Artículos de revistas sobre el tema "Shy heroine"
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1
He, Min. "Imaging and Inventing Self: Constructing Heroines Through Translation in Late Qing China". Journal of Contemporary Educational Research 6, n.º 10 (28 de octubre de 2022): 115–25. http://dx.doi.org/10.26689/jcer.v6i10.4419.
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A fad for female heroism emerged in the late Qing China as women were urgently mobilized to undertake the mission of ‘strengthening the nation and preserving the race.’ However, women reaching the modern standards of heroines were almost absent in China. Western heroines were then introduced into China as exemplars for Chinese women to emulate. The story of Madame Roland, the most prestigious Western heroine at that time, was appropriated to the political ends. The male-coded virtues of her were highlighted in conformity to the standards of heroines in late Qing China: hero-worship, patriotism, political maternity and beauty. An ideal heroine was thus created through translation. As a prototype of heroine, she inspired a flood of localized Chinese heroines.
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Ruengruglikit, Cholada. "The Meanings of the Horse-Faced Mask in the Story of Kaeo Na Ma". MANUSYA 8, n.º 4 (2005): 63–77. http://dx.doi.org/10.1163/26659077-00804005.
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This paper aims to study the meanings of the heroine’s horse-faced mask in the story of Kaeo Na Ma. The two versions investigated here are the version composed by Prince Phuwanetnarinrit and that of the Ratcharoen written by Nai But and influenced by the former version. Since Prince Phuwanetnarinrit’s version firstly indicates that the heroine’s horse face can be removed, it is considered as a mask in this paper. Like other masks in Khon or masked drama, the horse face controls the behavior and personality of the wearer. This horse face not only signifies the heroine’s tomboyish manners as stated in other studies, but also communicates various hidden meanings complying with her other characteristics and behaviors. Five meanings are discussed here including the heroine’s unrefined behavior, self hiding, protective gear, ugliness and peculiarity, and masculinity. All of these meanings also exist in Thai sayings, in some literary works, and in the context of the story itself. This horse-faced mask enables the heroine to present her ‘self’ in three different guises and personalities, namely the character of a comedian in the figure of Nang Kaeo; a heroine in the figure of Nang Mani; and a hero in the figure of Manop, an unnamed man. Compared to the abstract meaning of wearing many masks at the same time, Nang Kaeo is very efficient in performing several duties at the same time. She takes good care of her family and society. It can be said that she is really the first warrior heroine in Thai literature and has much influence on other warrior heroines in Thai tales. Nonetheless, as beauty is a typical characteristic of Thai heroines, the hero in this story has to remove Nang Kaeo’s horse face before appointing her his queen — the act that proves the denial of an ugly heroine in Thai tales.
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-, Fuza Churil Khurotul Aini, Khusnul Khotimah y Wahyu Indah Mala Rohmana. "Traumatic Experience in the Novel "The Perks of Being a Wallflower". Channing: Journal of English Language Education and Literature 8, n.º 1 (1 de abril de 2023): 5–10. http://dx.doi.org/10.30599/channing.v8i1.1974.
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This research investigates an experience of past trauma experienced by the main character in the novel The Perks of Being a Wallflower by Stephen Chbosky's. Charlie as the heroine, a 17-year-old boy, has just entered high school. . He is the youngest of a family of three, two boys, one girl He is a very quiet and shy child who makes him have no friends. Her strangeness made friends at her school bully her. The researchers' goal is to investigate the main symptoms of trauma and describe the trauma experiences in this novel. The researcher's method is descriptive qualitative. Supporting data sources include the novel The Perks of Being a Wallflower, online journals, theses and articles. The author refers to individual psychological theories that are used to analyze data. From the results of the author's analysis, that there are trauma experiences in the past that require him to find people to tell stories about the problems he is facing
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Davis, P. J. "‘A Simple Girl’? Medea in Ovid Heroides 12". Ramus 41, n.º 1-2 (2012): 33–48. http://dx.doi.org/10.1017/s0048671x00000242.
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For Homer's Circe the story of Argo's voyage was already well known. Although we cannot be sure that the Odyssey's first audience was aware of Medea's role in Jason's story, we do know that by the time that Ovid came to write Heroides, she had already appeared in numerous Greek and Latin texts, in epic and lyric poetry and on the tragic stage. Given her complex textual and dramatic history, it seems hardly likely that any Ovidian Medea could actually be ‘a simple girl'. And yet precisely this charge of ‘simplicity’ has been levelled against Heroides 12 and its Active author. I propose to argue that the Medea of Heroides 12 is complex, not simple, and that her complexity derives from the fact that Ovid has positioned his elegiac heroine between past and future, guilt and innocence, epic and tragedy.Like all of Ovid's heroines, Medea writes at a critical juncture in her mythic life. But Medea's myth differs significantly from those of her fellow authors, for it requires her to play five distinct roles in four separate locations. Thus while Penelope, for example, plays only the part of Ulysses' loyal wife on Ithaca immediately before and during her husband's return, Medea plays the ‘simple girl’ in Colchis, the murderous wife in Iolcus, the abandoned mother in Corinth, the poisonous stepmother in Athens and the potential filicide back in Colchis. She is a heroine with a well-known and extensive history and so it is not surprising that the first line of Heroides 12 invokes the concept of memory: memini (‘I remember’).
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Jatuthasri, Thaneerat. "Unakan: A Combination of the Images of Thai Hero and Heroine". MANUSYA 9, n.º 2 (2006): 81–94. http://dx.doi.org/10.1163/26659077-00902005.
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Focusing on Unakan, the heroine in male disguise in Bot lakhon nai reung Inao, this paper aims at studying the roles and significance of her character that reflect the outstanding image of a heroine in Thai literature. In the story, Butsaba, the heroine, is disguised by her divine ancestor, Patarakala, as a young man named Unakan. The study reveals that Unakan possesses the characteristics of both hero and heroine. By portraying the roles as parallel to Inao, the hero of the story, Unakan is a great warrior and a dignified hero who has irresistible charm to women. She also searches for the lost lover which is generally the role of a hero. These roles are usually found in many versions of the Panji romances. It reflects that the poet kept these outstanding roles of the Panji romances' heroines. Still, Unakan preserves the same characteristics as other heroines in the Thai literary convention. Unakan does not only have perfect beauty and conduct like other Thai ideal women, but she also represents an ideal wife. The character of Unakan has significance to literary aesthetics and values, to the criticism of women’s potential, and to Thai literary tradition.
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Shevchuk, Yulia V. "SEMANTICS OF THE MOTION IN ANNA AKHMATOVA’S LYRICS IN THE FIRST HALF OF THE 1910s". Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 189–202. http://dx.doi.org/10.37816/2073-9567-2020-58-189-202.
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The paper suggests new interpretations of the meaning and structure of Anna Akhmatova’s early lyrics, in which “the moment of truth” for the heroine comes as if beyond consciousness, during movement and direct contemplation of the world. Free moving of a lyrical “self” by land and water either precedes the romance or provides a specific signal of a heroine’s spiritual rebirth afterwards. Thus, Akhmatova literally “goes beyond” usual woman’s poetic experience of love and separation: the heroine feels guilty about her earthly love; at the moment of a breakup she learns more about the pains of creativity and the joy of transforming the world with a religious feeling. Akhmatova works on the effect of psychological catharsis after experienced grief. The lyrical “self” stops active motion in space and gains static position, secluding herself at the end of 1912. We see the introducing of a theme of bodily illness, near-death hour and a death of a heroine in a state of external immobility. The colors of surrounding objects are suppressed as much as possible, things are discolored. Gazing into the distance is connected with Akhmatova’s experience of self-determination. Unconscious attraction of the lyrical “self” toward the open spaces of the “meagre” northern land precedes the entry of the historical theme into poet’s works. Stopping in space offers the heroine the sphere of subjective experience of movement in time, thus outlining the prospects of the epic Akhmatova’s view, future tragedy and heroics. The poet expands the boundaries of the lyrical heroine’s inner world largely due to the fact that she addresses the experience of a contemporary woman, for whom combining love and creativity in life is a source of a tragic experience. Not only Akhmatova’s poetic revelations of the first half of the 1910s are significant in view of a deep and subtle understanding of the woman’s world — they also act as a “key” to perceiving the tendencies and issues in Russian culture on the eve of the war and revolution.
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Leigh, Matthew. "Ovid, Heroides 6.1–2". Classical Quarterly 47, n.º 2 (diciembre de 1997): 605–7. http://dx.doi.org/10.1093/cq/47.2.605.
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It is a characteristic of Ovid's Heroides for each epistle implicitly to establish the dramatic time, context and motive for its composition by the particular heroine to whom it is attributed. In this way the poet is able to exploit the tension between the heroine's inevitably circumscribed awareness of the development of her story and the superior information which can be deployed by a reader acquainted with the mythical tradition or master-text which dictates what is actually going to follow: Penelope hands over a letter to a man whom the reader familiar with Homer can identify as Ulysses even if she cannot, Ariadne wonders whether Naxos is infested with tigers at a moment shortly before Dionysus and his tiger-driven chariot will arrive.
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Zuseva-Ozkan, Veronika B. "Yevgeny Zamyatin’s “hypertext” about the female warrior. Article II". Tekst. Kniga. Knigoizdanie, n.º 28 (2022): 22–39. http://dx.doi.org/10.17223/23062061/28/2.
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The second article of the two-part cycle considers the most important element of Zamyatin’s “hypertext” about the female warrior, i.e., the tragedy Atilla. The author offers the genealogy of the play’s heroine, Il’degonda, from Brynhildr of the Poetic Edda and Wagner’s Brunnhilde to Ibsen’s Hjordis (The Vikings at Helgeland) and N. Gumilyov’s Lera (Gondla). The common elements of Atilla and variations of the story of the Nibelungs are analyzed in detail: the association with the Burgundian locus, the parallels between the main characters and wolves, the connection of the heroine to the mythologem of fate, her identification with the snake, the motif of the broken vow, the motif of flames. The specific correlation of two female characters in Atilla (Il’degonda and Kerka) is highlighted. It strongly resembles Ibsen’s “paired” heroines: demonic and idyllic, breaking the confines of gender stereotypes and “normative”, such as Hjordis and Dagny in Ibsen’s tragedy The Vikings at Helgeland based on the Volsunga saga. Together with the “Valkyric myth” and the archetypal story of Siegfried and Brunnhilde visible in the plot of Atilla, the genetic relationship between The Vikings at Helgeland and Atilla is described as highly probable. The analysis of the play shows that, though this type of heroine is represented in Atilla in a very elaborate way, it still begins to blur due to the non-canonic relationship between the female warrior and the chosen hero. This tragedy features almost all obligatory elements of the motif complex and the plot, which are characteristic for this heroine, but lacks the most important component, i.e., the heroine’s love for the “strong one”. While losing the ability to love the chosen hero, the heroine also ceases to conform to the heroic image of the female warrior. Il’degonda not only loves the character unequal to her in strength, namely, the cowardly Vigila, but also forgives him his shame (the corporal punishment which he chooses over death), which is unthinkable for a true female warrior. Moreover, Il’degonda herself not once succumbs to cowardice (which is impossible for the heroine of this type). Finally, she kills of the rebellious boy slave - an ambiguous act which undeniably goes beyond the heroic behavior. Thus, though elevated above other Atilla’s enemies, she is only half-“courageous” and half-“strong” - just the way she is made, in Zamyatin’s words, “of the same metal as Atilla” only “halfway”.
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Tang, Xiaoxian. "Analysis of the Awakening of the Heroine’s Female Consciousness in the Yellow Wallpaper". Journal of Education and Educational Research 4, n.º 2 (25 de julio de 2023): 150–56. http://dx.doi.org/10.54097/jeer.v4i2.10847.
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Charlotte Perkins Gilman’s The Yellow Wallpaper tells a story of the heroine who, due to postpartum depression, is sent by her husband to a remote country house to receive “rest cure”, during which the heroine is forbidden to engage in all activities, but she constantly resists and eventually goes insane. This thesis first analyzes the process of the awakening of the heroine’s female consciousness from three aspects: writing secretly, discovering the shadow and ripping the wallpaper. In addition, through the analysis of both internal factors and external factors this thesis aims to explore the causes of her awakening: the rebelliousness, curiousness and kindness in the heroine’s character make her learn to fight against the patriarchy in the face of oppression and eventually discover the secret behind the wallpaper; restraints of the autocratic family, constraints of the patriarchal society and influences of the irritating surroundings prevent the heroine from doing the work she prefers, leaving the woman as a subordinate to her husband. All of these factors push the heroine to get rid of the oppression of patriarchy on women, so as to gain spiritual independence and freedom.
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R, Elavarasu. "Help Rendered by Thozhi for Love Marriage". International Research Journal of Tamil 3, n.º 1 (10 de diciembre de 2020): 71–81. http://dx.doi.org/10.34256/irjt2119.
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We know that In Sangam Literature Thozhi (A Close Friend of Heroine) played a vital roll in hero and heroine’s life before and after their marriage. The parents have all rights to make arrangement of marriage for their daughter for their own wish. But, once a woman fall in love with a man and she would like to marry that man, in this situation the help rendered by Thozhi is inevitable. This article focuses to research the roll of Thozhi in hero and heroine’s love marriage which have been recorded in Sangam literature. The above said performance of Thozhi reflected her minute knowledge about human life, her fond of love on the heroine and smart action etc., Sangam literature recorded many knowledgeable and important activities of Thozhi. This article is like to reveal the various performances of Thozhi in the love marriage proposal of hero and heroine.
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Murgatroyd, P. "OVID'S HERMIONE: A KALEIDOSCOPIC HEROINE". Classical Quarterly 64, n.º 2 (20 de noviembre de 2014): 850–53. http://dx.doi.org/10.1017/s0009838814000317.
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Critics generally have not warmed to Heroides 8 (in which Hermione appeals to her husband, Orestes, to rescue her from Pyrrhus, who has claimed her as his promised bride, carried her off, and holds her prisoner). Jacobson opined that the poem is ‘not very successful’ and claimed that the lengthy argumentation is ‘rather boring, not to say sometimes silly and annoying’, while Palmer described it as ‘the feeblest and least poetical of all the Heroides’. However, scholars have largely neglected some typically Ovidian cleverness and complexity in kaleidoscopic play with character. Ovid's Hermione is Hermione, but she also takes on the guise of other mythological heroines, and she represents a complete inversion of an earlier depiction of Hermione. All of this gives the poem a distinct intellectual appeal to supplement the emotional impact, with witty touches to ensure that the epistle is not mawkish.
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Tamir, Siti Alifah y Diah Tyahaya Iman. "The Uniqueness Heroines Depicted In Gillian Flynn’s Novels Entitled Gone Girl And Dark Places". Vivid Journal of Language and Literature 8, n.º 1 (15 de agosto de 2019): 19. http://dx.doi.org/10.25077/vj.8.1.19-25.2019.
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This article is aimed to study the uniqueness of female character or heroine in Gillian Flynn’s novels entitled Dark Places (2009) dan Gone Girl (2012). The concept of heroin and gynocriticism approaches is used to examine the uniqueness of the main character in both novels. Amy Dunne in Gone Girl and Libby Day pada Dark Places can be considered as antiheroine. From the result of the analysis, it can be concluded that Flynn introduced an interesting female characterization. The anti-heroine characters are portrayed in an intriguing plot. She presents woman as offender and sexual manipulation interestingly. The exploration of feminine vulnerability to undermine the dominancy of masculine privilege has brought the themes of both novels to.
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Brown, Julia Prewitt. "When She Was Good and the Eclipse of the Virtuous Heroine: A Revaluation". Philip Roth Studies 19, n.º 2 (2023): 74–81. http://dx.doi.org/10.1353/prs.2023.a907261.
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Abstract: Beginning with a brief discussion of the lack of serious revaluations of Roth’s work amidst the scandal surrounding Roth’s biographer Blake Bailey, this essay considers the overlooked importance of Roth’s early satiric novel, When She Was Good (1967). The novel may be said to mark Roth’s lasting challenge to the Anglo-American tradition of the heroine distinguished above all by her virtuous character. Roth implicitly alludes to earlier saintly heroines in his portrait of Lucy Nelson, who, as she comes of age, ultimately embodies the apotheosis of what Harold Bloom has called “the heroine of the Protestant will.” Roth’s representation of the American middle class Protestant value system, with its imperial conviction of its own righteousness and its blind sentimentalization of the women who carried its banner, freed Roth to write his next novel, Portnoy’s Complaint (1969). It was as if exorcising the demonically virtuous shiksa Lucy Nelson was necessary before he could speak in his own voice. In When She Was Good , Roth explores a psychology of personal grievance that resonates eerily on both sides of the political spectrum today.
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Tange, Andrea Kaston. "REDESIGNING FEMININITY: MISS MARJORIBANKS'S DRAWING-ROOM OF OPPORTUNITY". Victorian Literature and Culture 36, n.º 1 (marzo de 2008): 163–86. http://dx.doi.org/10.1017/s1060150308080108.
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Margaret Oliphant's work has of late received renewed attention for her portrayal of heroines who struggle against the confines of proper middle-class femininity – who are at once sympathetic and yet do not fit the model of the submissive Victorian domestic angel – and Miss Marjoribanks (1866) is no exception. Without fully discounting the Victorian notion that there is a proper place women ought to occupy, Miss Marjoribanks raises complex questions about how that place is defined and limited. Recent scholarly attention to the novel highlights Oliphant's sustained engagement with the issue of how far propriety and custom circumscribe a woman's place. Such examinations, however, fail to address the extent to which Oliphant demonstrates the flexibility of cultural notions of a woman's place by focusing the action of Miss Marjoribanks almost entirely on the heroine's creation of a very specific physical place for herself – her drawing-room. Examining Miss Marjoribanks's portrayal of how a Victorian woman might capitalize on the centrality of the drawing-room in shaping cultural notions of feminine identity, this essay argues that once Lucilla Marjoribanks has established the drawing-room as a physical and ideological space that will contain her actions, she uses this space and all it represents to expand the boundaries of her cultural place. By focusing specifically on the work its heroine undertakes within her drawing-room and by asserting that a woman's power lies in the possibility for feminine taste to accomplish action, Oliphant's novel, like her heroine, operates within the “prejudices of society” while simultaneously offering a means to exploit those prejudices. This architecturally-motivated re-reading of Oliphant's novel in turn suggests a re-reading of Oliphant's own career. For I would argue that novels operated for Oliphant the way that drawing-rooms do for Lucilla: they provided a culturally-sanctioned place in which to locate herself, and thereby reaffirm her respectable feminine position, even while she undertook projects that challenged Victorian assumptions about gendered identity.
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Nazarenko, Ivan I. "Metaphysical self-identification of an emigrant woman in Vasily Yanovsky’s story "The Second Love" and Boris Poplavsky’s novel Apollo Bezobrazov". Vestnik Tomskogo gosudarstvennogo universiteta, n.º 485 (2022): 44–52. http://dx.doi.org/10.17223/15617793/485/5.
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The aim of the research is to understand the “male” version of a woman in the prose of young emigrants: firstly, the metaphysical intuitions of female characters, and, secondly, the discovery of the metaphysical essence of a woman in the perception of characters and authors. The material of research is Vasilyy Yanovsky’s story “The Second Love” (1933) and Boris Poplavsky’s novel Apollo Bezobrazov (1932), and episodically Poplavsky’s novel Home From Heaven (1935). The main aspects of comparative analysis are the image of an emigrant woman (Yanovsky’s nameless heroine and Poplavsky’s Teresa) and the plot of her personal and metaphysical selfidentification (building a myth about her connection with God and the transcendent). The attitude towards explaining the female consciousness appears in the narration: the main narrators, carriers of the male consciousness, introduce the female “voice” (the heroines’ diaries) that objectifies and mythologizes women. In both works, the picture of the world is built in accordance with the world image of female characters: in the opposition “earth/heaven”, close to the symbolist dual world. The plots of the heroines recreate their personal and metaphysical self-identification – the search for their place in the earthly and metaphysical realities, identification of themselves in relation to God, and not to society – and the author’s test of the salvation of the metaphysical myth both for the women and for the male characters. Based on the classifications of the image of a woman in Russian culture (traditional type, demonic type, woman- heroine), the author has established that the image of an emigrant woman in Yanovsky and Poplavsky is closer to the traditional type. Although the heroines are not allowed to realize themselves in the sphere of the family, to fulfill their biological destiny, they are not the carriers of Eros, but victims of the male world, open to metaphysical spirituality. Allusions to the Mother of God bring together the heroines of Yanovsky and Poplavsky (Teresa’s intercession for other characters, the pregnancy of Yanovsky’s heroine). The author interprets the key event of Yanovsky’s story – the transformation of the heroine on the top of the Notre Dame Cathedral as a result of the appearance of God to her – as a rewriting of real events for the aim of self-justification and self-persuasion. Transformation is associated with the expectation of a child, pregnancy, and the divine meaning she has acquired is a miracle of a new life that has arisen inside her. However, the modern “Mother of God” does not fulfill her mission: the heroine of Yanovsky does not give birth to a new life and does not find her place in the world; she remains an emigrant in an existential sense. Teresa in Poplavsky’s novel is unable to overcome the collapse of the “paradise of friends”, to cement the existence of a small circle of people with spiritual efforts. In the novel Home from Heaven, Poplavsky shows a really established type of a modern woman: “earthly” temptresses Katya and Tanya, who do not become a salvation for the central character, like Teresa in the first novel. Poplavsky finds a tragic gap between corporality and the metaphysics of the feminine, Yanovsky sees in a woman the connection between the physicality and the metaphysical. Both authors agree on the idea of the doom of a woman in modern reality and the impossibility of transforming the world with the Eternal Femininity.
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Islam, Md Hasibul. "From Birangona to Barangona: Plight and Tragedy of a War Heroine in Letters of Blood". Integrated Journal for Research in Arts and Humanities 2, n.º 5 (21 de septiembre de 2022): 69–73. http://dx.doi.org/10.55544/ijrah.2.5.12.
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This paper aims to examine the relationship between a Birangona, and the men of a patriarchal social system in Rizia Rahman's novel Rokter Okkhor (1978), translated into English as Letters of Blood (2016) by Arunava Sinha. It also explores the notion of honor as it is awarded to the war heroines and how the notion quickly changes into an idea of stigma as Barangona, which means prostitute. Yasmin, the protagonist of this novel, goes through traumatic experiences of being raped, ravaged, and tormented for a few months during the liberation war of Bangladesh in 1971. After the war of independence, the state honors her as a 'War Heroine' for her sufferings and sacrifices. Looking through the lenses of social stigma and capitalist patriarchy, this paper argues that Yasmin falls doubly victim to the grasp of the patriarchal system and ideology, and her state-awarded "honor" turns into a "stigma"; consequently, she goes through social humiliation, rejection, and violation. Furthermore, this paper also demonstrates that the men deny her the inalienable right to live an everyday life and she is pushed to a tragic journey from a war heroine to be a whore.
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S, Rathika. "Male Characters in the works of Female Poets during Sangam Period". International Research Journal of Tamil 4, n.º 4 (3 de agosto de 2022): 1–17. http://dx.doi.org/10.34256/irjt2241.
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Men's characteristics have been mentioned in the perspective of women poets during the sangam period. When a men falls in love, to whom does he express it first, what are the efforts taken by the leader to win the love, the efforts of the men to see the heroine during the love period, what is the mood of men suffering from the excess of love, and the infamy that the men gets due to going along with heroine, for all these the love life of men gives answers. It is also said how the lust of a men is in a chastity life. And it can be known that a men's natural love is revealed when he is a father who shows true affection to his children and seeks the permission of his beloved in the act of doing. The habits and duties of men in daily life are also mentioned. It is also explained about the weakness of men and what are the activities that make men happy and sad. Who gets angry with men, the moments when men's anger is revealed, the way men reveal humor, and the moments when men are afraid have been explored and highlighted. Feminist poets have recorded in their songs about men's travel vehicle, entertainment, heroism, the way of exspressing the pain of separation, news about the heroine's father – brother and male workers. The news is known from male birds and animals, and also tells about the actions of a men who lived happily in his youth and also what he did after his ascetic life. This article is based to say all the above mentioned from the songs of sangam period womens.
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PHILIPS, DEBORAH. "Healthy Heroines: Sue Barton, Lillian Wald, Lavinia Lloyd Dock and the Henry Street Settlement". Journal of American Studies 33, n.º 1 (abril de 1999): 65–82. http://dx.doi.org/10.1017/s0021875898006070.
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Sue Barton is the fictional redhaired nursing heroine of a series of novels written for young women. Recalled by several generations of women readers with affection, Sue Barton has remained in print ever since the publication of the first novel in the series: Sue Barton, Student Nurse, written by Helen Dore Boylston, was published in America in 1936. Neither the covers of her four novels now in paperback, nor the publisher's catalogue entry, however, acknowledge Sue Barton's age: “Sue Barton Series – The everyday stories of redheaded Sue Barton and hospital life as she progresses from being a student nurse through her varied nursing career.”The catalogue entry for the series and the novels' paperback covers now claim Sue Barton as a contemporary young woman, poised for romance. Sue is, however, a pre-war heroine, and very much located within an American history and tradition of nursing. With her close contemporary, Cherry Ames, Sue Barton is one of the nursing heroines who were to establish a genre in popular fiction for young women, the career novel, and, more particularly, the nursing career novel.
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Mohammed Rashed, Ali. "הכנפיים שנשברו דמות האישה הערבית הנוצרית ברומן " חוצוצרה בוואדי " של סמי מיכאל לעומת דמותה ב " יסמין " של אלי עמיר The Broken Wings: The character of the Arab Christian |Woman in Sami Michael's Novel "Trumpet in the Wadi" versus "Jasmine" by Eli Amir". Journal of the College of languages, n.º 43 (2 de enero de 2021): 376–401. http://dx.doi.org/10.36586/jcl.2.2021.0.43.0376.
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סמי מיכאל ואילי עמיר - שני סופרים ישראליים ילידי עיראק ובני אותו דור (סמי מכאיל נולד בבגדד בשנת 1926 ואלי עמיר ב-1937). כתבו ברומניהם, בין השאר, על המזרחיות ועל האהבה ונשיות.ושניהם חיו חיים פרועים, מוחצנים. לא נרתעו מהתנסות בכל דבר חדש שנקרה בדרכם, מרדו במוסכמות ונהג באופן פרובוקטיבי, הם נהנו מהזעזוע והתדהמה, שהם מעוררים סביבם. מנסים למצוא את מקומם במסגרות משפחתיות שונות, לכן הם בחרו להציג שתי גבורות ערביות .ושתי הגיבורות הן בחורות נוצריות ערביות והן והדובר ברומן "יסמין" הוא דובר- בגוף ראשון , ב"חצוצרה בוואדי" הדוברת היא הודא הגיבורת , אך ביסמין הדובר הוא נורי – אלי עצמו. שניהם עצמאיים ולשניהם יש תחביב שהם משקיעים בו רבות; הקריאה. המשפחות של שתי הגיבורים עוברות שינויים חברתיים במהלך העלילה, ובשעת הצורך שניהן עובדות לממן צרכים שהמשפחה אינה יכולה לממן. ברומנם במחקר זה ואתעניין בספרם של סמי מיכאל: "חצוצרה בוואדי"" (2008) ובין ספרו של אלי עמיר: יסמין( 2005). מחקר זה מבקש לבדוק כיצד מצטיירת דמותה של האישה הערבית הנוצרית בשני רומנים מפורסמים של השניים . תחילה אתייחס למקומו של הערבי בספרות הישראלית , ואציג את תמצית שני הרמנים עם חיי הסופרים, ואדון בדמות האישה ודרכי איפיונה בהסתמך על ספרות תיאורטית. בפרק השיני אתעניין לדמותיוהן של הודא ויסמין כמייצגות את התקופה, ולבחון את הקווים הבולטים בדרכי עיצובה. ,ואשווה בין הדמות הערבית הנוצרית החוזרת בשני הרומנים, ואבדוק מהי עמדת המוצא שלהם, כיצד הם מתארים את שתי הדמויות ובמה הם בוחרים להתמקד.מפאת תחומו המצומצם של הדיון, העיסוק בנושא יתמקד במבחר דוגמאות נבחרים מן שני הרומנים. Abstract Sami Michael and Eli Amir - two Israeli writers born in Iraq and of the same generation (Sami Makhail was born in Baghdad in 1926 and Eli Amir in 1937). They wrote in their novels, among other things, about Orientalism , love and femininity. They both lived wild, extroverted lives. They did not shy away from experiencing anything new that came their way, rebelled against conventions and acted provocatively; they enjoyed the shock and amazement that evoked around them. While trying to find their place in different family settings, they chose to present two Arab Christian heroines. The narrator in Jasmine is the speaker Noori-Eli himself. While the narrator of “Trumpet in the Wadi” is Huda the heroine herself. Both are independent and both have a hobby in which they invest a lot; which is reading. The families of the two protagonists undergo social changes during the plot, and when necessary they both work to provide the family needs. First, the study sheds light on the importance of the Arabs in Israeli literature as reflected in Sami Michael's book: "Trumpet in the Wadi" "(2008) and Eli Amir's: Jasmine (2005). It, also, provides summaries of the two novels and discusses the character of the Arabic Christian woman as described in both novels. Chapter two debates the characters of Huda and Jasmine and similarities of the two in representing their time. The chapter also compares the recurring image of the Christian Arab character in the two novels, the concept of racism, characters description, as well as the subjects discussed throughout the books with an number of citation taken from the book.
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Pope, Barbara Corrado. "A Heroine Without Heroics: The Little Flower of Jesus and Her Times". Church History 57, n.º 1 (marzo de 1988): 46–60. http://dx.doi.org/10.2307/3165902.
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Pope Pius X called Thérèse of Lisieux (1873–1897) “the greatest saint of modern times.“ For anyone who grew up in the pre-Vatican II church, she was the most popular model of virtue. Her “little way of spiritual childhood” showed Catholics how each of them could practice their faith and gain salvation. The “Little Flower of Jesus” was, above all, a saint for the ordinary person, a heroine without heroics, a mystic who did not soar but through her language brought God and her relationship to him down to earth.
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Jine, Kyong-Nyon. "A Study on Women in Madame Bovary and A Life". Global Convergence Research Academy 1, n.º 2 (31 de diciembre de 2022): 63–72. http://dx.doi.org/10.57199/jgcr.2022.1.2.63.
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Maupassant was the disciple of Flaubert, who was the friend of his uncle. Our subject is a study of heroins of two novels 'Madame Bovary' and 'A life'. Emma of 'Madame Bovary' had read the romantic novels in the abbey, and thought that herself had been the heroins. Emma's misery had begun from her marriage. She had felt ennui of marriage and fled into adultery. She had been transformed into mascular person. On the contrary, Jeanne was very passif and could decide nothing. She obeyed first to her father and then her husband. She lost the possession because of her son. Finally it was Rosalie her servant that decided her actions instead of her. She had a life very passif and sad in languor, despair and dream. Jeanne was the anti-heroin on the contrary of Emma and Gervaise. Her botanique image has shown the passivity and the immobility. She was transformed only on the actif subject in the nature. Maupassant is estimed as the writer who progressed the aesthetic theory of Flaubert. Why Jeanne was more passif and conservative than Emma? Flaubert has described the bourgeois and the desire not feminine but human. So I think that Flaubett is more modern and better than Maupassant in the literature.
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Levin, Janina. "Temporality and the Unconfident Heroine in Henry James's The Golden Bowl". Novel 53, n.º 3 (1 de noviembre de 2020): 341–59. http://dx.doi.org/10.1215/00295132-8624534.
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Abstract Readers traditionally associate heroism with risk and confidence in one's abilities. Yet within the realist tradition, Henry James creates a portrait of an unconfident heroine. The Golden Bowl's Maggie Verver demonstrates she has the ability to become an effective actor, and she can be read as a special case within the underdog character type. Despite being caught in a deception plot, she surprises readers with the pleasure of a “win” by developing a specific know-how that relies on reading temporal tensions. The article uses theoretical work on temporality by Paul Ricoeur, Jacques Lacan, and Alain Badiou to explore how Maggie's confidence and courage emerge from the depths of anxiety and how this process allows James to create a narrative in which the reader learns to gauge and appreciate human action in process.
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Kelly, Michael. "Ovid's Portrayal of Briseis in Heroides 3". Antichthon 33 (noviembre de 1999): 77–80. http://dx.doi.org/10.1017/s0066477400002343.
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The third letter of the Heroides has long been appreciated for the consummate skill with which Ovid takes the Briseis of Homer's Iliad, where she is virtually a nonentity, and presents her in a new guise. By his masterly transformation of the enslaved girl into a lonely and desperate elegiac puella who is lost and bewildered in an epic world, he skilfully exploits the literary gulf between the two genres to produce a subtle masterpiece which can arouse only compassion for his heroine. There is, however, much more to appreciate in this letter than its poetic artistry.
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Asadov, Isa. "Symbolics of the novel “The Woman of Rome” by Alberto Moravia". Litera, n.º 6 (junio de 2020): 11–17. http://dx.doi.org/10.25136/2409-8698.2020.6.32999.
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This article analyzes the novel “The Woman of Rome” (1947) by the Italian author of the XX century Alberto Moravia. As in his other novels, Moravia features a one reflexing character, creating an authorial intention in the oeuvre. The article examines special symbolics in the novel. The events take place in the 1940’s, during the Fascism era in Italy: the heroine is a victim of indifference and cruelty of the society and her own weakness, inability to refuse material gains, defend her values and dreams. Emphasis is also made on interaction between the social classes. Unlike the heroes of other novels of Alberto Moravia, Adriana loses her place in the society, changing her behavioral patterns and undergoing reassessment of values. Each character interacting with her can be interpreted as a symbol, representative of a certain class they belong to. And each of them exploit and impact her in their own way. The text in question can be considered as neo-realistic or existential. The author also underlines common traits of the protagonists of Moravia’s novels. For example, Cesira the heroine of the novel “Two Women” (“La Ciociara”, 1957) belongs to petite bourgeoisie, she also experience the transformation of life attitudes, having become a witness of dehumanization of people and overall indifference towards the fate of the country; but unlike Adriana, who is a victim, she manifests in role of a witness. The scientific novelty consists in analysis of symbolics of the novel and correlation between fate of the heroine and fate of the country. The heroines in the works of Alberto Moravia symbolize Fascist era in Italy differently; only in case with Adriana she personifies the changes, reaching the moral decline and perverting her inner self under the influence of fascism. Analysis is conducted on peculiarities of narration in the novel: her story can be perceived as a confession, or as a conversation with an understanding friend. This softens the perception of tragic events in the novel, since in increases the level of trust of the audience to the heroine. Symbolics of the novel includes the images of Madonna and Danaë (Titian’s painting).
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Po-Yu, Rick Wei. "“She is a Jade”:". Crossings: A Journal of English Studies 9 (1 de agosto de 2018): 122–31. http://dx.doi.org/10.59817/cjes.v9i.112.
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This essay aims to study the images of a modern Faro lady in Georgette Heyer’s historical romance Faro’s Daughter. It is divided into three parts. The first part examines Faro ladies in the history and literature of Georgian England, and it compares Heyer’s heroine Deborah Grantham to them. The second talks about how Deborah embodies female virtues that are not appreciated by eighteenth-century gender law but are celebrated by feminist thinking such as Mary Wollstonecraft’s. The third shows that Deborah in Heyer’s work reflects the first-wave feminist thinking but does not follow all the trends of criticism and literary taste. The study juxtaposes Heyer’s heroine with one of the notorious Georgian female gamer Lady Albinia Hobart and argues that Deborah is a reformed Faro lady. The study also examines Deborah in Faro’s Daughter as a combination and rejection of eighteenth- and twentieth-century feminists such as Mary Wollstonecraft and Simone de Beauvoir, showing that Heyer finds her own path of feminist criticism. If historical romance is a sub-genre that revises history, Heyer’s heroine, as the essay tries to point out, represents a revision of feminist discourse.
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Zhong, Zhenzhen. "An Analysis of the Image of Edna Pontellier in The Awakening from the Perspective of Feminism". Frontiers in Humanities and Social Sciences 4, n.º 4 (27 de abril de 2024): 93–103. http://dx.doi.org/10.54691/pr0wre94.
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Kate Chopin occupies an important place in the history of female literature. She is the forerunner of feminist literature. The Awakening is Kate’s one of the most famous works, which is about a dissatisfied wife’s resistance to her husband and society. This paper, mainly from the feminist perspective, analyzes and interprets Edna’s main characters in Kate’s The Awakening. First, it introduces Kate’s feminist thought, and the historical and cultural background of her works. Then from the feminist point of view, the thesis analyzes the heroine’s identities as wife, mother, and self, and how to pursue her independence, and she was not accepted by the society and finally went to her doom. No individual can exist independently of social rules. We are the representatives of social culture. Chopin’s work challenges the patriarchal social order through the heroine.
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Hellyer, Cale Richard. "Harper’s Island: Negotiating a Masculine World to Become a Female Hero". Journal of Asia-Pacific Pop Culture 2, n.º 2 (1 de diciembre de 2017): 205–19. http://dx.doi.org/10.5325/jasiapacipopcult.2.2.205.
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Abstract This article will analyze the portrayal of the main character in the television program Harper’s Island, Abby, as a female hero. The term “female hero” will be used throughout because “heroine” has traditionally implied that female heroics are inherently different and less significant than those of males. This article will compare Abby to previous female heroes from a range of texts and establish her as an atypical female hero. The reason for using this show to analyze the female hero, which has had so many different interpretations and representations, is because Abby fits into the position in a unique way. She can be considered a combination of a vast range of different elements of historical and contemporary female heroes, as she negotiates a male world but never becomes masculine in order to be heroic—something that is rarely seen in other female heroes.
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Al-Khatib, Ms Dina y Dr Yousef Awad. "Unfolding The Female Journey in Pynchon’s The Crying of Lot 49 and Alameddine’s An Unnecessary Woman". International Journal of Comparative Literature and Translation Studies 7, n.º 2 (30 de abril de 2019): 6. http://dx.doi.org/10.7575/aiac.ijclts.v.7n.2p.6.
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This study explores the representations of the female journey and its interconnectedness with female development in Thomas Pynchon’s The Crying of Lot 49 (1966) and Rabih Alameddine’s An Unnecessary Woman (2014). By re-visioning psychotherapist and author Maureen Murdock’s journey paradigm and condensing it into three essential stages (The Separation, The Descent and The Rebirth), this study maintains the applicability of the heroine’s journey to the two male-authored novels. Each heroine’s journey begins when she becomes conscious of the fact that she has been living on the margins of her own life. Consequently, she becomes determined to challenge the conceptualization of traditionally-defined femininity, break free from the oppressive gender roles that were prescribed to them by patriarchy and ultimately define themselves as whole. The significance of this study stems from the fact that it provides an interpretation of how the two heroines’ internal struggles are translated into the outside world in the framework of the postmodern novel, and that it juxtaposes the journeys of two women of different ages, times, social and cultural backgrounds, in order to foreground the universal, multi-dimensional, and transcultural nature of the journey motif.
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Ratna, Ratna, Zuriyati Zuriyati y Saifur Rohman. "Citra Perempuan Dan Heroisme Dalam Cerpen Mademoiselle Fifi Karya Guy De Maupassant". JURNAL Al-AZHAR INDONESIA SERI HUMANIORA 5, n.º 4 (30 de septiembre de 2020): 227. http://dx.doi.org/10.36722/sh.v5i4.412.
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<p><em>Abstrak</em> - <strong>Penelitian ini bertujuan untuk mendeskripsikan citra perempuan dan nilai heroisme yang direfleksikan di dalam cerpen Mademoiselle Fifi karya Guy de Maupassant, seorang penulis realis Perancis dari abad XIX.Metode yang digunakan dalam penelitian ini adalah deskriptif kualitatif dengan pendekatan kritik sastra feminis dan sosiologi sastra. Data berupa kata, frasa, dan kalimat yang berkaitan dengan citra perempuan dan nilai heroisme dalam objek yang dikaji, dikumpulkan dengan teknik studi pustaka. Data kemudian diklasifikasi, diinterpretasi, dan dianalisis dengan landasan teoretis yang relevan. Hasil penelitian menunjukkan bahwa perempuan dicitrakan sebagai sosok yang pemberani, cerdas, dan agresif. Namun, di level sosial dan pendidikan, perempuan masih dianggap berada di bawah kuasa laki-laki. Nilai heroisme lewat tokoh Rachel dapat dilihat saat ia berani melawan Mademoiselle Fifi, saat ia setia membela kehormatan tentara Prancis, dan saat ia berani mengambil risiko untuk membunuh Mademoiselle Fifi.</strong></p><p><em>Abstract</em><strong> - This study aims to describe the image of women and heroism which are reflected in <em>Mademoiselle Fifi</em> short story written by Guy de Maupassant, a French writer in 19th century. The methodology used in this study is qualitative descriptive with feminist criticism theory and literary sociology approaches. The data of this study are the words, phrases, and sentences related to the image of women and heroism in the research object, examined through the literature review technic. The data will later be classified, interpreted, and analyzed using relevant theories. The result of the study shows that women are depicted as brave, clever, and aggressive. However, in the social and educational level, women are still thought of under men’s control. Heroism values in Rachel can be seen at the moment when she is brave to fight against <em>Mademoiselle Fifi</em>, when she defends the honor of French soldiers and when she is brave enough to take a risk in murdering <em>Mademoiselle Fifi</em>.</strong></p><p><strong><em>Keywords</em></strong><em> - The image of women, Heroism, Guy de Maupassant, Mademoiselle Fifi.</em></p><p align="center"> </p><p> </p>
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Widmer, Ellen. "A Source from Afar: Traces of Sarah K. Bolton’s Lives of Girls Who Became Famous (1886) in Tang Baorong’s Huang Xiuqiu (1905-7)". NAN NÜ 25, n.º 1 (7 de marzo de 2023): 44–71. http://dx.doi.org/10.1163/15685268-02512018.
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Abstract How could lines from an American biography of educator Mary Lyon (1797-1849) have influenced the wording of the Chinese novel Huang Xiuqiu (1905-07)? Sarah K. Bolton’s (1841-1916) Lives of Girls Who Became Famous of 1886 entered Japan and was translated or adapted into several sets of biographies in Japan, among them one by Tokutomi Roka (1868-1927) in 1898, and another by Nemoto Shô (1851-1933) in 1906. From there they traveled to China on separate paths where they reappeared in translation or adaptation in Shijie shi nüjie (Ten heroines of the world; 1903, based on Tokutomi), and Zhongguo xin nüjie zazhi (Magazine of the new Chinese woman; 1907, based on Nemoto). Huang Xiuqiu draws on the account in Shijie shi nüjie, but the trajectory from Nemoto to Zhongguo xin nüjie zazhi makes an illuminating comparison to the other trajectory. Lines that can clearly be traced back to Bolton make up a very small proportion of the text of Huang Xiuqiu, but they relate to an important feature of the novel: the way its heroine settles on founding a girls’ school as her contribution to a national effort to make China strong.
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Maslov, Viktor. "The Genius of the Artist through the Prism of His Models". Philosophical anthropology 7, n.º 1 (2021): 80–115. http://dx.doi.org/10.21146/2414-3715-2021-7-1-80-115.
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The essay, which consists of two parts, analyzes the female images of two great artists Botticelli and Picasso. The essay has the character of an art history study with memoir interweaves. In the first part, the author makes an attempt to decipher the genius of Botticelli using the technique of analyzing the prototype of the artist's heroine and comparing it with the image of a real woman, similar to the Botticelli model. The artist's genius is revealed through the type created by him, in a sense — invariant, of a beautiful woman, the spiritual and material image of which is repeated in reality. The energy of Botticelli's paintings, which is their secret, allowed the author to see in life a real copy of the artist's heroine. Using the archive of preserved personal letters of a beautiful lady, as if she descended from Botticelli's paintings “Spring” and “The Birth of Venus”, the author draws an analogy the epistolary legacy with cinema, when events are described not in strict chronological order, but rather individual important moments and experiences are highlighted and are scaled. According to the letters, the author reconstructs the character of his heroine and hypothetically transfers these character traits to the Botticelli model, about whose character there is almost no evidence left. The second part of the essay is inspired by a photograph of Picasso's wife Olga Khokhlova, preserved in the personal archive of the author's friends. The author embeds his story about the muse and the great love of Picasso and about his other paradoxical models in the circumstances of his personal life, in the situation of his youth, comparing the revolutionary changes in art at the beginning of the XX century with the moods of the representatives of the artistic intelligentsia of the 70s of the past century. The heroines of Picasso and the strange interweaving of the fate of the participants in the author's narrative represent the content of this part of the essay.
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Antal, Éva. "Rebellious Marys at the Crossroads: Self-development in Mary Wollstonecraft’s Novels, Mary and Maria". Eger Journal of English Studies 22 (2023): 81–97. http://dx.doi.org/10.33035/egerjes.2023.22.81.
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The context of the present article is my research on philosophies of female education and the questions of female Bildung in the eighteenth and nineteenth centuries in England. Female writings seem to rely on the theoretical background provided by the well-known male authors in order to present a critical and ironical reading. In my study, I highlight the ways of development expressed in the open and closed spaces in Mary Wollstonecraft’s novels. In the quite autobiographical Mary (1788), in accordance with the characteristic aversion to the household, the heroine feels at home in nature, or on the road (cf. homelessness). Meanwhile, having left the suffocating milieu of her home and her marriage, she finds her peace and partner in her own way. In the unfinished novel, Maria (1798), the prisonlike environment of the wife with her actual imprisonment in the Gothic asylum, physically represents the patriarchal restraints in women’s lives. Maria is a rebel, she leaves her husband, and later her readings free her mind. In both novels the heroines struggle with the expectations of the age and their paths of life display the possibilities for development offered to a young woman in the second half of the eighteenth century—in the framework of Wollstonecraft’s early Bildungsromane.
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Malton, Sara. "Incarnating Image". Religion and the Arts 26, n.º 1-2 (24 de marzo de 2022): 89–111. http://dx.doi.org/10.1163/15685292-02601004.
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Abstract This essay examines the significance of Frederic Leighton’s illustrations of George Eliot’s historical novel of Renaissance Florence, Romola (1862–1863). Leighton’s illustrations form a crucial part of Eliot’s vision of her heroine’s movement toward spiritual liberation. Eliot and Leighton together figure this evolution as a pilgrimage that takes us from the Old Testament to the Gospel of John, concluding with one of the most significant moments in the life of Christ: his encounter with the Woman at the Well. Leighton’s depictions of the heroine and Eliot’s narrative powerfully combine to show how Romola’s connection to sacrificial love is combined with increasing authority, as she becomes imagined as the force who unites both the prophetic Old Testament with the manifestations of the New. Romola thus uniquely underscores the place of a complex Victorian aesthetic and print culture within a genealogy of cultural renderings of female agency and mobility.
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Arif, Saffeen N. "Fairy-Tale Design and the Heroine’s Transition to the Ordinary World". Koya University Journal of Humanities and Social Sciences 6, n.º 1 (20 de julio de 2023): 56–64. http://dx.doi.org/10.14500/kujhss.v6n1y2023.pp56-64.
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Like many of her contemporaries, the fictional works of the Canadian writer Alice Munro can be read as a realistic portrayal of the people from her native Ontario, Canada, describing their set of beliefs, values, dreams, aspirations, fears, and apprehensions. A second way to evaluate this fiction is to approach it from a feminist perspective, shedding light on the question of women’s need to be free from the patriarchal rule. The aim of this article, however, is to consider the function of the fairy-tale framework by which Munro’s short story “Red Dress – 1946” is constructed. This fairy-tale design is considered a point of departure from which the story’s heroine grows mentally and spiritually so that she can get her way into the normal world. In addition to taking a brief look at some of the views offered by Munro’s critics of her writings, it also tries to answer such questions as, what function(s) does this form perform to the story to bring about the heroine’s development? Aside from where the Bildungsroman and fairy tale genres meet and where they deviate, how far are certain traditional fairy-tale elements, such as structure, themes, characterization, etc. significant in bringing about the heroine’s mental as well as emotional growth?
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Krupka, Myroslava. "FEMALE CHARACTER AS AUTHOR'S ALTER EGO IN IRENA KARPA'S NOVEL "GOOD NEWS FROM THE ARAL SEA"". Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, n.º 11(79) (29 de septiembre de 2021): 163–65. http://dx.doi.org/10.25264/2519-2558-2021-11(79)-163-165.
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The study investigates the problem of representation of the female image in the autobiographical paradigm of Irena Karpa's novel “Good News from the Aral Sea” because the tendencies of subjectivism describe the writer's work as a manifestation of generational and gender identities. Thus, the modern cultural process is marked by the active presence of writers not only through their texts, but also through various public activities and social networks, which allows the reader to have an idea of the author's private history and accordingly correlate it with artistic narrative. Therewith, the form of the autobiographical narrative is considered as a way for the writer to articulate her experience as gender-marked and is a form of constructing the identity of the character – the author's alter ego. Irena Karpa's book simulates four types of modern heroines, united by common topos of birth and residence, but it is Rita's plot line that is considered as the embodiment of an autobiographical narrative. The figure of this heroine is shown at the junction of two cultures: Ukrainian and European. However, the drama of her life story is provoked by the self-identification of the mistress, who is always in a relationship with two men at the same time, which determines her identity. In the novel, it is love stories that unfold the dynamism of the heroine' s character: she mimics each subsequent man, changing role models from victim to muse. Other life roles: mother, wife, daughter are secondary, and are outside the priority zone. The correlation of the artistic world of the novel with the actual biography of the writer gives grounds to interpret the novel as an autofiction.
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Mazhiyeva, N. y N. Baltabayeva. "TEACHING THE IMAGE OF «HEROINES-GIRLS» IN EPICS IN UNIVERSITIES USING THE TECHNOLOGY OF CRITICAL THINKING". Bulletin of the Eurasian Humanities Institute, Philology Series, n.º 1 (15 de marzo de 2024): 263–75. http://dx.doi.org/10.55808/1999-4214.2024-1.20.
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The article discusses the importance of learning through the technology of critical thinking, based on the image of «heroines-girls» in Turkish epics. The typological features and similarities of the images of «heroines-girls» in epics are highlighted. The introduction describes the image of “girl heroines” common to the world and the Turkic peoples. They say that their courage and intelligence are preserved in the memory of the people. Examples were given that every action of a warrior girl in a certain song is worthy of a hero, which remained in the core of poets who have sung for centuries. In the same way, the fact that this topic has found a place in the works of folklorists, educators and researchers to this day and that this topic will never lose its relevance is evidenced by their works. In this regard, a systematic analysis of the heroines of the poem from birth, the environment of growing up, family education, traditions, etc. will be carried out in terms of their personality. In other words, questions and discussions among students at the university, their views and thoughts were analyzed. The theoretical and practical significance of the technology of critical thinking in lectures and practical classes and the effectiveness of the use of methods, scientific findings of well-known specialist teachers were taken into account. That is, the main idea of our research work is the “heroine-girls” in epics, their heroic path, actions, characteristics, etc. The appearance of the videos is described and critiques are discussed. That is, the effectiveness of the method of critical thinking, the exchange of students with their thoughts, critical views, critical opinions during a lecture are comprehensively studied and analyzed. It was determined that there are many opportunities for various simulations in the lectures on the technology of critical thinking. Within the framework of this topic, at the first stage of the experiment, along with a survey, test tasks, analytical work, and discussion work were also organized among students. We also make sure that the main topic is fully disclosed and the listener forms his own opinion on the final result of the lecture.
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Cao, Ying, Chong Han, Xiangdong Liu y Adrian Hale. "‘She is like a Yakshini’". European Journal of Humour Research 9, n.º 4 (30 de diciembre de 2021): 110–30. http://dx.doi.org/10.7592/ejhr.2021.9.4.585.
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This paper looks at the importance of aggressive humour in the discursive construction of a ‘Yakshini’ character in a popular Chinese sitcom, Ipartment. The exaggerated, aggressive nature of such a stereotypical character undermines traditional cultural norms of Chinese femininity. Such characterisation of a heroine through aggressive humour in a popular sitcom reflects the fact that empowering women has become (or is becoming) more acceptable in contemporary China.
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Rimell, Vicky. "Epistolary Fictions: Authorial identity in Heroides 15". Proceedings of the Cambridge Philological Society 45 (2000): 109–35. http://dx.doi.org/10.1017/s0068673500002364.
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Heroides 15, Sappho's letter to Phaon, is an enigma in its present context for many different reasons. What is Sappho doing, heterosexualised, at the end of a string of elegiac epistles written by women plucked straight from myth and each given their fifteen minutes of fame? Despite the mythology that grew up around her, of which Phaon was a part, Sappho was a real woman and a real writer, the Greek love poet par excellence; not only that, she was and is a figure who, in her poetic persona at least, is famous for communicating her love for women, not for the local ferryman. This Sappho looks very written, yet as the only heroine–writer, and as the love-poet often cited as Ovid's influential predecessor, she can represent the culmination and reification of the Heroides' illusion of female authorship.In doing so, Sappho functions as the crucial figure in a collection of poems in which the Ovidian author writes in disguise; in what becomes finally a life or death situation, her poem radically questions the definition and definability of authorship, gender and identity. We are constantly asked, and are prompted to ask: Just how authentic, or how written is Sappho in this self-conscious erotic alignment of His ‘n’ Hers, Roman and Greek love poets? What is it for an Ovidian author conspicuously to write, through and over, the poetess whose work he recommends should be read alongside his own, and whose influence on his own writing and love-affairs he hints at on several occasions?
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Ahmetagić, Jasmina. "The case study by Slavenka Drakulić: Whose victim is Mileva Einstein?" Зборник радова Филозофског факултета у Приштини 50, n.º 4 (2020): 3–17. http://dx.doi.org/10.5937/zrffp50-29483.
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By embedding the "theory of sadness" phrase in the novel's title (Mileva Einstein, a theory of sadness), Slavenka Drakulić suggests that she sees her heroine's life as a paradigm of melancholy and depression. By diving into the psychology of a woman who has been portrayed during the two decades as wilingless and gloomy, always lacking the sense of self-fulfillment, the author is trying to reveal the key drivers which are responsible for Mileva's humiliating life circumstances-non-assertiveness, suppression, adjustment, feeling of inferiority, inability to tolerate separation and addiction, as well as a tendency to deny the facts. The protagonist illuminates her own feelings of inferiority due to her birth physical defects which pushed her into the science. She compensates her low self-esteem by school achievements and by nurturing the love relationship towards the symbiosis and removal of self-boundaries. Therefore, the love loss is a personal impoverishment and an identity issue. The novel is told by the omniscient narrator influenced by the influx of Mileva's stream of consciousness (still unreliable, since it is a testimony of "melancholy effect" and distortion of reality). The heroine faces the deepest truth about herself and at the same time turns away from it. Intertwined contradictions and ambivalences are revealing that the main cause of Mileva's tragedy is her pathological sadness. Using the psychoanalytical repertoire of object relations, we point out that, following the loss of the object, the heroine transferred her libido to herself and became self-obsessed in a destructive manner. By suggesting to the reader why Mileva Marić Einstein's response to the circumstances was depression (amidst all other psychological possibilities), Slavenka Drakulić's work is breaking the journalistic boundaries and emerges as a psychological novel.
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Marinčič, Katarina. "A wardrobe suitable for a virtuous pauper". Journal for Foreign Languages 11, n.º 1 (30 de diciembre de 2019): 315–25. http://dx.doi.org/10.4312/vestnik.11.315-325.
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The subject of this paper is not the influence of Pierre de Marivaux's La Vie de Marianne upon Samuel Richardson's Pamela (a question that has been widely discussed since the 18th century). In spite of some obvious similarities, La Vie de Marianne and Pamela are two profoundly dissimilar novels. Pamela is a tale with a happy ending and a clear moral message. La vie de Marianne is an unfinished tale and, as such, morally ambiguous by its very nature. However, at crucial moments of their stories, confronted with the first attempts upon their virtue, both heroines react in accordance with their sense of propriety in clothing as well as with an acute fashion sense. In both novels, the seducer tries to lure his victim with clothes. Upon receiving the gift, both girls display a naive and joyful gratitude. Their dilemma begins when the gift of clothing turns out to be a gift of lingerie. The self-indulgent French heroine, after a short reflection, decides to keep the clothes. Pamela turns out to be a much more modern young woman. She returns the gift and – in a seemingly paradoxical way – puts herself in need of a new set of clothes.
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López-Narváez, Julia. "From mommet to ugly: An analysis of the linguistic duality and idiolect of Tess Durbeyfield in the Spanish translations of Tess of the d’Urbervilles". Hikma 20, n.º 2 (23 de diciembre de 2021): 177–202. http://dx.doi.org/10.21071/hikma.v20i2.13381.
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The current study aims at critically exploring the resulting identity of Tess of the d’Urbervilles’ main character, Tess Durbeyfield, in the Spanish translations through the analysis of her linguistic variation. Throughout the novel, Tess is characterised by a unique duality in linguistic variation, which shapes her identity. She is capable of using both dialectal and non-dialectal marks, which differentiates her from the rest of the novel’s characters. To reach thus the goal of this research, that is, to verify whether Tess Durbeyfield’s multifaceted identity is maintained in the Spanish translations, it is essential to analyse the linguistic variation of the novel’s heroine in the target texts. For the project, the three Spanish translations that exist of the novel have been analysed (carried out in 1924, 1994 and 2017).
In order to reach this aforementioned objective, the strategies carried out by the different translators regarding linguistic variation will be analysed, focusing on the possible identity distortion that these decisions may entail in the heroine’s characterization. In order to observe Tess Durbeyfield’s idiolect and linguistic variation, all dialogues from the novel and its corresponding translations have been analysed and classified. In the project, through selected dialogues, it will be observed whether the translation strategies regarding the heroine’s linguistic variation imply a reconfiguration of Tess’s identity in the target texts
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Włodek, Roman. "Filmowa Łódź Jadwigi Andrzejewskiej". Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 20, n.º 29 (15 de marzo de 2017): 179–202. http://dx.doi.org/10.14746/i.2017.29.11.
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Before WWII, Jadwiga Andrzejewska 1915–1977) was among the most popular actresses in Polish cinema. During WWII she acted in the Dramatic Theatre of the Polish Second Corps. Returning to her hometown Łódź in 1947 Andrzejewska was initially perceived by the Polish authorities as politically uncertain. Her notable theatrical roles included the heroine in A Woman of Wonder and the heroine in Mother Courage and Her Children. Although she lived in Łódź – a capital of Polish cinema – her film career languished after the war. She had bit parts in about thirty feature films (among them television films). Her biggest and most notable post-war role was in a political propaganda film produced for television, And if Will be Autumn…
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Oberman, Rachel Provenzano. "Fused Voices: Narrated Monologue in Jane Austen's Emma". Nineteenth-Century Literature 64, n.º 1 (1 de junio de 2009): 1–15. http://dx.doi.org/10.1525/ncl.2009.64.1.1.
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The question of whose voice is speaking, the narrator's or the heroine's, is central in Jane Austen's Emma (1814), for although the two voices sound similar at points, the story that the heroine tells is but an incomplete part of the narrator's larger story. While Emma tells the story of her perceptions as they occur to her at the time, the narrator is telling the story of the gradual growth of Emma's consciousness. As the novel progresses, Emma's voice begins to resemble the narrator's in its ability to mix with another's consciousness. Her narrated monologues begin to incorporate others' voices, almost as if she has learned the narrative technique that Austen herself uses. Emma's voice, likes the narrator's, displays by the novel's end the ability to mix others' voices into her own; she gains the ability to "see" herself both from the inside and the outside. Emma's ability to learn narrative "skills" such as the fusing of other voices into her own represents the true mark of her maturity. In a sense, Emma learns what every good novel reader ultimately learns: how to see beyond her own mental confines by imitating the narrator's ability to incorporate others' consciousnesses into her own.
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Kulakevych, Lyudmyla M. "InterpretationPeculiaritiesoftheSleeping BeautyMotif inD.H. Lawrence`s Short Story “Princess”". Alfred Nobel University Journal of Philology 2, n.º 22 (2021): 33–43. http://dx.doi.org/10.32342/2523-4463-2021-2-22-3.
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The reception of D.H. Lawrence`s works in Western and Ukrainian literary criticism is reflected in detail in Natalia Styrnik`s thesis. She concluded that Lawrence`s short stories remain underexplored in modern Ukrainian literary criticism. The applicant herself undertook to identify the leading themes, motives, and artistic peculiarities of the implementation of the latter. However, the specifics of the female image in the short stories of the English artist lack her attention, there are only occasional characteristics of a particular heroine. The aim of the article is to determine the peculiarities of the interpretation of the Sleeping Beauty Motif in the short story by D.H. Lawrence “The Princess”. The objective is to determine the basis of the plot of the short story and analyze the artistic components of the main character’s image. To achieve our goal, we use the elements of motif, receptive-interpretive psychoanalytic and comparative methods of analysis. What strikes the eye when reading the short story is the popular plot about so beautiful princess that no man in the kingdom is worth even her little toe. It is a typical plot for fairy tales of different nations. The heroine's lineage with the kings is mentioned at the beginning of the short story due to the origin of her father. Traditionally, in fairy tales, the birth of a child is the result of one of the parents’ interactions with the other world. In Lawrence`s story, this is transformed into the unusual behavior of Colin Urquhart, whose attitude to his married life was so unusual that his wife regarded him as an “unreal creature”, “echo”, “ghost”, which is repeatedly emphasized in the text. The girl`s connection to the other world unfolds through the repeatedly articulated motif of the changeling. In fairy tales, the early death of the mother and the introduction of an evil stepmother are determined by the vital need of the girl to grow up independently, because of the kindness of the mother, her excessive care hinders the deeper development of the young woman and her ability to respond to life's problems. It is established that in Lawrence`s short story the motif of the mother's death undergoes transformations: a two-year-old child finds herself under the full care of her father, who raises the girl in a perfectly romantic atmosphere. It is he who instills a behavioral model of a princess in his daughter, unattainable to any man. As the father and daughter reside on the European continent, and the maternal grandparents live in the United States, it creates an illusion that the mother's family and the father's families belong to different “worlds” – different cultures/worldviews. Colin Urquhart, and later his daughter, embodies a romantic culture that tends to idealize a woman as a beautiful lady, and the knight's love for her is perceived as a deep platonic affection. The romantic worldview is manifested through the details of appearance (Urquharts have blue eyes), the style of the heroine’s clothes, her asexuality. The essence of the beautiful heroine is expressed by one of her names – Dollie, which urges us to perceive the living as the inanimate, understand the existence of the Princess as mechanical, devoid of feelings and sensations, alienated from other people`s lives. Her father Colin being presented through the micro images of the bodiless ghost/phantom/echo can also be interpreted as his asexuality on the one hand, while on the other, it can be seen as the mortality/irrelevance of his life principles, which he himself adheres to and instills in the girl. Many fairy tales convey the need to have a family, which is a marker of a socialized person. The search for a marriage partner in a fairy tale always takes place in a space “alien” to the protagonist, which is often defined as “another kingdom”, “distant lands”. According to the fairy-tale canon, to solve the problem, a woman goes on a journey and as a result gets closer to an impoverished but physically fit and silent Mexican, encouraging him to take this dangerous trip to the mountain forests with her. The heroine deliberately leads to the situation where she ends up alone with the man, but later she turns out to be unable to “turn off” the pattern of the princess cultivated by her father and accept the man with his nature. The dream essentially announces the future fate of Dollie – “to be buried alive”, because she makes every effort to defend her existence as a disembodied/asexual being, thus burying a woman within herself. Thus, the heroine`s common sense and instincts could not prevail over the cultural superstructure called “Princess”. According to the fairy-tale canon, even as a young girl, the protagonist showed extraordinary abilities – in the short story her artistic talent and knowledge were repeatedly noticed: the young woman reads the classic literary novels not in translation, but in the original language, which speaks highly of her intelligence. We can assume that not only parental upbringing, but also classical literature, with its taboo on sexual life until the first third of the twentieth century, influenced the heroine. In mind of the Princess two op- ISSN 2523-4463 (print) ВІСНИК УНІВЕРСИТЕТУ ІМЕНІ АЛЬФРЕДА НОБЕЛЯ. ISSN 2523-4749 (online) Серія «ФІЛОЛОГІЧНІ НАУКИ». 2021. № 2 (22) posite images of men are formed: either he was a disembodied companion of a beautiful lady, or “a rough monster”, “Caliban”. The text repeatedly suggests that Mary Henrietta Urquhart could have been quite happy with Domingo Romero, but due to her distorted-romantic view of men, it never happened. The end of the short story is seemingly happy – the heroine is saved, she returns home, to her former life, and even marries a man who, given his age, most likely was not a sexual partner to her but compensated for the deceased father. This conclusion can be explained both by the fact that the “kiss” of the Mexican, which the Princess initiated herself, had not awakened the woman in her, she remains a sleeping beauty forever. D.H. Lawrence`s short story meets the canons of a fairy tale and is read like the modern-day fairy tale showing you how you should not raise a girl.
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Jurich, Marilyn. "She shall overcome: Overtures to the Trickster heroine". Women's Studies International Forum 9, n.º 3 (enero de 1986): 273–79. http://dx.doi.org/10.1016/0277-5395(86)90063-4.
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Mohammed, Mustafa Ahmad. "Beckett’s Optimistic Heroine". English Language and Literature Studies 7, n.º 2 (30 de mayo de 2017): 1. http://dx.doi.org/10.5539/ells.v7n2p1.
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Happy Days was written in English in 1960 and translated into French by Beckett as Oh les beaux. This play has been regarded as being savagely ironic and the irony which was classified as metaphysical or cosmic in its presentation of the loneliness of Man in the face of indifferent universe. Happy Days is considered a milestone in Beckett’s writings because it is for the first time a well preserved blonde woman in her fifties is the main character of the play. Winnie is unlike Hamm, the main character in Endgame, she blinks at suffering with rare mixture of cheer and indifference. This paper is an attempt to investigate Winnie’s reaction against The Absurd as an optimistic heroine in the Beckettian Drama.
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Seago, Karen y Lavinia Springett. "Dzikie bohaterki? Problematyka płci kulturowej i gatunku literackiego w przekładach Northern Lights Philipa Pullmana". Przekładaniec, n.º 40 (2020): 22–50. http://dx.doi.org/10.4467/16891864pc.20.002.13165.
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Savage Heroines? The Treatment of Gender and Genre in Translations of Philip Pullman’s Northern Lights Philip Pullman’s Northern Lights is the first instalment of his award-winning trilogy His Dark Materials. In this alternate-worlds fantasy and children’s literature classic, Lyra and her daemon Pan are catapulted from the relative stability of Oxford to negotiate an increasingly threatening world in a quest to protect free will from cataclysmic adult zealotry. According to prophecy, Lyra is the chosen one; she conforms to the tropes of the fantasy quest performing the paradigmatic steps of the saviour hero. Pullman’s protagonist transgresses and subverts the stereotypical expectations of the fantasy heroine whose generic destiny is coded in enclosure, passivity and endurance. Lyra is also a coming of age story and here again Pullman’s conceptualisation does not conform to the female pattern in both fantasy and children’s literature where marriage functions as the marker for maturity. Character is one of the two defining traits of fantasy (Attebery 1992) and it performs a didactic function in children’s literature. Characterisation is created through the reader’s interpretation of textual cues: narratorial description; direct and free-indirect speech. Lyra’s character subverts fantasy stereotypes and depicts a transgressive child who does not conform to gender role expectations. Genre translation tends to adapt the text to target culture norms and the didactic and socialising impetus of children’s literature has been shown to prompt translation strategies which comply with the receiving culture’s linguistic and behavioural norms. In this paper, we analyse the rendering of character cues in the French, German and Italian translations of Northern Lights: 1. Is the transgressive trope of a) the heroine following the male hero paradigm and b) the coming of age pattern maintained or normalised to conform to genre expectations? 2. Is Lyra’s transgressive character rendered in translation or is it adapted to comply with didactic expectations of behaviour? 3. Are there different notions of the role and function of children’s literature in the target environments and do these impact on translation strategies?
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P, Kamalakannan. "Women of the other Epics in view of Periyar". International Research Journal of Tamil 3, n.º 1 (23 de enero de 2021): 166–73. http://dx.doi.org/10.34256/irjt21118.
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As English has its influence throughout the world, most of Shakespeare’s works became famous. Even then, one can challenge that so far no one has written anything which can beat down the classical epics and Idhikāsams. There is no much difference between men and women in nature. Both are similar in aesthetics, knowledge, character etc. The respect given to women during Sangam period has got changed. They were refused of their rights in the later literature and in the minds of the poets. The chaste women in the Tamil epics were obedient to their husbands, and on one would have ever questioned their husbands. Akalyai, who accidently lost her chastity is also included in the list of chaste women. Panchali, who is referred as Draupathi, Krishnai, Indhirasenai, Thrihayani is the heroine of Vyasar’s Maha Bharatham, won by Arjuna in Swayamvaram, she became wife of five Pandavas on the words of Kunthi. She appealed to Kannan to safeguard her during the abuse happened to her by Dushyasana, in Dhruyodhana’s court when the game of dice was challenged to her husband. Sita, the heroine of Ramayana is adored as the ‘fire of chastity’, ‘ornament of chastity’ etc. Though Mandodhri condemns her husband’s activities, she is also added to be one among the chaste women as she died immediately following her husband’s death. Periyar appreciates only certain heroine who parallels his ideologies of reasoning, discipline and self-respect and criticizes others.
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Plekhanova, I. I. "The mystical simplicity of Anna Dolgareva’s poetry". Voprosy literatury, n.º 3 (7 de junio de 2024): 105–21. http://dx.doi.org/10.31425/0042-8795-2024-3-105-121.
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The article conducts an in-depth analysis of Anna Dolgareva’s poetic output: a contemporary poet, she has become somewhat of a chronicler of the special military operation. The scholar argues that Dolgareva’s poetics satisfies the needs of the current era: now that the postmodernist and avant-garde potential has been exhausted, the tragic character of history calls not only for a clear stance and unwearied word but also a radical change of tradition. To achieve such an effect with her poetics, Dolgareva opts for straightforwardness of expression and puts the main emphasis on the mission statement of the tragic hero, who is not romanticized but shows awareness of their responsibility. The critic particularly examines Dolgareva’s latest book Red Berry. Black Soil [Krasnaya yagoda. Chyornaya zemlya] (2023). It appears to be a manifesto of the poet’s idea of the protagonist’s direction in life and depicts the lyrical heroine through her various self-identifications – from the long-awaited offspring of a previously childless couple to a jester, the Fool from a tarot deck. In her reconstruction of the heroine’s personality, the critic examines the main motifs of Dolgareva’s lyrical poetry in the philosophical context of Russian poetry in the 2010s–2020s.
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Messer, Jane. "The Maternal Heroine". Cultural Studies Review 11, n.º 1 (12 de agosto de 2013): 129–41. http://dx.doi.org/10.5130/csr.v11i1.3452.
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There is a Chinese curse quoted in glib desk calendars that have a phrase for each day: ‘May you live in interesting times’. In fiction, maternity has not often been seen as terribly interesting, and in the real world having babies often stops a mother from writing, off and on and even for years. The story of mothers and babies seems elusive, not fit for the imagination, for where’s the story? The ‘maternal heroine’, a protagonist and main character whose actions and identity are closely bound up with her work and experience of herself as a mother of young and dependent children, is rare. How could she not be? She’s busy giving off strong whiffs of routine. Where’s the drama in that? And what are babies? They’re not thinking, arguing agents for change—hardly protagonists—even if antagonistic at the cocktail hour. At least, that is one way of opening up the question of the maternal heroine.