Characterizing Acinetobacter Baumannii Virulence Factors

Divided into two main sections, this work examines the role of the female adolescent in Henry de Montherlant's theater.

Part I focuses on all of Montherlant's female adolescent characters and examines how they go beyond the ordinary in their ability to transcend biology and the natural family and offer safety, salvation, or solace to other (mostly older) characters through the act of elected/spiritual kinship.

In this way, they allow those characters to transcend their own existence by offering them a chance to attain what Mircea Eliade referred to as superhuman ontological status more or less divine.

Part II narrows the focus to four of Montherlant's adolescent characters: the Infante (La Reine morte), Mariana (Le Maitre de Santiago), Francoise (Port-Royal), and Christine (Celles qu'on prend dans ses bras).

Each of the chapters in this section examines how these young women embody qualities which were often extolled in French and Italian theater of the early to mid-twentieth century: female virility; renunciation of terrestrial and romantic interests; pride; putting duty before happiness; and purity.

Studying this group of characters through the prism of Mary Ann Frese Witt's work on aesthetic fascism, I observe a correlation between the qualities mentioned above and the literary/aesthetic trend which influenced certain playwrights of that period.

In analyzing Montherlant's theater, it becomes evident that for him the young person embodies these positive and desired qualities, which countered what he, and many others, perceived as the decadence of the modern era and liberalism.

Moreover, the Infante, Mariana, Francoise, and Christine, unlike the other adolescents in Part I, are each set against an older female character, even if only briefly.

The older female characters appear to serve as foils to highlight and underscore the superior nature of these young women.

This allows the younger characters to serve a didactic purpose---for the other characters in the play, as well as for the reader/spectator.