Bartholomew, Isabel Anne (Isabel Anne Bartholomew) (Author), (Christina Crosby) (Thesis advisor)
This thesis proposes a reading of four of Jean Rhys? novels?After Leaving Mr Mackenzie; Voyage in the Dark; Good Morning, Midnight; and Wide Sargasso Sea?through Avery Gordon?s critical work on haunting, Ghostly Matters. Rhys? work is situated in its historical context, allowing for a reading that is specific to the conditions of the author?s time period and locations. Gordon?s book guides the framework of haunting and ghostliness that this project proposes for Rhys? women characters, suggesting that the Rhys women are themselves ghostly figures. They are both haunted and haunting. Ghostly Matters argues for a reading of ghosts and haunting that is socially and politically charged, reading haunting as the work of historical and social violences that will not be consigned to the past. In this framework, haunting is positioned as a call to action, a kind of political resistance, a and potent reminder of trauma?s recurrences. Ghosts are political actors doing important affective work.
In Rhys? novels, these women ghosts communicate the violences of colonialism, whiteness, poverty, and misogyny. They are haunting figures that testify to social and historical injustices even as they are themselves implicated in them. This thesis will examine gender, race, and domesticity in Rhys? works as they play out in patterns haunting and representations of trauma, noting that these social structures inevitably intersect and complicate each other. The critical works of Cathleen Maslen, Judith Raiskin, and Elaine Savory will support these claims. Jean Rhys? ghosts, then, are not simply tragic women who?ve been wronged or the ?spirit? of loss or longing. They are created by?but also, as ghosts, must exceed?existing historical conditions of violence, power, and resistance., 2018, Old URL: https://wesscholar.wesleyan.edu/etd_hon_theses/2073, In Copyright – Non-Commercial Use Permitted (InC-NC)
Raddatz, Emma Jean (Emma Jean Raddatz) (Author), (Christina Crosby) (Thesis advisor)
The project of this thesis is to understand the ways that three Caribbean women writers—Jean Rhys, Jamaica Kincaid, and Erna Brodber—recover voice and orality from the powers of colonial recitation and mimicry and the printed word. Each author is positioned between Gayatri Spivak's work on measured silence and Edouard Glissant's "explosive scream." The native woman is continually refracted and driven out into silence, while the Caribbean body can't inhabit this silence and remains restless—a body following a voice. This thesis considers first measuring silence—how to write out of silence and the way in which the Caribbean woman's silence is always inflected with levels of voice and orality. Next, it turns to the possibility of subaltern speech in Jamaica Kincaid's work. It will also consider how Caribbean oral forms transform through a turn to the written—how Rhys couldn't capture or express Christophine's orality through a rewriting of the European novel, but how other Caribbean texts, like Kincaid's and Brodber's, "take shape at the edge of writing and speech" (Glissant, Caribbean Discourse 147). After establishing the intimate connection between voice and body in Caribbean women's writing, the thesis will turn towards place and location—tracking a turn in Caribbean literary criticism from an emphasis on migratory subjectivities in the 90s to a more recent emphasis on those who have remained in the Caribbean. Lastly, I'll consider the ways that voice, body, and place converge in Brodber's Myal., 2018, Old URL: https://wesscholar.wesleyan.edu/etd_hon_theses/2065, In Copyright – Non-Commercial Use Permitted (InC-NC)
Even the Trees Avert Their Eyes is a collection of five speculative fiction short stories set in a fictional rural Alabama town., 2019, Old URL: https://wesscholar.wesleyan.edu/etd_hon_theses/2153, In Copyright – Non-Commercial Use Permitted (InC-NC)
Gurak, Nina Marie (Nina Marie Gurak) (Author), (Christina Crosby) (Thesis advisor)
This thesis examines the ways in which rape jokes, or comedy about sexual and gender-based violence, impact a social discourse on rape. By studying comedic theory and impact, feminists can better understand the ways in which language intended to harm can be reclaimed. Using Sara Ahmed’s conceptual framework of feminist killjoys, I assert that feminist anti-violence activists can and must joke about rape through what I call, ‘feminist rape jokes,’ taking back the power and making rapists and the culture that supports them the punch line., 2016, Old URL: https://wesscholar.wesleyan.edu/etd_hon_theses/1550, In Copyright – Non-Commercial Use Permitted (InC-NC)