Her Heart Lies at the Feet of the Mother by Fiona Moolla

“…In addition, because of the significant differ-ence in age, the heroine is in some ways like a mother to the hero. …”
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Women Reprimanding Women: The Gothic Parody and its Social Criticism by Kerstin-Anja Münderlein

“…In the late eighteenth century, the Gothic parody, ridiculing the generic traits of the Gothic novel, often directed their humor at the parody heroine. Specifically, the didactic Gothic parody aimed at educating the heroine into a normative, gender-role conforming young woman who rejects the excesses of the Gothic in favor of an adherence to normative conduct. …”
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From Chicago to Hollywood: the Metamorphosis of V.I. Warshawski by Nicole Décuré

“…Taking as an example Sara Paretsky’s crime fiction series, with its private detective heroine V.I. Warshawski, and Jeff Kanew’s adaptation for the Disney studios, the article attempts to show how the subversive elements of the novels are weakened in the film and the unconventional heroine finds herself in the eternal roles of seductress and mother, which she is not in the fiction. …”
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The French aire in Jane Eyre by Emily Eells

“…Thanks to the French language, Brontë’s heroine succeeds in constructing her own space in the Victorian domestic world.…”
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Daphne Du Maurier’s Transformation of Jane Eyre in Rebecca by Bernadette Bertrandias

“…Si l’autre femme fait figure ici d’obstacle à l’aboutissement de la quête de bonheur et de réalisation de soi de l’héroïne, son élimination opportune rend celui-ci finalement possible. …”
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The Postfeminist Masquerade and the Cynical Male Gaze: The Disavowal of Sexual Difference in Lars von Trier’s Breaking the Waves by Tamas NAGYPAL

“…By contrast, this paper argues that the heroine is rather trapped in what Angela McRobbie called the postfeminist masquerade, a feminine gender performance that returns to old forms of patriarchal subordination but with an ironic distance, thereby allowing the subject to imagine herself free of the capture of the masculine symbolic universe. …”
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Women, war and cinema, 1939-1945: blitz on gender stereotypes? by Elizabeth de Cacqueray

“…En analysant une grande variété de films produits pendant la guerre, de genres cinématographiques différents – films de fiction, documentaires, films émanant des forces armées – on est témoin de l’émergence d’un nouveau type d’héroïne cinématographique, l’« héroïne de guerre », innovatrice dans le courage et l’esprit d’initiative dont elle peut faire preuve mais, en fin de compte, respectueuse des frontières des rôles traditionnels associés aux genres masculins et féminin. …”
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Figures de l’aventurière dans The Eustace Diamonds, d’Anthony Trollope (1873) : le refoulement d’un retour by Jacqueline Fromonot

“…However emphatically Trollope denied the fact himself, it is striking that the characterization of the key character of The Eustace Diamonds, Lizzie Eustace, conjures up Thackeray’s fictional creature, Becky Sharp, the heroine of Vanity Fair, who appeared on the literary scene some twenty-five years before. …”
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Révision de Jane Eyre comme métacommentaire philosophique dans les romans d’Anita Brookner by Eileen Williams-Wanquet

“…This omnipresent intertextuality, which is the key to understanding the whole œuvre, serves to define the moral codes followed by the heroine and to make a philosophical metacommentary on contemporary culture. …”
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« Une jeune femme, en robe de mérinos bleu... » by Florence Pellegrini

“…Based on the analysis of the first meeting scenes in two film adaptations of Madame Bovary — Claude Chabrol’s film with Isabelle Huppert (1991) and Sophie Barthes’ film with Mia Wasikowska (2014) — this article sets out to highlight the recomposition of the heroine they propose, as well as the reconfiguration of plot and narrative stakes.…”
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Jane Eyre by Charlotte Brontë: The Never-Ending Story by Stéphanie Bernard

“…Le roman de Charlotte Brontë, Jane Eyre, est habité par la voix inextinguible de l’héroïne. L’usage de la première personne n’est pas seulement structural mais il donne aussi sa tonalité au récit et crée une impression d’intimité. …”
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Mityczno-symboliczny kontekst nostalgii w „Wygnaniu” Andrieja Zwiagincewa w świetle antropologicznej niepewności podmiotu by Anna Katarzyna Przybysz

“…We also try to show how the nostalgia felt by the heroine can be associated with the state of anthropological uncertainty.…”
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Emma au bal à la Vaubyessard by Jean-Marie Privat

“…But if in Flaubert's novel the heroine separates herself materially from her prosaic universe and if she runs wild very fleetingly in a symbolic margin, her initiation is cut short. …”
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К теме творчества в ранней поэзии Анны Ахматовой. Финал книги „Четки” (1914) by Swietłana Owsiannikowa

“…In a relatively brief article the author tries to acquaint us with a very complex, multicolored world created by the poetess and also attempts to bring to a focus the deep, sharp feelings of lyric heroine.…”
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Female friendship and fraternité in the prostitute memoir novels of eighteenth-century France by Allistaire Tallent

“… This essay explores a long-neglected novel, La Cauchoise, ou Mémoires d’une courtisane célèbre (César Ribié, 1783) and its depiction of female homosocial relations. As the prostitute heroine and narrator tells of her successful and colorful career and her many relationships along the way, we discover that her relationships (sexual, professional, and amicable) with other women prove to be the most satisfying and beneficial to her. …”
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A Room with Two Views: An Insight into the 1985 and 2007 Film Adaptations of E. M. Forster’s Novel by Elena Raicu

“…This is not the case with the second adaptation, which focuses mainly on the heroine and emphasizes her sexual awareness. The other characters lack substance and are not always convincing in their roles, but are present only insofar as they come in contact with the heroine. …”
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О морском „voyage de noce” („На «Титанике»” Михаила Зенкевича) by Elena Kulikowa

“…The sea voyage de noce of the protagonists is interrupted by the destruction of the Titanic and turns into a journey through the circles of Hell, while Helène becomes a double for Beatrice and, like Dante’s heroine, saves the protagonist’s soul.…”
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Le Paradoxe de la comédienne : Peg Woffington selon Charles Reade by Laurent Bury

“…In 1852, in his play Masks and Faces, or Before and Behind the Curtain and his novel Peg Woffington, Charles Reade chose as his heroine the British actress Margaret Woffington (1714-1760), whom he showed on stage but especially off stage. …”
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THE PORTRAIT OF RUXANDA IN THE OPERA ”ALEXANDRU LĂPUŞNEANU” OF THE BESSARABIAN COMPOSER GHEORGHE MUSTEA by Luminiţa GUŢANU

“…The dialectics of the heroine’s character is presented in a wide range of moods, which I will analyse by synthesizing the two emotional areas: the X-major-clear sphere / the Y-minor-obscure sphere. …”
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The Pragmatics of Naming in Samuel Richardson’s Clarissa by Christophe LESUEUR

“…Destined to change her name by marrying Solmes, the eponymous heroine uses several borrowed names in her flight. …”
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