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Journal articles on the topic 'Shy heroine'

Author: Grafiati

Published: 26 July 2024

Last updated: 31 July 2025

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1

Wong, Bethany. "Cloaked Actress in Evelina and The Wanderer." Burney Journal 16 (December 31, 2019): 30–51. https://doi.org/10.26443/tbj.v16i.492.

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This essay revisits the apparent opposition between theater and the novel as well as the public actress and private heroine to identify what I call “virtuous theatricality” in Frances Burney’s conception of authorship. This term celebrates her complex appreciation for, and appropriation of, the theater and role playing in her novels. Building on recent work about celebrity actresses by Laura Engel, Felicity Nussbaum, Gill Perry, and others, I argue that Burney’s construction of authorial identity recalls the professional actress’s skillful negotiation between her public and private personas. F

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2

Ruengruglikit, Cholada. "The Meanings of the Horse-Faced Mask in the Story of Kaeo Na Ma." MANUSYA 8, no. 4 (2005): 63–77. http://dx.doi.org/10.1163/26659077-00804005.

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This paper aims to study the meanings of the heroine’s horse-faced mask in the story of Kaeo Na Ma. The two versions investigated here are the version composed by Prince Phuwanetnarinrit and that of the Ratcharoen written by Nai But and influenced by the former version. Since Prince Phuwanetnarinrit’s version firstly indicates that the heroine’s horse face can be removed, it is considered as a mask in this paper. Like other masks in Khon or masked drama, the horse face controls the behavior and personality of the wearer. This horse face not only signifies the heroine’s tomboyish manners as sta

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3

-, Fuza Churil Khurotul Aini, Khusnul Khotimah, and Wahyu Indah Mala Rohmana. "Traumatic Experience in the Novel "The Perks of Being a Wallflower." Channing: Journal of English Language Education and Literature 8, no. 1 (2023): 5–10. http://dx.doi.org/10.30599/channing.v8i1.1974.

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This research investigates an experience of past trauma experienced by the main character in the novel The Perks of Being a Wallflower by Stephen Chbosky's. Charlie as the heroine, a 17-year-old boy, has just entered high school. . He is the youngest of a family of three, two boys, one girl He is a very quiet and shy child who makes him have no friends. Her strangeness made friends at her school bully her. The researchers' goal is to investigate the main symptoms of trauma and describe the trauma experiences in this novel. The researcher's method is descriptive qualitative. Supporting data sou

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4

He, Min. "Imaging and Inventing Self: Constructing Heroines Through Translation in Late Qing China." Journal of Contemporary Educational Research 6, no. 10 (2022): 115–25. http://dx.doi.org/10.26689/jcer.v6i10.4419.

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A fad for female heroism emerged in the late Qing China as women were urgently mobilized to undertake the mission of ‘strengthening the nation and preserving the race.’ However, women reaching the modern standards of heroines were almost absent in China. Western heroines were then introduced into China as exemplars for Chinese women to emulate. The story of Madame Roland, the most prestigious Western heroine at that time, was appropriated to the political ends. The male-coded virtues of her were highlighted in conformity to the standards of heroines in late Qing China: hero-worship, patriotism

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5

Davis, P. J. "‘A Simple Girl’? Medea in Ovid Heroides 12." Ramus 41, no. 1-2 (2012): 33–48. http://dx.doi.org/10.1017/s0048671x00000242.

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For Homer's Circe the story of Argo's voyage was already well known. Although we cannot be sure that the Odyssey's first audience was aware of Medea's role in Jason's story, we do know that by the time that Ovid came to write Heroides, she had already appeared in numerous Greek and Latin texts, in epic and lyric poetry and on the tragic stage. Given her complex textual and dramatic history, it seems hardly likely that any Ovidian Medea could actually be ‘a simple girl'. And yet precisely this charge of ‘simplicity’ has been levelled against Heroides 12 and its Active author. I propose to argue

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6

Tolstosheeva, Daria B. "CROSSING THE MORAL BOUNDARY AS A PLOT-FORMING FACTOR IN “HARASSMENT” BY K. YARMYSH." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 10 (2024): 159–68. https://doi.org/10.28995/2686-7249-2024-10-159-168.

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The article studies how the principle of plot construction, based on the hero’s violation of moral norms, is implemented in practice. The portrayal of contradictory characters who make difficult moral choices, often wrong ones, is one of the main features of the novel genre. The plot is a chain of events, and an event is the character’s crossing of a certain boundary one way or another, and therefore the chronotope of the threshold (and perhaps not literally realized) becomes more important in the novel. The heroine of the novel “Harassment” constantly finds herself on the threshold of a moral

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7

Jatuthasri, Thaneerat. "Unakan: A Combination of the Images of Thai Hero and Heroine." MANUSYA 9, no. 2 (2006): 81–94. http://dx.doi.org/10.1163/26659077-00902005.

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Focusing on Unakan, the heroine in male disguise in Bot lakhon nai reung Inao, this paper aims at studying the roles and significance of her character that reflect the outstanding image of a heroine in Thai literature. In the story, Butsaba, the heroine, is disguised by her divine ancestor, Patarakala, as a young man named Unakan. The study reveals that Unakan possesses the characteristics of both hero and heroine. By portraying the roles as parallel to Inao, the hero of the story, Unakan is a great warrior and a dignified hero who has irresistible charm to women. She also searches for the los

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8

Shevchuk, Yulia V. "SEMANTICS OF THE MOTION IN ANNA AKHMATOVA’S LYRICS IN THE FIRST HALF OF THE 1910s." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 189–202. http://dx.doi.org/10.37816/2073-9567-2020-58-189-202.

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The paper suggests new interpretations of the meaning and structure of Anna Akhmatova’s early lyrics, in which “the moment of truth” for the heroine comes as if beyond consciousness, during movement and direct contemplation of the world. Free moving of a lyrical “self” by land and water either precedes the romance or provides a specific signal of a heroine’s spiritual rebirth afterwards. Thus, Akhmatova literally “goes beyond” usual woman’s poetic experience of love and separation: the heroine feels guilty about her earthly love; at the moment of a breakup she learns more about the pains of cr

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9

Leigh, Matthew. "Ovid, Heroides 6.1–2." Classical Quarterly 47, no. 2 (1997): 605–7. http://dx.doi.org/10.1093/cq/47.2.605.

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It is a characteristic of Ovid's Heroides for each epistle implicitly to establish the dramatic time, context and motive for its composition by the particular heroine to whom it is attributed. In this way the poet is able to exploit the tension between the heroine's inevitably circumscribed awareness of the development of her story and the superior information which can be deployed by a reader acquainted with the mythical tradition or master-text which dictates what is actually going to follow: Penelope hands over a letter to a man whom the reader familiar with Homer can identify as Ulysses ev

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10

Zuseva-Ozkan, Veronika B. "Yevgeny Zamyatin’s “hypertext” about the female warrior. Article II." Tekst. Kniga. Knigoizdanie, no. 28 (2022): 22–39. http://dx.doi.org/10.17223/23062061/28/2.

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The second article of the two-part cycle considers the most important element of Zamyatin’s “hypertext” about the female warrior, i.e., the tragedy Atilla. The author offers the genealogy of the play’s heroine, Il’degonda, from Brynhildr of the Poetic Edda and Wagner’s Brunnhilde to Ibsen’s Hjordis (The Vikings at Helgeland) and N. Gumilyov’s Lera (Gondla). The common elements of Atilla and variations of the story of the Nibelungs are analyzed in detail: the association with the Burgundian locus, the parallels between the main characters and wolves, the connection of the heroine to the mytholo

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11

Tang, Xiaoxian. "Analysis of the Awakening of the Heroine’s Female Consciousness in the Yellow Wallpaper." Journal of Education and Educational Research 4, no. 2 (2023): 150–56. http://dx.doi.org/10.54097/jeer.v4i2.10847.

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Charlotte Perkins Gilman’s The Yellow Wallpaper tells a story of the heroine who, due to postpartum depression, is sent by her husband to a remote country house to receive “rest cure”, during which the heroine is forbidden to engage in all activities, but she constantly resists and eventually goes insane. This thesis first analyzes the process of the awakening of the heroine’s female consciousness from three aspects: writing secretly, discovering the shadow and ripping the wallpaper. In addition, through the analysis of both internal factors and external factors this thesis aims to explore the

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12

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 hu

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13

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 (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 i

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14

Murgatroyd, P. "OVID'S HERMIONE: A KALEIDOSCOPIC HEROINE." Classical Quarterly 64, no. 2 (2014): 850–53. http://dx.doi.org/10.1017/s0009838814000317.

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Critics generally have not warmed to Heroides 8 (in which Hermione appeals to her husband, Orestes, to rescue her from Pyrrhus, who has claimed her as his promised bride, carried her off, and holds her prisoner). Jacobson opined that the poem is ‘not very successful’ and claimed that the lengthy argumentation is ‘rather boring, not to say sometimes silly and annoying’, while Palmer described it as ‘the feeblest and least poetical of all the Heroides’. However, scholars have largely neglected some typically Ovidian cleverness and complexity in kaleidoscopic play with character. Ovid's Hermione

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15

Brown, Julia Prewitt. "When She Was Good and the Eclipse of the Virtuous Heroine: A Revaluation." Philip Roth Studies 19, no. 2 (2023): 74–81. http://dx.doi.org/10.1353/prs.2023.a907261.

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Abstract: Beginning with a brief discussion of the lack of serious revaluations of Roth’s work amidst the scandal surrounding Roth’s biographer Blake Bailey, this essay considers the overlooked importance of Roth’s early satiric novel, When She Was Good (1967). The novel may be said to mark Roth’s lasting challenge to the Anglo-American tradition of the heroine distinguished above all by her virtuous character. Roth implicitly alludes to earlier saintly heroines in his portrait of Lucy Nelson, who, as she comes of age, ultimately embodies the apotheosis of what Harold Bloom has called “the her

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16

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

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17

Nazarenko, Ivan I. "Metaphysical self-identification of an emigrant woman in Vasily Yanovsky’s story "The Second Love" and Boris Poplavsky’s novel Apollo Bezobrazov." Vestnik Tomskogo gosudarstvennogo universiteta, no. 485 (2022): 44–52. http://dx.doi.org/10.17223/15617793/485/5.

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The aim of the research is to understand the “male” version of a woman in the prose of young emigrants: firstly, the metaphysical intuitions of female characters, and, secondly, the discovery of the metaphysical essence of a woman in the perception of characters and authors. The material of research is Vasilyy Yanovsky’s story “The Second Love” (1933) and Boris Poplavsky’s novel Apollo Bezobrazov (1932), and episodically Poplavsky’s novel Home From Heaven (1935). The main aspects of comparative analysis are the image of an emigrant woman (Yanovsky’s nameless heroine and Poplavsky’s Teresa) and

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18

Islam, Md Hasibul. "From Birangona to Barangona: Plight and Tragedy of a War Heroine in Letters of Blood." Integrated Journal for Research in Arts and Humanities 2, no. 5 (2022): 69–73. http://dx.doi.org/10.55544/ijrah.2.5.12.

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This paper aims to examine the relationship between a Birangona, and the men of a patriarchal social system in Rizia Rahman's novel Rokter Okkhor (1978), translated into English as Letters of Blood (2016) by Arunava Sinha. It also explores the notion of honor as it is awarded to the war heroines and how the notion quickly changes into an idea of stigma as Barangona, which means prostitute. Yasmin, the protagonist of this novel, goes through traumatic experiences of being raped, ravaged, and tormented for a few months during the liberation war of Bangladesh in 1971. After the war of independenc

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19

Lomova, E., A. Tsoy, Y. Arziyeva, and Z. Kokenova. "TYPOLOGY OF FEMALE CHARACTERS IN F. DOSTOEVSKY'S PROSE." POLISH JOURNAL OF SCIENCE, no. 79 (October 17, 2024): 42–46. https://doi.org/10.5281/zenodo.13943373.

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In the novel "Crime and Punishment" Ekaterina Ivanovna represents a contradictory and eccentric nature. She deliberately emphasizes her noble birth and forced presence among people of a lower social circle. The absence of the divine principle in Ekaterina Ivanovna's soul is also confirmed in the figurative structure of F.'s novel. Dostoevsky. She is legitimately compared with Rodion Raskolnikov's mother Pulcheria Alexandrovna. The image of Rodion Raskolnikov's sister Avdotya Romanovna is considered in literary studies to be one of the most vital and recognizable in real life. In Doona, as in R

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20

PHILIPS, DEBORAH. "Healthy Heroines: Sue Barton, Lillian Wald, Lavinia Lloyd Dock and the Henry Street Settlement." Journal of American Studies 33, no. 1 (1999): 65–82. http://dx.doi.org/10.1017/s0021875898006070.

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Sue Barton is the fictional redhaired nursing heroine of a series of novels written for young women. Recalled by several generations of women readers with affection, Sue Barton has remained in print ever since the publication of the first novel in the series: Sue Barton, Student Nurse, written by Helen Dore Boylston, was published in America in 1936. Neither the covers of her four novels now in paperback, nor the publisher's catalogue entry, however, acknowledge Sue Barton's age: “Sue Barton Series – The everyday stories of redheaded Sue Barton and hospital life as she progresses from being a

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21

Pope, Barbara Corrado. "A Heroine Without Heroics: The Little Flower of Jesus and Her Times." Church History 57, no. 1 (1988): 46–60. http://dx.doi.org/10.2307/3165902.

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Pope Pius X called Thérèse of Lisieux (1873–1897) “the greatest saint of modern times.“ For anyone who grew up in the pre-Vatican II church, she was the most popular model of virtue. Her “little way of spiritual childhood” showed Catholics how each of them could practice their faith and gain salvation. The “Little Flower of Jesus” was, above all, a saint for the ordinary person, a heroine without heroics, a mystic who did not soar but through her language brought God and her relationship to him down to earth.

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22

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

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23

Kelly, Michael. "Ovid's Portrayal of Briseis in Heroides 3." Antichthon 33 (November 1999): 77–80. http://dx.doi.org/10.1017/s0066477400002343.

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The third letter of the Heroides has long been appreciated for the consummate skill with which Ovid takes the Briseis of Homer's Iliad, where she is virtually a nonentity, and presents her in a new guise. By his masterly transformation of the enslaved girl into a lonely and desperate elegiac puella who is lost and bewildered in an epic world, he skilfully exploits the literary gulf between the two genres to produce a subtle masterpiece which can arouse only compassion for his heroine. There is, however, much more to appreciate in this letter than its poetic artistry.

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24

Dibakar, Pal M.Phil. "OF WHY." SSAR Journal of Arts Humanities and Social Sciences (SSARJAHSS) 1, no. 1 Sept-Oct (2025): 86–88. https://doi.org/10.5281/zenodo.14733257.

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<strong>Abstract:</strong> Generally, a heroine loves a hero. Now if a beauty queen loves an ugly guy then she faces thousands why. She may or may not care of it. Similarly, if a smart hero marries an unsmart poor girl then he faces other thousands why. The beautiful girls around become envious of the fortune of the ugly girl. They ill-fame the poor girl. The hero may not ask them why. It ignites their anger much. As such they curse the hero. In both the cases the persons involved i.e., hero and heroine do not care why. People say they do these just to draw attention. They want to come into li

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25

Mohammed Rashed, Ali. "הכנפיים שנשברו דמות האישה הערבית הנוצרית ברומן " חוצוצרה בוואדי " של סמי מיכאל לעומת דמותה ב " יסמין " של אלי עמיר The Broken Wings: The character of the Arab Christian |Woman in Sami Michael's Novel "Trumpet in the Wadi" versus "Jasmine" by Eli Amir". Journal of the College of languages, № 43 (2 січня 2021): 376–401. http://dx.doi.org/10.36586/jcl.2.2021.0.43.0376.

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סמי מיכאל ואילי עמיר - שני סופרים ישראליים ילידי עיראק ובני אותו דור (סמי מכאיל נולד בבגדד בשנת 1926 ואלי עמיר ב-1937). כתבו ברומניהם, בין השאר, על המזרחיות ועל האהבה ונשיות.ושניהם חיו חיים פרועים, מוחצנים. לא נרתעו מהתנסות בכל דבר חדש שנקרה בדרכם, מרדו במוסכמות ונהג באופן פרובוקטיבי, הם נהנו מהזעזוע והתדהמה, שהם מעוררים סביבם. מנסים למצוא את מקומם במסגרות משפחתיות שונות, לכן הם בחרו להציג שתי גבורות ערביות .ושתי הגיבורות הן בחורות נוצריות ערביות והן והדובר ברומן "יסמין" הוא דובר- בגוף ראשון , ב"חצוצרה בוואדי" הדוברת היא הודא הגיבורת , אך ביסמין הדובר הוא נורי – אלי עצמו. שניהם עצמאיים ולשניהם

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Asadov, Isa. "Symbolics of the novel “The Woman of Rome” by Alberto Moravia." Litera, no. 6 (June 2020): 11–17. http://dx.doi.org/10.25136/2409-8698.2020.6.32999.

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This article analyzes the novel &ldquo;The Woman of Rome&rdquo; (1947) by the Italian author of the XX century Alberto Moravia. As in his other novels, Moravia features a one reflexing character, creating an authorial intention in the oeuvre. The article examines special symbolics in the novel. The events take place in the 1940&rsquo;s, during the Fascism era in Italy: the heroine is a victim of indifference and cruelty of the society and her own weakness, inability to refuse material gains, defend her values and dreams. Emphasis is also made on interaction between the social class

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Po-Yu, Rick Wei. "“She is a Jade”:." Crossings: A Journal of English Studies 9 (August 1, 2018): 122–31. http://dx.doi.org/10.59817/cjes.v9i.112.

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This essay aims to study the images of a modern Faro lady in Georgette Heyer’s historical romance Faro’s Daughter. It is divided into three parts. The first part examines Faro ladies in the history and literature of Georgian England, and it compares Heyer’s heroine Deborah Grantham to them. The second talks about how Deborah embodies female virtues that are not appreciated by eighteenth-century gender law but are celebrated by feminist thinking such as Mary Wollstonecraft’s. The third shows that Deborah in Heyer’s work reflects the first-wave feminist thinking but does not follow all the trend

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28

Gilligan, Christina J. "“Interested by nobody but Mary Crawford”." Nineteenth-Century Literature 79, no. 3 (2024): 157–81. https://doi.org/10.1525/ncl.2024.79.3.157.

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Christina J. Gilligan, “‘Interested by nobody but Mary Crawford’: Identification and Critique in Mansfield Park” (pp. 157–181) Critics often characterize Jane Austen’s Mansfield Park (1814) as a conservative outlier in her oeuvre. In this article, I argue that Mansfield Park represents a shift not in Austen’s ethico-political commitments but rather in the way she affectively structures the novel in relation to the protagonist. While in Sense and Sensibility and Pride and Prejudice, Austen aligns merit and attention in her identificatory heroines, in Mansfield Park, she affords heroic attention

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Zhong, Zhenzhen. "An Analysis of the Image of Edna Pontellier in The Awakening from the Perspective of Feminism." Frontiers in Humanities and Social Sciences 4, no. 4 (2024): 93–103. http://dx.doi.org/10.54691/pr0wre94.

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Kate Chopin occupies an important place in the history of female literature. She is the forerunner of feminist literature. The Awakening is Kate’s one of the most famous works, which is about a dissatisfied wife’s resistance to her husband and society. This paper, mainly from the feminist perspective, analyzes and interprets Edna’s main characters in Kate’s The Awakening. First, it introduces Kate’s feminist thought, and the historical and cultural background of her works. Then from the feminist point of view, the thesis analyzes the heroine’s identities as wife, mother, and self, and how to p

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Hellyer, Cale Richard. "Harper’s Island: Negotiating a Masculine World to Become a Female Hero." Journal of Asia-Pacific Pop Culture 2, no. 2 (2017): 205–19. http://dx.doi.org/10.5325/jasiapacipopcult.2.2.205.

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Abstract This article will analyze the portrayal of the main character in the television program Harper’s Island, Abby, as a female hero. The term “female hero” will be used throughout because “heroine” has traditionally implied that female heroics are inherently different and less significant than those of males. This article will compare Abby to previous female heroes from a range of texts and establish her as an atypical female hero. The reason for using this show to analyze the female hero, which has had so many different interpretations and representations, is because Abby fits into the p

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31

Al-Khatib, Ms Dina, and Dr Yousef Awad. "Unfolding The Female Journey in Pynchon’s The Crying of Lot 49 and Alameddine’s An Unnecessary Woman." International Journal of Comparative Literature and Translation Studies 7, no. 2 (2019): 6. http://dx.doi.org/10.7575/aiac.ijclts.v.7n.2p.6.

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This study explores the representations of the female journey and its interconnectedness with female development in Thomas Pynchon’s The Crying of Lot 49 (1966) and Rabih Alameddine’s An Unnecessary Woman (2014). By re-visioning psychotherapist and author Maureen Murdock’s journey paradigm and condensing it into three essential stages (The Separation, The Descent and The Rebirth), this study maintains the applicability of the heroine’s journey to the two male-authored novels. Each heroine’s journey begins when she becomes conscious of the fact that she has been living on the margins of her own

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Widmer, Ellen. "A Source from Afar: Traces of Sarah K. Bolton’s Lives of Girls Who Became Famous (1886) in Tang Baorong’s Huang Xiuqiu (1905-7)." NAN NÜ 25, no. 1 (2023): 44–71. http://dx.doi.org/10.1163/15685268-02512018.

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Abstract How could lines from an American biography of educator Mary Lyon (1797-1849) have influenced the wording of the Chinese novel Huang Xiuqiu (1905-07)? Sarah K. Bolton’s (1841-1916) Lives of Girls Who Became Famous of 1886 entered Japan and was translated or adapted into several sets of biographies in Japan, among them one by Tokutomi Roka (1868-1927) in 1898, and another by Nemoto Shô (1851-1933) in 1906. From there they traveled to China on separate paths where they reappeared in translation or adaptation in Shijie shi nüjie (Ten heroines of the world; 1903, based on Tokutomi), and Zh

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Alexeeva, Marina G., and Vera A. Frolova. "The inner speech of a character as a way of penetrating the “imaginary” into the “real” (based on the material of the story by M. L. Kashnitz The Straw)." Izvestiya of Saratov University. Philology. Journalism 25, no. 2 (2025): 135–41. https://doi.org/10.18500/1817-7115-2025-25-2-135-141.

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The article deals with establishing the specific role of inner speech in a literary text as a tool for introducing the unreal into the real world, based on the example of the short story by M. L. Kashnitz The Straw. The authors rely on the idea of speech positions in the heroine’s internal dialogues with the absent or potential interlocutors; on the concept of active silence, which in fact means the actualization of the heroine’s idea; on the idea of restructuring the essence of the “I” in a complex process of autocommunication. The authors of the study use the continuous sampling method, the

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Maslov, Viktor. "The Genius of the Artist through the Prism of His Models." Philosophical anthropology 7, no. 1 (2021): 80–115. http://dx.doi.org/10.21146/2414-3715-2021-7-1-80-115.

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The essay, which consists of two parts, analyzes the female images of two great artists Botticelli and Picasso. The essay has the character of an art history study with memoir interweaves. In the first part, the author makes an attempt to decipher the genius of Botticelli using the technique of analyzing the prototype of the artist's heroine and comparing it with the image of a real woman, similar to the Botticelli model. The artist's genius is revealed through the type created by him, in a sense — invariant, of a beautiful woman, the spiritual and material image of which is repeated in realit

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Markov, Aleksandr V., and Oksana A. Shtayn. "‘POOR THINGS’ BY Y. LANTHIMOS. FAUST IN A PUPPET TOWN." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 2 (2024): 136–44. http://dx.doi.org/10.28995/2073-6401-2024-2-136-144.

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Y. Lanthimos’s Poor Things combines a thriller about a mad scientist and a palliata-inspired comedy of swaps. It is proved that apart from the general biopunk aesthetics, the assembly of the movie is carried out for the first time by this director through the introduction of the retcon (retroactive continuity) principle. At each new turn of the plot we encounter figurative thinking, varying the teachings of psychoanalysis about the afterwardsness (Nachträglichkeit), sustainability. Comic motifs are embedded in a situation of substituted consciousness, where the sea is realized as enclosed and

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Antal, Éva. "Rebellious Marys at the Crossroads: Self-development in Mary Wollstonecraft’s Novels, Mary and Maria." Eger Journal of English Studies 22 (2023): 81–97. http://dx.doi.org/10.33035/egerjes.2023.22.81.

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The context of the present article is my research on philosophies of female education and the questions of female Bildung in the eighteenth and nineteenth centuries in England. Female writings seem to rely on the theoretical background provided by the well-known male authors in order to present a critical and ironical reading. In my study, I highlight the ways of development expressed in the open and closed spaces in Mary Wollstonecraft’s novels. In the quite autobiographical Mary (1788), in accordance with the characteristic aversion to the household, the heroine feels at home in nature, or o

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Malton, Sara. "Incarnating Image." Religion and the Arts 26, no. 1-2 (2022): 89–111. http://dx.doi.org/10.1163/15685292-02601004.

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Abstract This essay examines the significance of Frederic Leighton’s illustrations of George Eliot’s historical novel of Renaissance Florence, Romola (1862–1863). Leighton’s illustrations form a crucial part of Eliot’s vision of her heroine’s movement toward spiritual liberation. Eliot and Leighton together figure this evolution as a pilgrimage that takes us from the Old Testament to the Gospel of John, concluding with one of the most significant moments in the life of Christ: his encounter with the Woman at the Well. Leighton’s depictions of the heroine and Eliot’s narrative powerfully combin

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Arif, Saffeen N. "Fairy-Tale Design and the Heroine’s Transition to the Ordinary World." Koya University Journal of Humanities and Social Sciences 6, no. 1 (2023): 56–64. http://dx.doi.org/10.14500/kujhss.v6n1y2023.pp56-64.

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Like many of her contemporaries, the fictional works of the Canadian writer Alice Munro can be read as a realistic portrayal of the people from her native Ontario, Canada, describing their set of beliefs, values, dreams, aspirations, fears, and apprehensions. A second way to evaluate this fiction is to approach it from a feminist perspective, shedding light on the question of women’s need to be free from the patriarchal rule. The aim of this article, however, is to consider the function of the fairy-tale framework by which Munro’s short story “Red Dress – 1946” is constructed. This fairy-tale

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Mazhiyeva, N., and N. Baltabayeva. "TEACHING THE IMAGE OF «HEROINES-GIRLS» IN EPICS IN UNIVERSITIES USING THE TECHNOLOGY OF CRITICAL THINKING." Bulletin of the Eurasian Humanities Institute, Philology Series, no. 1 (March 15, 2024): 263–75. http://dx.doi.org/10.55808/1999-4214.2024-1.20.

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The article discusses the importance of learning through the technology of critical thinking, based on the image of «heroines-girls» in Turkish epics. The typological features and similarities of the images of «heroines-girls» in epics are highlighted. The introduction describes the image of “girl heroines” common to the world and the Turkic peoples. They say that their courage and intelligence are preserved in the memory of the people. Examples were given that every action of a warrior girl in a certain song is worthy of a hero, which remained in the core of poets who have sung for centuries.

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Krupka, Myroslava. "FEMALE CHARACTER AS AUTHOR'S ALTER EGO IN IRENA KARPA'S NOVEL "GOOD NEWS FROM THE ARAL SEA"." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 11(79) (2021): 163–65. http://dx.doi.org/10.25264/2519-2558-2021-11(79)-163-165.

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The study investigates the problem of representation of the female image in the autobiographical paradigm of Irena Karpa's novel “Good News from the Aral Sea” because the tendencies of subjectivism describe the writer's work as a manifestation of generational and gender identities. Thus, the modern cultural process is marked by the active presence of writers not only through their texts, but also through various public activities and social networks, which allows the reader to have an idea of the author's private history and accordingly correlate it with artistic narrative. Therewith, the form

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Cao, Ying, Chong Han, Xiangdong Liu, and Adrian Hale. "‘She is like a Yakshini’." European Journal of Humour Research 9, no. 4 (2021): 110–30. http://dx.doi.org/10.7592/ejhr.2021.9.4.585.

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This paper looks at the importance of aggressive humour in the discursive construction of a ‘Yakshini’ character in a popular Chinese sitcom, Ipartment. The exaggerated, aggressive nature of such a stereotypical character undermines traditional cultural norms of Chinese femininity. Such characterisation of a heroine through aggressive humour in a popular sitcom reflects the fact that empowering women has become (or is becoming) more acceptable in contemporary China.

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Rimell, Vicky. "Epistolary Fictions: Authorial identity in Heroides 15." Proceedings of the Cambridge Philological Society 45 (2000): 109–35. http://dx.doi.org/10.1017/s0068673500002364.

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Heroides 15, Sappho's letter to Phaon, is an enigma in its present context for many different reasons. What is Sappho doing, heterosexualised, at the end of a string of elegiac epistles written by women plucked straight from myth and each given their fifteen minutes of fame? Despite the mythology that grew up around her, of which Phaon was a part, Sappho was a real woman and a real writer, the Greek love poet par excellence; not only that, she was and is a figure who, in her poetic persona at least, is famous for communicating her love for women, not for the local ferryman. This Sappho looks v

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Ahmetagić, Jasmina. "The case study by Slavenka Drakulić: Whose victim is Mileva Einstein?" Зборник радова Филозофског факултета у Приштини 50, no. 4 (2020): 3–17. http://dx.doi.org/10.5937/zrffp50-29483.

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By embedding the "theory of sadness" phrase in the novel's title (Mileva Einstein, a theory of sadness), Slavenka Drakulić suggests that she sees her heroine's life as a paradigm of melancholy and depression. By diving into the psychology of a woman who has been portrayed during the two decades as wilingless and gloomy, always lacking the sense of self-fulfillment, the author is trying to reveal the key drivers which are responsible for Mileva's humiliating life circumstances-non-assertiveness, suppression, adjustment, feeling of inferiority, inability to tolerate separation and addiction, as

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Marinčič, Katarina. "A wardrobe suitable for a virtuous pauper." Journal for Foreign Languages 11, no. 1 (2019): 315–25. http://dx.doi.org/10.4312/vestnik.11.315-325.

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The subject of this paper is not the influence of Pierre de Marivaux's La Vie de Marianne upon Samuel Richardson's Pamela (a question that has been widely discussed since the 18th century). In spite of some obvious similarities, La Vie de Marianne and Pamela are two profoundly dissimilar novels. Pamela is a tale with a happy ending and a clear moral message. La vie de Marianne is an unfinished tale and, as such, morally ambiguous by its very nature. However, at crucial moments of their stories, confronted with the first attempts upon their virtue, both heroines react in accordance with their s

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López-Narváez, Julia. "From mommet to ugly: An analysis of the linguistic duality and idiolect of Tess Durbeyfield in the Spanish translations of Tess of the d’Urbervilles." Hikma 20, no. 2 (2021): 177–202. http://dx.doi.org/10.21071/hikma.v20i2.13381.

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The current study aims at critically exploring the resulting identity of Tess of the d’Urbervilles’ main character, Tess Durbeyfield, in the Spanish translations through the analysis of her linguistic variation. Throughout the novel, Tess is characterised by a unique duality in linguistic variation, which shapes her identity. She is capable of using both dialectal and non-dialectal marks, which differentiates her from the rest of the novel’s characters. To reach thus the goal of this research, that is, to verify whether Tess Durbeyfield’s multifaceted identity is maintained in the Spanish tran

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Dr., K. S. Jaya Shree. "கலித்தொகையில் தோழியின் வாழ்வியல் / The Life of the Female Friend in Kalithogai". Pandian Journal of Women's Studies 5, SPL 1 (2) (2025): 439–47. https://doi.org/10.5281/zenodo.14752809.

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<em>There are many old traditions found in Sangam literature. In Sangam literature, love is the state where the minds of the hero and the heroine who fall in love are united. The one who supports the love of the leader and the beloved is the female friend. The Agam tradition calls the female friend ‘Nannar Makkal’. The female friend plays a special role in the life of the beloved. She acts as a medium between the leader and the beloved. She helps the beloved in her love life. No other information is known about the birth, marriage, or life of the female friend. She is seen as a cha

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Booth, Emily. "Love and Beauty on the Battlefield: Transcultural Influence and Transformation from Naoko Takeuchi’s <em>Sailor Moon</em> to Anglophone Young Adult Fantasy." International Journal of Young Adult Literature 5, no. 1 (2024): 1–22. https://doi.org/10.24877/ijyal.140.

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Despite the considerable popularity of the 1990s animated television series Sailor Moon around the world, English-language research has largely neglected the original manga. Naoko Takeuchi’s major success with the girls’ manga series, Pretty Soldier Sailor Moon (1991-1997), launched her into the spotlight in Japan and, to this day, its eponymous 14-year-old protagonist remains the quintessential ‘magical girl’ character. To understand the success of the series and, in particular, how Takeuchi’s innovations with the adolescent female heroine and her narrative journey resonated with young female

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Włodek, Roman. "Filmowa Łódź Jadwigi Andrzejewskiej." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 20, no. 29 (2017): 179–202. http://dx.doi.org/10.14746/i.2017.29.11.

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Before WWII, Jadwiga Andrzejewska 1915–1977) was among the most popular actresses in Polish cinema. During WWII she acted in the Dramatic Theatre of the Polish Second Corps. Returning to her hometown Łódź in 1947 Andrzejewska was initially perceived by the Polish authorities as politically uncertain. Her notable theatrical roles included the heroine in A Woman of Wonder and the heroine in Mother Courage and Her Children. Although she lived in Łódź – a capital of Polish cinema – her film career languished after the war. She had bit parts in about thirty feature films (among them television film

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Сязи, В. Л. "КОНЦЕПТ ГОЛОС В ПОЭЗИИ А.Р. ИШТИМИРОВОЙ-ПОСОХОВОЙ". Слово. Текст. Контекст, № 2(18) (1 жовтня 2024): 106–19. http://dx.doi.org/10.69571/pbsspu.2024.18.2.010.

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В статье представлен анализ концепта голос в поэзии А.Р. Иштимировой-Посоховой. Материалом исследования послужил сборник «В языках огня» (2021). Подобно концепту танец, голос выступает средством созда-ния образа лирического субъекта, медитативной лирики. Доказано, что голос является частым явлением в творчестве поэта, семантика его различна, много-гранна. Визуальный фон занимает первое место при создании поэтического тек-ста в поэзии автора, полифония голосов – второе. Большая часть поэтических произведений художника слова обращена к восприятию голоса окружающего мира, чем проявлению собственн

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Oberman, Rachel Provenzano. "Fused Voices: Narrated Monologue in Jane Austen's Emma." Nineteenth-Century Literature 64, no. 1 (2009): 1–15. http://dx.doi.org/10.1525/ncl.2009.64.1.1.

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The question of whose voice is speaking, the narrator's or the heroine's, is central in Jane Austen's Emma (1814), for although the two voices sound similar at points, the story that the heroine tells is but an incomplete part of the narrator's larger story. While Emma tells the story of her perceptions as they occur to her at the time, the narrator is telling the story of the gradual growth of Emma's consciousness. As the novel progresses, Emma's voice begins to resemble the narrator's in its ability to mix with another's consciousness. Her narrated monologues begin to incorporate others' voi

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