The Myth of the Woman Warrior and World War II in Soviet Culture

"The Myth of the Woman Warrior and World War II in Soviet Culture" defines, analyzes, and explains the figure of the Soviet "woman warrior" who participated in World War II, asking the questions: what is the nature of the woman warrior in works about World War II and what does her portrayal tell us about Soviet culture and memory? Although the woman warrior has deep roots in Russian culture, this topic has received almost no attention from a cultural perspective. After a discussion of the 1930s militarization, this study turns to works depicting women who participated in WWII and argues that these depictions fall into three types based on deep archetypes: the martyr, handmaiden, and the "polianitsa," or knight. This dissertation elucidates essentialist and constructivist intersections by investigating why certain images of women motivated Soviet citizens during the war and then became powerful myths that shaped national consciousness

The woman Warrior: fact or tale

O tema da jovem guerreira aparece em todo o folclore do Médio Oriente e da Ásia Central. Porque é este tema tão popular e o que poderão estas histórias representar? O artigo examina duas épicas túrquicas (um ramo da família de línguas altaicas, incluindo o turco o tatar, etc): Harman Dali, do Turquemenistão; e o conto de KanTurali, filho de KarliKoja, de DedeKorkut (Otomânia). Baseando-se em evidência histórica e cultural, o artigo examina a relação entre os papeis da mulher guerreira da narrativa, e os papeis atribuídos às mulheres no Médio Oriente e na Ásia Centra

The Process of Identity in Three Immigrant Memoirs

The thesis examines how identity formation is presented in the three immigrant memoirs, The Latehomecomer, Funny in Farsi, and The Woman Warrior. My aim is to illuminate the diversity of immigrant experiences by analyzing how these experiences and processes of identity formation are presented through the genre of autobiography. The three main chapters are structured around different aspects of identity formation as presented in the memoirs. The first chapter revolves around how identity is presented and negotiated through memory, language, and agency in The Latehomecomer. The second chapter focuses on relationality and models of identity as presented in Funny in Farsi, while the third chapter investigates how identity is negotiated through gender, filiality, and authenticity in The Woman Warrior. The three memoirs are compared and contrasted throughout the thesis, and are further discussed in relation to the genre of autobiography

Finding Woman\u27s Role in \u3ci\u3eThe Lord of the Rings\u3c/i\u3e

Offers an opposing viewpoint on the “taming” of the woman warrior in Tolkien, suggesting that Éowyn’s rejection of the warrior’s life is a fulfillment of Tolkien’s theme of healing and rebirth rather than a subjection to a male partner

‘To Say the Same Thing in Different Words’: Politics and Poetics in Late Victorian Translation from Modern Greek

Against a backdrop of Victorian academic gender politics, the woman warrior from War of Independence folk songs emerged in British women’s writings. After a close reading of a translation by Elizabeth Edmonds, Modern Greek is reviewed as a contender for the New Woman’s Classics

The power of voice: Cultural silencing and the supernatural in women\u27s stories: Allende\u27s The House of the Spirits, Kingston\u27s The Woman Warrior, and Morrison\u27s Beloved

This thesis focuses on a study of the female voice and silencing as well as on the use of the supernatural in selected works of literature from three different cultures: Isabel Allende\u27s The House of the Spirits, Maxine Hong Kingston\u27s The Woman Warrior, and Toni Morrison\u27s Beloved

Demon girl power: Regimes of form and force in videogames primal and Buffy the Vampire Slayer

'There's nothing like a spot of demon slaughter to make a girl's night'. Since the phenomenal success of the Tomb Raider (1996) videogame series a range of other videogames have used carefully branded animated female avatars. As with most other media, the game industry tends to follow and expand on established lucrative formats to secure an established market share. Given the capacity of videogames to create imaginary worlds in 3D that can be interacted with, it is not perhaps surprising that pre-established worlds are common in videogames, as is the case with Buffy the Vampire Slayer (there are currently three videogames based on the cult TV show 2000-2003), but in other games worlds have to be built from scratch, as is the case with Primal (2003). With the mainstream media's current romance with kickass action heroines, the advantage of female animated game avatars is their potential to broaden the appeal of games across genders. This is however a double-edged affair: as well as appealing to what might be a termed a post-feminist market, animated forms enable hyper-feminine proportions and impossible vigour. I argue that becoming demon - afforded by the plasticity of animation – in these games troubles the representational qualities ordinarily afforded to female avatars in videogames. But I also argue that theories of representation are insufficient for a full understanding of the formal particularities of videogames and as such it is crucial to address the impact of media-specific attributes of videogames on the interpellation of players into the game space and the way that power regimes are organised. While theories of gender representation can go someway towards understanding the ideological construction of game characters, they are not developed sufficiently to accommodate the particular nature of player participation intrinsic to playing digital games. The fact that players are interpolated into the game worlds of the Buffyverse and Primal in ways quite different to other media forms is significant and I offer the concept of 'being-in-the-world-of-thegame' to illustrate how theories of representation alone are not sufficient to the task of analysing videogame forms. This paper focuses on the ways in which the interactive and spatial features of videogame formats affect narrative structure, characterisation and themes (particularly agency and power) and I argue that an address of the ways that videogames operate structurally is essential if we are to understand how they take animation into the realms of interactivity and how videogames generate meaning and pleasure