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Non Commercial. You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact xxxxxxxxxxx@xxx.xx.xx providing details, and we will remove access to the work immediately and investigate your claim. Download date: 03. Oct. 2020 Three Generations of Women Writing Mad Women in French: Xxxxxx xx Xxxxxxxx, Xxxx Xxxxxx, Xxxxx Xx Thesis submitted for the King's College London degree of Doctor of Philosophy XXXXXXX XX XXXXXXXXXX Department of French King's College London February 2015 ABSTRACT This thesis examines the evolution of the trope of the madwoman in women-authored narratives in French from the early twentieth century until the present day. Given the misogyny inherent in much of the discourse of women's madness as written by male writers over the centuries, the project asks why this ambivalent figure should appear so prevalently in the narratives of three generations of women authors during this time. The thesis explores whether the madness featured can be read as a metaphor for crisis, or rebellion, or both, and asks to what extent, when read through a feminist optic, madness is effective or self- defeating. Using the post-Lacanian psycholinguistic theory of Xxxxx Xxxxxxxx, I argue that the madwoman stands as a signpost for an anxiety of authorship at the intersection of crisis and liberation for women authors seeking to inscribe themselves into a male-dominated socio-linguistic system. This attempt at inscription entails a process of autogenography – (re)generating the self through writing – that is productive for the authors involved in terms of literary output, but does not always produce unequivocally positive outcomes on a personal level. The project also examines the motif of female sacrifice – often presented as self-sacrifice – recurring prominently alongside the figure of the madwoman in the texts discussed, to ask what function this sacrifice fulfils. Does it represent an abjection of the feminine for authors who have internalised misogynistic literary standards and traditions in relation to female authorship, or does it represent a process of sublimation for the woman author as part of an attempt to assert linguistic and literary autonomy? I conclude that the madwoman and the leitmotif of female/feminine sacrifice are intimately bound up with questions of female authorship, and the continuing evolution of these tropes reveals some marked differences between the challenges facing women writers at different moments of the past century, and also some interesting similarities. CONTENTS Acknowledgements 4 Key to Abbreviations 5 Introduction 6 CHAPTER ONE: Women's Madness in Xxxxxx xx Xxxxxxxx'x Quand prime le spirituel 28 - The Perpetual Tension of the 'cœur de femme, cerveau d'homme' - Quand prime le féminin in Xxxxxxxx's First Fiction - Symbolic Rejection of Xxxxxxxx's 'Silly Girls' CHAPTER TWO: The Return of Semiotic Madness in Xxxxxx xx Xxxxxxxx'x Late Fiction: Xxx Xxxxxx Images and La Femme rompue 66 - The Beautiful Broken Image of Xxx Xxxxxx Images - The Madwoman on the Threshold of Feminine Liberation: La Femme rompue - Putting the Symbolic Mask Back in Place CHAPTER THREE: Through the Looking-glass into the Labyrinth: The Semiotic Revolution of Xxxx Xxxxxx 105 - The Autogenographic Fiction of Xxxx Xxxxxx - Mad Revolution: Un cri écrit in the Early Trilogy - Frustration: From cri écrit to Écris et tais-toi - Surrealist Sublimation: Effraction au réel

Non Commercial. You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact xxxxxxxxxxx@xxx.xx.xx providing details, and we will remove access to the work immediately and investigate your claim. Download date: 0330. Oct. 2020 Three Generations of Women Writing Mad Women in FrenchApr. 2021 WORDS, WIGS AND VEILS: Xxxxxx xx Xxxxxxxx, Xxxx Xxxxxx, Xxxxx Xx Thesis submitted for the MODEST RELIGIOUS DRESS AND GENDERED ONLINE IDENTITIES Xxxxxxxx Xxxxxxxxxxx Theology and Religious Studies King's College London, University of London Submitted for the degree of Doctor of Philosophy XXXXXXX XX XXXXXXXXXX Department in Religious Studies, September 2016 Abstract Words, Wigs and Veils: Modest Religious Dress and Gendered Online Identities In this thesis, I explore how Muslim and Jewish women in a predominantly North American cultural context use online public spaces to blog about their religious dress practices. Existing comparisons between online self-representation and religious dress among Muslim and Jewish women includes work by Xxxxx Xxxxx (2013) and Xxxx Xxxxx (2013 and 2016). My research builds on and expands their contributions, while depending on slightly different primary sources and theoretical frameworks. Consequently, I use Mol’s (2002) concept of French King's College London February 2015 ABSTRACT This thesis examines ‘enactment’ to elaborate how Xxxxxxx’x (2005) and Avishai’s (2008) arguments for women’s religious practices within the evolution confines of conservative religions to be understood as a form of ethical agency, might operate online. Additionally, in light of how different forms of authority are enacted in the primary sources, I interrogate Xxxxx Xxxxxxxx’x (2007) preliminary framework of multiple layers of religious authority online. Approaching the loose blogging networks of about 30 blogs per religion from a qualitative, humanities perspective, I consider the bloggers to have creative control over their writing: I study online writing about religious dress, not religious dress itself. Beyond using snapshots of blog posts written by individual bloggers, I consider how some of the trope of the madwoman in women-authored narratives in French from the early twentieth century until the present day. Given the misogyny inherent in much of the discourse of women's madness as written by male writers bloggers’ perspectives have changed over the centuriestime, the project asks why this ambivalent figure should appear so prevalently and analyse interactions between bloggers and commenters in the narratives ‘Comments’ sections of three generations of women authors during this timerelevant posts. The thesis explores whether the madness featured can be read as a metaphor for crisis, or rebellion, or both, and asks to what extent, when read through a feminist optic, madness is effective or self- defeating. Using the post-Lacanian psycholinguistic theory of Xxxxx Xxxxxxxx, I argue that enactments of gendered religious identities online are often led by women, within frameworks that are simultaneously personal and which the madwoman stands bloggers themselves consider orthodox. Such personal, but not necessarily feminist, online accounts challenge mainstream narratives about religious dress as a signpost oppressive and externally mandated, and instead calls for an anxiety understanding of authorship at the intersection modest dress practices as mutable aspects of crisis and liberation for women authors seeking to inscribe themselves into a male-dominated socio-linguistic system. This attempt at inscription entails a process of autogenography – (re)generating the self through writing – that is productive for the authors involved in terms of literary output, but does not always produce unequivocally positive outcomes on a personal level. The project also examines the motif of female sacrifice – often presented as self-sacrifice – recurring prominently alongside the figure of the madwoman in the texts discussed, to ask what function this sacrifice fulfils. Does it represent an abjection of the feminine for authors who have internalised misogynistic literary standards and traditions in relation to female authorship, or does it represent a process of sublimation for the woman author as part of an attempt to assert linguistic and literary autonomy? I conclude that the madwoman and the leitmotif of female/feminine sacrifice are intimately bound up with questions of female authorshiplived, and the continuing evolution of these tropes reveals some marked differences between the challenges facing women writers at different moments of the past centurygendered, and also some interesting similaritiesreligious identities. CONTENTS Abstract 2 Acknowledgements 4 Key to Abbreviations 5 6 0 Introduction 6 CHAPTER ONE: Women's Madness in Xxxxxx xx Xxxxxxxx'x Quand prime le spirituel 28 - The Perpetual Tension of the 'cœur de femme, cerveau d'homme' - Quand prime le féminin in Xxxxxxxx's First Fiction - Symbolic Rejection of Xxxxxxxx's 'Silly Girls' CHAPTER TWO: The Return of Semiotic Madness in Xxxxxx xx Xxxxxxxx'x Late Fiction: Xxx Xxxxxx Images and La Femme rompue 66 - The Beautiful Broken Image of Xxx Xxxxxx Images - The Madwoman on the Threshold of Feminine Liberation: La Femme rompue - Putting the Symbolic Mask Back in Place CHAPTER THREE: Through the Looking-glass into the Labyrinth: The Semiotic Revolution of Xxxx Xxxxxx 105 - The Autogenographic Fiction of Xxxx Xxxxxx - Mad Revolution: Un cri écrit in the Early Trilogy - Frustration: From cri écrit to Écris et tais-toi - Surrealist Sublimation: Effraction au réel8

Non Commercial. You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact xxxxxxxxxxx@xxx.xx.xx providing details, and we will remove access to the work immediately and investigate your claim. Download date: 0316. Oct. 2020 Three Generations May. 2022 REPRESENTATIONS OF THE HOLOCAUST IN SOVIET CINEMA Xxxxxx Xxxxxxxxxx PhD in Film Studies ABSTRACT The aim of Women Writing Mad Women my doctoral project is to study how the Holocaust has been represented in French: Xxxxxx xx XxxxxxxxSoviet cinema from the 1930s to the collapse of the Soviet Union in 1991. The USSR was one of the central participants in WWII and lost over a million of its Jewish population in the Holocaust. While the suffering of the Soviet nation was vividly depicted in arts and history texts, Xxxx Xxxxxxforming a significant part of popular culture, Xxxxx Xx Thesis submitted for the King's College London degree violence against Jews often appeared to be a (deliberately) forgotten chapter. In the multi-ethnic and multi-national state – whose pre-Revolutionary anti-Semitic history produced the very concept of Doctor pogrom – official Soviet ideology, propagating a sense of Philosophy XXXXXXX XX XXXXXXXXXX Department unity, emphasised the Soviet identity of French King's College London February 2015 ABSTRACT the victims and refused to differentiate between the dead. Moreover, the devastating statistics of all the casualties of the Soviet-German war (1941-1945) occupied a central place in popular memory, overpowering the proportionally smaller number of Holocaust victims. Throughout the period studied in this thesis, history and memory of the Holocaust underwent a series of repressions and re-evaluations, constantly shifting between the margins and the forefront, between official and unofficial knowledge. This thesis examines the evolution is a chronological study of the trope of the madwoman in women-authored narratives in French from the early twentieth century until the present day. Given the misogyny inherent in much of the discourse of women's madness as written role played by male writers over the centuries, the project asks why this ambivalent figure should appear so prevalently in the narratives of three generations of women authors during this time. The thesis explores whether the madness featured can be read as a metaphor for crisis, or rebellion, or both, and asks to what extent, when read through a feminist optic, madness is effective or self- defeating. Using the post-Lacanian psycholinguistic theory of Xxxxx Xxxxxxxx, I argue that the madwoman stands as a signpost for an anxiety of authorship at the intersection of crisis and liberation for women authors seeking to inscribe themselves into a male-dominated socio-linguistic system. This attempt at inscription entails a process of autogenography – (re)generating the self through writing – that is productive for the authors involved in terms of literary output, but does not always produce unequivocally positive outcomes on a personal level. The project also examines the motif of female sacrifice – often presented as self-sacrifice – recurring prominently alongside the figure of the madwoman in the texts discussed, to ask what function this sacrifice fulfils. Does it represent an abjection of the feminine for authors who have internalised misogynistic literary standards and traditions Soviet cinema in relation to female authorshipthe shifting discourses of memory, or does it represent a process knowledge and history of sublimation the Holocaust. Comprised of four chapters, my work traces the trajectory of cinematic portrayals through four main historical periods, under the respective leaderships of Xxxxxx Xxxxxx, Xxxxxx Xxxxxxxxxx, Xxxxxx Xxxxxxxx and Xxxxxxx Xxxxxxxxx. Accounting for the woman author as part interrelation between Soviet ideology, censorship, the Soviet film industry, cinematic genres and individual film texts, I tease out the complexity and versatility of an attempt Soviet cinema’s relationship with the subject of the Holocaust. TABLE OF CONTENTS Abstract 2 Table of Contents 3 Table of Illustrations 4 Acknowledgements 6 Note on Transliteration 7 Introduction 8 Chapter 1: Holocaust cinema during Stalinism 32 Section One – USSR Responds to assert linguistic and literary autonomy? I conclude that the madwoman Nazi Persecution of European 34 Jews during the 1930s Section Two – The Soviet-German War and the leitmotif of female/feminine sacrifice are intimately bound up with questions of female authorship, and the continuing evolution of these tropes reveals some marked differences between the challenges facing women writers at different moments Holocaust 41 Section Three – The Erasure of the past century, and also some interesting similarities. CONTENTS Acknowledgements 4 Key to Abbreviations 5 Introduction 6 CHAPTER ONE: Women's Madness in Xxxxxx xx Xxxxxxxx'x Quand prime le spirituel 28 - The Perpetual Tension of the 'cœur de femme, cerveau d'homme' - Quand prime le féminin in Xxxxxxxx's First Fiction - Symbolic Rejection of Xxxxxxxx's 'Silly Girls' CHAPTER TWO: The Return of Semiotic Madness in Xxxxxx xx Xxxxxxxx'x Late Fiction: Xxx Xxxxxx Images and La Femme rompue 66 - The Beautiful Broken Image of Xxx Xxxxxx Images - The Madwoman on the Threshold of Feminine Liberation: La Femme rompue - Putting the Symbolic Mask Back in Place CHAPTER THREE: Through the Looking-glass into the Labyrinth: The Semiotic Revolution of Xxxx Xxxxxx 105 - The Autogenographic Fiction of Xxxx Xxxxxx - Mad Revolution: Un cri écrit Holocaust in the Early Trilogy - Frustration: From cri écrit to Écris et taisPost-toi - Surrealist Sublimation: Effraction au réelWar 70 Stalinist Period

Non Commercial. You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact xxxxxxxxxxx@xxx.xx.xx providing details, and we will remove access to the work immediately and investigate your claim. Download date: 03. Oct. 2020 Three Generations Jun. 2023 REPRESENTATIONS OF THE HOLOCAUST IN SOVIET CINEMA Xxxxxx Xxxxxxxxxx PhD in Film Studies ABSTRACT The aim of Women Writing Mad Women my doctoral project is to study how the Holocaust has been represented in French: Xxxxxx xx XxxxxxxxSoviet cinema from the 1930s to the collapse of the Soviet Union in 1991. The USSR was one of the central participants in WWII and lost over a million of its Jewish population in the Holocaust. While the suffering of the Soviet nation was vividly depicted in arts and history texts, Xxxx Xxxxxxforming a significant part of popular culture, Xxxxx Xx Thesis submitted for the King's College London degree violence against Jews often appeared to be a (deliberately) forgotten chapter. In the multi-ethnic and multi-national state – whose pre-Revolutionary anti-Semitic history produced the very concept of Doctor pogrom – official Soviet ideology, propagating a sense of Philosophy XXXXXXX XX XXXXXXXXXX Department unity, emphasised the Soviet identity of French King's College London February 2015 ABSTRACT the victims and refused to differentiate between the dead. Moreover, the devastating statistics of all the casualties of the Soviet-German war (1941-1945) occupied a central place in popular memory, overpowering the proportionally smaller number of Holocaust victims. Throughout the period studied in this thesis, history and memory of the Holocaust underwent a series of repressions and re-evaluations, constantly shifting between the margins and the forefront, between official and unofficial knowledge. This thesis examines the evolution is a chronological study of the trope of the madwoman in women-authored narratives in French from the early twentieth century until the present day. Given the misogyny inherent in much of the discourse of women's madness as written role played by male writers over the centuries, the project asks why this ambivalent figure should appear so prevalently in the narratives of three generations of women authors during this time. The thesis explores whether the madness featured can be read as a metaphor for crisis, or rebellion, or both, and asks to what extent, when read through a feminist optic, madness is effective or self- defeating. Using the post-Lacanian psycholinguistic theory of Xxxxx Xxxxxxxx, I argue that the madwoman stands as a signpost for an anxiety of authorship at the intersection of crisis and liberation for women authors seeking to inscribe themselves into a male-dominated socio-linguistic system. This attempt at inscription entails a process of autogenography – (re)generating the self through writing – that is productive for the authors involved in terms of literary output, but does not always produce unequivocally positive outcomes on a personal level. The project also examines the motif of female sacrifice – often presented as self-sacrifice – recurring prominently alongside the figure of the madwoman in the texts discussed, to ask what function this sacrifice fulfils. Does it represent an abjection of the feminine for authors who have internalised misogynistic literary standards and traditions Soviet cinema in relation to female authorshipthe shifting discourses of memory, or does it represent a process knowledge and history of sublimation the Holocaust. Comprised of four chapters, my work traces the trajectory of cinematic portrayals through four main historical periods, under the respective leaderships of Xxxxxx Xxxxxx, Xxxxxx Xxxxxxxxxx, Xxxxxx Xxxxxxxx and Xxxxxxx Xxxxxxxxx. Accounting for the woman author as part interrelation between Soviet ideology, censorship, the Soviet film industry, cinematic genres and individual film texts, I tease out the complexity and versatility of an attempt Soviet cinema’s relationship with the subject of the Holocaust. TABLE OF CONTENTS Abstract 2 Table of Contents 3 Table of Illustrations 4 Acknowledgements 6 Note on Transliteration 7 Introduction 8 Chapter 1: Holocaust cinema during Stalinism 32 Section One – USSR Responds to assert linguistic and literary autonomy? I conclude that the madwoman Nazi Persecution of European 34 Jews during the 1930s Section Two – The Soviet-German War and the leitmotif of female/feminine sacrifice are intimately bound up with questions of female authorship, and the continuing evolution of these tropes reveals some marked differences between the challenges facing women writers at different moments Holocaust 41 Section Three – The Erasure of the past century, and also some interesting similarities. CONTENTS Acknowledgements 4 Key to Abbreviations 5 Introduction 6 CHAPTER ONE: Women's Madness in Xxxxxx xx Xxxxxxxx'x Quand prime le spirituel 28 - The Perpetual Tension of the 'cœur de femme, cerveau d'homme' - Quand prime le féminin in Xxxxxxxx's First Fiction - Symbolic Rejection of Xxxxxxxx's 'Silly Girls' CHAPTER TWO: The Return of Semiotic Madness in Xxxxxx xx Xxxxxxxx'x Late Fiction: Xxx Xxxxxx Images and La Femme rompue 66 - The Beautiful Broken Image of Xxx Xxxxxx Images - The Madwoman on the Threshold of Feminine Liberation: La Femme rompue - Putting the Symbolic Mask Back in Place CHAPTER THREE: Through the Looking-glass into the Labyrinth: The Semiotic Revolution of Xxxx Xxxxxx 105 - The Autogenographic Fiction of Xxxx Xxxxxx - Mad Revolution: Un cri écrit Holocaust in the Early Trilogy - Frustration: From cri écrit to Écris et taisPost-toi - Surrealist Sublimation: Effraction au réelWar 70 Stalinist Period

Non Commercial. You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact xxxxxxxxxxx@xxx.xx.xx providing details, and we will remove access to the work immediately and investigate your claim. Download date: 0302. Oct. 2020 Three Generations Jun. 2023 Fictionalised History: Identity, Nationalism and Nation-building in Late Ottoman and Early Republican Turkish Novels Xxxxxxx Xxxxxxx Xxxxxxx Doctor of Women Writing Mad Women Philosophy Institute of Middle Eastern Studies, King’s College London Abstract Nationalism in French: Turkey was an evolutionary process which took place during the final stages of the Ottoman Empire, the War of Independence and the Republican period. This transitional process was heavily influenced by the intellectuals and writers of the age, especially in the literature that they produced. Literature was a critical platform for nurturing and even propagating new ideologies such as nationalism, Westernization and even feminism. Literature was also the vehicle for transporting and transmitting such ideologies to the general public, as well as being an educational tool for warning people about the representation and misinterpretation of such ideological underpinnings of the new nation-state of Turkey. This dissertation examines some of the most critical literary novels from the period, written by some of the most influential intellectuals, such as Xxxxxx xx Xxxxxxxx, Xxxx Xxxxxx, Xxxxx Xx Thesis submitted for the King's College London degree of Doctor of Philosophy XXXXXXX XX XXXXXXXXXX Department of French King's College London February 2015 ABSTRACT This thesis examines Xxxxx Xxxxxxxxxxxxx and Resat Xxxx Xxxxxxxx, in order to understand the evolution of Turkish nationalism as well as the trope reconstruction of Turkish national and cultural identity. Table of Contents Abstract 2 Acknowledgements 5 Copyright 6 Introduction 7 Literature Review 15 Chapter 1: Nationalism in Turkey: Historical Context & Theoretical Framework 32 Introduction 32 Nationalism and Turkish National Identity: A Theoretical Understanding 33 The Evolution of Turkish Nationalism through Literature 45 The Reconstruction of Turkish National Identity in Literature 52 The New Turkish Women 60 Conclusion 62 Chapter 2: Narrative, Turkish Literature and National Identity 65 Introduction 65 Narrative Analysis and Narrative Theory 66 Narrative, History and Literature 73 Narrative, Nation Building and Identity 87 Conclusion 100 Chapter 3: Literature of the madwoman New Republic 102 Introduction 102 The Unsurpassable War, the Revolution and the Aftermath 103 The Conflict of East and West in womenContext of Re-authored narratives in French from constructing the early twentieth century until the present day. Given the misogyny inherent in much Turkish National Identity 120 The Irretrievable Generation Gap 133 Conclusion 150 Chapter 4: Forging New Social Roles 152 Introduction 152 Change of the discourse Family Unit and First Signs of women's madness Feminism 153 The New Republic and Social Life 171 Traditionalism versus Modernism 184 Conclusion 200 Chapter 5: Literature and the New Turkish Women 202 Introduction 202 Westernization and its Perception: Perfection and the Degeneration of Female Identity in Turkish Literature 204 Xxxxx as written by male writers over a Role Model for the centuriesTurkish Women of the New Republic 221 Islam, Traditionalism and the project asks why this ambivalent figure should appear New Turkish Woman 233 Sacrifice, Women and the Birth of a Nation 241 Conclusion 245 Dissertation Conclusion 248 Bibliography 252 Books 252 Articles 261 Other Sources 263 Acknowledgements I am ever so prevalently in grateful and thankful to my parents, Xxxxx and Xxxxx Xxxxxxx, for all the narratives support they have given to, not only during my studies, but throughout my entire life. Thank you to my sister Xxxx Xxxxxxx, who is my joy and source of three generations of women authors inspiration, and to my husband, Xxxxxxx Xxxxxxx who was my rock during this time. My son, Xxxxxx Xxx, who has been a great source of motivation and gave me the strength to finish my work. To all my friends who endured my never-ending monologues on the wonders of literature, history and books and provided support and comfort, especially Xxxxx Xxxxxxxxx, Xxxxxxx Xxxxxxxx, Xxxx Xxxxx Xxx and Xxxxx Xxxxxxx, thank you for helping me in more ways than you can ever imagine. Thank you to Xxxxxx Xxxx Xxxxxx, whose life and work never fails to inspire me and pushes me to think in ways I have not done before. I also owe a great deal of gratitude to the TRS and XXXX teams at King’s College London. Copyright The copyright of this thesis explores whether rests with the madness featured can author and no quotations from it or information derived from it may be read published without proper acknowledgement. Introduction In working towards examining nationalism, nationhood, social transformation and identity, it becomes clear that an extensive body of literature already exists within academia. These studies have been pursued through various angles, focusing on developing normative approaches towards the entities of state, nation and identity in order to understand their cultural, sociological, economical and political consequences. However, one approach that has been somewhat neglected, at least in Turkey’s case, is the study of these entities through literary texts. This dissertation focuses on literature produced during the transitional period of Turkey over 1918 to mid 1930s, from the Islamic Empire towards the secular Republic, in order to understand how literature, specifically the novel, contributed towards the development of new ideologies, influenced social transformation and fostered the reconstruction of a new national and cultural identity. In her memoir, Xxxxxx Xxxx states that, “Nationalism in Turkey has more than one phase and name as well as definition.”1 This makes studying the evolution of nationalism as well as national identity in Turkey both very interesting and challenging. The development of Turkish nationalism, which eventually led the country to fight for its own independence and to establish a secular Republic, went through many stages, met various obstacles and faced some difficult challenges along the way. It could be argued that, even today, nationalism is still evolving in Turkey, and there are multiple definitions of Turkish nationalism, each with its own narrative and interpretation of historical events. This dissertation aims to demonstrate that one of the most critical ways to study and understand how nationalism emerged and 1 Adivar, Memoirs of Xxxxxx Xxxx, USA 2005, p. 313 evolved in Turkey, from the Ottoman Empire to the new Republic of Turkey, is to study the literature from this time period. Early work in narrative studies mainly focused on the structures of literary texts rather than the contexts in which stories were told. However, in more recent years it became apparent that the study of narrative could be fruitfully combined with the study of ideologies.2 These ideologies, in specific contexts, are rather difficult to systematize or make explicit; however, if a narrative is convincing, the ideology it both conveys and helps reproduce has a substantial chance of being accepted by the reader.3 In the case of Turkey, the ideologies such as nationalism, Westernization, secularism and even gender equality were nurtured by literature and presented to the public, usually in the form of novels published as serials in various newspapers and magazines. This encouraged the public to be familiarised with these ideologies, through characters and plot lines with which they could identify. This examination of literature, however critical, is not straightforward. The work that authors produced during this transitional period could only be studied once this period itself was thoroughly examined, due to the unique case of Turkey’s situation—that is, the Ottoman Empire was a multinational empire under the threat of separatist nationalism, and, at the same time, European imperialism. The development of Turkish nationalism was a response towards such threats. However, it could be argued that post-colonial theory would not be suitable to understanding this evolution, since 2 Narrative theorists such as Xxxxxx Xxxxxxx were among the first to indicate this new way of studying literary texts. 3Herman, &Vervaeck, Ideology: The Cambridge Companion to Narrative, UK 2012, p. 218 the Ottoman Empire was never actually colonized. While the Ottoman Empire did lose territories to colonialism, it never lost its sovereignty. This means postcolonial literature as a metaphor for crisistheory will also, to a large extent, be inapplicable in studying the literature that was produced during late-Ottoman period, or rebellionthe early years of the Turkish Republic. Literature produced during this transitional era had its own unique components. It could be argued that one of its most intriguing elements was the contradictions it embodied; the eagerness to Westernize and celebrate the new secular, modern nation collided with the fear of losing treasured values and traditions from the Ottoman past. This is one of the main reasons why literature is arguably one of the most vital ways to examine the period and understand how nationalism and identity evolved. Furthermore, it is important to highlight that literature was a critical platform, starting from the 1908 Tanzimat period all the way into the first years of the new Republic. Literature was a way to nurture new ideologies such as nationalism, Turkism, pan- Ottomanism, secularism and even feminism. Intellectuals of this period were also the leaders of public opinion, which put them in a position to use their narrative as a bridge between these ideologies and the public. In order to deconstruct the nation into its many collectives, one must address the individuals that make up those collectives. While there are a variety of approaches that one could take to address the individuals, this particular study is concerned mainly with fictional ones. Literature shapes one’s perception on individuals as well as society, therefore studying social issues, or bothsocial transformation, through literary characters provides a critical understanding when it comes to national and asks to what extent, when read through a feminist optic, madness is effective or self- defeating. Using the post-Lacanian psycholinguistic theory of Xxxxx Xxxxxxxx, I argue that the madwoman stands as a signpost for an anxiety of authorship at the intersection of crisis and liberation for women authors seeking to inscribe themselves into a male-dominated socio-linguistic system. This attempt at inscription entails a process of autogenography – (re)generating the self through writing – that is productive for the authors involved in terms of literary output, but does not always produce unequivocally positive outcomes on a personal level. The project also examines the motif of female sacrifice – often presented as self-sacrifice – recurring prominently alongside the figure of the madwoman in the texts discussed, to ask what function this sacrifice fulfils. Does it represent an abjection of the feminine for authors who have internalised misogynistic literary standards and traditions in relation to female authorship, or does it represent a process of sublimation for the woman author as part of an attempt to assert linguistic and literary autonomy? I conclude that the madwoman and the leitmotif of female/feminine sacrifice are intimately bound up with questions of female authorship, and the continuing evolution of these tropes reveals some marked differences between the challenges facing women writers at different moments of the past century, and also some interesting similarities. CONTENTS Acknowledgements 4 Key to Abbreviations 5 Introduction 6 CHAPTER ONE: Women's Madness in Xxxxxx xx Xxxxxxxx'x Quand prime le spirituel 28 - The Perpetual Tension of the 'cœur de femme, cerveau d'homme' - Quand prime le féminin in Xxxxxxxx's First Fiction - Symbolic Rejection of Xxxxxxxx's 'Silly Girls' CHAPTER TWO: The Return of Semiotic Madness in Xxxxxx xx Xxxxxxxx'x Late Fiction: Xxx Xxxxxx Images and La Femme rompue 66 - The Beautiful Broken Image of Xxx Xxxxxx Images - The Madwoman on the Threshold of Feminine Liberation: La Femme rompue - Putting the Symbolic Mask Back in Place CHAPTER THREE: Through the Looking-glass into the Labyrinth: The Semiotic Revolution of Xxxx Xxxxxx 105 - The Autogenographic Fiction of Xxxx Xxxxxx - Mad Revolution: Un cri écrit in the Early Trilogy - Frustration: From cri écrit to Écris et tais-toi - Surrealist Sublimation: Effraction au réelindividual

Non Commercial. You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact xxxxxxxxxxx@xxx.xx.xx providing details, and we will remove access to the work immediately and investigate your claim. Download date: 0302. Oct. 2020 Jun. 2023 Three Generations of Women Writing Mad Women in French: Xxxxxx xx Xxxxxxxx, Xxxx Xxxxxx, Xxxxx Xx Thesis submitted for the King's College London degree of Doctor of Philosophy XXXXXXX XX XXXXXXXXXX Department of French King's College London February 2015 ABSTRACT This thesis examines the evolution of the trope of the madwoman in women-authored narratives in French from the early twentieth century until the present day. Given the misogyny inherent in much of the discourse of women's madness as written by male writers over the centuries, the project asks why this ambivalent figure should appear so prevalently in the narratives of three generations of women authors during this time. The thesis explores whether the madness featured can be read as a metaphor for crisis, or rebellion, or both, and asks to what extent, when read through a feminist optic, madness is effective or self- defeating. Using the post-Lacanian psycholinguistic theory of Xxxxx Xxxxxxxx, I argue that the madwoman stands as a signpost for an anxiety of authorship at the intersection of crisis and liberation for women authors seeking to inscribe themselves into a male-dominated socio-linguistic system. This attempt at inscription entails a process of autogenography – (re)generating the self through writing – that is productive for the authors involved in terms of literary output, but does not always produce unequivocally positive outcomes on a personal level. The project also examines the motif of female sacrifice – often presented as self-sacrifice – recurring prominently alongside the figure of the madwoman in the texts discussed, to ask what function this sacrifice fulfils. Does it represent an abjection of the feminine for authors who have internalised misogynistic literary standards and traditions in relation to female authorship, or does it represent a process of sublimation for the woman author as part of an attempt to assert linguistic and literary autonomy? I conclude that the madwoman and the leitmotif of female/feminine sacrifice are intimately bound up with questions of female authorship, and the continuing evolution of these tropes reveals some marked differences between the challenges facing women writers at different moments of the past century, and also some interesting similarities. CONTENTS Acknowledgements 4 Key to Abbreviations 5 Introduction 6 CHAPTER ONE: Women's Madness in Xxxxxx xx Xxxxxxxx'x Quand prime le spirituel 28 - The Perpetual Tension of the 'cœur de femme, cerveau d'homme' - Quand prime le féminin in Xxxxxxxx's First Fiction - Symbolic Rejection of Xxxxxxxx's 'Silly Girls' CHAPTER TWO: The Return of Semiotic Madness in Xxxxxx xx Xxxxxxxx'x Late Fiction: Xxx Xxxxxx Images and La Femme rompue 66 - The Beautiful Broken Image of Xxx Xxxxxx Images - The Madwoman on the Threshold of Feminine Liberation: La Femme rompue - Putting the Symbolic Mask Back in Place CHAPTER THREE: Through the Looking-glass into the Labyrinth: The Semiotic Revolution of Xxxx Xxxxxx 105 - The Autogenographic Fiction of Xxxx Xxxxxx - Mad Revolution: Un cri écrit in the Early Trilogy - Frustration: From cri écrit to Écris et tais-toi - Surrealist Sublimation: Effraction au réel

Non Commercial. You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact xxxxxxxxxxx@xxx.xx.xx providing details, and we will remove access to the work immediately and investigate your claim. Download date: 0309. Oct. 2020 Three Generations of Women Writing Mad Women Jul. 2022 Fictionalised History: Identity, Nationalism and Nation-building in French: Xxxxxx xx Xxxxxxxx, Xxxx Xxxxxx, Xxxxx Xx Thesis submitted for the King's College London degree of Late Ottoman and Early Republican Turkish Novels Aslihan Agaoglu Xxxxxxx Doctor of Philosophy XXXXXXX XX XXXXXXXXXX Department Institute of French Middle Eastern Studies, King's ’s College London February 2015 ABSTRACT Abstract Nationalism in Turkey was an evolutionary process which took place during the final stages of the Ottoman Empire, the War of Independence and the Republican period. This thesis transitional process was heavily influenced by the intellectuals and writers of the age, especially in the literature that they produced. Literature was a critical platform for nurturing and even propagating new ideologies such as nationalism, Westernization and even feminism. Literature was also the vehicle for transporting and transmitting such ideologies to the general public, as well as being an educational tool for warning people about the representation and misinterpretation of such ideological underpinnings of the new nation-state of Turkey. This dissertation examines some of the most critical literary novels from the period, written by some of the most influential intellectuals, such as Halide Edib Adivar, Xxxxx Xxxxx Karaosmanoglu and Resat Xxxx Xxxxxxxx, in order to understand the evolution of Turkish nationalism as well as the trope reconstruction of Turkish national and cultural identity. Table of Contents Abstract 2 Acknowledgements 5 Copyright 6 Introduction 7 Literature Review 15 Chapter 1: Nationalism in Turkey: Historical Context & Theoretical Framework 32 Introduction 32 Nationalism and Turkish National Identity: A Theoretical Understanding 33 The Evolution of Turkish Nationalism through Literature 45 The Reconstruction of Turkish National Identity in Literature 52 The New Turkish Women 60 Conclusion 62 Chapter 2: Narrative, Turkish Literature and National Identity 65 Introduction 65 Narrative Analysis and Narrative Theory 66 Narrative, History and Literature 73 Narrative, Nation Building and Identity 87 Conclusion 100 Chapter 3: Literature of the madwoman New Republic 102 Introduction 102 The Unsurpassable War, the Revolution and the Aftermath 103 The Conflict of East and West in womenContext of Re-authored narratives in French from constructing the early twentieth century until the present day. Given the misogyny inherent in much Turkish National Identity 120 The Irretrievable Generation Gap 133 Conclusion 150 Chapter 4: Forging New Social Roles 152 Introduction 152 Change of the discourse Family Unit and First Signs of women's madness Feminism 000 Xxx Xxx Xxxxxxxx and Social Life 171 Traditionalism versus Modernism 184 Conclusion 200 Chapter 5: Literature and the New Turkish Women 202 Introduction 202 Westernization and its Perception: Perfection and the Degeneration of Female Identity in Turkish Literature 204 Aliye as written by male writers over a Role Model for the centuriesTurkish Women of the New Republic 221 Islam, Traditionalism and the project asks why this ambivalent figure should appear New Turkish Woman 233 Sacrifice, Women and the Birth of a Nation 241 Conclusion 245 Dissertation Conclusion 248 Bibliography 252 Books 252 Articles 261 Other Sources 263 Acknowledgements I am ever so prevalently in grateful and thankful to my parents, Beyza and Xxxxx Xxxxxxx, for all the narratives support they have given to, not only during my studies, but throughout my entire life. Thank you to my sister Xxxx Xxxxxxx, who is my joy and source of three generations of women authors inspiration, and to my husband, Martijn Xxxxxxx who was my rock during this time. My son, Xxxxxx Xxx, who has been a great source of motivation and gave me the strength to finish my work. To all my friends who endured my never-ending monologues on the wonders of literature, history and books and provided support and comfort, especially Sedef Xxxxxxxxx, Xxxxxxx Higgions, Xxxx Xxxxx Sen and Didem Erdogan, thank you for helping me in more ways than you can ever imagine. Thank you to Halide Edib Adivar, whose life and work never fails to inspire me and pushes me to think in ways I have not done before. I also owe a great deal of gratitude to the TRS and XXXX teams at King’s College London. Copyright The copyright of this thesis explores whether rests with the madness featured can author and no quotations from it or information derived from it may be read published without proper acknowledgement. Introduction In working towards examining nationalism, nationhood, social transformation and identity, it becomes clear that an extensive body of literature already exists within academia. These studies have been pursued through various angles, focusing on developing normative approaches towards the entities of state, nation and identity in order to understand their cultural, sociological, economical and political consequences. However, one approach that has been somewhat neglected, at least in Turkey’s case, is the study of these entities through literary texts. This dissertation focuses on literature produced during the transitional period of Turkey over 1918 to mid 1930s, from the Islamic Empire towards the secular Republic, in order to understand how literature, specifically the novel, contributed towards the development of new ideologies, influenced social transformation and fostered the reconstruction of a new national and cultural identity. In her memoir, Halide Edip states that, “Nationalism in Turkey has more than one phase and name as well as definition.”1 This makes studying the evolution of nationalism as well as national identity in Turkey both very interesting and challenging. The development of Turkish nationalism, which eventually led the country to fight for its own independence and to establish a secular Republic, went through many stages, met various obstacles and faced some difficult challenges along the way. It could be argued that, even today, nationalism is still evolving in Turkey, and there are multiple definitions of Turkish nationalism, each with its own narrative and interpretation of historical events. This dissertation aims to demonstrate that one of the most critical ways to study and understand how nationalism emerged and 1 Adivar, Memoirs of Halide Edib, USA 2005, p. 313 evolved in Turkey, from the Ottoman Empire to the new Republic of Turkey, is to study the literature from this time period. Early work in narrative studies mainly focused on the structures of literary texts rather than the contexts in which stories were told. However, in more recent years it became apparent that the study of narrative could be fruitfully combined with the study of ideologies.2 These ideologies, in specific contexts, are rather difficult to systematize or make explicit; however, if a narrative is convincing, the ideology it both conveys and helps reproduce has a substantial chance of being accepted by the reader.3 In the case of Turkey, the ideologies such as nationalism, Westernization, secularism and even gender equality were nurtured by literature and presented to the public, usually in the form of novels published as serials in various newspapers and magazines. This encouraged the public to be familiarised with these ideologies, through characters and plot lines with which they could identify. This examination of literature, however critical, is not straightforward. The work that authors produced during this transitional period could only be studied once this period itself was thoroughly examined, due to the unique case of Turkey’s situation—that is, the Ottoman Empire was a multinational empire under the threat of separatist nationalism, and, at the same time, European imperialism. The development of Turkish nationalism was a response towards such threats. However, it could be argued that post-colonial theory would not be suitable to understanding this evolution, since 2 Narrative theorists such as Xxxxxx Xxxxxxx were among the first to indicate this new way of studying literary texts. 3Herman, &Vervaeck, Ideology: The Cambridge Companion to Narrative, UK 2012, p. 218 the Ottoman Empire was never actually colonized. While the Ottoman Empire did lose territories to colonialism, it never lost its sovereignty. This means postcolonial literature as a metaphor for crisistheory will also, to a large extent, be inapplicable in studying the literature that was produced during late-Ottoman period, or rebellionthe early years of the Turkish Republic. Literature produced during this transitional era had its own unique components. It could be argued that one of its most intriguing elements was the contradictions it embodied; the eagerness to Westernize and celebrate the new secular, modern nation collided with the fear of losing treasured values and traditions from the Ottoman past. This is one of the main reasons why literature is arguably one of the most vital ways to examine the period and understand how nationalism and identity evolved. Furthermore, it is important to highlight that literature was a critical platform, starting from the 1908 Tanzimat period all the way into the first years of the new Republic. Literature was a way to nurture new ideologies such as nationalism, Turkism, pan- Ottomanism, secularism and even feminism. Intellectuals of this period were also the leaders of public opinion, which put them in a position to use their narrative as a bridge between these ideologies and the public. In order to deconstruct the nation into its many collectives, one must address the individuals that make up those collectives. While there are a variety of approaches that one could take to address the individuals, this particular study is concerned mainly with fictional ones. Literature shapes one’s perception on individuals as well as society, therefore studying social issues, or bothsocial transformation, through literary characters provides a critical understanding when it comes to national and asks to what extent, when read through a feminist optic, madness is effective or self- defeating. Using the post-Lacanian psycholinguistic theory of Xxxxx Xxxxxxxx, I argue that the madwoman stands as a signpost for an anxiety of authorship at the intersection of crisis and liberation for women authors seeking to inscribe themselves into a male-dominated socio-linguistic system. This attempt at inscription entails a process of autogenography – (re)generating the self through writing – that is productive for the authors involved in terms of literary output, but does not always produce unequivocally positive outcomes on a personal level. The project also examines the motif of female sacrifice – often presented as self-sacrifice – recurring prominently alongside the figure of the madwoman in the texts discussed, to ask what function this sacrifice fulfils. Does it represent an abjection of the feminine for authors who have internalised misogynistic literary standards and traditions in relation to female authorship, or does it represent a process of sublimation for the woman author as part of an attempt to assert linguistic and literary autonomy? I conclude that the madwoman and the leitmotif of female/feminine sacrifice are intimately bound up with questions of female authorship, and the continuing evolution of these tropes reveals some marked differences between the challenges facing women writers at different moments of the past century, and also some interesting similarities. CONTENTS Acknowledgements 4 Key to Abbreviations 5 Introduction 6 CHAPTER ONE: Women's Madness in Xxxxxx xx Xxxxxxxx'x Quand prime le spirituel 28 - The Perpetual Tension of the 'cœur de femme, cerveau d'homme' - Quand prime le féminin in Xxxxxxxx's First Fiction - Symbolic Rejection of Xxxxxxxx's 'Silly Girls' CHAPTER TWO: The Return of Semiotic Madness in Xxxxxx xx Xxxxxxxx'x Late Fiction: Xxx Xxxxxx Images and La Femme rompue 66 - The Beautiful Broken Image of Xxx Xxxxxx Images - The Madwoman on the Threshold of Feminine Liberation: La Femme rompue - Putting the Symbolic Mask Back in Place CHAPTER THREE: Through the Looking-glass into the Labyrinth: The Semiotic Revolution of Xxxx Xxxxxx 105 - The Autogenographic Fiction of Xxxx Xxxxxx - Mad Revolution: Un cri écrit in the Early Trilogy - Frustration: From cri écrit to Écris et tais-toi - Surrealist Sublimation: Effraction au réelindividual

Non Commercial. You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact xxxxxxxxxxx@xxx.xx.xx providing details, and we will remove access to the work immediately and investigate your claim. Download date: 03. Oct. 2020 Three Generations of Women Writing Mad Women in FrenchJun. 2023 WORDS, WIGS AND VEILS: Xxxxxx xx Xxxxxxxx, Xxxx Xxxxxx, Xxxxx Xx Thesis submitted for the MODEST RELIGIOUS DRESS AND GENDERED ONLINE IDENTITIES Xxxxxxxx Xxxxxxxxxxx Theology and Religious Studies King's College London, University of London Submitted for the degree of Doctor of Philosophy XXXXXXX XX XXXXXXXXXX Department in Religious Studies, September 2016 Abstract Words, Wigs and Veils: Modest Religious Dress and Gendered Online Identities In this thesis, I explore how Muslim and Jewish women in a predominantly North American cultural context use online public spaces to blog about their religious dress practices. Existing comparisons between online self-representation and religious dress among Muslim and Jewish women includes work by Xxxxx Xxxxx (2013) and Xxxx Xxxxx (2013 and 2016). My research builds on and expands their contributions, while depending on slightly different primary sources and theoretical frameworks. Consequently, I use Mol’s (2002) concept of French King's College London February 2015 ABSTRACT This thesis examines ‘enactment’ to elaborate how Xxxxxxx’x (2005) and Avishai’s (2008) arguments for women’s religious practices within the evolution confines of conservative religions to be understood as a form of ethical agency, might operate online. Additionally, in light of how different forms of authority are enacted in the primary sources, I interrogate Xxxxx Xxxxxxxx’x (2007) preliminary framework of multiple layers of religious authority online. Approaching the loose blogging networks of about 30 blogs per religion from a qualitative, humanities perspective, I consider the bloggers to have creative control over their writing: I study online writing about religious dress, not religious dress itself. Beyond using snapshots of blog posts written by individual bloggers, I consider how some of the trope of the madwoman in women-authored narratives in French from the early twentieth century until the present day. Given the misogyny inherent in much of the discourse of women's madness as written by male writers bloggers’ perspectives have changed over the centuriestime, the project asks why this ambivalent figure should appear so prevalently and analyse interactions between bloggers and commenters in the narratives ‘Comments’ sections of three generations of women authors during this timerelevant posts. The thesis explores whether the madness featured can be read as a metaphor for crisis, or rebellion, or both, and asks to what extent, when read through a feminist optic, madness is effective or self- defeating. Using the post-Lacanian psycholinguistic theory of Xxxxx Xxxxxxxx, I argue that enactments of gendered religious identities online are often led by women, within frameworks that are simultaneously personal and which the madwoman stands bloggers themselves consider orthodox. Such personal, but not necessarily feminist, online accounts challenge mainstream narratives about religious dress as a signpost oppressive and externally mandated, and instead calls for an anxiety understanding of authorship at the intersection modest dress practices as mutable aspects of crisis and liberation for women authors seeking to inscribe themselves into a male-dominated socio-linguistic system. This attempt at inscription entails a process of autogenography – (re)generating the self through writing – that is productive for the authors involved in terms of literary output, but does not always produce unequivocally positive outcomes on a personal level. The project also examines the motif of female sacrifice – often presented as self-sacrifice – recurring prominently alongside the figure of the madwoman in the texts discussed, to ask what function this sacrifice fulfils. Does it represent an abjection of the feminine for authors who have internalised misogynistic literary standards and traditions in relation to female authorship, or does it represent a process of sublimation for the woman author as part of an attempt to assert linguistic and literary autonomy? I conclude that the madwoman and the leitmotif of female/feminine sacrifice are intimately bound up with questions of female authorshiplived, and the continuing evolution of these tropes reveals some marked differences between the challenges facing women writers at different moments of the past centurygendered, and also some interesting similaritiesreligious identities. CONTENTS Abstract 2 Acknowledgements 4 Key to Abbreviations 5 6 0 Introduction 6 CHAPTER ONE: Women's Madness in Xxxxxx xx Xxxxxxxx'x Quand prime le spirituel 28 - The Perpetual Tension of the 'cœur de femme, cerveau d'homme' - Quand prime le féminin in Xxxxxxxx's First Fiction - Symbolic Rejection of Xxxxxxxx's 'Silly Girls' CHAPTER TWO: The Return of Semiotic Madness in Xxxxxx xx Xxxxxxxx'x Late Fiction: Xxx Xxxxxx Images and La Femme rompue 66 - The Beautiful Broken Image of Xxx Xxxxxx Images - The Madwoman on the Threshold of Feminine Liberation: La Femme rompue - Putting the Symbolic Mask Back in Place CHAPTER THREE: Through the Looking-glass into the Labyrinth: The Semiotic Revolution of Xxxx Xxxxxx 105 - The Autogenographic Fiction of Xxxx Xxxxxx - Mad Revolution: Un cri écrit in the Early Trilogy - Frustration: From cri écrit to Écris et tais-toi - Surrealist Sublimation: Effraction au réel8