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This study targets testing Nils Krogstad's portrayal in Henrik Ibsen's A Doll's House. Primarily, it attempts to demonstrate that Krogstad is the real anti-hero in Ibsen's work of art by examining the adversarial credits in his portrayal, his inspirational motivations towards villainy, just as his emotional impact on the hero and the plot. After the logical conversation, the study tracked down that the intentions of Krogstad allude to social, passionate, and monetary factors. On account of Krogstad's emotional impact, the study attests his sensational impact is solid on Nora by carrying her near the truth of her existence with Torvald as a doll. Besides, the aftereffects of the study demonstrate Krogstad's cheerful end is certainly not proof that he isn't opposed to the hero, Nora, yet in addition, it is to show an example, defrauded in an unforgiving society. At last, the study demonstrates that Krogstad is the top character to be the play's adversary for his opposing highlights incorporating the contentions with Nora, the solid sensational impact on her, and the emotional impact on the play's occasions. [ABSTRACT FROM AUTHOR]

Copyright of Procesos Historicos is the property of Universidad de Los Andes (Venezuela) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines the recent literary form of mash-up novels by comparing the German mash-up Werther, der Werwolf (2010) to its original Die Leiden des jungen Werther (1774) by Johann Wolfgang von Goethe. In both novels, the protagonist Werther is conceptualised as an antihero. In Goethe's original, Werther's existential failure is a result of his mental condition and inability to integrate into the bourgeois society; in the mash-up he fails because he struggles with his metamorphosis into a werewolf. In both cases, Werther's obsessive love for a girl called Lotte aggravates the underlying conflict. This article aims to demonstrate the extent to which the antiheroic qualities of Goethe's Werther are reflected in the mash-up character Werewolf-Werther, and to highlight to what extent the figure of the werewolf is an apt and contemporary metaphor for Werther's story. [ABSTRACT FROM AUTHOR]

A literary criticism of the book "Lucky Jim" by English novelist Kingsley Amis is presented. It explores the 1954 novel as the author's reflections as an outspoken critic of the modernists and their style of writing. It also discusses the representation of the character of the novel's anti-hero, James (Jim) Dixon, who seems to be just after is women and alcohol and who has been accused of academic dishonesty and philistinism.

Copyright of Études Françaises is the property of Presses de l'Universite de Montreal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

When in 1834, during his Grand Tour of Europe, Hans Christian Andersen set foot in Naples, he was immediately won over by the exuberant vitality of the Neapolitan people. The Parthenopean city, where he "was exposed to sensuality as a daily temptation" (Rossel, "Hans Christian Andersen" 24 and "Do You Know the Land" 95), also awakened Andersen's more repressed instincts. From this experience he drew material for his most autobiographical novel, Improvisatoren (1835; The Improvisatore), whose protagonist tries to and succeeds in resisting the seductions of Neapolitan sensuality. If on the one hand the Danish author underwent the typical experience of the Northern traveller visiting the South and, more specifically, Naples, enjoying its openness and gaiety, on the other hand he never completely abandoned himself to Southern allures, upholding his moral and religious beliefs against a city that continuously attempted to wholly seduce him. The present paper aims to retrace Andersen's first journey to Naples-where, by the writer's own account, "the blood boils" (The Diaries of Hans Christian Andersen 85)-as a voyage into a tempting sensuality, contextualizing it within the wider context of nineteenth-century travelling experience in the city by Northern travellers. [ABSTRACT FROM AUTHOR]

A literary criticism is presented of the 1852 nonfiction fiction essay series titled "The Heads of Colored People," by James McCune Smith, or Communipaw, published in the newspaper "Frederick Douglass Paper." An overview of the abolitionist Frederick Douglass's criticism of Smith's work and perspective on African American Americans is provided. Smith's depiction of anti-heroism in his essays, contrasting it with the portrayal of heroism in the book "The Heroic Slave," by Douglass is discussed.

Roth's world, as presented in his novels, is portrayed through the relationship between opposite sexes and a complicated gender relations. On the surface, his world seems to be overwhelmingly masculine. The relationships seem to be determined by the man, but in closer observation, the woman's dominance is very clear. This dominance begins in the family by the dominance of the woman over the man. The man, who as a child has been protected and overpowered by the mother, is unable to act in other situations, by himself. He leaves weak women and strives to find the strong ones. When he finds one, he resumes his role as a son, not an autonomous man. Thus, Roth's protagonist fails to commit himself to the realities of the world outside, to other people, and to the relationships he establishes. This failure of commitment is the result of an intensive lack of self-knowledge. This lack of awareness and recognition of self is a consequence of the female's dominance over the male in Roth's work, for though Roth's is an overwhelmingly masculine world, women control it. [ABSTRACT FROM AUTHOR]

The anomalous verse romance of Sir Gowther (ca. 1400) has long perplexed critics with its insistent anti-heroism and spectacular violence. Rather than seek resolution in penitential ideology, this article looks to the secular practices of aristocratic table manners as an important context of the romance's bizarre action. This context was immediately available to fifteenth- century readers of the romance in one of its manuscripts, the "Heege Manuscript," which links Sir Gowther to a conduct poem called the "Urbanitatis." The strictures of personal comportment provide a standard of normative behavior, which provides a foundation for Sir Gowther's imaginative, satirical exploration of romantic humanity. [ABSTRACT FROM AUTHOR]

In this article, I analyse the moral systems of the protagonists of Vallejo’sLa Virgen de los Sicarios. The protagonists have different in-group and out-group moralities, especially when considering violence in Colombian society. Fernando, the narrator and main character, shifts his out-group morality from a civilized to a ‘sicariato’ one due to the influence of hissicario-lovers. This means that he gradually approves of violence against other people. I hypothesize that this changing morality is a feature of the sicaresque genre. I also present prototypical standard features as tools for inclusion of novels within the sicaresque. Future analyses will show if changing moralities is one of the characterizing features of this genre. [ABSTRACT FROM PUBLISHER]

As the opposite of the traditional chief character of a novel, the anti-hero or the 'non-hero' does not commonly possess the positive features that are expected from a fictional protagonist. Unlike heroes, anti-heroes do not represent the epitome of a community's grand ideals, aspirations or goals, nor do their lives evoke strength, bravery, resourcefulness or nobility of mind and character. Caught in a net of flaws, weaknesses, fears, imperfect features (sometimes reaching caricatural tones), unlucky situations, personal delusions, impossible ideals, inadequacies, inferior features, unconventional acts, or downright failures, the anti-heroes discussed in this paper resonate with the ideology of the authors creating them and, to a certain extent, of the ages they pertained to. Ultimately, anti-heroes chronologically placed in distant poles of literary history, such as Henry Fielding's Tom Jones (1749), Laurence Sterne's Tristram Shandy (1760-7), or Kingsley Amis's Lucky Jim (1954) and John Osborne's Jimmy Porter (from Look Back in Anger, 1957) illustrate humanity's changing dreams and the changing nature of man's potency to fulfil ideals or, simply, the duality or imperfection of (non-idealized) human nature. The diachronic approach will illustrate a trajectory that places the characters (simultaneously or not) in various roles: the clown, the eccentric, the marginalized, the victim and many others that the paper will illustrate. [ABSTRACT FROM AUTHOR]

A literary analysis is presented which examines how World War I, or the Great War, has been depicted in graphic novels and why the conflict was not initially used for in such literary settings. It suggests that World War I was not considered a conflict that allowed for heroic actions by heroic characters. Particular attention is given to anti-heroism is portrayed in the graphic novels "Charley's War" by Pat Mills and Joe Colquhoun and works by Jacques Tardi.

This article analyses a missing element of the history of that well-known figure, the Byronic Hero. The familiar story is that he – dark, brooding, and passionate – spread his bad-boy charm from the pages of Regency texts into the hearts of Regency audiences. He was usually paired with an idealized woman figure: the Gothic Villain had found love, and become a Romantic anti-hero. However, I contend that a detailed consideration of the hero figure in Byron's mid-career works demonstrates that one of the poet's own original Byronic Heroes is a woman, which makes the character type not exclusively male, marking the presence of a complex differentiation between the Byronic Hero, Byron's other heroes, and Byron's heroines. The same Byronic template can then be used to identify clearly the existence of women Byronic Heroes in the works of other writers, while still maintaining the effective specificity of the Byronic Hero category as a distinct subset of the Dark Hero figure. [ABSTRACT FROM AUTHOR]

Drawing on some of the autobiographical narratives written by the war poets, this article focuses on the ghost not only as the clearest expression of the myth of the Great War but also as a counter-model undermining traditionally heroic patterns and unmasking certain narratives and identities that had been marginalized, excluded, or repressed. By assessing the ghost as a shadow of the hero, the ghost as a vehicle between life and death and the ghost as haunting memory, it will be possible to contextualize and explore the meanings and experiences of the hero in relation to the antihero, cross over the boundaries between the two and enable a more complex analysis of the real Great War soldier. The article will also study how the memory of war and of war heroisms is rethought and worked over by the veteran as witness and what writing as remembering might entail in terms of the expression of the self in relation to the dominant war myths. Bearing in mind that memory speaks through the texts, sometimes against the writer's will, particular attention will be given to how the reworking of the past shaped heroic masculine identity and to what extent the veteran's identity was determined by what of the war experience he incorporated into the text. [ABSTRACT FROM AUTHOR]

This paper takes up an analysis of the characteristics of Heathcliff, the protagonist of Emile Bronte's Wuthering Heights with special focus on those characteristics that are well matched with the concept of a Byronic hero, despite the fact that the traditional heroic virtues are all absent in him. The fact that he is neither good nor bad utterly and that his passions prove him both superior and inferior to common man, making him equally pitiable and despicable have made this exploration quite interesting and challenging. [ABSTRACT FROM AUTHOR]

The article analyzes depictions of the anti-hero in modernist fiction, focusing on how transforming social attitudes are reflected in the often ironic representations of these characters. Works cited include "The Hollow Men" by T.S. Eliot, "The Sun Also Rises" by Ernest Hemingway, and the "The Hero with a Thousand Faces" by psychological theorist Joseph Campbell. Other issues raised include male versus female anti-heroism, notions of cultural apocalypse, and criticism of religion.

A literary criticism of the book “A maçã no escuro” by Brazilian author Clarice Lispector is presented. It examines the ideas behind the story of an anti-hero who attempts to start a new life in a so-called uncivilized world from the point of view of postcolonialism and poststructuralism. Particular focus is given to the parallelism between the main character and European conquerors of the Americas.

The author reflects on themes of masculinity and violence in the 1965 publication of "An American Dream" by Norman Mailer in its novel form. She says the central theme of the novel is the nuanced distinction between destructive and creative violence and mentions its morally ambiguous anti-hero. She believes the novel's violence should be considered as a literary device that facilitates an analysis of Mailer's philosophies surrounding existential freedoms, social oppressions, and gender.

Taking as our text Guimarães Rosa's novella "Cara-de-Bronze", we endeavour to think art as a possibility of a new learning of how to see the world, and present this possibility as indispensable to see the unity of the protagonist in the narrative, the farmer Cara-de-Bronze. [ABSTRACT FROM AUTHOR]

Copyright of Synergies Espagne is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A literary criticism of the novel "Armadale" by Wilkie Collins is presented. Particular focus is given to the critique of cosmetics use among aging women and the nature of marriage in Victorian era London, England through a discussion of the anti-heroine Lydia Gwilt. Feminine beauty, women's identity, and fraud are also examined.

In striking resonance with Doestoevsky’s Underground Man, the seminal antihero of the twentieth century, the male “antimodels” in Cristina Fernández Cubas's 1990 anthology El ángulo del horror fail by deliberate strategy to live up to societal expectations and assumptions. The detached, self-absorbed and self-mocking personae in this collection are each the product of a kind of physical or emotional suffering that makes it impossible for them to be anything but self-serving in their attitudes and goals. Often narrating in first person, the images they create of themselves are deliberately ugly yet forthright, ironic, and curiously appealing. Together they embody the quintessential antihero, a leitmotiv with a rich history in the literature of Spain and elsewhere. In this way, they destabilize the traditional order of things and insist that we reconsider our society, ourselves. What’s more, they suggest another kind of ideal, another litmus test for what is “acceptable.” This opens up a whole realm of possibilities for all associated literary characters. Through their relationship with antiheroes, women characters manage to negotiate successfully a far wider range of roles, behaviors and circumstances than would otherwise have been sanctioned within societal boundaries. [ABSTRACT FROM AUTHOR]

This article offers a poetry criticism of the prison poems of writers and political activists Wole Soyinka and 'Ahmad Fu'ad Nigm including "A Shuttle in the Crypt," "Data on a Prisoner's ID" and "Vault Centre." It explores the paradoxes that influence the act of communication about the nature of prison which contributed in the antihero writings of the two writers. The paradoxes noted include the fact that the act of writing imprisoned the political activists who wrote in prison.

The article discusses the role of the motif of the journey and memory in Brazilian writer Joao Gilberto Noll's 1989 novel "Hotel Atlantico." It includes an in-depth analysis of the problematic displacement of postmodern activities that are allegorized by the novel's construction of the anti-hero, as well as a discussion on the new sense of tragic consciousness caused by various relationships with the past, mourning and space that is evoked by the novel. Also cited are the different issues' implications for novels and literature.

The current research investigated the psychological differences between protagonists and antagonists in literature and the impact of these differences on readers. It was hypothesized that protagonists would embody cooperative motives and behaviors that are valued by egalitarian hunter-gatherers groups, whereas antagonists would demonstrate status-seeking and dominance behaviors that are stigmatized in such groups. This hypothesis was tested with an online questionnaire listing characters from 201 canonical British novels of the longer nineteenth century. 519 respondents generated 1470 protocols on 435 characters. Respondents identified the characters as protagonists, antagonists, or minor characters, judged the characters' motives according to human life history theory, rated the characters' traits according to the five-factor model of personality, and specified their own emotional responses to the characters on categories adapted from Ekman's seven basic emotions. As expected, antagonists are motivated almost exclusively by the desire for social dominance, their personality traits correspond to this motive, and they elicit strongly negative emotional responses from readers. Protagonists are oriented to cooperative and affiliative behavior and elicit positive emotional responses from readers. Novels therefore apparently enable readers to participate vicariously in an egalitarian social dynamic like that found in hunter-gatherer societies. We infer that agonistic structure in novels simulates social behaviors that fulfill an adaptive social function and perhaps stimulates impulses toward these behaviors in real life. [ABSTRACT FROM AUTHOR]

The article discusses the parallelisms between James Hogg's "The Private Memoirs and Confessions of a Justified Sinner" and Bret Easton Ellis' "American Pyscho." Particular focus is given on its two protagonists, Patrick Bateman in Easton Ellis' novel and Robert Wringhim in Hogg's masterpiece. According to the author, both characters are portrayed as anti-heroes because their moral and emotional sensitivity are triggered by societal indifference. The societal indifference is attacked by Hogg and Easton Ellis by the violent natures of their protagonists.

Presents a study of Meursault as a literary creation in the book "L'Etranger," by Albert Camus. Background on the book's story; Profiles of Meursault; Philosophical intention of the book.