The first comprehensive study of heroic women figures in Anglo-Saxon literature investigates English secular and religious prose and poetry from the seventh to the eleventh centuries. Given the paucity of surviving literature from the Anglo-Saxon period, the works which feature major women characters -- often portrayed as heroes -- seem surprisingly numerous. Even more striking is the strength of the female characterizations, given the medieval social ideal of women as peaceful, passive members of society. The task of this study is to examine the existing sources afresh, asking new questions about the depictions of women in the literature of the period. Particular attention is focused on the failed, possibly adulterous women of 'The Wife's Lament' and 'Wulf and Eadwacer', the monstrous mother of Grendel in 'Beowulf', and the chaste but heroic figures and saints Judith, Juliana, and Elene. The book relies for its analysis on recent and standard texts in Anglo-Saxon studies and literature, as well as a thorough grounding in Latin and vernacular historical documents and Anglo-Saxon writings other than the focal literary texts.

This collection of new essays seeks to define the unique qualities of female heroism in literary fantasy from Tolkien's The Lord of the Rings in the 1950s through the present. Building upon traditional definitions of the hero in myth and folklore as the root genres of modern fantasy, the essays provide a multi-faceted view of an important fantasy character type who begins to demonstrate a significant presence only in the latter 20th century. The essays contribute to the empowerment and development of the female hero as an archetype in her own right.

Rose examines the glamorous, failed destinies of heroes in plays by William Shakespeare, Ben Jonson, and Christopher Marlowe ; Queen Elizabeth I's creation of a heroic identity in her public speaches ; autobiographies of four ordinary women thrust into the public sphere by civil war ; and the seducation of heroes into slavery in works by John Milton, Aphra Behn, and Mary Astell.--Back cover.

One of the first full-length academic projects on the television series Smallville, this collection of new essays explains why the WB/CW series is important to understanding contemporary popular culture. The essays are presented in four sections covering broad categories: Clark Kent's metamorphosis to Superman and the influence of his parents and the home; the role of the series' noteworthy female characters; the series' representations of the Other, explorations of identity, and the ways in which characters speak to Clark's own struggles; and audience reception of the series and its position within the Superman narrative universe.

The modernist period was crucial for American literature as it gave writers the chance to be truly innovative and create their own distinct identity. Starting slightly earlier than many guides to modernism this lucid and comprehensive guide introduces the reader to the essential history of the period including technology, religion, economy, class, gender and immigration. These contexts are woven of into discussions of many significant authors and texts from the period. Wagner-Martin brings her years of writing about American modernism to explicate poetry and drama as well as fiction and life-writing. Among the authors emphasized are Ernest Hemingway, William Faulkner, Zora Neale Hurston, Langston Hughes, F. Scott Fitzgerald, Gertrude Stein, Willa Cather, John Dos Passos, William Carlos Williams, Mike Gold, James T. Farrell, Clifford Odets, John Steinbeck and countless others. A clear and engaging introduction to an exciting period of literature, this is the ultimate guide for those seeking an overview of American Modernism.

Wonder Woman was created in the early 1940s as a paragon of female empowerment and beauty and her near eighty-year history has included seismic socio-cultural changes. In this book, Joan Ormrod analyses key moments in the superheroine's career and views them through the prism of the female body. This book explores how Wonder Woman's body has changed over the years as her mission has shifted from being an ambassador for peace and love to the greatest warrior in the DC transmedia universe, as she's reflected increasing technological sophistication, globalisation and women's changing roles and ambitions. Wonder Woman's physical form, Ormrod argues, is both an articulation of female potential and attempts to constrain it. Her body has always been an amalgamation of the feminine ideal in popular culture and wider socio-cultural debate, from Betty Grable to the 1960s 'mod' girl, to the Iron Maiden of the 1980s.

As portrayals of heroic women gain ground in film, television, and other media, their depictions are breaking free of females as versions of male heroes or simple stereotypes of acutely weak or overly strong women. Although heroines continue to represent the traditional roles of mothers, goddesses, warriors, whores, witches, and priestesses, these women are no longer just damsels in distress or violent warriors. In Heroines of Film and Television: Portrayals in Popular Culture,award-winning authors from a variety of disciplines examine the changing roles of heroic women across time. In this volume, editors Norma Jones, Maja Bajac-Carter, and Bob Batchelor have assembled a collection of essays that broaden our understanding of how heroines are portrayed across media, offering readers new ways to understand, perceive, and think about women. Contributors bring fresh readings to popular films and television shows such as The Girl with the Dragon Tattoo, Kill Bill, Buffy the Vampire Slayer, Weeds, Mad Men, and Star Trek. The representations and interpretations of these heroines are important reflections of popular culture that simultaneously empower and constrain real life women. These essays help readers gain a more complete understanding of female heroes, especially as related to race, gender, power, and culture. A companion volume to Heroines of Comic Books and Literature, this collection will appeal to academics and broader audiences that are interested in women in popular culture.

Women have been tricking men for thousands of years, and female tricksters have been appearing in classic and popular texts at least since the Thousand and One Nights. While there are many studies of tricksters, few have focused on the chicanery of women, and none have dealt with the ways in which the female trickster is constructed in America. Madcaps, Screwballs, and Con Women is the first book to explore the cultural work performed by female tricksters in the "new country" of American mass consumer culture. Beginning with such nineteenth-century novels as Capitola the Madcap and moving through twentieth-century novels, films, radio, and television shows, Lori Landay looks at how popular heroines use craft and deceit to circumvent the limitations of femininity. She considers texts of the 1920s such as Elinor Glyn's It and Anita Loos's Gentlemen Prefer Blondes; films of Mae West, as well as other Depression-era and wartime film comedy; the postwar television series I Love Lucy; and such contemporary texts as "Roseanne," "Ellen," and "Batman." In addition, Landay explores the connections between these texts and advertisements selling products that encourage female deception and trickery.

Considering a variety of female superhero narratives, including World War II-era Wonder Woman comics, the 1970s television programs The Secrets of Isis and The Bionic Woman, and the more recent Buffy the Vampire Slayer, Education and the Female Superhero: Slayers, Cyborgs, Sorority Sisters, and Schoolteachers argues that they share a vision of education as the path to female empowerment. In his analysis, Andrew L. Grunzke examines female superheroes who are literally teachers or students, exploring examples of female superheroes whose alter egos work as schoolteachers or attend school during the workday and fight evildoers when they are outside the classroom. Taking a broader view of education, Grunzke argues that the superheroine in popular media often sees and articulates her own role as being an educator. In these narratives, female superheroes often take it upon themselves to teach self-defense tactics, prevent victimization, and encourage people (especially female victims) to pursue formal education. Moreover, Grunzke shows how superheroines tend to see their relationship with their adversaries as rehabilitative and educative, trying to set them on the correct path rather than merely subdue or dominate them.