Tony Kushner's two-part play Angels in America uses stereotypical depictions of gay men to deconstruct traditional gender dichotomies. In this thesis, I argue that Kushner has created a continuum of gender performativity to deconstruct these traditional gender dichotomies, thereby empowering the effeminate and disempowering the masculine. I closely examine Kushner's use of Brechtian and Aristotelian tenets in the first Broadway production of the play to demonstrate that Kushner sought to induce social awareness of gay male oppression, contingent on the audience's perception of Kushner's deconstruction of the traditional gender dichotomy. I also scrutinize the role of the closet and its implications in the play, primarily analyzed with Eve Kosofsky Sedgwick's theoretical framework, suggesting Kushner's partiality to openly gay men who can actively participate in the cessation of gay male oppression.

This thesis applies qualitative literary analysis and ethnographic methods to examine the portrayal of Appalachia in the operas Susannah and Cold Mountain. The operas were premiered almost 60 years apart, yet they share many themes that epitomize roles, patterns, and stereotypes within the Appalachian region. One theme observed is the role and expectations of Appalachian women and how they have developed over time, as the plots are placed roughly a century apart. The depictions of Appalachian religious traditions and representations of violence are also explored as these themes play a considerable role in Susannah and Cold Mountain. By analyzing the representation of Appalachia in these operas, this study places the significance of opera among other forms of media and drama that are evaluated in the field of Appalachian Studies. Susannah and Cold Mountain depict some historically founded representations of Appalachian culture, yet some stereotypes also appear and are evaluated.

In 1890, Charlotte Perkins Gilman wrote a piece of fiction that reflected her personal experience for treatment of nervous exhaustion. The story she developed created controversy and comment after it was published and, years later, agitation among feminists who found allegories of truth in its narrative. This thesis explores the use of linguistic features employed by Gilman to establish cognitive connections between physical structures and social institutions, such as marriage and domesticity, that confine women within contractual obligations. Gilman’s use of extended metaphor challenges conventional conceptions of the home, inanimate objects, and institutional authority and her use of metonymy extrapolates examples from the particular to a wider review. The main findings of this inquiry reveal feminist opposition to women’s subjugated status in the marital relationship and to established hierarchies of male control. The literary analysis exposes the efficacy of narrative gap and textual silences in provoking the reader’s participation.

An interwoven fiction piece representing four perspectives and its effects on self-awareness. The most effective way to blur the line of self in this structure is to braid the minds, voices, and stories, of each perspective. With a focal point where all the voices eventually drift to being the frame of the story, there will be a unique distance between the stories. This thesis explores the effects of different types of mental and physiological illnesses through fiction, highlighting the effect of perception on fact and the perspective of the mentally ill.

This study examines representations of Wu Zetian in the biographical tradition of the tenth, eleventh, and twelfth centuries, as well as within the subsequent vernacular literature of the Ming and Qing periods. I analyze the traditional use and construction of female stereotypes (and female-oriented flaws and vices) in the rhetoric of official histories and fictional narratives and their application to representations of Wu Zetian. I argue that authors, anxious of discord engendered and caused by women occupying positions of political authority, sought to delegitimize Wu Zetian’s reign and subsequently cultivated a “rhetoric of female transgression.” I further argue that the image of Wu Zetian has become a cultural signifier of the dangers of female rule. Thus, my research broadly has two foci: (1) it traces the history of delegitimizing female rulership by examining the creation and codification of topoi, and (2) by focusing on images of Wu Zetian, this study examines how these topoi influence contemporary cultural and cross-cultural values, memory, and political rhetoric. This study is divided into three chapters. Chapter one lays out the history of Wu Zetian in the Tang dynasty and an assessment of women in Tang society, which will inform the analysis of literary portrayals of Wu Zetian in chapters two and three. The second chapter examines the earliest representations of Wu Zetian. Thematically, the second chapter explores the biographical interpretation of female authority and the discursive tradition of negotiating historic fact with formulaic and reoccurring tropes. The third chapter looks at representations of Wu Zetian in the literature of the Ming and Qing periods, in which narratives are encoded with the topoi previously established in earlier historical accounts. Ultimately, although this study examines the persistence of rhetorical topoi regarding Wu Zetian, it also addresses the contested and fluid nature of her representations in non-traditional media.

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No description available.

<p>The boundaries of science fiction, as with any genre, are relational rather than fixed, and critical engagements with Western/Northern technoscientific knowledge and practice and modern human identity and being may be found not just in science fiction “proper,” or in the scholarly field of science and technology studies, but also in the related genres of fantasy and paranormal romance. This thesis offers an interdisciplinary examination – a science-fictional and posthumanist reframing – of the lines of affinity and relationality between these discursive and imaginative domains. Bringing together genre theory and critical posthumanism – itself informed by postmodern and poststructuralist feminism, postcolonialism, science and technology studies, and critical animal studies – with readings of several series in print (Christine Feehan’s Ghostwalkers, Kim Harrison’s The Hollows, and Justina Robson’s Quantum Gravity) and on television (Fringe, True Blood, and Sanctuary), I argue that such narratives’ powerful abiding interest in the domains of knowledge, experience and imagination that lie within, along and outside the margins of scientific orthodoxy, registers a broader cultural apprehension of the conditions and critical perspectives by which Western/Northern humanism, anthropocentrism, modernity, and technoscientific authority have been and can be seen to be destabilized.</p> / Doctor of Philosophy (PhD)

<p>Following from such theorists as Sara Ahmed, Lee Edelman and Heather Love, this thesis seeks to address current scholarship on queerness and temporality that conceptualizes queer subjects as complicating traditional notions of linear time, reproduction, and progress. Mobilizing theories of temporal disruption and disorientation, including backwardness and the queer moment, this thesis explores the association between such disruptions and a persistent impulse to reckon with and reconstruct what I refer to as “the fugitive dead,” understood here both as past events and as the ghostly figures of the dead and effaced. Such disruptions can, this project posits, foster queerly generative affinities between seemingly separate categories (e.g. between the present and the past or between the living and the dead), thereby providing alternatives and challenges to normative temporal trajectories.</p> <p>My analysis considers literary representations of such temporal disruptions, drawing on Virginia Woolf’s <em>Mrs. Dalloway</em>, Michael Cunningham’s <em>The Hours</em>, and Alison Bechdel’s <em>Fun Home</em> to explore their treatments of temporal linearity, queer moments, affinity and connection, as well as haunting and spectrality. Furthermore, this thesis also addresses the capacity of literary texts to <em>enact </em>temporal disruption in the form of the revisioning project, which can be figured as the literary attempt to encounter the fugitive dead. Ultimately, this thesis explores the literary and intertextual dimensions of this complex approach to queer temporality, advocating for the generative possibilities of an attentiveness to the continued presence of the past and an engagement with the figures of the lost and disappeared.</p> / Master of English

<p>In seeking to explain why male authors assumed female pseudonyms in seventeenth-century literature, this dissertation explores male-to-female cross-dressing in Jacobean drama, effeminizing representations of parliament in Civil War propaganda, and parodies of women’s sexualized, political speech during the Interregnum and Restoration periods. My dissertation concludes that the sexualized female persona evolved over the course of the seventeenth century as a vehicle through which male authors could critique rival iterations of patriarchal hierarchy forwarded by Stuart kings and by parliament without challenging their own positions of masculine privilege within those hierarchies.</p> <p>My first chapter explores the political critiques of Jacobean absolutism embedded in the cross-gender performance narratives of Ben Jonson’s <em>Epicoene </em>(1609)<em> </em>and the anonymous play <em>Swetnam the Woman-Hater </em>(1620). In my second chapter I link male-to-female drag’s ability to critique an absolutist patriarchal paradigm to the satirical attacks on parliamentary models of polyvocal patriarchal rule in 1640s print. My final chapter investigates how female authors often find themselves shut out of the political discussions that female impersonations spark by taking up Sarah Jinner’s almanacs of 1658-60. Jinner’s almanacs combine predictions of rampant sexual wantonness with a critique of the waning Protectorate regime. I examine how the pseudonymous response to those almanacs from “Sarah Ginnor” depoliticizes Jinner’s sexual commentary on the Protectorate government.</p> / Doctor of Philosophy (PhD)