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Black feminist discourses dialogues, disclosures, and the discursive difference of black women's writing /Sarr, Akua. January 1900 (has links)
Thesis (Ph.D.)--University of Wisconsin--Madison, 1998. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 235-254).
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Backward to your sources, sacred rivers a transatlanitic feminist tradition of mythic revision /House, Veronica Leigh, January 1900 (has links) (PDF)
Thesis (Ph. D.)--University of Texas at Austin, 2006. / Vita. Includes bibliographical references.
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On becoming in translation articulating feminisms in the translation of Marie Vieux-Chauvet's Les Rapaces /Shread, Carolyn P. T., Chauvet, Marie. January 2008 (has links)
Thesis (M.A.)--University of Massachusetts Amherst, 2008. / Includes .doc file (355 KB) of a translation of Marie Vieux-Chauvet's novel Les Rapaces (1984) by Carolyn Shread. Includes bibliographical references (p. 70-82).
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Feminism and literature in France, 1610-1652Maclean, I. W. F. January 1971 (has links)
No description available.
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Female subjects in selected dramatic comedies by Canadian womenDerksen, Céleste Daphne Anne 26 October 2017 (has links)
This dissertation examines five dramatic comedies by Canadian women and the female subject positions they provide. Through these analyses, it examines how constructions of female subjectivity are both constrained and enabled by comedic discourse.
The Introduction argues that traditional patterns and formalist conceptions of comedy have not made a place for female subjects and that, while feminist critics have begun to examine women's comedies and the female subjects they construct, those studies need to be complicated in order to make space for the variety and complexity of female subject positions elicited by the plays under consideration. In dialogue with contemporary theories regarding gender performance, language, and subjectivity (with particular reference to theorists Judith Butler and Catherine Belsey), this study goes on to examine the entangled and indeterminate qualities of female subjects in a selection of Canadian women's comedies.
Chapter One discusses the didactic and hidden subject positions within Sarah Anne Curzon's The Sweet Girl Graduate, a nineteenth-century revision of the comedy of manners. Chapter Two discusses the gender anxiety inscribed in Erika Ritter's Automatic Pilot, a comedy about a female stand-up comic. Chapter Three considers the Jungian feminist conception of subjectivity dramatized in Ann-Marie MacDonald's Goodnight Desdemona (Good Morning Juliet). Chapter Four proposes that Margaret Hollingsworth's The House that Jack Built constructs a feminist and absurdist subject position. Chapter Five examines gender parody and play in Karen Hines' Pochsy's Lips, and argues that this bouffon performance piece conceives of female subjectivity as a playful and critical realm. Chapter analyses focus on variances in how these comedies represent and understand women's capacities to intervene in genre and gender formations, and in social and psychic realms, which in turn reflect their different conceptions of female subjectivity.
In conclusion, this study advocates the benefits of reading women's comedies not only in terms of patterns of genre or gender revisions, but also as destabilizing forms of linguistic, psychic, and bodily performance. Its feminist appeal lies in the assertion that change is effected not only by overt alterations of comedic or social patterns, but also by the issue of multiple and potentially new subject positions, which are produced by different forms of comedic and comic practice. / Graduate
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Modernity's rebel daughters : feminism, writing and conflict in contemporary ColumbiaElston, Cherilyn Ruth January 2015 (has links)
No description available.
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Feminist appropriations of Hans Christian Andersen's "The little mermaid" and the ways in which stereotypes of women are subverted or sustained in selected worksMostert, Linda Ann January 2011 (has links)
According to Lewis Seifert, “Fairy tales are obsessed with femininity … These narratives are concerned above all else with defining what makes women different from men and, more precisely, what is and is not acceptable feminine behaviour” (1996: 175). This study, then, will demonstrate how certain patriarchal ideas associated with fairy tales are disseminated when fairy tale elements are reworked in film, visual art and the novel. The aim of this project, more specifically, is to show how certain stereotypical representations of women endure in works that could be read as feminist appropriations of Hans Christian Andersen’s ‘The Little Mermaid’. Stereotypical representations of women are numerous and may include: depicting females as fitting neatly into what is often called the virgin/whore or Madonna/whore binary opposition; depicting women as being caring and kind, but also passive, submissive and weak; and depicting older women as being sexually unattractive and evil (Goodwin and Fiske 2001:358; Sullivan 2010: 4). It must be said that the list of stereotypes relating to women given here is far from exhaustive.
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Doing the Heavy Work: Feminism in Louise Gluck's PoetryHunt, Cheyenne 18 August 2022 (has links)
No description available.
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L' évolution du féminisme dans l'oeuvre de Marie LabergePilon, Simone January 1995 (has links)
No description available.
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Gender and identity : a South African perspective on Mary Wollstonecraft's politics and literature.Ramsookbhai, Shamila. January 2004 (has links)
No abstract available. / Thesis (M.A.)-University of Durban-Westville, 2004.
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