This thesis analyzes the novel The Handmaid's Tale by Margaret Atwood and the first three seasons of the HULU series in their historical contexts, and relates them to feminist activism in both eras...Show moreThis thesis analyzes the novel The Handmaid's Tale by Margaret Atwood and the first three seasons of the HULU series in their historical contexts, and relates them to feminist activism in both eras. The thesis investigates how relevant literary representations of injustice and oppression are within the broader discourse of human rights, equality and freedom. By juxtaposing the Feminist views of the writer, producers and its political climate in the 1980s during Ronald Reagan's administration and during the 2010s Trump administration the radicalisation of its activism and the change in current political protests are shown.Show less
Christine de Pizan was one of the very first female authors in medieval Europe. She produced texts in which women are defended against misogyny. In her treatises Christine makes use of existing...Show moreChristine de Pizan was one of the very first female authors in medieval Europe. She produced texts in which women are defended against misogyny. In her treatises Christine makes use of existing misogynistic texts and uses them in her advantage in order to paint a positive picture of women. In addition she reprimands authors who besmirch the reputation of females. This thesis focuses on the manner in which she defends women against misogyny (which was common in medieval Europe) while she uses contemporary sources containing the very misogynistic ideas she argues against.Show less
This MA thesis explores the independence of the working heroines in Charlotte Brontë's Jane Eyre (1847), Anne Brontë’s The Tenant of Wildfell Hall (1848), and Thomas Hardy’s Far from the Madding...Show moreThis MA thesis explores the independence of the working heroines in Charlotte Brontë's Jane Eyre (1847), Anne Brontë’s The Tenant of Wildfell Hall (1848), and Thomas Hardy’s Far from the Madding Crowd (1874). The heroines establish and maintain their independence by performing the profession of governess, artist, or farmer, while the love interests threaten the women's independence by encroaching upon their professions. This thesis shows that all three novels are simultaneously ahead of their time in relation to the working women and very much of their time in relation to Victorian conventions.Show less
In literature, madness has frequently been used by female writers as a guise, or as Elaine Showalter refers to it, a mask, to express the inexpressible. Using Showalter's term of the 'mask of...Show moreIn literature, madness has frequently been used by female writers as a guise, or as Elaine Showalter refers to it, a mask, to express the inexpressible. Using Showalter's term of the 'mask of madness', this thesis explores the image of madness and its link to self expression in three contemporary novels by female authors. Through a close reading of Virginia Woolf’s Mrs. Dalloway (1925), Margaret Atwood’s Surfacing (1972), and Gillian Flynn’s Sharp Objects (2006) – novels all featuring protagonists exhibiting signs of mental illness – this thesis examines how the image of madness can feature as a response to oppression, and how it can be used as a tool for societal criticism.Show less
This essay will focus on the ways in which the house, and indeed the right to own property, shaped female experience in The Tenant of Wildfell Hall (1843), The Spoils of Poynton (1897) and Howard’s...Show moreThis essay will focus on the ways in which the house, and indeed the right to own property, shaped female experience in The Tenant of Wildfell Hall (1843), The Spoils of Poynton (1897) and Howard’s End (1910). The relationship between houses and female power will be explored through three chapters. The first will focus on The Tenant of Wildfell Hall and will examine the relevance of the house as a physical space within women’s lives. The second will look at The Spoils of Poynton in the context of female homelessness, shedding light on the importance of the female home in wielding power, as women without property are left disenfranchised throughout, as well as the precarious nature of female inhabitance of the home. The third and final chapter will examine Howard’s End in light of this. Women, able to take full ownership of the home, are able to exert control over their environment and exercise a relatively high degree of independence. Howard’s End, then, I will examine in terms of legal female ownership of the house and female inheritance. This essay will examine the role of the house in female agency within the novel, and how these novels emerge from, and form part of, the shifting political, social and legal context of the 19th Century.Show less
Focusing on second-wave feminism, this thesis explores the representation of gender and the expression of the predominant feminist ideas in Ursula K. Le Guin’s The Left Hand of Darkness (1969),...Show moreFocusing on second-wave feminism, this thesis explores the representation of gender and the expression of the predominant feminist ideas in Ursula K. Le Guin’s The Left Hand of Darkness (1969), Joanna Russ’s The Female Man (1975) and Pamela Sargent’s The Shore of Women (1986).Show less
In this thesis, I am going to interrogate what might be meant by ‘feminism’ in the 1810s, what Austen might have understood by it, what we now understand by it and how we might apply those ideas to...Show moreIn this thesis, I am going to interrogate what might be meant by ‘feminism’ in the 1810s, what Austen might have understood by it, what we now understand by it and how we might apply those ideas to Austen’s fictions. I shall argue that, although Austen uses the rather conservative genre of the courtship novel, or according to Marilyn Butler, the conservative partisan novel, she employs this genre to subversively express her radical ideas (Butler 3). I shall explore the idea that Austen rarely made her views explicit in her work, due to the prejudice that was attached to feminist opinions at the time due to the life story of Mary Wollstonecraft; I shall trace the effect of Wollstonecraft’s biography on Austen in the next chapter. By investigating different aspects of the family in Austen’s novels, I shall demonstrate how Austen did express her ‘feminist’ opinions through her works, albeit subversively. In particular, I shall examine the weakness of authority figures in her novels. The weakness of these authority figures allows Austen’s heroines to exert more power and therefore have a greater sense of their own agency. I shall further argue that Austen employs the weakness of authority figures in her novels to inspire more feminist behaviour in her heroines, who are not the ‘perfect’ image of Georgian femininity but are nevertheless, as is clear to the reader, favoured over the other characters by Austen. I attempt to show that Austen’s ‘feminist’ tendencies can be seen in her praising her heroines beyond all other characters while these are the characters that display the most agency and therefore are seen to possess ‘masculine’ properties.Show less
In the late sixties and early seventies the myths of motherhood, the stereotypical ‘eternal feminine’ and a caricutural or dismissive understanding of women’s physiology were elements of an...Show moreIn the late sixties and early seventies the myths of motherhood, the stereotypical ‘eternal feminine’ and a caricutural or dismissive understanding of women’s physiology were elements of an underlying ideology which hampered the achievement of full equality for women. This thesis investigates the subversive nature of these myths in a literary analysis of three dystopian novels by women authors published in this period. It also draws on the key ideas of major women theorists central to feminism’s ‘second wave’. Examining the dystopias of Angela Carter’s Heroes and Villains (1969), Pamela Kettle’s The Day of the Women (1969) and Emma Tennant’s The Time of the Crack (1973), I argue that that the possibilities open to the female characters to (re)claim their womanhood are not only undermined by their inability to recognize the deceptive facets of the myths of femininity fabricated in patriarchal societies, but also by their own unwillingness to renounce the dubious privileges that these myths bestow on the stereotypical female.Show less
Upon first impression, the so-called anti-feminist ranting in lines 2414 to 2428 of the fourteenth century poem Sir Gawain and the Green Knight appears patently misogynistic; however, in analyzing...Show moreUpon first impression, the so-called anti-feminist ranting in lines 2414 to 2428 of the fourteenth century poem Sir Gawain and the Green Knight appears patently misogynistic; however, in analyzing the poem as a whole using Dominique Battles's pre-Conquest and post-Conquest dichotomy together with a close analysis of the linguistic and specifically the semantic qualities of the speech in relation to the rest of the text, it is possible to view this ostensibly anti-feministic diatribe in a new light. In this thesis, it is argued that this uncharacteristically gruff speech that the otherwise courteous Sir Gawain articulates can be placed in the category of cursing or swearing, where the literal meaning of the words are given less valuation than the underlying semantic conveyance of an emotional and psychological catharsis.Show less
