Joseph Conrad's Heart of Darkness is, admittedly, a text with many racist, imperialist and sexist subtexts. A feminist literary analysis, however, can extract women's empowerment and agency. This thesis takes a closer look at the Mistress (also known as the African woman) and the Intended, two women with vastly different racial and class backgrounds who, in their own ways, demonstrate resistance. This thesis analyzes Mr. Kurtz's often ignored sketch in oils, arguing that the sketch itself demonstrates the colonial mentality of difference and the disruption of that difference. It then explores both the Mistress and the Intended in detail, positing that while the Mistress uses the colonizers' fear of the wilderness and its silence to her advantage, the Intended takes control over her own domestic circumstance. Overall, this author asserts that the Mistress and the Intended, while often dismissed, are noteworthy, important, and influential characters in Heart of Darkness. / by Kathryn Marie Smith. / Thesis (M.A.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.

This project examines the blending of verbal and visual discourse in three of Christopher Marlowes early works: Dido Queen of Carthage and Tamburlaine the Great, Parts I and II. Through the process of appeals, both Dido and Zenocrate become more than feminine counterparts in a heroic tale and ultimately engage in rhetorical conquest themselves. Marlowe's treatment of Dido and Zenocrate portrays them as dynamic figures whose ambitions emerge upon the stage. In each drama, the feminine agency legitimizes the action of the play. Dido utilizes visual appeals to contest the fate of the gods and persuade Aeneas to become the male counterpart in her empire. Zenocrate serves as the focus of Tamburlaine's appeals because she will become the legitimating presence for his ambition. I show that these Marlovian women hold a significant place in his canon and that the force of their presence is undeniable. / by Courtney N. Gregory. / Thesis (M.A.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011. Mode of access: World Wide Web.

This thesis represents a study of The Years by Virginia Woolf and Rebecca by Daphne du Maurier. Both novels attempt to redefine the role of women in patriarchal society during the 1930s. The domestic role women had to fill within a masculine household constrained their ability to form an independent "self," apart from fathers and husbands. I argue that these novels articulate the possibility for women to access an independent self by examining the meaning behind domestic objects in and of the house. Lucy Irigaray asserts that women were, and still are, associated with being valued as a desirable "commodity". Since women have no choice but to work within the symbolic order and are already labeled as "object," women writers have manipulated the system by examining the subject/object dichotomy. The relationship women have with inanimate, and particularly domestic, objects shows how time (the past and the future) manipulates freedom in the present moment. Woolf's reflection on how "moments of being" function as gateways to a heightened sense of awareness is prevalent in her last published novel, The Years. I invoke Friedrich Nietzsche to consider notions of how an antiquated past hinders identity in du Maurier's Rebecca. In the literary texts of Woolf and du Maurier, women have a unique relationship with material objects in relationship to subjectivity. By examining the spatial constructs of the home, women are able to construct themselves as free "subjects" in a male dominated world. / by Stephanie Derisi. / Thesis (M.A.)--Florida Atlantic University, 2012. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2012. Mode of access: World Wide Web.

Yuen Siu Fung. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references (leaves 157-162). / Abstracts in English and Chinese. / Chapter Chapter One: --- Re-imagining Female Subjectivity beyond Bodily Inscriptions --- p.1 / Chapter Chapter Two: --- Cultural Body and Female Agency: The Transformation of Identity in Jasmine --- p.21 / Chapter Chapter Three: --- Woman and Unwoman: Reconstructing Subjectivity in The Handmaids Tale --- p.64 / Chapter Chapter Four: --- Beyond Bodily Defined Identity: Per/Re-forming Man/Woman Relationship in Nights at the Circus --- p.114 / Chapter Chapter Five: --- "In Search of Fulfilment, Satisfaction and Development" --- p.150 / Bibliography --- p.157

Cheung Wah. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 135-142). / Abstracts in English and Chinese. / Abstract --- p.ii / Acknowledgements --- p.vi / Abbreviations --- p.vii / Introduction --- p.1 / Chapter Chapter One --- "The Language of Sexual & Political Oppressions in Pinter's Political Plays: One for the Road, Mountain Language and Party Time" --- p.9 / Chapter Chapter Two --- "Sexual Difference in Language in Pinter's Plays of Marital Failure: The Collection, The Homecoming, Betrayal and A Kind of Alaska" --- p.44 / Chapter Chapter Three --- "The Poetry of Forming Selves from the Past in Pinter's Memory Plays: Landscape, Silence, Old Times and Ashes to Ashes" --- p.90 / Conclusion --- p.127 / References --- p.135

徐霞. / "2002年8月" / 論文 (哲學碩士)--香港中文大學, 2002. / 參考文獻 (leaves 243-399) / 附中英文摘要. / "2002 nian 8 yue" / Xu Xia. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (leaves 243-399) / Fu Zhong Ying wen zhai yao. / Chapter 第一章 --- 引言 --- p.1 / Chapter 第一節 --- 序論 --- p.1 / Chapter 第二節 --- 硏究方法 --- p.3 / Chapter 第二章 --- 《哀悼乳房》文本分析及硏究述評 --- p.9 / Chapter 第一節 --- 《哀悼乳房》文本分析 --- p.9 / Chapter 1 --- ´Ø《哀悼乳房》內容分析 --- p.10 / Chapter 2 --- ´Ø《哀悼乳房》敘事結構分析 --- p.14 / Chapter a ´Ø --- 「連載/分載」的形式 --- p.15 / Chapter b ´Ø --- 「知識論述」的切割 --- p.24 / Chapter c ´Ø --- 「閱讀指引」的佈局 --- p.29 / Chapter d ´Ø --- 小結 --- p.33 / Chapter 3 ´Ø --- 《哀悼乳房》主題探討 --- p.34 / Chapter 4 ´Ø --- 小結 --- p.38 / Chapter 第二節 --- 《哀悼乳房》硏究述評 --- p.39 / Chapter 1 ´Ø --- 硏究槪況 --- p.39 / Chapter a ´Ø --- 書籍推薦形式的文章 --- p.40 / Chapter b ´Ø --- 感性好情的讀後感 --- p.43 / Chapter c ´Ø --- 閱讀筆記 --- p.44 / Chapter d ´Ø --- 學術論文 --- p.48 / Chapter 2 ´Ø --- 硏究空間 --- p.55 / Chapter a ´Ø --- 對文類的開放性思考 --- p.55 / Chapter b ´Ø --- 對「知識論述」的探討 --- p.59 / Chapter c ´Ø --- 對「女性論述」的探討 --- p.60 / Chapter 3 ´Ø --- 小結 --- p.61 / Chapter 第三章 --- 《哀悼乳房》的「知識論述」硏究 --- p.62 / Chapter 第一節 --- 從「圖書館氣息」和「百科全書」說起 --- p.62 / Chapter 第二節 --- 《哀悼乳房》中「知識論述」的定義與分類 --- p.67 / Chapter 第三節 --- 《哀悼乳房》中「知識論述」的特色 --- p.74 / Chapter 1 ´Ø --- 文學性的「知識論述」 --- p.74 / Chapter 2 ´Ø --- 個人色彩的「知識論述」 --- p.77 / Chapter 3 ´Ø --- 對話性的「知識論述」 --- p.78 / Chapter 4 ´Ø --- 轉換角度的「知識論述」 --- p.83 / Chapter 5 ´Ø --- 引經據典的「知識論述」 --- p.86 / Chapter 第四節 --- 「知識論述」的主題 --- p.87 / Chapter 第五節 --- 西西作品中的「知識論述」體系 --- p.94 / Chapter 1 ´Ø --- 西西的藍色抒情時期（知識論述萌芽期） --- p.95 / Chapter 2 ´Ø --- 西西的灰色存在主義時期（知識論述培育期） --- p.104 / Chapter 3 ´Ø --- 西西的亮麗童言時期（知識論述發展期） --- p.115 / Chapter 4 ´Ø --- 西西的斑斕知性時期（知識論述成熟期） --- p.121 / Chapter 第六節 --- 小結 --- p.124 / Chapter 第四章 --- 《哀悼乳房》的「女性論述」硏究 --- p.125 / Chapter 第一節 --- 從「天真本色」和「女性文體」說起 --- p.125 / Chapter 第二節 --- 何謂「女性論述」 --- p.129 / Chapter 第三節 --- 《哀悼乳房》從「生理性別」過渡到「文化性別」的「女性論 述 --- p.133 / Chapter 第四節 --- 《哀悼乳房》與「女性書寫」的關係 --- p.142 / Chapter 1 ´Ø --- 邊緣向中心的挑戰 --- p.149 / Chapter 2 ´Ø --- 身體與潛意識 --- p.154 / Chapter 3 ´Ø --- 對語言與文類的顛覆 --- p.158 / Chapter 第五節 --- 西西對「女性主義」的看法 --- p.161 / Chapter 第六節 --- 西西作品中的「女性論述」體系 --- p.169 / Chapter 1 ´Ø --- 西西的朦朧少女情懷時期（性別意識萌芽期） --- p.171 / Chapter 3 ´Ø --- 西西的尋路青年女性時期（性別意識沉澱期） --- p.184 / Chapter 4 ´Ø --- 西西的成熟中年女性時期（女性論述展現期） --- p.191 / Chapter 第七節 --- 小結 --- p.204 / Chapter 第五章 --- 《哀悼乳房》帶來的文學可能性 --- p.205 / Chapter 第一節 --- 對「文類」與「文學」的困惑 --- p.207 / Chapter 第二節 --- 《哀1 卓乳房》與後現代文學 --- p.220 / Chapter 第三節 --- 小結 --- p.233 / Chapter 第六章 --- 結語 --- p.235 / 參考書目 --- p.243 / Chapter 一 ´Ø --- 參考書目（西西單行本作品） --- p.244 / Chapter 二 ´Ø --- 其他參考書目 --- p.248 / Chapter 三 ´Ø --- 期刊論文（西西作品評論） --- p.256 / Chapter 四 ´Ø --- 其他期刊論文 --- p.271 / 附錄 --- p.277 / Chapter 一 ´Ø --- 西西作品單行本細目表 --- p.278 / Chapter 二 ´Ø --- 西西作品編年表（1953´ؤ2002) --- p.292 / Chapter 三 ´Ø --- 《哀悼乳房》「知識論述」引文節錄 --- p.363 / Chapter 四 ´Ø --- 「乳癌書寫」書目比較表 --- p.392 / Chapter 五 ´Ø --- 西西創作電影劇本資料表 --- p.396

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Orientador: Aparecido Donizete Rossi / Banca: Alcides Cardoso dos Santos / Banca: Carla Alexandra Ferreira / Resumo: Sylvia Plath é uma escritora norte-americana do século XX conhecida principalmente por sua poesia e por seu suicídio precoce. Em 1963, ela publica seu único romance, A redoma de vidro [The Bell Jar], em que narra a história de Esther Greenwood, jovem americana da década de 1950 que se encontra em um caminho de autoaniquilação ao se deparar com as regras sociais impostas pela ideologia patriarcal, a qual tenta impedi-la de assumir seu eu verdadeiro e desenvolver todas as suas potencialidades. O objetivo deste trabalho é entender de que forma a autora, por meio da atualização do conceito de subtexto de autoria feminina para o século XX, utiliza a temática da desintegração do sujeito feminino como estratégia de resistência ao patriarcado. Para tanto, utilizam-se os escritos de Virginia Woolf sobre o ideal do Anjo do Lar, presentes em seu ensaio "Professions for Women" (1942); de Gilbert e Gubar sobre a literatura de autoria feminina, retirados de sua obra The Madwoman in the Attic (1979); e de Elaine Showalter sobre o discurso de duas vozes empreendido pelas mulheres autoras, presentes em seus ensaios "Towards a Feminist Poetics" (1979) e "A crítica feminista no território selvagem" (1981). A partir da análise do romance, busca-se mostrar de que forma Plath denuncia os efeitos devastadores da ideologia patriarcal sobre o corpo e a mente das mulheres. / Abstract: Sylvia Plath is a twentieth-century North-American writer, mainly known by her poetry and her early suicide. In 1963, she publishes her only novel, The Bell Jar, in which she tells the story of Esther Greenwood, a young American woman from the 1950's who finds herself in a self-annihilation path when confronted by the social rules imposed by the patriarchal ideology, which tries to stop her from assuming her true self and developing all her potentialities. The aim of this work is to understand in what way the writer, through the actualization of the concept of subtext in female authorship to the twentieth century, employs the theme of female subject disintegration as a resistance strategy to patriarchy. For this purpose, we use Virginia Woolf's writings on the Angel in the House's ideal, from her essay "Professions for Women" (1942); Gilbert and Gubar's writings on the literature of female authorship, from their work The Madwoman in the Attic (1979); and Elaine Showalter's writings on the double-voiced discourse employed by women writers, from her essays "Towards a Feminist Poetics" (1979), and "Feminism Criticism in the Wilderness" (1981). From the analysis of the novel, we aim to show in which way Plath exposes the devastating effects of the patriarchal ideology on women's bodies and minds. / Mestre

Thesis (Ph.D.)--Ohio University, June, 2006. / Title from PDF t.p. Includes bibliographical references (p. 235-241)

Thesis (M.A.)--Texas State University-San Marcos, 2008. / Vita. Includes bibliographical references (leaves 72-75). Also available on microfilm.