<p>Two hundred years later it still affects us</p>

Two hundred years later it still affects us

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The purpose of this paper is to examine both the women in Hemingway's life and his works, to search for influences exerted by the biographical women, to categorize the fictional women, and to draw whatever conclusions the evidence may justify.

Doctor Educationis / Romantic love has been neglected in the study of African literature and culture. It has been misconstrued and overlooked in canonical African literature, and the scholarship of that literature. Only recently has some attention been directed to African popular romance writing. The main focus of African literature and its scholarship fell on questions of history, colonial resistance, and, later, in the work of women writers, on gender oppression. This neglect is gradually being addressed. Romantic love is slowly getting more recognition than before in the study of African literature, and as evidenced in popular culture by recent African imprints like the South African-based Sapphire imprint, and Nollybooks and Okada Books in Nigeria, among others. The Ankara popular romances under study in this thesis focus on the concerns of contemporary African women and suggest resolutions to their problems. Although they are in some ways similar to Anglo-American romance fiction like Mills and Boon and Harlequin, they present some concerns specific to their context. Among these are questions of childbearing, locally relevant questions related to work and career, and contextually shaped issues around desire and the erotic. The contemporary Ankara novellas have been read against the backdrop of Flora Nwapa’s novel Efuru, a first-generation African novel written by the first published African woman writer. We see that the dilemmas encountered by the Ankara heroines represent the concerns of Efuru, Nwapa’s heroine, with some variation in some cases. Of the Ankara novellas published to date, the following titles will be studied, namely, A Tailor-Made Romance by Oyindamola Affinih, Love Me Unconditionally by Ola Awonubi, A Taste of Love by Sifa Asani Gowon, The Elevator Kiss by Amina Thula, Finding Love Again by Chioma Iwunze-Ibiam and Love’s Persuasion also by Ola Awonubi. The thesis establishes that the resolution of the Ankara novellas is different from the ending of Efuru. Nwapa leaves Efuru’s dilemmas unresolved, whereas the Ankara novellas, because they are romances, present idealised resolutions in which model heroes, who manifest transformations coming to being in society more generally, constitute the wished-for happy-ever-after ending.

In early Medieval English poetry and late Medieval romance, there are multiple roles violent women perform. They can be protagonist, antagonist, and supporting character. They prove to be active characters with strength, skill, intelligence, and power. In early Medieval English poetry, Grendel's mother from Beowulf and Judith from Judith share certain noble traits. Grendel's mother is an antagonist of the titular hero, but she is described as a noblewoman, honorable, loyal to her family, and a fierce fighter. Judith is often considered a hagiographic heroine, but Judith paints her in a more secular manner as intelligent, politically powerful, and proud. Lynet from Sir Thomas Malory's Le Morte Darthur may not be as violent as the other women in this study, but she is equally powerful and intelligent. These women show different ways in which violent women characters had agency and active roles in the texts they inhabit. / Master of Arts / In early Medieval English (500 - 1066 AD) poetry and late Medieval (1300 - 1500 AD) romance stories, there are multiple roles violent women fill. They can be protagonist, antagonist, and supporting character. They prove to be active, independent characters with strength, skill, intelligence, and power. In early Medieval English poetry, Grendel's mother from Beowulf (975 - 1025 AD) and Judith from Judith (975 - 1025 AD) share certain noble traits. Grendel's mother is an antagonist of the titular hero, but she is described as a noblewoman: honorable, loyal to her family, and a fierce fighter. Judith is often considered a spiritual or religious heroine, but Judith paints her in a more secular manner as intelligent, politically powerful, and proud. Lynet from Sir Thomas Malory's Le Morte Darthur (1485 AD) may not be as violent as the other women in this study, but she is equally powerful and intelligent. These women show different ways in which violent women characters had independent and active roles in the texts they inhabit.

<p>Са само пет наслова од дванаест опера колико је укупно написао, Пучини већ више од века доминира у репертоару свих светских оперских кућа, од најмањих до највећих, што га ставља у исти ранг са Моцартом, Вердијем, Вагнером. Његова популарност је тако велика не само због изванредне музике и сјајног осећаја за оркестрацију, него управо због сасвим специфичног начина на који је Пучини драматуршки третирао своје главне протагонисте. Нарочити афинитет је имао ка савршено нијансираном креирању хероина. Управо су његове хероине главно обележје његовог стваралаштва. Како је опера уметност заснована на синтези две уметности &ndash; драмске и музичке, реч је о раду који истражује главне женске ликове анализирајући упоредо драматуршка и музичка средства која је композитор користио и које има за циљ да дође до општих закључака о емоционалном аспекту хероина у значајном делу стваралаштва Ђакома Пучинија, у операма Боеми, Тоска, Мадам Батерфлај и Турандот.</p> / <p>Sa samo pet naslova od dvanaest opera koliko je ukupno napisao, Pučini već više od veka dominira u repertoaru svih svetskih operskih kuća, od najmanjih do najvećih, što ga stavlja u isti rang sa Mocartom, Verdijem, Vagnerom. NJegova popularnost je tako velika ne samo zbog izvanredne muzike i sjajnog osećaja za orkestraciju, nego upravo zbog sasvim specifičnog načina na koji je Pučini dramaturški tretirao svoje glavne protagoniste. Naročiti afinitet je imao ka savršeno nijansiranom kreiranju heroina. Upravo su njegove heroine glavno obeležje njegovog stvaralaštva. Kako je opera umetnost zasnovana na sintezi dve umetnosti &ndash; dramske i muzičke, reč je o radu koji istražuje glavne ženske likove analizirajući uporedo dramaturška i muzička sredstva koja je kompozitor koristio i koje ima za cilj da dođe do opštih zaključaka o emocionalnom aspektu heroina u značajnom delu stvaralaštva Đakoma Pučinija, u operama Boemi, Toska, Madam Baterflaj i Turandot.</p> / <p>With only five out of the twelve operas he wrote, Puccini has been dominating the repertoire of opera houses of the world, from the smallest to the largest ones, for more than a century. This puts him on par with Mozart, Verdi, Wagner. He is so well known not only for the excellence of his music and a great sense of orchestration, but also for the very specific ways in Puccini&#39;s dramaturgical treatment of his main protagonists. He has shown special affection towards his perfectly nuanced creation of heroines. It was his heroines that turned out to be the main feature of his whole opus. As the opera as an art is a synthesis of two arts - drama and music, this thesis analyzes the main female characters by simultaneously focusing on the dramaturgical and musical resources which the composer used, and it aims to reach more general conclusions about the emotional aspect of his heroines in a significant part of the creative work of Giacomo Puccini, in his operas La Boheme, Tosca, Madama Butterfly and Turandot.</p>

Submitted by Priscila Duarte Baldini Vacari null (priscila_duartebaldini@yahoo.com.br) on 2018-04-02T01:42:53Z No. of bitstreams: 1 Dissertação de Priscila Duarte Baldini Vacari - VERSÃO ENTREGUE.pdf: 1013078 bytes, checksum: d4fe1d8e21c1d277486b95393b6a2db5 (MD5) / Approved for entry into archive by Elza Mitiko Sato null (elzasato@ibilce.unesp.br) on 2018-04-02T13:11:23Z (GMT) No. of bitstreams: 1 vacari_pdb_me_sjrp.pdf: 1013078 bytes, checksum: d4fe1d8e21c1d277486b95393b6a2db5 (MD5) / Made available in DSpace on 2018-04-02T13:11:23Z (GMT). No. of bitstreams: 1 vacari_pdb_me_sjrp.pdf: 1013078 bytes, checksum: d4fe1d8e21c1d277486b95393b6a2db5 (MD5) Previous issue date: 2018-02-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente trabalho teve por objetivo fazer uma leitura analítica da personagem central da obra Madame Bovary, a senhora Emma Bovary, discorrendo sobre três eixos fundamentais: os desacordos de Emma com o outro, consigo mesma e o conflito com o mundo. Nossa interpretação, tendo por base o ensaio de Vargas Llosa (2015) e a crítica de James Wood (2014), a observou como a personagem da consciência infeliz e do constante tédio e insatisfação pessoal. Dentre alguns aspectos, ela fugiria das figuras de tipo idealizado de conduta feminina que seriam conhecidas por intermédio das mulheres da sociedade burguesa europeia do século XIX, pois seus gestos e comportamentos, durante todo o romance, seriam marcados por uma ideia de “virilidade” (Vargas Llosa), que foge aos padrões românticos e bem comportados de figuração feminina. Tendo em vista tratarmos de um romance considerado uma “narrativa moderna de ficção” (James Wood), abordamos alguns apontamentos acerca da noção de modernidade e modernidade literária. Adentramos, também, em uma breve discussão acerca das teorias sobre o romance, enquanto gênero inacabado e realista, que representou a sociedade burguesa e fez emergir a figura do herói romanesco, um indivíduo problemático. Nesse sentido, a partir dos três desacordos analisados, apuramos a estratégia de Gustave Flaubert em utilizar uma mulher como precursora do que se configurou como herói problemático. Observamos, assim, como um dos grandes romances realistas do século XIX foi construído a partir de uma personagem com toda a complexidade de seus anseios, maneiras de agir e vontades, que acabou por se converter em uma das mais emblemáticas heroínas dos romances modernos. / The purpose of the present work was to do an analytical reading of the central character of Madame Bovary, Mrs. Emma Bovary, on three fundamental lines: Emma's disagreements with others, with herself and the conflict with the world. Our interpretation, based on Vargas Llosa's essay (2015) and James Wood's critique (2012), saw her as the character of unhappy consciousness, constant boredom and personal dissatisfaction. In some aspects, she would run away from idealized feminine-type characters that would be known through the women from the nineteenth-century European bourgeois society, because her gestures and behavior, throughout the novel, would be marked by an idea of "virility" (Vargas Llosa), which escapes the romantic and well-behaved patterns of feminine figuration. Knowing that the novel is considered a "modern narrative of fiction" (James Wood), we have approached some notes about the notion of modernity and literary modernity. We have also searched about a brief discussion of the theories of a romance, as an unfinished and realistic genre, that represented bourgeois society and came up with the image of the romantic hero, a problematic individual. That way, based on the three disagreements analyzed, we found out the great strategy of Gustave Flaubert in using a woman as a precursor of what was set as a problematic hero. Thus we can see how one of the great realist novels of the nineteenth-century was built up from a character with all the complexity of her yearnings, ways of acting and wills, which became one of the most emblematic heroines of modern novels.

The diploma thesis deals with the personality of Arnošt Lustig and his work. Apart from the biographical section, it focuses on the specific features of his literary work, including characteristics of the author's style of writing and linguistic means. In particular, it focuses on the analysis of several selected works where the central figures are women. It records how the Lustig's life is experience was reflected in the selection of these female figures. In the center of interest is the motive of the female heroine, the characteristics of the individual types, interpretation of their thinking, behavior and negotiation against the background of the historical context.

The purpose with this essay is to show how the protagonist in Toni Morrison&apos;s novel Beloved can be regarded as a traditional gothic heroine. Yet, she is given different roles and actions than a conventional gothic heroine. It is also argued in this essay that Morrison&apos;s heroine is given different qualities in order to reveal important messages. First, a short description of the plot is made in order to show the gothic elements in the novel. In the following, Sethe is dealt with in relation to four traditional gothic elements. These four all appear in the novel. These are: The heroine, the villain, the setting with the haunted house and the supernatural force. Then, Sethe as a different gothic heroine is analysed. Finally, Morrison&apos;s messages are brought up.