Thesis (Ph. D.)--Ohio State University, 2006. / Full text release at OhioLINK's ETD Center delayed at author's request

This thesis is concerned with inscriptions of gender and space in the novels of two African women writers, Mariama Bâ and Chimamanda Ngozi Adichie, particularly Bâ’s So Long a Letter (1981) and Scarlet Song (1986) and Adichie’s Purple Hibiscus (2004) and Half of a Yellow Sun (2006). The exploration of representations of gendered identity is thus integrated with an awareness of space/place. By exploring the demarcation and enunciation of space within my chosen texts, I hope to provide new perspectives on the question of gendered identities and relations. The theorizing of gender identities and relations thus gains a new orientation from its application in relation to the theorizing of space and spatiality. As many theorists have argued, space is an important aspect to consider because it is not a neutral site: it becomes invested with meanings and encodes particular values and relations of power which can be contested and negotiated. This is particularly evident when looking at questions of gender identity, roles and relations. ‘Geographies of gender’ are established not only in the coding of spaces as ‘masculine’ and feminine’ but also in the kinds of sociality which they encourage and the power-relations they encode. If space is central to masculinist power, it is also important in the development of feminine resistance. Drawing on a range of theorists, I endeavour to pursue a gendered analysis of space/place through a reading of particular locations (the home, the street, the village) as expressive of power relations, gender identities and roles. I also consider how space/place is differently experienced and inhabited by men and women as well as how dominant constructions of space/place, which are also invested with meaning and power relations, come to be negotiated or contested. In all four novels explored in this thesis, the home is revealed as a dominant site of inscription, a space which tends to reflect and reinforce dominant social identities and roles. In this sense, the home is often figured as a site of patriarchal and gendered oppression, a central domain in which normative definitions of gender are established and reinforced. What is also clear, however, is that way in which the home also becomes a site for the contestation and renegotiation of gender identities and roles, a place where conventional identities can be challenged and new identities explored. In this sense, the home is revealed as a major site of contestation in which the tensions between different experiences and interpretations of space based on contrasting cultural definitions of power relations, gender identities and roles are played out. If the ordering of space is an important means of securing dominant gender relations, it also provides the means for negotiation and resistance. This is reflected not only the alternative ii examples of home explored in these novels but also in liberating spaces such as the school, the beach and the university. In the destabilisation and destruction of the home, the links between self and place becomes apparent as new identities are formed and conventional roles are redefined.

Thesis (Ph. D.)--Duke University, 2008.

Thesis (Ph. D.)--University of Oregon, 2006. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 363-372). Also available for download via the World Wide Web; free to University of Oregon users.

This thesis explores the idiosyncrasies of the nineteenth-century property market and the significance of rented spaces in the literary imagination, focusing on Charles Dickens's fiction and journalism. The traditional understanding of the Victorian home has been challenged in recent criticism that points to the permeability of the public and private spheres, complicates the ways in which gender mapped onto these spheres, and highlights the difference between home and house, freehold and leasehold. This thesis contributes to the discussion by showing that domestic space was a more fractured concept than the middle-class ideal suggests. Versions of 'home' could be found in a multitude of unlikely and unstable places: in inns, hotels, lodging-houses, boarding-houses, and private houses subdivided into apartments for income. Drawing particular attention to London, I reveal tenancy - the commodification of space - to be a governing force in everyday life in the period. The vast majority of the population had an immediate economic relationship with the rooms and houses they inhabited, and this basic fact had various social, psychological and imaginative corollaries. Dickens may have been read as an overwhelming proponent of domestic ideology, but as this thesis argues, rented spaces had an enduring hold upon him. Most significantly, for Dickens, to write about tenancy meant to write about writing. His tenancy narratives touch upon questions of genre, style, character, authorial self-consciousness and the literary marketplace - especially his dialogue with the writers working around him. I explain that the emerging prominence of rented spaces gave Dickens and his circle new narrative opportunities, offering them a tool with which to study the boundaries of different genres. Space, then, does not simply provide a backdrop for incident in the novel, but plays a direct part in determining which incidents take place. Accordingly, the chapters in this thesis are principally divided by genre. The introduction lays out the historical, theoretical and geographical coordinates of the argument. The first chapter identifies some of the key features of Dickens's emerging urban style, situates his early work within an influential farce tradition, and brings the figure of the landlady to life. The second discusses spatial metaphors in the Bildungsroman; it ends with an argument about the 1851 window-tax repeal and its implications for literary lodging-houses. Chapter 3 considers the sudden growth of the hospitality industry during the Great Exhibition and its corresponding narratives, from comedy to sensation fiction. This is followed by a short interlude on seaside lodgings, where Dickens and his contemporaries modernised the pastoral for the nineteenth century. After charting contemporary debates surrounding 'low' lodging-houses, Chapter 4 demonstrates how these writers used rented spaces to make major contributions to the rise of the detective story. The fifth chapter, on living alone and living together, is largely dedicated to the multi-authored Christmas numbers of Household Words and All the Year Round; these witty collections suggest that the dynamics of the lodging-house reflect the politics of Dickens's immediate circle. Finally, a coda contemplates the legacy of Dickens's tenancy narratives in the late nineteenth century and beyond.

Space constitutes one of the main leitmotifs of Czeslaw Milosz's work, both theoretical and poetic. Central in this respect is the notion of imagination as a faculty organizing space, the faculty which, from the times of the Scientific Revolution, has been subject to erosion, especially as far as the religious imagination is concerned. The abolition of the anthropocentric, hierarchical vision of space, threw human beings into a state of alienation, conceptual nowhere. Religion was replaced by the dogmatism of scientific reductionism, the reality of Ulro. Milosz shows the way out of Ulro, the way out of nowhere to the somewhere. This thesis aims to illustrate the conceptual map of the way out of Ulro as portrayed in four selected volumes of poetry and the novel Dolina Issy, anchored in different points of Milosz's biography. The Land of Ulro, the collection of essays which encapsulate Milosz's ideas on space, constitutes a canopy work for the interpretation of the practical realization of those ideas in Milosz's poetic work. Trzy zimy (1936), Swiat, poema naiwne (1943), Miasto bez imienia (1969), and Druga przestrzen (2002) provide the material for the analysis of different aspects of Milosz's conception of space. Subject to analysis is the relationship between object and human subject as regards the formative, childhood experience of the space of the house (manor) and surrounding landscape, the act of building space on the basis of memory and retrospection in the context of distance and exile, and the workings of religious imagination in the context of the realm of second space. Through his conception of space, Milosz defends human existence in its completeness. He shows the way out of Ulro. This thesis aims to retrace Milosz's map out of the land of alienation on the basis of the poet's selected works.

The thesis discusses affinities between physical and psychical spaces in selected works of D. H. Lawrence, Virginia Woolf and Wyndham Lewis in connection with the main philosophical and aesthetic problems posed by the changes in modernist representation of character with respect to space and place. In doing so, the argument assesses the "in-human humanism" of D. H. Lawrence and Virginia Woolf which manifests itself in the interrelation between states of mind and material universe, the way in which the consciousness accommodates various material "admixtures" and how subjectivity "escapes" from subject to its own outside. Using the conservative thought of Wyndham Lewis as a vital source of comparison, the thesis examines how the interaction of these newly constructed modernist subjectivities with space changes and challenges traditional ideas of unity of self, personal identity and autonomous agency. Drawing on a number of themes from visual arts, the discussion connects these psychical factors with the notions of solidity and fluidity/stability and instability of material reality and individual objects, moving bodies or things in space. As a part of this, the thesis incorporates a detailed discussion of Italian Futurism, especially F. T. Marinetti's and Umberto Boccioni's theories of physical...

This thesis aims to analyse the specific space of Anglo-American Gothic fiction in the 18th and 19th century. The first part of the thesis deals with various aspects of Gothic fiction from a theoretical viewpoint. It contains the two possible concepts of the "Gothic". It lists typical features of the Gothic fiction and gives a brief overview of its development. Then, a crucial typology of space according to Vseticka and Pavera is introduced, as well as Mikhail Bachtin's related term chronotope. The theoretical part concludes with the reflection of the subversive nature of the Gothic fiction and its relation to similarly unconventional approaches of psychoanalysis and gender studies. The practical part of the thesis applies the aforementioned space typology to ten works of English and American Gothic fiction from 1764-1897, with short profiles of the respective writers in each chapter.

This thesis proposes a new view of space in Theodor Fontane’s writing as both a mode of literary expression and an object of literary inquiry: space serves a poetic function and is a thematic concern. The research draws on theories of literary space which focus on spatial structures and topographies, as well as those which provide critical tools for analysing individual passages of description, especially focalisation, which elucidates the influence of the viewing figure in the text. Significantly, the subjective experience of a perceptive observer is central to Fontane’s conception of aesthetic processes, and as a result, an analysis of spatial representation often uncovers reflexive discourses on art, its function and value. On the basis of this insight, this study provides new readings of a range of texts, including less well-established and non-fictional works, as well as recognised masterpieces. In Fontane’s local travelogues, the Wanderungen, the poetic function of space is rare, while many passages reflect on the environment’s potential significance. The early novels explore spatial representation as a means of constructing textual symbolism. Spatial representation in Vor dem Sturm functions as a strategy of relativisation; in Schach von Wuthenow and Graf Petöfy topographies and pregnant descriptions serve as commentaries on characters’ levels of awareness. The mature novels Irrungen Wirrungen and Unwiederbringlich explore the sources and practical implications of reading objects in the world as signs. Space retains its formal role, but the represented figural experience of the novels’ worlds becomes a vehicle for reflexive analysis of the world’s perceived meanings. Similarly, in Der Stechlin different types of relationships with exterior reality are expressed spatially, and, as elsewhere, the capacity for aesthetic appreciation is represented positively. This entails and indeed produces critical distance towards modernity: isolated Stechlin is a locus of poetry, a testament to literature’s importance and vitality.

Thesis (MA)--Stellenbosch University, 2013. / AFRIKAANSE OPSOMMING: Die eerste gedeelte van hierdie tesis ondersoek die ruimtelike basis vir morele agentskap in Gert Vlok Nel se digbundel om te lewe is onnatuurlik. As teoretiese raamwerk word daar van die teoloog/letterkundige Wesley Kort, die letterkundige/sosioloog Irma du Plessis en die radikale geograaf David Harvey se werk gebruik gemaak. Kwessies soos die (i) wisselwerking tussen omvattende, sosiale en intieme ruimtes deur narratiewe ruimtelikheid in poësie, (ii) die onstandvastigheid van die onderskeid tussen private en openbare ruimtes en (iii) verkillende vorms van ruimtelikheid, soos absolute, relatiewe en relasionele ruimtes, asook materiële ruimte, gerepresenteerde ruimte en ruimtes van representasie kom aan die bod. Daar word aangevoer dat Gert Vlok Nel se bewustelike plasing van homself as randfiguurdigter binne die Afrikaanse literêre sisteem as vorm van morele agentskap gesien kan word. Verder word getoon dat, as om te lewe is onnatuurlik in geheel en as familiekroniek gelees word, die onderskeid tussen private en openbare ruimtes waar geweld en trauma plaasvind ondergrawe word en sodoende politieke magskwessies as persoonliketiese kwessies herdefinieer. Laastens word argument gevoer dat, alhoewel die sprekerdigter in die bundel (“Gert”, of “Gertjie”) op die oog af gebrekkige agentskap blyk te toon, die besonderse tydruimtelike plasing van die spreker-digter die moontlikheid vir verruiming van agentskap skep en sodoende die idee van versplinterde subjek uitdaag. Hierdie akademiese opstel hou verband met die kreatiewe gedeelte van die tesis, digbundel getiteld Veelvuldige gebruike vir huishoudelike toestelle, waarin huishoudelike ruimtes as vertrekpunt gebruik word om kwessies soos morele verantwoordbaarheid, kreatiewe aandadigheid, post-koloniale manlikheid, sosiale verandering en trauma te ondersoek. / ENGLISH ABSTRACT: The first part of this thesis investigates the spatial grounds for moral agency in Gert Vlok Nel’s collection of poems om te lewe is onnatuurlik [“to live is unnatural”]. The works of theologian/literary theorist Wesley Kort, literary theorist/sociologist Irma du Plessis and radical geographer David Harvey are used as theoretical framing. Matters such as (i) the interplay between encompassing, social and intimate spaces through narrative spatiality in poetry, (ii) flawed distinctions between private and public space, and (iii) different forms of spatiality, such as absolute, relative and relational space, as well as material space, represented space and spaces of representation are explored. It is argued that Gert Vlok Nel’s conscious positioning of himself as poetic outsider within the Afrikaans literary system can be seen as a form of moral agency. Furthermore, it is pointed out that a reading of om te lewe is onnatuurlik in its entirety, as family chronicle, destabilises the distinction between private and public spaces where violence and trauma occur, thereby recasting political power as questions of personal ethics. Finally it is argued that, although the narrator-poet in die collection (“Gert”, or “Gertjie”) seems to lack agency, the peculiar spatio-temporal placing of the narrator-poet nevertheless opens up room for the possibility of agency and by doing this, challenges the idea of a splintered subject. This academic essay is related to the creative part of this thesis, a collection of poems titled Veelvuldige gebruike vir huishoudelike toestelle [“Multiple uses for domestic appliances”], in which household space is used as a vantage point from which to interrogate issues such as moral responsibility, creative complicity, postcolonial masculinities, social change and trauma.