Through a content analysis of the maternal relationships in Maya Angelou’s I Know Why the Caged Bird Sings and Alice Walker’s In Search of Our Mothers Gardens, the author evaluates how southern black women writers construct black motherhood. This study is based on the premise that Eurocentric paradigms of motherhood confine black mothers to controlling images that continue to criminalize, distort, and devalue black motherhood. The researcher finds that the institution of black motherhood exists independently of Eurocentric paradigms. The conclusions drawn from these findings suggest that black women writers construct motherhood in terms of Womanist leadership. In the aforementioned memoirs, Womanist leadership is learned and defined in the black church. In summation, this thesis finds that southern black women writers use spiritual reconciliation as a form of Womanist leadership.

En prenant appui sur dix romans anglophones contemporains par les auteures indiennes et pakistanaises, cette étude explore et évalue les enjeux politiques et poétiques de la représentation de l'amitié et de l'amour inter-classes dans une littérature souvent considérée comme essentiellement ‘élitiste'. Cette thèse s'écarte de l'approche habituelle dans les études postcoloniales qui privilégie l'idée d'hybridité conçue uniquement en termes binaires (Occident/Orient ou Nord/Sud) et au cœur de l'étude se trouvent la figure du subalterne et la négociation complexe des identités liées à la classe, à la caste et au sexe dans le sous-continent indien. Si les textes examinés révèlent la précarité des rapports humains qui transgressent les diverses frontières sociales, ils soulignent également leurs possibilités contestataires. Cette étude s'intéresse aussi aux enjeux éthiques des choix formels dont témoignent les textes examinés et à la manière dont ces choix peuvent à la fois confirmer et contredire le projet politique du texte. / This dissertation is a detailed analysis of ten contemporary Anglophone novels by women writers from India and Pakistan. It explores and evaluates the politics as well as the poetics of the literary depiction of cross-class love and friendship in Anglophone literature of the Indian sub-continent, which is often considered ‘elitist'. The figure of the subaltern lies at the heart of our study and by focusing on the portrayal of the negotiation of class, caste and gender identities in the Indian sub-continent, this dissertation moves away from postcolonial studies' customary focus on the notion of hybridity, often conceived solely in East/West or North/South terms. The texts examined reveal not only the tenuousness of cross-class relationships but also underscore their subversive possibilities. The ethical ramifications of questions of form are also explored as are the ways in which the poetics of a text can both confirm and contradict its politics.

(in English): The topic of this work is the characteristics of the short stories by Kono Taeko. At first I am presenting the methodology - psychoanalysis. Then, I'm describing her life for better understanding of the use of some typical features. Especially the war and the tuberculosis had influence on her work. Subsequently I present possible interpretation of her stories in term of Shintoism (effort to purify) and Buddhism (achievement of liberation). In interpersonal relations Kono Taeko deals mainly with man- woman relationships and her attitude can be considered feminist. In the most comprehensive chapter concerning masochism I am trying to prove with Freud's theory "The child is being beaten" that her work is masochistic. In the end I am generalizing my findings. This work contains Czech translations of examples of her work and contains 68 pages.

In my dissertation, I argue that both white and black authors of the late-1850s and early-1860s used scenes of race-centered hospitality in their narratives to combat the pervasive stereotypes of black inferiority that flourished under the influence of chattel slavery. The wide-spread scenes of hospitality in antebellum literature—including shared meals, entertaining overnight guests, and business meetings in personal homes—are too inextricably bound to contemporary discussions of blackness and whiteness to be ignored. In arguing for the humanizing effects of playing host or guest as a black person, my project joins the work of literary scholars from William L. Andrews to Keith Michael Green who argue for broader and more complex approaches to writers’ strategies for recognizing the full personhood of African Americans in the mid-nineteenth century. In the last fifteen to twenty years, hospitality theory has reshaped social science research, particularly around issues of race, immigration, and citizenship. In literary studies, scholars are only now beginning to mine the ways that theorists from diverse backgrounds—including continental philosophers such as Derrida and Levinas, womanist philosopher and theologian N. Lynne Westerfield, and post-colonial writers and scholars such as Tahar Ben Jelloun—can expand the reading of nineteenth century literature by examining the discourse and practice of hospitality. When host and guest meet at the threshold they must acknowledge the full personhood of the other; the relationship of hospitality is dependent on beginning in a state of equilibrium grounded in mutual respect. In this project I argue that because of the acknowledgement of mutual humanness required in acts of hospitality, hospitality functions as a humanizing narrative across the spectrum of antebellum black experience: slave and free, male and female, uneducated and highly educated. In chapter one, “Unmasking Southern Hospitality: Discursive Passing in Harriet Beecher Stowe’s Dred,” I examine Stowe’s use of a black fugitive slave host who behaves like a southern gentleman to undermine the ethos of southern honor culture and to disrupt the ideology that supports chattel slavery. In chapter two, “Transformative Hospitality and Interracial Education in Webb’s The Garies and Their Friends,” I examine how the race-centered scenes of hospitality in Frank J. Webb’s 1857 novel The Garies and Their Friends creates educational opportunities where northern racist ideology can be uncovered and rejected by white men and women living close to, but still outside, the free black community of Philadelphia. In the final chapter, “Slavery’s Subversion of Hospitality in Jacobs’s Incidents in the Life of a Slave Girl,” I examine how Linda Brent’s engagement in acts of hospitality (both as guest and host) bring to light the warping influence of chattel slavery on hospitality in Harriet Jacobs’s Incidents in the Life of a Slave Girl. In conclusion, my project reframes the practices of antebellum hospitality as yet another form of nonviolent everyday resistance to racist ideology rampant in both the North and the South. This project furthers the ways that American literature scholars understand active resistance to racial oppression in the nineteenth century, putting hospitality on an equal footing with other subversive practices, such as learning to read or racial passing.

The purpose of this study is to trace how Sara Willis Parton achieved unprecedented literary celebrity status as Fanny Fern during the first three years of her professional career, 1851-1853. While most critics point to her famously lucrative contract with the most popular newspaper of the 1850s, the New York Ledger, in 1854 as the beginning of her fame, I argue that she had already fully achieved that fame and had done so by writing for small Boston newspapers and publishing a highly successful collection of her articles by 1853. Further, Fern was able to achieve such a high level of success because of a keen business sense, intuitive marketing savvy, an ability to promote herself, an original writing style, and a creative use of personas. My study provides an important addition to Fern scholarship by addressing the largely overlooked early years of her writing career. To date, scholars either make no mention of her first three years or do so only to demonstrate the point that Fern achieved notable success when she signed a contract for one hundred dollars a column with Robert Bonner, publisher and editor of the New York Ledger. Prior to that contract, Fern worked as a freelance writer for the Boston Olive Branch and the Boston True Flag, earning less than five dollars for each sketch she submitted. The critical assumption has been that her initial work prepared her for the fame she would achieve writing for Bonner, but in fact Bonner would not have hired her had she not already achieved significant fame, for Bonner hired only highly celebrated writers. My study explores how Fanny Fern became a famous writer. When she began writing, Fern wrote under a number of previously unknown pseudonyms for local newspapers, but within three years her distinctive style, rhetorical skill, and iconoclastic persona had made ―Fanny Fern a household name. Fern‘s unique ability to engage a popular audience, I would argue, is the principal difference between Fern and other famous contemporary women writers.

The following study compares and contrasts the ways three women writers craft narrative selves in their autobiographical texts. Each of the women, the Metis author Maria Campbell, the Chinese-American writer Maxine Hong Kingston, and the Irish lyric poet Eavan Boland, calls on oral techniques to write her autobiography. The study examines how each of the women draws on the oral traditions of her mother-culture, subsequently using characters from culturally distinct mythologies to express her own growth as writer. The methodologies that inform this study are a combination of postcolonial theories about identity and language, and closely related feminist theories about power relations between women and colonialism and women and patriarchal power. Structuralist and feminist theories about mythologies, as well as analysis of the psychodynamics of orality have also influenced the analysis undertaken in this thesis.<p> The research conducted provides evidence that each woman writes a narrative self structured on the framework of the heroic, but infused with culturespecific heroic characters and characteristics from the mother-culture's oral traditions. Maria Campbell's Half-Breed shows distinctly oral influences both in its narrative structure and in its characters. For example, by comparing Maria's character to Wesakaychak's character from Nehiyawak Trickster cycles and other Native North American Trickster cycles, the study shows how Campbell's character resembles the character from oral tales. The Trickster, and consequently, Maria, destabilizes boundaries and unsettles domains of knowledge, therefore, questioning colonial and patriarchal discourses and imagery. In Woman Warrior, Maxine Hong Kingston likewise battles limiting stereotypes held by both her Chinese-American community and the mainstream community she inhabits. The character Maxine imagines herself as both woman warrior and a warrior poet, characters she hears about from her mother, and in the process of chronicling her own training as a woman warrior, she also chronicles her training as a word warrior. Eavan Boland, in Object Lessons unsettles the conventions surrounding the hero-bard whose shadow falls over Irish lyric poetry. While she is marginalized in different ways than either Campbell or Kingston, she shares their desire to show women as active agents in their own lives. These writers show that foremothers exist in other storytelling traditions, even if the textual record does not reflect the influence that female storytellers have had on it. As the women (re)construct themselves in their autobiographies, they work within and against conventional Western heroics, building characters who enrich and redefine what it means to be heroic.

The following study compares and contrasts the ways three women writers craft narrative selves in their autobiographical texts. Each of the women, the Metis author Maria Campbell, the Chinese-American writer Maxine Hong Kingston, and the Irish lyric poet Eavan Boland, calls on oral techniques to write her autobiography. The study examines how each of the women draws on the oral traditions of her mother-culture, subsequently using characters from culturally distinct mythologies to express her own growth as writer. The methodologies that inform this study are a combination of postcolonial theories about identity and language, and closely related feminist theories about power relations between women and colonialism and women and patriarchal power. Structuralist and feminist theories about mythologies, as well as analysis of the psychodynamics of orality have also influenced the analysis undertaken in this thesis.<p> The research conducted provides evidence that each woman writes a narrative self structured on the framework of the heroic, but infused with culturespecific heroic characters and characteristics from the mother-culture's oral traditions. Maria Campbell's Half-Breed shows distinctly oral influences both in its narrative structure and in its characters. For example, by comparing Maria's character to Wesakaychak's character from Nehiyawak Trickster cycles and other Native North American Trickster cycles, the study shows how Campbell's character resembles the character from oral tales. The Trickster, and consequently, Maria, destabilizes boundaries and unsettles domains of knowledge, therefore, questioning colonial and patriarchal discourses and imagery. In Woman Warrior, Maxine Hong Kingston likewise battles limiting stereotypes held by both her Chinese-American community and the mainstream community she inhabits. The character Maxine imagines herself as both woman warrior and a warrior poet, characters she hears about from her mother, and in the process of chronicling her own training as a woman warrior, she also chronicles her training as a word warrior. Eavan Boland, in Object Lessons unsettles the conventions surrounding the hero-bard whose shadow falls over Irish lyric poetry. While she is marginalized in different ways than either Campbell or Kingston, she shares their desire to show women as active agents in their own lives. These writers show that foremothers exist in other storytelling traditions, even if the textual record does not reflect the influence that female storytellers have had on it. As the women (re)construct themselves in their autobiographies, they work within and against conventional Western heroics, building characters who enrich and redefine what it means to be heroic.

Analyzing novels by Sheri Reynolds, Lee Smith, Barbara Kingsolver, Alice Walker, Gloria Naylor, and Sue Monk Kidd, I argue that these authors challenge religious structures by dramatizing the struggle between love and resentment that brings many women to the point of crisis but also inspires imaginative and generative processes of appropriation and revision, emphasizing not destination but process. Employing first-person narration in coming-of-age stories, Smith, Reynolds, and Kingsolver highlight the various narratives that govern the experiences of children born into religious cultures, including narratives of sexual development, gender identity, and religious conversion, to portray the difficulty of articulating female experience within the limited lexicon of Christian fundamentalism. As they mature into adulthood, the girl characters in these novels break from tradition to develop new consciousness by altering and adapting religious language, understood as open and malleable rather than authoritative and fixed. Smith, Kidd, and Naylor incorporate the Virgin Mary and divine maternal figures from non-Christian traditions to restore the mother-daughter relationship that is eclipsed by the Father and Son in Christian tradition. Identifying the female body as a site of spiritual knowledge, these authors present a metaphorical return to the womb that empowers their characters to embrace divine maternal love that transgresses the masculine symbolic order, displacing (but not necessarily destroying) the authority of God the Father and His human representatives. Reynolds and Walker portray physical pain, central to the Christian image of crucifixion, as destroying the ability of women to speak, denying them subjectivity. Through transgressive sexual relationships infused with religious significance, these authors disrupt the Christian moral paradigm by presenting bodily pleasure as an alternative to the Christian valorization of sacrifice. The replacement of pain with pleasure inspires imaginative work that makes private spirituality shareable through artistic creation. The novels I study present themes that also concern Christian and non-Christian feminist theologians: the development of feminine images of the divine, emphasis on immanence over transcendence, the apprehension of the divine in nature, and the necessity of challenging the reification of religious images and dualisms that undermine female subjectivity. I show the reciprocal relationship between fiction and theology, as theologians treat women's literature as sacred texts and fiction writers give life to abstract religious concepts through narrative.

Le passage de l'Afrique du Sud d'un système politique répressif à un système démocratique a ouvert un nouvel espace de parole aux exclus, notamment aux femmes noires à travers les Commissions pour la Vérité. La parole féminine noire libérée suite à la transition politique du pays se reflète aussi dans le développement d'une production littéraire féminine, donnant lieu à l'émergence de nouvelles formes d'écriture romanesque, étudiées dans ce travail qui porte sur dix romans publiés par huit auteures entre 1998 et 2011 : S. Magona, K.L. Molope, K. Matlwa, A.N. Sithebe, A. Makholwa, H.J. Gololai, Z. Wanner et C. Jele. Nous étudions dans un premier temps comment les écrivaines s'approprient le genre romanesque durant la période transitionnelle, s'éloignant d'une écriture réaliste politiquement engagée, courante durant l'apartheid, pour se tourner vers une écriture de l'intime qui met en lumière les traumatismes d'un passé national qui hante le présent. Puis, nous étudions dans les trois parties suivantes comment les auteures émergeant durant la période post-transitionnelle explorent des genres jusqu’ici peu utilisés par les femmes noires sud-africaines : le Bildungsroman, le roman policier et la chick lit, mettant en mots les peurs et les angoisses de la nouvelle Afrique du Sud. Revisitant des genres européens, pour certains populaires, à travers une perspective féminine noire nouvelle, ces auteures continuent d'innover tant dans les thématiques abordées que dans une écriture fondée sur le mélange. Le roman devient un moyen subversif pour critiquer une société patriarcale fortement occidentalisée, qui ne doit pas renier son passé afin de faire face aux nouveaux défis à venir. / The South African political transition from a repressive system to a democratic one opened new spaces to a marginalized part of the population among whom the black woman to express themselves, such as the Truth and Reconciliation hearings. This black feminine voice, made free by the political transition is reflected through the development of a literary female production. It gave way to the emergence of new novelistic forms, analysed in our study through ten novels written by eight different female writers between 1998 and 2011: S. Magona, K.L. Molope, K. Matlwa, A.N. Sithebe, A. Makholwa, H.J. Gololai, Z. Wanner and C. Jele. In a first part, we analyse the way these authors rewrite the novel during the transitional period, moving away from a realistic writing, deeply involved in politics and largely used during the apartheid era, towards a more intimate way of writing which reflect the traumas of a national past haunting the present. Then, we examine in three parts how the writers emerging during the post-transitional period explore new genres, rarely used by black South African women until then, namely the Bildungsroman, detective fiction and chick lit, which reflect their fears in the new South Africa. These authors rewrite these European genres, among which popular ones, through a new feminine perspective, thus innovating the themes they deal with and creating a literature made of mixtures. The European novel becomes a subversive tool to criticise a patriarchal and Europeanised society, which, according to these authors, should not deny the past in order to solve the new challenges coming.

Des voix en voie. Les femmes, c(h)oeur et marges des avant-gardes étudie le dense réseau de relations établies par quelques figures féminines qui ont inspiré des projets et des recherches au sein des avant-gardes historiques dans le panorama français du début du XXe siècle. La présente étude s'intéresse à des femmes – Sonia Delaunay, Claire Goll, Marie Laurencin, Hélène d'OEttingen, Valentine de Saint-Point et Elsa Triolet – qui ont travaillé de concert avec les représentants majeurs des avant-gardes émergentes, en donnant naissance à des projets et à des collaborations à travers l'Europe. Ces femmes artistes prolifiques, qui ont en commun le multiculturalisme et le pluristylisme, sont très actives dans le panorama artistique et littéraire du début du XXe siècle. Des traces de leurs travaux peuvent se retrouver dans les correspondances, les manuscrits, les mémoires et d'autres documents, édités et inédits, qui constituent le corpus de la thèse. La documentation ici présentée est un témoignage de la capacités des auteures à mettre en place des stratégies de communication pour une reconnaissance méritée de leur production sur la scène nationale et internationale. Le travail présente trois parties, chacune décrivant, expliquant et analysant la matière, dans le but de retracer les parcours – les voies – de ces quelques créatrices, pour en faire enfin ressortir les voix. Les annexes comprennent des documents originaux et une chronologie qui liste les travaux examinés, avec ceux des principaux chefs-de-file des avant-gardes. / Voices on the way. Women, heart / choir and fringe of the avant-garde explores the thick network of relations established by some female characters who have inspired projects and researches within the historical avant-garde in the French panorama of the early twentieth century. This study examines women – Sonia Delaunay, Claire Goll, Marie Laurencin, Hélène d'OEttingen, Valentine de Saint-Point and Elsa Triolet – who have worked closely with the main leaders of the emerging avant-garde movement, giving rise to projects and cooperations across Europe. These fecund female artists, who share multiculturalism and multilingual abilities, are the most active in the literary-artistic landscape of the early twentieth century. Traces of their works can be found in correspondence, excerpts, memoirs and other documents, both published and unpublished, that create the corpus of the thesis. The documentation presented here is a valid testimony to the authors' ability to put in place communicative strategies for an adequate recognition of their work into the national and international scene. The work is subdivided in three parts, each describing, explaining and dissecting the subject, in order to retrace the ways of these creators, to hear their voices at last. The appendix includes original documents and a chronology listing the examined works, together with those of the main exponents of the avant-garde movement.