Bibliografie tematiche / Shy heroine

Letteratura scientifica selezionata sul tema "Shy heroine"

Autore: Grafiati
Pubblicato: 26 luglio 2024
Ultima modifica: 26 luglio 2024

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Articoli di riviste sul tema "Shy heroine"

1

He, Min. "Imaging and Inventing Self: Constructing Heroines Through Translation in Late Qing China". Journal of Contemporary Educational Research 6, n. 10 (28 ottobre 2022): 115–25. http://dx.doi.org/10.26689/jcer.v6i10.4419.

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Abstract (sommario):
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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2

Ruengruglikit, Cholada. "The Meanings of the Horse-Faced Mask in the Story of Kaeo Na Ma". MANUSYA 8, n. 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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3

-, Fuza Churil Khurotul Aini, Khusnul Khotimah e 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. 1 (1 aprile 2023): 5–10. http://dx.doi.org/10.30599/channing.v8i1.1974.

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Abstract (sommario):
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. 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. 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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Abstract (sommario):
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. 2 (dicembre 1997): 605–7. http://dx.doi.org/10.1093/cq/47.2.605.

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Abstract (sommario):
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. 28 (2022): 22–39. http://dx.doi.org/10.17223/23062061/28/2.

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Abstract (sommario):
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. 2 (25 luglio 2023): 150–56. http://dx.doi.org/10.54097/jeer.v4i2.10847.

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Abstract (sommario):
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. 1 (10 dicembre 2020): 71–81. http://dx.doi.org/10.34256/irjt2119.

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Abstract (sommario):
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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Tesi sul tema "Shy heroine"

1

Green, Caroline Ann. ""She has to be controlled" : exploring the action heroine in contemporary science fiction cinema". Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/3052.

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Abstract (sommario):
In this dissertation I explore a number of contemporary science fiction franchises in order to ascertain how the figure of the action heroine has evolved throughout her recent history. There has been a tendency in film criticism to view these strong women as ‘figuratively male’ and therefore not ‘really’ women, which, I argue, is largely due to a reliance on the psychoanalytic paradigms that have dominated feminist film theory since its beginnings. Building on Elisabeth Hills’s work on the character of Ellen Ripley of the Alien series, I explore how notions of ‘becoming’ and the ‘Body without Organs’ proposed by Gilles Deleuze and Félix Guattari can be activated to provide a more positive set of readings of active women on screen. These readings are not limited by discussions of sex or gender, but discuss the body in terms of its increased capacities as it interacts with the world around it. I do not argue for a Deleuzian analysis of cinema as such, because this project is concerned with aspects of representation which did not form part of Deleuze’s philosophy of cinema. Rather I use Deleuze and Guattari’s work to explore alternative ways of reading the active women these franchises present and the benefits they afford. Through these explorations I demonstrate, however, that applying the Deleuzoguattarian ‘method’ is a potentially risky undertaking for feminist theory. Deconstructing notions of ‘being’ and ‘identity’ through the project of becoming may have benefits in terms of addressing ‘woman’ beyond binaristic thought, but it may also have negative consequences. What may be liberating for feminist film theory may be also be destructive. This is because through becoming we destabilise a position from which to address potentially ideologically unsound treatments of women on screen.
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2

Zuniga, Milton. "Alienated Selfhood and Heroism: A Poststructuralist Reading of John le Carré’s Spy Fiction Novels". FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1541.

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Abstract (sommario):
John le Carré’s novels “The Spy Who Came in From the Cold” (1963), “Tinker, Tailor, Soldier, Spy” (1974), and “The Tailor of Panama” (1997), focus on how the main characters reflect the somber reality of working in the British intelligence service. Through a broad post-structuralist analysis, I will identify the dichotomies - good/evil in “The Spy Who Came in From the Cold,” past/future in “Tinker, Tailor, Soldier, Spy,” and institution/individual in “The Tailor of Panama” - that frame the role of the protagonists. Each character is defined by his ambiguity and swinging moral compass, transforming him into a hybrid creation of morality and adaptability during transitional time periods in history, mainly during the Cold War. Le Carré’s novels reject the notion of spies standing above a group being celebrated. Instead, he portrays spies as characters who trade off individualism and social belonging for a false sense of heroism, loneliness, and even death.
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Libri sul tema "Shy heroine"

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

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

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

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

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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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Liu, Shao-hua. Wo de liang shan xiong di: Du pin, ai zi yu liu dong qing nian. 8a ed. 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. 8a ed. 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. 8a ed. Shanghai: Shanghai wen yi chu ban she, 2013.

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Capitoli di libri sul tema "Shy heroine"

1

Kanavou, Nikoletta. "Chapter 13. Achilles Tatius’ Leucippe as a puella docta". In The Reality of Women in the Universe of the Ancient Novel, 197–205. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/ivitra.40.13kan.

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Unlike other heroines of the Greek romantic novels, who are consistently chaste, the heroine of Achilles Tatius’ novel Leucippe and Clitophon displays a (temporary) lack of sexual reticence; she also possesses musical talent. These features are central to her characterization in the novel’s first two books, which, incidentally, bear the distinct influence of Roman love elegy. It is argued here that Leucippe is purposedly fashioned in the early part of the novel as a puella docta, the type of idealised artistic lady with libertine traits that arouses erotic passion in the Augustan love poets. In the novel’s later books, on the other hand, her characterization conforms to a more conventional image.
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Carnell, Rachel. "Eliza Haywood and the Deluded Heroine Plot". In A Spy on Eliza Haywood, 17–31. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003198000-1.

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Paschalis, Michael. "Chapter 10. Narrative aspects of Callirhoe’s tomb". In The Reality of Women in the Universe of the Ancient Novel, 159–72. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/ivitra.40.10pas.

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In Chariton’s Callirhoe the heroine’s tomb and burial receive attention unparalleled in ancient Greek novels. As the physical manifestations of apparent death, they point either to death or to (anticipated) “resurrection” or to both, with reference not only to Callirhoe but also to Chaereas. Of the two major reappearances of Callirhoe’s tomb, at Miletus and Syracuse, the former (real) reproduces and the latter (metaphorical) inverts the initial burial. There is a prominent association in the novel beween tomb and ship in terms of identification, reversal, and proximity, as well as an intriguing one between tomb and bedchamber. The narrative suggests that Callirhoe’s tomb encloses her bridal chamber, and later the heroine becomes aware that not only was she buried alive but carried Chaereas’ child in her womb and Chaereas’ image on her ring. This reality will later affect the lives of both Chaereas and the unborn child. The Appendix discusses Seneca’s Troades, Act 3, where Andromache hides her son Astyanax in Hector’s tomb, as a possibly contemporary parallel to Callirhoe’s tomb. It also rejects the widespread association of Jesus’ empty tomb and resurrection with Callirhoe’s empty tomb and “resurrection”.
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White-Stanley, Debra. "“I Don’t Know How She Lives with This Kitchen the Way It Is”". In Heroism and Gender in War Films, 133–51. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137360724_10.

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Worthington, Everett L., e Scott T. Allison. "Transformation to heroic humility." In Heroic humility: What the science of humility can say to people raised on self-focus., 151–63. Washington: American Psychological Association, 2018. http://dx.doi.org/10.1037/0000079-010.

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Martin, Alison E. "Potentially the Noble Creature? Picturing Heroism in Henry Rider Haggard’s She". In Heroes and Heroism in British Fiction Since 1800, 47–66. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-33557-5_3.

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Worthington, Everett L., e Scott T. Allison. "Heroic humility and the hero’s quest." In Heroic humility: What the science of humility can say to people raised on self-focus., 133–49. Washington: American Psychological Association, 2018. http://dx.doi.org/10.1037/0000079-009.

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Dudley, Imogene. "She-Wolf or Feminist Heroine? Representations of Margaret of Anjou in Modern History and Literature". In Remembering Queens and Kings of Early Modern England and France, 199–218. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22344-1_11.

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Levin, Carole. "Queen Margaret in Shakespeare and Chronicles: She-Wolf or Heroic Spirit". In Scholars and Poets Talk about Queens, 111–31. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137534903_12.

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Ollett, Robyn. "‘She would never fall, because her friend was flying with her’". In Heroic Girls as Figures of Resistance and Futurity in Popular Culture, 52–64. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003197775-6.

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Atti di convegni sul tema "Shy heroine"

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Rathnasena, Upeksha. "Austen, Cinderella Complex and beyond: An analysis of Austen’s portrayal of her Heroines in Juxtaposition to the Cinderella Complex". In SLIIT INTERNATIONAL CONFERENCE ON ADVANCEMENTS IN SCIENCES AND HUMANITIES [SICASH]. Faculty of Humanities and Sciences, SLIIT, 2022. http://dx.doi.org/10.54389/vkqs8504.

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Jane Austen is one of the most prominent writers of the 19th century. In terms of chronology, her six novels fall between the 18th-century neoclassical formality and the effusive romanticism after the 19th century. Her novels portray the socio-political and cultural landscape of Regency England even though her prose style, manner, and approach held no resemblance to her contemporaries. Austen seems to operate in a limited landscape and writes about what she is most familiar with birth, love, marriage, death, faith, and judgment. She details the tedious business of living of the gentry in her society and displays unrivaled knowledge of the upper middle class. Even though issues of women were at the crux of Austen’s writing, Austen is not considered to be a staunch feminist writer. She concentrated on upper-middle-class women whose marriage, and courtship were the cynosure of her plots as she thoroughly examines the right basis for marriage in her work. However, most of her heroines have been written off critically as the selfsame Cinderellas. Therefore, the monotonous aura engulfing Austenian heroines who are in search of marital bliss has been inadvertently appendaged to the Cinderella Complex and hence the prejudiced critique. Austenian heroines are said to lack passion and vibrancy and by extension, character. This paper intends to analyze the portrayal of two Austenian heroines in view of the Cinderella Complex with the objective of exploring these portrayals beyond the Cinderella archetype. Keywords: Victorian women, Cinderella Complex, marriage, self-discovery, happiness
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Dimitrakopoulou, Georgia. "�NOVELLA GRECA.� ?. SERAO�S 19TH CENTURY GREECE. ITS REALITIES AND ITS ANTITHESES". In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s10.17.

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Abstract (sommario):
In the short story Novella Greca, in her book: Fior di Passione, 1888, the author M. Serao narrates the true story of Calliope Stavro, the heroine (Calliopi Stavrou in Greek), in Leucade - Santa Maura (Lefkada - Agia Mavra in Greek), an island of the Ionian Sea, in 19th century Greece. At that time, the country was just freed from the Turkish occupation, trying to recover from more than 400 years of slavery and subjugation to the Ottoman Empire. Calliope Stavro represents the woman of her time, imprisoned in the small society of her island, suffocated, asphyxiated, disillusioned and unfulfilled. Thus, she decides to commit suicide not having a way out in her island, which although it is a naturally beautiful place due to its greenery, it is a barren rock �thrown� into the Ionian Sea without any promising future for its inhabitants. Serao realistically exposes the true story of the heroine�s female identity, whose death signifies her suffocation within the patriarchal society of her time. The writer presents the outlets of human existence, the small society of the island, the negative influence of the heroine�s microcosm, which mostly depends on the raisin trade, its production and export, with which almost all the males of the island are preoccupied, since it provided a profitable income in that time. Faced with the crushing reality of her life, the non-existence of love, no romance, male dominance, and indifference, even misogynism, she chooses death, she surrenders to her doomed destiny and the futility of existence, because she is not allowed to live a free life according to her will. Her fatal fall from Lefkata�s cape, where in ancient times there was a temple of god Apollo, god of music, light, and patron of the arts and divination, signifies the death of the gods of Olympus. Their place has been taken by a harsh reality, the revelation of the demands of the human soul, its desires, and its dead ends. Greece will need and still needs a long way to go to find the place it deserves in history, free from patriarchal structures, prejudices, and the impasses that they entail. The story of Calliope Stavro proves in practice the predicament of the female under the patriarchal standards of her era and the unsatisfied desires of the human psyche, which are sacrificed for the sake of survival, most times with unpredictable, unpleasant and unhappy results.
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