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Статті в журналах з теми "Happy heroine"
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Mohammed, Mustafa Ahmad. "Beckett’s Optimistic Heroine." English Language and Literature Studies 7, no. 2 (May 30, 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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Wijanarka, Hirmawan. "Cinderella Formula: The Romance Begins." Journal of Language and Literature 22, no. 2 (September 26, 2022): 481–89. http://dx.doi.org/10.24071/joll.v22i2.5121.
Повний текст джерелаАнотація:
As a type of formula fiction, a romance applies a fixed pattern of plot development, including the ending, which is always a happy one: celebrating the unification of the hero and heroine who previously struggled very hard against all obstacles threatening their mutual love. However, it does not mean that discussing the plot of romances is of no use. On the contrary, it is interesting to see how romance writers can create so many possibilities in the structure of the so-called formulaic plot. This study attempts to observe the benefit of characterization in the creation of these various structures of plot development. For this purpose, this study sets up two objectives. Firstly, the study observes the characterization of the hero and heroine as well as the construction of the plots. Secondly, the study points out the significance of characterization in driving the development of the plots. In the light of Cawelty's (1977) perspectives on literary formula and Radway's (1991) ideas about romance, this study concludes that the choice (i.e., the characterization) of "the hero and heroine" proves to be playing an essential role in the plot development. The gaps set between the hero and the heroine make it possible for the writers to develop various complicated plots, focusing on their relationship. Initially, it seems hard to match and unite the hero and the heroine in most romances. This fact, however, is the most crucial part of a romance. The struggles needed to overcome their problems will elicit more emotional conflicts and, thus, create more romantic suspense. The feeling of inferiority, jealousy, fear of losing the partner, and uncertainty about a deeper relationship is likely to occupy the heroine's (and sometimes the hero's) mind. And when they finally successfully overcome these problems, they will feel how great and strong their love is.
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Moolla, Fiona. "Her Heart Lies at the Feet of the Mother." African Journal of Gender and Religion 27, no. 2 (December 23, 2021): 1–21. http://dx.doi.org/10.36615/ajgr.v27i2.1044.
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Sudanese-British writer, Leila Aboulela’s novel, Minaret (2005) transforms the plot structure of Western literary and popular romance forms and develops further the plotlines of African-American Muslim romance novels. It does so by foregrounding the dissenting mother as obstruction to the union of the hero and heroine, against the backdrop of the unique status of the mother in Islam. Thus, the ending of the novel is neither happy nor tragic. Instead, the lovers are separated, and closure requires reconciliation on the part of the couple with the concerns of the mother. In addition, because of the significant differ-ence in age, the heroine is in some ways like a mother to the hero. Final contentment of the heroine is undermined by her questionable actions at the end, resulting in psychic and spiritual contraction. The novel is therefore open-ed up to ambiguity and uncertainty in the closure, notwithstanding the faith of the heroine. The specific form which closure takes, is determined by the dissenting mother as obstruction in Islamic romance.
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Li, Huming. "An Elusive Happy Ending: The Complexities of Indian Courtesan Films." Asia Social Science Academy 8, no. 3 (September 30, 2022): 39–52. http://dx.doi.org/10.51600/jass.2022.8.3.39.
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This paper examines the complexities of characters, narratives and aesthetics in the Indian courtesan film genre by analyzing three classic courtesan films: Pakeezah (dir. Kamal Amrohi, 1972), Umrao Jaan (dir. Muzaffar Ali, 1981), and its more recent remake Umrao Jaan (dir. J.P. Dutta, 2006). First, from the perspective of screen characters, the paper summarizes the necessary condition for a courtesan character to achieve a happy ending—the marriage between the heroine and the hero, and then illustrates the decisive factors and difficult process to fulfill this condition. Then, from the perspective of audiences, this paper explains the elusiveness of happy endings in courtesan films by analyzing the multiple relationships between audiences and screen characters and the differences within audiences. The paper also attempts to provide a glimpse of the Muslim nawabi culture, in which courtesan films are rooted, in order to help the readers to appreciate the cultural significance and myriad appeals of this distinctive subgenre of Indian cinema and Indian film art in general.
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S, Rathika. "Male Characters in the works of Female Poets during Sangam Period." International Research Journal of Tamil 4, no. 4 (August 3, 2022): 1–17. http://dx.doi.org/10.34256/irjt2241.
Повний текст джерелаАнотація:
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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Al-Saadany, Ruwayda Gaber. "Investigating the Role of the Heroine in Samuel Becket's Happy Days." International Interdisciplinary Journal of Education 3, no. 7 (July 2014): 134–44. http://dx.doi.org/10.12816/0006901.
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Marinčič, Katarina. "A wardrobe suitable for a virtuous pauper." Journal for Foreign Languages 11, no. 1 (December 30, 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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Krupka, Myroslava. "IN SEARCH OF YOUR OWN SPACE: THE IMAGE OF THE HOUSE IN THE NOVEL BY NATALIA HURNYTSKA “COFFEE MELODY IN CARDAMOM TONE”." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 17(85) (June 22, 2023): 282–85. http://dx.doi.org/10.25264/2519-2558-2023-17(85)-282-285.
Повний текст джерелаАнотація:
The article focuses on the study of the image of the house in the novel by Natalia Hurnytska “Coffee Melody in Cardamom Tone”. The central theme of taboo love acts as a catalyst for the work's spatial content, and the house's motive becomes a tool for analyzing the inner world of the main heroine. The movement of the character illustrates her worldview transformation, while the mode of housing serves as a reflection of the nature of the owners. In the novel, the heroine is constantly in motion from one residence to another, each of which has distinct socio-psychological markers. The childhood home appears in retrospect as a carefree happy world. Uncle's house in Zhovkva takes on the function of family space only nominally, so the heroine symbolically leaves in search of her own home. Uncle Adam's home takes on the semantics of transcending social and moral taboos. Adam's apartment in Krakivska Str. is depicted as a transit place. Aunt Zosia's house is a hostile world that dictates the rules and truths of others. Mrs. Beata’s home is associated with a territory of stability. The house on Kastelivka appears through an erotic code. The house of Theresa is perceived as a rigidly regulated space. The apartment at Krakivska Str. is seen as a home of your own, protected from external threats. Adam's house is the main spatial element of the novel and functions in several emotional and meaningful manifestations: unjustified expectations, danger, shame, threat, protection, family comfort, and wasteland. The constant change of places of residence reflects the woman's attempt to find her own space.
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Chowdhary, Ruchita Sujai. "THE TRANSITION SAGA OF MASCULINITY IN HINDI FILMS : THEN & NOW." International Journal of Research -GRANTHAALAYAH 9, no. 4 (April 30, 2021): 178–84. http://dx.doi.org/10.29121/granthaalayah.v9.i4.2021.3857.
Повний текст джерелаАнотація:
The cinema in India has its different mark upon the masses and has a huge fan following. Being the most popular art form in the nation it has been influencing the viewers with its magical effects. With its tremendous reach among the youths it not only depict the virtual image of the society but on the same hand it is creating a world which is juxtapose of realm. Since the beginning Hindi films are revolving around the set plots of the scripted feature films showcasing a hero, a heroine, a villain and a climax after which everybody has a happy ending. Accordingly, the Hindi films have defined the heroes in its own way with some set parameters i.e. muscular body, taller than heroine, a fighter, good looks and a never ending list of traits. However, some heroes have broken this myth that a filmy hero is always a MACHO MAN. They are again redefining the personality of the heroes on the silverscreen. Thus, the aim of this research paper is to examine the change in definition of the heroes in Hindi films over a period of time. The researcher will conduct the content analysis of ten purposively selected films from the Hindi Cinema.
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Bożek, Małgorzata. "Disease as a movie theme. Media and genological analysis." Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 12, no. 4 (November 27, 2020): 15–25. http://dx.doi.org/10.24917/20837275.12.4.2.
Повний текст джерелаАнотація:
The paper concentrates on a comparative interpretation of two films which are classified by their authors as melodramas. The first one is Michael Haneke’s Love and the second one is The Notebook by Nick Cassavetes. The films selected for this analysis represent two different attitudes to disease. Haneke creates a moving image of dying, which is associated not only with physical death, but also the death of human dignity. Cassavetes focuses on a story before the disease of the main heroine, while her affliction is treated as a complement to the happy life, rather than a leading motif. The purpose of the paper is to compare the films from different perspectives: media and genological, as well as to answer the question why directors from various cultures perceive the topic of disease as a film theme in such distinct ways.
Дисертації з теми "Happy heroine"
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Loughridge, Anna L. "A Love Affair: Feminist Voice and Representation in the Romance Fiction Narrative." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/650.
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I focus on the changing and now contemporary feminist conceptualization of romance fiction. Through the genre’s mass-market success and complicated history, a definition of ro·mance (genre) is conjured. By depicting a fantasy world for the female reader to escape to, feminist critics and romance academics have found the genre’s influence to be an effective one. In an analysis if popular romance fiction author, Emily Giffin, and her most recent novel The One & Only, I demonstrate what has now resulted in the modern romance and further, how the modern heroine is understood today.
Книги з теми "Happy heroine"
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Little Stranger: A Dark Taboo Romance. Independent, 2023.
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Stahl, Jerry. Happy Mutant Baby Pills: A Novel. HarperCollins Publishers, 2013.
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Noble, Eustache Le. Ildegerte, Queen of Norway; or Heroick Love: A Novel. Written Originally in French, by the Author of The Happy Slave and Translated Into English by A Gentleman of Oxford. In two Parts. Gale ECCO, Print Editions, 2018.
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Genz, Stéphanie. "The (Un)happy Housewife Heroine." In Postfemininities in Popular Culture, 99–117. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230234413_6.
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Karmel, Jonathan D. "Epilogue." In Dying to Work. Cornell University Press, 2017. http://dx.doi.org/10.7591/cornell/9781501709982.003.0009.
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Most good stories have an arc to their plotline, usually without any loose ends and unfinished business at the conclusion. Cliffhangers eventually run out of cliffs to dangle over. Happy endings are what most of us yearn for, in our books and in our lives, even if getting there was frightful and dangerous. All the better to exhale a sigh of relief at the end, certain as we turn the last page that our heroine is safe and sound and will live happily ever after as we read silently to ourselves, ...
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Selby, Martha Ann. "Wives Speak to Their Husbands’ Messengers and to Their Friends "Going Like an Arrow Spat by a Bow"." In Grow Long, Blessed Night, 206–14. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195127331.003.0016.
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Abstract The seventeen poems in this series are set in two slightly different contexts. The first four poems are addressed to the husbands’ (or lovers’) messengers. Poems 16.1 and 16.2, from the Tamil anthology Ainkur.unur.u, are from a decad devoted to reeds. Set in the marutam landscape, reeds represent rival women. The reed stalks chafe and tear at delicate mango threads and lotus petals, which symbolize the wife as well as happy, fertile domesticity in general. The speaker of poem 16.4, a Prakrit gatha, betrays her passion to an elderly woman. Commentator Mathuranath Sastri” ‘s headnote reads, “Having seen the extreme depression of her nephew, an aunt took it upon herself to act as a go-between, and as she listed the man’s qualities, his beauty, and so on, the heroine, her passion for him aroused, said this to her.”
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Smith, Caroline J. "Winking While we Bake." In Season to Taste, 49–66. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496845610.003.0004.
Повний текст джерелаАнотація:
Chapter 3 begins with a broad analysis of the rhetorical strategies of Third Wave feminist publications such as Bitch and BUST. Unlike the rhetoric of the Second Wave feminist movement, the Third Wave feminist movement (the feminist movement of the 1990s) does not characterize the home as a place of imprisonment. Central to this chapter is my examination of the way in which racial politics plays a role in this return to the kitchen. This chapter foregrounds the work of black food blogger Jocelyn Delk Adams (Grandbaby Cakes) who adopts the persona of Friedan’s “happy housewife heroine,” recoding the image for contemporary viewers. In doing so, she calls into question the stereotypical representations that we see of black women in this space while simultaneously lifting up the food work of past generations of black women in order to remedy the incomplete and often false narrative that US-American viewers and readers often receive about black women in the space of the kitchen.
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Doyle, Arthur Conan. "The Lift." In Gothic Tales. Oxford University Press, 2018. http://dx.doi.org/10.1093/owc/9780198734307.003.0035.
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F light-Commander Stangate should have been happy. He had come safely through the war without a hurt, and with a good name in the most heroic of services. He had only just turned thirty, and a great career seemed to lie ahead...
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Harlan, Lindsey. "Heroic Story Slaughter and Glory." In The Goddesses’ Henchmen, 71–113. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195154252.003.0003.
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Abstract With these lines from Gilbert and Sullivan’s operetta “The Pirates of Penzance,” delicate but spirited daughters of a “modem major general” cheer on faint-hearted policemen who ultimately lament, “when constabulary duty’s to be done ... a policeman’s lot is not a happy one.” Seeking to embolden reluctant “heroes” preparing to fight pirates, these maidens, who have previously described themselves as “hardy little lasses,” predict “death and slaughter” that will bring forth devotion from weeping “Comish daughters” and earn the policemen “immortality” in the form of “song and story.” Here, death in battle brings glory and immortality through song and story, as well as the promise of lifethe flora to arise from well-watered graves. A more concise summation of important principles of hero veneration, whether in Victorian England, ancient Greece, or contemporary India, could hardly be found.
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Cushman, Stephen. "Destruction and Reconstruction in Richard Taylor’s Happy Valley." In The Generals' Civil War, 37–64. University of North Carolina Press, 2021. http://dx.doi.org/10.5149/northcarolina/9781469666020.003.0003.
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Published by D. Appleton and Company in 1879, Confederate Lieutenant General Richard Taylor’s Destruction and Reconstruction: Personal Experiences of the Late War showed literary ambitions that still distinguish it from many Confederate memoirs. Its significance does not depend solely on Lost Cause mythmaking but arises from the literary artfulness, characterized by Taylor’s frequent literary allusions in his best chapter, “The Valley Campaign.” The power of this chapter results from Taylor’s trying to hold together two opposed ideas of warfare, one associated with Stonewall Jackson’s 1862 Valley Campaign, the other with Philip H. Sheridan’s 1864 one. From Taylor’s point of view the first idea of warfare was heroic and civilized, the second hard and brutal. Against the second kind of warfare, literary allusion served Taylor as the engine of reconstruction and the preserver of tradition. With his literary allusions he projected an ideal readership that shared his traditions and his values. Focusing on them, Taylor attempted another kind of reconstruction, one that constructed anew in the minds of his ideal readers a past the South had lost.
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Sternberg, Robert J. "Where Do Stories Come From, and Where Can They Go?" In Love is a Story, 31–44. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195106428.003.0005.
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Abstract Where do our stories come from? We take our perceptions and construct them into what we may believe to be considered an accurate story. But our experiences, emotions, motives, and cognitions affect our stories. Our individual personality traits may also lead us to perceive things in different ways. This background serves as the basis for the themes in our stories, and it very much affects the kind of story (happy or sad, long or short, heroic or villainous) that we put together.
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Gorton, Kristyn. "Feeling Northern: ‘heroic women’ in Sally Wainwright’s Happy Valley (BBC One, 2014—)." In Northernness, Northern Culture and Northern Narratives, 73–85. Routledge, 2018. http://dx.doi.org/10.4324/9781315144641-7.
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Cripps, Thomas. "“A Pot of Message”." In Making Movies Black, 215–49. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195037739.003.0008.
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Abstract We have seen an accretion of black figures intrude into white movies, challenging the thermidorean inertia, keeping open the prospect of a moral equivalent of the war, erratically deconstructing the conventions that had located them on the margin of the movie frame, and providing a basis for the PCA to challenge Southern censors. They lacked only a formula (and perhaps a crisis to propel them), a voice of advocacy, a new calculus of dramatic questing and conflict, and of course a studio willing to take the risks, develop it within the system, and provide heroic options other than happy endings.
Тези доповідей конференцій з теми "Happy heroine"
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Vučković, Dijana Lj. "RECEPCIJA PRIČE SA ENORMATIVNOM RODNOM KARAKTERIZACIJOM LIKOVA OD STRANE UČENIKA PETOG RAZREDA." In KNjIŽEVNOST ZA DECU U NAUCI I NASTAVI. University of Kragujevac, Faculty of Education in Jagodina, 2022. http://dx.doi.org/10.46793/kdnn21.141v.
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The aim of this research was to examine fifth-grade students’ reactions to a fairy tale which contains a non-normative gender characterization, entitled Cinderella Liberator by Rebecca Solnit. The research is based on a whole series of similar qualitative research studies that have been conducted in different parts of the world since 1980s. The research was inspired by the feminist movement, especially Marcia Lieberman, who drew attention to classical fairy tales as a very important factor in preserving the normative gender key (Lieberman 1972). As a result, pure feminist fairy tales have been written, stories in which independent and stroThe researchers have used these stories to test whether children accept non-normative gender discourse. Their studies have shown that resistance to alternatives increases with children’s age, that boys are more conservative while girls are more open to new ideas. Furthermore, the studies have shown that even a non-sexist and non-normative school curriculum can not encourage children to use gender equality discourse. The deconstruction of classical stories was highlighted as a very important factor. In order to investigate how ten-year-olds in Montenegro react to an alternative story, we conducted a survey with a total of 52 students from two urban schools. The students’ task was to read the story at home, and they were given a printed illustrated version of the text along with research questions. Having read the story, the students participated in focus group discussions. They were divided into six focus groups: two focus groups were made of girls, two other were made of boys, and the remaining two groups were mixed. Focus group interviews took approximately one hour, and the main goal of the interview was to determine how students reacted to atypical gender roles in the fairy tale they had read. The results of the research were grouped into three themes: whether children preferred the classic story or the new one; children’s attitude towards the relationship of the protagonist and the antagonist in both stories; children’s attitude towards the ending of the story. More than half of the respondents (32 students) pointed out that they preferred the new version because it differed from classic fairy tales, had more events and it was more interesting. Twenty students (15 male and 5 female) remained absolutely committed to the classic version of the text. The relationship between the protagonist and the antagonists was correctly understood by the students – there are no negative characters in the new version and all the characters eventually become friends. Most of the students liked the end of the story, but some of them thought that the story should have had a typical fairy tale happy ending. It can be concluded that in order to provide gender equality discourse among students it is necessary: to include alternative stories in the curriculum, to apply methods based on literary reception theory and to continuously train teachers to deconstruct classical texts and encourage children to critically evaluate gender equality discourse.ng heroines occurred (Zipes 1986).