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Journal articles on the topic 'Action heroine'
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R, Elavarasu. "Help Rendered by Thozhi for Love Marriage." International Research Journal of Tamil 3, no. 1 (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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Tange, Andrea Kaston. "REDESIGNING FEMININITY: MISS MARJORIBANKS'S DRAWING-ROOM OF OPPORTUNITY." Victorian Literature and Culture 36, no. 1 (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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Weinbaum, Batya. "Supergirl: Contemporary feminist reboot of a hapless DC Comic helpmate." Northern Lights: Film & Media Studies Yearbook 20, no. 1 (2022): 41–52. http://dx.doi.org/10.1386/nl_00030_1.
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The feminist heroine Supergirl aired in the CW Television Network and the series illustrates how a turn to the past or retro look can create new realities, although not necessarily authentically aligned with its original version. This article shows the evolution of the heroine from the pages of DC Action Comics in May 1943 through different mediums to the present day, discussing the impact of the different times and contexts of writers, producers and audiences.
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Porter, Whitney. "Beyond bombshells: the new action heroine in popular culture." Journal of Graphic Novels and Comics 9, no. 4 (2017): 409–10. http://dx.doi.org/10.1080/21504857.2017.1383285.
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Levin, Janina. "Temporality and the Unconfident Heroine in Henry James's The Golden Bowl." Novel 53, no. 3 (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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Xiao, Ewen. "Disneys Reconstruction of the Traditional Chinese Heroine: a Comparative Analysis of the Three Mulan Movies." Communications in Humanities Research 1, no. 1 (2021): 19–27. http://dx.doi.org/10.54254/chr.iceipi.2021174.
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The legend of Mulan has been transmitted and remolded throughout China for hundreds of years. In recent years, this motif has also drawn significant attention from the US film industry. Three films are analyzed in this article: the Chinese Yu opera Hua Mulan [1], Disneys animated version Mulan [2] and the most recent addition, Disneys live-action version Mulan [3]. Under a cross-culture lens, the analysis compares three versions of the film to examine the transculturation and adaption of the narrative in reconstructing a traditional Chinese heroine. This paper concludes that to resist cultural hegemony and to attract a broader audience, Disneys 1998 version transforms a typical Confucian heroine into an individualistic American heroine. Finally, it shall be argued that the 2020 version of Mulan espouses and shapes Mulan into a synthesized Asian-American figure.
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Brown, Jeffrey A. "Gender and the Action Heroine: Hardbodies and the "Point of No Return"." Cinema Journal 35, no. 3 (1996): 52. http://dx.doi.org/10.2307/1225765.
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Hussain, Riyaj. "PROJECTION OF DAUNTLESS AND ASSERTIVE COLORED WOMEN IN ALICE WALKER’S THE COLOR PURPLE." Journal of English Language and Literature 09, no. 02 (2022): 44–49. http://dx.doi.org/10.54513/joell.2022.9207.
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Since time immemorial, women have been treated as frail, timid and enervated in patricentric society. Women were always discriminated against by the patriarchal society. They are regarded as ‘Other’ and second sex in the male predominated society and they have been forced to live a subdued life. They have been silenced by the patriarchal voice. In her path breaking novel by the name of The Color Purple, Alice Walker endeavors her best to give voice to the voicelessness. All the female characters in the novel are bold enough in their speech and action. Initially the heroine of the novel is a timid and submissive character. But as the story progresses, she appears as a bold personality with a voice of her own. The heroine gets empowered with the help of the other women projected in the novel. The novel is almost like a female bildungsroman. Because there is an endeavor to project the psychological and moral growth of the protagonist in the passage from childhood through varied experiences. The novel is in fact a minute account of the youthful development of the heroine, Celie. It depicts the various processes by which maturity of Celie is acquired through the manifold ups and downs in her life.
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El-Nour, Eiman Abbas H. "Not just a pretty face: Women as storytellers and subjects in the folktales of Northern Sudan." Tydskrif vir Letterkunde 48, no. 2 (2017): 171–85. http://dx.doi.org/10.17159/tl.v48i2.2262.
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Like fairytales in many other cultures, the folktales of Northern Sudan are not only reflective of the deepest aspects of culture, but also major formative influences on it. However, a central and often overlooked feature of these stories is the role women played as narrators and performers, and the related centrality of female figures within the narrative. In most of the popular stories, the heroine is the one who has all the action, and is not just the pretty girl who awaits her prince. In fact she is self-sufficient, and it is the handsome and valiant prince who figures as an extra. The heroine is always intelligent, resourceful, wily and at times even brutal, but is she who saves the day and performs the needed tricks to save lives and conquer evil. It is only then that she is rewarded with the handsome prince as her prize. It looks like the perfect revenge of women against a patriarchal society which denies them such roles.
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Wilkinson, Clare M. "Power dressing: The sari in Sujoy Ghosh’s Kahaani." Film, Fashion & Consumption 10, no. 1 (2021): 251–63. http://dx.doi.org/10.1386/ffc_00023_1.
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The heroine of Kahaani, in taking on a powerful persona in the quintessentially female garment of the sari, represents a sharp contrast with conventional ways of dressing powerful women in western cinematic tradition. There is ample cultural and mythological precedent in India for coding action and violence as female, but Kahaani’s affinity with the contemporary superhero film emerges in an unexpected way in its treatment of costume, specifically the use of the sari as a distinct article of clothing that the heroine assumes only for the first time as she embarks upon the dispensation of justice. Demarcating an ordinary set of clothing from the ‘special’ sari mirrors the superhero division of the everyday person from the heroic one, only here the sari, which is a quotidian form of dress, performs as an exceptional one. The copious symbolic potential of the sari permits this move, while at the same time pointing to many of the tensions and contradictions of life that engage contemporary metropolitan audiences in India. The sari thus functions to help solidify the film’s complex positioning in twenty-first-century Hindi filmmaking.
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Kayanidi, Leonid G. "STRUCTURAL AND SEMANTIC TYPOLOGY OF THE METAMORPHIC ORNITHOLOGICAL PLOT OF AN EAST SLAVIC TALE (SUS 425М)". Folklore: structure, typology, semiotics 3, № 1 (2020): 56–93. http://dx.doi.org/10.28995/2658-5294-2020-3-1-56-93.
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In Russian research on fairy tales, there are two approaches to the tale of the wife of the water snake. One approach (that of E.A. Kostyukhin) denies that such plot type belongs to the fairy-tale genre and relates it to the folk novella. Another one (that of G.I. Kabakova) focuses on the etiologic finale, perceiving it as an alternative to compensating the fairy tale shortcoming. The author applied the structuralist method in the analysing of fairy tales about wife of a water snake. As a result, a typology of the plot type 425M was created. He managed to identify its invariant scheme, as well as describe all digressions from it (variations and variants). Characteristic of the 425M plot invariant is the complicated initial part, in which the author suggests to single out a block of zero, or imaginary, shortcoming, and a block of true, actual shortcoming. The structural-semiotic plot scheme correlates with the motivational scheme proposed by G. Kabakova, but enhances it with an emphasis in inversion of the basic semantic opposition of its own, human and alien, non-human, which makes it possible to explain why the final transformation becomes the compensation for the shortcoming. The final transformation of the heroine (and / or her children) into birds and reptiles is considered to be an example of mythological mediation. The heroine eliminates the shortcoming with an action asymmetrically opposite to the action of the antagonist action, namely, with the transformation, due to which a new opposition “cuckoo – water snake” is formed, which removes the former – “insider – outsider”. The daughter triumphs over her mother without causing the latter direct harm, and is reunited with her husband.
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Foka, Anna. "Redefining Gender in Sword and Sandal: The New Action Heroine in Spartacus (2010-13)." Journal of Popular Film and Television 43, no. 1 (2015): 39–49. http://dx.doi.org/10.1080/01956051.2014.975673.
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Simonova, Olga A. "Razin’s motif of the Princess’s drowning in the literature about the Russian Civil war (“Princess” by Andrey Sobol and “Povolniki” by Alexander Yakovlev)." Sibirskiy filologicheskiy zhurnal, no. 4 (2021): 97–109. http://dx.doi.org/10.17223/18137083/77/8.
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The motif of the Persian Princess’s drowning was central to the plot connected with the figure of the famous Cossack ataman Stepan Razin. The motif became popular in Russian literature. The most famous was a song based on the words of Dmitry Sadovnikov, “Iz-za ostrova na strezhen…” (“Round the island to the midstream...” (Stenka Razin Song)), which served as the basis for the subsequent perception of the motif. The story of A. Sobol, “Princess” (1924), and the novel of A. Yakovlev, “Povolniki” (1922), embody the text of Sadovnikov’s song. The character and action of the “ataman” were close to the Razin’s ones. However, the reasons that caused the action and the image of the Princess were different. The heroine turns from a faceless and nameless figure into a full-fledged character, actively acting (A. Sobol “Princess”) or playing a key role in changing the fate of the main character (A. Yakovlev “Povolniki”). Sobol’s “princess” Natasha Toropova only pretends to be submissive to the “ataman” who loves her: in fact, she has her own ideas and views and became a Chekist in order to implement them. Silly but pretty Ninochka from “Povolniki” brings the hero to the embezzlement, resulting in the death penalty for both of them. Thus, the traditional roles in Razin’s story are interpreted in a new way. The initiative of the heroine is directly due to the participation of women in the Civil war: during this period, the “princess” acquires subjectivity in literary works.
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Fishbein, Leslie. "Washington Square: A Novella for All Seasons." Prospects 25 (October 2000): 513–27. http://dx.doi.org/10.1017/s0361233300000740.
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Henry James's novella Washington Square (1880) is very much a novel of place and proved readily adaptable to the stage precisely because it was so limited in locale. Whereas Henri Balzac's similar tale Eugénie Grandet is named in honor of its heroine, James's work is designated by the neighborhood in which most of its action takes place. One could argue that the house in which Catherine Sloper's ill-fated courtship takes place is virtually a character in the novella, seducing the opportunist Morris Townsend more effectively than Catherine herself ever could (Figure 1).
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Imbarrato, Susan. "The Action-Adventure Heroine: Rediscovering an American Literary Character, 1697–1895, by Sandra Wilson Smith." Women's Studies 49, no. 2 (2020): 205–7. http://dx.doi.org/10.1080/00497878.2020.1749505.
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Reed, Ashley. "The Action-Adventure Heroine: Rediscovering an American Literary Character, 1697–1895 by Sandra Wilson Smith." Studies in the Novel 51, no. 2 (2019): 324–26. http://dx.doi.org/10.1353/sdn.2019.0026.
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Proehl, Kristen B. "The Action-Adventure Heroine: Rediscovering an American Literary Character, 1697–1895 by Sandra Wilson Smith." Children's Literature 47, no. 1 (2019): 232–35. http://dx.doi.org/10.1353/chl.2019.0021.
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Chan, Stephen C. K. "Burst Into Action: The Changing Spectacle of Glamour Heroines in Contemporary Hong Kong Cinema." Cultural Studies Review 10, no. 1 (2013): 11–26. http://dx.doi.org/10.5130/csr.v10i1.3518.
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My question for now is: in what ways have the new currents of transnationality affected existing forms of cultural sensibility in the ‘post-colony’? Realised as a system of representation of the global popular, recent articulations of popular experience tend to be absorbed into generic cross-cultural media representations shared on the glocal level of operation by cultural producers, consumers and practitioners across geographical borders. In this paper, I shall focus on the changing spectacle of ‘the local’ through its cinematic action (along with its alternative heroine mediation), in light of such a transnational articulation as the emerging dominant. My purpose is to examine how local action has been re-imagined and can be re-aligned in relation to the specifically historical, national and postcolonial mode of imagination under the contemporary glocal context of the Hong Kong ‘Special Administrative Region’ (HKSAR), as this particular post-colony is officially renamed.
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Swarna, Ms. "Self- Liberation Vs Self- Renunciation in Hedda Gabler." SMART MOVES JOURNAL IJELLH 8, no. 7 (2020): 41–51. http://dx.doi.org/10.24113/ijellh.v8i7.10655.
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Henrik Ibsen, by using Hedda as the heroine or anti-heroine of the play Hedda Gabler, was clearly attacking a culture which stifled women’s potential and fostered the feelings of entrapment and desperation that Hedda experiences. For all her flaws, the character of Hedda Gabler serves as a potent reminder of the individual’s complex relationship to society and how we today reconcile our own needs with the roles and responsibilities expected of us. In following Hedda’s psychological descent throughout the play, Ibsen was plainly criticizing the lack of acceptable life choices and opportunities for women in nineteenth-century society. The purpose of my research paper is to justify Hedda’s act of suicide as an act of self-liberation vs self-renunciation. Her downfall is ultimately her own doing-she makes the mistake of marrying George for the wrong reasons but she is also a heavily flawed character who unsuccessfully manipulates people in an attempt to negotiate her own weakness. She chooses death not because of any insight she has gained from her mistakes but because she cannot face the consequences of her action. Thus, Hedda’s death is tragic because it is an act of self-renunciation: she is free spirit who cannot be tamed by conventional society.
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Hidayat, Moh Wakhid. "STRUKTUR NARASI NOVEL SEJARAH ISLAM 17 RAMADAN." Adabiyyāt: Jurnal Bahasa dan Sastra 12, no. 2 (2013): 361. http://dx.doi.org/10.14421/ajbs.2013.12207.
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17 Ramadan is a historical islamic novel by Jurji Zaidan. This is the fourth of his twenty-three historical novel. 17 Ramadan is originally published by al-Hilal newspaper. This novel tells about the events before and after the murder of Caliph Ali ibn Abi Talib on 17 Ramadan. This article presents the narrative structure of the novel with a structural analysis of Greimas’ narrative theory. This research aims to identify the structural action with binary opposition; the sender-recipient, subject and object, and the adjuvant-obstacle. The result finds that there are four main actantial structures. These structures construct five macrostructures, those are the linear structure of revenge-action-judgement, the structure of the characters’ vindication, the linear structure of insult-thesanity-and-holy-place-chastisement, the structure with isotope of place clarification, and the structure of heroine.
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Wang, Ping. "An Analysis of the Heroine of North and South---Margaret Hale as an Independent Woman." Journal of Arts and Humanities 6, no. 10 (2017): 32. http://dx.doi.org/10.18533/journal.v6i10.1289.
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<p><strong> </strong>Mrs. Gaskell is a very important woman writer in the 19<sup>th</sup> century in Britain, and she is famous for her social novels, in which she highlights complicated social conflicts. <em>North and South </em>is usually considered as the turning point of Mrs. Gaskell’s literary creation, in which she suggests for the first time that there should be a hope of a reconciliation between the working class and the bourgeoisie. Also, the author vividly depicted an independent woman with a sharp mind and a deliberate manner in the book, that is, Margaret Hale. She seems to be very special when compared with the women around her and very attractive to men for her peculiar thoughts as well as her beautiful looks. This thesis mainly analyzes the attractive heroine of the novel in three aspects: her independent character, her independent action and her independent thoughts. What’s more, the thesis aims to shed light on the characteristics a “New Woman” should be endowed with. The heroine, to some extent, is the author Mrs. Gaskell herself, rejecting inferiority to men and defending the rights to express themselves freely. All in all, this thesis tries to enlighten people on woman’s position in today’s society by deriving some inspirations from the literary work.</p>
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Crossley, Laura. "An Absence of Modesty: The Male/Female Dichotomy inModesty Blaise." Journal of British Cinema and Television 15, no. 3 (2018): 357–74. http://dx.doi.org/10.3366/jbctv.2018.0427.
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This article examines the figure of Modesty Blaise as an action heroine in the canon of British espionage texts. It argues that the character and her stories offer multiple, liminal spaces for investigating and challenging ideas about gender, nation and class. It also addresses the current landscape of action-adventure films at a time when there are increased calls for more female-centric vehicles and gender-blind casting. While the gender politics of the Modesty Blaise franchise make for fascinating analysis, they are also played out against a backdrop of global politics. This can be seen in the first of the novels – simply entitled Modesty Blaise (1965) – and to some extent in Joseph Losey's loose adaptation of the book in 1966. Modesty's employment by the British secret service coincides with the dismantling of the British Empire, and the negotiation of gender identity that is a recurring theme in the stories intersects with the post-imperial, post-colonial concerns that dominated geopolitics at the time the original texts were released.
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Zirnīte, Daiga. "Divi pirmās personas stāstījumi Osvalda Zebra romānā „Māra”." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 197–208. http://dx.doi.org/10.37384/aplkp.2021.26-1.197.
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The aim of the study is to define how and to what effect the first-person narrative form is used in Oswald Zebris’s novel “Māra” (2019) and how the other elements of the narrative support it. The analysis of the novel employs both semiotic and narratological ideas, paying in-depth attention to those elements of the novel’s structure that can help the reader understand the growth path and power of the heroine Māra, a 16-year-old young woman entangled in external and internal conflict. As the novel is predominantly written from the title character’s point of view, as she is the first-person narrator in 12 of the 16 chapters of the novel, the article reveals the principle of chapter arrangement, the meaning of the second first-person narrator (in four novel chapters) and the main points of the dramatic structure of the story. Although in interviews after the publication of the novel, the author Zebris has emphasised that he has written the novel about a brave girl who at her 16 years is ready to make the decisions necessary for her personal growth, her open, candid, and emotionally narrated narrative creates inner resistance in readers, especially the heroine’s peers, and therefore makes it difficult to observe and appreciate her courage and the positive metamorphosis in the dense narrative of the heroine’s feelings, impressions, memories, imaginary scenes, various impulses and comments on the action. It can be explained by the form of narration that requires the reader to identify with the narrator; however, it is cumbersome if the narrator’s motives, details, and emotions, expressed openly and honestly, are unacceptable, incomprehensible, or somehow exaggerated.
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Ekinci, Berivan. "Gender, action and expression in Pipilotti rist’s ever is over all video art." Global Journal of Arts Education 11, no. 2 (2021): 131–40. http://dx.doi.org/10.18844/gjae.v11i2.6123.
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In this study, two channelled and coloured video installation called Ever is Over All dated 1997 by Pipilotti Rist’s being one of the artists who shaped video installations is analysed. In this installation produced by Pipilotti Rist as a woman artist, a woman in an entranced mood is shown smashing the glasses of some of the cars parked on the roadside. There is the vast space of the flower field on the one side and then there is a cheerful woman as the main character crashing the glasses of the parked cars on the roadside with a long stemmed flower just like from the field. The female body is especially important in audio and video installations of Rist. This installation by the artist has been assessed in terms of gender, action (movement), expression, freedom and solidarity. The flower used by the woman to smash the car glasses is considered over themes such as nature, life and woman and the fact that a passing by female police officer does not intervene in the situation and goes on her way just by greeting our heroine and smiling is assessed using concepts such as gender, action/movement, expression and freedom. In this research, the effects created by the medium of expression in art are touched upon in the video installation titled Ever is Over All and it has been concluded that the subjects and objects included in the video inspire the solidarity of woman, community and nature.
 
 
 Keywords: video art, Pipilotti Rist, Gender-Action-Expression
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Fang, Yan. "“The Private Little Sun”: The Symbolism of the Sun in Thomas Hardy’s Tess of the D’Urbervilles." Asian Journal of Social Science Studies 7, no. 2 (2022): 1. http://dx.doi.org/10.20849/ajsss.v7i2.1001.
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Tess of the d’Urbervilles is written by Thomas Hardy, first published serially in 1891. The subtitle of this novel is called A Pure Woman Faithfully Presented as Hardy believes the heroine is a virtuous victim of a rigid Victorian moral code. In this novel, Hardy engages the imagery of sun with the action and the theme by different artistic skills. As a novelist with keen insight, Hardy sees natural surroundings among the important formative influences of a person’s life, especially for Tess. Hardy makes frequent use of this instinctive response to climate and geography. The novel is structured so that events take place in seasons which are artistically appropriate. At the most beautiful, productive season of the year, Nature appears to be striving for perfection: everything tends towards wholeness. Yet in the bleak and cold seasons one must go through all the difficulties and disillusionment. The symbol of the sun and the alternation of the seasons give this novel its everlasting complexity and tension.
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Mahiet, Damien. "The Aesthetics and Politics of Wonder in the First Nutcracker." 19th-Century Music 40, no. 2 (2016): 131–58. http://dx.doi.org/10.1525/ncm.2016.40.2.131.
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Critical response to Tchaikovsky's Casse-Noisette (The Nutcracker), the ballet-féerie premiered in December 1892 in St. Petersburg, has historically been mixed. An aesthetic mongrel, the original production joined the highbrow expectations of Romantic ballet with the popular conventions of the féerie and challenged its first audience just as much as its immediate predecessor, The Sleeping Beauty. To this day, writers object to the original libretto's uneven distribution of pantomime and dance and its lack of a coherent story, of continuous development, and of a satisfying conclusion. This article offers an alternative reading that reconstructs the dramatic disruptions and turnabouts and relates them to the first production's aesthetics and politics. The ballet's composer and choreographers, using music, action, and dance, repeatedly placed the audience in a position of wonder and awe similar to that of the young heroine Clara. This aesthetic captured Alexander III's particular “scenario of power” (Richard Wortman) in late-nineteenth-century Tsarist Russia, projecting imperial court culture and sovereign power onto a fantastic canvas.
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Grayson, Kyle. "The ambivalence of assassination: Biopolitics, culture and political violence." Security Dialogue 43, no. 1 (2012): 25–41. http://dx.doi.org/10.1177/0967010611431078.
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This article begins by presenting a biopolitical account of assassination and targeted killing events carried out by liberal regimes. It argues that forms of political violence are understood and made meaningful beyond the administrative frameworks and technical rationalizations often privileged in biopolitical analyses. Deploying Alan Feldman’s (1991) argument that political violence is an ‘emplotted action’ alongside William Connolly’s (2005 ) notion of resonance, it provides a genealogical account of how forms of assassination have been positioned within Western cultural understandings of political violence. The focal point of examination is the biblical heroine Judith, whose story has resonated as a preferred narrative structure for understanding and (de)legitimating acts of assassination among Western publics. Through its reading of the book of Judith, the article highlights the importance of ambivalence for understanding assassination as a form of political violence. The legacy of the moral problematique enabled by Judith is then illustrated in relation to US President Barak Obama’s May 2011 speech announcing the killing of Osama Bin Laden. The article concludes by suggesting that although the story of Judith may underpin contemporary assassination practices, it also offers a means of critically engaging with them.
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Chiciudean, Gabriela. "Drama unei familii țărănești din Ardeal." Swedish Journal of Romanian Studies 5, no. 1 (2022): 208–19. http://dx.doi.org/10.35824/sjrs.v5i1.23929.
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As the traditional village had gradually faded with time, writing a novel encompassing this subject has become a predicament, yet Lucian Domșa undertook writing about the Transylvanian rural context, revealing his most authentic sense of artistry. Măriuca is a novel portraying the tragic existence of a countryman returning home after World War I. The realities of the traditional village are depicted in the background, for it is the character development, the representation of the profound history of a family, the history of an existence lived according to the old ways of the countryside, all explored under the veil of most authentic vernacular language, that notably constitute the centre of the novel. The typical tragedy of a family from a village in Transylvania is gradually built in the novel, in sync with the space it inhabits, and with the action, also capturing several monographical elements of the Transylvanian village. Although the novel is entitled Măriuca, the main character is Manole a lui Țapu’, however, in virtue of the way the female heroine is composed, through her desire for emancipation, Măriuca becomes the main important character who announces a change of mentality and attitude in the interwar period in the rural environment.
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Ovchinina, Irina A., and Andrei A. Vinogradov. "Alexander Ostrovsky’s play “Late Love”: from its conception to the implementation." Vestnik of Kostroma State University 27, no. 4 (2021): 107–12. http://dx.doi.org/10.34216/1998-0817-2021-27-4-107-112.
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The article examines the contents’ peculiarity of the play “Late Love” in accord with its author’s artistic intentions. For the first time hand-written materials (rough copies and the play’s draft) have been taken into account and brought into academic use; the chirographs make it possible to bring to light the main points of the play and its vital problems. Special attention is paid to still greater importance the author was lending to the love story while working at the play; it helps to reveal the meaning of the play’s title. It is noted that for the first time Alexander Ostrovsky had shown a highly moral heroine who committed crime for the sake of the man she loved. In this connection, a few opinions of some critics are cited who gave negative estimation to the play. Analysing the play’s artistic merits the authors of the article take notice of the fact that the action is concentrated in time and space. The Shablovs’ house where lawyers, a tradesman, a landlady, and a clerk make their appearance, reflects to a certain extent the social strata of the post-reformed Russia and the tendencies typical of that world. The study of the initial draft made it clear that Alexander Ostrovsky thought over at first the play’s “scenario”, the number of personages, determined their characters and their role in the action’s development. The dramatic action and the happy end draw the spectators to the conclusion that a human’s salvation from its moral ruin is love, personal ability to repent and to realise its responsibility for the people close to it and for the world as a whole.
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Rogalińska, Monika. "Inner Strength of Female Characters in Loitering with Intent and The Public Image by Muriel Spark." Text Matters, no. 1 (November 23, 2011): 135–44. http://dx.doi.org/10.2478/v10231-011-0010-y.
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Women characters in Muriel Spark's novels are diverse, some strong and powerful, some weak and unable to make decisions. And there are characters who develop throughout the novel and learn from their own mistakes. From being passive, they gradually start acting and making their own choices. Loitering with Intent and The Public Image present women characters who go through metamorphosis, from being dependent on others into living their own lives and freeing themselves from former influences. Such kaleidoscopic change enables them not only to be able to finally make their own decisions but also to overcome many difficult situations threatening their future life.
 Fleur Talbot, a heroine in Loitering with Intent, finds herself at a point in which she thinks that everything she cares for is lost. Chronically passive and naïve, she cannot imagine another way of being until she understands that she is being cheated, that her life will be ruined if she does not act. Everyone around her seems to be in conspiracy against her; only taking a firm stand and opposing her surrounding world can help. Fleur's life has become totally dependent on her ability to be strong and decisive. She knows that if she remains what she is, her career and prospects for the future will be lost, so she decides to prove her determination and her will to be finally happy. Her transformation into a powerful character saves her dignity and makes her a successful writer.
 Annabel, a character in The Public Image is the same type of person as Fleur, as she lacks self-confidence and has no support from anybody, even her own husband. Muriel Spark, however, presents her as another example of a heroine who develops as the action progresses, able to evoke strength in herself when her situation seems hopeless. Annabel, at first treated as a puppet in the hands of other people, who use her image for their own benefit, shows that she is capable of anything by the book's end. When her career and reputation are threatened and her privacy invaded, she decides to leave the country. This requires both effort and sacrifice, as she has to leave behind everything she has worked for all her life, but this is the necessary price for her freedom.
 The ability of both female characters to show so much determination reveals an inherent inner strength, and their weakness and vulnerability as just superficial. When the situation requires it, both Annabel and Fleur are ready to fight for their rights, for their freedom and self esteem, and they discover that they are indeed capable of changing their lives.
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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 (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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Roselli, David Kawalko. "Gender, Class and Ideology: The Social Function of Virgin Sacrifice in Euripides' Children of Herakles." Classical Antiquity 26, no. 1 (2007): 81–169. http://dx.doi.org/10.1525/ca.2007.26.1.81.
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Abstract This paper explores how gender can operate as a disguise for class in an examination of the self-sacrifice of the Maiden in Euripides' Children of Herakles. In Part I, I discuss the role of human sacrifice in terms of its radical potential to transform society and the role of class struggle in Athens. In Part II, I argue that the representation of women was intimately connected with the social and political life of the polis. In a discussion of iconography, the theater industry and audience I argue that female characters became one of the means by which different groups promoted partisan interests based on class and social status. In Part III, I show how the Maiden solicits the competing interests of the theater audience. After discussing the centrality (as a heroine from an aristocratic family) and marginality (as a woman and associated with other marginal social groups) of the Maiden's character, I draw upon the funeral oration as a comparative model with which to understand the quite different role of self-sacrifice in tragedy. In addition to representing and mystifying the interests of elite, lower class and marginal groups, the play glorifies a subordinate character whose contradictory social status (both subordinate and elite) embodies the social position of other ““marginal”” members of Athenian society. The play stages a model for taking political action to transform the social system and for commemorating the tragic costs of such undertakings.
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Zhao, Xiaohuan. "From Story to Script: towards a Morphology of The Peony Pavilion––a Dream/ Ghost Drama from Ming China." Acta Orientalia Vilnensia 7, no. 1-2 (2006): 189–208. http://dx.doi.org/10.15388/aov.2006.3762.
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University of Otago, Donghua University
 
 This article is an attempt to analyze the dramatic structure of the Mudan ting 牡丹 亭 (Peony Pavilion) as a piece of fantasy which Tang Xianzu 湯顯祖 (1550–1616) created through the utilisation of structural devices and techniques of magic tales. The particular model adopted for the textual analysis is that formulated by Vladimir Propp in Morphology of Russian Folktale.This paper starts with a comparison of Russian magic tales Propp investigated for his morphological study and Chinese zhiguai 志怪 tales which provide the prototype for the Mudan ting with a view of justifying the application of the Proppian model. The second part of this paper is devoted to a critical review of the Proppian model and method in terms of function versus non-function, tale versus move, and character versus tale / theatrical role. Further information is also given in this part as a response to challenges and criticisms this article may incur as regards the applicability of the Proppian model in inter-cultural and inter-generic studies.Part Three is a morphological analysis of the dramatic text with a focus on the main storyline revolving around the hero and heroine. In the course of textual analysis, the particular form and sequence of functions is identified, the functional scheme of each move presented, and the distribution of dramatis personae in accordance with the sphere(s) of action of characters delineated. Finally this paper concludes with a presentation of the overall dramatic structure and strategy of this play.
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Kaličanin, Milena, and Hristina Aksentijevic. "COMMEDIA DELL'ARTE AND ITS IMPACT ON SHAKESPEARE’S PASTORAL COMEDY AS YOU LIKE IT." Folia linguistica et litteraria XII, no. 35 (2021): 63–85. http://dx.doi.org/10.31902/fll.35.2021.4.
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The paper explores the origins, development and basic genre features of сommedia dell'arte. The first part of the paper deals with the archetypal comic elements of сommedia dell'arte. The historical significance of this type of comedy, as Pandolfi (1957) stresses, lies in the fact that it unequivocally confirms the autonomy of theatrical art by imposing the neverending quest for the freedom to critically examine all the aspects of social life without any dose of censorship or limitations. Its comic pattern has the roots in the grotesque and absurdity of real life, which allows for the actors to fully affirm their artistic aspirations. Shakespeare’s romantic and pastoral comedy focuses on the final reconciliation or conversion of the blocking characters rather than their punishment: the rival brothers Oliver and Orlando are reconciled; Duke Frederick is miraculously converted. This was also a theme present in the medieval tradition of the seasonal ritual play, as Frye notices and claims that “we may call it the drama of the green world, its plot being assimilated to the ritual theme of the triumph of life and love over the waste land...Thus the action of the comedy begins in a world represented as a normal world, moves into the green world, goes into metamorphosis there in which the comic resolution is achieved, and returns to the normal world” (Frye 1957, 182). The Forest of Arden in As You Like It represents an emanation of Frye’s “green world”, which is analogous to the dream world, the world of our desires. In this symbolical victory of summer over winter, we have an illustration of “the archetypal function of literature in visualizing the world of desire, not as an escape from ’reality’, but as the genuine form of the world that human life tries to imitate” (Frye 1957, 184). In addition, the marriage between Orlando and Rosalind takes place in the Forest of Arden not by a coincidence. This is Shakespeare’s vision of the final unity and healing only to be accomplished in the ‘Mother’ Forest, as Hughes terms it (1992, 110), which ultimately represents a symbol of totality of nature and men’s psychic completeness. In Frye’s reading of Shakespeare’s green world, an identical idea of the heroine as the lost soul is expressed: “In the rituals and myths the earth that produces the rebirth is generally a female figure, and the death and revival, or disappearance and withdrawal of human figures in romantic comedy generally involves the heroine” (Frye 1957, 183). Thus, Rosalind represents the epitome of the matriarchal earth goddess that revives the hero and at the same time brings about the comic resolution by disguising herself as a boy (for those members of the audience and/or readers who regard the play as an instance of Hughes’ passive ritual drama and thus primarily enjoy the process of the young lovers’ overcoming various impediments on the way to a desirable end of the play).
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Zadorina, Alena O. "Eve, Magdalina, Samaritian... (To the Typology of Female Images in the Novel of L. M. Leonov “Thief”)." Vestnik NSU. Series: History, Philology 20, no. 9 (2021): 108–16. http://dx.doi.org/10.25205/1818-7919-2021-20-9-108-116.
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Purpose. The article presents the results of the analysis of key female images in the novel by L. M. Leonov “Thief”: Masha Dolomanova, Tatiana Vekshina, Zinaida Balueva, Ksenia Babkina – whose fates are united by a typological commonality. The relevance of the study is due to the rethinking of the role of women in the modern world and art, and the formation of heroines, unhappy men in the world of men, in the literature of the 20th century developed, including under the influence of post-revolutionary, post-war reality, under the influence of urbanization.
 Methodology. The study based on the works devoted to the poetics of motif, image. To achieve the goal, the following tasks were set: determination of artistically significant motives; comparison of plot lines with precedent texts (mostly biblical); explanation of details that clarify the essence of female images. Using the method of motif analysis, identified the main motives involved in creating the storylines of each heroine, and their variants.
 Results. The motif of violence is highlighted, which is presented in the following allomotives: sexual violence (including deprivation of innocence) – for all heroines, except for Zinaida Balueva; physical violence (beating) – images of Masha Dolomanova, Zinaida Balueva – and suicide (Ksenia Babkina); psychological abuse (like suppression of will, lack of care) – all heroines. Within the framework of the method of structural-typological analysis, female characters were correlated with the poles of the binary opposition between the evil wife and the good wife, ascending to the Holy Scriptures. It was found that, in addition to the motive of violence, which is present in the storyline of each heroine, but conditioned not by the will of the person, but by chance, Leonov’s female characters are united by the motive of temptation, temptation, which allows one to assess their individual position and explain the tragic outcome of life.
 Conclusion. The female images in the novel “Thief” are comparable with such biblical personalities as Eve, Mary Magdalene, an unnamed Samaritan woman, Tatiana the Martyr. Their fates are determined by the actions or desires of other heroes, which, given the fact that they have not found their own God, ultimately leads to despair and irrevocable death.
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Hasana, Morshed, and ASM Shahin. "Drug Rehabilitation Center based Survey on Drug Dependence in Dhaka City." Update Dental College Journal 3, no. 1 (2014): 32–36. http://dx.doi.org/10.3329/updcj.v3i1.17982.
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Background The study was conducted to know the socio-economic and demographic background of the drug addicts. The study also explored to identify the nature of drug used by the drug addicts and causes of drug addiction. Methods It was a descriptive cross sectional study conducted in a tertiary drug rehabilitation center in Dhaka city, Bangladesh. Purposive sampling strategy was followed and a closed ended questionnaire was utilized for face to face interview with the respondents. The data are analyzed through simple statistical calculation such as frequencies and percentages. Results A total 30 participants agreed to participate in the study. The highest concentration of drug addicts was between the age of 20 and 25 years (43.34%). However, near about half of the respondents (46.67%) took drug at the age of 16-20 years. It is quite alarming that 6.67% respondents took their first drug before the age of 10 and 16.67% took before the age of 15. Most of the addicts were students (40%) and over two thirds of the respondents (63.33%) had no knowledge on harmful impact on drug addictions. The most common type of drug used by the sample addicts were heroine (23.33) followed by Yaba (16.67%) and Phensedyl (16.67%). Familial problem was the main reason (40%) for getting involved with drug addiction followed by frustration of the respondents due to different reasons. Discussion The most important element of the drug demand reduction is the prevention which holds the key to success in the entire fight against drugs. Nationwide concerted action is needed to reduce the illicit demand for drugs. DOI: http://dx.doi.org/10.3329/updcj.v3i1.17982 Update Dent. Coll. j: 2013; 3 (1): 32-36
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Robbins, Bruce. "The Sweatshop Sublime." Publications of the Modern Language Association of America 117, no. 1 (2002): 84–97. http://dx.doi.org/10.1632/003081202x63537.
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There is a passage in David Lodge's 1988 Novel nice work in which the heroine, a marxist-feminist critic who teaches English literature, looks out the window of an airplane and sees the division of labor.Factories, shops, offices, schools, beginning the working day. People crammed into rush-hour buses and trains, or sitting at the wheels of their cars in traffic jams, or washing up breakfast things in the kitchens of pebble-dashed semis. All inhabiting their own little worlds, oblivious of how they fitted into the total picture. The housewife, switching on her electric kettle to make another cup of tea, gave no thought to the immense complex of operations that made that simple action possible: the building and maintenance of the power station that produced the electricity, the mining of coal or pumping of oil to fuel the generators, the laying of miles of cable to carry the current to her house, the digging and smelting and milling of ore or bauxite into sheets of steel or aluminum, the cutting and pressing and welding of the metal into the kettle's shell, spout and handle, the assembling of these parts with scores of other components—coils, screws, nuts, bolts, washers, rivets, wires, springs, rubber insulation, plastic trimmings; then the packaging of the kettle, the advertising of the kettle, the marketing of the kettle, to wholesale and retail outlets, the transportation of the kettle to warehouses and shops, the calculation of its price, and the distribution of its added value between all the myriad people and agencies concerned in its production and circulation. The housewife gave no thought to all this as she switched on her kettle.
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Frey, Emily. "Nowhere Man." 19th-Century Music 36, no. 3 (2013): 209–30. http://dx.doi.org/10.1525/ncm.2013.36.3.209.
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Abstract In the opera that bears his name, Evgeny Onegin often seems remarkably inconsequential, a “superfluous man” among Russian society and nearly such in his own tale. Critics from Hermann Laroche to Catherine Clément have lamented not only the triviality of Evgeny's character but the flavorlessness of his music—a deficiency cast into relief by the compelling and pervasive musical presence of Tatiana, the too-eventual object of Evgeny's affections. This imbalance, a departure from Pushkin (whose Tatiana is ever sketchily drawn, and indeed almost mute), has often been attributed to Chaikovsky's well-publicized emotional identification with his heroine. Onegin's blankness thus becomes the product of a composerly flaw: Chaikovsky's inability to portray convincingly in music a character dissimilar to his own. But the Evgeny Onegin Chaikovsky inherited was not only Pushkin's. It was a cultural palimpsest, a text written on and written over by virtually every major intellectual figure in nineteenth-century Russia. By the time Chaikovsky got his hands on them, Pushkin's heroes were entangled in some of the century's most urgent debates: about the ethics of action versus reflection, the slippage between public and private identities. This article traces the constructions of Evgeny and Tatiana in a series of nineteenth- century readings of Evgeny Onegin, examining the ways in which the opera responds to and transforms key questions from the reception history of the novel. Among the texts considered are works by Herzen, Belinsky, and Dostoevsky, whose (in)famous “Pushkin Speech” was the opera's nearexact contemporary. From these readings, and the myriad images of Evgeny and Tatiana they present, emerge insights into a broader discourse about the nature of subjectivity in Europe's only autocracy.
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Byelik-Zolotaryova, Nataliy. "Choral dramaturgy of M. Arkasʼs opera «Katerina»". Музикознавча думка Дніпропетровщини, № 18 (12 листопада 2020): 26–39. http://dx.doi.org/10.33287/222015.
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The purpose of this work is to determine the features of choral drama in the opera «Katerina» by M. Arkas. It is based on research into the legacy of M. Arkas, it was determined that the opera «Katerina» is the first example of the embodiment of Shevchenko's poetry in the opera genre. The methods of this research are based on the application of historical-contextual, intonation-dramaturgical and structural-functional approaches of the investigation. A comparative analysis of Shevchenko's poem and opera libretto revealed differences that contributed to the strengthening of the psychological side of the drama. The scientific novelty lies in the fact that in this study for the first time in domestic musicology the peculiarities of choral drama of the opera whole are revealed, the dramatic functions of the choral factor in the process of operatic action are determined, the specificity of Taras Shevchenko's poem is revealed. Conclusions. As a result, of the analysis of the choral drama of the opera «Katerina» it is established that the choral scenes of the opera reflect the changes in the fate of Kateryna. In the first act, M. Arkas showed the environment where the heroine grew up, and in the third – another – the Muscovites, from which she chose a lover who betrayed her, abandoned not only her but also her own son. The contrast between the images of Ukrainian rural youth and Muscovites was reflected at the level of the choral drama of the opera. The generalized image of rural youth, patriotic, admiring the beauty of their native land – paradise, is opposed to the image of offenders-Muscovites, humiliating an exhausted woman with a baby in her arms. The dramatic functions of the choral factor are determined, a namely – genre-domestic contrasting background, effective-dynamic, patriotic and symbolic occupations.
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Koloshuk, N. "LET’S READ "MOTHER COURAGE AND HER CHILDREN" (THE PLAY OF B. BRECHT IN THE PRACTICE OF TEACHING THE HISTORY OF FOREIGN LITERATURE)." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 1(96) (September 6, 2022): 23–33. http://dx.doi.org/10.35433/philology.1(96).2022.23-33.
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Interpretation of Brecht’s ideas and poetics, especially in publications for schoolchildren and teachers, are usually limited by scholasticism or reiteration (or by distortion) of what was said as early as in soviet times. Research aim: to find out characteristic stereotypes and errors of interpretations of drama and work of B. Brecht in the wide reader's accessible sources and to offer the own reading of the play "Mother Courage and Her Children".
 We underline that the action in Brecht’s works is fully conditional. The subtitle of the play – "The Chronicle from times of Thirty Years’ War" – does not do the literary work a "historical chronicle". It is one of the author’s techniques of the conditional image through the principle of Verfremdung – a term is given in the distorted translation from Russian as "alienation". A widespread stereotype of character perception of Mother Courage as the "bad mother", allegedly opposed against her daughter-heroine, distorts the authorial intention of the play. Brecht’s personages are conditional, not realistic ones: none is an embodiment of a psychologically integral character of the real man, everybody was the author’s megaphone of certain ideas, for criticism of public defects and crimes. Brecht showed Mother Courage as a resilient self-respectful person woman, however unable to provide the future to her children and unable to give up the chosen way of life. The eloquent symbolic motif of the play is the movement of Courage's van in a closed circle. Brecht did not go down to the dogmatic and moralizing theatre. He was a sceptic and he doubted any ideology, morality, values. He cruelly derided primitive ideas about valour and virtue, about respectability and nobleness. He bitterly mocked the weakness of mute victims of violence and lying.
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Kalenichenko, O. M. "Interpretation of Gogol’s works on the puppet theater stage (based on the spectacle by Oksana Dmitrieva «May night, or Moonlight Witchcraft»)." Aspects of Historical Musicology 17, no. 17 (2019): 148–62. http://dx.doi.org/10.34064/khnum2-17.10.
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Background. M. Gogol’s «Evenings on a Farm Near Dikanka» often attract the attention of theater directors. Thus, in June 2009, the premiere of the play «May night, or Moonlight Witchcraft» directed by Oksana Dmitrieva, took place at the Kharkov Puppet Theater. Trying to reveal the genre nature of the production, theater critics give it such definitions as a fairy tale, musical, fantasy, ethno-folk show, liturgy, mystery play, as well as analyze individual finds of a young director, but the complete picture of the artistic features of this performance is absent yet. In this regard, the purpose of the article is to identify the features of the interpretation of the Gogol story by director O. Dmitrieva. Results. The «May night...» begins with a musical introduction consisting of two themes: the lyrical theme of the pipe with intonations of Transcarpathian melodies (which is connected with the young couple Hanna and Levko and the image of Pannochka) and the theme of hand drums, which reveals the inner strength of the Ukrainian people, as well as demonological beginning associated with the witch-stepmother. The music gives way to the sounds of night nature and the stars appear on the backdrop. Their low location and shape resemble the Christmas stars, with which carolers sing for Christmas. In the dark, the figure of Pannochka appears, wrapped in white cloths remembering a shroud. The unfolding of intersecting clothes above Pannochka’s head, and then their rotation symbolize both the alternation of day and night and the winter solstice. Thus, there are both, the Orthodox and the Pagan features, in depiction of the Ukrainian village. From several notes that the heroine sings, her leitmotif grows up. He fits well on modern arrangements of Ukrainian music, and is easily recognizable on his own. In combination with Pannochka’s sudden gusty movements (as if a bird is trying to break out of the snare, fly up into the sky), it helps to reveal her ambivalent nature: on the one hand, of the martyr, on the other – the representative of evil forces. Pannochka becomes the main character of the performance, and the Moon becomes her attribute, which can turn into the tambourine of shaman, the lyre, the sword, etc. The youth walking scene “on the garden” with the use of the jigging puppet, accompanied by folk songs differs in tempo and rhythm from previous mysteriously lyrical scenes. In the next episode, Pannochka enchants the characters on the stage with moonlight, so the meeting and the dialogue between Hanna and Levko begin to be perceived as a dream of heroes. This is facilitated by both the slow movements of the actors, the lengthy summons into the names of the characters, their flight around the stage, and the dialogue with the Moon that Pannochka props up. The tragic history of Pannochka is depicted first with the help of portraits of its participants on round screens, and then the screens are assembled into the figure of a Witch-Cat. This form also is reminiscent of a Chinese dancing Dragon. The episode with the hand fans depicting the “cat’s claws” is accompanied by alarming drum sound: Pannochka has no repose from the Witch even after death. The village in the new picture is reflected in the ripples of water: the real world is floating, swinging. Hanna and Levko confess their love to each other, however, Kalenik suddenly appears, recalling the Head. The image of the Head is solved by the director using two masks – large and small. At the beginning of the second act, the actors appear on the stage with long poles, which are similar both to the Chinese combat weapon and to the Ukrainian musical instruments “trembits”, allowing the actors to show brilliant plastic technique of “slow-motion”. Stylized masks of animals (cows, goats, pigs, roosters), which the walking lads pulling on themselves are the allusion to the Christmas fests. The lad boys strive to annoy the Head, so Head masks reappear on the scene, but there are already three of them: large, medium and small. With their help, there is a debunking of this character losing his power. The action transferred to the bottom of the pond, as symbolized by stylized fish. The drums and the fans – the cat’s claws – once again remind of the conflict between Pannochka and the Witch. Like in Gogol’s novella, the heroine asks Levko to find the Stepmother-Witch. The marionnette a la planchette and then – a shadow paper doll represent the image of the hero. Thanks to Levko, Mermaids (the original puppets) seize the Witch, and her death is symbolized by a broken rattle-rattle with the image of the cat’s muzzle. Next, the scene action follows by the Gogol’s novella: grateful Pannochka given to Levko the note, Head read it and allowed his son to marry Hanna. The image of Levko is represented here both in the system of the tablet puppet and in the means of the shadow theater. And the long clothes-shrouds acquainted from the first episodes of the play perform a number of new functions: this is the water of the pond, where Pannochka floats, and the paper, on which the note is written, and later – the wedding table. In this way the end of the Pannochka plot line comes. The spiritual verse «The soul with the body was parting» sounds, and in the hands of actress V. Mishchenko, the light paper doll, as the soul of her heroine, seeks up into the sky. Pannochka redeemed her sins, and now her soul can fly to heaven, because Easter has come. The last episode uses the “time-lapse” technique symbolizing the cleansing of the world from evil, and Pannochka’s leitmotif is organically superimposed on the Easter chime of bells. The action ends with a rap on the words “The Angels had opened the windows and they are looking on us” and the news that Easter has come. The final supports an idea that a person’s life moves from Christmas to Easter, from suffering to light, thus closing the spectacle into a ring composition. Conclusions. The original Gogol’s text allowed O. Dmitrieva to show a wide palette of modern possibilities of the puppet theater and the high skill of the actors of the “live plan”. In addition, the interweaving of national and foreign, Orthodoxy and paganism, an appeal to the expressive possibilities of the Ukrainian folk and modern music and to the ballet plastique suggest the postmodern nature of the play «May night, or MoonlightWitchcraft».
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Jine, Kyong-Nyon. "A Study on Women in Madame Bovary and A Life." Global Convergence Research Academy 1, no. 2 (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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DAVID, MIRIAM. "New Labour's post-Thatcherite modernisation project: a Third Way?" Journal of Social Policy 29, no. 1 (2000): 143–46. http://dx.doi.org/10.1017/s0047279400005882.
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Tony Blair The Third Way: new politics for the new century, pamphlet no. 588, Fabian Society, London, 1998, 20 pp., £3.50.Stephen Driver and Luke Martell, New Labour: politics after Thatcherism, Polity Press, Cambridge, 1998, xii + 210 pp. £45.00, £12.99 (pbk).Anthony Giddens, The Third Way: the renewal of social democracy, Polity Press, Cambridge, 1998, x + 166 pp., £25.00, £7.99 (pbk).Colin Hay, The Political Economy of New Labour: labouring under false pretences?, Manchester University Press, Manchester, 1999, xiii + 242 pp. £45.00, £14.99.Martin Powell (ed.), New Labour, New Welfare State? The ‘third way’ in British social policy, The Policy Press, University of Bristol, 1999, ix + 351 pp., £45.00, £18.99.Having just returned from a month in the USA, teaching summer school to graduate students on social and family policy in education, I eagerly read and/or reread these publications to get a renewed sense of politics and policy in Britain today. Whilst I was in the USA I became steeped in discussions of ‘post’ perspectives – post-colonial, post-modern, post-structuralist, post-feminist – on ‘discourses of welfare’ or the welfare state which now may include education and even communitarianism. I found myself longing for a more pragmatic as well as programmatic, or what might be called ‘critical realist’, perspective. So I was not disappointed by having to engage with these four books and the pamphlet, although initially they seemed a long way from my current research interests on ‘family and education’ from a feminist perspective.I have had a very enjoyable, exciting and even exhilarating time reading them. Together they present a most appealing package of accounts of New Labour as we are about to enter the new millennium. One gets the feeling of tremendous political activity and policy action over the last few years with plans and proposals galore for the future. To paraphrase the words of Celine Dionne for the heroine of Titanic ‘It will go on...’
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M. Bonța, Claudia, and Melinda Mitu. "Female Portraits from Long Ago. Graphic Artworks in the Collection of the National Museum." Acta Musei Napocensis. Historica, no. 58 (January 2022): 113–46. http://dx.doi.org/10.54145/actamn.58.06.
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Among the multitude of (prevalently male) portraits from the graphic art collections housed by the National Museum of Transylvanian History, there is a small number of nineteenth‑century female portraits, most of which belong to the artistic world of those times. These creations often depict figures from social and aristocratic circles or heroines brought to the public’s attention by special events. The precise artistic investigation of the portraits accomplished in romantic or Biedermeier style is completed by the presence of some compositional portraits in the collections, which bring a note of delicacy and romanticism in an austere environment.
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Smyth, Bryan. "De-Moralizing Heroism." Southwest Philosophy Review 36, no. 1 (2020): 65–74. http://dx.doi.org/10.5840/swphilreview20203618.
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Agents’ self-reports in cases of reactive heroism often deny the optionality, and hence the supererogatory status, of their actions, while conversely supporting a view of these actions in terms of nonselfsacrificial existential necessity. Taking such claims seriously thus makes it puzzling as to why such cases elicit strong approbation. To resolve this puzzle, I show how this necessity can be understood in the predispositional embodied terms of unreflective ethical expertise, such that the agent may be said literally to incarnate generally accepted norms of a shared ethical environment. On this basis I argue that the object of the relevant approbation is the agent’s embodied predispositionality itself—expressing a deep continuity with her social context, it is in virtue of this alone that her action can be both spontaneous and ethically outstanding. By way of conclusion I briefly discuss how this suggests an important categorial distinction between heroism and saintism.
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Cappelletti, Simone, Francesco Lombardo, Pasquale Vitale, Giuseppe Vallone, and Costantino Ciallella. "Heroin–piracetam mixture: Suggested mechanisms of action and risks of misinterpretation for drug users." Medico-Legal Journal 85, no. 4 (2017): 203–6. http://dx.doi.org/10.1177/0025817217717846.
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Piracetam is a positive allosteric modulator of the α-amino-3-hydroxy-5-methyl-4-isoxazolepropionic acid receptor that has been frequently used in the treatment of cognitive disorders. Press and internet reports indicate that the use of piracetam, as a heroin adulterant, has spread rapidly in some countries, especially in Asia and Europe. Its use, as adulterant, is believed to produce more profound desirable effects, while decreasing hangover. Recent surveys demonstrated that piracetam protects neurons from heroin-induced apoptosis. The protective role of this adulterating substance may be related to restoration of beta-endorphin levels and to its neuroprotective effects. The aim of this paper is to review the relevant literature and suggest the main hypothetical mechanisms that justify its use as a heroin adulterant, try to understand if its use could help people who want to come off heroin by reducing withdrawal symptoms and, finally, give useful information that permit us to understand why drug trafficking organisations started to use piracetam as heroin adulterant.
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Bilston, Sarah. "“The Most Extraordinary Novel of Modern Times”: Collaborative Fiction in The Gentlewoman." Victorian Literature and Culture 50, no. 4 (2022): 669–92. http://dx.doi.org/10.1017/s1060150321000127.
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This article investigates two collaborative (and little-known) novels published in the early 1890s periodical The Gentlewoman. The collaborations turn on, and center, a heroine whose reputation, choices, and actions stand as the locus of investigation; the business of interpreting a woman's character brings multiple writers, from many walks of life, together in a shared enterprise shaped by ongoing disagreement, for how to interpret the heroine evolves week by week. The two texts disrupt not only their own reading of their heroine but stage, through their very form, that any fixed, stable, or unitary reading of womanhood is impossible.
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SALNIKOVA, EKATERINA V. "THE FIRST SCREENING OF ALICE IN WONDERLAND (1903)." ART AND SCIENCE OF TELEVISION 17, no. 1 (2021): 75–98. http://dx.doi.org/10.30628/1994-9529-2021-17.1-75-98.
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The article is dedicated to the British silent film Alice in Wonderland by Percy Stow and Cecil Hepworth, which was found and restored in 2010. The 12-minute film was unusually long for early cinema. Almost all of the survived credits annotate several short scenes at once, showing their interconnection or, conversely, apartness from each other. This suggests that some scenes were sold not separately, but as a series of scenes united by a credit. Structurally, each fragment of the film, consisting of 2–3 scenes, is similar to one episode of series. Therefore, the origin of the principles of seriality in cinema can be associated with film adaptations of fairy-tale stories. The concept of space demonstrates the inner duality of the Wonderland. The private part of it looks like an English landscape garden, while the space of the Queen and her entourage is designed as a classicist regular park. In his adaptation (2010) of Carroll’s fairy-tale, Tim Burton will further unfold the theme of duality and conflict inside the Wonderland. In the 1903 film adaptation, Alice was played by May Clark, a grown-up girl who worked at the Hepworth studio. The dreamlike nature of the screen reality is emphasized by the restraint of the amateur performers’ play and the unobtrusiveness of the fantastic, when the screen fantasy world is both similar and different from the everyday life. The marriageable age of the heroine and some of the scenes that look like Alice’s “going through the torments” make us interpret the action as the embodiment of her unconscious. The magic garden, where a young girl is so eager to get, a symbol of the desirable joys of an adult life, becomes a nightmare for Alice. The film was released in the same year as the Women’s Social and Political Union (WSPU) was established, and it merged into an era of revision of Victorian ideals and rejection of the perception of women in line with patriarchal values. Tim Burton’s film, created in the era of the new emancipation and reconsideration of gender, largely corresponds to the first screen adaptation of Alice in Wonderland, presenting the Victorian world as a generalized image of a society that suppresses the individual and naturally provokes protest.
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AKŞİT, ONUR ORKAN, and ASLI FAVARO. "ACTION HEROINES AS CYBORG FIGURES IN CINEMA." E-Journal of New World Sciences Academy 9, no. 2 (2014): 44–58. http://dx.doi.org/10.12739/nwsa.2014.9.2.4c0179.
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Moolla, Fiona. "Her Heart Lies at the Feet of the Mother." African Journal of Gender and Religion 27, no. 2 (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.