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Tikhomirov, Vladimir V. "Alexander Ostrovsky vis-a-vis Fyodor Dostoevsky: the omedy “Rich Brides” and the novel “The Idiot”". Vestnik of Kostroma State University 27, n.º 4 (23 de diciembre de 2021): 113–19. http://dx.doi.org/10.34216/1998-0817-2021-27-4-113-119.
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The comedy “Rich Brides” by Alexander Ostrovsky and the novel “The Idiot” by Fyodor Dostoevsky are close in staging the main plot move – the fate of a woman who sinned due to life circumstances. The main characters of both works fell victims to wealthy patrons who were going to marry them off. They have different personalities, and the heroine of “Rich Brides” Valentina Belyosova, unlike Fyodor Dostoevsky's heroine Nastasya Barashkova, at first glance seems frivolous, but the women, being accused of immorality, transformed, as female pride and a desire to defend themselves awakened in them. Impressed by Yuriy Tsyplunov's bitter emotional accusations, Valentina Belyosova is imbued with respect for him and even confesses her love. The characters in “Rich Brides” are melodramatic and comic with unexpected turns of events. Alexander Ostrovsky does not parody or imitate the author of the novel “The Idiot”, but the metamorphosis that occurred in the feelings and behaviour of Valentina Belyosova (partly in Yuriy Tsyplunov) testifies to the playwright's ability to portray complex characters, which brings his talent closer to Fyodor Dostoevsky's ability to artistically represent the dialectic of personality.
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Barry, Herbert. "Inference of Personality Projected onto Fictional Characters Having an Author's First Name". Psychological Reports 89, n.º 3 (diciembre de 2001): 705–6. http://dx.doi.org/10.2466/pr0.2001.89.3.705.
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Jane Austen projected some of her personality characteristics onto her fictional namesakes Jane Bennet in the novel Pride and Prejudice and Jane Fairfax in the novel Emma. Wishful fantasy seems satisfied by two attributes of both Janes. They are very beautiful, and they marry rich men they love. A feeling of inferiority was expressed by two attributes of both Janes, depicted as deficient in social communication and subordinate to the heroine of the novel.
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Yang, Cancan. "Angels Wear White: The Expression of Social Symptoms in Feminist Perspective". Philosophy and Social Science 1, n.º 1 (enero de 2024): 1–4. http://dx.doi.org/10.62381/p243101.
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Angels Wear White starts with a child sexual abuse case, presenting the real social situations of females with different identities as the plot unfolds. Female characters in the film, the heroine, Mia, Wen, and Lily, Wen’s mother, Xin, and the allegorical figure of Monroe with rich connotations shed light on women’s lowliness and helplessness in patriarchy. This article will analyze this movie from critical feminist theory, revealing the tough situation that women face under discipline, oppression, and the rise of rebel consciousness after being hurt.
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Lyubimov, Nikolay Ivanovich. "Philosophical problematic in the lyrics of Nadezhda Emykan". Филология: научные исследования, n.º 12 (diciembre de 2020): 178–88. http://dx.doi.org/10.7256/2454-0749.2020.12.34706.
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Within the framework of studying the typological varieties of modern Mari philosophical poetry, this article examines the lyrics of the contemporary Mari poet Nadezhda Emykan (Vasilyeva), particularly the poems from the compilation “I am the Daughter of Spring” (2016), which reflect the philosophical worldview and perception of the author, and in a certain way characterize the lyrical heroine. Research methodology contains historical-typological and structural-semantic analysis of the works, which allowed describing the structural-semantic levels of philosophical problematic, as well as revealing the authorial concept of the world and a human, and the type of lyrical heroine in the poetry of Nadezhda Emykan. The article discusses the fundamental philosophical problems of the lyrics of Nadezhda Emykan. In this aspect, the lyrics of this contemporary Mari poet is analyzed for the first time. It is proven that the philosophical problematic in Emykan’s lyric poetry is rich and diverse, demonstrating lateral thinking of the author, mental and emotional activity of the lyrical heroine. It is concluded that in analyzing various aspects of life, looking deeply into the present, the author of the book of poems “I am the Daughter of Spring” appears in two guises – as a romanticist, who refuses to accept many aspects of modern life, and as the “core” of the current “sinful” world; she understands the complexity of being, preserves her life principles, inner freedom and honesty therein.
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Hall, Ann C. "The Act of Interpretation". Thornton Wilder Journal 3, n.º 1 (1 de julio de 2022): 45–55. http://dx.doi.org/10.5325/thorntonwilderj.3.1.0045.
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Abstract This article discusses various ways to teach Thornton Wilder’s script and Alfred Hitchcock’s film version of Shadow of a Doubt (1943). While serving as a metaphor for academic research, Shadow of a Doubt is also rich enough to present students with the question of interpretation: How can one work create multiple, even conflicting, meanings? After introducing basic film techniques and literary terms, more complicated interpretive situations, such as Hitchcock’s problematic representation of women or the differences between script and film, may be considered. Students, like the film’s heroine, must investigate the evidence to find responses to these issues.
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Ty, Eleanor. "Asianfail in the City: Michael Cho’s Shoplifter". Asian Diasporic Visual Cultures and the Americas 4, n.º 1-2 (4 de marzo de 2018): 45–64. http://dx.doi.org/10.1163/23523085-00401003.
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Michael Cho’s graphic novel Shoplifter is a fine example of “Asianfail,” where the heroine fails to excel as Asian North Americans are “supposed to.” Narratives of failure are either rare or untold in Asian North American literature because Asians are often stereotyped as the successful model minority. Yet Shoplifter is more than simply a story about a twenty-something woman’s search for identity. With its rich details and striking colours, Cho’s visual language suggests that the graphic novel is also about contemporary urban life: its strange beauty and darkness, its complexities and hollowness. Shoplifter is a narrative about the development of a young Asian North American woman as well as a tribute to—and critique of—big city life.
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Ding, Xueying. "Madame Bovary in the Context of Greimas’ “Semiotic Rectangle” Theory". International Journal of Languages, Literature and Linguistics 9, n.º 3 (junio de 2023): 182–86. http://dx.doi.org/10.18178/ijlll.2023.9.3.401.
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Algirdas Julien Greimas (1917–1992) was a famous French structuralist linguist who developed the famous “semiotic rectangle” theory to reveal the rich connections behind complex things. Madame Bovary is one of the masterpieces of the famous French writer Gustave Flaubert (1821–1880), in this novel, the heroine Emma keeps trying to pursue romantic love, but finally chooses to end her life by taking poison due to debt. Based on Grimes’ “semiotic rectangle” theory, this article analyzes character relationships on a structural level in order to fully reveal the surface and deep connotations of the text. The results show that Flaubert criticizes vulgar romanticism and bourgeois characters by establishing several pairs of opposing relationships, and that the fundamental source of the tragedy that led to Emma’s life was the social climate of the time, in which people betrayed each other.
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Petr, Chekalov. "The theme of women's fate in the works of T.Z. Tabulov". Kavkazologiya 2022, n.º 2 (30 de junio de 2022): 214–32. http://dx.doi.org/10.31143/2542-212x-2022-2-214-232.
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This article examines the semantic and linguistic features of T.Z. Tabulov’s works of the 1930s, united by the theme of the situation of the mountain woman in pre-revolutionary times. The story “Jalduz” traces the sad fate of the heroine, losing her husband, home, and forced to wander through the forest because of the capture of the village by the tsarist troops. This article thorough-ly analyzed the scene of the massacre of a baby, a blind old woman, and Jalduz herself. The author characterizes perpetrators of a brutal execution as soulless killing machines, confirmed by an ar-tistic detail: when describing them, the primary attention focuses on weapons. The story “Fatimat” points at the whole subsequent life of a free girl born is a chain of continuous restrictions, reduced to complete captivity after marriage. The widespread national speech formula “happiness has made its way”, related to the heroine, transformed into its semantic antipode when Musa-Big bought her for a thousand rubles. This notes that it is not the person, but wealth imperiously man-ages a person’s life, turning it into a continuous drama. The denouement is also eloquent, which not only reproaches, but denounces and rejects the system that destroys an innocent girl in favor of a rich sensualist. The song “Gulya and Fatimat” raises the same theme of disregard for the spir-itual needs of the individual, telling about the tragedy of a girl who was forcibly married off to an old and unloved rich man. And here the fate of the daughter is sacrificed to the greed of the par-ents. In parallel with interpreting texts, this work analyzes the language of the novels, as well as its functions in specific scenes and episodes. This article reveals the author’s skillful mastery of hyperbole, comparison, metaphor, personification, figurative parallel, antithesis. The considered material leads to the conclusion that such a wealth of expressive elements, such an organic fusion of vocabulary, stylistics and psychologism has not been found in any of the Abaza writers not only in the 1930s but also in later decades.
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Fruzińska, Justyna. "Self-sculpting in Ernest Hemingway’s The Garden of Eden". Crossroads. A Journal of English Studies, n.º 44(1) (2024): 84–98. http://dx.doi.org/10.15290/cr.2024.44.1.06.
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Ernest Hemingway’s posthumously published novel The Garden of Eden features arguably the strongest and most transgressive heroine in the writer’s work. Catherine Bourne replays a fear present in other novels by Hemingway and in his view of the Fitzgeralds’ marriage: she is the rich and controlling wife of a writer, whose masculinity is threatened by her financial position. Additionally, Catherine starts a series of experiments connected to gender and sexuality, testing her and her husband’s limits, and ultimately putting at risk their relationship. The paper discusses Catherine’s gender-bending practices as a form of self-expression and self-sculpting, looking for an identity beyond the limitations imposed on her by society. Her transgression is analyzed both as an aim in itself and as a means in the process of self-fashioning, in which Catherine is more determined not only than Hemingway’s other female protagonists but also than her husband David.
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Le Cadet, Nicolas. "Quatre héroïnes en une: art du portrait et féminisme chez Marguerite de Navarre ( L’Heptaméron , 15)". French Forum 47, n.º 2-3 (2022): 125–38. http://dx.doi.org/10.1353/frf.2022.a914325.
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Abstract: Nouvelle 15 of the Heptaméron follows the love life of an aristocratic woman over a long period of time: married at a very young age to a husband who completely neglects her in favor of a lady of the court, she first patiently endures her situation before experiencing three successive adulterous loves. In this sentimental education for women, the heroine constantly metamorphoses as she learns: far from a figure presented as unambiguously vicious or virtuous, she evolves in a gray area rich in multiple virtualities and never ceases to amaze the reader with her speeches or her attitude. In fact, Marguerite de Navarre offers here one of the most beautiful portraits of a woman in the entire collection, a portrait in movement and a multifaceted one nourished by four different literary models—the mal mariée , the virile woman, the cunning woman, the lady’s advocate—which reflect the tensions of her (proto-)feminism.
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Terentowicz-Fotyga, Urszula. "Zagubione w Austen: Duma i uprzedzenie w postmodernistycznej odsłonie – między parodią a nostalgią". Przegląd Humanistyczny 63, n.º 2 (465) (25 de octubre de 2019): 151–60. http://dx.doi.org/10.5604/01.3001.0013.5520.
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The article analyses an ITV series Lost in Austen (2008), directed by Dan Zeff, as an example of postmodern play with Pride and Prejudice. Moving the contemporary heroine to the imaginary, textual sphere, the movie compares the reality of the 19th and the 21st century, emphasizing the visibly different positions of women. It not only “rewrites” the course of events, but also makes the tensions (which were previously silenced by the romance convention) more dynamic. Oscillating between the parody and nostalgia, Lost in Austen both continues and enriches Pride and Prejudice. Playful engagement with the original novel is the principal theme and motif of the series, but also the subject of its parodistic criticism. Lost in Austen engages both with the novel and with its 20th century reception. Moreover, by creative reinterpretation of the writer’s text, it shows the changing paradigms of the 20th century criticism and the cultural and literary theory. Highlighting the aspects of the novel important for the contemporary era, it initiates an interesting dialogue with the rich intertextual tapestry that contemporary popular culture weaved around Jane Austen.
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Prysiazhniuk, Оksana M. "THE LYRICAL IMAGE OF THE CITY IN THE “CRIMEA MEMORIES” BY LESYA UKRAINKA". Literary Studies, n.º 61 (2021): 124–33. http://dx.doi.org/10.17721/2520-6346.2(61).124-133.
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The article is dedicated to the prominent Ukrainian poetess of the XIX–XX time fence – Lesya Ukrainka, namely to the most interesting and fascinating period of her oeuvre – the Crimean. The poetess’s lyric poetry is analyzed from the position of a new poetic text reading. The main attention is paid to the terms “chronotopos”, “topos” as the main categories of imaginative world crystallization, to the revelation of the spatial panorama, the interpretation of the antithetic and equivalent toposes, which are used in the poetess’s lyric poetry of that period. In the poetic and artistic plan of the lyrical cycle, the topos of those southern cities where Lesya Ukrainka visited during her first trip to the Crimea are reproduced. Three of the twelve poems of the cycle are dedicated to the city of Bakhchisarai. The lyrical “I” in Lesya Ukrainka’s poems is usually associated with a topos, mostly urban, unfolds locally – here and now. The lyrical heroine of the analyzed cycle of poems thinks of herself only as a city dweller. She is intelligent, educated, spiritually rich, refined, of course, duplicates the figure of the writer. Basically, the space in Lesya Ukrainka’s poetic works is built on a realistic principle. Sometimes the writer refuses the characteristic of realism descriptiveness. Then the symbolic arrangement of space is very rich and varied. In ideological and aesthetic, culturological and intellectual terms, the artistic model of the world proposed by the poetess is not limited, although geographically determined by the local definition of the thematic framework of the lyrical cycle.
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Reindl-Kiel, Hedda. "A Woman Timar Holder in Ankara Province During the Second Half of the 16th Century". Journal of the Economic and Social History of the Orient 40, n.º 2 (1997): 207–38. http://dx.doi.org/10.1163/1568520972600784.
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AbstractThis article, in essence a microscopic study of an area around Ankara deals with a long lasting family quarrel about a Timar property (associated with military service during wartime) focusing on the question of hereditary rights for women. The family involved can be traced back almost two hundred and fifty years: in the sixteenth century they were modest Timar holders, but had once belonged to the wealthy ahi-patricians of Ankara. The remarkably rich archival material also allows us to track the different structures of the Timar in course of time. The development of the court proceedings reveals that the legal position was not unequivocal, especially concerning the succession rights of women during this period. The final decision in favour of Şakire, the heroine of the story, is primarily examined in the article in the context of social changes during the 16th century, when succession rights of women in rural as well as in urban strata of society underwent alterations. The picture which emerges is that of continuous change in the social status of Muslim-Turkish women, a status which too often has been regarded as static and unchangeable.
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Yusra Akram Mustafa Al Abdali, Lect. "The role of metaphor in the embodiment of female images (In the novel by Ludmila Ulitskaya "Sincerely Yours Shurik" as model)". لارك 4, n.º 47 (30 de septiembre de 2022): 1044–31. http://dx.doi.org/10.31185/lark.vol4.iss47.2547.
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The research deals with metaphors as being one of the primary means used by Lyudmila Ulitskaya when writing the novel " Sincerely Yours Shurik ", to form diverse and multifaceted collective female images of representatives of the classic psychological patterns presented in the work. This research reflects the results of the study related to the work of Lyudmila Yevkinevna Ulitskaya, an actress of modern Russian prose. The novel "The Sincerely to You Shorek" is one of Ludmila Ulitskaya's creations (the year of writing - 2003), which, like her other works, is distinguished by a unique presentation style, rich vocabulary, lexical and semantic diversity, and a special style of writing. writer. The main objective of the research is to look at the metaphors in which the author forms the images of the protagonists in the text space, and with the development of the narrative, and their role in shaping the plot of the work. In the course of the study, the following tasks were accomplished: identifying the metaphors that make up the female images of the novel “Sincerely Yours Shurik”, which were classified during text analysis, and distributed into “heroine/psychotype” groups, as well as the analysis of the above-mentioned forms of speech along with the formation of The plot of the work in general.
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Studniarz, Sławomir. "The poetics of space in the stories A Rose for Emily and Barn Burning". Tekstualia 1, n.º 44 (4 de enero de 2016): 79–94. http://dx.doi.org/10.5604/01.3001.0013.4191.
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The article explores the organization of space in two stories by William Faulkner, A Rose for Emily and Barn Burning. The analysis of spatial arrangements in both texts relies on the insights into the nature of literary space provided by Jurij Lotman, Janusz Sławiński, and Garbiel Zoran. In particular, Lotman’s notion of spatial relations as a topos modeling other, non-spatial ideas, Sławiński’s concept of „added–on senses” conveyed by the fi ctional space, and Zoran’s two methods of reconstructing space in a narrative, chronotopic and topographic, have proved especially useful and effective. In A Rose for Emily spatial relations model social relations, the contrast between the traditional South and the new South, as well as personal relations, showing the position of the heroine, Emily Grierson, in the community of Jefferson. In addition, Emily’s house serves as a means of illustrating the protagonist. In Barn Burning space appears largely as a challenge for the young protagonist, Sarty, and triggers his personal and moral growth. Two localities are the most important in this respect, the store in which the trial is taking place, and the magnifi cent residence of major de Spain. Furthermore, spatial relations in the story model the contrast between the poor and the rich in the American South.
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SMITH, JEREMY L. "Music and Late Elizabethan Politics: The Identities of Oriana and Diana". Journal of the American Musicological Society 58, n.º 3 (2005): 507–58. http://dx.doi.org/10.1525/jams.2005.58.3.507.
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Abstract This essay challenges the current assessment that Thomas Morley's collection, The Triumphes of Oriana, was an uncomplicated musical tribute to Queen Elizabeth I, who was represented allegorically by Oriana, heroine of the romance Amadis de Gaule. It takes into account both the political context surrounding the Essex Revolt, the Elizabethan succession question, and the Catholic issue and the ideas reflected in the poetry that was set to music, as well as some of the music itself. It can be shown that both Morley and his mentor William Byrd were strongly linked to the Sidney/Essex complex of ideals that had a special appeal to Catholics who hoped for a more tolerant regime and who looked to Essex and a Jamesian succession as possible vehicles of salvation. Demonstrating the unsuitability of the Oriana characterization for Elizabeth, I propose a different allegorical identity not only for “Oriana” (James's wife Anna) but also for the character “Diana” (Essex's sister Penelope Rich), who appears in key works by Byrd and in all the Oriana madrigals as well. Certain songs by Byrd promoted the ideas of Sidney and his circle as well as Essex's image as the “heir to Sir Philip Sidney.” Morley's project for the Triumphes began originally, evidence shows, as a musical offering pleasing to the Essex camp and supportive of James's succession. A marked shift in political circumstances between 1600 and 1601 made it incumbent upon Morley and his collaborators to pay tribute to Elizabeth instead, but not all traces of the original intent were effaced. The ambivalence in the meaning of the Oriana and Diana allegories continued into the post-Elizabethan era.
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Marqués Delgado, Antonio Javier. "LAS GRANDES HEROÍNAS DEL CINE. LAS PRIMERAS ESCRITORAS Y DIRECTORAS EN UN MUNDO DE HOMBRES". Revista Internacional de Culturas y Literaturas, n.º 13 (2013): 74–85. http://dx.doi.org/10.12795/ricl.2013.i13.07.
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donne Actualmente cada vez son más las mujeres que se sitúan ‘‘al otro lado de la cámara’’ en un mundo tradicionalmente machista como es el del cine italiano. Y si este es el presente del cine italiano no es difícil imaginar qué es lo que ha podido ocurrir en años anteriores. De ahí que el artículo intente ser un pequeño homenaje a esas primeras heroínas que, dotadas de gran valor y cultura, vivieron el lado más difícil del cine. Palabras clave: cine, mujeres igualdad, cultura
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Hohaizel, Olha. "THE IMAGE OF ANNA IN THE OPERA “STOLEN HAPPINESS” BY Y. MEYTUS: INTERPRETATIVE ANALYSIS". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, n.º 58 (10 de marzo de 2021): 112–29. http://dx.doi.org/10.34064/khnum1-58.07.
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The article analyzes the musical material of the two arias of Anna – as the key characteristics of her image in the opera Y. Meytus “Stolen Happiness” (based on the experience of analysis, since the arias are in the work and repertoire of the author of the study). Consideration of the image from the point of view of performance and interpretation of the understanding of the interactions of words and music, the composer logic of emotional experiences, taking into account a complex of components such as the nature of the musical fabric and the historical aspect, is proposed. operas. Statement of the problem. The creativity of Y. Meytus as a composer, who stood at the origins of the formation of the Ukrainian composing school of the twentieth century, is still relevant and, in particular, his rarely performed opera «Stolen Happiness», which in the true opinion of Y. Malyshev, is a «significant contribution» in the development of realistic opera art. There are still an undeserved number of records of this opera, and accordingly a small number of variants of interpretations of images, semantic texts and subtexts, and this work in this sense is of practical importance from the performer’s point of view. Since Anna’s arias are in the work and repertoire of the author of the study, the relevance of this topic is also related to the direct presentation of this music on stage. The purpose of the study –to determine the specificity of the interpretation of the image of Anna from the opera “Stolen Happiness” by Y. Maytus. Analysis of publications on the topic of the study. Regarding the works of Y. Meytus, there are researches and publications by Y. Malyshev, L. Archimovich, I. Mamchur, L. Bas, where the composer’s creativity is covered. There are few sources for the opera «Stolen Happiness», and there is no comprehensive and in-depth interpretative performance analysis.Presentation of the main research material. Widely utilizing the opera-harmonic basis of the features of Western Ukrainian folklore in the opera «Stolen Happiness», Y. Meytus emphasizes the national identity and color of the characters, including the main heroine, by means of the symphonic development of the musical material creates a dramatically and intelligently developed development of the multifaceted and multifaceted. The task of vocal performance is to consciously read the “score of feelings” of the performed character, which is contained primarily in the musical texture, which much and fully conveys the dynamics of character image development. The vocal part, the melody, being a part of harmony, is the condensate, the quintessence of the harmonious thought of the composer, which demands from the performer imagination, intuition, attention, sensory perception, emotional sensitivity. Conclusions of the study. Having performed a performative analysis of the image of Anna in the opera «Stolen Happiness» by Y. Meytus. 1. Because, first and foremost, it is an aria-melodic musical drama, close in style to verisim (the melody in Y. Meytus does not lose the properties of the length and cantilenes) therefore performance requires good long vocal breathing, cantilever, legato, flexibility of voice and timbral equality with simultaneous force of sound in climaxes, long thought of phrases, fullness of each vowel, clear diction, that is, awareness of the relationship between words and music, the smoothness of the language line. Good intonation hearing and good coordination of vocal apparatus are required not only from the point of view of breathing, but also from the point of view of difficult intonational musical language. 2. Performing arias requires from the singer a deep emotional responsiveness, great mental strength and physical endurance, as well as an actor’s understanding of the image-role. This image does not tolerate excessive passion for expressiveness, unnecessary emotions and hysterics, it will penetrate the depth of the tragedy of the heroine. The nuances from pianissimo, not transient to whispering, but voiced, to the filled fortissimo, not transitional to cry. The choice of tempo, especially given their frequent change, should be consistent with the natural sound of the vocal language. 3. The texture of the music material determines the role of the voice. The party is suitable for a solid lyric, lyric-dramatic (spinto) or dramatic soprano, that is, for voice, has the flight to “cut through” the orchestra and be sounded part of its rich texture.
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Zhiyembayeva, G. T. y A. R. Maemerova. "Түркі халықтарының қаһармандық эпостарындағы батырлар типі". BULLETIN of the L.N. Gumilyov Eurasian National University.Political Science. Regional Studies. Oriental Studies. Turkology Series. 139, n.º 2 (2022): 193–201. http://dx.doi.org/10.32523/2616-6887/2022-139-2-193-201.
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Heroic epics take a special place in the rich folklore heritage of the Turkic peoples, which has developed over many centuries. The main character of the epics is an unusual native hero. The best qualities are accumulated throughout the life of a representative of these people, the main character of the epic – The Hero. In the epics, the place of a sniper, a hunter, a speaker, a hardworking, and a righteous hero is higher than everyone else than representatives of other social groups. The article considers the types of heroes whose activity in 200 the epics of the Turkic peoples is based on the unity of society and the country. In addition, the type of hunter/sniper hero who feeds his village, tribes with hunting, sniper, the type of batyr khan who defeats evil and brings peace and justice to the country, the type of bi batyr who solves problems and gives a fair solution, from small disputes to big disputes, the features of the types of Shepherd batyr who fought against injustice and discrimination of the evil rich are comprehensively analyzed and interpreted with examples from epics
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Sparks, Tabitha. "WORKING-CLASS SUBJECTIVITY IN MARGARET HARKNESS'SA CITY GIRL". Victorian Literature and Culture 45, n.º 3 (25 de agosto de 2017): 615–27. http://dx.doi.org/10.1017/s1060150317000092.
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One of the obvious strengthsof Margaret Harkness's 1887 novelA City Girlis its comprehensive visual record of London's East End. Harkness depicts Whitechapel's geography and public and residential spaces with an authority derived, as we know, from her voluntary residence in the Katharine Buildings, thinly disguised in the novel as the Charlotte Buildings. The Katherine Buildings were a block of apartments for working class tenants built by the East End Dwelling Company; Harkness lived in them for a few months in 1887 and was one of a wave of middle-class women who ventured into such residences, sometimes as employees (“lady rent collectors”) and sometimes, as with Harkness and her cousin Beatrice Potter (later Webb) as writers determined to document in fictional or non-fictional form the conditions in which the poor lived. Harkness's first-hand experience and descriptive acuity has inspired some rich and productive scholarship onA City Girl, which in the form of two scholarly editions (one recent and one forthcoming) is the subject of a modest renaissance. From a literary perspective, most scholars have grappled with the novel's generic affiliation, describing it variously as a New Woman novel, a socialist novel, a sentimental novel, and an example of English naturalism. Some of these critics – principally John Goode and Rob Breton – combine a study of the novel's generic signs with historical attention to Socialism, one of Harkness's many ambivalent and abbreviated political and institutional affiliations in the 1880s and 90s; they use the literary lens of genre study to better understand the author's political consciousness in the context of late-Victorian reform politics. Pursuing another horizon of inquiry, I turn away from the novel's documentary evidence and generic and political loyalties to its elusive but revealing study of artistic representation. It is not the sociological or political milieu of Harkness's East End heroine, Nelly Ambrose, that interests me, but the link that Harkness establishes between Nelly's impoverished mind and her impoverished world, which I read principally through her unfamiliarity with narrative representation. Harkness sustains two discrete perspectives inA City Girl: Nelly experiences the world in episodic moments, and her inability to shape these moments into a purposeful or predictive sequence makes her effectively powerless to control the events that shape her life. Her distance from a narrative consciousness alerts us to the second perspective in the novel which might otherwise escape special notice: the narrative realism thatA City Girlparticipates in, that the experience of reading the novel activates, and that is self-consciously followed by Arthur Grant, Nelly's seducer. Arthur's class-based narrative advantage over Nelly enables him to write the story of their affair and control its outcome much in the way that the readers ofA City Girlhave worked to make sense of Nelly's detached and inexpressive character, and have often made their own determinations about the novel's ending. The medium of the novel's hostility to Nelly's particular kind of consciousness is a metaliterary reflection, then, of the subjugation by narrative disadvantage that we see play out in the story.
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Toschi, Luca, Lisa Capitini, Viola Davini, Ilaria Marchionne, Eugenio Pandolfini y Marco Sbardella. "Nuevos superhéroes. La relación mediática entre los jóvenes y los médicos." RIHC. Revista Internacional de Historia de la Comunicación, n.º 17 (2021): 34–62. http://dx.doi.org/10.12795/rich.2021.i17.03.
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El artículo presenta una investigación en curso con la que el Center for Generative Communication (CfGC) de la Universidad de Florencia y el Lab CfGC - director: Luca Toschi - reconstruye el cambio en el imaginario infantil y juvenil en cuanto a la relación de los jóvenes con la figura del médico, determinado por la pandemia de COVID19. Hoy en día, el médico se presenta como una figura heroica, aunque con características peculiares en comparación con el superhéroe clásico: desde las diversas campañas de información y concienciación hasta el street-art de Banksy, en los medios de comunicación se abandona una idea de super-heroísmo abstracto, prefiriendo un modelo de médico-héroe más concreto y real. Los datos que surgen del trabajo de los investigadores del CfGC muestran una redefinición del estándar: a diferencia de la situación actual, de hecho, cuando la medicina aún era una ciencia incierta, la llegada del médico a casa representaba un momento inusual y, al mismo tiempo, crucial para la supervivencia de las personas más jóvenes y frágiles. La seriedad con la que se recibía al médico y su importancia crucial está bien representada por los productos mediáticos de finales del siglo XIX y XX. En estos productos el médico, mostrando un matiz de actitudes entre el vulnerable y el estafador, se relaciona con los jóvenes en condiciones de salud precarias, y se va desde su presencia / ausencia en cuadros - como "El doctor" de Luke Fildes (1891) o "La niña enferma" de Edvard Munch (1885-1927) - hasta su inutilidad en situaciones críticas como en "Las aventuras de Pinocho" de Carlo Collodi (1881-1883). En épocas más recientes, la figura del médico parece salir del imaginario juvenil, dados los avances científicos que se han ido produciendo a lo largo de los años y que nos han permitido erradicar enfermedades letales. Mientras estaban graves problemas relacionados con la salud de los jóvenes y la escasa disponibilidad de profesionales sanitarios, la presencia del médico se vislumbraba como un hecho insólito y, en la solución de un grave problema de salud, su intervención dejaba marcas imborrables en el imaginario de niños y chicos. La investigación, por tanto, pretende reconstruir las formas en las que, desde el siglo pasado hasta la actualidad, se formó el imaginario de los niños y jóvenes hacia la profesión médica y la relación con los profesionales de la salud. Resaltando cómo el COVID-19 ha contribuido a redefinir este imaginario.
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Ahmadinejad, Mjtaba, Elham Valimohammdi, Ghazale Molaverdi, Seydehamideh Hashemi, Mohammad Hadi Bahri y Javad Zebarjadi Bagherpour. "Can Heroin Poisoning Lead to Stomach Necrosis? A Case Report". International Journal of Medical Toxicology and Forensic Medicine 12, n.º 4 (1 de octubre de 2022): 38932. http://dx.doi.org/10.32598/ijmtfm.v12i4.38932.
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Background: According to the last report of the United Nations Office on Drugs and Crime (UNOCD), opiate use (including heroin) is 1.2% of the world population. In Iran, about 2 million people are drug addicts. Heroin reduces gastric motility and prolongs gastric emptying time and causes gastric dilation which can be a reason for gastric ischemia. Gastric ischemia is an uncommon condition due to the rich gastric blood perfusion and collateral arteries. As some studies show, gastric dilation can be the cause of gastric necrosis. Methods: A 22-year-old woman presented to our hospital with severe abdominal pain and several episodes of vomiting. The patient declared that she had a history of addiction to methamphetamine and heroin. Abdominal examination revealed a soft and non-distended abdomen with generalized tenderness, mostly in the hypogastric region without rebound tenderness. Abdominal radiograph revealed that the stomach was highly distended. Abdominal CT without contrast confirmed severe gastric dilatation. In endoscopy, multiple necrotic lesions were seen throughout the stomach and mostly in the proximal part. Our finding in the laparotomy was gastric necrosis in the proximal part, which resulted in a total gastrectomy. Esophagojejunostomy was performed with roux en y reconstruction after total gastrectomy. Conclusion: Opioids can increase the risk of gastrointestinal (GI) dysfunction and can increase the risk of infection in the GI tract. In our case, heroin abuse caused gastric dilation and massive gastric necrosis.
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Lyubarets, S. N. "PSEUDO-DOCUMENTARY DISCOURSE IN F. BEIGBEDER’s NOVEL “AU SECOURS PARDON”". Bulletin of Udmurt University. Series History and Philology 31, n.º 2 (11 de mayo de 2021): 374–81. http://dx.doi.org/10.35634/2412-9534-2021-31-2-374-381.
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The narrative structure of the novel “Au secours pardon” by F.Biegbeder includes rich documentary materials and such pseudo-documentary fragments as letters, witness testimonies, extracts from interrogation reports, official reports and materials from heroin Lena Doycheva blog. This principle of text composition opens the possibility to understand the author’s intention and to extend our knowledge of the novel contents. The readers are actively drawn both into the processes of the social and cultural life of modern Russia and into the complex processes of humanity globalization.
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Ochoa, Luisa y Ana Belén Calderón Elizondo. "Narratives of Colombian migrant women: violence and heroines from Costa Rica". Journal of Latin American Communication Research 10, n.º 1-2 (15 de septiembre de 2022): 51–64. http://dx.doi.org/10.55738/journal.v10i1-2p.51-64.
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The research contributes to the knowledge of migrant women's experiences, specifically their stories about violence, in a context of feminization of migration and from a narrative and feminist perspective. Through the elaboration of 11 personal narratives, four types of violence were identified: violence in the private sphere, in the public space, in institutions and in memory. The narratives show women who are victims of violence, and also women who take an active role, protagonists who implement resistance strategies to become heroines of their own migration history.
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Pernet, Apolline. "Deux romans d’apprentissage écologiques au féminin : lecture comparée de La Petite Fadette (1849) et The Mill on the Floss (1860)". RELIEF - REVUE ÉLECTRONIQUE DE LITTÉRATURE FRANÇAISE 18, n.º 1 (15 de julio de 2024): 143–54. http://dx.doi.org/10.51777/relief19407.
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This article proposes a joint re-reading of George Sand's La Petite Fadette and George Eliot's The Mill on the Floss as ecological coming-of-age novels. On the one hand, the rich and dynamic representation of a natural environment is compared with portraits of women in movement. Secondly, we examine how the two heroines’ learning process results in decisive conflicts between animal instincts and moral imperatives. A number of ideas are then put forward for teaching these two novels at secondary school level, by linking the environmental issue to social issues and a reflection on gender.
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Snyder, Rachael L., Alec J. Miller, Jeremy A. Feiger, Carmen A. Davila, Kim G. Carrasco, Kirk Dombrowski, Roberto Abadie et al. "29 Human Immunodeficiency Virus (HIV) Status, Injection Drug Use, and Cognitive Effects in a Spanish-Speaking Population". Journal of the International Neuropsychological Society 29, s1 (noviembre de 2023): 442–43. http://dx.doi.org/10.1017/s1355617723005805.
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Objective:Injection drug use is a significant public health crisis with adverse health outcomes, including increased risk of human immunodeficiency virus (HIV) infection. Comorbidity of HIV and injection drug use is highly prevalent in the United States and disproportionately elevated in surrounding territories such as Puerto Rico. While both HIV status and injection drug use are independently known to be associated with cognitive deficits, the interaction of these effects remains largely unknown. The aim of this study was to determine how HIV status and injection drug use are related to cognitive functioning in a group of Puerto Rican participants. Additionally, we investigated the degree to which type and frequency of substance use predict cognitive abilities.Participants and Methods:96 Puerto Rican adults completed the Neuropsi Attention and Memory-3rd Edition battery for Spanish-speaking participants. Injection substance use over the previous 12 months was also obtained via clinical interview. Participants were categorized into four groups based on HIV status and injection substance use in the last 30 days (HIV+/injector, HIV+/non-injector, HIV/injector, HIV-/non-injector). One-way analysis of variance (ANOVA) was conducted to determine differences between groups on each index of the Neuropsi battery (Attention and Executive Function; Memory; Attention and Memory). Multiple linear regression was used to determine whether type and frequency of substance use predicted performance on these indices while considering HIV status.Results:The one-way ANOVAs revealed significant differences (p’s < 0.01) between the healthy control group and all other groups across all indices. No significant differences were observed between the other groups. Injection drug use, regardless of the substance, was associated with lower combined attention and memory performance compared to those who inject less than monthly (Monthly: p = 0.04; 2-3x daily: p < 0.01; 4-7x daily: p = 0.02; 8+ times daily: p < 0.01). Both minimal and heavy daily use predicted poorer memory performance (p = 0.02 and p = 0.01, respectively). Heavy heroin use predicted poorer attention and executive functioning (p = 0.04). Heroin use also predicted lower performance on tests of memory when used monthly (p = 0.049), and daily or almost daily (2-6x weekly: p = 0.04; 4-7x daily: p = 0.04). Finally, moderate injection of heroin predicted lower scores on attention and memory (Weekly: p = 0.04; 2-6x weekly: p = 0.048). Heavy combined heroin and cocaine use predicted worse memory performance (p = 0.03) and combined attention and memory (p = 0.046). HIV status was not a moderating factor in any circumstance.Conclusions:As predicted, residents of Puerto Rico who do not inject substances and are HIVnegative performed better in domains of memory, attention, and executive function than those living with HIV and/or inject substances. There was no significant difference among the affected groups in cognitive ability. As expected, daily injection of substances predicted worse performance on tasks of memory. Heavy heroin use predicted worse performance on executive function and memory tasks, while heroin-only and combined heroin and cocaine use predicted worse memory performance. Overall, the type and frequency of substance is more predictive of cognitive functioning than HIV status.
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Truglio, Maria Rosa. "Francesco D’Adamo’s Ordinary Moral Heroes". Bookbird: A Journal of International Children's Literature 62, n.º 2 (2024): 64–65. http://dx.doi.org/10.1353/bkb.2024.a929814.
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Abstract: Building on the inspirational “monthly stories” in Edmondo De Amicis’s Cuore , Francesco D’Adamo’s novels present rich resources for youth navigating through the increasingly dehumanized world. His eighteen children’s books narrate compelling and imaginative stories of heroism while avoiding the paternalistic didacticism for which De Amicis and his imitators are often critiqued. D’Adamo won the Premio Andersen Best Writer Award for children’s literature in 2023.
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D’Hotman, Daniel, Jonathan Pugh y Thomas Douglas. "The Case against Forced Methadone Detox in the US Prisons". Public Health Ethics 12, n.º 1 (19 de noviembre de 2016): 89–93. http://dx.doi.org/10.1093/phe/phw040.
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Abstract Methadone maintenance therapy is a cost-effective, evidence-based treatment for heroin dependence. In the USA, a majority of heroin-dependent offenders are forced to detox from methadone when incarcerated. Recent research published in The Lancet has demonstrated the negative health and economic outcomes associated with such policies (Rich, J. D., McKenzie, M., Larney, S., Wong, J. B., Tran, L., Clarke, J. et al. (2015). Methadone Continuation Versus Forced Withdrawal on Incarceration in a Combined US Prison and Jail: A Randomised, Open Label Trial. The Lancet, 386, 350–359). This novel evidence raises questions as to the justification for current policies of forced detox in American prisons. Opponents of methadone provision in prisons might offer arguments from retributivism, resource allocation and curative effectiveness to justify their position. This article contends that these arguments do not stand up to ethical scrutiny. In light of this, we hold that American policymakers should reform criminal justice policies to allow the initiation and continuation of methadone treatment in correctional settings. This would be consistent with both international recommendations and the example set by a number of other Western countries.
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Meidiansyah, Reza Akbar. "HEROISM OF SAMIRAH AL-ABBAS IN RIORDAN’S THE SHIP OF THE DEAD". PARADIGM: Journal of Language and Literary Studies 5, n.º 2 (8 de marzo de 2023): 133–44. http://dx.doi.org/10.18860/prdg.v5i2.17459.
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People tend to associate heroes and heroism with the acts of being brave and risking life. However, actions that have both of these features are far more likely to generate heroic labels than actions that have only one feature. This paper aims to show the heroism of Samirah al-Abbas in the Rick Riordan’s third novel of the Magnus Chase and the Gods Of Asgard trilogy entitled The Ship of The Dead. This paper approaches the heroism values of the character by applying the concept of the Great Eight popularized by George R. Goethals and Scott T. Allison. The findings show that throughout the plot of the book, Samirah exhibited six of eight heroic traits, which are caring, charismatic, inspiring, selfless, smart, and strong.
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Vitanova-Ringaceva, Ana, Dragana Kuzmanovska, Vesna Koceva, Snezana Kirova y Bijlana Ivanova. "PHRASEOLOGISMS AND THEIR FUNCTION IN THE BUILDING OF THE MOTIVE "INNOCENTLY PROSECUTED HEROINES" IN THE GRIMM BROTHERS’ FAIRY TALES". KNOWLEDGE - International Journal 54, n.º 5 (30 de septiembre de 2022): 779–85. http://dx.doi.org/10.35120/kij5405779v.
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The original corpus of the linguistic material for this paper are the Grimm Brothers’ tales, in original inGerman and translated into Macedonian, English and Italian. The indicated phraseologisms are widely used today inboth languages, which only proves their fluency in modern language trends. The basic criterion for classificationrefers to the phraseologisms that are related to the main character in the fairy tale, i.e., the hero who goes through hisown initiation journey. In this paper the focus shifts to the two heroines in the fairy tales "Snow White" and"Cinderella" who have the common status of "innocently persecuted heroines". The tales "Snow White" and"Cinderella" are the two most famous tales by the Brothers Grimm. Jakob and Wilhelm Grimm's interest in Germanfairy tales began in 1812 with the publication of Kinder - und Hausmärchen ("Children's and Household Tales").The fairy tales "Snow White" (Schneewittchen) and "Cinderella" (Achenputtel) were then published. Although thereare many variants of these stories in the world and with different titles, we would still dwell on their integral text.The aim of this scientific research paper is to present the similarities and differences in the phraseological units thatare used in the same context, but in completely different language systems: German, English, Italian andMacedonian. The linguistic approach initiates the conclusion that phraseological units function at the morphological,syntactic and semantic level of the text, which means that they have a wide range of meanings. Phraseologisms arespecific linguistic expressions composed of two or more words that form linguistic units recognizable for thelinguistic environment of the speaker. The linguistic-cultural richness of the indicated languages, Macedonian andGerman and English and Italian is recognized by using phraseologisms as a tool for presenting the external andinternal description of the character, but also the description of his/her socio-economic status in the community. Thephraseologisms referring to the heroines in both tales are characterized by imagery, which gives the text a richcolorful structure. The imagery is achieved through the use of the comparative approach, i.e., through phraseologicalunits that are built on the basis of comparison; the text is also enriched at reception and each reader creates his/herown individual image. The phraseological material in the fairy tales is quite rich, especially in the fairy tale "SnowWhite". These two most widespread tales of the Brothers Grimm are analyzed in science from various aspects. Forus, the target group were students who, in the process of education, acquired knowledge about the meaning ofphraseological units and are able to recognize them in a given text. The work fuses the knowledge from the field offolklore and from the field of language, in correlation with the teaching process, through which students acquirenecessary knowledge from both fields of interest. However, this paper aims to detect the comparativephraseologisms used to describe the characters of the two heroines with a similar character structure. Both fairy talesare in the subgenre of tales of "innocently persecuted heroines", a fairy tale motif with a long history and deepantiquity. We will look into comparative phraseologisms through five different prisms:1. physical attributes of the character: handsome, ugly, thin, fat, short, tall2. character traits: good, bad, clever, stupid, brave, timid, proud3. emotional state of the character: love, hate, fear, anger, revenge4. socio-economic status of the character: poor, rich, learned, simple5. attitude towards others in the environment: understanding, tolerance, helping, misunderstanding
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Baugess, James. "Hodges, Ed., Black Itinerants Of The Gospel - The Narratives Of John Jea And George White". Teaching History: A Journal of Methods 28, n.º 2 (1 de septiembre de 2003): 106–7. http://dx.doi.org/10.33043/th.28.2.106-107.
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The history of African-American evangelical religion is rich in pathos and heroism, and the lives of the two itinerants in this edited account, John Jea (b. 1773) and George White (1764-1836), are representative of the early African-American evangelical religious experience in the late eighteenth and early nineteenth centuries. The lives of both men are set in the context of the post-revolutionary era and the waning days of slavery in New York and New Jersey. The narrative accounts are both insightful and emotionally moving to read.
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Dos Anjos, Carlos Versiani. "A NARRATIVA MÍTICA, HERÓICA E CRÍTICA DA GUERRA: DIÁLOGO POÉTICO ENTRE A GRUTA AMERICANA, DE SILVA ALVARENGA, E O CANTO HERÓICO, DE CLÁUDIO MANUEL DA COSTA". O Eixo e a Roda: Revista de Literatura Brasileira 31, n.º 2 (8 de septiembre de 2022): 108. http://dx.doi.org/10.17851/2358-9787.31.2.108-123.
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Resumo: Manoel Inácio da Silva Alvarenga é detentor de uma obra vasta, eclética e riquíssima, caracterizada pelo espírito crítico e pela obediência à simplicidade e naturalidade próprias do arcadismo, mas que se envereda também pela narrativa mítica e fantástica. É o caso do poema A Gruta Americana, publicado no ano de 1779 e escrito em Minas Gerais, dois anos após Alvarenga retornar de Portugal. O poema trata da participação da capitania de Minas Gerais nas tropas arregimentadas para fazer frente às invasões espanholas ao sul do Brasil, ocorridas no início de 1777. Compõe-se como um grande quadro alegórico, no qual a história da guerra é contada por uma entidade indígena que habita uma gruta encravada nos sertões das Minas. O canto mágico que ecoa da gruta é precedido por uma narrativa que descreve detalhadamente o cenário, os personagens e os elementos que lá se escondem. Neste artigo, é feita uma analogia desta obra com o poema Canto Heroico, de Cláudio Manuel da Costa, que versa sobre o mesmo tema, sendo possível perceber visões e estilos que ora se aproximam, ora se distanciam, mas que certamente estabelecem um diálogo rico e fecundo, de grande qualidade estética, como era comum entre os árcades ultramarinos, ilustres representantes da poesia brasileira do século XVIII.Palavras-chave: arcadismo; século XVIII; Silva Alvarenga; Cláudio Manuel; Minas Gerais.Abstract: Manoel Inácio da Silva Alvarenga has a vast, eclectic and rich body of work, characterized by a critical spirit and obedience to the simplicity and naturalness typical of Arcadianism, but which also includes mythical and fantastic narratives. Such is the case of the poem A Gruta Americana, published in 1779 and written in Minas Gerais, two years after Alvarenga returned from Portugal. The poem addresses the participation of the captaincy of Minas Gerais in the troops assembled to face the Spanish invasions of southern Brazil in early 1777. The poem composes a large allegorical picture, in which the history of the war is told by an Indigenous entity who inhabits a cave carved into the hinterlands. The magical chant that echoes from the cave is preceded by a narrative that details the setting, characters and elements hidden there. This paper proposes an analogy of this work with Cláudio Manuel da Costa’s Canto Heroico, poem that addresses the same theme. One can observe perspectives and styles that are, at times, incredibly similar and completely different, but which establish rich and fruitful dialogues, of great aesthetic quality, as was common among the overseas Arcadians, illustrious representatives of 18th century Brazilian poetry.Keywords: arcadianism; 18th century; Silva Alvarenga; Claudio Manuel; Minas Gerais.
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Яручик, Віктор. "Протистояння чоловіка й жінки в публіцистиці Ольги Кобилянської та Елізи Ожешко". Українська література: історичний досвід і перспективи, n.º 2 (15 de noviembre de 2023): 81–103. http://dx.doi.org/10.31652/3041-1084-2023-2-81-103.
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In the second half of the 20th century, works appeared in Ukraine and Poland devoted to the problems of the position of women, the role of men, their education, upbringing, place in society. It was at this time that the gender problem was outlined as topical in the positivist press. The heroines of many works of those years are depicted surrounded by books, they strive for knowledge, work for the benefit of society. The works of Eliza Ozheshko, Boleslav Prus, Mariia Sheliha, Yan Zakhariasevich and others are especially rich in such characters. The conservative press, as a rule, did not approve of such heroines.In her artistic works, Olha Kobylianska pays maximum attention to the creation of the image of a new woman — self-sufficient, with pronounced personal qualities, educated, intelligent. Her heroines are endowed with features of European intellectuals, full of inner aristocracy. They do not want to repeat the fate of their peers: just get married and limit their livesonly to communicating with their husbands and raising children. These heroines long for the freedom to choose their own life path, true mutual love, self-realization — the same thing that Olha Kobylianska dreamed of. When creating female characters, Olha Kobylianska relies on the philosophical teachings of that time, in particular, on the thoughts about the place of women in social life expressed by Friedrich Nietzsche. Female and male characters created by Olha Kobylianska in publicistic works are extremely colorful. A woman is a person with a strong character, devoid of excessive romanticism, full of new ideas, capable of challenging society.Eliza Ozheshko felt from her own life experience how difficult it is to remain without the support of her husband. Widowed at a young age, she faced the problem of managing the estate on her own. It was difficult to do. That is why Polka’s publicistic works are imbued with autobiographical features. She was aware of the enormous responsibility that mothers bear, although she had never had children and did not know the joys of motherhood. Eliza Ozheshko was convinced that the fate and future of the nation is in the hands of mothers.
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Haskell, Rosemary. "Migritude’s Progress". Minnesota review 2020, n.º 94 (1 de mayo de 2020): 142–56. http://dx.doi.org/10.1215/00265667-8128477.
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Novelist Fatou Diome, Senegalese migrant to France, in 2019 reached the twenty-fifth year in her adopted country. Silver-anniversary motives encouraged the author to chart the quarter century of progress of this “megaphone of migritude,” as Lila Azam Zanganeh notably called her. Moving from the rich exegeses of the liminal, haunted, frequently abjected, migritude conditions of her fictional—and often autobiographical—heroines, Diome has now arrived inside the Hexagon, where her words harmonize with a sizable chorus of interior-left establishment voices. However, she has not abandoned her powerful interest in the complexities of migritude’s pains and difficult opportunities. On the contrary, in Marianne porte plainte! Identité nationale: Des passerelles, pas des barrières! (Marianne Complains! National Identity: Gangways, Not Barriers!) (2017), Diome takes up the many threads of the migritude tapestry so fully depicted in her novels and reweaves them into a portrait of an ideal new multicultural French identity.
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Puchalska-Dąbrowska, Bernadetta M. "Leprosus i księżna. Pielęgnacja zakaźnie chorych w świetle dokumentów z procesu kanonizacyjnego św. Elżbiety Węgierskiej". Tematy i Konteksty 16, n.º 11 (2021): 24–41. http://dx.doi.org/10.15584/tik.2021.2.
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The aim of the article is to present the image of the care of the infectiously ill in the documents of the canonization process of St. Elizabeth of Hungary (1207–1231). The material under discussion includes the testimonies of the saint’s spiritual director Conrad of Marburg, her four servants and additional hagiographical material. The accounts made by direct observers of the duchess’ life emphasize the variety of forms of her involvement in the care of lepers and suffering from diseases that cause similar symptoms, arousing disgust in people from her surroundings. The narrative, rich in drastic details, plays the role of a hagiographic argumentatio illustrating the heroism of the central character of the testimonies.
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Kalenichenko, Olha. "On the intermediality of the Lesya Ukrainka essay "Loud strings"". 89, n.º 89 (13 de diciembre de 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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Refieta, Dita. "Heroism As Portrayed in Henry Gilbert’s Novel Robin Hooda and Rizki Ridyasmara’s Novel Pitung: A Comparative Literature Analysis". Jurnal Pendidikan Indonesia 2, n.º 4 (25 de abril de 2021): 636–51. http://dx.doi.org/10.36418/japendi.v2i4.148.
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This thesis contains a study of comparative literature which involves two novels of different nations with similar motifs; heroism. The purpose of this study is to find out how heroism in the two novels and find the similarities and differences regarding the thirteen central features of the hero possessed by the leading character. The leading characters, Robin Hood and Pitung are the heroes who concern for other people in need, through their actions by stealing from the rich to give to the poor. The study also involves looking at the intrinsic elements to look at the similarities and differences found in the two novels. In completing the analysis, the writer uses the descriptive qualitative method which represents all the data in the forms of words and sentences. The writer collects data from various sources, including the novels Robin Hood by Henry Gilbert, Pitung by Rizki Ridyasmara, relevant books, articles, and journals to support the analysis. Based on the analysis it concluded that the novels show similarities and differences regarding the central features of the hero that is possessed by the two leading characters of both literary works. Robin Hood shows braver as physically act while Pitung shows more courage as mentally active.
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Cantwell, Roch. "Commentary". Advances in Psychiatric Treatment 6, n.º 1 (enero de 2000): 39–40. http://dx.doi.org/10.1192/apt.6.1.39.
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In the sometimes sensational world of illicit drug reportage, there is one unsung villain. While heroin misuse remains the bête noir of tabloid journalism, ecstasy the demon of the dance floors and cocaine caricatured as the choice of the rich and famous, amphetamine misuse has lurked the shadows. Its use defies such simple categorisation and spans several groups in society. Bruce has provided a timely reminder of this neglected area in substance misuse literature and, in the process, has highlighted the relevance of basic information gathering as the most important tool in the armamentorium of drug misuse workers. The lack of prominence given to what they describe as a “hidden epidemic” is striking. Could this be because amphetamine misuse is a less prevalent problem than that of other illicit drugs? Evidence suggests otherwise. Amphetamine is the second most common illicit drug seized in the UK (after cannabis). It is easily produced and used in a variety of modes, and recent research confirms a high prevalence of misuse in this country reflecting that found in North American and Australian literature.
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Bogomolova, Yuliana Yu. "TRANSFORMATION OF THE IMAGE OF MARY MAGDALENE IN "THE FEAST AT SIMON THE PHARISEE" IN ITALIAN PAINTING". Arts education and science 2, n.º 35 (2023): 117–27. http://dx.doi.org/10.36871/hon.202302117.
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Mary Magdalene occupies a special place among the Gospel characters. Her name is mentioned several times in all the synoptic Gospels. Being a participant in the central events of the Crucifixion and Resurrection of Christ, she appears already in the earliest Christian images. The rich pictorial tradition associated with her expanded as her fascinating and controversial biography developed, blending the features of various heroines with the name Mary or nameless sinners. This article considers the process of composition, as well as semantic and artistic transformation of the plot, which became widespread in European fine art — "The Feast in the House of Simon the Pharisee" on the example of Italian art from the Middle Ages to the High Renaissance. This selectivity is justified by the fact that the key processes in the formation of iconographic schemes took place in early Christian and medieval art and underwent qualitative changes in Proto-Renaissance and Renaissance art in Italian art schools. In turn, the Italian High Renaissance art in this case is limited to the Venetian school, since it was within this national school that the most characteristic processes were observed. The study uses historicalformal, iconographic and iconological methods.
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Balázs, Zsuzsanna. "Yeats's Queer Dramaturgies: Oscar Wilde, Narcissus, and Melancholy Masculinities in Calvary". International Yeats Studies 4, n.º 1 (1 de enero de 2020): 15–44. http://dx.doi.org/10.34068/iys.04.01.02.
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This article opens up Yeats’s Calvary (1920) for new contemporary queer theatrical interpretations by addressing the tension between dramaturgies of exclusion and inclusion as well as between the authority of masculinity and the transgressive counter-authority of effeminacy and melancholy masculinities. Due to Yeats’s anti-democratic and elitist remarks and his problematic responses to authoritarian political performance in Europe and Ireland, his theatre is often seen as a space which fosters exclusion, conventional notions of heroism, and sexual polarization. Even though the authoritarian and elitist aspects of Yeats’s life and work cannot be denied, his rich queer and feminist networks, and most importantly his sympathy for Oscar Wilde and Roger Casement changed and shaped the representations of gender in his plays in considerable ways. Thanks to these influences, Yeats’s drama took significant steps towards creating space for a queer dramaturgical epistemology which refuses totalizing and homogenizing (hetero)normative frames, mostly those of hyper-masculinity, Carlylian views of heroism and sexual/gender polarization. Through the lens of performance and queer theory, this article highlights the anti-normative and anti-authoritarian potential of Yeats’s theatre in the context of Wilde’s influence. Yeats does not mention Wilde in his notes to Calvary, but his essays about Wilde prove that he identified the hardships of Wilde’s life with those of Christ and also Lazarus even more than two decades after Wilde’s death. This study also illustrates how the use of the unhappy Lazarus motif and the implicit references to the myth of Narcissus in Calvary can serve to express sympathy for Wilde and precarious, stigmatized lives in general and can thus convey vital messages about queerness today.
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Rojil Nugroho Bayu Aji, Eko Satriya Hermawan, Riyadi, Agus Trilaksana, Esa Patridina, Nasution, Moch. Mubarok Muharam y Wisnu. "History of Edu-Tourism for Strengthening Nationalism and Heroism in the City of Surabaya". Technium Social Sciences Journal 50 (1 de noviembre de 2023): 543–47. http://dx.doi.org/10.47577/tssj.v50i1.9939.
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Surabaya is a big city in Indonesia and is known as the city of heroes. Surabaya received the title of city of heroes because of the struggle to defend Indonesia's independence from colonialism, especially during the November 10, 1945 War. The history of this city of heroes must always be so that it can be inherited by future generations as a historical insight that has significant value. Surabaya is rich with historical sites that can be used as examples and take lessons from the historical approach that exists and is attached to the site itself. Modeling in this historical approach can be done through history edu-tourism. This study uses the ADDIE research and development method. The product designed in this research is history edu-tourism. Through tourism, the important historical values of the city of Surabaya can be transformed to the general public, either directly or indirectly in the context of strengthening nationalism. For example, in Surabaya there is the Bung Karno Birth House, the HOS Tjokroaminoto Boarding House, the Museum and the Tomb of dr. Soetomo, Museum W.R. Soepratman and the Tugu Pahlawan Surabaya Museum which can be used as a series of history edu-tourism.
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Boyd, Julia Anderson. "Environmental Heroism and the Power of Storytelling in the Novels and Papers of Brian Doyle: “The Infinite Family of Organisms”". Jeunesse: Young People, Texts, Cultures 8, n.º 2 (diciembre de 2016): 89–118. http://dx.doi.org/10.3138/jeunesse.8.2.89.
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Brian Doyle’s much-noted emphasis on environment provides a rich entry-point into his multi-award-winning corpus. Young protagonists’ bonds with nature resonate throughout Doyle’s work, especially as they mature into community leaders exploring eco-social justice. This paper maps Doyle’s developing engagement with environmental and ecosocial justice themes through research in the Brian Doyle Fonds and Groundwood Books Fonds, archives that provide invaluable but as-of-yet underutilized resources for scholars of Canadian children’s literature. It argues that Doyle’s novels develop a vision of interpenetrated social and environmental justice rooted in children’s empowerment as artistic creators and community leaders.
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Chaves Zamora, Randall. "Intelectuales que inventan héroes: las memorias públicas sobre Rodrigo Carazo Odio en Costa Rica (1969-2009)". Revista humanidades 13, n.º 1 (1 de enero de 2023): e52693. http://dx.doi.org/10.15517/h.v13i1.52693.
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El expresidente Rodrigo Carazo Odio (1978-1982) fue uno de los políticos más controversiales de la historia costarricense durante la Guerra Fría. Su período de gobierno, atravesado por ideas de corte neoliberal, una aguda crisis económica, afrentas contra los organismos financieros internacionales y la Revolución sandinista, dejó una de las huellas más impopulares en la segunda mitad del siglo XX. Años después de su mandato, el propio Carazo a través de sus memorias, y un grupo de intelectuales, por medio de estudios y reconocimientos académicos, buscaron incidir en la memoria política del país, que hacía referencias negativas a ese período de gobierno. Ese esfuerzo, finalmente configuró una visión apologética y heroica del expresidente, que se popularizó entre algunos intelectuales costarricenses. A través de las memorias públicas y los discursos políticos de Carazo, así como de investigaciones y biografías sobre él, este artículo disecciona la invención intelectual sobre el expresidente, para demostrar la existencia de una narrativa específica con la que este líder fue recordado, que resalta algunos atributos y olvida aquellos que podrían explicar una coyuntura crítica del pasado de Costa Rica.
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Chaves Zamora, Randall Andrés. "Una leyenda heroica. Historia y memoria pública del movimiento estudiantil costarricense". Diálogos Revista Electrónica 21, n.º 1 (28 de noviembre de 2019): 1–36. http://dx.doi.org/10.15517/dre.v21i1.37676.
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Resumen. En abril de 1970, miles de estudiantes de colegio y de la Universidad de Costa Rica (UCR) protagonizaron el movimiento estudiantil más recordado en el país desde ese momento y hasta la actualidad. La cadena de protestas, motivada por la oposición estudiantil a la empresa transnacional Aluminum Company of America (Alcoa), generó una amplia cobertura mediática y ha sido conmemorada por sus líderes y protagonistas durante medio siglo. Las páginas siguientes son una interpretación histórica de las memorias públicas sobre esa coyuntura. En primer lugar, se explica la forma en que los universitarios se incluyeron en la discusión legislativa sobre la empresa, mientras que la segunda parte analiza la cadena de protestas realizadas en oposición al proyecto. Ambos apartados utilizan las memorias públicas de los protagonistas del movimiento, dadas a conocer en formato escrito, oral y audiovisual en diferentes medios periodísticos. El estudio termina con una revisión de las interpretaciones más significativas dadas a conocer por la generación de Alcoa y propone que esta memoria estuvo caracterizada por olvidos, omisiones y silencios motivados por el género de quienes recordaron su juventud, resultando en la creación de una memoria masculinizada.
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Brunning, Halina, Sheila White y Claudia Nagel. "Psychoanalytic reflections on the war in Ukraine". Organisational and Social Dynamics 22, n.º 2 (19 de diciembre de 2022): 226–44. http://dx.doi.org/10.33212/osd.v22n2.2022.226.
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This article, by three authors, Halina Brunning, Sheila White, and Claudia Nagel, reflects on the war in Ukraine that began on 24 February 2022 with an invasion by Russian troops and the events of the following four months. It attempts to capture this period in time and reflects on it in three different ways. The article begins by describing how this collaborative piece of work emerged from an event run by An Organisation for Promoting Understanding of Society (OPUS) and was followed up by an International Society for the Psychoanalytic Study of Organizations (ISPSO) group, with the aim of discussing the war and sharing thoughts and feelings about it. The body of the article is in three distinct parts. Halina Brunning presents personal reflections to offer a collage of cruelty and heroism, thereby painting a rich picture of the scenes witnessed. Sheila White gives theoretical insights into the war, specifically Putin's actions, based on her research into workplace bullying. Claudia Nagel analyses Putin's behaviour from a psychoanalytic group perspective applying the basic assumption mode victimism/supremacism. The conclusion brings together the three strands of the article to agree that from a psychoanalytic perspective Putin will not stop by himself, yet not losing hope is key to survival and reconnection in a humane way.
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Rufinus, Albert, Zahir bin Ahmad y Yaacob Harun. "Local Wisdom and Educational Values in The Kayan Oral Epic Takna’ Lawe‘". Sarawak Museum Journal LXXV, n.º 96 (1 de diciembre de 2012): 71–96. http://dx.doi.org/10.61507/smj22-2015-pl22-03.
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The Takna Lawe is a set of long epic poems (7057 verses as published, over 45,000 lines) about love and heroism, part of the mythology of the Kayan community. The Takna Lawe embodies local values whose meaning and function can be absorbed through educational practices. The poems could provide advantageous learning materials for school-based or local curricula. In the epic, there are rich signs or symbols, verbal and non-verbal, that are worth exploring for such purposes. For example, the main character, Lawe’, is a hero who often fights for love of his community, showing his loyalty by protecting his people, and his strength by his success in destroying his enemies. This paper discusses the relationship between representative signs or symbols in the poem and the forms of wisdom worth practising in the community, in school settings and in family life. I analyse this relationship through description and analysis based on Peirce’s triadic modes in semiotics, the triad being sign-object-meaning: ideas in words, sentences, and verses ofthe poem are viewed as signs [representamen), which stand for their referents {object), as referents stand for meanings {interpretani). I conclude that such meanings are local community (ethnic) wisdom which can be interpreted as useful values: educational values
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Dunlap, Eloise, Bruce D. Johnson y Edward Morse. "Illicit Drug Markets among New Orleans Evacuees before and Soon after Hurricane Katrina". Journal of Drug Issues 37, n.º 4 (octubre de 2007): 981–1006. http://dx.doi.org/10.1177/002204260703700411.
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This paper analyzes illicit drug markets in New Orleans before and after Hurricane Katrina and access to drug markets following evacuation at many locations and in Houston. Among New Orleans arrestees pre-Katrina, rates of crack and heroin use and market participation was comparable to New York and higher than in other southern cities. Both cities have vigorous outdoor drug markets. Over 100 New Orleans evacuees provide rich accounts describing the illicit markets in New Orleans and elsewhere. The flooding of New Orleans disrupted the city's flourishing drug markets, both during and immediately after the storm. Drug supplies, though limited, were never completely unavailable. Subjects reported that alcohol or drugs were not being used in the Houston Astrodome, and it was a supportive environment. Outside the Astrodome, they were often approached by or could easily locate middlemen and drug sellers. Evacuees could typically access illegal drug markets wherever they went. This paper analyzes the impact of a major disaster upon users of illegal drugs and the illegal drug markets in New Orleans and among the diaspora of New Orleans evacuees following Hurricane Katrina. This analysis includes data from criminal justice sources that specify what the drug markets were like before this disaster occurred. This analysis also includes some comparison cities where no disaster occurred, but which help inform the similarities and differences in drug markets in other cities. The data presented also include an initial analysis of ethnographic interview data from over 100 New Orleans Evacuees recruited in New Orleans and Houston.
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Ospishcheva-Pavlyshyn, Mariia. "Image of Ukraine in the Works of Western Artists (Kyiv Murals)". Artistic Culture. Topical Issues, n.º 17(1) (8 de junio de 2021): 59–64. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235128.
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The article addresses the classification of Kyiv murals of the early 21st century, made by foreign artists (USA, Canada, France, United Kingdom, Belgium, Australia, Spain, Portugal, Argentina, Brazil, Costa Rica, South Africa, etc.). The image of Ukraine in the work of these artists, who got to know Ukraine forcedly, episodically, and inevitably scarcely, isthe image of the Other on the territory of this Other. As a result, “others” (foreign artists) overcome their own otherness and enter into cultural dialogue with other culture and the city, the notable part of which their murals become. Along with animalistic motifs (mainly ornithological), this area is dominated by the archetypal images of Ukrainian history and culture, bizarrely supplemented by their own reminiscences and additions (mural Berehynia). However, signs of simulacrum is not the case. It is rather a carnival fantasy that traces the influence of Baroque culture, which has deep roots in Ukraine. There are precedents of collaboration with Ukrainian authors (mural Vidrodzhennia (Renaissance) by Julien Malland and Oleksii Kyslov). Occasionally, foreign artists use only certain attributes of local life (embroidery pattern), directly reflect on the impressions of the present, transplanting them into the European context (mural Night Kyiv). Also from time to time they turn to real characters of national history and culture (Serhii Nigoian, Lesia Ukrainka, in the latter case Guido van Helten boldly reformed the established image iconography of the “daughter of Prometheus”, giving his heroine the features of a modern feminist), as well as sports (gymnast Hanna Rizatdinova). It was concluded that there is a long-term cultural dialogue between the West and Ukraine, with the first party presenting maximum interest and tolerance.
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Berrefas, M. "THE USE OF FEMALE NAMES BY LYUDMILA ULITSKAYA ON THE MATERIAL OF THE NOVELS "SONECHKA" AND "MEDEA AND HER CHILDREN"". Modern Linguistic and Methodical-and-Didactic Researches, n.º 3(38) (31 de diciembre de 2022): 68–76. http://dx.doi.org/10.36622/mlmdr.2022.61.10.007.
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Statement of the problem. The paper is devoted to the study of the use of some female names by Lyudmila Ulitskaya on the material of the works "Sonechka" and "Medea and her children", because in the context of modern literature there are several factors of the choice of "female prose": the author is a woman, the main character is a woman. These issues are closely related to the lives of women, their special stylistic and semantic metaphors from the point of view of vocabulary, semantics and onomastics. Results. In this paper, the creativity of women writers is analyzed, the phenomenon of the use of the female names in the works of writers is described on the example of the selected works by Lyudmila Ulitskaya. This phenomenon has been studied by many linguists, historians and sociologists. The study addresses the issue of determining the possibilities of using some proper names as a source of reflection about real events and a means of linguistic and literary interpretation of the works of art. Conclusion. Analyzing the art works "Sonechka" and "Medea and her children", we could come to the conclusion that the writer draws a type of a modern woman with a rich inner and deep world, revealing an irresistible devotion to her family. Based on the conducted research, it can be argued that the writer uses female names to create a female art image. The name of the main character always plays the role of a sign-symbol that leads the reader to classical works, where usually all the heroines in the Russian literature, endowed with these names, have particular character traits.
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Haque, Farhana. "Depiction of Victorian Era in the Novel Great Expectations by Charles Dickens". International Linguistics Research 1, n.º 2 (31 de julio de 2018): p17. http://dx.doi.org/10.30560/ilr.v1n2p17.
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Charles Dickens’ Great Expectation actually did reflect the Victorian society and therefore the morality of that era’s people inside of the novel. Since we know that Victorian era basically present some features such as virtue, strength, thrift, manners, cleanliness, honesty and chastity. These are the morals that Victorian people used to hold with high esteem. In this novel Great Expectations, Dickens has created some Victorian characters whom we have seen both in good working way or not at all. But the protagonist named Pip was dynamic and he went through some several changes and dealt with different and significant moral issues. Somehow Pip left behind all the values he was raised with. Because Miss Havisham and Estella have corrupted Pip with rich life. Greed, beauty and arrogance were his ingredient of immoral life. The other characters like Joe and Biddy were static characters throughout the entire novel and became noticeable to be the manifestation of what we call as ideal Victorians. The main heroin of this novel was Estella with whom Pip thought he had some love connection. Hence, Estella has been presented as a good in the sense of potentiality and turned morally bad. Miss Havisham, who was basically a corrupt woman and she engraved the center of the novel. Great Expectations did disclose how was the situation of Victorian society through some important features such as higher class, corrupted judicial system between rural and urban England. Here in this novel, Dickens was concern about the education system in Victorian era where the lower class people get less opportunities of getting proper education. From the beginning to the end of this novel, Dickens explored some significant issues regarding higher and lower class system of Victorian society which did fluctuate from the greatest woeful criminal named Magwitch to the needy people of the swamp country, where Joe and Biddy were the symbol of that regime. After that we can proceed to the middle class family where Pumblechook was the person to represent that regime. Last but not the least Miss Havisham symbolized and bear flag of very rich and sophisticated Victorian woman who has represented the higher class society in the novel Great Expectations. Hence we can say Great Expectations has talked and displayed the class system of Victorian England and the characters of this novel therefore also did uphold the true reflection of Victorian era.