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Copyright of Ámbitos Feministas is the property of Ambitos Feministas 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 paper examines how scandal functions to determine “appropriate behaviour” for women participating in the Bachelor/ette format. Based on Adut’s (2005) three key components of a scandal—the violation, the reaction, and the subsequent discredit—we examine how reality TV participants can be positioned as “transgressive”. We use two case studies to provide insight into regional variations of a franchise usually explored from an American perspective, examining the narratives of Abbie Chatfield and Lesina Nakhid-Schuster in The Bachelor/ette in Australia and Aotearoa New Zealand. We uncover the assumptions, revealed through scandal, underpinning the idea of a “good” romantic heroine within this format; and explore the ways in which these participants have navigated scandal and reshaped their narratives post-show in order to reclaim the narrative position of heroine. We argue that sincerity is fundamental to being considered a heroine: both our case studies were positioned as disingenuous during the show, but post-show were able to lay claim to a level of authenticity and sincerity that allowed them to reposition themselves.

Did warrior heroines exist in the Hebrew tradition? The answer is a seemingly reassuring yes, but the paper shows that the topos of female heroism was not a popular theme in Jewish tradition. To imagine ancient war scenes according to depictions in modern media can be misleading; the central purpose of this brief survey is to give a glimpse into this topic. [ABSTRACT FROM AUTHOR]

Framed within studies of whiteness in film, this article investigates the positioning and performance of the female lead in Norwegian silent cinema. Richard Dyer's arguments on the importance of staging, not least lighting, of the Hollywood heroine to convey ethereal and moral aspects of 'superior' whiteness, are central to the analysis. The question is how the heroines are positioned as white: aesthetically, narratively and intersectionally in regard to class, gender and ethnicity. Complex or unstable class and ethnicity performances in the 1910s give way to a more indisputably white heroine in the late 1920s. In conclusion, the analysis supports the claim that whiteness encompasses most of the heroines, if not always according to the conventions of lighting. [ABSTRACT FROM AUTHOR]

Implicit speech is the best way in Tamil literature. It is a manner that lovers are fond of expressing their inner desire. It can only be used in the five states of mind. The poet illustrates the mental feelings of the lovers with straight ideas and evinces the themes through natural metaphors without explicitly stating what he intended to say. It is recited with the reference to the emotional notes that arise in the hearts of lovers appearing in Sangam poems. Noticeably, it may seem as if the actions of the plant, the vine, the tree, the bird, or the animal are narrated to share the feelings and emotions of the Thalaivan (leader) and Thalaivi (beloved). It is said as an intrinsic saying something indirectly in the Sangam poems. Implicit speech is set in places where the hero’s responsibilities are said in a peculiar manner. Tolkappiar has given a better explanation for this. This article is about exploring the implications of the use of implicit strategy in Sangam (Agam) literature.

This paper examines how scandal functions to determine “appropriate behaviour” for women participating in the Bachelor/ette format. Based on Adut’s (2005) three key components of a scandal—the violation, the reaction, and the subsequent discredit—we examine how reality TV participants can be positioned as “transgressive”. We use two case studies to provide insight into regional variations of a franchise usually explored from an American perspective, examining the narratives of Abbie Chatfield and Lesina Nakhid-Schuster in The Bachelor/ette in Australia and Aotearoa New Zealand. We uncover the assumptions, revealed through scandal, underpinning the idea of a “good” romantic heroine within this format; and explore the ways in which these participants have navigated scandal and reshaped their narratives post-show in order to reclaim the narrative position of heroine. We argue that sincerity is fundamental to being considered a heroine: both our case studies were positioned as disingenuous during the show, but postshow were able to lay claim to a level of authenticity and sincerity that allowed them to reposition themselves. [ABSTRACT FROM AUTHOR]

Representations of Ugly Heroines in Dramatic Texts. Heroines of A.P. Chekhov’s “Uncle Vanya” and Sándor Bródy’s “The Medic” Inferences about female characters’ body can be made from several different aspects in the drama framework including information exchange among characters and self-representational confessions; moreover, authors’ paratexts also offer a basis for the external endowments of a female figure. The study focuses on two plays in which two young girls become major characters who break through stereotypical patterns with their appearance and differ from social norms to some extent. The heroines of A.P. Chekhov’s Uncle Vanya and Sándor Bródy’s The Medic (Sonia and Riza) will have different fates. Whilst Riza finds her happiness and fulfils herself as a wife and this is not given to Sonia. She has to give up experiencing her femininity. What they have in common is the shortcomings of their physical appearance. Riza’s physical disability will become a commercial asset, as a matter of fact she becomes a commodity. The play's central metaphor is Sonia’s face in the mirror: the feeling of abandonment, humiliation appears as a representation of no way out.

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

Copyright of Knowledge: International Journal is the property of Institute for Knowledge Management 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.)

Copyright of Recherches Feministes is the property of Groupe de Recherche et d'Echange Multidisciplinaires Feministes 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.)

Copyright of Journal of Mediterranean Knowledge is the property of International Centre for Studies & Research (ICSR) Mediterranean Knowledge 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.)

Copyright of Annales Universitatis Mariae Curie-Skłodowska, Sectio F: Historia is the property of Maria Curie-Sklodowska University in Lublin 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.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 is aimed to study the uniqueness of female character or heroine in Gillian Flynn’s novels entitled Dark Places (2009) dan Gone Girl (2012). The concept of heroin and gynocriticism approaches is used to examine the uniqueness of the main character in both novels. Amy Dunne in Gone Girl and Libby Day pada Dark Places can be considered as antiheroine. From the result of the analysis, it can be concluded that Flynn introduced an interesting female characterization. The anti-heroine characters are portrayed in an intriguing plot. She presents woman as offender and sexual manipulation interestingly. The exploration of feminine vulnerability to undermine the dominancy of masculine privilege has brought the themes of both novels to.

This article examines the cultural biographies of a selection of precious objects in Heliodorus'Aethiopica, local and exotic, and shows how the transactions in which these are involved may illuminate the commodification of the heroine. The article evolves around the export-import metaphor used to discuss precious commodities and applies it on Chariclea and her tale. Keywords: Heliodorus, ekphrasis, trade, female body, In the second book of Heliodorus' Aethiopica, the Athenian Cnemon meets the Egyptian priest Calasiris as he wanders about the mouth of the Nile in search of the protagonists Theagenes [...]

In the postmodern era, one of the primary objectives of oral narratives is to tell the untold stories of history. Amidst the allegations that historical representation of war narratives, tend to be gendered and biased, these oral narratives of women offer not only a fresh perspective to the wars like the 1971 war of Bangladesh, the Sri Lankan Civil War (1983 - 2009) and the Kashmir Insurgency (1989 - present), but also become their own version of pain, suffering, prejudice, and plight. In that sense, they become the voice of the voiceless, giving the victims a chance to assert themselves, despite their subaltern position. They also converge as tools to reinvestigate or rather question the representation of war history and the politics of submerging women in traditional documented historiography. In the context of the 1971 war of Bangladesh, Neelima Ibrahim's Aami Birangana Balchi (first published in Bengali in 1994, translated in English as A War Heroine, I Speak by Fayeza Hasanat in 2017), was the first narrative of its own kind that addressed victimization and survival of the Biranganas or literal brave heroines of the 1971 war. Ibrahim, being an active member of the humanitarian group 'Bangladesh Women's Rehabilitation and Welfare Foundation' was a close observer of their struggle and thus, she recorded their narratives and published it. In a theoretical framework, where oral narratives play a seminal role in this sort of representations, this paper will broadly discuss Neelima Ibrahim's narratives of Biranganas of the 1971 war of Bangladesh. Keywords: oral narratives; war narratives; Biranganas; 1971 Bangladesh war; gendered violence., Introduction 'I would love to see the day when a young man or woman of this generation will come to greet me as a brave warrior, the bearer of their [...]

In this article, the author proposes a feminist reading of medieval South Asian literature that aims to dismantle a long held split-image view of Hindu 'femininity.' With this reading, Comeau also presents stylized poetry as a viable historical source for the study of womanhood in South Asia. She analyzes excerpts from the ninth-century devotional text, Tirukkovaiyair, to address one intersection of religiosity and portrayals of women in the Tamil literary corpus. In addition to decentering the central character of the heroine, the author develops an inclusive feminist reading strategy that takes account of supporting female characters, such as servants, messengers, and kin. The essay aims to disband the accepted, though disturbing and monolithic category of 'the good Tamil woman.' In its place, Comeau offers an opportunity to acknowledge and promote the relative diversity of roles played by female characters in fictional verses. Keywords: feminism, South Asian religion, Tamil literature, women in Hinduism, Feminist scholarship on the history of religions has long focused on the betrayal of a Hinduism that favors its goddesses over its women. (1) Sita and Parvati are ideal models [...]

For decades, critical debate around Elizabeth Bowen's Eva Trout (1968) has focused on the novel's enigmatic heroine. Though Eva is often perceived as flat because of her non-normative behaviors, the novel's portrayal of her neurodivergent sensory relation to the world actually becomes a way for Bowen to gesture to her complex interiority. Taken together, the 1960s anti-psychiatry movement and a twenty-first-century understanding of neurodiversity offer the possibility of seeing Eva as creative, emotional, and imaginatively connected to the world, rather than as unthinking and detached. Bowen extends the novel's representation of cognitive atypicality to Eva's teacher, Iseult, and thereby calls into question the normativity of apparently neurotypical minds. Keywords: Elizabeth Bowen / neurodiversity / cognition / disability studies / visual imagery, Elizabeth Bowen's final novel, Eva Trout; Or, Changing Scenes (1968), is also her most peculiar. As many critics have observed, the novel is populated with opaque characters who behave in [...]

"Sacred Display: Divine and Magical Female Figures of Eurasia" (Cambria Press, 2010), which I co-authored with Victor H. Mair, discusses erotic and magical goddesses and heroines in several ancient cultures, from the Near East and Asia, and throughout ancient Europe; in prehistoric and early historic iconography, their magical qualities are often indicated by a magical dance or stance. It is a look at female display figures both cross-culturally and cross-temporally, through texts and iconography, beginning with figures depicted in very early Neolithic Anatolia, early and middle Neolithic southeast Europe - Bulgaria, Romania, and Serbia —continuing through the late Neolithic in East Asia, and into early historic Greece, India, and Ireland, and elsewhere across the world. These very similar female figures were depicted in Anatolia, Europe, Southern Asia, and East Asia, in a broad chronological sweep, beginning with the pre-pottery Neolithic, ca. 9000 BCE, and existing from the beginning of the second millennium of this era up to the present era.

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

Copyright of Dilemas Contemporáneos: Educación, Política y Valores is the property of Dilemas Contemporaneos: Educacion, Politica y Valores 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.)

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.

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. [ABSTRACT FROM AUTHOR]

This article analyses a number of female protagonists from a selection of novels written by Italian postcolonial women writers: Mahlet from Gabriella Ghermandi's Regina di fiori e di perle (2007), Domenica Axad from Madre piccola (2007) by Ubah Cristina Ali Farah, Rhoda from the eponymous novel by Igiaba Scego (2004) and Zuhra from Oltre Babilonia (2008) also by Scego. A thematic exploration of these characters brings to light in particular the choices behind their embracing of Italian language and culture, the representation of their bodies wounded by manifestations of racism and sexism, and their plurilingualism as a form of rebellion against an unbending and monolithic idea of Italy. The aims of the article are twofold: to shed light on the collective imagination these characters embody and represent, and to verify their potential function as heroines within the texts. [ABSTRACT FROM AUTHOR]

Representations of the nuclear family have undergone significant redefinitions on American television over the last fifteen years: recent 40-something heroines are examining the slow decline of the nuclear family, aided by the return of radical feminism. This article analyses this critical New Wave, which appeared on television with Desperate Housewives (2004–2012) and continues in dramas such as The Good Wife (2009–2016) and dramedies such as The Big C (2010–2013), Nurse Jackie (2009–2015) and Weeds (2005–2012). The complexity of television's treatment of the explosion of the nuclear family is due to the fact that TV series marry a broken – shattered, even – dream with its residual forms: families are falling apart and yet the heroines are confronted with the pressing need to continue upholding its social representation. To escape traditional roles, women are according emotions a new place and witnessing a redistribution of skills in various forms. In place of the predetermined structure of the nuclear family, intimate public spheres are emerging, where women are establishing themselves as long-oppressed individuals on the road to an emancipation that can occur only in the context of a fundamental rethinking of the organization of the private sphere. [ABSTRACT FROM AUTHOR]

This paper is an appraisal of Shakespeare's dramatic skill in exposing the 'Malignant' attitude of Lady Macbeth in Macbeth and 'charismatic' attitude of Cleopatra in Antony and Cleopatra. This paper clearly presents Shakespeare as one of the greatness men of genius whose mind, soul and his essence are extraordinarily superior in his sensitive and sentimental approach to women through his heroines of his plays. Thus, Shakespeare's exposure of varied emotions such as over-flowing ambitions, valour, love, passion etc. are well portrayed in this paper. [ABSTRACT FROM AUTHOR]

Popular romance fiction was thought to carry a patriarchal ideology and was often dismissed as a manifestation of ingrained prejudice and bigotry against the female sex. However, there appears to have been influence from feminism, particularly where Harlequin Mills and Boon stories use the contemporary world and 'reality' as a touchstone. In this article I will discuss how the heroines of Harlequin Mills and Boon postmillennial 'Modern' novels display various expressions of feminism which contribute to the construction of their identities but that ultimately these tales rely on the dismantling of these autonomous identities sine the heroine is still required to be 'swept off her feet'. [ABSTRACT FROM AUTHOR]

Bahram Beizaie pays special attention to Iran’s honorable old ages. He chooses one feature of the golden age “matriarchy” period depicting it in some of his plays. The purpose of this research is to discuss the dependence of heroines and Iranian goddess, and to analyze this dependence in some of Beyzaeis’ works. Plays and screenplays that are considered in this study include: “Saljuk istgah”, “Parde nei”, “Parde khane”, Shabe 1001(1)”, Shabe 1001(3)” and “Fath name kalat”. The research is descriptive - analytical, so that at first, Beyzaeis models in merging heroines and goddess would be specified and then his works would be analyzed on this basis. Conclusions show that Beyzaei uses the goddesses of “kindness”, “birth”, “love”, “courage” and the most important one the goddess of “wisdom” to create his heroines. Based on analysis of these works, the presence of wise goddess such as goddess “Chista” most in Beizaeis works even more than “Anahita”.

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.