bitstreams: 1 Maria de Lourdes da Conceicao Cunha.pdf: 735563 bytes, checksum: 6e71a70af6fb91845a864343e6e90b2d (MD5) Previous issue date: 2010-02-25 / The romantic novel, characterized by plots full of love affairs ended up in great passions which culminated in happy endings or the maintenance of lover´s faithfulness through death, was in the 19th century one of the main forms of fun disseminated by feuilletons . It´s of that romantic fiction that this research is constituted based on the study of the novels O que fazem mulheres and A mulher fatal by Camilo Castelo Branco. Through female characters in love, involved by men who had dominated them, the romantic author determined punishments, sadness, betrayals and abandonment resulting from the female figure´s dependency, obedience or lack of autonomy. Thus, the main aim of this work is show the different formations of the female characters and their fates, controlled by the behaviorist rule which was attributed to them, assessing the results of passivity or the reaction before destiny which was determined by male hands. / O romance romântico, caracterizado por enredos repletos de aventuras amorosas convertidas em grandes paixões que culminavam em finais felizes ou manutenção da fidelidade dos amantes por meio da morte, foi, no século XIX, uma das principais formas de diversão difundidos por meio dos folhetins. É dessa ficção romântica que se constitui esta pesquisa pautada no estudo dos romances O que fazem mulheres e A mulher fatal de Camilo Castelo Branco. Por meio de personagens femininas apaixonadas e envolvidas pelos homens que as dominavam, o autor romântico imputou castigos, tristezas, traições e abandonos, resultantes da situação de dependência, servilismo ou falta de autonomia da figura feminina. Desse modo, o objetivo principal deste trabalho é pontuar as diferentes construções das personagens femininas e de seus destinos, comandados pela norma comportamental que a elas era determinada, avaliando os resultados da passividade ou da reação frente ao destino que lhe era determinado pelas mãos masculinas.

This diploma thesis focuses on the personality, life and work of German author Helga Königsdorf and the analysis of selected prosaic works. The aim of the first part is to provide a well-arranged and comprehensive set of biographical information about this author with an emphasis on her literary career, work and socio-political context. The second part is devoted to the study of selected prosaic texts with an emphasis on providing the detailed analysis of female characters. The aim of this part is to provide an overview of topics and standpoints related to the status of women in the society at that time. The analysed female characters deal with topics such as women's position in science at that time or problems in partner, family or professional relationships related to women's emancipation. The conclusion of the thesis offers a brief summary and comparison of differences and similarities considering the personalities, opinions and priorities of these female characters. KEY WORDS German literature, GDR literature, Helga Königsdorf, literary analysis, female characters' analysis

Female characters in novels by Virginia Woolf and E.M. Forster are studied in their relationships as wives, mothers, daughters and prospective brides. The novels selected are those where the writers are concerned with families dominated by Victorian ideals. Virginia Woolf: The Voyage Out (1915), Night and Bay (1919), Mrs Dalloway (1925), To the Lighthouse (1927). E.M. Forster: Where Angels Fear to Tread (1905), The Longest Journey (1907) , A Room with a View (1908), Howards End (1910).The socioeconomic, religious and ideological origins of the Victorian ideals are traced, esp. as they are related to the writers' family background in the tradition of English intellectual life. The central theme of the four novels by Woolf is the mother-daughter relationship which is analyzed in its components of love and resentment, often revealed in an interior monoloque. Forster's novels usually present a widowed mother with a daughter and a son. It is shown how the plot, dialogue and authorial intrusions are used to depict a liberation from the constraints of the Victorian ideals of family life. The mothers in the novels of both writers are shown to be representative of various aspects of the Victorian ideal of womanhood. The attitudes of men towards women vary from those typifying Victorian conceptions of male superiority to more modern ideals of equality and natural companionship. / digitalisering@umu

Det finns inte mycket forskning kring hur genus förmedlas genom barnprogram. De få studiersom finns visar på att manliga karaktärer oftare förekommer än kvinnliga, och att de manligakaraktärerna oftast har större och viktigare roller. Syftet med studien är att undersöka hur kvinnliga karaktärer framställs i barnprogrammen från deolika tidsperioderna. Analysen ska utreda på vilket sätt de kvinnliga karaktärerna framställs och omdet har förändrats över tid. Analysen ska även påvisa om karaktärerna kan benämnas somstereotypa eller inte samt om de följer de traditionella könsrollerna. Uppsatsen bygger på en semiotisk innehållsanalys med både denotativ och konnotativ ansats.Semiotiken är både insamlings- och analysmetod. Genom urvalsmetoden som delvis varslumpmässig bestämdes vilka sex barnprogram från tre olika årtionden som skulle utgöra detempiriska materialet. Vår analys vittnar om att det finns både likheter och skillnader mellan kvinnliga karaktärer frånolika barnprogram och årtionden. Det finns däremot inget direkt mönster för dessa likheter ochskillnader. Vår analys visar också att de kvinnliga karaktärerna inte är särskilt stereotypa i sittuppträdande. Det går inte att se någon generell förändring över tid vad gäller karaktärernasbeteende, analysen visar inte att de gått från att bete sig på ett vis till ett annat. / There is little research on how gender is mediated through children’s programs. The few studies that exist indicate the male characters more often appears than female, and the male characters usually have larger and more important roles. The purpose of this study is to examine how female characters are portrayed in the children’s programs from the different time periods. The analysis will show how the female characters are portrayed and if it has changed over time. The analysis will also show whether the characters can be referred to as stereotypical or not, and if they follow the typical gender roles. The essay is based on a semiotic content analysis with both denotative and connotative approach. Semiotics is both collection and analysis method. Through the sampling method which was partially random, the six children’s programs from three different decades were established to constitute the empirical material. Our analysis shows that there are both similarities and differences between the female characters from carious children’s programs and decades. However, there is no direct pattern for these similarities and differences. Our analysis also shows that the female characters’ appearance is not very stereotypical. It is not possible to see any overall change over time in terms of the characters’ behavior; the analysis does not demonstrate that they have gone from behaving in one manner to another.