Women, war and cinema, 1939-1945: blitz on gender stereotypes? by Elizabeth de Cacqueray

“…En analysant une grande variété de films produits pendant la guerre, de genres cinématographiques différents – films de fiction, documentaires, films émanant des forces armées – on est témoin de l’émergence d’un nouveau type d’héroïne cinématographique, l’« héroïne de guerre », innovatrice dans le courage et l’esprit d’initiative dont elle peut faire preuve mais, en fin de compte, respectueuse des frontières des rôles traditionnels associés aux genres masculins et féminin. …”
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Figures de l’aventurière dans The Eustace Diamonds, d’Anthony Trollope (1873) : le refoulement d’un retour by Jacqueline Fromonot

“…However emphatically Trollope denied the fact himself, it is striking that the characterization of the key character of The Eustace Diamonds, Lizzie Eustace, conjures up Thackeray’s fictional creature, Becky Sharp, the heroine of Vanity Fair, who appeared on the literary scene some twenty-five years before. …”
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Révision de Jane Eyre comme métacommentaire philosophique dans les romans d’Anita Brookner by Eileen Williams-Wanquet

“…This omnipresent intertextuality, which is the key to understanding the whole œuvre, serves to define the moral codes followed by the heroine and to make a philosophical metacommentary on contemporary culture. …”
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Les mutilations des corps masculins et féminins dans les contes de transmission orale et leurs effets symboliques by Nicole Belmont

“…The happy outcome that leads the manhandled heroes and heroines to meet their destiny evokes the violence of some of the rites of passage of young people, at the end of which they attain the possibility of marriage. …”
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Female friendship and fraternité in the prostitute memoir novels of eighteenth-century France by Allistaire Tallent

“… This essay explores a long-neglected novel, La Cauchoise, ou Mémoires d’une courtisane célèbre (César Ribié, 1783) and its depiction of female homosocial relations. As the prostitute heroine and narrator tells of her successful and colorful career and her many relationships along the way, we discover that her relationships (sexual, professional, and amicable) with other women prove to be the most satisfying and beneficial to her. …”
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Jane Eyre by Charlotte Brontë: The Never-Ending Story by Stéphanie Bernard

“…Le roman de Charlotte Brontë, Jane Eyre, est habité par la voix inextinguible de l’héroïne. L’usage de la première personne n’est pas seulement structural mais il donne aussi sa tonalité au récit et crée une impression d’intimité. …”
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Exploitation Cinema and the Lesbian Imagination by Anne Crémieux

“…(1965) or Cleopatra Jones and the Casino of Gold (1975), and their reassessment, including in films and TV series that pay homage to female action heroines of the past.…”
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Emma au bal à la Vaubyessard by Jean-Marie Privat

“…But if in Flaubert's novel the heroine separates herself materially from her prosaic universe and if she runs wild very fleetingly in a symbolic margin, her initiation is cut short. …”
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О морском „voyage de noce” („На «Титанике»” Михаила Зенкевича) by Elena Kulikowa

“…The sea voyage de noce of the protagonists is interrupted by the destruction of the Titanic and turns into a journey through the circles of Hell, while Helène becomes a double for Beatrice and, like Dante’s heroine, saves the protagonist’s soul.…”
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Le Paradoxe de la comédienne : Peg Woffington selon Charles Reade by Laurent Bury

“…In 1852, in his play Masks and Faces, or Before and Behind the Curtain and his novel Peg Woffington, Charles Reade chose as his heroine the British actress Margaret Woffington (1714-1760), whom he showed on stage but especially off stage. …”
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Taming the Sculptress: Roman Beauty and Marble Love in Alcott’s Art Tales by Daniela Daniele

“…In her feminization of Hawthorne’s famous Italian tales, Alcott made of her talented heroines not only objects but subjects of their art. …”
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La fabrique des mères imaginaires dans les séries télévisées françaises (1992-2012) by Sarah Lécossais

“…This paper shows that French TV shows construct a hegemonic mother figure (a caring, loving, listening one…) which has to be analysed in terms of gender, race, sexuality or profession. Indeed heroines are rarely non-white, lesbians or happily unemployed. …”
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Le personnage de la Finlandaise dans le récit Parmi les falaises (1924) de Maria Boretskaïa, au prisme de la tradition littéraire by Olga A. Simonova

“…In her story “Among the Cliffs” (1924), the Bolshevik writer Maria Boretskaya created a Finnish female character free from these connotations. Her heroine constructs a Bolshevik and maternal identity.…”
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Women in Trouble: Much Ado About Nothing, Pride & Prejudice and Bridget Jones’s Diary by Franziska Quabeck

“…This is due to an inextricable bond between gender and comedy that targets the audience’s expectations of normative femininity. The comic heroines in these three texts are all funny because they deliberately and consciously defy conventional constraints of femininity. …”
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A Room with Two Views: An Insight into the 1985 and 2007 Film Adaptations of E. M. Forster’s Novel by Elena Raicu

“…This is not the case with the second adaptation, which focuses mainly on the heroine and emphasizes her sexual awareness. The other characters lack substance and are not always convincing in their roles, but are present only insofar as they come in contact with the heroine. …”
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La Frichelette de Thônes. Guerre, mémoire et identité territoriale dans les Aravis de 1793 à l’âge d’internet by Franck Roubeau

“…It soon became the ‘Savoy Vendée’, staying that way for many years, its memory perpetuated alongside that of its heroine, La Frichelette, executed by firing squad. …”
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Portraits of the Artist as a Young Wife: May Alcott Nieriker’s Influence on her Sister’s Literary Sketches, Fragments, and Narratives by Azelina Flint

“…This article surveys Louisa’s assessment of her sister’s ideas of romantic love across four fictional narratives that feature a heroine based on May, alongside May’s correspondence on her married life, contrasting the sisters’ philosophies on the complementarity of female artistry and romantic love.…”
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Axiological parameter of the image of a literary character by Ludmila V. Paloyko

“…In this article axiological parameter of the image of a literary character is considered by the example of Scarlett O'Hara, the heroine of the novel "Gone with the Wind" by M. Mitchell and its official sequel - "Scarlett" by A. …”
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La Frichelette of Thônes. War, Memory and Territorial Identity in Aravis from 1793 to the Age of Internet by Franck Roubeau

“…It soon became the ‘Savoy Vendée’, staying that way for many years, its memory perpetuated alongside that of its heroine, La Frichelette, executed by firing squad. …”
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“I am air and fire...”: On the Interpretation of Anna Akhmatova’s Poem Cleopatra by Galina Mikhailova

“…This article suggests focusing on the literary sources of the poem (Shakespeare’s tragedy Antony and Cleopatra and Horace’s ode), exploring Akhmatova’s working notes, different versions of the lyrical heroine in her poetry, as well as the reproduction of her image in poems dedicated to her, testimonies of memoirists, essays, and philological observations of Akhmatova’s contemporaries. …”
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