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Gender roles in ancient china
Gender roles in ancient china
The status of women in ancient China
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In the Dream of the Red Chamber a picture is painted of two worlds or two mindsets about living, and the reader is confronted with the task of contemplating what is real. The worlds that are introduced are of the contemplative person, which is represented by Great Void Illusion Land (GVIL), and that of education, working, and pleasure, which is represented by the Red Dust. The book alludes to an understanding that even though one way of life might be preferred to another, both are real, and that people will be exposed to both as they journey through their life. The challenge, as I see it, is to find a balance that will bring out the best in the person, for themselves and for society. This is where the book falls short because there is …show more content…
Pao-yu takes a liking to the beauty of girls and enjoys playing with feminine things, like make-up for example (22). This leads to a dream that Pao-yu has in which he returns to GVIL, and as he enters this realm he passes through an archway that has an inscription carved into it. This inscription reads that “When the unreal is taken for the real, then the real becomes unreal” (42). This is the second time in the book that this inscription has been presented, but at this point the reader is more aware and begins to see that the book is making a differentiation between the Red Dust and GVIL. Pao-yu continues to investigate GVIL and attempts to obtain insight into the Red Dust through learning about its emptiness of meaning. As he is trying to obtain this insight he is being escorted through GVIL by the goddess of disillusionment. She leads him to her sister whom she wants him to marry, engage in coitus with, and come to an understand about the emptiness of vain pleasures that accompanies the sexual act. After Pao-yu learns this he can then abandon the vain pleasures of the Red Dust and focus on his studies of Confucius and Mencius
In comparison The Red Room was written only thirty years later in 1894 by HG Wells although it feels more timeless. At that time technology had improved intensely, nevertheless Wells still imitated the old fashion gothic literature style writing, which is ironic, due to the time. Both stories have managed to engage its audience by creating suspense and tension. Besides that both stories have been written in first person, this in sequence makes it sinister, in a way because we get to know the narrator’s impressions and feelings. The authors of both stories have selected discomforting places in which to set their story, they are made more eerie because that in the 19th century time many people believed in ghosts and the supernatural.
Lessons for Women was written by Ban Zhao, the leading female Confucian scholar of classical China, in 100 C.E. It was written to apply Confucian principles to the moral instruction of women, and was particularly addressed to Ban Zhao’s own daughters. As her best remembered work, it allows the reader insight into the common role of a woman during this fascinating time-period. The work starts off by Ban Zhao unconvincingly berating herself, and claiming how she once lived with the constant fear of disgracing her family. This argument is rather implausible, for the reader already knows the credibility of Ban Zhao, and how important her role was in ancient China.
Confucius believed that proper behavior within all types of relationships was dictated by a hierarchy that should be honored and preserved in order to maintain harmony within oneself and the rest of society (Bulliet 86). Zhao respected and supported these ideas in her own writings as she regularly makes reference to the notion that relationships between married men and women should be guided by the principles of yin and yang. According to Zhao, “as Yin and Yang are not of the same nature, so man and woman have different characteristics”, hence while the yang is firm and strong, the yin must be flexible and gentle (Zhao). Her advice to her daughters and the rest of her female audience was meant to help them avoid the shame that came with breaking the rules of society and promote a happy, harmonious lifestyle. To Zhao and most others, the inequality that existed between men and women was an inherent and necessary quality of traditional Chinese life. The historical context in which Zhao lived gives sufficient information to understand her position and motivations in Lessons for a Woman, nonetheless, her views on education add a unique dimension to her
I think the main idea the narrators is trying to emphasize is the theme of opposition between the chaotic world and the human need for community with a series of opposing images, especially darkness and light. The narrator repeatedly associates light with the desire to clear or give form to the needs and passions, which arise out of inner darkness. He also opposes light as an idea of order to darkness in the world, the chaos that adults endure, but of which they normally cannot speak to children.
The constant struggle present in the novel is the conflict between the native world and the white world. It is a struggle between community and isolation, between the natural and material. Silko uses the characters in the novel to show the positive and negative influences of the contact of cultures. Specifically, the characters Tayo, Emo, and Betonie are prime examples of the manifestation of the two worlds and the effects it has on each characters actions, dispositions and beliefs.
Within every story or poem, there is always an interpretation made by the reader, whether right or wrong. In doing so, one must thoughtfully analyze all aspects of the story in order to make the most accurate assessment based on the literary elements the author has used. Compared and contrasted within the two short stories, “Girl” by Jamaica Kincaid, and John Updike’s “A&P,” the literary elements character and theme are made evident. These two elements are prominent in each of the differing stories yet similarities are found through each by studying the elements. The girls’ innocence and naivety as characters act as passages to show something superior, oppression in society shown towards women that is not equally shown towards men.
In Pa Chin's Family, he portrays a traditional Confucian family battling to keep their traditions and their way of life in tact, amidst the deep upheaval and civil disorder gripping China. Pa Chin clearly portrays a family of which the Venerable Master Kao rules supreme at the expense of his family. The Kao family runs into several set backs such as suicide, death, depression, unhappy marriages, family conflict, and lack of respect for elders that undoubtedly lead to the unraveling of the Kao family. One significant reason the Kao family fails to maintain its integrity and way of life is because of the clash between Confusion traditionalism and Chinese cultural modernization. One of the main driving forces in disruption in Kao family tradition would have to be the rebellious youth, Chueh-min, Chueh-hui, and Chin in particular.
In “Yellow Woman and a Beauty of the Spirit”, Silko uses several techniques in her writing to make clear her viewpoints on beauty, harmony, and the differences between modern and Pueblo societies. She writes about recollections of lessons taught to her in the past such as teachings and stories from her grandmother and aunts. Silko uses flashbacks of impacting events to make the reader fully realize the large difference between modern and Pueblo society. The stories of Yellow Woman offer Silko a unique means of educating the reader about the Pueblo’s views on harmony and the beauty of others.
The “mind’s eye” is not active inside the cave because the prisoners are imprisoned in this distorted world, which they believe is reality. When one prisoner is pulled out of the cave and into the light, it is this sudden freedom that starts the gradual process of enlightenment. This sudden freedom opens the “mind’s eye”. The prisoner “will be able to see the sun, and not mere reflections of him in the water, but he will see him in his own proper place, and not in another; and he will contemplate him as h...
The red room is the place that ignites Jane's passion. The red room is one of the novels great paradoxes as it parallels with ice in that it restricts Jane's freedom and imprisons her; yet the experience gives her the courage to stand up to her aunt. The fire that the red room ignites in Jane allows her to jump the 'containment lines'; to break the bonds of her Aunt that are restricting her, and achieve freedom. The red room becomes very symbolic of Jane's fight for freedom. Whenever she suffers from there on, Jane emotionally comes back to the red room, and adds new fuel to the fire, as she reminds herself why she wants to break free of oppression.
Tension and Suspense in The Red Room by H.G. Wells In H.G Wells’ The Red Room tension and suspense are created through the characters, the plot and the setting. The setting is typical of Gothic and Victorian ghost stories. In these times there was no electricity so use of candles for light created an eerie atmosphere. They had no modern technology like televisions for entertainment so they used books and story telling.
Theo and the young Narrator similarly discover the revelatory capacity of art through a single pivotal painting and author respectively, both which become significant motifs in either text. Tartt utilizes an existent painting ‘The Goldfinch’ as a fixed point of reference, which, for both Theo and the reader provides a sense of reality and constancy ‘rais[ing him] above the surface’ of an otherwise tumultuous childhood. Whereas Proust uses a fictional author, ‘Bergotte’, to communicate the universality of art, and invite the reader, through the vivid immediacy with which the Narrator’s early reading experiences are described, to participate in his epiphanic discovery that art can translate ‘imperceptible truths which would never have [otherwise] been revealed to us’ (97). Artistic imagery becomes a motif in Proust’s descriptions of scenes of domesticity and nature. In a scene recounting Francoise ‘masterful’ preparation of a family meal the Narrator describes asparagus in the technical language of painting as ‘finely stippled’ provoking an association between his observations of asparagus and the creation of a painting. By forming this improbable link he elevates unremarkable asparagus to the ‘precious’ status of art in the eyes of the reader. Proust’s presentation of his Narrator’s ‘fascination’ and pleasure at their ‘rainbow-loveliness’, forces the reader to consider asparagus with unfamiliar and attentive appreciation, conveying the idea that art can uncover the overlooked beauty of the mundane. Though Theo reveals a far more cynical view of ordinary life as a ‘sinkhole of hospital beds, coffins and broken hearts’ Tartt conveys the similar belief in art’s capacity to create a ‘rainbow-edge’ of beauty between our perceptions and the harshness of reality. In the most
Furthermore, the narrator also describes the chamber as, “[i]n each of the angles of the chamber stood on end a gigantic sarcophagus of black granite” (Poe 399). Oddly shaped and illuminated with a darken glow, the confines of the room further exemplify the depths of the narrator’s thoughts and despair. This magnifies the reader’s opinion that the narrators mind is deprived of intellectual thought and he only wants one thing, Ligeia. The room is mystifying much like the narrator; however, in his opium induced state, the narrator is oblivious as to why…and what it represents. This macabre scene that Poe sets is where Ligeia will be reincarnated, and is, in my opinion, where she returns upon the death of
Because she knows it’s a problem, this distance—the man thinks of it as a kind of perspective, maybe, or irony, but another way of looking at the distance is that it’s a metric of emotional dishonesty. He revises his way to the truth.”. Therefore, Yu merges the old-fashioned narrative with a realistic narrative that stops and begins, and each time it recommences, the storyteller has a different view of its context. This movement is an important narrative device because it demonstrates the progress that the protagonist is making to break his Escovedo 2 resistance by recognizing the truth of his relationship with his child. As the "fable" evolves, he becomes more aware of how he has blocked himself to involve his son in a true and honest way.
At times, something so far can reveal grand truths about something so close. This is the case between the supernatural and human nature in “The Painted Wall,” “Stealing a Peach,” as well as “The Magic Sword and the Magic Bag,” all three being a part of the greater anthology, Strange Tales from a Chinese Studio, written by Pu Songling. Conventional imagery of the supernatural lies in the concept of vengeful ghosts and fearsome spirits, perhaps aiming to harm an innocent human for their own evil satisfaction. These three tales by Pu Songling, however, stands apart from those conventional notions of the supernatural, as the world is portrayed based on the interpretation that human beings and supernatural beings can and do live in close proximity,