The Utopian (R)evolution

The Utopian (R)evolution proposes that the utopian fantasy precedes ideology and that utopian literature has evolved from being a tool of wish-fulfilment to becoming one of traversal. Into the Machine combines an electronic reading environment, psychometric testing, and a branching utopian narrative to imagine the next step in this evolution.

The new woman, femininity and modernity in Margery Allingham's detective novels of the 1930s /

This thesis examines Death of a Ghost (1934), Flowers for the Judge (1935), Dancers in Mourning (1937), and The Fashion in Shrouds (1938), a group of detective novels by Margery Allingham that are differentiated from her other work by their generic hybridity. The thesis argues that the hybrid nature of this group of Campion novels enabled a highly skilled and insightful writer such as Allingham to negotiate the contradictory notions about the place of women that characterized the 1930s, and that in dOing so, she revealed the potential of one of the most popular and accessible genres, the detective novel of manners, to engage its readers in a serious cultural dialogue. The thesis also suggests that there is a connection between Allingham's exploration of modernity and femininity within these four novels and her personal circumstances. This argument is predicated upon the assumption that during the interwar period in England several social and cultural attitudes converged to challenge long-held beliefs about gender roles and class structure; that the real impact of this convergence was felt during the 1930s by the generation that had come of age in the previous decade-Margery Allingham's generation; and that that generation's ambivalence and confusion were reflected in the popular fiction of the decade. These attitudes were those of twentieth-century modernity--contradiction, discontinuity, fragmentation, contingency-and in the context of this study they are incorporated in a literary hybrid. Allingham uses this combination of the classical detective story and the novel of manners to examine the notion of femininity by juxtaposing the narrative of a longstanding patriarchal and hierarchical culture, embodied in the image of the Angel in the House, with that of the relatively recent rights and freedoms represented by the New Woman of the late nineteenth-century. Pierre Bourdieu's theory of social difference forms the theoretical foundation of the thesis's argument that through these conflicting narratives, as well as through the lives of her female characters, Allingham questioned the Hsocial myth" of the time, a prevailing view that, since the First World War, attitudes toward the appropriate role and sphere of women had changed.

Between the spheres : male characters and the performance of femininity in four victorian novels, 1849-1886

“Between the Spheres: Male Characters and the Performance of Femininity in Four Victorian Novels, 1849-1886” définit le célibataire domestique, analyse les effets de l’érosion des frontières entre les domaines public et privé et retrace l’évolution du discours public au sujet de la masculinité dans quatre œuvres: Shirley écrit par Charlotte Brontë, Lady Audley’s Secret de Mary Elizabeth Braddon, Daniel Deronda par George Eliot, et The Strange Case of Dr. Jekyll and Mr. Hyde de Robert Louis Stevenson. En identifiant le célibataire domestique comme personnage récurrent à la dernière moitié du dixneuvième siècle, cette dissertation démontre comment ce personnage arrive à représenter l’incertitude face aux questions de sexualité, non seulement dans des rôles féminins mais aussi dans les positions de l’homme dans la société et la remise en question du concept de la masculinité. Tout comme il y eu de femmes à l’affût de la liberté au-delà du domaine privé, des hommes aussi cherchèrent leur liberté au sein du domaine domestique par des performances féminines. Le célibataire domestique rapporte sur le concept New Woman de cette période par sa tendance de promouvoir de nouvelles définitions de la masculinité victorienne et les limites entre sexes. Le célibataire domestique passe du domaine public, plutôt masculin, vers le domaine privé, plutôt féminin en participitant dans le discours féminin, tel que les sujets de le domesticité, la chastité, la moralité, le mariage, et l’amour. En s’inspirant de l’analyse des domaines public et privé par Jürgen Habermas, cette dissertation revoit les rôles de ces domaines et leur élasticité dans les quatre œuvres en question ainsi que le sort des célibataires domestiques. L’assignation de sexe à ces domaines mena à la recherche de nouveaux formes de masculinité, produisant une définition de mâle liée au statut de la femme dans le domaine privé. Le célibataire domestique se déplace facilement entre ces domaines sans souffrir d’accusations de tendances effeminées ou d’aliénation sociale, à l’encontre des conséquences qu’ont souffert les personnages femelles pour leur comportement inhabituel. Chaque chapitre de cette dissertation considère les changements dans le discours de la sexualité afin de suivre la migration du célibataire domestique du domaine féminin au milieu du dixneuvième siècle jusqu’un nouveau domaine à la fin de siècle qui estompe la distinction rigide crue être en place tout au long de la période victorienne.

Sign, meaning and violence in Laurell K. Hamilton’s novels : a postmodernist approach

La nature iconoclaste de l'ère postmoderne se manifeste dans une révolution contre les normes littéraires préétablies. Cet iconoclasme est plus flagrant dans la fantaisie urbaine. Dans un environnement désordonné, fragmenté et très stéréotypé, la fantaisie urbaine est considérée comme un événement qui défie tout jugement, et toute stratification sociale. Bien qu'elle ait été bien accueillie par les lecteurs et qu'elle a obtenue de fortes ventes, c'est seulement depuis deux décennies que ces genres ont commencé à attirer l'attention académique. Ce travail peut être considéré comme une tentative pour comprendre la fantaisie urbaine à travers la série d'une de ses écrivains les plus éminents, Laurell K. Hamilton. En conséquence, j’ai choisi trois romans de sa série Anita Blake: Guilty Pleasures (1993), Circus of the Damned (1995) et Blue Moon (1998). Les paramètres stylistiques et thématiques dans ses romans créent une philosophie postmoderne de subversion, qui valide et invalide les discussions sur la structure du signe, la violence, et la réaction du lecteur. Le premier chapitre étudie la construction du sens à travers la structure de la langue de la fantaisie urbaine. Il traite la signification que le résultat de l'interaction entre les différents signes linguistiques. Il suit également l'évolution de ce que Derrida appelle «inflated signs», qui sont au coeur de la régénération du sens à travers les romans. La saturation dans ces signes implique une «absence» qui s'affiche à travers la désintégration du système de la langue et les ruptures récurrentes de sa structure globale. Le deuxième chapitre se concentre sur les tendances de la violence dans les romans de la fantaisie urbaine qui rendent les jeux de pouvoir des personnages truculents et leurs réactions apparaissent inadmissibles. Il examine la violence par rapport à ses causes et sa ii logique. Grâce aux concepts de Derrida de l’‘arché-violence’, de ‘décision’ et de ‘sacrifice,’ je démontre que la violence est inévitable dans le monde créé de Hamilton et dans le monde qu'elle simule. Le troisième chapitre examine la réaction du lecteur sur les événements exotiques et la caractérisation paranormale des romans de Hamilton. Il révèle comment la fantaisie urbaine conteste la conception de Wolfgang Iser de réaction du lecteur et le concept d'‘apparence’ de Jean Baudrillard. J’insiste sur le fait que les lecteurs de la fantaisie urbaine ne sont plus des interprètes ou des réceptifs passifs d'images paranormaux. En effet, l'interaction entre l’auteur et le lecteur, que ces romans entrainent, défie ces conceptions réductrices de la réaction du lecteur.

The Caustic Pen Is Mightiest: A Tradition of Female Satire in the Novels of Jane Austen, Ivy Compton-Burnett, and Muriel Spark

Female satirists have long been treated by critics as anomalies within an androcentric genre because of the reticence to acknowledge women's right to express aggression through their writing. In Pride and Prejudice (1813), A House and Its Head (1935), and The Girls of Slender Means (1963), Jane Austen (1775-1817), Ivy Compton-Burnett (1884-1969), and Muriel Spark (1918-2006) all combine elements of realism and satire within the vehicle of the domestic novel to target institutions of their patriarchal societies, including marriage and family dynamics, as well as the evolving conceptions of domesticity and femininity, with a subtle feminism. These female satirists illuminate the problems they have with society more through presentation than judgment in their satire, which places them on the fringes of a society they wish to educate, distinguishing their satire from that written by male satirists who are judging from a privileged height above the society they are attempting to correct. All three women create heroines and secondary female characters who find ways to survive, and occasionally thrive, within the confines of a polite society that has a streak of savagery running just beneath its polished surface.

Mary, Quite Contrary: The Novels of Mary Davys, 1700-1727

As a relatively unknown author, Mary Davys (1674-1732) has garnered scant scholarly attention and little admiration for her work. Those who have written on Davys’s prose fiction most often mention the last three texts she published, Familiar Letters betwixt a Gentleman and a Lady (1716), The Reform’d Coquet (1724), and The Accomplish’d Rake (1727), yet rare mention is made of her first three novels. Moreover, of her later novels, many scholars read them as socially conservative and as representations of Davys’s support of and belief in patriarchy. My project disproves the long-standing and generally agreed upon conceptions regarding Davys’s writings and demonstrates the significance of her life’s work to studies of the novel. By investigating contemporary cultural issues, discussing the popular genres and modes of early eighteenth-century England, and comparing and contrasting Davys’s fiction to other authors’, I explore the myriad ways in which Davys experimented with the formal properties of the novel. Also, by closely examining each novel independently, I foreground Davys’s willingness to engage with charged contemporary topics such as rape, suicide, the laws surrounding inheritance, and male privilege. Not only does she engage with these topics; there is a discernable voice of protest imbedded in the narratives. At times, the techniques Davys employed and the plots she created in her work obscured her social concerns, yet with close reading, subversion also surfaces as one of Davys’s methods. An analysis of Davys’s experimentations with prose fiction and form illuminates the ways in which those innovations allowed Davys to criticize the culture in which she lived. Furthermore, an investigation of the whole of Davys’s work and the totality of her novels—looking at both form and content—exemplifies the importance of Davys for students of feminist thought and the development of the novel.

On Record: Soundscapes as Metaphor and Physical Manifestation of Memory in Early Holocaust Novels and Contemporary Criticism

This thesis compares two perspectives on the production of Holocaust memory: a novel that leads up to The Holocaust in Britain and one that reflects the hindsight perspective of a liberator in the Soviet Union. The novels are Virginia Woolf’s BETWEEN THE ACTS and Vasily Grossman’s LIFE AND FATE. The analysis offers a locus of analysis for the diasporic literary energy created by the catastrophe in the 20th and 21st centuries. The project offers a theorized standpoint on the role of literature on official historical archives. Proposing a method through which contemporary readers can engage the diasporic event of The Holocaust, the project adopts both the extended metaphor and literal expression of soundscapes. Soundscapes encompass the immaterial processes of memorialization and the literal sonic textures developed in Holocaust novels. The critical perspective incorporates contemporary notions of narratology, archival practices, and cultural manifestations of language into the notion of literary ethnomusicology.

Eventual benefits : kristevan readings of female subjectivity in Henry James’s Late Novels

“Eventual Benefits: Kristevan Readings of Female Subjectivity in Henry James’s Late Novels” examine la construction de la subjectivité féminine dans les romans de la phase majeure de Henry James, notamment What Maisie Knew, The Awkward Age, The Portrait of a Lady, The Wings of the Dove et The Golden Bowl. Les personnages féminins de James se trouvent souvent dans des circonstances sociales ou familiales qui défavorisent l’autonomie psychique, et ces subordinations sont surtout nuisibles pour les jeunes personnages de l’auteur. Quant aux femmes américaines expatriées de ces romans, elles éprouvent l’objectification sociale et pécuniaire des européens : en conséquence, elles déploient des tactiques contraires afin d’inverser leurs diminutions et instaurer leurs individualités. Ma recherche des protocoles qui subventionnent l’affranchissement de ces femmes procède dans le cadre des théories avancées par Julia Kristeva. En utilisant les postulats kristeviens d’abjection et de mélancolie, d’intertextualité, de maternité et de grossesse, du pardon et d’étrangeté, cette thèse explore les stratégies disparates et résistantes des femmes chez James et elle parvient à une conception de la subjectivité féminine comme un processus continuellement ajourné.

Eventual benefits : kristevan readings of female subjectivity in Henry James’s Late Novels

“Eventual Benefits: Kristevan Readings of Female Subjectivity in Henry James’s Late Novels” examine la construction de la subjectivité féminine dans les romans de la phase majeure de Henry James, notamment What Maisie Knew, The Awkward Age, The Portrait of a Lady, The Wings of the Dove et The Golden Bowl. Les personnages féminins de James se trouvent souvent dans des circonstances sociales ou familiales qui défavorisent l’autonomie psychique, et ces subordinations sont surtout nuisibles pour les jeunes personnages de l’auteur. Quant aux femmes américaines expatriées de ces romans, elles éprouvent l’objectification sociale et pécuniaire des européens : en conséquence, elles déploient des tactiques contraires afin d’inverser leurs diminutions et instaurer leurs individualités. Ma recherche des protocoles qui subventionnent l’affranchissement de ces femmes procède dans le cadre des théories avancées par Julia Kristeva. En utilisant les postulats kristeviens d’abjection et de mélancolie, d’intertextualité, de maternité et de grossesse, du pardon et d’étrangeté, cette thèse explore les stratégies disparates et résistantes des femmes chez James et elle parvient à une conception de la subjectivité féminine comme un processus continuellement ajourné.

Alienated Selfhood and Heroism: A Poststructuralist Reading of John le Carré’s Spy Fiction Novels

John le Carré’s novels “The Spy Who Came in From the Cold” (1963), “Tinker, Tailor, Soldier, Spy” (1974), and “The Tailor of Panama” (1997), focus on how the main characters reflect the somber reality of working in the British intelligence service. Through a broad post-structuralist analysis, I will identify the dichotomies - good/evil in “The Spy Who Came in From the Cold,” past/future in “Tinker, Tailor, Soldier, Spy,” and institution/individual in “The Tailor of Panama” - that frame the role of the protagonists. Each character is defined by his ambiguity and swinging moral compass, transforming him into a hybrid creation of morality and adaptability during transitional time periods in history, mainly during the Cold War. Le Carré’s novels reject the notion of spies standing above a group being celebrated. Instead, he portrays spies as characters who trade off individualism and social belonging for a false sense of heroism, loneliness, and even death.

Women Creators: Artistry and Sacrifice in the Novels of Virginia Woolf

This thesis examines different facets of feminine artistry in Virginia Woolf's novels with the purpose of defining her conception of women artists and the role sacrifice plays in it. The project follows characters in "Mrs. Dalloway," "To the Lighthouse," and "Between the Acts" as they attempt to create art despite society's restrictions; it studies the suffering these women experience under regimented institutions and arbitrary gender roles. From Woolf’s earlier texts to her last, she embraces the uncertainty of identity, even as she portrays the artist’s sacrifice in the early-to-mid twentieth century, specifically as the creative female identity fights to adapt to male-dominated spaces. Through a close-reading approach coupled with biographical and historical research, this thesis concludes that although the narratives of Woolf's novels demand the woman artist sacrifice for the sake of pursuing creation, Woolf praises the attempt and considers it a crueler fate to live with unfulfilled potential.

Electronic and vibrational spectra of gaspeite

Visible, near-infrared, IR and Raman spectra of magnesian gaspeite are presented. Nickel ion is the main source of the electronic bands as it is the principal component in the mineral where as the bands in IR and Raman spectra are due to the vibrational processes in the carbonate ion as an entity. The combination of electronic absorption and vibrational spectra (including near-infrared, FTIR and Raman) of magnesian gaspeite are explained in terms of the cation co-ordination and the behaviour of CO32– anion in the Ni–Mg carbonate. The electronic absorption spectrum consists of three broad and intense bands at 8130, 13160 and 22730 cm–1 due to spin-allowed transitions and two weak bands at 20410 and 30300 cm–1 are assigned to spin-forbidden transitions of Ni2+ in an octahedral symmetry. The crystal field parameters evaluated from the observed bands are Dq = 810; B = 800 and C = 3200 cm–1. The two bands in the near-infrared spectrum at 4330 and 5130 cm–1 are overtone and combination of CO32– vibrational modes. For the carbonate group, infrared bands are observed at 1020 cm–1(1 ), 870 cm–1 (2), 1418 cm–1 (3) and 750 cm–1 (4), of which3, the asymmetric stretching mode is most intense. Three well resolved Raman bands at 1571, 1088 and 331 cm–1 are assigned to 3, 1 and MO stretching vibrations.