Thesis (M.A.)--University of Alberta, 2006. / Includes bibliographical references (p. 85-92) and index.

Thesis (M.A.)--Gordon-Conwell Theological Seminary, South Hamilton, MA, 2005. / Abstract and vita. Includes bibliographical references (leaves 57-59).

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Welsh Writing in English: Case Studies in Cultural Interaction This thesis explores and analyses instances of cultural interaction in the English-language literature of Wales. It explores the encounters that Anglophone Welsh writers have had with non-European territories and cultures, such as the complex textual record of Alun Lewis's experience of 1940s India, Welsh writers' experiences of Australia since the 1960s and Robert Minhinnick's writing about Brazil in the 1990s. It also explores the images and impressions of Llanybri inscribed in the poetry of the Argentine-born modernist poet Lynette Roberts. Using a broad range of theories from the fields of postcolonial studies, travel writing studies and interpretive anthropology, it explores issues such as the construction of cultural difference, the identity politics of cultural assimilation, and the reproduction and subversion of colonial tropes and stereotypes. By examining the diverse ways in which the Welsh have written about their experience of a range of cultures and environments throughout the twentieth century the thesis attempts to uncover hitherto undiscovered territory within the study of Welsh Writing in English.

Cette thèse traite des métamorphoses de Jinsuo ji, roman d’Eileen Chang publié à Shanghai en 1943. Il s’agit d’abord d’une double réécriture translingue par l’écrivaine elle-même, exilée aux États-Unis depuis 1955. L’analyse des procédés de réécriture dans ces deux romans jumeaux, l’un en anglais intitulé The Rouge of the North (1967), l’autre en chinois Yuannü (1966), permet de faire la lumière sur les stratégies d’écriture bilingue et l’évolution stylistique de l’auteur face à deux lectorats distincts. En 1971, l’auto-traduction stricto sensu de Jinsuo ji est parue sous le titre The Golden Cangue. La publication de cette version littéralisante dans le cercle universitaire américain nous conduit à nous interroger par ailleurs sur l’identité d’une œuvre et sur le statut littéraire de sa traduction, auctoriale ou non. Cela nous permet d’une part de proposer un autre regard sur la réception inégale des écrits d’Eileen Chang en deux langues, et d’autre part, de percevoir, à travers son exemple, un espace « trans-littéraire » qui reste à construire via la traduction, afin qu’une œuvre littéraire puisse entrer en contact avec un nouveau public et dévoiler ainsi sa pluralité. En suivant ce trajet vers l’autre, nos réflexions se prolongent jusqu’aux réécritures non auctoriales de Jinsuo ji. Depuis les années 1980, l’œuvre s’est métamorphosée dans le monde sinophone en film, pièce de théâtre, opéra chinois et série télévisée : ces dernières métamorphoses ne traduisent pas seulement l’engouement toujours vif du public sinophone pour les œuvres d’Eileen Chang, mais elles nous permettent aussi d'observer l’image en devenir de l’écrivaine au fil de leurs réceptions différentes. / This thesis focuses on the metamorphosis of Eileen Chang’s novelette, Jinsuo ji, first published in Shanghai in 1943. In the 1960s, the author, who had been living in the United States since 1955, rewrote this work into an English-language novel, The Rouge of the North, and published almost simultaneously a Chinese version, Yuannü. Through the analysis of her translingual rewriting, an attempt will be made to explore the differences between these versions, in order to shed light on the strategies of rewriting and the evolution of Eileen Chang’s style vis-à-vis two different readerships. Moreover, in 1971, her self-translation of Jinsuo ji, The Golden Cangue, was published in the American academic circle. The study of this English version leads us to reconsider the “identity” of a literary work and the “literary status” of its translation, be it authorial or not. More precisely, the different reception of two versions of a work in Eileen Chang’s case is re-examined from a “trans-literary” perspective: in order to bring a literary work to its new public, thus revealing its plurality, it seems that an interspace between literatures remains to be constructed through translation. By tracing the trajectory of a work towards the other, our reflections will be eventually extended to a number of contemporary adaptations of Jinsuo ji and Yuannü. Since the 1980s, these two works have been adapted into film, theater, Chinese opera and TV series in the Sinophone world. These cross-field rewritings not only reveal the Sinophone public’s passion for Eileen Chang’s works, but also allow us to observe the changing image of the writer in the process of their different receptions.

This dissertation examines five dramatic comedies by Canadian women and the female subject positions they provide. Through these analyses, it examines how constructions of female subjectivity are both constrained and enabled by comedic discourse. The Introduction argues that traditional patterns and formalist conceptions of comedy have not made a place for female subjects and that, while feminist critics have begun to examine women's comedies and the female subjects they construct, those studies need to be complicated in order to make space for the variety and complexity of female subject positions elicited by the plays under consideration. In dialogue with contemporary theories regarding gender performance, language, and subjectivity (with particular reference to theorists Judith Butler and Catherine Belsey), this study goes on to examine the entangled and indeterminate qualities of female subjects in a selection of Canadian women's comedies. Chapter One discusses the didactic and hidden subject positions within Sarah Anne Curzon's The Sweet Girl Graduate, a nineteenth-century revision of the comedy of manners. Chapter Two discusses the gender anxiety inscribed in Erika Ritter's Automatic Pilot, a comedy about a female stand-up comic. Chapter Three considers the Jungian feminist conception of subjectivity dramatized in Ann-Marie MacDonald's Goodnight Desdemona (Good Morning Juliet). Chapter Four proposes that Margaret Hollingsworth's The House that Jack Built constructs a feminist and absurdist subject position. Chapter Five examines gender parody and play in Karen Hines' Pochsy's Lips, and argues that this bouffon performance piece conceives of female subjectivity as a playful and critical realm. Chapter analyses focus on variances in how these comedies represent and understand women's capacities to intervene in genre and gender formations, and in social and psychic realms, which in turn reflect their different conceptions of female subjectivity. In conclusion, this study advocates the benefits of reading women's comedies not only in terms of patterns of genre or gender revisions, but also as destabilizing forms of linguistic, psychic, and bodily performance. Its feminist appeal lies in the assertion that change is effected not only by overt alterations of comedic or social patterns, but also by the issue of multiple and potentially new subject positions, which are produced by different forms of comedic and comic practice. / Graduate

Reisbeskrywings, en veral die reispoësie as genre, het met die aanbreek van die twintigste eeu „n opbloei binne die Afrikaanse letterkunde beleef. Talle Afrikaanse skrywers en digters het na verskillende kontinente gereis en hul ondervindinge in roman, dagboek of joernaalvorm aangeteken. Die Afrikaanse skrywers sluit hulself gevolglik aan by die tradisie van die reisbeskrywing wat reeds eeue lank deel vorm van die globale literêre kanon. Reispoësie kom veral voor in die werk van digters soos C. Louis Leipoldt, Uys Krige, W.E.G. Louw, N.P. van Wyk Louw, D.J. Opperman, Breyten Breytenbach, Lina Spies, Petra Muller, Joan Hambidge en meer onlangs Melt Myburgh. Dit is veral Hambidge wat oor reis in haar poësie skryf. In 2011 verskyn „n versameling van Hambidge se reisgedigte wat sedert 1985-2010 in van haar bundels verskyn het onder die titel Visums by verstek – ‘n Keur uit die reisgedigte van Joan Hambidge. Hambidge bespreek sekere deurlopende temas in haar gedigte. Die temas sluit in: die poësie en die verhouding tussen die liefde en die poësie, die mens as alleenreisiger deur die wêreld, die dood en die huldiging van gestorwenes asook die beskrywing van sekere gebeurtenisse in die wêreldgeskiedenis. In hierdie skripsie word gefokus op die ontleding van Hambidge se reisgedigte wat onder drie verwante temas bespreek word naamlik die stad as vreemde rumite, reis as metafoor vir ontvlugting van die geliefde en reis as kreatiewe stimulus. Hierdie ondersoek geskied aan die hand van onder meer Pratt se konsep van “kontaksones”. Reispoësie word binne die konteks van globalisasie as „n belangrike bron van inligting en inspirasie beskou aangesien dit tot „n nuwe geslag wêreldreisigers spreek wat opnuut die literêre waarde van die reisbeskrywing- en poësie ontdek het.

Olive Schreiner, writing in the tradition of George Eliot and the Brontës, was an isolated yet original figure who opened up new directions in women's fiction. In her novels, The Story of an African Farm (1883) and From Man to Man (1926) she developed a feminist critique of colonialism that was based on her own coming-of-age as a writer in South Africa. Schreiner's work inspired and influenced Isak Dinesen, Doris Lessing and Nadine Gordimer, who have pursued their visions of the colonial African heroine in changing forms which nevertheless consciously hark back to the "mother novel." Dinesen's Out of Africa (1937), Lessing's Martha Quest (1952) and Gordimer's The Lying Days (1953) are in a sense revisions of Schreiner's Story of an African Farm. These texts, together with later novels by Lessing and Gordimer (such as Shikasta and Burger's Daughter, 1979) and key short stories by the four writers, form a body of writing I call the "African Farm" texts. Written in different colonial countries—South Africa, Kenya and Rhodesia—in response to different historical circumstances, from different ideological and aesthetic stances, the "African Farm" fictions depict the problematic situation of the white African heroine who is alienated both from white colonial society and from black Africa. Through her own rebellion against patriarchal mores as she struggles to define herself as an artistic, intellectual woman in a hostile environment, she uncovers the connections between patriarchy and racism under colonialism. She begins to identify with the black Africans in their oppression and their incipient struggle for independence; however she cannot shed her white inheritance of privilege and guilt. Just as colonial society (the white "African Farm") becomes for her a desert, a cemetery, a false, barren, "petrified garden," so black Africa becomes its idealized counterpart: a fertile realm of harmony and possibility, the true Garden of Eden from which she, as White Eve, is exiled. I trace the "African Farm" theme and imagery through the work of other white Southern African writers, such as J.M. Coetzee, whose stark, poetic, postmodernist novels can be read as a coda to the realistic fiction of the four women writers. Finally, I look at the post-"African Farm" texts of such transitional writers as Bessie Head, whose novels of black Africa preserve a suggestive link with Schreiner. / Arts, Faculty of / English, Department of / Graduate

A partir de quatre romans sénégalais, MaTmouna d'Abdoulaye Sadji, O Pays mon beau peuple ! de Sembène Ousmane, Les Bouts-de-Bois-de Dieu du même auteur et de Buur Tilleen de Cheik Aliou N'dao, nous avons étudié la condition de la femme africaine telle que les auteurs la décrivent. Le choix des oeuvres a été guidé par le sujet d'étude, aussi avons-nous retenu les romans satisfaisant aux conditions suivantes : l'importance de la place de la femme dans l'oeuvre et le lieu de l'action limité en Afrique. Les femmes y apparaissent sous deux aspects distincts, d'une part les femmes attachées à la vie traditionnelle, d'autre part les femmes participant à la vie moderne. Entre les deux, se détachent les femmes traditionalistes en voie d'évolution qui indiquent que les romanciers s'intéressent à une société de transition. Il se dégage que les personnages féminins portent le reflet du conflit entre la tradition et le modernisme dans la société africaine en évolution constante au contact des sociétés européennes. Ce conflit s'incarne plus particulièrement dans l'aspect contradictoire du rôle de la femme en tant que mère et dans le rôle de la femme en tant qu'épouse. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate