This thesis compares the autobiographic work of Esmeralda Santiago and Emine Sevgi Özdamar focusing on the aspects of ethnic identity, gender, as well as history and memory. The argument is that both authors' work not only reflects the cultural origins of each writer and her trauma of loss, but also each host country's social realities and conflicts. In spite of alienation and loss of home and language, both protagonists create "touching tales," a phrase coined by Leslie Adelson that refers to the entanglement between cultures, stressing more the common ground between them than the differences. Santiago's work stresses the dividedness of American society along racial and ethnic lines, but also the opportunity for the immigrant to reinvent herself and overcome racial and social boundaries. Özdamar on the other hand reflects on the dividedness and traumatization of Germany through World War II, the Holocaust, the East-West division, and the terrorism of the 1970s. She compares it to the political and social division within Turkey as results of the Armenian genocide and military coups. While Santiago views American culture with distance, Özdamar displays an enthusiastic reception of leftist writers like Bertolt Brecht and German literature in general. Both autobiographical subjects find a way to reconcile their own inner divisions through theater work, which combines universal and multicultural elements.

Thesis (M.A.)--California State University Channel Islands, 2008. / Submitted in partial fulfillment of the requirements for the degree of Masters of Arts in Education. Title from PDF t.p. (viewed September 22, 2008).

Thesis (Ph. D.)--University of Missouri-Columbia, 1998. / Typescript. Vita. Includes bibliographical references (leaves 267-310). Also available on the Internet.

This thesis examines the representation of masculinity in the work of three contemporary male crime writers – George Pelecanos, Henning Mankell and Ian Rankin. It considers whether or not the feminist movement, and the resultant deconstruction of gendered identity, has had an impact on the work of male authors. As the topic of masculinity becomes increasingly visible both within sociological discourse and popular culture, have male writers sought to critically engage with their own gender roles or are they more concerned with propagating hegemonic norms? Crime fiction has a history of accommodating revisionist, feminist projects but is there similar space in the genre for male writers to create viable, non-phallic detective heroes? By focusing on writers of three different nationalities – Pelecanos is American, Mankell is Swedish and Rankin is from the UK – the thesis examines the interaction between masculinity and national identity, and compares the extent to which American, Swedish and British masculinity can be viewed as being ‘in crisis’. Chapter I provides a theoretical outline, discussing the academic approach to Men’s Studies, before addressing the specific issue of the representation of gender within the crime fiction genre. Chapters II, III and IV focus on a close reading of the texts of Pelecanos, Mankell and Rankin, respectively.

Robert Devereux, 2nd Earl of Essex, Queen Elizabeth’s last favorite and the last man she executed for treason, has been harshly treated by posterity. Given his leading role at court in what Patrick Collinson calls the “nasty nineties,” Essex has taken much of the blame for the divisive factional politics of Elizabeth’s final decade. However, leading recent efforts to salvage Essex’s reputation, historian Paul Hammer has uncovered a sophisticated bureaucracy operated by highly educated scholars and led by an intelligent, cultivated statesman. A considerable number of high-profile literary figures, moreover, willingly engaged with this ambitiously expanding Essex faction. This thesis proposes that evidence of interference by the censor and the Privy Council, sensitive to a politicized historiography promoting the Earl’s interests chiefly on London’s stages, discloses the presence of a loose, autonomous federation of authors associated with the Essex and post-Essex factions between 1590 and 1610. This thesis considers the suspected works of an eclectic group of writers bonded by their ideological affiliations with Essex’s “radical moderatism”: civil lawyer John Hayward’s prose history of The Life and Raigne of Henrie IIII (1599); William Shakespeare’s second “tetralogy” (1595-99) dealing with the same historical period; Samuel Daniel’s closet drama of the downfall of the Greek general Philotas (1605); and innovative playwright George Chapman’s double tragedy set in France, The Conspiracy and Tragedy of Charles, Duke of Byron (1608). I situate these authors within the intellectual and public relations wing of the Essex circle in order to consider how they made contact with the center and with each other, and where they resided within the broader operation of the faction; what they offered and what they expected in return; how they shaped political thinking and how their dramaturgy developed as a consequence; whether they were attracted by the purse or the person; and to what extent they were artistically or ideologically motivated. In considering, finally, whether these writers worked in collaboration or alone, on message or off-the-cuff, as propagandists or political commentators, I illuminate the critically neglected role of the factional writer in early modern England. / text

In 1541, writing under the pseudonym Hélisenne de Crenne, the French noblewoman Marguerite Briet produced a translation of the first four books of Virgil’s Aeneid that remains largely unknown. As a female author, Hélisenne provides a sixteenth-century woman’s perspective on the Aeneid, an on classical literature more generally, and the uniqueness of her translation in this respect makes her work extremely significant, particularly given the relatively recent interest in women and other marginal voices within the field of classics. This thesis contributes to an understanding of the need for a holistic approach to Classical Reception Studies, through a thorough examination of Hélisenne’s translation not only with regard to her gender but also the social, historical and literary climate in which she writes. Focussing on the mise en livre, as well as the text, my approach also stresses the need to reevaluate the relationship between the author and the text that we often assume in classics is more direct than is actually the case. Through such an examination of her Eneydes, Hélisenne emerges as a serious participant in the humanist tradition who engages with classical literature in such a way as to question masculine textual authority and the notion of an objective truth, whilst deliberately implicating herself through her translation in a web of authorities who are not to be trusted.

The Company Man argues that corporate ways of organising communities permeated British imperial culture. My point of departure is the obsession shared between Anglo-Indian writers and imperial policymakers with the threat of unmanageable agency, the employee who will not follow orders. By taking up Giambattista Vico's claim that human subjects and human institutions condition each other reciprocally, I argue that Anglo-Indian literature is properly understood as one of a series of disciplinary apparatuses which were developed in response to that persistent logistical problem: how best to convince plenipotentiary agents to work in the interest of a mercantile employer, the East India Company. The Company Man reconsiders the way we think and write about Victorian imperial culture by taking this institutional approach. For one thing, the dominant position of the Company highlights the limitation of our continuing dependence on the nation as a critical hermeneutic. Additionally, I show how the prevalence of ideas like duty, service, and sacrifice in colonial literature is more than simply the natural output of a nation looking to sacralise everyday practice in the wake of their famous "Victorian loss of faith." Rather, I place these ideas among a structure of feeling, which I call aristocratic virtue, that was developed by imperial policymakers looking to militate against the threat of rogue agents. The subject material under consideration includes novels, short stories, poems, essays, memoirs, personal correspondence, and parliamentary speeches. These texts span a century but are clustered around four nodal points, which illustrate moments of innovation in the technologies of regulation and control. My opening chapter examines how the idea of an overseas empire first acquired virtue in the minds of the British public. The second explores how the Company grafted this virtue onto its corporate structure in its training colleges and competition exams. The third shows how Anglo-Indian literature continued to disseminate the rhetoric of self-sacrifice and noble suffering long after the Company ceded control to the Crown. The final chapter shows how this corporate culture reflects in that most canonical of imperial novels, Rudyard Kipling's Kim (1901).

In 1952 Gamal Abdel Nasser and his clique of disaffected young officers launched ‘the Free Officer’s Coup,’ deposing the monarchy, overturning the parliamentary system, and launching a durable regime that defined the face of Egypt in the second half of the twentieth century. This thesis examines the relationship between Nasser and Egypt’s intellectuals, and takes preeminent writers Naguib Mahfouz and Yusuf Idris to reveal the social environment in which this relationship took place. The literary and historical evidence reveals a lively relationship of contestation, critique, accommodation, dependence, and acclamation. Promulgating reformist domestic policies and defiantly nationalist foreign policies, Nasser earned legitimization from intellectuals. His regime endeavored to establish hegemony over Egyptian civil society, an effort resisted and repulsed by intellectuals. Inspired by the most relevant theoretical literature on intellectuals, namely the work of Julien Benda, Antonio Gramsci, and Edward Said, this thesis reveals responsibilities and challenges faced by intellectuals everywhere.

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[Abstract]: Academic standards in higher education require that all students, including L2 students, are able to write fluently, accurately, clearly, and logically. At postgraduate level, students’ competence in written communication depends on appropriate knowledge and use of the discipline-specific genre, plus awareness of the convention-specific phrasing in the discipline. In addition, students need to develop critical thinking and conceptual abilities to satisfy the faculty demands. This research aims to articulate the strong interdependence between disciplinary knowledge and writing skills at postgraduate level. Specifically, this study provides a more explicit description of the role of discourse knowledge and writing skills in academic writing in the business sector. It also provides insights into the skills and challenges of L2 postgraduate writers and their inclusion in their academic community through their writing practice. The two main methods of data collection were: (i) in-depth interviews with students and their course lecturer, and (ii) text analysis of electronic corpora of two written assignments. These methods were chosen (a) to explore students’ perceptions of the writing process and composing strategies in their academic writing production, and (2) to identify key rhetorical components recognising the complexity of the interaction among literacy and disciplinary elements in post-graduate writing. Exploration of the students’ and lecturer’s perceptions about the students’ writing practices as second language writers indicated students’ experiences, difficulties, worries, weaknesses, strengths and learning processes. Their perceptions clarified the relationship between disciplinary knowledge about Management and Organisational Behaviour and successful writing skills. Findings of this study led researcher to propose two new models: one is based on theoretical principles of academic writing in a discipline and the second addresses specific applications in second language learning and teaching. The first, “A model for L2 postgraduate writing process: A metadiscourse perspective’’ identifies the factors involved in the writing process including the metadiscourse of academic writing (Hyland, 1998, 1999a, 2001a, 2004b; Hyland & Tse, 2004a). The second is “A model of learning academic writing: the second language writing process at post-graduate level”. This second model involves the stages of knowledge development for a writer in the discipline to be accepted in the academic community. The latter model illustrates the functions, context, the role and relevance of writing within the discourse practices of an academic community.