This thesis will explore representations of female rivalry in novels by women between 1914 and 1939. It will focus especially on women writers' reversal of the 'erotic triangle' paradigm theorised by Rem\ Girard (1961) and Eve Kosofsky Sedgwick (1985). By using a female-male-female triangle these women novelists are able to examine the conflict between women's primary bonds to other women and their desire for the sexual fulfilment and social/economic status offered by a relationship with a man. The first chapter will offer an historical overview and reasons for a particular interest in this theme during this period. Chapter Two will compare the models of female rivalry which can be drawn from the work of Freud (of key importance in the inter-war period) and Luce Irigaray, from studies of blood sister relationships, and from a Bakhtinian model of subjectivity constructed through dialogue. Both chapters will include brief analyses of novels. The central chapters will use these models of female rivalry to offer detailed analyses of texts by five women writers: May Sinclair, Rebecca West, Vera Brittain, Winifred Holtby and Rosamond Lehmann. The chapter on May Sinclair explores her use of psychoanalysis to problematise the motif of self-sacrifice in Victorian women's novels - the woman who sacrifices her own desires in order to cede the man she loves to her friend or sister. The chapter on Rebecca West looks at her use of her sisters as models for her female characters, and at her exploration of relations between women who are brought together only by their relation to the man they both love. The following two chapters will offer an extended analysis of the friendship between Vera Brittain and Winifred Holtby and their intertextual rivalry over the meaning of their friendship and female friendship in general. The chapter on Rosamond Lehmann explores her valorisation of sister relationships and her examination Of the romance plot and the way that it constructs women as rivals. Finally, the conclusion will focus on a reading of Lehmann's retrospective The Echoing Grove (1953), which fuses the figures of the rival and the sister. It will argue for the need for a model of female rivalry which can encompass the tension generated by the simultaneous and competing positions occupied by women as rival commodities within a 'male economy' and as 'sisters' within a 'female economy'. I will suggest that we need new plots and narratives which can encompass rivalry between women which is not over a man. We also need to consider the possibility that some kinds of rivalry between women can, ironically, be both positive and energising.

The Sandbox and Other Short Stories is a part of an anthology reflecting on conflicting military cultures, tribal identities, and transition struggles within an enduring war and postmodernism society.

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Thesis advisor: Susan Michalczyk / After the fall of the Soviet Union and the end of the Cold War, the United States became the one remaining superpower at the head of a unipolar international system. This new position and the repercussions of its power led to the rocky international stability of the 1990s. The Poison Umbrella Effect is a political allegory which explores this historic transition period through the relationships of college students. Anna Bennet is a freshman at Warren College who, after being elected Hall President by default, must find a balance between her friendships and her sense of power and responsibility. Her first year of college is marked by drama, disillusionment, and progress as she develops into the person she will be for the rest of her college career. With her friends representing other countries, and all of their actions representing political events of the 1990s, Anna's experiences demonstrate America's progression from a leading power in a bipoloar world, to the domineering superpower it is today. / Thesis (BA) — Boston College, 2007. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: College Honors Program.

A disgraced officer and an enlisted man forge an unlikely friendship through the desperate river battles waged along the Mississippi between Union forces and outnumbered Confederate defenders. Following their surrender, the two friends along with the other defeated Rebels are incarcerated in Northern prisoner of war camps where new challenges await them. Only one will survive. Based upon ten years of historical research, Long Road Home explores the trials and travails of George Spears and his friend, Eli Forrest. / https://dc.etsu.edu/etsu_books/1004/thumbnail.jpg

This work is a textual analysis of selected documentary films whose common theme is the inevitable discrepancy between the realities of the Vietnam and the 2003 Iraq War from the perspectives of the veterans and soldiers, and the assumed reality that is constructed in the media. It is at this point that the inextricable link between documentary cinema and reality proved fundamental to the developing discourse of the entire study ahead. Since the manner in which the world is both transformed and depicted strongly depends upon the tools available to the director, the technological innovations and the emergence of portable cameras, by granting the documentary filmmaker flexibility, irreversibly solidified this link between non-fictional act of narrating and its approach and proximity to reality. Four works that are picked among a large body of documentary films are Winter Soldier (1972) directed by Winter Collective; Gunner Palace (2004) directed by Petra Epperlein and Michael Tucker; Full Battle Rattle (2008) directed by Tony Gerber and Jesse Moss and finally Standard Operating Procedure (2008) directed by Errol Morris. Even though the films are historically ordered, this study's concern is to be systematic thematically than chronologically. In the course of these analyses, discussions of notions like reality and truth, the relations of the makers of the films, the camera and editing process to the subjects of the films, will naturally emerge, as will issues related to the political and social roles of documentary cinema.

This thesis examines the symbolism of food in the Italian narrative during the economic miracle of the 1950s and 1960s. It explores how food and hunger in selected texts reflect historical, social, and anthropological changes during Italy's transition from an agricultural to an industrial nation. Through works of Pier Paolo Pasolini, Italo Calvino, Luciano Bianciardi, Luigi Meneghello and Fabrizia Ramondino the study analyses the representation of food, or lack thereof, to criticise the emerging consumer society, reflect on the concept of homeland and emotions such as nostalgia, and examines generational, gender and class differences. The thesis further explores the inventions of traditions, as well as the connection between myth and tradition in relation to food culture. The selected literature primarily consists of works where food appears to be less relevant on first reading. At last, the aim of this thesis is to work out the strong symbolic power of food, especially for this period and in these works, and to demonstrate to what extent "si può parlare del cibo o attraverso Il cibo" (Ghiazza, Silvana: Le diverse funzioni del cibo nel testo letterario, p. 10).

A majority of classic Greek and Roman literature focusing on the subject of the Trojan War and its characters portray a male dominant society in Bronze Age Greece. Homer's Iliad follows the heroes Achilles and Hector, while his Odyssey traces the journey of Odysseus on his way home to Ithaca. However, important female characters are either given short page time or are described in a negative light. My goal in completing this thesis is to give voice to the women who were portrayed in a negative way and to offer possible explanations leading up to this portrayal. I also hope to show that although men fought the war, women had to suffer the consequences. Clytemnestra, as queen of Mycenae, was left alone in her kingdom for years. She watched her husband comply with the sacrifice of her eldest daughter in order for the Greeks to win a victory over Troy. Cassandra knew the future of events, but she could not find believers to help prevent the fall of Troy. After the fall, she became Agamemnon's concubine in a foreign land. Because a majority of the Greek plays and poems are tragedies, neither woman's life has a happy or fulfilling end. It is not my goal to change this, but to give possible explanations as to what led to their fates. In writing The Fates of Clytemnestra and Cassandra, I hope to give readers of Greek and Roman literature and Trojan War enthusiasts another perspective on one of the greatest wars in literary history by showing the trials of these two important women.

Soviet writer Vasilii Grossman has been renowned in the West as a dissident author of Life and Fate, which multiple sources, including The New York Times have called "arguably the greatest Russian novel of the 20th century." Grossman, however, was not a dissident, but an official state writer attempting to publish for a Soviet audience. Grossman's work was criticized by Soviets as being "too Jewish", while Jewish scholars have called it "not Jewish enough." And, despite his modern critical acclaim, little scholarship on Grossman exists. In my thesis, I explore these paradoxes. I argue that Grossman attempts to reinterpret traditional state ideas of Sovietness into a more inclusive, democratic version by creating heroes from traditionally marginalized groups. To do this, he reinterprets and inverts traditional tropes of the Socialist Realist genre. Genric limitations on his worldview, however, prevent this vision from being completely realized in the course of his work. I trace Grossman's work from his early short fiction to his Khruschev era novels and show how this trope develops during his career as a Soviet writer and citizen.

Victory Garden, Stuart Moulthrop’s 1991 classic hyperfiction, presents a nonlinear story of U. S. home front involvement in the First Gulf War in a way that facilitates confusion and mimics a "fog of war" sort of (un)awareness. Using Storyspace to build his complex narrative, Moulthrop incorporates poetry, fiction, historical references, and low-tech graphic novel type elements. Among the graphic components are all-black and all-white screens that function as variables. Overtly, these screens speak of closure and signify unconsciousness; however, their nonverbal role may also be linked to the ineffability trope as used by Dante Alighieri and re-interpreted by contemporary linguist Ruiging Liang. To date, critics and meta-readers have incorrectly assumed that the protagonist, Emily Runbird, becomes a fatality. By failing to read her life or death as undecidable, we deny the fiction its full power as a postmodern interpretive dilemma. This assumption plays into what might be posited as Moulthrop’s real thesis: syllogism in a corrupted (war time) information system is potentially tragic. A summary of theories and critical approaches relevant to the blank screen’s use as interstice together with sample engagements with relevant texts—reading Victory Garden, as per Wolfgang Iser’s phenomenological approach, Stanley Fish’s reader response theory, and Jacques Derrida’s deconstruction—prove Victory Garden, to be a challenging but consistent literary breakdown (staged malfunction of reading habits). Ultimately, ineffability is shown to be a reading strategy and the action Aristotle characterizes as key to the definition of tragedy is seen as performed by the reader. Moulthrop dangles the question about Emily’s demise as a critical reading moment prone to corruption. The classical anagnorisis is not Emily’s; the revelation Moulthrop intends is reserved for the reader and is precipitated by the need to resolve aporia.