Die vorliegende Arbeit untersucht Romane indianischer Autorinnen und Autoren des 20. Jahrhunderts hinsichtlich ihrer Repräsentation von Konflikten zwischen amerikanischen Ureinwohnern und der vorherrschenden christlichen Religion des allgemeinen gesellschaftlichen Umfelds. <br> Verschiedene Schwerpunkte sind zu erkennen, die im Laufe des Jahrhunderts immer wieder dargestellt und in veränderter Perspektive betrachtet werden. Sowohl historische Konflikte der Kolonialisierung und Christianisierung als auch die immerwährende Frage indianischer Christen -- 'Wie kannst Du in eine Kirche gehen, die so viele Indianer umgebracht hat?' [Alexie, Reservation Blues] -- werden in den Romanen diskutiert und in meiner Arbeit analysiert. <br> Es wird ferner versucht, eine literaturgeschichtliche Klassifizierung der einzelnen Werke entsprechend ihrer Repräsentation dieser Probleme vorzunehmen. In Anlehnung an Charles Larsons chronologisch-thematische Darstellung indianischer Prosa, werden die Kategorien rejection, (syncretic) adaptation, and postmodern-ironic revision eingeführt, um die unterschiedlichen Darstellungsweisen zu beschreiben. <br> Anhand der fünf Hauptbeispiele ist eine Entwicklung der zeitgenössischen indianischen Literatur zu beobachten, die sich von der engen Definition der 1960er und 70er Jahre zugunsten eines breiteren und vielfältigeren Ansatzes löst und dabei mittels interkultureller und intertextueller Referenzen, postmoderner Ironie, und einem neuen indianischen Selbstbewußtsein auch neue Positionen gegenüber dem Glauben der einstigen Kolonialmacht einnimmt.<br><br> Gutachter / Betreuer: Prof. Rüdiger Kunow ; Dr. Jürgen Heiß / This MA thesis examines novels by Native American authors of the 20th century in regard to their representation of conflicts between the indigenous population of North America and the dominant Christian religion of the mainstream society.<br> Several major points can be followed throughout the century, which have been presented repeatedly and discussed in various perspectives. Historical conflicts of colonization and Christianization, as well as the perpetual question of Native American Christians -- 'How can you go to a church that killed so many Indians?' [Alexie, Reservation Blues] -- are debated in these novels and analyzed in this paper.<br> Furthermore, I have tried to position and classify the works according to their representation of these problems within literary history. Following Charles Larson's chronologic and thematic examination of American Indian Fiction, the categories rejection, (syncretic) adaptation, and postmodern-ironic revision are introduced to describe the various forms of representation.<br> On the basis of five main examples, we can observe an evolution of contemporary Native American literature, which has liberated itself from the narrow definition of the 1960s and 1970s, in favor of a broader and more varied approach. In so doing, and by means of intercultural and intertextual referencing, postmodern irony, and a new Indian self-confidence, it has also taken a new position towards the religion of the former colonizer.

Modernitet och intermedialitet is the first major study of the Swedish modernist writer Erik Asklund (1908-1980) and his works. The thesis consists of an introductory chapter and three close readings of Asklund’s early novels Kvinnan är stor (The Woman is Great, 1931), Lilla land (A Small Country, 1933), and Fanfar med fem trumpeter (A Fanfare with Five Trumpets, 1934). In these novels, Asklund depicts modernity in Sweden in the 1930’s. Exploring the modernity of the 1930’s in Asklund’s novels, especially the contemporary media situation turns out to be one of the most important aspects. Asklund wrote stories about film, music and various forms of visual culture, (photography, for instance). These different forms of art and media play an important role for Asklund’s writings, not only thematically, but also narationally. In my analyses, I put forward different theoretical aspects of intermediality. In this context, the ideas of Werner Wolf have been especially useful to my examinations of the intermedial aspects in Asklund’s works. In the novel Kvinnan är stor, Asklund tells the story about the young woman Lydia, who moves from the countryside to the big city of Stockholm. She then learns to decode the modern urban society, and becomes a modern woman. In Kvinnan är stor, intermediality is expressed mainly through various connections to film and photography. The modernization of Sweden in the early 20th century was much a question of the countryside becoming modern. In Lilla land, Asklund depicts this process. The novel is one of the first works ever focusing the forming of the Swedish welfare state project. The story is told in a cinematic or filmical way. The third novel to be analysed in the thesis is Fanfar med fem trumpeter. This is one of the first Swedish jazz novels. Asklund tells the story about five young unemployed men in Stockholm who form a jazz orchestra, and make a career. The novels characters experience everyday life as “medialized”; they compare reality with music, film, and photography. These novels, as well as all Asklund’s writings from the 1930’s, are important contributions to the “story about Sweden becoming a modern country”. This “story” consists of the novels, short stories and poems written in the early decades of the 20th century in Sweden.

Much recent scholarship in Victorian studies has viewed sexuality as historically contingent and constructed primarily within the realm of discourse or social organization. In contrast, the following study details species-typical and universal aspects of human sexuality that must be adequately theorized if an accurate model of the ideological forces impacting Victorian sexuality is to be fashioned. After a short survey of previous scholarly projects that examine literature through the lens of biology—much of it marred by an obvious antipathy toward all attempts to discover the involvement of ideology in human behavior—this study presents a lengthy primer to the modern study of evolutionary psychology, behavioral genetics, and human sexuality. Because the use of science is still relatively rare in literary studies, the first chapters are designed both to convince the reader of the necessity of considering biology and evolution in examining human sexuality, as well as to provide the general educated scholar in our field with the basic framework of knowledge necessary to follow the remainder of the text. Chapter three follows with a detailed examination of the sources of the political resistance to biological and genetic models of human behavior within liberal arts and social science departments, and chapter four presents an evolutionary and biochemical model for the apprehension of art that locates the origins of culture within the evolutionarily-fashioned brains of individuals and attempts to recuperate the concept of aesthetic emotion and foreground the special nature of erotica in its ability to produce immediate neurochemical effects in the brains of its consumers. Finally, the study examines works of Victorian literature, especially My Secret Life, to demonstrate the deficiencies in constructionist and interactionist theories of human sexuality while detailing the new readings that emerge when one is aware of the biological basis of human mate selection mechanisms.

Abstract This thesis discusses and analyses a 19th century female author's vanishing from history. The study investigates social relationships as figured and described in the epistolary form, based on letters between the author herself and different members of her family. It also tries to identify the author's position and situation in her time and society according to important themes and motifs in her novels. The main purpose is not to reconstruct history, but rather to show the many complex histories that can also be described, apart from the simplified and generalized one. The aim of this study is to, from a post-structuralist perspective, analyze the position of author Marianne Lundegård-Hagberg, and her role as a performative, discursive person that history forgot.

This dissertation examines detective novels for children and young adults written and published in the German Democratic Republic (GDR). The aim of the thesis is to study how the genre developed under the conditions of a socialist society. The analysis of the 66 texts included in the corpus is based on a socio-historical approach assuming that dialogical interdependencies between texts and society exist and can be verified. Central to the analytical work with the texts is the thesis that detective novels written for young readers reflect the socio-political development in East-German society. It shows, however, that—because of their strong didactic impetus—the texts did generally not, like detective novels for adults, develop into a forum for socio-critical discussions. In the diachronic development, which extends from the beginning in the Soviet occupation zone to the post-reunification period, it is shown that changing socio-political conditions interact with the texts, which becomes particularly obvious in the changing presentation of the detectives and criminals. Studying the texts, the dissertation presents basic research and an overview of the genre. Ten texts from the corpus are subject to a detailed analysis in order to deepen the general insights with examples. This way, different aspects of detective novels for children and young adults in the GDR are emphasized, e.g. the interaction between text and illustration. The embedding of figures in a socialist community produces further motives frequently occurring in the texts such as: the Heimat motive or the anti-fascist society. Although the majority of the texts do not go beyond stereotypical representations of characters, criminal cases, and locations—and hence demonstrate the close link between (normative) ideas of society and their literary implementation—the body of texts contains some innovative exceptions in which the social development is questioned and even cautiously criticized.

“Between the Spheres: Male Characters and the Performance of Femininity in Four Victorian Novels, 1849-1886” définit le célibataire domestique, analyse les effets de l’érosion des frontières entre les domaines public et privé et retrace l’évolution du discours public au sujet de la masculinité dans quatre œuvres: Shirley écrit par Charlotte Brontë, Lady Audley’s Secret de Mary Elizabeth Braddon, Daniel Deronda par George Eliot, et The Strange Case of Dr. Jekyll and Mr. Hyde de Robert Louis Stevenson. En identifiant le célibataire domestique comme personnage récurrent à la dernière moitié du dixneuvième siècle, cette dissertation démontre comment ce personnage arrive à représenter l’incertitude face aux questions de sexualité, non seulement dans des rôles féminins mais aussi dans les positions de l’homme dans la société et la remise en question du concept de la masculinité. Tout comme il y eu de femmes à l’affût de la liberté au-delà du domaine privé, des hommes aussi cherchèrent leur liberté au sein du domaine domestique par des performances féminines. Le célibataire domestique rapporte sur le concept New Woman de cette période par sa tendance de promouvoir de nouvelles définitions de la masculinité victorienne et les limites entre sexes. Le célibataire domestique passe du domaine public, plutôt masculin, vers le domaine privé, plutôt féminin en participitant dans le discours féminin, tel que les sujets de le domesticité, la chastité, la moralité, le mariage, et l’amour. En s’inspirant de l’analyse des domaines public et privé par Jürgen Habermas, cette dissertation revoit les rôles de ces domaines et leur élasticité dans les quatre œuvres en question ainsi que le sort des célibataires domestiques. L’assignation de sexe à ces domaines mena à la recherche de nouveaux formes de masculinité, produisant une définition de mâle liée au statut de la femme dans le domaine privé. Le célibataire domestique se déplace facilement entre ces domaines sans souffrir d’accusations de tendances effeminées ou d’aliénation sociale, à l’encontre des conséquences qu’ont souffert les personnages femelles pour leur comportement inhabituel. Chaque chapitre de cette dissertation considère les changements dans le discours de la sexualité afin de suivre la migration du célibataire domestique du domaine féminin au milieu du dixneuvième siècle jusqu’un nouveau domaine à la fin de siècle qui estompe la distinction rigide crue être en place tout au long de la période victorienne. / “Between the Spheres: Male Characters and the Performance of Femininity in Four Victorian Novels, 1849-1886” defines the domesticated bachelor, examines the effects of the blurring of the boundaries between the public and private spheres, and traces the evolution of the public discourse on masculinity in Charlotte Brontë’s Shirley, Mary Elizabeth Braddon’s Lady Audley’s Secret, George Eliot’s Daniel Deronda, and Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde. By identifying the domestic man as a recurrent figure in the second half of the nineteenth century, this dissertation proves how he comes to represent the uncertainty surrounding issues of gender, not only concerning women’s roles, but also men’s positions in society and the re-defining of masculinity. Just as there were women seeking freedom by moving beyond the domestic sphere, there were men seeking a similar liberty by moving from the public into the private sphere by performing femininity. This bachelor is equally significant to the New Woman of this period based on his tendency to open up for discussion new definitions of Victorian masculinity and gender boundaries. The domesticated man moves from the “masculinized” public sphere into the “feminized” private sphere, by engaging in feminine discourse including issues of domesticity, chastity, morality, marriage, and love. Drawing upon Jürgen Habermas’s analysis of public and private spheres, this dissertation re-examines the roles of the spheres, their fluidity in the four works under consideration, and the fate of the domesticated male characters. The gendering of the spheres resulted in the search for new forms of masculinity; this new definition of maleness was extremely dependent on the status of women in the private sphere. The bachelor moves between the spheres without necessarily suffering consequences such as effeminacy and social estrangement, as opposed to “masculine” female characters that did suffer from social stigma resulting from their uncharacteristic behavior. Each chapter considers changes in the discourse of sexuality to account for a re-positioning of the domesticated man from a feminine sphere of activity into a new sphere which, by the end of the century, blurs the rigid distinction thought to be in place throughout the Victorian period.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

本論文以康德和經驗主義美學切入討論維多利亞文學中女性的家庭和社會奉獻，論證女性家庭奉獻的美感並非單純呼應家內天使的形象，而是作者藉此美感，提供女性一符合性別期待的社會奉獻管道。十九世紀的家內天使意識型態，歌頌中產階級女性角色為男性的幫手，其家庭奉獻象徵秩序與道德，讚揚女性的道德美感。此兩性空間的意識型態視女性的主要活動範圍為家庭，看似縮減其參與社會奉獻的相關性，但作家實以女性家庭奉獻的美感為敘事手法，傳達慈善始於家庭的想法，傳達女性情感與落實社會奉獻。 本論文檢視三本1850至1870期間的英國小說：喬爾斯‧狄更斯（Charles Dickens）、喬治‧愛略特（George Eliot）、伊利莎白‧蓋斯凱爾（Elizabeth Gaskell）的小說皆以女性奉獻為主，但各展現不同的美感與社會奉獻的關係，融合社會對家庭奉獻的傳統要求和實踐女性自我主體性。論文第一章介紹美的概念演變、維多利亞時期的女性奉獻美感、以及本論文的章節架構。第二章探索美感與道德的同異性。從康德美學的觀點，探討維多利亞的家內天使形象和狄更斯《荒涼山莊》女主角的家庭奉獻，論證美雖不等同於道德，但卻是道德的象徵。第三章分析女性的愉悅美感是源於奉獻行為。愛略特《米德爾小鎮》的女主角，融合利己情感和利他奉獻，以道德和愉悅感為奉獻的基礎，彰顯女性奉獻與道德愉悅感的關係。第四章檢視女性的同情美感和社會改革。蓋斯凱爾《北方與南方》女主角的同情美感，塑造出獨立能幹的形象，致力於家庭奉獻和排解階級糾紛，並促使男性角色改善階級衝突。結論章節論述，維多利亞小說中的家內天使形象和女性奉獻所產生的美感，隱藏複雜多樣的奉獻和主體關係，雖然女性以家庭奉獻的美感為出發點，實為進行社會奉獻，蘊含豐富的改革和情感動力，挑戰傳統家內天使形象的寓意。 / This study uses Kantian and Empiricism aesthetics to explore women’s devotion and effect to home and society in Victorian literature. The beauty of heroines’ devotion to home does not simply convey the conventional image of an angel in the house but offers women a socially acceptable access to social commitment in the Victorian novels written by Charles Dickens, George Eliot, and Elizabeth Gaskell. The ideology of an angel in the house regards middle-class women as helpmates. Women obtain the sense of beauty via their domestic devotion, which symbolizes order and morality. This female image not only reinforces the ideology of separate spheres but also cooperates with women’s participation in social commitment. Female devotion is used to reinforce the notion that charity begins at home and express women’s feeling and pursuit of social commitment. This study examines three Victorian novels between 1850 and 1870. The novels of Dickens, Eliot, and Gaskell accentuate female domesticity and present different aspects of female beauty in women’s participation in domestic devotion relevant to their social commitment of improving the world. They reconcile the society’s demands of women’s domestic devotion with personal pursuits for female subjectivity. In the first chapter, the study defines beauty, particularly of devotion in the Victorian time. It also shows the structure of the work through describing how other chapters are organized. The second chapter examines the affinity of beauty and morality in women’s devotion to home. Kantian aesthetics which explains the exercise of aesthetic judgments is helpful to explore Dickens’s angelic heroine’s moral beauty in Bleak House. The heroine’s beauty is not synonymous with morality but is, instead, symbolic of morality. The third chapter centers on the relation between female agreeable feelings, virtues, and beauty in Eliot’s Middlemarch. The heroine undergoes the process of reconciling self-regarding feelings and altruistic devotion to make virtuous contributions. Empiricist David Hume’s virtue theory helps explore the motivation and transformation behind the heroine’s virtuous action based on agreeable feelings and approbation of virtuous actions. The fourth chapter explores women’s beauty resulting from sympathy with family members and the poor. The independent heroine of Gaskell’s North and South dedicates herself to domestic devotion and class conflict. Her sympathetic beauty causes men to change present condition for the improvement of working-class life. In the fifth chapter, the analysis of female beauty and devotion in the three Victorian novels helps discover that various, complicated relation between devotion and subjectivity under the conventional disguise of women’s moral image. Although the women’s beauty originates from their devotion to home, the domestic devotion functions as their social commitment of reforming the world which contains rich, dynamic challenge to the ideological image of female beauty.

Cette étude se fixe un triple objectif. Il s’agira d’abord de décrire les représentations textuelles du rire dans Le Roman comique de Scarron, en établissant d’une part les conditions de possibilité du comique et, d’autre part, en montrant la dette qu’a contractée le genre de l’histoire comique du XVIIe siècle auprès de la poétique de la comédie classique. Nous préciserons ensuite la nature et le sens à donner aux stratégies dramaturgiques mises en œuvre par Scarron pour rendre compte de l’humanité comique, tantôt disqualifiée, toujours remise en question. Nous mettrons enfin en évidence l’originalité de la structure du roman de Scarron qui accueille contradictoirement des esthétiques ennemies. Expérience de l’insubordination et affirmation d’une conscience critique, le rire de Scarron, en même temps qu’il brouille les hiérarchies culturelles, littéraires et idéologiques de l’âge classique, induit une rhétorique de la lecture comique et délivre une vision sceptique du monde. Innervée par ce rire protéiforme et ambivalent, notre étude propose donc une interprétation globale du roman scarronien à partir de l’analyse détaillée de sa poétique. / The following study has three main goals. We will first describe the textual representations of laughter in Scarron’s Le Roman comique, establishing on the one hand the conditions of possibility of the comic and by showing, on the other hand, the debt that the seventeenth century’s comic novels have contracted towards the poetics of the comedy. We will then identify the nature and meaning of the dramaturgical strategies used by Scarron to represent his comical characters, sometimes disqualified but always questionned. Finally, we will highlight the originality of Scarron’s novel structure that hosts contradictory aesthetics. While it blurs the frontiers of cultural, literary and ideological hierarchies, Scarron’s laughter, an experience of insubordination and an affirmation of a critical consciousness, induces a certain way of reading comedy and delivers a skeptical view of classical age’s world. Animated by this protean and ambivalent laughter, our study proposes a global interpretation of Scarron’s novel based on a detailed analysis of his poetics.

This thesis is a broadly chronological study of representations of Japan and the Japanese in Australian novels, stories and memoirs from the late nineteenth century to the twenty-first century. Adopting Edward Said???s Orientalist notion of the `Other???, it attempts to elaborate patterns in which Australian authors describe and evaluate the Japanese. As well as examining these patterns of representation, this thesis outlines the course of their development and change over the years, how they relate to the context in which they occur, and how they contribute to the formation of wider Australian views on Japan and the Japanese. The thesis considers the role of certain Australian authors in formulating images and ideas of the Japanese ???Other???. These authors, ranging from fiction writers to journalists, scholars and war memoirists, act as observers, interpreters, translators, and sometimes ???traitors??? in their cross-cultural interactions. The thesis includes work from within and outside ???mainstream??? writings, thus expanding the contexts of Australian literary history. The major ???periods??? of Australian literature discussed in this thesis include: the 1880s to World War II; the Pacific War; the post-war period; and the multicultural period (1980s to 2000). While a comprehensive examination of available literature reveals the powerful and continuing influence of the Pacific War, images of ???the stranger???, ???the enemy??? and later ???the ally??? or ???partner??? are shown to vary according to authors, situations and wider international relations. This thesis also examines gender issues, which are often brought into sharp relief in cross-cultural representations. While typical East-West power-relationships are reflected in gender relations, more complex approaches are also taken by some authors. This thesis argues that, while certain patterns recur, such as versions of the ???Cho-Cho-San??? or ???Madame Butterfly??? story, Japan-related works have given some Australian authors, especially women, opportunities to reveal more ???liberated??? viewpoints than seemed possible in their own cultural context. As the first extensive study of Japan in Australian literary consciousness, this thesis brings to the surface many neglected texts. It shows a pattern of changing interests and interactions between two nations whose economic interactions have usually been explored more deeply than their literary and cultural relations.