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I denna uppsats analyseras Markus Suzaks Jokern och Jeanette Wintersons Fyrväktaren utifrån Northrop Fryes arketypanalys. Inledningsvis görs separata analyser av de båda verken som sedan får ligga till grund för att jämföra de återkommande dragen som kunnat identifieras i de skilda texterna. Syftet är att utreda metodens användbarhet som analysverktyg med målet att avgöra om den kan användas för att främja textnära tolkningar och elevers litterära kompetens i litteraturundervisningen i gymnasieskolan. Resultatet visar att metoden kan användas för att göra textnära litteraturanalyser. Man kan även observera att karaktärer som i berättandet fyller liknande funktioner återkommer i båda verken trots att de skiljer sig åt både till form och innehåll. Analysen visar dock att denna form av arketypanalys inte kan betraktas som en komplett metod dåden inte berör alla aspekter av texten, vilket tyder på att metoden med fördel kan kompletteras med andra litteraturvetenskapliga metoder.

Traditional fairy tales represent some of the oldest and most archetypal forms of literature. However, as humanity rapidly evolves, the genre and content of traditional fairy tales still operates as a prevalent socializing agent that fails to promote pluralism. Instead, traditional fairy tales illustrate and uphold limited gender roles and expectations. This paper examines Hermann Hesse's role as a pioneer in a now burgeoning movement of fairy tale revisions that blur boundaries between fantasy and reality by introducing specific, everyday locations, countries, and individuals coupled with a copious use of the double. This formula draws the reader into the tale via the uncanny and prompts a reevaluation of especially violent historical moments and issues that affect all within a society. Hesse's work within this new tradition of revisions of beloved fairy tales, as well as his creation of literary fairy tales, has significantly influenced the work of key postmodern feminist fairy tale revisionists like Jeanette Winterson. / by Brittany K. Rigdon. / Thesis (M.A.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.

The aim of this dissertation is to study postmodern historical novels, which are labeled &ldquo / historiographic metafictions&rdquo / (Hutcheon 1989: 92), in terms of their allowing for different voices and alternative, plural histories by subverting the historical documents and events that they refer to. The study analyzes texts from feminist and postcolonial literature, Jeanette Winterson&rsquo / s The Passion and Sexing the Cherry, and Salman Rushdie&rsquo / s Midnight&rsquo / s Children and Shame as examples in which the transgression of boundaries between fact and fiction is achieved. Basing its arguments on postmodern understanding of history, the thesis puts forward that historiography not only represents past events but it also gives meaning to them, as it is a signifying system, and turns historical events into historical facts. Historiography, while constructing historical facts, singles out certain past events while omitting others, for ideological reasons. This inevitably leads to the fact that marginalized groups are denied an official voice by hegemonic ideologies. Therefore, history is regarded as monologic, representing the dominant discourse. The thesis will analyze four novels by Winterson and Rushdie as double-voiced discourses where the dominant voice of history is refracted through subversion and gives way to other voices that have been suppressed. While analyzing the novels themselves, the thesis will look for the metafictional elements of the texts, stressing self-reflexivity, non-linear narrative, and parodic intention to pinpoint the refraction and the co-existence of plural voices. As a result, historiographic metafiction is proved to be a liberating genre, for feminist and postcolonial writers, that enables other histories to be verbalized.

A repeated theme in the fiction of Angela Carter and Jeanette Winterson is the use of domestic space as a tool for defining socially acceptable versions of female sexuality. Four novels that crystallize this theme are the focus of this dissertation: Winterson??s Oranges Are Not the Only Fruit (1985) and Art and Lies (1994) and Carter??s The Magic Toyshop (1967) and Nights at the Circus (1984). Each chapter examines both authors?? treatments of a specific room in the house. Chapter II, "Parlor Games: Spatial Literacy in Formal Rooms," discusses how rooms used for formal occasions project a desirable public image of a family. More insidiously, however, the rooms protect the sexual order of the household, which often privileges male sexuality. Using the term spatial literacy to describe how characters interpret rooms, the chapter argues that characters with a high spatial literacy can detect not only the overt messages of these formal rooms, but also what underlies those messages. Chapter III, "Making Meals, Breaking Deals: Mothers, Daughters, and Kitchens," discusses the kitchen as the site of the production of domestic comfort. An analysis of who has primary responsibility for the production of comfort and whose comfort is privileged often reveals the power hierarchy of a given household. The chapter also examines the kitchen as a volatile space that can erupt with violence and the expression of repressed emotions and repressed sexuality. Finally, the kitchen is analyzed as a space of intimacy between mothers and daughters. Chapter IV, "Bedtime Stories: Assaulting Sexuality in the Bedroom," argues that the privacy of the adolescent bedroom is often disrupted by the surveillance of family members trying to control the sexual identity of the room??s occupant. The chapter also examines how social prescriptions encourage women to tolerate the interruption of their privacy. Each of the protagonists from these four novels has opportunities to learn about subverting the discursive constructions of domestic space, and several characters enact that subversion. This ability for subversion suggests the possibility for agency, a possibility that postmodernist thought often rejects, but one that Carter and Winterson allow.

The first decade of this century marked a moment of hypervisibility for lesbians and bisexual women on British television. During this time, however, lesbian hypervisibility was coded repeatedly as hyperfemininity. When the BBC and ITV adapted Sarah Waters’s novels for television, how, I ask, did the screen versions balance the demands of pop visual culture with the novels’ complex, unconventional – and in some cases subversive – representations of lesbianism? I pursue this question with an interdisciplinary methodology drawn from queer and feminist theories, cultural and media studies, and film adaptation theory. Chapter Two looks back to Jeanette Winterson’s Oranges Are Not the Only Fruit (BBC 1990). I examine this text – the first BBC television serial to feature a lesbian protagonist – to establish a vocabulary for discussing the page-to-screen adaptation of queer identities throughout this dissertation. Chapter Three investigates Waters’s first novel Tipping the Velvet (1998) and its complex intertextual relationship with Andrew Davies’s serialized version (BBC 2002). I also examine responses to the serial in the British press, tracing the ways in which dominant cultural forces seek to domesticate non-normative instances of gender and sexuality. Chapter Four examines Waters’s novel Fingersmith (2002) in relation to Peter Ransley’s adaptation (BBC 2005) to situate adaptations of Waters’s retro-Victorian texts amid the genre of television and film adaptations of Jane Austen novels. I argue that Ransley’s serial interrogates the notion of Austen as a “conservative icon” (Cartmell 24) and queers the Austen adaptation genre itself. To conclude this study I address Davies’s television film (ITV 2008) of Waters’s second novel Affinity (1999). In this chapter I examine how the adaptation depicts the disruptive lesbian at the centre of the text. I argue in particular that by casting an actress who does not conform to dominant televisual norms of femininity, the adaptation is able to create a powerful audiovisual transgendered moment which adds to the novel’s destabilization of Victorian hierarchies of gender and class. This chapter considers, finally, how Tipping the Velvet, Fingersmith and Affinity have contributed to lesbian visibility on British television. / Thesis (Ph.D, English) -- Queen's University, 2009-05-27 11:26:42.504

Zugl.: Katowice, Univ., Diss., 2007

Uppsatsens syfte är att visa hur litteratur kan läsas och skrivas autistiskt. Att läsa en text innebär att vi avkodar och tolkar diskursen med hjälp av våra personliga referensramar. Med hjälp av olika litteraturteoretikers begrepp belyser denna uppsats att det finns skillnader i avkodningen baserat på kognitiva färdigheter och här främst svårigheter påverkade av autismspektrumsstörningar.        Genom en kvalitativ textanalys av Jeanette Wintersons verk Lighthousekeeping visar uppsatsen hur dessa autistiska perspektiv kan upptäckas och även användas i språket. Julia Kristevas begreppsdefinition gällande semiotisk tolkning är en stöttepelare i analysen vilket även Victor Sklovskijs begrepp främmandegöring och Roman Jakobsons teorier kring litterär afasi är.        Analysens slutsats är att det autistiska kan nyttjas för att berika tolkningsvariationerna och estetiskt förändra språket från prosaiskt till mer poetiskt. De autistiska språkgreppen som kan utläsas i Jeanette Wintersons roman Lighthousekeeping gör att språket utmanar läsarens automatiska avkodning och agerar därmed förfrämligande.

This thesis focuses on the work of two contemporary authors, Ali Smith and Jeanette Winterson, and their treatment of the concepts of history and gender in their fiction. I argue that, by openly speculating about the nature of time and history, and by making their readers think about the origin of these notions, Smith and Winterson uncover the seemingly stable but, in actuality, very fragile roots of the 'truths' we take for granted. They explore the potentiality of the past, which, in turn opens up the present and the future. To support my argument, I turned to Hayden White and his theory of historiography and Paul Ricoeur's philosophy of time and history. The latter part of the thesis deals with gender, as well as biological sex and sexual orientation, and the way in which Smith and Winterson's texts put into practice Judith Butler's theory of gender performativity, and work towards the subversion of gender norms as well as the destabilisation of heteronormativity. Both parts of the thesis are closely connected; history serves to keep the laws that define gender, sex and sexuality intact, and, in turn, these laws are often adhered to solely by the virtue of their historicity. What is more, myth and language are equally exposed to be supporting these norms. The aim of this thesis is to...

This thesis identifies a trend in recent postmodern dystopian fiction for writers to metafictionally dwell on the place of literature in a future context. This trend springs from similar concerns present in the two most influential dystopian novels of the 20th century, Brave New World and Nineteen Eighty-Four. Yet, unlike Huxley and Orwell, for whom the marginalization of literature is merely one symptom of the hegemonic control oppressing these future societies, the postmodern writers I identify situate the book’s future disappearance at the epicenter of culture’s demise. In Gary Shteyngart’s Super Sad True Love Story (2010), electronic technologies have virtually eradicated print literature and the novel’s protagonist, Lenny, mourns the changes in social interactions he sees this shift in technology bringing about. In Jeanette Winterson’s The Stone Gods (2007), marginalized book-lovers see the devastation humanity continuously wreaks on the environment as a product of culture’s disdain for literature.