Self in literature

This collection of eight short stories explores the themes of nonconformity, selfacceptance,
and transformation. Characters confront religious, racial, and moral issues,
which result in overcoming some internal or external challenge. The stories are told with
magical, satirical, and traditional story-telling elements. For example, "The Liberation of
Mammy" is about a slave who uses her secret pancake recipe to cause a distraction that
allows her to escape from bondage; "Her Own House," is inspired by the biblical burning
bush story; and "Notes on a Video Honey" is the story of a young girl who doesn't
complete! y understand or approve of her mother's decision to degrade herself by being
mere eye candy in rap videos. Worlds similar to our own and worlds that are
exaggerations of our own are intended to guide readers to ideas they may have never
before considered.

Consistent with Vivian Gornick's "idea of self," Work In Progress is, in many
ways, a classic coming-of-age story in which the boy, Nicky, along his life-journey,
struggles to discover who he is. If Work In Progress is unusual, it is in the degree and the
detail that it delves into its major themes, which I discuss below. Second, Work in
Progress is unusual in the number of purposeful stylistic variations employed across the
project's books.
Nicky's story is told in seven books, each of which is a standalone, personal
essay. Through the books the reader is provided an episodic snapshot of Nicky's life.
Each of the snapshots facilitate a particular view of Nicky, each is a jigsaw-puzzle-piece
that, when snapped together with the other puzzle pieces, form a single, holistic image of
the boy and his search for self I provide an overview of each of the seven books below.
I am also endeavoring to write Work in Progress on three levels: The first level is
the compelling, personal level that draws the reader to the individual, Nicky, and the
group of supporting characters. The story has to be compelling enough to pull the reader through the various stylistic iterations of each of the different books. Second,
through the exploration of the major themes of institutionalization, abuse, religion, and
racism (including the offshoots: race-based self-hatred and the discrimination within
races that Alice Walker cans colorism), I attempt to raise the story up to another level, a
level of universal applicability. Specifically, I want the everyday reader, the reader who
has not suffered these circumstances to know them through the reading experience, and,
consequently, to relate to and with Nicky. Toward this end, I use every narrative tool and
technique at my disposal including utilizing reflection in the form of stream of
consciousness and dreams, for example, to put the reader into the experience instead of
telling the reader what the protagonist is thinking. I also maximize the use of scene,
imagery, metaphor, and dialogue, to show the reader, and to allow the reader to come to
their own conclusions.

The eleven short stories in this collection can be described as autobiographical fiction, combining true instances from the author’s life with fictional characters and events. The stories explore the themes of grief and loss, coming of age, and the importance of preserving the natural world.

The topics of identity and subjectivity are well-trodden paths in posthuman
thought, and the trend has been to reduce the self to its material, social, and technoscientific components. Yet the posthuman model of subjectivity—influenced by the tenets of postmodernism—tends to be disabling because it does not focus on the subject’s agency or the possibility of liberation from social tyranny. In this thesis, I use a sampling of what I call “religious wisdom literature”—specifically, the wisdom books of the Old Testament and contemporary Buddhist writings—to challenge the assumption that the self is indistinguishable from the ideologies that produce it. I provide models from religious texts that instead, emphasize critical agency, flexibility, and resistive power. I also suggest that focusing on these qualities may ultimately be useful in the composition classroom, where we can use “self-centered” expressivist techniques (reflective assignments, emotional awareness) to meet the social-epistemic goal of ideological critique. Ultimately, posthumanism, with its emphasis on the construction of subjectivity, is better suited to question strict materialism and inquire into the inspiring possibilities of ancient wisdom.

In the "Scylla and Charybdis" chapter of Ulysses, the novel appears to make a problem out of its autobiographical suppositions. Stephen Dedalus argues that the works of Shakespeare have a biographical basis, and previously in Ulysses Stephen has imagined himself as a Shakespearean character. Stephen is also the protagonist of Joyce's earlier work, A Portrait of the Artist as a Young Man. In the "Scylla and Charybdis" episode, the association between Joyce and Stephen seems confirmed when the narrator's voice, sometimes conflated with Stephen's, reports thoughts particularly appropriate for James Joyce. This chapter, however, lures one into an autobiographical reading of Stephen that does not remain tenable throughout the novel. Apparent autobiography in Ulysses becomes a problem (rather than an easy option for interpretation) when one finds autobiographical references significantly changed in the "Circe" chapter--changed so that the essential ambiguity of Joyce's autobiographical references becomes clear.

In A Wizard of Earthsea and The Farthest Shore, Ursula K. Le Guin presents the theme of selfhood, of maturity, and of identity through the character heroes of Ged and Arren. Of these two, Ged experiences the quest for selfhood on two levels: first, from boy to manhood, and then from manhood to the awareness of death. Both novels deal with the struggle to create, which is primarily a struggle with self, with one's own powers, and with the need to control these powers and their consequences. I have examined WOE through the perspective of Ged's coming of age, his initiation and apprenticeship, and his relationship with the "shadow." I have discussed the shadow as a metaphor for darkness in relation to modern man's age of despair and loss of hope. In this area I have referenced ideas by Carl G. Jung. In TFS I have explored Ged's second cycle of selfhood through his encounter with death and how this encounter is seen as an abyss providing the ultimate confrontation which can guide the spirit toward creation, regeneration, and redemption. From this perspective I have explored the abyss through some discussion by Martin Heidegger. Arren's quest for selfhood is also examined, on a secondary level, through his relationship with Ged and his destiny for kingship.

The Glass Catamount is concerned with one James Frederick Curling, a young, up-and-coming senator from Delaware. As Curling moves up through his political party, suspicion of infidelity begins to rise to the surface as a woman from his past appears and claims to know intimate details about the senator. Her intentions are unknown, but as the senator's old friend and aide, Robertson Peters, finds himself drawn in by her stories, unsure if they are truth or fabrication, the longevity of the career of the senator, and possibly even his life, come into question. Themes of truth versus reality are dealt with throughout, and the act of sexual exploration and discovery is broken down and analyzed in the context of the senator's past and what he constructs as truth, whether it was always the way he claims or not. The glass catamount of the title is a symbol of the fragility and rarity of an understood self, appearing only briefly as it passes through the trees on its climb back up the mountain.

Dorothy Allison's Two or Three Things I Know for Sure, Mary Karr's The Liars' Club, and Barbara Robinette Moss's Change Me into Zeus's Daughter are memoirs published in the 1990s of girlhoods in the late 1950s and early 1960s. This dissertation uses and expands upon the approaches of the multi-disciplinary Girls' Studies in analyzing how these memoirists theorize their own girlhoods. Each memoirist represents her experience in a culture that attempts to marginalize, silence, and define her. An application of the foundational work on girlhood in developmental psychology provides for an analysis of each memoirist's depiction of girlhood as a time of authentic insight and developing agency. Referencing feminist literary criticism allows for an interpretation of how the girls at the center of these works develop agency through growing awareness of the circumstances of their marginalization. And a semiotic literary interpretation adds to the analysis of these works as creative autobiogra phical writing in affording a close reading of how the memoirists portray younger selves learning to read the signs and texts of a culture and becoming aware of their status as girls in working-class families. Each memoirist uses a dual vocal presentation as both the adult memoirist and a younger self give shape to the narrative. Each memoirist represents a distinct southern space intersecting with specifics of the era to form a cultural moment. Social Construction Theory makes available a basis for considering how the memoirists narrate their increasing understanding of race and gender within these specific contexts as well as their resistive voicing of these insights.

This thesis represents a study of Kate Chopin's groundbreaking novel, The Awakening. Further, it applies Nietzsche's principles of Dionysiac and Apollonian impulses to the literary analysis of the novel. I argue that the protagonist of the novel, Edna Pontellier, embarks on a quest to determine how she may live an authentic life - that is, a life whereby she is true to herself above all others. Ultimately, her search for self is overwhelmed by the imbalance of the Apollonian and Dionysiac impulses against which she struggles. Because Edna cannot successfully mediate this struggle, she reaches the conclusion that she may only attain a truth to her self if she finds that truth in death.

This thesis examines two works (My Journey to Lhasa and Magic and Mystery in Tibet) by Alexandra David-Neel. These works subvert the self/other dichotomies both necessary to and critiqued by postcolonial theory. Central to this study is an examination of a claim by His Holiness the XIV Dalai Lama that David-Neel creates an "authentic" picture of Tibet. In order to do this the first chapter establishes a working definition of authenticity based on both Western philosophy and Vajrayana Buddhism. This project argues that the advanced meditation techniques practiced by Alexandra David-Neel allow her to access a transcendent self that is able to overcome the self/other dichotomy. It also discusses the ways in which abjection and limit experiences enhance this breakdown. Finally, this thesis examines the roles that gender and a near absence of female Tibetan voice play in complicating the problems of self, subjectivity, and authenticity within these texts.