Júlia Lopes de Almeida (1862-1934) foi autora de romances, contos e crônicas, tendo obtido uma inserção privilegiada no meio intelectual brasileiro, especialmente nas primeiras décadas do século XX, o que pode ser avaliado tanto pelas constantes reedições de suas obras bem como pela adoção de títulos que vieram a figurar como livros de leitura para o ensino básico. Receptiva aos pensamentos positivistas e científicos de sua época, Júlia acreditou que a República moveria o Brasil para o progresso. No entanto, em um curto espaço de tempo, suas obras de linguagem naturalista, indicavam a falência precoce de suas expectativas políticas. Mesmo assim, Júlia continuou suas investidas junto ao seu principal publico leitor: as mulheres e as crianças. Nesse trabalho, pretendemos lançar luz aos aspectos remetidos à recepção que a obra de Júlia Lopes teve quando de sua publicação. Nesse sentido, levamos em consideração o exame da abordagem constituída pela autora e das suas expectativas nutridas expressamente em relação às mulheres e as crianças. / Júlia Lopes de Almeida (1862-1934) was the author of novels, short stories and essays, and obtained an insert inside the Brazilian intellectual environment, especially in the early decades of the twentieth century, which can be measured both by the constant reissues of his works as well as the adoption of titles that came to figure as textbooks for basic education. Receptive to the positivist and the scientific thoughts of his days, Júlia believed that the Republic would move Brazil to progress. However, in a short time, his works of natural language, pointing to the early failure of their political expectations. Even then, Júlia has continued its attacks with your main readership: women and children. In this work, we intend to shed light on aspects referred to the reception that the work of Júlia Lopes had when it was published. Accordingly, we consider the examination of the approach made by the author and their expectations nurtured explicitly in relation to women and children.

Cette thèse se concentre sur la production d’Ada Cambridge (1844 – 1926) et de Mary Fortune (1833 – 1909), deux écrivaines coloniales australiennes aujourd’hui méconnues mais très populaires au cours de la seconde moitié du XIXe siècle. Nous nous intéressons à la représentation de l’expérience coloniale de ces femmes ayant quitté le Royaume-Uni pour l’Australie ainsi qu’à la manière dont leurs récits, majoritairement publiés dans des journaux, agirent sur le statut des femmes dans la société coloniale. Plus spécifiquement, nous étudions leur expérience en tant qu’écrivaines, c’est-à-dire le contexte de production et de réception de leurs récits, ainsi que leur représentation de la différence culturelle et de la différence de genre. Le corpus étudié contient des textes issus des archives littéraires australiennes, notamment des romans-feuilletons, nouvelles et articles de journalisme publiés dans des journaux de l’époque coloniale comme The Australian Journal, The Age et The Australasian. En inscrivant ces textes dans leur contexte historique, cette thèse révèle leur importance dans le contexte social de leur époque tout en mettant en lumière les choix littéraires de ces écrivaines, longtemps délaissées par une vision nationaliste et masculiniste de l’histoire de la littérature australienne. Cette thèse a ainsi deux objectifs principaux : enrichir notre connaissance de l’expérience coloniale australienne en prenant en compte des récits méconnus et étudier la poétique des oeuvres d’Ada Cambridge et de Mary Fortune au regard de leur contexte de production afin de réévaluer ces récits ainsi que leur place dans l’histoire littéraire australienne. / This thesis deals with the works of Ada Cambridge (1844 – 1926) and Mary Fortune (1833 – 1909), two Australian colonial women writers who have been neglected and long forgotten, yet who were very popular in the nineteenth century. It focuses on how these women, who left the United Kingdom to settle in Australia, represent their colonial experience, as well as on the influence of their narratives, mostly published in newspapers, on women’s status in the colonial society. More precisely, it is a study of their experience as women writers, a study that includes the context of production and reception of their work as well as their respective representations of cultural and gender difference in the Australian colonies. This analysis includes texts previously buried in the Australian literary archives, such as serial novels, short stories and press articles published in colonial newspapers such as The Australian Journal, The Age, and The Australasian. By inscribing these texts in their historical context, this thesis reveals their importance in the social context of their time and reconsiders the literary choices of these writers, long decried by the dominant nationalist and masculinist vision of Australian literary history and criticism. This thesis thus has two main objectives: developing our knowledge of the Australian colonial experience by taking into account little known or unknown narratives, and studying the poetics of Ada Cambridge’s and Mary Fortune’s narratives in the light of their production context in order to reassess these texts as well as their place in Australian literary history.

Júlia Lopes de Almeida (1862-1934) foi autora de romances, contos e crônicas, tendo obtido uma inserção privilegiada no meio intelectual brasileiro, especialmente nas primeiras décadas do século XX, o que pode ser avaliado tanto pelas constantes reedições de suas obras bem como pela adoção de títulos que vieram a figurar como livros de leitura para o ensino básico. Receptiva aos pensamentos positivistas e científicos de sua época, Júlia acreditou que a República moveria o Brasil para o progresso. No entanto, em um curto espaço de tempo, suas obras de linguagem naturalista, indicavam a falência precoce de suas expectativas políticas. Mesmo assim, Júlia continuou suas investidas junto ao seu principal publico leitor: as mulheres e as crianças. Nesse trabalho, pretendemos lançar luz aos aspectos remetidos à recepção que a obra de Júlia Lopes teve quando de sua publicação. Nesse sentido, levamos em consideração o exame da abordagem constituída pela autora e das suas expectativas nutridas expressamente em relação às mulheres e as crianças. / Júlia Lopes de Almeida (1862-1934) was the author of novels, short stories and essays, and obtained an insert inside the Brazilian intellectual environment, especially in the early decades of the twentieth century, which can be measured both by the constant reissues of his works as well as the adoption of titles that came to figure as textbooks for basic education. Receptive to the positivist and the scientific thoughts of his days, Júlia believed that the Republic would move Brazil to progress. However, in a short time, his works of natural language, pointing to the early failure of their political expectations. Even then, Júlia has continued its attacks with your main readership: women and children. In this work, we intend to shed light on aspects referred to the reception that the work of Júlia Lopes had when it was published. Accordingly, we consider the examination of the approach made by the author and their expectations nurtured explicitly in relation to women and children.

This thesis consists of an introduction and six of my books, published between 1985 and 1999, on aspects of the history of women in nineteenth-century Australia. The books are The Governesses: Letters from the Colonies 1862-1882 (1985); A Colonial Woman: The Life and Times of Mary Braidwood Mowle 1827-1857 (1986); Pen Portraits: Women Writers and Journalists in Nineteenth Century Australia (1988); Pioneer Writer: The Life of Louisa Atkinson, Novelist, Journalist, Naturalist (1990); Tasma: The Life of Jessie Couvreur (1994); and Rosa! Rosa! A Life of Rosa Praed, Novelist and Spiritualist (1999). At the time they were published each of these books either dealt with a new subject or presented a new approach to a subject. Collectively they represent a body of work that has expanded knowledge of women's lives and writing in nineteenth-century Australia. Although not consciously planned as a sequence at the outset, these books developed as a result of the influence on my thinking of the themes that emerged in Australian social and cultural historical writing during this period. The books also represent a development in my own work from the earlier more documentary-based books on letters and diaries to the interpretive challenge of biographical writing and the weaving of private lives with public achievements. These books make up a cohesive, cumulative body of work. Individually and as a whole, they make an original contribution to knowledge of the lives and achievements of women in nineteenth-century Australia. They received critical praise at the time of publication and have led to renewed interest and further research on the subjects they cover. My own knowledge and expertise has developed as a result of researching and writing them. The Governesses was not only the first full-length study of a particular group of letters but it also documented aspects of the lives of governesses in Australia, a little researched subject to that time. A Colonial Woman, based on a previously unpublished and virtually unknown diary, pointed to the importance of 'ordinary' lives in presenting an enriched view of the past. Pen Portraits documented the early history of women journalists in Australia, a previously neglected subject. Three of the women I included in Pen Portraits, Louisa Atkinson, Tasma and Rosa Praed, the first two of whom were pioneer women journalists as well as novelists, became the subjects of my full-length biographies. In my biographies of women writers, Pioneer Writer, Tasma, and Rosa! Rosa!, I recorded and interpreted the lives of these important writers placing them in the context of Australian cultural history as women who negotiated gender barriers and recorded this world in their fiction. My books on Louisa Atkinson and Tasma were the first full-length biographies of these significant but largely forgotten nineteenth-century women writers, while my biography of Rosa Praed was the first for more than fifty years. Each introduced original research that changed perceptions of the women's lives and consequently of attitudes to their creative work. Each provided information essential for further research on their historical significance and literary achievements. Each involved extensive research that led to informed interpretation allowing insightful surmises essential to quality biography.

This is a creative thesis in the form of a screenplay titled “Andalusia” in which a woman, Katherine, searches for meaning in her life. After suffering through a childhood wrought with tragedy, disappointment, and chaos, Katherine strives to create a healthy reality in which she can thrive. After failing miserably at this once, she takes a different path and finds herself hidden away in her dead father’s house writing about the Mississippi Delta town of Andalusia.

Cette thèse documente, répertorie et analyse les relations entre les femmes auteures en France, en Italie, et entre Françaises et Italiennes, de 1770 à 1840, à partir de l’étude des correspondances et des ouvrages publiés de douze écrivaines (Anne-Marie de Beaufort d’Hautpoul, Sophie Gay, Félicité de Genlis, Marie-Émilie de Montanclos, Constance Pipelet Salm, Germaine de Staël, Teresa Bandettini, Elisabetta Caminer, Carolina Lattanzi, Diodata Saluzzo, Fortunata Sulgher Fantastici et Isabella Teotochi Albrizzi). Au cours d’une période caractérisée par le développement de l’imprimé, par l’importante participation féminine à la querelle des femmes, par le bouleversement politique international issu de la Révolution française et de l’époque napoléonienne, ainsi que par la présence affirmée des auteures, ces dernières font face à une réactivation des attaques contre l’autorat féminin. Dans ce contexte, les relations entre écrivaines illustrent le défi de « l’action commune » conçue dans une optique de défense d’une cause (celle des auteures) avant l’émergence du mouvement féministe. Les écrivaines étant souvent présentées soit comme « sœurs, » soit comme « rivales », notre étude démontre que la nature des relations féminines est infiniment plus complexe dans les faits. D’un côté, les relations entre femmes auteures témoignent d’une certaine cohésion au sein de la communauté : les contacts sont nombreux, celles-ci s’épaulent en temps de crise, construisent des généalogies littéraires féminines, et déconstruisent les discours portant sur la soi-disant « exceptionnalité » et la « rivalité » des femmes de lettres. De l’autre côté, d’importantes divisions traversent leurs réseaux, notamment liées à l’appartenance nationale, aux opinions politiques et au positionnement de chacune dans le milieu littéraire. Outre les divisions sociales et politiques, cette thèse illustre la difficulté éprouvée par les auteures à arrimer leurs intérêts individuels (promotion de leur propre carrière, identités multiples interférant avec l’appartenance de sexe/genre) aux intérêts collectifs (légitimer l’autorat féminin). Ainsi, les écrivaines reconnaissent l’importance de la communauté des femmes auteures, tout en étant confrontées au défi d’en maintenir la cohésion, à une époque où non seulement l’activité littéraire, mais également le contexte culturel et politique, sont en pleine transformation. / This thesis documents, catalogues, and analyses relationships between female authors in France and Italy, and between French women and Italian women, from 1770 to 1840. It results from a study of the correspondence and published works of twelve women authors (Anne-Marie de Beaufort d’Hautpoul, Sophie Gay, Félicité de Genlis, Marie-Émilie de Montanclos, Constance Pipelet Salm, Germaine de Staël, Teresa Bandettini, Elisabetta Caminer, Carolina Lattanzi, Diodata Saluzzo, Fortunata Sulgher Fantastici, and Isabella Teotochi Albrizzi) over the course of a period marked by important developments in print culture, the significant involvement of women in the querelle des femmes, and the increased presence of women authors. These transformations, together with the international political upheaval caused by the French Revolution, saw attacks on female authorship pursued with increased vigour. The relationships between women authors within such a context illustrate the challenges faced in implementing a “common action” aimed at defending a female cause (that of female authors) before the advent of the feminist movement. Often described as either “rivals” or “sisters”, this study demonstrates that the nature of relationships between women in this period was in fact far more complex. On the one hand, the community of female authors examined was marked by a certain degree of cohesion. These writers had wide-ranging networks of contacts, and could rely on each other for support in times of crisis. They constructed female literary genealogies and deconstructed the discourse used by others in reference to their community, particularly that relating to the “exceptionality” of and “rivalry” between women authors. On the other hand, significant differences also ran across the membership of these networks, notably in terms of nationality, political opinions, and the position each woman occupied within literary circles. Over and above these social and political divisions, this thesis illustrates the difficulties women faced in reconciling their individual interests (the advancement of their own careers, the divisive impact of their multiple identities with the cohesion of their sex/gender) with those of the collective (legitimizing female authorship). In short, this study examines the ways in which female authors recognized the importance of their community and faced the challenges of maintaining its cohesion, at a time when not only literary activity, but also the political and cultural context in which it was framed, were undergoing great transformation.

Les collaborations de Louise d’Épinay à la Correspondance littéraire (1755-1783) et sa correspondance avec Ferdinando Galiani (1769-1782) constituent deux corpus complémentaires pour comprendre les pratiques de sociabilité de cette auteure et pour mettre au jour leur interaction avec ses pratiques d’écriture. Ses critiques, ses dialogues et ses lettres assurent la cooptation d’une élite par le prolongement qu’ils offrent aux mécanismes de distinction propres à la société de cour et par leur circulation en marge de la sphère mondaine. L’analyse des représentations de soi et du groupe dans ces ensembles permet d’approcher l’imaginaire social qui leur donne sens et qui explique la diffusion restreinte de ces textes. Cette étude, qui s’appuie sur des concepts issus de la sociologie, offre la possibilité d’un décloisonnement de la critique de la production de Louise d’Épinay tout en proposant une nouvelle approche de celle des femmes associées aux salons des Lumières. / Louise d’Épinay’s contributions to the Correspondance littéraire (1755-1783) and her correspondence with Ferdinando Galiani (1769-1782) constitute two complementary corpora which allow us to understand this author’s practices of sociability and to reveal their interaction with her writing. Her critical work, her dialogues and her letters contribute to the co-opting of a social elite, via their circulation in the margins of good society and their extension of court society’s mechanisms of distinction. The analysis of self-representations and group-representations in these writings allow us to better understand the social representations that give them meaning and that explain their restricted circulation. This thesis, based on sociological concepts, proposes a renewal of Louise d’Épinay’s studies, and those of the women associated with Enlightenment salons. / Thèse réalisée en cotutelle avec l'Université Paris IV-Sorbonne.

This thesis examines representations of the intimate as experienced by female protagonists, through expressions related to the heart, the soul and the body, in a comparative study of novels by French women writers from the 19th century and the present day. The corpus consists of seven novels : Ourika by Claire de Duras (1822), Lélia by George Sand (1833 & 1839), Monsieur Vénus. Roman matérialiste by Rachilde (1884), Femme nue, femme noire by Calixthe Beyala (2003), Vous parler d’elle by Claire Castillon (2004), Le Cœur cousu by Carole Martinez (2007), and Mon cœur à l’étroit by Marie NDiaye (2007). As a starting point, the thesis provides an extensive literature survey of existing research on the intimate as well as an introduction of the feminist and psychanalytic approaches underpinning the subsequent analyses, which are conducted in two parts, according to the personal and relational dimensions of the intimate. The theories of Beauvoir, Kristeva and Lacan offer perspectives on the intimate experience of women characters which is conveyed in literary imagery as the desire of the Other, and which is oppressed in a patriarchal symbolic order, although an aesthetic with specific narrative techniques related to women’s experience of the intimate is identified in most of the novels. These features include blurring and fragmentation of spatiotemporality, a marked intricacy of narrative voice, proximate first-person narrators, and the development of themes such as the writing of the body, sensed as a container. A discrepancy is noticed between the dominating androcentric posture of the heroines which is found in underlying discourse, and the sensorial dimension of their experience. This leads to a sublimation of body and sexuality in the romantic novels, a masochistic exaltation of the body and pain in the decadent novel and a psychotic and paranoid state in the novels from present day literature. The themes of female sacrifice and of death and denial of the body are very strong throughout the corpus. Relationships within the family are explored, including the mother-daughter relationships that are emphasised in the recent novels but not in those from the 19th century. Family structure, Christian culture and patriarchal, hierarchical social organisation are analysed as grounds for women’s alienation in the novels. The issue of perversion, which is striking in the novels on several different levels, is described as a transgression which involves the reader.

This thesis analyses literary-historical evaluations of works by Teréza Novaková included in synthetic works, specialized monographs and also secondary paratexts, such as book epilogues. The aim is to describe the dynamics of forming the position of works by Teréza Novaková in the canon of the nineteenth-century Czech literature, to which the literary scientific production contributes significantly.

Este estudo pauta-se na análise de escritos de mulheres baianas, buscando averiguar as relações entre a prática da escrita e as formas de constituição de subjetividades femininas em múltiplos ritmos de tempo. Partindo de um mapeamento desses escritos espalhados pelo território baiano e reconhecendo o manancial que representam para estudos de singularidades culturais em variados contextos, focalizamos um conjunto de memorialistas e escritoras, predominantemente professoras do Alto Sertão da Bahia, que começaram escrevendo memórias e romances autobiográficos e, sem interromper a prática, tornaram-se escritoras de gêneros literários diversos. Nessa escritura trouxeram à baila discussões de temas que perpassaram pelo mundo feminino nas décadas de 1920 a 1960 do século XX, através do registro das suas experiências e das transformações e desafios enfrentados por mulheres em diferentes gerações, estribadas ora na memória, ora no domínio da arte da escrita e uso de elementos ficcionais. Diante disso, perseguimos as trajetórias de mulheres que abriram espaços através da palavra escrita em busca por autorrealização, ora atreladas à integração com a família e a sociedade, ora em aberta rejeição aos papéis normativos, na medida em que se voltavam para a integração do eu. O nosso enfoque privilegiou ainda as narrativas acerca da cotidianidade em seus espaços de formação e atuação como professoras, tensões e lutas de mulheres em posições sociais diferenciadas, dramas sociais e venturas nos modos de viver nas pequenas cidades, espaços rurais e outras redes de sociabilidade, especialmente no Alto Sertão da Bahia. Para exame das conjunturas socioculturais pertinentes a este estudo foram utilizadas fontes documentais em arquivos públicos e particulares, jornais, correspondências pessoais e processos-crime, além de vasta literatura memorialística de variada autoria, todas elas confrontadas com os escritos em análise. A pesquisa mostra, portanto, mulheres que se arriscaram nas artes da escrita, defendendo direitos femininos e direitos de pertencimento ao mundo das letras, elucidando processos de mudanças entre as gerações, com a ousadia de desvendarem momentos diferenciados de constituição de subjetividades e ainda muita capacidade de improvisar suas vidas conturbadas no confronto do antigo com o moderno. / This research is based on the analysis of women writers from Bahia, in Brazil,,and its aim is to establish their writing practices towards the process of building of their own subjectivities. We begin with a map of locations from which they wrote, emphasizing the cultural singularities in their many different geographical contexts. They were mainly public school teachers and some of them became fiction writers. Through their own life experiences, they focus on themes related to the social world of women from the Alto sertão da Bahia, from the 1920s to the 1960s. Their writing document different life experiences, some of them accepting social norms and keeping themselves integratied with their families and, and others often in open rejection of normative gender roles This work shows their daily lives as teachers and their tension/struggles from different social positions, focusing mainly on their daily lives and on their rural habits. . They also document their abilities to improvise their troubled lives in confrontation of old\" with modernways of life. This work relied mainly on their written memories, often in the confrontation between different memory books of their times and also on documentary sources from public and private archives, newspapers, personal letters, criminal and judicial proceedings. As women writers they were committed to defending women rights and in documenting the process of change between generations in order to uncover distinct moments of subjectivity constitution.