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The novel of awakening in American women's fiction, 1860--1940.

机译:1860--1940年,美国女性小说中的唤醒小说。

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This dissertation examines the growing field of late nineteenth/early twentieth century American women's fiction by exploring what I call the novel of awakening in seven novels published between 1860 and 1940. I relocate these texts (Stowe's The Pearl of Orr's Island, Alcott's Moods, Stoddard's The Morgesons, Chopin's The Awakening, Wharton's Summer, Larsen's Quicksand and Hurston's Their Eyes Were Watching God), within a critical tradition that extends from the sentimental or domestic novel popular in mid-nineteenth century America. Reworking sentimental motifs, often in covert ways, these novelists move towards a more subversive and, ultimately, anti-romantic approach to the themes of female identity, sexuality, and autonomy. These writers often use transactional imagery of promises and gifts in ways that expand the dimensions of the sentimental genre itself.; I define an awakening as a transitional state which allows a female character a means of acknowledging desires which fall out of the range of the marriage plot. An awakening is connected to an excited state of desire, be it a desire to understand or sympathize with another woman (as I discuss in Chapter 1, with Stowe and Alcott's texts) or a desire for space (as in Chapter 2, with Stoddard and Chopin's novels). This desire for emotional and psychic affiliation is not always realized in these novels; as I argue in Chapters 3 and 4, where interpersonal exchanges are not possible, emotions become conflated with inanimate objects or even external landscapes. The final chapter of this dissertation focuses on the limits of contract law exposed by Hurston's novel, particularly for African-American women. My examination of contract law, along with psychoanalytic feminist theory, provides a theoretical framework for this project, as I assert the importance of promising and gift-giving as specific alternatives to the marriage contract, prominent in each of these novels.
机译:本文通过在1860年至1940年间出版的七本小说中探寻我所谓的《觉醒小说》(斜体)来考察19世纪末/二十世纪初美国女性小说的发展领域。我将这些文本迁移(Stowe的奥尔岛的明珠,阿尔科特的心情,Stoddard的 The Morgesons ,肖邦的 The觉醒,沃顿的 Summer ,拉森(Larsen)的《流浪汉》(italic)和赫斯顿(Hurston)的他们的眼睛都在注视着上帝()。这些小说家通常以秘密的方式重塑感性的主题,朝着更具颠覆性的,最终是反浪漫的方法着手解决女性身份,性和自治的主题。这些作家经常使用诺言和礼物的“交易性意象”(斜体)来扩大情感类型本身的范围。我将唤醒定义为一种过渡状态,该过渡状态允许女性角色承认不在婚姻情节范围之内的欲望。觉醒与兴奋的欲望状态相关联,它是一种理解或同情另一个女人的欲望(如我在第1章中讨论的斯托和奥尔科特的著作)或对空间的欲望(如第2章中的Stoddard和肖邦的小说)。在这些小说中,人们对情感和心理联系的渴望并不总是实现的。正如我在第3章和第4章中讨论的那样,在无法进行人际交流的地方,情感变得与无生命的物体甚至是外部风景混为一谈。本论文的最后一章重点讨论了赫斯顿小说所揭示的合同法的局限性,特别是对于非洲裔美国妇女而言。我对契约法的研究以及对精神分析的女权主义理论的探讨,为该项目提供了理论框架,因为我断言,有希望和送礼是婚姻契约的特定选择的重要性,在每本小说中都如此。

著录项

  • 作者

    Bannett, Nina R.;

  • 作者单位

    City University of New York.;

  • 授予单位 City University of New York.;
  • 学科 Literature American.
  • 学位 Ph.D.
  • 年度 2002
  • 页码 257 p.
  • 总页数 257
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 I712;
  • 关键词

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