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RHETORICAL LIFELINES: QUEER AND FEMINIST SURVIVAL IN RIYOKO IKEDA’S THE ROSE OF VERSAILLES

dc.access.optionRestricted Campus Access Only
dc.contributor.advisorSharer, Wendy B
dc.contributor.authorThompson, Kimberly D
dc.contributor.departmentEnglish
dc.date.accessioned2019-06-12T13:08:56Z
dc.date.available2021-05-01T08:02:01Z
dc.date.created2019-05
dc.date.issued2019-04-25
dc.date.submittedMay 2019
dc.date.updated2019-06-11T15:56:02Z
dc.degree.departmentEnglish
dc.degree.disciplinePHD-Rhetoric, Writ, Prof Comm
dc.degree.grantorEast Carolina University
dc.degree.levelDoctoral
dc.degree.namePh.D.
dc.description.abstractThis dissertation explores the rhetorical lifelines of queer and feminist survival in the adapted animation of Riyoko Ikeda's The Rose of Versailles. Using an interdisciplinary approach, this study examines the rhetorics of place/space and embodiment in the animation. Drawing from feminist and queer scholarship in the humanities, such as rhetorical studies and technical and professional communication, and social sciences, in particularly, geography and anthropology, I examine the spatial, visual, discursive, and bodily rhetorics in The Rose of Versailles that reflect some of the concerns of 1970s Japanese women's movements, concerns that also echo among many contemporary Western and Eastern queer and feminist movements. The project explores the rhetoric of intellectual places, such as Parisian salons, and personal places, such as homes, to suggest that the rhetorical practices found in such places, even if such places are designated as inclusive and inviting, limit the rhetorical capacity of certain individuals, particularly feminist and queer individuals. Additionally, this study considers how The Rose of Versailles offers up alternative lifelines of feminist and queer survival through the bodily rhetorics of Lady Oscar and Rosalie, a supporting character who is in love with Lady Oscar. Finding empowerment in the queer disorientation of failing to fit heteronormative logics and in the queer disorientation of "sticky" objects that illuminate the slippery tendencies of embodiment, the rhetorics of Lady Oscar and Rosalie bring forth queer worlds of queer and feminist survival for queer and feminist viewers to inhabit when their lives and worlds feel unlivable. Comparing the intersections of my experiences with those of current-day students, I illustrate the contemporary relevance of texts like The Rose of Versailles to both queer and feminist rhetorical scholarship and to our work with queer students, many of whom, over 40 years after the publication of The Rose of Versailles, still need feminist and queer rhetorical lifelines to survive.
dc.embargo.lift2021-05-01
dc.format.mimetypeapplication/pdf
dc.identifier.urihttp://hdl.handle.net/10342/7221
dc.language.isoen
dc.publisherEast Carolina University
dc.subjectqueer rhetorics
dc.subjectbodily rhetorics
dc.subjectspatial rhetorics
dc.subjectvisual rhetorics
dc.subjectmaterial rhetorics
dc.subjectdiscursive rhetorics
dc.subjectWestern feminisms.
dc.subject.lcshIkeda, Riyoko. Berusaiyu no bara. Selections. English
dc.subject.lcshAnime (Television programs)--Themes, motives
dc.subject.lcshFeminism--Japan
dc.subject.lcshFeminism in comics
dc.subject.lcshFeminism and rhetoric
dc.subject.lcshQueer theory
dc.subject.lcshManga (Comic books)--Themes, motives
dc.titleRHETORICAL LIFELINES: QUEER AND FEMINIST SURVIVAL IN RIYOKO IKEDA’S THE ROSE OF VERSAILLES
dc.typeDoctoral Dissertation
dc.type.materialtext

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