Sound in Daniel Deronda by Michael Hollington

“…It is particularly interested in a series of shrieks from the heroine, Gwendolen—three in number, at the charade, at the time of her wedding, and at the death of her husband—which mark points at which she recognises the terrible course in life on which she has launched herself. …”
Get full text

The Pragmatics of Naming in Samuel Richardson’s Clarissa by Christophe LESUEUR

“…Destined to change her name by marrying Solmes, the eponymous heroine uses several borrowed names in her flight. …”
Get full text

Psyche and Pygmalion: The Heart’s Desires Revised in Louisa May Alcott’s “A Marble Woman” by Michaela Keck

“…Alcott rewrites Psyche’s curious gaze at the sleeping Amor as the heroine’s, i.e., Cecil’s, self-possessed rescue of her legal guardian and later husband and Pygmalion’s animation of his Galatea as Cecil’s superb imitation of wifely adoration. …”
Get full text

Performing Womanhood: Fictions of Love in Louisa May Alcott’s Behind a Mask by Stéphanie Durrans

“…This article discusses Louisa May Alcott’s novella Behind a Mask in the light of Melville’s last novel, The Confidence-Man: His Masquerade (1857), arguing that, behind the mask of a sentimental novel that appears to conform to stereotypes, Alcott depicts a true-to-life heroine and shows how fiction can actually uncover the truth of life, how the many parts we play obfuscate our deeper nature and how a woman’s life in particular is nothing but a continuous performance on the social stage. …”
Get full text

Jane Eyre : un roman innovant pour les critiques victoriens by Odile Boucher-Rivalain

“…An examination of the reviews which appeared in the months following the publication of Jane Eyre reveals Charlotte Brontë’s strategy: her choice of an unconventional relationship between the poor, plain governess and her wealthy, passionate master, the exploration of her heroine’s interior life combined with the realistic descriptions of her characters’ physical and social environment. …”
Get full text

Le théâtre du Grand-Guignol et l’esthétique du féminicide by Rimpei Mano

“…But Eugène Héros and Léon Abric's La Veuve seems to defy this aesthetic by presenting a heroine sexually excited by the sight of death. This caricatured comedy, which introduces a reversal of sexual roles, is likely to reject the misogynistic ideology of the Grand-Guignol theatre.…”
Get full text

Noms, étiquette(s) et identités dans Persuasion, de Jane Austen by Marie-Laure Massei

“…Labelled a ‘nobody’ at the beginning even though she embodies sense, constancy and fortitude, Anne Elliot is reborn as a heroine through her ability to read and decipher meanings, manners and behaviours: her new status and identity are then aptly signified by a telling mutation of the signifier after her marriage, freeing her from the sterile codes of the paternal narrative.…”
Get full text

La figure de l’Abandonné·e. La littérature médiévale comme manuel d’un retour à soi ? by Dominique Demartini

“…Embracing an androcentric viewpoint, it will attempt to illuminate the masculine presuppositions and the contribution of texts to the construction of a heroine figure, paradoxically become exemplary. To these masculine constructions, it will oppose their reappropriations as plural feminine experiences through which, between submission and suicide, the abandoned women experience more subtle modes of agency and repair. …”
Get full text

Annette, ein Heldinnenepos d’Anne Weber by Emmanuelle Aurenche-Beau

“…It examines the way in which it presents a very French ‘heroine’ to a German audience, placing her not only in her geographical, social and historical context, but also in her linguistic context, by inserting particularly representative and expressive French terms into the German text. …”
Get full text

Elisabeta Rizea de Nucsoara : un « lieu de mémoire » pour les roumains ? by Claudia Dobre

“…Devenue un personnage médiatique approprié par les milieux intellectuels et par les partis politiques « démocrates », elle prend les dimensions paradoxales d’une figure symbolique érigée en héroïne nationale qui serait en train de devenir un « lieu de mémoire ». …”
Get full text

Le Græculus et la Chananéenne : Salammbô, le roman des traductions by Agnès Bouvier

“…The other translating character in the novel, the heroine herself, practices translation like the art of seduction, until Flaubert, in a writing act that genetic analysis of the drafts can trace, casts on this novel and on its character Babel’s curse, more severe than Tanit’s. …”
Get full text

Schiller’s Response to Voltaire in 'Die Jungfrau von Orleans': Enlightened or Romantic? by Ritchie Robertson

“…Since 1945, however, German commentators have been uncomfortable with the patriotic call to arms issued by Schiller’s heroine and with her energetic slaughter of enemy soldiers (in contrast to the historical Jeanne, who did not fight). …”
Get full text

“She Loves Nothing but Her Art”: Vibrant Marble and the Agency of the Female Artist in Louisa May Alcott’s “A Marble Woman, or The Mysterious Model” by Verena Laschinger, Annemarie Mönch, and Sophia Klefisch

“…At first glance, “A Marble Woman” (1865) seems to offer but a trite marriage plot, assuaging Louisa May Alcott’s contemporary readers while containing the heroine’s scandalous abilities. On a second and read through a new materialist critical lens, it becomes apparent how cunningly the female sculptor Cecil negotiates her creativity with the societal demands on the true woman and the marriage doctrine of her time. …”
Get full text

The Gastrodynamics of Edna Pontellier’s liberation. by Urszula Niewiadomska-Flis

“…In The Awakening Kate Chopin uses foodways to define and transgress the social and cultural boundaries of acceptable female behavior as well as to reinscribe woman’s identity through the culinary dimension of her heroine’s life. The novelist uses eating and dining scenes as metaphors for Edna Pontellier’s search for her female selfhood and, in a broader perspective, as symbols of the major issue of her own fiction—gender trouble in the South. …”
Get full text

« Knocking on Mrs Grundy’s door with a bomb of dynamite » : peur(s) des femmes dans quelques New Woman novels des années 1893-1895 by Nathalie Saudo

“…Their daring authors and courageous heroines engaged with fears of racial degeneration, male pollution and sexual freedom. …”
Get full text

Tatiana in Onegin’s life. Part I by Nikishov Yuri Mikhailovich

“…It is possible if you notice that the hero and heroine exchanged mutual tender glances at their first meeting. …”
Get full text

Captation spéculaire et mise en abyme dans le film Jane Eyre de Franco Zeffirelli by Isabelle Van Peteghem-Tréard

“…This article presents Franco Zeffirelli’s baroque use of mirrors to evoke the specular alienation of Jane Eyre who is both the heroine and the story-teller in the movie and in the original text. …”
Get full text

Variations on the Themes of Netochka Nezvanova by Dagnė Beržaitė

“…For the contemporary reader, accustomed to reading differently constructed texts, these fragments might be perceived as a kind of sequel to the early unfinished work (for example, the names of the novel’s heroine and the writer’s second wife, certain dates, behavioral models, and similar situations). …”
Get full text

Un roman personnaliste presque parfait : La femme de Gilles (1937) de Madeleine Bourdouxhe by Paul Aron

“…Le "mystère" de la fin de l'héroïne, les relations entre la narratrice et son personnage féminin, l'histoire familiale de la femme de Gilles sont autant de séquences empreintes d'une vision du monde proche de celle d'E. …”
Get full text

“Go West Young Joan!” Mark Twain’s Personal Recollections of Joan of Arc (1896) by Jennifer Kilgore-Caradec

“…The artifices that Mark Twain used to publish his novel Personal Recollections of Joan of Arc by Sieur Louis de Conte in 1895-6 mystified his readers no less than the appeal of the heroine for an avowed atheist. Twain’s earliest encounter with Joan, when he was 15 years old, while working as a printer, would influence his decision to become a writer, but it was only near the end of his life that she was to become a visible preoccupation. …”
Get full text