The Lily and the Lotus: Notes on Translation

This critical/creative project considers Stéphane Mallarmé’s critical poems in his 1897 Divagations as an invitation to explore the notion of criticism and the relationship between the conceptual and the nonconceptual aspects of writing and thinking. Informed by Emmanuel Levinas’s ethics of the face, Walter Benjamin’s essay “The Task of theTranslator” and the myth of Orpheus, I consider ways to approach that which may not be said or thought by following Mallarmé’s method of combining poetry and criticism to create a wandering, unclassifiable text where we may imagine the nonconceptual as a remoteness, as the presence of an absence.

Aporias of Trauma in Joyce's Ulysses and Faulkner's Light in August

In this thesis, I explore the relationships between trauma, memory, and narrative, particularly the ways in which trauma simultaneously disrupts and engenders narrative structures. I consider various trauma theories by authors such as Cathy Caruth, Judith Herman, Ruth Leys, and Dominick LaCapra. I also consider how psychoanalytic theory and criticism, specifically the writings of Sigmund Freud, inform the study of traumatic experience from both literary and personal perspectives. Furthermore, I consider theories regarding the relationship between trauma and narrative by authors such as Peter Brooks and John Pilkington. James Joyce¿s Ulysses and William Faulkner¿s Light in August serve, for my purposes, as trauma-texts and reflect the ways in which trauma might complicate the simultaneous destruction and creation of narrative strategies. Reading Ulysses and Light in August as trauma-texts that are both in mourning and melancholic gives us complementary, and contradictory, reasons for why we enjoy them. Mourning constructs a relationship between victim and witness, in which we can hear the voice of trauma and engage it in discourse. Conversely, melancholia creates a relationship between performer and spectator, in which we experience, and are fascinated by, the spectacle of another¿s trauma. Laughter, perversity, sorrow, and respite engage the reader in both texts, and raise questions about how one `remembers-to-forget¿ traumatic experiences. The narratives of each text¿s characters offer unique performances of mourning and melancholia. Thus, while this thesis engenders more questions than answers, I hope to argue that Ulysses and Light in August are significant literary works because each engages the reader in traumatic discourse, entertains the reader with the traumatic spectacle, and enlightens the reader on the complex relationship between trauma and narrative.

The Assertion of Identity: Storytelling and Testimony in the Works of Edwidge Danticat

Haitian-American author Edwidge Danticat evokes the Haitian tradition of storytelling in many of her novels and short story collections. A tradition formulated by vodou religion and the amalgamation of African cultures, storytelling acts to entertain, educate and enlighten the people of Haiti. Additionally, her novels are often written in the context of traumatic events in Haitian history. While Danticat's works have been studied with focus on their depiction of storytelling and of trauma, little has been done on the restorative power that storytelling provides. In this thesis, I seek to examine the potential for Danticat's characters and works to create narratives that build community, present testimony, and aid traumatized individuals in recovery.

"She Was Not Even Normal": Unreliable Narratives of Female Insanity in Jane Eyre, Rebecca, and Wide Sargasso Sea

In my thesis, I interrogate narrative reliability related to depictions of female insanity in Jane Eyre, Rebecca, and Wide Sargasso Sea. By subjecting the trustworthiness of her storytelling to criticism, especially as regards the concealed madwoman, Bertha Mason, Jane's narration is revealed as unstable, offering problematic insight into a character long considered unflinchingly honest. In du Maurier's later literary adaptation of Jane Eyre, Bertha's parallel character, the eponymous Rebecca, comes to the fore, while the novel's unnamed narrator remains in the shadows, and bases much of her storytelling upon hearsay, rather than the "autobiography" of Jane Eyre. The most transparent narrative voice, however, is Antoinette, the main character of Wide Sargasso Sea, the 1966 prequel to Jane Eyre. Despite her madness, Antoinette's narration makes no attempt at dissemblance, speaking forthrightly about her marriage and experience, proving a truthful narrator and openly rejecting the marginal status the earlier narrators try desperately to hide.

Sexing the Male: Manifestations of Masculinity in Jane Eyre, Wuthering Heights, and Villette

Abstract: This project considers Emily and Charlotte Brontë's constructions of masculinity in Jane Eyre, Wuthering Heights, and Villette. There is a vast proliferation of scholarship focusing on gender in the Victorian Era, but as much of this criticism focuses on women, the analysis of heterosexual masculinity in these novels provides a unique perspective on the complexities involved in gender constructions during this period. Masculine identity was in a transitory state in the early nineteenth century, as Romantic values were replaced by Victorian conceptions of masculinity, largely influencing the expectations of men. This paper argues that based on an understanding of femininity and masculinity as defined in relation to each other, the Brontë heroes look to the female characters as a source of stability to define themselves against, constructing a stagnant feminine role to frame an understanding of how masculinity was changing. The female characters resist this categorization, however, never allowing the men to fully classify them into stable feminine roles, which leads both shifting gender roles to intertwine and collapse in the novels, undermining any conceptualization of a stable or universal understanding of gender. The paper considers the role of masculinity based in class, relationships with women, and the understanding of sexual passion, to argue that the Brontës' portrayal of men emulates the anxieties surrounding the shift from Romantic to Victorian values of manliness, ultimately rejecting any stable definition of the nineteenth-century man.

National Values and Theatrical Values. The Battle of the Siege de Calais (1765)

This article underscores the complex relationship between national concerns and dramatic criticism by interrogating the role of theatre in the creation of a 'national culture' during the last few decades of the Ancien regime. The author focuses more specifically on the forms of patriotism proposed by Pierre-Laurent De Belloy, author of Le Siege de Calais, France's "first tragedy in which the nation is given the pleasure to take an interest in itself," as well as by his adversaries and his allies. The version of patriotism proffered by De Belloy - a 'fatherland' that he defines as both bourgeois and monarchical - renders problematic several aesthetic and political norms in place in 1765. The author thus responds modestly to one of the most essential questions posed by research on eighteenth-century political and cultural history: how did patriotism operate before the French Revolution?