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In Heroines, Harpies, and Housewives, Martha Moffitt Peacock provides a novel interpretive approach to the artistic practice of Imaging Women of Consequence in the Dutch Golden Age. From the beginnings of the new Republic, visual celebrations of famous heroines who crossed gender boundaries by fighting in the Revolt against Spain or by distinguishing themselves in arts and letters became an essential and significant cultural tradition that reverberated throughout the long seventeenth century. This collective memory of consequential heroines who equaled, or outshone, men is frequently reflected in empowering representations of other female archetypes: authoritative harpies and noble housewives. Such enabling imagery helped in the structuring of gender norms that positively advanced a powerful female identity in Dutch society.

140 Catherine Rae Ross MORE THAN WIVES: Helpmeets, Heroines or Partners?* In this paper I shall consider the lives and influence of two significant women in New Zealand mission history. One came here to New Zealand with her husband from England; the other was bom there of CMS missionaries. ANNE

In: Mission Studies

in the names of their children. Combining folklore and feminist methodologies, the essay proposes new parameters for understanding female heroism in the Hebrew Bible. Keywords women, fertility, heroines, matriachs, mythology, Hebrew Bible, hero pattern Mortality and Memory e covenant between the God

In: Biblical Interpretation

women became honored as “labor heroines” ( laodong yingxiong 勞動英雄) or “labor models” ( laodong mofan 勞動模範 or 勞模), 2 and exemplified the potentiality of ‘New China’ as a place of women’s economic participation, social recognition and self-esteem. After 1949, the working woman – often represented by

In: NAN NÜ

discursive work ensued to domesticate Boer women anew in the face of their recalcitrance in accepting a peace deal with the British. When the women continued to agitate for independence, the Boer leadership—convinced of surrender—reassigned them from heroines to vulnerable victims in need of protection

In: Matatu
Author: Shunichi Ueno

True Blood is an American television drama series based on The Southern Vampire Mysteries series of novels by Charlaine Harris. The series centres on the adventures of Sookie Stackhouse, a telepathic waitress who encounters a strange new supernatural world. Her everyday life becomes full of events that involve vampires and werewolves and shape-shifters; events she could never have dreamed of that can be compared with Dorothy’s journey to the Emerald City with the Scarecrow, the Tin Woodman and the Cowardly Lion in The Wonderful Wizard of Oz. As opposed to traditional fairy tale heroines, Sookie and Dorothy not only protect themselves but also help solve the male characters’ problems. Why are Dorothy and Sookie endowed with such an enterprising spirit and self-reliance? In a common plot where Dorothy and Sookie commit murder, they insist that the murder is an accident. Sookie looks back at the incident and says, ‘It wasn’t self-defence. You know how they say in the heat of the moment, that people don’t have time to think?’ And when The Wizard of Oz tells Dorothy, ‘You were strong enough to kill the Wicked Witch of the East’, Dorothy simply replies, ‘That just happened. I could not help it’. Although Sookie and Dorothy’s characteristics can be explained according to the ‘Final Girl’ or ‘Supergirls’ theory, from the Zen viewpoint, they become Zen masters. Both go in and out through their senses in each moment of their daily lives and they do not depend on worldly things, such as wealth, power and reputation. However, they inwardly feel the presence of something of the highest value, beyond time and social position. Instead of becoming tragic heroines, Dorothy and Sookie start walking again down the yellow brick road in their minds as brave, fearless, active American heroines and Zen masters.

In: The Practice of Narrative: Storytelling in a Global Context
Author: Ingrid Bertrand

’s tale within the frame of the heroine’s passing on of her story to her daughter’s daughter and her friend. At the issue of her fairy story, Dummer seems to have made her voice heard and reached her educational goal with her young audience, who has assimilated her message of female empowerment and

In: Biblical Women in Contemporary Novels in English

Abstract

The essay starts from the dictionary definition of the refraction in optics in order to frame my discussion of film adaptations of Jane Austen in the nineteen nineties within the context of canonicity, history and postmodernism. Although the extreme popularity of these adaptations has been related to the marketing of a certain nostalgia in the area of gender relationships, my analysis focuses on two films in which Austen is consciously translated into a contemporary idiom in terms of the representation of women, reclaiming or reforming Austen’s heroines in order to adapt them to a contemporary sensibility. In fact, the protagonists of Amy Heckerling’s Clueless and Patricia Rozema’s Mansfield Park powerfully represent, in different ways, current debates on the social construction and the social role of femininity. I conclude that both films illustrate different possibilities of postmodern refraction: whereas the more commercial Clueless smoothly recontextualises Emma in modern times, the excess of postmodern devices in Mansfield Park amounts to an ideological ambiguity that may end up cancelling out its ostensible feminist agenda.

In: Refracting the Canon in Contemporary British Literature and Film
Author: S. Wiersma

THE ANCIENT GREEK NOVEL AND ITS HEROINES: A FEMALE PARADOX BY S. WIERSMA In this paper I discuss some aspects of the dominant role played by the heroines in the ancient Greek novels. I try to make clear that from the viewpoint of the audience they probably acted within the bounds of familiar

In: Mnemosyne

coercive efforts made by the United States to limit the supply of cocaine and heroin. The U.S. war on drugs has failed, for the global supply of cocaine and heroin has increased over the past four decades...

In: The SHAFR Guide Online