This thesis discusses the relationship between the experiences particular to the female body, namely pregnancy and childbirth, and the language employed to voice these experiences. This thesis is set up to reflect the physical cycle of pregnancy and birth. It is divided into three chapters. The first chapter discusses the desire for and the conception of a new use of language, a language equipped to carry the messages, creations, and voices of women. The conception of an expansion of language and the physical conception of a child are paralleled. In this chapter, poetry about wanting to write, wanting to become pregnant, and conception are used as examples of the emergence of the expanded language. In Chapter Two, the incubation of this new language is discussed, its many components and characteristics are described, and the discussion of the possible existence of a womens language is continued, by again analyzing a selection of poetry written by women. In this chapter, poetry about pregnancy and childbirth are used to exemplify the use of this language. The discussion of the gestation and birth of the expanded language with the physical gestation and birth of a child are paralleled. In Chapter Three, this notion of a womens language is further discussed, using poetry about new motherhood to demonstrate the effectiveness and existence of new ways to employ our given language. The discussion of what comes after the birth of a new, expanded language is paralleled with the experiences of a mother after the birth of her child. The ultimate conclusion of this thesis is that there is no one language that women do or should employ when writing, but a movement toward writing through the body when writing about the body, about experiences solely experienced by women.

Examining periodicals and novels from 1847 to 1886, I analyze the feminine fake to argue that individuals were beginning during this period to grapple with the discomforting idea that identity, especially gender, might be a social construct. Previously, scholars have contended that this ideological shift did not occur until the 1890s. I apply the term "feminine fake" to the tools that women use to falsify their identities and to the women who counterfeit their identities. Equally, I consider the fake as a theatrical moment of falsifying one's identity. In my first chapter, I set up my theoretical framework, which draws from Laqueur's writings on the cultural history of sex and gender, Poovey's work on the "uneven development" of gender ideology, and Baudrillard and Eco's respective concepts of the simulacra and the hyperreal. Chapter II examines issues of The Englishwoman's Domestic Magazine and La Mode illustrée to analyze the feminine fake during the period surrounding the Franco-Prussian War. Using Fraser, Green, and Johnston's writing on the periodical alongside Hiner's theories of the ideological work of the accessory, I argue that the women's magazine, particularly via the "rhetoric of the fake" therein, fashion, and the accessory were crucial sites for the construction of gender at the time. Chapter III looks at performance and the feminine fake in Vanity Fair and La Curée. I re-evaluate Voskuil's theories of "acting naturally" to analyze the charades and tableaux vivants within the novels and illustrate how these performances metaphorically function as society's failed efforts to render feminine identities legible. In Chapter IV, I analyze Lady Audley's Secret and L'Eve future, situating Lady Audley and the android as hyperfeminine, or marked by an identificatory excess rendering them more feminine than any real woman. The threat they pose to legible feminine and human identity drives the need to control their unmanageable identities: at the ends of the novels, the women, along with what I characterize as their inhuman fakery, are irreversibly contained. / text

This essay investigates the feminist philosophy of Rosi Braidotti with particular focus on the alternative feminine feminist nomadic subject that she creates. I also introduce Braidotti’s theoretical inspiration from Gilles Deleuze and Luce Irigaray. I argue that Braidotti creates an alternative figuration for feminism through synthesizeing Deleuze’s concept of ”becoming” with Irigaray’s sexual difference-theory. Braidotti highlights the importance of understanding the concept of difference differently. She also argues for the difference between subjectivity and identity, for the materialistic foundation of the subject, for the fundamental asymmetry between the sexes and for the nomadic mode of thinking. Braidottis suggests that the way out of the phallogocentric system, which she means we are encapsulated in, consist in working through the images that patriarchy has produced of women, through mimetic repetitons, in order to create new representations of women. I argue that the feminist philosophy of Braidotti is both humble and subversive which makes it an interesting and useful alternative for everyone who is interested in alternative, complex and thrilling ways of theorizing female feminist subjectivity.

Encore est le récit d’une jeune femme hantée par un avortement qui lui semble n’avoir jamais eu lieu et pourtant se rappelle sans cesse à elle, comme un mauvais rêve. C’est l’histoire de son désir, écrite contre la domestication de son corps, et par laquelle elle tente de se réapproprier le néant de son ventre et d’y faire apparaître les traces de sa mémoire. Mon essai porte sur Le Bleu du ciel de Georges Bataille, dont j’ai voulu interroger les « monstrueuses anomalies » — expression qu’emploie Bataille lui-même dans la préface de son livre. Comment faire un monstre de récit, comment transgresser la loi d’un genre réputé sans contrainte ? Mon projet aura été de mettre en évidence, plutôt que la monstruosité de l’histoire racontée, le travail, ou la besogne, dans l’écriture de ce récit, de l’informe et de la chance, termes que j’emprunte à Bataille et soumets au jeu de sa fiction. / Encore (Again) tells the story of a young woman haunted by an abortion, which she thinks has never happened to her, and yet keeps hounding her, especially in her dreams. This is the story of her desire, held against the domestication of her body, and through it, she tries to repossess her womb and make the traces of her past appear, beyond the visible. My essay addresses the « freakish anomalies » of Georges Bataille’s Blue of Noon (Le Bleu du ciel), as Bataille himself qualified his novel in his preface. How to transgress a genre that has no law, no constraint ? Rather than analyzing the freakishness of the narrative or the characters, I have tried to understand how writing was here performed, or tasked, by formless and chance, two concepts that I have borrowed from Bataille and confronted to his fiction.

Par son recours à diverses formes d’expression, Unica Zürn (1916-1970) redynamise l’espace de la feuille en le faisant activement participer à l’écriture de soi. Le « je » semble en effet se démultiplier grâce à des jeux « anagrammatiques » sur les divers signes mobilisés, qu’ils soient alphabétiques, picturaux ou musicaux. L’autoreprésentation s’inscrit alors au sein d’une œuvre pluridisciplinaire inusitée, qui renouvelle l’esthétique quelque peu « essoufflée » du mouvement surréaliste. Cette attitude vis-à-vis de la feuille, où plusieurs signes « décomposables » et « recomposables » se partagent l’espace, est observable tant dans l’œuvre littéraire que picturale d’Unica Zürn. Le processus de création par la lettre, le trait et la note de musique, tend à revaloriser le support matériel utilisé par l’effacement des frontières entre les disciplines artistiques, qui appelle un regard distancié du lecteur/spectateur sur l’œuvre. Afin d’interpréter les travaux de Zürn dans la pluralité des moyens artistiques qui y sont déployés, l’approche intermédiale sera favorisée. Dans le premier chapitre de ce mémoire, il s’agira d’abord de voir comment s’articule un certain dialogue entre le discours des chercheurs de l’intermédialité et l’œuvre d’Unica Zürn. Le rapport à l’objet sera notre porte d’entrée dans la matière intermédiale. Par un retour à la matérialité de l’expérience médiatique, nous constaterons que Zürn met à l’avant-scène les instruments et supports de la création, ce qui mène à une représentation distorsionnée de soi, de l’espace et du temps. Une fois le parallèle établi entre les concepts de l’intermédialité et les travaux de Zürn, nous nous concentrerons sur le pan musical de l’œuvre pluridisciplinaire de l’auteure-artiste. Le second chapitre traitera de l’intrusion du sonore dans l’univers textuel, qui se fera notamment par la réappropriation de l’opéra Norma, de Vincenzo Bellini. Cette réécriture s’intitule Les jeux à deux et prend une distance considérable par rapport au texte originel. Elle s’accompagne de dessins effectués par l’auteure-artiste à même les partitions de l’opéra. Le regard multiple posé sur l’œuvre zürnienne permettra de comprendre que l’écriture palimpseste participe du processus d’autoreprésentation, tout en élaborant un discours sur la rencontre entre littérature, dessin et musique, ainsi que sur l’influence de cette juxtaposition sur le débordement des frontières médiatiques traditionnelles. / Having recourse to many forms of expression, Unica Zürn (1916-1970) revitalizes the space of the sheet by having it take an active part in the individual writing. The “I” seems to increase thanks to “anagrammatic” games on the many mobilized signs, whether they are alphabetical, pictorial or musical. The self-representation is inspired by an unusual multidisciplinary work, which renews the aesthetics, somewhat “worn”, of the surrealist movement. This attitude towards the sheet, where many “decomposable” and “recomposable” signs share the space, is observable in Unica Zürn’s literary work as well as in her pictorial work. The process of creation through the letter, the stroke and the musical note tends to reassert the value of the material support used by the abolition of the boundaries among the artistic disciplines, which calls for a distanced look from the reader/spectator on the work. In order to interpret Zürn’s work in the plurality of the artistic means that are deployed, the intermedial approach will be favoured. In the first chapter of this dissertation, we will see how a certain dialog is structured between the views of the intermediality’s researchers and Unica Zürn’s work. The relation to objects will be our entry point in the intermedial subject. Through a return to the materiality of the media-related experience, we will notice that Zürn puts at the forefront the instruments and the supports to the creation, which leads to a contorted representation of oneself, space and time. Once the parallel established between the intermediality’s concepts and Zürn’s work, we will focus on the musical aspect of the author-artist’s multidisciplinary work. The second chapter will deal with the intrusion of sound in the textual universe, which will occur through the reappropriation of the Vincenzo Bellini’s opera “Norma”. This revising is called “Les jeux à deux” and is significantly different from the original text, and is paired with drawings made by the author-artist directly on the opera’s partitions. The multiple look placed upon the zurnian work will allow to understand that the palimpsest writing takes part in the self-representation process, through elaborating a view regarding the interrelation of literature, drawing and music, as well as the influence of this juxtaposition on the overflow of the traditional media boundaries.

This thesis focuses on Secretos entre el Alma y Dios, the autobiography or vida of Catalina de Jesús María Herrera (1717-1795), a nun who belonged to the Dominican Convent of Santa Catalina in Quito, Ecuador. Catalina wrote in a direct and engaging style of her monastic life and spirituality. Her text allows us to better understand the society in which she lived and particularly her relationship with her confessor, fray Tomás del Rosario Corrales, to whom she writes her autobiography. Her numerous visions are classified here as divine, evil and death visions. They draw from traditional hagiographic accounts and provide evidence of how Saint Teresa of Ávila’s Libro de la Vida was read in a colonial context. A close-textual reading of Catalina’s vida, sheds light on her claims to have reached God as the expression of a female voice long suppressed in this patriarchal society. / Graduate

Thesis (Ph. D.)--UCLA, 2008. / Vita. Description based on print version record. Includes bibliographical references (leaves 174-190).

Dans cette étude, on s’est concentré sur trois oeuvres de Marguerite Andersen, qui s'écrivent autour d’un thème : le mélange de la réalité et de la fiction. Donc, le but de cette thèse repose sur une étude de l'écriture autofictionnelle, qui se rattache étroitement à la quête identitaire du personnage. Et tout cela renvoie bien à la motivation de l’écriture de l’auteure : d’un côté, elle partage ses témoignages personnels avec celui qui vit aussi dans un contexte multiculturel, de telle manière que son écriture participe d’une pédagogie. De l’autre, elle parle au nom d’une femme écrivaine, de façon à contribuer à la lutte de la femme pour un avenir plus lumineux dans la société. Ainsi, la thèse comporte une première partie consacrée à la construction de l’identité entre le personnage, la narratrice et l’auteure, la deuxième analyse l’écriture du temps et de l’espace, et la troisième est composée de trois chapitres, portant respectivement sur l’hétérogénéité narrative dans les trois oeuvres. A travers des analyses de la modalité narrative exploitée par l’auteure dans chaque oeuvre, dans la conclusion, on dégage dans les trois oeuvres la cohérence, qui donne à réfléchir sur des thèmes constants et le mécanisme exploré par l’auteure dans d’autres oeuvres, et qui renvoie à la contribution de l’écriture andersenienne à l’écriture au féminin, à la littérature francophone. / In this work, we focused on three works of Marguerite Andersen, which are written around a theme : the mixture of reality and fiction. Therefore, the aim of this thesis is based on a study of autofictional which is closely related to the investigation of character identity. All of these exactly refer to the author's motivation : on the one hand, by sharing her personal stories with the person who also lives in a multicultural context, in such a way that her writing is considered a pedagogy. On the other hand, as a female writer, she could be more able to understand women's struggle and help them to rebuild a brighter future in society more objectively. Thus, the first part of this thesis is devoted to construct a consistent identity among the character, the narrator, the author; the second part analyzes the writing in terms of time and space; and the third is composed of three chapters, which elaborate narrative heterogeneity among three works respectively. Based on the analysis of narrative modality exploited by the author in each work, in the conclusion part, we draw from three works a common which leads to a reflection about constant theme and the writing skills explored by the author in other works£»meanwhile, it highlights the contribution of andersenienne in regards to women's writing and Francophone literature.

Made available in DSpace on 2016-12-12T20:34:13Z (GMT). No. of bitstreams: 1 Monica.pdf: 4808328 bytes, checksum: 2787dff8efe410e04ae2f01873d6723e (MD5) Previous issue date: 2005-12-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The central objective of this work is to investigate the sort relations that had been constructed and reconstructed in the years of 1967-73, period where the Catarinense College inserted the presence of women in a pertaining to school space destined until then to the masculine education. The research is developed from thirteen interviews carried through between teachers, employees and pupils who had frequented the College in the selected secular clipping. Through the verbal stories, of the memories of these women, the reading and the research of documents and sources of the College, as well as of the use of theoretical contributions of some authors, it is looked to track as it was the company and the relations of sort between pupils, pupils, teachers, professors, coordinators, coordinators and direction in the interior of this pertaining to school institution, observing changes in the physical space, alteration in the didactic organization, application of norms to discipline and forms of treatment differentiated for men and women / O objetivo central deste trabalho é investigar as relações de gênero que foram construídas e reconstruídas nos anos de 1967-73, período em que o Colégio Catarinense inseriu a presença de mulheres num espaço escolar destinado até então à educação masculina. A pesquisa desenvolve-se a partir de treze entrevistas realizadas entre professoras, funcionárias e alunas que freqüentaram o Colégio no recorte temporal selecionado. Através dos relatos orais, das memórias destas mulheres, da leitura e da pesquisa de documentos e fontes do Colégio, bem como da utilização de contribuições teóricas de vários autores, procura-se rastrear como foi a convivência e as relações de gênero entre alunas, alunos, professoras, professores, coordenadores, coordenadoras e direção no interior desta instituição escolar, observando-se mudanças no espaço físico, alteração na organização didática, aplicação de normas disciplinares e formas de tratamento diferenciadas para homens e mulheres

Submitted by FABIANA DA SILVA FRANÇA (fabiana21franca@gmail.com) on 2018-02-08T13:48:31Z No. of bitstreams: 1 Arquivo Total.pdf: 2033854 bytes, checksum: 2c9fff6500db9886cada67079bd5c89a (MD5) / Made available in DSpace on 2018-02-08T13:48:32Z (GMT). No. of bitstreams: 1 Arquivo Total.pdf: 2033854 bytes, checksum: 2c9fff6500db9886cada67079bd5c89a (MD5) Previous issue date: 2017-02-01 / This study aimed to analyze the process of sexual division of labor and gender relations that shape the professional trajectories of female teachers in the courses of Mechanical Engineering, Physics and Mathematics, considered the most masculine in a Federal Institution of Higher Education of the Brazilian Northeast. Some questions guided this research: how are drawn both the professional and life trajectories of female teachers in male areas? How did gender relations affected the careers of these college professors? Based on the assumption that there is hierarchy, prestige and status in the distribution of academic activities between men and women, how do these divisions occur in the departments researched? Do these teachers perceive gender and sex discrimination in the relationship with co-workers and students? In order to understand the central subject of the study, I reviewed its theoretical foundation, addressing studies on women in academy, especially in the departments where they are a minority, highlighting the literature on gender, sexual division of labor, habitus, culture and academic field. As evidence, narrative interviews were conducted with eleven female teachers from those areas were carried out. In this qualitative investigation, the narratives gave support to the construction those teachers’ biographies and discourse analysis was used as a tool to support the analysis of the data. The results indicate that there are obstacles in the career development of these women teachers who do not occupy prestige and power spaces in respective areas. In the relationship with male pairs and students, both career and teachers’ behavior are influenced by gender division as well as by male habitus in the academic field. In addition, it has been observed that it is difficult for the interviewees to balance work and family life, since the domestic tasks and care for the family continue to be an obstacle to the full professional development of women. This research concluded that these teachers, despite a solid academic background, some with more than one postdoctoral degree, are kept out of the center of production and academic prestige. Thus, it is evident that the relations of male domination are far from being abolished from the academy. Finally, some recommendations were presented, aiming to contribute to the development of research involving knowledge in the area of gender studies, academic careers and labor relations, and on the relationships between men and women in the context of Brazilian higher education. / Este estudo teve como objetivo geral analisar o processo de divisão sexual do trabalho e as relações de gênero que configuram as trajetórias profissionais de mulheres docentes nos cursos de Engenharia Mecânica, Física e Matemática, considerados os mais masculinos em uma Instituição Federal de Ensino Superior do nordeste brasileiro. Algumas questões nortearam esta investigação: como são desenhadas as trajetórias profissionais e de vida das docentes em departamentos masculinos? Como as relações de gênero afetaram as carreiras dessas docentes? Partindo do pressuposto de que ha hierarquização, prestigio e status na distribuição das atividades acadêmicas entre homens e mulheres, como essas divisões ocorrem nos departamentos pesquisados? Estas docentes percebem a discriminação de sexo e gênero na relação com os colegas de trabalho e com os alunos? Para compreender a temática central do estudo, realizei uma fundamentação teórica, abordando estudos sobre as mulheres na academia, principalmente nos departamentos em que elas são minoria, destacando a literatura sobre gênero, divisão sexual do trabalho, habitus, cultura e campo acadêmico. E como evidencias foram realizadas entrevistas narrativas com onze mulheres docentes desses departamentos. Nesta investigação qualitativa, as narrativas deram suporte para a construção das biografias docentes e foi empregada a análise de discurso como ferramenta para dar suporte à análise dos dados. Os resultados apontam que existem obstáculos e desenvolvimento da carreira destas docentes que não ocupam espaços de prestígio e poder nos departamentos. Na relação com os pares masculinos e discentes são influenciadas pela divisão de gênero e o habitus masculino do campo acadêmico influencia tanto na carreira quanto no comportamento das docentes. Além disso, foi observado que é difícil para as entrevistadas conseguirem equilibrar a vida pessoal e familiar, uma vez que as tarefas domésticas e o cuidado com a família continuam sendo empecilho ao pleno desenvolvimento profissional das mulheres. Concluiu-se que essas docentes, apesar de uma formação acadêmica sólida, algumas com mais de um pós-doutorado, são mantidas fora do centro de produção e prestígio acadêmico. Com isso, fica evidente que as relações de dominação masculina estão longe de serem abolidas da academia. Por fim, foram apresentadas algumas recomendações, objetivando contribuir para o desenvolvimento de estudos envolvendo conhecimentos na área dos estudos de gênero, carreiras acadêmicas e relações de trabalho, e sobre as relações entre homens e mulheres no contexto do ensino superior brasileiro.