Relevant bibliographies by topics / Virgin heroine

Academic literature on the topic 'Virgin heroine'

Author: Grafiati
Published: 25 July 2024
Last updated: 31 July 2024

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Journal articles on the topic "Virgin heroine"

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BELSKAYA, A. A., L. V. ALYOSHINA, and V. N. KRIVOLAPOV. "THE MYTHOLOGICAL SUBTEXT OF WOMEN'S NAMES IN THE NOVEL BY I.S. TURGENEV «VIRGIN SOIL»." Scientific Notes of Orel State University 98, no. 1 (March 26, 2023): 97–103. http://dx.doi.org/10.33979/1998-2720-2023-98-1-97-103.

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The article reveals the meaning and mythological subtext of the female names Marianna, Fekla, Snandulia, which create a special cultural halo of the text; the connection of naming with the artistic whole of the novel is proved, in which each heroine embodies different ways of development of Russia. Another female name - Valentina - deepens the characterization of the «cute egoist», but does not highlight the narrative mythological plan.
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Lahti, Sofia. "The Sigtuna Reliquary Bust – a Local Heroine and a Virgin of Cologne?" Konsthistorisk tidskrift/Journal of Art History 86, no. 3 (May 16, 2017): 188–203. http://dx.doi.org/10.1080/00233609.2017.1325931.

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Halemba, Agnieszka. "National, transnational or cosmopolitan heroine? The Virgin Mary's apparitions in contemporary Europe." Ethnic and Racial Studies 34, no. 3 (March 2011): 454–70. http://dx.doi.org/10.1080/01419870.2011.535548.

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Despotis, Sotirios. "Artemis and Thecla. Τhe Meeting of the Ancient Goddess with the Christian Female Apostolic Saint in the First Four Centuries of Christianity (Historical and Comparative Reflections)." Elpis 24 (2022): 127–30. http://dx.doi.org/10.15290/elpis.2022.24.17.

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The paper’s subject is about the interaction between the cult of the goddess Artemis and the cult of St Thecla of Iconium throughout the Eastern Mediterranean in the initial four centuries of Christianity in particular. The phenomenon is investigated regarding the literature, the cities, social groups and personalities mostly associated with the cultural meeting of the free-spirited but fearsome goddess protector of the wilderness, virginity and childhood with the virgin heroine of the Cross and alleged apostolic companion of Paul for spreading the Logos of life to the nations.
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Leimer, Ann Marie. "La Conquistadora: A Conquering Virgin Meets Her Match." Religion and the Arts 18, no. 1-2 (2014): 245–68. http://dx.doi.org/10.1163/15685292-01801013.

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‭The Mexican Museum in San Francisco commissioned Delilah Montoya to produce a contemporary codex for the 1992 exhibition “The Chicano Codices: Encountering Art of the Americas,” which sought to critique Quincentennial observances erasing indigenous presence. The artist created a seven-page book, Codex Delilah, Six-Deer: Journey from Mexicatl to Chicana, that depicted the consequences of the initial American-European encounter, and she used the heroine Six-Deer to visually record women’s contributions to this 500-year history. In the codex’s fourth panel, Six-Deer comes across Adora-la-Conquistadora, the artist’s revisioning of the New Mexican Catholic icon of Our Lady of the Rosary, La Conquistadora, the oldest figure of Marian devotion in the United States. Six-Deer contests the designs of the Virgin, who intends to forcefully convert the native peoples of New Mexico. Rather than capitulate, Six-Deer refuses to participate in New Mexico’s Reconquista of 1692. Although Montoya appropriated La Conquistadora’s traditional sartorial splendor, she proposed an alternate reading of this Conquering Virgin. This article reads Montoya’s depiction within the dimensions of La Conquistadora’s historical, religious, cultural, and iconographic contexts.‬
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Rebel, G. M. "MANOR TOPOS AND GENRE SPECIFICITY OF TURGENEV’s NOVEL." Bulletin of Udmurt University. Series History and Philology 30, no. 6 (December 11, 2020): 1055–60. http://dx.doi.org/10.35634/2412-9534-2020-30-6-1055-1060.

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The article polemically comprehends the practice of considering the manor topos as a genre-defining feature of Turgenev's novel, since this strategy ignores the plot logic, the content of the main characters, the essence of their relationships and the final meanings of the works. In addition, this approach inevitably destroys the aesthetic unity of Turgenev's work, because “Smoke” and “Virgin Soil” do not fit into the “manor” genre paradigm, even at the level of formal criteria. In this article, based on the material of Turgenev's novels - mainly those in which there is a “Turgenev’s girl” (“Rudin”, “A Nest of Gentlefolk”, “On the Eve”, “Virgin Soil”), - it is shown that the vector of the heroine's fate is directed from the manor world to the big world of search and struggle. The thirst for active good lies at the heart of the choice of the heroine: her chosen one, in contrast to the usual environment, is a spokesman of the spirit of the time, a hero of time, which opens up new horizons of life for her. The plot logic of Turgenev's novel is due not to the chamber circumstances of the life of a noble estate, but to the pathos of the ideas proclaimed by the hero and the thirst for self-realization of the characters in a socially significant field. This determines the genre specificity of Turgenev's novel as an ideological novel.
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Brown, P. G. McC. "Love and Marriage in Greek New Comedy." Classical Quarterly 43, no. 1 (May 1993): 189–205. http://dx.doi.org/10.1017/s0009838800044268.

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Writing of Terence's Andria (‘The Girl from Andros’) in 1952, Duckworth said: ‘In the Andria the second love affair is unusual; Charinus’ love for a respectable girl whose virtue is still intact has been considered an anticipation of a more modern attitude towards love and sex. More frequently in Plautus and Terence the heroine, if of respectable parentage, has been violated before the opening of the drama (Aulularia, Adelphoe), or she is a foreigner, a courtesan, or a slave girl' (Duckworth (1952), p. 158). Perhaps in 1993 it does not seem quite so ‘modern’ that Charinus is not only in love with a respectable virgin but wishes to marry her.
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Ibatullina, G. M., and M. V. Alekseenko. "THE SOPHIAN MYTH IN THE NOVEL BY V.P. ASTAFYEV “THE SHEPHERD AND THE COWGIRL”." Bulletin of Udmurt University. Series History and Philology 29, no. 5 (October 25, 2019): 839–47. http://dx.doi.org/10.35634/2412-9534-2019-29-5-839-847.

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The article discusses the figurative and semantic paradigms of the sophiological myth in the story by V.P. Astafyev “The Shepherd and the Cowgirl”. The image of the main character of the story Lucy is endowed with a number of symbolic connotations and has a complex archetypal structure. The Sophian archetype is represented here in its two invariants: the Christian and the Gnostic; the keys to understand the heroine are also the Theotokos archetype, the archetypes of the Virgin, the Beloved, the Mistress, Psyche, and the Kabbalistic archetype Shekhinah, which is closely related to the original image of Sophia. The Sophian model of a feminine principle is reflected both in the personality-psychological, spiritual and moral characteristics of the heroine, and in the logic of the image of her fate. The study leads to the conclusion that the mythologeme of Sophia in its different modes (Sophia the Wisdom of God, Sophia the Gnostic, Eternal Femininity) in the paradigm of Lucy's image is one of the semantic dominants; in addition, in the mythopoetic sign system of the work, the Sophian archetype, along with the archetypes of Theotokos and Shekhinah, can be considered the cultural representative of the “feminine” archetype - the archetype of a Woman in its specific gender-existential aspect.
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Jelínková, Ema. "A prostitute as the unsung heroine in Aphra Behn’s The Rover." Ars Aeterna 14, no. 2 (December 1, 2022): 12–21. http://dx.doi.org/10.2478/aa-2022-0008.

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Abstract Aphra Behn, a Restoration playwright of unprecedented success, lived by her pen and therefore was obliged to conform to the other literary production of that time (written mostly by men): comedies featuring libertines, coarse morals, debauchery and fortune-hunting protagonists. Behn wrote in this manner, yet adding a satirical spin to her work, by presenting the character of Angellica Bianca, a prostitute (actually a very ladylike companion to older wealthy men). Paradoxically, Angellica is presented as the most upright and generous person among the cast; lamentably, she believes in oaths, of which Wilmore, the double-dealing eponymous rover of the play, cures her mercilessly and swiftly, as soon as he meets a virgin, who comes with a large fortune attached. By this, Behn introduces a dark undercurrent to an ostensibly comic play. This paper pays homage to the elaborate ways Aphra Behn employed to present a prostitute as the most intriguing character of the play.
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Harvey, Carol. "Staging Sin in Medieval Paris." Florilegium 36 (November 1, 2023): 103–24. http://dx.doi.org/10.3138/flor-36.006.

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The major source of knowledge of French miracle plays is the Cangé manuscript, which features forty Miracles de Nostre Dame par personnages. All the plays in the manuscript are arranged in chronological order from 1339 to 1382. They were written and produced for the St. Eloy chapter of the gold and silversmiths guild of Paris and performed at the guild’s annual assembly on or around St. Eloy’s Day (December 1). This address analyses a cluster of seven plays composed for performance between 1368 and 1379. All seven plays place the conflict between saints and sinners on the medieval stage by juxtaposing a falsely accused heroine with an antagonist whose deeds reveal the Seven Deadly Sins. Central to each of the plays is the miraculous intervention of the Virgin Mary, to whom the innocent woman prays for deliverance from her tormentors. Mary’s descent and presence on stage dramatically demonstrate her role as intercessor in the struggle between good and evil.
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Dissertations / Theses on the topic "Virgin heroine"

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Fairless-Aitken, Suzanne H. "Re-dressing the heroine in the novels of the Brontës, George Eliot and Virginia Woolf." Thesis, University of Newcastle Upon Tyne, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402704.

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Fairless-Aitken, Suzanne Holly. "Hyenas in scarlet petticoats : re-dressing the heroine in the novels of the Brontës, George Eliot and Virginia Woolf." Thesis, University of Newcastle upon Tyne, 2004. http://hdl.handle.net/10443/208.

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Pope, Nancy Patricia. "National history in the heroic poem : a comparison of the "Aeneid" and the "Faerie Queene /." New York ; London : Garland, 1990. http://catalogue.bnf.fr/ark:/12148/cb35551861m.

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Clements, Kristine Elise Holoman. "Determinants of Great Blue Heron (andea herodias) Colony Size and Location along the James and Chickahominy Rivers in Virginia." W&M ScholarWorks, 1995. https://scholarworks.wm.edu/etd/1539625970.

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Smith, Julie Lynne. "Fashioning the gothic female body : the representation of women in three of Tim Burton's films." Diss., 2016. http://hdl.handle.net/10500/22190.

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This study explores the construction of the Gothic female body in three films by the director Tim Burton, specifically Batman Returns (1992), Sweeney Todd: The Demon Barber of Fleet Street (2007) and Dark Shadows (2012). Through a deployment of Julia Kristeva’s theory of abjection, the intention is to indicate the degree to which Burton crafts his leading female characters as abject Others and embodiments of Barbara Creed’s ‘monstrous-feminine’. In this Gothic portrayal, the director consistently draws on the essentialised stereotypes of Woman as either ‘virgin’ or ‘whore’ as he shapes his Gothic heroines and femmes fatales. While a gendered duality is established, this is destabilised to an extent, as Burton permits his female characters varying degrees of agency as they acquire monstrous traits. This construction of Woman as monster, this study will show, is founded on a certain fear of femaleness, so reinstating the ideology of Woman as Other.
English Studies
M.A. (English Studies)
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Chuang, Fang-Chi, and 莊方旗. "Redefing Heroism and the Pursuit of Pax Romana: Virgil''s Aeneid as Political Metaphors." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/46385321034402129216.

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博士
國立臺灣大學
政治學研究所
102
This research argues that Virgil’s Aeneid as a national epic was also meant to be a political act imposed upon the imperial Romans. As the poet’s chief concern, this epic revealed tensions between the citizen and the political community. For centuries the sudden denouement and a false dream of empire as metaphor left ambiguous rooms for interpretations Among one of the themes, this dissertation tries to explain why Virgil had wanted to burn the epic’s manuscripts before he died. Also, it is my contention that Virgil carried the whole classical tradition of the origin of civilization on his back when he endeavored to recast and reshape the Roman souls.His concluded from themes of legends and of religions, and tales of civilizations and of Olympian Gods, that after all one should recognize the yoke of Fate(Fortuna). I contend that two political metaphors are implied in the Aeneid: Pax Romana and a redefined Heroism. The former meant first to mold Roman identity, and then to suggest the mission of universal peace under the rule of the Roman empire. The Latter was concerned with redefining Heroism by pietas. Pietas meant being loyal to Gods and dutiful to family and peoples. Virgil left behind the image of Greek heroes who were devoted to gaining eternal fame even to death. Instead he portrayed a new hero as the model for the Roman people to emulate and adore. The epic indeed accorded with the Augustan imperial policies and implied the poet’s expectations for the revival of a Golden Age .
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(6639902), Caleb Milne. "Even The Sky." Thesis, 2019.

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Books on the topic "Virgin heroine"

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Gallery, Walpole, ed. Virgin, muse, heroine: Seventeenth and eighteenth century Italian paintings. London: Walpole Gallery, 1997.

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Brown, Beverly Louise. Virtuous virgins: Classical heroines, romantic passion and the art of suicide. London: Matthiesen Fine Art Ltd, 2004.

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Cervetti, Nancy. Scenes of reading: Transforming romance in Brontë, Eliot, and Woolf. New York: P. Lang, 1998.

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

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

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Huang, Ana. If We Ever Meet Again. Sourcebooks, Incorporated, 2020.

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Unforgettable. Independent Publishing, 2014.

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Tryst Six Venom. Penguin Publishing Group, 2024.

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Tryst Six Venom. Independently Published, 2021.

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Fury. Independent, 2014.

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Book chapters on the topic "Virgin heroine"

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McAlister, Jodi. "This Modern Love: The Virgin Heroine in Historical Romance Fiction." In The Consummate Virgin, 131–67. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55004-2_6.

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McAlister, Jodi. "Middle Class Morality: The Virgin Heroine in Contemporary Category Romance Fiction." In The Consummate Virgin, 169–209. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55004-2_7.

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"Reading like a virgin: Phaedra and Ariadne." In The Ovidian Heroine as Author, 122–42. Cambridge University Press, 2005. http://dx.doi.org/10.1017/cbo9780511482175.007.

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West, Steven. "Characters, Conventions and ‘The Rules’: Creating Scream’s Thieving, Whoring Ensemble." In Scream, 55–90. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325277.003.0005.

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This chapter reviews the scene from Wes Craven's Scream that establishes the heroine, Sidney, and her unconsummated relationship with boyfriend Billy Loomis. It recounts the traumatic backstory of the murder of Sidney's mother and her inability to sacrifice her virginity that reflect the film's reverential tone and provide the first hint of Billy's psychotic detachment from reality. It also talks about the immediate positioning of Sidney as a sensitive virgin with a tragic backstory that conveys to the audience that she will be the 'final girl' or heroine. The chapter discusses how Scream is about knowledge of the movies, in which the characters have seen so many horror films that they know what to do and what not to do. It points out how casting and characterisation played a major part in Scream's marketing and success in a way that performers and characters of a typical 1980s slasher film did not.
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"National, transnational or cosmopolitan heroine? The Virgin Mary’s apparitions in contemporary Europe." In Cosmopolitan Sociability, 66–82. Routledge, 2014. http://dx.doi.org/10.4324/9781315872629-9.

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Gorecka-Kalita, Joanna. "Folle d’amour, folle de Dieu : la femme de Potiphar au prisme des cultures." In Pensées orientale et occidentale: influences et complémentarité II, 115–40. Ksiegarnia Akademicka Publishing, 2021. http://dx.doi.org/10.12797/9788381383950.07.

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The paper analyses the character of Potiphar’s wife in the intercultural/ interreligious context. The founding story, that of the Book of Genesis, is the starting point; then comes the Hellenistic one (Joseph and Aseneth), the Christian (Morales on Job by Gregory the Great, Moralized Bibles etc.), the Jewish (Testament of the Twelve Patriarchs, the Midrashim etc.) and the Muslim (the Quran, the Tafsir, the Stories of the Prophets etc.) stories and commentaries are presented. Particular attention is given to the Persian texts of the Middle Ages, since they fundamentally reinterpret the character of the heroine: from a lustful and perfidious woman, she becomes the image of a suffering lovestruck virgin and finally an allegory of the soul seeking God in Youssouf and Zouleïkha, Djami’s famous Sufi novel, tinged with Platonism.
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Thomas, Troy. "Heroines, Great Ladies." In Poussin's Women. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463721844_ch07.

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Heroic and noble women appear mainly in Poussin’s historical and religious works. Women achieve heroic status in his Landscape with the Ashes of Phocion Collected by His Widow, and Coriolanus. What I call “great ladies” appear in Landscape with Numa Pompilius and the Nymph Egeria, and the Arcadian Shepherds (second version). Great ladies are represented in Old Testament scenes such as the Finding of Moses, Eliezer and Rebecca, and Esther Before Ahasuerus. But the Virgin Mary in his New Testament scenes most perfectly fulfills the designation “great lady,” in his Annunciation, Holy Family on the Steps, Assumption of the Virgin, the and The Seven Sacraments: Marriage (two versions).
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"Conclusion: Virgil, Empire, and Sublimity in Paradise Regained." In Heroic Awe, 174–80. University of Toronto Press, 2022. http://dx.doi.org/10.3138/9781487545406-009.

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Sarkar, Bihani. "Caṇḍikā, Pārvatī’s Unwanted Self (c. 5th to 7th Century)." In Heroic Shāktism. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266106.003.0003.

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By assessing early Śaiva and literary sources, this chapter demonstrates how Kālarātri-Nidrā-Kālī, Durgā's early form, was assimilated and transformed by Śaivism from the 5th century onwards, in which Durgā eventually acquired co-identity with Pārvatī, the consort and inalienable other half of the great god Śiva. Her dark complexion, a genetic feature of the Vaiṣṇava Nidrā, the sister of dark-hued Kṛṣṇa, is explained within this tradition as Pārvatī's rejected black skin, a symbol of mystery and danger, that she removes from her body to acquire a fairer complexion. The emergent goddess is the antonym of Pārvatī, a warrior virgin who, though a protector of Dharma, nevertheless remains potentially dangerous, as her earliest form Nidrā-Kālī. In this way, the Śaiva tradition views attributes of antinomianism, potentially within Pārvatī, to be transferred to Durgā, now known as Caṇḍikā, the Fiery Lady, Pārvatī's unwanted self, thereby enlarging the conception of the latter to a binary deity, who like Śiva, incorporates a gentle as well as a fierce or bhairava aspect. The chapter also argues that the goddess's capital-creating aspect was heightened in Śaivism. Navamī, initially a day when the goddess was said to be born, became crucial as one of the occasions when capital could be most profitably accessed from the goddess. What we find being developed from the earlier conception of the Vaiṣṇava Durgā and acquiring greater sophistication within Śaiva mythological and ritual domains is the ability of her spiritual repertoire to function as a religion for managing times of state crises and for granting largesse and power.
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Barrett Litoff, Judy. "Introduction: Women and the French Resistance: The Story of Virginia d’Albert-Lake." In An American Heroine in the French Resistance, xi—xxxiv. Fordham University Press, 2022. http://dx.doi.org/10.1515/9780823290857-003.

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