Thesis (M.A.)--Miami University, Dept. of Spanish and Portuguese, 2003. / Title from first page of PDF document. Includes bibliographical references (p. 69-71).

Thesis (MA)--University of Stellenbosch, 2005. / Bibliography. Also available via the Internet.

Thesis (M. A.)--University of Hong Kong, 2005. / Title proper from title frame. Also available in printed format.

Thesis (Ph.D.)--Duquesne University, 2006. / Title from document title page. Abstract included in electronic submission form. Includes bibliographical references (p. 356-388) and index.

Thesis (Ph. D.)--University of California, San Diego, 2007. / Title from first page of PDF file (viewed May 29, 2007). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 264-272).

Thesis (M.A.)--Bowling Green State University, 2007. / Document formatted into pages; contains v, 94 p. Includes bibliographical references.

Thesis (M.A.)--University of Wyoming, 2008. / Title from PDF title page (viewed on Nov. 11, 2009). Includes bibliographical references (p. 143-146).

Thesis (MA)--University of Stellenbosch, 2008. / Bibliography. Also available via the Internet.

Vampire and Vampirism have raised the interests of the public from 1700s. Vampire is being used as a lens to discuss social issues in the real world. However, it is seen that there are limited works discussing the situation of coloured communities. This project is to examine female vampire figures in select works and evaluate the extent to which those figures are able to represent an empowered image of women of colour. To achieve this aim, textual analysis will be used to examine classical vampire literature, such as Sheridan Le Fanu's "Carmilla" (1872/2003), Mary E. Wilkins Freeman's "Luella Miller" (1902/2014), Bram Stoker's Dracula (2007), Anne O'Brien Rice's Interview with the Vampire (1976/2010) and L. A. Banks's Minion (2003). There will be interdisciplinary reading of the social situation and behavior of the colored alongside with textual analysis of Jewelle Gomez's The Gilda Stories: A Novel (1991) and Octavia E. Butler's Fledgling: A Novel (2005). I will conclude that vampire literature has the ability and potentiality to reflect social behavior and environment of the coloured, especially coloured women. The contribution of this thesis is to demonstrate that reflecting the situation of the coloured can be a new area for vampire literature to explore in the future development and evolution of vampire literature as a genre. This is also breakthrough to the function of vampire literature as a genre because on top of appearing as entertainment and reflection of society, vampire literature is able to serve social function to empower and enlighten readers by raising their awareness to social issues that people are used to neglect.

This thesis examines the close and complex relationship between dress, feminism, and British New Woman novels. It provides in-depth analysis of six New Woman novels and draws comparisons with numerous other works. The case study texts are Olive Schreiner's The Story of an African Farm (1883) and From Man to Man: Or Perhaps Only ... (1926, posthumously), Sarah Grand's Ideala: A Study from Life (1881) and The Heavenly Twins (1893), and Grant Allen's The Woman Who Did (1895) and The Type-Writer Girl (1897). I explore why dress was so important to such novels, and examine the diverse, individual, developing, and shared ways in which authors engaged with dress as a feminist strategy and feminist concern. Areas considered include From Man to Man's use of functional clothes and dress production to celebrate female labour, Grand's interest in both dress reform and dressing to impress, Allen's shift in focus from the white-clad free lover to the sensibly-dressed working woman, and authors' use of deceptively clean clothes to address male immorality and disease. The thesis looks beyond as well as within New Woman narratives, demonstrating that writers, and publishers, were broadly concerned with dress in its various literal and more metaphorical manifestations. Focuses include self-styling, authorial cross-dressing, and bindings. Dress does not, however, always seamlessly support these texts' feminisms, I argue. For example, Grand elevated cross-class feminism, but she belittled middle-class women's taste, side-lined poor women's most pressing sartorial concerns, and dressed to impress. I also stress that dress, being so closely bound up with New Woman novels' feminisms and their ambiguities, is a revealing lens through which to read such texts, and one often capable of prompting re-readings. Attention to Allen's rejection of sartorial realism in parts of The Woman Who Did problematises the dominant conception of this novel as straightforwardly pro-free union, for instance. The thesis, as well as gesturing towards dress's centrality to the production and interpretation of literary feminisms and anti-feminisms broadly, emphasises the importance of dress to New Woman literature and its analysts, and uses dress to provide fresh readings of various novels and genre-wide issues.