Made available in DSpace on 2016-04-28T20:40:11Z (GMT). No. of bitstreams: 1 Marina Ferreira da Rosa Ribeiro.pdf: 792731 bytes, checksum: 7c1c54299532a5b866af277b04f1a74d (MD5) Previous issue date: 2009-11-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The main aim of this study was to find grounds and support from the psychoanalytical literature for the existence of specific psychological vicissitudes along the path from baby to girl to woman. The concepts put forward by certain psychoanalysts regarding this very intricate relationship and their effects on the continual challenge of becoming a woman and on the transmission of feminineness were investigated and analyzed. Freud s observations on the inexorable suppression that covers up the primordial relationship between mothers and their daughters were the starting point. Expressions for the nuances of the vestiges of this archaic relationship with mothers were sought; for daughters, their mothers are both the primary and the secondary objects of identification. Mothers eroticize their baby girls, leaving sensual traces for future adult enjoyment of female sexuality. In this relationship of like that engenders like, there is a potential risk of narcissistic entrapment and symbiotic illusion. Hostility between mothers and daughters was taken to be a search for psychological differentiation, which is always present to a greater or lesser extent. The passion between mother and daughter was shown firstly through the myth of Demeter and Persephone. The tragedy of Electra was dealt with as the other face of passion: hate. The conceptual framework surrounding feminineness in psychoanalysis was investigated and linked in, and the origin and development of the following concepts was explained: primary female identification (Paulo de Carvalho Ribeiro), primary homosexuality (Jacqueline Godfrind), primary female position or phase of feminineness (Melanie Klein) and primary maternalism and primary femaleness (Florence Guignard). The film Autumn Sonata by Ingmar Bergman was analyzed, focusing on the unsustainable nostalgia of meeting the mother, which was always dreamed of and never achieved. Continuing the reflections on the film, the male viewpoint and its indissociable dialectic connection with the female viewpoint is demonstrated. This coming together between female and male viewpoints brings to the fore the concept of psychological bisexuality. The different objective rules of mothers and fathers were also discussed. Two clinical constructions were presented: Zoe and Liz. Finally, the preciousness and tanatic , or the strength and vulnerability of the transmission of the feminineness from mothers to daughters were investigated / O objetivo principal desta pesquisa é fundamentar e sustentar, pela literatura psicanalítica, a existência de vicissitudes psíquicas específicas na trajetória bebê-menina- mulher. Investigo e analiso as concepções levantadas por alguns psicanalistas sobre tão intrincada relação, e seus efeitos no contínuo desafio de tornar-se mulher, assim como na transmissão da feminilidade. Parto das observações de Freud sobre o recalque inexorável que encobre os primórdios da relação de uma mãe com sua filha. Busco explicitar as nuances dos vestígios dessa relação arcaica com a mãe, que é, para a menina, tanto o objeto de identificação primário quanto o secundário. É a mãe quem erotiza seu bebê menina, deixando marcas sensuais para o futuro desfrutar adulto da sexualidade feminina. Há nessa relação do mesmo que engendra o mesmo, um risco pontecializado para a cilada narcísica e a ilusão simbiótica. A hostilidade entre mãe e filha é compreendida como uma busca de diferenciação psíquica, sempre presente, em maior ou menor intensidade. Apresento a paixão entre mãe e filha, primeiramente no mito de Deméter e Perséfone; abordo a tragédia de Electra como a outra face da paixão o ódio. Investigo e articulo a trama conceitual que cerca a concepção da feminilidade em psicanálise, e faço uma explanação da origem e desenvolvimento dos seguintes conceitos: identificação feminina primária (Paulo de Carvalho Ribeiro) homossexualidade primária (Jacqueline Godfrind), posição feminina primária ou fase da feminilidade (Melanie Klein) e, o materno primário e o feminino primário (Florence Guignard). Analiso o filme Sonata de Outono de Ingmar Bergman, sob o enfoque da insustentável nostalgia do encontro com a mãe, sempre sonhado e jamais alcançado. Na continuidade da reflexão a respeito do filme, coloco em evidência o olhar masculino e sua indissociável e dialética articulação com o olhar feminino. Essa aproximação entre o feminino e o masculino traz à tona o conceito de bissexualidade psíquica. O estatuto diverso da mãe e do pai como objeto também é discutido. Apresento duas construções clínicas: Zoe e Liz. Enfim, investigo o precioso e o tanático ou a força e a vulnerabilidade da transmissão da feminilidade de mãe em filha

MATOUŠKOVÁ, Lenka. Psychological Aspects of the Father-Daughter Relationship. Prague: The Faculty of Arts of Charles University, 2012. 259 pgs. The final thesis. The title of this work is "Psychological Aspects of Father-Daughter Relationship". In its theoretical part it summarizes mainly Czech, but also some foreign, contributions related to the topic of fatherhood, the specifics of paternal behavior and the importance of a functional father for the psychological development of girls. The issue is also viewed from the perspective of possible negative impacts on the psychological development of women who grew up without their fathers. The analysis is primarily focused on their problems with self- esteem, self-confidence and self-image, identity, emotions and emotional life but also on difficulties in future partner and intimate relationships. The theoretical part, with regard to the research, also discusses the concept of risk and protective factors. It respects the current trend of leaving aside pathogenic and shifting towards salutogenic factors, so it focuses mainly on mapping the protective factors in the psychological development of girls who grew up without their fathers while not excluding the risk factors. In the practical part, the topic is treated in qualitative way using retrospective...

Human papillomavirus (HPV) is the most prevalent sexually transmitted infection in the U.S., where one HPV-related cancer is diagnosed every 20 minutes. The most common HPV-related cancer is cervical cancer, with an estimated incidence of 12,000 cases annually, a third of which lead to death. Cervical cancer disparately affects women of ethnic minority groups and geographically isolated regions, such as Appalachia. Tennessee ranks third highest in cervical cancer incidence in the country. Many cases of cervical cancer could be prevented through vaccination against HPV, however, vaccination rates for females in Tennessee are among the lowest in the country. This mixed-methods study included an in-depth exploration of the factors that influence HPV vaccine acceptance in Appalachian Tennessee. Healthcare providers, mothers of adolescent girls, and college-aged women were recruited to participate in the study. From October 2016 to January 2017, interviews were conducted with healthcare providers (n=12), focus groups were conducted with mothers (n=13), and a survey was administered to college women (n=479). Interview and focus group sessions were recorded, transcribed and analyzed using a thematic framework. Survey responses were analyzed using descriptive tests, comparison of means, and regression analyses. The predominant barriers to vaccine acceptance identified in the study were: cost and novelty of the vaccine, vaccine safety, lack of school-entry requirement, and the implication of vaccine acceptance on adolescents’ sexual activity. Most negative perceptions towards the vaccine appeared to be propagated by the sociocultural influence on sex and reproductive health communication within the community. Perceived benefits for cancer prevention and receipt of strong and personal provider recommendations facilitated vaccine acceptance. Additionally, college students who reported vaccine acceptance reported discussing sexual health topics with their mothers more often than those who had not been vaccinated. The findings from this study provide foundational insights about the facilitators and barriers of HPV vaccine acceptance in Appalachian Tennessee. Identifying and understanding these factors is crucial to improving HPV vaccination rates and essential to maximizing the primary benefit of the vaccine in addressing the existing cervical cancer disparity in the region.

在目前愈來愈受重視的文化認同議題上，譚恩美在《喜福會》中充分地展現了華裔美國人在美國環境中的認同困境。面對自己的雙重文化背景，華裔美國人往往採取抗拒的態度，這常使得中國認同成為她們的包袱，誤以為只有拋棄中國認同才能使她們在美國被認同與接受。本論文提供了三個主題，分別從華裔美人的自我認同、語言和時空變化中打破華裔美國人普遍的迷思，亦即隱藏甚至打壓自己的中國認同才能使自己的認同不致混亂而獲得平衡。這三項主題同時也顯示在文中的華裔美人的內心成長，從抗拒到認同，她們終對自我肯定並創造出獨立的華裔美國人的歷史。 Introduction Chapter One: Disintegration of a Unitary Chinese or American Self: Emergence of New Female Selfhood Chapter Two: Decentering the Languages Chapter Three: Breaking the Boundaries of Time and Space Conclusion / Amy Tan has created The Joy Luck Club a book with Chinese Americans' struggles and inner conflicts in American context. In this book, Tan manages four pairs of Chinese American mothers and daughters to demonstrate their conflicts in both generation gaps and cultural identities. In the searching of cultural identities, we see resistance, negotiation and ultimately the communication between the mothers and the daughters. This book successfully portraits the becoming process of the in-between cultural identities of the Chinese Americans. This thesis is divided into five parts: Introduction, three chapters, and Conclusion. Three chapters discuss the development of the characters via the themes of self-construction, language application, and the arrangement of time and space not only to abolish monolithic American cultural identity but also to motivate an equal valuation for Chinese identity. By exploring these themes in the life of the Chinese Americans in The Joy Luck Club, I would like to inspire a border perspective for Chinese Americans to reach their cultural identities.

Female characters in novels by Virginia Woolf and E.M. Forster are studied in their relationships as wives, mothers, daughters and prospective brides. The novels selected are those where the writers are concerned with families dominated by Victorian ideals. Virginia Woolf: The Voyage Out (1915), Night and Bay (1919), Mrs Dalloway (1925), To the Lighthouse (1927). E.M. Forster: Where Angels Fear to Tread (1905), The Longest Journey (1907) , A Room with a View (1908), Howards End (1910).The socioeconomic, religious and ideological origins of the Victorian ideals are traced, esp. as they are related to the writers' family background in the tradition of English intellectual life. The central theme of the four novels by Woolf is the mother-daughter relationship which is analyzed in its components of love and resentment, often revealed in an interior monoloque. Forster's novels usually present a widowed mother with a daughter and a son. It is shown how the plot, dialogue and authorial intrusions are used to depict a liberation from the constraints of the Victorian ideals of family life. The mothers in the novels of both writers are shown to be representative of various aspects of the Victorian ideal of womanhood. The attitudes of men towards women vary from those typifying Victorian conceptions of male superiority to more modern ideals of equality and natural companionship. / digitalisering@umu

Theodor Fontane’s famous novel Effi Briest (1895) has been widely discussed in secondary literature, and every single aspect of the novel’s complex content and style seems to have been analysed; however, the similarities in content and style between Fontane’s Effi Briest and his less known and discussed work Schach von Wuthenow (1882) have not yet been recognized. A remarkable and meaningful similarity between the two regarding the content is the portrayal of a close relationship between mother and daughter which is strongly influenced by the latter’s relation to the mother’s (former) admirer. The relationship of Josephine von Carayon and her daughter Victoire and that of Luise von Briest and her daughter Effi will be compared by means of an analysis based on Michel Foucault’s theories on discourse, truth and power; in particular, the discourse of beauty, illness, honour and love will be closely examined. A method based on Foucault’s theories facilitates an analysis of the female protagonists’ actions that is free of moral implications for the protagonists are understood in their non-freedom of action owing to their discourse-constructed identity. Since the constellations of power in which the female protagonists are living cannot be analysed without the male protagonists’ influence, the constitution of Schach and Innstetten’s characters will be closely examined, too. The analysis of the discourse of beauty and illness shows that those disourses are portrayed as inseparably connected. In the society outlined by Fontane in Schach von Wuthenow, Victoire is made an outsider due to the pockmarks in her face; during the private conversation at Prince Louis’ castle, however, the prince calls Victoire a beauté du diable whose beauty is based on the survival of a fatal disease which has resulted in a passionate character. Innstetten, on the contrary, considers Effi to be particularly beautiful when she looks pale, lethargic and frail for he connects Effi’s ill appearance with his wife finally becoming a woman. Beauty, however, is exposed as a construct in both of Fontane’s works: on the one hand, by the (in itself) contradictory argumentations of the characters; on the other hand, by the narrators who criticize and disprove the prince’s idea of Victoire, which is temporarily accepted by Schach, and Innstetten’s connection of illness, beauty and femininity. The examination of the discourse of honour and love reaches the conclusion that both of Fontanes’s works portray honour as a construct with changing truth. In Schach von Wuthenow honour is exposed and critiziced mainly by Josephine, in Effi Briest mainly by Innstetten and Luise because these characters are aware of the identity-constructing quality of the demands made by society. Nevertheless, Innstetten submits his love for Effi to the claims by the disourse of honour; Luise, however, realizes in her love for Effi a part of her human essence. Luise’s love for her daughter is completely accepted since it is considered natural; thus it turns out to be beyond the demands of honour. Josephine also acknowledges the greater truth of parental love and retreats from her strong wish to live a life in harmony with society in favour of her daughter. By means of their female protagonists, Fontane’s story Schach von Wuthenow and his novel Effi Briest demand a re-evaluation of the discourse of love. Not the love between a man and a woman but the love of a mother for her daughter is portrayed as natural and is thus considered beyond any demands of the disourse of beauty and honour.

Theodor Fontane’s famous novel Effi Briest (1895) has been widely discussed in secondary literature, and every single aspect of the novel’s complex content and style seems to have been analysed; however, the similarities in content and style between Fontane’s Effi Briest and his less known and discussed work Schach von Wuthenow (1882) have not yet been recognized. A remarkable and meaningful similarity between the two regarding the content is the portrayal of a close relationship between mother and daughter which is strongly influenced by the latter’s relation to the mother’s (former) admirer. The relationship of Josephine von Carayon and her daughter Victoire and that of Luise von Briest and her daughter Effi will be compared by means of an analysis based on Michel Foucault’s theories on discourse, truth and power; in particular, the discourse of beauty, illness, honour and love will be closely examined. A method based on Foucault’s theories facilitates an analysis of the female protagonists’ actions that is free of moral implications for the protagonists are understood in their non-freedom of action owing to their discourse-constructed identity. Since the constellations of power in which the female protagonists are living cannot be analysed without the male protagonists’ influence, the constitution of Schach and Innstetten’s characters will be closely examined, too. The analysis of the discourse of beauty and illness shows that those disourses are portrayed as inseparably connected. In the society outlined by Fontane in Schach von Wuthenow, Victoire is made an outsider due to the pockmarks in her face; during the private conversation at Prince Louis’ castle, however, the prince calls Victoire a beauté du diable whose beauty is based on the survival of a fatal disease which has resulted in a passionate character. Innstetten, on the contrary, considers Effi to be particularly beautiful when she looks pale, lethargic and frail for he connects Effi’s ill appearance with his wife finally becoming a woman. Beauty, however, is exposed as a construct in both of Fontane’s works: on the one hand, by the (in itself) contradictory argumentations of the characters; on the other hand, by the narrators who criticize and disprove the prince’s idea of Victoire, which is temporarily accepted by Schach, and Innstetten’s connection of illness, beauty and femininity. The examination of the discourse of honour and love reaches the conclusion that both of Fontanes’s works portray honour as a construct with changing truth. In Schach von Wuthenow honour is exposed and critiziced mainly by Josephine, in Effi Briest mainly by Innstetten and Luise because these characters are aware of the identity-constructing quality of the demands made by society. Nevertheless, Innstetten submits his love for Effi to the claims by the disourse of honour; Luise, however, realizes in her love for Effi a part of her human essence. Luise’s love for her daughter is completely accepted since it is considered natural; thus it turns out to be beyond the demands of honour. Josephine also acknowledges the greater truth of parental love and retreats from her strong wish to live a life in harmony with society in favour of her daughter. By means of their female protagonists, Fontane’s story Schach von Wuthenow and his novel Effi Briest demand a re-evaluation of the discourse of love. Not the love between a man and a woman but the love of a mother for her daughter is portrayed as natural and is thus considered beyond any demands of the disourse of beauty and honour.

Focusing on four novels by Janet Frame in dialogue with texts by Freud, Zizek, Lacan, and Silverman, my project theorizes trauma as the basis for both an ethical and an interpretive practice. Frame's fiction develops a cultural psychology, showing how the factors of narcissistic fantasy and the incapacity to mourn contribute to physical and epistemic aggression committed along divides of ethnicity, gender, and linguistic mode of expression. Employing trauma as a figure for an absolute limit to what can be remembered or known, I suggest that reconciliation with whatever is inaccessible, lacking, or dead within an individual or collective self fosters a non-violent relation with others. I begin by querying the place of "catharsis" within hermeneutic literary interpretation, focusing on the construction of Frame within the New Zealand literary industry. With Erlene's adamantine silence at its centre, Scented Gardens for the Blind (1964) rejects the hermeneutic endeavour, exemplified by Patrick Evans' critical work on Frame, to make a text "speak" its secrets. My readings of Intensive Care (1910) and The Adaptable Man (1965) address inter-generational repetitions of violence as the consequences of the failure to recognise and work through the devastations of war. The masculine fantasy of totality driving the Human Delineation project in Intensive Care has a linguistic corollary in Colin Monk's pursuit of the Platonic ideality of algebra, set against Milly's "degraded" punning writing. In The Adaptable Man, the arrival of electricity ushers in a new perceptual regime that would obliterate any "shadow" of dialectical negativity or internal difference. The thesis ends with a swing toward conciliation and emotional growth. The homosexual relationship depicted in Daughter Buffalo (1972) offers a model of transference, defined as a transitional, productive form of repetition that opens Talbot to his ethnic and familial inheritance. Working from within a radical form of narcissism, the novel reformulates masculinity by embracing loss as "phallic divestiture" (Kaja Silverman).

Le principal objectif de ce mémoire est l’étude de l’inscription de la maternité dans L’empreinte de l’ange, La virevolte et Prodige de Nancy Huston. Les trois romans précités constituent mon corpus de base. Néanmoins, des allusions à d’autres écrits de l’auteure, notamment à Journal de la création, donneront une plus grande profondeur à l’analyse, car on ne peut ni écarter les traces du thème de la maternité dans ses autres textes ni mésestimer l’influence de l’expérience de l’auteure sur son œuvre. Dans la foulée de la réflexion féministe contemporaine sur la maternité et faisant recours, selon le besoin, à la Nouvelle Histoire et à la psychanalyse, pour éclairer le contexte sociohistorique et le non-dit des textes, nous essaierons de dégager la singularité de l’écriture hustonienne en ce qui concerne ses idées sur la maternité. En effet, Nancy Huston s’inscrit dans la lignée d’écrivaines qui ont contribué à redéfinir l’identité féminine dans la fiction contemporaine en esquissant, à travers ses romans et essais, une multiplicité d’expériences féminines, toutes différentes, bien que plus ou moins soumises aux valeurs sociales dont l’auteure mesure la force. Nous abordons notre analyse par une mise en contexte historique, culturelle et éthique de la maternité. En effet, comme le thème de la maternité est omniprésent dans le discours social passé et contemporain, il est intéressent de voir comment Nancy Huston compose avec les stéréotypes traditionnellement attribués à la mère en suivant les enjeux, les conséquences et les variations de la maternité dans les œuvres à l’étude. Suivront à la mise en contexte historique et théorique les chapitres destinés à l’analyse des œuvres. Le deuxième chapitre portera sur L’empreinte de l’ange dévoilant les perplexités qui naissent d’une maternité non désirée et ombragée par les séquelles d’un passé tragique. Le troisième chapitre, consacré à l’analyse de La virevolte, s’articule autour de la tension entre la création et la procréation. Enfin, le quatrième et dernier chapitre aborde la maternité dans Prodige, roman où il est surtout question du lien entre emprise maternelle et construction de l’identité de la fille. À travers cette analyse, nous verrons comment Nancy Huston déconstruit le lieu commun voulant que la mère soit cet être idéalisé, privé de passions professionnelles et de pulsions artistiques, se dédiant uniquement à la protection et aux soins de l’enfant pour représenter plutôt des mères animées par des sentiments contradictoires, des mères qui se positionnent avant tout comme femmes sans inhiber leurs élans, leurs passions ni leurs tourments. / The main purpose of this master’s paper is the study of the theme of maternity in Nancy Huston’s novels L’empreinte de l’ange, La virevolte and Prodige. The three aforesaid novels constitute the basic corpus of our study. Nevertheless, allusions to the other essays by the author, in particular to Journal de la création, will give a major depth to the analysis, because we cannot push aside the traces of the theme of maternity in her other writings nor underestimate the influence of the experience of the author on her work. Influenced by the ideas of the contemporary feminist reflexion to redefine the maternal experience and recurring, according to the needs, to the New History’s and the psychoanalysis’s theories, to enlighten the sociohistorical context and the unspoken of the texts, we shall try to find the peculiarity of Nancy Huston’s writing regarding maternity. In fact, Nancy Huston, by sketching through her novels a multiplicity of feminine experiences more or less influenced by social values, joins the lineage of women writers which have contributed to redefine the feminine identity in contemporary fiction. We approach our analysis by an historical, cultural, and ethical contextualization of the ideas surrounding maternity. As the subject of maternity is present in the past and contemporary social discourse, it is interesting to see how Nancy Huston composes with stereotypes traditionally attributed to mothers by following the consequences and the variations of maternity in her novels. The study of the novels follows this contextualization. The second chapter concerns L’empreinte de l’ange and reveals the perplexities which arise from a maternity that is unwanted and shaded by the after effects of a tragic past. The third chapter, dedicated to the analysis of La virevolte is articulated around the tension between creation and procreation. Finally, the fourth and last chapter studies the theme of maternity in Prodigy, a novel that reveals the link between maternal influence and the construction of the daughter’s identity. Through this entire study, we shall see how Nancy Huston deconstructs the common idea wanting that the mother is an idealized being, deprived of professional passions and artistic drives, dedicated only to the protection and to the care of the child. On the contrary, the author represents mothers animated by contradictory feelings, mothers who position themselves as women without inhibiting their passions nor their agonies.

Dans une société qui assiste à la confusion des territoires du privé et du public, le culte du corps et la valorisation de normes esthétiques féminines semblent littéralement envahir l’espace narratif et magnifier le dualisme entre l’être et le paraître. Il va sans dire que cette nouvelle façon de penser et de concevoir le corps, notamment le corps féminin, a une incidence sur l’écriture des femmes contemporaines. Intimement lié à la construction identitaire du sujet, le corps incarne dans les oeuvres littéraires une nouvelle « féminité » dont le présent mémoire vise à explorer les paramètres littéraires, psychanalytiques et sociologiques. C’est dans le contexte d’une corporalité reconfigurée que l’inscription de la triade corps/identité/féminité dans les textes littéraires de Nelly Arcan et de Marie-Sissi Labrèche sera étudiée par l’analyse d’oeuvres significatives publiées au début de ce troisième millénaire : Putain et À ciel ouvert, d’une part, Borderline et La Brèche, d’autre part. Le corps est au coeur de la quête identitaire des protagonistes présentées dans ces récits. Mais ce corps s’érigeant souvent en obstacle devient le lieu d’une difficile image de soi et contribue à renforcer l’agentivité négative, soit cette incapacité du sujet à tracer son avenir de manière positive, contre laquelle se battent les personnages féminins tout au long de la narration. C’est à ce propos que la position ambivalente des deux auteures est représentative des questions de filiation qui marquent la littérature contemporaine. / In a society in which boundaries between the private and the public are confused, body worship and the prizing of women’s beauty standards seem to pervade fiction and magnify the dualism between being and appearing. The new way of thinking about and conceiving the body, the female body in particular, has certainly had an effect on contemporary women’s writing. Inasmuch as the body is entwined with the formation of the protagonist’s identity, it embodies a new femininity in literary works, of which this master’s thesis strives to explore the literary, psychoanalytical and sociological parameters. In the context of a remapped corporality, this thesis studies the body, identity and femininity in four contemporary novels: Putain and À ciel ouvert by Nelly Arcan, and Borderline and La Brèche by Marie-Sissi Labrèche. Although the body is at the heart of the protagonists’ search for identity, it also often constitutes a hurdle for them, resulting in a bad self-image and reinforcing the protagonists’ negative agency against which all the female characters are struggling. The authors’ ambivalent positions on this matter are representative of the filiation issues characterizing contemporary fiction.