English Theses and Dissertations

Vazquez, David Platt, Daniel 2015-01-14T15:59:55Z 2015-01-14T15:59:55Z 2015-01-14 http://hdl.handle.net/1794/18750 My dissertation examines critical engagements with the "new urbanist" movement in late 20th and early 21st century U.S. novels, including Karen Tei Yamashita's Tropic of Orange, Helena María Viramontes's Their Dogs Came with Them, and Colson Whitehead's Zone One. I argue that these novels reflect new urbanism's valorization of neighborhoods that are walkable, green, and diverse, even as they critique the movement's inattention to environmental injustice and the long history of urban rights movements. Moreover, I argue that contemporary fiction's engagement with new urbanism has driven formal and stylistic innovation in the novel. The "new urbanist novel," I argue, blends elements of the postmodern literary mode, such as metafiction and narrative fragmentation, with elements that are arguably anti-postmodern, such as representations of stable collective identity and utopian visions of organic urban community. en_US University of Oregon All Rights Reserved. Ecocriticism Environmental Justice New Urbanism Postmodernism Social Movements "A Strangely Organic Vision": Postmodernism, Environmental Justice, and the New Urbanist Novel Electronic Thesis or Dissertation Ph.D. doctoral Department of English University of Oregon

Wonham, Henry Wilkes, Kristin 2015-01-14T15:56:50Z 2015-01-14T15:56:50Z 2015-01-14 http://hdl.handle.net/1794/18713 My dissertation argues that the study of antebellum American religious novels is hindered by the secularization narrative, the widely held conviction that modernity entails the decline of religion. Because this narrative has been refuted by the growing field of secularization theory and because the novel is associated with modernity, the novel form must be reexamined. Specifically, I challenge the common definition of the novel as a secular form. By investigating novels by Lydia Maria Child, Susan Warner, Harriet Beecher Stowe, and Hannah Bond, I show that religion and the novel form are not opposed. In fact, scholars' unexamined and unacknowledged definitions of religion and secularity cause imprecision. For example, the Marxist definition of religion as ideology causes misrepresentations of novels with evangelical purposes, such as Warner's <i>The Wide, Wide World</i> and Bond's <i>The Bondwoman's Narrative</i>. Both novels feature protagonists who submit--one to patriarchy and the other to slavery--a stance that appears masochistic to feminist scholars and critics of slave narratives, respectively. However, attending to the biblical allusions, divine interventions, and theological arguments that saturate these texts places them in another framework altogether and reveals that they are commenting not on one's relationship with other humans but with God. Likewise, unexamined definitions of the secular are problematic because critics often conflate two definitions: the etymological sense of "earthly" and the modern sense of "anti-religious." This slippage underlies the view that religious literature of the nineteenth century became less religious, when it simply became more grounded in daily life. Therefore, to label as "secular" an author like Stowe, who promoted an earthly, lived Christianity, is only accurate if one means "mundane." Finally, my dissertation demonstrates that literary criticism itself relies on the secularization narrative, perceiving itself as modern and progressive. This reliance obscures the role literature has played in constructing this narrative. For example, colonial novels like <i>Hobomok</i> and <i>The Scarlet Letter</i> rewrite American religious history to exclude Calvinism. Noting how our investment in secularity has delimited interpretive possibilities, this project opens the way for increased clarity in the study of religion in literature. en_US University of Oregon All Rights Reserved. American Antebellum literature novel religion secularization God and the Novel: Religion and Secularization in Antebellum American Fiction Electronic Thesis or Dissertation Ph.D. doctoral Department of English University of Oregon

Thorsson, Courtney Jacobs, Bethany 2015-01-14T15:55:38Z 2015-01-14 http://hdl.handle.net/1794/18699 In this dissertation I argue that despite the liberatory promises of mid-century American social justice movements, women's literature in the late 20th and early 21st centuries treats motherhood as a dystopic and economically marginalized subject position. In genres as disparate as science fiction and gang narrative, authors Octavia Butler, Yxta Maya Murray and Suzanne Collins engage problematic ideologies of maternal love, asserting, through their renderings of fictional maternal characters, that mothers are powerless in contemporary society. This pessimism contrasts with the view of woman of color (WOC) feminist writers of the 1980s, who participated in social justice movements by asserting their own politics and including mothers in their liberatory vision. Audre Lorde's biomythography Zami (1982) is emblematic of their optimism, which imagines a regenerative possibility for mothers. I begin this dissertation with an exploration of Zami in order to ask how and why later texts appear to unwrite this transformative potential of the maternal as envisioned by earlier WOC feminists. Thus, Lorde serves as a lens through which I examine the increasingly despairing attitude of women writers toward the maternal. I argue that the shared focus on the maternal among such dissimilar writers demonstrates that in American women's writing, mothers are a crucial literary subject across sexual, gendered, racial and ethnic lines. By drawing on critical race theory, WOC feminism, queer theory, and maternal theory to examine interlocking formal and thematic elements--unreliable narrators who sanctify motherhood, reworking of the sentimental, the ironic use of both saintly and devouring mothers--I expose writers' dystopic reworking of the meanings of motherhood. The breadth of texts I read prompts an interdisciplinary approach, with close attention to socio-historical context; thus reading Butler's ironic black superwoman in Lilith's Brood gains coherence when placed in the light of 1960s Black Nationalism, which traded on the trope of a Black Matriarch in order to blame women for black social ills. I argue that maternal oppression is essential to the nature of women's identity in contemporary American women's literature, wherein being human for women includes the expectation to be a mother, in often brutally oppressive contexts. en_US University of Oregon All Rights Reserved. critical race theory gender studies maternal studies Refusing Mothers: The Dystopic Maternal in Contemporary American Women's Literature Electronic Thesis or Dissertation 10000-01-01 Ph.D. doctoral Department of English University of Oregon