Candacės Bushnell romanai atskleidžia šiuolaikinės moters tapatybės problemas. Romanų veikėja Kerė Bradšo atspindi nepriklausomą, savo vienišumu patenkiną moterį, kuriai vyras reikalingas tik tam, kad pildytų jos užgaidas. Be to, Kerė yra moteris, kuriai mada padeda atskleisti jos asmenybę. Šiuolaikinė moterų literatūra turi tikslą ne tik suteikti savo skaitytojams gerų emocijų, bet ir apibrėžti šiuolaikines moterų, ieškančių savosios asmenybės, problemas. / The novels written by Candace Bushnell reveal the problems of identity of a contemporary woman. The female character of the novels, Carrie Bradshaw, represents an independent woman who is satisfied being single and needs a man only to fulfil her desires. Moreover, Carrie is a fashion-oriented female; through fashion, she shows her individuality. Contemporary women’s literature has the goal not only to entertain its readers but also to define the contemporary problems that female face when they seek for self- identity.

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.

This essay examines Marian Keyes's views on love, happiness, setbacks and unfaithfulness which are common themes in her novels. These themes are discussed in Keyes's chick lit novels "Watermelon" and "Lucy Sullivan is getting married". Some background information about this genre is also presented. Finally, it becomes evident that Marian Keyes has used a lot of her own experiences when writing these novels, in terms of love, happiness and obstacles in finding love and happiness. / <p>Validerat; 20101217 (root)</p>

<p>Syftena med denna uppsats har varit flera. Dels att genomföra en undersökande genrediskussion av svensk chick-lit i stort där det som uppfattats som den huvudsakliga kritiken av genren omformulerats till frågeställningar. Huvudfrågan har därmed varit att ta reda på om svensk chick-lit är intressant, men också om den har några litterära kvaliteter och om den är en feministisk backlash. I uppsatsen arbetas även en definition av svensk chick-lit fram, samt empiriskt grundad teori ur materialet. Avsikten är att detta arbete ska kunna verka som förebild för andra utredningar av nya och marginaliserade genrer. En undersökning av vilka principer biblioteken, här representerade av Umeåregionens bibliotek, utgår från vid inköp av skönlitteratur i stort och chick-lit i synnerhet har också genomförts.</p> / <p>The aims of this paper have been more than one. One aim is to conduct an investigative genre discussion of Swedish chick lit as a whole, where what is conceived as the main critique of the genre is reformulated into questions. The main questions here are if Swedish chick lit is of interest, if it possesses any literary qualities and if it constitutes a feminist backlash. This paper also draws up a definition of Swedish chick lit and empirically grounded theory from the material. The intent is for this paper to serve as a model for other analyses of new and marginalized genres. A study of the principles adopted by libraries, here represented by libraries in the Umeå district, in fiction purchases as a whole and purchases of chick lit in particular, has also been carried out.</p>

<p>The purpose of this essay is to try and bring clarity to the question, what is Chick Lit and which factors make it so popular. My thesis  endeavors to explain that it is not only the promise of light entertainment that draws the reader, but also the possibility that in an easy way they can read about existential questions such as self-development  and life -choices.</p><p>As well as mapping out Chick Lit´s specific characteristics, followed by previous research on the subject and the litterateur’s history, I have found it interesting to discuss the female characters, their personalities and life choice’s against a backdrop of existentialistic philosophy.</p><p>In my research of this form of literateur I have discovered that chick lit often deals with existential universal problems, and that in order to be entertaining these books must contain a serious element.</p>

Thesis (M.A.)--University of North Carolina at Wilmington, 2006. / Includes bibliographical references (leaves: 43-45)

Anny Sterling is stuck. After a freak accident that left her father disabled and without a steady income, she returned home after one semester of college to help pay the bills while her older sister Emily fled to Europe to spend her time chasing dark-haired men named Franco and Pablo. At twenty-five, Anny now spends her days at the local insurance agency running errands for other people and reciting the alphabet song in the file room. There’s little to no hope for advancement as she is short the required college hours to qualify for even an associate degree, but she can’t leave the job. The only thing keeping Britophile Anny sane is her daily dream of one day winning the lottery and moving her family to an old English castle. However her weekly daydreams come to a halt when not only does she encounter her real-life Prince William, but Emily decides to make a return appearance after a nearly six year absence. Ultimately, Anglofile is the story of a girl too wrapped up in a culture that’s not hers to notice what's happening in the one that is.

The purpose of this essay is to try and bring clarity to the question, what is Chick Lit and which factors make it so popular. My thesis  endeavors to explain that it is not only the promise of light entertainment that draws the reader, but also the possibility that in an easy way they can read about existential questions such as self-development  and life -choices. As well as mapping out Chick Lit´s specific characteristics, followed by previous research on the subject and the litterateur’s history, I have found it interesting to discuss the female characters, their personalities and life choice’s against a backdrop of existentialistic philosophy. In my research of this form of literateur I have discovered that chick lit often deals with existential universal problems, and that in order to be entertaining these books must contain a serious element.

Denna uppsats syfte är en tematisk jämförelse mellan Johanna Nilssons Rebell med frusna fötter och Helen Fieldings Bridget Jones’s Diary beträffande huvudkaraktärerna för att komma fram till hur felplacerad Stella Björk skulle vara i en chick lit-berättelse. Jag använder Bridget som representativ för en typisk huvudkaraktär i chick lit då det är vid publiceringen av Bridget Jones’s Diary forskarna anser att chick lit föddes. Vid en tematisk jämförelse mellan Stella och Bridget där miljö- och karaktärsbeskrivning och även karaktärsutveckling avhandlas blir resultatet att dessa två fiktiva kvinnor är lika på många sätt men det finns skillnader. Karaktärernas komplexitet är en stor skillnad, då Stella är en mer komplex karaktär än Bridget. De funderar mycket båda två men över olika ämnen. En sista stor skillnad är att Bridget tänker på hur hennes egen kropp ser ut medan Stella funderar mer över hur hemska andra människors kroppsliga ideal är.

This dissertation examines how women’s food writing, from blogs to cookbooks to novels, demonstrate a desire to articulate themselves as people within communities rather than accept a dehumanized identity as a consumer or set of credit-card numbers. I argue that through an emphasis on connection with one another via a discourse of scratch cooking and locally sourced foods, women are able to push back against the hegemony of corporate food and industrial agriculture. Working from a case study model, each of my chapters examines the distinct ways in which women assert their personhood apart from the homogenizing influences of mainstream food culture. As a means of articulating this woman’s culinary culture, predicated on a foundation of scratch cooking and local ingredients and relationships, I examine the food blog Fed Up With Lunch and the author’s use of an anonymous persona to interrogate the federal school lunch program; feminist vegetarian and vegan cookbooks authored by collectives of women who rely on oppositional identities in order to push back against what they view as hegemony; how diasporic Indian women use scratch cooking as a means of self-expression within the context of migration; and the novel cookbook as an example of injecting a feminist discourse of food into a traditional fictional narrative. Read together, these discrete case studies make an argument for women’s power to effect meaningful change from within the circumscribed space of the kitchen. / text