Women's identities are created and performed relational to the contexts in which they live and by which they are bound. Identities are performed within and against those contexts. Romantic subjectivity: women's identity in their nineteenth-century travel writing about Scotland, is concerned with the location of women and their creation and construction of relational identity in their personal narratives of the nineteenth century. The texts taken for study are travel journals, memoirs, and diaries, each of which narrates times and journeys in Scotland. The subjects of study are three women writers whose identities have been located relational to their husband, brother, or father. They are Sarah Stoddart Hazlitt, whose work was located with her husband's, William Hazlitt; Dorothy Wordsworth, whose work was located relational to her brother's, William Wordsworth; and Elizabeth Grant, whose identity was located with that of her father and his Highland estate. The texts considered are Journal of My Trip to Scotland, written by Sarah Stoddart Hazlitt in 1803; Recollections of a Tour made in Scotland, 1803 and Journal of my second tour in Scotland, 1822, written by Dorothy Wordsworth; and Memoirs of a Highland Lady, written by Elizabeth Grant about her life before 1830. The focus of study is Romantic subjectivity in the texts of the three women writers. Women's relational performativity to the prevailing social and cultural norms is examined and considered in the context of women writers; women's travel writing; and ideologies of women's place in the nineteenth century.

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The broad aim of this thesis is to demonstrate that the Victorian letter is more than the sum of its parts. By focusing on the archival collection of a gentry family from Derbyshire, it asserts that the material remains of a nineteenth-century letter are as important as the words and, as such, have a valuable contribution to make to the understanding of letters and letter writing culture of the period. Furthermore, throughout it is demonstrated that the nineteenth-century familial letter was important as an emotional and material object to both the reader and the sender but, as yet, is an undervalued tool in historical research. It argues against the dominant historical trend to read only the text of letters, and in so doing offers a model that can be adopted and adapted to investigate the nineteenth-century letter. The thesis applies James Daybell’s argument that, in order to understand an early modern manuscript, the historian must be directed both to the physical characteristics as well as to the social contexts of its composition, delivery, reception and latterly its archiving. By taking a case study approach, this thesis examines the unpublished nineteenth-century letters of the Turbutt family collection. Each chapter focusses on a particular aspect of letter writing which affords a greater understanding of the nineteenth-century letter as literary culture as well as material culture. Taking this approach uncovers a wide range of uses for the familiar letter and demonstrates that the letter was vital to the nineteenth-century Turbutt women of the Ogston estate. It is demonstrated that the Turbutt women used letters to perform their role as gentry women, to navigate courtship and the emotional and relational divide, and also determine how the letter writer used the material properties to their advantage and, if so, did the material and literary qualities of letters converge to further this. In so doing this thesis bridges the gap between text and materiality, two areas that have tended to be treated separately and, as such, it contributes to the scholarship of letter writing in the nineteenth century as both literary culture and material culture and also to the letter writing culture of nineteenth-century gentry women.

The object of the research is the image of writing women of the two periods which is revealed in novels written by Helen Fielding and Candace Bushnell as well as Virginia Woolf’s essay. In the novels written by the contemporary writers, the The novels written by Candace Bushnell and Helen Fielding reveal the contemporary cosmopolitan female writers. Each of the novels emphasizes sexual equality, freedom of choice and woman’s emancipation. Olivia is a fearless journalist who finds evil traces in every beauty topic that she covers. Moreover, writing is the essential matter for travelling and facing hazardous situations. / Tyrimo tikslas yra atskleisti rašytojų moterų įvaizdį Candacės Bushnell ir Helenos Fielding romanuose ir palyginti jį su Virginijos Woolf pateiktu rašytojų moterų įvaizdžiu esė Savas Kambarys.Postfeministinė literatūros kritika taikyta siekiant apibūdinti moterų rašytojų situaciją dvidešimto amžiaus pradžioje. Feminizmo teorija naudota pabrėžti feminizmo kaip politinio judėjimo svarbą rašytojoms ir įvertinti moterų rašytojų įvaizdžius literatūros kūriniuose.Galima teigti, kad dvidešimtojo amžiaus pradžioje moterys rašytojos rašė literatūrinius kūrinius norėdamos skleisti švietimą tarp skaitytojų bei tuo pačiu praturtėti.

Through its depiction of heroines, romance fiction has the capacity to reflect the attitudes and concerns women face in society. However, the depiction of heroines in romance novels is bound by the constraints publishers place upon them. A vibrant, passionate mid-life heroine gets pushed into a subgenre where romance no longer exists as an option, while a mid-life reader in search of a romance heroine to identify with is relegated to novels where romance is a marginal issue, rather than the main impetus that leads the story. This study, and the novel A Basic Renovation, addresses a neglected demographic of reader and heroine who are marginalised within the romance genre. As well, it gives reasons why heroines need not be characterised in particular roles or situations as they age, and a rationale for why their underrepresentation as romance heroines should end.

Thesis (Ph.D.)--Tufts University, 2002. / Adviser: Sonia Hofkosh. Submitted to the Dept. of English. Includes bibliographical references (leaves 291-310). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

Thesis (Ph. D.)--Miami University, Dept. of Psychology, 2009. / Title from second page of PDF document. Includes bibliographical references (p. 104-109).

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In this study an attempt was made to explore the challenges with regard to publications experienced by academic women at three selected Historically Black Universities (HBUs). Although based predominantly within a feminist qualitative metholodogical framework, both qualitative and quantitative research methods were used in this study. Based on the findings of the study, the recommendations illustrated participants' responses. Some of the recommendations illustrated participants' expressed need of staff development with a specific focus on training in publication skills / mentoring and support networks / assistance and support for their publishing venture at both institutional and departmental level and the development of strategies that would assist academic women in 'juggling' their personal and academic roles.

The subject of the thesis is the epistolary novel genre in the works of German and Dutch female writers Sophie von La Roche, Betje Wolff and Aagje Deken. This narrative genre continued the former novelistic tradition and is inseparably connected with epistolary culture, sentimentalism, cult of friendship and the name of the English novelist Samuel Richardson. It attracted readers' attention, especially of female audience in the period of social changes based on ideas of the Enlightenment and its philosophy. In the second half of the 18th century it became the most popular genre. Thanks to its characteristics it became the medium of female opinions' and feelings' presentation in times of the beginning women's emancipation as well as the genre which enabled more women to enter the field of literature. The issue of the thesis is the comparative analysis and interpretation of two most successful novels of the women writers in the bordering countries with cultural influences: the first German professional women writer La Roche and her novel Geschichte des Fräuleins von Sternheim and the Dutch author couple Wolff a Deken and their collective work Historie van mejuffrouw Sara Burgerhart.