Orientador: Cleide Antonia Rapucci / Resumo: O presente trabalho propõe uma análise do romance publicado pela estadunidense Zelda Fitzgerald (1900 – 1948), intitulado Save Me the Waltz (1932), segundo o olhar da crítica feminista. A análise contempla como os papeis de gênero aparecem incutidos nas personagens, reproduzidos por meio de padrões de masculinidade e feminilidade nos quais são construídos. Também discute sobre a vida e obra de Zelda Fitzgerald, junto ao contexto em que a obra foi publicada (mesmo contexto em que a trama se passa), tendo em vista tratar-se de uma narrativa de autoria feminina com suas particularidades. Por fim, atrelado tanto à crítica feminista quanto à escrita de autoria feminina, foi feita a análise sobre o gênero da obra levando-se em conta a ficcionalidade, o autobiográfico, a literatura sulista e a literatura de formação e de artista. O método de análise do corpus orienta-se pela crítica feminista e tem o trabalho de Showalter (1977 e 1994) como base. Os gêneros textuais abordados alinham-se com as ideias de Lejeune (2008), Jones (2002), Nanney (1993) e Pinto (1990). / Abstract: The present work analyses the only novel published by the American writer Zelda Fitzgerald (1900 - 1948), named Save Me the Waltz (1932), according to the feminist criticism. The analysis takes into consideration how the gender roles appears engrained in the characters behavior, reproducing the patterns of masculinity and femininity in which they are constructed. It also discusses Zelda Fitzgerald's life and work along with the context the novel was published (same as the story), considering as a narrative of female authorship with its specific aspects. At last, related to the feminist criticism and the female authorship, the genre of the novel is going to be discussed, taking into account the fictional, the autobiography, the Southern Literature and literature of formation or the artist. The method of analysis is guided by the feminist criticism, Showalter's work (1977 and 1994) is our methodology model. Lejeune (2008), Jones (2002), Nanney (1993) and Pinto (1990) are aligned with the ideas of the textual genres mentioned. / Mestre

Orientador: Cleide Antonia Rapucci / Banca: Thomas Bonnici / Banca: Ana Maria Domingues de Oliveira / Resumo: Constitui objetivo principal deste trabalho a observação da presença feminina nos romances The Driver.s Seat e Symposium, da escritora escocesa Muriel Spark, como fator que possibilite traduzir a realidade das mulheres que buscam autonomia e que, conseqüentemente, ofereça uma relação entre esta atitude e as reações sociais que causam. Com base nos estudos que tratam de questões identitárias (dentro dos estudos de gênero, especificamente, a crítica feminista) será averiguada a recorrência de alguns temas. Dentre eles, destacam-se a morte, a loucura e o aparente controle da situação que, de alguma forma, revelam problemas, conflitos e aflições das personagens estudadas. No primeiro capítulo, situamos a autora com relação ao movimento das mulheres, com o objetivo de, ao contextualizá-la, ter uma melhor compreensão de sua obra. Assim, observam-se as características mais evidentes de seu trabalho com relação às práticas das mulheres em um plano global. Dentre as questões que marcam os estudos da escrita das mulheres, no segundo capítulo serão abordadas algumas linhas críticas que por ela se interessam e a diferenciam da escrita dos homens. A proposta da crítica centrada na mulher (ginocrítica) trata da diferença a partir da ênfase no corpo, na linguagem, na psique e na cultura das mulheres. À luz destas críticas, será realizada uma análise preliminar dos romances sparkianos. No terceiro capítulo, as questões de gênero passam a ser discutidas como fator de análise que prevêem diferenças internas ao grupo das mulheres, bem como semelhanças com trabalhos masculinos. Este aspecto do gênero ocasiona uma leitura não mais binária e hierarquizada de textos, mas que permita às diferenças tornarem-se fator de liberdade e autonomia. Finalmente, a contribuição da autora para a literatura e sua relação com o movimento das mulheres constitui objeto de breves comentários. / Abstract: The main aim of this work is to observe the female presence in Muriel Spark.s novels The Driver.s Seat and Symposium as a factor that can translate the reality of women who look for autonomy and that also offers, as a result, a relation between this attitude and the social reactions they cause. Based on studies that deal with identity matters (within gender studies, specifically, the feminist criticism) the recurring use of certain themes will be verified. Among them we can point out death, madness and an apparent control on the situation which in some way reveal problems, conflicts and afflictions of the observed characters. In the first chapter, the author is placed within the women.s movement as a way to have a better comprehension of her work by putting her in a specific context. Then, her work.s most evident characteristics are observed in relation to women.s practices as a whole. Among those questions that mark women.s writing studies, in the second chapter will be mentioned some critical trends interested in those writings and which differentiate them from men.s writing. The proposal of the criticism centered in the woman (gynocritics) deals with the difference emphasizing the women.s body, language, psyche and culture. Based on these critics it will be made a preliminary analysis of Spark.s novels. In the third chapter, gender matters begin to be discussed as an analytic factor which foresees internal differences in women.s group as well as similarities to men.s works. This gender aspect causes a reading no longer binary and based on hierarchies, but one that allows the differences to become a factor of freedom and autonomy. Finally, the author.s contribution to Literature and her relation to the women.s movement will be subject to brief comments. / Mestre

Educational access, achievement and opportunity for students and educators in U.S. educational institutions is influenced and often limited by gender. Although the U.S. Glass Ceiling Commission reports that the gender equity values, beliefs and commitments of institutional leaders are a key factor in reducing institutional gender inequities (U.S. Dept of Labor, 1995), very little is known about the current preparation or evaluation of educational leadership values, especially at the doctoral level (Hess & Kelly, 2007, Grogan & Andrews, 2002; Levine, 2005; Murphy & Vriesenga, 2004). This study utilized feminist content analysis as a conceptual framework and research methodology to examine the collective gender equity values, beliefs and commitments of educational leaders represented in a key textual artifact of doctoral study, the Educational Doctorate (Ed.D.) dissertation. This sequential mixed method content analysis examines 15,014 dissertation titles of Ed.D dissertations completed from 112 U.S. public doctoral granting institutions between 1998-2007 to identify 1185 dissertations indicating gender in their title. A purposeful sample of 177 abstracts was selected from emergent themes for further analysis. The final research phase examined a purposeful sample of 9 complete dissertation texts selected from the analysis of the abstracts. The research focused on two questions, 1.) How prevalent is gender focused inquiry in recent Ed.D. dissertation scholarship, from 1998-2007? 2.) What are the cultural gender beliefs and gender conceptualizations represented in Ed.D. dissertation scholarship from 1998-2007? The findings indicate gender focused inquiry is not prevalent in Ed.D. dissertation titles, in public doctoral granting institutions from 1998-2007; only 7.4 % indicated any mention of gender. The findings also revealed great institutional variation in the prevalence of gender focused dissertations in the 112 institutions examined. Three themes also emerged from patterns of representations illuminating problematic gender cultural beliefs, 1,) male leadership and intellectual authority is privileged, 2.) Black males are "othered", 3.) Latinas are silenced. Three additional problematic themes of gender bias are revealed because of scanty representation in the sample, 1.) LGTBIQ issues silenced, 2.) Title IX trivialized and 3.) Feminism marginalized. Each of these three gender focused categories represented less than 1% of the Ed.D. dissertations completed in U.S. public doctoral granting universities between 1998-2007. The findings have implications for program planning of doctoral Ed. D. programs for the development of gender equity dispositions. The findings also contribute to the discipline by adding to the knowledge of Ed. D. dissertation content. This report includes recommendation for future research and practice.

Using Black feminist criticism, this study will examine the influence of the multifaceted yet simultaneous system of oppression on individuality and mutuality in the aftermath of slavery, as depicted in Toni Morrison’s works in Beloved and Jazz. Furthermore, this essay will explore the effects of the intersecting system of oppression on the characters’ identity formation. It will also investigate the influence of intersecting systems of oppression on the characters’ perception of motherhood. This study will highlight the ways in which Morrison’s two novels show how racism and sexism affect Black women’s maternal authority even after they have claimed ownership of themselves.

This project examines how the confluence of nineteenth-century England’s educational reform, periodical literature, and scientific community growth contributed to a public dialogue between science and spiritualism that positioned the two as antithetical. I argue that this media-borne dialogue entrenched in the public consciousness a scientific domain claiming authority through masculinized, exclusionary language that effectively enclosed knowledge within objective measurement, while dismissing spiritualist notions of embodied knowledges based in affect. In doing so, I locate the under-recognized bridge between the printed medium of the debate itself and its durable influence on public discourse, occurring as it did at precisely the moment to best influence the broadest public. The first chapter examines the confluence of educational reform, burgeoning print culture, and rising science professionalization that formed the ideal delivery platform for the promulgation of a cultural narrative pitting objective knowledge against the subjective. The second chapter examines contemporary newspaper and journal articles to find science repeatedly metaphorized as solid ground, “objective”, and masculinized, while spiritualism is shadowy, irrational, and feminized. Metaphors of light and landscape recur from both sides, with spiritualist voices further claiming unquantifiable and communal experience as of equal value to the material “useful knowledge” privileged by science and institutional schooling. The final chapter analyzes texts from George Eliot, Robert Louis Stevenson, Marie Corelli, and Richard Marsh for representations of science, scientists, and those deemed outside their circles. There I discern a reflection of the media debate that finds unexpected – if unsettling – compatibilities between spiritualism and science, rejecting the alleged incompatibility of objective and subjective knowledge. All the texts speculate as to the parameters of human physical and mental life, but notably, none resolve the argument. / Dissertation / Doctor of Philosophy (PhD) / This project examines the ways nineteenth-century England’s educational system, periodical literature, and growing science community contributed to a public dialogue between science and spiritualism. The knowledge and practices privileged by science were repeatedly framed as more valuable than, and irreconcilable with, the subjective, personal knowledges of spiritualism, which posited a spiritual human self beyond the limits of the material body. This paper uses examples from contemporary newspaper and journal articles to study the dialogue between science and spiritualism, and finds science metaphorized as solid ground, “objective”, and masculinized, while spiritualism is shadowy, irrational, and feminized. These positions became entrenched enough in the public mind to affect the era’s speculative fiction, but in analyzing texts from George Eliot, Robert Louis Stevenson, Marie Corelli, and Richard Marsh, the author also finds an embrace of science and spiritualist themes as sometimes compatible, blurring the simple “sides” of the media conversation.

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"L'image que l'on donne/ N'est pas toujours la bonne" Les Cowboys Fringants, “Les Hirondelles” Malgré les changements dans le traitement des femmes au fil des décennies, les vraies policières continuent de souffrir des injustices de la part de leurs supérieurs masculins, ainsi que de la communauté qu'ils ont juré de protéger. Tant que la fiction reflète la réalité, on peut s'attendre que le genre de la polar du type policier démontrera non seulement les injustices entre les sexes, mais aussi les façons différentes que les victimes féminin y répondre. Comme des vrais policières, les détectives féminins fictifs sont trop souvent des victimes, même quand elles sont les protagonistes, même si leurs auteurs sont des femmes. Preuve de la discrimination contre les femmes policières réelles et fictives seront explorées dans cette thèse en regardant l'histoire des romans policiers, à travers des études de cas réels impliquant des policiers féminins réelles, ainsi que l'analyse de certains personnages clés dans les textes de discussion par Chrystine Brouillet, Vicki Delany et Louise Penny. En conséquence, il sera démontré que les images projetées par les agents de polices féminins réels et fictifs, quelles ne sont pas toujours bonnes, sont de plus en plus varié à la suite du mouvement féministe et en raison de la résistance littéral et imaginaire aux stéréotypes sexistes. Même si elles sont maintenant les protagonistes, les femmes détectives fictionaux faire face aux un réduction du l'agence et sont soumisent aux attentes différentes de genre que leurs homologues masculins. Aspects de l'inégalité des sexes présents dans les sociétés occidentales d'aujourd'hui se glissent dans la fiction et agir dans une manière pas toujours possible dans la monde réalité. Parfois, les situations sexistes sont résolu dans fiction, malgré le fait qu'ils existent toujours dans les vies quotidien de certaines femmes policiers. Les stéréotypes autour qu'est-ce que ça veut dire d'être policier causent des injustices du genre et existent souvent simultanément avec des images de femmes qui nient ces mêmes stéréotypes. La représentation de la femme policière est donc multiples, les stéréotypes reproduit, mélangé, ou effacé complètement. Masculinity is still regarded as the embodiment of strength and heroism and the female body, weakness and victimization. Philippa Gates, Detecting Women, 282 Despite changes in the treatment of women over the decades, policewomen continue to suffer gender injustices at the hands of their male superiors, as well as from the community they are sworn to protect. The injustices they face are publicized by such media as the CBC, though often in an exaggerated fashion. As fiction often reflects reality, one can expect that the genre of the police procedural will demonstrate not only such gender injustices but also various ways victims respond to them. Like real policewomen, fictional female detectives are too often victims even when they are the protagonists, and even when their author is a woman. Evidence of the victimization of real and fictional policewomen will be explored in this thesis by looking at the history of detective fiction, and through real case studies involving real female police officers, as well as the analysis of certain key characters in focus texts by Chrystine Brouillet, Vicki Delany, and Louise Penny. As a result, it will be shown that the images projected by actual and fictional female police officers, while not always positive ones, are becoming more varied as a result of the feminist movement and as a result of literal and imaginary resistance to sexist stereotypes. Despite having moved into a protagonist position, fictional female detectives all too often have reduced agency and different gendered expectations than their male counterparts. Aspects of gender inequity present in Western societies today creep into fiction and are played out in ways not always possible in reality. Sometimes, sexist problems present in the fictional texts are resolved despite the fact that they still exist in certain policewomen's everyday lives. Stereotypes of what a police officer should be function in ways that reflect and reproduce gender injustices and often exist simultaneously with images of women that resist and oppose these same stereotypes. The representation of policewoman is thus multiple, reproducing stereotypes, blurring them, or erasing them altogether.

Djuna Barnes and Gertrude Stein may appear unrelated to one another at first glance. We have an impoverished upstate New Yorker versus relatively comfortable Californian, bisexual romantic nomad versus lesbian monogamist, nihilist versus life-affirming enthusiast, and agnostic-atheist versus secular Jew. When they are referenced together (which happens rarely), it is usually in the context of their Parisian exploits. But a closer look reveals more vital affinities. Both writers remain problematically situated in the modernist canon. Both were inspired by visual art. Both struggled to get published during their lifetimes. Both disassociated themselves from mainstream feminist movements, preferring subtler, more idiosyncratic ways of questioning the status quo. Both held a sustained interest in the queer and, as this dissertation seeks to demonstrate, imagined that theme in original ways—Barnes, through loss; Stein, through phenomenology. Writing out of the spirit of Christian martyrdom, Barnes revels in queer suffering and its transfiguring potential: queers extravagantly lose (themselves), fail, and suffer, yet such ordeals aren’t without value. The first half of my dissertation, thus, appraises Barnes’ “queer negativity” in general before pondering how its masochistic energies push against those authorities that would negate the queer. Chapter One analyzes Barnes’ mythical-seeming transgendered figures who encounter profound failure, despite the imaginative freedom emanating from their ahistorical surroundings. Barnes’ sense of queer failure intensifies in Chapter Two, where same-sex desire invokes the abject by symbolically collapsing psychic boundaries between lovers and refusing reproductive futurity. Both chapters contextualize the moral inversion that becomes the focus of Chapter Three: how does such nihilism tragically ennoble the queer and endow it with insurgent impulses? Without taking a self-consciously queer activist stance, Barnes draws on what Gilles Deleuze would later enunciate as an inverted affect regime: the power of punishment to enforce repressive sexual regulations through pain and hence to bridle perversion becomes inverted when punishment opens the portal to pleasure, when pleasure relocates to sites of perversion. If Barnes writes as a romantic martyr, Stein looks at the queer through a phenomenologist’s eyes. The reciprocity between social conditioning and consciousness, in particular, remains an urgent concern throughout her career. To be “queer,” one often breaks away from a lifetime of habituated orientations toward sex and gender. But queerness cannot wholly bracket the norms that have been left behind. It exists in relation to what it queers. Foregrounding this discussion, Chapter Four examines how Stein’s modernism, phenomenology, and queer criticism intersect. Chapter Five investigates how “Miss Furr and Miss Skeene,” “Many Many Women,” and The Making of Americans reorient us from the “straight” and narrow. Yet this reorientation remains partial. Not all heteronormative biases can be shed, as is evident in The Making of Americans’ classist undertones running through its “singular” queer vision. The sixth chapter further tests the limits of reorientation as such. Ida’s Ida desperately wants to live a queer life, but discovers that she cannot if she approaches queerness as a radically separatist ideal. A solipsistic universe where she can entirely withdraw from society through sleep, silence, or soliloquy remains a fantasy. Ida’s internal conflict, in turn, mirrors Stein’s struggle to enact aesthetic modes that prove just as impossible to practice, being devoted to eliminating memory, emotions, personal identity, and social awareness.

Thesis (MPhil (Old and New Testament))--University of Stellenbosch, 2005. / This paper attempts an exploration and description of a hermeneutic of learned helplessness. Drawing on insights from both psychology and theology, it problematises the interaction that an individual believer can develop with the Bible and living a life of faith. Attempts to account for this situation involve biblical interpretation, the church and the pastoral care context. The body of the paper consists of four chapters, describing the four pillars supporting a hermeneutic of learned helplessness. The first chapter highlights certain of the difficulties that develop when the authority of the Bible is abused. The second chapter looks at the vocation of the pastor, and notes how lack of accountability and limited self-awareness can result in inadequate and harmful biblical interpretation. The third chapter highlights the negative effects of the neglect of emotion on individual faith and interaction with the biblical text, referring specifically to women. Finally, the fourth chapter identifies the tendency to regard morality as expressed primarily through behaviour, and to use the Bible as a book of rules. The combination of these four factors generates an environment in which a hermeneutic of learned helplessness can quickly develop in a Christian believer. This paper is an attempt to more clearly define my observations following work in the context of pastoral care and counselling. It is hoped that by clarifying the nature of the problem, this will prove to be the first step toward finding possible solutions.

Feminist scholars have in many instances led the way in challenging the tendency of academics to make transcendent claims from a disembodied and unmarked position, often in the name of objectivity. One means of reinstating the writer in the act of writing and thus circumventing discourse that, in effect, erases the writer as well as the complexities of the subject is to teach from the perspective of situated knowledges: that is, from the understanding that knowledge is mediated by one's cultural, ideological, and historical position. Moreover, the concept of situated knowledges challenges the positivist assumptions that place the writer outside of the cultural and situational context of the research subject. Situated knowledge thus holds out some intriguing possibilities for the future shape of the teaching of academic discourse. Foremost among those experimenting with the practice of positioning oneself in academic discourse are those scholars working in the cross-disciplinary field of Women's Studies. This dissertation analyzes the rhetorical strategies that three feminist scholars working at the University of Arizona employ in situating themselves in their professional writing. Each scholar occupies a different position along the continuum that represents the efforts to locate oneself. The most conservative strategy common to conventional ideological positioning is one in which the writer avoids any reference to personal location while situating herself within a community of scholars by means of reference and citation. Further along the continuum, the writer may invoke a form of strategic essentialism, critiquing those semiotic systems that enforce various forms of oppression while defining the social context to the advantage of the oppressed group. At the furthest extreme, the researcher acts as participant observer, placing herself in the research situation using a self-reflexive research methodology. In closing, I survey the potential that feminist research methodologies hold for writing pedagogy, especially in assisting our students in locating themselves in their own scholarly pursuits.