東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

"The spell of continuity was consequ...

Donald, Stacey Alicia.

Linked to FindBook

Google Book

Amazon

博客來

"The spell of continuity was consequently broken": Third-space masculinity in Austen, Gore, Bronte, and Eliot.

Record Type:	Electronic resources : Monograph/item
Title/Author:	"The spell of continuity was consequently broken": Third-space masculinity in Austen, Gore, Bronte, and Eliot./
Author:	Donald, Stacey Alicia.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2013,
Description:	231 p.
Notes:	Source: Dissertation Abstracts International, Volume: 75-04(E), Section: A.
Contained By:	Dissertation Abstracts International75-04A(E).
Subject:	English literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3606212
ISBN:	9781303633133

"The spell of continuity was consequently broken": Third-space masculinity in Austen, Gore, Bronte, and Eliot.
Donald, Stacey Alicia.

"The spell of continuity was consequently broken": Third-space masculinity in Austen, Gore, Bronte, and Eliot. - Ann Arbor : ProQuest Dissertations & Theses, 2013 - 231 p.

Source: Dissertation Abstracts International, Volume: 75-04(E), Section: A.

Thesis (Ph.D.)--The University of Texas at Dallas, 2013.

Using Homi K. Bhabha's concept of third space, I examine the novels of four British women authors to demonstrate that nineteenth-century British masculinity exists beyond the binary of idealized men/Other. Even in the wake of contributions by men's studies scholars, the lives of white, straight, gentrified men are still frequently viewed in a universal manner. Much work remains to be done in the interest of showing that this group, much like women, has a multitude of experiences and often are restrained by the very patriarchal structure that seems to privilege them. In this dissertation, I examine eleven novels by four female authors in which women give their perspectives on male characters. These characters, who are written into Bhabha's third space, a postcolonial sociological term that identifies hybrid identities, are used to challenge the boundaries of a binary structure. These male characters occupy a space between varying versions of idealized masculinity and ethnic, sexual, and economic Others. By pushing the boundaries of "acceptable masculinity," the authors I've written about offer alternative ways for men to live within the patriarchy as individuals free to pursue personal fulfillment. I argue that in Jane Austen's Catharine, or a Bower (1790--1793), Sense and Sensibility (1811), Pride and Prejudice (1813), Emma (1815) and Persuasion (1817) that peripheral, comedic male characters function as a way for men to subvert codes of "normative" masculinity in rural England. However, in Catherine Gore's Cecil: or, the Adventures of a Coxcomb (1841), Cecil: a Peer (1841), and Self: or, the Narrow World (1845), the characters exist in a third space as second sons, neither the treasured heirs or economic outcasts but overlooked and groomed to be destructive by members of the hegemony; in Charlotte Bronte's Jane Eyre (1847) and Villette (1853) the main characters turn to androgynous appearances and behaviors to escape gendered confines. Finally, in George Eliot's Middlemarch (1874) and Daniel Deronda (1876), I argue that Eliot attempts to reconstruct men's roles in the church, a traditionally patriarchal space, as a space with the potential for humane morality and some exemptions from "normative" behaviors; however, we see that this is largely impossible in her novels.

ISBN: 9781303633133Subjects--Topical Terms:

516356
English literature.

"The spell of continuity was consequently broken": Third-space masculinity in Austen, Gore, Bronte, and Eliot.
LDR:03290nmm a2200289 4500 001 2117538
005 20170530090057.5
008 180830s2013 ||||||||||||||||| ||eng d
020 $a 9781303633133
035 $a (MiAaPQ)AAI3606212
035 $a AAI3606212
040 $a MiAaPQ $c MiAaPQ
100 1 $a Donald, Stacey Alicia. $3 3279315
245 1 0 $a "The spell of continuity was consequently broken": Third-space masculinity in Austen, Gore, Bronte, and Eliot.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2013
300 $a 231 p.
500 $a Source: Dissertation Abstracts International, Volume: 75-04(E), Section: A.
500 $a Advisers: Patricia Michaelson; Michael L. Wilson.
502 $a Thesis (Ph.D.)--The University of Texas at Dallas, 2013.
520 $a Using Homi K. Bhabha's concept of third space, I examine the novels of four British women authors to demonstrate that nineteenth-century British masculinity exists beyond the binary of idealized men/Other. Even in the wake of contributions by men's studies scholars, the lives of white, straight, gentrified men are still frequently viewed in a universal manner. Much work remains to be done in the interest of showing that this group, much like women, has a multitude of experiences and often are restrained by the very patriarchal structure that seems to privilege them. In this dissertation, I examine eleven novels by four female authors in which women give their perspectives on male characters. These characters, who are written into Bhabha's third space, a postcolonial sociological term that identifies hybrid identities, are used to challenge the boundaries of a binary structure. These male characters occupy a space between varying versions of idealized masculinity and ethnic, sexual, and economic Others. By pushing the boundaries of "acceptable masculinity," the authors I've written about offer alternative ways for men to live within the patriarchy as individuals free to pursue personal fulfillment. I argue that in Jane Austen's Catharine, or a Bower (1790--1793), Sense and Sensibility (1811), Pride and Prejudice (1813), Emma (1815) and Persuasion (1817) that peripheral, comedic male characters function as a way for men to subvert codes of "normative" masculinity in rural England. However, in Catherine Gore's Cecil: or, the Adventures of a Coxcomb (1841), Cecil: a Peer (1841), and Self: or, the Narrow World (1845), the characters exist in a third space as second sons, neither the treasured heirs or economic outcasts but overlooked and groomed to be destructive by members of the hegemony; in Charlotte Bronte's Jane Eyre (1847) and Villette (1853) the main characters turn to androgynous appearances and behaviors to escape gendered confines. Finally, in George Eliot's Middlemarch (1874) and Daniel Deronda (1876), I argue that Eliot attempts to reconstruct men's roles in the church, a traditionally patriarchal space, as a space with the potential for humane morality and some exemptions from "normative" behaviors; however, we see that this is largely impossible in her novels.
590 $a School code: 0382.
650 4 $a English literature. $3 516356
650 4 $a Gender studies. $3 2122708
690 $a 0593
690 $a 0733
710 2 $a The University of Texas at Dallas. $b Humanities-Studies in Literature. $3 1677618
773 0 $t Dissertation Abstracts International $g 75-04A(E).
790 $a 0382
791 $a Ph.D.
792 $a 2013
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3606212