Female Archetypes Research Articles

Female roles in Western-style Chinese opera: from Confucianist female archetype and political allegory to postmodern complexity

ABSTRACT Borrowing the lens of Western gender theories in exploring the development of Western-style Chinese opera that emerged from the historical backbone of Confucianism and patriarchal traditions, this article examines how female roles were portrayed under the assumed gender binary that is a criterion of heteronormativity with unfaded accents of past feudal Chinese traditions. We identified three periods of Western-style Chinese operatic where the early works in the first two periods (early 1920s–late 1940s and early 1950s–late1970s) reveal that male dominance remains largely at the core led by China’s male-primogeniture tradition, and more often, female protagonists were moulded into political tools for communist and collectivist demands. The latter works, written since the mid-1970s, broke through the ancient feudal shadows of the Confucian Four Books of Women with pluralistic sonic and visual gender expressions that established a schism between past and present Chinese feminism. The outcome reveals how Chinese feminism was portrayed and employed as a political tool in these operas, where female roles were enmeshed between Confucianism and female empowerment, in an ambivalent desire to reconstruct the reality and simulacrum of feminism bounded by political allegory, classical Chinese aesthetics, and Western feminism.

From Tradition to Transformation: Bharatanatyam Explored through Feminist and Psychological Contexts

This study explores the evolution and contemporary significance of Bharatanatyam, an Indian classical dance form. It examines the evolution of the dance form, focusing on the portrayal of stories, emotions, and characters. The research also reimagines the Ashta-Nayikas, the eight main female archetypes in classical dance, through the lens of contemporary psychology. The study uses qualitative data analysis, including media studies, historical texts, and in-depth interviews, to reveal the dynamic interaction between modernity and tradition. The study highlights the dance form’s innate resilience and the need for dance artists to develop coping mechanisms to navigate the intricacies of tradition and modernity.

Empress Theodora of Byzantium Through the Lens of Ancient Female Archetypes

This paper evaluates the historical reception of Byzantine Empress Theodora through the lens of her contemporaries and societal expectations. As Theodora was empress of the Eastern Roman empire during the spread of Christianity, she must be seen through the lens of biblical themes as well as through Roman literature. A prevalent Roman example for ideal femininity is found in Lucretia: a noblewoman who toppled the Etruscan kings with her honor. After she was violated, Lucretia chose to expose the perpetrator and end her life rather than live sullied. With such mythos surrounding a woman who chose her honor over her life, it is no wonder Theodora was received with shock. Theodora spent her early years as an actress, meaning she earned much of her living through sex work. Another strong Roman literary comparison comes in the form of Medea. Medea represented the antithesis to feminine ideals because she had murdered her kin. More than anything, familial duties rested upon a wife or mother in a Roman household, and a woman like Theodora who was, inaccurately, rumored to have orchestrated the death of an illegitimate child. Although the rumor is false, it represented a fracture between Theodora and the expectations her society had for her. Finally, in her Christian contemporary, Mary Magdalene, Theodora was viewed as redeemed. Just as Mary did in the Gospel of Luke, Theodora went from "sinful woman" to queen and a dedicated wife. She embodied the story of redemption that is so often told in Christianity.

Female archetypes in the mythological model of television news culture

This study is aimed at identifying patterns of the embodiment of the female image in the information stories of domestic and foreign TV channels. The subject of this article is a mythological model of constructing reality in modern mass media. The object is television news stories in 2017-2023, in which female archetypes are most clearly revealed. Special attention is paid to the information coverage of the foreign topic of the feminist action MeToo and the domestic criminal case of the Khachaturian sisters. The research is aimed at comparing the mythological structure of the plot with the techniques of television broadcasting and understanding the broadcast of the female image on television screens. Thus, the article puts forward a hypothesis: when covering information topics, the media uses a model of a mythological structure, and as a result, a system of archetypes that forms the viewer's opinion. This work is based on the theory of archetypes developed by the scientist K. Jung, which is visualized in the information topics of the last decade. The analysis is of scientific interest in connection with the growing feminist discourse in society, of which television is becoming one of the key broadcasters. Of particular importance is the study of the symbolization of the female image on the television screen through the concepts of C. Jung and E. Neumann, using the example of the main themes of feminist discourse in recent years. The novelty of the research lies in a new theoretical understanding of the ways in which television content affects the viewer. The main conclusions of the study are the confirmation of a scientific hypothesis: about the use of the media of a mythological structure through which a system of archetypes is broadcast, which in turn leads to a stable formation of public opinion. In addition, the author examines the mythological archetypes of communication, which represent the main ways of transmitting information in the modern world.

What Lies Beyond Their Hurting: Representations of Female Pain and Personhood in Animation

The representation of women in art is a fraught one. This article analyzes the relationship American society has to female pain, using four cartoon series as case studies to argue that cultural perceptions around women's suffering are shifting towards viewing women as more than the sum total of their pain. The methodology of this analysis relies on Simone de Beauvoir's Second Sex and Leslie Jamison's "Grand Unified Theory of Female Pain" as a theoretical framework that illuminates cultural manifestations of female pain and the stereotypes that perpetuate these models, specifically applying them to female characters in Avatar: The Legend of Korra, Rapunzel's Tangled Adventure, She-Ra and the Princesses of Power, and Steven Universe. Animation analysis demonstrates how portrayals of women in media have evolved, yet continue to rely on female pain as a plot device for character development and plot progression. This analysis throws into relief the concept of the "post-wounded woman," a modern opposition to the "wounded woman" trope that asserts societal notions of female pain have rendered women's relationship to their emotions full of disadvantage as they must yield control over how they are perceived. Emotions such as rage and anger are deemed impermissible by society because they challenge essentialist notions of the female condition. However, new female archetypes are appearing in animation alongside classical depictions, placing the medium ahead of traditional sexist societal views in this respect.

Spheres of Existence and Female Archetypes of Sarah's Story in the Genesis Narrative

Spheres of Existence and Female Archetypes of Sarah's Story in the Genesis Narrative

The Peculiarities of the Development of Korean Literature in the 1970S–2000S

This article provides an analysis of the various internal and external elements that have played a significant role in shaping the evolution of Korean literature during the final 25 years of the 20th century. Additionally, it explores the complexities surrounding the development of literature during this period. The popular discontent sprang from two primary factors: the post–civil war military government and the subsequent era of anarchy, characterized by a power vacuum, as well as the demise of agriculture due to the quick pace of economic growth. These events failed to make a significant impact on the field of literature. A novel form and genre, as well as distinct language and style, emerged within the realm of poetry and prose. The painters employed their pencils to explore a range of subjects. The literary landscape witnessed the emergence of novel heroic figures, alongside the introduction of hitherto unexplored female archetypes. One individual was conceived with the purpose of becoming a warrior in pursuit of justice, whilst another individual was brought into existence just to champion the cause of intellectual expression. Authors such as Yan Kwi Ja documented the aforementioned societal transformations experienced by individuals of common status.

Transformation of Female Archetypes in Chinese Traditional National Opera of the Twentieth Century

The purpose of the article is to identify transformative changes in female archetypes in twentieth-century Chinese national opera in the context of the gender factor and the ideologisation of Chinese society. The research methodology is to apply the methods of analysis and synthesis, systematisation of facts, comparison and generalisation of the research results. The system-historical method allowed us to consider the formation of female archetypes in Chinese national opera. The comparative and analytical methods were used to structure the stages of transformation of female archetypes in Chinese national opera of the twentieth century. The novelty of the research lies in an attempt to periodise the stages of transformation of female archetypes in twentieth-century Chinese national opera, to identify the reasons for these changes, and to contrast the traditional European masculinisation of artistic archetypes with the Chinese operatic tradition. Conclusions. The Chinese patriarchal system has consistently adapted to a series of revolutionary reforms in society in twentieth-century society. The key meanings of modernity emerged in public debates and transformed the social and political life of the Chinese. However, even in the twentieth century, Chinese culture demonstrated a specific context in relation to European culture. For example, the main characters in many classical tragedies, from monumental ancient Greek works to works of the Renaissance, were men. This tradition is opposed to Chinese culture, in which female archetypes were particularly prominent in the context of strong female heroines and female warriors. The cultural code of the female archetype in Chinese opera contrasted with the traditional European cultural code, where "softness won over strength". Women in twentieth-century Chinese society challenged gender norms, which contributed to their empowerment, increased social status, and strengthened their positions in the opera genre. Key words: Chinese national opera, female archetype, gender factor, image of a female warrior, transformation, decline of the opera genre.

Screening difficult women: 21st century reclamations of women’s history

ABSTRACT Historical fiction has long been one of television’s most prominent genres. It was not until the advent of streaming TV in the 21st century, however, that the genre reached its radical feminist potential. Written, directed, produced by and starring women, contemporary women’s historical fiction has exploded as both a marketable and an ideological genre. Three series - Good Girls Revolt (Amazon, 2016), Mrs. America (Hulu, 2020), and Halt and Catch Fire (AMC, 2014–17)—exemplify women’s challenge to the orthodoxy of male-driven historical fiction. These three shows not only reclaim women’s 20th Century American histories, but they also refute accepted conceptualizations of the genre and of History itself. Through circular storytelling, the blending of fact and fiction, and new female archetypes, these three series narrate coherent and consistent women’s histories heretofore missing in popular memory. From this foundation, these series discuss, debate, and fantasize about women’s lived experiences in the past, as well as commenting on the present and dreaming about the future of women’s lives and desires.

Laws of the Physical World in Illustrations by V. Yankilevsky

The article is devoted to illustrations by V. Yankilevsky for the popular science publication "Knowledge is Power" during its special heyday in the 1960s. The research aims to discover the conceptual and artistic specifics of these works and at the same time to fit them into the broader context of the artist's work, while solving the task of determining their place within the author's world of images. The author paid special attention to the consideration of the main topics with which V. Yankilevsky worked, and the ways of their implementation. In particular, these are such author's conceptual codes as: energy tension, the antithesis of "living-dead", images of breakthrough and infinity. This problem has not yet been covered in the scientific literature, since the focus of attention in it is mainly focused on the painting and easel graphics of the master, while V. Yankilevsky's illustrations remain a marginal phenomenon for discourse. This article will serve as a beginning to fill the gap that has formed. The main result of the conducted research is the discovery of the consonance of the images of the artist's main creative work and the commissioned illustration in the popular science publication "Knowledge is Power", which was possible thanks to the topics raised there that go beyond everyday experience and are weakly amenable to the laws of established censorship. At the same time, significant differences were found: in particular, the absence in the illustrations of the most important problem for easel painting and graphics by V. Yankilevsky of the interaction of male and female archetypes.

L.M. Montgomery and Gender ed. by E. Holly Pike and Laura M. Robinson (review)

Reviewed by: L.M. Montgomery and Gender ed. by E. Holly Pike and Laura M. Robinson Ann F. Howey (bio) L.M. Montgomery and Gender, edited by E. Holly Pike and Laura M. Robinson. McGill-Queen's UP, 2021. Since 1994, when biennial conferences sponsored by the L.M. Montgomery Institute began, numerous edited collections have appeared that have developed out of and expanded on conference themes. Such collections include L.M. Montgomery and Canadian Culture (after the 1996 conference; edited by Irene Gammel and Elizabeth R. Epperley, U of Toronto P, 1999), L.M. Montgomery and Popular Culture (after the 2000 conference; edited by Gammel, U of Toronto P, 2002), The Intimate Life of L.M. Montgomery (after the 2004 conference; edited by Gammel, U of Toronto P, 2005), Storm and Dissonance (after the 2006 conference; edited by Jean Mitchell, Cambridge Scholars Publishing, 2008), and Anne Around the World (after the 2008 conference; edited by Jane Ledwell and Mitchell, McGill-Queen's U P, 2013). L.M. Montgomery and Gender, with its genesis in the 2016 conference, is thus the latest in a distinguished line of edited collections that build on conference [End Page 214] discussions to disseminate scholarship on various aspects of Montgomery's works and life. As the introduction by the editors E. Holly Pike and Laura M. Robinson makes clear, Montgomery's writing invites consideration of gender representation, in part because her most famous novel's protagonist, Anne, is initially unwanted at Green Gables because she is not a boy. The timing of this collection of essays investigating Montgomery and gender—it appears just after a century of women's suffrage in Canada—speaks to ongoing concerns over women's rights and roles, and as many of its articles suggest, Montgomery's own views of such rights and roles were neither static nor simple. The goal of the collection is thus to provide "an exploration of the variety of gender analyses possible in the early twenty-first century" in order to extend the feminist and genderstudies perspectives that have informed much Montgomery scholarship in the past and "to examine how Montgomery's constructions of gender reflect her own historical moment, shape later understandings of gender, and potentially transmogrify when examined through new perspectives" (2). The collection seeks to fulfil its goal through articles that examine constructions of femininity and masculinity, not only in Montgomery's novels, but also in her short fiction and journals. The introduction, "'You Don't Want Me Because I'm Not a Boy': L.M. Montgomery and Gender," establishes context for the articles that follow. Striking about this context is the way it invites consideration of the myriad ways in which the terms "Montgomery" and "gender" intersect. Pike and Robinson provide evidence of Montgomery's attitudes to suffrage and gendered responses to her work (3), such as the recurrent use of "charming" in reviews (4); they also survey the male modernist Canadian literary scene and its response to—and, one might say, its deliberate exclusion of—Montgomery (4–5). In addition to this attention to the way gender informed the context within which Montgomery wrote and within which her writings were received, Pike and Robinson trace the importance of feminist scholarship in the reevaluation of Montgomery and the obstacles faced by early Montgomery scholars, many of them women working within a patriarchal academic establishment in the late 1970s to early 1990s. The introduction then situates the collection within a theoretical context by reviewing Judith Butler's theory of gender performativity and Karen Barad's theory of "the materiality of identity" (10), which productively suggests "the agency of all actors," whether author, reader, or critic (11). Such agency may conflict, however; Pike and Robinson importantly recognize the [End Page 215] resistance that critical readings of Montgomery can face, if such readings counter the desire of fans (and governments and tourism industries) to maintain Anne of Green Gables, in particular, as "the perfect Canadian female archetype" (8). The introduction thus articulates the collection's concern with the ways social constructions of gender affected Montgomery and continue to affect the reception of and the scholarly conversation about her work, as well as investigating representations of...

Paired female images in the art of opera: before posing the question

Statement of the problem. Paired female images in opera form their own little universe in which they develop and compare. The problem of paired female images in opera art has not yet been sufficiently studied, although it deserves the attention of both musicologists and performers. The relevance of the proposed topic is due to the lack of research specifically devoted to paired female images in opera. It is proposed to consider the female images in the opera «Lohengrin» by R. Wagner in order to identify distinctive features in their musical language and determine the nature of their interaction. Analysis of recent research and publications. Among the modern scientific investigations devoted to the creative personality of R. Wagner are the works of B. Kotyuk (2013), S. Oliynyk (2018), O. Kobzar (2013), L. Gavrylchyk (2015), O. Shapoval (2019), O. Kobzar (2010), I. Yagodzynska (2012). Researchers pay attention to symbolism and mytho-poetic tendencies in the composer’s opera work. Of special interest for our topic are scientific developments devoted to the study of the opera «Lohengrin». In particular, the study of the musical dramaturgy of the work is contained in the article by O. Roschenko (2019). The study of female images in opera is presented in scientific articles by V. Antoniuk (2012), C. Wang (2012), C. Iven (2018). Main objective of the study. The purpose of the study is to determine the nature of the interaction of two female characters – Elsa and Ortrude – in the opera «Lohengrin» by R. Wagner. The scientific novelty. The novelty of the research lies in the fact that for the first time: 1) the relationship of paired female images is investigated as a musicological problem; 2) the semantic elements of the musical language and dramaturgical features of the formation of paired female images are singled out using the example of the opera «Lohengrin» by R. Wagner. Methodology. The following research methods are used: systemic, structuralfunctional, comparative, intonation analysis method. Results. R. Wagner’s opera «Lohengrin» features two female characters – Elsa and Ortrud. Each of them has its own line of development, but at the same time, at the level of the dramatic whole, they form a certain unity. These female images are defined thanks to the dramatic action, the plot; are characterized by intonation-melodic composition, expressive features of rhythm, tempo, mode and harmony. With the help of paired female images, the composer reveals his attitude to the behaviour of people in different circumstances and tries to evoke the same feeling in the listener. For the conditional association of two such characters, the author of the work proposed the term «paired images». A characteristic feature is that, on the one hand, they are built in opposition, and on the other hand, they are closely interconnected. These images are perceived through their ambivalence, contrast and, at the same time, through complementarity. The contrast between the images of Elsa and Ortrud is obvious – it is manifested in the contrast of mental purity, sincerity and cruelty and treachery. The common thing is that both characters, through different female archetypes, reveal the essence of a single multifaceted female nature from different angles. Conclusions. The contrast of the heroines is reflected by the composer at the level of musical language. Elsa, in general, is characterized by cantilena melodies, measured tempos, tessitura and dynamic balance, the predominance of the major scale, i.e. enlightened lyrics prevail. Ortrud, on the contrary, is characterized by melodies of a recitative nature, full of drama, with sharp accents, wide jumps, tessitura and dynamic contrasts, relying on unstable harmonies. During the dramaturgical development, these two spheres penetrate into each other. Thus, in the process of compositional development, two female characters contrast and, at the same time, interact with each other, and at the level of musical embodiment, they are presented as a single dramatic line.

Female archetypes in car advertising: the case of Audi

The representation of women in advertising is based on constructs that have become consolidated in Western culture, giving rise to different archetypes that express the values and ways of thinking of each age. As in other media discourses, advertising resorts to elements, such as archetypes and myths, which shape the collective imaginary and are very effective devices, for they are recognizable to viewers and help to engage them. Specifically, this article focuses on car advertising, whose significance lies in the fact that it has traditionally been a sphere of male domination. In recent years, there has been a positive evolution towards more independent and autonomous female characters. Accordingly, this article analyses two of Audi’s most recent campaigns from 2016 and 2017 in order to observe how women are represented in car ads according to three fundamental aspects: visual semiotics (Arnheim’s Arte y percepción visual. Psicología del ojo creador, 2008; Casetti and Di Chio’s Cómo analizar un film, 1994; Van Leeuwen’s ‘Semiotics and iconography’, 2001), iconography (Cassirer’s Filosofía de las formas simbólicas, 1998); Panofsky’s ‘Iconografía e iconología: introducción al estudio del arte del Renacimiento, 1987) and symbolism grounded in a myth analysis of advertising (León’s Mitoanálisis de la publicidad, 2001).

Goethian Name as Korean Commodities

The Lotte Group is a diverse conglomerate empire in the South Korean business market, with businesses and investments in multiple sectors located in South Korea, other Asian countries, and the US. It is becoming a global market leader in the world economy; in fact, Forbes magazine ranked the Lotte Group’s retail division as the world’s number three department store in 2013. The focus is the proper name of this group, Lotte. The founding group’s president, Kyuck-Ho Shin, has stated that he wished to channel his admiration for Johann Wolfgang von Goethe by branding his merchandise, supermarket chain, and hotels with the name Lotte, the diminutive form of Charlotte, in a direct reference to The Sorrows of Young Werther. Consumers encounter the Lotte logo daily, and this feminized encounter pacifies any possible suspicion that a giant corporation may indeed be engulfing the Korean citizens’ physical and linguistic landscape. Drawing on communication studies and linguistic landscape studies, the focus is on the role of the proper name “Lotte” in South Korean advertising to uncover the multivalent, mythic power of German classical female archetypes in contemporary Korean circulation.

100 years of Mari fine art: socialist realism (late 1930s – 1980s)

Introduction. The article continues a series of publications dedicated to the 100th anniversary of the Mari autonomy and the emergence of professional fine art among the Mari people. It characterizes the period of socialist realism. From the point of view of the development of the national fine arts of the Mari, socialist realism needs to be comprehended using new methodological paradigms. Materials and Methods. The fine arts of the Mari Region have been analyzed using the author’s cultural and archetypal approach and the methods of historical research. The research materials include works of fine art from the museums of the Republic of Mari El, documents from the State Archives of the Republic of Mari El, media publications, newsletters and catalogs. Results and Discussion. In the history of the Mari art of socialist realism, two stages have been defined. The first one is the period of recovery after repressions and the Great Patriotic War in the late 1930s – 1950s. The second one is the heyday of the fine arts of the Mari ASSR in the 1960–1980s. Socialist realism as an artistic method is indirectly representative of the process of ethno-cultural reflection as the essence of national fine arts, it is focused on showing the achievements of ethnic cultures in the modernization of the economy and culture. V. I. Lenin is represented as a teacher close to the people (by analogy with Kugu Yumo) in the pantheon of political leaders. The cultural hero is typified through the image of a national cultural figure, a machine operator, and historical personifications. The semantics of the image of a war veteran is supplemented by the function of the world tree on the social field. The female archetype is represented by the type of a collective farmer and milkmaid, less often it is represented by a woman engaged in creative or intellectual work. Conclusion. The era of socialist realism is the most important period in the formation of professional fine arts in the Mari Region, also being a national and ethnic phenomenon. The ambivalence of socialist realist artistic practice lies in the fact that, on the one hand, reflection boils down to the use of national ethnographic signs for visual agitation for socialism, to ignoring real mental processes, and on the other hand, a real process of modernization of national culture emerges through an ideologically idealized form. The ambivalence of socialist realistic artistic practice lies in the fact that, on the one hand, reflection boils down to the use of national ethnographic signs for visual agitation for socialism, to ignoring real mental processes, and on the other hand, a real process of modernization of national culture emerges through an ideologically idealized form.

The Influence of Family Upbringing on the Formation of Self-Esteem of Adolescents with Developmental Disabilities

The influence of family upbringing, in particular in particular family archetypes, has an impact on the formation of personality, especially during puberty, affecting various aspects of the mental life, health and behaviour of a teenager, including self-esteem, worldview, vision of one’s own “self-concept” in the world. Consequently, the main purpose of the study is to determine special features of the influence of family upbringing on the formation of adolescents with developmental disabilities. In the course of the study, the “KPQAA” method and Dembo-Rubinstein Method of Selfesteem Measurement were used. According to the results of research, it is determined that the leading archetypes of Animus (male aspect of education) are “Warrior”, “King”, which translate in education not only samples of masculinity (strength, honesty, justice, courage), but also a number of negative aspects, such as rudeness, moral pressure on family members, aggression (physical, verbal, indirect), etc. It is found that the embodiment of the female Anima occurs mainly through archetypal images of “Helen” and “Eve”, which indicates the high emotionality of the parenting process, submission as a model for children raised, honesty. It is confirmed that such female archetypes in the process of educating adolescents with developmental disabilities also translate instability of self-esteem, low self-esteem, rapid changes in desires, interests, a tendency to immorality (deception, flattery, betrayal), etc. It is established that the studied adolescents are mainly characterised by inadequately inflated and underestimated indicators of self-esteem, which is a consequence of the influence of leading archetypal images of upbringing in families. The article describes the influence of the style of family upbringing, interaction of parents with children with developmental disabilities on the formation of personality in general and such components as emotional, behavioural, motivational spheres, “self-concept”, “self-image”, self-esteem, worldview and interaction with modern society. The practical value of scientific work lies in the possibility of further development of effective psychological support for adolescents with developmental disabilities who have problems with the formation of self-esteem

The Mother, the Mistress, and the Cover Girls

When Ghana Television began in 1965, its first director, Shirley Graham Du Bois, explicitly devised it as an anticolonial and pan-African indigenous television system. Likely the first Black woman to head a national station, Graham Du Bois’ prominence, along with Genoveva Marais as head of programing, suggests that in its nascency Ghana Television was an exceptional place for women. Yet each woman’s relationship with Kwame Nkrumah, the first president of Ghana, shadowed their professional lives and legacies. Rumors situated them along female archetypes with a powerful man firmly at the center: Graham Du Bois as Nkrumah’s mother and Marais as his mistress. In this article, I argue that while Graham Du Bois and Marais’ media practice rarely addressed gender inequality specifically, their work as female broadcast leaders set a precedent for decolonial feminist futures even as the coloniality of gender extended into Ghana broadcasting during the independence period.

ТИПОЛОГИЯ МИФОЭПИЧЕСКИХ ЖЕНСКИХ ОБРАЗОВ (НА ПРИМЕРЕ ТВОРЧЕСТВА СОВРЕМЕННЫХ ХУДОЖНИКОВ АЛТАЯ)

The article considers the characteristic features of the depiction of the images of a woman-mother and a woman-warrior in the visual arts on the example of the plots of Altai mythology. The paper also analyzes the specificity of the reflection of female archetypes from the standpoint of the cultural-aesthetic and folklore-historical context. On the basis of the study, conclusions were drawn about the significant role of female images in the mythological consciousness of the peoples of Altai. The widespread use of such subjects by contemporary artists of the region is due to the goal of preserving continuity and spreading traditional ethnic culture. Mytho-epic images in the interpretation of modern artists reflect the sacred meanings of the works of Altai folklore, conveying the semantic meaning of their content through artistic images.

Conchita Montenegro and the Spanish press: from national pride to nationalist melodrama

ABSTRACT The Spanish press reported on Conchita Montenegro, a Spanish actress who moved to Hollywood in the early 1930s, with ambiguous and contradictory messages. On the one hand, her stint in Tinseltown was celebrated as a national triumph: a young Spanish woman had managed to seduce and conquer the Hollywood film industry. On the other hand, the fact that in Hollywood she played female archetypes at odds with the conservative morality of Catholic Spain was silenced. Decades later, after her death, the Spanish press has restored Conchita Montenegro’s fame, this time through a sensationalist, melodramatic story similar to the way Hollywood stars are promoted. Based on a comparative study between journalistic sources from both periods, this article demonstrates that the way Montenegro was treated as a film star in the press reflects the same nationalist fervour, even though the focus of her patriotic exemplariness in the 1930s gave way to a melodramatic vision of her Hollywood career more recently.

Mouldy Matriarchs and Dangerous Daughters

Mouldy Matriarchs and Dangerous Daughters