Jane Eyre : un roman innovant pour les critiques victoriens by Odile Boucher-Rivalain

“…An examination of the reviews which appeared in the months following the publication of Jane Eyre reveals Charlotte Brontë’s strategy: her choice of an unconventional relationship between the poor, plain governess and her wealthy, passionate master, the exploration of her heroine’s interior life combined with the realistic descriptions of her characters’ physical and social environment. …”
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La Frichelette de Thônes. Guerre, mémoire et identité territoriale dans les Aravis de 1793 à l’âge d’internet by Franck Roubeau

“…It soon became the ‘Savoy Vendée’, staying that way for many years, its memory perpetuated alongside that of its heroine, La Frichelette, executed by firing squad. …”
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Le théâtre du Grand-Guignol et l’esthétique du féminicide by Rimpei Mano

“…But Eugène Héros and Léon Abric's La Veuve seems to defy this aesthetic by presenting a heroine sexually excited by the sight of death. This caricatured comedy, which introduces a reversal of sexual roles, is likely to reject the misogynistic ideology of the Grand-Guignol theatre.…”
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La Frichelette of Thônes. War, Memory and Territorial Identity in Aravis from 1793 to the Age of Internet by Franck Roubeau

“…It soon became the ‘Savoy Vendée’, staying that way for many years, its memory perpetuated alongside that of its heroine, La Frichelette, executed by firing squad. …”
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Sound in Daniel Deronda by Michael Hollington

“…It is particularly interested in a series of shrieks from the heroine, Gwendolen—three in number, at the charade, at the time of her wedding, and at the death of her husband—which mark points at which she recognises the terrible course in life on which she has launched herself. …”
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Annette, ein Heldinnenepos d’Anne Weber by Emmanuelle Aurenche-Beau

“…It examines the way in which it presents a very French ‘heroine’ to a German audience, placing her not only in her geographical, social and historical context, but also in her linguistic context, by inserting particularly representative and expressive French terms into the German text. …”
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Noms, étiquette(s) et identités dans Persuasion, de Jane Austen by Marie-Laure Massei

“…Labelled a ‘nobody’ at the beginning even though she embodies sense, constancy and fortitude, Anne Elliot is reborn as a heroine through her ability to read and decipher meanings, manners and behaviours: her new status and identity are then aptly signified by a telling mutation of the signifier after her marriage, freeing her from the sterile codes of the paternal narrative.…”
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Portraits of the Artist as a Young Wife: May Alcott Nieriker’s Influence on her Sister’s Literary Sketches, Fragments, and Narratives by Azelina Flint

“…This article surveys Louisa’s assessment of her sister’s ideas of romantic love across four fictional narratives that feature a heroine based on May, alongside May’s correspondence on her married life, contrasting the sisters’ philosophies on the complementarity of female artistry and romantic love.…”
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Elisabeta Rizea de Nucsoara : un « lieu de mémoire » pour les roumains ? by Claudia Dobre

“…Devenue un personnage médiatique approprié par les milieux intellectuels et par les partis politiques « démocrates », elle prend les dimensions paradoxales d’une figure symbolique érigée en héroïne nationale qui serait en train de devenir un « lieu de mémoire ». …”
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Le personnage de la Finlandaise dans le récit Parmi les falaises (1924) de Maria Boretskaïa, au prisme de la tradition littéraire by Olga A. Simonova

“…In her story “Among the Cliffs” (1924), the Bolshevik writer Maria Boretskaya created a Finnish female character free from these connotations. Her heroine constructs a Bolshevik and maternal identity.…”
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Performing Womanhood: Fictions of Love in Louisa May Alcott’s Behind a Mask by Stéphanie Durrans

“…This article discusses Louisa May Alcott’s novella Behind a Mask in the light of Melville’s last novel, The Confidence-Man: His Masquerade (1857), arguing that, behind the mask of a sentimental novel that appears to conform to stereotypes, Alcott depicts a true-to-life heroine and shows how fiction can actually uncover the truth of life, how the many parts we play obfuscate our deeper nature and how a woman’s life in particular is nothing but a continuous performance on the social stage. …”
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Psyche and Pygmalion: The Heart’s Desires Revised in Louisa May Alcott’s “A Marble Woman” by Michaela Keck

“…Alcott rewrites Psyche’s curious gaze at the sleeping Amor as the heroine’s, i.e., Cecil’s, self-possessed rescue of her legal guardian and later husband and Pygmalion’s animation of his Galatea as Cecil’s superb imitation of wifely adoration. …”
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Le Græculus et la Chananéenne : Salammbô, le roman des traductions by Agnès Bouvier

“…The other translating character in the novel, the heroine herself, practices translation like the art of seduction, until Flaubert, in a writing act that genetic analysis of the drafts can trace, casts on this novel and on its character Babel’s curse, more severe than Tanit’s. …”
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“I am air and fire...”: On the Interpretation of Anna Akhmatova’s Poem Cleopatra by Galina Mikhailova

“…This article suggests focusing on the literary sources of the poem (Shakespeare’s tragedy Antony and Cleopatra and Horace’s ode), exploring Akhmatova’s working notes, different versions of the lyrical heroine in her poetry, as well as the reproduction of her image in poems dedicated to her, testimonies of memoirists, essays, and philological observations of Akhmatova’s contemporaries. …”
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Schiller’s Response to Voltaire in 'Die Jungfrau von Orleans': Enlightened or Romantic? by Ritchie Robertson

“…Since 1945, however, German commentators have been uncomfortable with the patriotic call to arms issued by Schiller’s heroine and with her energetic slaughter of enemy soldiers (in contrast to the historical Jeanne, who did not fight). …”
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Tatiana in Onegin’s life. Part I by Nikishov Yuri Mikhailovich

“…It is possible if you notice that the hero and heroine exchanged mutual tender glances at their first meeting. …”
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“She Loves Nothing but Her Art”: Vibrant Marble and the Agency of the Female Artist in Louisa May Alcott’s “A Marble Woman, or The Mysterious Model” by Verena Laschinger, Annemarie Mönch, and Sophia Klefisch

“…At first glance, “A Marble Woman” (1865) seems to offer but a trite marriage plot, assuaging Louisa May Alcott’s contemporary readers while containing the heroine’s scandalous abilities. On a second and read through a new materialist critical lens, it becomes apparent how cunningly the female sculptor Cecil negotiates her creativity with the societal demands on the true woman and the marriage doctrine of her time. …”
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Captation spéculaire et mise en abyme dans le film Jane Eyre de Franco Zeffirelli by Isabelle Van Peteghem-Tréard

“…This article presents Franco Zeffirelli’s baroque use of mirrors to evoke the specular alienation of Jane Eyre who is both the heroine and the story-teller in the movie and in the original text. …”
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La figure de l’Abandonné·e. La littérature médiévale comme manuel d’un retour à soi ? by Dominique Demartini

“…Embracing an androcentric viewpoint, it will attempt to illuminate the masculine presuppositions and the contribution of texts to the construction of a heroine figure, paradoxically become exemplary. To these masculine constructions, it will oppose their reappropriations as plural feminine experiences through which, between submission and suicide, the abandoned women experience more subtle modes of agency and repair. …”
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Axiological parameter of the image of a literary character by Ludmila V. Paloyko

“…In this article axiological parameter of the image of a literary character is considered by the example of Scarlett O'Hara, the heroine of the novel "Gone with the Wind" by M. Mitchell and its official sequel - "Scarlett" by A. …”
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