The depiction of female characters by male writers in selected isiXhosa drama works
- Authors: Peter, Zola Welcome
- Date: 2010
- Subjects: Xhosa drama -- 20th century -- History and criticism , Women in literature , Feminism and literature , Xhosa drama -- Male authors , Gender identity in literature
- Language: English
- Type: Thesis , Doctoral , DPhil
- Identifier: vital:8446 , http://hdl.handle.net/10948/1482 , Xhosa drama -- 20th century -- History and criticism , Women in literature , Feminism and literature , Xhosa drama -- Male authors , Gender identity in literature
- Description: This research expresses female character portrayal in various drama works written by males. Chapter one is a general introduction that gives the key to this study, the motivation that leads to the selection of this topic; a literary review on the portrayal of female characters in literary works written by males; the scope of study, the basic composition of the ensuing chapters and the definitions of terms that are of paramount importance for this research. Various literary theories are used in Chapter two for the analysis of the research texts. These literary theories include womanism, gender and feminism which expose the social effects caused by the negative perception of females in social life and the negative portrayal of female characters in male dramatic writings. Other literary theories include onomastics as a literary theory, which exposes the relationship between the name giver of a person and the power the name gives to its bearer, as well as psychoanalysis as a theory which proved to be unavoidable, since this study analyses the personal behaviour of the individual characters within their literary environment. Chapter three depicts the general victimization of female characters in male drama works and exposes the various effects of the attitudes of male writers towards female characters in terms of gender role. Chapter four shows a general stereotypical portrayal of female characters in male written drama texts. This chapter shows the impact of stereotyping on female characters from drama works that puts them in a vulnerable position, showing that it is risky to become a victim of ill-treatment in their communities and the literary world. Chapter five deals with the psychological literary review of female characters, showing them as being suicidal and murderers who easily take their own lives and those of other people. Chapter six is a general conclusion of the works which includes observer remarks from other literary researchers of the literature.
- Full Text:
- Date Issued: 2010
- Authors: Peter, Zola Welcome
- Date: 2010
- Subjects: Xhosa drama -- 20th century -- History and criticism , Women in literature , Feminism and literature , Xhosa drama -- Male authors , Gender identity in literature
- Language: English
- Type: Thesis , Doctoral , DPhil
- Identifier: vital:8446 , http://hdl.handle.net/10948/1482 , Xhosa drama -- 20th century -- History and criticism , Women in literature , Feminism and literature , Xhosa drama -- Male authors , Gender identity in literature
- Description: This research expresses female character portrayal in various drama works written by males. Chapter one is a general introduction that gives the key to this study, the motivation that leads to the selection of this topic; a literary review on the portrayal of female characters in literary works written by males; the scope of study, the basic composition of the ensuing chapters and the definitions of terms that are of paramount importance for this research. Various literary theories are used in Chapter two for the analysis of the research texts. These literary theories include womanism, gender and feminism which expose the social effects caused by the negative perception of females in social life and the negative portrayal of female characters in male dramatic writings. Other literary theories include onomastics as a literary theory, which exposes the relationship between the name giver of a person and the power the name gives to its bearer, as well as psychoanalysis as a theory which proved to be unavoidable, since this study analyses the personal behaviour of the individual characters within their literary environment. Chapter three depicts the general victimization of female characters in male drama works and exposes the various effects of the attitudes of male writers towards female characters in terms of gender role. Chapter four shows a general stereotypical portrayal of female characters in male written drama texts. This chapter shows the impact of stereotyping on female characters from drama works that puts them in a vulnerable position, showing that it is risky to become a victim of ill-treatment in their communities and the literary world. Chapter five deals with the psychological literary review of female characters, showing them as being suicidal and murderers who easily take their own lives and those of other people. Chapter six is a general conclusion of the works which includes observer remarks from other literary researchers of the literature.
- Full Text:
- Date Issued: 2010
The use of the female voice in three novels by J.M. Coetzee
- Authors: Graham, Lucy Valerie
- Date: 1997
- Subjects: Coetzee, J. M., 1940- -- Criticism and interpretation , Coetzee, J. M., 1940- Foe , Coetzee, J. M., 1940- In the heart of the country , Coetzee, J. M., 1940- Age Of Iron , Women in literature , Voice in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2224 , http://hdl.handle.net/10962/d1002267 , Coetzee, J. M., 1940- -- Criticism and interpretation , Coetzee, J. M., 1940- Foe , Coetzee, J. M., 1940- In the heart of the country , Coetzee, J. M., 1940- Age Of Iron , Women in literature , Voice in literature
- Description: This study investigates J.M. Coetzee's use of the female voice in In the Heart of the Country, Foe and Age of Iron, and is based on the premise that Coetzee's position as a male author using a female voice is important for readings of these novels. Although the implications of Coetzee's strategy are examined against the theoretical background of feminist or gender-related discourses, this study does not attempt to claim Coetzee for feminism, nor to prove him a misogynist. Instead, it focuses on the specific positional and narrative possibilities afforded by Coetzee's use of a female voice. Chapter One comments on the fact that Coetzee's strategy of "textual cross-dressing" has not been given much critical attention in the past, observing that research on South African literature has largely been limited to studies of racial and colonial problematics. This introductory chapter mentions that the different female narrators in Coetzee's novels articulate aspects of a discourse in crisis, resulting in profound ambivalence in their representation. Chapter Two observes that the female voices in Coetzee's novels invoke the textual illusion of a speaking/writing female body, and explains that this is useful in expressing aspects of what Coetzee refers to as the suffering body. Although Coetzee appropriates a female narrative position and employs certain subversive textual elements associated with "the feminine", attempts made by certain critics to label Coetzee's writing as ecriture feminine are rejected as highly problematic. Instead, the study contends that the femaleness of the narrators relative to "masculine" discursive power enables Coetzee to perform a critique of power "from a position of weakness". Furthermore, the presence of certain "feminine" elements within these narrators suggests Coetzee's affiliation with characteristics derided within phallocratic discourses, and becomes a strategic means of fictive self-positioning, of figuring his own position as a dissident. Chapter Three is a study of In the Heart of the Country, and proposes that Magda is represented as a typical nineteenth century hysteric. Her hystericized narrative is linked to certain avant-garde narratives, such as the nouveau roman and "New Wave" cinematography, both cited by Coetzee as influences on the novel. Furthermore, the novel provides insight into the ambiguous role of the hysteric and dramatises the position of the dissident: on a discursive level Magda's narrative is subversive, and yet in terms of social "reality" her revolt is ineffectual. Chapter Four addresses the issue of author-ity in Foe, and draws on Coetzee's affiliation with Susan Barton, the struggling authoress, whose narrative reveals the levels of power and authority operating within, novelistic discourse when she asks "Who ,is speaking me?". The study observes that Foe also performs a critique of the power-seeking project of liberal feminism, as the novel sets Susan's quest for authorship against the background of a more radical "otherness", that of Friday. Chapter Five asserts that Age of Iron exploits the ethical possibilities of a maternal discourse. Tracing parallels between images of motherhood in psychoanalytic feminism and in Age of Iron, this chapter argues that Kristeva's theory of abjection is relevant for a reading of Elizabeth Curren's position as a mother who has cancer. The childbirth metaphor as it appears in Age- of Iron becomes an alternative and profoundly ethical way of figuring the process of novel writing.
- Full Text:
- Date Issued: 1997
- Authors: Graham, Lucy Valerie
- Date: 1997
- Subjects: Coetzee, J. M., 1940- -- Criticism and interpretation , Coetzee, J. M., 1940- Foe , Coetzee, J. M., 1940- In the heart of the country , Coetzee, J. M., 1940- Age Of Iron , Women in literature , Voice in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2224 , http://hdl.handle.net/10962/d1002267 , Coetzee, J. M., 1940- -- Criticism and interpretation , Coetzee, J. M., 1940- Foe , Coetzee, J. M., 1940- In the heart of the country , Coetzee, J. M., 1940- Age Of Iron , Women in literature , Voice in literature
- Description: This study investigates J.M. Coetzee's use of the female voice in In the Heart of the Country, Foe and Age of Iron, and is based on the premise that Coetzee's position as a male author using a female voice is important for readings of these novels. Although the implications of Coetzee's strategy are examined against the theoretical background of feminist or gender-related discourses, this study does not attempt to claim Coetzee for feminism, nor to prove him a misogynist. Instead, it focuses on the specific positional and narrative possibilities afforded by Coetzee's use of a female voice. Chapter One comments on the fact that Coetzee's strategy of "textual cross-dressing" has not been given much critical attention in the past, observing that research on South African literature has largely been limited to studies of racial and colonial problematics. This introductory chapter mentions that the different female narrators in Coetzee's novels articulate aspects of a discourse in crisis, resulting in profound ambivalence in their representation. Chapter Two observes that the female voices in Coetzee's novels invoke the textual illusion of a speaking/writing female body, and explains that this is useful in expressing aspects of what Coetzee refers to as the suffering body. Although Coetzee appropriates a female narrative position and employs certain subversive textual elements associated with "the feminine", attempts made by certain critics to label Coetzee's writing as ecriture feminine are rejected as highly problematic. Instead, the study contends that the femaleness of the narrators relative to "masculine" discursive power enables Coetzee to perform a critique of power "from a position of weakness". Furthermore, the presence of certain "feminine" elements within these narrators suggests Coetzee's affiliation with characteristics derided within phallocratic discourses, and becomes a strategic means of fictive self-positioning, of figuring his own position as a dissident. Chapter Three is a study of In the Heart of the Country, and proposes that Magda is represented as a typical nineteenth century hysteric. Her hystericized narrative is linked to certain avant-garde narratives, such as the nouveau roman and "New Wave" cinematography, both cited by Coetzee as influences on the novel. Furthermore, the novel provides insight into the ambiguous role of the hysteric and dramatises the position of the dissident: on a discursive level Magda's narrative is subversive, and yet in terms of social "reality" her revolt is ineffectual. Chapter Four addresses the issue of author-ity in Foe, and draws on Coetzee's affiliation with Susan Barton, the struggling authoress, whose narrative reveals the levels of power and authority operating within, novelistic discourse when she asks "Who ,is speaking me?". The study observes that Foe also performs a critique of the power-seeking project of liberal feminism, as the novel sets Susan's quest for authorship against the background of a more radical "otherness", that of Friday. Chapter Five asserts that Age of Iron exploits the ethical possibilities of a maternal discourse. Tracing parallels between images of motherhood in psychoanalytic feminism and in Age of Iron, this chapter argues that Kristeva's theory of abjection is relevant for a reading of Elizabeth Curren's position as a mother who has cancer. The childbirth metaphor as it appears in Age- of Iron becomes an alternative and profoundly ethical way of figuring the process of novel writing.
- Full Text:
- Date Issued: 1997
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