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Libros sobre el tema "Independent heroine"

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Autor: Grafiati
Publicado: 25 de julio de 2024

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1

Ann Story: Vermont's heroine of independence. Shelburne, Vt: New England Press, 1996.

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2

Vlahov-Micov, Stefan. Heroite i potomcite. Skopje: Matica, 2011.

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3

Molly Pitcher: Heroine of the War for Independence. Philadelphia: Chelsea House, 2006.

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4

Rosales, Rafael María. Del tiempo heroico. Caracas: Academia Nacional de la Historia, 1990.

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5

Blanco, Eduardo. Venezuela heroica: Historical vignettes. New York: Peter Lang, 2015.

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6

Taruselli, Eugenio E. Relatos de la Salta heroica. Salta, Argentina: Gofica Editora, 2001.

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7

Kent, Lia y Rui Feijo, eds. The Dead as Ancestors, Martyrs, and Heroes in Timor-Leste. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463724319.

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During the 24-year Indonesian occupation of East Timor, thousands of people died, or were killed, in circumstances that did not allow the required death rituals to be performed. Since the nation’s independence, families and communities have invested considerable time, effort and resources in fulfilling their obligations to the dead. These obligations are imbued with urgency because the dead are ascribed agency and can play a benevolent or malevolent role in the lives of the living. These grassroots initiatives run, sometimes critically, in parallel with official programs that seek to transform particular dead bodies into public symbols of heroism, sacrifice and nationhood. The Dead as Ancestors, Martyrs, and Heroes in Timor-Leste focuses on the dynamic interplay between the potent presence of the dead in everyday life and their symbolic usefulness to the state. It underlines how the dead shape relationships amongst families, communities and the nation-state, and open an important window into — are in fact pivotal to — processes of state and nation formation.
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8

Collins, Suzanne. 燃烧的女孩: Catching Fire. 8a ed. Beijing Shi: Zuo jia chu ban she, 2012.

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9

Collins, Suzanne. Xing huo liao yuan. 8a ed. Taibei Shi: Da kuai wen hua chu ban gu fen you xian gong si, 2010.

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10

Collins, Suzanne. Catching Fire. Detroit: Thorndike Press, 2009.

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11

Collins, Suzanne. The Hunger Games: Catching Fire. 8a ed. London: Scholastic, 2012.

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12

Collins, Suzanne. Catching Fire. New York: Scholastic Inc., 2014.

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13

Collins, Suzanne. Løbeild. Copenhagen: Gyldendal, 2010.

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14

Collins, Suzanne. Catching Fire. London: Scholastic, 2015.

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15

Collins, Suzanne. Catching Fire. New York: Scholastic Press, 2009.

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16

Collins, Suzanne. Die Tribute von Panem: Gefährliche Liebe. Hamburg: Oetinger, 2013.

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17

Collins, Suzanne. The Hunger Games: Catching fire. 3a ed. London: Scholastic, 2012.

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18

Collins, Suzanne. Catching fire. New York, New York: Scholastic Inc., 2013.

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19

Collins, Suzanne. Catching Fire. New York: Scholastic, 2010.

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20

Monuments Skanderbeg, Independence, The four Mirdita heroines. Tirana: "8 Nëntori" Pub. House, 1988.

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21

Eduardo, Blanco. Venezuela Heroica. Independently Published, 2021.

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22

Cox, Fiona. Michèle Roberts and Clare Pollard. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198779889.003.0011.

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This chapter examines the reception of the Heroides and the psychology of women ‘answering back’ through short stories and through translations. It analyses Michèle Roberts’s reworking of the myth of Jason and Hypsipyle, in which Hypsipyle, far from performing the role of one of Ovid’s abandoned heroines, revels in the independence and freedom of time spent alone while Jason is absent. Such subversion is also apparent in the translations/adaptations of selected Heroides by Clare Pollard, who transposes them to a modern Britain, peopled with domestic goddesses, internet trolls, and bag ladies. In the hands of both authors the female speakers of Ovid’s letters speak in contemporary and assertive tones.
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23

Arrom, Silvia Marina. Guera Rodriguez: The Life and Legends of a Mexican Independence Heroine. University of California Press, 2021.

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24

Guera Rodriguez: The Life and Legends of a Mexican Independence Heroine. University of California Press, 2021.

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25

Götz, Ignacio L. y Blanco Eduardo. Venezuela Heroica: Historical Vignettes. Lang AG International Academic Publishers, Peter, 2015.

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26

Götz, Ignacio L. y Blanco Eduardo. Venezuela Heroica: Historical Vignettes. Lang AG International Academic Publishers, Peter, 2015.

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27

Wagenheim, Olga Jiménez de. Nationalist Heroines. Markus Wiener Publishers, 2016.

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28

Wagenheim, Olga Jiménez de. Nationalist Heroines. Markus Wiener Publishers, 2016.

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29

Atakav, Eylem. Feminism and Women’s Film History in 1980s Turkey. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0010.

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This chapter explores the relationship between feminism and women's film history in the context of 1980s Turkey. In discussing women's film history, the chapter includes not only the history of women filmmakers and the films they have made but also the link between the history of Turkish film industry and feminism. It begins with a historical overview of the feminist movement in Turkey and then examines its visible traces in film texts produced during the 1980s in order to argue that those films can be most productively understood as explorations of gendered power relations. The chapter then considers how the enforced depoliticization introduced in Turkey after the 1980 coup opened up a space for feminist concerns to be expressed within commercial cinema. It also shows how this political context gave rise to the newly humanized, more independent heroine that characterized Turkish cinema during the period, but suggests that the films were nevertheless made largely within the structures of a patriarchal commercial cinema.
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30

Molly Pitcher: Heroine Of The War For Independence (Leaders of the American Revolution). Chelsea House Publications, 2005.

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31

Gates, Philippa. Independence Unpunished. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038594.003.0002.

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This chapter investigates how the 1940s female “private eye” complicates the conventional, dualistic representation of women in classic noir as either homemaker or femme fatale, “redeemer” or “destroyer.” Women in classic noir are never detectives by profession, whether working for the police or as private investigators, but a number of them serve as amateur investigators, seeking out the truth about a crime most often to clear the name of a man they love. The sex of the female detective complicates the traditionally male noir detective narrative as the narrative is driven forward as much by the female protagonist's personal desires as by her investigation, and the heroine's independence as a detective and exploration of her sexuality pose undesirable challenges to the masculinity of her husband—just like the femme fatale. Unlike the femme fatale, however, the female detective is allowed to enjoy her foray into masculinity and conclude the film unpunished.
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32

Rabbee, Nusrat. War Heroines Speak: The Rape of Bangladeshi Women in 1971 War of Independence. BookBaby, 2021.

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33

Murnaghan, Sheila y Deborah H. Roberts. Ancient History for Girls. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199583478.003.0006.

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This chapter considers the strategies used to make history texts and works of historical fiction set in antiquity appealing to girl readers of the first half of the twentieth century, who were increasingly exposed to books with active girl heroines. Despite the severe constraints on ancient women and girls, such writers as Dorothy Mills, Caroline Dale Snedeker, Erick Berry, and Naomi Mitchison contrive to provide their readers with independent, resourceful ancient counterparts. They achieve this by filling in the silences of the ancient record, setting their stories on the spatial and temporal margins of the classical world, and devising plots in which girls act in the place of absent or inadequate brothers.
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34

Cannon Harris, Susan. The Flaming Sunflower: The Soviet Union and Sean O’casey’s Post-Realism. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424462.003.0006.

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Sean O’Casey came to see the Soviet Union as a market for the kind of ideologically-committed and antirealist drama that neither the Abbey Theatre’s directors nor London’s commercial producers wanted. Many of the plays O’Casey wrote after his move to England in 1928 become legible only in the context of the history charted during this book’s first four chapters, the Stalinised British left organizations with which O’Casey worked, and the genre of socialist realism. Investigating the genesis and performance history of O’Casey’s 1939 Communist play The Star Turns Red, this chapter shows how O’Casey’s post-realist aesthetic derives from the literary tradition of queer socialism, which reached him through Shelley and Larkin. Analyzing O’Casey’s nondramatic writing about and for the Soviet Union as well as his American supporters’ insistence that he remained artistically independent of Soviet ideologies about literature, this chapter shows that O’Casey’s ambivalence about British left culture masks an unbounded admiration of the kind of proletarian literature which O’Casey believed – thanks to his limited and misleading contact with it – was represented by socialist realism. O’Casey was also strongly drawn to the heroic and heterosexual masculinity cultivated by official Soviet culture.
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35

Leach, Laurie. Langston Hughes. Greenwood Publishing Group, Inc., 2004. http://dx.doi.org/10.5040/9798400676475.

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This biography traces Hughes' life and artistic development, from his early years of isolation, which fostered his fierce independence, to his prolific life as a poet, playwright, lyricist, and journalist. Hughes' inspiring story is told through 21 engaging chapters, each providing a fascinating vignette of the artistic, personal, and political associations that shaped his life. Recounted are the pivotal developments in his literary career, with all its struggles and rewards, as well as his travel adventures to Africa, Europe, and Asia, and his political commitments to fight fascism as well as racism. Langston Hughes was raised by a grandmother who actively aided the Underground Railroad, and his first forays into poetry reflected personal tales of slavery and heroism. Through his poetry, Hughes lived up to a proud tradition and continued the uplifting legacy of his race. He was a renaissance man in nearly every aspect of his life, and his name has become synonymous with the Harlem Renaissance movement he helped launch. This biography traces Hughes' life and artistic development, from his early years of isolation, which fostered his fierce independence, to his prolific life as a poet, playwright, lyricist, and journalist. Hughes' inspiring story is told through 21 engaging chapters, each providing a fascinating vignette of the artistic, personal, and political associations that shaped his life. Recounted are the pivotal developments in his literary career, with all its struggles and rewards, as well as his travel adventures to Africa, Europe, and Asia, and his political commitments to fight fascism as well as racism. A timeline, a selected bibliography of biographical and critical sources, and a complete list of Hughes' writings complete the volume.
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36

Weddle, Kevin J. The Compleat Victory:. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780195331400.001.0001.

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In the late summer and fall of 1777, after two years of indecisive fighting on both sides, the outcome of the American War of Independence hung in the balance. Having successfully expelled the Americans from Canada in 1776, the British were determined to end the rebellion the following year and devised what they believed a war-winning strategy, sending General John Burgoyne south to rout the Americans and take Albany. When British forces captured Fort Ticonderoga with unexpected ease in July of 1777, it looked as if it were a matter of time before they would break the rebellion in the North. Less than three and a half months later, however, a combination of the Continental Army and militia forces, commanded by Major General Horatio Gates and inspired by the heroics of Benedict Arnold, forced Burgoyne to surrender his entire army. The American victory stunned the world and changed the course of the war. In the end, British plans were undone by a combination of faulty strategy, distance, geography, logistics, and an underestimation of American leadership and fighting ability. Taking Ticonderoga had misled Burgoyne and his army into thinking victory was assured. The campaign’s outcome forced the British to rethink their strategy, inflamed public opinion in England against the war, boosted Patriot morale, and, perhaps most critical of all, led directly to the Franco-American alliance. Weddle unravels the web of contingencies and the play of personalities that ultimately led to what one American general called “the Compleat Victory.”
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37

de Bruin, Hanne M. Kaṭṭaikkūttu. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781350236646.

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This is the first book to offer a clear introduction to Kattaikkuttu (or Terukkuttu), a vibrant, vocal and physical outdoor Tamil theatre tradition. It describes the theatre’s characteristic heroic nature as expressed through its principal, male kattai characters, explores its history, social status and ritual context, and examines the production of all-night plays. After placing Kattaikkuttu in the wider, competitive context of the performing arts in India, Hanne M. de Bruin introduces readers to some of the debates about the form and provides an overview of the different elements that make up a Kattaikkuttu performance. It considers Kattaikkuttu’s performance spaces and the way the form has changed, such as its transition towards an independent and more professional theatre genre, as well as the opening up of the form to different castes and to women. It covers the production and frameworks of all-night performances, uses the Mahabharata play Karna Moksam as a case study and examines recent changes in the Kattaikkuttu repertory. In addition, the book looks in more detail at the role of the performer, including the training of a Kattaikkuttu novice, the performance score of actor-singers that underlie a specific role or vesam, and a seasoned performer’s agency in interpreting well-known roles. Finally, the study turns to recent innovations, in particular the creation of new work and the Kattaikkuttu Gurukulam. Exploring director and playwright P. Rajagopal's adaptation of the Mahabharata play Dice and Disrobing, it looks at the ways in which issues of gender and the boundaries of the genre can be examined from within. It concludes with a note on Kattaikkuttu’s current status from the perspectives of its performers and connoisseurs, and considers the reasons why this form endures.
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38

Rose, Jonathan. Readers' Liberation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198723554.001.0001.

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The Literary Agenda is a series of short polemical monographs about the importance of literature and of reading in the wider world and about the state of literary education inside schools and universities. The category of 'the literary' has always been contentious. What is clear, however, is how increasingly it is dismissed or is unrecognised as a way of thinking or an arena for thought. It is sceptically challenged from within, for example, by the sometimes rival claims of cultural history, contextualized explanation, or media studies. It is shaken from without by even greater pressures: by economic exigency and the severe social attitudes that can follow from it; by technological change that may leave the traditional forms of serious human communication looking merely antiquated. For just these reasons this is the right time for renewal, to start reinvigorated work into the meaning and value of literary reading. For the Internet and digitial generation, the most basic human right is the freedom to read. The Web has indeed brought about a rapid and far-reaching revolution in reading, making a limitless global pool of literature and information available to anyone with a computer. At the same time, however, the threats of censorship, surveillance, and mass manipulation through the media have grown apace. Some of the most important political battles of the twenty-first century have been fought--and will be fought--over the right to read. Will it be adequately protected by constitutional guarantees and freedom of information laws? Or will it be restricted by very wealthy individuals and very powerful institutions? And given increasingly sophisticated methods of publicity and propaganda, how much of what we read can we believe? This book surveys the history of independent sceptical reading, from antiquity to the present. It tells the stories of heroic efforts at self-education by disadvantaged people in all parts of the world. It analyzes successful reading promotion campaigns throughout history (concluding with Oprah Winfrey) and explains why they succeeded. It also explores some disturbing current trends, such as the reported decay of attentive reading, the disappearance of investigative journalism, 'fake news', the growth of censorship, and the pervasive influence of advertisers and publicists on the media--even on scientific publishing. For anyone who uses libraries and Internet to find out what the hell is going on, this book is a guide, an inspiration, and a warning.
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39

W pierścieniu ognia. Poznań: Media Rodzina, 2009.

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40

Catching Fire. Scholastic Inc, 2009.

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41

Collins, Suzanne. Catching Fire: The Hunger Games #2. Scholastic, 2013.

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42

Catching fire. Harper, 2009.

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43

The Hunger Games: Catching Fire. 2a ed. London: Scholastic Children's Books, 2014.

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44

Catching Fire. New York: Scholastic Press, 2009.

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45

W pierścieniu ognia. Poznań, Poland: Media Rodzina, 2013.

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46

Catching fire. Scholastic Corporation, 2009.

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47

Collins, Suzanne. Catching Fire - Audio Library Edition. Scholastic Audio Books, 2009.

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48

The Hunger Games: Catching Fire. 3a ed. London: Scholastic, 2012.

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49

Catching Fire. New York: Scholastic Press, 2009.

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50

Collins, Suzanne. En llamas. RBA Bolsillo, 2016.

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