This trustworthiness makes him stand out in a narrative in which the author casts doubt on the motivations of every major character except Langdon and Sophie. Langdon is trustworthy, as is Sophie, his female counterpart and love interest. Langdon, the novel's protagonist, anchors the story. Ultimately both novel and film fail to develop a truly transformative rhetoric but instead reinforce traditional beliefs about gender in the culture It concludes that The Da Vinci Code does not present a feminist mythic narrative, but instead presents another version of the heroic quest myth that functions to reaffirm masculine power, under the guise of a faux feminism. Using insights derived from feminist theology and myth, this study examines this claim through a close analysis of both novel and film, focusing both on the mythic narrative and individual characters. Most criticism focused on the historical and religious problems in both the novel and subsequent film, leading some to claim that the storyline represented a type of radical feminism in its presumed secret marriage between Jesus and Mary Magdalene that led to “the greatest cover-up in history,” and ultimately the suppression of "the divine feminine" in the Catholic Church. One of the more controversial films of 2006 was the highly anticipated The Da Vinci Code, based on Dan Brown’s best-selling novel. Alternative history in the novel is analysed as the basics of the semiotic-symbolic model in the article. Though symbolic-semiotic structure decreases the literary and aesthetic value of the novel, its concept is obvious. The alternative history that the author created is an attempt of historical realities to approach the truth. The messages the author tries to deliver via the language of symbols can be the realities of today and the future. Important symbols such as Saint Graal, the image Jesus, Sacred Feminine define the structure and idea of the novel. The novel is symbolic as much as it is postmodern. Choosing science or religion as a means for this is not essential for him. The main purpose of Dan Brown is to protect the reader from "icons". The occurrences that are in the novel, the postmodern attitude towards history, and the codes that are expressed with symbolism are analyzed here. The article studies the symbolic-semiotic model of alternative history based on this novel. Building the future based on the remnants of the past is considered a new approach towards art. It is obviously seen in the novel "The Da Vinci Code". As we are living in a postmodern era it is understandable that modern novels tend to classic columns. This method that we call alternative history is one of the key features of modern novels. The author creates a bridge between present and past, studying existing world history and demonstrating counter attitude to the so-called history. In the novels of Dan Brown alternative history dominates. It also shows that the novel can be placed in traditional and most recent literary culture. The research discovers that there is a fusion of several generic forms in The Da Vinci Code. The novel deals with a number of problems: love and family – the main problem is Christ’s marriage of Mary Magdalene and their posterity the problem has been supposedly hidden in Leonardo da Vinci’s works, especially the fresco “The Last Supper” the theme of art, the conflict between science and religion, etc. The protagonists and the villains are psychological characters. Robert Langdon and Sophie Neveu are the protagonists of the novel the Teacher-Teabing and Silas are the villains and the minor characters are: Bezu Fache, Bishop Aringarosa, and others. The analysis reveals that there are four subplots, apart from the main plot line at some crucial moments, or in most dramatic scenes, the plotlines crisscross or merge. All theories of the novel distinguish the following main genre constituents: plot, setting, character, thematic range, the narrator and point of view, intertextuality, and others. In the paper various concepts of the literary genre, especially the novel, in modern literary theory are presented and reviewed. The MA paper focuses on the problem of the genre of Dan Brown’s novel The Da Vinci Code.
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