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Published: 25 July 2024
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1

Wasowicz, Laura. The children's Pocahontas: From gentle child of the wild to all-American heroine. Worcester, Mass: American Antiquarian Society, 1996.

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2

Wasowicz, Laura. The children's Pocahontas: From gentle child of the wild to all-American heroine. Worcester, Mass: American Antiquarian Society, 1996.

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3

Mieres, Antonio. Enrique Bernardo Núñez, o, La historia como obra heroica de la gente oscura. Caracas: Fondo Editorial Tropykos, 2001.

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4

Chris, Baldick, ed. The Oxford Book of Gothic Tales. 3rd ed. Oxford: Oxford University Press, 2009.

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5

Chris, Baldick, ed. The Oxford Book of Gothic Tales. 6th ed. Oxford: Oxford University Press, 1993.

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6

Chris, Baldick, ed. The Oxford book of gothic tales. Oxford [England]: Oxford University Press, 1992.

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7

Allan, Poe Edgar. A Classic Crime Collection. London: Simon and Schuster, 2015.

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8

Charles, Baudelaire, Perosa Sergio, and Mondadori, eds. Racconti. Milano: Oscar Mondadori, 2011.

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9

1809-1849, Poe Edgar Allan, ed. The Raven and the Monkey's Paw: Classics of Horror and Suspense from the Modern Library. New York: Modern Library, 1998.

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10

Allan, Poe Edgar. Cuentos I. 6th ed. Mexico: Alianza, 1992.

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11

Allan, Poe Edgar. In the Shadow of the Master. New York: HarperCollins e-books, 2008.

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12

Allan, Poe Edgar. Da shi de shen ying: Aidege Ailun Po jing dian xiao shuo ji. Taibei Shi: Lian pu chu ban, 2009.

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13

Allan, Poe Edgar. Mystery Writers of America presents In the shadow of the master: Classic tales. New York: Harper, 2010.

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14

Allan, Poe Edgar. El cuervo y otros cuentos. México: Grupo Editorial Tomo, 2013.

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15

Charters, Ann. The Story and Its Writer: An Introduction to Short Fiction. Boston: Bedford/St. Martin's, 2015.

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16

Ann, Charters, ed. The Story and its writer: An introduction to short fiction. Boston, MA: Bedford Books of St. Martin's Press, 1990.

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17

Ann, Charters, ed. The Story and its writer: An introduction to short fiction. 2nd ed. New York: St. Martin's Press, 1987.

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18

Allan, Poe Edgar. Great Short Works of Edgar Allan Poe. New York: Harper & Row Publishers, 1987.

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19

Ann, Charters, ed. The story and its writer: An introduction to short fiction. 6th ed. Boston: Bedford/St. Martin's, 2003.

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20

Charters, Ann. The Story and Its Writer: An Introduction to Short Fiction. Boston: Bedford/St. Martin's, 2011.

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21

Allan, Poe Edgar. Selected Poems & Tales. New York: Barnes & Noble, 2004.

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22

Ann, Charters, ed. The Story and its writer: An introduction to short fiction. 4th ed. Boston: Bedford Books of St. Martin's Press, 1995.

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23

Ann, Charters, ed. The Story and Its Writer: An Introduction to Short Fiction. 4th ed. Boston: Bedford Books of St. Martin's Press, 1995.

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24

Ann, Charters, ed. The story and its writer: An introduction to short fiction. 7th ed. Boston: Bedford/St. Martin's, 2007.

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25

Ann, Charters, ed. The Story and its writer: An introduction to short fiction. 3rd ed. Boston, MA: Bedford Books of St. Martin's Press, 1991.

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26

Huang, Ana. If We Ever Meet Again. Boba Press, 2020.

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27

Huang, Ana. If We Ever Meet Again. Little, Brown Book Group Limited, 2023.

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28

Nightfall. Penguin Publishing Group, 2024.

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29

Fontane, Theodor, and Ritchie Robertson. Effi Briest. Translated by Mike Mitchell. Oxford University Press, 2015. http://dx.doi.org/10.1093/owc/9780199675647.001.0001.

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‘I loathe what I did, but what I loathe even more is your virtue.’ Seventeen-year-old Effi Briest is steered by her parents into marriage with an ambitious bureaucrat, twenty years her senior. He takes her from her home to a remote provincial town on the Baltic coast of Prussia where she is isolated, bored, and prey to superstitious fears. She drifts into a half-hearted affair with a manipulative, womanizing officer, which ends when her husband is transferred to Berlin. Years later, events are triggered that will have profound consequences for Effi and her family. Effi Briest (1895) is recognized as one of the masterpieces by Theodor Fontane, Germany's premier realist novelist, and one of the great novels of marital relations together with Madame Bovary and Anna Karenina. It presents life among the conservative Prussian aristocracy with irony and gentle humour, and opposes the rigid and antiquated morality of the time by treating its heroine with sympathy and keen psychological insight.
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30

Walsh, Karen M. Geek Heroines. Greenwood, 2019. http://dx.doi.org/10.5040/9798400655814.

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Geek Heroines not only tells the stories of fictional and real women, but also explores how they represent changes in societal views of women, including women of color and the LGBTQ community. Geek culture stems from science and technology and so is frequently associated with science fiction. In the beginnings of science fiction, the genre was tied to "magic" and dystopic outcomes; however, as technology turned "geek" into "chic," geek culture extended to include comics, video games, board games, movie, books, and television. Geek culture now revolves around fictional characters about whom people are passionate. Geek Heroines seeks to encourage women and young girls in pursuing their passions by providing them with female role models in the form of diverse heroines within geek culture. Carefully curated to incorporate LGBTQ+ identities as well as racial diversity, the book defines geek culture, explains geek culture's sometimes problematic nature, and provides detailed fiction and nonfiction biographies that highlight women in this area. Entries include writers and directors as well as characters from comic books, science fiction, speculative fiction, television, movies, and video games.
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31

Meehan, Norma Lu. Heroine of the Limberlost: A Paper Doll Biography of Gene Stratton-Porter. Texas Tech University Press, 1998.

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32

Gothic Heroines on Screen. Taylor & Francis Group, 2019.

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33

Hicks-Keeton, Jill. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190878993.003.0007.

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Joseph and Aseneth shows us that we need to expand our categories of inclusion if we want to capture accurately the full range of ways in which ancient Jews, including those affiliated with the Jesus Movement, imagined the possibility of gentile access. “Jewishness” was not the only end goal of gentile inclusion and, correspondingly, circumcision was not the only mechanism of accomplishing incorporation. We also miss what is important about Joseph and Aseneth for conversations about shifting Jew-gentile boundaries in antiquity if we focus only on Aseneth’s own movement from the veneration of “idols” to the worship of Israel’s “living God”—that is, if we see her merely as an intended model. For Joseph and Aseneth, the heroine’s acceptance marks a moment in Israel’s story in which God-worshiping gentiles can not only see themselves but see their own mythic protector who mediates God’s mercy to them.
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34

Münderlein, Kerstin-Anja. Genre and Reception in the Gothic Parody: Framing the Subversive Heroine. Taylor & Francis Group, 2021.

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35

Münderlein, Kerstin-Anja. Genre and Reception in the Gothic Parody: Framing the Subversive Heroine. Taylor & Francis Group, 2021.

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36

Genre and Reception in the Gothic Parody: Framing the Subversive Heroine. Routledge, 2021.

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37

Genre and Reception in the Gothic Parody: Framing the Subversive Heroine. Taylor & Francis Group, 2021.

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38

MCDONALD, TAMAR JEFFERS, and Frances A. Kamm. Gothic Heroines on Screen: Representation, Interpretation, and Feminist Inquiry. Taylor & Francis Group, 2019.

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39

MCDONALD, TAMAR JEFFERS, and Frances A. Kamm. Gothic Heroines on Screen: Representation, Interpretation, and Feminist Inquiry. Taylor & Francis Group, 2019.

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40

Forshaw, Barry. The Silence of the Lambs. Liverpool University Press, 2013. http://dx.doi.org/10.3828/liverpool/9781906733650.001.0001.

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The 1991 film The Silence of the Lambs, based on Thomas Harris's bestseller, was a game-changer in the fields of both horror and crime cinema. FBI trainee Clarice Starling was a new kind of heroine, vulnerable, intuitive, and in a deeply unhealthy relationship with her monstrous helper/opponent, the serial killer Hannibal Lecter. Jonathan Demme's film skillfully appropriated the tropes of police procedural, gothic melodrama and contemporary horror to produce something entirely new. The resulting film was both critically acclaimed and massively popular, and went on to have an enormous influence on 1990s genre cinema. This book closely examines the factors that contributed to the film's impact, including the revelatory performances of Jodie Foster and Anthony Hopkins in the lead roles.
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41

Hicks-Keeton, Jill. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190878993.003.0001.

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The Introduction claims that the ancient romance Joseph and Aseneth moves a minor character in Genesis from obscurity to renown, weaving a new story whose main purpose was to intervene in ancient Jewish debates surrounding gentile access to Israel’s God. Aseneth’s story is a tale of the heroine’s transformation from exclusion to inclusion. It is simultaneously a transformative tale. For Second Temple-period thinkers, the epic of the Jewish people recounted in scriptural texts was a story that invited interpretation, interruption, and even intervention. Joseph and Aseneth participates in a broader literary phenomenon in Jewish antiquity wherein authors took up figures from Israel’s mythic past and crafted new stories as a means of explaining their own present and of envisioning collective futures. By incorporating a gentile woman and magnifying Aseneth’s role in Jewish history, Joseph and Aseneth changes the story. Aseneth’s ultimate inclusion makes possible the inclusion of others originally excluded.
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42

Thomas, Rosie. Not Quite (Pearl) White. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037689.003.0007.

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This chapter examines the construction of one form of modern Indian femininity in the late colonial period by focusing on the intriguing figure of Fearless Nadia, aka Mary Evans. Billed as the “Indian Pearl White,” Evans seems to have been the personification of the “Heroine of a Thousand Stunts” but without her gentler qualities. This chapter first provides an overview of the Fearless Nadia serial films before discussing the films of brothers Homi and Jamshed Wadia, including Diamond Queen. It then analyzes Nadia within the film production context of 1930s Bombay and how the Wadia brothers dealt with her whiteness/otherness and negotiated the points of tension in her image. It also considers the extent to which Nadia copied White and other Hollywood stunt stars, suggesting that this was a form of colonial mimicry in reverse that provided potent currency in the nationalist era. The chapter shows that, despite her whiteness, Fearless Nadia became part of the nationalist movement during the late colonial period in films that many considered anti-British.
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43

Black, Scott. Henry Fielding and the Progress of Romance. Edited by Alan Downie. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199566747.013.012.

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Henry Fielding’s novels fit centrally into recent revisionist accounts of the novel as an international genre defined by translation and adaptation and even by its filiations with romance. Against the standard story of the novel rising as it moves away from romance, Fielding’s novels develop as they approach romance. His art increases in power and sophistication as he more fully explores the possibilities of romance, both structural and modal. As Fielding moves from Jonathan Wild to Joseph Andrews, Tom Jones, and Amelia, the productive tension between satire and romance that organizes all his novels is increasingly resolved by integrating the satire into the structures of romance; love is increasingly explored and not just assumed; and the romance heroine becomes increasingly central. Fielding uses the modal forces of romance to address the issues raised by its expansive, dialogic, and intertextual generic structures.
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44

Cook, Kate. Praise and Blame in Greek Tragedy. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350410527.

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Exploring the use of praise and blame in Greek tragedy in relation to heroic identity, Kate Cook demonstrates that the distribution of praise and blame, a significant social function of archaic and classical poetry, also plays a key role in Greek tragedy. Both concepts are a central part of the discourse surrounding the identity of male heroic figures in tragedy, and thus are essential for understanding a range of tragedies in their literary and social contexts. In the tragic genre, the destructive or dangerous aspects of the process of kleos (glory) are explored, and the distribution of praise and blame becomes a way of destabilising identity and conflict between individuals in democratic Athens. The first half of this book shows the kinds of conflicts generated by ‘heroes’ who seek after one kind of praise in tragedy, but face other characters or choruses who refuse to grant the praise discourses they desire. The second half examines what happens when female speakers engage in the production of these discourses, particularly the wives and mothers of heroic figures, who often refuse to contribute to the production of praise and positive kleos for these men. Praise and Blame in Greek Tragedy therefore demonstrates how a focus on this poetically significant topic can generate new readings of well-known tragedies, and develops a new approach to both male heroic identity and women’s speech in tragedy.
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45

Edgeworth, Maria. Belinda. Edited by Linda Bree. Oxford University Press, 2020. http://dx.doi.org/10.1093/owc/9780199682133.001.0001.

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‘It is singular, that my having spent a winter with one of the most dissipated women in England should have sobered my mind so completely.’ Maria Edgeworth's 1801 novel, Belinda, is an absorbing, sometimes provocative, tale of social and domestic life among the English aristocracy and gentry. The heroine of the title, only too conscious of being ‘advertised’ on the marriage market, grows in moral maturity as she seeks to balance self-fulfilment with achieving material success. Among those whom she encounters are the socialite Lady Delacour, whose brilliance and wit hide a tragic secret, the radical feminist Harriot Freke, the handsome and wealthy Creole gentleman Mr Vincent, and the mercurial Clarence Hervey, whose misguided idealism has led him into a series of near-catastrophic mistakes. In telling their story Maria Edgeworth gives a vivid picture of life in late eighteenth-century London, skilfully showing both the attractions of leisured society and its darker side, and blending drawing-room comedy with challenging themes involving serious illness, obsession, slavery and interracial marriage.
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46

Rector, Geoff. Marie de France, the Psalms, and the Construction of Romance Authorship. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198795148.003.0007.

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This chapter examines the influence of the Psalms on the development of vernacular authorial roles in the twelfth century. It argues that authors of courtly romances, in the period of the genre’s emergence, drew upon the Psalms and the figure of David to sanction a new authorial office. In particular, it argues that Marie de France, in both the General Prologue and the lais themselves, looks to the Psalms for notions of lament, remembrance, obscurity, and restoration that frame both her authorial persona and the purposes of her genre. In ‘Yonec’ in particular, we see a heroine’s lament that is carefully modelled on the lament Psalms but also reproduces the duties of authorship and genre that Marie claims for herself in the Prologue. Ultimately, the chapter argues that the Psalms, working through ‘neighbouring’ or ‘contrafactive’ rather than familial relationships, definitely shaped romance as a genre.
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47

Hooker, Mark T. The Military Uses of Literature. Greenwood Publishing Group, Inc., 1996. http://dx.doi.org/10.5040/9798216187707.

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This book studies the made-to-order genre of socialist-realist fiction that was produced at the direction of the Main Political Directorate of the Soviet Army and Navy (MPD) as a part of the war for men's minds waged by the Soviet State. The first chapter is a history of the genre, tracing it from its roots in the Revolution to the dissolution of the MDP in 1991. Topics examined in the book include the attitude toward Germans following World War II; the retirement of the World War II generation; military wives; Dear John letters; life at remote posts; the military as a socializing institution; the use of lethal force by sentries; attitudes toward field training exercises, heroism, and initiative; legitimacy of command; and the reception of Afghan vets.
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48

Allen, William. 2. Epic. Oxford University Press, 2014. http://dx.doi.org/10.1093/actrade/9780199665457.003.0002.

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Epic was a prestigious but also malleable and enduring ancient literary form. ‘Epic’ shows that in societies where warfare was endemic, a genre which both celebrated and explored such concepts as military heroism, loyalty, and masculinity would never lose its relevance or popularity. From Homer's Iliad and Odyssey— tales of the Trojan War and Odysseus' return to Ithaca — to Appollonius' Argonautica, Ennius' Annals, and Virgil's Aeneid, the classical epic settings of the mythical world of gods and heroes are described. The didactic epic, whose aim was to instruct the reader in subjects as varied as farming, hunting, philosophy, and science, is also considered.
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49

Lambdin, Laura, and Robert Thomas Lambdin, eds. A Companion to Old and Middle English Literature. Greenwood, 2002. http://dx.doi.org/10.5040/9798400629419.

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Old and Middle English literature can be obscure and challenging. So, too, can the vast body of criticism it has elicited. Yet the masters of medieval literature often drew on similar texts, since imitation was admired. For this reason, recent scholarship has often focused on the importance of genre. The genre in which a work was written can illuminate the author's intentions and the text's meaning. Read in light of a genre's parameters, a given work can be considered in relation to other works within the same category. This reference is a comprehensive overview of Old and Middle English literature. Chapters focus on particular genres, such as Allegorical Verse, Balladry, Beast Fable, Chronicle, Debate Poetry, Epic and Heroic, Lyric, Middle English Parody/Burlesque, Religious and Allegorical Verse, and Romance. Expert contributors define the primary characteristics of each genre and discuss relevant literary works. Chapters provide extensive reviews of scholarship and close with detailed bibliographies. A more thorough bibliography of major scholarly studies closes the book.
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50

Dahlquist, Marina. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037689.003.0001.

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This book explores the historiographic importance, narrative patterns, marketing, and cultural reception of the serial genre through a wider contextualization of the serial phenomenon and its fearless female heroines led by Pearl White, who plays the title character in The Perils of Pauline. It investigates the complexities of Pearl White's performance and the overall cultural power of serial queens in many markets at a critical historical juncture in the history of cinema. It examines how the serial film became part of a rethinking of production strategies, distribution and advertising patterns, and fan culture. It also considers the American film industry's expansion on the international market, fueled in large part by the profitable serial format, along with the serial craze's international impact. The book suggests that American serial films are an illustration of both globalization and an accompanying hegemonic practice of Hollywood cinema and the vicissitudes of glocalization.
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