Some of the junior novels being produced today are trivial, but others are works of real stature written by outstanding authors. To a prospective librarian interested in work with young people, a detailed study of one of these successful authors seems beneficial and of great interest. Rosamond du Jardin is acknowledged to be one of the most skillful and successful authors of this genre today. Certainly she is one of the most popular with teen-agers themselves. Not much has appeared in print about this talented author. Only two biographical sketches have been found and they were not extensive or complete. The purpose of this paper, therefore, is to bring together all available information about the life of Rosamond du Jardin and about her works. / "August, 1960." / At head of title: Florida State University. / Typescript. / "Submitted to the Graduate School of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / Advisor: Agnes Gregory, Professor Directing Paper. / Includes bibliographical references (leaves 42-46).

Thesis (doctoral)--Université d'Aix-Marseille I, 1977. / Includes indexes. Includes bibliographical references (v. 2, p. [801]-877).

No description available.

Thesis--Uppsala. / Includes bibliographical references (p. 136-140).

Thesis--Uppsala. / Includes bibliographical references (p. 136-140).

No description available.

Thesis (Ph. D.)--University of Alberta, 2010. / Title from pdf file main screen (viewed on April 28, 2010). A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Department of English and Film Studies, University of Alberta. Includes bibliographical references.

This thesis investigates a neglected sub-genre of women’s writing, which I have termed the literature of the boarding house. Focusing on unmarried women, this is a study of the alternative rooms ‘of one’s own’ that existed in the nineteen thirties: from the boarding house and hotel, to the bed-sitting room or single room as a paying guest in another family’s house. The 1930s is defined by the conflict between women’s emerging social and economic independence and a dominant ideology that placed increased importance on domesticity, the idea of ‘home’ and women’s place within the familial structure. My research highlights the incompatibility between the idealised images of domestic life that dominated the period and the reality for the single woman living in temporary accommodation. The boarding house existed outside conventional notions of female domestic space with its connotations of stability and family life. Women within the boarding house were not only living outside traditional domestic structures; they were placing themselves outside socially and culturally defined domestic roles. The boarding house was both a new space of modernity, symbolising women’s independence, and a continued imitation of the bourgeois home modelled on rituals of middle-class behaviour. Through an examination of novels by Elizabeth Bowen, Lettice Cooper, Stella Gibbons, Storm Jameson, Rosamond Lehmann, Dorothy Richardson, Jean Rhys, Virginia Woolf, and E. H. Young, this study privileges the literary as a way in which to understand the space of the boarding house. Not only does the boarding house blur the boundaries between public and private space, it also challenges the traditional conceptions of the family home as the sole location of private domestic space. I argue that by placing their characters in the in-between space of the boarding house, the authors can reflect on the liminal spaces that existed for women both socially and sexually. In the literature of the boarding house, the novel becomes a site for representing women’s experiences that were usually on the periphery of traditional narratives, as well as a literary medium for articulating the wider social and economic issues affecting the lives of unmarried women.

While the gothic in its various interpretations is well established in contemporary culture, the traditional form, rooted in its late eighteenth century literary conventions, would seem to have little relevance for theatre audiences today. A reappraisal of the convention's foundations, however, offers the playwright opportunities to explore new narratives in which the tradition can be re-inflected in the present. An analysis of the writing of my play Burn, which presents as a contemporary family drama, will demonstrate how the narrative can be structured with deliberate reference to the established tropes of the classic gothic mode. It will be shown that a re-engagement with the tradition in concert with new interpretations of the gothic can reinvigorate the form as a mode of playwriting practice.

This dissertation uses a feminist cultural materialist approach that draws on the work of Pierre Bourdieu and Luce Irigaray to examine the neglected genre of postwar-Cold War American teen girl romance novels, which I call female junior novels. Written between 1942 and the late 1960s by authors such as Betty Cavanna, Maureen Daly, Anne Emery, Rosamond du Jardin, and Mary Stolz, these texts create a kind of hieroglyphic world, where possession of the right dress or the proper seat in the malt shop determines a girls place within an entrenched adolescent social hierarchy. Thus in the first chapter, I argue that girls adherence to consumer-based social codes ultimately constructs a semi-autonomous female society, still under the umbrella of patriarchy, but based on female desire and possessing its own logic. This adolescent female society parallels the network of women who produced (authors, illustrators, editors) and distributed (librarians, critics) these texts to teenaged girls. Invisible because of its all-female composition, middlebrow status, and feminine control, yet self-governing for the same reasons, the network established a semi-autonomous space into which left-leaning authors could safely (if subtly) critique American social and foreign policies during the Cold War. Chapter Two examines the first generation of the network, including Anne Carroll Moore, Bertha Mahony, Louise Seaman, and May Massee, who helped to create the childrens publishing industry in America, while Chapter Three investigates the second generation, including Mabel Williams, Margaret Scoggin, and Ursula Nordstrom, who entrenched childrens and adolescent literature in publishing houses and library services. In Chapter Four I explore the shifting concept of what constitutes quality within these texts, with an emphasis on the role of authors, illustrators, and critics in defining such value. Chapter Five investigates the use of female junior novels within the classroom, paying particular attention to the role of bibliotherapy, in which these texts were used to help teenagers solve their developmental tasks, as suggested by psychologist Robert J. Havighurst. A brief conclusion discusses the fall of the female junior novels and their network, while a coda addresses the republication of these texts today through the nostalgia press.