Simone de Beauvoir's fiction is still a largely unexplored field. This thesis offers new readings of her whole fictional corpus, using as critical lenses Freudian and Lacanian psychoanalysis in an ironically polemical move : vehemently anti-Freudian at the beginning of her career, Beauvoir denied the validity of his theories. Revealingly, however, her fiction tells a different tale. It is this untold Beauvoirean story I set out to tell in my study, which unfolds on three levels of critical interpretation. Firstly, using her own autobiographical admissions I examine her resolute resistance to psychoanalysis and offer possible reasons for her initial violent disavowal of its concepts. Secondly, I trace her explicit engagement with psychoanalysis as a clinical discipline through a chronological examination of her fiction, and, finally, I employ psychoanalytic literary theory as a magnifying optic onto her entire fictional output, thus offering new interpretations of her most underread texts. My conclusions are as follows : Beauvoir's resistance to psychoanalysis in fact stemmed from her own experience; by denying its value, she could also deny her own vulnerability, since the deep psychological damage caused by her unhappy childhood was still present in the strata of her own unconscious. Secondly, the thematic development of her fiction parallels the gradual acceptance of psychoanalysis as a valid clinical discipline following her self-analysis throughout her autobiographical creations - in her final two works, childhood and madness are laced together in a potent thematic explosion of her own articulated neuroses. And finally, the obsessive textual patternings betray her own repressed fears : throughout every fictional text, Oedipal triangles, fragmented identity and psychological breakdown play against each other against the backdrop of the symbiotic lure of idealised love. I thus hope to prove the relevance psychoanalysis has with regard to Beauvoir, despite her professed resistance to it.

In the 1980s, Thea Astley asserted that she had "to write as a male" to acquire literary acceptance in the 1950s and 1960s. In making this statement, Astley outlined what it meant to write as a male and to write as a female. The increasing critical use of these statements as an explanation for the subject matter and the style of Astley's fiction, however, ignores the gendered reception of her work, generates misconceptions regarding her early novels, undervalues the continuity of her feminist critique of what she calls the "genital loading" of Australian culture, and negates her attack on genres, narratives, and plots which constrain women. Using the theoretical work of Raymond Williams, Kaja Silverman, and Rita Felski, this thesis proposes that Astley be read not in terms of "masculine" or "feminine" writing, but in terms of her political commitment to feminism. To contextualize Astley's comment, Chapter One emphasizes the masculine bias of the literary debates in. the 1950s. Chapter Two argues that the "misfit paradigm" used to read Astley's fiction obscures the feminist and class themes of her work. To counteract the view that Astley's early fiction concentrates on male characters, Chapter Three focuses on Astley's representation in The Slow Natives (1965) of wife and prostitute, and on Astley's critique of the mutually reinforcing genres to which they belong: romance and antiromance. Chapters Four, Five, and Six examine, respectively, A Descant for Gossips (1960), An Item From the Late News (1981), and Reaching Tin River (1990). This chronological sequence establishes the consistency of her feminist critique of Australian society. It also accentuates the theme of masculinity in crisis and foregrounds the way in which critics have gendered Astley's work as feminine. These chapters consider the relation between melodrama and masculinity in A Descant for Gossips, the connection between Astley's use of the female "I" and the appearance of the transvestite in An Item From the Late News, and the political implications of the womb as a metaphor, for escape in Reaching Tin River.

In the 1980s, Thea Astley asserted that she had "to write as a male" to acquire literary acceptance in the 1950s and 1960s. In making this statement, Astley outlined what it meant to write as a male and to write as a female. The increasing critical use of these statements as an explanation for the subject matter and the style of Astley's fiction, however, ignores the gendered reception of her work, generates misconceptions regarding her early novels, undervalues the continuity of her feminist critique of what she calls the "genital loading" of Australian culture, and negates her attack on genres, narratives, and plots which constrain women. Using the theoretical work of Raymond Williams, Kaja Silverman, and Rita Felski, this thesis proposes that Astley be read not in terms of "masculine" or "feminine" writing, but in terms of her political commitment to feminism. To contextualize Astley's comment, Chapter One emphasizes the masculine bias of the literary debates in. the 1950s. Chapter Two argues that the "misfit paradigm" used to read Astley's fiction obscures the feminist and class themes of her work. To counteract the view that Astley's early fiction concentrates on male characters, Chapter Three focuses on Astley's representation in The Slow Natives (1965) of wife and prostitute, and on Astley's critique of the mutually reinforcing genres to which they belong: romance and antiromance. Chapters Four, Five, and Six examine, respectively, A Descant for Gossips (1960), An Item From the Late News (1981), and Reaching Tin River (1990). This chronological sequence establishes the consistency of her feminist critique of Australian society. It also accentuates the theme of masculinity in crisis and foregrounds the way in which critics have gendered Astley's work as feminine. These chapters consider the relation between melodrama and masculinity in A Descant for Gossips, the connection between Astley's use of the female "I" and the appearance of the transvestite in An Item From the Late News, and the political implications of the womb as a metaphor, for escape in Reaching Tin River. / Arts, Faculty of / English, Department of / Graduate

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

This dissertation deals with the symbolic uses of the prominent old houses in selected fiction of Nathaniel Hawthorne, Charles Dickens, and Henry James. The major texts include Hawthorn's "Peter Goldthwaite's Treasure," The House of Seven Gables, and Doctor Grimshawe's Secret; Dicken's Bleak House, Great Expectations, and Little Dorrit; and James's The Portrait of a Lady, "The Jolly Corner," and The Sense of the Past. The introductory chapter of the dissertation points out the importance of the house in nineteenth-century fiction. To a century which was obsessed with time and particularly fascinated by the past, the house could serve as a literary symbol of the past and aid in the investigation of the relation of a character to the past he has experienced and the past he remembers with various degrees of accuracy. For Hawthorne, Dickens, and James the house is always more than inanimate space. It is linked by imagination and memory to the past. Chapter II identifies and defines the house of the imagined past. The house has a name and a long history which illuminates the present situation of the inhabitants. All three authors draw freely from the gothic tradition to fill the houses with old relics, curses, secrets, sins, and treasures from the past. Seeking the treasure--hidden gold in some cases, self-knowledge in others--the characters keep the past alive in their old houses. The character in the house of the imagined past is often fragmented because he does not understand or accept his relation with his own past. Time inside the house of the past is arbitrary. The past, or certain imagined or remembered portions of it dominate the space. Chapter III concerns the functions of the house. First, the actual fact of the house's existence generates action in the works. Second, the physical relation to his house suggests aspects of the character's spiritual state. The characters search and probe, even assault their houses, seeking themselves. Third, all three authors continually emphasize parallels between houses and people. Characters voluntarily imprison themselves in their houses just as they willingly imprison themselves in their interpretations of the past. The house also suggests that the past lives into and influences the present by means of heredity and environment. In addition, the physical state of the house mirrors the spiritual state of the characters: morally sick people inhabit decaying houses. Even further, houses become animated, metonymic representations of their inhabitants. The house of the past, then, projects or represents the character's mind. In Chapter IV I deal with the final return to and departure from the house of the imagined past. Finally the characters recognize the imprisoning nature of their obsessions and can then leave the house of the past or as happens in many cases, can be rescued by a woman who lives in the present. Hawthorne's characters turn their backs on the past with relief and turn to the present. Dickens's characters must know the past, accept it, and build on it, not simply turn away as Hawthorne's characters do. James allows his characters to close the door of the house of the past behind them if they can find love in the present. If domestic happiness is impossible, however, the broad human past can offer imagined solace and relief. The final chapter points out that Hawthorne, Dickens, and James, like many other authors, recognize archetypal and psychological relationships between a human and the space he inhabits. They use the house to understand the self, especially in relation to the past.

梁婉儀. / 論文(碩士) -- 香港中文大學硏究院中國語言及文學學部, 1995. / 參考文獻: leaves 278-291. / Liang Wanyi. / 論文內容簡介 / Chapter 第一章 --- 引言 --- p.1-4 / 註釋 --- p.5 / Chapter 第二章 --- 鄧友梅傳（1 9 3 1 ´ؤ ) / Chapter (一） --- 動蕩少年（1931´ؤ 1949) --- p.6 -14 / Chapter (二） --- 得志靑年（1949一1957) --- p.15-20 / Chapter (三） --- 悲哀壯年（1957 ´ؤ 1976) --- p.21-30 / Chapter (四） --- 風光中年（1976 ´ؤ) --- p.31 -35 / 註釋. --- p.36-47 / Chapter 第三章 --- 近年有關鄧友梅人格的一些評論 / Chapter (一） --- 劉心武、李頻筆下的鄧友梅. --- p.48 ´ؤ58 / Chapter (二） --- 鄧友梅性格剖析 --- p.59-69 / 註釋 --- p.70-75 / Chapter 第四章 --- 鄧友梅早期小說 / Chapter (一) --- 小引 --- p.76 -77 / Chapter (二） --- 愛情小說. --- p.78-84 / Chapter (三） --- 工地題材小說. --- p.85-91 / Chapter (四) --- 戰士生活小說. --- p.92-95 / Chapter (五) --- 小結 --- p.9 6 / 註釋. --- p.97- 100 / Chapter 第五章 --- 鄧友梅的小說理論與實踐 / Chapter (一） --- 鄧友梅的小說理論. --- p.101-107 / Chapter (二） --- 鄧友梅的小說理論評析 --- p.108 - 111 / Chapter (三） --- 鄧友梅小說理論的實踐 --- p.112-124 / 註釋 --- p.125 ´ؤ131 / Chapter 第六章 --- 鄧友梅小說的敘事模式 / Chapter (一） --- 小引 --- p.132-134 / Chapter (二） --- 小說的敘事模式 --- p.135-138 / Chapter (三） --- 鄧友梅小說的敘事時間. --- p.139 -149 / Chapter (四） --- 鄧友梅小說的敘事角度 --- p.150-160 / Chapter (五） --- 鄧友梅小說的敘事結構. --- p.161 -163 / Chapter (六） --- 小結. --- p.164 -165 / 註釋. --- p.166 -169 / 附表： <鄧友梅小說的敘事模式>. --- p.170-171 / Chapter 第七章 --- 鄧友梅的小說人物 / Chapter (´ؤ) --- 小引. --- p.172 -175 / Chapter (二） --- 鄧友梅的人物班子 --- p.176-179 / Chapter (三） --- 人生世相的描畫 --- p.180-182 / Chapter (四） --- 人物的塑造. --- p.183-192 / Chapter (五） --- 小結. --- p.193-195 / 註釋. --- p.196-198 / Chapter 第八章 --- 鄧友梅的小說語言 / Chapter (一） --- 小引 --- p.19-202 / Chapter (二） --- 鄧友梅小說語言的時代性 --- p.203-207 / Chapter (三） --- 鄧友梅小說語言的地域性 --- p.208-218 / Chapter (四） --- 鄧友梅小說語言的性格化. --- p.219-225 / Chapter (五） --- 鄧友梅小說語言的其他特色 --- p.226-232 / Chapter (六） --- 小結 --- p.233 / 註釋 --- p.234-241 / Chapter 第九章 --- 鄧友梅的京味小說 / Chapter (一） --- 創作京味小說的原因 --- p.242-246 / Chapter (二） --- 京味小說中的京味（地域色彩） --- p.247-261 / Chapter (三） --- 鄧友梅京味小說的特色 --- p.262-266 / 註釋 --- p.267-271 / 第十章 結語 --- p.272-276 / 註釋 --- p.277 / 參考書目 --- p.278-291 / 鄧友梅小說繫年 --- p.292 -293 / 鄧友梅小說結集 --- p.294-295

余婉兒. / 論文(碩士) -- 香港中文大學硏究院中國語言文學系, 1995. / 參考文獻: leaves 6-27 (4th group) / Yu Wan'er. / Chapter 第一章 --- 緖言 --- p.1 / 論文硏究的目的、範圍和方法 / 註釋 --- p.6 / Chapter 第二章 --- 生平和作品 / Chapter 第一節 --- 王安憶傳 --- p.7 / Chapter 第二節 --- 王安憶的理論及其創作 --- p.35 / 註釋 --- p.52 / Chapter 第三章 --- 小說中女性形象的分析 --- p.57 / Chapter 第一節 --- 純潔善良的天使 --- p.59 / Chapter 第二節 --- 自尊自重的人格 --- p.64 / Chapter 第三節 --- 堅韌的力行者 --- p.70 / Chapter 第四節 --- 母性的行使者 --- p.78 / 註釋 --- p.88 / Chapter 第四章 --- 女性的追求 --- p.93 / Chapter 第一節 --- 透過愛情顯示對理想的追求 --- p.94 / Chapter 第二節 --- 生命意義的追求 --- p.101 / Chapter 第三節 --- 追求的態度 --- p.104 / 註釋 --- p.109 / Chapter 第五章 --- 女性與男性的關係 --- p.111 / Chapter 第一節 --- 男性的理性英雄形象 --- p.113 / Chapter 第二節 --- 男性的弱化 --- p.119 / Chapter 第三節 --- 男性的鏡子意義 --- p.129 / Chapter 第四節 --- 女性對男性的背叛 --- p.135 / 註釋 --- p.139 / Chapter 第六章 --- 女性的超越 --- p.143 / Chapter 第一節 --- 人格的超越 --- p.145 / Chapter 第二節 --- 愛情的超越 --- p.149 / Chapter 第三節 --- 性愛的超越 --- p.155 / Chapter 第四節 --- 女性英雄歷史的建立 --- p.163 / 註釋 --- p.173 / Chapter 第七章 --- 女性的出路 --- p.177 / Chapter 第一節 --- 弱者意識 --- p.179 / Chapter 第二節 --- 找尋男性能力不能抵達的空間 --- p.183 / Chapter 第三節 --- 建立私人的空間一一家庭 --- p.186 / Chapter 第四節 --- 內心世界的開拓一一追求內心世界的完善 --- p.192 / 註釋 --- p.198 / Chapter 第八章 --- 女性的困境 --- p.200 / Chapter 第一節 --- 空中樓閣式的世界 --- p.202 / Chapter 第二節 --- 男性的背叛 --- p.206 / Chapter 第三節 --- 女性強大愛情的後果 --- p.214 / Chapter 第四節 --- 傳統意識的積澱 --- p.217 / 註釋 --- p.232 / Chapter 第九章 --- 總結 --- p.236 / Chapter 第一節 --- 重建女性的王國 --- p.237 / Chapter 第二節 --- 不是「女性主義者」的女性意識 --- p.245 / Chapter 第三節 --- 王安憶的世界 --- p.250 / 後記 --- p.252 / 註釋 --- p.253 / 附錄： / Chapter 【一】 --- 王安憶作品目錄 --- p.1 / Chapter 【二】 --- 參考書目 --- p.6 / Chapter 【三】 --- 參考期刊及論文目錄 --- p.11 / Chapter 【四】 --- 王安憶小說編年 --- p.28 / Chapter 【五】 --- 王安憶年譜 --- p.32

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