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This paper sheds light on the power of female figures in August Wilson's selected plays: Joe Turner's Come and Gone and Two Trains Running and how the playwright manages to subvert the image of a black woman in the American theatre from prostitutes to powerful female characters in his plays. The playwright manages to present a lot of female characters that have a great effect on the life of men especially in the idea of self-finding and resistance. The skill and ingenuity of Wilson are manifested clearly in the centrality of women in the core of the plots and in the creation of empowered female figures. Wilson subverts the stereotypes of the Mammy and the black matriarch, making maternity a source of power. He represents a woman as an effective person in the play, a powerful leader to her family, and her power and influence increase by the progress of the events in each play.

Trauma studies are essential because they shed light on the development and incoherence of men's and women's social identities and, in some situations, certainly illustrate cultural gender combinations. Trauma is a common theme in Cristina Garcia's Dreaming in Cuban. Since the 1990s, this concept has been growingly addressed in literary studies, and, more notably, studies on trauma have started to focus on gender issues, taking a different path than those that deal with the Holocaust, violence, and wars. In this paper, some of the female characters in the novel under scrutiny experience various types of trauma. Traumatic experiences are linked to the characters' life stories and the codes of behavior that male dominance expects them to follow. The cultural structure, and the person's life identity within that sociocultural setting, can give traumatic significance to occurrences that would normally be gloomy or distressing. Individuality is developed through interactions between personal experiences and the social context in which a person lives. This paper examines the experiences and circumstances that led to trauma for female characters and the role of socio-cultural circumstances in trauma. Dreaming in Cuban centers on characters who share common thoughts and feelings in their Caribbean ancestral homes and their diasporic movement patterns to the United States. In the novel, trauma is explored through differing viewpoints, and diasporic movements become significant because they are linked to the trauma some female characters experienced all through their lives. Consequently, this paper aims to discuss these diasporic actions and analyze their impact on the characters' traumatic experiences.

In recent times, there has been a significant surge of interest in the subject of 'trauma', which has emerged as a central theme connecting various academic disciplines. Consequently, the psychoanalytic concept of trauma intersects with literature, literary theory, historiography and contemporary culture. The objective of this paper is to apply trauma theory to several historical female figures in Palestine who have endured different traumatic experiences resulting from violence, terrorism, political manipulation, and cultural myths, with a particular focus on Betty Shamieh's play The Black Eyed (2005). This study adopts an interdisciplinary approach that advocates for a more comprehensive conceptualization of trauma theory to better address feminist postcolonial perspectives on history, memory, and culture. In addition, it examines why trauma necessitates testimony and why testimony is one of the viable and vital responses to trauma. The Black Eyed sheds light on the oppression inflicted upon the Palestinian people throughout history, while also challenging prevalent cultural myths surrounding Arab-American women living in the United States, particularly in the aftermath of 9/11. Through the portrayal of complex female characters, Shamieh asserts their individual identities through their traumatic experiences.

Cette recherche étudie la tension entre modernité et tradition et la dualité conflictuelle des femmes marocaines, par le biais du roman \" Le pays des Autres\" dont l'auteure est Leïla Slimani. Elle présente à son lecteur un panorama de figures féminines dont la plupart souffrent de leur statut social, étant toujours soumises à l'autorité de l'homme, qu'il soit père ou frère, ou mari après le mariage. Ecrivaine militante, Leïla Slimani, qui s'indigne vis- à- vis de l'état et du statut lamentables de ses concitoyennes marocaines, revendique en leur faveur, un changement sociétal radical ; puisque dans son pays, filles et femmes sont complètement soumises à l'autorité de l'homme. Surchargée de travaux domestiques et de tant de responsabilités à assumer, sans aucune aide, aucun encouragement de l'homme, la femme demeure claustrée et confinée dans son intérieur. L'auteure voudrait la secouer de sa torpeur, pour pouvoir améliorer le rythme de son existence et réfléchir à une certaine émancipation, une libération, une indépendance, une meilleure éducation, bref, une évolution. Mais toujours la femme vit une contradiction, un conflit ; si elle réalise l'importance de l'éducation, elle s'avère négative, vu le statut de la société féminine qui n'est habituée à cette stagnation. Le lourd poids de ses obligations ne permet point à la femme de changer ses habitudes ancestrales.

One of the biggest criticisms of superhero media is that it has a long-standing habit of objectifying female characters. Given that comics have been very male-dominated, superheroines introduced have repeatedly been sexualized and abused for the sake of the narrative. Consequently, the comic Alias came as a breath of fresh air when its creators, Brian Michael Bendis and Michael Gaydos, aimed to change the characterization of superheroines by introducing a superheroine who, despite her trauma, subverted all the norms of comics at the time. Yet, despite the far grittier, darker, and more graphic depiction of a traumatized female character, I would argue that the comic still abuses Jessica Jones in its way. My paper, as a result, intends to highlight how the comic book Alias vol. 4: The Secret Origins of Jessica both attempts and in some instances, fails to tackle gendered power structures and abuse. Moreover, I will discuss how its Netflix adaptation not only updates and expands on that commentary but also offers a more critical analysis of rape culture. To reach my answers, I will first start by introducing the #MeToo movement and its main criticism regarding rape. Then, I will focus on the difference between the comic and the show regarding abuse and the impacts of rape culture. Lastly, I will discuss how the show, specifically its first season, offers a more actualized exploration of sexual violence and trauma through their characterization of Kilgrave.

يُعنى هذا البحث بدراسة الشخصية النسائية في رواية الكاتب نبيل سليمان \"سمر الليالي\"، لاسيما وأن النص الروائي به حاجة إلى أنماط مختلفة من الشخصيات التي تؤثر في أحداث الرواية، وتعمل جاهدة على تعجيل حركة الأحداث وتطويرها، وهذا بدوره يدفع النقاد إلى إطلاق بعض الصفات التي تحدد مراتب هذه الشخصيات خصوصاً، وأن هذه الشخصيات تعرف بعلاقاتها مع غيرها من الشخوص، فضلاً عن المضامين والمراجع التي تكونها.

Cet article propose une étude approfondie de l'oeuvre Amours et aventures de Sindbad le marin de Salim Bachi, en mettant l'accent sur la représentation de l'espace méditerranéen et sur le parcours du protagoniste, Sindbad. À travers une approche sémiotique et symbolique, l'article explore les significations associées aux différents personnages féminins rencontrés au fil du récit, comme Vitalia, Giovanna et Béatrice, qui incarnent des concepts tels que l'espoir de renouveau, la jeunesse ou encore le guide spirituel. Ces rencontres, loin d'offrir une réelle libération, soulignent l'errance existentielle du héros et son incapacité à combler un vide intérieur. Le texte examine également les illusions de l'Eldorado européen, où les migrants, loin de trouver une terre d'accueil, se retrouvent dans des camps qui symbolisent un nouvel enfermement. Les villes de la rive nord de la Méditerranée apparaissent alors comme des espaces d'illusion et de désenchantement, renforçant l'idée d'un cercle vicieux de l'exil. Finalement, l'article conclut sur le retour de Sindbad à Carthago, sa ville natale, perçue comme une prison spirituelle et un espace de mort. Ce retour marque l'échec de son voyage initiatique, soulignant la fatalité de sa condition de migrant et l'impossibilité de trouver un lieu d'appartenance durable. La mort de Thamara, son dernier amour, scelle le destin tragique du protagoniste, tout en laissant entrevoir une lueur d'espoir, symbolisant la fin de la servitude et l'ouverture vers une forme de libération spirituelle. En somme, l'analyse met en lumière le caractère cyclique de l'errance et de l'exil dans le roman de Salim Bachi, tout en offrant une réflexion sur la quête identitaire et le désir de trouver un refuge face aux désillusions du voyage.

During the 1990's and the years of siege that followed, Iraqi women suffered from the oppression of the brutal misogynist regimes, and the cruel male-controlled ideals. Accordingly, through their suffering, these women portrayed the truth of being woman in a horrific atmosphere of war and how these traumatised women managed to survive. In her Nine Parts of Desire, Heather Raffo presents the characters of nine different women of different ages and professions linking them to show the dreadful reality of being woman in the times of war. In this play, Raffo renovated the She-tragedy genre. Even though that this genre deals with weak frustrated women who suffer from the effect of the long lack of stability, years of internal violence, external occupation and their cumulative generational effects, yet Raffo's characters are strong, confident and have a self-awareness and they stand face to face to the shocking values of war.

Literature is the outcome of the cultural background of its writer. Every writer's work reflects his viewpoint as well as his cultural and social beliefs. The present study is to explore the representation of female characters of two novel: from different cultural backgrounds. Radwa Ashour's Thulathyat Ghernata and Ali's Shadow of the Pomegranate Tree. The study has concluded that Ashour, as an Egyptian novelist in a patriarchal society, focuses more on representing female characters as protagonists who make decisions and save the legacy of the Arab Islamic civilization in al-Andalus. On the other hand, female characters in Ali's Shadow of the Pomegranate Tree seem to be models of the Orientalist view of women in the East; he depicts them as lustful, passive and dependent. Hence, the representation of female characters in the selected novels of the two novelists was affected by the prevailing image in the milieu they lived in.