Livres : « Shy heroine »

1

Douglas, Penelope. Falling away : A Fall Away novel. New York : NAL, New American Library, 2015.

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2

Dilillo, Robert. Just Say Yes : (Be My Heroin). San Jose New York Lincoln Shanghai : Writers Club Press, 2002.

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3

Druett, Joan. She captains : Heroines and hellions of the sea. Rockland, MA : Wheeler Pub., 2000.

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4

S, Burroughs William. Just say no to drug hysteria. United States?] : [publisher not identified], 1990.

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5

Edward, Butts. She dared : True stories of heroines, scoundrels, and renegades. Toronto : Tundra Books, 2005.

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6

Archibald, Elizabeth. 'Deep clerks she dumbs' : The learned heroine in Apollonius of Tyre and Pericles. (Kalamazoo, Mich : Comparative drama), 1988.

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7

Lewis, J. Patrick. Heroes and she-roes : Poems of amazing and everyday heroes. New York : Dial Books for Young Readers, 2005.

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8

Liu, Shao-hua. Wo de liang shan xiong di : Du pin, ai zi yu liu dong qing nian. 8^e éd. Xinbei Shi : Qun xue chu ban you xian gong si, 2013.

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9

King, Stephen. Wu shi yu shui jing qiu = : Wizard and glass. 8^e éd. Taibei Shi : Huang guan wen hua chu ban you xian gong si, 2007.

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King, Stephen. Wu shi yu bo li qiu : Wizard and glass / Stephen King. 8^e éd. Shanghai : Shanghai wen yi chu ban she, 2013.

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Pilkey, Dav. 内裤超人与尿布博士. 2^e éd. Haikou : Nanhai chu ban gong si, 2011.

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Allan, Poe Edgar. Da shi de shen ying : Aidege Ailun Po jing dian xiao shuo ji. 8^e éd. Taibei Shi : Lian pu chu ban, 2009.

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13

Rowling, J. K. Harī Pottā to shi no hihō = : Harry Potter and the Deathly Hallows. 8^e éd. Tōkyō : Seizansha, 2008.

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14

Wright, Katheryn. The New Heroines. ABC-CLIO, LLC, 2016. http://dx.doi.org/10.5040/9798400691003.

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This book explores how the next generation of teen and young adult heroines in popular culture are creating a new feminist ideal for the 21st century. Representations of a teenage girl who is unique or special occur again and again in coming-of-age stories. It's an irresistible concept: the heroine who seems just like every other, but under the surface, she has the potential to change the world. This book examines the cultural significance of teen and young adult female characters—the New Heroines—in popular culture. The book addresses a wide range of examples primarily from the past two decades, with several chapters focusing on a specific heroic figure in popular culture. In addition, the author offers a comparative analysis between the "New Woman" figure from the late 19th and early 20th century and the New Heroine in the 21st century. Readers will understand how representations of teenage girls in fiction and nonfiction are positioned as heroic because of their ability to find out about themselves by connecting with other people, their environment, and technology.

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15

Wildfire. Simon & Schuster, Limited, 2023.

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Wildfire : A Novel. Atria Books, 2023.

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Wildfire : A Novel. Atria Books, 2023.

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18

Griffith, Sophia. She Would Be a Heroine ; VOL. I. Gale NCCO, Print Editions, 2017.

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Michael, Wood. Outside Looking In : 'She Is the Perfect Heroine'. HarperCollins Publishers Limited, 2016.

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20

Rebecca, Kaplan. She : Muses, visionaries and madcap heroines. Sous la direction de kate spade new york (Firm). 2017.

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Butts, Ed. She Dared : Heroines, Scoundrels, And Renegades. Demco Media, 2005.

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22

Drury, Joseph. Libertines and Machines in Love in Excess. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198792383.003.0003.

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This chapter reads Eliza Haywood’s seduction fiction and eighteenth-century anti-novel discourse in relation to the debate on the freedom of the will prompted by the rise of mechanical philosophy. Haywood’s protagonists are machines whose actions are determined by external causes. The central tension in Love in Excess revolves around the two opposing conclusions she derives from this premise. At times, she seems to endorse her male protagonist’s claim that necessary agents cannot be held responsible for their transgressions and invites her readers to suspend their moral judgement. But elsewhere, her emphasis on the moral deliberations of her heroines and the tragic fates that follow their transgressions indicate a contrasting commitment to the ‘compatibilist’ position, advanced by the novel’s heroine, that people can be held responsible for necessary actions so long as they are voluntary, and that fiction ought to provide readers with aversive stimuli that frame their wills to virtue.

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Collins, Joseph Edmund. Annette the Metis Spy : A Heroine of the N.W. Rebellion. BiblioBazaar, 2007.

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Druett, Joan. She Captains : Heroines and Hellions of the Sea. Simon & Schuster, 2001.

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She captains : Heroines and hellions of the sea. New York : Simon & Schuster, 2000.

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Druett, Joan. She Captains : Heroines and Hellions of the Sea. Barnes & Noble Books, 2005.

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Druett, Joan. She Captains : Heroines and Hellions of the Sea. Wheeler Publishing, 2001.

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28

Ross, Tara, et Kate E. Cooper. She Fought, Too : Stories of Revolutionary War Heroines. Colonial Press, L.P., 2019.

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Druett, Joan. She Captains : Heroines and Hellions of the Sea. Simon & Schuster, 2001.

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Burton, David H. Clara Barton. Greenwood Publishing Group, Inc., 1995. http://dx.doi.org/10.5040/9798400627057.

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This book is a concise, interpretive account of the life of Clara Barton from her childhood in Massachusetts through her feats of heroism during the Civil War, her founding of the American Red Cross, which she led for 20 years, and her bitterly contested ejection from office which clouded her last decade. Clara Barton (1821-1912) led a life in the service of humanity. Undoubtedly heroic and undoubtedly generous in her impulse to aid others, she nonetheless remained a self-centered individual who could brook neither criticism nor ingratitude. Her life story is told here with sympathy and understanding without sacrificing candor or honesty.

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Collins, Joseph Edmund. Annette, the Metis Spy : A Heroine of the N.W Rebellion (Dodo Press). Dodo Press, 2007.

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32

Collins, Joseph Edmund. Annette the Metis Spy (Large Print Edition) : A Heroine of the N.W. Rebellion. BiblioBazaar, 2007.

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33

Wallace, Patricia Ward. Politics of Conscience. Greenwood Publishing Group, Inc., 1995. http://dx.doi.org/10.5040/9798400698521.

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Margaret Chase Smith was the most influential woman in the history of American politics. Her goal was to be a United States senator, not a woman senator, and she succeeded by overcoming gender, not by championing it. Smith began her political career as Maine's daughter and demonstrated nationally the New England virtues of honesty, hard work, frugality, and reticence. She became America's heroine when she courageously confronted Senator Joe McCarthy at the height of his power with her Declaration of Conscience speech. In her statement she championed the American right to criticize, to hold unpopular beliefs, and to practice free speech. Associating herself with the politics of conscience, Smith won three more terms in the Senate and sat on the powerful Armed Services, Appropriations, Space, Government Operations, and Intelligence committees. Altogether, she was in Congress 32 years and by the time her career ended she had established an enduring prototype for female and minority politicians. This biography of Margaret Chase Smith is the first historical treatment of Smith to use her voluminous private papers as well as extensive interviews with Smith and her colleagues in Congress. As Maine's daughter, Smith was frugal, hard-working, reticent, and caustic. At age thirty-two she married, in scandal, state-politician Clyde Smith with whom she had been involved since she was sixteen and who was twenty-one years her senior. Smith came to Washington when Clyde was elected to Congress and, against his wishes, she became his secretary. When Clyde died in office in 1940, Smith played the widow's game and successfully ran for his seat. In the House during World War II, Smith sat on the powerful Naval Affairs Committee and, tutored by committee counsel Bill Lewis, developed a national constituency, the military, which in turn allowed her to better serve Maine's interests. Lewis directed Smith's first Senate campaign in 1948 when she won an upset victory by an astonishing margin. Overnight she became the darling of the Republican party, the heroine of women everywhere, and the only woman in the United States Senate. Immediately, she became embroiled with Joseph McCarthy and courageously confronted him with her Declaration of Conscience speech four years before a Senate majority censored him. Associating herself with politics of conscience, Smith was elected to three more terms and sat on the powerful Armed services, Appropriations, Space, Government Operations, and Intelligence committees. America's heroine was a political icon by the time she was defeated in 1972 at the age of seventy-four.

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Altman, Meryl. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036347.003.0026.

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I started [writing] a vast novel; the heroine was to live through all my own experiences; she was to be awakened to the meaning of “the true life,” enter into conflict with her environment, then be disillusioned by everything: action, love, knowledge. I never knew what the ending was because I ran out of time and gave up halfway through....

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Braddon, Mary Elizabeth. Aurora Floyd. Sous la direction de P. D. Edwards. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199555161.001.0001.

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abstract ‘With Lady Audley’s Secret, Mary Elizabeth Braddon had established herself, alongside Wilkie Collins and Mrs Henry Wood, as one of the ruling triumvirate of ‘sensation novelists’. Aurora Floyd (1862–3), following hot on its heels, achieved almost equal popularity and notoriety. Like Lady Audley, Aurora is a beautiful young woman bigamously married and threatened with exposure by a blackmailer. But in Aurora Floyd, and in many of the novels written in imitation of it, bigamy is little more than a euphemism, a device to enable the heroine, and vicariously the reader, to enjoy the forbidden sweets of adultery without adulterous intentions. Passionate, sometimes violent, Aurora does succeed in enjoying them, her desires scarcely chastened by her disastrous first marriage. She represents a challenge to the mid-Victorian sexual code, and particularly to the feminine ideal of simpering, angelic young ladyhood. P. D. Edward’s introduction evaluates the novel’s leading place among ‘bigamy-novels’ and Braddon’s treatment of the power struggle between the sexes, as well as considering the similarities between the author and her heroine.

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Austen, Jane, et Adela Pinch. Emma. Sous la direction de James Kinsley. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199535521.001.0001.

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‘I wonder what will become of her!’ So speculate the friends and neighbours of Emma Woodhouse, the lovely, lively, wilful,and fallible heroine of Jane Austen‘s fourth published novel. Confident that she knows best, Emma schemes to find a suitable husband for her pliant friend Harriet, only to discover that she understands the feelings of others as little as she does her own heart. As Emma puzzles and blunders her way through the mysteries of her social world, Austen evokes for her readers a cast of unforgettable characters and a detailed portrait of a small town undergoing historical transition. Written with matchless wit and irony, judged by many to be her finest novel, Emma has been adapted many times for film and television. This new edition shows how Austen brilliantly turns the everyday into the exceptional.

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Gillespie, Caitlin C. Epilogue. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190609078.003.0009.

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The epilogue addresses the reception of Boudica. In her immense afterlife, Boudica primarily serves as a symbol of freedom, nationalism, and womanhood. Under Elizabeth I, she was celebrated as a warrior woman. In the eighteenth century, she became a figure for British nationhood. William Cowper’s “Boadicea: An Ode” has had lasting importance for this image. Thomas Thornycroft’s statue of Boudica on the Thames Embankment remains the most prominent image of her Victorian reception. In Cardiff, J. Havard Thomas’s statue honors the mother more than the warrior. Modern museum exhibits variously condemn Boudica’s destruction or claim her as a local heroine. Her scythed chariot is the emblem of her modern persona, although it has no archaeological basis. Today, her importance lies in her adaptability to be presented as a model queen, rebel, mother, and warrior.

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Furman, Nelly. Georges Bizet's Carmen. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190059149.001.0001.

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Since 1875 the heroine of the most performed opera in the world, Carmen has become a universal cultural icon. She has appeared in a multitude of ballets, on stage as well as ice rinks, and in some eighty international films. The success of Bizet’s opera owns a lot to the libretto’s singular accounting of the 1845 short story on which it is based. In her close textual analyses of Ludovic Halévy’s and Henri Meilhac’s libretto and Prosper Mérimée’s novella, the author strives to account for the multiple aspects of Carmen’s attraction that support Georges Bizet’s acclaimed musical score.

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Pando, Paula de. John Banks's Female Tragic Heroes : Reimagining Tudor Queens in Restoration She-Tragedy. BRILL, 2018.

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Faxneld, Per. Mary MacLane’s Autobiographic Satanic Feminism. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190664473.003.0010.

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Chapter10 has Canadian-American Mary MacLane (1881–1929) as its topic and draws on her own texts as well as contemporary newspaper articles on her. MacLane’s autobiographical bestseller The Story ofMary MacLane (1902) depicted the author’s burning desire to become Satan’s bride. Earlier research on MacLane has neglected the fact that her use of Satan is directly related to an established tradition of literary Satanism and also overlaps with contemporary esoteric and political-feminist use of the figure. The chapter attempts to contextualize her work from this perspective. MacLane’s use of several by now familiar motifs is highlighted: the liberating demon-lover, Satan as a voice of cultural criticism and diabolical lesbianism. The reception of the text is also considered, detailing how MacLane’s contentious public persona was an important part of the (brief) success she enjoyed and how she became an anti-heroine role model to scores of young American women.

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Gaskell, Elizabeth. Ruth. Sous la direction de Tim Dolin. Oxford University Press, 2011. http://dx.doi.org/10.1093/owc/9780199581955.001.0001.

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‘I think I must be an improper woman without knowing it, I do so manage to shock people.’ Elizabeth Gaskell's second novel challenged contemporary social attitudes by taking as its heroine a fallen woman. Ruth Hilton is an orphan and an overworked seamstress, an innocent preyed upon by a weak, wealthy seducer. When he heartlessly abandons her she finds shelter and kindness in the home of a dissenting minister and his sister, who do not reject her when she gives birth to an illegitimate child. But Ruth's self-sacrificing love and devotion are tested to the limit by a twist of fate that brings her past back to haunt her. Gaskell's depiction of Ruth lays bare Victorian hypocrisy and sexual double-standards, and her novel is a remarkable story of love, of the sanctuary and tyranny of the family, and of the consequences of lies and deception.

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Howard, Alex. She'll Break but She Won't Bend : Meet DI Hanlon, Britain's Fierce New Crime Heroine : Time to Die Epic Free Sampler. Head of Zeus, 2014.

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Korb, Suz. That Night Her Car Engine Lit on Fire : And Then She Shot Heroin into Her Leg. Independently Published, 2019.

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Braddon, Mary Elizabeth. Lady Audley’s Secret. Sous la direction de Lyn Pykett. Oxford University Press, 2012. http://dx.doi.org/10.1093/owc/9780199577033.001.0001.

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It only rests with yourself to become Lady Audley, and the mistress of Audley Court.’ When beautiful young Lucy Graham accepts the hand of Sir Michael Audley, her fortune and her future look secure. But Lady Audley’s past is shrouded in mystery, and to Sir Michael’s nephew Robert, she is not all that she seems. When his good friend George Talboys suddenly disappears, Robert is determined to find him, and to unearth the truth. His quest reveals a tangled story of lies and deception, crime and intrigue, whose sensational twists turn the conventional picture of Victorian womanhood on its head. Can Robert’s darkest suspicions really be true? Lady Audley’s Secret was an immediate bestseller, and readers have enjoyed its thrilling plot ever since its first publication in 1862. This new edition explores Braddon’s portrait of her scheming heroine in the context of the nineteenth-century sensation novel and the lively, often hostile debates it provoked.

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Fontane, Theodor, et Ritchie Robertson. Effi Briest. Traduit par Mike Mitchell. Oxford University Press, 2015. http://dx.doi.org/10.1093/owc/9780199675647.001.0001.

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‘I loathe what I did, but what I loathe even more is your virtue.’ Seventeen-year-old Effi Briest is steered by her parents into marriage with an ambitious bureaucrat, twenty years her senior. He takes her from her home to a remote provincial town on the Baltic coast of Prussia where she is isolated, bored, and prey to superstitious fears. She drifts into a half-hearted affair with a manipulative, womanizing officer, which ends when her husband is transferred to Berlin. Years later, events are triggered that will have profound consequences for Effi and her family. Effi Briest (1895) is recognized as one of the masterpieces by Theodor Fontane, Germany's premier realist novelist, and one of the great novels of marital relations together with Madame Bovary and Anna Karenina. It presents life among the conservative Prussian aristocracy with irony and gentle humour, and opposes the rigid and antiquated morality of the time by treating its heroine with sympathy and keen psychological insight.

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Mordden, Ethan. On Streisand. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190651763.001.0001.

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This critical analysis of Barbra Streisand looks past the mainstream show-business principal to deconstruct an artist who is in fact a revolutionary figure. Streisand pioneered an intense and even passionate singing style at odds with the once prevailing easy-listen manner typified by Ella Fitzgerald and Frank Sinatra. Like Dustin Hoffman and Jack Nicholson, she was one of the new wave actors of the 1960s who broke away from the standard models for movie stars. But Streisand has much greater range than others of this kind, as comfortable in musical comedy as in serious drama. She can play the madcap Fanny Brice and Dolly, the politically intense heroine of The Way We Were, the sexually abused daughter who becomes a prostitute and a murderer in Nuts, the cross-dressing Yentl who seeks the liberty that men take for granted and women are denied. Streisand has been, in all, an invigorating artist, not only unique but extraordinary. It would be impossible to imagine what American culture would have been like without her.

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James, Henry. Washington Square. Sous la direction de Adrian Poole. Oxford University Press, 2010. http://dx.doi.org/10.1093/owc/9780199559190.001.0001.

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‘She will do as I have bidden her.’ Catherine Sloper is heiress to a fortune and the social eminence associated with Washington Square. She attracts the attention of a good-looking but penniless young man, Morris Townsend. His suit is encouraged by Catherine's romantically-minded aunt, Mrs Penniman, but her father, a clever physician, is convinced that his motives are merely mercenary. He will not consent to the marriage, regardless of the cost to his daughter. Out of this classic confrontation Henry James fashioned one of his most deftly searching shorter fictions. First published in 1880 but set some forty years earlier in a pre-Civil War New York, the novel reflects ironically on the restricted world in which its heroine is marooned, seating herself at its close ‘for life, as it were’. In his introduction Adrian Poole reflects on the book's gestation and influences, the significance of place, and the insight with which the four prinicipal players are drawn. The edition includes an account of the real-life tale that sparked James's imaginative genius.

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Edgeworth, Maria. Belinda. Sous la direction de Linda Bree. Oxford University Press, 2020. http://dx.doi.org/10.1093/owc/9780199682133.001.0001.

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‘It is singular, that my having spent a winter with one of the most dissipated women in England should have sobered my mind so completely.’ Maria Edgeworth's 1801 novel, Belinda, is an absorbing, sometimes provocative, tale of social and domestic life among the English aristocracy and gentry. The heroine of the title, only too conscious of being ‘advertised’ on the marriage market, grows in moral maturity as she seeks to balance self-fulfilment with achieving material success. Among those whom she encounters are the socialite Lady Delacour, whose brilliance and wit hide a tragic secret, the radical feminist Harriot Freke, the handsome and wealthy Creole gentleman Mr Vincent, and the mercurial Clarence Hervey, whose misguided idealism has led him into a series of near-catastrophic mistakes. In telling their story Maria Edgeworth gives a vivid picture of life in late eighteenth-century London, skilfully showing both the attractions of leisured society and its darker side, and blending drawing-room comedy with challenging themes involving serious illness, obsession, slavery and interracial marriage.

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McGowan, James A., et William C. Kashatus. Harriet Tubman. ABC-CLIO, LLC, 2011. http://dx.doi.org/10.5040/9798400661891.

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This concise biography of Harriet Tubman, the African American abolitionist, explores her various roles as an Underground Railroad conductor, Civil War scout and nurse, and women's rights advocate. The legendary Moses of the Underground Railroad, Harriet Tubman was a fiery and tenacious abolitionist who organized and led African American military operations deep in the Confederacy. Harriet Tubman: A Biography relates the life story of this extraordinary woman, standing as a testament to her tenacity, drive, intelligence, and courage. In telling the remarkable story of Tubman's life, the biography examines her early years as Araminta Ross (her birth name), her escape from slavery, her activities as an Underground Railroad conductor, her involvement in the Civil War, and her role as a champion of women's rights. The book places its heroine in the broad context of her time and the movements in which she was involved, and the narrative shifts between the contextual and the personal to give the reader a strong understanding of Tubman as a woman who was shaped by, and helped to shape, the time in which she lived.

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Austen, Jane, et Claudia L. Johnson. Northanger Abbey, Lady Susan, The Watsons, Sanditon. Sous la direction de John Davie et James Kinsley. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199535545.001.0001.

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‘… in suspecting General Tilney of either murdering or shutting up his wife, she had scarcely sinned against his character, or magnified his cruelty.’ Northanger Abbey is about the misadventures of Catherine Morland, young, ingenuous, and mettlesome, and an indefatigable reader of gothic novels. Their romantic excess and dark overstatement feed her imagination, as tyrannical fathers and diabolical villains work their evil on forlorn heroines in isolated settings. What could be more remote from the uneventful securities of life in the midland counties of England? Yet as Austen brilliantly contrasts fiction with reality, ordinary life takes a more sinister turn, and edginess and circumspection are reaffirmed alongside comedy and literary burlesque. Also including Austen's other short fictions, Lady Susan, The Watsons, and Sanditon, this valuable new edition examines the ambitious and innovative works with which she inaugurated as well as closed her career.

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