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This essay revisits some of the more well-cited works of close to a century of scholarly and biographical efforts on the author Ernest Hemingway. It aims to re-evaluate and test the general assumptions, descriptions and specifications of his textual style and depiction of women through modern corpus stylistic methods. Through parallels between contextual material and periods of publication this project will explore the degree to which the common assumptions and descriptions of Hemingway’s fiction hold true, and to which degree they can legitimately be treated as general descriptors of a literary style in development throughout a career of publication spanning a large part of the 1900’s, both in terms of generalizations and definitions of changes taking place at specific times during the author’s career. This essay will also define unresolved conflicts in the long history of Hemingway criticism and contribute towards finding an answer for the question of whether the descriptions could be considered generally correct, or defining the period of a description’s relevance in regards to the author’s published material. In the end, this essay intends to provide a further understanding of Hemingway’s style, providing basis for new and more specific academic work on his authorship in the future.

African-American oppression has a history of violence and torment. It is a topic that is still prominent in today’s society with pop culture being one of the mediums aiding in spreading its awareness. Even though pop culture faces criticism about the portrayal of women, artists still use their platform to highlight issues that concern the African-American community. Tupac Amaru Shakur was a well-known artist that used his platform to depict African- American discrimination in society. Through his poetry he raised the issues of black oppression, white supremacy, police brutality while maintaining a stereotypical view of women. It is why this essay will use a critical race theory with a gender perspective to examine three poems by Shakur, “Liberty Needs Glasses”, “Can U See the Pride in The Panther”, and “How Can We Be Free”. The essay analyses the way these poems carry political currency in the service of African-American culture.

This thesis is an analysis of Marie’s struggle for empowerment within a patriarchal system in Louise Erdrich’s Love Medicine. The main focus of this thesis is the untangling of Marie’s desire: why does she choose the path that she has taken in life and why is she seemingly unable to feel content? Marie’s life takes place within a patriarchal framework and this paper utilizes feminist theory to delineate this framework and demonstrate its oppressiveness. In order to untangle Marie’s desire, this paper also employs a Lacanian psychoanalytic perspective. The object of Marie’s desire seems to be to become empowered within patriarchal society, but she is socially castrated by its gatekeeper, Leopolda. Even though Marie attempts a different path to empowerment, she is unable to be satisfied until she confronts Leopolda once more. In typical Lacanian fashion the object of her desire keeps returning until its form becomes clear: the object of her social castration, that is, the “phallic” spoon.

This essay concerns the portrayals of creole women in the poems of Charles Baudelaire and how these specific portrayals show connotations to the colonial project and the modernity in which Baudelaire himself lived and worked. By using a hermeneutic method of viewing and reading the poems and essay, written by Charles Baudelaire, through a postcolonial theoretical perspective. By doing this we wish to examine closely the portrayal of creole women in relation to postcolonial theories and its links to modernity as a sociocultural phenomenon. This essay also tries to show how these kinds of literary analyses can in fact be didactically relevant in educational work. In conclusion we can argue that Baudelaire was in fact heavily influenced by the colonial and modern projects of his time.

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