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Super(natural) women female heroes, their friends, and their fans /Ross, Sharon Marie. January 2002 (has links)
Thesis (Ph. D.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.
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Thinking blondes and heroes : interpreting Jungian theory and hero stories for women's psychology /Marlow, Beth M. January 1997 (has links)
Thesis (Ph. D.)--University of Wollongong, 1997. / Typescript. Bibliographical references: leaf 263-278.
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Awakening desire and Charlotte Bronte's Heroines the feminist voice /Gabel, Joanne E. January 1999 (has links)
Thesis (M.A.)--Kutztown University of Pennsylvania, 1999. / Source: Masters Abstracts International, Volume: 45-06, page: 2844. Typescript. Abstract precedes thesis as, preliminary leaves [1-2]. Includes bibliographical references (leaves 101-104).
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Holding out for a female hero the visual and narrative representation of the female FBI agent in Hollywood psychological thrillers from 1991-2008 /Lafferty, Sarah. January 2009 (has links)
Thesis (M.A.)--Bowling Green State University, 2009. / Document formatted into pages. Includes bibliographical references.
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Super(natural) women : female heroes, their friends, and their fansRoss, Sharon Marie 16 June 2011 (has links)
Not available / text
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Girl guides : towards a model of female guides in ancient epic.Nagy, Szerdi. January 2009 (has links)
Numerous ancient epics and their heroes share certain characteristics. Lord Raglan and Joseph Campbell, among others, developed these characteristics into hero models. In their models, it is mentioned that many heroes undergo a katabasis or a figurative death and resurrection. The presence of a female guide in the hero’s descent into the Underworld has been largely neglected in Classical scholarship, despite the fact that the study of epic has been for some time a largely saturated field. It will be this aspect of the epic that I intend to examine. I will be examining a selection of female guides and
will create a model consisting of their similarities loosely based on those models of Raglan and Campbell. I will be examining the role of female guides in various epics; namely, the Gilgamesh Epic (Siduri), the Odyssey (Circe), and the Aeneid (the Sibyl) and in a later chapter, those in the Argonautica (Medea) and the Pharsalia (Erichtho). In addition to these guides, I shall be examining one guide that does not come from epic, Ariadne. The female guides I shall be examining appear in two forms, either as a literal guide who descends with the hero into the Underworld, or as a figurative guide who provides assistance from a distance through advice or instruction. One of the reasons why I feel that this topic is of importance is the socio-historical context in which these texts were
written, times and places when women played a largely inferior and subservient role to men. The fictional literary guides seem to be representing strong and independent women. I find this to be remarkable considering the times that these texts were written in. The analysis of these female guides will conclude with a compilation of the similarities they share that shall form the basis for my own female guide model. My model will be established in two consecutive steps: first the female guides Siduri, Circe and the Sibyl will be examined and a preliminary model established. In addition, I will try and prove a common ancestry for them. Secondly, I will test my preliminary model on Medea, Erichtho and Ariadne. As a result, I will propose a final model comprising all the female guides dealt with in my dissertation. This model will be my contribution to scholarship on epic literature from a Comparative approach. / Thesis (M.A.) - University of KwaZulu-Natal, Durban, 2009.
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The Blind Heroine in Cinema History Film and the Not-VisualSalerno, Abigail Lauren, January 2007 (has links)
Thesis (Ph. D.)--Duke University, 2007.
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The substance of shadow: reflections of self in magical girls /Silverman, Rebecca H. January 2004 (has links)
Thesis (M.A.) in English--University of Maine, 2004. / Includes vita. Includes bibliographical references (leaves 71-77).
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The action hero revisioned : an analysis of female "masculinity" in the new female hero in recent filmic textsGoodwill, Jo-Anne Shirley 02 1900 (has links)
The hero is a key archetype in Western culture. However, the hero has almost invariably been male, with associated traits deemed “masculine” within the gender binary. Feminists have begun to rigorously interrogate this binary, and the associated biological essentialism that precludes women from heroism. The fruits of this process are evident in recent popular filmic texts, which feature women as heroes. I examine developments in gender theory, propose a behaviour-based definition of masculinity, and argue that the new female action heroes authentically perform this masculinity. I then examine several select recent films and television series, showing that the new female action hero proves that “masculinity” can be authentically performed by female-bodied persons, and moreover is a liberatory model for ordinary women who wish to assert themselves in the public sphere. Finally, I argue that female action heroes model a new heroic archetype which embraces the best traits of both “masculinity” and “femininity.”
Keywords
“women in popular culture”
“women as heroes”
“gender studies”
“film / English Studies / M.A. (English)
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The action hero revisioned : an analysis of female "masculinity" in the new female hero in recent filmic textsGoodwill, Jo-Anne Shirley 02 1900 (has links)
The hero is a key archetype in Western culture. However, the hero has almost invariably been male, with associated traits deemed “masculine” within the gender binary. Feminists have begun to rigorously interrogate this binary, and the associated biological essentialism that precludes women from heroism. The fruits of this process are evident in recent popular filmic texts, which feature women as heroes. I examine developments in gender theory, propose a behaviour-based definition of masculinity, and argue that the new female action heroes authentically perform this masculinity. I then examine several select recent films and television series, showing that the new female action hero proves that “masculinity” can be authentically performed by female-bodied persons, and moreover is a liberatory model for ordinary women who wish to assert themselves in the public sphere. Finally, I argue that female action heroes model a new heroic archetype which embraces the best traits of both “masculinity” and “femininity.”
Keywords
“women in popular culture”
“women as heroes”
“gender studies”
“film / English Studies / M.A. (English)
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