Papa’s Baby, Mama’s Maybe: Reading the Black Paternal Palimpsest and White Maternal Present Absence in Nella Larsen’s Quicksand by Yolanda M. Manora

“…In this article, I locate the narrative absences at the center of Larsen’s first novel, Quicksand, and examine the manner in which they source the relational failures that render the protagonist, Helga Crane, incapable of fulfilling her promise as, in Deborah McDowell’s words, a “daring and unconventional heroine” (xi). Not only does the palimpsestic presence of the black paternal impede Helga’s quest for social legitimacy and place, the present absence of the white maternal, arguably a more critical lacuna, serves as the experiential and psychological source of Helga’s fundamental “lack somewhere”: her failure to develop a relational subjectivity.…”
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Le sentiment d’appartenance dans North and South d’Elizabeth Gaskell by Benjamine Toussaint-Thiriet

“…The sense of belonging is one of the major themes of North and South. Margaret Hale, the heroine, has to leave the rural South, to which she feels her heart truly belongs, twice : first as a child, to be brought up by her aunt in London, and then, as a young woman when she must follow her parents and settle in Milton, an industrial town in the North of England. …”
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The Mystery of the Past Haunts Again: Jane Eyre and Eugenie Marlitt’s Die zweite Frau by Ivonne Defant

“…When it was published in 1847, it made an immediate impact in mid-Victorian England, partly because it drew on the paradigmatic story of a romance heroine, partly because it interpreted the needs of the women of the time. …”
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“No female weakness harbour’d there”: Epic Reframing of the Notorious Queen in Margaret Holford’s Margaret of Anjou: A Poem by Okaycan Dürükoğlu

“…Accordingly, this study focuses on how Holford fashions Margaret of Anjou as an epic hero, and how she subverts the traditional epic tradition with her female heroine.…”
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Portraits de Résistantes (1847-1875) : la femme face au système patriarcal dans quelques romans victoriens by Jacqueline Fromonot

“…However, the eponymous heroine of the earliest novel of the corpus, Jane Eyre, proves strikingly ahead of her time in her systematic defiant refusal of all forms of patriarchal domination—and her overall success in doing so.…”
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Propagandes, films et guerre du Vietnam : histoires d’hommes et de femmes ou propagande du « genre » de The Deer Hunter (1978) à Path to War (2002) by Alexandra Boudet-Brugal

“…It is true that overall we encounter no heroines but “super-hero soldiers” who rescue women (Heaven and Earth, Coming Home); however the representations offer a new space, emancipated from historical and social expectations. …”
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Alice’s Non-Anthropocentric Ethics: Lewis Carroll as a Defender of Animal Rights by Anna Kérchy

“…Carroll’s own description of his heroine with positive animal attributes, ‘loving as a dog’ and ‘gentle as a fawn’ (1887) resonates with an ethical agenda outlined in his novels starting out from the multidimensional interspecies relationship that conceives of difference in a non-dualistic, posthumanist deconstructive, Derridean (2008) way. …”
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Theatrical Colours: Cosmetics, Rhetoric and Theatre in Webster’s The White Devil by Natascha WANNINGER

“…Traditionally, these three characters have been respectively regarded as representatives of a fair Petrarchan heroine, of a black villain inside and out and of a woman occupying a literal grey area. …”
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“INTEGRITY, DISCIPLINE AND HUMBLE, CONSTANT HARD WORK – THESE ARE THE SECRETS OF A LONG AND SUCCESSFUL CAREER” by Adél FEKETE

“…Throughout her career, she performed many prima donna roles (such as Saffi in The Gypsy Baron by Johann Strauss II, Countess Liza in The Land of Smiles by Franz Lehár, Rosalinda in Die Fledermaus, Victoria etc.) and has achieved well-deserved recognition for her interpretation of Verdi’s heroines – Abigaille, in Nabucco, Leonora in Il Trovatore, Amelia in Un Ballo in Maschera, Amerlia Grimaldi in Simon Boccanegra as well as Lady Macbeth, but also for the roles of Micaëla (from Carmen by Georges Bizet), Santuzza (from Cavaleria Rusticana by Pietro Mascagni), Elisabeth (in Wagner’s Tannhäuser) or Puccini’s Tosca. …”
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The Victorian Illustrating of Shakespeare’s Women: Metal Engraving by Afrooz Khaleghi, Morteza Lak, Hoda Shabrang

“…In other words, artists and editors sought to emphasise their beauty, strength, and complexity by depicting Shakespeare's heroines in visually appealing ways. Therefore, the illustrations in these editions provided the readers with a richer interpretation of the characters and potentially influenced their understanding of the characters in the play. …”
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"[T]he rising silhouette of the city" : une poétique des choses urbaines dans "Coming, Aphrodite !" et "The Diamond Mine" de Willa Cather by Céline Manresa

“…Elaborating an analogy between the partially veiled and yet carnal silhouettes of the heroines and the hazy yet concrete contours of the city, Cather’s writing moves from a pictorial to a sculptural dimension. …”
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St. John le calviniste, ou l’émule de Gil-Martin by Jean Berton

“…Brontë’s intention was not so much to denounce noxious excesses in religious beliefs as to set her heroine’s wise independence against nefarious male domination: whereas victimised Robert Wringhim is driven to despair and suicide, self-reliant Jane Eyre escapes from St. …”
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Reproductive Politics and Parental Economies in Titus Andronicus by Burzyńska Katarzyna

“…Her pregnant embodiment has generated less critical interest than the pregnancies and maternities of later tragic heroines. In this paper I wish to reread Tamora’s non-normative pregnancy and her maternal authority against a tenuously established consensus on reproduction and maternity in the period. …”
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Sex, Gore and Provocation: the Influence of Exploitation in John Waters’s Early Films by Elise Pereira Nunes

“…Many exploitation filmmakers have had a strong impact on the filmmaker’s aesthetics and politics—among them, American filmmaker Russ Meyer, a master of sexploitation, whose strong female characters inspired the creation of Waters’s lead female heroines embodied by American drag queen Divine. A pioneer of the gore subgenre, Herschell Gordon Lewis and his exploitation of graphic violence and blood in order to take the horror genre one step further has influenced the gruesome aesthetics of Waters’s films. …”
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SCRUTINIZING KEY ELEMENTS OF GREEN LITERATURE ON THE CHILDREN’S BOOK TATA KATA: KUMPULAN CERITA ANAK COMPOSED BY YOUNG WRITERS OF THE TIN ISLAND by Bob Morison Sigalingging, Dini Wulansari

“…It means that Bangkanese children are expected to be environmental heroes/heroines in the next few years. …”
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Feminism and Faith: Exploring Christian Spaces in the Writing of Sara Maitland and Michèle Roberts by Arina LUNGU-CIRSTEA

“…Whatever their personal choices, Christian spirituality turns out to be a key factor in determining the specific place they – or indeed their fictional heroines – occupy in the social world. Taking as a starting point the idea that “the identities of place are always unfixed, contested and multiple” (Doreen Massey), this essay focuses on these writers” efforts to assert women’s spiritual identity against the rigid boundaries of the social spaces they are often confined into.…”
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Lounging Men, Standing Women: Pose and Posture in the Aesthetic Interior by Richard W. Hayes

“…A key moment in Henry James’s 1881 novel The Portrait of a Lady occurs when the story’s heroine, Isabel, enters the drawing room in her Roman palazzo to find her husband Gilbert Osmond seated and their guest Madame Merle standing. …”
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L’image du père et du jardin : Jane Eyre de Charlotte Brontë  et WideSargasso Sea de Jean Rhys by Anne-Marie Baranowski

“…Hence the garden mirrors the crucial moments and experiences in the lives of both heroines, including love, married life and loss.…”
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New Orleans as the city of misfit women in Jezebel (William Wyler, 1938) and The Flame of New Orleans (René Clair, 1941) by Taïna TUHKUNEN

“…More humorously, yet resonating with the iconoclasm of William Wyler’s rebellious neworleansian heroine, René Clair’s satirical film presents us with a Southern city which it not to be confused with Atlanta, Georgia, in these two films representative of the “southern genre”.…”
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Imagist Novel’s Poetics: “Bid Me to Live” by H.D. by Yevheniya Chernokova

“…Friedman), typical for a lyric novel, focuses on the narrative-transformation of heroine at the moment of her deepest personal crisis both in the life of a woman and an artist against the catastrophic background of the First World War.    …”
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