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Journal articles on the topic 'Villains in literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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1

Kaarsgaard, Stine Zink. "Når skurke digter helte hos Kierkegaard." Slagmark - Tidsskrift for idéhistorie, no. 65 (March 9, 2018): 73–90. http://dx.doi.org/10.7146/sl.v0i65.104130.

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The article is divided into three main sections. The article first considers the question of heroes and villains in Kierkegaard’s authorship broadly speaking. It then outlines the different roles of ‘the tragic hero’ which exposes the most explicit and repeated use of the word hero in Kierkegaard’s works. Finally it turns to the poet and reflects upon the double role of the poet as perhaps the closest we can get to a “villainish hero” in Kierkegaard’s authorship. ‘Heroes and villains’ is not something that is much discussed in Kierkegaard literature, and this fact foreshadows what may be an immediate suspicion; that there are none such as such in Kierkegaard’s works because the mere making of a hero (in language and image) always somehow withdraws the possibility of the hero from his or her own story. The only true hero in that sense may be the poet, because he makes life comprehensible, and yet as such he is also the only true villain, because he breaches between life and faith, making both appear but none for real.

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2

Schubert, Christoph. "Tarantino’s eloquent villains." English Text Construction 16, no. 2 (December 31, 2023): 119–43. http://dx.doi.org/10.1075/etc.22022.sch.

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Abstract Suspense as an aesthetic effect is a key narrative strategy of thriller movies, serving the function of entertainment for wide audiences. As the plot unfolds, arcs of suspense rely on triggering an appealing sense of anticipation that calls for a resolution. The present study examines the creation of suspense throughout fictional dialogue in Quentin Tarantino’s popular feature films Pulp Fiction (1994), Inglourious Basterds (2009), and Django Unchained (2012). In these movies, dialogic interaction is often dominated by eloquent villains who skilfully flout the conversational maxims of Grice’s cooperative principle, thereby exercising verbal power over other interlocutors. As is demonstrated in a qualitative pragma-stylistic framework, the villains’ discursive strategies amount to stylistic deviation resulting in suspenseful implicatures. In particular, suspense is commonly caused by digressing from current topics, by giving too little information or too many details, by being insincere or ironic, and by making equivocal or redundant statements.

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3

Liu, Rouxi. "Females Tragedy in Chinese Horror: Patriarchal Oppression in the Form of Marriage." Communications in Humanities Research 23, no. 1 (December 20, 2023): 111–16. http://dx.doi.org/10.54254/2753-7064/23/20230839.

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Chinese horror, a rapidly developed genre, is closely connected with customs and traditions. Women being the majority of ghosts and villains is a distinct feature of Chinese horror. This phenomenon is closely bonded with the Chinese cultural background, especially the ancient literature pieces and the yin-yang theory. As the sex belonging to yin, women villains contribute to the eeriness of the horror work, and this property also makes women easy victims in the story. The duality of the female victim and villain identity is portrayed in many works featuring female villains, as most of these women figures have tragic marriages and domestic life, and they want revenge. Typical forms of marriage-related suffering are domestic violence, arranged marriage, and posthumous marriage and human sacrifice. Through analyzing the elements above, this paper discusses female tragedy in Chinese horror works and its reflection of reality and showcases how different kinds of marriage-related sufferings of females serve as the manifestations of patriarchal oppression.

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4

LeBlanc, Ronald D., Faddei Bulgarin, Nikolai I. Grech, and Osip I. Senkovskii. "Villains No More, No More Villains: Rehabilitating the Evil Triumvirate." Slavic and East European Journal 38, no. 3 (1994): 493. http://dx.doi.org/10.2307/308853.

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5

Serra, Ilaria. "Villains Between History and Literature: The Year in Italy." Biography 43, no. 1 (2020): 101–8. http://dx.doi.org/10.1353/bio.2020.0016.

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6

Wearing, Robert, and Carmen A. Li. "Short sellers: Villains or scapegoats?" Corporate Ownership and Control 8, no. 2 (2011): 391–401. http://dx.doi.org/10.22495/cocv8i2c3p5.

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This paper discusses the role of short sellers and the concerns which are expressed in the news media about their activities. In particular, it examines the problem of optimism in analysts’ forecasts which might initially lead to ‘high’ share prices and the limitations of both agency and stakeholder theory in providing short sellers with a legitimate role. With the help of the existing empirical literature, we argue that short sellers can be regarded as carrying out a useful information function in financial markets. Indeed, encouraging short sellers to operate more effectively in the market as well as requiring fuller disclosure of their activities could provide a useful antidote to some of the share price rises which have been seen in recent years in failing companies

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7

Osipov, Daniil V. "Communicative Behavior of Mass Culture Icon Villain and the Influence on Destructive Behavior in Youth. Joker’s Case." Galactica Media: Journal of Media Studies 6, no. 1 (February 14, 2024): 156–71. http://dx.doi.org/10.46539/gmd.v6i1.418.

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This article examines the potential influence of iconic characters—villains of mass culture—on destructive and aggressive youth behavior. The cultivation of certain societal groups and individual media characters can lead to the normalization of hostility and violence. This study analyzes the communication styles, intelligence, motives, aggression levels, and violent actions of famous villains from films, television, and literature. Particular attention is paid to the Joker’s communicative behavior, dialogues, and language, examining how he psychologically manipulates others and conveys his destructive views through unconventional techniques. Using textual examples from comic books and films, it analyzes how the Joker’s language choices and performative style reflect his background and moral-anarchic worldview. His rhetoric provokes violent reactions from allies and enemies alike, highlighting his ability to destabilize situations. The presented portrait reveals a multi-layered understanding of this legendary creation in different epochs and contexts. The findings indicate certain villain traits that could potentially encourage impressionable youth to engage in harmful behavior. Overall, provocative fiction has a double-edged significance as it can both shape and mislead developing minds. Recommendations are made to reduce the negative effects of glamorizing villains in entertainment media.

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8

Murdoch, B. "Heroes and Villains. By Mike Alsford." Literature and Theology 21, no. 1 (March 1, 2007): 105–8. http://dx.doi.org/10.1093/litthe/frm005.

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9

Marshall, Bridget. "An Evil Game: Gothic Villains and Gaming Addictions." Gothic Studies 11, no. 2 (November 2009): 9–18. http://dx.doi.org/10.7227/gs.11.2.3.

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10

Roudometof, Victor. "‘Heroes’ and ‘Villains’: An Overview of Recent Literature on The Macedonian Question." South European Society and Politics 4, no. 1 (March 1999): 149–59. http://dx.doi.org/10.1080/13608740408539563.

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11

Bradbury, N. "Dickens's Villains: Melodrama, Character, Popular Culture." Notes and Queries 50, no. 1 (March 1, 2003): 135–36. http://dx.doi.org/10.1093/nq/50.1.135.

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12

Bradbury, Nicola. "Dickens's Villains: Melodrama, Character, Popular Culture." Notes and Queries 50, no. 1 (March 1, 2003): 135–36. http://dx.doi.org/10.1093/nq/500135.

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13

Powell, Robert. "Embracing Power Roles Naturally: Rand's Nietzschean Heroes and Villains." Journal of Ayn Rand Studies 10, no. 2 (2009): 371–98. http://dx.doi.org/10.2307/41560394.

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Abstract Because of Ayn Rand's problematic moral labels on her characters, Gail Wynand, not Howard Roark, should be her true Nietzschean hero. Wynand meets the criteria of both the Nietzschean Superman and Rand's Objectivism. Roark's false integrity taints his greatness and improperly vulgarizes him as a Nietzschean Superman. Rand problematically wants her heroes to accept the greatness of the Übermensch, but reject his natural existence and will to power. Dominique Francon should be her true Nietzschean villain, because, unlike Ellsworth Toohey, she enjoys the painful destruction of herself and others.

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14

Powell, Robert. "Embracing Power Roles Naturally: Rand's Nietzschean Heroes and Villains." Journal of Ayn Rand Studies 10, no. 2 (2009): 371–98. http://dx.doi.org/10.5325/jaynrandstud.10.2.0371.

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Abstract Because of Ayn Rand's problematic moral labels on her characters, Gail Wynand, not Howard Roark, should be her true Nietzschean hero. Wynand meets the criteria of both the Nietzschean Superman and Rand's Objectivism. Roark's false integrity taints his greatness and improperly vulgarizes him as a Nietzschean Superman. Rand problematically wants her heroes to accept the greatness of the Übermensch, but reject his natural existence and will to power. Dominique Francon should be her true Nietzschean villain, because, unlike Ellsworth Toohey, she enjoys the painful destruction of herself and others.

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15

Brown, Penny. "New heroes (and villains) for old? Conflicts in nineteenth-century French children‘s literature." Bulletin of the John Rylands Library 84, no. 3 (September 2002): 141–59. http://dx.doi.org/10.7227/bjrl.84.3.9.

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16

Lindahl, Carl. "Female Narrators, Protagonists, and Villains of the American Mountain Märchen." Fabula 52, no. 1 (June 2011): 2–16. http://dx.doi.org/10.1515/fabl.2011.002.

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17

Knoepflmacher, U. C. "BOY-ORPHANS, MESMERIC VILLAINS, AND FILM STARS: INSCRIBINGOLIVER TWISTINTOTREASURE ISLAND." Victorian Literature and Culture 39, no. 1 (December 7, 2010): 1–25. http://dx.doi.org/10.1017/s1060150310000240.

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Oliver Twist,the early novelwhich a twenty-five-year-old Charles Dickens published serially from 1837 to 1839, revised in the 1840s, and featured in the public readings he offered from 1867 until his death in 1870, might well have inspired the thirty-two-year-old Robert Louis Stevenson before he serialized his own first novel,Treasure Island, in 1882. There are, after all, remarkable similarities between the two texts. For each dramatizes a young boy's immersion in a counter-world headed by villains who defy the norms of a dubious patriarchal order. What is more, the strong spell that thieves like Fagin and Bill Sikes and pirates like Billy Bones and Long John Silver exert over the innocents they mesmerize infects readers of each narrative as well as viewers of their many cinematic adaptations. We thus face a quandary. Despite our empathy with little Oliver and with his adolescent counterpart Jim Hawkins, we may question each boy's reintegration into an order whose fissures have been radically exposed.

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18

Whitelam, Keith W. "New Deuteronomistic Heroes and Villains: A response to T.L. Thompson1." Scandinavian Journal of the Old Testament 9, no. 1 (January 1995): 97–118. http://dx.doi.org/10.1080/09018329508585060.

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19

Bowen, John. "Dickens's Villains: Melodrama, Character, Popular Culture (review)." Victorian Studies 45, no. 2 (2003): 352–53. http://dx.doi.org/10.1353/vic.2003.0074.

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20

Herda, David N., and John N. Herda. "TAKE THE GOOD WITH THE BAD: A GIRARDIAN RECOMMENDATION FOR AUDITING PEDAGOGY." Accounting Historians Journal 43, no. 1 (June 1, 2016): 158–63. http://dx.doi.org/10.2308/0148-4184.43.1.158.

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This essay considers the current state of the pedagogical auditing literature using a theoretical lens proposed by philosopher and literary critic René Girard. In extant pedagogical auditing cases that are based on historical events, auditors are often portrayed as villains. Presently, there are few pedagogical cases in which auditors are depicted as heroes. Appending the current literature with real world illustrations and accounts of auditors behaving virtuously would help balance the literature and improve the classroom experience for students. Moreover, these positive accounts should be memorialized in the auditing profession's history.

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21

Sengupta, Tiyasha. "Heroes and villains: multimodal identity construction in children’s wartime visual narratives." Multimodal Communication 10, no. 3 (December 1, 2021): 265–88. http://dx.doi.org/10.1515/mc-2021-0011.

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Abstract The article investigates the Self and Other binaries in wartime visual literature published in Bengali-language children’s periodicals in West Bengal, India during the Bangladesh Liberation Struggle 1971. The study applies a critical multimodal framework using the Social Actors Approach and Social Semiotics within the Discourse-Historical Approach. The binaries are defined by the representation and subsequent differentiation of physical, linguistic, and cultural features of the Bengali and non-Bengali social actors and through their actions in the plots. The representation of social actors in the texts conforms to as well as deviates from typical wartime propaganda.

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22

Bhugra, Dinesh. "Using film and literature for cultural competence training." Psychiatric Bulletin 27, no. 11 (November 2003): 427–28. http://dx.doi.org/10.1192/pb.27.11.427.

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Through novels and films, we learn about different portrayals of cultural norms and culture conflicts in different parts of the world. A basic tenet of training in cultural competence is that people become aware of the differences and similarities across cultures, allowing them to be more conscious of their own cultural world view, and also better able to deal with any differences and to learn from them. Reading novels and seeing films can help to develop trainees' humanism and capacity for understanding and so facilitate their learning about cultural competence (Fritz & Poe, 1979). One drawback of using films in this way is that the dramatic points in the stories may hinge on social stereotypes. For example, in several recent Hollywood blockbusters the British characters were portrayed as butlers, buffoons or villains using their accent and caricatured appearance to emphasise differences.

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23

Plachouri, K. M., and S. Georgiou. "Not only a Hollywood trend: the dermatological features of villains in classic and contemporary literature." British Journal of Dermatology 181, no. 3 (June 25, 2019): 592. http://dx.doi.org/10.1111/bjd.17782.

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24

Yoshioka, Chiharu. "Dialectic of Enlightenment in the 1960s Gothic Angela Carter's Heroes and Villains." Gothic Studies 8, no. 2 (November 2006): 68–79. http://dx.doi.org/10.7227/gs.8.2.5.

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25

Yoon, Wook. "Prosperity with the Help of “Villains,” 1776-1799." T’oung Pao 98, no. 4-5 (2012): 479–527. http://dx.doi.org/10.1163/15685322-984500a6.

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The late Qianlong period (ca. 1776-1795) has mostly been seen as the time when the Qing empire went from its pinnacle into its decline as the bureaucracy became bogged down in corruption. Heshen has come to epitomize late Qing venality and mismanagement. This article argues that, in reality, the Qianlong emperor employed Heshen and his associates in order to overcome the political crisis that marred the middle years of his reign. A balance of power was established whereby the cliques respectively represented by Akedun and Liu Tongxun and by Heshen held each other in check. It is also shown that the wealth that Heshen is alleged to have accumulated through his corrupt activities was far less than commonly believed, and that Heshen could not significantly abuse his political authority until about the time of Qianlong’s abdication, four years before his own demise. Les dernières années du règne de l’empereur Qianlong (de 1776 environ à 1795) sont la plupart du temps considérées comme celles où l’empire des Qing a entamé son déclin après avoir connu son apogée et où la bureaucratie a été engloutie par la corruption. Heshen en est venu à symboliser la vénalité et la mauvaise gestion de la fin des Qing. Cet article montre au contraire que Qianlong a recouru à Heshen et à son groupe dans l’espoir de surmonter la crise politique qui ébranlait le milieu de son règne. En se neutralisant mutuellement, les cliques représentées par Akedun et Liu Tongxun, d’une part, et Heshen, de l’autre, ont préservé l’équilibre au sein du pouvoir. Il est également démontré que la richesse accumulée par les pratiques corrompues de Heshen était bien moindre qu’on ne le croit usuellement, et que Heshen n’a pu abuser de son autorité politique de façon significative avant l’abdication de Qianlong, précédant de quatre années sa propre chute.

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26

JUNG, KEOYUL. "From Villains to Heroes: A Change in Bandit’s Image in Northeast China’s Literature of the 1930s." Journal of Modern Chinese Literature 86 (July 31, 2018): 141–67. http://dx.doi.org/10.46487/jmcl.2018.07.86.141.

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27

PRITCHARD, DAVID M. "Athletics in Satyric Drama." Greece and Rome 59, no. 1 (April 2012): 1–16. http://dx.doi.org/10.1017/s0017383511000210.

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Satyric drama introduced athletics much more regularly as an activity than either comedy or tragedy. Many of its villains defeated hapless travellers in a boxing or wrestling bout before murdering them. Satyr-plays were often set at athletic contests where the satyrs of the chorus encountered athletes or tried to be competitors themselves. In one of his plays Euripides provided the most detailed critique of athletes in any genre of classical Athenian literature.

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28

Nathans, Heather S. "Defying “Death at the Wheel”." TDR: The Drama Review 65, no. 2 (June 2021): 29–44. http://dx.doi.org/10.1017/s105420432100006x.

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Some obsessions stay with you for a reason. On its surface, Bertha, the Sewing Machine Girl; or, Death at the Wheel, a ludicrously named melodrama peopled with exaggerated heroines and villains, offers an example of the noncanonical, everyday fare that audiences consumed in playhouses throughout the 19th century. But the deeper I dug, the more questions I uncovered.

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29

Balsoy, Gülhan. "Crime, Gender, Sexuality: Female Villains in Late Ottoman Crime Fiction." International Journal of Middle East Studies 54, no. 1 (February 2022): 141–48. http://dx.doi.org/10.1017/s0020743822000058.

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In 1914, a Turkish novella depicting a young woman pressing a dagger to the throat of a bearded old man on its cover, with the title Bloody Fairy (Kanlı Peri), appeared for sale on bookshelves in the capital of the Ottoman Empire (Fig. 1). This relatively small book of fifty-four pages, with its price as low as 50 paras, was available to almost anybody who wanted to purchase and read it. Bloody Fairy was the first of a popular series of ten murder mysteries, National Collection of Murders (Milli Cinayat Koleksiyonu), written by Süleyman Sudi and Vassaf Kadri. On the back cover of the first book, the publishers promised readers that the series would tell matchless mysterious and murderous stories that “will arouse curiosity and excitement” (merak-aver ve heyecan-amiz ) among readers. This cover image must have been rather curious since popular crime fiction usually featured male protagonists as their central characters. In those books women were almost always the target, not the ones attacking men or committing crimes. A crime story featuring a female character leading a gang, not falling victim to a male criminal or being his lover, was not a figure that readers would expect. The preface of this book—and indeed the whole series—depicts countless oddities, strange events, enigmatic murders, and other crimes that had taken place in Istanbul during the prior twenty years. Many of these events were carried out by women. The authors write that although there was nothing astonishing in crimes committed because of a woman, women committing crimes was something never seen or heard of. Thus, they surely hoped that this extraordinary crime series about two female criminals would be a commercial success. On the back cover of the first book, they announced that the series would be published as two parts, comprising ten books each, and would be offered for sale as individual titles every Thursday. Unfortunately, their grand plans were never fulfilled; only the first ten books were published. Although the series is far from complete and we will never know about the authors’ plans to unfurl further crimes and mysteries, something wondrous eventually happened: these two authors, who were never among the canon of Ottoman Turkish literature, were discovered in the 2000s. In addition to National Collection of Murders, several of their other works have been transcribed and published. Süleyman Sudi and Vassaf Kadri, who yearned for popularity in the early 20th century, indeed became popular, albeit a century late.

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30

Vandenberghe, Marijn J. "Villains Called Sicarii: A Commonplace for Rhetorical Vituperation in the Texts of Flavius Josephus." Journal for the Study of Judaism 47, no. 4-5 (October 24, 2016): 475–507. http://dx.doi.org/10.1163/15700631-12340462.

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Examining the presentation of sicarii in Flavius Josephus’s Judean War from a rhetorical perspective, this article argues that each reference to sicarii alludes to the clauses of a Roman law concerning sicarii, which Josephus has used as a commonplace for rhetorical vituperation against particular groups. Three literary-rhetorical tendencies of War are highlighted to show how this vituperation, as well as the connection between War’s sicarii and the so called Fourth Philosophy, is part of a general rhetorical strategy to shift the blame for the outbreak of the violent conflict to one particular rebel group.

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Wagner, Tamara S. "SPECULATORS AT HOME IN THE VICTORIAN NOVEL: MAKING STOCK-MARKET VILLAINS AND NEW PAPER FICTIONS." Victorian Literature and Culture 36, no. 1 (March 2008): 21–40. http://dx.doi.org/10.1017/s1060150308080029.

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In THE WAY WE LIVE NOW (1875), the Melmottes’ origins remain a mystery that becomes increasingly irrelevant. Few of Augustus Melmotte's business partners venture to inquire too closely into the specious public faith in his financial integrity even as they prepare to extract the promising output of his highly speculative enterprises. On the contrary, a suspicion that their seemingly stable investments are as unsafe as they are spurious, that they bear the marks of risky speculation, accompanies the rise of the commercial Melmotte Empire from its beginnings. Close inquiry is not so much guarded against as shirked by those who wish to believe in it. When aristocratic would-be investors scramble for a seat on the boards of this “New Man,” they are therefore guilty not simply of nourishing a fraudulent financier whose history as a swindler they are well aware of, for Melmotte's connections to continental scams are notorious. Rather, they are building on ambivalent attitudes to the seemingly successful speculator. Just as the instability associated with speculation is conveniently embodied by an international man of mystery in the worst sense, it can also be exorcised just as easily by his self-destruction.

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32

Thompson, David G. "Villains, Victims, and Veterans: Buchheim's Das Boot and the Problem of the Hybrid Novel-Memoir as History." Twentieth Century Literature 39, no. 1 (1993): 59. http://dx.doi.org/10.2307/441638.

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Patterson, Ellesse. "‘Its West End and Its Whitechapel’: Jack the Ripper and Gothic London in John Francis Brewer’s The Curse upon Mitre Square: A.D. 1530–1888 (1888)." Gothic Studies 26, no. 1 (March 2024): 52–67. http://dx.doi.org/10.3366/gothic.2024.0185.

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This article analyses the cultural implications of the representation of Jack the Ripper in John Francis Brewer’s novel The Curse upon Mitre Square: A.D. 1530–1888 (1888). By examining how Brewer’s Ripper is positioned as a curse on London itself, this article maps the impact of the killer’s crimes on subsequent depictions of gothic London and its terrors. It further explores how the religious and national tensions surrounding the killer influenced Brewer’s depiction of Jack the Ripper as a British Catholic, contributing to a departure from both earlier portrayals of gothic villains as largely foreign and contemporary speculation that the actual Ripper was Jewish.

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Rhoden, Nancy L. "Patriots, Villains, and the Quest for Liberty: How American Film has Depicted the American Revolution." Canadian Review of American Studies 37, no. 2 (January 2007): 205–38. http://dx.doi.org/10.3138/cras.37.2.205.

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35

Long, Ryan. "God Is Round: Tackling the Giants, Villains, Triumphs, and Scandals of the World's Favorite Game by Juan Villoro." World Literature Today 90, no. 3 (2016): 110–11. http://dx.doi.org/10.1353/wlt.2016.0103.

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Ruano. "Dickens's Hyperbolic Style Revisited: Verbs That Describe Sounds Made by Animals Used to Report the Words of Male Villains." Style 52, no. 4 (2018): 475. http://dx.doi.org/10.5325/style.52.4.0475.

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37

Hume, Robert D. "The Morphology of Handel's Operas." Eighteenth-Century Life 46, no. 3 (September 1, 2022): 52–82. http://dx.doi.org/10.1215/00982601-9955324.

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Little scholarly attention has been devoted to the dramaturgy of Handel's operas, which seems secondary to musical and circumstantial matters of venue and performers. This article argues that important things can be learned by attempting to categorize, analyze, and assess the librettos in strictly dramaturgical terms. We need to ask whether there is coherence or development, and what Handel wanted in the librettos he set. Handel's operas have generally been categorized by date and/or venue. Winton Dean categorized them by “dominant temper,” characterized as “heroic or dynastic,” “magic operas,” and “antiheroic.” By implication, Handel approached each opera on a case-by-case basis, not much concerned with generic form. Ellen T. Harris critiqued Dean and offered a dialectical model, dividing the operas into “pastoral” and “heroic” groups. But if we ask “What is the ‘source of action’ within each plot?,” we find four largely distinct groups: (1) villain or villainess; (2) intrigue complexities; (3) situational donné; and (4) character display. After nearly fifteen years of plot structures driven by villains, Handel began to experiment with quite different plot designs (though he did not change librettists). Handel's operas comprise, structurally, a series of mostly static scenes in which intense feelings (ambition, lust, hope, fear, doubt, pain, remorse, etc.) are expressed. The happy-ending convention in opera seria renders plot resolution secondary. Handel's operas are essentially situational rather than plot driven. They use dramatic situations over and over (e.g., supplication, deliverance, abduction, remorse, enmity of kinsmen, self-sacrifice). Handel is far more concerned with intense expression of emotion than with telling a story. In all four types of Handelian opera, quasi-ideal heroes or heroines are featured. In (1) they are threatened by the machinations of a villain; in (2) they find themselves entangled in intrigue; in (3) they are caught in the toils of fate or circumstances; and in (4) the aim is mostly just display of heroic character. Handel's bent was for situation and emotion rather than narrative and resolution. Great and stageable as the best of Handel's operas are, the English oratorio offered him a genre ultimately more congenial to his talents and inclinations.

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Chebil, Sana. "The Gothic Representations of the City through the Fl?neur in Victorian Literature." International Journal of Language and Literary Studies 3, no. 4 (December 20, 2021): 259–67. http://dx.doi.org/10.36892/ijlls.v3i4.790.

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The Victorian Gothic moved away from old and conventional themes and spaces of early Gothic novels such as ruined castles and evil villains into more realistic spaces and characters that went hand in hand with the issues of the era. While the conventional Gothic space centered on the castle or other forms of old buildings, the city was an important component in Victorian Gothic imagery. In an era of growing mediation between the city and the urban dwellers, the gothic representations of the urban space in Victorian literature highly depended on the 'eye' of the its fl?neurs, or walkers who see, interpret, and produce the city. The fascination with modes of perceiving and seeing the mystery of the puzzling visual experience are evident in a wide variety of the nineteenth and twentieth-century theories and researches on the urban space. The focus of this paper is to graft some insights into debate on urban visuality and other related tropes that provide a range of perspectives on the field of the visual and perception of the city. Then, drawing from Victorian novels, this paper examines Dickens’s portrayals of urban subjects such as Gothic fl?neurs who produce the city as a Gothic place.

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Khan, Sikandar Hayat. "How good can HDL Cholesterol be? Recent Evidence and way forward for Clinical Practice." Pakistan Armed Forces Medical Journal 73, no. 3 (June 27, 2023): 605–06. http://dx.doi.org/10.51253/pafmj.v73i3.9771.

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The science of “Lipidology” is flourishing in endless ways. The services included under the lipid testingdo not provide generalised risk assessment for possibleatherosclerotic cardiovascular disease (ASCVD) butprovide specialised services, including genomic andmolecular biomarkers for personalised care. The seminal discovery of lipoprotein fractions seems like a stepnext door in the much wider cosmos of metabolomicsand proteomics, where knowledge of lipoprotein subfractions as villains or saviours seems like the trailer ofthe Larger Amphitheatre. Low-density lipoproteins(LDL) though differently defined in the literature, werecategorised as “large buoyant LDL” (lbLDL) and“small dense LDL” (sdLDL).1 Over time, the knowledge base evolved to incorporate different fractionsamong lipoproteins based upon size and density withhigh-density lipoproteins (HDL) to incorporate nascentHDL, HDL2 and HDL3

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Michel, Dieter. "Villains, victims and heroes: Contested memory and the British nuclear tests in Australia." Journal of Australian Studies 27, no. 80 (January 2003): 221–28. http://dx.doi.org/10.1080/14443050309387928.

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Piccini, Jon. "Heroes and Villains: The Rise and Fall of the Early Australian Labor Party." Journal of Australian Studies 37, no. 1 (March 2013): 142–43. http://dx.doi.org/10.1080/14443058.2012.757280.

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Reynolds, David S. "Deformance, Performativity, Posthumanism." Nineteenth-Century Literature 70, no. 1 (June 1, 2015): 36–64. http://dx.doi.org/10.1525/ncl.2015.70.1.36.

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David S. Reynolds, “Deformance, Performativity, Posthumanism: The Subversive Style and Radical Politics of George Lippard’s The Quaker City” (pp. 36–64) The most interesting American example of the genre known as city-mysteries fiction, George Lippard’s The Quaker City (1844–45), while rich in characters, stymies the novelistic stability conventionally provided by the struggles of heroes against villains in the mystery genre. Lippard’s style thus gets foregrounded as the locus of morality and politics, displaying an acerbic, presurrealistic edge. The current essay surveys linguistic and generic deformations (alinear narrative, irony and parody, bizarre tropes, performativity, and periperformativity) and biological and material deformations (posthuman images, including animals, objects, sonic effects, and vibrant matter) in The Quaker City to suggest how Lippard stylistically reinforces his goal of satirizing literary and social conventions and of exposing what he regards as hypocrisy and corruption on the part of America’s ruling class.

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Browne, Ray B. "The Dangerous Lover: Gothic Villains, Byronism, and the Nineteenth-Century Seduction Narrative by Deborah Lutz." Journal of American Culture 30, no. 1 (February 23, 2007): 140–41. http://dx.doi.org/10.1111/j.1542-734x.2007.00497.x.

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Udengwu, Ngozi, Ndubuisi Nnanna, and Nelson Obasi. "Women in Internally Displaced Persons’ camps, a halfway house or a purgatory? Discourse analysis of Embers and Preamble to Apocalypse." IKENGA International Journal of Institute of African Studies 23, no. 2 (June 30, 2022): 1–37. http://dx.doi.org/10.53836/ijia/2022/23/2/004.

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This is a study of two plays that are based on the abduction of 276 schoolgirls from Chibok Girls’ Secondary School by the Boko Haram insurgents. The plays, Preamble to Apocalypse by Fidelis Okoro (2016) and Embers by Soji Cole (2018), are here treated as a narrative continuum, which tracks the girls' abduction from their school to the Sambisa Forest, to the IDP Camps, and culminate in their degeneration into suicide bombers. The concepts of halfway house and purgatory are used to equate both the intended and the actual experiences of the girls, and sexual objectification theory is employed to underscore the causes of the traumatic experiences of the girls and argues that their radicalization is due more to their disillusionment with the government than with Boko Haram. There are three categories of characters in the plays - the abductors (villains), the rescuers (heroes), and the females (victims). However, as the narrative progresses, the line between terrorism and heroism blurs. The boundary between villainy and victimhood collapses. Apart from a close reading of the selected texts, the paper also draws supporting data from media reports that validate the literary accounts.

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Price, Thomas J. "The Changing Image of the Soviets in the Bond Saga: From Bond-Villains to “Acceptable Role Partners”." Journal of Popular Culture 26, no. 1 (June 1992): 17–38. http://dx.doi.org/10.1111/j.0022-3840.1992.00017.x.

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Adji, Alberta Natasia, and Athaya Prita Belia. "Falling for the Troll: A Children’s Literature Study on Holly Black’s Valiant: A Modern Tale of Faerie (2005)." Celt: A Journal of Culture, English Language Teaching & Literature 18, no. 1 (July 23, 2018): 166. http://dx.doi.org/10.24167/celt.v18i2.534.

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Monsters have always been a part of children fictional tales, representing the evil side of nature. They are the reason why heroes and heroines struggle to fight against, but at the same time they balance the whole realm, existing side by side with the heroes. There have been numerous children stories which depict the monsters as the villains, but they have rarely done so in portraying monsters as the wronged ones. In Holly Black’s Valiant (2005), the troll character named Ravus is presented as an outcast, a banished figure from his folk because of a misjudged rumor in his former kingdom. Unlike others who constantly challenge and trap humans, Ravus becomes a scholar who loves to explore his alchemy. He helps other outlaws to secure their well-being and health, even teaching Valerie the protagonist with her sword practicing, rescuing her whenever possible and eventually falling for her. The study highlights a new perspective on monstrous identity in a young adult book, making a counterpoint in presenting a fact that monsters can also be portrayed as very human and gentle instead of rude and dangerous.

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Curley, Stephen. "Hitchcock's Villains: Murderers, Maniacs, and Mother Issues EricSan Juan and JimMcDevitt. Lanham, MD: Scarecrow Press, 2013." Journal of American Culture 37, no. 3 (September 2014): 359–60. http://dx.doi.org/10.1111/jacc.12246.

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Yoeli-Rimmer, Nettah. "Jewish Villains and Basque Heroes: Ethnic Identities and National Narratives in Francisco Navarro Villoslada’s Amaya, o los vascos del siglo VIII." Bulletin of Spanish Studies 95, no. 7 (August 6, 2018): 795–813. http://dx.doi.org/10.1080/14753820.2018.1500743.

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Petit, Caroline. "Excessive Temper(ament), Flawed Character: On the Entanglement of the “Medical” and the “Ethical” in the History of Rhetoric." Journal for the History of Rhetoric 25, no. 1 (March 1, 2022): 31–55. http://dx.doi.org/10.5325/jhistrhetoric.25.1.0031.

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Rhetoric is a bodily art. “Character” itself is an emanation, or a translation of an individual’s physical nature: excessive, outlandish characters are used in ancient rhetoric as relevant examples of this connection. Starting from the controversial legacy of Mark Antony as an orator, this paper explores how medical theory underpins ancient rhetorical thought on the excessive orator and reveals the linkage of character, the body, and its environment. By reexamining the famous cases of Mark Antony, Cassius Severus, Maecenas, and Cicero himself in the light of Greek discourse on the effects of humoral imbalance on speech, I revisit the legacies of several heroes and villains of Roman oratory, as well as contemplate the enduring seduction of excess.

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NAM, Yoomin. "A Study on ‘Villainess’ Japanese Web Novels Using Textmining Method." Border Crossings: The Journal of Japanese-Language Literature Studies 16, no. 1 (June 28, 2023): 173–90. http://dx.doi.org/10.22628/bcjjl.2023.16.1.173.

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To this point, research on web novels has centered on male-oriented works, with the result that the analysis of a small number of works has been applied to all such novels. With this in mind, this study examines the sub-genre of Japanese female-oriented web novels and the role of the ‘Villainess’ by employing text mining, a digital analysis technique. The Villainess is a character who opposes a female protagonist in an ‘Otome game’ or a ‘Shojo Manga’. A Villainess plot involves a narrative that makes the Villainess, who is originally a supporting character in the story, the main character. The villainous girl protagonist originally lives in modern Japan, enters the world of games or cartoons through the same process involved in her previous life, and is reborn as a high-status villain character. This new world is one that the main character has already experienced through game play or reading in the previous world. Originally, the villainous young lady is a character who torments the heroine, so she is inevitably given a tragic fate according to the logic of evil and punishment. The main character, who is reborn as a villain, changes her fate based on the world of the original game or manga she knows, in order to escape from this unfortunate fate. By transforming the narratives of games and cartoons in this way, the villainous heroine affirms women who live their lives faithfully and independently without attaching importance to dating, and foregrounds the narratives of such women. In this dimension of transformation, we can read the desire of modern Japanese female readers who are often seen as afficianadoes of villainous characters.

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