G.A. Tairova1
1Kazakh Ablai Khan University of International Relations and World Languages, Almaty, Kazakhstan
SPECIFICITY OF REPRESENTATION OF LINGUOCULTUROLOGICAL CONCEPT
«WOMAN» IN CONTEMPORARY BRITISH NOVELS
Abstract
The study of this article is attached to the analysis of the linguoculturological concept of “woman” in contemporary British novels. The author considers the interdisciplinary connection of the concept, thus defines the term “concept”. According to many linguists, the concept structure consists of a core, near and further periphery. Thus, the aim of the article is to analyze this concept in terms of its structure. This concept is implemented in such thematic aspects as “woman’s psychological characteristics”, “woman’s relationships”, “woman’s external characteristics” and “woman’s social status”. These thematic aspects are represented by certain lexical units or sentences. The author uses the content analysis method. The author of the article gives examples and analysis of each of them expressing each thematic aspect. The author comes to the conclusion that in novels the core of the concept “woman” is expressed by psychological traits of a woman’s character; the near periphery of the concept of “woman” is interpersonal relationships; the further periphery is the external features of the heroines and their social status.
Keywords: linguoculturological concept, core of the concept, near periphery, further periphery
Г.А.Таирова1
1Абылай хан атындағы Қазақ халықаралық қатынастар және әлем тілдері университеті, Алматы қ., Қазақстан
ҚАЗІРГІ ҚАЗІРГІ ЖҰМЫСТАРДАҒЫ «ӘЙЕЛ»
ЛИНГВОКУЛЬТУРОЛОГИЯЛЫҚ ТҰЖЫРЫМДАМАСЫНЫҢ ӨКІЛДІК ЕТУ ЕРЕКШЕЛІГІ
Түйіндеме
Осы мақаладағы зерттеу қазіргі ағылшын тіліндегі еңбектердегі «әйел» лингвомәдениеттанулық тұжырымдамасын талдауға қосылады. Автор тұжырымдаманың пәнаралық байланысын қарастырады, осылайша «тұжырымдама» терминін анықтайды. Көптеген лингвистердің пікірі бойынша тұжырымдама құрылымы ядродан тұрады, жақын және алыс шеткері. Осылайша, мақаланың мақсаты — осы тұжырымдама авторын оның құрылымы тұрғысынан талдау. Бұл тұжырымдама «әйелдің психологиялық ерекшеліктері», «әйелдер арасындағы қатынастар», «әйелдердің сыртқы белгілері» және «әйелдердің әлеуметтік мәртебесі» сияқты тақырыптық аспектілерде жүзеге асырылады. Бұл тақырыптық аспектілер белгілі бір лексикалық бірліктермен немесе сөйлемдермен ұсынылған. Автор мазмұнды талдау әдісін қолданады. Мақала авторы тақырыптық аспектілерді білдіретін мысалдар мен олардың әрқайсысына талдау жасайды. Автор романдарда «әйел» ұғымының өзегі әйел мінезінің психологиялық белгілерімен байланысты деген қорытындыға келеді; «әйел» ұғымының жақын перифериясы — бұл тұлғааралық қатынастар; алыс периферия — батырлардың сыртқы деректері және оның әлеуметтік мәртебесі.
Кілт сөздер: лингвокультурологиялық ұғым, ұғымның өзегі, шеткері, алыс шеткері
Г.А.Таирова1
1Казахский университет международных отношений и мировых языков имени Абылай хана, г. Алматы, Казахстан
СПЕЦИФИКА РЕПРЕЗЕНТАЦИИ ЛИНГВОКУЛЬТУРОЛОГИЧЕСКОГО КОНЦЕПТА
«ЖЕНЩИНА» В СОВРЕМЕННЫХ АНГЛОЯЗЫЧНЫХ ПРОИЗВЕДЕНИЯХ
Аннотация
Исследование в данной статье приобщено к анализу лингвокультурологического концепта «женщина» в современных англоязычных произведениях. Автор рассматривает междисциплинарную связь концепта, так дает определение термину «концепт». Согласно многим лингвистам, структура концепта состоит из ядра, ближней и дальней периферии. Таким образом, целью статьи является анализ данного концепта с точки зрения его структуры. Данный концепт реализован в таких тематических аспектах как «психологические черты женщины», «взаимоотношения женщины», «внешние характеристики женщины» и «социальный статус женщины». Эти тематические аспекты репрезентированы определенными лексическими единицами или предложениями. Автором используется метод контент-анализа. Автор статьи приводит примеры и анализ каждого из них выражающего каждый тематический аспект. Автор приходит к выводу, что в романах ядро концепта «женщина» выражается психологическими чертами характера женщины; ближнюю периферию концепта «женщина» составляют межличностные отношения; дальнюю периферию составляют внешние данные героинь и их социальное положение.
Ключевые слова: лингвокультурологический концепт, ядро концепта, ближняя периферия, дальняя периферия
Introduction. This article is at an interdisciplinary junction, as it analyzes the concept of “woman” in contemporary novels. Linguistics and literature have always been side by side with each other. Any work has a large number of various kinds of concepts that are verbalized by various linguistic means of speech. Since the concept combines language and culture, this concept in the work reflects the cultural significance of a particular concept. The linguistic means of expressing this concept express a particular era, a role in society. For example, the author of this article analyzes the concept of “woman” in the works of such authors as Jojo Moyes, Gail Honeyman and Sophie Kinsella. The author will try to create the image of a modern woman based on the analysis of this concept. By analyzing these images, readers get a picture of the cultural, social and spiritual values characteristic of women in the modern world” [1, 81].
Literature has always been a reflection of the culture of the people. The above authors are representatives of such a new genre as «chiklit», which implies literature written by women, for modern women and about modern women. Writers of this genre are trying to show the whole world a modern woman, with her personal life and the struggle in her in the modern world.
The linguoculturological concept “woman” is one of the key concepts in any picture of the world, since the image of a woman exists in any nation, possessing a number of different distinctional attributes that are correlated with the sociocultural, temporal characteristics of the environment and conditions in which the concept of “woman” developed.
The aim of this article is to study the lexical means of implementing the concept of “woman” in the novels of Jojo Moyes “Me Before You”, Gail Honeyman “Eleanor Oliphant is completely fine” and Sophie Kinsella “The Secrets dreamworld of a shopaholic”. It was these works and authors that were selected, as these works were received with great enthusiasm by readers around the world, and the fact that they are translated into more than 35 languages around the world and reprinted almost every year confirms that women with all over the world see and identify with the main characters of these novels. We rely on and agree with this definition of the term “concept,” according to a short dictionary of cognitive terms edited by E.S. Kubryakova, “the concept is an expression of the ethnic specificity of thinking, and its verbalization is determined by the linguocognitive, ethnoculturally marked associative competence of the bearer of the conceptual system” [2]. In this article we will try to reflect the features of the concept of “woman” inherent in the modern woman of Great Britain, what features she possesses, what changes she has occurred.
Methods. Content analysis is a quantitative analysis of texts and text arrays with the aim of subsequent meaningful interpretation of the identified numerical patterns, as well as with the aim of identifying or measuring various facts and trends reflected in these documents. Content analysis affirms one or another linguistic theory and is usually used when working with various kinds of documents, literary texts. This research method was chosen in this article because it is most suitable for identifying lexemes, phrases, sentences that most often express a certain aspect of the concept of “woman” in modern British novels. This method helps to quantify the core, the near periphery and the further periphery of this concept, which will help to identify the image of a modern British woman in modern British society.
Results. The core of the concept “woman” is most pronounced with the aspect “psychological character traits”.
In the novel “Me before You”, the main female image is the image of Louise Clark, a 26-yearold girl who recently lost her job in a local cafe. Without higher education and responsible for her family, being almost the only breadwinner in the family, Louise is content with the work that she is offered, namely, with the young paralyzed man Will Trainor.
The appearance of the heroine is not as remarkable as that of many women of modern society and the heroines of modern novels who pursue fashion and suffer from consumerism. She did not receive the corresponding higher education, since her younger sister Katrina gave birth and they had to drop out of school and start working to support their family, since she now consisted of both of them, grandfather, mother, father and son of the younger sister Louise. The inability to get an education gave her experience only in the service sector.
“I was twenty-six years old and I wasn’t really sure what I was. An ordinary girl, leading an ordinary life. It actually suited me fine.” [3]
So, for example, it has more positive character traits than negative ones. She is hardworking, as she has to earn a living not only to provide for herself, but also for the whole family. This is expressed in the application of metaphor: she worked courageously, valiantly, like a Trojan.
Well, that’s big of him, give she’s worked like a ruddy Trojan in that place for the last six years. [3]
Even having lost her job, she did not rest, but immediately began to look for work and she was uncomfortable in the status of a unemployed person. This is expressed in the use of metaphor, she missed the job, as if she had taken away an important part of the body.
I had never considered that you might miss a job like you missed a limb – a constant, reflexive thing [3].
Also, the main character is honest, which is expressed in the next sentence. From this context, we see that she cannot lie, so she had to leave the job offered by her job search agency:
I had realized pretty quickly that I was essential being instructed to befuddle old people into switching energy suppliers, and Syed, my personal ‘adviser’ that I couldn’t do it [3].
Louise Clark is an open person and used to trusting people, since she herself is an honest and conscientious girl. She always tries to support both relatives and strangers to her:
…, I had fought the urge to go and give her a hug [3].
Also, she is a very sociable person, which was a necessary quality not only at her previous job, but also at her current job, where she was hired as a nurse to entertain, make her talk and open up to a paralyzed young man.
In the novel «Eleanor Oliphant in completely fine», the main female image is the image of the main character, 29-year-old Eleanor Oliphant, a socially unsuitable, lonely person whose life hitherto unknown feelings like love, friendship, self-acceptance.
Speaking of her positive character traits, Eleanor is a man of his word to rely on.
…and I’m a woman of my word… [4]
Also, the heroine is a patient person, she is not used to getting everything instantly, which emphasizes her positive character trait — patience. This trait is verbalized by such a verb as “used to” and the phrase “patient person”:
I was used to waiting, and life has taught me to be a very patient person. [4]
Subjected to constant ridicule and mockery from her colleagues at work and constant psychological oppression from her mother, who often emphasizes that she was and is an ugly, vile, friendless and incapable of feelings, Eleanor speaks to herself and tries to be strong and persistent in any situation.
…you have to be strong, Eleanor. [4]
Lexeme “for the first time” implies that the main character has never visited such establishments before, which suggests that she leads a healthy lifestyle.
I was in a fast-food restaurant for the first time in my adult life,… [4]
In Sophie Kinsella’s novel “The secret dreamworld of a Shopaholic”, the main female image was the image of the main character Rebecca Bloomwood, who suffers from consumerism, shopaholism, which prevents her from saving money and finding a suitable position. She always dreamed of being a journalist in the field of fashion and design. She has the following positive qualities as honesty. Despite the fact that she wants to receive money in an easy way, without making any effort, she understands that although her friend helped her with the framework and earned good money, she cannot accept them:
“But you made them! Suze, you should get the money!” [5]
Rebecca is very optimistic about her life. She wants to change her life, and she believes that the book on how to learn how to save money will change it: Quite honestly, it’s going to change my life. [5]
Despite the fact that the main characters have positive character traits, they also have negative character traits that are caused by certain events in their lives: problems in the family, at work, poor relationships with relatives and colleagues.
So, for example, in the Jojo Moyes novel, the heroine Louise Clark has such negative traits as laziness. From this proposal we see that she does not show laziness in relation to her work, duties at work, but she is impassive and slow in sports, unlike her young man, who is obsessed with sports and wants to teach her to run too.
I hate running [3].
The heroine of the novel is afraid, constantly afraid, despite the fact that she seems strong at first glance, because she has to provide for the whole family.
I had never considered that you might miss a job like you missed a limb – a constant, reflexive thing. I hadn’t thought that as well as the obvious fears about money, and your future, losing your job would make you feel inadequate, and a bit useless [3].
The main character is conservative:
I had felt comfortable there [3].
The frequent mention of the words «fine on my own» verbalizes the loneliness of the main character. Thus, she is trying to reassure herself and her mother that she is single, which is actually not the case:
“I’m not lonely, Mummy,” I said, protesting. “I’m fine on my own. [4]
In this context, a comparison is used that verbalizes the unpleasant state of changes in the appearance of Eleanor, in which she was in a beauty salon that she had never visited before. Eleanor compares herself to a cornered animal in the event that she was not used to changing her usual way of life and appearance.
I felt like a trapped animal—a steer or a rabid dog—and imagined the chaos I’d cause if, careering wildly, I was corralled in there against my will. [4]
The combination of the negative verb with the noun “I’d never sent a card” verbalizes its noncommunicative nature. Eleanor never had friends or lovers to whom she felt warmth and tenderness and she had never previously shown feelings through postcards.
This was a revelation; I’d never actually sent a card to anyone before. [4]
Like most modern people, in order to drown out inner pain and loneliness, they are addicted to such a addiction as alcoholism.
The verb “yearn for” and the combination of adjectives and nouns “brief, sharp feeling,” sad, burning feeling, “no feelings” imply a negative character trait as loneliness. These phrases verbalize the sensations and feelings of the main character, which she wants to drown out in alcohol. The use of just such adjectives shows a gradual transition of changes in the perception of feelings, from sad to their complete absence.
I was also thinking that I might buy some more vodka, just a half bottle, to top up what remained. I yearned for that brief, sharp feeling I get when I drink it—a sad, burning feeling—and then, blissfully, no feelings at all. [4]
On Fridays, I don’t get the bus straight after work but instead I go to the Tesco Metro around the corner from the office and buy a margherita pizza, some Chianti and two big bottles of Glen’s vodka. [4]
The heroine of the novel “The Secret dreamworld of a shopaholic” is a notorious dreamer, which is expressed in the following sentence. She dreams without making an effort:
They remain clutched around it while my mind is seized — as it is every month — by my secret dream. [5]
People perceive Rebecca as a simple girl, do not take her words and actions seriously.
I’m the scatty girl who gets things wrong and makes people laugh. The girl who didn’t know
SBG and Rutland Bank had merged. The girl no one would ever think of taking seriously. [5]
Rebecca Bloomwood does not have the quality of hard work, she wants to get everything in an easy and quick way.
If only there were some way that I could get all the nice clothes — but not have to do the dreary work. [4]
She spends all earned on unnecessary things, suffers from consumerism and squandering, which led to numerous debts.
Spend nothing. I mean, when you think about it, how much money do we all waste every day? No wonder I’m in a little bit of debt. [5]
The near periphery of the concept is expressed by the aspect “woman’s relationship”.
In the Jojo Moyes novel, the main character, Louise Clarke, pays a lot of attention to her family, with whom she has a trusting and warm relationship. Her parents supported her verbally and morally when she lost her job and kept telling her that she deserved better. She is very close to her younger sister, with whom she shares the most intimate, especially her difficult relationships with her employer Camilla Trainor and her son Will, whom she needs to look after.
Parents constantly support Louise, calling her dear and beloved. It is verbalized through the noun “love”.
You’re smart, aren’t you, love? [3]
Despite the fact that Louise is an older sister and takes care of all family members earning a living, Katrina’s younger sister is always ready to support and take care of her older sister.
I know we never had, you know, a formal contract or anything, but I wanted to look after you.
[3]
As for the relationship at work, at first the relationship with Will Trainor did not go very well, he constantly found fault with how talkative, clumsy, inattentive and strange she was, but gradually their relationship improved, as they spent a lot of time together and gradually learned each other, which grew into mutual support and love.
This context verbalizes the thin, like a taut string, relationship of Will and Louise. He does not understand why such a young girl as she spends her time working as a nurse, while she could have fun with friends, guys, dress smartly, and travel the world. She emphasizes his character trait — selfconfidence in the fact that he is used to everyone and always instructing him to act, as he considers it necessary.
‘I’m happy here,’ I said. ‘Well, you shouldn’t be.’
‘You like telling people what they should be doing, don’t you?’ [3]
He grimaced. ‘Jesus, for a girl who made tea for a living you make a terrible cup.’ [3]
Throughout the novel, Gail Hanimen, the main character often turns to her mother or thoughts about her while using only one mummy lexeme in relation to her mother, which tells us that the mother’s opinion is important to the main character, she often wonders what would mom say to a particular question.
I usually talk to Mummy on a Wednesday evening for fifteen minutes or so. [4]
Mummy was going to be thrilled. [4]
In addition, in this context, the main character is also ridiculed by colleagues who compared her to Harry Potter. The author resorted to using a metaphor, implying the presence of scars on his face, which makes her look like Harry Potter, the hero of the books Joan Rowling, who had a distinctive feature on his forehead — a scar.
“Let’s ask Harry Potter over there,” she said, not quite sotto voce, and then turned to address me. [4] n this context, we see the only friend Eleanor, who has appeared in her life over the past few years, who shows signs of concern for her. He takes care of her, trying to call a taxi late at night.
But you’re not going to wander the streets on your own and try to hail one, not at this time of night. I’ll call you one—look, I’ve got an app!” He showed me his phone, beaming. [4]
The personal life of the main character was tragic, due to the fact that she was constantly subjected to moral and physical violence from her lover and cohabitant in one person. Eleanor did not try to change anything in her life, she took it for granted and considered herself guilty of the way Declan treated her.
I lived with a man called Declan for a couple of years. He used to punch me in the kidneys, slap me—he fractured twelve bones, all in all. [4]
The heroine Rebecca Bloomwood grew up in a complete average family consisting of her, father and mother. She maintains a warm relationship with them, living far from each other, but coming to them when she needs moral support.
I’ve already forgotten what my mum and dad are arguing about. They’ll just go round and round in circles and agree it’s all the fault of Tony Blair. [5]
Like many modern girls seeking to build a career in a big metropolis, the heroine Rebecca Bloomwood rents an apartment in central London with her best friend Susie.
Suze suggested I move in with her. I’m sure the rent she charges is too low, but I’ve never insisted I pay the full market rate, because I couldn’t afford it. [5]
The further periphery of the concept “woman” is expressed by two aspects “external characteristics of a woman” and “social status of a woman”.
The appearance of the main character of the novel “Me before You” by Louise Clark, as already mentioned, is no different from other girls. She considers herself an average girl with average external data, she does not consider herself beautiful or smart, what her younger sister Katrina is, but, the only thing she can brag about, how she differs from her sister is the style of dress, she is always unusual, original in her choice of clothes that verbalizes in the following sentence:
I am not thick. Everything that is sensible, or smart, Katrina did first, despite being eighteen months younger than me. Sometimes I think I dress the way I do because the one thing Treena can’t do is put clothes together. She’s a pullover and jeans kind of a girl. [3]
My father calls me a ‘character’, because I tend to say the first thing that pops into my head.
[3]
And you seem to like…theatrical…clothing [3].
She does not care about her appearance, which is caused, firstly, by a lack of time, since she works and she does not have time to go to beauty salons, various purchases; secondly, lack of money, as she is the only breadwinner in the family:
You know my beauty routine. Soap, water, the odd paper bag [3].
The main character of the novel «Eleanor Oliphant is completely fine» also does not consider herself a beauty. Unlike the aforementioned heroine, who was distinguished if not in appearance, then in a striking appearance, then this heroine is a “gray mouse”, which is outwardly quite normal, no different from other female representatives, apart from a few scars on her face that arose from burns. She also dresses simply, discreetly, she is used to the fact that people do not pay attention to her both at work and outside of her. When they look at her, they see only her scars and most often disgust and fear are reflected on their face. These feelings are verbalized in the following passage:
There I was: Eleanor Oliphant. Long, straight, light brown hair that runs all the way down to my waist, pale skin, my face a scarred palimpsest of fire. A nose that’s too small and eyes that are too big. Ears: unexceptional. Around average height, approximately average weight. I aspire to average . . . I’ve been the focus of far too much attention in my time. Pass me over, move along please, nothing to see here. [4]
Eleanor does not consider himself an attractive woman with whom a man would like to go to bed:
I was familiar with the classical allusion, of course, but, in modern-day, practical terms, a muse seemed simply to be an attractive woman whom the artist wanted to sleep with. [4]
Speaking about the appearance of Rebecca Bloomwood, she considers herself, also in the person of relatives, friends and the people around her, she is a beautiful, fashionably dressed girl who devotes a lot of time to her appearance to match the latest fashion:
I’ll get that swirly coat in Whistles. And some black high-heeled boots from Pied & Terre. Maybe I’ll go on holiday. And I’ll pay off that blasted VISA bill once and for all. [5]
Speaking about the social status of Louise Clark, she grew up in a complete family consisting of grandfather, mother, father and younger sister. Their family always had a relaxed, warm atmosphere, expressed in joint holiday lunches and dinners, caring and supporting each other:
Around the little table sat my parents, my sister and Thomas, my granddad, and Patrick – who always came for dinner on Wednesdays. [3]
Unlike most modern women and the heroines of modern novels, Louise does not have a higher education, she had to drop out of school and go to work early to support her family with her father, as her younger sister gave birth.
This context verbalizes the inability and complete lack of the ability to find work that is not related to service, as it is not qualified enough to find a more paid job and it has to be content with little:
‘I’m afraid, Louisa, you’re not qualified for much else. If you wanted to retrain, I’d be happy to point you in the right direction. There are plenty of courses at the adult education centre.’ [3]
Speaking about the social status of Eleanor Oliphant, she comes from an incomplete family consisting of her, mother and younger sister. She never knew or saw her father. Due to the fire that occurred in childhood, she lost her mother and sister, after which Eleanor often changed her place of residence, from one foster family to the next, in which she did not stay so long. In this case, reminiscence is traced with the famous 19th century work “Jane Air”, both heroines of which experience the same fate in childhood. The author of the novel deliberately mentions this work, making it one of the favorite works of Eleanor:
Jane Eyre. A strange child, difficult to love. A lonely only child. She’s left to deal with so much pain at such a young age—the aftermath of death, the absence of love. It’s Mr. Rochester who gets burned in the end. I know how that feels. All of it. [4]
In this context, there is a contrast between the perception of the main character of two different mothers: mother Eleanor and mother Raymond. The mother of the latter seems to us in a positive way, since the author uses phrases such as “kind woman”, “loving woman”, “nice lady”, “raised a family”, “lived with her cats”, “grew vegetables”. An ideal, loving mother seems to Eleanor to be a stereotypically kind, pleasant woman who has been raising respectable children all her life, being in retirement age, she lives quietly with a cat and grows fruits and vegetables in the garden of her modest home. While Eleanor’s mother is the exact opposite of her mother’s generally accepted vision: the author uses such lexemes as “crazy”, the phrases “pose an extreme risk”, “you never guess what she has done”, which creates a dysfunctional image about her, implying that such a mother only endangers her children and the people around her.
She was a mother, a kind, loving woman, about whom no one would ever say, “She was crazy, that Betty!” or, “You’ll never guess what Betty’s done now!” or, “After reviewing psychiatric reports, Betty was refused bail on grounds that she posed an extreme risk to the general public.” She was, quite simply, a nice lady who’d raised a family and now lived quietly with her cats and grew vegetables. [4]
Eleanor Oliphant, like most modern women, has a higher education, she has 9 years of experience in the office associated with design. Modern women are successful, independent, have several diplomas in various fields of activity, they want to be on a par with men. I tell them I work in an office. [4] I had a degree in Classics… [4]
The main character Rebecca Bloomwood is an educated girl who has received specialization in journalism, she always dreamed of being a fashion journalist working in some modern fashion magazine. Nevertheless, she works in an equally demanded field as financial journalism.
I’m a journalist on a financial magazine. I’m paid to tell other people how to organize their money. [5]
Having a permanent job, she makes good money and has connections with many financial entities:
I earn 21,000. And I thought that was a lot! I remember really well, when I moved jobs, I jumped from 18,000 to 21,000, and I thought I’d made the big time. [5]
I’m a leading financial journalist hobnobbing with a leading entrepreneur at a leading
London restaurant. [5]
Discussion. According to the structure of the concept, it consists of a core, near and further periphery. Each of these aspects is expressed by a large number of examples and associations related to each of them. According to the above results, the linguoculturological concept is one of the main ones analyzed by linguists and has the characteristics and linguistic features inherent in them. The core is characterized by psychological traits of a woman’s character, in which positive traits prevail, such as optimism, inner strength and will.
The near periphery of the concept is characterized by interpersonal relationships expressing relationships with family members, relationships with colleagues / employers, relationships with friends, and relationships with partners.
The further periphery is characterized by the external data of the heroine and her social status, expressed by her marital status, work and education. Also, one of the language features used in the novels are metaphors and comparisons, most often used to describe the appearance and character of the main characters of the works.
Conclusion. Thus, a modern woman in English-language linguistic culture is perceived more as a strong, strong-willed woman with her individual character traits. These traits can be both negative and positive, even if negative traits prevail, they are caused by certain circumstances in modern life and the heroines that have taken place in life, such as work, constant stress, pressure, the desire to be on a par with a man as intellectually, so socially. A modern woman wants to achieve heights in her career or solve a problem that prevents her from doing this, such as, for example, the heroine of the novel “Shopaholic”, thereby changing her internal character traits and perception of the world. Each of the heroines lives their own life, as they can.
The relationship of a woman with friends, colleagues, and family is also important, which can also be expressed in various circumstances. Meeting and friendship with new people will help a person to reveal himself, as, for example, in the novel «Eleanor», where friendship with her colleague helped her solve internal problems and self-perception.
And, only in the last place for society is her appearance important, since the role of a woman in modern society has changed significantly and differs from that of a woman, which is presented in the 19th or 20th century, when women could not get an education or work where her talents are revealed. In the modern world, a woman has to achieve everything herself, live alone, achieve career heights. And this is proved by the heroines of modern British novels.
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