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Netflix’s Bridgerton (2020-present) is a period drama of world-wide popularity dealing with the romantic adventures of the eight Bridgerton siblings. It takes places in the period termed the Regency – the British early nineteenth century. While creators have taken evident liberties with modernizing the setting in terms of music, costumes, and racial and cultural diversity, the show also combines modern, contemporary values about gender equality with the facts of the historical circumstances. The paper aims to explore how the heroines of Bridgerton fit into the roles of historical romance characters and how the historical setting serves to highlight contemporary beliefs.

Cet article considère les liens établis entre l’émotion et le genre dans le discours sur le théâtre aux XVIe et XVIIe siècles, à travers les héroïnes et les actrices, mais aussi à partir des spectatrices. Caractérisés par leur ambivalence, ces liens révèlent la portée morale et la dimension sociale des émotions ressenties au théâtre, rendent sensibles leurs évolutions et leurs variations et mettent en question le statut de la fiction dramatique et le partage genré des rôles., This article investigates the connections established between emotion and gender in the discourse on theatre in the 16th and 17th centuries, considering not only heroines and actresses, but also female spectators. Although these connections are ambivalent, they reveal the moral significance and the social dimension of theatrical emotions, bring to light their evolutions and variations and challenge the status of dramatic fiction and the gendered division of roles.

As a heroine in the novel of her own story, the Venezuelan author Teresa de la Parra (1889-1936), was an acknowledged noted novelist and gifted public speaker in her lifetime when she was invited to deliver three lectures in Bogotá and Barranquilla, Colombia, in 1930, and later in Cuba. The lectures were not published until 1961 in Caracas by the Venezuelan critic Arturo Uslar Pietri and I translated the lectures for the book, Teresa de la Parra: A Literary Life (Cambridge Scholars Publishing, 2012). The Tres Conferencias: Influencia de las mujeres en la formación del alma americana or Three Lectures: Women’s Influence in the Formation of the American Soul, described the important roles women played during the Conquest, Colonial, and Independence eras in Latin America. The Colombian Lectures represent her last work. In the 1970’s, when critics began to value women’s writing for its valuable contribution to literature, they began to read and value this author’s work that addressed female heroines. In these lectures de la Parra declared herself a “moderate feminist” as she highlighted the important roles the founding mothers played in Latin American history and in the formation of its ethos and culture. She wanted to uncover the hardships that had been imposed on women starting with the conquest of México. As Spain conquered more of the Latin American continent, women played important roles, but de la Parra pointed out that the stories of half the human race had been ignored by Latin American historians, who tended to write about battles and victories rather than the sacrifices and the heroic contributions of women. By recuperating the voices of the “founding mothers,” Queen Isabela, Ňusta Doña Isabela (el Inca Garcilaso’s mother) Doña Marina, Madre Castillo, Policarpa Salavarrieta, Manuela Sáenz and her contemporaries Delmira Augustini and Gabriela Mistral, de la Parra created a community of heroines. Resumen Como heroína en la novela de su propia historia, la escritora venezolana Teresa de la Parra (1889-1936), fue una reconocida novelista y talentosa oradora pública, cuando en 1930 fue invitada a dar tres conferencias en las ciudades de Bogotá y Barranquilla (Colombia), y posteriormente en La Habana (Cuba). Las conferencias no fueron publicadas sino hasta 1961 en Caracas, por el crítico venezolano Arturo Uslar Pietri. Pietri y yo tradujimos las conferencias para el libro, Teresa de la Parra: Una vida literaria (Cambridge Scholars Publishing, 2012). Las Tres Conferencias: Influencia de las mujeres en la formación del alma americana describieron los importantes papeles que desempeñaron las mujeres durante las épocas de conquista, colonial e independencia en América Latina. Las Tres Conferencias representan su último trabajo. En la década de 1970, cuando los críticos comenzaron a aceptar los escritos de las mujeres por su valiosa contribución a la literatura, comenzaron a leer y a valorar el trabajo de esta escritora quien escribía sobre las heroínas femeninas. En estas conferencias, de la Parra declaró ser una "feminista moderada" al resaltar los importantes papeles que desempeñaron las madres fundadoras en la historia latinoamericana y en la formación de su ética y cultura. Quería descubrir las dificultades que se habían impuesto a las mujeres a partir de la conquista de México. Mientras España conquistaba más del continente latinoamericano, las mujeres desempeñaban papeles importantes, pero de la Parra señaló que las historias de la mitad de la raza humana habían sido ignoradas por los historiadores latinoamericanos, quienes solían escribir sobre batallas y victorias en lugar de los sacrificios y los aportes heroicos que hacían las mujeres. Al recuperar las voces de las “madres fundadoras”, la reina Isabela, Ňusta la Doña Isabela (la madre del Inca Garcilaso) Doña Marina, Madre Castillo, Policarpa Salavarrieta, Manuela Sáenz y sus contemporáneas Delmira Augustini y Gabriela Mistral, de la Parra creó una comunidad de heroínas. Resumo Como heroína na obra que conta sua própria história, a autora venezuelana Teresa de la Parra (1889-1936) foi uma reconhecida romancista e palestrante talentosa, quando foi convidada para conduzir três palestras em Bogotá e Barranquilla, na Colômbia, em 1930 e depois em Cuba. As palestras não foram publicadas até 1961 em Caracas pelo crítico venezuelano Arturo Uslar Pietri e traduzidas por mim para o livro Teresa de la Parra: Uma Vida Literária (Cambridge Scholars Publishing, 2012). As Três Conferências: A Influência das Mulheres na Formação da Alma Americana (original: Tres Conferencias: Influencia de las mujeres en la formacíon del alma americana)descreveu os importantes papéis desempenhados pelas mulheres durante as eras da Conquista, Colonial e da Independência na América Latina. As palestras colombianas representam seu último trabalho. Na década de 1970, quando os críticos começaram a valorizar a escrita feminina por sua valiosa contribuição à literatura, eles começaram a ler e a valorizar o trabalho dessa autora que abordava heroínas do sexo feminino. Nessas conferências, de la Parra declarouse uma “feminista moderada”, ao destacar os importantes papéis desempenhados pelas mães fundadoras na história da América Latina e na formação de seu etos e cultura. Seu objetivo era descobrir as dificuldades que foram impostas às mulheres a partir da conquista do México. Conforme aEspanha conquistava os territórios do do continente latino americano, as mulheres passaram a desempenhar papéis importantes, porém, De la Parra aponta que metade dahistória da raça humana havia sido ignorada pelos historiadores latino americanos, que insistiam em recontar batalhas e vitórias , em detrimento do dos sacrifícios e os feitos heróicos das mulheres. Ao recuperar as vozes das “mães fundadoras”, Rainha Isabela, Dona Isabela (mãe do Inca Garcilaso), Dona Marina, Madre Castillo, Policarpa Salavarrieta, Manuela Sáenz e suas contemporâneas Delmira Augustini e Gabriela Mistral, de la Parra criou uma comunidade de heroínas.

This article uses recent findings from studies of women warrior and national heroes as an enduring and complex transnational and global phenomenon to re-examine the figure of the iconic Spanish example of such a figure: Agustina de Aragón. Specifically, it explores how and why she, and not others, was turned into a national hero, how Spaniards managed the subversion of gender roles that a woman warrior represented, the effect of her long outliving the events of 1808 that made her famous, and the extent to and ways in which her figure as a woman warrior circulated beyond Spain. Este texto se construye a partir de estudios recientes centrados en las mujeres guerreras y los héroes y heroínas nacionales como un fenómeno transnacional y global duradero y complejo con el fin de reexaminar la figura del icónico ejemplo español de Agustina de Aragón. De forma concreta se explora cómo y por qué ella, y no otras, se convirtió en una heroína nacional, cómo los españoles lograron la subversión de los roles de género que representaba una mujer guerrera, el impacto de su prolongada supervivencia a los acontecimientos de 1808 que la hicieron famosa y el alcance y las formas en que su figura como mujer guerrera circularía más allá de la propia España. Aquest text es planteja a partir dels recents estudis centrats a les dones guerreres i els herois i heroïnes nacionals com a un fenomen transnacional i global durador i complex amb la finalitat de reexaminar la figura de l’icònic exemple espanyol d’Agustina d’Aragó. De forma concreta explorem cóm i per què ella, i no d’altres, va convertir-se en una heroïna nacional, cóm els espanyols generaren la subversió dels rols de gènere que representava una dona guerrera, l’impacto de la seua prolongada supervivència als esdeveniments de 1808 que la van fer famosa i l’abast i les formes en que la seua figura com a dona guerrera circularà més enllà de la mateixa Espanya.

Pièces étudiées : - Cassandre on the road, Lina Prosa (Italie, 2003) => personnage : Cassandre- Medealand, Sara Stridsberg (Suède, 2009) => personnage : Médée- Ombre (Eurydice parle), Elfriede Jelinek (Autriche, 2013) => personnage : Eurydice

Scholarship on Italian nationhood has historically focused on heroes rather than on heroines, in line with the established gendered dialectical relationship between the female nation (who nurtures those who fight for her), and the male patriot, who both adores and possesses her. However, it is argued that Italian literary heroines prove at least as productive as heroes, if not more, when it comes to generating alternative views on the nation. This essay offers an introduction to a themed issue that aims to fill this scholarly gap in relation to ideas about the Italian nation and nationhood.

¿Qué tienen en común Isabel la Católica, Juana de Arco, Frida Kahlo, Coco Chanel y Marie Curie? Todas ellas fueron mujeres excepcionales, que destacaron en un momento histórico y se sobrepusieron a una sociedad que no favorecía el desarrollo de su talento por el mero hecho de ser mujer. A través de un viaje cronológico, Lourdes y Javier nos acercan al legado de 60 de las heroínas que, pese a no contar con el amor de la sociedad a la que pertenecieron, supieron liderar aprovechando los resquicios que encontraron. En este libro se rinde un homenaje a las mujeres que, olvidando las limitaciones artifi ciosas que les habían sido impuestas, fueron capaces de ilusionar, transformar su entorno, modifi car leyes, dirigir ejércitos, cambiar designios dinásticos, realizar descubrimientos, impulsar sueños y proteger a los suyos. Común a todas ellas fue la astucia y un sexto sentido que posiblemente tenga que ver con la capacidad de introducir en su base de datos cerebral tanto lo objetivo como lo emocional. Esa misma intuición ha determinado en algunas mujeres su vocación mística y su perseverancia infatigable que ha movido montañas de problemas en apariencia insalvables. Con un lenguaje directo y ameno, Lourdes y Javier nos sitúan en los vericuetos argumentales de historias increíbles, aproximándonos a ellas mediante la contemporanización de hechos y lugares antiguos, para que el lector tome conciencia de la percepción que los coetáneos tenían de estos y cómo dichas mujeres fueron capaces de enfrentarse a sus correspondientes obstáculos.

RESUMEN: El presente artículo aborda la peculiar obra de una mujer actual, que desde una técnica pictórica tradicional, elegante, figurativa, y fantástica, consigue transformar los símbolos del imaginario colectivo para narrar visualmente, de forma surrealista y crítica, sus preocupaciones y malestares hacía la sociedad actual, cada vez más alejada de la naturaleza. Utilizando un lenguaje pictórico que históricamente ha construido lo femenino como un objeto deseado, temido o adorado, Madeline von Foerster lo reconstruye desde su subjetividad, convirtiéndola en una heroína en defensa de la naturaleza. ABSTRACT: This article deals with the peculiar work of a current woman, from a traditional painting technique, elegant, figurative, and fantastic, manages to transform the symbols of the collective imaginary, to tell visually, in a surreal and critical way, today’s society made their concerns and discomforts ever more distant from nature. Using a pictorial language that historically has built the feminine as an object desired, feared or adored, Madeline von Foerster reconstructs it from its subjectivity, making her heroine in defence of nature.

Author(s): Ma, Iris | Abstract: Invented largely for urban audiences and widely circulated across multiple media, the image of the female knight-errant attracted unprecedented attention among writers, readers, publishers, and officials in the first half of the twentieth century. This article focuses on three best-selling martial arts tales published in Republican China (1912–1949), paying particular attention to their martial heroines. It also explores what granted the female knight-errant character such enduring popularity and how the writers—Xiang Kairan, Gu Mingdao, and Wang Dulu—garnered the interest of their readers. As the author points out, martial arts novelists drew on a long and rich genre repertoire formulated before 1911 while taking into consideration contemporary debates regarding gender, thereby maintaining the female knight-errant figure as a relevant and compelling construct. More importantly, the author argues, through portraying their martial heroines in relation to family, courtship, and female subjectivity, martial arts novelists resisted the prevailing discourse on Chinese womanhood of their times while imagining female heroism. Keywords: Republican China, Xiang Kairan, Gu Mingdao, Wang Dulu, female knight-errant, heroines, martial arts tale, genre repertoire, gender, female subjectivity, courtship

Submitted by Daiane de Cassia Martins Fazan (daiane.fazan@hotmail.com) on 2019-05-01T14:25:05Z No. of bitstreams: 1 Dissertação de Mestrado - Daiane Fazan (FINAL PARA A SUBMISSÃO- REPOSITÓRIO).docx: 2986541 bytes, checksum: 1bf406ee2799d80052d9ede6e2ff83e1 (MD5) Rejected by Elza Mitiko Sato null (elzasato@ibilce.unesp.br), reason: Solicitamos que realize correções na submissão seguindo as orientações abaixo Problema 01) É necessário que o arquivo contendo a sua dissertação esteja no formato PDF(Portable Document Format) e não esteja protegido. Problema 02) Falta a FICHA CATALOGRÁFICA (Obrigatório pela ABNT NBR14724) Após a defesa e as devidas correções (o)a aluno(a) deverá elaborar a sua ficha, acessando o Sistema Gerador de Fichas Catalográficas online. Na página da Biblioteca encontrará as informações necessárias: https://www.ibilce.unesp.br/#!/biblioteca/servicos-oferecidos/normalizacao/fichacatalografica/ Problema 03) A ordem correta das páginas pré-textuais (capa, folha de rosto, ficha catalográfica, folha de aprovação, dedicatória, agradecimentos, epígrafe, resumo na língua vernácula, resumo em língua estrangeira, listas de ilustrações, de tabelas, de abreviaturas, de siglas e de símbolos e sumário). Problema 04) A paginação deve ser sequencial, iniciando a contagem na folha de rosto e mostrando o número a partir da introdução, a ficha catalográfica ficará após a folha de rosto e não deverá ser contada, o termo de autorização não deve ser paginada. Problema 05) Nos agradecimentos, segundo a Portaria nº 206, de 4 de setembro de 2018, todos os trabalhos que tiveram financiamento CAPES deve constar nos agradecimentos a expressão exata: "O presente trabalho foi realizado com apoio da Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - Brasil (CAPES) - Código de Financiamento 001” Problema 06) A norma ABNT NBR 6023 não orienta subdivisões na REFERÊNCIA, sugerimos então que seja em lista única. Caso haja dúvidas, solicitamos que entre em contato com a Bibliotecária Luciane (luciane.passoni@unesp.br/fone: (17) 3221-2590) para mais esclarecimentos. OBS:-Estamos encaminhando via e-mail o template/modelo das páginas pré-textuais para que você possa fazer as correções, sugerimos que siga este modelo pois ele contempla as normas da ABNT. Lembramos que o arquivo depositado no repositório deve ser igual ao impresso, o rigor com o padrão da Universidade se deve ao fato de que o seu trabalho passará a ser visível mundialmente. Agradecemos a compreensão. on 2019-05-02T13:51:53Z (GMT) Submitted by Daiane de Cassia Martins Fazan (daiane.fazan@hotmail.com) on 2019-05-03T01:33:03Z No. of bitstreams: 1 Dissertação de Mestrado - Daiane de Cássia Martins Fazan.pdf: 3617209 bytes, checksum: f8817d27830f2ef63c9a30ccfdb236d1 (MD5) Rejected by Elza Mitiko Sato null (elzasato@ibilce.unesp.br), reason: Solicitamos que realize correções na submissão seguindo as orientações abaixo: Problema 01) Na FICHA CATALOGRÁFICA está faltando o nome da orientadora. Problema 02) Solicitamos que corrija a descrição na natureza da pesquisa(FOLHA DE ROSTO E APROVAÇÃO): Dissertação apresentada como parte dos requisitos para obtenção do Título de Mestre em Letras, junto ao Programa de Pós-graduação em Letras, do Instituto de Biociências, Letras e Ciências Exatas, da Universidade Estadual Paulista “Júlio de Mesquita Filho”, Câmpus de São José do Rio Preto. Problema 03) A ordem correta das páginas pré-textuais (capa, folha de rosto, ficha catalográfica, folha de aprovação, dedicatória, agradecimentos, epígrafe, resumo na língua vernácula, resumo em língua estrangeira, listas de ilustrações, de tabelas, de abreviaturas, de siglas e de símbolos e sumário), no seu arquivo a Lista de abreviaturas e siglas, está colocada após o sumário. Problema 04) O arquivo ficou com a página 38 em branco. Lembramos que o arquivo depositado no repositório deve ser igual ao impresso, o rigor com o padrão da Universidade se deve ao fato de que o seu trabalho passará a ser visível mundialmente. Agradecemos a compreensão. on 2019-05-03T13:16:08Z (GMT) Submitted by Daiane de Cassia Martins Fazan (daiane.fazan@hotmail.com) on 2019-05-03T13:33:22Z No. of bitstreams: 1 Dissertação de Mestrado em Letras - Daiane de Cássia Martins Fazan .pdf: 3616594 bytes, checksum: a8f9194430de47ace2b81cee672eb7b2 (MD5) Approved for entry into archive by Elza Mitiko Sato null (elzasato@ibilce.unesp.br) on 2019-05-03T14:32:17Z (GMT) No. of bitstreams: 1 fazan_dcm_me_sjrp_par.pdf: 355508 bytes, checksum: 6a59184bee7dc82c63a4ca36c00aa063 (MD5) Made available in DSpace on 2019-05-03T14:32:17Z (GMT). No. of bitstreams: 1 fazan_dcm_me_sjrp_par.pdf: 355508 bytes, checksum: 6a59184bee7dc82c63a4ca36c00aa063 (MD5) Previous issue date: 2019-04-05 Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) Este trabalho tem como objetivo analisar a construção das heroínas dos romances da escritora britânica Elizabeth Gaskell (1810 – 1865), intitulados Mary Barton (1848) e Norte e Sul (1854-55). Analisaremos as características encontradas na heroína, Margaret Hale, em Norte e Sul, e seu papel na sociedade da época em que a narrativa foi escrita – auge da Revolução Industrial – em que mudanças sociais e políticas foram tão relevantes e numerosas, em comparação com a heroína Mary Barton – que é uma costureira e filha de militantes das causas dos trabalhadores; ou seja, duas mulheres que lutam em diferentes contextos: Margaret, uma mulher da classe média e Mary, uma mulher da classe operária. Analisaremos a complexidade dessas duas personagens: Margaret Hale que, de acordo com nossas primeiras investigações, parece ter sido calcada em elementos biográficos da autora, e Mary Barton, que é a representação da militância e dos sindicatos no auge da industrialização. Tentaremos compreender os anseios dessas heroínas, que giram, principalmente, em torno da articulação entre princípios como fé e lealdade (características preponderantes em Margaret Hale) e lutas políticas (marcas que verificam-se em ambas as heroínas). Observamos que, ao longo da narrativa, Margaret Hale busca entender o ambiente em que vive e seus habitantes. Ao mesmo tempo, também procura encontrar para si um lugar político na luta entre patrões e empregados - pano de fundo da ação narrada (meados do século XIX). Mary Barton, por sua vez, quebra diversos paradigmas femininos, em meio às dificuldades financeiras e às agruras do trabalho têxtil. Desse modo, analisaremos a trajetória dessas duas mulheres com o objetivo de entender como a personalidade forte e militante de ambas é forjada literariamente, tendo em vista o processo de representação das personagens. This work aims at analyzing the construction of the heroines in the novels of British novelist Elizabeth Gaskell (1810-1865), Mary Barton (1848) and North and South (1854-55). We will study the traits of character of Margaret Hale, North and South’s heroine, and her role in the society of the time narrative has been written – the height of the Industrial Revolution – in which social and political changes were so relevant and numerous in contrast to the heroine Mary Barton who is a semastress and daughter of a worker’s cause militant; that is, two characters who are willing to fight in different contexts: Margaret, a middle-class woman and Mary, a woman belonging to the working class. We will look at the complexity of these two characters. Margaret Hale, who, according to our first investigation, seems to have been based on biographical elements of the author, and Mary Barton, who is the representation of militancy and trade unions at the height of industrialization. We will try to understand the longings of these heroines, which revolve mainly around the articulation between principles such as faith and loyalty (preponderant characteristic in Margaret Hale) and the political struggle (that permeate both heroines – Mary and Margaret). It is observed that throughout the narrative, Margaret Hale is commited to understand the environment in which she lives and its inhabitants, at the same time that she also seeks to find for herself a political place in the struggle between employers and employees – (the mid-nineteenth century). Mary Barton, on her side, breaks several feminine paradigms, amid the financial difficulties and the hardships of the textile work. Thus, we will analyze the trajectory of these two women with the objective of understanding how the strong and militant personality of both characters is forged literarily, in view of the process of representation of the characters. (CAPES) PROED 0747/2018

Tidigare forskning fastställer att medias användning av en sexualiserad kvinna påverkar uppfattningen av hennes kompetens. Det här arbetet har därför undersökt huruvida uppfattningen av en spelhjältinna, baserad på Lara-fenomenet av Jansz & Martis (2007), påverkas av sexualiserade kontra icke-sexualiserade gestaltningar av hennes kläder. Studien har med hjälp av enkäter granskat 4 utländska studenters mediekonsumtion för att se om detta hade ett inflytande på deras tolkningar av hjältinnans kvaliteter. Informanterna fick betrakta 2D bilder på en hjältinna i 4 olika kläd-förhållanden och bedöma hennes kvaliteter under gruppintervjuer. Resultatet visar att mediekonsumtion hade ett inflytande på deltagarnas ideal och att kvaliteterna smart, stark och attraktiv dömdes primärt efter hjältinnans anpassning till spelmiljön. 3 av 4 deltagare valde att spela som karaktären i förhållandet neutral underdel eftersom kläderna visade anpassning till spelmiljön och representerade ett aktuellt skönhetsideal. Framtida arbete bör undvika exponering för spelets klimat eller miljö för att se om andra resonemang förekommer. Previous research determines that media’s use of a sexualized woman affects the perception of her competence. This work has therefore investigated whether the perception of a game heroine, based on the Lara-phenomenon by Jansz & Martis (2007), is influenced by sexualized versus non-sexualized designs of her clothes. With the help of surveys, the study has examined 4 foreign students' media consumption to see if this had an influence on their interpretations of the heroine's qualities. The informants had to watch 2D images of a heroine in 4 different clothing conditions and assess her qualities during group interviews. The result shows that media consumption had an influence on the participants' ideals and that the qualities smart, strong and attractive were judged primarily by the heroine's adaptation to the gaming environment. 3 out of 4 participants chose to play as the character in the neutral bottom condition because the clothes showed adaptation to the gaming environment and represented a current beauty ideal. Future work should avoid exposure to the game's climate or environment to see if other reasoning occur.

Un nouveau levier identitaire Détachée depuis un demi-siècle du mariage et de la reproduction, la sexualité est reconnue plurielle et réflexive sous l’impulsion des mouvements d’émancipation en même temps que ses normes médico-sociales, comportementales ou genrées continuent de s’actualiser. Devenue « plastique » pour Anthony Giddens ou « autonomisée » pour Michel Bozon, c’est-à-dire détachée de sa fonction reproductive, la sexualité se trouve désormais chargée des micropolitiques identitaire...

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Piégée dans son foyer et dans la famille nucléaire classique, Samantha la sorcière était-elle totalement incapable d'émancipation ? Est-il possible pour les héroïnes de Sex and the City de réconcilier féminité et féminisme ? Les déceptions amoureuses d'Ally McBeal traduisent-elles le dernier sursaut d'un modèle romantique à bout de souffle ? Dans The Good Wïfe, Alicia Florrick, l'épouse trompée redevenue avocate, peut-elle redéployer des compétences juridiques dans sa vie amoureuse ? La fiction américaine a ceci d'extraordinaire qu'elle met en scène tout à la fois les idéologies et fantasmes de l'amour, les conflits entre hommes et femmes dans les espaces privés et publics (du monde du travail au couple et à la famille), les émotions et les intimités vécues des femmes. Ce livre noue un dialogue avec les théories féministes sans mettre de côté une sociologie de la conjugalité et de l'individualisme. Voici l'analyse la plus approfondie à ce jour des politiques amoureuses et féministes dans la fiction télévisuelle contemporaine. À Sienna, la plus inspirante de mes héroïnes.

L’intercompréhension comme remède à l’insatisfaction Que ce soit pour en dénoncer l’ennuyeuse répétition ou pour en montrer les difficultés, les sitcoms familiales attachent une grande part de leurs représentations aux tâches ménagères accomplies par les femmes. Certaines scènes s’attardent sur les travaux des femmes au foyer, montrant avec moults détails la préparation d’un gâteau ou présentant Samantha user d’une vitesse surnaturelle pour ranger la maison, tandis que les moments de relaxati...

Une émancipation malgré elles Au premier abord, on pourrait penser que la période 1997-2004 a été une enclave dans l’histoire de la fiction télévisée étasunienne. Sex and the City, Ally McBeal ou Alias achevées, aucune héroïne ne semble avoir repris explicitement l’étendard du féminisme. Toutefois, les femmes n’ont pas complètement disparu du petit écran, même si leur succès critique et public est incontestablement plus modeste. À partir de 2004, ce sont les quadragénaires qui intéressent la ...

Les héroïnes ne sont pas des passagères clandestines au pays des séries télévisées. Elles ne sont pas d’étranges singularités à qui l’on concéderait depuis peu un petit territoire en raison d’une supposée complexification des récits, de l’acceptation de l’« égalité des sexes » ou de politiques contemporaines de représentations des minorités. Les héroïnes sont, en réalité, un pilier originel de la télévision. On réalise finalement peu à quel point les personnages féminins ont participé conjoin...

Preuve que les subversions n’apparaissent pas toujours là où on les attend, une rupture majeure est apparue dans les représentations télévisuelles avec une série au titre en apparence très conservateur. The Good Wife, diffusée sur le network CBS, met en scène une femme au foyer des plus classiques, confrontée aux scandales financiers et surtout sexuels de son époux politicien et, par là même, à une humiliation publique à laquelle son activité jusqu’ici circonscrite à la sphère privée ne l’ava...

Desperate Housewives : les émotions dangereuses Quelques mois après la fin de Sex and the City, le network ABC commence la diffusion de Desperate Housewives, dont le genre, entre drama et soap opera, privilégie une approche simultanément stratégique et émotionnelle de récits portés sur la face cachée du rêve américain. La série repose tout d’abord sur la subversion de l’image de la parfaite femme au foyer si présente dans les séries télévisées des années 1950 et ambitionne de révéler les écar...

Du personnel politique à la politique individualiste Résumons. Pour Bonnie Dow et Angela McRobbie, l’adage de la deuxième vague féministe, « le personnel est politique », a été dévoyé en un « le politique est personnel », déplaçant les problèmes structurels rencontrés par les femmes dans l’univers privé. Le responsable principal en est le postféminisme qui dévalorise l’action collective et la politique militante au profit d’un cadre individualiste centré sur ego et d’une réduction de toute co...

De « nouvelles “nouvelles femmes” » aux identités sensibles Au milieu des années 1990, sous l’impulsion d’une troisième vague féministe qui s’attache à déconstruire le genre et à intégrer les thématiques de diversité, la télévision étasunienne opère un tournant en proposant massivement des héroïnes héritières des avancées fragiles de la deuxième vague. À partir des années 1990, ces personnages prennent un tournant réflexif : les femmes représentées sont supposément détachées des structures tr...

Les femmes, un nouveau marché pour les annonceurs Les femmes ont très tôt été un marché important pour les annonceurs du fait de leur influence sur les achats domestiques. À la fin des années 1970 néanmoins, les grands networks affrontent une chute d’audience importante qui va progressivement les amener à rediriger leurs attentes vers les femmes actives : non seulement le marché est rendu plus vaste et instable du fait du développement des chaînes du câble, mais en plus le déplacement des fem...

Cinquante ans se sont écoulés entre les fugues répétées de Lucy Ricardo et le désespoir enfin exprimé de Lynette Scavo. Quarante ans sont passés depuis les pouvoirs d’une sorcière bien-aimée, métaphore de capacités d’agir bridées, jusqu’à ceux d’une Tueuse de vampires qui la condamnent à la solitude. Dix ans seulement séparent l’avocate névrosée Ally McBeal, qui rêve d’un couple absolument fusionnel, de la « bonne épouse » Alicia Florrick, femme bourgeoise qu’une tromperie rendue publique a r...

El objetivo central de este artículo es mostrar las variadas y complejas relaciones entre el uso de la fuerza física y la feminidad. Se analizan las concepciones culturales sobre las mujeres dedicadas al ejercicio sistemático de la violencia corporal y letal en historias de ficción televisivas de acción. A partir del caso paradigmático de la serie estadounidense Nikita, realizada en 2010 y transmitida en varios países de Latinoamérica, ofrecemos una mirada crítica de las visiones clásicas que explican la fuerza física como marca exclusiva de masculinidad. La musculación física, la destreza aeróbica, la activación sexual y la autonomía de las mujeres respecto de los protagonistas varones en historias ficticias de acción colaboran a construir una narrativa de expresión de la feminidad contemporánea., The central subject of this article is to show the varied and complex relationships between the use of physical force and femininity. In this regard,we analyze the cultural conceptions of women dedicated to the systematic exercise of corporal and lethal violence in action TV series. Based on the case of the paradigmatic TV series Nikita, produced and aired in 2010, we offer a critical review to the classic visions that explain physical force as a masculine exclusive brand. Physical fitness, aerobic ability, sexual activation and the empowerment of women in respect of male protagonists in action fictions contributes to build a narrative expression of contemporary femininity., Facultad de Humanidades y Ciencias de la Educación

Rocznik "Yearbook of Conrad Studies (Poland)" jest czasopismem naukowym poświęconym badaniom and twórczością i recepcją Josepha Conarada. Ukazuje się w języku angielskim od 2005 r., nakładem Wydawnictwa Uniwersytetu Jagiellońskiego, dzięki finansowaniu przez Wydział Polonistyki UJ. Podmiotem merytorycznie odpowiedzialnym za jego redagowanie jest Ośrodek Dokumentacji i Badania Twórczości Josepha Conrada UJ.

Au sein de la production artistique des cinéastes en Amérique du Nord, dans une industrie encore dominée par des voix et des regards masculins, un nombre croissant de récits mis en scène par des réalisatrices « multiculturelles nord-américaines » est apparu à partir des années 90. Cette décennie marque ainsi l’émergence des premiers documentaires et de quelques longs métrages réalisés par des femmes en diaspora telles que la cinéaste féministe montréalaise Eisha Marjara. Son autobiographie « fictionnalisée », mettant en scène des modèles de femmes protagonistes que l’on pourrait qualifier d’héroïnesen diaspora, permet d’examiner des imaginaires cristallisant des rapports sociaux imbriqués en et horsdiaspora., Among artistic productions of directors in North America, in a film industry still largely dominated by masculine voices and gazes, there has been, since the 90s, a growing number of narratives by « North American and multicultural » women filmmakers. This decade is marked by first-time documentaries and feature films directed by women in Diaspora such as Montreal feminist filmmaker Eisha Marjara. Her « fictionalized » autobiography showcasing female characters as models that could be characterized as heroines in Diaspora, is examined to better understand how social imaginaries are formed by the imbrication of social « rapports », within and outside the Diaspora., Dentro de la producción artística de los cineastas norteamericanos(as), en una industria todavía dominada por las voces y miradas masculinas, un número creciente de relatos protagonizados por las realizadoras « multiculturales de América del Norte » surgió de la década de 1990. Esta década marca así el surgimiento de los primeros documentales y de algunos largometrajes realizados por mujeres en la diáspora tales como Eisha Marjara, cineasta feminista de Montreal. Su autobiografía novelada, con modelos de mujeres protagonistas que podrían ser llamadas heroínas en la diáspora, nos permite examinar imaginarios que cristalizan las relaciones sociales incrustadas dentro y fuera de la diáspora.

Although in the letters he sent from his numerous journeys, he emphasised how difficult he was finding his separation from home and his birthplace, it was precisely for these frequent visits to world theatres that Puccini had an opportunity to see popular pieces of the time and keep pace with the trends of the most important stages in Europe and America. This is the reason Puccini, like many a contemporary, was captivated by Exoticism and Orientalism, the movements that became popular in European art with lightning speed. As an artist with an exquisite sense of theatre, he immediately realised how attractive to the audiences these 'differences' would be, both in visual and music sense, and created his 'exotic' operas Madama Butterfly, La fanciulla del West and Turandot.

When a jobless and recently literature graduated realizes that he and his monkey are the only males on Earth begins the narrative of Y: The Last Man by Brian K. Vaughan and Pia Guerra. This post-apocalyptic scenario where women are protagonists of all relationships serves as a starting point for analyzing the representation and gender relations present in comic books, a subject that has been gaining prominence nowadays. The graphic novel was used as a corpus to discuss the impossibility of a unique story for women and their identities as characters. For this, will be used the gender perspectives from Joan Scott and Judith Butler and the discussions about gender and race from bell hooks. Quando um jovem desempregado e recém-formado se dá conta de que ele e seu macaco de estimação são os únicos seres do sexo masculino na Terra se inicia a narrativa da graphic novel Y: O Último Homem, de Brian K. Vaughan e Pia Guerra. Este cenário pós-apocalíptico serve como ponto de partida para analisar a representação e as relações de gênero presentes nas histórias em quadrinhos, temática que vem ganhando destaque na atualidade. A graphic novel serviu como corpus para se discutir a impossibilidade de uma narrativa única no que diz respeito às mulheres e suas identidades como personagens. Para isso, serão utilizadas as perspectivas de gênero a partir de Joan Scott e Judith Butler e as discussões sobre gênero e raça de bell hooks.

En octubre de 2016 la ONU anunció que había elegido a Wonder Woman como embajadora de honor. Este nombramiento se enmarcaba en una campaña mundial en favor de la igualdad de género. La misión de Wonder Woman (WW) era actuar como referente para aquellas mujeres y niñas que se hallan en situaciones de opresión. Es decir, se proponía que WW fuese un referente transformador para una buena parte de la humanidad.

Second volet de la série "Clés du Viêt-Nam contemporain". Nous proposons une plongée biographique dans l'histoire tumultueuse du Viêt-Nam au XXe siècle à travers la sélection d'une centaine de personnalités.

This article deals with the peculiar work of a current woman, from a traditional painting technique, elegant, figurative, and fantastic, manages to transform the symbols of the collective imaginary, to tell visually, in a surreal and critical way, today’s society made their concerns and discomforts ever more distant from nature. Using a pictorial language that historically has built the feminine as an object desired, feared or adored, Madeline von Foerster reconstructs it from its subjectivity, making her heroine in defence of nature., El presente artículo aborda la peculiar obra de una mujer actual, que desde una técnica pictórica tradicional, elegante, figurativa, y fantástica, consigue transformar los símbolos del imaginario colectivo para narrar visualmente, de forma surrealista y crítica, sus preocupaciones y malestares hacía la sociedad actual, cada vez más alejada de la naturaleza. Utilizando un lenguaje pictórico que históricamente ha construido lo femenino como un objeto deseado, temido o adorado, Madeline von Foerster lo reconstruye desde su subjetividad, convirtiéndola en una heroína en defensa de la naturaleza.

Orientador: Luiz César Marques Filho Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas Resumo: Partindo de uma obra presente no acervo do Museu de Arte de São Paulo (MASP), O suicídio de Lucrécia, de Guido Reni, a presente dissertação persegue os possíveis sentidos assumidos ao longo do tempo pela protagonista do evento histórico que nomeia a obra, na intenção de iluminar as opções realizadas pelo pintor bolonhês ao produzi-la, entre 1625 e 1642. Famosa dama romana, Lucrécia teria se suicidado em 509 a .C, num episódio atribulado que demarca o início da República romana. De imensa repercussão posterior, a narrativa da desventura de Lucrécia aparece em um sem número de textos e imagens da Antiguidade até o século XVII. Do ponto de vista da pintura e da literatura italiana em âmbito renascentista, grandes nomes se dedicaram a explorar o tema, e Guido Reni o fez repetidas vezes, criando com isso um modelo de representação da heroína, que teve ampla repercussão posterior, particularmente entre os demais artistas emilianos do Seiscentos. A investigação se desenvolveu tendo como norte inquietações suscitadas pela popularidade do tema no Seiscentos, por sua extensa repetição na obra de Reni, e também pela as escolhas do pintor ao representar Lucrécia em profundo sofrimento, sozinha e seminua. Para tentar dar conta destas questões, foram mobilizadas fontes antigas, textos literários, dramatúrgicos, filosóficos, diversas obras de pintura e fundamental bibliografia secundária. O resultado desta revisão é o percurso iconográfico aqui proposto, que destaca o intervalo entre os séculos XIV e XVII, esforçando-se por explorar a intrincada rede de significados mobilizada pela personagem, e as leituras políticas, morais e eróticas que são feitas de sua história Abstract: Taking as a starting point the Suicide of Lucretia by Guido Reni of the Museu de Arte de São Paulo (MASP), the present work aims to pursue the possible meanings that the historical event portraited has assumed through time. This will be done by seeking to enlight the choices made by the painter when producing the MASP painting, between 1625 and 1642. Lucretia was a famous Roman lady that committed suicide in 509 b.C, in a turbulent episode that marks the beginning of Ancient Roman Republic. The narrative of the misfortunes of Lucretia had tremendous resonance, and she features a significant amount of texts and images from Ancient times to the XVII century. Great names of literature and painting of the Italian Renaissance context have engaged in exploring the theme, and Guido Reni worked on it repeatedly, creating a model of representation of Lucretia that had extensive impact, especially in the Emilian seicentesque painting. This inquiry was triggered by contemporary uneasiness about the popularity of the theme in XVII century, its repetition in the works of Reni, its and the painter¿s options when chooses to represent Lucretia in deep sorrow, alone, and almost naked. Ancient texts, literature, theater, philosophy, paintings and fundamental specialized bibliography were consulted in order to cope with the complexity of the theme. The outcome of this review is the iconographic path here purposed, that goes mainly from the XIV century to the XVII century in an effort to explain the intricate network of meanings elicited by the character and the political, moral and erotic readings of her story Mestrado História da Arte Mestra em História CNPQ 156016/2013-3

The modelization of women in what is known as Disney “Princesses” movies has changed notably since the creation of Snow White and the Seven Dwarfs in 1937 until nowadays. While at the beginning the role of female characters was linked to housework and marriage, this stereotype changed gradually ending up with the production of Disney “Princesses” movies in which the heroines are depicted as active women who take control of their lives without the need of a man for a happy ending. The aim of this dissertation is to investigate the changes in the modelization of women in Disney “Princess” movies through the analysis of gender archetypes and, specifically, through the analysis of the The Little Mermaid (1989) and Brave (2012). These two movies represent a change in the portrayal of women since they break with the tradition depicted in previous movies and introduce a renewed image far from the typical “Princess” gender archetypes., La modelización de la mujer en las películas de “Princesas” Disney ha cambiado notablemente desde la creación de Blancanieves y los Siete Enanitos en 1937 hasta nuestros días. Mientras que al principio el rol de la mujer estaba unido al trabajo doméstico y al matrimonio, este ha ido cambiando gradualmente hasta la producción de películas de Disney “Princesas” en las que las heroínas se presentan de manera activa, tomando el control sobre sus vidas y sin la necesidad de un hombre para sus finales felices. El objetivo de esta disertación es investigar los cambios en los arquetipos de género en las películas de “Princesas” Disney y, específicamente, en el análisis de La Sirenita (1989) y Brave: Indomable (2012). Ambas simbolizan un cambio en la representación de la mujer ya que rompen con la tradición de las películas anteriores presentando una imagen renovada lejos de los tradicionales arquetipos de género de las “Princesas.”, Departamento de Filología Inglesa, Grado en Estudios Ingleses

The oldest records of developmental beginnings of patients? healthcare relate to the first hospital founded by St. Sava at the monastery Studenica in 1199. The profile of the Kosovian girl became the hallmark of nursing profession in Serbia. The first school for midwives was founded in 1899 at the Department of Gynecology and Obstetrics of the General State Hospital in Belgrade. However, there were no other schools for nurses in Serbia until the foundation of the School for Midwives of the Red Cross Society in 1021. Until then the healthcare of patients and the injured was carried out by self-taught volunteer nurses with completed short courses of patients? healthcare. The first course for male and female nurses was organized by the Serbian Red Cross at the beginning of the First Serbian-Turkish War in 1876. During wars with Serbian participation in 19th and 20th centuries with Serbian participation, nurses gave a remarkable contribution being exposed to extreme efforts and often sacrificing their own lives. In war times great merit belongs to the members of the humanitarian society the Circle of Serbian Sisters founded in Belgrade in 1903, which was the resource of a great number of nurses who became the pride of nursing profession. Generations of nurses were educated on their example. In 2004 the annual award ?Dusica Spasic? was established which is awarded to the best medical nurse in Serbia. Dusica Spasic was a medical nurse that died at her workplace, when aged 23 years, nursing the sick from variola.

The Church of Our Lady Divine Shepherdess is located in Divina Pastora, Sergipe, Brazil. This Shrine shows a specific iconographic program that is related to Virgin Mary as a Shepherdess. It is developed in four ceilings of the church such as presbytery, nave, narthex and sacristy. In the nave ceiling, it is organized taking into account the ancestry, memories, gender and sacred history that are seen as four important female personalities from Old Testament. A Igreja Sergipana de Nossa Senhora Divina Pastora, situada no homônimo município, apresenta-nos um programa iconográfico extremamente específico e relacionado à Virgem Maria como pastora. Todo esse programa se desenvolve nos quatro tetos da igreja: no da capela-mor, nave, nártex e sacristia. No teto da nave, esse programa se organiza em torno da ancestralidade, memória, gênero e história sagrada, quando apresenta quatro importantes figuras femininas do Antigo Testamento.

Са само пет наслова од дванаест опера колико је укупно написао, Пучини већ више од века доминира у репертоару свих светских оперских кућа, од најмањих до највећих, што га ставља у исти ранг са Моцартом, Вердијем, Вагнером. Његова популарност је тако велика не само због изванредне музике и сјајног осећаја за оркестрацију, него управо због сасвим специфичног начина на који је Пучини драматуршки третирао своје главне протагонисте. Нарочити афинитет је имао ка савршено нијансираном креирању хероина. Управо су његове хероине главно обележје његовог стваралаштва. Како је опера уметност заснована на синтези две уметности – драмске и музичке, реч је о раду који истражује главне женске ликове анализирајући упоредо драматуршка и музичка средства која је композитор користио и које има за циљ да дође до општих закључака о емоционалном аспекту хероина у значајном делу стваралаштва Ђакома Пучинија, у операма Боеми, Тоска, Мадам Батерфлај и Турандот. Sa samo pet naslova od dvanaest opera koliko je ukupno napisao, Pučini već više od veka dominira u repertoaru svih svetskih operskih kuća, od najmanjih do najvećih, što ga stavlja u isti rang sa Mocartom, Verdijem, Vagnerom. NJegova popularnost je tako velika ne samo zbog izvanredne muzike i sjajnog osećaja za orkestraciju, nego upravo zbog sasvim specifičnog načina na koji je Pučini dramaturški tretirao svoje glavne protagoniste. Naročiti afinitet je imao ka savršeno nijansiranom kreiranju heroina. Upravo su njegove heroine glavno obeležje njegovog stvaralaštva. Kako je opera umetnost zasnovana na sintezi dve umetnosti – dramske i muzičke, reč je o radu koji istražuje glavne ženske likove analizirajući uporedo dramaturška i muzička sredstva koja je kompozitor koristio i koje ima za cilj da dođe do opštih zaključaka o emocionalnom aspektu heroina u značajnom delu stvaralaštva Đakoma Pučinija, u operama Boemi, Toska, Madam Baterflaj i Turandot. With only five out of the twelve operas he wrote, Puccini has been dominating the repertoire of opera houses of the world, from the smallest to the largest ones, for more than a century. This puts him on par with Mozart, Verdi, Wagner. He is so well known not only for the excellence of his music and a great sense of orchestration, but also for the very specific ways in Puccini's dramaturgical treatment of his main protagonists. He has shown special affection towards his perfectly nuanced creation of heroines. It was his heroines that turned out to be the main feature of his whole opus. As the opera as an art is a synthesis of two arts - drama and music, this thesis analyzes the main female characters by simultaneously focusing on the dramaturgical and musical resources which the composer used, and it aims to reach more general conclusions about the emotional aspect of his heroines in a significant part of the creative work of Giacomo Puccini, in his operas La Boheme, Tosca, Madama Butterfly and Turandot.

Le cinéma de Lucía Puenzo, qui a signé jusqu’à présent deux longs-métrages, se fraie un chemin à travers des thématiques que l’on a pu taxer de scandaleuses. Son premier long-métrage, XXY, a pu surprendre en abordant un sujet peu traité et même exotique au cinéma, celui de l’intersexualité ; la réalisatrice choisit la puberté pour aborder dans ce film la recherche d’une identité sexuelle, celle d’une personne qui ne voit pas comment être acceptée par une société qui s’appuie sur des préjugés et qui a besoin de compartiments étanches pour ne pas se remettre en question. Son second film aussi met en scène des adolescentes ; un âge rempli de puissance et que la réalisatrice trouve fascinant car transitionnel. El niño pez explore davantage de ressources et rajoute à l’histoire d’amour – axe central du film – des sujets secondaires qui revitalise le récit. Navigant entre les relations de pouvoir (à l’intérieur de la propre famille principalement mais également à l’extérieur), le monde des personnages est sombre et sordide. Le film explore également le monde onirique, celui-ci gagnant de la place et servant de refuge aux personnages. El cine de Lucía Puenzo, de quien contamos hasta ahora dos largometrajes, bucea en temas a los que se ha llegado a catalogar de escandalosos. Su primer largo, XXY, sorprendía con una temática poco abordada, casi exótica para el cine, la intersexualidad; la pubertad es la edad elegida por la directora para plantear en este film la búsqueda de identidad sexual de quien no vislumbra ser aceptada por una sociedad prejuiciosa y necesitada de compartimentos estancos que no comprometan su comodidad. Su segundo film también tiene a los adolescentes como protagonistas; una edad poderosa que a la directora le resulta fascinante por lo que tiene de transicional. El niño pez explora los recursos con más avidez y a la historia de amor, eje central del film, le incorpora sub-tramas que vitalizan el relato. Buceando en las relaciones de poder (dentro del propio hogar preferentemente y fuera de él también), el mundo de los personajes es sórdido y oscuro. También recorre el mundo onírico que va ganando terreno y sirve de refugio a sus criaturas.

The subject of this BA thesis are plays set in the Orient, a new genre that started to gain popularity in the Restoration period. These plays, commonly inspired by the popular travelogues to the Orient and historical accounts, are characterised by their collection of stock characters, repeating topoi and orientalised images that represent the Orient more as a conception created by the West than an actual place. Nevertheless, in analysis of some of the plays I shall argue that these works also offer possible commentaries on the British society of the time and that they can be used as arguments criticizing or reinforcing the contemporary perception of women by dealing with such otherwise rather inaccessible themes as women stepping out of their social boundaries, femininity or female sexuality. In order to advocate my thesis I plan to use four different tragedies with Middle-Eastern settings, specifically Rhodes, Morocco, Turkey and Colchis (located mostly in present-day Georgia and Turkey). All these plays were written between 1663 and 1696 and might be considered some of the most representative examples of the genre. They include William Davenant's The Siege of Rhodes (1663), Elkanah Settle's The Empress of Morocco (1673), Mary Pix's Ibrahim, the Thirteenth Emperour of the Turks (1696) and...

Les séries magical girl, productions japonaises diffusées en France de 1984 à nos jours, sont un exemple de transfert culturel. Elles illustrent les évolutions de l'industrie de l'animation japonaise depuis les années 1960 ainsi que le phénomène d'acculturation de l'animation japonaise en France. Ces séries mettent en scène des petites ou jeunes filles héroïques, autonomes et puissantes, alors que l'héroïsme a d'abord été l'apanage des hommes et que les rapports sociaux de sexes sont des rapports de pouvoir en faveur des hommes. Analyser les dessins animés magical girl permet à la fois de voir comment une société se représente le genre et les catégories « féminin » et « masculin » qu'il produit et comment l'animation reproduit, ou subvertit ces représentations qui peuvent avoir des effets sur les imaginaires des téléspectateurs.

A autora analisa as diferentes representações das heroínas de obras fílmicas e de séries televisuais com o intuito de estabelecer alguns padrões sobretudo na relação de personagem-tempo-espaço e gêneros narrativos. The aim of the analysis is to set certain patterns in the representation of female heroines in films and television series analyzed in their relationships with time-space-and narrative genders.

El cine de Lucía Puenzo, de quien contamos hasta ahora dos largometrajes, bucea en temas a los que se ha llegado a catalogar de escandalosos. Su primer largo, XXY, sorprendía con una temática poco abordada, casi exótica para el cine, la intersexualidad; la pubertad es la edad elegida por la directora para plantear en este film la búsqueda de identidad sexual de quien no vislumbra ser aceptada por una sociedad prejuiciosa y necesitada de compartimentos estancos que no comprometan su comodidad. Su segundo film también tiene a los adolescentes como protagonistas; una edad poderosa que a la directora le resulta fascinante por lo que tiene de transicional. El niño pez explora los recursos con más avidez y a la historia de amor, eje central del film, le incorpora sub-tramas que vitalizan el relato. Buceando en las relaciones de poder (dentro del propio hogar preferentemente y fuera de él también), el mundo de los personajes es sórdido y oscuro. También recorre el mundo onírico que va ganando terreno y sirve de refugio a sus criaturas. Le cinéma de Lucía Puenzo, qui a signé jusqu’à présent deux longs-métrages, se fraie un chemin à travers des thématiques que l’on a pu taxer de scandaleuses. Son premier long-métrage, XXY, a pu surprendre en abordant un sujet peu traité et même exotique au cinéma, celui de l’intersexualité ; la réalisatrice choisit la puberté pour aborder dans ce film la recherche d’une identité sexuelle, celle d’une personne qui ne voit pas comment être acceptée par une société qui s’appuie sur des préjugés et qui a besoin de compartiments étanches pour ne pas se remettre en question. Son second film aussi met en scène des adolescentes ; un âge rempli de puissance et que la réalisatrice trouve fascinant car transitionnel. El niño pez explore davantage de ressources et rajoute à l’histoire d’amour – axe central du film – des sujets secondaires qui revitalise le récit. Navigant entre les relations de pouvoir (à l’intérieur de la propre famille principalement mais également à l’extérieur), le monde des personnages est sombre et sordide. Le film explore également le monde onirique, celui-ci gagnant de la place et servant de refuge aux personnages.

Este artículo aborda tres temas interrelacionados en el estudio de la identidad nacional: el sufrimiento colectivo, la agresión de la naturaleza por terremotos y la construcción del heroísmo basado en un icono femenino: Mariana de Jesús. Para explicar la novedad de estos temas recurrimos a una propuesta metodológica que combina tres tipos de nacionalismo y una tipología de roles de mujeres en los nacionalismos. Con estos recursos, ubicamos que el surgimiento del mito de esta heroína es prenacionalista pero su socialización masiva se encuadra en la construcción de la nación por parte la oligarquía y la iglesia durante el siglo XX. El artículo esta basado en fuentes documentales primarias.Este artículo aborda tres temas interrelacionados en el estudio de la identidad nacional: el sufrimiento colectivo, la agresión de la naturaleza por terremotos y la construcción del heroísmo basado en un icono femenino: Mariana de Jesús. Para explicar la novedad de estos temas recurrimos a una propuesta metodológica que combina tres tipos de nacionalismo y una tipología de roles de mujeres en los nacionalismos. Con estos recursos, ubicamos que el surgimiento del mito de esta heroína es prenacionalista pero su socialización masiva se encuadra en la construcción de la nación por parte la oligarquía y la iglesia durante el siglo XX. El artículo esta basado en fuentes documentales primarias.

This article discusses a considerable number of Latin post-Nicene passions of the martyrs and aims to demonstrate that these little-known narratives qualify as an interesting component of the network of ancient narrative texts. To underpin this claim, I analyse the passions' handling of the literary topos of the defence of chastity. This analysis reveals, firstly, that the passions are not mere copies of one another: variation can be detected within the topical elaboration. Secondly, the passions bear remarkable similarities to the ancient Greek novels within this thematic realm. Both novelistic and hagiographical heroines safeguard their chastity for their beloved and do so in strikingly similar ways. The authors of the Greek novels and the post-Nicene passions, it seems, shared a common literary culture.

The work focuses on the life and work of the writers G. Sand and B. Němcová, as the pioneers of women in literature in the 19th century. The aim is to describe and compare the female characters in selected works of both authors and implement typology and characteristics of the selected heroines and identify the phenomena of the common parts. These are the works of George Sand Consuelo and Valentina. Out of Božena Němcová work focuses on Divá Bára, Chýže pod horami, V zámku a podzámčí, Rozárka and Baruška. Furthermore, the work is trying to reveal possible connections of writers and Božena Němcová's inspiration by George Sand.

Cette étude conteste certaines idées reçues sur les rôles accordés aux femmes dans les fictions de Stendhal. Mina de Vanghel, Vanina Vanini, Mathilde de La Mole et Lamiel, souvent dédaignées par la critique, sont ici revalorisées comme héroïnes autonomes, maîtresses de leur destin., This study contests received ideas about the roles accorded to women in Stendhal's fiction. Mina de Vanghel, Vanina Vanini, Mathilde de La Mole, and Lamiel, often disdained by critics, are revalorised here in their capacity as autonomous heroines, in control of their destiny.

Simple content analysis methods, such as the Bechdel test and measuring percentage of female talk time or characters, have seen a surge of attention from mainstream media and in social media the last couple of years. Underlying assumptions are generally shared with the gender role socialization model and consequently, an importance is stated, due to a high degree to which impressions from media shape in particular young children’s identification processes. For young girls, the Disney Princesses franchise (with Frozen included) stands out as the number one player commercially as well as in customer awareness. The vertical lineup of Disney princesses spans from the passive and domestic working Snow White in 1937 to independent and super-power wielding princess Elsa in 2013, which makes the line of films an optimal test subject in evaluating above-mentioned simple content analysis methods. As a control, a meta-study has been conducted on previous academic studies on the same range of films. The sampled research, within fields spanning from qualitative content analysis and semiotics to coded content analysis, all come to the same conclusions regarding the general changes over time in representations of female characters. The objective of this thesis is to answer whether or not there is a correlation between these changes and those indicated by the simple content analysis methods, i.e. whether or not the simple popular methods are in general coherence with the more intricate academic methods. Betyg VG (skala IG-VG)

Heroin addiction is a public health problem. In this thesis, we studied the involvment of genes in risk factors of heroin addiction. We worked on multiple genes involved in the heroin mechanisms of action and addiction disease. We come to the conclusion that heroin addiction disease is not due to a single gene. The predisposition of heroin addiction seems to be the combination of environmental and genetic factors.; L'addiction à l'héroïne est un problème de santé publique important. Au cours de cette thèse, nous nous sommes interrogé sur l'implication de certains gènes comme facteurs de risque dans le développement d'une addiction à l'héroïne. Pour cela, nous avons étudié au sein de cette thèse de nombreux gènes d'intérêt. Ces gènes ont été sélectionnés pour leur rôle au sein des mécanismes d'action de l'héroïne et de la pathologie d'addiction. De nombreuses études se sont intéressées à ces différents gènes. Cette thèse rassemble les résultats et conclusions obtenus au sein de ces études. L'ensemble de ces recherches nous enseigne qu'un gène spécifique ne peut être défini comme l'unique responsable d'une pathologie d'addiction. Il semblerait que cela soit plutôt dû à une conjonction de plusieurs facteurs environnementaux et génétiques.

Dans le cadre d'une exposition visant à traiter des biais genrés dans le traitement, graphique et scénaristique, du neuvième art, cet article interroge la position, le rôle et la figure des femmes qui accompagnent Corto Maltese le long de ses aventures, sous la plume d'Hugo Pratt, Les femmes de Pratt sont des personnages centraux et secondaires à la fois. Adjuvantes ou opposantes, elles constituent aussi pour le héros des référents nostalgiques dans la construction romantique qu'en fait son auteur.

In the dissertation I will examine gender from the literature side based on the comparison with chosen articles of authors from Czech and World literature. I am trying to interface theoretical and practical part. I have chosen three authors in the practical one: William Shakespeare, Arnost Lustig and Jaroslav Havlicek. On the basis of six written works of those authors I compare individually differences among main characters. In books Romeo a Julie (Romeo and Juliet), Zkrocení zlé ženy (The Taming of the Shrew), Modlitba pro Kateřinu Horovitzovou, Dita Saxová, Helimadoe a Petrolejové lampy I am searching for elements of gender, comparison of roles of men and women, and progression of particular female characters.