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My novel The Heaven I Swallowed tells the story of Grace Teresa Mary McAllister, a World War II widow who decides to “save” a young Aboriginal girl, Mary, by adopting her into her home, believing she will be able to redeem the child by giving her all the benefits of white society. In Part I of the novel Mary arrives and it soon becomes obvious that her presence is bringing back the deceptions in Grace’s past. In Part II five years have passed and Grace is struggling to cope with the way she treated Mary. Exploring the myth of “for their own good” The Heaven I Swallowed is a tale of the Stolen Generations, told from the perspective of the white perpetrator. The exegesis accompanying the novel, ‘Whose Shoes? Writing The Heaven I Swallowed’, is also divided into two parts. Part I traces my awareness of the Stolen Generation stories and the reasoning behind the decision to narratively take the perspective of a white woman who steals an Aboriginal child. In Part II, I turn to two contemporary literary texts – Kate Grenville’s The Secret River and Gail Jones’s Sorry – to examine different strategies that the non-indigenous writer might employ to counter-act stereotypical representation of Aboriginality. Further analysis of the novel in the lead up to the final draft is then aided by another two texts: Elizabeth Jolley’s The Well and Joyce Carol Oates’s Black Girl/ White Girl. Using these as models – one in regards to a Gothic re-rendering of the work and the other in regards to the depiction of ambiguous race relations – I find a way to reconcile myself with the representation of Aboriginality in The Heaven I Swallowed. Finally, I come to the conclusion that the novelist might often travel a great deal away from their original intent but that these footsteps have to be taken to ensure motivations are justified and one’s conscience is at ease. / Thesis (Ph.D. ) - University of Adelaide, School of Humanities, 2009

Thesis (Ph. D.)--Indiana University of Pennsylvania. / Includes bibliographical references.

Thesis (M.S.)--Florida State University, 2004. / Advisor: Dr. James O'Brien, Florida State University, College of Arts and Sciences, Dept. of Meteorology. Title and description from dissertation home page (viewed Jan. 13, 2005). Includes bibliographical references.

Thesis (Ph. D.)--University of Rhode Island, 2005. / Typescript. Includes bibliographical references (leaves 195-202).

Made available in DSpace on 2014-06-11T19:25:24Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-01-12Bitstream added on 2014-06-13T20:47:40Z : No. of bitstreams: 1 rossi_ad_me_arafcl.pdf: 1665542 bytes, checksum: 221a4c0f32edda233ea1e862d9e9bc69 (MD5) / A presente dissertação tem por objetivo promover uma leitura da disseminação de desarticulações do universo patriarcal empreendida por Kate Chopin (1850 – 1904) — escritora realista norte-americana — em The Awakening (1899), considerado a obraprima da autora. Partindo-se das premissas de uma teoria e crítica feministas de base desconstrucionista, que permite a leitura conjunta do texto e do subtexto, pretende-se fazer uma análise das instâncias estruturais da narrativa em questão (enredo, narrador, personagens, tempo e espaço) de forma a apontar como a autora se utiliza dessas instância para promover uma contestação dos pressupostos maniqueístas e sexistas — ou oposições hierárquicas — que sustentam a sociedade e o pensamento ocidental a partir desses mesmos pressupostos. / The main purpose of this paper is to make a close reading of the dissemination of disarticulations attempted against the patriarchal universe by Kate Chopin (1850 – 1904) — a North-American Realistic writer — in The Awakening (1899), considered the authoress’ masterpiece. Departing from the premises of a Feminist theory and criticism based on Deconstruction, which allows the reading of the text and the subtext at the same time, we intend to make an analysis of the narrative structural instances (plot, narrator, characters, time and space) in order to demonstrate how the authoress uses these instances to build a reply of the sexists and manichaeists purposes — or hierarchical oppositions — that support the Western society and thinking by these same purposes.

Orientador: Maria Clara Bonetti Paro / Banca: Carlos Daghlian / Banca: Márcia Valéria Zamboni Gobbi / Banca: Alcides Cardoso dos Santos / Resumo: Esta tese discute o caráter feminista da obra de Kate Chopin (1851-1904) ao abordar determinados aspectos da condição da mulher do final do século XIX, principalmente no que diz respeito a temas como casamento, família, liberdade, trabalho, submissão e emancipação. A escritora americana levanta questões polêmicas sobre a identidade da mulher, por meio da caracterização das personagens femininas na narrativa, quer em situações ligadas à identidade social, quer em relacionamentos amorosos. Embora, muitas vezes, utilize-se de recursos que, aparentemente, negam uma discussão direta a respeito dessas questões, Kate Chopin acaba revelando seu descontentamento com as opressões sofridas pela mulher, quase sempre associadas às diferenças sexuais e às tradições e cria, para isso, uma estrutura narrativa em que a luta pela identidade feminina se faz presente, seja de forma explícita ou indireta. Além de um estudo aprofundado da temática dos contos, são observados e analisados, entre outras coisas, elementos textuais importantes como o foco narrativo, a caracterização e representação das personagens (principalmente as femininas), bem como as relações de tempo e espaço e o uso da ironia. A crítica literária feminista, mais especificamente a Ginocrítica, que tem Elaine Showalter como principal representante, também faz parte do referencial teórico da tese. / Abstract: The present study aims to discuss Kate Chopin's (1851-1904) feminist view about some aspects related to the condition of women at the end of the nineteenth century, especially concerning themes such as marriage, family, freedom, work, submission and emancipation. The American writer raises these polemic issues about feminine identity through the character's representation in the narrative, as in situations related to social identity, as when they are involved in love relationships. Although she has often used narrative devices that apparently deny a direct discussion of these questions, Kate Chopin reveals her dissatisfaction with the oppression suffered by women, due to sexual differences and traditional values, creating a narrative structure in which the struggle for a feminine identity is presented, explicitly or implicitly. Thus, besides an analysis of the themes in Chopin's short stories, some important devices are observed, such as point of view, character portrayal (mainly the feminine ones), as well as time and space relations and the use of irony. Feminist criticism, especially Elaine Showalter's Ginocritics, is also used as part of theoretical framework. / Doutor

At the turn of the 19th century, ideas promoting women’s rights were sweeping across America. During that time Kate Chopin’s The Awakening was published, portraying a young woman, Edna Pontellier, who after several years of emotional unfullfilment in her marriage questions her place as a woman in her marriage as well in society. Edna’s Presbyterian Kentuckian upbringing is in opposition to Catholic Creole society that her husband belongs to. Creole society, at that time, was governed by its unwritten social codes, which were especially clear on issues concerning women’s traditional roles in society in connection to marriage and social duties. In this essay I present how Edna’s emotional awakening and her struggle to achieve independence are in conflict with the cultural norms that exist in Creole society. Also, I argue that the reason why Edna fails in her search for individual freedom is because her awakening is emotional and not intellectual; she lacks knowledge and cannot perceive herself beyond the conventions that limit and oppress her. Additionally, Edna cannot find guidance in any of the other women because they all act within the frames of the role they are playing.

This essay argues that The Awakening treats the 1890s “modern woman” that arose from feminist ideas and the women’s movement, challenging patriarchal society with an independent lifestyle. Following Ringe, this essay suggests that the novel has a purpose of showing the process and the development of the protagonist’s individual self. But rather than connect this theme to the transcendentalist notion of the self, as Ringe does, this essay looks at this theme in the light of the notion of the “modern woman”. By arguing that Edna develops into a modern woman during this process, the essay finds that she moves from the traditional position as a “patriarchal woman” towards the role of an “emancipated woman”. Further, the essay shows that Edna’s development and thereby her attempt to change her position fails as the process of self-discovery is conflicted, resulting in Edna’s suicide. Finally, by also arguing that the novel treats a woman’s self and the process of a development, the essay visualizes that the novel is built-up by seven steps that together constitute the process from “patriarchal woman” to “emancipated woman”. This process awakens a self-awareness and self-image within Edna that are strengthened with each of these step as she becomes a “modern woman”. / Denna uppsats argumenterar för att The Awakening skildrar 1890-talets “moderna kvinna” som uppstod från feministiska idéer samt kvinnorörelsen och utmanade det patriarkaliska samhället med en självständig livsstil. Då jag följer Ringe påvisar den här uppsatsen att romanen har ett syfte att visa processen och utvecklingen av huvudpersonens individuella jag. Men istället för att koppla detta till den transcendentalistiska uppfattningen av jaget som Ringe gör, så kopplar denna uppsats detta till begreppet den “moderna kvinnan”. Genom att argumentera för att Edna utvecklas till en modern kvinna under denna process finner uppsatsen att hon flyttar från den traditionella rollen som en “patriarkalisk kvinna” mot rollen som en “emanciperad kvinna”. Uppsatsen visar vidare att Ednas utveckling och således hennes försök att ändra sin roll misslyckas då självupptäcktsprocessen står under konflikt, vilket resulterar i att Edna tar självmord. Genom att också argumentera för att romanen skildrar en kvinnas jag och processen av en utveckling visar slutligen uppsatsen att romanen är uppbyggd av sju olika steg som tillsammans utgör processen från ”patriarkalisk kvinna” till ”emanciperad kvinna”. Denna process väcker en självmedvetenhet samt en självbild inom Edna som förstärks med varje steg medan hon blir en “modern kvinna”.

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