Divining for meaning and searching for a female literary identity in Alice Munros Lives of girls and women and Margaret Laurences The diviners

Esta dissertação tem por objetivo investigar como Alice Munro e Margaret Laurence se apropriam de gêneros canônicos, especificamente do Bildungsroman e do Künstlerroman, para subvertê-los e representar versões diferentes do sujeito feminino através de romances de cunho autobiográfico escritos por mulheres. A investigação é focada em dois romances: Lives of Girls and Women (1971), escrito por Alice Munro, e The Diviners (1974), escrito por Margaret Laurence. No romance de Alice Munro, as estratégias de apagamento das fronteiras entre gêneros, a ideia de que perspectivas de realidade mudam de acordo com a experiência e a memória de cada indivíduo, como também a ênfase no desenvolvimento da protagonista enquanto pessoa e escritora, são assuntos amplamente discutidos. No romance de Margaret Laurence, a ênfase no aspecto subjetivo da memória, a desconstrução de estereótipos de gênero e a renegociação da representação do sujeito feminino para o alcance de uma identidade feminina autônoma na vida e na arte são os principais assuntos investigados. Em vista disso, esta dissertação visa mostrar como a representação da identidade feminina é redefinida por duas escritoras canadenses que se apropriaram de discursos dominantes para subvertê-los e, então, reescreverem suas histórias

Claiming and displaying national identity: Irish Travellers' and students' strategic use of 'banal' and 'hot' national identity in talk

Two complementary explanations have been offered by social psychologists to account for the universal hold of national identity, first that national identity is ideologically assumed, as it forms the ‘banal’ background of everyday life, and second that national identity is ‘hotly’ constructed and contested in political and everyday settings to great effect. However, ‘banal’ and ‘hot’ aspects of national identity have been found to be distributed unevenly across national and subnational groups and banality itself can be strategically used to distinguish between different groups. The present paper develops these ideas by examining possible reasons for these different modes and strategies of identity expression. Drawing upon intergroup theories of minority and majority relations, we examine how a group who see themselves unequivocally as a minority, Irish Travellers, talk about their national identity in comparison to an age and gender-matched sample of Irish students. We find that Travellers proactively display and claim ‘hot’ national identity in order to establish their Irishness. Irish students ‘do banality’, police the boundaries and reputation of Irishness, and actively reject and disparage proactive displays of Irishness. The implications for discursive understandings of identity, the study of intra-national group relations and policies of minority inclusion are discussed.

Perspectives of Identity in Julio Cortázar’s Rayuela

My aim was to produce a dissertation, based on Rayuela, which focuses on Cortázar’s questioning of identity. With this objective in mind, I have studied some of the salient elements in the novel that relate to this topic and the subsequent, interrelated, areas of study that arose in doing so. The cities of Paris and Buenos Aires are placed in contrast within the novel and reflect a dichotomy that reflects Oliveira’s condition as a “foreigner,” (more specifically as a South American in Europe). This duality is further reflected in Cortázar’s use of gender, and the development of the notions of active and passive, and an investigation into the traditional modes of thought, symbols, and stereotypes, and an open-ended questioning of their validity. These topics are framed by a notion of Judeo-Christian History that is in many ways flawed and, as such, contrasts with a more intuitive (or “oriental”) perception of reality, which is centred in figures such as la Maga. I found many explicit references to Zen philosophy, and related oriental references, that led me to believe that this area was worthy of further investigation. Rayuela is considered a classic novel within the canon of Spanish language literature. It’s famous “tabla,” like the rules for a game between the writer and the receptor that produce alternative readings, has led to many discussions regarding the novel’s structure and form, and also created a certain amount of polemic with the use of concepts such as the “lector hembra.” Many consider Cortázar a greater short story writer than a novelist, but nevertheless this novel had a profound effect on young readers upon its publication, much to Cortázar’s surprise, and continues to attract readers, dealing as it does with issues that continue to be relevant to many people.

American Desi : representation and reproduction in diaspora /

This study explores ~ow South Asian diasporic film represents and reproduces South Asian identity in the diaspora. It commences with a review of the literature in cultural studies and post-colonial theory on identity in the diaspora. A textual analysis of three films: American Desi, Bollywood/Hollywood, and East Is East, helps frame the characteristics of South Asian diasporic film. Theoretical concepts of diaspora and identity are extended to this reading of the films. In-depth, open-ended, semi structured interviews were conducted with eight participants to test the validity of theoretical concepts through participants' own reading of American Desi. Findings indicate that while theoretical concepts of identity can be usefully applied at the level of the text, these perspectives do not always easily explain participants' interpretation of the film in relation to their everyday experiences.

"I might be a duck, but I'm human" : an analysis of clothing in Disney cartoons

Mickey Mouse, one of the world's most recognizable cartoon characters, did not wear a shirt in his earliest incarnation in theatrical shorts and, for many years, Donald Duck did not wear pants and still rarely does so. Especially when one considers the era in which these figures were first created by the Walt Disney Studio, in the 1920s and 1930s, why are they portrayed without full clothing? The obvious answer, of course, is that they are animals, and animals do not wear clothes. But these are no ordinary animals: in most cases, they do wear clothing - some clothing, at least - and they walk on two legs, talk in a more or less intelligible fashion, and display a number of other anthropomorphic traits. If they are essentially animals, why do they wear clothing at all? On the other hand, if these characters are more human than animal, as suggested by other behavioral traits - they walk, talk, work, read, and so on - why are they not more often fully clothed? To answer these questions I undertook three major research strategies used to gather evidence: interpretive textual analysis of 321 cartoons; secondary analysis of interviews conducted with the animators who created the Disney characters; and historical and archival research on the Disney Company and on the times and context in which it functioned. I was able to identify five themes that played a large part in what kind of clothing a character wore; first, the character's gender and/or sexuality; second, what species or "race" the character was; third, the character's socio-economic status; fourth, the degree to which the character was anthropomorphized; and, fifth, the context in which the character and its clothing appeared in a particular scene or narrative. I concluded that all of these factors played a part in determining, to some extent, the clothing worn by particular characters at particular times. However, certain patterns emerged from the analysis that could not be explained by these factors alone or in combination. Therefore, my analysis also investigates the individual and collective attitudes and desires of the men in the Disney studio who were responsible for creating these characters and the cultural conditions under which they were created. Drawing on literature from the psychoanalytic approach to film studies, I argue that the clothing choices spoke to an idealized fantasy world to which the animators (most importantly, Walt Disney himself), and possibly wider society, wanted to return.

Representations of swinging London in 1960s British cinema : Blowup (1966), Smashing Time (1967), and Performance (1970)

This thesis explores the representation of Swinging London in three examples of 1960s British cinema: Blowup (Michelangelo Antonioni, 1966), Smashing Time (Desmond Davis, 1967) and Performance (Donald Cammell and Nicolas Roeg, 1970). It suggests that the films chronologically signify the evolution, commodification and dissolution of the Swinging London era. The thesis explores how the concept of Swinging London is both critiqued and perpetuated in each film through the use of visual tropes: the reconstruction of London as a cinematic space; the Pop photographer; the dolly; representations of music performance and fashion; the appropriation of signs and symbols associated with the visual culture of Swinging London. Using fashion, music performance, consumerism and cultural symbolism as visual narratives, each film also explores the construction of youth identity through the representation of manufactured and mediated images. Ultimately, these films reinforce Swinging London as a visual economy that circulates media images as commodities within a system of exchange. With this in view, the signs and symbols that comprise the visual culture of Swinging London are as central and significant to the cultural era as their material reality. While they attempt to destabilize prevailing representations of the era through the reproduction and exchange of such symbols, Blowup, Smashing Time, and Performance nevertheless contribute to the nostalgia for Swinging London in larger cultural memory.

Weighing the Details: Gender Dualisms in Lightweight Women's Rowing

The purpose of this research project was to explore how women lightweight rowers in Ontario negotiate their gender and body identity. Through a feminist post-structural lens I investigated both ‘acceptable’ and contradictory gender and sport performances that exist in the culture of rowing in order to understand how identity is constructed at the intersection of these discourses. My goal was to learn how human experiences are shaped by discourses of power, and resulting constructions of acceptable gender attributes. Seven university-aged lightweight women’s rowers were interviewed, and the following themes were uncovered: the women are constantly engaging in acts of bodily control; often body image is affected by participation in the sport; there are instances of femininity that exist within the culture of lightweight rowing; inequalities are present within the culture, as are excuse making practices; and the potential for resistance is extremely complicated.

The Erasure of Sex and Gender Minorities in the Healthcare System

Étude de cas / Case study

Engendered Conversations: Gender Subversion Through Fictional Dialogue in Lawrence, Hemingway and Forster

This dissertation examines gendered fictional dialogue in popular works by D.H. Lawrence, Ernest Hemingway and E.M. Forster, including Howards End (1910), The Sun Also Rises (1926) and Lady Chatterley’s Lover (1928). I apply Judith Halberstam’s notion of female masculinity to direct speech, to explore how speech traits inform modernist literary aesthetics. My introduction frames this discussion in sociolinguistics, Judith Butler’s theory of performativity, M.M. Bakhtin’s discourse theory, and gender studies. It provides an opportunity to establish experimental dialogue techniques, and the manipulation of gendered talk, in transgressive texts including James Joyce’s Ulysses (1922), Virginia Woolf’s Orlando (1928) and Radcyffe Hall’s The Well of Loneliness (1928). The first chapter discusses taboos and dialect in D.H. Lawrence’s fictional dialogue. The second chapter establishes gender subversion as a crucial element in Ernest Hemingway’s dialogue style. The third chapter contrasts Forster’s latently gendered speech with his techniques of dialect emphasis and dialect suppression. Finally, my conclusion discusses gender identity in the poetry of Dorothy Parker and Baroness Elsa von Freytag Loringhoven, and the temporality of gender in “Time Passes” from Virginia Woolf’s To the Lighthouse (1927). New Woman characters like Lady Brett Ashley typified a crucial moment in women’s liberation. They not only subverted stereotypes of womanhood through their dress or sexual freedom, they also adopted/adapted masculine idiom to shock, to rebel against and challenge male dominance. Different speech acts incited fashionable slang, became a political protest symbol or inspired psychoanalytic theory. The intriguing functions of women’s masculine speech in early twentieth century fiction establishes the need to examine additional connections between gender and talk in literary studies.

Sodomy laws and gender variance in Tahiti and Hawai‘i

In both Hawaiian and Tahitian, the central meaning of mahu denotes gender-variant individuals, particularly male-bodied persons who have a significant investment in femininity. However, in Hawai‘i, unlike Tahiti, the word mahu is now more commonly used as an insult against gay or transgender people. The negative connotation of the term in Hawaiian indexes lower levels of social acceptability for mahu identity on O‘ahu (Hawai‘i’s most populous island) as compared to Tahiti. The article argues that these differences are partly due to a historical legacy of sexually repressive laws. The article traces the history of sodomy laws in these two Polynesian societies and argues that this history supports the hypothesis that sodomy laws (in conjunction with such social processes as urbanisation and Christianisation) are partially to blame for the diminished social status of mahu on O‘ahu. A different social and legal history in Tahiti accounts for the fact that the loss of social status experienced by Tahitian mahu has been lesser than that of their Hawaiian counterparts.

Re Alex: adolescent gender identity disorder and the family court of Australia

'People with gender identity disorder live with a conviction that their physical anatomy is incompatible with their true gender role. They have an overwhelming desire to live and function in the opposite biological sex' . The manifestation of the disorder in children and adolescents is dominated by secrecy, confusion and shame. The purpose of this article is to promote discussion amongst the legal fraternity of the difficult issues confronting the Family Court of Australia when asked to make decisions with life-altering ramifications for the young and vulnerable.

Pretty good for a girl: gender, identity and computer games

Young people’s participation in online digital culture is one of the most efficient means by which they become proficient in the management of Information and Communications Technologies and the new literacies emerging there. This paper reports on a small project investigating the
gendered dimensions of teenagers’ engagement in and out of school with stand-alone and multiplayer computer games. The study explored the game playing practices of a group of students in an English curriculum unit and the social and game playing practices of a group of young women of South East Asian backgrounds in a LAN café who had formed their own Counterstrike clan. It found that expertise is not just a matter of specific skills, strategies and familiarity, but is more broadly located within the complex dynamics of in- and out-of-school discourses and contexts that need to be factored in to the construction of gender-equitable pedagogy and curriculum.