Thesis (PhD)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: This thesis engages the ideological ambivalence about the nineteenth-century middle-class domestic that emerged at mid-century by focusing on the non-canonical British and Californian writing of a fairly unknown but prolific author, Catherine Hubback, Jane Austen’s niece. It explores the tension between ideology and practice in Hubback’s writing, and argues that her work simultaneously challenges and endorses the ideal of domesticity. To the extent that it challenges this ideal, Hubback’s fiction, in its representation of domestic practice, negotiates class and gender ideologies that play out in the middle-class home. The thesis also traces how her endorsement of middle-class domesticity became more pronounced in the story and letters she wrote after her emigration to California, taking the form of overt criticism of American femininity and domesticity. Hubback’s concern with women’s position in relation to law and marriage is read within the context of developments in the genre of domestic fiction. My close reading of four novels – The Younger Sister, May and December: A Tale of Wedded Life, The Wife’s Sister; or, The Forbidden Marriage and Malvern; or, The Three Marriages – examines Hubback’s representation of marital and domestic configurations that are consistently viewed in relation to the social and legal position of women. The novels explore alternative options for women’s lives illustrated by their negotiation of the constraints of middle-class womanhood on their own terms; in marriage, or by choosing not to marry. Similarly, my discussion of Victorian masculinity in Hubback’s fiction focuses on the concern with moral and industrious middle-class manhood that establishes middle-class values as the definition of proper Englishness. As part of this discussion, I demonstrate how Hubback’s fiction reworks middle-class masculinity in order to establish a model for marriage that ensures domestic stability and ultimately the order of the English nation. In the final chapter of this thesis, I continue my exploration of Englishness and domestic ideology by reading Hubback’s short story and letters from California. In contrast to the ideological ambivalence registered in the novels, these texts more overtly subscribe to middle-class English values. My reading of Hubback’s work for this thesis thus aims to contribute to an understanding of the complex interrelation between ideology, domestic practice and literature in the nineteenth-century. / AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die ideologiese ambivalensie aangaande die negentiende eeuse middelklashuishouding wat teen die middel van die eeu te voorskyn getree het deur te fokus op die nie-kanonieke Britse en Kaliforniese skryfwerk van ʼn redelik onbekende,dog produktiewe,skrywer, Catherine Hubback, Jane Austen se niggie. Dit ondersoek die verhouding tussen ideologie en praktyk in Hubback se skryfwerk en voer aan dat haar werk die ideaal van huishoudelikheid gelyktydig uitdaag en goedkeur.In soverre dit hierdie ideal uitdaag, baan Hubback se fiksie, deur middle van die voorstelling van huishoudelike praktyke,ʼn weg deur die klas-en geslagsideologieë wat in die middelklaswoning afspeel.Die tesis ondersoek ook hoe haar ondersteuning van middelklashuishoudelikheid meer prominent geword het in die verhale en briewe wat sy na haar emigrasie na Kalifornieë geskryf het, en wat die vorm aangeneem het van openlike kritiek teenoor Amerikaanse vroulikheid en huishoudelikheid. Hubback se belangstelling in die posisie van vroue ten opsigte van die wet en die huwelik word gesien in die konteks van ontwikkelinge in die genre van huishoudelikefiksie. My bestudering van vier romans – The Younger Sister, May and December: A Tale of Wedded Life, The Wife’s Sister; or, The Forbidden Marriage en Malvern; or, The Three Marriages – ondersoek Hubback se voorstelling van konfigurasies in die huwelik en in die huishouding wat deurgaans beskou word ten opsigte van die sosiale en wetlike posisie van vroue. Die romans ondersoek alternatiewe opsies vir vroue se lewens wat geïllustreer word deur die wyse waarop hulle hul weg baan deur die beperkings wat op hulle geplaas is as vroue van die middelklas; in die huwelik, of deur te verkies om nie te trou nie.My bespreking van Viktoriaanse manlikheid in Hubback se fiksie focus ook op die belangstelling in morele en hardwerkende middelklasmanlikheid wat middelklaswaardes as die definisie van ware Engelsheid bepaal. As deel van hierdie bespreking demonstreer ek hoe Hubback se fiksie middelklasmanlikheid hersien om ʼn model vir die huwelik te skep wat huishoudelike stabiliteit en uiteindelik ook die orde van die Engelse nasie verseker. In die laaste hoofstuk van die tesis sit ek my ondersoek van Engelsheid en die huishoudelike ideologie voort deur Hubback se kortverhaal en briewe van Kalifornieë te lees. In teenstelling met die ideologiese ambivalensie wat in die romans geregistreer word, onderskryf hierdie tekste meer openlik die waardes van die Engelse middelklas. My lees van Hubback se werk vir hierdie tesis poog dus om by te dra tot ʼn begrip van die komplekse onderlinge verhouding tussen ideologie, huishoudelike praktyk en die letterkunde in die negentiende eeu.

The thesis investigates the fictional uses of the figure of the unchaste woman over the period of the early feminist movement in order to trace attitudes towards woman as a sexual being and as a person in her own right. The cheap and popular literature of the period has been used both to illuminate accepted conventions, so that the achievement of major novelists can be more clearly understood, and to discover differences in style, moral intent, and emotional content of the fiction consumed by women of various social classes which may be related to class-based differences in feminine role, expectations, and self-image. [continued in text ...]

This thesis is a contribution to the ongoing debate over standards of criticism for the novel in Africa. After reviewing the three main approaches, the 'Afro-centric', the 'Euro-centric ' and the 'syncretic', and highlighting their shortcomings, I hope to demonstrate that if the devices of point of view ' are used properly they may provide a valuable tool for a useful reading of the novels. Point of view is seen as a holistic device and not, as Lubbock and others suggest, a question of 'the relationship of the narrator to the story'. The views of Boris Uspensky, Gerard Genette and Susan Lanser on this subject are modified to suit the eclectic and comparative designs of the study. Point of view is thus seen as the means through which a given device operates in a specific context, what it reveals, and how it relates to other textual elements. Four main categories are proposed, namely the dramatized, the inward, the multiple and the communal perspectives. These categories demonstrate the flexibility of method which point of view allows and they show how novels from different backgrounds may be examined under one 'convention' without depriving such novels of their originality. Twenty novels by British, American and African novelists are subsequently divided into these four categories and each of the novels is described, allowing them to define one another. The communal perspective is found to be a unique feature of the five African novels examined in the last three chapters. These novels require the reader to modify his opinions about point of view, for the novelists seem to speak on behalf of their communities. The communal pose thus becomes a literary device. It is a device which manifests itself in the case of the novels of Chinua Achebe, Ayi Kwei Armah and Gabriel Okara through the skilful use of character, language and setting. The reader who comes to the novels with the conviction that character is a paradigm of traits will need to bear in mind that traits in these novels are what are normally known as characters in other novels and that in the novels, therefore, characterisation is largely transferred from the individual person to the communal personality. This is the contribution these African novelists have made to world fiction. It is nevertheless shown that this distinct feature need not deny a common ground from which the critic of the African novel can define the novels' themes and methods and that ultimately the isolation which the three main approaches seem to recommend is neither desirable, nor is it helpful as a way of making the reader aware of the form and content of the novels.

Robert Greene began collaborating with Thomas Nashe as English prose was turning away from the style and subject matter of Lyly's Euphues (1578) and Sidney's Arcadia (1590). When Greene and Nashe came together in London, the two writers appear to have set the tone for the pamphleteers who would establish the realistic tradition that contributed to the development of the novel. Greene's Menaphon (1589) may be a satire representing his abandonment of courtly fiction. The influence of the Marprelate controversy is reflected in Greene's appeals to the pragmatic character of the emerging literate middle class. Greene's Vision (1592) appears to be Greene's affirmation of his critical philosophy at a point of stress in the authors' relationship.

This doctoral thesis examines the ways in which contemporary writers have adopted the critical dystopian mode in order to radically deconstruct the socio-political conditions that preclude equality, inclusion and collective political appearance in twenty-first century Britain. The thesis performs theoretically-informed close readings of contemporary novels from authors J.G. Ballard, Maggie Gee, Sarah Hall and Rupert Thomson in its analysis, and argues that the speculative visions of Kingdom Come (2006), The Flood (2004), The Carhullan Army (2007) and Divided Kingdom (2005) are engaged with a wave of contemporary dystopian writing in which the destructive and divisive forms of consensus that are to be found within Britain's contemporary socio-political moment are identified and challenged. The thesis proposes that, in their politically-engaged extrapolations, contemporary British writers are engaged with specifically dystopian expressions of dissensus. Reflecting key theoretical and political nuances found in Jacques Rancière's concept of 'dissensus', I argue that the novels illustrate dissensual interventions within the imagined political space of British societies in which inequalities, oppressions and exclusions are endemic - often proceeding to present modest, 'minor' utopian arguments for more equal, heterogeneous and democratic possibilities in the process. Contributing new, theoretically-inflected analysis of key speculative fictions from twenty-first century British writers, and locating their critiques within the literary, socio-political and theoretical contexts they are meaningfully engaged with, the thesis ultimately argues that in interrogating and reimagining the socio-political spaces of twenty-first century Britain, contemporary writers of dystopian fiction demonstrate literature working in its most dissensual, political and transformative mode.

Includes bibliographical references (leaves 246-258) Presents readings of six novels which depict something of the nature of war trauma. Collectively, the novels suggest that the attempt to narrativise war trauma is inherently problematic. Traces the disjunctions between narrative and war trauma which ensure that war trauma remains an elusive and private phenomonen; the gulf between private experience and public discourse haunts each of the novels.

Thesis (MA)--University of Montana, 2009. / Contents viewed on November 30, 2009. Title from author supplied metadata. Includes bibliographical references.

The KwaZulu-Natal Provincial Library Services (KZNPLS) is attempting to address the reading needs of black adult users neglected during the apartheid era. The provision of popular adult English fiction, which consumes a considerable portion of the KZNPLS book budget, has catered for the recreational reading tastes of a small, educated, predominantly white group. This study explores whether popular adult English fiction has a role to play in the reading needs of black adult users in libraries affiliated to KZNPLS. An exploratory survey using the semi-structured interview was conducted in black libraries affiliated to KZNPLS to investigate whether there was an interest in popular English fiction and whether it was assisting readers to develop English language reading skills. The findings of the survey suggested that needs were very broad. However, basic literacy material was the most needed, and popular English fiction was playing a significant role in improving English language reading skills and fluency. The study suggests that if transformation and development is to take place in South Africa, the country's inhabitants must cultivate the critical thinking skills necessary for full utilisation of information technology. The oral tradition is not sufficient for South Africa's information needs but should be incorporated into a synergic union with global information systems. Reading has an established role to play in the development of critical thinking skills but South Africa lacks a strong reading culture. The fostering of English-language reading ability is appropriate as English is the lingua franca of South Africa and the foremost language of technology. The structure of much popular English fiction has transcultural appeal due to its use of archetypal formulas. Popular English fiction provides reading motivation but has a controversial history due to elitist condemnations of its literary quality. To overcome the debate of whether libraries should prefer literary merit or popularity in their fiction collections, it is recommended that diversity be the touchstone and that readers be given full opportunity to indulge in the free voluntary reading that provides fertile ground for the cultivation of critical thinking skills. / Thesis (M.I.S.)-University of Natal, Pietermaritzburg, 1997.

This thesis examines representations of trust in selected British sentimental novels of the eighteenth century. It focuses principally on the manner in which sentimental prose fiction reflects and participates in the shift from premodern to modern formations of trust. Commenting on the nature of modern trust, Anthony Giddens claims that, with the move to modernity, trust relations in the intimate sphere become increasingly dependent on emotional mutuality, while trust in institutions becomes increasingly impersonal and disengaged from assessments of moral character. / My work explores this dual shift in three sentimental novels. It first analyzes Samuel Richardson's Pamela (1740) and contends that Richardson denies the concept of honor its epistemological role in practical deliberations. The denial of the epistemology of honor uncouples the mechanism of personal trust from assessments of role and role performance and thus makes the trust in persons in the intimate sphere less dependent on institutional forms of trust. To replace honor's role in the formation of trust, Richardson proposes that the sentiments can provide reliable grounds for trust in the intimate sphere. However, he denies the sentiments a role in the formation of an encompassing social trust among strangers and mere acquaintances. The thesis proceeds to read Henry Fielding's Amelia (1751). In order to argue that Fielding envisioned divergent grounds for trust relations, it maintains that Fielding considers trust relations in the intimate sphere and trust relations in public life as based on the sentiments and fair distribution respectively. To conclude, the thesis investigates Oliver Goldsmith's The Vicar of Wakefield (1766) to uncover the manner in which Goldsmith distinguishes personal trust in the intimate sphere from general system trust, which Goldsmith ultimately envisions as an ontological trust in providence.

Includes bibliographical references (leaves 246-258) / 258 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Presents readings of six novels which depict something of the nature of war trauma. Collectively, the novels suggest that the attempt to narrativise war trauma is inherently problematic. Traces the disjunctions between narrative and war trauma which ensure that war trauma remains an elusive and private phenomonen; the gulf between private experience and public discourse haunts each of the novels. / Thesis (Ph.D.)--University of Adelaide, Dept. of English, 2001