This thesis “Inherently Hybrid: Contestations and Renegotiations of Prescribed Identities in Contemporary Sri Lankan English Writing” examines work by Nihal de Silva, David Blacker and Vivimarie VanderPoorten to analyse their negotiation of identity, belonging and citizenship within contemporary Sri Lankan English Writing. This negotiation of identity is then placed in relation to the Eelam Wars as well as hybridity and cosmopolitanism, which have become a part of Sri Lankan identity because of the nation’s postcolonial past. Genre and form are employed as ways into exploring the tensions within Sri Lankan English writing, especially because they prescribe on the texts selected a specific way of approaching and presenting the ethnic conflict that is a widespread theme in much of contemporary Sri Lankan writing. The first chapter looks at De Silva’s adventure romance The Road From Elephant Pass. It examines how the novel engenders a renegotiation of identities through the effects of the ethnic conflict upon the attitudes, behaviours and ideologies of the island’s populations, symbolically represented through the narrator, who is a Sinhalese Buddhist officer in the Sri Lankan Army and his eventual lover, who is a rebel fighting for the Liberation Tigers of Tamil Eelam. I analyse the arguments presented in the text around identity, belonging and patriotism and focus on the representations of ethnic and racial identity that ultimately expose the constructedness of these various positions, revealing the unacknowledged but real hybridity of the Sri Lankan peoples. I look at markers of cultural capital and tease out how class identities rely on cosmopolitanism, characterised by a knowledge of English, and how that further reveals the performativity of identity. The second chapter examines Blacker’s political thriller A Cause Untrue. Here I explore how the use of detail and description provides an appearance of imparting a complete and realistic perspective on the war. I demonstrate how the novel, through the calculated use of what I will characterise as a ‘reality effect’, takes on the manifestation of being an authority on the war. Blacker’s use of recognisable historical events allows him to create an alternative narrative of history, one that has all the hallmarks of being a true retelling even as it is apparent that his text utilises the ‘reality effect’ to imagine Sri Lanka creatively. This demonstrates how the selection of the thriller genre provides Blacker with a specific way of representing the nation and its diasporas’ in relation to the Eelam Wars. The third chapter focuses on VanderPoorten’s collection of poetry nothing prepares you. Here I investigate how the concepts of hybridity and cosmopolitanism are located within the language used to construct her poetry. I explore how this hybridity and cosmopolitanism of language works together with the form and content of her poems to provide a disquieting of fixed notions of identity, citizenship and belonging. The conclusion to the study revisits the issues that my three chapters deal with, bringing together an overall account of hybridity, cosmopolitanism and identity. I look at the constructedness and performance of identity with the aim of providing a nuanced reading of the renegotiations of identity and citizenship that are taking place because of the ethnic conflict. By summing up the different manifestations of the various gendered, ethnic and class identities represented and presented in the texts that I explore, I illustrate the wider implications of the points of connection between identity and power on the one hand and nationalism, dogma and political rhetoric on the other. Identities within the Sri Lankan nation blur the distinctions between alien and citizen, between one who belongs and subscribes to set expectations, norms and practices and one who challenges these markers of identity.

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T.S. Eliot's use of allusion is crucial to the structure and themes of his early poetry. It may be viewed as a compulsion, evident in even the earliest poems, rather than just affectation or elitism. His allusions often involve the reversal or re-ordering of constructions of gender in other literature, especially in other literary treatments of myth. Eliot's "classical" anti-Romanticism may be understood according to this dual concern with myth and gender, in that his poetry simultaneously derives from and attacks a perceived "feminised" Romantic tradition, one which focuses on female characters and which fetishises, particularly, a sympathetic portrayal of femmes fatales of classical myth, such as Circe, Lamia and Venus. Eliot is thus subverting, or "correcting", what are themselves often subversive genderings of myth. Another aspect of myth, that of the quest, is set in opposition to the predatory female by Eliot. A number of early poems place flâneur figures in the role of questers in a context of constraining feminine influence. These questers attempt, via mysticism, to escape from or blur gender and sexuality, or may be ensnared by such things in fertility rituals. A sadomasochistic motivation towards martyrdom is present in poems between 1911 and 1920. With its dual characteristics of disguise and exposure, Eliotic allusion to ritual and myth is itself a ritual (of literary re-enactment) based on a myth (of literature), namely Eliot's "Tradition". Allusive reconfiguration being a two-way process, Eliot's poetry is often implicitly subverted or "corrected" by its own allusions. Thus we are offered more complex representations of gender than may first appear; female characters may be viewed as sympathetic as well as predatory, male ones as being constructed often from representations of femininity rather than masculinity. The poems themselves demonstrate intense awareness of this fluctuation of gender, which appears in earlier poems as a threat, but in The Waste Land as the potential for a rapprochement between genders. This poem comprises multiple layers of re-enactments and reconfigurations of gender-in-myth, centring upon Shakespeare's Venus and Adonis. The Waste Land's treatment of myth should not be seen as merely reflecting a passing interest in anthropology, but as the culmination of concerns with myth and gender dating back to the earliest poetry. The complex interrelation of the two aspects leaves it unclear whether Eliot's allusive compulsion derives principally from a concern with mythologies of literature or from a concern with mythologies of gender.

Thesis (MA)--University of Stellenbosch, 2002. / ENGLISH ABSTRACT: The issues of culture and gender are not a well researched subject in Xhosa literature. So far there is one doctoral research study by Mtuze (1990) conducted on prose works of 1909 - 1980. This study aims to investigate culture and gender in Mayasi's novel, Iqhina lomtshato (1995). The main reason for this research is that Xhosa culture has been viewed in literature to be patriarchal, which means that it is organised in such a way that it depicts male domination. Women on the other hand are being regarded as inferior or subordinate. Findings in this research are that the character Sindiswa is presented here as a victim of male domination and oppression when she is forced into a relationship without her consent. The fact that Max, who is a much older man and unsuitable as her lover, leaves her with no choice but to accept what we may call "his induced proposal" of love. Sindiswa's oppression is also intensified by the urban culture that is new to her. / AFRIKAANSE OPSOMMING: Die vraagstukke rakende kultuur en gender is tot nog nie goed ondersoek vir die Xhosa letterkunde nie. Tot dusver is daar een studie, deur Mtuze (1990), wat gedoen is oor prosawerke in Xhosa vanaf 1909-1980. Hierdie studie het as doelstelling die ondersoek van die verband en aard tussen kultuur en gender in Mayosi se novelle Iqhina lomtshato (1995). Die doelstelling van die navorsing is dat Xhosa kultuur dikwels in die letterkunde as patriargaal uitgebeeld is, met ander woorde, dit is op 'n wyse uitgebeeld wat manlike dominering weergee terwyl vroue as ondergeskik of minderwaardig weergegee word. Bevindinge van die studie is dat die karakter Sindiswa hier uitgebeeld word as 'n slagoffer van manlike dominering en verdrukking wanneer sy ingedwing word in 'n verhouding sonder haar toestemming. die feit dat Max 'n veelouer man as sy is wat ongeskik is om haar geliefde te wees, laat haar met geen keuse as om sy 'gedwonge huweliksvoorstel' te aanvaar nie. Sindiswa se onderdrukking word ook vergroot deur die stedelike kultuur wat nuut is vir haar.

Thesis (MA)--Stellenbosch University, 2002. / ENGLISH ABSTRACT: This study investigates the role of women in the Xhosa novel, Unyana Womntu, written by Saule. The main aim is to investigate how images of women have developed or deteriorated as a result of the changes in the South African society. It will be remembered, for instance, that in traditional and colonial eras, images of women were subjected to patriarchy. One expects a change in the status of women as depicted in literature because of consistent demands that women are entitled to equal opportunities. The theoretical aspects of gender and culture are discussed in Chapter 2 as the framework of the study. Chapter 3 deals with plot, character and space in Saule's novel, Unyana Womntu and how they are viewed in relation to gender and culture. A detailed analysis of gender and culture is done in Chapter 4 of Unyana Womntu. In the analysis of the gender and culture in Unyana Womntu, it is found that the images of women presented in the novel are undergoing radical changes, such that some women seem to fail to cope with changes. However, this does not mean that all women are incapable of making informed choices in terms of their depiction in xhosa literature. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die rol van vroue in die Xhosa novelle Unyana Womntu geskryf deur Saule. Die hoofdoelstelling is om 'n ondersoek te doen van hoe voorstellings van Xhosa vroue ontwikkel of verswak het as gevolg van veranderinge in die Suid-Afrikaanse gemeenskap. Dit word byvoorbeeld onthou, dat in tradisionele en koloniale eras, die voorstellings van vroue onderwerp is aan patriargale uitbeelding. 'n Mens sou 'n verandering verwag in die status van vroue soos voorgestel in die letterkunde, op grond van die voortdurende eise dat vroue geregtig is op gelyke geleenthede. Die teoretiese aspekte van gender en kultuur word in hoofstuk 2 bespreek as die raamwerk vir die studie. Hoofstuk 3 ondersoek die intrige, karakters en ruimte in Saule se novelle Unyana Womntu, en hoe hierdie aspekte uitgebeeld word met betrekking tot gender en kultuur. 'n Gedetailleerde analise van die uitbeelding van gender en kultuur in Unyana Womntu word gedoen in hoofstuk 4 van die studie. In die ontleding van gender en kultuur in Unyana Womntu word daar bevind dat die voorstellings van vroue wat aangebied word in die novelle aansienlike veranderinge ondergaan, tot so In mate dat vroue daarin faal om met verandering tred te hou. Dit beteken egter nie dat alle vroue 'n onvermoë het om ingeligte keuses te maak in terme van hulle uitbeelding in die Xhosa letterkunde nie.

Thesis (MA)--Stellenbosch University, 2002. / ENGLISH ABSTRACT: This study examines gender relations in four Xhosa drama books. It aims at establishing the influence of culture on gender representations of female and male characters. Culture is observed in the context of patriarchy, which influences the way men and women are portrayed in the dramas. Men and women in the dramas are portrayed as cultural stereotypes. They behave in similar and predictable ways. These characters illustrate a moralistic theme thus conveying a patriarchal message. In this study, culture is viewed as too comprehensive, a concept to be forced into definition that will be acceptable to everyone. Culture can be used to refer to a general process of intellectual, spiritual and aesthetic development. It might be to suggest a particular way of life, whether of people, a period or a group. Storey (1993 : 20) "Culture" embraces everything, which contributes to the survival of man. According to Payne (1997 : 190) "gender" refers to the ensemble of cultural forms, meanings, and values conventionally associated with women and men. The thesis is arranged as follows: Chapter 1 introduces the aim, the scope, the theories and the methods of the study. Chapter 2 deals with the development of plot within episodes in the four dramas. A critical evaluation of the dramas is undertaken. Chapter 3 deals with a man and a woman as character in Xhosa drama under a study. A detailed analysis of the main male and female character in each drama is undertaken. Furthermore, a critical summary of how the male and female character has been portrayed in the dramas is presented. Chapter 4 presents depiction of Xhosa culture in the Xhosa dramas. From each drama, certain selected aspects of culture are explored and an investigation of the portrayal of these aspects is undertaken. Chapter 5 summarizes the findings of the study. / AFRIKAANSE OPSOMMING: Die studie ondersoek die verhoudings tussen geslagte in vier Xhosa drama boeke. Die doel is om die invloed wat kultuur op die manlik en vroulike karakters teenwoordig, vas te stel. Kultuur word waargeneem in die konteks van patriargisme, wat die manier waarop mans en vrouens in die drama uitgebeeld word, beïnvloed. Mans en vrouens word in die dramas as kulturele stereotipes uitgebeeld. Hulle tree op dieselfde en voorspelbare maniere op. Die karakters illustreer In moralistiese tema en dra sodoende In patriargale boodskap oor. In die studie, word kultuur as te omvattend beskou, In konsep wat aanvaar word deur almal. Kultuur kan gebruik word om na In algemene ontwikkelingsproses wat intellektueel, spiritueel en asteties is te verwys. Dit mag wees om In sekere soort leefwyse uit te beeld, hetsy van mense, In periode of In groep. Storey (1993:20) beskryf "kultuur" as alles wat tot die oorlewing van die mens bydra. Volgens Payne (1997: 190) verwys "geslag" na die samestelling van kulturele vorms, menings en waardes wat konvensioneel met mans en vrouens geassosieer word. Die tesis is as volg uiteengesit: Hoofstuk 1 stel die doel, die omvang, die teorie en metodes van die studie voor. Hoofstuk 2 handeloor die ontwikkeling van die komplot binne episodes van die vier dramas. In Kritieke evaluasie van die dramas word gedoen. Hoofstuk 3 handeloor die karakters van In man en In vrou in die Xhosa dramas. In gedetailleerde ontleding van die dominante manlike en vroulike karakters van elke drama word gedoen. In Kritiese opsomming van hoe die manlike en vroulike karakters uitgebeeld word, word ook gedoen. Hoofstuk 4 stel die tipiese uitbeelding van die Xhosa kultuur in die Xhosa dramas voor. Vanuit elke drama word sekere selektiewe aspekte van kultuur ondersoek en In inspeksie van die uitbeelding van die aspekte word gedoen. Hoofstuk 5 bevat die bevindinge van die studie.

Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2010. / AFRIKAANSE OPSOMMING: E.K.M. Dido publiseer in 1996 haar eerste roman, Die storie van Monica Peters, en word so een van die eerste bruin vrouens wat ‟n bydra tot die Afrikaanse letterkunde lewer. In Dido se romans word daar altyd ‟n vrou as hooffiguur gestel, en dit is van belang om na die konstruksie van die identiteite van die vroulike hooffigure ondersoek in te stel. Die romans lig invloede op, en aspekte van, identiteit uit en demonstreer hoe kwessies soos identiteitsmerkers ‟n rol in die konstruksie van identiteit speel. Die konstruksie van die vroulike figure se identiteite wys op die veranderende aard van identiteit, en die stemme van die gemarginaliseerdes van die verlede word in twee van hierdie romans deur hierdie figure gehoor. Dido self skryf vanuit die posisie van die voorheen gemarginaliseerde. Deur die konstruksie van die hooffigure vind die gemarginaliseerdes van die verlede ‟n geleentheid om hul eie verhale te vertel, en so verbreek Dido die stiltes wat in die verlede geskep is. Die postkoloniale aard van Dido se romans speel ‟n ondermynende rol binne ‟n letterkunde wat steeds verteenwoordigend is van die magstrukture van die verlede. Die konsep van hibriditeit word uitgelig as een wat positief eerder as negatief is. So word daar byvoorbeeld ‟n nuwe perspektief op wit mense gegee, soos gesien deur die oë van die historiese ‟Ander‟. Die posisie van swart skrywers in die huidige Afrikaanse letterkunde is een wat ondersoek moet word en uiteindelik moet hierdie posisionering van swart skrywers herevalueer word. Daar is ‟n vraag na ‟n literêre geskiedenis wat verteenwoordigend is van al die stemme wat in die Afrikaanse geskiedenis teenwoordig is. Uiteindelik is dit nodig om te bepaal waar presies Dido in hierdie literêre sisteem geposisioneer is, en of haar stem as swart vroueskrywer werklik gehoor word. / ENGLISH SUMMARY: E.K.M. Dido published her first novel, Die storie van Monica Peters (The story of Monica Peters) in 1996 and so doing became one of the first brown women to make a contribution to Afrikaans literature. The central character in Dido‟s novel is always a woman and this study will focus on the methods of construction of the identities of the female characters. The novels highlight the influences of external factors such as markers of identity on the construction of identity. The changeable nature of identity is demonstrated through the construction of the identities of these female characters. The voices of the marginalised figures from the past are heard through these characters in two of Dido‟s novels. Dido writes from the position of a previously marginalised woman. She breaks the silences of the past by the construction of the female characters‟ identities in such a way that they are able to tell their stories. The postcolonial nature of her work acts to undermine a literature which still reflects the power relations of the past. Dido‟s novels look at the concept of hybridity and see it as a positive, rather than negative, state of being. The white characters in the novels undergo a process of “Othering” which gives a new perspective on race relations from colonial times. There is a need to investigate and rethink the position of black writers within the Afrikaans literary system. Critics have expressed a desire for a literary history which is representative of all voices in Afrikaans. Dido‟s position in the literary system has to be investigated and it needs to be determined whether her voice as a black Afrikaans woman writer is being heard.

Intimate spaces play a key role in the development of human identity, constructing identity through an internalized experience of the house itself. Building on Bachelard's theories in The Poetics of Space, I argue that characters in Yevgeny Zamyatin's We and J.G. Ballard's The Drowned World gain a new awareness of self after experiencing nature as a substitute for the house. The emergence of a new identity occurs because nature offers protection from the forces that inhibit both D-503 and Keran's individual growth ; it offers the safety of the house that neither character is allowed in a private home : D-503 because of the panoptic space of the One state and Kerans due to the nature of the changing circumstances of the environment and his own biology that force him to accept his role as a "new" human and the jungle as "home". / by Megan Mandell. / Thesis (M.A.)--Florida Atlantic University, 2013. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

This thesis will suggest how Woolf scholarship's rich exploration of Virginia Woolf's representations of girls, women and femininities may be complemented by more systematic feminist study of constructs of masculinities, as they appear in her work. Elaborating the concept of the ‘private brother', the figure of a form of maleness that the daughters of educated men ‘have reason to respect', but that Three Guineas' narrator stipulates is ‘sunk' by men's exposure to society and replaced by the ‘monstrous male', my thesis will focus particularly on the representations of boys, men and masculinities in To the Lighthouse, Between the Acts and Woolf's biography Roger Fry, though I will additionally use material from Woolf's essays, diaries and letters, as well as from Mrs Dalloway, The Years and The Pargiters. The first section of my thesis will supplement feminist critiques of the education received by upper-middle-class English boys in Woolf's texts by exploring her representations of young male (inter)subjectivities in the process of being ‘sunk.' In the second section, I will complicate the narrative trajectories often indicated for these characters in Woolf criticism by proposing that Woolf understood this sinking process as always incomplete: I will argue that Woolf's adult male characters, even her patriarchs, professors and otherwise educated men, vacillate continually between stances that might be characterised as monstrous maleness and private brotherliness–in both ‘public' and intimate settings–as one of the preconditions of social existence.

Yuen Siu Fung. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references (leaves 157-162). / Abstracts in English and Chinese. / Chapter Chapter One: --- Re-imagining Female Subjectivity beyond Bodily Inscriptions --- p.1 / Chapter Chapter Two: --- Cultural Body and Female Agency: The Transformation of Identity in Jasmine --- p.21 / Chapter Chapter Three: --- Woman and Unwoman: Reconstructing Subjectivity in The Handmaids Tale --- p.64 / Chapter Chapter Four: --- Beyond Bodily Defined Identity: Per/Re-forming Man/Woman Relationship in Nights at the Circus --- p.114 / Chapter Chapter Five: --- "In Search of Fulfilment, Satisfaction and Development" --- p.150 / Bibliography --- p.157