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Ce mémoire traite de l’histoire et de la culture de Shanghai, ainsi que de l’amitié féminine et de l’amour et la sexualité. À l’analyse, le texte littéraire Le Chant des regrets éternels de Wang Anyi. Il se divise en deux chapitres : le premier chapitre déploie l’étude de l’histoire et la culture de Shanghai. « Paris de l’Orient » d’autrefois et centre économique actuel, Shanghai occupe une place spéciale et majeure dans l’histoire de la Chine. À ce titre, l’analyse de l’histoire et de la culture de Shanghai pourrait nous aider à connaître cette ville mythique et la Chine actuelle. Cela nous aidera aussi à revoir la culture de la Chine dans l’histoire du monde et la mondialisation et à réfléchir sur ce point. Le deuxième chapitre s’intéresse au thème de l’amitié féminine, l’amour et la sexualité dans Le Chant des regrets éternels, par l’analyse du récit selon les théories concernées. Comme Louise Bernikow l’a écrit : « L’absence d’intimité féminine en littérature est, en partie, le résultat de la perspective masculine. » (1980 : 5). Donc, de traiter de l’amitié féminine du point de vue de la littérature comparée et de la communication interculturelle est un sujet fort intéressant. Voici certains aspects qui seront abordés ici : l’amitié entre femmes comme forme de résistance au patriarcat; la solidarité et la rivalité féminine; l’élaboration de la subjectivité féminine; les grandeurs et les misères de l’amitié entre femmes; l’amour et la sexualité sous l’éveil de la notion féministe, etc. En conclusion, nous ferons un bilan avec une comparaison d’un point de vue chinois et occidental pour mettre en contraste les cultures québécoise et chinoise en matière de féminisme. / This master’s thesis deals with the history and culture of Shanghai, the female friendship, the love and the sexuality, with the analysis of the literary text: The Song of Eternal Sorrow of Wang Anyi. It is divided into two chapters: the first chapter unfolds the study of the history and culture of Shanghai. “Paris of the Orient” of the past and current economic center, Shanghai occupies a special and major position in the history of China. Thus, the analysis of the history and culture of Shanghai could help us know this mythical city and the current China. It will also help us review and reflect on China’s culture in world history and globalization. The second chapter will focus on the theme of female friendship, love and sexuality in The Song of Eternal Sorrow, by analyzing the story with relevant theories. As Louise Bernikow wrote: “The lack of female intimacy in literature is, in part, the result of the male perspective.” (1980: 5). So to discuss female friendship from the point of view of comparative literature and intercultural communication is a very interesting subject. Here are some aspects of which I will speak here: the friendship between women as a form of resistance to patriarchy; female solidarity and rivalry; the elaboration of feminine subjectivity; the greatness and miseries of friendship between women; love and sexuality under the awakening of the feminist notion, etc. In conclusion, we will review the analysis with a comparison of a Chinese and Western point of view to contrast Quebec and Chinese cultures in terms of feminism.

I denna uppsats undersöks vänskapsmotivet i romancegenren, med fokus på kvinnliga vänskaper. Romanerna Beach Read (2019), People We Meet On Vacation (2020) och Book Lovers (2021) av Emily Henry står som representanter för genren. Syftet är att studera hur kvinnlig vänskap porträtteras och huruvida den får ta plats jämte romansen. Mieke Bals Narratology: Introduction to the Theory of Narrative (2017) används för att göra narratologiska analyser av karaktärerna, med fokus på begreppen ”kvalifikation” och ”kvalifikation genom funktion”. Detta belyser inte bara karaktärernas egenskaper utan också deras roller och funktion i narrativet. Även Elizabeth Abels artikel ”(E)Merging Identities: The Dynamics of Female Friendship in Contemporary Fiction by Women” (1981) tas upp för att kategorisera olika typer av fiktiva väninnerelationer, där komplementaritet eller identifikation mellan kvinnokaraktärerna är faktorn som särskiljer dem. Slutsatsen i uppsatsen är att vänskaperna hamnar i narrativets periferi. Även om relationerna ser väldigt olika ut i verken, och väninnorna i varje verk på detaljnivå har olika roller, så sammanhålls de alla av att väninnan används för att främja romantiken. Genren böckerna arbetar inom påverkar dess möjlighet att skildra något annat än komplementära väninneskildringar. / This study examines the motif of friendship in the romance genre, focusing on female friendships. The novels Beach Read (2019), People We Meet On Vacation (2020) and Book Lovers (2021) by Emily Henry works as representatives for the genre. The purpose of the study is to explore the portrayal of friendship between women and whether it's allowed any space next to the romance. Mieke Bal's Narratology: Introduction to the Theory of Narrative (2017) is used to analyze the characters, focusing on the concept of "qualification" and "qualification by function”. This illustrates not only the character's individual characteristics, but also their roles and function in the narrative. Elizabeth Abel's article ”(E)Merging Identities: The Dynamics of Female Friendship in Contemporary Fiction by Women” (1981) is also brought up to categorize different types of fictional female friendships, where complementarity or identification between the female characters are the factor that differentiates them. The conclusion of the study is that the friendships do end up in the narrative's periphery. Although the relationships look very different in the respective works, and though the friends on a detailed level have different roles, they are all united in the sense that the female friend is predominantly used to promote the romance. The genre of these novels affects their ability to depict anything other than complementary friendship portrayals.

Narrative Bonds: Female Friendship, Affect, and Politics in Novels by 20th-century Francophone Women Writers examines the link between friendship and politics in novels by the Algerian writers Assia Djebar and Taos Amrouche, the Haitian writer Marie Chauvet, and the French writer Claire Etcherelli. In fiction, Francophone women writers develop their own definitions of female friendship, departing from the idealized notions in classical philosophy. I argue that the desire for dyadic friendship between women is an organizing force in women’s writing of the 1940s-1960s, although it may initially appear to be a minor concern. Historically not included in philosophical treatises on friendship, women are excluded from the category of “friends,” and must imagine a form of friendship that they can participate in before making and becoming friends. My dissertation analyzes the literary affect of negation, in which women must feel an absence or impossibility of friendship before they can then define female friendships on their own terms. I argue that female friendship is a form of relations that is new, troubling, and exciting for these women. In the works of my corpus, friendship is inextricable from political awakening and anti-colonial and anti-patriarchal resistance. As women’s political status changed in France, Haiti, and Algeria, women became more fully able to imagine themselves as both subjects and friends.

This dissertation demonstrates that a group of western women connected to May Maxwell through ties of faith and friendship exemplified a distinct form of early twentieth-century feminism in their adoption and promotion of the transplanted Bahá’í Faith. In actualizing their doctrinal principles, they worked to inaugurate a millennial new World Order predicated on the spiritual and social equality of women. This group championed a unique organizational structure and transnational perspective that propelled them to female leadership, both as inspirational models and agents of practical change. By examining how Bahá’í doctrines shaped the beliefs, mythologies, relationships and reform goals of women, this dissertation broadens understandings of the ways in which religion can act as a vehicle for female empowerment and transformative identity. Together, western early Bahá’í women built individual and collective capacity, challenging gender prescriptions and social norms. Their millennial worldview advocated a key role for women in shaping nascent Bahá’í culture, and initiating personal, institutional, and societal change. Their inclusive collaborative organizational style, non-western origins and leadership, diverse membership, and global locus of activity, made them one of the first groups to establish and sustain a transnational feminist reform network. Although in some respects this group resembled other religious, feminist, and reform-oriented women, identifiably “Bahá’í” features of their ideology, methodologies, and reform activities made them distinctive. This research contributes to a more nuanced understanding of the role of women in the creation of modern religious and social mythologies and paradigms. A study of Bahá’í millennial religious feminism also expands current conceptions of the boundaries, diversities, and intersections of early twentieth-century western millennial, feminist, religious, and transnational reform movements.

This is a creative thesis in the form of a screenplay titled “Andalusia” in which a woman, Katherine, searches for meaning in her life. After suffering through a childhood wrought with tragedy, disappointment, and chaos, Katherine strives to create a healthy reality in which she can thrive. After failing miserably at this once, she takes a different path and finds herself hidden away in her dead father’s house writing about the Mississippi Delta town of Andalusia.

This thesis focuses on three fashion industry themed female friendship films: Pret-a-Porter/Ready to Wear (1994) by Robert Altman, The Devil Wears Prada (2006) by David Frankel, and The September Issue (2009) by R.J. Cutler. Female interpersonal relationships are complex – women often work to motivate, encourage and transform one another but can just as easily use tactics like intimidation, manipulation, and exploitation in order to save their own jobs and reputations. Through the lens of post-feminist theory, this thesis examines significant female interpersonal relationships in each film to illustrate how femininity is constructed and driven by consumer culture in the fashion industry themed films.