Diss. Uppsala : Uppsala universitet, 2006.

Il presente lavoro si propane di portare un contributo critico all'opera della Colombi, delineandone quegli aspetti salienti che caratterizzano la sua partecipazione alla scena letteraria come donna e come professionista. Le sue scelte poetiche, basate sull'ideale di un'intima, inscindibile unita donna-parola-lingua e sull'armoniosa corrispondenza vita-arte, contribuiscono ad acuire il confl itto con il repressivo e misogino ambiente ottocentesco. Si crea una continua tensione tra la tendenza all'adeguamento impasto dalla priorita di difendere la propria presenza e l'altrettanto forte spinta alla trasgressione come necessita di salvaguardare la coerenza a se stessa. L'ambivalenza vissuta verso il padre, depositario dell 'ordine sociale, si riflette, coerentemente con le premesse poetiche, nelle polemiche condotte nei confronti dei padri della letteratura. Se queste ultime tendono a rimanere contenute a livello metatestuale, in genera le, il genuino ed autentico messaggio letterario viene soprattutto espresso attraverso il gusto antifrastico dell'ironia ea livello metaforico e simbolico. La messa in luce della repressione e della morte dei valori femminili, la creativita intellettuale e fisica, che costituiscono la vera essenza dell'individuo e della stessa esistenza umana, va di pari passo con la maturazione di un sofferto compromesso con le dure leggi imposte dalla vita. Dalla crudelta di lavori alienanti alla brutale caduta degli ideali e dell'amore, si raggiunge, con le opere maggiori, un rinnovato equilibrio vita-arte che, nella sublimazione delle esperienze di morte, eleva l'espressione artistica a piano ultimo di salvezza e di realizzazione individuale. Nell'affermazione di un'arte firmata al femminile e posta al servizio della giustizia e della verita, si consuma cosi la disobbedienza nei confronti di ogni forma arbitraria di potere. Connotato al maschile, esso viene evidenziato nei suoi effetti deleteri ed alienanti anche nella connivenza e mancanza di una reale autenticita delle stesse donne, in particolare le madri. Dall'analisi dell'opera della Colombi emerge l'immagine di una scrittrice che si distingue non solo per la sua originalita e complessita, ma anche per l'indubbia modernita sia di stile che di problematiche / The aim of the present study is to offer a critical contribution on the writings of the Marchesa Colombi by tracing and developing those aspects of her work which best characterise her personality as a woman and as a writer. Her poetical choices, based on the ideal of an intimate, indivisible unity of woman-word-language and on the harmonious correlation between life and art, focus sharply on her conflict with the repressive and misogynist ambience of nineteenth-century Italy. Her works reveal a constant tension between the need to adapt in order to defend her own presence (as a writer) and the urge to transgress as a means to safeguard her inner, personal coherence. The author's ambivalence towards the father, depositary of the social order, is further reflected, in keeping with her poetical vision, in the polemical debates held with the fathers of Italian literature. Whereas these debates remain embedded within a metatextual discourse, the genuine and authentic message of her works is generally expressed on the metaphorical and symbolic levels and by an extensive antiphrastic use of irony. The need to stress the repression and death of feminine values, the intellectual and physical creativity which constitute the true essence of the individual, goes hand in hand with the artist's achievement of maturity as a painful compromise with the hard rules imposed by life. From the cruelty of a alienating labour to the brutal collapse of her ideals and of love, Colombi is able to achieve in her major works a new form of balance between life and art which, by sublimating the experience of death, elevates the artistic expression to the heights of personal salvation and of self-realization. By affirming her art as a product of the feminine mind at the service of justice and truth, she plays out her disobedience against all arbitrary forms of power. This study of the works of the Marchesa Colombi reveals the image of a writer who distinguishes herself not only for her originality and complexity but also for the marked modernity both in her style and in her choice of subject / Department of Classics and Modern European Languages / D.Litt. et Phil. (Italian)

No description available.

Submitted by Morgana Silva (morgana_linhares@yahoo.com.br) on 2016-07-04T18:21:14Z No. of bitstreams: 1 arquivototal.pdf: 1161919 bytes, checksum: bf47c9b4b22ba06ecc7ec01dde7c8407 (MD5) / Made available in DSpace on 2016-07-04T18:21:14Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1161919 bytes, checksum: bf47c9b4b22ba06ecc7ec01dde7c8407 (MD5) Previous issue date: 2015-05-14 / This work’s goal is to analyze Nísia Floresta’s 1832 text Direitos das Mulheres e Injustiça dos Homens, product of her translation of Vidications of the Rights Of Woman, by Mary Woolstonecraft, as a way of promoting and claiming women rights in Brazil. To substantiate our research, we used cultural translation studies as theoretical referential, as well as current research on comparative law, aiming to draw a parallel between women rights history, Nísia Floresta’s cultural translation, and the idea that the law circulates as both cultural and social practices, using a bibliographic deductive methodology. Assuming that the translation practice is a dynamic process of constant movement that mobilizes knowledge, and is, therefore, incompatible with the fixed, stable, and universal idea of the literal translation(which was defended by the traditional theory for many years), we’ve reached the conclusion that the cultural translation accomplished by Nísia Floresta in the text that founded feminism in Brazil, despite being a literary and non-legal one, contributed decisively to the historical statement of women’s human rights, and represents what we can call law’s cultural voyage. / O presente trabalho tem como objetivo analisar o texto elaborado por Nísia Floresta em 1832, intitulado Direitos das Mulheres e Injustiça dos Homens em resultado à tradução do livro Vidications of the Rights Of Woman de Mary Woolstonecraft, como meio de promoção e reivindicação do direito das mulheres no Brasil. Para fundamentar a pesquisa, foi utilizado como referencial teórico os estudos da tradução cultural, bem como, as atuais pesquisas em direito comparado, buscando traçar uma aproximação entre a história do direito das mulheres, a tradução cultural levada a efeito por Nísia Floresta e a ideia de que o direito circula enquanto cultura e prática social, por meio de uma metodologia dedutiva bibliográfica. Partindo do pressuposto de que a atividade de tradução é envolvida por um processo dinâmico, em constante movimento, capaz de mobilizar saberes, incompatível, portanto, com a ideia fixa, estável e universal da tradução literal, a qual foi pregada durante muitos anos pela teoria tradicional da tradução, foi possível concluir que a tradução cultural operada por Nísia Floresta ao texto fundante do feminismo no Brasil, embora não se trate de um texto jurídico e sim literário, contribui decisivamente para a afirmação histórica dos direitos humanos das mulheres, assim como representa um efeito daquilo que se pode chamar de viagem cultural do direito.

Orientador: Luzia Margareth Rago / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-09T05:41:24Z (GMT). No. of bitstreams: 1 Biajoli_MariaClaraPivato_M.pdf: 1772890 bytes, checksum: b7d9555f870a316493b3dda93cc32584 (MD5) Previous issue date: 2007 / Resumo: Este trabalho analisa os relatos de memória de algumas mulheres que militaram no movimento anarquista feminino espanhol do grupo Mujeres Libres, que esteve ativo durante a Guerra Civil Espanhola (1936-1939). Focaliza as entrevistas, os livros, e documentários produzidos por elas, especialmente nas décadas de 1980 e 1990, sobre aqueles acontecimentos na Espanha e suas experiências. Pergunta de que forma se dá essa rememoração, que guarda fortemente as marcas do tempo presente, e ainda de que forma esses acontecimentos e essas memórias contribuíram na construção de suas subjetividades como mulheres anarquistas, após cinqüenta anos ou mais da derrota para as forças franquistas em 1939 / Abstract: This work analises the narratives of memory of some women who participated at the Spanish anarchist and feminist movement of the group ¿Mujeres Libres¿, which was active during the Spanish Civil War (1936-1939). It focuses on the interviews, books and documentaries that have been produced by these women, especially at the 1980s and 1990s, about those events and their experiences. It asks about how this work of memory happens, which keeps strong marks of the present, and how this memories contribute to the construction of their subjectivities as anarchist women, even fifty years ou more after the defeat to the franquist army in 1939 / Mestrado / Historia Cultural / Mestre em História

M.A. / This dissertation investigates the work of black women poets in South Africa during the period 1970 - 1991, within the context of race and gender politics. The period 1970 - 1991 represents the approximately two decades in which black poetry became recognised as an important development in South African literary studies. Although several studies of the work of black male poets have been written, hitherto no substantial study of the writings of black women poets, in particular, has been undertaken. Although relatively few black women poets published their work during this era, when compared to their male counterparts, this critical survey will attempt to give a broad overview of the poetry black women produced. Focusing on poetry written in English, this dissertation will argue that the majority of black women poets writing during this period harnessed their writing to the anti-Apartheid or liberation struggle in South Africa. Many of these poets regarded their writing as a 'cultural weapon' which could contribute to political transformation, and although few regarded themselves as 'feminist' poets, their poetry reveals a deep concern with gender oppression as well as racial and class oppression. Chapter one, the introduction, focuses on the way in which black South African women poets have been largely ignored, neglected and 'silenced' by the majority of critics. This chapter will also consider some of the factors that may have prevented more black women from producing and publishing poetry: social factors such as education, literacy and access to publication will be explored. The second chapter explores the emergence of South African 'protest poetry', and focuses on the poetry of Jennifer Davids and Gladys Thomas in relation to the 'protest' tradition. It will be argued that while poet Gladys Thomas defined her writing in terms of 'protest' literature, Jennifer Davids produced a more introspective, personal poetry that was primarily concerned with the difficulties of 'finding an individual voice' in the South African environment. The third chapter focuses on the more intensified phase of 'protest poetry' which was produced after 1976 by the growing culture of literary activism in the black townships, and will show how women poets write of the suffering specific to township women. This chapter will also focus on an analysis of gender oppression within the poets' own homes and communities, as well as celebrations of political activities by women. In particular, this chapter concentrates on women's poetry published in the literary magazine, Staffrider, established to promote the work of black writers. The Trade Union Movement was a major influence on literary production during this time, as we shall see from the 'worker poetry' produced by many women in the 1980s. Chapter four will concentrate on the poetry produced by black South African women in exile, most of whom were active in the ANC. It will be argued that rather than producing introspective poetry about the condition of exile, these women harnessed their writing to `the struggle'. This poetry can broadly be defined as 'resistance' or 'liberation' poetry. Some of these poets also explore the issue of gender in relation to liberation politics.

No description available.

Since Elaine Showalter's proposal of "gynocriticism", a considerable amount of work has been done in English-speaking countries to establish the existence o f a "female tradition" in literature. In France, where feminist critics have focussed on new ways "to write the feminine", there has been relatively little interest in reexamining the production of lesser-known women writers. The canon of French literature remains comparatively unchallenged, and few people are aware o f the many women who wrote at the beginning of the twentieth century. This dissertation is a contribution to the rereading of three of such authors, looking at the representation of femininity in relation to feminism. Three novels, one by Sidonie Gabrielle Colette, one by Marcelle Tinayre and one by Lucie Delarue-Mardrus. The careers of these "femmes de lettres", all established before World War I, were comparable, yet two o f them have been forgotten. These novelists remained ambivalent in relation to feminist efforts at that time to achieve the emancipation o f women. Despite their own relative freedom and lack of conformity in their lives, and the criticism o f established norms embedded in their narratives, all three kept their distance from feminism as a movement. The three texts compared here all have conservative endings, in spite of other elements that challenge the status quo. A t the core of their ambiguity is the tension between two concepts which remain in conflict today: on one hand the feminist agenda aimed at greater freedom and autonomy for women is based on the idea that gender roles are constructed, whereas on the other hand the concept of femininity is inseparable from the idea of an "essential" woman, represented, in the early 1900's in France by a particular nationalist concept of the French Woman. A close look at critical texts published in the first part o f the twentieth century shows the weight of that concept in the evaluation o f women's writing of that period. The growth in the number and reputation o f women writers ("femmes de lettres") was accompanied by a declaration o f the need to maintain French femininity ("l'etre femme"), and individual women authors like Colette, Delarue-Mardrus and Tinayre were caught in a dilemma. They all proclaimed their allegiance to the French ideal of femininity, while contributing to its denial and renewal by their own performance as successful women writers. Their representation of femininity as performed in their novels (as it was in their lives) shows the various ways in which it was possible to negociate a compromise between being feminine and challenging that concept through writing. These texts also demonstrate that women's literary production of that period in France is far more diversified than standard anthologies of French literature would lead us to believe. Colette appeals to reader's senses and aims to seduce, Tinayre appeals to reason and aims to convince, while Delarue-Mardrus appeals to the emotions and aims to move. All three, combine the "feminine" and the "feminist" in different ways, constructing literary models that represent a range of responses to a similar problem: how to remain a woman while contesting the notion of "woman". / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Cette these cherche a analyser le contenu litteraire de La Princesse de Montpensier et de La Princesse de Cleves de Madame de Lafayette en fonction de leur valeur comme des documents qui refletent le contexte socio-historique de leur epoque. Ainsi, on reconnait chez l'auteur la qualite de temoin astucieux qui imbue ses ecrits d'elements importants contribuant a une meilleure appreciation de la condition feminine au dix-septieme siecle. L'auteur de ces deux romans met au point le genre du roman historique afin de l'employer comme canevas sur lequel elle impose sa vision perspicace des elements sociaux qui influencent plusieurs aspects de la vie de la femme noble depuis sa jeunesse jusqu'ci sa mort. Afin de profiter de cette structure, ce travail s'organise en trois chapitres suivant la chronologie de cette vie. Commengant avec les representations de l'education de la jeune fille, on passe a sa formation visee au mariage et a une analyse detaillee du statut de la femme mariee. Finalement, on abdrde la question du statut de la veuve. En considerant tous ces elements a la lumiere des ecrits critiques et historiques qui ont paru pendant trois siecles, on ressort une richesse de renseignements portant sur les exigences d'ordre moral et pratique qui delerminent la quality du statut de la femme au dix-septieme siecle. Les observations evoquees par Madame de Lafayette nous aident a preciser les influences, les transformations, les conflits et surtout les contradictions et les paradoxes qui parcourent la vie de la femme noble pendant l'age classique. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

This thesis is a queer theory analysis of the feminist science fiction novel The Kanshou by Sally Miller Gearhart. After exploring both male and female authored science fiction in the literature review, two themes were to be dominant. The goal of this thesis is to answer the questions, can the traditional themes that are prevalent in male authored science fiction and feminist science fiction in representing gender and sexual orientation dichotomies be found in The Kanshou? And does Gearhart challenge these dichotomies by destabilizing them? The analysis found determined that Gearhart's The Kanshou does challenge traditional sociological norms of binary gender identities and sexual orientation the majority of the time.