Texte remanié de: Thèse de doctorat--Littérature anglaise--Metz, 2003. / Bibliogr. p. 317-331. Index.

Texte remanié de: Proefschrift : Letteren--Leiden, Pays-Bas--Universiteit Leiden, 2004. / Bibliogr. p. 219-233.

<p>Uppsatsen ingår i kursen Skapande svenska C, 30 hp, inom ämnet Litteraturvetenskap vid Umeå universitet</p>

No description available.

Thesis (Ph. D.)--Florida State University, 2006. / Advisor: William J. Cloonan, Florida State University, College of Arts and Sciences, Interdisciplinary Program in the Humanities. Title and description from dissertation home page (viewed June 7, 2006). Document formatted into pages; contains vi, 136 pages. Includes bibliographical references.

This thesis investigates the representation of femininity within a variety of cultural sources including the earlier novels of Jeanette Winterson and the films of Walt Disney. This juxtaposition parallels images of female development and ego formation bringing to the fore the adolescent heroine's ancient roots in mythology, horror and the fairy story. As a cultural studies project, the thesis deploys the critical techniques of poststructuralism in conjunction with psychoanalysis, feminist theory and film analysis. This is necessary to demonstrate to full potential the heterogeneous quality of the revisioned models of heroinism. My analysis is focused on both popular and literary texts, with Winterson's early fiction in particular selected as a sophisticated and developed example of the ways in which current theory can chart the evolution of a contemporary female literary voice. This thesis carefully scrutinises traditional strategies concerned with literary discourse in order to show how phallocentric structures infiltrate and reflect postcolonial, popular culture. This is achieved through an initial concentration upon mass representation of the female form. This is a necessary analysis as one cannot demonstrate how contemporary women authors revise traditional models of heroinism without first defining what has gone before. Building on the work of Elisabeth Bronfen, this thesis examines how contradictory narratives construct a double opposition, overlapping the dead and the feminine against the living and the masculine, to defend against the knowledge of an incommensurable difference at the origin of life. By representing the narrative of double castration, this is a thorough examination of a movement away from biologically scripted models of castration anxiety, as with Freud, relocating identity at the site of the navel. This enables the subject to move beyond the division of sexuality as presented within patriarchal, heterosexual orthodoxies and to allow for a notion of femininity which is subversive because of its very willingness to explore and inhabit abject/deject states. For the purposes of my investigations, these tradtionally disturbing 'liminalities' will be understood in both psychic and cultural terms, but will focus, in particular on female adolescene. In conclusion, the revisionary heroine marks the dissolution of the certainty once associated with the ancient constructed ideal of femininity. She does not place herself in opposition to the traditional figure, more than that, she surfaces within the broader frame of Western culture as something different, some 'thing' else in the psychoanalytical sense to the 'Other'. My analysis of the figure of the revisionary heroine demonstrates the ways in which both the creation and the interpretation of art and theory can be inflected towards an inversion of the dominant structures of knowledge and power without simply reproducing them.

<p>The aim of this essay is to answer the question of how – in what ways – Jeanette Wintersons Written on the Body and Sarah Waters’ Tipping the Velvet are queer texts. My method is that of a thematic analysis, focusing on words and phenomenon related to definitions of the multi facetted term “queer”. The analysis covers themes of lesbian focus, performativity, performance, speech-acts, and heteronormative and queer relationships. My results are presented in a dialogue between the novels themes and queer theory, foremost represented by Judith Butler. My conclusion is that the literary texts are indeed queer, in several ways, and that both of them, although different, serve important queer purposes.</p>

The aim of this essay is to answer the question of how – in what ways – Jeanette Wintersons Written on the Body and Sarah Waters’ Tipping the Velvet are queer texts. My method is that of a thematic analysis, focusing on words and phenomenon related to definitions of the multi facetted term “queer”. The analysis covers themes of lesbian focus, performativity, performance, speech-acts, and heteronormative and queer relationships. My results are presented in a dialogue between the novels themes and queer theory, foremost represented by Judith Butler. My conclusion is that the literary texts are indeed queer, in several ways, and that both of them, although different, serve important queer purposes.

Jeanette Winterson’s novel Written on the Body asks what it means to express love not through language but through the body, where it is felt, challenging the boundaries placed between body and language. Using Winterson’s novel and Roland Barthes’s A Lover’s Discourse as points of inquiry, this thesis examines conceptions of love based on heteronormative and romanticized visions of present and healthy bodies. This thesis asks how a body that is diseased and dying can express an emotion that is predicated on these very notions of presence, absence, and health. The narrator of the novel sees love as a scripted story that, once adhered to, determines the (successful) experience of love. Louise’s cancer threatens these scripts of love, as it destroys the narrator’s conception of both love and Louise. Despite the fact that Louise is absent and dying, the narrator begins to write a new story that will allow him/her to have a perfect relationship with Louise, so that s/he can reconcile the contradictions of the scripts that the relationship exposed. Using Slavoj Zizek’s “Melancholy and the Act” and Richard Stamelman’s Lost Beyond Telling as frameworks of mourning and melancholy, the narrator’s melancholy over a lost presence thus emerges as a way that allows him/her to create a perfect love story. To make Louise appear perfect in this perfect love story, the narrator manipulates the language of disease that reconstructs Louise's physical absence as a textual presence. The discourse surrounding Louise thus begins to operate out of the desire to compensate and supplement what is missing; in Louise's case, the narrator is supplementing her with a "normal," healthy body. Looking in the shadows of the narrator’s memories, Written on the Body emerges as not only an account of the narrator’s love story, but also an account of Louise’s story, a story of a body that refuses to be written on and demands to be heard. Winterson demonstrates how the body is always in the process of creating knowledge and meaning that can only be obtained by questioning what is normal, both for the body and for the scripts we all adhere to.

本篇論文企圖運用三種不同之理論架構分別來詮釋詹涅特•溫特森（Jeanette Winterson）的第二本小說《激情》（The Passion）。小說中的兩位敘述者，亨利（Henri）與薇菈妮爾（Villanelle）各自在不同的城市□（Paris and Venice）遭受當權者的操縱與剝削，因此下定決心脫離宰制的空間，進而在逃亡的過程中彼此相識。不過由於諸多的因素，這對無緣的戀人終究以悲劇收場，分別在不同的空間□尋找自我生存的意義。論文第二章以克麗絲蒂娃（Julia Kristeva）的理論為基礎，探討小說人物的主體性如何受到兩種空間（the semiotic and the symbolic）的相互拉扯，而呈現出不穩定的狀態。第三章運用布希亞（Jean Baudrillard）所提出的擬像（simulation）與內爆（implosion）等觀念，分析小說人物如何在真實界與擬像界中來回擺盪。第四章從列菲弗爾（Henri Lefebvre）的空間概念為出發點，透過三種空間（spatial practice, representations of space, and representational spaces）的交互辯證關係，一方面挑戰傳統二分法的制式化對立，一方面藉由檢視小說人物與城市空間的互動，賦予空間議題某種顛覆傳統的可能性。最後在論文的結論部分，首先歸納出三位理論家一致的共通性—空間共生與空間擺盪，並以此做為貫穿理論架構與小說文本的中心概念，希冀將小說《激情》做更全面的詮釋與研究。 / This thesis aims to interpret Jeanette Winterson’s The Passion through three different theoretical frameworks, including Julia Kristeva’s feminism, Jean Baudrillard’s postmodernism, and Henri Lefebvre’s spatial theory. Interwoven with two narrators, The Passion describes the ill-starred lovers, Henri and Villanelle, both of whom undergo a series of manipulations and exploitations from those-in-power in Paris and Venice respectively, later determine to escape, and encounter each other in Russia unexpectedly. On account of the radical differences in personality and preference, this romantic story of Henri and Villanelle ends up with the permanent separation in two diverse spaces where both protagonists eventually feel the sense of belonging. Accordingly, this thesis pays much attention to the function of space in the novel, which is conducive to the dissection of Winterson’s characters and which becomes a crucial perspective penetrating these three theorists’ assertions. In Chapter Two, The Passion is first scrutinized in terms of Kristeva’s theory, particularly from the viewpoint of the semiotic and symbolic spaces, between which the subjectivity of the characters ineluctably oscillates. Chapter Three applies the operation of simulation and implosion within Baudrillard’s spectrum as the groundwork to elaborate The Passion, in which the characters again are entrapped in the oscillation of the real and simulated spaces. In Chapter Four, the focus is laid on the elucidation of how Lefebvre’s spatial trialectics, namely, spatial practice, representations of space, and representational spaces, interact with each other in the world of the novel. This dialectical relation of oscillation between the spatial triad not only challenges the oppositional rigidity of the traditional dichotomy but implies a possibility of subversion against the dominant space as well. Finally in the last chapter, I attempt to deduce the interrelation from three theorists in the scope of the novel, concluding my thesis with the concept—spatial symbiosis and spatial oscillation—as the major one probing into these four littérateurs of different fields.