Made available in DSpace on 2016-08-10T11:07:06Z (GMT). No. of bitstreams: 1 Allyne Alves Marques Pimenta.pdf: 632366 bytes, checksum: 87dfc304d0c6139f4be0ea48dbe76efd (MD5) Previous issue date: 2012-02-01 / This work is mainly aimed to develop a study of evolution of the feminine being, his voice, his sexuality, swaying and precepts that make up your identity, engaging in the rich history of characters Penelope and Emma Bovary, analyzing the dimensions of the heroin Penelope as initial prototype and Emma Bovary as her frontal negation passing by Lisístrata, as an element of disruption and destabilization as many female archetypes of Western literature throughout the ages. The analysis is extended to the study of the role of women in societies where the heroines are inserted studied here, in communion with the theory that art is the representation of an entire history of a people at a given time. The counterpoints are located, at first, in Emma Bovary, seeking the fulfillment of their wishes, unlike Penelope, submissive just waiting for her husband. Concomitantly, Ulysses is the negation of Charles Bovary, even with their treachery, it is still a great man and praised her husband, Charles contrary to the bland, which is not able to arouse and maintain the feeling of passion in his wife, who was looking unhappy marriage love so desired. It happens to break with the bourgeois and sexist society, which always spread that the wife should be restricted to the heart of the home. Therefore, this study goes through several literary characters, and also makes a brief analysis of the various types of love present in marital relations, confronted the figures of the submissive woman who passively accept their fate and woman fighter who seeks fulfillment in all their spheres. / Este trabalho tem como objetivo central desenvolver um estudo da evolução do ser feminino, de sua voz, de sua sexualidade, dos meneios e preceitos que compõem sua identidade, ocupando-se da rica trajetória das personagens Penélope e Emma Bovary, analisando as dimensões da heroína que tem em Penélope o seu protótipo inicial e Ema Bovary como sua negação frontal, passando por Lisístrata, como elemento de ruptura e desestabilização tal como vários arquétipos femininos da literatura ocidental ao longo dos tempos culminado no estudo de personagens contemporâneas. A análise se estenderá ao estudo do papel feminino nas sociedades em que estão inseridas as heroínas aqui estudadas, em comunhão com a teoria que a arte é a representação de toda uma história de um determinado povo em determinada época. Os contrapontos situam-se, a priori, em Emma Bovary, que busca pela realização de seus desejos, ao contrário de Penélope, submissa que apenas espera por seu esposo. Concomitante, Ulisses é a negação de Charles Bovary, mesmo com suas traições, ainda é um louvado homem e grandioso esposo, contrário ao insípido Charles, que não é capaz de despertar e manter o sentimento de paixão na esposa, que, infeliz, procura fora do casamento o amor tão sonhado. Acontece a ruptura com a sociedade machista e burguesa, que sempre disseminou que a esposa deveria ficar restrita apenas ao seio do lar. Ruptura que se verifica solidificada no atual século. Para tanto, este estudo perpassa várias personagens literárias e, ainda, realiza uma breve análise dos tipos vários de amor presentes nas relações conjugais, confrontando as figuras da mulher submissa, que aceita passivamente o seu destino, e da mulher lutadora, que busca a sua realização em todas as suas esferas.

Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / A proposta deste trabalho é realizar uma análise da figura feminina nos romances Jangada de pedra, História do cerco de Lisboa e Ensaio sobre a cegueira, de José Saramago. Iniciando por uma breve pesquisa da história da mulher como forma de traçar a longa trajetória por que passou até a sua emancipação, o estudo revela, através da análise de diferentes identidades femininas, a abertura de uma nova concepção de mulher na literatura portuguesa.O escritor propõe em sua obra uma reflexão sobre a situação do mundo através do indivíduo e suas atitudes, responsabilidades e anseios. Os ensinamentos que seus romances costumam transmitir aos leitores, na maioria das vezes, partem de personagens femininas. A mulher se completa realizando o papel de mãe, protetora e companheira e, ao mesmo tempo, de amante e guerreira. Considerada pelo presente trabalho uma heroína contemporânea, ela engloba estas duas vertentes que a sociedade por muito tempo insistiu em separar, cuidando da casa e da família ao mesmo tempo em que trabalha e busca seu sustento fora de casa Também é a mulher que, nesta obra, tem o poder da sensibilidade e da compaixão ajudando àqueles que precisam, mesmo quando mal os conhece. E também é ela quem consegue, encantadoramente, metamorfosear-se de menina a mulher, intercalando as imagens de santa e prostituta, sedutora externamente e pura em sua essência.Entretanto, a escrita saramagueana não trata apenas de inibir a matriz patriarcal, ignorando com isso o papel do homem. O que há é o resgate das culturas primitivas matriarcais, com a mulher e o homem governando em igualdade e harmonia. Por este motivo, o homem também é muito importante em seus romances já que, em união com a mulher, incentivado e guiado por ela, partem juntos, através do amor, para uma travessia (humana) existencial, na busca do conhecimento / The proposal of this work is to carry out an analysis of the feminine figure in the romances novels Jangada de Pedra, História do cerco de Lisboa and Ensaio sobre a Cegueira of the writer José Saramago. Beginning with a short research of the woman history as a way to trace her trajectory along the time for her emancipation, and with the analysis of the different feminine identities, the study reveals a new concept of the woman in Portuguese literature.The writer proposes in his work a reflection of the world situation through the individuals and their attitudes, responsibilities and desires. The lessons of his novels to the readers, most of the time have start from feminine figures. The woman completes herself playing a mothers role, protector and partner, and at the same time lover and warrior. Considered at the present work as an actual heroine, she takes the mission of the two distinct activities that the society insisted in making them apart, taking care of home and family while she works to provide their needs.In this work the woman also has the power of sensibility and compassion to help those in needs even when she barely knows them. She is also the one who can, with charm, become herself from girl to woman, fitting in as saint and prostitute, externally pure and seducer in her essence.However, Saramagos writings are not only about the matrixs patriarchal inhibition, ignoring the mans role. There is the rescue of matriarchal primitive cultures, with woman and man governing in equality and peacefully. For this reason, the man is also very important in his novels, since together with the woman, motivated and guided by her, they go trough love for an existential cross over for the search of knowledge

This thesis demonstrates how two early nineteenth century British novels, William Earle’s Obi, or The History of Three-Fingered Jack (1800) and the anonymously-written The Woman of Colour; A Tale (1808), feature prominent women of colour that move beyond the silenced, enslaved, minor representations of black and mixed race women made popular in previously published texts throughout the seventeenth and eighteenth centuries. The progression of Amri and Olivia’s positions through the use of literary strategies, such as Homi K. Bhabha’s mimicry, Paul Gilroy’s double consciousness, and gender-reversals reveal the inherent ambivalence of the women’s positions in each narrative and the importance of these representations against the hegemonic female position. Although I argue that neither author succeeds in overturning traditional limitations of representing women of colour in literature of the period, investigating these texts is crucial to understanding the autonomous, influential women of colour in later nineteenth century literary works.

Universiẗat, Diss., 2007--Hamburg.

Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / A proposta deste trabalho é realizar uma análise da figura feminina nos romances Jangada de pedra, História do cerco de Lisboa e Ensaio sobre a cegueira, de José Saramago. Iniciando por uma breve pesquisa da história da mulher como forma de traçar a longa trajetória por que passou até a sua emancipação, o estudo revela, através da análise de diferentes identidades femininas, a abertura de uma nova concepção de mulher na literatura portuguesa.O escritor propõe em sua obra uma reflexão sobre a situação do mundo através do indivíduo e suas atitudes, responsabilidades e anseios. Os ensinamentos que seus romances costumam transmitir aos leitores, na maioria das vezes, partem de personagens femininas. A mulher se completa realizando o papel de mãe, protetora e companheira e, ao mesmo tempo, de amante e guerreira. Considerada pelo presente trabalho uma heroína contemporânea, ela engloba estas duas vertentes que a sociedade por muito tempo insistiu em separar, cuidando da casa e da família ao mesmo tempo em que trabalha e busca seu sustento fora de casa Também é a mulher que, nesta obra, tem o poder da sensibilidade e da compaixão ajudando àqueles que precisam, mesmo quando mal os conhece. E também é ela quem consegue, encantadoramente, metamorfosear-se de menina a mulher, intercalando as imagens de santa e prostituta, sedutora externamente e pura em sua essência.Entretanto, a escrita saramagueana não trata apenas de inibir a matriz patriarcal, ignorando com isso o papel do homem. O que há é o resgate das culturas primitivas matriarcais, com a mulher e o homem governando em igualdade e harmonia. Por este motivo, o homem também é muito importante em seus romances já que, em união com a mulher, incentivado e guiado por ela, partem juntos, através do amor, para uma travessia (humana) existencial, na busca do conhecimento / The proposal of this work is to carry out an analysis of the feminine figure in the romances novels Jangada de Pedra, História do cerco de Lisboa and Ensaio sobre a Cegueira of the writer José Saramago. Beginning with a short research of the woman history as a way to trace her trajectory along the time for her emancipation, and with the analysis of the different feminine identities, the study reveals a new concept of the woman in Portuguese literature.The writer proposes in his work a reflection of the world situation through the individuals and their attitudes, responsibilities and desires. The lessons of his novels to the readers, most of the time have start from feminine figures. The woman completes herself playing a mothers role, protector and partner, and at the same time lover and warrior. Considered at the present work as an actual heroine, she takes the mission of the two distinct activities that the society insisted in making them apart, taking care of home and family while she works to provide their needs.In this work the woman also has the power of sensibility and compassion to help those in needs even when she barely knows them. She is also the one who can, with charm, become herself from girl to woman, fitting in as saint and prostitute, externally pure and seducer in her essence.However, Saramagos writings are not only about the matrixs patriarchal inhibition, ignoring the mans role. There is the rescue of matriarchal primitive cultures, with woman and man governing in equality and peacefully. For this reason, the man is also very important in his novels, since together with the woman, motivated and guided by her, they go trough love for an existential cross over for the search of knowledge

[pt] Ao longo do tempo, mulher e cultura de massa sempre foram identificadas. Andreas Huyssen aproximou-as ao mostrar a maneira como ambas foram capazes de ameaçar o mundo masculino e burguês do século XIX. Neste roteiro comentado, inspirado no livro Tantos Anos, de Maria Luíza de Queiroz e Rachel de Queiroz, no romance Memorial de Maria Moura, de Rachel de Queiroz, e na minissérie homônima, adaptada do romance e exibida pela TV Globo em 24 capítulos no ano de 1994, vemos - na forma de programa para a televisão - como a escritora Rachel de Queiroz, uma mulher que viveu muito, e sempre entre os intelectuais e poderosos de sua época, acabou por inspirar- se em sua própria vivência para criar aquela que viria a ser sua última heroína: Maria Moura. Levada à tela da televisão, a minissérie Memorial de Maria Moura, mesmo tendo sido (como é característico do meio) o resultado de um processo no qual a autoria é fragmentada, apresenta uma heroína que não perdeu a característica que mais a aproxima de sua criadora Rachel de Queiroz: a atração pelo poder. / [en] Throughout the times, women and mass culture have always been related to each other. Andreas Huyssen brought them together by showing the way they both threatened XIXth century`s masculine and bourgeois world. In this commented screenplay, based on the book Tantos Anos, by Maria Luíza de Queiroz and Rachel de Queiroz, the novel Memorial de Maria Moura, by Rachel de Queiroz, and its homonymous miniseries, adapted from the novel and aired by TV Globo in 24 episodes in the year of 1994, we can witness - in the form of a television show - the way how the writer Rachel de Queiroz, a woman who lived very long, and always among the powerful and intellectual people of her time, ended up being inspired by her own trajectory to create that who would become her last heroine: Maria Moura. Taken to television screen, the miniseries Memorial de Maria Moura, even when it was (which is a typical trait for this medium) the result of a process in which authorship is shattered, brings a heroine who didn`t lose the characteristic that approaches her the most to her creator: the attraction to power.

當好萊塢式的超級英雄在全球影視文化圈刮起炫風之時，日本次文化中亦有一群「娘子軍」，推動了日本動畫、漫畫的發展，諸如《美少女戰士》、《新世紀福音戰士》，至2011年成為日本推動軟實力外交「Cool Japan」的主打動畫—《魔法少女小圓》，都展現了日本動漫市場被名為「戰鬥美少女」的角色（character）和文類（genre）所引領的實態。這些巾幗不讓鬚眉的「美少女」，是動漫畫中的戰鬥主體，卻擁有別於歐美文化中結合力與美的女超人及女戰士的特質，她們同時擁有戰鬥的能動性，在身體表象上又具有纖細瘦弱、容易受傷的受動性，更甚是成為男性觀眾的性慾客體、女性自我實現的投射。如此對「少女」的憧憬與操作慾，實乃根基於日本近代文化的一種特殊現象。 在日本動漫充斥著色情與暴力而為人詬病之時，宮崎駿動畫電影因其所蘊含的藝術價值而和我們認知中的「御宅動畫」產生一線之隔。作品中披荊斬棘、自力更生的女性形象讓人耳目一新，然仔細探究宮崎駿動畫的人物設計和敘事結構卻與上述類型動畫中的戰鬥美少女特質不謀而合，甚至其作品《風之谷》中的娜烏西卡更被譽為是替戰鬥美少女定型的元祖角色。因此，本研究擬梳理少女文化與戰鬥美少女的發展，並以宮崎駿自1984年起至2013年執導的十部長篇動畫電影為研究對象，檢視其作品在角色形塑上是否使用戰鬥美少女模式包裝其理想的「少女意象」，期以理解「少女」之於日本社會有何種意涵與價值。 本研究發現，宮崎駿動畫除了酷愛以「飛行」強調少女的神聖性，其去性化的純潔無垢的少女意象，更符合近代日本對少女所設下的社會框架，而在敘述手法上卻體現了日本文化中普遍具有的過度男性凝視與母性肥大的主題，從而證明戰鬥美少女實非顛覆父權的利器，反而加深了既有的性別刻板印象。 / While Hollywood’s superhero movies are blowing up entertainment industry all over the world, there is a kind of young female character toting weapon in Japanese subculture and promotes the development of Anime and Manga. From Sailor Moon to Neon Genesis Evangelion, also Puella Magi Madoka Magica, which played an important role in Japan’s foreign Policy titled “Cool Japan” in 2011, the Japanese animation industry seems to be led by this kind of character or genre called “Battle Heroine”. These girls are prepubescent and pretty, but not inferior to boys and man. Although they are different from western superwoman and female warrior shaped in Amazons, they still hold the initiative in theirs fights. In the same time, they also maintain the passivity came from their vulnerable bodies and naive personality. Therefore, the battle heroine turns to be an object of desire for male audiences or a projection of self-actualized for female audiences. In fact, such desire to manipulate young girls, who were named “Shōjo” in Japanese, was based on the culture of modern Japan and became a special social phenomenon in recent times. Despite the fact that Japanimation was condemned by public because of teeming with violence and pornography, it is no doubt that director Hayao Miyazaki is appreciated for the artistic value in his awarded animations and makes a fine line between his films and “otaku anime”. The woman images in his animations can be refreshing because of its independence and brave behavior. However, when we have made a careful study of character design and narrative structure in his works, we may found that there is a coincidence between these characters and battle heroines in otaku anime. Furthermore, Nausicaä in Nausicaä of the Valley of the Wind is widely regarded as a stereotype of battle heroine. As a result, the thesis was intended to prioritize the development of Shōjo culture and battle heroine animations, and research whether Miyazaki attempted to shape female characters in battle heroine way to show his ideal Shōjo images or not among ten films directed during 1984 to 2013. Moreover, the meanings of Shōjo to Japanese were also discussed in this thesis. Throughout the research, I have found that Miyazaki tended to use “flying scene” to emphasize the deity of Shōjo characters, and the desexualized Shōjo images are familiar to the gender norms made in modern Japan. On the other side, the narrative approach of Miyazaki’s films revealed the exaggeration of maternal instinct and the redundancy of male gaze which have generally existed in Japanese culture. In my observation, these results proved that battle heroines are created to strengthen gender stereotypes instead of subverting the paternity rights.

This essay analyses the female hero in four urban fantasy novels, and evaluates several examples of the genre to find out whether or not the heroes can be found to be "sheroes" or traditionally male heroes. The study outlines the myth of the hero's journey and gives examples of the masculine as well as the feminine approach and how they apply to the four novels. The attributes of the hero are also reviewed and put into perspective within the studied material. It appears that while it is often argued that the urban fantasy genre has strong woman protagonists, the heroes therein are not "sheroes" since they behave like typically male heroes.

Fairy tales are usually described as short narratives that end with happily-ever-afters, imposing patriarchal ideologies. The Grimm’s fairy tales serve as the foundation of many other stories which promote stereotypes like woman passiveness, submissive beauty, while men are put on a pedestal for being active and violent at the same time. Angela Carter’s collection The Bloody Chamber depicts patriarchal oppression in classic fairy tales by challenging what can be identified as patriarchal binary oppositions with a strategic subversion of gender roles. Through problematizing and critiquing the patriarchal fairy tales, Carter’s texts can be read through the lens of écriture féminine. Following Hélène Cixous’s notion of écriture féminine, outlined in “The Laugh of the Medusa”, this essay explores how Carter’s  “The Lady of the House of Love'' can be read as a narrative that has strong echoes of the kind of female writing Cixous advocates. Moreover, this essay argues that  “The Lady of the House of Love” contradicts the Western myth of femininity by resisting, exploring, even undermining the patriarchal representation of woman as “heroine”-the fairy tale princess who needs a man to save her -and “femme fatale.”

Pride and Prejudice has remained one of the most popular literary since it was published due to the concept of shifting social structure. Marriage is one of the most critiqued concepts by different scholars, giving their views on what would be the implication portrayed by Elizabeth Bennet and her influence on Mr. Darcy to marry for love. Marriage is considered the central theme of the novel as different characters engaged in various types of relationships. Among the female characters, Elizabeth proves that wealth and social standing are not mandatory advantages in the intricate state of marriage. Appropriately, I shall frame my discussion of Elizabeth’s situation in the context of Feminist Literary Criticism Theory. The theory advocates for a paradigm shift in women’s position in society. The research argues that Elizabeth is a forerunner of change. She survives the afflictions women faced in the eighteenth and nineteenth centuries in a male-dominated culture. Elizabeth contradicts other women characters in the novel who are more accustomed to social formalities. As a harbinger of change, she advocates for a feminist mindset and a transformation of the roles and positions of women in society. The multifaceted role that she plays in the novel normalizes the ideology that women deserve the same treatment as men and that they too can achieve their goals by deviating from gender norms imposed by traditions. / <p>Slutgiltigt godkännandedatum: 2022-11-14</p>