Good Wife Research Articles

Conduct Becoming: Good Wives and Husbands in the Later Middle Ages by Glenn D. Burger

Conduct Becoming: Good Wives and Husbands in the Later Middle Ages by Glenn D. Burger

The Bad Wife Who Was Good: A Woman as a Way of Life in Genesis Rabbah 17:3

This article begins with the observation that one of the most famous bad wife tales in rabbinic literature (Genesis Rabbah 17:3) is not really a tale about women at all. While Genesis Rabbah 17:3 is formally structured as a tale of two wives, the bad wife of Rabbi Yose and the good wife of Rabbi Ḥananiah ben Ḥakhinai, the narrative is not primarily directed at shaping a feminine ideal but works to negotiate competing visions of male honor. Specifically, the narrative works to overturn a model of male Jewish honor based on a paterfamilias model of individual leadership in favor of a system in which male Jewish honor derives from visible adherence to the norms of the rabbinic academy. This article thus explores a common dissonance in early rabbinic narratives about women, asking why women's literary bodies are so effective as a material through which male social ideals can be negotiated. The article concludes that the fictional women in such stories function in a mode very similar to what Mikhail Bahktin described as a "fairytale chronotope," in which landscapes, objects, and animals are animated to make the defining structures of a particular social moment visible by distilling them into a perceptible representative but without the blurring complications of a full human subjectivity.

MARITAL DISHARMONY IN JACKIE COLLINS’ NOVEL HOLLYWOOD WIVES

Abstract The study is centered on marital disharmony reflected from the protagonist, Elaine Conti, in running her family life. Marital disharmony can occur if the spouses do not spend sufficient time together or if they do not have common interests. Elaine Conti is married to a famous actor of Hollywood, Ross Conti, but their marriage is not running smoothly as Elaine cannot put herself in a proper place of a good wife. The analysis shows that any relationship is hard and any relationship can lead to a range of arguments and difficulties. However when it comes to marriage all of these difficulties are exacerbated, which is a shame because the steaks are also exacerbated. A break up means potentially losing home, meaning legal and financial difficulties and it may mean putting the rest of the family and particularly any children through a lot of difficulties. This is seen that Elaine, the protagonist, cannot play her role as a good wife in the family caused by her extravagant lifestyle, committing adultery and insatiable passion. The method used here is Descriptive Qualitative proposed by Koul (1990) and the results show that her attitudes in running a marriage life have caused a marital disharmony, in line with the main theory referred to as the base of the study proposed by Hendrix stating that extravagance, adultery and insatiable passions are the main causing factors to marital disharmony. Keywords: disharmony, marriage, extravagance, adultery, passion

The Analysis of the prototype of cable TV drama characters: "Good Wife" and "Secret Forest"

The Analysis of the prototype of cable TV drama characters: "Good Wife" and "Secret Forest"

‘괴물’이라는 관점에서 본 「레이디 수전」과 『프랑켄슈타인』

In this article, I analyze Jane Austen’s epistolary novel, Lady Susan, and Mary Shelley’s novel Frankenstein for the “monsters” they depict. On one level, Lady Susan can be called a monster because she is an icon of disobedience; neither a good mother nor a good wife, though pretending to be a “Proper Lady.” However, by making Susan an attractive lady despite her immoral and unethical behaviors as an adulteress, Austen encourages her readers to have sympathy for her in her second marriage and in so doing subtly critiques the nineteenth-century patriarchal standards in England. By contrast, Shelley’s monster, the creation of Frankenstein, is depicted as an object of fear both because of its mysterious and grotesque “birth” by a man and its isolation from human society. Though not born a monster, the creature became one after having been repeatedly rejected, first by Frankenstein, and then by the De Lacey family, which had accepted Safie, but had recoiled at the creature’s grotesque appearance despite admirable qualities. The De Laceys’ differing responses to Safie and the creature suggest not only the limitation of a bourgeois family that cannot accept “otherness,” but also the limitations of English society more broadly. Therefore, my paper argues that, through Lady Susan, Jane Austen pokes fun at the ideal of the “Proper Lady” and the English patriarchal system, while through her monstrous creature, Mary Shelley comments on the prejudices and limitations of bourgeois English society.

Critiquing Concubinage: Sumiya Koume and Changing Gender Roles in Modern Japan

ABSTRACTIn 1893, Sumiya Koume (1850–1920) wrote an essay for the prominent women’s journal Jogaku zasshi (Women’s Education Magazine) entitled ‘I Recommend Against Becoming a Geisha or Concubine’. In it, she critiqued both roles and exhorted women who were serving as geisha not to become concubines. She did not mention that she herself had worked as both a geisha and a concubine (tekake or mekake). By the time she wrote her essay, she had also served as a political activist as well as a social reformer and missionary. Sumiya’s life sheds light on the transitional nature of the early Meiji era, specifically the period of flux between the formal abolition of concubinage in 1882 and the advent of the state-sponsored ‘good wife, wise mother’ (ryōsai kenbo) paradigm in 1899.

A study on the receptive-productive vocabulary distinction using the American TV drama, The good wife

The purpose of this paper is to seek possible answers to the question ‘Is it necessary to distinguish between receptive vocabulary and productive...

“Scrutinize her actions, punish her body to saver her soul”: The Figure of the Governess in Jane Eyre


 In 1840s the figure of the governess, particularly her sexuality became a subject of much concern to the periodical essayists. The Victorian period, as Foucault argues saw an immense proliferation of discourses about sex. Sexuality thus came into being as the ultimate open secret. This justified the attention devoted to the distressed governess by emphasizing the central role she played in reproducing the domestic ideal- on one hand she, as a teacher was to teach her students ‘accomplishments’ that would attract a good husband and later make them good wives and mothers yet at the same time police the emergence of undue assertiveness or sexuality in her maturing charges.
 The employment of women as governess also mobilized and engaged with two of the most important representations of women: the figure who epitomized the domestic ideal-the wife/mother, and the figures who threatened to destroy it-the working-class women/prostitutes.
 
 It is within these contexts that the paper will try and place Jane Eyre by Charlotte Bronte. The paper would also analyse the way this stereotypical representation of women throws light on the condition of women in general and working-class women.

“Scrutinize her actions, punish her body to saver her soul”: The Figure of the Governess in Jane Eyre

In 1840s the figure of the governess, particularly her sexuality became a subject of much concern to the periodical essayists. The Victorian period, as Foucault argues saw an immense proliferation of discourses about sex. Sexuality thus came into being as the ultimate open secret. This justified the attention devoted to the distressed governess by emphasizing the central role she played in reproducing the domestic ideal- on one hand she, as a teacher was to teach her students ‘accomplishments’ that would attract a good husband and later make them good wives and mothers yet at the same time police the emergence of undue assertiveness or sexuality in her maturing charges. The employment of women as governess also mobilized and engaged with two of the most important representations of women: the figure who epitomized the domestic ideal-the wife/mother, and the figures who threatened to destroy it-the working-class women/prostitutes. It is within these contexts that the paper will try and place Jane Eyre by Charlotte Bronte. The paper would also analyse the way this stereotypical representation of women throws light on the condition of women in general and working-class women.

The Producer as Fan

Jason Mittell argues that contemporary television narrative is marked by degrees of both structural and consumptive complexity. One way he addresses this complexity is through the concept of drillability, which he describes as “a mode of forensic fandom that invites viewers to dig deeper, probing beneath the surface to understand the complexity of a story and its telling.” This essay analyzes a particular episode of CBS’s The Good Wife (2009–2016) to extend Mittell’s concept of drillability and to explore its theoretical links to Mikhail Bakhtin’s “dialogic imagination.” In doing so, the essay argues that “producer-fans” model modes of critical media consumption required by an informed and engaged citizenry.

Patriarchal Masculinity’s Seductive Valorization and Attraction : Post Second-Wave Gender Politics Renegotiated on Scandal (ABC, 2011- ) and The Good Wife (CBS, 2009-2016)

This paper explores the representation of gender in The Good Wife and Scandal, two American primetime television series, which, pursuant to feminist gains, showcase heroines who are very intelligent and powerful. These series are a site of negotiation between discourses that valorize certain aspects of patriarchal masculinity– notably the power, social success and sex appeal of the patriarchal man –and oppositional feminist discourses.

Study on Heroine Discourse under the Kim Jong Un Regime: Focusing on Articles of Women of Joseon

For an overview of women`s policy in North Korea, 60 volumes of Women of Joseon (2012.1-2016.12) were subject to analysis. The journal has been the exemplary model that puts across the authority`s policy and explores various types of the heroine to push for a “learn from the heroine campaign.” The heroines in the journal articles can be categorized into five types of ideal womanhood - the hardworking woman, the woman revolutionary, the professional woman, the good wife and wise mother, and the woman supporting the military and volunteering. Those five types are used to examine the policy intentions of the North Korean authorities. The analysis of policy intentions found the collapse of conventional gender-based boundaries of labor areas; the spread of the Stakhanov movement; the propagation of the theory of the great family and paternalism of women; and succession by the third generation and political power of women. Like other socialist states, the North Korea advocates gender equality through policies. However, in reality, it defines its view towards women under its unique propaganda called “Juche Idea”, so that North Korean women are dominated by patriarchal ideology that prioritizes the father (the leader) and are socially restrained to realize themselves within the boundaries of the party and organization. They are also haunted by the male-centered patriarchal view of the family and undertake production activities in the labor force while simultaneously handling housework and childcare. Worse yet, women are faced with hardworking competition, production-quotas, and ideology-learning programs that aim to cover the shortcomings of the social economic system and maximize the use of labor forces causing women to be burdened with a double and even triple whammy.

The Good Wife’s (Geo)Politics Between Originality and Stereotypes: A New Wine or Just a New Bottle?

ABSTRACTIn the last 15 years, a new generation of TV series based on complex storytelling and frequently focused on politics has emerged. Critics and commentators have identified this as a new golden age for television, frequently emphasising the accuracy and originality of this generation of TV series, and highlighting its capacity to represent different aspects of our world in an effective and innovative manner. Peculiar and original characters in political TV series are also being recognised in academic studies; in particular, these programs have attracted diffused interest in cultural and political studies and more recently also in popular geopolitics. The aim of this article is to contribute to this debate by analysing the ambivalent geopolitical perspectives transmitted within these forms of contemporary media products. By focusing on the political and legal series The Good Wife, produced by CBS between 2009 and 2016, the paper shows how original and challenging representations of politics and society pair well with very traditional and stereotyped geopolitical representations. Consequently, the paper suggests that in many cases, the acclaimed originality in the form of TV series conceals old and stereotyped contents.

War Guilt in Nobuko Yoshiya's Literary Works – The Discourses Surrounding "the War Widows" –

This paper is part of an effort to inquire into guilt in literary works of Nobuko Yoshiya. Yoshiya`s literary works sought an exclusively female community for women who did not wish to follow conventional women`s policy which entailed that woman should be a good wife and wise mother. Her literary works exhibit changes in representation of widows and women in general as she joins effort as member of the Imperial Army comfort correspondents and Pen Unit when Sino-Japanese broke out. In this study, we will see that Yoshiya`s novel the Widow emphasizes maternal instinct and which her other previous works of literature did not deal with. We will also see that her novel is in sympathy with women`s policy of time and remarriage denial which was part of expected discourse concerning women of day. We have also pointed out that symbolism which had been imposed only on widows was being transferred also to widows in general. The Sino-Japanese also known as the Hundred Years` War or the Eternal War, made all soldiers` wives on home front potential widows. In this way, Yoshiya`s literary works needed to construct an idealized image of war or just widow because of fact that great number of Yoshiya`s readers were women. To meet this need, Yoshiya`s works provided driving force for by imprisoning women in system of sacrifice and endurance. For this reason, it is thought that we can pursue close inquiry into guilt in Yoshiya`s literary works.

The rough guide to love: romance, history and sexualization in gendered relationship advice

Sexualization is changing the way we think about romantic love. According to recent research, young people are increasingly confronted by narrowing ideals of sexual attractiveness making romantic intimacy increasingly difficult forcing a choice between ‘raunch or romance’. This article investigates the alleged distinction between romance and sexualization, in the process challenging claims that the current crisis of sexualization is a product of societal change in late modernity. Responding to a call to consider sexualization from a hitherto neglected historical perspective, the paper employs critical discourse analysis to identify the formation of gendered meanings and practices in How the Good Wife Taught Her Daughter, a late medieval advice text for young women, and twenty-first-century advice from the MyBliss website. Focusing on sexualized clothing, contact with others, reputation and social status, the paper argues that in both medieval and modern advice, discourses of romantic love and sexualization are mutually dependent. In addition, similarities between medieval and modern advice reveal that our current sexualization crisis is not solely a product of modern life, but is part of a longer pattern of gender normativity and inequality.

Sociocultural Influences on the Transmission of HIV From Husbands to Wives in Cambodia: The Male Point of View.

The purpose of the study was to explore, within cultural and societal contexts, the factors of spousal HIV transmission as described by the experiences of HIV-positive Cambodian men. Using qualitative research methods, the researchers collected data from in-depth interviews with 15 HIV-positive Cambodian men of seroconcordant couples recruited from an HIV/AIDS clinic in Phnom Penh. Using a model of HIV transmission from husbands to wives, the questions were designed to elicit the men’s perspectives on the topics of promiscuity, masculinity, condom use in marriage, the image of the ideal Cambodian woman, and attitudes toward sex and marriage. Directed content analysis was used to analyze the interview data. The main results were as follows: (a) men involved with sex workers perceived this as a natural behavior and a necessary part of being an approved member in a male peer group, (b) married men never used condoms during sex with their wives prior to their HIV diagnosis, (c) men perceived a good wife as one who is diligent and loyal to her husband, and (4) men’s attitudes toward sex and marriage (e.g., sex perceived as a part of life pleasure) differed from those of their wives. Promoting honest spousal communication about sexuality, maintaining men’s marital fidelity, and increasing women’s comfort in the use of sexual techniques are suggested as strategies for reducing HIV transmission within marriage in Cambodia. Future interventions should focus on reshaping men’s behaviors and changing cultural norms to protect them and their spouses from HIV infection.

At the Crossroads of Equality versus Protection: American Occupationnaire Women and Socialist Feminism in US Occupied Japan, 1945–1952

At the Crossroads of Equality versus ProtectionAmerican Occupationnaire Women and Socialist Feminism in US Occupied Japan, 1945–1952 Michiko Takeuchi (bio) On October 11, 1945, a document issued by the Supreme Commander for the Allied Powers (SCAP) declared the “liberation of Japanese women” to be one aspect of the democratization policies the American occupation would institute in Japan. The policy document proclaimed “the emancipation of the women through their enfranchisement—that, being members of the body politic, they may bring to Japan a new concept of government directly subservient to the well being of the home.”1 This statement about the “well being of the home” suggests SCAP actually undertook to implement American Cold War family ideology under the guise of women’s liberation. This ideology embodied SCAP’s ideal as represented by the middle-class (white) heterosexual nuclear family with rigid gender roles of a male breadwinner and a female homemaker.2 Far from seeing these official statements and efforts as liberating Japanese women, scholars have pointed out the ways American Cold War domesticity complemented Japan’s own modern domesticity ideology of the “good wife and wise mother.”3 Scholars also reject any notion of the male-dominated US military as a force behind women’s liberation in occupied Japan. Such initiatives came from women, particularly highly educated upper-and middle-class American and Japanese women, who together created the occupation’s policies for Japanese women (except suffrage) by forming a de facto women’s policy alliance.4 Members of the alliance were not static or harmonious, but they worked together to formulate “women’s liberation” policies according to their definition, which differed from that of SCAP. However, even when scholars have viewed this collaborative effort as important, they have not considered the complex dynamic that underlay the effort. Internal and external initiatives were at play in the shaping of gender ideology in which tensions and negotiations among American and Japanese women came to the fore. Exploring this complex dynamic reveals that the policy alliance did not just challenge SCAP’s Cold War domesticity ideology but also engaged in the [End Page 114] longstanding “women’s war”; that is, the debates about “equality versus protection.”5 The alliance’s debates about “equality versus protection” show that the alliance’s idea of “women’s liberation” was not invented in the so-called “workshop of democracy” in occupied Japan. Rather, it was built upon American and Japanese women’s decades of activism and their ideological coalition across the Pacific, which predated the occupation. American women occupation members, or “occupationnaires,” played crucial roles in rebuilding this ideological coalition in the postwar period as they pursued women’s liberation in occupied Japan (1945–52). At the heart of these initiatives was an alliance of women for whom the fundamental idea of “women’s liberation” was also highly contested, because it was related to American women’s long-term debates about “equality versus protection,” especially in the area of women’s labor. In fact, in October 1946 Lieutenant Ethel Weed (1906–75), a women’s information officer who played a leading role in the policy alliance, wrote to the historian Mary Beard (1876–1958) in the United States that “the question of equality vs. special privilege and protection has of course come up here [U.S.-occupied Japan] again and again.”6 Arising in the 1920s, the question of equality versus protection was the crux of what became known as the Equal Rights Amendment (ERA) debate in the United States or what the historian Nancy Cott has called “the dilemma of twentieth-century feminism”—which goes beyond discussion of the proposed constitutional amendment.7 The ERA, stressing the sameness and equality of the sexes, was first introduced in Congress in 1923 by members of the National Women’s Party (NWP), who were middle-class feminists. However, the ERA was fiercely opposed by women labor activists and leftists (later called Old Lefts), such as Mary Anderson (1872–1964), a member of the Women’s Trade Union League (WTUL) and the first director of the Women’s Bureau, on the grounds that the ERA would nullify special legislative protection for women.8 Weed’s letter...

Maiden Martyr for "New Japan": The 1960 Ampo and the Rhetoric of the Other Michiko

Maiden Martyr for "New Japan":The 1960 Ampo and the Rhetoric of the Other Michiko Hiroko Hirakawa (bio) During the late 1950s and early 1960s, Shōda Michiko, the commoner who married Prince Akihito in 1959, gained iconographic status in the media (Bardsley 2002). Around the same time, another Japanese woman who happened to have the same given name attracted as much if not more attention. Her name was Kanba Michiko. A Tokyo University coed and Zengakuren activist,1 Kanba was killed in a violent confrontation between Ampo protesters and the police in June 1960. This essay examines the rhetoric surrounding Kanba Michiko and her death that appeared in a popular weekly magazine, Shūkan Asahi (Asahi Weekly). I describe how Shūkan Asahi portrayed the Ampo struggle as a polarized opposition of old, diehard fascism pitted against a newly emerging democratic force, with the fascist camp having the upper hand until the sacrificial death of a maiden martyr. As I hope to show, this clearcut depiction inevitably positioned the middle-class nuclear family as the critical element in the Ampo protests. Moreover, as I will argue, by positing the death of the maiden as a case of thwarted motherhood, Shūkan Asahi limited the definition of women's political activism to forms of middle-class motherhood. In this sense Shūkan Asahi's portrait of Kanba Michiko not only echoed the prewar ideology of a nonpolitical "good wife, wise mother" (ryōsai kenbō) but reflected and foretold the rise of "housewife feminism" in postwar Japanese society as well. [End Page 12] Ampo, Gender, and the Media in 1960 In February 1960, the Liberal Democratic Party (LDP) presented a bill to renew the revised U.S.-Japan Security Treaty (Nichibei Anzen Hoshō Jōyaku, abbreviated in Japanese as Ampo) to the House of Representatives for approval. The Ampo bill quickly met with fierce opposition from the Japanese Socialist Party (JSP) and Japanese Communist Party (JCP), both of which saw the Ampo treaty as creating the potential for Japan's remilitarization and as imposing restrictions on the nation's sovereignty. Consequently, debate on the bill soon reached an impasse. Finally, when only one week in May remained before the end of the session, the LDP took desperate measures to secure passage of the bill, using police force to push it through the House on May 19. This aggressive action outraged millions of Japanese, fueling massive anti-government demonstrations and rallies across the nation. This volatility, in turn, resulted in cancellation of U.S. President Dwight D. Eisenhower's visit to Japan, which subsequently forced Prime Minister Kishi Nobusuke to resign. Despite the scale and vehemence of the protests and Kishi's resignation, the treaty went into effect in June 1960. Yet to this day, the 1960 Ampo turmoil often serves as a key reference point in narrating postwar Japanese history. What is it about this event that continues to exert such power over the collective psyche? Unlike most studies to date, which approach the Ampo controversy as party politics, Wesley Sasaki-Uemura addresses the question of its direct impact on public and personal memory. He characterizes the Ampo protests as "a struggle over the form Japanese democracy would take rather than a critique of international relations" (Sasaki-Uemura 2001, 3). Examining civic groups involved in the Ampo dissent, Sasaki-Uemura details how they perceived themselves "as small grassroots groups with fluid organization and fluctuating memberships" (7). His analysis sheds light on these movements' impact on the ensuing oppositional praxes in Japanese society. Sasaki-Uemura identifies four factors as crucial to explaining the large-scale mobilization of people involved in the Ampo struggle: 1. Memories of World War II were still a palpable presence in the minds of most people, who remained apprehensive about the possible return to wartime conditions; 2. Many of those who participated in the Ampo movements had been initiated into political activism through various bunka sākuru (cultural circles) active in the 1950s—small, spontaneous groups that gathered for cultural activities organized at people's workplaces or residences; 3. Out of the actual practices in the circle movements and contemporary debates among the leftist intellectuals, a new ethos...

Tall, Straight Sisters

Tall, Straight Sisters Jessica Lind Peterson (bio) A tree is not a metaphor. A tree is a tree, and we are both only one strong wind away from falling. –Angela Pelster, Limber It is cold as I walk behind him on the trail. But not the kind of cold that shakes you, that steals your breath and turns it into haze. No, the good kind. The kind of cold that awakens and sharpens you and helps you breathe just a little bit better. As we walk, weightless yellow leaves fall softly overhead like a gentle confetti. We are quiet. The leaves are quiet. Only the birds are having their say. We came here to these Northwoods, these winding groves of birch and poplar, because we had to. This is where we met and fell in love: here in this friendly cold, here in this earthy smell, where we first saw each other and loved each other, under this wide net of glistening branches. Fifteen years ago we made love here and made plans here; the gnarled roots of these very trees dug into our backs, the sharp grass leaving a happy rash across my thighs. [End Page 7] But we are not happy now, and today is not for making love. We have run here, the two of us, to these well-known trees, desperate for the healing they might bring. More finished leaves fall quietly to the earth. Ahead of me my husband tramples the newly fallen leaves with his hiking boots and I think of his hands in her hair and wonder if he touched her face the way he touches mine, one hand spread open against a cheek, his fingers slowly tracing her lips. I stop on the trail and double over. It is too much for me, this knowing. I am a good wife, I think. I am a pretty wife. Suddenly I want to be spread thin on the decaying forest floor. I want to be the leaf and seep into the dirt and moss and be forgotten and reborn again next spring, a fresh and quiet green unfurling for the first time. But I am not a leaf and this is not a leaf story. A lonely, aching howl erupts from my mouth and stops the birds. I rest my back against a small birch tree and she holds my weight without protest like a tall, straight sister. I think about the birch trees on the North Shore and how they are dying by the thousands. Their bare, forsaken trunks lean together in giant clusters along Highway 61, a silent choir of lifeless wood. No one understands what is happening to them. I read somewhere that a tree can be dying from the inside for many years before showing any sign of disease. A beetle or a parasite will eat away at it, laying its eggs and leaving entire colonies of itself behind, slowly poisoning and suffocating it. Sometimes a tree can fight them off by pushing its own sap through the tunnels they dig or by temporarily cutting off its own water supply in an attempt to drive the invaders out. You wouldn’t know a fierce battle was taking place inside, you wouldn’t look long enough at a tree to know that. But sometimes a tree is not strong enough. Sometimes a tree cannot fight back and the beetles get in and have their way. No one knows of the blackened rot inside until it is cut open. The trail begins to open up and I see the pale blue beginnings of Lake Superior in the distance. Not far below this line of trees is the church where my husband and I were married in West Duluth. A sweet little house of worship with wood paneling and forest green carpet, [End Page 8] the same church where my mom and dad had gotten married, where I had been baptized as a baby. My grandmother still plays in the bell choir there, still organizes the church rummage sale every summer, the lutefisk dinner every Christmas. It still smells faintly of old coffee and meatballs. Five years after our wedding, the pastor who...

Io viaggio da sola. Modelli di Heroine’s Journey nella nuova serialità televisiva

The narrative structure of the monomyth (the heroic journey, whose scheme and repertoire has been identified by Joseph Campbell) has provided an influential anthropological model for screenwriting and film analysis. Its hero is a male subject who performs an initial journey that is divided into moments or stages; the female character in this narrative scheme – who also contains a vision of the world – does not undertake the journey because, as Campbell writes, “she is the destination”. Various scholars (Maureen Murdock, Valerie Estelle Frankel, Joan Gould, Clarissa Pinkola Estes, Marina Warner and others) have subsequently identified alternative narrative patterns, focusing on a different journey with a related arc of transformation: that of female character. In these cases the referential horizon is always that of mythography, and the theoretical one remains substantially Jungian, however their approach to storytelling significantly changes. The circularity of the monomyth is similarly confirmed, yet its rigid structure evolves into more rarefied and complex areas, since more time to process is required. Although such models are not typically or directly connected to the television, several contemporary series deeply explore this narrative structure. This is demonstrated in this article by analysing examples such as Jessica Jones, Orphan Black, Quantico, Orange Is the New Black, The Good Wife.