Eve, Magdalina, Samaritian... (To the Typology of Female Images in the Novel of L. M. Leonov “Thief”)

2021 ◽  
Vol 20 (9) ◽  
pp. 108-116
Author(s):  
Alena O. Zadorina
Keyword(s):  
Physical Violence ◽  
Modern World ◽  
The Novel ◽  
Female Characters ◽  
Binary Opposition ◽  
Motif Analysis ◽  
Female Images ◽  
Mary Magdalene ◽  
Good Wife ◽  
Post War

Purpose. The article presents the results of the analysis of key female images in the novel by L. M. Leonov “Thief”: Masha Dolomanova, Tatiana Vekshina, Zinaida Balueva, Ksenia Babkina – whose fates are united by a typological commonality. The relevance of the study is due to the rethinking of the role of women in the modern world and art, and the formation of heroines, unhappy men in the world of men, in the literature of the 20th century developed, including under the influence of post-revolutionary, post-war reality, under the influence of urbanization. Methodology. The study based on the works devoted to the poetics of motif, image. To achieve the goal, the following tasks were set: determination of artistically significant motives; comparison of plot lines with precedent texts (mostly biblical); explanation of details that clarify the essence of female images. Using the method of motif analysis, identified the main motives involved in creating the storylines of each heroine, and their variants. Results. The motif of violence is highlighted, which is presented in the following allomotives: sexual violence (including deprivation of innocence) – for all heroines, except for Zinaida Balueva; physical violence (beating) – images of Masha Dolomanova, Zinaida Balueva – and suicide (Ksenia Babkina); psychological abuse (like suppression of will, lack of care) – all heroines. Within the framework of the method of structural-typological analysis, female characters were correlated with the poles of the binary opposition between the evil wife and the good wife, ascending to the Holy Scriptures. It was found that, in addition to the motive of violence, which is present in the storyline of each heroine, but conditioned not by the will of the person, but by chance, Leonov’s female characters are united by the motive of temptation, temptation, which allows one to assess their individual position and explain the tragic outcome of life. Conclusion. The female images in the novel “Thief” are comparable with such biblical personalities as Eve, Mary Magdalene, an unnamed Samaritan woman, Tatiana the Martyr. Their fates are determined by the actions or desires of other heroes, which, given the fact that they have not found their own God, ultimately leads to despair and irrevocable death.

scholarly journals Female characters in the novel The Moor’s Last Sigh as the key element to revealing Indian identity

2017 ◽  
Keyword(s):  
Salman Rushdie ◽  
Modern World ◽  
The Novel ◽  
Modern History ◽  
Female Characters ◽  
Indian Identity ◽  
Indian Origin ◽  
Historical Processes ◽  
Artistic Images ◽  
The Way

The article is dedicated to the analysis of female characters in the novel The Moor’s Last Sigh by Salman Rushdie. Our aim is to understand better the evolution of artistic images by highlighting and researching the means the author uses for revealing the «nature» and «socialization» of a woman. The novel appeals to the understanding of a woman’s place in the socio-historical processes of the modern world. The author reveals a woman’s identity which is formed under the influence of the globalization factors as well as other ones. India’s modern history becomes the background for the evolution of the female characters. Salamn Rushdie is an English writer of an Indian origin who reveals in front of a reader bright and unique India, while he himself is caught between two cultural worlds – his native Indian and acquired European. In order to reveal the evolution of female characters, we will scrutinize the way in which the author describes motherhood and love in their lives.

scholarly journals Search for Identity: A Study of Female Characters in Anita Desai’s Fire on the Mountain

2019 ◽  
Vol 7 (12) ◽  
pp. 8
Author(s):  
Tejaswini Behera
Keyword(s):  
Physical Violence ◽  
Female Character ◽  
The Novel ◽  
Female Characters ◽  
The Family ◽  
The World ◽  
Long Life ◽  
The One ◽  
In Fire

The three leading female characters in the novel Fire on the Mountain(1977) are searching for their identity till the end of the novel. All of them are victims of various kinds. Nanda, though not a victim of direct physical violence, has certainly been a victim of her husband’s indifference and of the family that has taken her for granted all her long life. Due to which she has finally decided to live a lonely life in Carignano. Ila Das in her own way for searching for her identity becomes the most obvious victim of violence in her own death by murder. Raka though a child searches for her identity due to the brutal and indifferent nature of her parents. She is a victim of the world of her parents that she is born to. But she is the one female character in the novel who is aware of the violence and finally get s the solution by setting the forest in fire.  

Epic and Novel

2013 ◽  
Vol 68 (3) ◽  
pp. 396-422 ◽  
Author(s):  
Natasha Moore
Keyword(s):  
Nineteenth Century ◽  
Everyday Life ◽  
Economic Life ◽  
Modern World ◽  
The Novel ◽  
Aurora Leigh ◽  
Big Picture

This essay explores a peculiarly Victorian solution to what was perceived, in the middle of the nineteenth century, as a peculiarly Victorian problem: the fragmentation and miscellaneousness of the modern world. Seeking to apprehend the multiplicity and chaos of contemporary social, intellectual, political, and economic life, and to furnish it with a coherence that was threatened by encroaching religious uncertainty, Victorian poets turned to the resources of genre as a means of accommodating the heterogeneity of the age. In particular, by devising ways of fusing the conventions of the traditional epic with those of the newly ascendant novel, poets hoped to appropriate for the novelistic complexity of modern, everyday life the dignifying and totalizing tendencies of the epic. The essay reevaluates the generic hybridity of Elizabeth Barrett Browning’s Aurora Leigh (1856) as an attempt to unite two distinct kinds of length—the microscopic, cumulative detail of the novel and the big-picture sweep of the epic—in order to capture the miscellaneousness of the age and, at the same time, to restore order and meaning to the disjointed experience of modernity.

Sub-version of Myth: Portrayal of Karna’s two wives in Kavita Kane’s Karna’s Wife

2019 ◽  
Vol 5 (4) ◽  
pp. 277-292
Author(s):  
Yashika Bisht ◽  
Shweta Saxena
Keyword(s):  
The Novel ◽  
Female Characters

Karna’s Wife is the first work of the writer, Kavita Kane who is “trying to portray a small chunk, a small aspect which has not been dealt with yet” in the Mahabharata. In Karna’s Wife, Kavita Kane portrays female characters like Uruvi and Vrushali who are victims at the hands of men and fate and how they still balance their lives and endure it all. Vrushali is the first wife of Karna and her husband married Uruvi and was deeply in love with her. Her rights, his attention, his love, everything is distributed. Uruvi who is Karna’s second wife is constantly seen striving throughout the novel to keep her husband away from Duryodhana’s evil camaraderie because she fears that this alliance will certainly lead to her husband’s catastrophe. It would be very interesting to see how these two women have come out of these gritty situations, faced the veracity and still lived mightily.

THE FEATURES OF FEMALE IMAGES IN THE TRAGEDIES OF GUSEYN JAVID

2020 ◽  
Vol 5 (3) ◽  
pp. 180-188
Author(s):  
Malika Adigezalova ◽  
Keyword(s):  
Female Characters ◽  
Female Images ◽  
Female Figures ◽  
Characteristic Features ◽  
And Behavior ◽  
The Given

The article is devoted to the features of female types in the tragedies of one of significant playwrights of the XX century Guseyn Javid. In the given article, they analyse and compare the characteristic features and behavior of the female figures of the author’s such literaryworks as «Mother»(Selma, Ismet), «Maral»(Maral, Humay), «Afet»(Afet, Alagoz), «Siyavush»(Farangiz, Sudaba). The basis of the article lies in the creative works of G.Javid, where special attention is attracted by several types of female characters, among which the types of a traditional eastern woman are most brightly represented

Comedy, Class, and Nation

2018 ◽  
Author(s):  
Philip Tew
Keyword(s):  
Youth Culture ◽  
Public Life ◽  
The Novel ◽  
Traditional Values ◽  
Adequate Account ◽  
Cultural Narrative ◽  
Cultural Commodification ◽  
Comic Novel ◽  
Post War ◽  
Recurrent Motifs

This chapter studies the comic novel. If British and Irish culture in the post-war decades underwent some radical social and political upheavals, the novel registered and critiqued these transformations in part through the development of a particular comic mode. Comedy in British and Irish novels published from 1940 to 1973 often turned around the difficult intersection of class and nation. Alongside this overarching attention to class and nation, a number of other recurrent motifs can be traced in the comic novel of the period, such as the representation of cultural commodification, the decline of traditional values, and the emergence of new forms of youth culture. In the context of such widespread changes to the narratives that shaped public life, the comic novel expressed an ironic scepticism concerning the capacity of any cultural narrative to offer an adequate account of contemporary identities.

CULTURAL IDENTITY AND SYMBOLIC INTERACTIONISM IN KARMA BROWN’S NOVEL “RECIPE FOR A PERFECT WIFE”

2021 ◽  
Vol 8 (2) ◽  
Author(s):  
Alia Afiyati ◽  
Divya Widyastuti ◽  
Yoga Pratama
Keyword(s):  
Cultural Identity ◽  
Symbolic Interactionism ◽  
Literary Work ◽  
Cultural Identities ◽  
George Herbert ◽  
The Novel ◽  
Female Characters ◽  
George Herbert Mead ◽  
The Past ◽  
Stuart Hall

In a literary work, two characters can be narrated as the attention center that contains the cultural identity from certain generation. Meanwhile, a symbol actually can cause an interaction within characters. This research discusses about cultural identity and symbolic interactionism reflected in a novel. There is a novel entitled “Recipe for a Perfect Wife” by Karma Brown that tells about two female characters that are represented as a housewife from different generation. This research uses descriptive qualitative as the research methodology and content  analysis as the method in analyzing the object of the research, a novel entitled “Recipe for a Perfect Wife”. This research also uses the intrinsic approach to analyze the characterization, plot, and setting. This research reveals two kinds of a housewife. They are a housewife and working woman, and a full-housewife. This research finds five cultural identities in the past and present time that is related with a housewife reflected by two female characters in the novel by using cultural identity theory by Stuart Hall. This research also reveals the symbol and memory even three concepts of symbolic interactionism that is mind, self, and society based on symbolic interactionism theory by George Herbert Mead.

Magical Realism: Language World Picture in the novel «One Hundred Years of Solitude» of Gabriel Garcia Márquez

2021 ◽  
Vol IX(257) (75) ◽  
pp. 21-26
Author(s):  
N. V. Chorna
Keyword(s):  
Magical Realism ◽  
Gabriel Garcia Marquez ◽  
Modern World ◽  
The Novel ◽  
World Picture ◽  
Realistic View ◽  
Way Of Thinking

The article focuses on the study of language world picture of the magical realism discourse in the novel «One Hundred Years of Solitude» of Gabriel Garcia Marquez. The magical realism discourse depicts a realistic view of the modern world through the prism of mythological way of thinking and supplements mysterious, farial and mystical elements. The main conceptual characteristics of magical realism discourse are considered to be: fantastical elements, unity of reality and magic, possible words, mythical chronotope, author’s reticence, hyperbolization of the secret and metadiscourse

“Earth has clear call of daily bells”: Nature’s Apocalyptic Liturgy in Christina Rossetti’s Verses

2011 ◽  
Vol 15 (1-2) ◽  
pp. 172-171 ◽  
Author(s):  
Chene Heady Faulstick
Keyword(s):  
Religious Experience ◽  
Religious Conversion ◽  
Emotional Experience ◽  
Modern World ◽  
The Novel ◽  
Broad Definition ◽  
Emotional Interaction ◽  
Baroque Art ◽  
Definition Of ◽  
Religious Understanding

AbstractThis essay reconsiders Charles Ryder’s religious conversion in Brideshead Revisited in terms of a primarily emotional conversion. When reading the novel as a pilgrimage to passion, readers can see in Charles a legitimate, convincing emotional conversion, which should—when emphasizing traditional Catholic ideals—ultimately also be understood as a religious conversion. Charles’s emotional interaction with Catholicism includes his intimate, formative relationship with the Catholic Flyte family, especially Sebastian, and aspects of his career as a Baroque artist, as Baroque art is often identified with Catholicism. It also includes Charles’s disenchantment with both the soullessness of war, which drains its participants of any emotional experience, and the modern world, which lacks connection to depth and tradition. Finally, the emotive power of his inadvertent pilgrimage to Brideshead also connects Charles to Catholicism as the house facilitates Charles’s memories of his religious experience at Lord Marchmain’s deathbed, his artistic conversion to Baroque art, and his passionate friendship with Sebastian. Such a broad definition of Catholicism calls for an expansive understanding of religion, but it is this kind of a religious understanding that Brideshead Revisited recommends.

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