This thesis analyses protagonist Elizabeth Bennet in Jane Austen’s book Pride and Prejudice (1813) and protagonist Bridget Jones in Helen Fielding’s book Bridget Jones' Diary (1996) from a gender theory perspective. I use a comparative method to analyse how two themes are portrayed in the books: family and marriage and education and career.  The study shows that Elizabeth, from a gender perspective, is controlled by the society and her family's expectations that she must marry a man of the right table. Bridget, on the other hand, lives in accordance to the patriarchal norm, but this seems rather appear on a more personal level. Regarding education and career it seems to have gone from seeing this as an important part of being a woman not just for herself personally but also for being more attractive for men, to an objective perspective where education seems to define your work ability instead of the woman herself.  The study, in a didactic point of view, can be useful for teachers to help their pupils to see how gender is constructed and deconstructed from time to time. The syllabus of the subject of Swedish gives opportunities for the pupils to discuss and maybe first and foremost problematize gender and equality in both a literary historical perspective and a personal way.

<p>This study concerns the complete oeuvre by the British author Helen Zahavi: Dirty Weekend (1991), True Romance (1994), and Donna and the Fatman (1998). Her novels are here read as a trilogy dealing with the dialectics of gender and violence in 20th century discourse, drawing on theories of how the construction of subjects is produced by power, of the relation between power and sexuality.</p><p>The heroines of Zahavi’s novels try their best to move about in a world where their freedom of movement is limited to their female identity. In Dirty Weekend the protagonist tries to shoot her way out, claiming revenge on every man that is forcing himself upon her. She gains some freedom of movement by refusing subordination, but does not really change the order of power. The protagonist in True Romance instead finds salvation in love of the master. She learns to love the man who keeps her as a sex slave in his apartment, and when confronted with the choice between the freedom by violent action and submission by passive acceptance, she chooses the latter. The protagonist in Donna and the Fatman manage to refuse both superiority and submission. She has a debt to settle with the gangster boss Henry, but in the end blows both herself and her opponent to pieces. I argue that by doing this, Donna breaks out of the order of language. </p><p>The order of power presented in Zahavi’s novels is a tyranneous dichotomy which cathegorize individuals as either victims or perpertrators. This construction is seemingly a natural order which we have to accept, but the actions of Zahavi’s last protagonist eventually proves it to be nothing but a mask, a lie. This lie is, in the words of one of Zahavi’s characters, a tenacious lie, and the only way to break out of the construction of power is to break out of the construction of the order of power. Thus the blowing up of both victim and perpertrator may enable a new world to be born.</p>

Questions surrounding queer subjectivity—including shame, the closet, and celebration—are at the core of my interests as a painter and image maker. Mining the history of religious iconography, including annunciation paintings, scenes of the crucifixion, and other notable works of this ilk, my paintings seek to explore the intricacies of sexuality and the workings of shame and celebration at play in the life of the queer-identified.

This study concerns the complete oeuvre by the British author Helen Zahavi: Dirty Weekend (1991), True Romance (1994), and Donna and the Fatman (1998). Her novels are here read as a trilogy dealing with the dialectics of gender and violence in 20th century discourse, drawing on theories of how the construction of subjects is produced by power, of the relation between power and sexuality. The heroines of Zahavi’s novels try their best to move about in a world where their freedom of movement is limited to their female identity. In Dirty Weekend the protagonist tries to shoot her way out, claiming revenge on every man that is forcing himself upon her. She gains some freedom of movement by refusing subordination, but does not really change the order of power. The protagonist in True Romance instead finds salvation in love of the master. She learns to love the man who keeps her as a sex slave in his apartment, and when confronted with the choice between the freedom by violent action and submission by passive acceptance, she chooses the latter. The protagonist in Donna and the Fatman manage to refuse both superiority and submission. She has a debt to settle with the gangster boss Henry, but in the end blows both herself and her opponent to pieces. I argue that by doing this, Donna breaks out of the order of language. The order of power presented in Zahavi’s novels is a tyranneous dichotomy which cathegorize individuals as either victims or perpertrators. This construction is seemingly a natural order which we have to accept, but the actions of Zahavi’s last protagonist eventually proves it to be nothing but a mask, a lie. This lie is, in the words of one of Zahavi’s characters, a tenacious lie, and the only way to break out of the construction of power is to break out of the construction of the order of power. Thus the blowing up of both victim and perpertrator may enable a new world to be born.

This thesis explored the 1941 docent-training course for members of the Junior League held at the Metropolitan Museum of Art. The research focused on understanding what place this philanthropic organization held in the American art museum at that time. This course at the Metropolitan Museum of Art was formed as an attempt to teach Junior League members to become trainers of docents and volunteers in their own communities. Additionally, I looked into the background of the museum staff members Francis Henry Taylor and Roberta Murray Fansler Alford Capers and the Junior League member Helen T. Findlay. Utilizing historical research methods, four augments were formed regarding why this docent-training course occurred; (a) the new leadership and structure in the museum facilitating those training, (b) the collaborative work of Helen T. Findlay and Francis Henry Taylor and their passion towards art education for all audiences, (c) the Junior League’s continued commitment to community involvement, and (d) the fundamental need women had for involvement outside the home. The research concludes with a reflection toward the difficulties and hardships that accompany conducting historical research into the women of art education including non-traditional forms of historical documentation. / text

Made available in DSpace on 2014-12-17T15:06:47Z (GMT). No. of bitstreams: 1 AddsonAC.pdf: 797240 bytes, checksum: 0546357bc343334214525dd8ccc0f319 (MD5) Previous issue date: 2009-11-30 / Helena is the romance of perishable and discontinuous title character denominator of a dialectic that does not consume and build the narrative by sequential fragmentation combined with episodic frame. The novel is a lightning stroke to the romantic literary project. Therefore, this study aims to find "objective" elements of the novel that would constitute a conception of literary nation proposed by Machado de Assis, as in classical writing, where women are engaged as a metaphor for the nation by a non-cultural heroism, as the example of the Greek myth of Helena, where the feminine represents a mythical image of the nation. The paper's theoretical conception of the history of Walter Benjamin, that is, that is constructed as an allegorical appeal, the conclusions about the disciplinary society of nineteenth century of Michel Foucault, the construction of the nation as a subtle game to remember and forget of Wander Miranda and the rhetoric of death and loss reflected in the speeches of the cultural heritage of Jos? Reginaldo Santos Gon?alves, which allow you to analyze the work permeated by subjectivity and existential conflicts by Machado, who has it arranged in dialectic with the avant-garde literary romanticism and realism. In this relationship with the Greek myth of Helen, explained that characters with the nickname of Helena in Machado's work are not uncommon. As in classical Helena, Machado s Helena uses three rhetorical are the cause of the seizure of the nation. In this game of remembering and forgetting, in the daily plebiscite, Machado draw ideal images that forged our mythical past and commitment to the future. The suffering love of Helena is suffering from failure of the nation which would have led the author to the use of allegorical language, seeking a balance in the chaos generated by the opposition between cruelty and pity widespread view in an area where only left the character's confession guilt for the death. It is a simulacrum of unfinished nation, the space for the game of remembering and forgetting, while the rhetoric of negotiation of our Brazilianness / Helena ? o romance do perec?vel e do descont?nuo, t?tulo denominador de uma personagem dial?tica que n?o se consuma e constr?i a narrativa pela fragmenta??o seq?encial aliada a arma??o epis?dica. O romance ? uma apoplexia fulminante ao projeto liter?rio rom?ntico. Por isso, o presente estudo busca pesquisar objetivamente elementos do romance que fariam parte de uma concep??o de na??o liter?ria proposta por Machado de Assis, assim como na escritura cl?ssica, onde a mulher ? envolvida como met?fora da na??o por um n?o hero?smo cultural, a exemplo do mito da Helena grega, onde o feminino m?tico representa uma imagem de na??o. O trabalho tem como aportes te?ricos a concep??o da hist?ria de Walter Benjamin, isto ?, que esta se constr?i como um recurso aleg?rico, as conclus?es acerca da sociedade disciplinar oitocentista de Michel Foucault, a constru??o da na??o como um jogo sutil de lembrar e esquecer de Wander Miranda e a ret?rica da morte e da perda refletido nos discursos do patrim?nio cultural de Jos? Reginaldo Santos Gon?alves, as quais permitem analisar a obra permeada de subjetivismo e conflitos existencialistas por Machado t?-la arranjado em dial?tica com as vanguardas liter?rias do romantismo e do realismo. Al?m desse relacionamento com o mito da Helena grega, exp?e-se que personagens com a alcunha de Helena na obra machadiana n?o s?o incomuns. Assim como na Helena cl?ssica, a Helena machadiana utiliza-se de tr?s ret?ricas s?o a causa da apoplexia da na??o. Neste jogo de lembrar e esquecer, no plebiscito di?rio, Machado elabora imagens ideais que forjariam o nosso passado m?tico e o empenho do futuro. O sofrimento amoroso de Helena ? o sofrimento da impossibilidade da na??o o que teria levado o autor ao uso da linguagem aleg?rica, procurando algum equil?brio no caos gerado pela oposi??o entre a crueldade vista e a comisera??o disseminada em um espa?o onde somente restava ? personagem a confiss?o de sua culpa pela morte. Faz-se o simulacro da na??o inconclusa, o espa?o para o jogo do lembrar e esquecer, enquanto ret?rica da negocia??o de nossa brasilidade.

No description available.

This study explores how in central plays of Euripides – namely, Alcestis, Hippolytus, Helen, and Bacchae – bodies, landscapes, and objects (both seen on stage and described in speeches, dialogues, and choral odes) serve as media for assessing affective states, materializing the characters’ feelings and sensations and hence enabling the audience to vividly perceive them. My focus is grounded in the ancient conceptions of bodies and the senses in material from the Pre-Socratic and the Hippocratic writings, including theories about how the surrounding environment influences bodily types. It is also underpinned by theoretical perspectives that have come to prominence in recent research in ancient literature and culture. First, it draws on insights from phenomenology, aesthetics, and affective theory that in ancient drama highlight embodiment, synaesthesia, and the circulation of affects among characters and spectators. Second, it engages with works inspired by the new materialisms, which have produced a new attention to the mutual and symbiotic relationship between humans and nonhuman entities. Finally, it is based on the “enactive” approach to cognition, which makes a compelling case for visualization (e.g., spectators’ imagination of the things sung, spoken, or narrated) as grounded in the active, embodied structure of experience. Building on such theories, I posit that Euripides’ plays illustrate how the characters’ feelings and emotions combine with sensory indicators (sight, taste, smell, and touch), so that they operate as visible marks of states usually conceived of as inner. These states are, I suggest, exteriorized not only on bodies but also in their surroundings, such that landscapes as mapped onto the dramatic stage and objects with which the characters interact function as supplements to embodied affective manifestations. In addition to onstage action, I focus on how Euripides’ language triggers a strong resonance in the spectators’ imagination. In this regard, my argument takes up the insights of ancient critics such as Longinus, who has praised Euripides’ ability to generate “emotion” (τὸ παθητικόν) and “excitement” (τὸ συγκεκινημένον) in the audience through “visualization” (φαντασία) and “vividness” (ἐνάργεια). Thus, I examine how references to onstage performance and visualizing language interact, giving the spectators a full picture of the dramatic action. In Alcestis, I explore how embodiment, sensorial phenomena, and physical interactions put the characters’ feelings of pain and grief on prominent display, eliciting the audience’s sensory reaction. In Hippolytus, I examine how the characters’ emotions blend into the surroundings, such that forms, colors, and textures of landscape and objects allow the spectators to perceive inner states more forcefully. In Helen, I investigate how material and nonhuman things, such as rivers, plants, costumes, weapons, statues, ships connect to the characters as parts of an affective entanglement that heightens the experiential appeal of the characters’ feelings and sensations. In the Bacchae, I regard Dionysus’ action as an affective force that spreads throughout the world of the play, cracks, and mutates things, including human and animal bodies, natural elements, and objects. This action creates an enmeshment between things, which is embodied by the thyrsus topped with Pentheus’ head (mask) that gives the spectators a keen sense of the multiple, productive, and transformative nature of Dionysus’ power. In conclusion, this study argues that bodies, landscapes, and objects represent the privileged sites for exploring the affective exchange between the characters and the audience, refining our understanding of the intensity, impact, and reception of the Euripidean theater.

Indiana University-Purdue University Indianapolis (IUPUI)

While literary scholars have written extensively about sensibility in the past two decades, most of the studies have treated either the history of sensibility itself or how it interacted with a particular aspect of English culture and literature, such as sexuality or politics. My project instead examines how a single author, Maria Edgeworth, used sensibility in her writing over the course of her career. I analyze the use of sensibility in three of her novels: Belinda (1801), her first full-length novel; The Absentee (1812), her influential Irish national tale, written at the height of her popularity in the middle years of her career; and Helen (1834), her last novel. This analysis illustrates the changing attitude of both Edgeworth and English society to sensibility and its representations in literature. In Belinda, Edgeworth uses sensibility to demonstrate the virtue and superiority of the characters who possess it, and also to rehabilitate the concept itself. She differentiates between mere affectation and true sensibility by creating both positive and negative examples of sensibility in Belinda – characters clearly possess true sensibility, and those who only pretend to it. In The Absentee, Edgeworth adheres much more closely to the conventions of sentimental fiction than she had in her previous society novels. In my discussion of The Absentee, I demonstrate how Edgeworth uses the conventions of sentiment both to make Irish culture accessible to her English audience and to justify the Irish estate system which put Anglo-Irish landowners in a position of authority over native Irish tenants. My final section focuses on Edgeworth's last novel, Helen, which marks a return to the genre of the society novel with which she began her career. While Edgeworth still uses sensibility as a sign of virtue in Helen, she is also much more interested than previously in the interplay between education and inborn qualities of personality – the very qualities whose existence she was so skeptical of in her education manual, Practical Education, published two years before she began her career as a fiction writer.