Although Anthony Trollope has traditionally been considered an anti-feminist author, studies within the past decade have shown that Trollope's later novels show support for female power and sympathy for Victorian women who were dissatisfied with their narrow roles in society. A feminist reading of two of his earliest novels, The Warden and Barchester Towers, shows that Trollope's feminism is not limited to his later works. In The Warden, Trollope acclaims female power and "woman's logic" through female characters and the womanly warden, Septimus Harding. In Barchester Towers, Trollope continues to support feminism through his positive portrayals of strong, independent women and the androgynous Harding. In Barchester Towers, the battle of the sexes ends in a balance of power.

While Flannery O'Connor's characters and narrative landscape may share a history with those of other works often labeled "Southern gothic," her heavily judicious narrative voice utilizes the depravity of the South struggling to find its identity as a means to explore her vision of God's mercy and distinguishes her work as satirical criticism. This thesis analyzes her construction of a distinctive satirical narrative voice for Wise Blood, particularly as it deviates from how she initially wrote the first chapters as presented in earlier short stories like "The Train" and "The Peeler." Here, the ways in which O'Connor revises her diction and syntax to create a satirical tone will be examined closely. For the purposes of this paper, satire is defined as a literary work aimed at utilizing irony, hyperbole, or sarcasm to reveal, critique, and correct some moral, ethical, or social phenomenon or situation that the author finds reprehensible. / by Virginia A. Paxton. / Thesis (M.A.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.

by Li Tsui-yan. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1999. / Includes bibliographical references (leaves 100-105). / Abstracts in English and Chinese. / Chapter Chapter One --- The Dilemma of Liberation and Confinement: Female Subjectivity in Comparative Perspectives --- p.1 / Chapter Chapter Two --- Deconstructing Patriarchal Discourse: Female Subjectivity in Doris Lessing's The Golden Notebook and The Summer Before the Dark --- p.18 / Chapter Chapter Three --- "Resistance to the Stereotypes of Femininity: Female Subjectivity in Zhang Jie's “Love Must Not be Forgotten"" and “The Ark´ح" --- p.50 / Chapter Chapter Four --- The Multiple and the Dynamic: Doris Lessing and Zhang Jie's Strategies in the Construction of Female Subjectivity --- p.73 / Notes --- p.86 / Works Cited --- p.99

Th. lett. Genève, 1998 ; L. 442. / Im Buchh.: Basingstoke etc. : Palgrave. Register. Includes bibliographical references (p. 203-213) and index.

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Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2010. / AFRIKAANSE OPSOMMING: E.K.M. Dido publiseer in 1996 haar eerste roman, Die storie van Monica Peters, en word so een van die eerste bruin vrouens wat ‟n bydra tot die Afrikaanse letterkunde lewer. In Dido se romans word daar altyd ‟n vrou as hooffiguur gestel, en dit is van belang om na die konstruksie van die identiteite van die vroulike hooffigure ondersoek in te stel. Die romans lig invloede op, en aspekte van, identiteit uit en demonstreer hoe kwessies soos identiteitsmerkers ‟n rol in die konstruksie van identiteit speel. Die konstruksie van die vroulike figure se identiteite wys op die veranderende aard van identiteit, en die stemme van die gemarginaliseerdes van die verlede word in twee van hierdie romans deur hierdie figure gehoor. Dido self skryf vanuit die posisie van die voorheen gemarginaliseerde. Deur die konstruksie van die hooffigure vind die gemarginaliseerdes van die verlede ‟n geleentheid om hul eie verhale te vertel, en so verbreek Dido die stiltes wat in die verlede geskep is. Die postkoloniale aard van Dido se romans speel ‟n ondermynende rol binne ‟n letterkunde wat steeds verteenwoordigend is van die magstrukture van die verlede. Die konsep van hibriditeit word uitgelig as een wat positief eerder as negatief is. So word daar byvoorbeeld ‟n nuwe perspektief op wit mense gegee, soos gesien deur die oë van die historiese ‟Ander‟. Die posisie van swart skrywers in die huidige Afrikaanse letterkunde is een wat ondersoek moet word en uiteindelik moet hierdie posisionering van swart skrywers herevalueer word. Daar is ‟n vraag na ‟n literêre geskiedenis wat verteenwoordigend is van al die stemme wat in die Afrikaanse geskiedenis teenwoordig is. Uiteindelik is dit nodig om te bepaal waar presies Dido in hierdie literêre sisteem geposisioneer is, en of haar stem as swart vroueskrywer werklik gehoor word. / ENGLISH SUMMARY: E.K.M. Dido published her first novel, Die storie van Monica Peters (The story of Monica Peters) in 1996 and so doing became one of the first brown women to make a contribution to Afrikaans literature. The central character in Dido‟s novel is always a woman and this study will focus on the methods of construction of the identities of the female characters. The novels highlight the influences of external factors such as markers of identity on the construction of identity. The changeable nature of identity is demonstrated through the construction of the identities of these female characters. The voices of the marginalised figures from the past are heard through these characters in two of Dido‟s novels. Dido writes from the position of a previously marginalised woman. She breaks the silences of the past by the construction of the female characters‟ identities in such a way that they are able to tell their stories. The postcolonial nature of her work acts to undermine a literature which still reflects the power relations of the past. Dido‟s novels look at the concept of hybridity and see it as a positive, rather than negative, state of being. The white characters in the novels undergo a process of “Othering” which gives a new perspective on race relations from colonial times. There is a need to investigate and rethink the position of black writers within the Afrikaans literary system. Critics have expressed a desire for a literary history which is representative of all voices in Afrikaans. Dido‟s position in the literary system has to be investigated and it needs to be determined whether her voice as a black Afrikaans woman writer is being heard.

Shelby Hearon's eight novels--Armadillo in the Grass, The Second Dune, Hannah's House, Now and Another Time, A Prince of a Fellow, Painted Dresses, Afternoon of a Faun, and Group Therapy- -are unified by the theme of the fairy-tale princess and her quest to assert her autonomy and gain self-fulfillment while struggling with marriage, family, and the mother-daughter relationship. This study traces the development of Hearon' s feminist convictions in each of her novels by focusing on the changing quests of her heroines. This analysis of Hearon's novels attests to their lasting literary significance.

Poems contains fifty-two poems and an afterword that explains some of the ideas that prompted the poems as well as some information about the poetic techniques and allusions. Their primary purpose is to communicate the experiences of a woman living in a patriarchal society, which contemporary American society certainly is. The poems expose how a young woman fits into such a society as a human being and an artist . They stress the need for women writers to play ever-increasing roles in society.

The purpose of this investigation is to show the relationship between the autobiographical information evidenced by the principal female characters in Emilia Pardo Bazan's major novels and her influence on nineteenth-century feminism in Spain. The changing nature of Pardo Bazan's feminism is studied through an analysis of two literary phases in her work. In the first, classified as naturalistic, Pardo Bazan concentrates on the nineteenth century woman and her limited role within society. The second phase reveals a change of perspective as the author creates a character type: this "new woman" is an expression of her feminist beliefs. As Pardo Bazan sought support for feminist goals, diverse intellectual activities characterized her life and became an integral aspect of her art.

University of Macau / Faculty of Arts and Humanities. / Department of English