De Shirley à Villette : comment Jane Eyre peut-elle vieillir ? by Bernadette Bertrandias

“…While Jane Eyre obliterates the process of getting old, not so for Charlotte’s two subsequent novels which introduce singular characters whose connection with the heroine suggests that ageing is now part of the issue of self development with which her writings are concerned. …”
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De Dolores, CO à Lolita, TX : Détours et retours à travers "the crazy quilt of forty-eight states" by Marie Bouchet

“…In Lolita, the landscape is a projection of the heroine on a huge scale. The country and its metonymic nymphet share characterization devices: conjunction of “reality effects” and metafictional elements, structures based on repetitions and doubles, hybrid combinations. …”
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Performing Grief Inconsolable: Land, Lament and Love in Marina Carr’s Portia Coughlan by Vicky ANGELAKI

“…As the essay argues, the play’s recent revival at London’s Almeida Theatre (2023), directed by Carrie Cracknell, designed by Alex Eales and featuring Alison Oliver in the lead role, made a considerable contribution towards highlighting the roots of discomfort as well as the embodied experience of Carr’s eponymous heroine, towards emphasising concerns of grief and inconsolability, but also towards asking how consolation and agency may be conceivable for spectators within an environmentally focused staging and reading of the play. …”
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Homecomings: Black Women’s Mobility in Early African American Fiction by Anna Pochmara

“…Such imposed mobility is countered by the self-determined action undertaken by the black heroines not only to free themselves but also to reunite their families. …”
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Les dispositifs optiques au XIXe siècle et la production des images dans Madame Bovary by Jeanne Bem

“…I show how Flaubert set up an art installation for his heroine, and how, by letting her experiment with colored vision, he transferred some of his curiosity and creativity onto her.…”
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‘A Part of Some Other’s Experience’: <em>Dark Victory</em>, Interdependence, and the Limits of ‘Normalcy’ in the 1930s by Anna Debinski

“…While Bette Davis’ disabled heroine dies, perpetuating eugenic understandings of disabled people as unworthy of life, she also fosters a vision of disability as a valuable embodiment of interdependence. …”
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On The Verge: Dramatisation de la violence symbolique dans The Verge de Susan Glaspell by Emeline Jouve

“…Following Glaspell, we will examine the mechanisms of this masculine domination that oppresses her female heroine, Claire. The playwright also shows how women are able to counteract patriarchal violence and free themselves from the yoke of alienating conventions. …”
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Cameron’s Tories : Talking Conservative, Acting Radical by Harry Cheesman

“…It is the purpose of this paper to show that, whilst in a wide range of policy areas Mr Cameron’s Conservatives have clearly taken inspiration from “mother”, and have in fact demonstrated a reformist zeal which throws their heroine’s caution into surprising relief, that they have reversed one of her key teachings ; instead of following the doctrine of “talk radical, act conservative”, Cameron’s Tories are more likely to “talk conservative, act radical”.…”
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Reiteration of Jane Eyre's Search for the Feminine Subject in Atkinson's Crime Novels by Esra Melikoğlu

“…Atkinson, it will be argued, signals that the contemporary literary female investigator and ultimately today’s women relive the gothic heroine’s dilemma: Susceptible to the myth of romantic love, they abort their feminist mission and collude with patriarchy’s obliteration of the feminine subject. …”
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THE HEROIC FEMALE CHARACTER IN FAIRY TALES AND EPICS OF SOME ETHNIC MINORITIES IN THE CENTRAL HIGHLANDS by Thi Tham Dam

“…Through the image of the heroine, readers will understand more about the regional culture, including customs, habits, lessons about humanity, and beautiful features in the beliefs of ethnic minorities in the Central Highlands.…”
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Tess of the d’Urbervilles du roman à l’écran : les ambiguïtés du point de vue by Isabelle Gadoin

“…Hardy’s late fiction can definitely be labelled as « modern » in that it both encourages and defeats narrative illusion, particularly in Tess of the d’Urbervilles, which wavers between fleeting moments of identification with the heroine’s point of view (thanks to internal focalisation) and narratorial corrections of these subjective « moments of vision », to take up the title of later poems. …”
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« You don’t suspect me of doing anything wrong, do you ? » Peurs, soupçons et paranoïa dans The Woman in White de Wilkie Collins by Laurence Taleirach-Vielmas

“…In The Woman in White, mysterious, secretive and dangerous characters abound, from the ghostly virgin dressed in white who wanders at night and threatens to reveal secrets, to the Italian count and the British baronet who incarcerate the heroine under her half-sister’s name in a lunatic asylum in order to inherit her fortune. …”
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Myth-making and History: The Visual Transformation of Boadicea in Eighteenth-Century History Books by Isabelle Baudino

“…This essay explores the evolution of Boadicea’s portrayal in book illustrations and in the visual arts, focusing on her transformation from a tragic queen to a classical heroine. Initially depicted as a theatrical character, Boadicea was given a prominent role in British antiquity as a model of resilience and bravery. …”
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Les implications du travestissement dans I Capuleti e i Montecchi de Vincenzo Bellini by Isabelle Schwartz-Gastine

“…According to baroque Italian operatic conventions, the part of the lover should have been performed by a castrato so that his voice could merge perfectly with that of the soprano heroine. However Bellini preferred a female singer, Giuditta Grisi, who specialised in a repertoire of young male lovers called musico, to play against her own sister, Giulia, as Julietta. …”
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O mundo nas mãos do adolescente: entre Apolo e Dioniso, entre o eros e o caos by Paula Mastroberti

“…Based on the series Poderosa, by Sergio Klein (Sao Paulo: Fundamento), this work analyses the representation of the adolescent in the personage-heroine, Joana Dalva, who has the power of changing daily events by re-writing them. …”
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Mutation sexuelle, mutation de langage by Alexandre Taalba

“…Through the story of a young woman whose right big toe changed into a penis, Matsuura Rieko proposes a conception of love and sexuality in terms of gender rather than sex. While the heroine conceived sexuality, by her own admission, exclusively as a heterosexual intercourse, the appearance of her “Big Toe P” makes her face sexuality from the angle of a love relation between two persons, beyond their sex determinations, because the sexual intercourse itself doesn’t demand the genital organ as a priority. …”
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An Investigation on the Subject of Women in the Thoughts of Anton Chekhov Based on the Latest Story by the Author, The Lady Bride by Zeinab Sadeghi Sahlabad

“…The present study answers the question of who is Chekhov's ideal female heroine. Chekhov's ideal female protagonist was different from other Russian writers. …”
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Car la Lettre tue mais l’Esprit vivifie : une relecture des textes bibliques selon Elizabeth Gaskell by Benjamine Toussaint-Thiriet

“…Indeed, her Unitarian education granted her a greater freedom than most of her contemporaries in terms of biblical exegesis, as we can see in many of her works, but most particularly in Ruth, in which the eponymous heroine, a fallen woman, is not only described as a Magdalen but soon turns into a Madonna and then a Christ-like figure.…”
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‘I should like to see a woman smoking while she was nursing her baby’: The New Woman, Crossdressing, and Humour in Horace William Bleackley’s Une Culotte (1894) by Mariam Zarif

“…This essay explores the fundamental contradictions of humour in Une Culotte by looking at how Bleackley situates his New Women heroines within the context of nineteenth-century British feminism. …”
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Une éducation sentimentale ou le roman d’amour de Salammbô by Geneviève Mondon

“…The unpublished passages, the margins and interlinear additions contribute precious elements to the construction of the heroine’s love story and give it a more erotic tone, before Flaubert deletes, transforms or skillfully conceals these fugitive traces.  …”
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