Orientador: Cleide Antonia Rapucci / Banca: Altamir Botoso / Banca: Ana Maria Domingues de Oliveira / Resumo: Baseada em recentes teorias sobre o Romance de Formação de autoria feminina - Female Bildungsroman, esta dissertação objetiva estabelecer a relação entre espaço e o romance de formação na obra The Wives of Bath, publicado em 1993, pela autora Canadense Susan Swan. O romance, que revela seu aspecto intertextual em seu próprio título, pretende elucidar como o espaço - um internato para meninas nos arredores de Toronto - simbolicamente representado pelo sótão e pelo porão, é essencial para a construção do processo de formação feminino, através da subversão do gênero literário tradicional Bildungsroman. No primeiro capítulo, a vida e a obra de Susan Swan é estudada, assim como o romance em pauta e sua recepção crítica. No segundo capítulo, são apresentadas as teorias sobre espaço de Gaston Bachelard e de Michel Foucault, além de considerações sobre o romance de formação de autoria feminina. O terceiro capítulo é dedicado à análise, de acordo com as teorias previamente colocadas, e destaca-se, aqui, a relação entre o espaço da escola e o processo de formação de Mary Beatrice Bradford, a protagonista. Por último, mas não menos importante, esse estudo mostra o poder da literatura como forma de evidenciar a quebra do emudecimento das mulheres na formação de suas identidades femininas / Abstract: This dissertation is grounded on recent theories about Female Bildungsroman or novels of education in a feminist perspective. It aims at establishing the relationship between space and the novel of education in the novel The Wives of Bath, published in 1993 by the Canadian author Susan Swan. The novel, revealing its intertextual aspect by its title, focuses on shedding a light on how the space - a girls' boarding school on the outskirts of Toronto - symbolically represented by the attic and the basement is essential to build a female formation process subverting the traditional genre itself. In the first chapter, life and work of Susan Swan are studied, as well as the novel and its critical reception. In the second chapter, the theories concerning spaces by Gaston Bachelard and Michel Foucault and also the theories on the female Bildungsromane are covered. The third chapter is focused on the analysis according to the relation observed between the spaces and the formative process of Mary Beatrice Bradford - the protagonist. At last but not least, the intention of this dissertation is to spread the power of literature as a way of evidencing the muting breaking of women in the formation of their feminine identities / Mestre

The central assumption of this study is that the awareness of a historically constructed, culturally sanctioned condition of subalternity is at the heart of the fictional production of Francophone African women writers. Subalternity here is viewed as a narrative and spatial continuum inside which African women have to negotiate issues relating to subjecthood and identity, both marked by gender and colonialism. Various definitions of 'the subaltern' are relevant, ranging from Antonio Gramsci's to those of the South Asian Subaltern Studies group, and to John Beverley's and Fredric Jameson's discussions. Jameson's emphasis on subalternity as "the feelings of mental inferiority nad habits of subservience and obedience which... develop in situations of domination - most dramatically in the experience of colonized peoples" (Jameson, 1981) is crucial, because it demonstrates the constructedness of that ontological condition. The approach adopted here aims to include gender as a category in a discourse that often excludes it, and to bring social science-oriented concepts into dialogue with literary theory and criticism. Combined with a discussion of Africa-influenced versions of feminist theory (stiwanism, negofeminism, motherism), Subaltern studies provides a space for the emergence of a south-south postcolonial debate that can throw new light on writing by African women. Fictional works by Therese Kuoh-Moukoury, Mariama Ba, Aminata Maiga Ka, Angele Rawiri, Philomene Bassek, Evelyne Mpoudi-Ngolle, Regina Yaou, Fatou Keita, and Abibatou Traore are read as conveying the various stages of consciousness on the part of the subaltern. Kuoh-Moukoury's Rencontres essentielles (1969), Maiga Ka's La voie du salut (1985), and Bassek's La tache de sang (1990) exemplify a first stage of consciousness in which the subaltern woman submits passively to oppressive patriarchal, cultural and religious prescriptions. Ba's Une si longue lettre (1979), Mpoudi Ngolle's Sous La cendre le feu (1990) and Rawiri's Fureurs et cris de femmes (1989) present a more assertive, rebellious heroine whose efforts are undermined by a resilient social context. Finally, Traore's Sidagamie (1998), Kei'ta's Rebelle (1998) and Yaou's Le prix de la revoke (1997) address the possibility of a sustained African women's struggle resulting not only in transient personal and isolated victories but also in an enduring social transformation governed by the ethos of gender equality. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

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This study is a reading of khuswala kumuse (funeral oratory) among the Bukusu from the perspective of contemporary theories of masculinity and gender relations. Funeral oratory performance is an age-old practice performed on the third day after burial (lufu), of honoured males from clans that enjoy respect from other clans because of their leadership qualities. The thesis is about the performances of John Wanyonyi Manguliechi. Focusing on his unique personality and creative oral skills as a performer, the thesis seeks to demonstrate Manguliechi’s artistic contribution to a venerated tradition. This study benefits from ethnography and fieldwork as methods of literary research in order to interrogate concerns of gender, power discourses and performance in a traditional oral text. The study focuses on pre-recorded texts of Manguliechi and critically analyzes them through the prism of masculinity, gender and power discourse. Specifically, our analysis employs masculinity and gender relations theories to study circumcision, ethnicity and elements of power discourses in Manguliechi’s funeral oratories. The notion of ‘textualizing masculinity’ in this study refers to the various ways of being a man as highlighted by Manguliechi in his recitals. The study examines the funeral oratory as a cultural discourse shaped by masculine nuances and an oral literary genre laden with multiple images of power discourses and gender relations. In the Bukusu parlance, ‘khuswala kumuse’ connotes rhetorical excellence, and the genre represents the most elaborate and creative verbal expression. Thus, persuasive public speech is a much-vaunted art form in the community and any man whose oratory skills demonstrate good rhetoric and eloquence is held in the utmost esteem. In this study we argue that although Manguliechi’s performances are essentially funeral rituals, his recitals are rare examples of rhetorical genius with highly expressive and idiomatic creativity that can be subjected to literary analysis. The study interrogates the interfaces between the textual and thematic concerns of Manguliechi’s kumuse renditions on the one hand and the masculine gender constructions and power imaginations within the same texts.

"Isn't it pretty to think so?" The ambiguity of this question, posed by Jake Barnes in the last line of The Sun Also Rises, is a reflection of the novel's evolving definition of what constitutes a relationship. As the focus of Hemingway criticism has slowly broken from tired discussions of misogyny a space has opened for considering the complex ways his writings address questions of gendered identity. Through this lens critics have asked exactly what kind of man and women Jake Barnes and Lady Brett Ashley represent. For decades critics and scholars have viewed this final line as having a negative connotation, signifying the death of love not only in the novel, but in the era. However, this reading fails to take into account the evolving gender roles the Brett and Jake represent. My essay looks at the novel's protagonists not simply as Brett or Jake, but also as Brett and Jake. Through this lens it becomes clear that Hemingway's portrayal of these characters is not one of the "bitch-goddess" and a defeated male, but of two people who, through their rapidly evolving gender roles and sexuality, are uniquely suited to be side by side when the rubble of the fiesta comes crashing down around them, not merely as friends, but as the only relationship that can truly exist.

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Thesis (MA)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: This study examines the aspect of culture and gender in N.S. Zulu's novel Nonyana ya tshepo (The bird of hope) (1997). The approach shall be based on the study of culture and gender representation of male and female characters as viewed by scholars such as Payne (1997), Ruthven (1984), Bauerlin (1997) and Brooker (1999). However, because character is closely linked to plot, the study also outlines plot and character. The study emphasizes the portrayal of male and female characters in terms of culture and gender stereotypes because patriarchy in society dictates that men are seen as superior and women as inferior, women as the dispossessed and men as owners, women as child bearers and men as leaders. The study aims to find out whether or not this modern novel, Nonyana ya tshepo, portrays patriarchal images of men and women. In most of thE! Sesotho older novels sexism was enforced, and sexual inequalities in such novels were taken as universal and therefore normal. The issue of sexual difference and inequality is basically rooted in the tradition of patriarchy that advocates the subjection and oppression of women. Women characters are always subjected to ill-treatment, abuse, torture and suppression as a result of patriarchy and other related factors. In Nonyana ya tshepo women characters are portrayed as being submissive, powerless and easily manipulated by their male counterparts. They are victims of circumstances as they have no power and control. Male characters do not treat female characters with dignity. For example, when Mokwena arrives at his home in the night being drunk, he wakes up his wife Dijeng and swears at her. He accuses her of hiding a man in his bedroom and he finally beats her up. Women characters in Nonyana ya tshepo are also portrayed as victims of sexual abuse by male characters. Mokwena sexually abuses Dikeledi and impregnates her. The same abuse happens to Sebolelo who is sexually abused by her male employee. Sebolelo and Dikeledi become victims of the circumstances. Male characters in the novel are dominant, abusive, manipulative and oppressive. Male and female characters are portrayed in terms of culture and gender stereotypes in Nonyana ya tshepo. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die aspek van kultuur en gender in N.S. Zulu se novelle Nonyana ya tshepo (die voël van hoop) (1997). Die benadering tot die studie is gebaseer op die studie van kultuur en gender representasie van manlike en vroulike karakters soos gesien deur navorsers soos Payne (1997), Ruthven (1984), Bauer1in (1997) en Brooker (1999). Omdat karakterisering egter gekoppel is aan intrige, ondersoek die studie ook intrige en karakter. Die studie beklemtoon die uitbeelding van manlike en vroulike karakters in terme van kultuur en gender stereotipes aangesien patriargie in die gemeenskap voorskryf dat mans as meerderes en vroue as minderes is, vroue as die nie-besitters en mans as besitters, vroue as voortbringers van kinders en mans as leiers. Die studie ondersoek of, in die novelle, Nonyana ya tshepo daar 'n uitbeelding is van patriargale voorstellings van mans en vroue. In die meeste ouer Sesotho novelles, is stereotipes geforseer, en gender ongelykhede is beskou as universeel in hierdie novelles, en dus normaal. Die vraagstuk van gender verskille en ongelykheid is gewortel in die tradisie van patriargie wat die onderwerping en verdrukking van vroue voorstaan. Vroue karakters word altyd onderwerp aan mishandeling en verdrukking as gevolg van patriargie en ander verwante faktore. In Nonyana ya tshepo word vroue karakters uitgebeeld as onderdanig, magteloos, en maklik-manipuleerbaar deur hulle manlike eweknieë. Hulle is slagoffers van omstandighede en het nie mag of kontrole nie. Manlike karakters behandel nie vroulike karakters met respek nie. Byvoorbeeld wanneer Mokwena besope opdaag by die huis mishandel hy sy vrou. Vroulike karakters in Nongana ya tshepo word ook uitgebeeld as slagoffers van seksuele teistering deur manlike karakters. Mokwena word byvoorbeeld seksueel geteister deur Dekeledi. Soortgelyke teistering word ondervind deur Sebolelo wat deur haar manlike werkgewer geteister word. Manlike karakters word as dominerend en manipulerend uitgebeeld. Sowel manlike as vroulike karakters word l.t.v, kulturele en gender stereotipes uitgebeeld in Nonyana ya tshepo.

Thesis (PhD)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: This study examines the fictional representation of gender relations in novels set during five historical periods in Tanzania – the pre-colonial, colonial, nationalism, Ujamaa, and the current neoliberalism period – each of which is marked by important shifts in the nation’s economic contours. Analysing novels written in both Swahili and English, it tracks the shifts in fictionalized household and extra-household gender relations; analyses how the community and the state (colonial and post-colonial) variously map and remap the way male and female characters relate; and interrogates how male and female characters variously accommodate, appropriate, bargain with and/or resist the shifts. The study employs the concepts of power and intersectionality to analyse how selected authors depict gender relations as a product of intersecting identity categories, complex socio-economic shifts and historical processes. Defining labour as productive work done for wage and fulfilment of gender roles, the study argues that labour is one of the major aspects shaping power relations between men and women. It reveals that labour is the major aspect in which the economic shifts have had great impact on gender relations as represented in Tanzanian fiction. As an aspect of power, labour is also the area within which gender relations have continuously been negotiated and contested throughout the fictionalized history. In negotiating or resisting given economic shifts, both male and female characters variously deconstruct and or endorse existing notions of power, labour, and gender relations. The study shows that the cross-fertilization among the periods, the interaction between gender and other identity categories (such as race, religion, class, and age), the synergy between indigenous patriarchy and other patriarchies (such as colonial and capitalist), and, the interactions between global and local dynamics account for the complex and contradictory nature of the shifts in gender relations throughout the nation’s history. Consequently, the study’s major observation is that across the fictionalized history, characters variously seek to maintain and or transform existing gender relations and or discard or restore past gender relations. / AFRIKAANSE OPSOMMING: Dié studie ondersoek die fiksionele verteenwoordiging van geslagsverhoudings in romans wat gestel word gedurende vyf historiese periodes in Tanzanië – pre-koloniale, koloniale, nasionalisties, Ujamaa en die huidige neoliberalisme – elkeen waarvan gekenmerk is deur belangrike verskuiwings in die nasie se ekonomiese kontoere. Deur die analisering van romans wat in Engels en Swahili geskryf is volg dit die verskuiwings in fiktiewe huishouding- en ekstrahuishoudelike geslagsverhoudings; dit analiseer hoe die gemeenskap en die staat (koloniale en post-koloniale) die manier van hoe manlike en vroulike karakters verband hou verskillend en afwisselend kaart en herkaart; dit interrogeer hoe manlike en vroulike karakters verskillend die verskuiwings akkommodeer, bewillig en weerstaan. Die studie maak gebruik van die konsepte van krag en intersektionaliteit om te analiseer hoe die geselekteerde skrywers geslagsverhoudings verteenwoordig as ʼn produk van kruisende identiteitskategorieë, komplekse sosio-ekonomiese verskuiwings en historiese prosesse. Arbeid word as produktiewe werk wat gedoen word vir loon en geslagsrolle definieer, en die studie argumenteer dat arbeid een van die hoof aspekte is wat magsverhoudings bepaal tussen mans en vrouens. Dit onthul dat arbeid die hoof aspek is in die ekonomiese verskuiwings wat ʼn groot impak gehad het in geslagsverhoudings in Tanzaniese fiksie. As ʼn aspek van mag is dit ook die area waarin geslagsverhouding aanmekaar onderhandel en betwis word dwarsdeur die fiktiewe geskiedenis. Wanneer dit kom by die onderhandel en twis van ekonomiese verskuiwings is dit beide manlike en vroulike karakters wat afwisselend bestaande idees van mag, arbeid en geslagsverhoudings dekonstrueer en endosseer. Die studie bewys dat kruisbestuiwing tussen die periodes, die interaksies tussen geslag en ander identiteitskategorieë (soos ras, geloof, klas en ouderdom), die sinergie tussen patriargie en ander patriargies (soos koloniale en kapitalistiese) en die interaksies tussen globale en plaaslike dinamika verantwoordelik is vir die komplekse en teenstrydige natuur van die wisselinge in geslagsverhoudings regdeur die nasie se geskiedenis. Gevolglik is die studie se hoofobservasie dat die karakters regdeur die geskiedenis op verskeie maniere poog om bestaande geslagsverhoudings te behou of te transformeer of om vorige geslagsverhoudings te herstel of verwyder.

published_or_final_version / Comparative Literature / Doctoral / Doctor of Philosophy

Acknowledging performance as a process through which gender identities are constituted, the thesis explores attempts in women's theatre to subject these very constructs to creative deconstruction. It offers a study of plays by Caryl Churchill, Sarah Daniels and Timberlake Wertenbaker. Setting their work in the context of prevailing discourses of representation, the analysis delineates the ways in which plays by women interrogate the Western tradition of meaning and perception. The thesis proposes theatrical performance as a strategic engagement with the very means by which women's position is constituted. Therefore, it argues that in women's dramatic work, the possibility of resistance, of agency and choice occurs in the playful adaptation of dominant discourse, allowing for new figurations of subjectivity. Exploring the difficulties and limitations involved in this strategy, the study evaluates how plays by women release a potential for transgression which dislocates the structures of representation.