From the 1740s to 1800 there was a great increase both in the output of novels, and the number of women novelists. At the same time, an idealized view of femininity was prevailing in society. The relationship between these two features of eighteenth-century life helps us to assess the contribution of some eighteenth-century women to the development of the novel. In this period women's novels show some distinctive features, particularly in their portrayal of women. The idealized eighteenth-century view of women saw them as naturally virtuous, chaste, and full of the sensibility which was increasingly seen as an important positive quality. Therefore an idealized woman is the central figure in many sentimental novels. This idealized figure, used especially by women novelists, is of ambiguous significance. She raises women's status by demonstrating female superiority, but does so by modesty and submissiveness, qualities which eighteenth-century feminists perceived as inimical to women's emancipation. Women's novels often contain contradictions between explicit support of female emancipation, and idealized portraits of submissive heroines. Chapter 1 discusses the reasons for the rise of the woman novelist. Chapter 2 discusses her role and the reviewers' part in defining that role. Chapter 3 discusses women novelists in relation to feminism. The following chapters focus on particular writers. Sarah Fielding is a didactic writer with a certain feminist consciousness. The novels of Frances Brooke and Elizabeth Griffith epitomize the idealization of the heroine. The comic attack on the heroine is described with reference to Charlotte Lennox's work. The"relationship between sentimental- ism, didacticism and feminism is studied with reference to Clara Reeve and Harriet Lee. Chapter 8 introduces the 1790s, when politics dominates fiction and sentimentalism is attacked, and chapters on Jane West, Mary Wollstonecraft, and Charlotte Smith suggest the variety of women novelists' responses to these developments.

This thesis analyses the process of social construction of women's citizenship rights in Peru under the regime of Alberto Fujimori (1990--2000). It builds on an existing body of literature on democratization and women's movements in Latin America, to develop an understanding of the forms of women's mobilization under new democratic regimes and the impact of the pattern of state-society relations on the advancements and losses in women's citizenship rights. More specifically, it shows that the 1990s witnessed a significant range of advances in women's civil and political rights, while social and economic rights suffered serious reversals. It is argued that the strategies and opportunities of different sectors of the women's movement in Peru, as well as the objectives pursued by the state under Fujimori's rule, combined to generate this evolution of women's citizenship. The forms of mobilization of these different sectors followed the course of their own constraints and choices, while they were also importantly shaped by the broader political framework: a neopopulist model of political rule together with the implementation of a neoliberal program of structural adjustment and liberalization. The influence of a set of international factors also contributed to structuring the political incentives and resources of the different actors involved in the social construction of women's citizenship in Peru. The thesis concludes that the democratic or authoritarian nature of the political regime as such cannot explain the pattern of construction of women's citizenship rights, as witnessed by an increased space of women in the public sphere and advances in civil and political rights under the restricted version of political democracy which characterized most of Fujimori's rule. Contrary to the literature on other Latin American women's movements, which detected a marginalization of women's movements in the political sphere following the transitions to d

This thesis examines the role of Canadian women as presented in English language novels of the 1930s written by women authors. Within the context of the Great Depression it focuses on issues that are central to women's daily lives such as work, love, marriage and motherhood. It also isolates recurring themes in the novels and attempts to understand the authors' messages within their social context. Social reform, politics and gender relationships are among the subjects explored.

The space of appearance emerges from the practice of speech and action in the presence of others. Although it predates the public sphere as a formal construction, it exists in the context of a particular place. With the transformation of the ancien regime and the emergence of the bourgeois public sphere, the meaning of public and private was obscured by the rise of the 'social.' The public realm was transformed from a space of disclosure to a realm defined by the necessities of survival---a process by which speech and action lost much of their former power. In the spectacular relations of the ancien regime, public ritual revolved around the royal bed. Through the analogy of language and architecture, seventeenth-century aristocratic women defined new patterns of social practice. In the convergence of the spectacular relations of the court and the world of letters, a space of appearance arose. At the turn of the century, Salon discourse moved from the daybed to the sofa of Rococo salons. Responding to emerging dichotomies, discourse, architecture and Salon practice took on gendered implications. Its decline as a space of appearance coincided with the emergence of the boudoir. (Abstract shortened by UMI.)

This dissertation examines the complex and multi-faceted ways in which contemporary minority women's fictions may be thought of, both generically and individually, as practices of bearing witness to silence---practices of giving testimony to the presence of lives, experiences, events and historical realities which, otherwise, have been absented from the critical terrain of North American literary studies. For the most pact, the texts included in this study all tell tales of various, and often extreme, forms of sexual, racial, gender, colonial, national and cultural violence. Through readings of select works by Toni Morrison, Shani Mootoo, Arundhati Roy, Louise Erdrich, M. K. Indira, Mahasweta Devi and Leslie Feinberg, I argue for the ways in which these fictions may be understood as situated within the bounds of a genre---a genre that attempts to provide an account of what we might call "the half not told." I examine these fictions, both generically and specifically, as texts which have the ability to make several important critical interventions in the field of literary studies. Firstly, these texts have the potential to negotiate the impasse that feminist and postcolonial literary scholarship finds itself in around debates about the relationship between theory, activism and experience---as well as in debates about the relationship between violence, beauty, culture, subjectivity and desire. Secondly, the fictions under study help to challenge our very definitions of witnessing. Witnessing, in these works, is not simply a matter of "speaking out" against violence, but rather the issue of making space for the affective and emotive dimensions of various kinds of silences and silencings. Finally, in attempting to chart more precise vocabularies with which to assume readings of these narratives, my thesis also helps to think about the ways in which reading, writing and storytelling may, themselves, be seen as profoundly ethical undertakings that seek to give evidence

Bibliography: leaves 290-311. / xiii, 354, 14 leaves : ill. (chiefly col.) ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / This study investigates the roles and experiences of "women warriors" in Zimbabwe's anti-colonial national liberation war, and reveals certain glorifications which have served to obscure and silence the voices of thousands of young girls and women involved in the struggle. The problems associated with the inclusion of women in an armed/military guerrilla force are discussed, and the (re)presentation of women in discourses of war, fictional accounts, public and national symbols and other multiple discursive layers which have re-inscribed the women back into the domestic examined. The Zimbabwean film Flame highlights the political sensitivity of the issues, including accusations of rape by male comrades in guerrilla training camps. An overview of women's involvement in Zimbabwean history, anti-colonial struggle, and the African nationalist movement provides the background for a critique of western feminist theories of nationalism and women's liberation in Africa. Historical records are juxtaposed with the voices of some women ex-combatants who speak their reasons for joining the struggle and their experiences of war. White Rhodesian women's roles are also examined in light of the gendered constructions of war. / Thesis (Ph.D.)--University of Adelaide, Dept. of Politics, 1999

Thesis (doctoral) - Technische Universität, Berlin, 2004. / Includes bibliographical references (p. 244-268).

viii, 91 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Caribbean cultural ideas and values placed on death and mourning, especially in relation to cultural roles women are expected to perform, are primary motivating factors in the development of female self and identity in Caribbean women's literature. Based on analysis of three texts, QPH, Annie John, and Beyond the Limbo Silence, I argue that notions of death and funerary rituals are employed within Caribbean women's literature to (re)connect protagonist females to their homeland and secure a sense of identity. In addition, while some texts highlight the necessity of prescribing to the socially constructed roles of women within the ritual context and rely on the uproper" adherence to the traditional process to maintain the status quo, other texts show that the inversion or subversion of these traditions is also an important aspect of funerary rituals and notions of death that permeate contemporary Caribbean culture. / Committee in Charge: Dr. Dianne Dugaw, Folklore; Dr. Lisa Gilman, English; Dr. Phil Scher, Anthropology

This thesis argues that women writers of the South Asian diaspora are inscribing a literary aesthetic which is recognisably feminist. In recent decades women of the South Asian diaspora have risen to the forefront of the global literary and publishing arena, winning acclaim for their endeavours. The scope of this literature is wide, in terms of themes, styles, genres, and geographic location. Prose works range from grave novelistic explorations of female subjectivity to short story collections intent on capturing historical injustices and the experiences of migration. The thesis demonstrates, through close readings and comparative frameworks, that an overarching pattern of common aesthetic elements is deployed in this literature. This deployment is regarded as a transnational feminist practice.

The central assumption of this study is that the awareness of a historically constructed, culturally sanctioned condition of subalternity is at the heart of the fictional production of Francophone African women writers. Subalternity here is viewed as a narrative and spatial continuum inside which African women have to negotiate issues relating to subjecthood and identity, both marked by gender and colonialism. Various definitions of 'the subaltern' are relevant, ranging from Antonio Gramsci's to those of the South Asian Subaltern Studies group, and to John Beverley's and Fredric Jameson's discussions. Jameson's emphasis on subalternity as "the feelings of mental inferiority nad habits of subservience and obedience which... develop in situations of domination - most dramatically in the experience of colonized peoples" (Jameson, 1981) is crucial, because it demonstrates the constructedness of that ontological condition. The approach adopted here aims to include gender as a category in a discourse that often excludes it, and to bring social science-oriented concepts into dialogue with literary theory and criticism. Combined with a discussion of Africa-influenced versions of feminist theory (stiwanism, negofeminism, motherism), Subaltern studies provides a space for the emergence of a south-south postcolonial debate that can throw new light on writing by African women. Fictional works by Therese Kuoh-Moukoury, Mariama Ba, Aminata Maiga Ka, Angele Rawiri, Philomene Bassek, Evelyne Mpoudi-Ngolle, Regina Yaou, Fatou Keita, and Abibatou Traore are read as conveying the various stages of consciousness on the part of the subaltern. Kuoh-Moukoury's Rencontres essentielles (1969), Maiga Ka's La voie du salut (1985), and Bassek's La tache de sang (1990) exemplify a first stage of consciousness in which the subaltern woman submits passively to oppressive patriarchal, cultural and religious prescriptions. Ba's Une si longue lettre (1979), Mpoudi Ngolle's Sous La cendre le feu (1990) and Rawiri's Fureurs et cris de femmes (1989) present a more assertive, rebellious heroine whose efforts are undermined by a resilient social context. Finally, Traore's Sidagamie (1998), Kei'ta's Rebelle (1998) and Yaou's Le prix de la revoke (1997) address the possibility of a sustained African women's struggle resulting not only in transient personal and isolated victories but also in an enduring social transformation governed by the ethos of gender equality. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate