Royal Subjects : Feminist Perspectives on Diary Writing and the Diary Form in Meg Cabot's The Princess Diaries Series

Meg Cabot’s young adult (YA) novel series The Princess Diaries (2000-2009) is one of many modern-day examples of attempts to redefine what Western society considers the classic princess narrative: the story of a beautiful princess passively waiting for Prince Charming. As critics such as Kay Stone and Sarah Rothschild emphasize, the fictional princess is traditionally linked to notions of ideal femininity which, in turn, makes princess stories interesting texts from a feminist perspective. Rothschild notes a surge in YA princess novels in recent years, with YA writers such as Cabot aiming to challenge the traditional image of the princess as a passive feminine stereotype in their re-workings of the princess story. Previous feminist research on The Princess Diaries series celebrates the main character Mia as a symbol of third wave feminism and as such, a positive role model for Cabot’s predominantly young, female readers. Mia’s characteristic Dr Martens boots are frequently cited as an example of how greatly Mia differs from her princess predecessors. However, these critics ignore important changes in Mia’s personality over the course of the series. By the end of the series, the Dr Martens-wearing heroine introduced in the first book has replaced her combat boots with high heels. In my thesis, I will argue that Mia’s transformation in terms of appearance and preoccupation with mainstream fashion, from quirky outsider to stereotype girly girl, complicates the idea of The Princess Diaries series as feminist texts. Moreover, previous feminist research largely ignores diary writing’s prominent role in the series, and the ways in which the diary format influences the reader-narrator relationship in the novels. In my feminist reading of The Princess Diaries series, I therefore use Mia’s diary writing and the diary format of the series as my starting points. I argue that while Mia’s diary writing is portrayed as empowering, and thereby inspiring, the diary format as a narrative structure creates a rather ambiguous tone and effect; questioning but simultaneously conforming to traditional, restricting notions of femininity.

Monosyllabic Circumflexion in Lithuanian

This PhD thesis examines a phenomenon known as Monosyllabic Circumflexion (MC, hereafter) from a historical linguistics / phonological point of view. MC denotes a Lithuanian or Balto-Slavic phenomenon according to which long vowels and diphthongs in monosyllabic words exhibit a circumflex tone instead of the expected acute tone.  It is observed in the following four categories: I. 3rd person future forms of monosyllabic stems (e.g., šõks ― šókti `to jump;' vy͂s ― výti `to drive') II. reflexes of PIE root nouns (e.g., Latv. gùovs `cow;' Lith. šuõ `dog') III. prepositions/adverbs (e.g., nuõ `from' ~  nùotaka `bride;' vė͂l `again' ~ Latv. vêl `still, yet,' tė͂ (permissive particle) < *teh1) IV. pronominal forms (e.g., tuõ ~ gerúoju `the good (m.~sg.~instr.),' tie͂ ~ tíeji `id. (pl.nom)'). The unexpected circumflex tone in these categories is problematic and important for the solution of a Balto-Slavic accentological question on the etymological background of acute and non-acute tones. The aim of this thesis is to partially contribute to the solution of this problem by establishing the existence of MC and its relative chronology. The first category, the 3rd person future forms, provides a substantial number of examples and counterexamples. The examination of them has revealed the fact that the counterexamples constitute a morpho-semantic group of verbs whose future stems underwent considerable morphological changes in the prehistory, hence not exhibiting MC. This shows that the regular tonal reflex of the 3rd person future forms of monosyllabic acute stem must be circumflex, allowing for the establishment of MC as a regular phonological process, although this category does not provide much information on the relative chronology of MC. The second category, the reflexes of Proto-Indo-European root nouns, gives an important clue as to where MC is located in the relative chronology of Balto-Slavic sound changes. Next, there is a discussion of whether the results of the examinations of the first two categories can be maintained for the data of the third and fourth categories, which show an irregular distribution of the acute and circumflex tones in monosyllabic forms. It is shown that various morphological factors, such as homonymic clashes within the paradigms for pronouns, can explain why some monosyllabic forms have acute tone. Also, the linguistic feature of West Aukštaitian dialects of Lithuanian that tend to preserve the results of MC is revealed. These dialects are known to have played an important role in the formation of standard Lithuanian. In this way, the monosyllabic forms with unexpected circumflex tone in Lithuanian are explained as a combination of MC in the Proto-Balto-Slavic time and the dialectal tendency of West Aukštaitian dialects of Lithuanian.