Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-05-17T10:57:39Z No. of bitstreams: 1 carolineresendeneves.pdf: 6479902 bytes, checksum: 2d348b4138ee37480f38c0148da7522f (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-05-22T14:25:08Z (GMT) No. of bitstreams: 1 carolineresendeneves.pdf: 6479902 bytes, checksum: 2d348b4138ee37480f38c0148da7522f (MD5) / Made available in DSpace on 2018-05-22T14:25:08Z (GMT). No. of bitstreams: 1 carolineresendeneves.pdf: 6479902 bytes, checksum: 2d348b4138ee37480f38c0148da7522f (MD5) Previous issue date: 2018-04-07 / O objetivo da presente dissertação é discutir os pontos de intersecção entre a vida da autora inglesa Virginia Woolf e sua obra ficcional Os anos, assinalando quais experiências foram utilizadas como fonte criativa no espaço autobiográfico ocupado pela obra citada. O livro que se configura como objeto de estudo narra a saga de uma família vitoriana que claramente se assemelha à própria família de Woolf, abrangendo o espaço de tempo de 1880 até os anos 1930, e dessa forma também abarcando as mudanças não só familiares, como também da sociedade inglesa. Com esse propósito, buscou-se inicialmente apresentar a biografia da escritora, seguido de um breve panorama da literatura de autoria feminina e da análise da produção crítica de Woolf, criando um paralelo em relação ao uso das experiências pessoais entre sua teoria e sua prática. Em um segundo momento, discute-se as teorias relacionadas à escrita de si, almejando encontrar uma que possa melhor definir a prática de escrita utilizada em Os anos. Não encontrando um conceito adequado ao objeto de estudo, apresentou-se uma expansão da noção de romance autobiográfico, levando em consideração todas as informações obtidas durante a pesquisa. Por fim, é feita uma análise do livro Os anos, discutindo seu enredo, simbolismos e apresentação das personagens femininas, culminando no cruzamento dos dados biográficos obtidos através de biografias e autobiografias com a história narrada. / The aim of this study is to discuss the connection between the private life of the British writer Virginia Woolf and her fictional work The years, pointing out which of her private experiences were used as a creative source in the autobiographical space present at the aforementioned title. The book, which is the object of this study, tells the story of a Victorian family that clearly resembles Woolf's own family. It is set from 1880 to 1930, thus depicting not only the changes in the families, but also in the British society as a whole. Having this study's purpose as basis, a biography of the writer was firstly presented, followed by a brief women's writing overview and by an analysis of Woolf's literary criticism, establishing a connection between her theory and the practice concerning the usage of private experiences. Secondly, theories on self-writing are discussed, aiming to find one which can define the writing practice used in The years. As a consequence for not finding a suitable concept for the object of this study, an expansion of the idea of autobiographical romance was introduced, taking all the information obtained during the research process into account. Finally, an examination of the book The years was carried out, analyzing its plot, symbolism and female characters, resulting in a cross-check of biographical data - which was obtained from biographies and autobiographies - and the story told.

Orientador: Cleide Antonia Rapucci / Banca: Altamir Botoso / Banca: Antônio Roberto Esteves / Resumo: O objetivo deste trabalho é demarcar o espaço da escritora Nélida Piñon na literatura de autoria feminina, refletindo sobre as vias de acesso que se abriram quando ela retomou uma das personagens mais conhecidas e míticas da história da Literatura Universal, Scherezade, no romance Vozes do deserto (2004). Este estudo permitiu que se realizasse uma reflexão mais acurada sobre a construção desta personagem a partir da perspectiva da critica feminista (SHOWALTER, 1994) e que se revelasse a condição feminina em um sistema hegemônico, coercivo e patriarcal que legitima as situações de poder, submissão, opressão e violência em relação às mulheres. Sendo assim, este trabalho é um convite para que se conheça a contribuição de Nélida Piñon à luz da evolução contemporânea e da emancipação consciente das mulheres que ousaram transgredir os limites do tempo e espaço em prol de sua visibilidade, independência, liberdade e reconhecimento como sujeito da história. Esses aspectos permitem contemplar as três fases: feminina, feminista e mulher, da literatura de autoria feminina estabelecidas por Elaine Showalter. Apesar de esta obra de Nélida Piñon ser ainda pouco estudada pela crítica brasileira, ela é importante também para os estudos da ginocrítica devido ao discurso crítico especializado sobre os textos produzidos por mulheres. Esta dissertação pretende valorizar o ser mulher que protagoniza não somente a história, mas a ascensão do seu próprio destino no mundo. Em conclusão, a escritora é nome de relevo para o universo literário brasileiro, sendo uma profunda conhecedora da história das mulheres e, portanto, atenta e comprometida com o atual cenário sócio-político cultural brasileiro / Abstract: The genesis of this work is to demarcate the area of the writer Nélida Piñon in the female authorship literature reflecting about the access roads that were opened when the author retook one of the most well-known and mythical character of the Universal Literature - Scherezade - in the novel Voices of the Desert (2004). So, this study allowed to realize a more accurate reflection about this character's construction from the perspective of feminist criticism (SHOWALTER, 1994) bringing out the feminine condition in a hegemonic system, coercity and patriarchal that legitimizes the power situations, submission, oppression and violence against women. Therefore, this work is an invitation to know Nélida Piñon's contribution in contemporary evolution and women's emancipation awareness who dared to transgress the boundaries of time and space to promote their visibility, independence, freedom and recognition as a subject of the history. These aspects allow to gaze on the three phases: feminine, feminist and female of the Women's literature established by Elaine Showalter. Although this novel has been little researched by Brazilian criticism yet, it is also important to the gynocritical studies because the gynocriticism speech is a critical and specialized speech about texts written by women. So, this dissertation intends to enhance (value) the female who stars not only the history but makes possible the rise of her own destiny in the world. To conclude, the writer is outstanding name for the Brazilian Literary Universe and she demonstrates a deep knowledge about women's history and, therefore, attentive and compromised with the current social political and cultural Brazilian scenery / Mestre

The master thesis Helimadoe and Petrolejové lampy: A Gender Analysis of Jaroslav Havlíček's Novels examines selected texts and conveys gender-focused interpretations. The analysis of both of Havlíček's novels is carried out within the context of feminist literary theories. The main methodological and theoretical foundations of the thesis are "resisting reading" as introduced by Judith Fetterly and Jonathan Culler's "reading as a woman". Since the thesis is also a qualitative sociological analysis, it uses the processes of discourse analysis as well. The text focuses on the issue of power relations and their gender dimension, on the construction of gender and gender identity of individual female and male characters, on their sexuality, on their gendered activities and on the description and interpretation of the environment that the literary characters inhabit. A special attention is primarily (but not only) paid to main female characters and their revolt against the patriarchal system of the society. In relation to this problem the thesis necessarily deals with the topic of the gender social order and it shows what influence this order has along with other factors on the lives of individual characters. Key words: feminist criticism, resisting reading, Jaroslav Havlíček, Helimadoe, Petrolejové...

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<p>My dissertation is a Black feminist inquiry into how Black women writers employ soul food imagery to equally assert their characters’ Blackness and sexual agency in post-Black Arts texts. These include Gayl Jones’ <em>Eva’s Man </em>(1976), Ntozake Shange’s <em>Sassafrass, Cypress & Indigo</em> (1982), Gloria Naylor’s <em>Bailey’s Café</em> (1992), and TT Bridgeman’s <em>Pound Cake for Sweet Pea </em>(2004). These novelists tell complex stories of Black women’s grappling with respectability, trauma, and erotic and sexual agency. In each novel, these Black women share a common reliance upon soul food that is often underexamined in critical scholarship. I argue that soul food is essential to how Black women cope with the duality of pleasure and pain by helping them assert liberated senses-of-self amidst sexism and its attendant emotional and physical violence. I also conceptualize this coping as a vibrational reprieve. </p>

Thesis (MTh)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: This study is primarily concerned with responsible and considerate interpretations of the Bible as sacred book in faith communities. The question of poverty and its related issues compelled me to ask the question: how can the gospels be good news for Christians in impoverished communities in South Africa? It is the opinion of this study that method of interpretation is the crux of the matter when it comes to extracting good news from the Bible. In chapter one I propose that a social scientific approach in combination with feminist hermeneutics is a good method of interpreting biblical texts in impoverished communities. The social sciences help to place the text in its proper context and give the reader a point of connection between his or her social location and that of the text. Feminist hermeneutics seeks the marginalised and silent voices in the text with the aim of transformation on the contemporary context. In the second chapter of this study I explore the vital social values of the first century AD Mediterranean world as premise of the selected texts for exegesis (Luke 1:39-56 and 4:16-30). The third and fourth chapters form the exegetical corps of the study. In both I look at how the social values identified in chapter two influenced and shaped the texts. The latter part of both these chapters looks at a very specific feminist hermeneutical model which ultimately seeks transformation. Chapter three deals with Luke 1: 39-56 as pericope whilst chapter four deals with Luke 4:16-30. Chapter five focuses on the correlation of the findings in the exegesis of chapter three and chapter four. This chapter also gives some implications with concrete examples of a way forward from the interpretation of the text to the application of the text. I propose a Christian development of communities as a possible consequence of reading and interpreting the Bible through the lenses of a social scientific approach in conjunction with feminist hermeneutics. The last chapter, chapter six, is an overview and conclusion to this study. / AFRIKAANSE OPSOMMING: Hierdie studie is hoofsaaklik gemoeid met verantwoordelike en bedagsame interpretasies van die Bybel as die heilige boek in geloof-gemeenskappe. Die kwessie van armoede en verwante kwessies het my genoop om die vraag te vra: hoe kan die evangelies goeie nuus wees vir Christene in arm gemeenskappe in Suid-Afrika? Dit is die mening van hierdie studie dat die metode van interpretasie die kern van die saak is in die ontsluiting van goeie nuus uit die Bybel. In hoofstuk een stel ek voor dat 'n sosiaal-wetenskaplike benadering in kombinasie met feministiese hermeneutiek 'n goeie metode vir die interpretasie van Bybelse tekste is in verarmde gemeenskappe. Die sosiale wetenskappe help om die teks in sy behoorlike konteks te plaas en gee die leser 'n punt van verband tussen sy of haar sosiale ligging en dié van die teks. Feministiese hermeneutiek soek die gemarginaliseerde en stil stemme in die teks met die doel van transformasie in die hedendaagse konteks. In die tweede hoofstuk van hierdie studie ondersoek ek die belangrike sosiale waardes van die eerste eeu nC Mediterreense wêreld as uitgangspunt vir eksegese van die geselekteerde tekste (Lukas 1:39-56 en 4:16-30). Die derde en vierde hoofstukke vorm die eksegetiese korps van die studie. In albei het ek gekyk na hoe die sosiale waardes wat in hoofstuk twee geidentifiseer word, hierdie tekste beïnvloed en gevorm het. Die laaste deel van beide hierdie hoofstukke kyk na 'n baie spesifieke feministiese hermeneutiese model wat uiteindelik tot transformasie lei. Hoofstuk drie handel oor Lukas 1: 39-56 as perikoop, terwyl hoofstuk vier oor Lukas 4:16-30 handel. Hoofstuk vyf fokus op die korrelasie van die bevindinge in die eksegese van hoofstuk drie en hoofstuk vier. Hierdie hoofstuk gee ook 'n paar implikasies met konkrete voorbeelde van 'n pad vorentoe vanaf die interpretasie van die teks tot die toepassing van die teks. Ek stel 'n Christelike ontwikkeling van gemeenskappe voor as 'n moontlike uitkoms van die lees en interpretasie van die Bybel deur die lens van 'n sosiaal-wetenskaplike benadering in samehang met feministiese hermeneutiek. Die laaste hoofstuk, hoofstuk ses, is 'n oorsig en samevatting van die studie.

L’archive erronée dans l’œuvre d’Anne Carson enquête sur les effets que peuvent entraîner l’archive classique sur la poésie d’Anne Carson et révèle que le travail de cette dernière est issu de l’espace situé entre la critique et la créativité, ce qui génère ce qu’on appellera une « poétique de l’erreur ». La poésie de Carson se démarque par sa prédilection pour les accidents, les imperfections et les impondérables de la transmission. La présente dissertation émerge des attitudes critiques ambivalentes face à la dualité de l’identité de Carson, autant poète qu’universitaire, et leur offrira une réponse. Alors que l’objectif traditionnel du philologue classique est de reconstruire le sens du texte « original », l’approche poétique de Carson sape en douce les prétentions universitaires d’exactitude, de précision et de totalisation. La rencontre de Carson avec l’archive classique embrasse plutôt les bourdes, les mauvaises lectures et les erreurs de traduction inhérentes à la transmission et à la réception de traductions classiques. La poésie de Carson est ludique, sexuée et politique. Sa manière de jouer avec l’épave du passé classique torpille la patri-archive, telle que critiquée par Derrida dans Mal d’Archive ; c’est-à-dire cette archive considérée comme un point d’origine stable grâce auquel s’orienter. De plus, en remettant en question la notion de l’archive classique en tant qu’origine de la civilisation occidentale, Carson offre simultanément une critique de l’humanisme, en particulier au plan de la stabilité, du caractère mesurable et de l’autonomie de « l’homme ». L’archive, pour Carson, est ouverte, en cours et incomplète ; les manques linguistiques, chronologiques et affectifs de l’archive classique représentent ainsi des sources d’inspiration poétique. La présente dissertation étudie quatre dimensions de l’archive classique : la critique, la saphique, l’élégiaque et l’érotique. Grâce à ces coordonnées, on y établit le statut fragmentaire et fissuré du passé classique, tel que conçu par Carson. Si le fondement classique sur lequel la culture occidentale a été conçue est fissuré, qu’en est-il de la stabilité, des frontières et des catégories que sont le genre, la langue et le texte ? L’ouverture de l’archive critique de manière implicite les désirs de totalité associés au corps du texte, à la narration, à la traduction et à l’érotisme. En offrant une recension exhaustive de sa poétique, L’archive erronée dans l’œuvre d’Anne Carson tente d’analyser l’accueil hostile qu’elle a subi, contribue à renforcer la documentation sans cesse croissante dont elle fait l’objet et anticipe sa transmutation actuelle de médium et de genre, sa migration de la page à la scène. / The Erring Archive in Anne Carson investigates the responsiveness of Anne Carson’s poetry to the classical archive and argues that Carson works from within the space between the critical and the creative, generating what I call a “poetics of error.” Carson’s poetics is distinguished by a predilection for accidents, imperfections, and the contingencies of transmission. My dissertation also responds to and emerges from the ambivalent critical attitudes to Carson’s dual identity as both a scholar and a poet. While the traditional aim of the classical philologist is to reconstruct the meaning of the “original” text, Carson’s poetic approach self-consciously undermines scholarly pretensions to accuracy, precision, and totalization. Rather, Carson’s encounter with the classical archive embraces the mistakes, misreadings, and mistranslation inherent in classical transmission and reception. Carsonian poetics is ludic, gendered, and political. Her play with the wreckage of the classical past undermines the patri-archive, as critiqued by Derrida in Archive Fever; that is, an archive that is considered to be a stable, governing point of origin. Furthermore, by challenging the notion of the classical archive as the origin of Western civilization, Carson simultaneously offers a critique of Humanism, particularly the stability, measurability, and autonomy of “Man.” The archive, for Carson, is open, ongoing, and incomplete; the linguistic, temporal, and affective gaps of the classical archive are thus opportunities for poetic production. My dissertation examines four dimensions of the classical archive: the critical, the sapphic, the elegiac, and the erotic. By means of these coordinates, I establish the fragmentary and ruptured status of the classical past, as conceived by Carson. If the classical bedrock upon which Western culture has been conceived is fractured, what does this mean for the stability, borders, and categories of genre, language, and the text? The openness of the archive implicitly critiques related desires of totality associated with the textual body, narrative, translation, and Eros. The Erring Archive in Anne Carson is keen to analyze Carson’s own vexed reception and contributes to growing Carsonian scholarship, as it provides a comprehensive entry into her poetics and anticipates her current generic and media shift from the page to the stage.

This study examined the rhetoric of First Lady Hillary Rodham Clinton. Specifically, this analysis explored the relationship between Clinton's rhetoric and her public image. In addressing this issue, Foss' (1989) framework for feminist criticism was used to examine three key components: 1) the type of gender roles that Clinton describes and advocates in her rhetoric; 2) her gender portrayal of the first lady role; and 3) whether any alterations in her enactment of the first lady have helped or hindered the feminist cause. Clinton's rhetoric is focused on the empowerment of women, their children, and their families. Clinton's rhetorical perspective is aligned with a liberal feminist ideology and declares that women should make their own choices and should not fall victim to traditional patriarchal values and societal expectations. This analysis further reveals that Clinton combines feminine and masculine rhetorical styles to overcome the contradictory expectations that are placed upon women speakers. This analysis indicates that Clinton's image and role as first lady has fluctuated as she has grappled with societal expectations. Throughout Clinton's tenure in the White House, America has become more comfortable with her redesigned role as first lady. This analysis contributes to the lives of women by providing a model of a female rhetor who is successful despite the confines of a patriarchal society. In addition, this examination also legitimizes a woman's right to fight for equality and to use alternative ways to raise a family. Further, this analysis indicates the need to expand communication models to encompass a rhetor's blend of communication styles. / Department of Speech Communication

This thesis seeks to show the ways in which Charlotte Brontë's fiction anticipates the concerns of contemporary feminist theology. Whilst Charlotte Brontë's novels have held a place of honor in feminist literary criticism for decades, there has been a critical tendency to associate the proto-feminism of Brontë's narratives with a rejection of Christianity—namely, that Brontë's heroines achieve their personal, social and spiritual emancipation by throwing off the shackles of a patriarchal Church Establishment. And although recent scholarly interest in Victorian Christianity has led to frequent interpretations that regard Brontë's texts as upholding a Christian worldview, in many such cases, the theology asserted in those interpretations arguably undermines the liberative impulse of the narratives. In both cases, the religious and romantic plots of Brontë's novels are viewed as incompatible. This thesis suggests that by reading Brontë's fiction in light of an interdisciplinary perspective that interweaves feminist and theological concerns, the narrative journeys of Brontë's heroines might be read as affirming both Christian faith and female empowerment. Specifically, this thesis will examine the ways in which feminist theologians have identified the need for Christian doctrines of sin and grace to be articulated in a manner that better reflects women's experiences. By exploring the interrelationship between women's writing and women's faith, particularly as it relates to the literary origins of feminist theology and Brontë's position within the nineteenth-century female publishing boom, Brontë's liberative imagination for female flourishing can be re-examined. As will be argued, when considered from the vantage point of feminist theology, 'Jane Eyre', 'Shirley', and 'Villette' portray women's need to experience grace as self-construction and interdependence rather than self-denial and subjugation.

A presente dissertação consiste na análise da obra As pedras do caminho, da escritora gaúcha Lydia Mombelli da Fonseca, no tocante à investigação literária da representação do sujeito feminino, com base em aporte teórico de estudos culturais de gênero, crítica feminista, bem como regionalidade, ideologia patriarcal e identidade. Nesse sentido, observa-se o papel referente à mulher na sociedade, principalmente, por volta da década de 1950, ano de publicação do romance, com o objetivo de desvelar estigmas e comportamentos esperados das mulheres na época, além de promover reflexões a respeito de naturalizações sociais estabelecidas e reproduzidas em relação ao sujeito feminino, ainda, em meio à contemporaneidade. Ademais, este estudo busca demonstrar a participação da mulher como sujeito do processo histórico-cultural enquanto produtora de texto literário, trazendo ao conhecimento acadêmico a autora Lydia Mombelli da Fonseca, a fim de contribuir para o alargamento da história cultural e literária da Região de Colonização Italiana do Rio Grande do Sul e do próprio estado. / Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2016-11-23T15:36:15Z No. of bitstreams: 1 Dissertacao Jaqueline Modelski.pdf: 1377584 bytes, checksum: 5c06aba292ddfb13df6bd8e3f3feea8c (MD5) / Made available in DSpace on 2016-11-23T15:36:15Z (GMT). No. of bitstreams: 1 Dissertacao Jaqueline Modelski.pdf: 1377584 bytes, checksum: 5c06aba292ddfb13df6bd8e3f3feea8c (MD5) Previous issue date: 2016-11-23 / The present dissertation consists on the analysis of the novel The stones of the road (As pedras do caminho), by the female gaucho writer Lydia Mombelli da Fonseca, with regard to the literary research of the representation of the female subject, based on theoretical framework of cultural studies of gender, feminist criticism and regionality, patriarchal ideology and identity. In this sense, it is possible to observe the role relating to women in society, especially in the decade of 1950, the year of publication of the novel, in order to unveil stigmas and behaviors expected of women at the time, in addition to promoting reflections on established and reproduced social naturalizations in relation to the female subject, even amidst the present. Furthermore, this study seeks to demonstrate the participation of women as the subject of historical and cultural process as a producer of literary text, bringing to academic knowledge the author Lydia Mombelli da Fonseca, in order to contribute to the expansion of the cultural and literary history of the Italian Colonization Region of Rio Grande do Sul and the state itself.