Relevant bibliographies by topics / Archetypal femininity

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

Academic literature on the topic 'Archetypal femininity'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Archetypal femininity"

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Ibatullina, G. M., and M. V. Alekseenko. "THE SOPHIAN MYTH IN THE NOVEL BY V.P. ASTAFYEV “THE SHEPHERD AND THE COWGIRL”." Bulletin of Udmurt University. Series History and Philology 29, no. 5 (October 25, 2019): 839–47. http://dx.doi.org/10.35634/2412-9534-2019-29-5-839-847.

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The article discusses the figurative and semantic paradigms of the sophiological myth in the story by V.P. Astafyev “The Shepherd and the Cowgirl”. The image of the main character of the story Lucy is endowed with a number of symbolic connotations and has a complex archetypal structure. The Sophian archetype is represented here in its two invariants: the Christian and the Gnostic; the keys to understand the heroine are also the Theotokos archetype, the archetypes of the Virgin, the Beloved, the Mistress, Psyche, and the Kabbalistic archetype Shekhinah, which is closely related to the original image of Sophia. The Sophian model of a feminine principle is reflected both in the personality-psychological, spiritual and moral characteristics of the heroine, and in the logic of the image of her fate. The study leads to the conclusion that the mythologeme of Sophia in its different modes (Sophia the Wisdom of God, Sophia the Gnostic, Eternal Femininity) in the paradigm of Lucy's image is one of the semantic dominants; in addition, in the mythopoetic sign system of the work, the Sophian archetype, along with the archetypes of Theotokos and Shekhinah, can be considered the cultural representative of the “feminine” archetype - the archetype of a Woman in its specific gender-existential aspect.
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Minowa, Yuko, Pauline Maclaran, and Lorna Stevens. "The Femme Fatale inVogue: Femininity Ideologies in Fin-de-siècle America." Journal of Macromarketing 39, no. 3 (May 7, 2019): 270–86. http://dx.doi.org/10.1177/0276146719847748.

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This article explores how marketing influences ideologies of femininity. Tracing the evolution of femme fatale images in Vogue magazine in 1890s America, we develop a typology around four archetypal forms of the femme fatale that prevailed during this period. In doing so we respond to calls for more critical historical analyses on femininity. While studies on masculinity ideologies proliferate, there is a paucity of research on dissonant representations of femininity in popular culture media. The femme fatale, often a self-determined seductress who causes anguish to the men who become involved with her, is an intriguing and enduring challenge to traditional notions of femininity. Thus, in studying the femme fatale in her historical context and revealing the multiplicity of feminine ideologies contained within this trope, we contribute to a deeper understanding of marketing’s role in both reflecting and reinforcing societal assumptions, attitudes and problematics around gender norms.
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Korotkova, L. Y. "‘Eternal’ Sonechka: An attempt to discover an archetype." Voprosy literatury, no. 6 (December 28, 2020): 27–34. http://dx.doi.org/10.31425/0042-8795-2020-6-27-34.

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The article discusses the transformation of the image of ‘eternal’ Sonechka, originating in F. Dostoevsky’s novel Crime and Punishment [Prestuplenie i nakazanie] and undergoing subsequent changes while preserving the stability of an archetype and acquiring new meanings in M. Tsvetaeva’s The Tale of Sonechka [Povest o Sonechke] (1938), T. Tolstaya’s short story Sonya (1984) and L. Ulitskaya’s novel Sonechka (1992). In following the logic of the heroine’s development, the author finds that all Sonechkas share such features as femininity, loyalty, and an inherent ability to ‘radiate passionate enthusiasm and give warmth:’ this talent for self-sacrifice can be realized in a family, in one’s attitude towards art or a lover, or just by mistake (as in the case of T. Tolstaya’s Sonya). It is easy to see that all female authors in focus of L. Korotkova’s article, while polemicizing with Dostoevsky in that they exaggerate the heroine’s traits to absurd proportions, fall under the spell of the charming ‘eternal Sonechka as long as the world lasts.’ The undying interest of Russian literature in this character only confirms its archetypal status in Russian culture.
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Tincknell, Estella. "The Nation's Matron: Hattie Jacques and British Postwar Popular Culture." Journal of British Cinema and Television 12, no. 1 (January 2015): 6–24. http://dx.doi.org/10.3366/jbctv.2015.0240.

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Hattie Jacques was a key figure in British postwar popular cinema and culture, condensing a range of contradictions around power, desire, femininity and class through her performances as a comedienne, primarily in the Carry On series of films between 1958 and 1973. Her recurrent casting as ‘Matron’ in five of the films in the series has fixed Jacques within the British popular imagination as an archetypal figure. The contested discourses around nursing and the centrality of the NHS to British postwar politics, culture and identity are explored here in relation to Jacques's complex star meanings as a ‘fat woman’, ‘spinster’ and authority figure within British popular comedy broadly and the Carry On films specifically. The article argues that Jacques's star meanings have contributed to nostalgia for a supposedly more equitable society symbolised by socialised medicine and the feminine authority of the Matron.
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Zuseva-Özkan, Veronika B. "“Female Rebellion” in Anna Barkova’s Play Nastasya Kostyor (1923)." Studia Litterarum 6, no. 1 (2021): 228–49. http://dx.doi.org/10.22455/2500-4247-2021-6-1-228-249.

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The article examines the figure of the woman warrior and the theme of the “female rebellion” in the hitherto understudied play by Anna Barkova Nastasya Kostyor (1923) in the context of gender studies. Characters, motifs, and the play’s plot are placed against the background of the Barkova’s early work that heavily focused on the “woman question” and invented “new” femininity drawing from the archetypal image of the female warrior in literature and art. The author argues that in this play, Barkova for the first time relates the figure of female warrior to eschatological ideas and utopianism of the Silver Age, namely to Sophia myth. The problem of the ambivalent nature of the female character is in the focus of discussion. The essay explores the sources of this character — from the mystical snake woman of Russian Symbolists to Joan of Arc and the “female ataman” Alena Arzamasskaya (the character of the so-called “Stepan Razin legend”). It describes radical gender inversions in Barkova’s play and explores its original response to the topoi of female warrior that are abundant in this work.
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Sudarmanto, Budi Agung. "ARKETIPE KOMERING DALAM CERPEN “JANGAN TATAP SUKUKU” KARYA OKSA PUKO YUZA (Komering Archetype in “Jangan Tatap Sukuku” By Oksa Puko Yuza)." Kandai 13, no. 1 (August 24, 2017): 109. http://dx.doi.org/10.26499/jk.v13i1.161.

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Archetype is a form of universal thought (idea) that contains of huge emotion. Archetype constitutes a permanent deposit or collective unconsciousness in psyche (soul) from the constantly repeated for many generations. Archetype consists of persona, anima and animus, and shadows. The short story “Jangan Tatap Sukuku” describes archetype of Komering society (tribe). By using psychological literature approach, those archetypes are found. Persona is related to the general description of Komering society represented by Yuza. Anima and animus are the interchangeable side of Yuza’s femininity and Risti’s masculinity. Shadows relates to the stereotype of Komering society as collectivity, and some individual cases as individual representation of Komering tribe.
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Turgenev, Ivan S. "Anima e morte. Lettura, secondo la prospettiva della psicologia analitica, del racconto Klara Milic di Ivan S. Turgenev." STUDI JUNGHIANI, no. 29 (August 2009): 65–90. http://dx.doi.org/10.3280/jun2009-029004.

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- Klara Milic This is the author's interpretation, in accordance to an analytical psychological model, of one of Turgenev's novels, which was written just before his death. In synthesis the novel tells the story of a young man, lacking the attributes and totally incapable of dealing with life's adversities, who meets the "fatal woman", who is nothing but the projection of his unconscious feminine soul. This image is the fruit of his distorted perception of real woman and his denial to confront the woman component inside himself. This extreme behaviour creates an archetypical image of woman, of "eternal femininity", to the point where this destroys him.Parole chiave: Coscienza maschile, principio femminile, archetipo, Anima, complesso autonomo, psicosi.Key words: Male conscience, feminine principle, archetype, Anima, autonomous complex, psychosis.
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Porteous, Holly. "From Barbie to the oligarch’s wife: Reading fantasy femininity and globalisation in post-Soviet Russian women’s magazines." European Journal of Cultural Studies 20, no. 2 (April 13, 2016): 180–98. http://dx.doi.org/10.1177/1367549416638613.

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This article demonstrates how an analysis of fantasy femininity sheds light on how norms of gender, class and national identity reflect global and local cross-cultural currents in post-Soviet Russia. Drawing on a discourse analysis of women’s magazines and in-depth interviews with readers, it shows how, in the globalised post-Soviet cultural landscape, fantasy femininity represents both change and continuity. Feminine archetypes in women’s magazines, from fairytale princesses to Barbie dolls, reflect a wider post-Soviet cultural hybridisation and are an example of how Western women’s magazines have adapted to the Russian context. Furthermore, the article highlights readers’ ambiguous attitudes towards post-Soviet cultural trends linked to perceived Westernisation or globalisation, such as individualism, conspicuous consumption and glamour.
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Lee, Sang-Sook. "Marginalized Femininity and a Vacuous Archetype : A Study of Hyongmi Ryom’s Poetry." Studies of Korean Literature 68 (October 31, 2020): 567–600. http://dx.doi.org/10.20864/skl.2020.10.68.567.

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Zuseva-Özkan, Veronika B. "The Representation of the Amazons in The Exploits of Alexander the Great by Mikhail Kuzmin." Vestnik Tomskogo gosudarstvennogo universiteta, no. 460 (2020): 29–36. http://dx.doi.org/10.17223/15617793/460/3.

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The article considers the construction of the image of the Amazons by Mikhail Kuzmin in his romance The Exploits of Alexander the Great. The analysis of the romance in this aspect is performed in comparison with Kuzmin’s long poem “The Horseman”, which was written almost at the same time (both works were created in 1908) and in which another woman warrior appears. The aim of the study is to reveal the characteristics of the figures of female warriors in Kuzmin’s work and to determine their place in the artistic whole. The analysis is conducted at the boundary of historical and literary methodology, comparative and gender studies. The study has found that the relationship of The Exploits of Alexander the Great with its prototexts (literary, in particular with the Hellenistic Alexander Romance by Pseudo-Callisthenes, and historical, for example, the histories of Alexander’s deeds by Quintus Curtius Rufus and Diodorus Siculus) is such that Kuzmin mainly follows their event chains but makes new semantic accents. This shift in emphasis is due to the fact that the plot of the romance, same as of the poem “The Horseman”, becomes that of the mystery where the hero embarks on a journey towards the secrets of being, towards immortality and perfect love. Kuzmin creates the homoerotic mystery where there is no place for women, including the Amazons who do not follow any gender stereotypes and defy all “normative” representations of femininity. Moreover, the type of “masculine woman” is despised by Kuzmin, who is generally known for his misogyny, twice as much as the type of a “normative woman” since he deems it the poor imitation of a man. Hence is the fact that Kuzmin in many ways brings down the heroic, belligerent aspect of the Amazons’ image, in particular, while describing their pastoral lifestyle (not mentioned in the sources where their life is represented as that of a military camp) and focusing instead on their reproductive customs. Though Kuzmin reproduces a number of traditional topoi concerning the Amazons, he also introduces new elements and, in so doing, modifies the archetypal figure of the female warrior. He totally rejects the usual “romanticizing” of the Amazons. It is also very characteristic that this negative vector of change is built not only in the ethical (as is the case of “The Horseman”) but also in the aesthetic field. While in “The Horseman” three incarnations of the woman’s love, rejected by the hero, are ranked from lowest to highest, and the relationship with the woman warrior is deemed the worst type of love (since it is “love-hate”), this hierarchy does not seem to exist in the romance: the Amazons appear simply as one of female types and the relationship with them as a variant of the decidedly “imperfect” love. Thereby, Kuzmin relieves the specificities of the image of the Amazon and the female warrior in general. While in the works of other Russian Modernist writers the woman warrior is opposed to the other, “normal”, women, Kuzmin denies her any exceptionalism.
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Dissertations / Theses on the topic "Archetypal femininity"

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Barnett, Katrina. "Nine Lives: A History of Cat Women, Subversive Femininity, and Transgressive Archetypes in Film." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707290/.

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The intention of this thesis is to identify and analyze the cat woman archetype as a contemporary extension of the transgressive witch archetype, which rampantly appears over the course of cinema history, working as a signifier of a patriarchal society's fear of autonomous and subversive women. The character of Catwoman is the ultimate representation for this archetype on grounds of her visibility, longevity, and ability to return again and again. More importantly, Catwoman and her sisterhood of cat women work against male creators as a means of female empowerment through trickery. Within this thesis, key films of varying genres are drawn from throughout cinema history and analyzed in order to demonstrate the intertextual network of characters that make up the cat woman archetype, and the importance of the Catwoman character in her many forms.
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Tsai, Hsiao-Wen, and 蔡曉文. "Edward Hopper’s Depiction of Modern Femininity in the Light of Archetypal Women in Greek Mythology." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/25u8xc.

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碩士
國立臺北科技大學
應用英文系碩士班
101
This paper seeks to explore Edward Hopper’s depiction of modern women can be viewed as a remolding of the archetypal women in Greek mythology. To further discuss the recasting of female archetypes in modern American settings, I have collected fifteen poems which were inspired by Edward Hopper’s paintings. Also, I have translated these poems into Chinese, which has helped me in acquiring a deeper understanding of the texts. To make a comparison with six mythical females, the fifteen poems are divided into three categories in terms of the roles women have long been expected to play in our society. This paper thus conducts an analysis of both Edward Hopper’s paintings and the responses of contemporary poets to his portrayal of women. According to Carl Gustav Jung’s idea, the term “archetype” serves as a “collective unconsciousness” (3); a prime example of this is the complex characteristics Edward Hopper projected on his wife and only female model, Josephine Hopper (1883-1968), which bear resemblance to the images of modern women shaped by contemporary poets and the reflections of six women in Greek mythology: Penelope, with her astounding endurance to wait for her husband; Andromache, who lacks the authority to stop the outbreak of war yet knows better than anyone the reality of human limitations; the Sirens, with euphonious but deadly voices; the beautiful witch Circe, with her magic power to transform valiant sailors into dirty swine; the nymph Calypso, smothering a man with deceitful love; and the ferocious witch Medea, sacrificing her children in revenge for a man’s betrayal. Influenced by a strong sense of uncertainty and anxiety toward the rapidly changing society in America, Hopper’s paintings were generally based on the themes of loneliness and alienation. While stressing the indifferent relationships among modern people, Hopper used the color red to depict men’s desire and an inexplicable fear toward women’s rising self-awareness. This is perhaps best exemplified by Hopper and Josephine’s marital relationship, which was built upon reciprocal respect and mutual competitiveness. Thus, from Hopper’s special ways of depicting Josephine, this paper shows that Hopper’s art chronicled the dynamic changes in American gender relations.
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Astapencov, Neli. "Proměny genderových archetypů ve filmu Hořký měsíc." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-326358.

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The thesis deals with gender analysis in films studying metamorphoses of archetypes in film Bitter Moon directed by Roman Polanski. The methodical and theoretical sections of the thesis analyse the influence of archetype changes of film characters in gender roles. The thesis identifies and analyses mainly woman film characters appearing in some classical feminist texts, feminist film theoretical and critical articles, in some psychoanalytical works, in dramatheraphy and film science. The sources mentioned above became primary resource materials for our archetypal research. The analysis of each of the film character is focused on the most distinctive archetype with respect to its metamorphosy. Apart from the archetype research the thesis is marginaly concerned with problems linked to the female ideal and her sexuality usually portrayed in an unalterable way, and archetypal patterns are in such a way transmitted to audiences through femininity and masculinity in the context of gender roles. Keywords: archetype, Roman Polanski, Laura Mulvey, Annis Pratt, cinematic archetypal coherence, feminist film criticism, film narrative analysis, archetypal masculinity, archetypal femininity.
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Walz, Robert J. "William Wordsworth and the Great Mother : an object relation analysis of the archetypal feminine and poetry of the sublime /." Diss., 2001. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3036285.

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Kanrar, Nivedita. "Archetypes of Femininity in Shakespeare's Tragedies." Thesis, 2020. https://thesis.library.caltech.edu/13970/1/Nivedita%20Kanrar_Hallett%20Smith.pdf.

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Shakespeare’s works are renowned for the insight they present on the human condition. While his tragedies are defined by the journeys and suffering of male protagonists, the females of these tragedies contribute greatly to plot and character development. Though all the main female characters in Shakespeare’s tragedies die—or suffer fates worse than death—we can classify them in three types: villains, the perfect victims and tragic heroines. This classification, based on shared traits and outcomes, provides insight on the roles these women’s lives and deaths serve in the tragedies.
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Daňková, Andrea. "Genderová analýza vývoje ženských hrdinek v animované tvorbě Walta Disneyho." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-405760.

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The thesis addresses analysis of stories and narrative in relation to the subject of gender. This analysis primarily deals with fairy tale The Beauty and the Beast by Disney. The first part is about general theoretical basis for my thesis and about the most important authors in this field. Archetypes and logocentrism topics are dealt with partially as well. The foundations of the first part are however literary and motion-picture feministic theories, also the concept of the myth of beauty. In the practical part sequences of the The Beast and the Beauty are studied. Findings described in theoretical part is utilized here and the marked and subtle influence of androcentric culture on style and content of the story is shown.
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Brownell, Roseann. "Poems of the new archetypes Madonna, Venus, Eve, and the Witch." 2008. http://hdl.rutgers.edu/1782.2/rucore10005600001.ETD.17616.

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Books on the topic "Archetypal femininity"

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The moon and the virgin: Reflections on the archetypal feminine. New York, N.Y: Harper Perennial, 1994.

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The triple goddess: An exploration of the archetypal feminine. Grand Rapids, MI, USA: Phanes Press, 1989.

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Masculine and feminine: The natural flow of opposites in the psyche. Boston: Shambhala, 1992.

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The circle of nine: A new mythology of the feminine. London: Arkana, 1991.

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A, Johnson Robert. Lying with the heavenly woman: Understanding and integrating the feminine archetypes in men's lives. [San Francisco, Calif.]: HarperSanFrancisco, 1994.

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Woodman, Marion. Leaving my father's house: A journey to conscious femininity. Boston: Shambhala, 1992.

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Woodman, Marion. Leaving my father's house: A journey to conscious femininity. London: Rider, 1993.

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Medynsʹka, I︠U︡. Feminni arkhetypy ukraïnsʹkoho etnosu. Ternopilʹ: Ternopilʹsʹkyĭ nat︠s︡ionalʹnyĭ ekonomichnyĭ universytet, 2006.

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Medynsʹka, I︠U︡. Feminni arkhetypy ukraïnsʹkoho etnosu. Ternopilʹ: Ternopilʹsʹkyĭ nat︠s︡ionalʹnyĭ ekonomichnyĭ universytet, 2006.

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Thurman, Lyn. The inner goddess revolution: A practical and spiritual guide for women who want more from life. Winchester, UK: O Books, 2015.

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Book chapters on the topic "Archetypal femininity"

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Lan, Gao, and Shen Heyong. "Femininity in Chinese Culture Archetype and Complex." In Cultural Complexes in China, Japan, Korea, and Taiwan, 25–48. 1 Edition. | New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003007647-4.

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Şahin Gülter, Işıl. "The Legacy of the Terrible Mother Archetype in Post-War British Drama." In Advances in Linguistics and Communication Studies, 174–92. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-6458-5.ch009.

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The theatre provides the playwrights with a public platform through which they open up a more comprehensive framework to reinterpret the concept of the feminine. The chapter, in which translation remains a fundamental instrument that will be utilized to offer new interpretations to old ideas about the feminine, explores how the post-war British woman playwright Ann Jellicoe translates a women-related myth and reinterprets the concept of the feminine in The Sport of My Mad Mother (w.1958, r.1962). In this context, the chapter focuses on the concept of the Terrible Mother archetype which represents the female creative power as well as the potential for destruction in the play within a special reference to Jung's premises on the archetypal nature of the femininity and maternity. Thus, the chapter indicates that Ann Jellicoe, taking on board and challenging the perceived social, ideological, and psychological ideals of femininity, reclaims the legacy of the female strength.
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"The Construction of Femininity: An Archetype to Live Through." In Unzipping Gender. Berg, 2004. http://dx.doi.org/10.2752/9781847888952/unzipgend0014.

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Lindberg, Julianne. "Pal Joey Goes to Hollywood." In Pal Joey, 185–98. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051204.003.0009.

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The 1957 screen adaptation of Pal Joey—starring Frank Sinatra as Joey, Rita Hayworth as Vera, and Kim Novak as Linda—redeems Joey. Now a singer rather than a dancer, Joey genuinely falls in love with Linda. In the end Joey gets the girl. The film promotes a set of emerging gender archetypes that defy middle-class, suburban constructions of masculinity and femininity. Joey’s stage-to-screen evolution—from heel to swinging bachelor—is mirrored by Linda’s transformation from stenographer to sex kitten. Both of these archetypes are responses to what cultural theorists have called the postwar “crisis” in masculinity. The character Vera too is altered. As played by Rita Hayworth, she is tamed by Joey. The anxiety over contested gender roles is reflected in the alteration of the original score, which is reworked, repurposed, and in some cases eviscerated in order to promote the ethos of the film.
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"Masquerading as the Archetype: Images of Femininity in Miguel de Unamuno's Nada menos que todo un hombre." In Nuevas perspectivas sobre el 98, 251–60. Vervuert Verlagsgesellschaft, 1999. http://dx.doi.org/10.31819/9783964564771-023.

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