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Feminist, Gender, and Sexuality Studies

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Full-Text Articles in English Language and Literature

A Feminine Gothic Revival: The Haunting Of Shirley Jackson And Toni Morrison, Mallory Danley Jan 2021

A Feminine Gothic Revival: The Haunting Of Shirley Jackson And Toni Morrison, Mallory Danley

Master of Liberal Studies Theses

In the realm of Gothic literature, the main characters typically involve a helpless woman in the clutches of her male assailant. Critics have long established that the traditional Gothic genre is considered a male-dominated discipline fixated on ideas of power, control, and submission. This essay argues that Shirley Jackson and Toni Morrison separate from this trope and invent the haunted heroine, a leading lady so haunted by the past, relationships, and emotions that through unique character development, insidious use of dread, and malicious paranormal occurrences create a nouveau dichotomy within Gothic literature. This essay is a close reading of two …

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Creating Herstory: Female Rebellion In Arundhati Roy’S "The God Of Small Things" And "The Ministry Of Utmost Happiness", Priyanka Tewari Aug 2018

Creating Herstory: Female Rebellion In Arundhati Roy’S "The God Of Small Things" And "The Ministry Of Utmost Happiness", Priyanka Tewari

Theses and Dissertations

In The God of Small Things and The Ministry of Utmost Happiness novels, the author Arundhati Roy is not only attempting to give feminist weight to the multiplicity of locations in which gender is articulated by recasting her female characters in their quest for selfhood, she is also focusing on women and women-identified characters as agents of history, thereby contributing to an ongoing project of feminist historiography.

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Let There Be Rose Leaves’: Lesbian Subjectivity In Virginia Woolf’S The Waves., Margaret Sullivan Oct 2011

Let There Be Rose Leaves’: Lesbian Subjectivity In Virginia Woolf’S The Waves., Margaret Sullivan

English Faculty Research

This essay analyzes the religious argument that Virginia Woolf, through the paired characters of Rhoda and the lady at Elvedon, develops in The Waves. Specifically, I make a three-tiered claim. First, although both Rhoda and the lady are responses to a Judeo-Christian orthodoxy that, in Three Guineas, Woolf says quieted generations of prophetesses (146), the two differ in their relationship to one fundamental story: Genesis and the Garden of Eden. The lady is trapped in Elvedon, a quasi-Edenic space. Rhoda, on the other hand, lesbianizes the Garden, centering it around her beloved Miss Lambert. Second, Rhoda’s final soliloquy radically transforms …

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