Thesis--Hamburg. / Vita. Bibliography: p. 163-171.

"In view of the contribution she has made to the field of children's literature and the distinction she has achieved in being awarded the Newbery Medal for one of her books, Eleanor Estes has been chosen as the subject for this study. The purpose is to discover the pertinent and interesting facts of her life and to analyze the reaction to her works in the reviews and criticism. The procedure in compiling data for this study was to read all of Mrs. Estes' books and to study all available articles and reviews that have appeared in current books and periodicals. An appeal was made to Mrs. Estes to supply certain data concerning her life during the last few years. She most graciously responded with interesting and informative letters"--Introduction. / Carbon copy of typescript. / "August, 1958." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / Advisor: Agnes Gregory, Professor Directing Paper. / Includes bibliographical references (leaves 33-38).

The voices of black women have traditionally been excluded from rhetorical scholarship, both as a subject of study and as a methodological approach. Despite the little attention black feminist thought has received, black women have long been articulating the unique intersection of oppressions they face and have been developing critical epistemologies.This study analyzes the National Press Club address given by NOW President Eleanor Smeal utilizing a black feminist methodological approach. The study constructs a black feminist theory for the communication discipline and applies it to a discursive artifact from the women's liberation movement. The implications of the study include the introduction of a new methodological approach to the communication discipline that can expand the liberatory reach of its scholarship.

This thesis examines three works: Margaret Atwood's The Robber Bride and Alias Grace, and Angela Carter's Nights at the Circus. All three novels feature female characters that contain elements or myth fragments of mermaids and sirens. The thesis asserts that the images of the mermaid and siren have undergone a gradual process of change, from literal mythical figures, to metaphorical images, and then to figures or myth fragments that reference the original mythical figures. The persistence of these female half-human images points to an underlying rationale that is independent of historical and cultural factors. Using feminist psychoanalytic theoretical frameworks, the thesis identifies the existence of the siren/mermaid myth fragments that are used as a means to construct the category of the 'bad' woman. It then identifies the function that these references serve in the narrative and in the broader context of both Victorian and contemporary societies. The thesis postulates the origin of the mermaid and siren myths as stemming from the ambivalent relationship that the male infant forms with the mother as he develops an identity as an individual. Finally, the thesis discusses the manner in which Atwood and Carter build on this foundation to deconstruct the binary oppositions that disadvantage women and to expand the category of female.

Texte remanié: Th. doct.--York University, 1997. Titre de soutenance : "Beyond the mask of gender: three Victorian scientist-naturalists. / Notes bibliogr. p. 221-239. Index.

Rematerializing the Art Object examines Eleanor Antin's The Eight Temptations and Carving: A Traditional Sculpture. Temptations re-presents Antin's diet for Carving in a formal language of camp, mocking the dominant avant-garde culture and inspiring a less idea-based interpretation. Section one contextualizes Carving's formal qualities within a broader aesthetic history of photography and sculpture. Section two focuses on how Antin creates an amalgam of Renaissance and Baroque imagery in Temptations. Section three argues that Antin constructs a camp adaptation of the diet reducing the impact of an overly emotional woman and the seriousness of conceptualism to a cliché. Throughout, the thesis centers on the formal and aesthetic manifestations of Antin's humor. A performance within a performance, Temptations's parodic art history denounces pragmatic photography and empowers Antin as an artist and as a woman. / text

York Univ., Diss. u.d.T.: Sheffield, Suzanne Le-May: Beyond the mask of gender: three Victorian scientist-naturalists--Toronto, 1997. / Includes bibliographical references (p. [221]-239) and index.

Afrikaans: Die aard, oorsprong, relevansie en hersiening van literere kanons in 'n snel veranderende wereld is tans, nie net in Suid-Afrika nie, maar internasionaal 'n uiters aktuele saak. Oproepe om kanonhersiening word tans nie net uit die geledere van tradisionele minderheidsgroepe (socs vroue en swartmense) gehoor nie, maar ook vanuit establishment-geledere. In hierdie studie word die kanonisering van die Afrikaanse vroulike prosa-outeur tussen die dertiger- en negentigerjare vanuit 'n feministiese perspektief ondersoek. Orie voorbeelde van vroulike outeurs as verteenwoordigers van verskillende literatuur'soorte" word ondersoek, naamlik Hettie Smit ("ernstige" literatuur), die Klerewerkers (werkersliteratuur) en Eleanor Baker (goeie gewilde literatuur). Daar word gepostuleer dat die vroulike prosa-outeur binne die Afrikaanse literere sisteem steeds 'n mindere kanon- en kanoniseringstatus het, hoofsaaklik as gevolg van patriargale vooroordele. Voorts word gevra na maniere waarop s6 'n toedrag van sake gewysig kan word. Die bevindings kan heel moontlik op Afrikaanse vroulike prosa-outeurs in die algemeen betrekking he. Die volgende stellings word bevestig: i. Vroulike prosa-outeurs geniet steeds mindere kanon- en kanoniseringstatus in die Afrikaanse literatuursisteem. Argumente wat die teendeel wil bewys, streef nie daarna om enige dieperliggende problematiek te ontbloot nie. Die oppervlakkige aard van sulke argumente word alleen duidelik wanneer bepaalde kontradiksies en polemieke random die herskrywing van 'n bepaalde auteur aan die lig gebring word. Die herskrywing van Hettie Smit as "vroulike aanvulling" by die manlike Dertigerdigters lei daartoe dat Sy kom met die sekelmaan selfstandige kanonstatus ontbeer, terwyl die "gehalte" -argument in die geval van die Klerewerkers politieke en ideologiese faktore verberg. Die tipering van Baker se produkte as (goeie) "middelmoot" of "populere" tekste, verberg die marginalisering daarvan. ii. Die bestaan van vroulike outeurs wat nie in die kanon opgeneem is nie, en dus geen kanonstatus het nie, kan aangedui word. Die Klerewerkersliteratuur is 'n sprekende voorbeeld van hierdie soort afwesigheid. iii. Die status quo met betrekking tot die vroulike auteur se posisie ten opsigte van Afrikaanse kanons is onaanvaarbaar vanuit 'n feministiese perspektief. Die historiese posisie van die vrou binne die Afrikaanse literatuur is veral onaanvaarbaar - sy is feitlik afwesig uit die vroee geskiedskrywing van ons literatuur. Die eietydse situasie met betrekking tot kanonisering is binne die feministiese raamwerk van pogings tot verandering, ook nog lank nie aanvaarbaar nie. Aandag behoort geskenk te word aan die daarstelling van 'n vroulike tradisie binne die kader van die Afrikaanse literatuur, waarbinne outentieke "vroulike" norme vir literatuur, eerder as die tradisioneel "manlike" norme sal geld. S6 'n vroulike tradisie behoort volgens die riglyne van oorsese feministiese ondersoekers ge'implementeer te word; ook sal dit 'n heeltemal ander karakter he as die paternalistiese nie-outentieke "vroulike" kategorie. 'n Afsonderlike tradisie sal eerder bevrydend as onderdrukkend wees, en kan modelle daarstel vir verdere teksproduksies deur vroue. iv. Die sogenaamde multifunksionele benadering kan op teoretiese vlak die kanonisering van verskillende literatuur''soorte" beskryf en verklaar, en kan op praktiese vlak dien as riglyn vir kanoniseringsprosesse. Die regstelling van patriargale herskrywings moet as prioriteit beskou word. Slegs op hierdie manier kan ('n) algemeen aanvaarbare en verteenwoordigende, asook teoreties-gefundeerde kanon/s van Afrikaanse literatuur werklikheid word. / English: The nature, origins, relevance and revision of literary canons in a fast-changing world is at present a most topical concern, not only in South Africa, but also internationally. Calls for the revision of canons are heard not only from the ranks of traditional minority groups but also from establishment-ranks. In this study the canonisation of the Afrikaans female prose author in the years between the thirties and the nineties is examined from a feminist perspective. Three examples of female authors representing three "kinds11 of literature are examined, namely Hettie Smit ("serious11 literature), the Garment Workers (workers' literature) and Eleanor Baker (good popular literature). It is postulated that the female prose author within the Afrikaans literary system still has an inferior canon and canonisation status, mainly as a result of patriarchal prejudices. Ways in which such a state of affairs can be remedied are examined. On the strength of the results of the investigations the following premises can be confirmed: i. Female prose authors still have an inferior canon and canonisation status in the Afrikaans literary system. Arguments that attempt to prove the opposite do not strive after revealing any more deep-seated problem. The superficial nature of such arguments only becomes clear when specific contradictions and polemics around the rewriting of a certain author are brought to light. The rewriting of Hettie Smit as female supplement to the male Dertiger poets has resulted in her text being denied independent canon status, while the argument of "quality'' has obscured political and ideological factors in the case of the Garment Workers. The characterisation of Baker's products as (good) "popular" texts obscures the marginalisation thereof. ii. It is possible to point out female authors who have been excluded from the canon, thus lacking any canon status. The Garment Workers' literature is an example of this kind of absence. iii. The status quo regarding the position of the female author with reference to Afrikaans canons is unacceptable from a feminist perspective. Especially unacceptable is the historical position of women - they are virtually absent from the early historiography of Afrikaans literature. The contemporary situation is likewise unacceptable within a feminist framework. Attention should be paid to the establishment of a female tradition within the cadre of Afrikaans literature; within which authentic ''female" norms for literature rather than traditional "masculine" norms will operate. A female tradition should be implemented along guiding lines laid down by overseas feminist researchers, resulting in a character completely different from that of the paternalistic non-authentic "feminine" category. A separate tradition would be liberating rather than oppressing, and could set up models for further text productions by women. iv. At a theoretical level the multifunctional approach could describe and explain the canonisation of various kinds of literature, and at a practical level serve as a guideline for canonisation processes. The rectification of patriarchal rewritings should be regarded as a priority. Only in this way can (a) generally accepted and representative, as well as theoretically founded canon( s) of Afrikaans literature become a reality. / Thesis (DLitt)--University of Pretoria, 1997. / Afrikaans / DLitt (Afrikaans) / Unrestricted

Thesis (Ph. D.)--Indiana University of Pennsylvania. / Includes bibliographical references.

Thesis advisor: Patrick Maney / Among American First Ladies, one presidential wife in particular consistently ranks among one of the most influential women to hold the office. Eleanor Roosevelt’s precedent-setting tenure in the White House established a lasting legacy that influenced many of the women who followed her. Two of these First Ladies, Betty Ford and Rosalynn Carter, are often overlooked in comparative studies of Eleanor Roosevelt with other presidential wives. Scholars typically highlight Hillary Rodham Clinton or Lady Bird Johnson, neglecting the First Ladyships of Ford and Carter. These two women, however, both pointed to Eleanor Roosevelt as an inspiration for their approach to the office. Both Betty Ford and Rosalynn Carter incorporated three main components of Eleanor Roosevelt’s impressive legacy into their tenures as First Lady of the United States: an ever-expanding public role, increased independence, and launching initiatives concerned with social welfare to improve the lives of their fellow Americans. All of these actions can be traced back to Roosevelt’s innovative First Ladyship and their appearance in the successive Ford and Carter administrations highlight the interconnectedness of all three First Ladies and their considerable impact on their country both during and after their time in the White House. / Thesis (BA) — Boston College, 2012. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: College Honors Program. / Discipline: History.