Your Unpublished Thesis, Submitted for a Degree at Williams College and Administered by the Williams College Libraries, Will Be Made Available for Research Use
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WILLIAMS COLLEGE LmRARIES COPYRIGHT ASSIGNMENT AND INSTRUCTIONS FOR A STUDENT THESIS Your unpublished thesis, submitted for a degree at Williams College and administered by the Williams College Libraries, will be made available for research use. You may, through this form, provide instructions regarding copyright, access, dissemination and reproduction of your thesis. The College has the right in all cases to maintain and preserve theses both in hardcopy and electronic format, and to make such copies as the Libraries require for their research and archival functions. _ The faculty advisor/s to the student writing the thesis claims joint authorship in this work. _ I/we have included in this thesis copyrighted material for which I/we have not received permission from the copyright holder/s. If you do not secure copyright permissions by the time your thesis is submitted, you will still be allowed to submit. However, if the necessary copyright permissions are not received, e-posting of your thesis may be affected. Copyrighted material may include images (tables, drawings, photographs, figures, maps, graphs, etc.), sound files, video material, data sets, and large portions of text. I. COPYRIGHT An author by law owns the copyright to his/her work, whether or not a copyright symbol and date are placed on the piece. Please chooSe one of the options below with respect to the copyright in your thesis. _ I/we choose not to retain the copyright to the thesis, and hereby assign the copyright to Williams College. Selecting this option will assign copyright to the College. If the author/s wishes later to publish the work, be/she/they will need to obtain permission to do so from the Libraries, which will be granted except in unusual circumstances. The Libraries will be free in this case to also grant permission to another researcher to publish some or all of the thesis. If you have chosen this option, you do not need to complete the next section and can proceed to the signature line. _)(_ Jfwe choose to retain the copyright to the thesis for a period of __ years, or until my/our death/s, whichever is the earlier, at which time the copyright shall be assigned to Williams College without need of further action by me/us or by my/our heirs, successors, or representatives of my/our estate/s. Selecting this option allows the author/s the flexibility of retaining his/her/their copyright for a period of years or for life. II. ACCESS AND COPYING If you have chosen in section I, above, to retain the copyright in your thesis for some period of time, please choose one of the following options with respect to access to, and copying of, the thesis. _j:._ I/we grant permission to Williams College to provide access to (and therefore copying of) the thesis in electronic format via the Internet or other means of electronic transmission, in addition to permitting access to and copying of the thesis in hardcopy format. Selecting this option allows the Libraries to transmit the thesis in electronic fonmt via the Internet. This option will therefore permit worldwide access to the thesis and, because the Libraries cannot control the uses of an electronic version once it has been transmitted, this option also pe1mits copying of the electronic version. __ I/we grant permission to Williams College to maintain and provide access to the thesis in hardcopy format. In addition, I/we grant pennission to Williams College to provide access to (and therefore copying of) the thesis in electronic fonnat via the Internet or other means of electronic transmission after a period of ___ years. Selecting this option allows the Libraries to transmit the thesis in electronic fom1at via the Internet after a period of years. Once the restriction period has ended, this option permits worldwide access to the thesis, and copying of the electronic and hardcopy versions. __ Ilwe grant permission to Williams College to maintain, provide access to, and provide copies of the thesis in hardcopy format only, for as long as Ilwe retain copyright. Selecting this option allows access to your work only from the hardcopy you submit for as long as you retain copyright in the work. Such access pertains to the entirety of your work, including any media that it incorporates. Selecting this option allows the Libraries to provide copies of the thesis to researchers in hardcopy form only, not in electronic format. _ I/we grant pennission to Williams College to maintain and to provide access to the thesis in hardcopy format only, for as long as Ilwe retain copyright. Selecting this option allows access to your work only from the hardcopy you submit for as long as you retain copyright in the work. Such access pertains to the entirety of your work, including any media that it incorporates. This option does NOT pem1it the Libraries to provide copies of the thesis to researchers. Signed (student author) Signed (faculty advisor) Signed (2d advisor, if applicable) ____________________ Thesis title J)'f"n~~~~-._~~;Q;\~~~ Date C>?:.)_rs_/.~----- Library Use Accepted By: Date: __-::_~_,-'-/~s"-,--"' _, '-/_,-z.L; ___ rev. March 2010 Dystopian Dreaming Examining Gender and Heroines in Young Adult Dystopian Literature by Samira Martinhago Custódia Jacqueline Hidalgo, Advisor A thesis submitted in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Honors in Religion WILLIAMS COLLEGE Williamstown, Massachusetts March 15, 2013 Table of Contents ACKNOWLEDGMENTS 3 INTRODUCTION 5 HOW I STUMBLED UPON DYSTOPIA 7 CHAPTER ONE 17 PART ONE: GENDERED REPRESENTATIONS IN THE APOCALYPTIC LANDSCAPE 17 COMPREHENDING APOCALYPSE 17 SPACES OF HOPE 21 FEMININE PORTRAYALS IN THE BOOK OF REVELATION 24 INTERPRETING THE BOOK OF REVELATION 28 PART TWO: DYSTOPIAN DREAMING 34 A GENEALOGY OF UTOPIA 34 SOCIAL DREAMING 37 CRITICAL DYSTOPIAS 39 CHAPTER TWO 43 A BRIEF OVERVIEW 43 A GENEALOGY OF THE (AMERICAN) HERO 45 CHARACTERISTICS OF THE AMERICAN HERO 50 HEROIC MASCULINITIES 58 READING REVELATION’S GENDER DUALITY 64 FINAL THOUGHTS 76 BIBLIOGRAPHY 79 2 Acknowledgments Many individuals collectively aided me in the completion of this thesis. I will endeavor to thank everyone though my words cannot possibly encompass all my gratitude. To my thesis advisor, Professor Jacqueline Hidalgo: Your continual guidance through the research, writing, and revisions was instrumental to the completion of this thesis. Thank-you for making sense of my convoluted ideas, for rephrasing my rambling sentences, and for being patient with me when I panicked at our weekly meetings. I could not have gone through this with anyone else. To Professor María Elena Cepeda: Thank-you for thoroughly editing my thesis and advising me on even the most minute aspects. Your thoroughness, though daunting during the editing process, was nevertheless spot-on. Thank-you for also encouraging me to further pursue this topic on a graduate level. Your encouragement has opened new possibilities for me should I ever attend graduate school. 3 To my friends: I am deeply grateful for all those who supported me through the process. I know I drove you all insane with my stress-induced rants during most of our conversations, so thank-you for sticking it out with me. I truly appreciate the support. Para minha mãe: obrigada por tudo que fizeste, pela as orações, pela paciência, e pelo amor. Eu nunca teria feito tudo isso sem o teu apoio, mãe. Last, but certainly not least, I could not have written this without God’s diligent guidance and the gifts He has bestowed upon me. I hope that He is pleased. 4 Introduction The market for dystopian literature has grown exponentially in recent years. A walk through any bookstore quickly makes evident that young adult dystopian literature is the new, hot trend. Contrary to paranormal romances, which gained popularity due to the Twilight (2005-2008) craze, dystopian literature is more focused upon social critique. As a genre, dystopia pertains to an imaginative society typically located in time and space that the author expected a contemporary audience to interpret as criticism of the present.1 Novels centered on social criticism, personal independence, and fear of the government have now replaced young adult romances featuring vampires, werewolves, and all manners of mythical creatures. This past year goodreads.com2 posted an infograph that recorded the history of dystopia as a genre.3 The first wave of dystopia began in the 1930’s and lasted well into the 1960’s. Between those dates the trend among dystopian novels centered upon a fear and distrust of the government. Titles include Brave New World (1932), 1984 (1949), 1 Lyman Tower Sargent, “The Three Face of Utopianism Revisited,” Utopian Studies 5, no.1 (1994): 9. 2 Goodreads.com is a social networking site where people may find and share books they enjoy. 3 Patrick Brown, “The Dystopian Timeline to The Hunger Games,” The Goodreads Blog, Last modified March 21, 2012, http://www.goodreads.com/blog/show/351-the-dystopian-timeline-to-the-hunger- games-infographic. 5 Fahrenheit 451 (1950), and A Clockwork Orange (1962). The motivation for these stories arose from World War II, communism, and fascism. The next trend then focused upon anxieties and concerns about the body. Environmental crises, the Cold War, and identity politics inspired the creation of The Handmaid’s Tale (1985), V for Vendetta (1988), The Children of Men (1992), and Never Let Me Go (2005). The present development in dystopian literature exhibits a blending of the two previous themes: distrust of government and social anxiety. The most recent tales are primarily aimed at the young- adult audience and present strong female leads that are anti-conformist.