This dissertation studies certain similarities between some early Bildungsroman of D. H. Lawrence and André Gide. In Lawrence's Sons and Lovers and The Rainbow, and Gide's L'lmmoraliste and La Porte étroite, the authors explore the destructive effects of cultural "Icons", narrowly codified gender roles, upon sensitive young European women at the turn of the century. Through an intricate subtext of allusive imagery, postures, language, and "mythical" patterns, Lawrence and Gide imply that a patristic Christianity had somehow enlisted certain strains of Romance to fashion a pervasive cultural code that encouraged young women to be virginal, passive, and receptive to suffering. The young female protagonists look to their roles as Madonna, Maiden, and Martyr as an escape from a provincial world that offers little to their "over brimming" souls. Ironically, it is their Knight-Christs, the "mentors" who propose to teach them about the higher world, who imprison them further. Pretending to elevate them to the status of Spiritual Muse to inspire the male quest for selfhood, the lovers demand of their Madonna-Maidens a passivity whereby suffering is their only "heroic" act. Male-sculpted models of femininity, then, make it impossible for young women to pursue their own quests for the authentic "self". The final tragedy for the young women comes when their opposite numbers awaken from Romance's pregenital spring to what Lawrence calls "blood-consciousness". The Maidens' Knight-Christs now find restrictive their spiritual lovers and desire instead the initiation into the "flesh" preached by a new cultural code, that of Nietzsche et al. Lawrence's and Gide's young female characters, then, serve as exemplars of an entire generation of young women destroyed in this teleological shift to a new cultural ethos, one in which, suddenly, their "virtues" are judged vices, all they had been presented to them as "natural" is deemed "unnatural".

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CoordenaÃÃo de AperfeiÃoamento de NÃvel Superior / A presente pesquisa analisa a Pia UniÃo das Filhas de Maria, irmandade leigo-religiosa de mulheres solteiras catÃlicas em Limoeiro, Cearà (1915 â 1945). Visando formar modelos femininos de conduta moral, essa irmandade era lugar de disciplina, norma e distinÃÃo social. O estudo examina as prÃticas de leitura das associadas Pia UniÃo, articulando dimensÃes devocional, exemplar, instrutiva, educativa, moralizadora e de entretenimento. Tais prÃticas sÃo prescritas centralmente no periodismo catÃlico, classificando e distinguindo as leituras entre edificantes e perniciosas. A linguagem do cinema tambÃm à abordada no estudo. A Biblioteca da Pia UniÃo participa desta pesquisa, formando um corpus documental que inclui desde as obras piedosas e exemplares aos romances. A pesquisa aborda ainda a atuaÃÃo das Filhas de Maria no campo pedagÃgico como professoras e no proselitismo catÃlico como catequistas. / The present research analyzes the Pious Union the Daughters of Mary, religious brotherhood of single women catholics in Limoeiro, Ceara (1915 - 1945). Aiming to form feminine models of moral behavior, this brotherhood was place of disciplines, norm and social distinction. The study examines practical of reading of the associates Pious Union, articulating dimensions: devotional, exemplary, informative, educational, entertainment and moralizing. Such practices are centrally prescribed in Catholic journalism, classifying and distinguishing between the good and the bad readings. The language of cinema is also broached in the study. The Library of the Pious Union participates of this research, forming a documentary corpus that includes pious and exemplary books and novels. The research still considers the performance of the Daughters of Mary in the educational field as teachers and as catechists in the Catholic proselytism.

This thesis seeks to offer new perspectives on the role of women in African-American Christian denominations in the United States in the period between the Civil War and the turn of the twentieth century. It situates the changes in the roles available to black women in their churches in the context of ecclesiastical politics. By offering explanations of the growth of black denominations in the South after the Civil War and the political alignments in the leadership of the churches, it seeks to offer more powerful explanations of differences in the treatment of women in distict denominations. It explores the distinct worship practices of African-American Christianity and reflects on their relationship to denominational structure and character, and gender issues. Education was central to the participation of women in African-American Christianity in the late nineteenth century, so the thesis discusses the growth of black colleges under the auspices of the black churches. Finally it also explores the complex relationship between domestic ideology, the politics of respectability, and female participation in the black churches.

There are many factors that contributed to the proliferation of visual codes, metaphors and references to the gendered gaze in women's fiction of the late-eighteenth and early-nineteenth centuries. This thesis argues that the visual details in women's novels published between 1778 and 1815 are more significant than scholars have previously acknowledged. My analysis of the oeuvres of Jane Austen, Ann Radcliffe, Maria Edgeworth and Fanny Burney shows that visuality — the nexus between the verbal and visual communication — provided them with a language within language capable of circumventing the cultural strictures on female expression in a way that allowed for concealed resistance. It conveyed the actual ways in which women ‘should' see and appear in a society in which the reputation was image-based. My analysis journeys through physiognomic, psychological, theatrical and codified forms of visuality to highlight the multiplicity of its functions. I engage with scholarly critiques drawn from literature, art, optics, psychology, philosophy and anthropology to assert visuality's multidisciplinary influences and diplomatic potential. I show that in fiction and in actuality, women had to negotiate four scopic forces that determined their ‘looks' and manners of looking: the impartial spectator, the male gaze, the public eye and the disenfranchised female gaze. In a society dominated by ‘frustrated utterance,' penetrating gazes and the perpetual threat of misinterpretation, women novelists used references to the visible and the invisible to comment on emotions, socio-economic conditions and patriarchal abuses. This thesis thus offers new insights into verbal economy by reassessing expression and perception from an unconventional point-of-view.

‘The Ophelia Versions: Representations of a Dramatic Type from 1600-1633’ interrogates early modern drama’s use of the Ophelia type, which is defined in reference to Hamlet’s Ophelia and the behavioural patterns she exhibits: abandonment, derangement and suicide. Chapter one investigates Shakespeare’s Ophelia in Hamlet, finding that Ophelia is strongly identified with the ballad corpus. I argue that the popular ballad medium that Shakespeare imports into the play via Ophelia is a subversive force that contends with and destabilizes the linear trajectory of Hamlet’s revenge tragedy narrative. The alternative space of Ophelia’s ballad narrative is, however, shut down by her suicide which, I argue, is influenced by the models of classical theatre. This ending conspires with the repressive legal and social restrictions placed upon early modern unmarried women and sets up a dangerous precedent by killing off the unassimilated abandoned woman. Chapter two argues that Shakespeare and Fletcher’s The Two Noble Kinsmen amplifies Ophelia’s folk and ballad associations in their portrayal of the Jailer’s Daughter. Her comedic marital ending is enabled by a collaborative, communal, folk-cure. The play nevertheless registers a proto-feminist awareness of the peculiar losses suffered by early modern women in marriage and this knowledge deeply troubles the Jailer’s Daughter’s happy ending. Chapter three explores the role of Lucibella in The Tragedy of Hoffman arguing that the play is a direct response to Hamlet’s treatment of revenge and that Lucibella is caught up in an authorial project of disambiguation which attempts to return the revenge plot to its morality roots. Chapters four and five explore the narratives of Aspatia in The Maid’s Tragedy and Penthea in The Broken Heart, finding in their very conformism to the behaviours prescribed for them, both by the Ophelia type itself and by early modern society in general, a radical protest against the limitations and repressions of those roles. This thesis is consistently invested in the competing dialectics and authorities of oral and textual mediums in these plays. The Ophelia type, perhaps because of Hamlet’s Ophelia’s identification with the ballad corpus, proves an interesting gauge of each play’s engagement with emergent notions of textual authority in the early modern period.

ANDRADE, Maria Lucélia de. Filhas de eva como anjos sobre a terra: a Pia União das Filhas de Maria em Limoeiro-CE (1915 - 1945). 2008. 247f. Dissertação (Mestrado em História) - Universidade Federal do Ceará, Departamento de História, Programa de Pós-Graduação em História Social, Fortaleza-CE, 2008. / Submitted by Raul Oliveira (raulcmo@hotmail.com) on 2012-06-28T13:24:01Z No. of bitstreams: 1 2008_Dis_MLAndrade.pdf: 6532995 bytes, checksum: b257022db09de0d9eb7e9a576f012f08 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-20T13:52:49Z (GMT) No. of bitstreams: 1 2008_Dis_MLAndrade.pdf: 6532995 bytes, checksum: b257022db09de0d9eb7e9a576f012f08 (MD5) / Made available in DSpace on 2012-07-20T13:52:49Z (GMT). No. of bitstreams: 1 2008_Dis_MLAndrade.pdf: 6532995 bytes, checksum: b257022db09de0d9eb7e9a576f012f08 (MD5) Previous issue date: 2008 / The present research analyzes the Pious Union the Daughters of Mary, religious brotherhood of single women catholics in Limoeiro, Ceara (1915 - 1945). Aiming to form feminine models of moral behavior, this brotherhood was place of disciplines, norm and social distinction. The study examines practical of reading of the associates Pious Union, articulating dimensions: devotional, exemplary, informative, educational, entertainment and moralizing. Such practices are centrally prescribed in Catholic journalism, classifying and distinguishing between the good and the bad readings. The language of cinema is also broached in the study. The Library of the Pious Union participates of this research, forming a documentary corpus that includes pious and exemplary books and novels. The research still considers the performance of the Daughters of Mary in the educational field as teachers and as catechists in the Catholic proselytism. / A presente pesquisa analisa a Pia União das Filhas de Maria, irmandade leigo-religiosa de mulheres solteiras católicas em Limoeiro, Ceará (1915 – 1945). Visando formar modelos femininos de conduta moral, essa irmandade era lugar de disciplina, norma e distinção social. O estudo examina as práticas de leitura das associadas Pia União, articulando dimensões devocional, exemplar, instrutiva, educativa, moralizadora e de entretenimento. Tais práticas são prescritas centralmente no periodismo católico, classificando e distinguindo as leituras entre edificantes e perniciosas. A linguagem do cinema também é abordada no estudo. A Biblioteca da Pia União participa desta pesquisa, formando um corpus documental que inclui desde as obras piedosas e exemplares aos romances. A pesquisa aborda ainda a atuação das Filhas de Maria no campo pedagógico como professoras e no proselitismo católico como catequistas.