Thesis (M.A.)--University of South Africa, 2001.

published_or_final_version / Literary and Cultural Studies / Master / Master of Arts

published_or_final_version / English Studies / Master / Master of Arts

M.A. / The success of a child's development from egocentricity to a broader socialization largely depends on the experiences of early childhood. The potential formative value of children's literature has repeatedly been proven by research. Being a cornerstone of children's literary heritage, the fairy tale has led to research being done from various perspectives. The tendency towards contemporary versions of traditional fairy tales has brought a new dimension to this genre and offers a field of research which up to now has been unexplored in South Africa. Apart from keeping them commercially viable, the various techniques used in contemporary versions can also transform them into podiums from which ideologies and viewpoints, feminism included, can be conveyed to children. With this in mind the study was undertaken by means of a literature survey. It concentrates on the different aspects concerning typical characteristics and the possible influence of fairy tales on children. Examples of contemporary versions readily available ill South Africa are discussed. The research has shown concern within feminist circles about possible sexist stereotypes which are brought across in children's literature, including traditional fairy tales, and the possible dangers it holds for the socialization of children. The feminist pursuit of a balanced portrayal of women in children's literature has led to the appearance of many contemporary versions of fairy tales in which the image of the traditional passive heroine is transformed, either subtly or radically. Research concerning the impact of these non-sexist versions on children and their acceptance or rejection of it, is limited and the results are inconclusive. The research has also touched upon the polemic surrounding the rewriting of traditional fairy tales in order to accommodate modern viewpoints. The possible danger involving biased interpretation of a diverse traditional literary genre has also been highlighted.

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

Geoffrey Chaucer's narrator persona in The Legend of Good Women (LGW) goes through a transformation, starting off in the Prologue to the LGW as a naèive compilator who is subordinate to his literary sources, or auctores, and eventually becoming an auctor himself by the end of the Legends. To gain an authoritative voice, Chaucer's narrator criticizes auctoritee as it pertains to the antifeminist tradition and its misrepresentation of women as inherently wicked, in the process using certain rhetorical devices and other literary strategies to assert control over his sources for the Legends, as well as over the text as a whole. Of particular importance in this process is the narrator's line "[a]nd trusteth, as in love, no man but me" (2561) occurring near the end of "The Legend of Phyllis," the penultimate legend in the LGW. At this point in the text, the narrator persona steps completely outside of the role of compilator and presents himself as auctor who can be trusted by his female readers to tell their stories fairly and sympathetically, in ways that subtly confront antifeminist texts and perceptions. / by Franklin Babrove. / Thesis (M.A.)--Florida Atlantic University, 2013. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

林幸謙. / 論文(哲學博士) -- 香港中文大學硏究院中國語言及文學學部, 1996. / 參考文献 : leaves 579-685. / Lin Xingqian. / Chapter 第一章 --- 緒論：邁向重讀之路 --- p.1 / Chapter 第一節 --- 中國文本與西方論述他者與主體的問題 --- p.1 / Chapter 第二節 --- 重讀張愛玲：女性文本與女性主義文學批評 --- p.10 / Chapter 第三節 --- 閱讀策略與論述架構：閱讀女性與張愛玲的閱讀 --- p.37 / Chapter 第二章 --- 面對張愛玲：儒家女性的閨閣話語與歇斯底里文本 --- p.54 / Chapter 第一節 --- 張愛玲的臨界點：閨閣話語與女性主體的邊緣化 --- p.54 / Chapter 一、 --- 性別錯位：角色反串與女性陽化的虛假論述 --- p.54 / Chapter 二、 --- 雙重困境：父親的文化權威與他者的再度覆寫 --- p.64 / Chapter 三、 --- 宗法父權：男性中心和女性主體的邊緣化 --- p.73 / Chapter 四、 --- 經典邊緣：壓抑主題與張愛玲文本的邊陲處境 --- p.88 / Chapter 五、 --- 國家民族論述的逆反：閨閣話語的集大成者 --- p.95 / Chapter 第二節 --- 儒家女性與壓抑主題女性作家的歇斯底里文本 --- p.103 / Chapter 一、 --- 閱讀少作：歇斯底里的瘋牛和女性文本的政治 --- p.103 / Chapter 二、 --- 儒家女性的書寫：屛風白鳥、蝴蝶標本與紅粉骷髏的性別政治 --- p.118 / Chapter 三、 --- 重回內囿主題：儒家女性與歇斯底里的模擬 --- p.131 / Chapter 四、 --- 經濟封鎖：長期的賣淫與性別壓抑 --- p.141 / Chapter 第三節 --- 〈金鎖記〉的瘋狂複本：儒家瘋女及其雙重人格的解讀 --- p.151 / Chapter 一、 --- 內囿與瘋狂：鐵閨閣內的陰性吶喊 --- p.151 / Chapter 二、 --- 儒家瘋女：女性焦慮與壓抑符碼 --- p.164 / Chapter 三、 --- 瘋狂複本：雙重人格與女性文本策略 --- p.172 / Chapter 第三章 --- 重讀張愛玲：儒家她者和閨閣身體的重寫 --- p.183 / Chapter 第一節 --- 儒家她者的提出：性別政治與亞文化群體的重寫 --- p.183 / Chapter 一、 --- 儒家她者的位置：女性自我的解構與重構 --- p.183 / Chapter 二、 --- 亞文化群體的追尋：性別政治與儒家女性的重讀 --- p.192 / Chapter 三、 --- 儒家她者：陰性荒涼與敘述替身 --- p.217 / Chapter 第二節 --- 來自邊緣的影像：主體的喪失與非正統身份的焦慮 --- p.234 / Chapter 一、 --- 非正統身份：宗法父權的文化歸屬 --- p.234 / Chapter 二、 --- 諷刺模擬：焦慮與內囿生活的象徵儀式 --- p.245 / Chapter 第三節 --- 尋找典範：女性、歷史與閨閣身體的重讀 --- p.255 / Chapter 一、 --- 閨閣身體的提出：儒家她者的典範 --- p.255 / Chapter 二、 --- 閱讀女性：閨閣身體的閱讀： --- p.266 / Chapter 三、 --- 女性問題：敎育、事業、愛情與婚姻的挑戰 --- p.282 / Chapter 四、 --- 歷史、性別與女性文本：張愛玲的閨閣話語 --- p.293 / Chapter 第四章 --- 閨閣政治論述：異姓氏、權力、身體與4生别的閱讀 --- p.304 / Chapter 第一節 --- 異姓氏與閨閣政治論述：權力的慾望與自我的分裂 --- p.304 / Chapter 一、 --- 閨閣政治論述的提出：異姓氏與女性自我的分裂 --- p.304 / Chapter 二、 --- 閨閣政治問題的反思：邁向女性主體的危機 --- p.318 / Chapter 三、 --- 異姓氏的傳統恐懼：慾望、身體與權力的陰暗複本 --- p.330 / Chapter 第二節 --- 閨閣政治論述：異姓氏的身份角力與女性自我的衝突主題 --- p.344 / Chapter 一、 --- 婆媳衝突主題：女性身體、慾望與權力的文本 --- p.344 / Chapter 二、 --- 母女衝突主題：瘋狂的母親與女兒的隱喻 --- p.356 / Chapter 三、 --- 其他閨閣政治主題：第三者的角力劇場 --- p.376 / Chapter 第五章 --- 反父權體制的祭典：顚覆意義的書寫與閱讀 --- p.392 / Chapter 第一節 --- 主體的置換：無父文本與女性家長的建構 --- p.392 / Chapter 一、 --- 女性家長的確立：缺席的父親與男女主體的置換 --- p.392 / Chapter 二、 --- 女性主體的反撲：女神、女先知與女性主體的聲音 --- p.406 / Chapter 三、 --- 殺父與無父文本：被放逐的父親與女性家長的焦慮 --- p.419 / Chapter 第二節 --- 雙重意義的主體：殺父書寫與女性主體的顚覆模式 --- p.426 / Chapter 一、 --- 女性文本的雙重聲音：反抗宗法父權的女性文本策略 --- p.426 / Chapter 二、 --- 主體的追求與捍衛：從屬女性的主體意識及其殺父書寫 --- p.438 / Chapter 三、 --- 邁向女性作家的經驗：囚禁、出走、與復仇的女性故事 --- p.450 / Chapter 第三節 --- 反父權體制的祭典：去勢父親與顚覆書寫的隱喻 --- p.459 / Chapter 一、 --- 去勢的父親：閹割構圖與宗法父親的去勢 --- p.459 / Chapter 二、 --- 菲勒斯的盜取：顚覆書寫與尋找陽具的父親 --- p.475 / Chapter 三、 --- 過度閱讀：閹割焦慮與女性主體的回歸 --- p.490 / Chapter 第六章 --- 結論：重讀與張愛玲的隱喩 --- p.504 / Chapter 附錄一： --- 本論文重要術語的闡釋 --- p.541 / Chapter 附錄二： --- 譯名對照表 --- p.572 / 參考書目 --- p.579 / Chapter (甲） --- 中文參考書目 --- p.579 / Chapter (乙） --- 中文論文參考篇目 --- p.609 / Chapter (丙） --- 英文參考書目 --- p.669 / Chapter (丁） --- 英文論文參考篇目 --- p.680

Thesis (Ph. D.)--Ohio State University, 2006. / Full text release at OhioLINK's ETD Center delayed at author's request

Virginia Woolf wrote both prose and poetry, both fiction and non-fiction: she was both a creative writer and a politically conscious reporter. She left a wealth of beautifully crafted observations and comments that continue to be immensely quotable and influential. Feminist critics today use Woolf's vocabulary to continue the feminist conversation which she entered early in her life and consistently influenced as long as she lived and wrote. My purpose in this essay is to identify some of the ways in which feminists strategically use references to Virginia Woolf and A Room of One's Own to empower their own perspective or to develop legitimacy for their own knowledge and discourse. / Graduation date: 1992

Thesis (M.A.)--Kutztown University of Pennsylvania, 1999. / Source: Masters Abstracts International, Volume: 45-06, page: 2844. Typescript. Abstract precedes thesis as, preliminary leaves [1-2]. Includes bibliographical references (leaves 101-104).