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dc.contributor.advisorOrr, Mary Margaret
dc.contributor.authorMcTurk-Starkie, Amy
dc.description.abstractThis study analyses George Sand’s depictions of artists as women creating in multiple art forms (as writers, actresses, musicians, and painters) to disclose Sand’s innovative narrative strategies that allow alternative stories about women’s creativity to emerge against a background of major medical, political, and cultural discourses that insistently rendered prevalent understandings of womanhood antithetical to artistic vocation. Challenging the tendency to read Sand’s women artists primarily through the lens of sex or gender for the production of (equally reifying) counter-stereotypes, the multimedial scope of this thesis – which addresses the lack of any major study of Sand’s female artists across art forms – demonstrates how recentring the agency and creativity possessed by Sand’s situated heroines reveals key alternative forms of women’s artistic practice within their nineteenth-century contexts. This thesis reveals how Sand’s fiction repeatedly functions as an extensive exploration of the lived experiences of women creating in a particular art form. Reading Sand’s stories of women artists for the narrative clashes that occur between her female artists’ testimony of lived experience and the dominant cultural narratives for both “the Artist” and “the Woman” highlights how Sand’s texts rewrite these dominant narratives to reflect better the lived experiences of female artists in nineteenth-century France. Consequently, my thesis addresses the dissonance between predominant representations of creative women participating in the cultural sphere (whether as monstrous Bas-bleu, frivolous dabbler, or muse) and the lived experiences of women artists, who were increasingly present and successful in the cultural sphere. Sand’s depictions of artists as women thus not only provide models for women’s artistic identities, but more importantly, demonstrate strategies through which women could continually produce interspaces for the development of their artistic identity as a response to, and a negotiation of, the historically framed contexts that allegedly defined them.en_US
dc.description.sponsorship"This work was supported by the University of St Andrews (School of Modern Languages PhD scholarship). This work was supported by the Scottish International Education Trust [T-C.FID324118]. This work was supported by Funds for Women Graduates (FfWG). FfWG provide grants, bursaries and fellowships to women graduates to help with living expenses."--Fundersen
dc.subjectGeorge Sanden_US
dc.subjectWomen artistsen_US
dc.subjectLived experienceen_US
dc.subjectWomen's artistic agencyen_US
dc.subjectWomen's creativityen_US
dc.subjectNarrative strategiesen_US
dc.subjectNarrative clashen_US
dc.subjectMultiple art formsen_US
dc.subjectNineteenth-century Franceen_US
dc.subjectLiterary representation of the artisten_US
dc.subject.lcshSand, George, 1804-1876--Criticism and interpretationen
dc.subject.lcshWomen artists--France--19th centuryen
dc.titleRe-telling the stories of artists who are women : lessons from the multimedial fictions of George Sanden_US
dc.contributor.sponsorUniversity of St Andrews. School of Modern Languagesen_US
dc.contributor.sponsorScottish International Education Trusten_US
dc.contributor.sponsorFunds For Women Graduates (FfWG)en_US
dc.type.qualificationnamePhD Doctor of Philosophyen_US
dc.publisher.institutionThe University of St Andrewsen_US
dc.rights.embargoreasonThesis restricted in accordance with University regulations. Restricted until 4 March 2029en

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