Miranda priestly leadership scholarly articles

School of Foreign Languages, Tongji University, Shanghai, China

ABSTRACT

Miranda Priestly, the remarkable antagonist in Lauren Weisberger’s best-seller The Devil Wears Prada, has been widely considered to be a typical tyrannical female leader since the novel was published. Her forceful image and her impolite language features have attracted researcher’s attention, but the puzzle remains of why Miranda is a fashionable devil of great charm. To figure it out, this paper investigated the characterization of Miranda by exploring the explicit and implicit aspects of the novel’s characterization as well as the multiple faces of Miranda Priestly. It was found that Lauren mainly used the protagonist Andrea’s description, dialogues between Andrea and other characters, Miranda’s remarks and behaviour to create the character, Miranda. She is a multifaceted person and her complexity made her a realistic round character. She has become a representative sample of a bossy female leader owing to her perfectionism, unreasonableness, arrogance and self-centredness. However, Miranda is still a lovable character for the following reasons: First, the things she does are contradictory and ironic. Second, her perfectionism made people work at Runway in a comical way. Lastly, Miranda’s great talent as a fashion magazine editor, her marvellous achievements as well as her perfectionism can compensate for the suffering she has caused. The findings are believed to make a positive contribution to practical knowledge of building a bossy female leader character.

KEYWORDS

Miranda Priestly, The Devil Wears Prada, characterization

Cite this paper

Journal of Literature and Art Studies, August 2021, Vol. 11, No. 8, 554-569

References

Bohns, V. K., & Newark, D. A. (2019). Power and perceived influence: I caused your behavior, but I’m not responsible for it. Social and Personality Psychology Compass, 13(1):e12427.doi: 10.1111/spc3.12427

Chaerani, T. F. (2017). The portray of the 21st century women in The Devil Wears Prada [monograph]. Retrieved from https://repository.ung.ac.id/skripsi

Cheng, B. (2012). Lun dianying Chuan PuladadeNüwangzhongdekebanhuanüxingxingxiang [On stereotyped female images in the movie The Devil Wears Prada] (Master’s Thesis: Sichuan WaiyuXueyuan). Retrieved from https://www.cnki.net/

Culler, J. (2013). Literary Theory (P. Li, Trans.). Nanjing: Yilin chubanshe. (Original work published 1997)

Fang, W., & Liu, M. (2018). Chuan PuladadeNüwang Dui DangdaiNüdaxueshengZhiye Xuanzede Qishi [The enlightenment that the film The Devil Wears Prada provides about modern female graduates’ career choices]. Anhui Wenxue (Fortnightly), 12, 247-248+276. Retrieved from https://www.cnki.net/

Fu, S., & Chen, R. (2017). ChuanPuladadeNüwangzhongdenüxinghuayuheshehuichengzhangtanxi [On female discourse and personal development in The Devil Wears Prada]. Hangzhou Xuekan, 04, 211-221.

Gondosaputro, R. M. (2019). Characterization of Ron Clark in The Ron Clark’s (Master’s Thesis: Unika Soegijapranata Semarang). Retrieved from http://repository.unika.ac.id/

Limbachiya, A. (2020). Exploring the world of luxury fashion brands: A socio-economic approach in the film—The Devil Wears Prada (Master’s Thesis: University of Mumbai). Retrieved from https://www.academia.edu/

Liu, Y. (2019). Meixueshijiaoxiadianyingzhongshishangyuansudejiedu: yiChuanPuladadeNüwangweili [An aesthetic appreciation of the elements of fashion style in the film The Devil Wears Prada]. Yuwenjiaoxueyuyanjiu, 14, 76-77.

, M. (2020). Cong Chuan PuladadeNüwangkannüxingyishidechengxian [On the female consciousness in The Devil Wears Prada]. Mingzuoxinshang, 27, 165-167.

Meneghetti, A., & Xiong, S. (2013, April 1). Lingdaoyiweizheyizhongzeren [A leader Should have a strong sense of responsibility]. Guangmingribao, pp. 012. Retrieved from https://www.cnki.net/

Ning, Y. (2015). Kongjianjiaoduxia Chuan PuladadeNüwang de xiaofeizhuyiyanjiu [The study on consumerism in The Devil Wears Prada from the perspective of spatial criticism] (Master’s Thesis: Guangxi University). Retrieved from https://www.cnki.net/

Oktapiani, T., Natsir, M., & Setyowati, R. (2017). Women’s language features found in female character’s utterances in The Devil Wears Prada movie. Ilmu Budaya:Jurnal Bahasa, Sastra, Seni dan Budaya, 1(3), 220.

Putri, D. K. (2017). The reflection of the third wave feminism in Andrea Sachs and Miranda Priestly’s characters in Lauren Weisberger’s The Devil Wears Prada (Master’s Thesis: Sanata Dharma University). Retrieved from https://repository.usd.ac.id/

Ratri, A., & Ardi, P. (2019). Power and impoliteness in The Devil Wears Prada Movie. English and Literature Journal, 6(1), 33-50.

Schmidt, V. L. (2012). A writer’s guide to characterization. Blue Ash: Writer’s Digest Books.

Shi, W., & She, T. (2010). Chuan PuladadeNüwang de Nüxingzhuyiyiyi [The feminist significance of The Devil Wears Prada]. Dianyingwenxue, 24, 84-85.

Tong, Q., & Zhao, Y. (2016). Wenxuelilunxinbian [New literary theory] (4th Ed.). Beijing: Beijing shifandaxuechubanshe.

Weisberger, L. (2003). The Devil Wears Prada. New York: Doubleday, Random House, Inc.

Wonata, I. A. M., Natsir, M., & Ariani, S. (2018). Illocutionary act of Miranda Priestly character in The Devil Wears Prada film. Ilmu Budaya:Jurnal Bahasa, Sastra, Seni dan Budaya, 2(4), 371-380.

Zhang, L. (2017). Cong dianyingChuan PuladadeNüwangkanmeiguonüxinggerenjiazhideshixian [Personal values of American women as seen through the major characters reflected in The Devil Wears Prada]. Beifangwenxue, 09, 228-229.

Zhang, Y. (2021). Zhongmei “Xiaoniudianying” zhongdenüxingyishi: yiChuan PuladadeNüwanghe DulalaShengzhijiweili [A comparison of female consciousness in Chinese and American “girl films”: The example of The Devil Wears Prada and Go Lala Go]. Xijuzhijia, 03, 161-162.

Zhao, L. (2013). Jiedu Chuan PuladadeNüwangzhongderenwusuzao [The characterization of major characters in the Film The Devil Wears Prada]. Dianyingwenxue, 02, 108-109.