Relevant bibliographies by topics / Antiheroine

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Antiheroine'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Antiheroine"

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Kanzler, Katja. "Veep, Invective Spectacle, and the Figure of the Comedic Antiheroine." Zeitschrift für Anglistik und Amerikanistik 67, no. 2 (June 26, 2019): 147–62. http://dx.doi.org/10.1515/zaa-2019-0014.

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Abstract This article approaches HBO’s Veep through the lens of what Dan Hassler-Forest (2014) has described as the meta-genre of ‘Quality TV.’ Against the backdrop of ‘Quality TV’s’ conspicuous investment in masculinity, I ask how Veep actualizes the meta-genre’s conventions of moral ambiguity and sensationalist storytelling around a female protagonist and in the genre of comedy. I focus on one key strategy I see the show employ in this actualization, a strategy I conceptualize as invective spectacle. In Veep, invective spectacle translates ‘Quality TV’s’ characteristic transgressiveness into the conventions of comedy and, in the process, constructs the figure of a morally ambiguous antiheroine. The dynamics of invective spectacle – as a poetics that appears to be booming in contemporary television culture – structure the show’s elaboration of a complex female protagonist as a morally flawed woman of power.
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Tamir, Siti Alifah, and Diah Tyahaya Iman. "The Uniqueness Heroines Depicted In Gillian Flynn’s Novels Entitled Gone Girl And Dark Places." Vivid Journal of Language and Literature 8, no. 1 (August 15, 2019): 19. http://dx.doi.org/10.25077/vj.8.1.19-25.2019.

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This article is aimed to study the uniqueness of female character or heroine in Gillian Flynn’s novels entitled Dark Places (2009) dan Gone Girl (2012). The concept of heroin and gynocriticism approaches is used to examine the uniqueness of the main character in both novels. Amy Dunne in Gone Girl and Libby Day pada Dark Places can be considered as antiheroine. From the result of the analysis, it can be concluded that Flynn introduced an interesting female characterization. The anti-heroine characters are portrayed in an intriguing plot. She presents woman as offender and sexual manipulation interestingly. The exploration of feminine vulnerability to undermine the dominancy of masculine privilege has brought the themes of both novels to.
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Gardner, Eleanore. "The Fearful Transience of Identity: Analyzing the Gothic Antiheroine in Claire Messud’s the Woman Upstairs and Lauren Acampora’s the Paper Wasp." Critique: Studies in Contemporary Fiction 62, no. 1 (June 17, 2020): 16–29. http://dx.doi.org/10.1080/00111619.2020.1779022.

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Niles, Lisa. "Owning "the dreadful truth"; Or, Is Thirty-Five Too Old?: Age and the Marriageable Body in Wilkie Collins's Armadale." Nineteenth-Century Literature 65, no. 1 (June 1, 2010): 65–92. http://dx.doi.org/10.1525/ncl.2010.65.1.65.

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Lisa Niles, "Owning 'the dreadful truth'; Or, Is Thirty-Five Too Old?: Age and the Marriageable Body in Wilkie Collins's Armadale" (pp. 65––92) Wilkie Collins's Armadale (1864––66) offers a sensational critique of the increasing popularity of cosmetics usage in 1860s London and its relationship to perceptions of aging and the marriage market. Looking younger than her thirty-five years, Collins's antiheroine Lydia Gwilt challenges the terms upon which Victorian society constructed a middle-class, marriageable female identity. In Lydia, Collins produces a character that succeeds in a competitive marriage market by performing a simulacrum of youth. And the narrative suggests that her beauty depends not merely upon Nature but also upon her knowledge of the arts of its preservation, particularly as Gwilt is associated with Mother Oldershaw, a fictive double for Madame Rachel, the infamous London cosmetics purveyor who stood trial for fraud in 1868. By examining the novel alongside Punch cartoons, trial transcripts, beauty manuals, and reviews, I claim that Lydia Gwilt's character resists a simplistic cosmetics-as-fraud reading and exposes a public whose desires are predicated upon the fraudulent practices it critiques. The artificial threat that cosmetics serve functions as a site through which to explore the real threat——the criminality of a body that successfully passes as younger in a marriage market dependent upon regularizing youth and demarcating age. To be thirty-five and look it is unremarkable, perhaps pitiable; to be thirty-five and not look it is a crime.
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Luban, David. "Heroic Judging in an Antiheroic Age." Columbia Law Review 97, no. 7 (November 1997): 2064. http://dx.doi.org/10.2307/1123340.

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Shuster, Martin. "Television antiheroines: women behaving badly in crime and prison drama." Journal of Gender Studies 28, no. 1 (November 21, 2018): 119–20. http://dx.doi.org/10.1080/09589236.2018.1546232.

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Fell, Elena. "Television Antiheroines: Women Behaving Badly in Crime and Prison Drama." European Journal of Communication 32, no. 5 (October 2017): 492–94. http://dx.doi.org/10.1177/0267323117730715.

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Wilson, Graeme. "Television antiheroines: women behaving badly in crime and prison drama." Critical Studies in Media Communication 34, no. 5 (September 2017): 509–10. http://dx.doi.org/10.1080/15295036.2017.1367099.

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Horeck, Tanya. "Television antiheroines: women behaving badly in crime and prison drama." Feminist Media Studies 19, no. 6 (August 9, 2019): 908–9. http://dx.doi.org/10.1080/14680777.2019.1648096.

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Carreras Rabasco, Adrián. "Roberto Bolaño, la memoria antiheroica del exilio chileno." América sin nombre, no. 16 (December 15, 2011): 160. http://dx.doi.org/10.14198/amesn2011.16.16.

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Este artículo se centra en la personalidad del escritor chileno Roberto Bolaño y su obra para profundizar en la relación existente entre el autor y Chile, su país de origen. Pese a haber abandonado el país siendo muy joven y a haber residido en otros países a lo largo de su vida, Bolaño nunca perdió el interés por recuperar sus raíces chilenas tanto como lo reflejan las novelas que dedica a la dictadura chilena, Estrella distante y Nocturno de Chile sobre todo, así como por reivindicar su propio origen a través de su álter ego literario Arturo Belano. En este artículo se señalarán y analizarán estas relaciones entre Roberto Bolaño y Chile a través de la visión antiheroica que el autor confiere tanto a los ambientes como a los personajes que articulan su narrativa.
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Dissertations / Theses on the topic "Antiheroine"

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Hogshead, Erin. "The Fountainhead: The Evolving Roles of the Heroic Code into the Antiheroic Mode." [Johnson City, Tenn. : East Tennessee State University], 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-0328104-135243/unrestricted/HogsheadE041304F.pdf.

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Thesis (M.A.)--East Tennessee State University, 2004.
Title from electronic submission form. ETSU ETD database URN: etd-0328104-135243. Includes bibliographical references. Also available via Internet at the UMI web site.
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Martínez, Rosario Domingo. "La obra de arte como contramonumento. Representación de la memoria antiheroica como recurso en el arte contemporáneo." Doctoral thesis, Universitat Politècnica de València, 2014. http://hdl.handle.net/10251/34786.

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A partir de la década de los ochenta vivimos, sobre todo en la zona del Atlántico norte y Latinoamérica, lo que muchos críticos ya han denominado la cultura de la memoria, un surgimiento en los debates culturales y políticos sobre cuestiones del pasado que han tenido su reflejo en la producción artística contemporánea. La presente tesis se centra en la investigación del tratamiento de la memoria en el arte contemporáneo, en los artistas y las obras que establecen sus discursos en la trasmisión de la preocupación por la memoria, de su interpretación y contraposición con el concepto de historia. Nuestra aproximación a las obras de arte de la memoria toman como punto de partida el concepto de contramonumento, introducido por el especialista en estudios judaicos e ingleses James E. Young para referirse a la puesta en escena de los nuevos monumentos, inicialmente en Alemania, que reúnen una serie de patrones y características, tanto formales como conceptuales, y que desafían la iconografía del monumento tradicional. Apoyándonos en las bases que definen el contramonumento, proponemos una tipología que considera y describe diferentes estrategias y tipos de obras que se exponen en salas de arte, galerías y museos, las cuales enmarcamos en tres bloques. El primero de ellos se centra en aquellas obras que se configuran en base a los conceptos de desmaterialización y lo banal, en las cuales los artistas utilizan objetos descartados para evocar la ausencia de las víctimas de acontecimientos traumáticos de la historia. En un segundo bloque, se analizan artistas y obras que realizan una revisión de la historia, donde las contra-memorias y contra-historias de víctimas y grupos minoritarios sirven para cuestionar las versiones oficiales y hegemónicas de la historia. El último grupo toma obras que recurren al tratamiento de la temporalidad como un agente para activar un ejercicio de memoria en el espectador. El análisis formal y conceptual de estas obras deviene en un análisis de carácter más iconográfico que nos permite sacar conclusiones en torno a sus valores sociales, culturales y estéticos.
Martínez Rosario, D. (2013). La obra de arte como contramonumento. Representación de la memoria antiheroica como recurso en el arte contemporáneo [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/34786
TESIS
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Bassino, Riglos Franca. "Tratamiento gráfico de la sexualidad de villanas y antiheroínas de los cómics en la época del movimiento #MeToo." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653053.

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El siguiente trabajo de investigación tiene como objetivo analizar el tratamiento de la sexualidad de las villanas y antiheroínas en los cómics de DC, Marvel e Image Comics, entre los años 2017 y 2020. En consecuencia, la hipótesis sostiene que el movimiento #MeToo, viralizado en el 2017, ha generado un cambio en la representación gráfica de las mujeres en los cómics de superhéroes. Por comprobarla, se ha realizado un análisis de contenido de veinticuatro números en total, seleccionando un personaje por editorial: Poison Ivy, Emma Frost y Jessica Priest, respectivamente. Se tomaron en consideración herramientas del lenguaje visual y su valor dentro del contexto narrativo. Igualmente, se realizaron entrevistas a una ilustradora de cómics, así como una especialista en cómics y estudios de género. Los resultados evidencian que Marvel presenta un tratamiento adecuado de Emma Frost, mientras que DC exhibe un diseño de personaje inconsistente con respecto a Poison Ivy. Por otro lado, la representación de Jessica Priest, por parte de Image Comics, muestra mayor disonancia en cuanto a decisiones artísticas y valor narrativo. Asimismo, la única editorial en la que se observa la inclusión de artistas mujeres en relación a estos personajes es DC, aunque aún no logran la paridad. Es posible concluir que el tratamiento de las villanas y antiheroínas no ha cambiado significativamente desde la aparición del movimiento #MeToo. Esto se debe a que la mirada masculina continúa viéndose reflejada en la libertad artística de las casas independientes y a la falta de la perspectiva femenina.
The following research aims to analyze the treatment of the sexuality of female villains and antiheroines in DC, Marvel and Image Comics between 2017 and 2020. Consequently, the study’s hypothesis holds that the #MeToo movement, that grew in popularity in 2017, has sparked a change in the graphic representation of women in superhero comics. Thus, twenty-four issues were examined using a content analysis method, selecting a character per publisher: Poison Ivy, Emma Frost and Jessica Priest, respectively. Visual language tools and their value within the narrative were considered in the investigation. Similarly, interviews were conducted with a comic illustrator and a specialist in comics and gender studies. The results show that Marvel presents an adequate treatment of Emma Frost, while DC exhibits an inconsistent character design when it comes to Poison Ivy. On the other hand, Image Comics’ handling of Jessica Priest shows greater dissonance in terms of artistic decisions and their narrative value. Likewise, the only editorial in which the inclusion of female artists is observed is DC Comics, although they have yet to achieve equality in job opportunities. In conclusion, the treatment of female villains and antiheroines hasn’t changed significantly since #MeToo went viral. This is evidenced in the way the male gaze continues to be reflected in the artistic choices of independent houses and also, in the lack of a female perspective in the superhero genre.
Trabajo de investigación
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"The Fountainhead: The Evolving Roles of the Heroic Code into the Antiheroic Mode." East Tennessee State University, 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-0328104-135243/.

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Alon, Andrea. "Ďábel strážný: téma identity v mexickém románu na přelomu tisíciletí." Doctoral thesis, 2013. http://www.nusl.cz/ntk/nusl-326898.

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The theme of the dissertation submitted is the novel Devil Guardian, whose author is a Mexican writer Xavier Velasco. This dissertation is the very first theoretical work in the Czech environment, devoted to the above-mentioned piece of literature published in 2004. In a sense, Devil Guardian represents a characteristic Mexican novel of the early 21st century, combining tradition and novelty in a surprising and original manner. A significant feature of the contemporary Mexican literature is a departure from the theme of Mexicanity, generally from a programmatic indulging in so-called national literature. Velasco's novel is an exemplary, however, not only piece of literature proving that the literary break-up with Mexico is neither an exclusive nor a dominant attribute of the contemporary Mexican fiction. In Devil Guardian Velasco focuses his mind on the theme of personal and national identity, which he treats in a considerably nontraditional manner, giving an ironical turn to speak to a hypermodern girl moving in the globalized world. The dissertation is divided into six parts. The first part "Originality Rooted in Tradition" refers to Devil Guardian ensuing the tradition of Mexican novel and innovating it. The second part "Xavier Velasco" briefly introduces the author's life and work. The issues...
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Books on the topic "Antiheroine"

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Potts, Stephen W. Catch-22: Antiheroic antinovel. Boston: Twayne Publishers, 1989.

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Kletnikov, Eftim. Heroi i antiheroi: Vo opusot na Božin Pavlovski. Skopje: Matica Makedonska, 2008.

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Friedman, Edward H. The antiheroine's voice: Narrative discourse and transformations of the picaresque. Columbia: University of Missouri Press, 1987.

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Haas, Melanie, Gretchen Busl, Gretchen Busl, and Henriette-Juliane Seeliger. Antiheroines of Contemporary Literary Media: Saints, Sinners, and Survivors. Lexington Books/Fortress Academic, 2020.

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Chen, Zhuangying, and Achim Aurnhammer, eds. Deutsch-chinesische Helden und Anti-Helden. Ergon Verlag, 2020. http://dx.doi.org/10.5771/9783956506093.

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This volume elucidates the changing relationship between heroization and othering in a German-Chinese cultural comparison. Intercultural case studies illustrate which representatives of German culture and history were subjected to a process of heroization or were disparaged as negative anti-heroes in Chinese culture. Vice versa, Chinese figures who adopted a corresponding heroic or antiheroic function within the German-speaking world are also examined. This German-Chinese dialogue, in which cultural scientists from Germany and China participate, is guided by the assumption that processes of heroization and de-heroization represent paradigmatic focal points in the economics of intercultural transfer. The relationship between individual and collective heroism and the meaning of alienness - be it of Chinese or German characteristics - when importing heroes offer new perspectives insofar as these importations prove to be complex and inconsistent. With contributions by Achim Aurnhammer, Chen Zhuangying, Cong Tingting, Fan Jieping, Olmo Gölz, Joachim Grage, He Zhiyuan, Huang Liaoyu, Hu Chunchun, Hu Kai, Sara Kathrin Landa, Stefanie Lethbridge, Lin Chunjie, Dieter Martin, Isabell Oberle, Dominik Pietzcker, Nicola Spakowski, Jennifer Stapornwongkul, Wang Zhiqiang, Wei Yuquing, Xie Juan, Zhang Fan, Zhu Jianhua, Ulrike Zimmermann.
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Book chapters on the topic "Antiheroine"

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"Breaking the Stigma? The Antiheroine in Fatih Akın’s Head On." In Muslim Women, Transnational Feminism and the Ethics of Pedagogy, 96–123. Routledge, 2014. http://dx.doi.org/10.4324/9781315773988-10.

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Schyllert, Sanna Melin. "Why British Society Had to ‘Get a Young Virgin Sacrificed’: Sacrificial Destiny in The Tree of Heaven." In May Sinclair. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474415750.003.0010.

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In May Sinclair’s fiction, images of sacrifice abound. From the self-abnegating Katherine Haviland in Audrey Craven (1897) to the eponymous antiheroine of The Life and Death of Harriett Frean (1922), Sinclair’s central characters seem to be eternally struggling with the issue of renunciation. The treatment of the theme is heterogeneous in many of Sinclair’s texts, not least in the novel The Tree of Heaven, which both condemns and praises personal sacrifice for a higher or communal purpose. This displays a fundamental insecurity about the nature, function and value of sacrifice. It is this ambivalence, which underlies so much of Sinclair’s fiction, in combination with the individual mixture of philosophies in her work, that will be explored here. This chapter investigates the concept of sacrifice in the war novel The Tree of Heaven and how it is connected to community and feminism. In order to find an understanding of sacrifice as proposed by Sinclair, and its meaning in the lives of both women and men in the context of early 20th century England, the chapter discusses the crossroads in the text between sacrifice, idealism, feminism, and the nation-wide feeling of community that appears to be required in wartime.
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"67. The Sopranos: Antiheroic Masculinity." In Mafia Movies, 375–76. University of Toronto Press, 2019. http://dx.doi.org/10.3138/9781487510466-068.

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"5. Thesis and Antithesis: An Antiheroic Art." In The French Revolution as Blasphemy, 105–27. University of California Press, 1999. http://dx.doi.org/10.1525/9780520920309-008.

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"A Bioethics of Failure: Antiheroic Cancer Narratives." In Ethics of the Body. The MIT Press, 2005. http://dx.doi.org/10.7551/mitpress/2842.003.0012.

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Rivera-Betancur, Jerónimo León. "Las misiones de los protagonistas del cine colombiano: metodología, concepto y análisis." In El viaje sin héroe del cine colombiano, 71–91. Universidad de La Sabana, 2021. http://dx.doi.org/10.5294/978-958-12-0585-1.2021.3.

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En este capítulo se explica la metodología de análisis usada en la tesis doctoral “El viaje del protagonista del cine colombiano: contexto, gobierno e industria en una narrativa antiheroica”, la cual obtuvo mención cum laude en la Universidad de Navarra. Se explican los criterios para la selección de las películas del corpus de análisis y se proporciona un poco de contexto sobre las características del cine colombiano. Adicionalmente, se suministra información sobre las películas analizadas.
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Llewellyn-Jones, Lloyd. "Trouble in the Tehran Multiplex: Xerxes, 300, and 300: Rise of an Empire in Iran." In Epic Heroes on Screen, 191–206. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424516.003.0013.

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This chapter studies how audiences in a particular location received the movie 300. The author examines how antiheroic constructions of the Persian King Xerxes in 300 and its sequel Rise of an Empire elicited strong negative reactions in Iran. Hollywood reinvented Xerxes as a force of evil, creating a corrupt representation of an Iranian national hero. The chapter shows how Iranian audiences received this plundered and corrupted version of their ancestral past.
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Curley, Dan. "The Hero in a Thousand Pieces: Antiheroes in Recent Epic Cinema." In Epic Heroes on Screen, 173–90. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424516.003.0012.

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This chapter examines how onscreen antiheroes are the product of the fragmentation of traditional heroic storytelling. Using Alexander the Great, Perseus, and Hercules as case studies, the author shows how these new antiheroes are symptomatic of a new time of non-conformity, with heroes who do not conform to social mores, religious authority, or outdated cinematic modes of conveying values. The heroes that came before can be seen as conforming to traditional systems. The chapter demonstrates how antiheroic films work to disrupt the systems of the classicizing, traditional heroic journeys.
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Hecker, Sharon. "Laying the Foundations for an Antiheroic Approach to Modern Sculpture." In Moment's Monument. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520294486.003.0002.

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This chapter contextualizes Medardo Rosso's early life and the beginning of his career within the uncertain nationalism and ambivalent internationalism that characterized Italy in the two decades after its unification. Rosso grew up in the aftermath of the Risorgimento. Like many Italians of his generation, he was disenchanted by the unfulfilled promises of national unity, a dissatisfaction he dared to express in his early art. His first works of the 1880s define his enterprise within the hopes and disillusionments of these post-Risorgimento decades. His unorthodox approach suggests that, early on, he developed unique artistic solutions compared to those of his compatriots. This approach was especially notable in his rejection of the tradition of heroic mythmaking in sculpture.
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Williams, Justin A. "Politics." In Brithop, 91–118. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190656805.003.0005.

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This chapter discusses the Scottish independence debate as performed in hip-hop, which deals with issues of power, economics, stereotypes, and civic nationalism in a postcolonial era. The chapter shows how these artists reinvent and subvert the notion of “Otherness” and minority identity by using humor and wordplay to critique stereotypes of Scottishness, Englishness, (African American) mainstream hip-hop, and most politically, the status quo. Stanley Odd and Loki address the referendum in different ways, but both utilize rapping as a folk protest medium by which to sound out their concerns and relevant debates surrounding independence. Primary case study tracks discussed in this chapter include “Marriage Counselling,” “Antiheroics,” “Son I Voted Yes,” all by Stanley Odd, and Loki’s album Government Issue Music Protest (G.I.M.P).
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