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Typescript (photocopy). / Digitized by Kansas Correctional Industries / Department: English.

Made available in DSpace on 2015-03-26T13:44:23Z (GMT). No. of bitstreams: 1 texto completo.pdf: 1866007 bytes, checksum: 27c8a4b2ed255141f451727982e3690b (MD5) Previous issue date: 2011-02-22 / This study aims to reflect upon the constitution the formation of the woman subject through the fictional language of two contemporary Canadian novels, Lives of Girls and Women (1971) and The diviners (1973) by Alice Munro and Margaret Laurence, respectively. Having been published in the early seventies, both novels include a series of questions about the search for an identity of its own, according to a new demand which is allied to critical gender studies. Therefore, it constitutes a major factor to this research, the manner in which the narrative protagonists, Del Jordan of Lives of Girls and Women (2001) and Morag Gunn of The Diviners (1993) perform this process. As a strategy, both appropriate the Bildungsroman genre questioning the discourses with which it dialogues. Starting from childhood, when there is both the immersion of Del Jordan, as of Morag Gunn in environments that favor the activity of reading, one realizes that, not coincidentally, both will take the profession of writers in the age coming. From that perspective, discussions about language studies, gender, and female development novels are established to which the approaches of Chris Weedon (1989), Teresa de Lauretis (1994), Cristina Ferreira Pinto (1990), Sylvia Molloy (2004), Coral Ann Howells (1998), among others will prove as essential ones to rethink the process by which the protagonists go through until the discovery of their subjectivities. / O presente estudo se dispõe a realizar uma reflexão acerca da formação do sujeito mulher por meio da linguagem em um recorte da ficção de duas autoras canadenses contemporâneas, a saber, Lives of Girls and Women (1971) e The Diviners (1973) de Alice Munro e Margaret Laurence, respectivamente. Tendo sido publicados no início da década de setenta, ambos os romances compreendem uma série de questionamentos em torno da busca pela construção de uma identidade própria, atendendo a uma nova demanda crítica que se alia aos estudos de gênero. Portanto, constitui-se como fator preponderante à pesquisa a maneira pela qual as protagonistas das obras, Del Jordan, de Lives of Girls and Women (2001) e Morag Gunn de The Diviners (1993) realizam esse processo. Como estratégia, ambas se apropriam do gênero Bildungsroman visando o questionamento dos discursos com os quais dialogam. Partindo da infância, quando se dá a imersão tanto de Del Jordan, quanto de Morag Gunn em ambientes que privilegiam a atividade da leitura, percebese que, não coincidentemente, ambas assumirão a profissão de escritoras na chegada da maturidade. Inserem, portanto, nessa perspectiva, discussões estabelecidas em torno dos estudos da linguagem, do gênero, dos romances de formação femininos aos quais as abordagens de Chris Weedon (1989), Teresa de Lauretis (1994), Cristina Ferreira Pinto (1990), Sylvia Molloy (2004), Coral Ann Howells (1998), entre outros, se mostrarão preponderantes a fim de se repensar o processo pelo qual as protagonistas atravessam até a descoberta de suas subjetividades.

Thesis (Ph. D.)--Illinois State University, 2005. / Title from title page screen, viewed on April 16, 2007. Dissertation Committee: Robert McLaughlin (chair), Lynn Worsham, Sally Parry. Includes bibliographical references (leaves 312-331) and abstract. Also available in print.

Zugl.: Frankfurt am Main, Univ., Diss., 2007.

No description available.

Thesis (M.A.)--Georgia State University, 2006. / Title from title screen. Andrea Scarantino, Tim O'Keefe, George Rainbolt, committee members. Electronic text (38 p.) : digital, PDF file. Description based on contents viewed Apr. 18, 2007. Includes bibliographical references (p. 38).

Being classified in the ¡§anti-tradition of unclassifiable books,¡¨ Laurence Sterne¡¦s The Life and Opinions of Tristram Shandy, Gent. has fascinated generations of readers and critics with its seemingly chaotic richness. The narrator Tristram appears to hide his ultimate purpose and unity beneath a cloak of oddity and confusion, which defies any attempt on the reader¡¦s part to ever pinning it down, and thus opens ground for various debates and critiques. Taking Tristram¡¦s many futile efforts at tracing back the origin of his life as the starting point, this thesis attempts to explore the author-narrator¡¦s deliberate use of oddity and confusion. The impossibility of ever finding a coherent and definite beginning of one¡¦s life is read in my study as a metaphor of one¡¦s losing battle at pinning down the concept of self, the embodiment of the ungraspable subjectivity. Not even Locke¡¦s epistemology or the eighteenth-century knowledge of anthropology can serve as an adequate framework of reference for the account of one¡¦s life, if it is to be interpreted as subjectivity. The fact that men are different from one another arises from their individual hobbyhorse, the manifestation of subjectivity, which resists attempts to be defined exactly and thus makes itself unfathomable. This discovery is the very basis of my reading of Tristram Shandy. Since subjectivity refuses to be grasped, my thesis then proceeds to investigate the way in which Tristram represents this ungraspable subjectivity. The concept of staging is employed in this thesis to explore Sterne¡¦s deployment of subjectivity. On the stage where the many facets of each character¡¦s singular microcosm are presented, it is demonstrated that the reader is also drawn into Tristram¡¦s game play, only with the peculiar result that in discovering subjectivity (theirs and ours,) we trespass boundary and assume Tristram¡¦s subjectivity.

This dissertation contextualizes and interprets several hundred photographs illustrating six books of poetry by Paul Laurence Dunbar. Although their significance as cultural landmarks is largely unrecognized today, they rank among the largest and most widely distributed bodies of photographs of African Americans in American visual culture. Published between 1899 and 1906, the images in the Dunbar books represent a counterpoint to the much-emphasized publicity photographs made concurrently for the school by Frances Benjamin Johnston, complicating simplistic conclusions about the nature of Hampton Institute and the industrial education movement. Drawing upon substantial original research on the predominantly white Hampton Institute Camera Club and its institutional context, and presenting a biographical portrait of the lead photographer, Leigh Richmond Miner, this study ultimately traces a history of photography at Hampton Institute from the 1890s through the 1920s, reproducing more than 150 unpublished and unrepublished images. This study reveals that the photographs in Dunbar’s works were created explicitly to reconceive pictorial representations of African Americans, and to subtly discredit any reductive conventional perception of racial character altogether. By depicting their subjects photographically, the members of the Hampton Camera Club sought to undermine essentialist characterizations--both derogatory and sentimental--by presenting their subjects as self-determining and multifaceted individuals. In their use of serial photography and by employing African-American creative forms, the books ultimately suggest vernacular origins of a disjunctive, Modernist aesthetic, casting both Dunbar and Hampton as proponents of modernity rather than as icons of retrogressive racial politics. / text

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