Katniss Everdeen

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Katniss Everdeen is a fictional character , she is the protagonist of the dystopian trilogy The Hunger Games by the American writer Suzanne Collins . In the film adaptations , Jennifer Lawrence plays the role of Katniss Everdeen.

Relationships of Katniss Everdeen with other main characters

Katniss as the center of the plot

Volume 1: Deadly Games

Sixteen-year-old Katniss lives with her mother and younger sister Primrose in District 12, one of the poorest districts of Panem , which is responsible for mining coal for the Capitol . She is the daughter of a healer and a coal worker who died in an explosion in the mine five years before the main story began. Her mother became depressed by the incident , and Katniss feeds the family by illegally hunting outside the fence around District 12 in the woods. She goes on her hunting trips with Gale Hawthorne , who is one year older and whose father died in the same misfortune as Katniss'.

Instead of her sister, Katniss volunteers to take part in the 74th Hunger Games and travels to the Capitol with the male tribute Peeta Mellark . She becomes the crowd favorite of the games as she is known as "the girl on fire" through her stylist Cinna . After Peetas' public confession of love to Katniss, which she initially considers to be an attempt to win sponsorship , the two are celebrated as tragic lovers who will not be able to live their love. During the Games, Katniss befriends 12-year-old Rue , the female tribute from District 11. When Rue is killed, she openly mourns the girl and pays her final respects in an unprecedented, publicly broadcast farewell scene. In order to further heat up the story of the tragic pair of lovers, the playmakers announce a rule change: While previously only one tribute could win, this time there should be a winning couple if both tributes come from one district. Katniss and Peeta team up and come closer to each other. When only the two are still alive, however, the playmakers withdraw their rule change. Since neither Katniss nor Peeta are ready to kill each other, on Katniss' initiative they publicly announce a double suicide by poison. At the last moment, the Capitol, which absolutely needs a winner, prevents suicide and declares both to be winners. With this action, televised across Panem, Katniss incurs the wrath of President Snow , who sees it as a public act of resistance. In the end, Katniss confesses to Peeta that she only faked her affection in the arena in order to gain the sympathy of the audience, whereupon Peeta distanced herself injuredly from her.

Volume 2: Dangerous Love

Katniss learns from Snow that her irregular behavior at the 74th Hunger Games led to riots in various districts. These spread and arouse the displeasure of the Capitol. Snow threatens Katniss to take revenge on her family if she fails to calm the rebels . When their efforts fail, the president announces that the tributes for the 75th Hunger Games will be drawn from the surviving winners. So Katniss and Peeta, who volunteered for Haymitch , move back into the arena . Katniss aims to save Peeta, even if she has to die herself. During the Hunger Games, the conflict between the Capitol and the rebels intensified . It is becoming increasingly clear that Katniss has unwittingly become the leading figure in the uprising. When Katniss and her allies destroy the arena in the middle of the games and some of them are rescued from it by the rebels, the beginning of a cross-district revolution is heralded. Katniss is among the rescued while Peeta is captured by the Capitol. In revenge for Katniss' actions, District 12 is destroyed in a bombing by the Capitol. The playmaker Heavensbee reveals himself to Katniss as a figure of the rebellion that emanates from District 13, long believed to have been destroyed. Katniss learns from Gale that he was able to save her family to District 13.

Volume 3: Flaming Wrath

Katniss takes on the task of uniting the districts against the Capitol as the "face of the uprising" on behalf of the government of District 13 and its President Alma Coin . In a daring action, Peeta is freed from the power of the Capitol. It turns out that he has been brainwashed of some sort , as a result of which he now sees Katniss as a threat and tries to kill her. The district doctors are trying to restore him to health. In her role as a mocking booby , Katniss is sent to various war zones, where she makes propaganda films for the rebels. However, Katniss has the plan to kill Snow. Her group, which includes Gale, Finnick, and later the still confused Peeta, make their way to the Capitol. After days of struggle to survive, Katniss arrives alone at the seat of government. She witnesses Prim, who was sent there as a member of a medical team from District 13, dies in a bomb attack allegedly caused by the Capitol. In a conversation with the trapped Snow, Katniss realizes that it is not he who is responsible for the attack, but Coin. Snow is sentenced to death and Katniss is supposed to kill him with an arrow in a public square. But at the last moment she aims at Coin and shoots it. In a court hearing, Katniss is declared insane and banished to District 12 . At home she mourns her sister for months. She only slowly manages to process her experiences. The returned and recovered Peeta plays an important, positive role in this. The two become a couple. In the epilogue , Katniss and Peeta are married and have two children.

Katniss as a narrator

All three volumes are told by Katniss as the first-person narrator in the present tense , which dissolves the distance between her reality and that of the reader. Readers view events from Katniss' point of view, share their thoughts and feelings, and face the pressures of the role she has assumed. You understand the mistakes of the protagonist, such as her misjudgment of the role of the top playmaker Plutarch Heavensbee . In the epilogue it becomes clear that Katniss is narrating the events from the retrospective with a long time lag : More than 15 years have passed from the end of the main story to the birth of Katniss' daughter, and the girl is already school age in the epilogue. The narrated time of the main story begins with the day of the harvest before the 74th Hunger Games, at which Katniss volunteers, and ends in the spring of the year after next with Katniss' recovery, so it is tied to her person. It is the same with the place of the action : neither Katniss nor the narrative leave Panem.

In the film version, on the other hand, the viewers are presented with individual scenes in which Katniss is not even present, such as the scene of Seneca with the berries . This makes it possible for the audience to have greater knowledge than the protagonist. However, since the films do without self-talk and comments from the protagonist from the off , viewers learn far less about Katniss' inner world than readers of the novels.

Katniss as a character

Surname

Katniss is named by her father "after the Katniss tubers". These come from a plant belonging to the genus arrowhead , which occurs in swamps and pools and can also grow partially submerged. It is a large plant "with leaves like arrowheads, flowers with three white petals" and edible roots in the form of small, inconspicuous bluish tubers. Her name reminds Katniss of her father, who "... jokingly said: 'As long as you find yourself, you will never go hungry.'" The arrow shape of the leaves refers to Katniss' preferred weapon.

Physical appearance

Katniss has long, dark hair that she wears in a braid, gray eyes and an olive complexion. Even in the entrance scene, the atypical clothing for a teenage girl is noticeable: hunting boots, pants and shirt.

Family background

Katniss describes very intense experiences with her father in the forest: "Those were very special days" The lake is particularly connected to her father: "For some reason I really want to make it to the lake. Maybe to say goodbye to him and my father, the happy time we spent there, because I know that I will probably never return. "She misses her father painfully:" My father. He seems to be everywhere today. How he died in the mine ... And now I recognize him in Boggs' eyes as he carefully puts the blanket around my shoulders. I miss him so much that it hurts. ”The songs he learned from childhood are a link to him . After killing Coin, they lead Katniss back to life out of great desperation . At the end of the trilogy, too, Katniss' clinging to life is linked to her father: After months of loneliness and immobility, Katniss puts on her father's hunting jacket, experiences a nightmare and when she wakes up she sees Peeta using primroses in front of the house.

In the second volume, Katniss is of the opinion that she will always have to protect her mother.

personality

Willpower is one of the great qualities of Katniss. She trained hard for three weeks in great pain when Coin refused to fight, and managed to pass all the tests for the mission.

Even as a child, Katniss showed courage and a willingness to take risks to ensure the survival of her family: "Anyone who hunts in the forests around District 12 breaks at least a dozen laws and risks the death penalty." She is straightforward and objective, but also reacts rashly : “Everything is going so fast now that I can't keep up. The warning, the shots, the realization that I may have set something in motion with very serious consequences. It's all so absurd. It would be different if I had planned to cause trouble, but like this ... How did I manage to cause such chaos? ”In Plutarch's opinion, she shares her media-effective spontaneity with the other residents of District 12:“ A good one has to you that the Capitol has practically ignored District 12 all these years - you have retained a certain spontaneity. That's how you grab the audience ... when you did the trick with the berries. This is how you make good television. ”She reacts violently if she is misled or surprised.

Katniss is able to reflect on her own changes:

  • When Johanna's question “'Or are you still the same one who stood in for her sister back then?'” She replies with a clear “No.”
  • She experiences very intensely the process in which her need for revenge shifts from snow to coin: "Wrapped in silk, I feel like a caterpillar in a cocoon, waiting for metamorphosis."
  • At the end of the third volume she says: “It is one of the favorite days of old Katniss. Early spring. ”And thus distinguishes the Katniss of the present from the Katniss before the Hunger Games.

At several points in the trilogy, Katniss is very self-critical. For example, she recognizes that she has to blame Coins rejection to herself because she had previously neglected her duties: “And now I have to atone for my unreliability.” In her own assessment, she is “not good at forgiving”, which is also true negative feelings towards herself leads to: “... in the meantime I hate almost everyone. Mostly myself. ”“ Selfish ”she calls herself and“ cowardly ”. And in the third volume she says of Peeta: “He finally sees me for who I really am. Brutally. Suspicious. Selfish. Dangerous for life. "

Social behavior

While women generally smile more often than men in our culture, Katniss only seldom smiles or laughs. In Katniss' opinion, her former schoolmate Delly transfigured her: “Delly portrays it as if I had hardly any friends because I was so extraordinary and intimidated the others with it. But not true. It was because I was rude. ”Haymitch makes connections to the program for training before the 75th Hunger Games:“ 'Today in training you have two tasks. Number one: being in love. [...] Number two: making friends. '”, Which Katniss does not find easy:“ I give up trying to find friends ... ”, she restricts herself to allies. Katniss Peeta's opinion is still unaware of its effect on other people towards the end of the third volume: “You ... you still have no idea. About your effect on others ... The people ... followed you because they trusted you to kill Snow. "

Katniss is characterized by loyalty . So she throws herself between the peacekeeper and Gale when he is whipped.

While Katniss openly criticized the conditions in Panem as a child, even to strangers, one day she realizes that she can do great harm to her family and changes her behavior: "So I learned to guard my tongue and put on an indifferent mask, so that nobody could read my real mind. "

The downside of her independence is that she finds it difficult to accept help, for example when Peeta helps her when the careers are after her.

Coin recognizes Katniss' weakness: "I cannot obey orders." Driven by her strong will to help fight the conquest of the Capitol, Katniss performs the necessary subordination and integration into a team, while until then she has "an outstanding position as a mocking boob" held. "My group .... We seem to be important because we are in the command center, and not because a certain mocking boob is there." However, this is only one of Katniss' tactics. She has realized "that she has to go to the Capitol first before she can pursue any other plan." In the end, however, when Gale was captured, Katniss is all alone on her way to the Capitol again.

Moral development

Differences between a novel and a feature film

Jennifer Lawrence, who starred in Everdeen in the films, at the 2013 San Diego Comic-Con International

According to Martha Rainbolt, the center of the first volume of the trilogy of novels is the developing moral consciousness of Katniss, while the political conflict appears as secondary. In contrast, the feature film puts the emphasis on political ideas, and this shift affects the portrayal of the heroine. On the one hand, two key scenes with an ethical focus in the feature film have been changed significantly: the conversation between Katniss and Peeta on the roof on the eve of the 74th Hunger Games and the scene with the wolf mutations of the dead tributes. In the latter, the Capitol seemed to have won because the transformation of people into monsters had succeeded. In the feature film, on the other hand, there is no connection between tributes and mutations.

On the other hand, Rainbolt refers to parts of the correspondence between Donald Sutherland , who played President Snow , and the director of the film, Gary Ross , which resulted in the addition of three scenes. The conversation at the winners' coronation and the final scene in which Snow watches the arrival of the winners in District 12 on the screen, underline the political focus of the film and should probably put the audience in the mood for the upcoming fight. The figure of Seneca Crane had been expanded to include forced suicide in the film, in order to expand the political aspect in the power struggle between Snow and Seneca, which made Katniss' moral development subside.

Katniss' attitude to killing

Katniss rarely kills a tribute. Their motives are defense and, at Cato's end, pity. Through flowers for the dead Rue and the three-finger gesture with which the residents of District 12 honored their voluntary declaration for Prim during the harvest and showed their solidarity , Katniss makes it clear that she and Rue are more than game pieces. Your desire for integrity becomes even stronger at the end of the first volume. Katniss realizes how long she's been in the Capitol game and doesn't kill Peeta, but resolves the situation according to her own rules.

The evolution of Katniss' caring

According to Averdill, the trilogy shows Katniss on the way to her moral development. Katniss has had the natural care according to Nel Noddings from the beginning: She finds Gale's idea to flee absurd because she would then have to leave her family to their own devices, and she volunteers for Prim. The ethical care that occurs after Nel Noddings, if At Katniss, care becomes an ethical ideal and requires conscious decisions. According to Averdill, Rue is a link for Katniss to Prim. Katniss' care radius is gradually expanding, for example to include Rue's siblings, until she shows ethical care for strangers like the Capitol children.

Gender role

initial situation

The gender roles in Panem are fluid. This enables Katniss to move beyond the typical female behavior of the 21st century. Katniss' braid is a feminine trait, the other descriptive traits have more masculine connotations, such as hunting boots, bow and arrow, familiarity with the forest, earning a living, protective role and willingness to take risks. Katniss identifies with her father through her behavior and clothing and despises her mother's helplessness, but the feelings that underlie her actions are traditionally associated with the female role: Katniss' willingness to take risks serves to protect loved ones .

Change through the Hunger Games

Peeta shows himself to be male with his confession of love, Katniss' gender is redefined by her external change and by Peeta's desires. Through the feminization, Katniss should be clearly recognizable as a female tribute for the other tributes, the districts and possible sponsors. She recognizes the advantage of the role and accepts it. In Katniss' eyes it is not her actual self that is brought out by the beautification measures, but an artificial one. Due to her changed appearance, Katniss is now perceived in a new way for her, which means that she experiences herself beautiful, powerful, different from the crowd. As the scene with the apple shot on the third day of training shows, Katniss is still capable of courageous acts with male connotations due to the sovereign use of weapons, despite all female attributes. However, Suzanne Collins has created ideal conditions for Katniss, which largely determine its success: The arena landscape is similar to that of District 12, the bow and arrow lie on the cornucopia. Amanda Firestone relativizes the image of Katniss as a courageous heroine with the assessment that Katniss mostly only reacts and rarely acts without direct external constraints, for example when developing the plan to destroy the supplies of the Careers. The threat of double suicide is a milestone in Katniss' development towards independence from the Capitol, which can be seen as the focus of the trilogy. Another high point is reached in the second part when Snow changes the rules so that Katniss and Peeta have to go to the arena again. Katniss decides, at the risk of death, to live according to her ideas.

In the third part, Coin Katniss offers the role of the face of the rebellion, but she wants to draw narrow boundaries to the mocking booby. Only when the protagonist is allowed to shape her role herself can she embody it credibly. With the killing of Coin, she makes an independent decision.

In the end, Katniss feels at home in a role that blurs traditional boundaries between father and mother: Peeta bakes, she hunts. The meadow from the song for Rue is now a real place for her children. The peace is fragile, but hope and belief in the future can be read from the end of the trilogy.

Importance of music

During the 74th Hunger Games, music becomes more important for the protagonist. The lullaby for the dying Rue becomes the musical framework of the trilogy, which stretches up to the epilogue. The genre and text of the song evoke childhood rituals and evoke memories of affection and protection. The song for the dying ally helps to make the moral failings of the system ever clearer to Katniss, the mocking boob becomes a symbol of rebellion. After Prim's death, Katniss can not speak because of her trauma . In this desperation, to her own surprise, she begins to sing her father's songs, and her initially fragile voice strengthens. Tammy L. Gant sees this as a sign that Katniss trusts her own voice again. By singing, she rejects both the model that the Capitol offered her and that of the rebels - she is setting out to realize her own humane conception of the world, as it appears in the song of the dead for Rue. Collins used music as a leitmotif for rebirth and renewal.

Relation to the biography of the author

Katniss' birthday is May 8th. The May 8, 1945 was the day in which in Europe all hostilities of World War II were discontinued. Against the background of Collins' family history - her grandfather fought in World War I , her uncle in World War II, her father in the Vietnam War - Susan Dominus says of the author: "She understood very early that the war determined the fate of her family." Katniss' date of birth and thus also the figure are linked to the idea of ​​freedom from dictatorship , and in the acknowledgment, Collins expressly refers to her father: “I would particularly like to thank my late father Michael Collins, who through his great dedication in bringing up children his children laid the foundation stone for this series on matters of war and peace [...] ”.

reception

Katniss and the trilogy under review

The end of the trilogy in particular provoked different reactions. Some of the reviewers consider Katniss' situation in the epilogue to be unsuccessful, because the protagonist does not take on any role in building the new Panem and has given in to Peeta's desire for children. In the opinion of Iris Mende, the novel fails because it is “designed as an all-age book”: “It negotiates its topics in a way that is too drastic for young readers, while it is not aesthetically demanding for experienced readers should be enough. "

A reasoning approach for the positive evaluation of the end, however, is the argument based on the characteristics of the genus dystopia. Ines Walk, for example, sees an open ending in dystopian films as more effective than a happy ending . Jessica Miller refers to the still unconventional design of gender roles in Katniss and Peeta's relationship and sees this love affair as an alternative to the mainstream culture of the present.

Effect on adolescents

Jürgen Grimm examined the effect of The Hunger Games - The Hunger Games on young people. He found that the film made boys and girls feel stronger that they were being influenced by social forces. Before watching the film, he found that male adolescents were less adaptable to gender roles than female ones. Through the film, however, the attitude of the boys was changed in the direction of flexibility and a progressive image of women. This is due to the fact that with Katniss a strong leadership and at the same time social woman is at the center: She not only gives a direction in difficult situations, but also dedicates her life to the weaker and shows moral strength. The boys were very impressed by this, but the effect was less obvious with girls. Grimm attributes this to the fact that the female adolescents already had a relatively high degree of gender role flexibility, which the film could not enlarge; it is possible that the corresponding settings were taken for granted by the girls even before the film. Because of the identity-building effects of the film, namely the “breakdown of prejudices against minorities”, “the flexibilization of the understanding of gender roles and the cosmopolitan expansion”, the overall judgment is positive.

Basic works

Books

Movies

literature

  • George Dunn, Nicolas Michaud (Ed.): The Philosophy in The Hunger Games. Hunger Games - Love, Power and Survival. translated by Ursula Bischoff. Wiley-VCH Verlag Weinheim, 2013, ISBN 978-3-527-50753-5 .
  • Mary F. Pharr, Leisa A. Clark (Eds.): Of bread, blood and the Hunger Games: critical essays on the Suzanne Collins trilogy. McFarland & Company, inc. Publishers Jefferson North Carolina, 2012, ISBN 978-0-7864-7019-8 .
  • Sara K. Day, Miranda A. Green-Barteet, Amy L. Montz (Eds.): Female Rebellion in Young Adult Dystopian Fiction. Ashgate Publishing Limited, Surrey 2014, ISBN 978-1-4724-3149-3 .
  • Claudia Mills (Ed.): Ethics and Children's Literature, Ashgate Publishing Limited Surrey (Great Britain) and Burlington (USA), 2014, ISBN 978-1-4724-4072-3 :

Individual evidence

  1. ↑ a b Mary F. Pharr: From the Boy who Lived to the Girl Who Learned, in: Mary F. Pharr, Leisa A. Clark (Eds.): Of bread, blood and the Hunger Games: critical essays on the Suzanne Collins trilogy. '' McFarland & Company, inc. Publishers Jefferson North Carolina, 2012, ISBN 978-0-7864-7019-8 .
  2. ↑ Suzanne Collins: The Hunger Games. Flaming anger. Friedrich Oetinger Hamburg, 2011, ISBN 978-3-7891-3220-9 , p. 427.
  3. ↑ Suzanne Collins: The Hunger Games. Dangerous love. Friedrich Oetinger Hamburg, 2010, ISBN 978-3-7891-3219-3 , p. 44.
  4. ↑ Suzanne Collins: The Hunger Games. Deadly Games. Oetinger Verlag Hamburg, 2009, ISBN 978-3-7891-3218-6 , pp. 60-61.
  5. ↑ Suzanne Collins: The Hunger Games. Deadly Games. Oetinger Verlag Hamburg, 2009, ISBN 978-3-7891-3218-6 , p. 61.
  6. ↑ Jessica Miller: 'She has no idea what kind of charisma she can have': Katniss and the gender problem. in: George Dunn, Nicolas Michaud (eds.): The philosophy of 'The Hunger Games.'. Hunger Games - Love, Power and Survival. translated by Ursula Bischoff. Wiley-VCH Verlag Weinheim, 2013, ISBN 978-3-527-50753-5 , p. 141.
  7. ↑ Suzanne Collins: The Hunger Games. Deadly Games. Friedrich Oetinger Hamburg, 2009, ISBN 978-3-7891-3218-6 , p. 8.
  8. ↑ Suzanne Collins: The Hunger Games. Dangerous love. Friedrich Oetinger Hamburg, 2010, ISBN 978-3-7891-3219-3 , p. 43.
  9. ↑ Suzanne Collins: The Hunger Games. Dangerous love. Friedrich Oetinger Hamburg, 2010, ISBN 978-3-7891-3219-3 , p. 153.
  10. ↑ Suzanne Collins: The Hunger Games. Flaming anger. Friedrich Oetinger Hamburg, 2011, ISBN 978-3-7891-3220-9 , p. 233.
  11. ↑ Suzanne Collins: The Hunger Games. Flaming anger. Friedrich Oetinger Hamburg, 2011, ISBN 978-3-7891-3220-9 , pp. 417-418.
  12. ↑ Suzanne Collins: The Hunger Games. Dangerous love. Friedrich Oetinger Hamburg, 2010, ISBN 978-3-7891-3219-3 , p. 40.
  13. ↑ Suzanne Collins: The Hunger Games. Flaming anger. Friedrich Oetinger Hamburg, 2011, ISBN 978-3-7891-3220-9 , pp. 257ff.
  14. ↑ Suzanne Collins: The Hunger Games. Dangerous love. Friedrich Oetinger Hamburg, 2010, ISBN 978-3-7891-3219-3 , p. 16.
  15. ↑ a b Jessica Miller: 'She has no idea what kind of charisma she can have': Katniss and the gender problem. P. 143.
  16. ↑ Suzanne Collins: The Hunger Games. Dangerous love. Friedrich Oetinger Hamburg, 2010, ISBN 978-3-7891-3219-3 , p. 82.
  17. ↑ Suzanne Collins: The Hunger Games. Flaming anger. Friedrich Oetinger Hamburg, 2011, ISBN 978-3-7891-3220-9 , p. 252.
  18. ↑ Suzanne Collins: The Hunger Games. Flaming anger. Friedrich Oetinger Hamburg, 2011, ISBN 978-3-7891-3220-9 , p. 262.
  19. ↑ Suzanne Collins: The Hunger Games. Flaming anger. Friedrich Oetinger Hamburg, 2011, ISBN 978-3-7891-3220-9 , p. 397.
  20. ↑ Suzanne Collins: The Hunger Games. Flaming anger. Friedrich Oetinger Hamburg, 2011, ISBN 978-3-7891-3220-9 , p. 421.
  21. ↑ Suzanne Collins: The Hunger Games. Flaming anger. Friedrich Oetinger Hamburg, 2011, ISBN 978-3-7891-3220-9 , p. 258.
  22. ↑ Suzanne Collins: The Hunger Games. Deadly Games. Friedrich Oetinger Hamburg, 2009, ISBN 978-3-7891-3218-6 , p. 13.
  23. ↑ Suzanne Collins: The Hunger Games. Flaming anger. Friedrich Oetinger Hamburg, 2011, ISBN 978-3-7891-3220-9 , p. 15.
  24. ↑ Suzanne Collins: The Hunger Games. Dangerous love. Friedrich Oetinger Hamburg, 2010, ISBN 978-3-7891-3219-3 , p. 135.
  25. ↑ Suzanne Collins: The Hunger Games. Flaming anger. Friedrich Oetinger Hamburg, 2011, ISBN 978-3-7891-3220-9 , p. 255.
  26. ↑ Women smile more than men - especially when they are being watched. , Spektrum der Wissenschaft , Spektrum.de, March 19, 2003, accessed on September 4, 2015.
  27. ↑ a b Jessica Miller: 'She has no idea what kind of charisma she can have': Katniss and the gender problem. , in: George Dunn, Nicolas Michaud (eds.): The philosophy of 'The Hunger Games.'. Hunger Games - Love, Power and Survival. , translated by Ursula Bischoff. Wiley-VCH Verlag Weinheim, 2013, ISBN 978-3-527-50753-5 , p. 143.
  28. ↑ Suzanne Collins: The Hunger Games. Flaming anger. , Friedrich Oetinger Hamburg, 2011, ISBN 978-3-7891-3220-9 , p. 209.
  29. ↑ Suzanne Collins: The Hunger Games. Dangerous love. , Friedrich Oetinger Hamburg, 2010, ISBN 978-3-7891-3219-3 , p. 249.
  30. ↑ Suzanne Collins: The Hunger Games. Dangerous love. , Friedrich Oetinger Hamburg, 2010, ISBN 978-3-7891-3219-3 , p. 259.
  31. ↑ Suzanne Collins: The Hunger Games. Flaming anger. , Friedrich Oetinger Hamburg, 2011, ISBN 978-3-7891-3220-9 , p. 356.
  32. ↑ Suzanne Collins: The Hunger Games. Dangerous love. , Friedrich Oetinger Hamburg, 2010, ISBN 978-3-7891-3219-3 , p. 123.
  33. ↑ Suzanne Collins: The Hunger Games. Deadly Games. , Friedrich Oetinger Hamburg, 2009, ISBN 978-3-7891-3218-6 , p. 11.
  34. ↑ Suzanne Collins: The Hunger Games. Deadly Games. , Friedrich Oetinger Hamburg, 2009, ISBN 978-3-7891-3218-6 , p. 216.
  35. ↑ Ellyn Lem, Holly Hassel: “Killer” Katniss and “Lover Boy” Peeta. Suzanne Collins's Defiance of Gender-Genred Reading. in: Mary F. Pharr, Leisa A. Clark (Eds.): Of bread, blood and the Hunger Games: critical essays on the Suzanne Collins trilogy. '' McFarland & Company, inc. Publishers Jefferson North Carolina, 2012, ISBN 978-0-7864-7019-8 , p. 123.
  36. ↑ Suzanne Collins: The Hunger Games. Flaming anger. , Friedrich Oetinger Hamburg, 2011, ISBN 978-3-7891-3220-9 , p. 273.
  37. ↑ Suzanne Collins: The Hunger Games. Flaming anger. , Friedrich Oetinger Hamburg, 2011, ISBN 978-3-7891-3220-9 , p. 272.
  38. ↑ Suzanne Collins: The Hunger Games. Flaming anger. , Friedrich Oetinger Hamburg, 2011, ISBN 978-3-7891-3220-9 , p. 274.
  39. ↑ Suzanne Collins: The Hunger Games. Flaming anger. , Friedrich Oetinger Hamburg, 2011, ISBN 978-3-7891-3220-9 , p. 282.
  40. ↑ Suzanne Collins: The Hunger Games. Flaming anger. , Friedrich Oetinger Hamburg, 2011, ISBN 978-3-7891-3220-9 , p. 376.
  41. ↑ a b c d e f g h Martha Rainbolt: Katniss Everdeen's Emerging Moral Consciousness in 'The Hunger Games' , in: Claudia Mills (Ed.): Ethics and Children's Literature , Ashgate Publishing Limited Surrey (Great Britain) and Burlington (USA) , 2014, ISBN 978-1-4724-4072-3 .
  42. ↑ a b c d Lindsay Issow Averdill: Sometimes the world needs caring people: Katniss and the feminist care ethic. In: George Dunn, Nicolas Michaud (eds.): The philosophy of "The Hunger Games". Hunger Games - Love, Power and Survival. , translated by Ursula Bischoff. Wiley-VCH Verlag Weinheim, 2013, ISBN 978-3-527-50753-5 .
  43. ↑ a b c Miranda A. Green-Barteet: 'I'm beginning to know who I am.' The Rebellious Subjecitivies of Katniss Everdeen and Tris Prior., In: Sara K. Day, Miranda A. Green-Barteet, Amy L. Montz (Eds.): Female Rebellion in Young Adult Dystopian Fiction., Ashgate Publishing Limited, Surrey 2014, ISBN 978-1-4724-3149-3 .
  44. ↑ a b c Jennifer Mitchell: Of Queer Necessity. Panem's Hunger Games as Gender Games., In: Mary F. Pharr, Leisa A. Clark (Eds.): Of bread, blood and the Hunger Games: critical essays on the Suzanne Collins trilogy. McFarland & Company, Inc. Publishers Jefferson North Carolina, 2012, ISBN 978-0-7864-7019-8 .
  45. ↑ a b June Pulliam: Real or Not Real - Katniss Everdeen Loves Peeta Melark: The Lingering Effects of Discipline in the 'Hunger Games' Trilogy., In: Sara K. Day, Miranda A. Green-Barteet, Amy L. Montz ( Ed.): Female Rebellion in Young Adult Dystopian Fiction., Ashgate Publishing Limited, Surrey 2014, ISBN 978-1-4724-3149-3 .
  46. ↑ Amy L. Montz: Rebels in Dresses: Distractions of Competitive Girlhood in young adult Dystopian Fiction. In: Sara K. Day, Miranda A. Green-Barteet, Amy L. Montz (Eds.): `` Female Rebellion in Young Adult Dystopian Fiction. '', Ashgate Publishing Limited, Surrey 2014, ISBN 978-1-4724- 3149-3 , p. 119 f.
  47. ↑ Amanda Firestone: Apples to Oranges. The Heroines in Twilight and The Hunger Games., In: Mary F. Pharr, Leisa A. Clark (Eds.): Of bread, blood and the Hunger Games: critical essays on the Suzanne Collins trilogy. '' McFarland & Company, inc . Publishers Jefferson North Carolina, 2012, ISBN 978-0-7864-7019-8 , p. 216.
  48. ^ A b c d e Tammy L. Gant: Hungering for Righteousness: Music, Spirituality and Katniss Everdeen. in: Mary F. Pharr, Leisa A. Clark (Eds.): Of bread, blood and the Hunger Games: critical essays on the Suzanne Collins trilogy. McFarland & Company, inc. Publishers Jefferson North Carolina, 2012, ISBN 978-0-7864-7019-8 .
  49. ↑ Susan Dominus: Suzanne Collins's War Stories for Kids. New York Times, Magazine, April 8, 2011, nytimes.com, accessed April 5, 2015. In the original English language: "[...] war, she understood at a young age, determined her family's fate."
  50. ↑ Suzanne Collins: The Hunger Games. Flaming anger. Friedrich Oetinger Hamburg, 2011, ISBN 978-3-7891-3220-9 , p. 431.
  51. ↑ a b Iris Mende: Collins, Suzanne: The Hunger Games 3. Flaming Wrath. , www.kinderundjugendmedien.de, scientific internet portal for children's and youth media, accessed on August 15, 2015.
  52. ↑ Ines Walk: Dystopian films with happy endings are inconsistent. , moviepilot.de, April 8, 2015, accessed on August 15, 2015.
  53. ↑ Jessica Miller: 'She has no idea what kind of charisma she can have': Katniss and the gender problem., In: George Dunn, Nicolas Michaud (ed.): The philosophy of 'The Hunger Games.'. Hunger Games - love, power and survival., Translated by Ursula Bischoff. Wiley-VCH Verlag Weinheim, 2013, ISBN 978-3-527-50753-5 , p. 151 f.
  54. ↑ a b Jürgen Grimm: How do movies contribute to the formation of young people's identity? ( Memento of December 8, 2015 in the Internet Archive ) (PDF) br-online.de, Televizion, January 28, 2015, accessed on August 15, 2015.