Les fins du voyage chez Peter Fleming sont entendues comme déclins, comme lignes de rupture, comme aboutissements, comme principes moteurs et comme finalités. Trois pistes sont explorées pour comprendre ces fins ; la première postule une volonté anesthétique de la part de l’auteur : la finalité de nier son expérience esthétique et en même temps de rechercher l’extrême en tant qu’anesthésique, en tant que palliation, reproduction et transfert d’expériences traumatiques. La seconde concerne son utilisation de l’art rhétorique pour reproduire et en même temps se jouer des conventions et des attentes du lecteur. On peut parler ici d’une psychologie inversée qui va lui permettre de brouiller ses pistes, de multiplier les interprétations potentielles et de réfléchir son identité de manière protéiforme. Enfin, la troisième propose l’étude des aspects dunamiques de ses récits – un néologisme faisant référence à la sphère de la potentialité. Ce modèle permet de construire une analyse littéraire et anthropologique des alternatives pensées, envisagées et narrées par l’auteur qui va complémenter celle des discours et des itinéraires actualisés. L’identité auctoriale est définie dans ce contexte comme un espace intermédiaire, trans-mondes et hétérotopique, qui se situe entre tous les possibles et ce qui est. / The ends of travel in Peter Fleming’s works are seen as declines, lines of rupture, outcomes, driving principles and goals. Three paths are explored to understand these ends. The first postulates an anaesthetic intention on the part of the author: the purpose of denying his aesthetic experience and at the same time of seeking extreme sensation as an anesthetic, as palliation, reproduction and transfer of traumatic experience. The second focuses on his use of rhetorical art to reproduce and, at the same time, to play with the conventions and expectations of the reader. His use of reverse psychology allows the creation of a broad spectrum of interpretations and the projection of his identity in a protean manner. Finally, the third aims at analyzing the dunamic aspects of his narratives – a neologism referring to the sphere of potentiality. This model allows the literary and anthropological analysis of the potential alternatives contemplated, suggested and narrated by the author, one that is meant to complement the study of his actual itineraries and discourses. Authorial identity is defined in this context as an intermediate, trans-world and heterotopic space which lies between what is and everything that could be.

<p>This dissertation examines Charles Darwin’s major texts together with literary works by turn-of the-century American women writers—Nella Larsen, Charlotte Perkins Gilman, and Kate Chopin—in order to trace how evolutionary theory shaped transatlantic cultural ideas of race, particularly black identity, and gender. I focus on the concept of “descent” as the overarching theme organizing categories of the human in evolutionary terms. My perspective and methods—examining race and gender from a black feminist perspective that draws on biopolitics theory, as well as using close reading, affect theory, and attention to narrative in my textual analysis—comprise my argument’s framework. By bringing these perspectives and methods together in my attention to the interplay between Darwinian discourse and American literature, I shed new light on the turn-of-the-century transatlantic exchange between science and culture. Throughout this dissertation, I argue that descent constitutes a central concept and point of tension in evolutionary theory’s inscription of life’s development. I also show how themes of human-animal kinship, the Western binary of rationality and materiality, and reproduction and maternity circulated within this discourse. I contribute to scholarly work relating evolutionist discourse to literature by focusing on American literature: in the context of turn-of-the-century American anxieties about racial and gender hierarchies, the evolutionist paradigm’s configurations of human difference were especially consequential. Moreover, Larsen, Gilman, and Chopin offer responses that reveal this hierarchy’s varied effects on racialized and gendered bodies. I thus demonstrate the significance of examining Darwinian discourse alongside American literature by women writers, an association in need of deeper scholarly attention, especially from a feminist, theoretical perspective. </p><p>This dissertation begins with my application of literary analysis and close reading to Darwin’s major texts in order to uncover how they formed a suggestive foundation for late nineteenth- to early twentieth-century ideologies of race and gender. I use this analysis as the background for my investigation of Larsen’s, Gilman’s, and Chopin’s literary texts. In Chapter 1, I conduct a close reading of Darwin’s articulation of natural selection in <i>The Origin of Species</i>and focus on how Darwin’s syntactical and narrative structure imply evolution as an agential force aimed at linear progress. In Chapter 2, I analyze Darwin’s articulation of the development of race and gender differences in <i>The Descent of Man</i>, as well as Thomas Henry Huxley’s <i>Evidence as to Man’s Place in Nature</i>, and argue that Darwin’s and Huxley’s accounts suggest how anxiety over animal-human kinship was alleviated through structuring nonwhite races and women as less developed and hence inferior. In Chapter 3, I argue that Larsen’s novel <i>Quicksand </i>interrogates and complicates aesthetic primitivism and biopolitical racism and sexism, both rooted in evolutionist discourses. Finally, in Chapter 4, I focus on Gilman’s utopian novel <i>Herland</i>and select short stories by Chopin. While Gilman unambiguously advocates for a desexualized white matriarchy, Chopin’s stories waver between support for, and critique of, racial hierarchy. Reading these authors together against the backdrop of white masculine evolutionist theory reveals how this theory roots women as materially bound reproducers of racial hierarchy.</p>

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El problema a tratar o la reflexión sobre una redefinición o reestructuración de la ciencia literaria (crítica académica literaria, estudios literarios, CL) y estudios culturales (EC) es un fenómeno global obvio cuando, por ejemplo, en la propuesta para este volumen de reflexiones conjuntas, se pregunta "¿cómo reaccionar frente a la disminución de estudiantes subgraduados y graduados de literatura y al incremento de los abocados a los estudios culturales?" Esta pregunta revela un fenómeno que se está dando masivamente en todos aquellos países en cuyas universidades se han introducido los estudios culturales, así en Alemania, así en el Instituto de Romanística y en el Centro de Investigación Iberoamericana de la Universidad de Leipzig.:Introducción al problema: estudios culturales (EC) y crítica literaria (CL). - Prolegómenos: algunas reflexiones básicas. - "Hibridez" – "transversalidad" – "transmedialidad" – "cuerpo"/ "sexualidad". -

The topic of this master's thesis is the representation of women in the selected works of Finnish male authors from the perspective of the feminist literary criticism. The thesis examines the selected prose works of Kari Hotakainen (novel Na domácí frontě, orig. title 2002), Hannu Raittila (novel Canal Grande, orig. title 2001) and Juha Seppälä (novel Švihadlo, orig. title 1990), as these three writers form an element opposite to a strong generation of Finnish female writers of the 1980s. I will analyse how these selected authors portray women in their works and how the position of female characters in comparison to male ones can be characterized. The aim is to describe the problematics regarding the portrayal of women in modern Finnish literature from the male perspective. The basis originating from the first, theoretical part, which focuses particularly on feminism and its manifestation in literary criticism, will serve as a stepping-stone for the following feminist research in the practical part of the thesis.

The diploma thesis analyzes the collection of fairy tales titled Pohádky pod polštář (Fairy Tales to Put Under the Pillow), written by psychologist Zuzana Pospíšilová and illustrated by Katarína Ilkovičová. The collection was published in the Czech Republic in 2012. The individual fairy tales are based on European folklore and adapted for the Czech cultural context. In terms of presentation, the collection is intended as a modern update of the popular children's fairy tale format. My analysis is rooted in feminist theory and feminist cultural and literary studies, as exemplified by authors such as Pam Morris, Simone de Beauvoir, Naomi Wolf and others. The subject of power is analyzed mainly in relation to the writings of Michel Foucault, Judith Butler and Pierre Bourdieu. From this perspective, I have attempted to make an informed criticism of the stereotypical and otherwise discriminatory images of gender present in the fairy tales. On the other hand, I have also recorded the instances in which gender normativity is subverted in the collection. In addition, the thesis attempts to employ an intersectional approach to analyzing the selected text, taking into account other categories significant to the dominant social order including not only gender, but also race/ethnicity, class, sexual identity,...

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Cervantes' Don Quixote (1605, 1615) is one of the most significant works of European literature. In the 20th century, the two-part novel became one of the fundamental texts for literary and cultural theorists, on which they based their theoretical studies on writing, literature, and culture in general. But do external theoretical views agree with a specific literary history? The diploma thesis presents three selected interpretations of Don Quixote (by V. Shklovsky, M. Bakhtin, and M. Foucault), which are compared with the findings from Spanish studies and with the novel in the original. At the same time, the reading of theoretical works should not be primarily revisionist; the thesis has a comparative character, and the aim is to express the relation between external and internal views of Cervantes' novel.

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Denna uppsats har analyserat gestaltningen av det feminina som skräckinjagande i de två gotik- och skräckromanerna Bunny (2020) av Mona Awad och Cackle (2022) av Rachel Harrison. Den metod som har använts har varit en textnära läsning av novellerna och den teori som analysen har utgått ifrån har huvudsakligen varit Maria Margareta Österholms avhandling Ett flicklaboratorium i valda bitar – Skeva flickor i svenskspråkigprosa från 1980 till 2005 (2012) som behandlar Mary Russos begrepp gurlesken och dess olika former, Sandra M. Gilbert och Susan Gubars teori om den internaliserade manliga blicken i deras bok The madwoman in the attic, The woman writer and the nineteenth-century literary imagination (1979), och Yvonne Lefflers teori om skräckberättelsens förmåga att väcka känslor hos läsaren i hennes bok Horror As Pleasure (2000). Syftet var att undersöka hur romanerna förhåller sig till sammanflätningen av det skräckinjagande och det feminina. Analysen har visat att den internaliserade och objektifierande blicken på kvinnorna är en viktig del i hur de skräckinjagande elementen framställs både groteska och hotfulla – särskilt vid framställningen av det feminina och kvinnomonster. Jag behandlar i den avslutande diskussionen hur det feminint monstruösa i dessa två romaner har förskjutits till ett mittemellanförskap som förhåller sig till förmågan hos publiken att konceptualisera situationerna. / This thesis aims to analyze the figuration of the feminine as something horrifying in the two horror novels Bunny (2020) by Mona Awad and Cackle (2022) by Rachel Harrison. The method is a close reading of the novels and the main theory is based on Maria Margareta Österholms dissertation Ett flicklaboratorium i valda bitar – Skeva flickor i svenskspråkigprosa från 1980 till 2005 (2012), in which she investigates Mary Russo's concept of the gurlesque, Sandra M. Gilbert and Susan Gubar’s theory about the internalized male gaze from their book The madwoman in the attic, The woman writer and the nineteenth-century literary imagination (1979), and Yvonne Leffler’s study Horror As Pleasure (2000), about the aesthetic premises of the horror story and its ability to transform unpleasant feelings into pleasurable horror and aesthetic enjoyment. My thesis aims to investigate how the relationship between the horrifying and the feminine is intertwined in the novels. The analysis has shown that the internalized and objectifying gaze has an important part in the grotesque and threatening aesthetics of the horror story – especially in the depiction of the feminine and female monsters. I argue that the feminine monstrous in these two novels has made a shift into an” in-between-relationship” which behaves differently depending on the audience's ability to conceptualize the situations that arise in the novels.