scholarly journals The "Meek" and "Proud" Types of Female Images in the Works of F.M. Dostoevsky: A Study of the Question of Virtue

2021 ◽  
Vol 25 (1) ◽  
pp. 59-71
Author(s):  
Alexandra A. Kosorukova ◽  
Ulyana V. Zubkova
Keyword(s):  
Internal Conflict ◽  
Female Images ◽  
Critical Understanding

The article analyzes the types of "meek" and "proud" female images in the works of F.M. Dostoevsky in connection with the typologies of the images of the writer among the literary critics N.A. Dobrolyubov, V.F. Pereverzev and A.A. Gizetti. The article refers to the classical authors of the early critical understanding of Dostoevsky's works, who divided female images into two opposite types of the "meek" and "proud". At the same time, the article emphasizes the idea that in Dostoevsky's polyphonic world every literary hero has a multidimensional consciousness, which is why the direct dichotomous division into the "proud" and "meek" can only be a rough generalization. The first part of the article examines the typologies of N.A. Dobrolyubov, as well as one of V.F. Pereverzev, who creates the most ambitious and significant typology, considering female images. He sensitively notices the ambiguity and tragedy of Dostoevsky's heroines and introduces the term "the doppelgngerwoman" into the typology of female images, on the basis of which each heroine somehow contains a certain internal conflict, the solution of which in the course of a novel allows her character to develop towards one of the indicated subtypes. The second part of the article analyzes the typology of A.A. Gizetti, who in his research focuses on such type of Dostoevsky's female images as the "proud", highlighting a new, "mysterious" subtype of the Dostoevsky's proud heroine. In the performed comparison of "meek" and "proud" types of female images it is considered to distinguish positive and negative ethical meanings of them. The article formulates conclusions about the various subtypes of "meek" and "proud" characters in the writer's artistic world, and outlines the grounds for further system of understanding of meekness and pride on a scale of correlation with vice and virtue.

scholarly journals The motive of love melancholy and the variability of feminine images in the structure of the "melancholy of life" ("l'ennui de vivre") complex

2019 ◽  
Keyword(s):  
The Other ◽  
Internal Conflict ◽  
Subjective Feeling ◽  
Femme Fatale ◽  
Female Images ◽  
Male And Female ◽  
Gender Conflict ◽  
Russian Symbolism ◽  
The One ◽  
Main Factor

The article deals with the connection of the motive of love melancholy with the motive complex of the "melancholy of life" ("l'ennui de vivre"), examines the specifics of its realization in the female images in the poetry of French and Russian symbolism. In addition to internal conflict, the decadent worldview is characterized by the opposition of "I – Other", including the conflict of male and female primes, which is the main factor in the origin of the motive of love melancholy. Female images of the Decadence era are ambivalent. On the one hand, the woman for the decadent lyric hero is a beast creature, the embodiment of an animal principle. The passion for woman is destructive, and the image of a woman is represented by the "femme fatale". On the other hand, at the same time, the romantic concept of "beautiful lady", a female angel, whose image is devoid of erotic context and embodies an unattainable ideal, striving for which emphasizes the horror of being and the subjective feeling of "l'ennui de vivre", is developing. In Russian poetry of symbolism, the connection of love motives with the "melancholy of life" is revealed mainly through the motives of separation, lost love. The motive of lost love is related to the intimate lyrics of I. Annensky and P. Verlaine. Instead, in B. Bryusov's poetry, the love appears as an irreconcilable gender conflict, a duel between a man and a woman, doomed to a fatal passion. Thus, the motive of love melancholy is a part of the structure of the motive complex "l'ennui de vivre" because of the specificity of the implementation of female images and their attitude to the lyrical hero.

Sex differences in perceptions of female images as a function of waist-to-hips ratio

2007 ◽  
Author(s):  
Daniel Rempala ◽  
Bradley Okdie ◽  
David Oberleitner
Keyword(s):  
Sex Differences ◽  
Female Images

Disruptions of the Local, Eruptions of the Feminine: Local Reportage and National Anxieties in Egypt’s 1890s

2018 ◽  
Author(s):  
Marilyn Booth
Keyword(s):  
Nineteenth Century ◽  
Gender Roles ◽  
Late Nineteenth Century ◽  
Female Images ◽  
The Feminine ◽  
Late Nineteenth ◽  
Advocacy Role ◽  
Representations Of Women ◽  
Gendered Expectations

This chapter demonstrates that inscriptions of female images in Cairo’s late nineteenth-century nationalist press were part of a discursive economy shaping debates on how gender roles and gendered expectations should shift as Egyptians struggled for independence. The chapter investigates content and placement of ‘news from the street’ in al-Mu’ayyad in the 1890s, examining how these terse local reports – equivalent to faits divers in the French press – contributed to the construction of an ideal national political trajectory with representations of women serving as the primary example in shaping a politics of newspaper intervention on the national scene. In this, an emerging advocacy role of newspaper correspondents makes the newspaper a mediator in the construction of activist reader-citizens.

Conformity and Idiosyncrasy: Jean Rhys

2018 ◽  
Author(s):  
Vike Martina Plock
Keyword(s):  
Twentieth Century ◽  
Social Change ◽  
Jean Rhys ◽  
Left Bank ◽  
Female Images ◽  
Image Construction ◽  
Political Modernity ◽  
Early Twentieth Century ◽  
Good Morning ◽  
Professional Mobility

By looking at Jean Rhys’s ‘Left Bank’ fiction (Quartet, After Leaving Mr Mackenzie, Good Morning, Midnight, ‘Illusion’, ‘Mannequin’), this chapter investigates how new operational procedures such as Fordism and Taylorism, which were introduced into the French couture industry at the beginning of the twentieth century, affected constructions of modern femininity. Increasingly standardized images of feminine types were produced by Paris couturiers while the new look of the Flapper seemingly advertised women’s expanding social, political and professional mobility. Rhys, this chapter argues, noted fashion’s ability to provide resources for creative image construction but she simultaneously expressed criticism of its tendency to standardize female costumes and behaviour. Ultimately, Rhys demonstrates in her fiction that the radically modern couture of the early twentieth century was by no means the maker of social change and women’s political modernity. To offset the increased standardization of female images that she witnessed around her, Rhys created heroines and texts that relied on an overt display on difference.  

Exploring the Facial Color Representative Regions Using the Humanae Images

2020 ◽  
Author(s):  
Yuchun Yan ◽  
Hayan Choi ◽  
Hyeon-Jeong Suk
Keyword(s):  
Image Analysis ◽  
Future Study ◽  
Skin Color ◽  
Color Difference ◽  
Facial Skin ◽  
Female Images ◽  
Gender And Race ◽  
Facial Landmarks

It is difficult to describe facial skin color through a solid color as it varies from region to region. In this article, the authors utilized image analysis to identify the facial color representative region. A total of 1052 female images from Humanae project were selected as a solid color was generated for each image as their representative skin colors by the photographer. Using the open CV-based libraries, such as EOS of Surrey Face Models and DeepFace, 3448 facial landmarks together with gender and race information were detected. For an illustrative and intuitive analysis, they then re-defined 27 visually important sub-regions to cluster the landmarks. The 27 sub-region colors for each image were finally derived and recorded in L ∗ , a ∗ , and b ∗ . By estimating the color difference among representative color and 27 sub-regions, we discovered that sub-regions of below lips (low Labial) and central cheeks (upper Buccal) were the most representative regions across four major ethnicity groups. In future study, the methodology is expected to be applied for more image sources.

Electing the Senate

2017 ◽  
Author(s):  
Wendy J. Schiller ◽  
Charles Stewart III
Keyword(s):  
Original Data ◽  
State Legislators ◽  
Internal Conflict ◽  
Data Set ◽  
Senate Elections ◽  
Political Actors ◽  
The Public ◽  
Seventeenth Amendment ◽  
The People ◽  
Election Process

From 1789 to 1913, U.S. senators were not directly elected by the people—instead the Constitution mandated that they be chosen by state legislators. This radically changed in 1913, when the Seventeenth Amendment to the Constitution was ratified, giving the public a direct vote. This book investigates the electoral connections among constituents, state legislators, political parties, and U.S. senators during the age of indirect elections. The book finds that even though parties controlled the partisan affiliation of the winning candidate for Senate, they had much less control over the universe of candidates who competed for votes in Senate elections and the parties did not always succeed in resolving internal conflict among their rank and file. Party politics, money, and personal ambition dominated the election process, in a system originally designed to insulate the Senate from public pressure. The book uses an original data set of all the roll call votes cast by state legislators for U.S. senators from 1871 to 1913 and all state legislators who served during this time. Newspaper and biographical accounts uncover vivid stories of the political maneuvering, corruption, and partisanship—played out by elite political actors, from elected officials, to party machine bosses, to wealthy business owners—that dominated the indirect Senate elections process. The book raises important questions about the effectiveness of Constitutional reforms, such as the Seventeenth Amendment, that promised to produce a more responsive and accountable government.

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