梁珊珊. / "2006年8月" / 論文(哲學碩士)--香港中文大學, 2006. / 參考文獻(leaves 133-146). / "2006 nian 8 yue" / Abstracts in Chinese and English. / Liang Shanshan. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (leaves 133-146). / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 硏究對象 --- p.1 / Chapter 第二節 --- 硏究範圍 --- p.5 / Chapter 第三節 --- 他人硏究成果槪述 --- p.18 / Chapter 第四節 --- 女性主義敘事學理論簡介 --- p.20 / Chapter 第二章 --- “五四´ح時期書信體小說興起的源流及槪况 --- p.26 / Chapter 第一節 --- 客觀歷史條件的具備 --- p.27 / Chapter 第二節 --- 晚清以迄“五四´ح書信體小說的流變 --- p.31 / Chapter 第三節 --- 西方文學理論的影響 --- p.42 / Chapter 第三章 --- 書信體小說的文體特徵 --- p.46 / Chapter 第一節 --- 真實性 --- p.46 / Chapter 第二節 --- 私密性/封閉性 --- p.48 / Chapter 第三節 --- 對話性/公共性 --- p.53 / Chapter 第四節 --- 兼容性 --- p.56 / Chapter 第四章 --- 書信體小說的敘述視點及敘述層次 --- p.58 / Chapter 第一節 --- 敘述視點 --- p.58 / Chapter 第二節 --- 敘述層次 --- p.74 / Chapter 第三節 --- 小結 --- p.87 / Chapter 第五章 --- 書信體小說的女性主義敘事學硏究 --- p.88 / Chapter 第一節 --- 作者型敘述聲音 --- p.94 / Chapter 第二節 --- 個人型敘述聲音 --- p.100 / Chapter 第三節 --- 集體型敘述聲音 --- p.108 / Chapter 第四節 --- 小結 --- p.110 / Chapter 第六章 --- 書信體小說的衰落 --- p.113 / Chapter 第七章 --- 結論 --- p.118 / Chapter 第一節 --- 總結 --- p.118 / Chapter 第二節 --- 硏究意義 --- p.123 / [附錄一]“五四´ح女作家小傳 --- p.125 / [附錄二] “五四´ح女作家書信體小說(1917-1927)列表 --- p.131 / 參考文獻 --- p.133 / Chapter 一、 --- 作家作品 --- p.133 / Chapter 二、 --- 參考. --- p.135 / Chapter 三、 --- 學位論文 --- p.141 / Chapter 四、 --- 期刊論文 --- p.141

My critical essay uses Foucault???s theory of discursive formation to chart the emergence of the figure of the single modern woman as she is created by the various discourses surrounding her. It argues that representations of the single modern woman continue a tradition of perceiving the female body as a source of social anxiety. The project explores ???chick-lit??? as a site within the discursive formation from which the single modern woman emerges as a paradoxical figure; the paradoxes fundamentally linked to her sexuality. This essay, then, essentially seeks to investigate representations of female sexuality within chick-lit, exposing for scrutiny the paradoxes inherent in and around the figure of the single modern woman. My fictional piece is a work of erotica. It is divided into four sections: The Reader, The Writer, The Muse and The Critic. Essentially it explores the relationships between female sexuality and literature; between female sexuality and feminist, post-feminist and patriarchal values and between literature and issues of truth, perspective and representation. The two works complement each other to illuminate the paradox of female sexuality: one from a theoretical perspective and the other from a fictional perspective. The critical work focuses on female sexuality and its relationship to, and development within, the current social context. Chick-lit, as a new and immensely popular genre of fiction which holistically explores the lives of single modern women was useful for examining the relationship between the sexual persona of the single modern woman and society. The fiction is concerned with a narrower focus: specifically the sexual life of the single modern woman. Through the creative process, it became apparent that working within the genre of ???erotica??? would be not only more useful than working within chick-lit, but more powerful in exploring the themes I was interested in. The creative work draws on numerous points of interest raised in the critical work from, for example, the grander notions of the relationship between object and discourse ??? in this case female sexuality and literature ??? and the female body as a source of social fascination and anxiety to finer observations such as what it means to have sex ???like a man.??? In essence, the creative work seeks to examine the many faces of the single modern woman as a sexual being and to illuminate, on an intimate level, the many conflicts between and surrounding those faces and to suggest that while paradox remains in female sexual ideology, the single modern woman will remain suspended in a kind of sexual paralysis.

published_or_final_version / Chinese / Master / Master of Philosophy

My critical essay uses Foucault???s theory of discursive formation to chart the emergence of the figure of the single modern woman as she is created by the various discourses surrounding her. It argues that representations of the single modern woman continue a tradition of perceiving the female body as a source of social anxiety. The project explores ???chick-lit??? as a site within the discursive formation from which the single modern woman emerges as a paradoxical figure; the paradoxes fundamentally linked to her sexuality. This essay, then, essentially seeks to investigate representations of female sexuality within chick-lit, exposing for scrutiny the paradoxes inherent in and around the figure of the single modern woman. My fictional piece is a work of erotica. It is divided into four sections: The Reader, The Writer, The Muse and The Critic. Essentially it explores the relationships between female sexuality and literature; between female sexuality and feminist, post-feminist and patriarchal values and between literature and issues of truth, perspective and representation. The two works complement each other to illuminate the paradox of female sexuality: one from a theoretical perspective and the other from a fictional perspective. The critical work focuses on female sexuality and its relationship to, and development within, the current social context. Chick-lit, as a new and immensely popular genre of fiction which holistically explores the lives of single modern women was useful for examining the relationship between the sexual persona of the single modern woman and society. The fiction is concerned with a narrower focus: specifically the sexual life of the single modern woman. Through the creative process, it became apparent that working within the genre of ???erotica??? would be not only more useful than working within chick-lit, but more powerful in exploring the themes I was interested in. The creative work draws on numerous points of interest raised in the critical work from, for example, the grander notions of the relationship between object and discourse ??? in this case female sexuality and literature ??? and the female body as a source of social fascination and anxiety to finer observations such as what it means to have sex ???like a man.??? In essence, the creative work seeks to examine the many faces of the single modern woman as a sexual being and to illuminate, on an intimate level, the many conflicts between and surrounding those faces and to suggest that while paradox remains in female sexual ideology, the single modern woman will remain suspended in a kind of sexual paralysis.

This study explores the interaction between feminist science fiction and feminist theory, focusing on the body and embodiment. Specifically, it aims to demonstrate that feminist science fiction novels of the 1990s offer an excellent platform for exploring the critical theories of the body put forward by Judith Butler in particular, and other feminist/queer theorists in general. The thesis opens with a brief history of science fiction's depiction of the body and feminist science fiction's subversions and rewritings of this, as well as an overview of Judith Butler's theories relating to the body and embodiment. It then considers a wide range of feminist science fiction novels from the 1990s, focusing on four key areas; bodies materialised outside patriarchal systems in women-only or women-ruled worlds, alien bodies, cyborg bodies and bodies in cyberspace. An in-depth analysis of the selected texts reveals that they have important contributions to make to the consideration of bodies as they develop and expand the issues raised by theorists such as Butler, Elisabeth Grosz, Luce Irigaray and Julia Kristeva.

MA (English Literature) / Department of English / See the attached abstract below

Il presente lavoro si propane di portare un contributo critico all'opera della Colombi, delineandone quegli aspetti salienti che caratterizzano la sua partecipazione alla scena letteraria come donna e come professionista. Le sue scelte poetiche, basate sull'ideale di un'intima, inscindibile unita donna-parola-lingua e sull'armoniosa corrispondenza vita-arte, contribuiscono ad acuire il confl itto con il repressivo e misogino ambiente ottocentesco. Si crea una continua tensione tra la tendenza all'adeguamento impasto dalla priorita di difendere la propria presenza e l'altrettanto forte spinta alla trasgressione come necessita di salvaguardare la coerenza a se stessa. L'ambivalenza vissuta verso il padre, depositario dell 'ordine sociale, si riflette, coerentemente con le premesse poetiche, nelle polemiche condotte nei confronti dei padri della letteratura. Se queste ultime tendono a rimanere contenute a livello metatestuale, in genera le, il genuino ed autentico messaggio letterario viene soprattutto espresso attraverso il gusto antifrastico dell'ironia ea livello metaforico e simbolico. La messa in luce della repressione e della morte dei valori femminili, la creativita intellettuale e fisica, che costituiscono la vera essenza dell'individuo e della stessa esistenza umana, va di pari passo con la maturazione di un sofferto compromesso con le dure leggi imposte dalla vita. Dalla crudelta di lavori alienanti alla brutale caduta degli ideali e dell'amore, si raggiunge, con le opere maggiori, un rinnovato equilibrio vita-arte che, nella sublimazione delle esperienze di morte, eleva l'espressione artistica a piano ultimo di salvezza e di realizzazione individuale. Nell'affermazione di un'arte firmata al femminile e posta al servizio della giustizia e della verita, si consuma cosi la disobbedienza nei confronti di ogni forma arbitraria di potere. Connotato al maschile, esso viene evidenziato nei suoi effetti deleteri ed alienanti anche nella connivenza e mancanza di una reale autenticita delle stesse donne, in particolare le madri. Dall'analisi dell'opera della Colombi emerge l'immagine di una scrittrice che si distingue non solo per la sua originalita e complessita, ma anche per l'indubbia modernita sia di stile che di problematiche / The aim of the present study is to offer a critical contribution on the writings of the Marchesa Colombi by tracing and developing those aspects of her work which best characterise her personality as a woman and as a writer. Her poetical choices, based on the ideal of an intimate, indivisible unity of woman-word-language and on the harmonious correlation between life and art, focus sharply on her conflict with the repressive and misogynist ambience of nineteenth-century Italy. Her works reveal a constant tension between the need to adapt in order to defend her own presence (as a writer) and the urge to transgress as a means to safeguard her inner, personal coherence. The author's ambivalence towards the father, depositary of the social order, is further reflected, in keeping with her poetical vision, in the polemical debates held with the fathers of Italian literature. Whereas these debates remain embedded within a metatextual discourse, the genuine and authentic message of her works is generally expressed on the metaphorical and symbolic levels and by an extensive antiphrastic use of irony. The need to stress the repression and death of feminine values, the intellectual and physical creativity which constitute the true essence of the individual, goes hand in hand with the artist's achievement of maturity as a painful compromise with the hard rules imposed by life. From the cruelty of a alienating labour to the brutal collapse of her ideals and of love, Colombi is able to achieve in her major works a new form of balance between life and art which, by sublimating the experience of death, elevates the artistic expression to the heights of personal salvation and of self-realization. By affirming her art as a product of the feminine mind at the service of justice and truth, she plays out her disobedience against all arbitrary forms of power. This study of the works of the Marchesa Colombi reveals the image of a writer who distinguishes herself not only for her originality and complexity but also for the marked modernity both in her style and in her choice of subject / Department of Classics & Modern European Languages / D.Litt. et Phil. (Italian)

Thesis (MA) -- Stellenbosch University, 1986. / No Abstract Avcailable

Genres are constituted, implicitly and explicitly, through their construction of the past. Genres continually reconstitute themselves, as authors, producers and, most importantly, readers situate texts in relation to one another; each text implies a reader who will locate the text on a spectrum of previously developed generic characteristics. Though science fiction appears to be a genre concerned with the future, I argue that the persistent presence of lost race stories – where the contemporary world and groups of people thought to exist only in the past intersect – in science fiction demonstrates that the past is crucial in the operation of the genre. By tracing the origins and evolution of the lost race story from late nineteenth-century novels through the early twentieth-century American pulp science fiction magazines to novel-length narratives, and narrative series, at the end of the twentieth century, this thesis shows how the consistent presence, and varied uses, of lost race stories in science fiction complicates previous critical narratives of the history and definitions of science fiction.

Il presente lavoro si propane di portare un contributo critico all'opera della Colombi, delineandone quegli aspetti salienti che caratterizzano la sua partecipazione alla scena letteraria come donna e come professionista. Le sue scelte poetiche, basate sull'ideale di un'intima, inscindibile unita donna-parola-lingua e sull'armoniosa corrispondenza vita-arte, contribuiscono ad acuire il confl itto con il repressivo e misogino ambiente ottocentesco. Si crea una continua tensione tra la tendenza all'adeguamento impasto dalla priorita di difendere la propria presenza e l'altrettanto forte spinta alla trasgressione come necessita di salvaguardare la coerenza a se stessa. L'ambivalenza vissuta verso il padre, depositario dell 'ordine sociale, si riflette, coerentemente con le premesse poetiche, nelle polemiche condotte nei confronti dei padri della letteratura. Se queste ultime tendono a rimanere contenute a livello metatestuale, in genera le, il genuino ed autentico messaggio letterario viene soprattutto espresso attraverso il gusto antifrastico dell'ironia ea livello metaforico e simbolico. La messa in luce della repressione e della morte dei valori femminili, la creativita intellettuale e fisica, che costituiscono la vera essenza dell'individuo e della stessa esistenza umana, va di pari passo con la maturazione di un sofferto compromesso con le dure leggi imposte dalla vita. Dalla crudelta di lavori alienanti alla brutale caduta degli ideali e dell'amore, si raggiunge, con le opere maggiori, un rinnovato equilibrio vita-arte che, nella sublimazione delle esperienze di morte, eleva l'espressione artistica a piano ultimo di salvezza e di realizzazione individuale. Nell'affermazione di un'arte firmata al femminile e posta al servizio della giustizia e della verita, si consuma cosi la disobbedienza nei confronti di ogni forma arbitraria di potere. Connotato al maschile, esso viene evidenziato nei suoi effetti deleteri ed alienanti anche nella connivenza e mancanza di una reale autenticita delle stesse donne, in particolare le madri. Dall'analisi dell'opera della Colombi emerge l'immagine di una scrittrice che si distingue non solo per la sua originalita e complessita, ma anche per l'indubbia modernita sia di stile che di problematiche / The aim of the present study is to offer a critical contribution on the writings of the Marchesa Colombi by tracing and developing those aspects of her work which best characterise her personality as a woman and as a writer. Her poetical choices, based on the ideal of an intimate, indivisible unity of woman-word-language and on the harmonious correlation between life and art, focus sharply on her conflict with the repressive and misogynist ambience of nineteenth-century Italy. Her works reveal a constant tension between the need to adapt in order to defend her own presence (as a writer) and the urge to transgress as a means to safeguard her inner, personal coherence. The author's ambivalence towards the father, depositary of the social order, is further reflected, in keeping with her poetical vision, in the polemical debates held with the fathers of Italian literature. Whereas these debates remain embedded within a metatextual discourse, the genuine and authentic message of her works is generally expressed on the metaphorical and symbolic levels and by an extensive antiphrastic use of irony. The need to stress the repression and death of feminine values, the intellectual and physical creativity which constitute the true essence of the individual, goes hand in hand with the artist's achievement of maturity as a painful compromise with the hard rules imposed by life. From the cruelty of a alienating labour to the brutal collapse of her ideals and of love, Colombi is able to achieve in her major works a new form of balance between life and art which, by sublimating the experience of death, elevates the artistic expression to the heights of personal salvation and of self-realization. By affirming her art as a product of the feminine mind at the service of justice and truth, she plays out her disobedience against all arbitrary forms of power. This study of the works of the Marchesa Colombi reveals the image of a writer who distinguishes herself not only for her originality and complexity but also for the marked modernity both in her style and in her choice of subject / Department of Classics and Modern European Languages / D.Litt. et Phil. (Italian)