Journal articles on the topic 'Happy heroine'
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Mohammed, Mustafa Ahmad. "Beckett’s Optimistic Heroine." English Language and Literature Studies 7, no. 2 (May 30, 2017): 1. http://dx.doi.org/10.5539/ells.v7n2p1.
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Happy Days was written in English in 1960 and translated into French by Beckett as Oh les beaux. This play has been regarded as being savagely ironic and the irony which was classified as metaphysical or cosmic in its presentation of the loneliness of Man in the face of indifferent universe. Happy Days is considered a milestone in Beckett’s writings because it is for the first time a well preserved blonde woman in her fifties is the main character of the play. Winnie is unlike Hamm, the main character in Endgame, she blinks at suffering with rare mixture of cheer and indifference. This paper is an attempt to investigate Winnie’s reaction against The Absurd as an optimistic heroine in the Beckettian Drama.
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Wijanarka, Hirmawan. "Cinderella Formula: The Romance Begins." Journal of Language and Literature 22, no. 2 (September 26, 2022): 481–89. http://dx.doi.org/10.24071/joll.v22i2.5121.
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As a type of formula fiction, a romance applies a fixed pattern of plot development, including the ending, which is always a happy one: celebrating the unification of the hero and heroine who previously struggled very hard against all obstacles threatening their mutual love. However, it does not mean that discussing the plot of romances is of no use. On the contrary, it is interesting to see how romance writers can create so many possibilities in the structure of the so-called formulaic plot. This study attempts to observe the benefit of characterization in the creation of these various structures of plot development. For this purpose, this study sets up two objectives. Firstly, the study observes the characterization of the hero and heroine as well as the construction of the plots. Secondly, the study points out the significance of characterization in driving the development of the plots. In the light of Cawelty's (1977) perspectives on literary formula and Radway's (1991) ideas about romance, this study concludes that the choice (i.e., the characterization) of "the hero and heroine" proves to be playing an essential role in the plot development. The gaps set between the hero and the heroine make it possible for the writers to develop various complicated plots, focusing on their relationship. Initially, it seems hard to match and unite the hero and the heroine in most romances. This fact, however, is the most crucial part of a romance. The struggles needed to overcome their problems will elicit more emotional conflicts and, thus, create more romantic suspense. The feeling of inferiority, jealousy, fear of losing the partner, and uncertainty about a deeper relationship is likely to occupy the heroine's (and sometimes the hero's) mind. And when they finally successfully overcome these problems, they will feel how great and strong their love is.
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Moolla, Fiona. "Her Heart Lies at the Feet of the Mother." African Journal of Gender and Religion 27, no. 2 (December 23, 2021): 1–21. http://dx.doi.org/10.36615/ajgr.v27i2.1044.
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Sudanese-British writer, Leila Aboulela’s novel, Minaret (2005) transforms the plot structure of Western literary and popular romance forms and develops further the plotlines of African-American Muslim romance novels. It does so by foregrounding the dissenting mother as obstruction to the union of the hero and heroine, against the backdrop of the unique status of the mother in Islam. Thus, the ending of the novel is neither happy nor tragic. Instead, the lovers are separated, and closure requires reconciliation on the part of the couple with the concerns of the mother. In addition, because of the significant differ-ence in age, the heroine is in some ways like a mother to the hero. Final contentment of the heroine is undermined by her questionable actions at the end, resulting in psychic and spiritual contraction. The novel is therefore open-ed up to ambiguity and uncertainty in the closure, notwithstanding the faith of the heroine. The specific form which closure takes, is determined by the dissenting mother as obstruction in Islamic romance.
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Li, Huming. "An Elusive Happy Ending: The Complexities of Indian Courtesan Films." Asia Social Science Academy 8, no. 3 (September 30, 2022): 39–52. http://dx.doi.org/10.51600/jass.2022.8.3.39.
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This paper examines the complexities of characters, narratives and aesthetics in the Indian courtesan film genre by analyzing three classic courtesan films: Pakeezah (dir. Kamal Amrohi, 1972), Umrao Jaan (dir. Muzaffar Ali, 1981), and its more recent remake Umrao Jaan (dir. J.P. Dutta, 2006). First, from the perspective of screen characters, the paper summarizes the necessary condition for a courtesan character to achieve a happy ending—the marriage between the heroine and the hero, and then illustrates the decisive factors and difficult process to fulfill this condition. Then, from the perspective of audiences, this paper explains the elusiveness of happy endings in courtesan films by analyzing the multiple relationships between audiences and screen characters and the differences within audiences. The paper also attempts to provide a glimpse of the Muslim nawabi culture, in which courtesan films are rooted, in order to help the readers to appreciate the cultural significance and myriad appeals of this distinctive subgenre of Indian cinema and Indian film art in general.
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S, Rathika. "Male Characters in the works of Female Poets during Sangam Period." International Research Journal of Tamil 4, no. 4 (August 3, 2022): 1–17. http://dx.doi.org/10.34256/irjt2241.
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Men's characteristics have been mentioned in the perspective of women poets during the sangam period. When a men falls in love, to whom does he express it first, what are the efforts taken by the leader to win the love, the efforts of the men to see the heroine during the love period, what is the mood of men suffering from the excess of love, and the infamy that the men gets due to going along with heroine, for all these the love life of men gives answers. It is also said how the lust of a men is in a chastity life. And it can be known that a men's natural love is revealed when he is a father who shows true affection to his children and seeks the permission of his beloved in the act of doing. The habits and duties of men in daily life are also mentioned. It is also explained about the weakness of men and what are the activities that make men happy and sad. Who gets angry with men, the moments when men's anger is revealed, the way men reveal humor, and the moments when men are afraid have been explored and highlighted. Feminist poets have recorded in their songs about men's travel vehicle, entertainment, heroism, the way of exspressing the pain of separation, news about the heroine's father – brother and male workers. The news is known from male birds and animals, and also tells about the actions of a men who lived happily in his youth and also what he did after his ascetic life. This article is based to say all the above mentioned from the songs of sangam period womens.
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Al-Saadany, Ruwayda Gaber. "Investigating the Role of the Heroine in Samuel Becket's Happy Days." International Interdisciplinary Journal of Education 3, no. 7 (July 2014): 134–44. http://dx.doi.org/10.12816/0006901.
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Marinčič, Katarina. "A wardrobe suitable for a virtuous pauper." Journal for Foreign Languages 11, no. 1 (December 30, 2019): 315–25. http://dx.doi.org/10.4312/vestnik.11.315-325.
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The subject of this paper is not the influence of Pierre de Marivaux's La Vie de Marianne upon Samuel Richardson's Pamela (a question that has been widely discussed since the 18th century). In spite of some obvious similarities, La Vie de Marianne and Pamela are two profoundly dissimilar novels. Pamela is a tale with a happy ending and a clear moral message. La vie de Marianne is an unfinished tale and, as such, morally ambiguous by its very nature. However, at crucial moments of their stories, confronted with the first attempts upon their virtue, both heroines react in accordance with their sense of propriety in clothing as well as with an acute fashion sense. In both novels, the seducer tries to lure his victim with clothes. Upon receiving the gift, both girls display a naive and joyful gratitude. Their dilemma begins when the gift of clothing turns out to be a gift of lingerie. The self-indulgent French heroine, after a short reflection, decides to keep the clothes. Pamela turns out to be a much more modern young woman. She returns the gift and – in a seemingly paradoxical way – puts herself in need of a new set of clothes.
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Krupka, Myroslava. "IN SEARCH OF YOUR OWN SPACE: THE IMAGE OF THE HOUSE IN THE NOVEL BY NATALIA HURNYTSKA “COFFEE MELODY IN CARDAMOM TONE”." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 17(85) (June 22, 2023): 282–85. http://dx.doi.org/10.25264/2519-2558-2023-17(85)-282-285.
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The article focuses on the study of the image of the house in the novel by Natalia Hurnytska “Coffee Melody in Cardamom Tone”. The central theme of taboo love acts as a catalyst for the work's spatial content, and the house's motive becomes a tool for analyzing the inner world of the main heroine. The movement of the character illustrates her worldview transformation, while the mode of housing serves as a reflection of the nature of the owners. In the novel, the heroine is constantly in motion from one residence to another, each of which has distinct socio-psychological markers. The childhood home appears in retrospect as a carefree happy world. Uncle's house in Zhovkva takes on the function of family space only nominally, so the heroine symbolically leaves in search of her own home. Uncle Adam's home takes on the semantics of transcending social and moral taboos. Adam's apartment in Krakivska Str. is depicted as a transit place. Aunt Zosia's house is a hostile world that dictates the rules and truths of others. Mrs. Beata’s home is associated with a territory of stability. The house on Kastelivka appears through an erotic code. The house of Theresa is perceived as a rigidly regulated space. The apartment at Krakivska Str. is seen as a home of your own, protected from external threats. Adam's house is the main spatial element of the novel and functions in several emotional and meaningful manifestations: unjustified expectations, danger, shame, threat, protection, family comfort, and wasteland. The constant change of places of residence reflects the woman's attempt to find her own space.
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Chowdhary, Ruchita Sujai. "THE TRANSITION SAGA OF MASCULINITY IN HINDI FILMS : THEN & NOW." International Journal of Research -GRANTHAALAYAH 9, no. 4 (April 30, 2021): 178–84. http://dx.doi.org/10.29121/granthaalayah.v9.i4.2021.3857.
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The cinema in India has its different mark upon the masses and has a huge fan following. Being the most popular art form in the nation it has been influencing the viewers with its magical effects. With its tremendous reach among the youths it not only depict the virtual image of the society but on the same hand it is creating a world which is juxtapose of realm. Since the beginning Hindi films are revolving around the set plots of the scripted feature films showcasing a hero, a heroine, a villain and a climax after which everybody has a happy ending. Accordingly, the Hindi films have defined the heroes in its own way with some set parameters i.e. muscular body, taller than heroine, a fighter, good looks and a never ending list of traits. However, some heroes have broken this myth that a filmy hero is always a MACHO MAN. They are again redefining the personality of the heroes on the silverscreen. Thus, the aim of this research paper is to examine the change in definition of the heroes in Hindi films over a period of time. The researcher will conduct the content analysis of ten purposively selected films from the Hindi Cinema.
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Bożek, Małgorzata. "Disease as a movie theme. Media and genological analysis." Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 12, no. 4 (November 27, 2020): 15–25. http://dx.doi.org/10.24917/20837275.12.4.2.
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The paper concentrates on a comparative interpretation of two films which are classified by their authors as melodramas. The first one is Michael Haneke’s Love and the second one is The Notebook by Nick Cassavetes. The films selected for this analysis represent two different attitudes to disease. Haneke creates a moving image of dying, which is associated not only with physical death, but also the death of human dignity. Cassavetes focuses on a story before the disease of the main heroine, while her affliction is treated as a complement to the happy life, rather than a leading motif. The purpose of the paper is to compare the films from different perspectives: media and genological, as well as to answer the question why directors from various cultures perceive the topic of disease as a film theme in such distinct ways.
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Gialatzi, Despina. "Narratological approach of the film adaptation of Thérèse Desqueyroux by François Mauriac." Digital Age in Semiotics & Communication 5 (December 30, 2022): 193–220. http://dx.doi.org/10.33919/dasc.22.5.10.
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The aim of this paper is to examine translation as a phenomenon from literature into movies through isotopies. In particular, the research concen-trates on the intertextual phenomenon between the original classic version in literature and the two film versions (1962 and 2012). In Gideon Toury’s work, translation is seen as an intertextual phenomenon. The three “texts” form an intertextual triangle. Mauriac’s classic novel is at the top of the triangle as a significant guide, and at the same time the two films rest on the triangle’s base. In 1927, the French writer, François Mauriac wrote his iconic work, Thérèse Desqueyroux. In his novel, the writer describes the tragic story of a poisoner. This is a woman who hovers between the romantic of the past and the realism of the present. The young heroine lets herself go psychically into her dreams, and she does not see reality in its logical dimension. Her marriage is not a romantic, happy and ideal union taken from the romantic works of the 19th century. It is a cold, cruel and indifferent marriage. In a way, Thérèse is a victim of herself. Unveiling the psychographic image of this fatal woman called Thérèse D, the application of Greimas’s narratological method offers a fertile field of research, and the examination of the transformation into a double cinematographic portrait. Thérèse is a woman prisoner in her name: Desqueyroux. The narrative structure of the work turns on the fragile psyche of the heroine. Is she real-ly a fragile female figure or, a cruel poisoner in a search of mental freedom?
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Kulakevych, Lyudmyla M. "InterpretationPeculiaritiesoftheSleeping BeautyMotif inD.H. Lawrence`s Short Story “Princess”." Alfred Nobel University Journal of Philology 2, no. 22 (2021): 33–43. http://dx.doi.org/10.32342/2523-4463-2021-2-22-3.
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The reception of D.H. Lawrence`s works in Western and Ukrainian literary criticism is reflected in detail in Natalia Styrnik`s thesis. She concluded that Lawrence`s short stories remain underexplored in modern Ukrainian literary criticism. The applicant herself undertook to identify the leading themes, motives, and artistic peculiarities of the implementation of the latter. However, the specifics of the female image in the short stories of the English artist lack her attention, there are only occasional characteristics of a particular heroine. The aim of the article is to determine the peculiarities of the interpretation of the Sleeping Beauty Motif in the short story by D.H. Lawrence “The Princess”. The objective is to determine the basis of the plot of the short story and analyze the artistic components of the main character’s image. To achieve our goal, we use the elements of motif, receptive-interpretive psychoanalytic and comparative methods of analysis. What strikes the eye when reading the short story is the popular plot about so beautiful princess that no man in the kingdom is worth even her little toe. It is a typical plot for fairy tales of different nations. The heroine's lineage with the kings is mentioned at the beginning of the short story due to the origin of her father. Traditionally, in fairy tales, the birth of a child is the result of one of the parents’ interactions with the other world. In Lawrence`s story, this is transformed into the unusual behavior of Colin Urquhart, whose attitude to his married life was so unusual that his wife regarded him as an “unreal creature”, “echo”, “ghost”, which is repeatedly emphasized in the text. The girl`s connection to the other world unfolds through the repeatedly articulated motif of the changeling. In fairy tales, the early death of the mother and the introduction of an evil stepmother are determined by the vital need of the girl to grow up independently, because of the kindness of the mother, her excessive care hinders the deeper development of the young woman and her ability to respond to life's problems. It is established that in Lawrence`s short story the motif of the mother's death undergoes transformations: a two-year-old child finds herself under the full care of her father, who raises the girl in a perfectly romantic atmosphere. It is he who instills a behavioral model of a princess in his daughter, unattainable to any man. As the father and daughter reside on the European continent, and the maternal grandparents live in the United States, it creates an illusion that the mother's family and the father's families belong to different “worlds” – different cultures/worldviews. Colin Urquhart, and later his daughter, embodies a romantic culture that tends to idealize a woman as a beautiful lady, and the knight's love for her is perceived as a deep platonic affection. The romantic worldview is manifested through the details of appearance (Urquharts have blue eyes), the style of the heroine’s clothes, her asexuality. The essence of the beautiful heroine is expressed by one of her names – Dollie, which urges us to perceive the living as the inanimate, understand the existence of the Princess as mechanical, devoid of feelings and sensations, alienated from other people`s lives. Her father Colin being presented through the micro images of the bodiless ghost/phantom/echo can also be interpreted as his asexuality on the one hand, while on the other, it can be seen as the mortality/irrelevance of his life principles, which he himself adheres to and instills in the girl. Many fairy tales convey the need to have a family, which is a marker of a socialized person. The search for a marriage partner in a fairy tale always takes place in a space “alien” to the protagonist, which is often defined as “another kingdom”, “distant lands”. According to the fairy-tale canon, to solve the problem, a woman goes on a journey and as a result gets closer to an impoverished but physically fit and silent Mexican, encouraging him to take this dangerous trip to the mountain forests with her. The heroine deliberately leads to the situation where she ends up alone with the man, but later she turns out to be unable to “turn off” the pattern of the princess cultivated by her father and accept the man with his nature. The dream essentially announces the future fate of Dollie – “to be buried alive”, because she makes every effort to defend her existence as a disembodied/asexual being, thus burying a woman within herself. Thus, the heroine`s common sense and instincts could not prevail over the cultural superstructure called “Princess”. According to the fairy-tale canon, even as a young girl, the protagonist showed extraordinary abilities – in the short story her artistic talent and knowledge were repeatedly noticed: the young woman reads the classic literary novels not in translation, but in the original language, which speaks highly of her intelligence. We can assume that not only parental upbringing, but also classical literature, with its taboo on sexual life until the first third of the twentieth century, influenced the heroine. In mind of the Princess two op- ISSN 2523-4463 (print) ВІСНИК УНІВЕРСИТЕТУ ІМЕНІ АЛЬФРЕДА НОБЕЛЯ. ISSN 2523-4749 (online) Серія «ФІЛОЛОГІЧНІ НАУКИ». 2021. № 2 (22) posite images of men are formed: either he was a disembodied companion of a beautiful lady, or “a rough monster”, “Caliban”. The text repeatedly suggests that Mary Henrietta Urquhart could have been quite happy with Domingo Romero, but due to her distorted-romantic view of men, it never happened. The end of the short story is seemingly happy – the heroine is saved, she returns home, to her former life, and even marries a man who, given his age, most likely was not a sexual partner to her but compensated for the deceased father. This conclusion can be explained both by the fact that the “kiss” of the Mexican, which the Princess initiated herself, had not awakened the woman in her, she remains a sleeping beauty forever. D.H. Lawrence`s short story meets the canons of a fairy tale and is read like the modern-day fairy tale showing you how you should not raise a girl.
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Vallone, Lynne. "FERTILITY, CHILDHOOD, AND DEATH IN THE VICTORIAN FAMILY." Victorian Literature and Culture 28, no. 1 (March 2000): 217–26. http://dx.doi.org/10.1017/s1060150300281138.
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GEORGE ELIOT’S MIDDLEMARCH concludes with the summing up of the lives of her most visionary characters, bringing them to either happy fulfillment or early demise according, not to the worth of their dreams but, in part, to their success or failure in choosing a domestic partner. For Dorothea Brooke, Middlemarch’s most luminous and large-souled citizen, Eliot can finally justify no other existence than that of a devoted wife and mother. Eliot defends this apparent demotion of her heroine from modern Saint Theresa to London matron by arguing that her “study of provincial life” was of necessity the story of domestic times, when, in fact, the “heroics” of raising a family and offering “wifely help” to a husband were more noble than sororal obligation or religious mysticism. Though the novel is set in the late Georgian period just before the first Reform Bill of 1832, it was published in 1871–72, at the height of the Victorian era and is thoroughly Victorian in character. For the Victorians, the “reformed rakes” of Richardson and Fielding are no longer desirable as heads of households. The Queen herself seemed to offer a model of perfect domesticity in her large family, middle-class values, and reliance on her husband. In fact, just as Eliot concedes the dominance of the “home epic” (890), the myth of the Victorian family continues to maintain a powerful presence within contemporary American culture. Questions that still consume us today — What makes a good mother?
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Elizabeth Fraterrigo. "“The Happy Housewife Heroine” and “The Sexual Sell”: Legacies of Betty Friedan's Critique of the Image of Women." Frontiers: A Journal of Women Studies 36, no. 2 (2015): 33. http://dx.doi.org/10.5250/fronjwomestud.36.2.0033.
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Fraterrigo, Elizabeth. "“The Happy Housewife Heroine” and “The Sexual Sell”: Legacies of Betty Friedan’s Critique of the Image of Women." Frontiers: A Journal of Women Studies 36, no. 2 (2015): 33–40. http://dx.doi.org/10.1353/fro.2015.a589411.
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Izumrudov, Jurij А. "Unknown Article by B.A. Sadovsky “Philosophy of Marriage”: the Pushkinian Context." Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 81, no. 6 (2022): 44. http://dx.doi.org/10.31857/s160578800023673-6.
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This publication attempts to draw wide scholarly attention to an unpublished article by B.A. Sadovsky entitled “Philosophy of Marriage”. Written in 1923, in a very difficult for the author post-revolutionary period, it reveals his idea of the essence and components of a happy marriage. The defining thesis of the article is that tact is the most valuable of all the personal virtues of a woman entering into marriage. In this regard, the ideal wife, according to Sadovsky, is Tatyana from Pushkin’s “Eugene Onegin&8j1;. An analysis of the metatextual connections of the article along with the biographical factor gives reason to conclude that the image of Pushkin’s heroine is conceptually important in terms of both aesthetic and everyday priorities of the author. To assist in the analysis of the text, letters from V.P. Uvarova to Sadovsky were used. Their relationship became one of the incentives for writing the “Philosophy of Marriage&8j1;.
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Wu, Jiayi. "Progressive and Conservative Ideology of Women in Gone with the Wind." Communications in Humanities Research 11, no. 1 (October 31, 2023): 224–29. http://dx.doi.org/10.54254/2753-7064/11/20231439.
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Gone with the Wind is a feminist novel set against the backdrop of the American Civil War, in which the author Margaret Mitchell depicts the damage caused by the war and how Scarlett O'Hara, a progressive woman in this particular period, uses her strength to achieve a happy life under the confines of the world. Even so, out of the historical background of the 1870s, Scarlett O'Hara, the heroine of this paper, still has some typical characteristics of women in that era, and it is because of these typical characteristics that she is able to realize her various demands and achieve success step by step by exerting her upper-class femininity. In this paper, the progressiveness and limitations of the female characters in Gone with the Wind are listed, and compared from different perspectives. Through the comparison of these progressive limitations, it can be seen the rapid development of feminism in modern times and the necessity of developing feminism in this way.
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Gelfant, Blanche H. "What More Can Carrie Want? Naturalistic Ways of Consuming Women." Prospects 19 (October 1994): 389–417. http://dx.doi.org/10.1017/s0361233300005160.
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A recent magazine article evokes the perennial mystery of human desire by asking why a movie star who “has it all” — “a perfect body, happy marriage, wealth,” and “success” — is “not yet satisfied.” Beginning with a play of words, “Why Demi Moore Wants More,” the article ends by finding the wordmore“elusive.” This elusivemoreis the subject of my essay, which links a desire formoreto determinism as a doctrine of causation common to literary naturalism, behavioral psychology, modern advertising, and consumerism. Once consumption figures in a discussion of literary naturalism, at issue in this essay, the lines of argument move centrifugally in various directions to include such seemingly far-flung and unrelated matters as the Vietnam War, kleptomania, the “packaging” of American politics, women's fashion, material culture studies, fitness diets, images of burning bodies, the commodification of books, Jane Fonda's self-transformations, and indecent proposals to Demi Moore. All these matters converge at a single point of origin where a woman character, an American literary heroine, stands and looks. The consequences of this simple, ordinary act — which leads the woman to consume and be consumed — seem to me laden with literary and cultural meanings I must necessarily condense. To do so, my first tactical move will be to leap over an entire century in order to compare Theodore Dreiser's famous novelSister Carrie, published in 1900, with a contemporary story that leaves one shaken by its brilliance and horror. I ask the reader to imagine the gap between the two texts as an ellipsis - adot, dot, dot- filled in by decades of turbulent historical change that have redefined what an American heroine wants but not why she wants more.
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Spooner, Catherine. "My Friend the Devil: Gothic Comics, the Whimsical Macabre and Rewriting William Blake in Vehlmann and Kerascoët’s Satania." Gothic Studies 25, no. 3 (November 2023): 318–34. http://dx.doi.org/10.3366/gothic.2023.0178.
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This article develops the concept of the ‘whimsical macabre’, introduced in my book Post-millennial Gothic: Comedy, Romance and the Rise of Happy Gothic (2017) to refer to texts which deliberately fuse the comic and cute with the sinister, monstrous or grotesque. I propose that Fabien Vehlmann and Kerascoët’s graphic novel Satania (2016) extends the whimsical macabre in new directions, by drawing on the work of Romantic poet and artist William Blake, whose illustrated books are often cited as forerunners of modern comics. By rewriting Blake’s visionary account of a journey into the infernal regions in The Marriage of Heaven and Hell (1793) and alluding to Songs of Innocence and of Experience (1789/1794), Satania reveals the serious ethical dimensions that underlie the whimsical macabre. In doing so, it interrogates and complicates the maturational narrative associated with children’s and young adult literature. The article concludes by suggesting that Satania’s heroine Charlie’s relationship with her demon draws on a Blakeian model of friendship in opposition, pointing towards a ‘reparative’ form of Gothic in which otherness is neither erased nor expelled, but embraced and cherished.
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Drouot, Fanny. "Angélique Rougon: une déclinaison romanesque de l’enfant sauvage. Pour une lecture anthropologique du Rêve d’Émile Zola." ORGANON 55 (May 1, 2023): 5–24. http://dx.doi.org/10.4467/00786500.org.23.001.17682.
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Angélique Rougon est le personnage principal du Rêve, roman atypique du cycle des Rougon– Macquart, parce qu’il a été conçu initialement par son auteur comme radicalement différent du reste de son oeuvre. Il prévoit ainsi pour son héroïne un destin heureux, en la faisant passer du statut d’enfant abandonnée à celui d’épousée triomphante. Pour autant, le conte, pensé comme un projet réussi de socialisation, tourne court et ce changement d’orientation fait du roman le siège d’une double tension: tension dans la création littéraire, parce qu’il manifeste un écart entre le plan et le texte final, et tension d’ordre anthropologique, parce qu’il remet ainsi en question la réalité du passage heureux d’un état symboliquement sauvage à un milieu défini par sa culture ancestrale. Angélique Rougon: a novelistic version of the savage child. An anthropological reading of Emile Zola’s Le Rêve Angélique Rougon is the main character from Le Rêve, a novel from Emile Zola’s Rougon–Macquart cycle, atypical because the author originally conceived of it in a way radically different from the rest of his work. He promises his heroine a happy destiny by moving her from her abandoned childhood identity to a triumphant marital status. But the tale fails at the same time as the project for a successful socialization, and the novel becomes an expression of two tensions: a literary tension on one side, because of the gap between the first plan and the completed text; and an anthropological tension on the other because it questions the possibility of a happy evolution from a symbolical savage state to an environment defined by its ancestral culture.
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Shakir, Zainab Sameer. "The Making of a Heroine: A Female Character as Portrayed in The English Patient By Michael OndaatjE." INTERNATIONAL JOURNAL OF RESEARCH IN SOCIAL SCIENCES & HUMANITIES 12, no. 03 (2022): 321–26. http://dx.doi.org/10.37648/ijrssh.v12i03.019.
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This article discusses how women have significant abilities to cope with the difficulties of war times. They are not the weak and vulnerable victims who are thought to be. On the contrary, they have the power to control over many-sided fronts, like participating in the battlefield as nurses or activists for peace, or even fighters, as well as through the tasks and responsibilities assigned to them to protect and support their families during wartime. The researcher will examine the impact of war upon women. Like men, women suffer during wartime. They are being injured, tortured and killed. Yet, they are able to give examples of love and courage even in the difficult times of war. Hana is one of those women who lived during wartimes, she is supposed to have a beautiful life at the age of twenty one, but she finds herself in Italy taking care of the English Patient leaving all the chances of happy life behind to dedicate herself for becoming a nurse. Michael Ondaatje in his novel The English Patient (1992) has chosen the medical field for Hana for it is an important step in healing and treating the mentality before the body. The English Patient shows the life of women though wartime and it succeeds in depicting how Hana insists on living strongly
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Abdulridha, Ghufran Amer, and Isra Hashim Taher. "Angela Carter’s The Magic Toyshop." Al-Adab Journal 3, no. 143 (December 15, 2022): 35–42. http://dx.doi.org/10.31973/aj.v3i143.3936.
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The charming world of fairy tales used to be, for many ages, the favorite world for readers of fiction. Until the moment, these magical tales, their adventurous journeys, and happy endings provide a vital source of enchanting entertainment. Throughout her literary career, Angela Carter (1940-1992), a contemporary British novelist and a short story writer, shows interest in the employment of fairy tales in her works, producing what is called modern fairy tales. Her rewriting of these tales rendered her a remarkable woman advocate who calls for women’s legitimate rights and an appreciation and a recognition of their active position in societies, things that men enjoy and always receive. This paper tackles The Magic Toyshop (1967), Carter’s second novel. It discusses the fate of its young heroine, Melanie, and her siblings, Jonathan and Victoria, who have become orphans by the death of their parents in a plane crash while in America. Melanie journeys from her middle-class luxurious house to Uncle Phillip’s poor house located in South London. Like Cinderella, the orphan girl dreams of being a bride and marrying a handsome man while suffering under the oppression of a stepfather, Uncle Phillip. Unlike her, Melanie will be shocked to meet a different version of Prince Charming of her imagination.
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Lilik, Olha O., and Olena V. Sazonova. "DEFORMATION OF THE MELODRAMA GENRE IN UKRAINIAN POSTMODERN LITERATURE: IREN ROZDOBUDKO AND NATALIA HURNYTSKA." Alfred Nobel University Journal of Philology 2, no. 26/1 (December 20, 2023): 47–65. http://dx.doi.org/10.32342/2523-4463-2023-2-26/1-4.
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In the conditions of postmodernism, the content and formative components of the melodrama genre (issues, portrayal, narration, plot structure, system of characters, type of protagonist) undergo certain transformations. Today, there is a lack of literary studies devoted to the specifics of the expression of postmodern melodramatism in the works of contemporary writers, namely representatives of “women’s literature” by N. Hurnytska and I. Rozdobudko. Accordingly, there is a need to understand the deformational genre shifts that took place in melodrama under the influence of postmodernist aesthetics. Thus, the relevance of the chosen topic is motivated by the need to analyze the signs of melodramatism in Ukrainian prose and the need to reveal the problem-thematic and genre-stylistic features of melodrama in the context of Ukrainian postmodern literature. The purpose of the work is to study the processes of deformation of the melodrama genre in Ukrainian postmodern literature (based on the works of Irene Rozdobudko and Natalia Hurnytska). Achieving the set goal involves solving a number of tasks, such as: determining the artistic specificity of the melodrama genre; understanding the melodramatic specificity of the works of Irene Rozdobudko (the novel “Once Upon a Time...”) and Natalia Hurnytska (the novel “The Melody of Coffee in the Tonality of Cardamom”) in the context of postmodern aesthetics; elucidation of the peculiarities of representation in both works of typically melodramatic genre features and specifically authorial ones. To achieve the goal, historical-literary, cultural-historical, comparative, hermeneutic, biographical research methods are involved. The development of melodrama at the current stage is determined by postmodern trends in the literary process, as well as the existence of “women’s writing” as an artistic and aesthetic phenomenon, within which the specified genre functions. A comparative analysis of two examples of melodrama in modern Ukrainian literature (the novel “The Melody of Coffee in the Tonality of Cardamom” by Natalia Hurnytska and the novel “Once Upon a Time...” by Irene Rozdobudko) made it possible to conclude that the indicated signs of melodramatism are clearly presented in both works. At the same time, the studied literary works are significantly different from each other, which makes it possible to consider them as certain modifications of the melodrama genre: Natalia Hurnytska’s work is immersed in the historical and cultural atmosphere of the 19th century, and the leading role in it is played by the motive of unequal love of a young girl for a much older, wealthy man; the plot of the novel unfolds around a “love triangle” and has a “happy end”, it is marked by emotional aggravation and the outburst of passions. In the novel by Irene Rozdobudko, autobiographical and confessional motifs are leading, which are written into the modern context related to the life and creative plans of the author and their implementation. At the same time, this work raises a significant range of problems related to selfrealization, achieving a set goal, success and failure, creative activity, the transience of human life, etc. Accordingly, the heroine of the novel by Irene Rozdobudko appears more diverse, while the interests of the heroine of the novel by N. Hurnytska are limited to marriage and children. Therefore, the evolutionary changes experienced by the genre of melodrama in the 21st century are characterized by the loss of established melodramatic features (excessive sharpness of the plot, bright contrast, schematic character images, the theme of the struggle between good and evil disappear); a new – postmodern – angle of understanding the traditional thematic and stylistic aspects of the melodramatic genre: immersion in private life, themes of love and marriage, sentimentality and heightened emotionality; strengthening of psychologism in understanding the images of the characters; actualization of philosophical and confessional motives. There is a shift in emphasis from dialogues to internal monologues, from plot vicissitudes to character images (there is an emphasis on character images, in particular, female rebels functioning within “formulaic” plots and situations). The melodramatic genre acquires pronounced features of postmodern aesthetics. The type of orphan heroine traditional for melodrama is transformed into the type of “absurd heroine-rebel woman” characteristic of the postmodern aesthetic paradigm, the final “happy end” gives way to the variability of the denouement traditional for postmodernism. The canonical genre structure of melodrama is destroyed as a result of the infiltration of elements of postmodern poetics – genre eclecticism (synthesis of melodrama with everyday and psychological drama), intertextual connections, intermediality (features of “musicality” and “cinematography” of the style), irony and playing with the reader.
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Valint, Alexandra. "MADEIRA ANDJANE EYRE’S COLONIAL INHERITANCE." Victorian Literature and Culture 45, no. 2 (May 5, 2017): 321–39. http://dx.doi.org/10.1017/s1060150316000632.
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The denouement of Charlotte Brontë’sJane Eyrecontains multiple happy rewards for its heroine: a fortune, strangers turned friends turned cousins, the self-elimination of Bertha, and a Rochester still alive, still in England, and now free to marry. The hefty twenty-thousand-pound legacy (of which Jane only keeps one-fourth) bequeathed to her by her late uncle John Eyre allows Jane to return to the maimed Rochester and gleefully proclaim, “I am an independent woman now” (Brontë 501; ch. 37). Citing such financial independence, Sandra Gilbert and Susan Gubar briefly mention Jane's inheritance as the event that allows Jane to “follow her own will” and marry Rochester on terms of equality (367). Similarly, Nancy Armstrong writes that “[m]ore so perhaps than her virtue or passion, it is an endowment from Jane's wealthy uncle that makes her happiness possible” (47). Other critics, such as Elaine Freedgood and Susan Meyer, focus on the origin of the fortune – Madeira – and suggest that such a colonially associated locale implicates Jane in the finances of colonialism and even of slavery. Unlike those critics, however, I will claim that Jane's complicated relationship to the inheritance distances her from the problematic taint of the money's colonial associations and marks her non-conformity with and resistance to the economic practices of the British Empire.
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Syazi, V. L. "The theme of love in the story by Yu. N. Nakova «The Sky Saw and the Waters of the Por-Avat and the Neva heard»." Bulletin of Ugric studies 11, no. 1 (2021): 121–29. http://dx.doi.org/10.30624/2220-4156-2021-11-1-121-129.
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Introduction: the article is devoted to the topical issue of the development of theme of Finno-Ugric literature. The subjects of the analysis are the features of embodiment of the theme of love in the story by the Khanty writer Yu. N. Nakova. Objective: to identify and reveal the features of the theme of love in the story by Yu. N. Nakova. Research materials: the story «The Sky Saw and the Waters of the Por-Avat and the Neva heard» by Yu. N. Nakova. Results and novelty of the research: the story «The Sky Saw and the Waters of the Por-Avat and the Neva heard» for the first time becomes an object of scientific comprehension and is introduced into the context of Finno-Ugric literary studies. The theme of love in the writer’s work is focused on the relationship between a man and a woman. The work is based on a love story, intertwined with the theme of family. The young happy family of the Nakovs survived the trials of the Great Patriotic War, but it is not the war that destroyed the family, but human envy. The main hero left no chance for a reunion with his beloved. And the faithful heroine transformed the whole range of feelings into a mother’s love. Emotivity of the images, the motif of expectation reinforced the theme of love in the story by Yu. N. Nakova.
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Byachkova, Varvara A. "BIG AND SMALL WORLDS OF CHILDREN CHARACTERS IN ‘A LITTLE PRINCESS’ BY F. H. BURNETT." Вестник Пермского университета. Российская и зарубежная филология 12, no. 3 (2020): 70–78. http://dx.doi.org/10.17072/2073-6681-2020-3-70-78.
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The article raises the topic of space organization in writings by Frances Hodgson Burnett. The object of analysis is the novel A Little Princess. The novel, addressed primarily to children and teenagers, has many similarities with David Copperfield and the works of Charles Dickens in general. The writer largely follows the literary tradition created by Dickens. The space of the main character is divided into three levels: the Big world (states and borders), the Small world (home, school, city) and the World of imagination. The first two worlds give the reader a realistic picture of Edwardian England, the colonial Empire, through the eyes of a child reveal the themes of unprotected childhood, which the writer develops following the literary tradition of the 19th century. The Big and Small worlds also perform an educational function, being a source of experience and impressions for the main character. In the novel, the aesthetic of realism is combined with folklore and fairy-tale elements: the heroine does not completely transform the surrounding space, but she manages to change it partially and also to preserve her own personality and dignity while experiencing the Dickensian drama of child disenfranchisement, despair and loneliness. The World of imagination allows the reader to understand in full the character of Sarah Crewe, demonstrates the dynamics of her growing up, while for herself it is a powerful protective mechanism that enables her to pass all the tests of life and again become a happy child who can continue to grow up and develop.
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Rogalińska, Monika. "Inner Strength of Female Characters in Loitering with Intent and The Public Image by Muriel Spark." Text Matters, no. 1 (November 23, 2011): 135–44. http://dx.doi.org/10.2478/v10231-011-0010-y.
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Women characters in Muriel Spark's novels are diverse, some strong and powerful, some weak and unable to make decisions. And there are characters who develop throughout the novel and learn from their own mistakes. From being passive, they gradually start acting and making their own choices. Loitering with Intent and The Public Image present women characters who go through metamorphosis, from being dependent on others into living their own lives and freeing themselves from former influences. Such kaleidoscopic change enables them not only to be able to finally make their own decisions but also to overcome many difficult situations threatening their future life.
Fleur Talbot, a heroine in Loitering with Intent, finds herself at a point in which she thinks that everything she cares for is lost. Chronically passive and naïve, she cannot imagine another way of being until she understands that she is being cheated, that her life will be ruined if she does not act. Everyone around her seems to be in conspiracy against her; only taking a firm stand and opposing her surrounding world can help. Fleur's life has become totally dependent on her ability to be strong and decisive. She knows that if she remains what she is, her career and prospects for the future will be lost, so she decides to prove her determination and her will to be finally happy. Her transformation into a powerful character saves her dignity and makes her a successful writer.
Annabel, a character in The Public Image is the same type of person as Fleur, as she lacks self-confidence and has no support from anybody, even her own husband. Muriel Spark, however, presents her as another example of a heroine who develops as the action progresses, able to evoke strength in herself when her situation seems hopeless. Annabel, at first treated as a puppet in the hands of other people, who use her image for their own benefit, shows that she is capable of anything by the book's end. When her career and reputation are threatened and her privacy invaded, she decides to leave the country. This requires both effort and sacrifice, as she has to leave behind everything she has worked for all her life, but this is the necessary price for her freedom.
The ability of both female characters to show so much determination reveals an inherent inner strength, and their weakness and vulnerability as just superficial. When the situation requires it, both Annabel and Fleur are ready to fight for their rights, for their freedom and self esteem, and they discover that they are indeed capable of changing their lives.
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林待吟, 林待吟. "默迪阿諾小說《傷心寓所》中依鳳的家屋：快樂的場域或虛幻的幸福所在地？." 語文與國際研究期刊 30, no. 30 (December 2023): 039–54. http://dx.doi.org/10.53106/181147172023120030003.
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<p>談到空間的「詩學」，巴舍拉立即想到家屋。他尤其稱揚自幼居住的房舍，他試圖在此間探索幸福空間的意象。哲學家探究屋舍的各處空間，從地窖到閣樓，也同時分析了屋內的櫃子與抽屜。因為他不只要探索空間，更想了解空間與居住者間親密的互動。本文試圖探討：默迪阿諾小說的人物，多半是無國籍、無身份證件的人，這些人怎麼幻想或看待一間從小生長的房子？這些人物很少談論到家屋，更少機會能回到小時生活過的屋舍。他的小說中，直到第四本小說《傷心寓所》，才第一次出現有關家屋的描寫。這是女主角依鳳的家。依鳳對於這間房子是否存在著巴舍拉頌揚的感動？此外，小說主角緒瑪哈，一個無國籍者，又是怎麼看待他未婚妻的家屋？本文將以巴舍拉的觀點來分析《傷心寓所》關於家屋的描寫。我們將探訪依鳳的老家，她童年時的臥室。巴舍拉非常讚揚這個私密的空間。此外，我們將探討一間不在視線範圍內，卻一直被感知的鄰室，它充滿了消失及不復存在的過往的意象，最後，我們將探索一間樂園般的修車廠以及緒瑪哈對他未婚妻的這間老家的想法。</p> <p> </p><p>Speaking of the "poetics" of space, Bachelard immediately thinks of the house. He especially exalts the house where people live since childhood, where he tries to explore the "happy mind". He details each space of a house, from the cellar to the attic, and at the same time analyzes the cabinets and drawers within. Because he explores not only space, but also wants to understand the intimate interaction between the space and the occupants. But most of the characters in Modiano’s novels are stateless and without identity documents. How do these people imagine or see a house that grew up from childhood? These characters rarely talk about their homes, and even less of a chance to go back to the houses they lived in as children. In his novels, it was not until the fourth novel Villa Triste that the description of the family house appeared for the first time. This is the home of the heroine Yvonne. Between this house and Yvonne, is there something touching like that described by Bachelard? Moreover, how does Victor Chmara, the stateless protagonist of the novel and Yvonne’s fiancé, see this house? This article will analyze the description of the house in Villa Triste from Bachelard’s point of view. We will discover Yvonne’s home, her childhood bedroom – an intimate space Bachelard admires, then see a neighboring room which evokes disappearance and the untraceable past, and finally in a last part, we will explore a paradise-like garage, and we will see what perception Victor Chmara has of the home.</p> <p> </p>
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Maystrenko, Lyudmyla. "THE EXPRESSION OF DESTRUCTIVE LOVE IN OVID’S HEROIDS WITH EMOTIONAL MEANS." Fìlologìčnì traktati 12, no. 1 (2020): 82–89. http://dx.doi.org/10.21272/ftrk.2020.12(1)-8.
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The search of scientists of the XXI century is increasingly focused on a sphere that is not available for direct observation – the sphere of emotions. Therefore, the issue of the emotive component of a literary text at different levels relates to priority areas not only of modern linguistics. Emotions represent the linguistic picture of the artistic universe of the poet, reveal the inner world of his characters. The existential-sensual sphere is a manifestation of the subjective attitude of a person to the surrounding reality and himself in the mental space of the artist. Ovid subtly reproduces the spiritual world of a loving woman in the inexhaustible wealth of emotional manifestations and unique individual identities. The main object of unfortunate love in Heroides is a married woman or hetaera. Ovid is a vivid representative of the sensually-earthly Eros. The ancient man, for whom the idea of sin was extraneous, was not embarrassed by the sensual nature of his love in various forms, focusing all his interest in earthly existence, adored desires. However, the sensual Eros of Heroides with not the happy ending is aesthetically beautiful. Having refused from the usual August poetry themes related to the historical past of Rome or the events of his personal life, Ovid in Heroids turns exclusively to mythological themes, popular in Neo-Téric poetry or Hellenistic poetry, depicting the heroines of Greek mythology and Sappho herself by the psychology of contemporary Roman women. Ovid's Heroides reflects the fact that the psychology of a loving woman has not changed much since the time of the Roman Empire.
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Ovchinina, Irina A., and Andrei A. Vinogradov. "Alexander Ostrovsky’s play “Late Love”: from its conception to the implementation." Vestnik of Kostroma State University 27, no. 4 (December 23, 2021): 107–12. http://dx.doi.org/10.34216/1998-0817-2021-27-4-107-112.
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The article examines the contents’ peculiarity of the play “Late Love” in accord with its author’s artistic intentions. For the first time hand-written materials (rough copies and the play’s draft) have been taken into account and brought into academic use; the chirographs make it possible to bring to light the main points of the play and its vital problems. Special attention is paid to still greater importance the author was lending to the love story while working at the play; it helps to reveal the meaning of the play’s title. It is noted that for the first time Alexander Ostrovsky had shown a highly moral heroine who committed crime for the sake of the man she loved. In this connection, a few opinions of some critics are cited who gave negative estimation to the play. Analysing the play’s artistic merits the authors of the article take notice of the fact that the action is concentrated in time and space. The Shablovs’ house where lawyers, a tradesman, a landlady, and a clerk make their appearance, reflects to a certain extent the social strata of the post-reformed Russia and the tendencies typical of that world. The study of the initial draft made it clear that Alexander Ostrovsky thought over at first the play’s “scenario”, the number of personages, determined their characters and their role in the action’s development. The dramatic action and the happy end draw the spectators to the conclusion that a human’s salvation from its moral ruin is love, personal ability to repent and to realise its responsibility for the people close to it and for the world as a whole.
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Meshkova, Oleksandra. "THE POETICS OF CORPOREALITY IN GABRIELA ZAPOLSKA’S NOVEL CATHY THE CARYATID." Polish Studies of Kyiv, no. 37 (2021): 196–209. http://dx.doi.org/10.17721/psk.2021.37.196-209.
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The article attempts to analyze the novel of a polish writer Gabriela Zapolska “Cathy the Caryatid” from the perspective of corporeality - feminine and masculine. The article indicates the main aspects of the interpretation of the concept of corporeality - gender and sociocultural, which are important for understanding the artistic specifics of the representation of human corporeality in the novel. In the novel, female corporeality is represented by two perspectives: personal bodily experience and the objectification of the female body by men in patriarchal culture. The main character of the novel tried to preserve her innocence, considering it the greatest treasure. At the beginning of the novel, a young, healthy girl of twenty with exaggerated physical characteristics and idealized moral qualities appears before the reader. When the girl came to get a job, her body was viewed as a commodity that could be purchased and exploited at work. The main character dreams of getting married, so she strives to keep herself “pure”, because this is one of the conditions under which a decent man can marry her. G. Zapolska portrays the body of the heroine as a kind of “bargaining chip”: a girl can choose two ways - to preserve her innocence in order to “exchange” chastity for a legal marriage and a happy future, or to take the path of debauchery. The loss of virginity is a turning point in the novel by G. Zapolska. Rape inflicted a great psychological trauma on the girl, because until now virginity was her only chance for a happy future. The article analyzes how the patriarchal apparatus implements the objectification of women, as well as sexual objectification. Male dominance in society includes control over female corporeality, women are interpreted as objects that can be owned and changed at will. The value of an object, as a rule, depends primarily on physical data - beauty, health, fertility, etc., while the spiritual development and education of women are often secondary. The protagonist Jan Viebig is the personification of a typical masculine man who cannot contain his physiological desire and understand the girl’s refusal. A man is guided by instincts, raping a girl, using her body for pleasure, and then rejecting her and his promises. The main characteristics of the naturalistic style of the writer are presented, consisting in the depiction of ugly and sometimes disgusting details of the surrounding world, which were parts of reality, in particular, descriptions of rape, death and posthumous decomposition of the body. Attention is focused on the themes of morality and exemplary morality, female virginity, rape, illegitimate pregnancy, images of the human body in art, nudity for art.
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Ługowska, Jolanta. "Fairy Tale Motifs in the Slavic Universe of Marta Krajewska." Literatura Ludowa 67, no. 1-2 (June 30, 2023): 65–76. http://dx.doi.org/10.12775/ll.1.2023.005.
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Marta Krajewska’s series of novels forming the so-called Slavic universe (Idź i czekaj mrozów, 2016, Zaszyj oczy wilkom, 2017 Wezwijcie moje dzieci, 2021) is characterized by noticeable generic syncretism, with fairy tales playing an important role in the construction of the presented world. In her trilogy, the author draws on the most popular, universal fairy tale motifs recorded in international catalogues as well as in Polska bajka ludowa w układzie systematycznym (The Systematic Catalogue of the Polish Folk Tale) by Julian Krzyżanowski, using as the basis of her own story. Krajewska applies the plot patterns of these fairy tales (T. 400A “Urvasi”, T. 333 “Little Red Riding Hood”, T. 425 “The Quest for a Lost Husband”) in the construction of the fates of her protagonists; they also appear by way of folkloric quotes, present, for example, in dialogue replies of the characters. In the narratives of the novels, the writer also devotes a lot of space to the phenomenon of oral transmission of fairy tales, characteristic of folk tradition, and the function of this phenomenon in the life of the local community. However, the numerous references to folk tradition do not mean that Krajewska recreates the logic of selected motifs established in the folk tradition, with their characteristic intentionality and moral messages. The main novelty of the literary approach to traditional tales (especially the story of Little Red Riding Hood) lies in the author’s departure from the fairy tale’s warning role and in her focus on the ambivalence of fascination and horror evoked in the heroine by the figure of the wolf, which in the narrative structure initiates a complex love story with dramatic complications and frequent plot twists, leading, however, towards a happy ending.
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Walter, Harriet. "The Heroine, the Harpy, and the Human Being." New Theatre Quarterly 9, no. 34 (May 1993): 110–20. http://dx.doi.org/10.1017/s0266464x00007703.
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An earlier version of this paper was written by Harriet Walter in December 1991 for the second Divina Conference in Torino, in response to an invitation to speak from the actress's point of view about playing Shakespeare's women. In the event, she ranged much more widely across the typology of women's roles in the theatre, and the actress's response to their challenges – and limitations. The paper has since been delivered, in roughly the present form at the University of Cambridge Graduate Drama Seminar in February 1992, and in March 1992 was read in extract and discussed on a BBC Radio programme in the Art Works Series for the Open University. Opposite, Lizbeth Goodman sets the paper in the context of Harriet Walter's theatrical career.
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Chidora, Tanaka. "Heroes and Heroines in Zimbabwean Fiction." Journal of African Languages and Literary Studies 2, no. 2 (August 1, 2021): 11–29. http://dx.doi.org/10.31920/2633-2116/2021/v2n2a1.
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This paper was developed from a talk that I gave on heroes and heroines in Zimbabwean fiction at the now defunct Book Café in Harare, Zimbabwe. By the time they invited me, my hosts had already come up with a clearly demarcated guideline of who heroes and heroines are, and connected these heroes and heroines to what they called 'revered' values of 'our' society. My response was not to follow that template, but to create a separate deconstructionist taxonomy that questioned such an assumption. This deconstructionist adventure was based on the belief that heroes/heroines are not the same for everyone, especially in a post-independence Zimbabwean society characterised by conditions that are far removed from the promises of independence. Thus, in a country whose independence has been postponed because of various factors, including a leadership whose form of governance involves violence against its citizens in the name of protecting them, a monolithic view of heroes/heroines and revered values needs to be interrogated. Zimbabwean literature offers an inventory that refuses to pander to my hosts' template, and it is this inventory that I used to question the assumption that Zimbabwe was one, huge, happy and united national family because based on its many literary texts, what we have is a dystopian family still trying to find its way and define its heroes/heroines.
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Panasiuk, Valerii. "«La Traviata» remastered. G. Verdi’s opera in the stage interpretation by V. Nemirovich-Danchenko." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 63–82. http://dx.doi.org/10.34064/khnum2-21.04.
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The historical evidence of the XX – the beginning of the ХХІ century musical theatre proves that the drastic interpretation as “a coherent artistic project” can include creating a new text for a libretto, which is aligned to fundamentally important provisions of the director’s concept. It was true for G. Verdі’s “LaTraviata” theatrical performance implemented on the stage of the State Musical Theatre named after People’s Artist of the Republic V. Nemirovich-Danchenko (1934). Due to their provocative approach and radicalism of breaking with wellestablished traditions the ideas of the stage producers (directors, a conductor, an artist and a librettist) are in tune with the guidelines of the modern interpreters of opera classic. Consequently, that far away experience becomes relevant nowadays. Considering it, one can enable solve certain problems in condition when the new ideological principles and innovative art directions are spread. There is an urgent necessity to define the principles of coping with a libretto as an integral part of a holistic director’s vision on the example of “LaTraviata” staging implemented by V. Nemirovich-Danchenko (1858–1943), who was one of the most prominent reformers of both drama and musical theatres in the XX century. So, the aim of this article is to analyze the libretto for the opera “La Traviata” by G. Verdi created by V. Inber using the research approaches of theater studies and literary theory and to define the principles of working with the verbal text as with the part of a holistic director’s conception implemented by V. Nemirovich-Danchenko. The results of the research. Taking into account the guiding directions of the Soviet ideology, the producers obviously over accentuate the social component of the conflict. As a result, “the scenic situation is exacerbated” and consequently “Violetta’s social characteristics” are adjusted; being originally a demimondaine, the main heroine turns into an opera singer, whose tragedy makes the class conflict obvious. The total redefining of the conflict, transferring the place of the action (Venice) and the time (the 1870s), and characters’ social tagging enables implementing another fundamentally important provision – an aesthetic one. The visual identity of the 1870s is strongly associated with the impressionists’ images, Venice is identified with a carnival and relevant artistic attributes (the third act of the play). Focusing on the certain “painting archetype of the epoch”, the set designer (P. Williams) created the suitably matched environment for scenic playing. The innovative approach provided by the director’s concept is implemented within the libretto text by means of updating the stage narrative itself. The author of the libretto, Vera Inber (1890–1972) does not emphasize the opera singer’s destiny, but pays attention to the main character’s relations with the bourgeois society. The latter observes the lifetime conflicts development of one of the artistic bohemia’s representatives with a great deal of interest, but without any compassion. That fact justifies using the new scene – the stage, which enables applying the principle “a theatre within a theatre” (also in the sphere of the artistic design). This approach is naturally combined with the use of the “heraldic construction” in V. Inber’s libretto. In the process of realizing the stage narrative, a separate plot situation is repeated in a small-scale version. The mindset to double and complicate the narrative is carried out in the libretto. Due to that fact, a new conflict (social in its origin and provided by the authors of the director’s vision) development is enabled. The relevant literary allusions in poetical text (although obviously shallow) are set to create a meaningful artistic prospect. In the turning points, the storylines development in V. Inber’s libretto coincides with F. М. Piave’s libretto drama collisions: happy lovers; their happiness, destroyed by Alfred’s father; having an argument and the heroine’s death. The key distinction of a new version is the refusal to use Violetta’s disease as the character’s feature and the plot component, which determines the tragic ending. That is why the fourth act becomes fundamentally different, unlike the original one. Being ignored by the bourgeois environment, Violetta secludes herself from the society and abandons her successful career. The singer informs her coactors (who appear on the stage later) about that fact in the letter. Implementing the principle “a theatre within a theatre” consistently, V. Inber treats the entire final set (especially the heroine’s death) as the last scene of the theatrical performance. Thus, the inevitability of the tragic resolution of the conflict between the artistic personality and the bourgeois society is proved. It facilitates realizing dramatically vital guidelines of a director’s general vision, which becomes determinant in the process of staging G. Verdі’s masterpiece. Conclusions. The practice of rewriting librettos in the first decades of XXI century acquires a new relevance. First, creating a new libretto resolves all the disagreements between a conception of the production team and the original verbal text nowadays. Mostly those contradictions emerge in the process of changing the locality, in which the action proceeds and the time of the plot. Secondly, one of the most burning problems of the ХХІ century musical theatre, concerning the performance language choice, is resolved. Performing an opera using the audience’s native language promotes full-fledged communication between the actors and the spectators. Thirdly, the necessity for rewriting librettos supposes involving the prominent masters of the word, especially poets. Thus the effective dialogue between different national cultures is put into practice and the active circulation of the previous centuries classic (including the opera one) in the socio-cultural sphere is insured.
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Kocher, Ziona. "Squaring the Triangle: Queer Futures in Centlivre’s The Wonder." Humanities 10, no. 1 (March 16, 2021): 53. http://dx.doi.org/10.3390/h10010053.
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Susanna Centlivre’s The Wonder: A Woman Keeps a Secret (1714) presents a model of female relations invested in queer futurity and queer temporality, disrupting the patriarchal geometry of courtship in order to provide the play’s heroines access to an alternate future grounded in their relationship with one another. Though the play ends with both women married, their relationship is central and is cemented by Violante’s marriage to Isabella’s brother, which transforms the friends into sisters. Their dedication opens up the possibility that a relationship between women might be more important than the marriages they strive for, illustrating an important intervention into the construction of plot in comedy from the early eighteenth century. The Wonder’s queer potential is developed in the language that both women use to describe their devotion and the actions that embody it. Violante and Isabella are able to expand the triangle of homosocial exchange into a more equitable square that not only allows for happy marriages but visible, loving relationships between the play’s heroines. As such, they manage to create a queer future where their relationship can remain at the forefront of their lives and rewrite the marriage plot as a means to an end.
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Intan Wardyani, Anastasia, and Mytha Candria. "The Railway Children and Their Acts of Heroism." E3S Web of Conferences 359 (2022): 02002. http://dx.doi.org/10.1051/e3sconf/202235902002.
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The Railway Children is a classic children book that has captured the attention of millions of readers of all ages. The book presents the story of three siblings, Roberta, Peter and Phyllis, whose wealthy and happy life is overturned after their father is imprisoned due to a false accusation of spying. They continue to keep up their spirits and do good for others, and it is through these children protagonists’ adventures and heroic acts. The children’s courages acts are the reasons we are interested in investigating the novel more deeply. Nevertheless, we are particularly interested in figuring out their heroism as communicated through their use of commissives. Commissive speech acts are produced when the children express their commitments to do something in the future. Their commissive acts would be studied with reference to Searle’s (1980) categorization of commissives so that we can discover the types of commissives Roberta, Peter and Phyllis utter, and we can deduce which of those acts of commissives that communicate hero functions. The theoretical framework of heroism and hero functions that we use in this study is that of Kinsella, Ritchie, and Igou (2015), whom we consider to be providing a clear model of hero functions.
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Pavlova, O. М. "SOVIET MYTHS AS A POSTCOLONIAL PROJECTION OF HISTORICAL MEMORY." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 3(55) (April 12, 2019): 317–24. http://dx.doi.org/10.31471/2304-7402-2019-3(55)-317-324.
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In this article the author studies the process of decoding Soviet myths in the play "Autumn Flowers" by О. Pohrebinska and "A Dream in a Olivier's Salad or the Tail Slave." By N. Vorozhbyt. The author focuses on rethinking of the social and political myths of that era, their devastating impact on the process of self-identification, even in today's information space.
Pohrebinska in the play “Autumn flowers” unfolds the story of a woman, who is immersed in the pathological nostalgia for the Soviet times. The main character – Vilena – is fixated on the unraveling of her own mother’s death and the man, who caused it – Victor Mykolajovych – and who is her biological father and unchanging bureaucrat.
In the plot of the play “A Dream in a Olivier's Salad or the Tail Slave” N. Vorozhbyt captures the colonial consciousness of an entire generation that grew up on the collapse of the totalitarian epochs through the psychological problems of the main character – Mariia (the inability to get rid of the Soviet past, which became in fact her personality).
Both heroines view the Soviet past as their own individuality. The injection of collective historical memory into personal one has been traced, because Soviet slogans, mottos and behavioral patterns have become the organic part of being for those women. They made up their own personality from the typical Soviet ideological puzzles and way of life. In fact, individual memory has been replaced by collective memory.
The article proved that one of the key identities of Soviet myths was "happy childhood". The artistic images of Mariyka and Vilena represent the scenarios of children's behavior, prescribed in accordance with Soviet norms. At the same time, their memories illustrate the psychological traumas of childhood caused by the ideological machine and the totalitarian system. Both women are amazed by the image of the "young Leninist", and the prerogative of a "happy childhood", no matter what.
The Soviet myths are firmly anchored in the collective consciousness of the citizens of the former communist empire. Even today, they continue to produce quasi-memories about "happy childhood", "right authority" and "just order".
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Murath, Antonia. "Invisible Kingship." European Journal of Scandinavian Studies 50, no. 2 (October 25, 2020): 257–74. http://dx.doi.org/10.1515/ejss-2020-2002.
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AbstractLike all maiden kings, Nítíða initially rejects her suitors only to accept marriage eventually. Rather than accepting the saga’s ‘happy ending’ as its heroine’s choice, this article argues that her kingship is cast as liminal in Victor Turner’s sense. Her character reflects liminal traits: visual, temporal and sexual ambiguity, mediated through the motif of invisibility, body-thing relations and notions of space. Nítíða’s kingship is structured as a transition to the role of a queen, which she does not take on voluntarily, but because she lacks choice in the face of her increasingly fragile power. Her suitor Livorius ultimately succeeds neither by trickery, military power, nor a courtly approach, but by employing structures Nítíða is excluded from due to her sex. Spared physical violence, she nonetheless suffers structural violence coercing her into a norm-appropriate role and erasing her kingship.
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Warońska, Joanna. "Is It Really a “Mothers’ Hell”? On Motherhood in the Dramas of Maria Pawlikowska-Jasnorzewska." Prace Literaturoznawcze, no. 8 (December 1, 2020): 127–43. http://dx.doi.org/10.31648/10.31648/pl.4570.
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The author draws attention to the complexity of motherhood as one of the themes depicted in the dramatic works of Wojciech Kossak’s older daughter. Considered a moderate feminist in the interwar period, Pawlikowska-Jasnorzewska is aware of the fact that having children has become a public matter. It is in the interest of the family, the species and society in general. For this reason, legal regulations are likely to create oppressive situations in which women’s interests and rights are dismissed. In Pawlikowska-Jasnorzewska’s plays, the topic of motherhood appears in a variety of circumstances, and the news about pregnancy often transforms into a touchstone situation, sparking a debate on the rights and obligations of an individual towards the human species and their family. Abortion is one of the possible solutions. Yet, while criticising the system of norms and imperatives evolved around the instinct of having children, the playwright focuses on the positive images of motherhood. Good mothers are happy, while bad mothers are condemned. Therefore, while granting the heroines of her plays the right to love and personal fulfilment, Pawlikowska-Jasnorzewska remains a traditionalist when it comes to obligations towards a conceived child.
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Kalenichenko, Olha. "On the intermediality of the Lesya Ukrainka essay "Loud strings"." 89, no. 89 (December 13, 2021): 21–28. http://dx.doi.org/10.26565/2227-1864-2021-89-03.
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Intermediate approach allows to comprehend the text of Lesya Ukrainka's essay "Loud strings" as an original experiment. The novelty of the research lies in considering the composition of the essay as a sonata form (sonata allegro). As in the sonata form, "Loud Strings" can be divided into three parts – exposition, development and reprise. Moreover, the exposition is preceded by an introduction that allows the writer to reveal the main features of the portrait and character of the main heroin, Nastya Gritsenko. In the exposition of the essay, as in the sonata form, four parts are clearly presented: the "main", associated with music, as indicated by the title of the work, and the busts of Beethoven and Chopin in Nastya's house, the "connecting" in which the name of Paul's beloved appears, brother Nastya, "side", which is based on the motive of the letter received by the girl from Bogdan, and "final", in which Paul's love for Olesya is revealed. As in the development of the sonata form, a short introductory section can be distinguished in the essay, the development itself and the background. Moreover, in the first sections, the motive of the letter of the "side" party dominates, either forcing Nastya to listen to the voice of her love for Bogdan, or evoking memories of meetings with him from the very beginning. In addition, in the development Lesya Ukrainka actively refers to allusions and reminiscences, inviting the reader to "recall" a wide range of works of world classical literature and music. Such intertext allows the writer to reveal Nastya's rich spiritual world. In the reprise, the leading role is played by the "connecting" and "main" parts, based respectively on the performance of Olesya's "Desires" by Chopin and Nastya – the third movement of Beethoven's sonata No. 17, since the "side" part has completely exhausted itself in development. To reveal the complex range of feelings Nastya Lesya Ukrainka turns to musical ecphrasis. The last lines of the essay can be interpreted both as the complete collapse of the heroine's hopes, and as the catharsis she is experiencing. At the same time, the happy Paul is not able to help his sister. Obviously, the philosophical conclusion of Lesya Ukrainka herself emerges through the "final" game – life is filled with dialectical contradictions. In general, the essay can be viewed as a neo-mythological text, in which the writer skillfully plays with “various traditions” (Z. Mints).
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Myroniuk, Taras. "PETRO LAKHTIUK AS THE FOUNDER OF BANDURA ART ON THE TERRITORIES OF POLAND AFTER WORLD WAR II." Polish Studies of Kyiv, no. 36 (2020): 225–34. http://dx.doi.org/10.17721/psk.2020.36.225-234.
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The biography of one person, a native of Volyn (now Rivne region), as in the mirror, reflects the fate of an entire generation of Ukrainian youth - and therefore of our entire nation - throughout the XX century. Ukrainian, a student at Warsaw University Panteleimon Bondarchuk, who, from the time of his participation in the Ukrainian Insurgent Army and until the end of his life, bore the well-known name (alias) Petro Lakhtiuk, is serving a horrific 12-year prison sentence in the tundra of the Arctic Circle, but miraculously - prayer and willpower remain alive. Released after the death of J. Stalin, he is revived physically and spiritually, goes to Poland, where he plunges into cultural and musical activities, creating in this country not yet known the art of bandura. For Christian love in the good heart of Peter Lakhtiuk, God rewarded him with a long and happy creative life: he lived a full 94 years (1907-2001). Being able to not fail despite the toughest of tests – that is heroism. To maintain dignity and Christian faith in the face of physical torment and psychological abuse – that too is heroic. To avoid anger and not become an outcast in a foreign country and foreign society – that is also heroism. To artfully play an instrument that is not known in the foreign place is selfless. To throw off downcast thoughts and pessimism, and instead to cultivate joy, beauty, song, and art, that is a blessing of the Holy Spirit. Such is the reality of the quiet heroism of Petro Lakhtiuk. It is quiet, because he was never a promoter of his own talents. He pulled his plow quietly, in accordance with his calling, his talent, and his dedication to hard work. He lived in a terrible time in history: during his lifetime there were two world wars – the first during his childhood and the second when he was an adult. In the newspapers, on radio broadcasts, as well as in literature, the 20th century is rightfully called a bloody century.
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Said, Edward W. "Presidential Address 1999: Humanism and Heroism." PMLA/Publications of the Modern Language Association of America 115, no. 3 (May 2000): 285–91. http://dx.doi.org/10.2307/463449.
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I recall two things about my exchange with the friendly soul who rang me several years ago with the offer to stand for the second vice presidency of the MLA. First is the vivid recollection of my serious and mostly incapacitating illness at the time: as it turned out this was to disable me almost completely for the first year's Executive Council meetings. The second is my somewhat ungracious response to the (mostly undeserved) compliment contained in the suggestion that I should accept the nomination: “Do I have to do anything if I get elected?” I asked with almost ridiculous impertinence. I think the answer was no, and I think I should say in my own defense that I formulated my question very specifically to mean only “do I have to do anything very much as second vice president?,” a position I had frivolously assumed was not usually thought of as bearing a great responsibility. In any case, I was elected, and I did nothing the first year except, as I said, miss most of the meetings because of illness, unending treatment, and pain. Never having had much to do with administration during the many, too many, decades of my teaching life, I have to report to you that in my year as first vice president I had the opportunity at the outset to see how a major professional organization is run by really competent people and, second, to witness its humane and rational responses to the various demands of our time and those of our by now somewhat anxious guild, especially its younger members, for whom the job crisis has been so disabling and discouraging a symptom of this fin de siècle. Because of this genuine learning experience throughout my presidency, I am really grateful to, and happy to mention in particular, the extraordinary talents of our superb executive director, Phyllis Franklin, whose sensitive intelligence and marvelous skills not only guided us as a very large professional organization through a series of new challenges but, to speak personally, rescued your faltering president on numerous occasions when his temper and peculiar sense of humor got the better of him. May I also mention Phyllis Franklin's senior colleagues in the association, to whom I and all the other elected officers and members owe so much: Martha Evans, director of MLA book publications; Terence Ford, director of Bibliographic Information Services and editor of the MLA International Bibliography; Judy Goulding, managing editor of MLA publications; Amilde Hadden, director of financial operations; Maribeth Kraus, director of convention programs; David Laurence, director of English programs and ADE; Regina Vorbeck, associate executive director and head of the Division of MLA Operations; Elizabeth Welles, director of foreign language programs and ADFL; and Carol Zuses, coordinator of governance and assistant to the executive director?
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Lamarque, Peter. "On the Distance between Literary Narratives and Real-Life Narratives." Royal Institute of Philosophy Supplement 60 (March 2007): 117–32. http://dx.doi.org/10.1017/s1358246100009632.
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It is a truth universally acknowledged that great works of literature have an impact on people's lives. Well known literary characters— Oedipus, Hamlet, Faustus, Don Quixote—acquire iconic or mythic status and their stories, in more or less detail, are revered and recalled often in contexts far beyond the strictly literary. At the level of national literatures, familiar characters and plots are assimilated into a wider cultural consciousness and help define national stereotypes and norms of behaviour. In the English speaking world, Shakespeare's plays or the novels of Jane Austen, the Bronte sisters, Dickens, and Trollope, provide imaginative material that reverberates in people's lives every bit as much as do the great historical figures, like Julius Caesar, Elizabeth I, Horatio Nelson, or Winston Churchill. What is striking is how often fictional characters from the literary tradition—like the well-loved Elizabeth Bennett, Jane Eyre, Oliver Twist, Pip, Tess of the d'Ubervilles—enter readers' lives at a highly personal level. They become, as Martha Nussbaum puts it, our ‘friends’, and for many readers the lives of these characters become closely entwined with their own. Happy and unhappy incidents in the fictional worlds are held up against similar incidents in the real lives of readers and such readers take inspiration from the courage, ingenuity, or good fortune of their fictional heroines and heroes. Nowhere is it more true that life imitates art.
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Lamarque, Peter. "On the Distance between Literary Narratives and Real-Life Narratives." Royal Institute of Philosophy Supplement 60 (May 2007): 117–32. http://dx.doi.org/10.1017/s1358246107000069.
Full textAbstract:
It is a truth universally acknowledged that great works of literature have an impact on people's lives. Well known literary characters—Oedipus, Hamlet, Faustus, Don Quixote—acquire iconic or mythic status and their stories, in more or less detail, are revered and recalled often in contexts far beyond the strictly literary. At the level of national literatures, familiar characters and plots are assimilated into a wider cultural consciousness and help define national stereotypes and norms of behaviour. In the English speaking world, Shakespeare's plays or the novels of Jane Austen, the Bronte sisters, Dickens, and Trollope, provide imaginative material that reverberates in people's lives every bit as much as do the great historical figures, like Julius Caesar, Elizabeth I, Horatio Nelson, or Winston Churchill. What is striking is how often fictional characters from the literary tradition—like the well-loved Elizabeth Bennett, Jane Eyre, Oliver Twist, Pip, Tess of the d'Ubervilles—enter readers' lives at a highly personal level. They become, as Martha Nussbaum puts it, our ‘friends’, and for many readers the lives of these characters become closely entwined with their own. Happy and unhappy incidents in the fictional worlds are held up against similar incidents in the real lives of readers and such readers take inspiration from the courage, ingenuity, or good fortune of their fictional heroines and heroes. Nowhere is it more true that life imitates art.
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Rossiyanova, Kristina S. "Cynthia and Propertius, Haemon and Antigone: Prop. 2. 8, 21–24." Philologia Classica 17, no. 2 (2022): 277–84. http://dx.doi.org/10.21638/spbu20.2022.207.
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The piece deals with the interpretation of Prop. 2. 8. 21–24. These verses seem to be problematic and illogical over the years. In the poem, the speaker, deserted by his beloved Cynthia, imagines himself dead and then describes the heroine’s reaction to this disastrous event. Propertius thinks that she will be happy about his death and defile his grave. Then he suddenly turns to Haemon, who commits suicide in despair of the Antigone’s death, and after that threatens Cynthia to kill her. Firstly, it is incorrect to compare the righteous Antigone with the unfaithful Cynthia. Secondly, the decision to kill the beloved is inept. Some scholarstranspose the verses in order to avoid the incoherence. Others try to interpret the passage, leaving the lines in their initial order, but they usually think that Propertius compares himself with Haemon and Cynthia with Antigone. The author of the article reconsiders gender roles in this comparison and suggests a new interpretation. There are also some examples from the Catullan and Propertian poetry, which show that the gender-inverted comparisons are widely used in ancient literature and especially in Roman love poetry of the 1st century B. C., in which they, probably, are part of a new literary strategy.
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Santoso, Gunawan. "The Philosophical Power of Civic Education 21st Century in Indonesia." IJEBD (International Journal of Entrepreneurship and Business Development) 4, no. 1 (January 9, 2021): 72–79. http://dx.doi.org/10.29138/ijebd.v4i1.1220.
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Civic education is a subject and course that has a great responsibility in building the character of democracy and the tolerance of students, because civic education is a moral education and must be administered at every level of education from elementary to college. Civic education is subjects and courses of moral education that should be able to minimize even the conflict among learners. This research uses the method of literature analysis with grounded theory is a qualitative research method that uses a number of systematic procedures to develop a theory compiled inductive. Research grounded theory, this research inductive research techniques, emphasizes observation and develops a base of "intuitive" relationship practices between variables. Then the philosophical practice of Civic Education in Indonesia is a curricular program to form human individuals who are moral/character statesman, noble morality, intelligent, believer and fear Allah according to the content of the and Pancasila, with the way to give an intake of knowledge about the meaning and meaning of the moral value of Pancasila, adherence to the constitution Nri 1945, with a democracy Berbhinneka Tunggal Ika, which is tied strongly in a container of the unitary Republic of Indonesia, through the agreement of Youth Oath and a commitment that remains one in the red white flag, by producing human output of science, capable, creative, and independent by the deeds of the Soul statesman, heroism, nationalism, Fruitful happy ending by giving a good benefit to yourself, family, school, Nation and country of Indonesia
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Ilyukha, O. P. "“A Threat to the Childhood”: Civil War in the Pyrenees in the Coverage of Soviet Periodicals for Children." Modern History of Russia 13, no. 3 (2023): 721–44. http://dx.doi.org/10.21638/spbu24.2023.312.
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In 1936–1939, the Spanish Civil War was a hot topic used for military-patriotic upbringing and political socialization of children. This article shows has the events in Spain were portrayed in periodicals for preschoolers and primary schoolchildren, including texts and visualizations. While the official perspective of the Spanish events in the USSR was dictated by the Party, children’s optics was tuned using its own means and methods, customized to the psychology of this age group. The article discloses the goals of exploiting this topic in the Soviet child-targeting discourse, reveals the most common plotlines, pinpoints the specific emotion-inciting tricks. In propaganda work with children, the extreme polarization of good and evil was used, embodied in two political forces — fascists and republicans. The theme was adapted for children through the extensive use of peer images, central among which were child heroes and child martyrs. The image of the Spanish child-hero corresponded to the Soviet concept of a child walking in the forefront of society. At the same time, attention was focused on the difficulties experienced by the children of Spain, who experienced a “threat to childhood”, which fed the ideologeme of “happy Soviet childhood”, the exclusivity of Soviet children. The participation of powerful artistic forces in the information campaign resulted in the construction of a sublimely romantic image of Spain and the Spaniards with an aura of inflexibility and fortitude, corresponding to the ideal of a Soviet person. There was a feeling of connection between the Soviet and Spanish loci of heroism and people of heroic professions, among which pilots and border guards came to the fore. The figures selected to create the pantheon of Civil War heroes and the ways to fit the images of Franco and Stalin into the context are demonstrated.
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Hume, Robert D. "The Morphology of Handel's Operas." Eighteenth-Century Life 46, no. 3 (September 1, 2022): 52–82. http://dx.doi.org/10.1215/00982601-9955324.
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Little scholarly attention has been devoted to the dramaturgy of Handel's operas, which seems secondary to musical and circumstantial matters of venue and performers. This article argues that important things can be learned by attempting to categorize, analyze, and assess the librettos in strictly dramaturgical terms. We need to ask whether there is coherence or development, and what Handel wanted in the librettos he set. Handel's operas have generally been categorized by date and/or venue. Winton Dean categorized them by “dominant temper,” characterized as “heroic or dynastic,” “magic operas,” and “antiheroic.” By implication, Handel approached each opera on a case-by-case basis, not much concerned with generic form. Ellen T. Harris critiqued Dean and offered a dialectical model, dividing the operas into “pastoral” and “heroic” groups. But if we ask “What is the ‘source of action’ within each plot?,” we find four largely distinct groups: (1) villain or villainess; (2) intrigue complexities; (3) situational donné; and (4) character display. After nearly fifteen years of plot structures driven by villains, Handel began to experiment with quite different plot designs (though he did not change librettists). Handel's operas comprise, structurally, a series of mostly static scenes in which intense feelings (ambition, lust, hope, fear, doubt, pain, remorse, etc.) are expressed. The happy-ending convention in opera seria renders plot resolution secondary. Handel's operas are essentially situational rather than plot driven. They use dramatic situations over and over (e.g., supplication, deliverance, abduction, remorse, enmity of kinsmen, self-sacrifice). Handel is far more concerned with intense expression of emotion than with telling a story. In all four types of Handelian opera, quasi-ideal heroes or heroines are featured. In (1) they are threatened by the machinations of a villain; in (2) they find themselves entangled in intrigue; in (3) they are caught in the toils of fate or circumstances; and in (4) the aim is mostly just display of heroic character. Handel's bent was for situation and emotion rather than narrative and resolution. Great and stageable as the best of Handel's operas are, the English oratorio offered him a genre ultimately more congenial to his talents and inclinations.
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Salgaro, Massimo, and Benjamin Van Tourhout. "Why Does Frank Underwood Look at Us? Contemporary Heroes Suggest the Need of a Turn in the Conceptualization of Fictional Empathy." Journal of Literary Theory 12, no. 2 (September 3, 2018): 345–68. http://dx.doi.org/10.1515/jlt-2018-0019.
Full textAbstract:
Abstract Fictional heroes have long attracted the attention and emotions of their audiences and readers. Moreover, such sustained attention or emotional involvement has often taken the form of identification, even empathy. This essay suggests that since 9/11, however, a new cycle of heroism has emerged that has taken its place, namely the hybrid hero (cf. Van Tourhout 2017; 2018). Hybrid heroes have become increasingly popular during the post 9/11 period, offering escapism and reassurance to audiences in difficult times in which clear-cut divisions between good and bad, between right and wrong came under pressure. These characters challenge audiences and creators on moral and narrative levels because of their fluid symbiosis of heroic and villainous features. We find some well-known examples in contemporary TV-series such as Breaking Bad, House of Cards, etc. Hybrid heroes are looking for ways to arouse audiences and are aiming at the complicity of the audience. The most striking example of this complicit nature can be seen in the TV-series House of Cards when Frank Underwood addresses the audience by staring into the camera. Traditional psychological and aesthetic theories on empathy are challenged by the phenomenon of the hybrid hero because empathy is generally conceived in prosocial terms, with most of the current research being geared toward a positive notion of empathy (cf. Johnson 2012; Bal/Veltkamp 2013; Koopman/Hakemulder 2015). Additionally, there has been a prevalent confusion between sympathy and empathy that has impacted our understanding of the perception of such heroes (cf. Jolliffe/Farrington 2006). In fact, one of the reasons for the predominantly positive connotation of empathy in the study of literary reception is that empathy has been narrowly defined as »sympathy and concern for unfortunate others« (Bal/Veltkamp 2013, 2). The distinction between empathy and sympathy is crucial in the study of immoral figures because, as research has shown, only sympathy involves a moral judgement. The concept of a hybrid hero pushes us to decouple the core of fictional empathy from moral impulses or prosocial actions because it demands a »suspension of moral judgement from its viewer« (cf. Vaage 2013). Some recent studies (cf. Happ/Melzer/Steffgen 2015) have found that empathic responses to videogames cause antisocial effects, while others report cases of »tactical empathy« (cf. Bubandt/Willerslev 2016) or »empathic sadism«, which allows the fiction reader to predict the feelings of the characters and to find enjoyment in this prediction, independently of the negative state and the pain of them (cf. Breithaupt 2016). We believe that the conceptualisation of an emotional bond between the audience and questionable or hybrid heroes will only be permitted through a turn in the approach to the concept of fictional empathy in media studies and aesthetic theory. Thus, the scope of the present paper is not only to describe the phenomenon of the hybrid hero, but also the specific notion of empathy and aesthetic enjoyment that the concept of a hybrid hero demands, that, compared to the present concepts of empathy: (1) distinguishes empathy from sympathy, (2) decouples empathy from morality, (3) takes into account the aesthetic enjoyment associated with negative emotions and moral violations. Finally, we argue that this renewed concept of fictional empathy should be incorporated into newly introduced models of art reception, which integrate both positive and negative emotions in art fruition (cf. Menninghaus et al. 2017). Recent research in empirical aesthetics and media psychology seems to support this view in showing that a moral violation in fictional stories produces mixed emotional and enjoyable responses (cf. McGraw/Warren 2010). The success of the hybrid hero confirms that the interplays of positive, negative and mixed emotion elicited by ambivalent figures such as the hybrid hero can partially explain the massive success and broader impact of contemporary TV series.