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Essay on women in religion
Womens role in religion
Women in religion topic
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The Contrast of Daughters in the Eyes of Religion
Religion is depicted within the folktale “Mother Holle”. The religious aspect is an element which can be examined through the daughters and the Mother Holle. The daughters represent the traitis that God looks for in people. The ideals of following in God’s light is reflected upon other daughters, as their actions lead to rewards and consequences if they do not proceed in the right path of God. The beautiful and hardworking daughter is a representation of if a person were to follow in God’s light, she would be rewarded for being diligent and proceeding to be all faithful to those who ask for her help. The ugly and lazy daughter, represents how following in God’s light can lead into consequences of going against Christianity. If a person is kind, thoughtful, hardworking or selfless in anyway, not seen as being of the children of the God of light. This religious contrast is upheld through the tale as each task asked upon the daughters is a test of
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The law of contrast compliments the tale’s dynamic and structure as the daughters experience all tasks and display their actions towards, which reflect on their views, which is judged by God. The law of repetition allows the audience to be shown the reflections and the ideologies that a person should follow versus what the person should not, as the story ends with rewards that Mother Holle presents to those most diligent. The law of initial and final position, is important for the audience to interpret in this tale, especially because it is the representation of the end results that man should reach for, the gold that is given for being good. The pitch is the contrast of what God sees upon people and uses it as a tactic to show how nothing good comes from being
Tan uses a simile to describe the resemblance in the circumstances that the four mothers and their daughter face. For example, “... she still came out the same way. Maybe it is because she was born to me and she was a girl. And i was born to my mother and I was born a girl. All of us are like stairs, one step after another, going up and down, but all going the same way.”(Tan 215). Tan’s use of language in this quote, explains the connection between mother and daughter, and the stories told between them. Also, the mothers see their own mistakes and flaws in their daughters, and hope to prevent these daughters from suffering the same way they did.
While in the original myth the sisters are all beautiful, Lewis chooses to make the main character, Orual, ugly and, in doing so, gives her an advantage. As a woman, she had much less power in that time, especially according to her father. He called She complains that “everything’s dark about the gods” (Lewis 133), but then, ironically, hides her face.
The girl's mother is associated with comfort and nurturing, embodied in a "honeyed edge of light." As she puts her daughter to bed, she doesn't shut the door, she "close[s] the door to." There are no harsh sounds, compared to the "buzz-saw whine" of the father, as the mother is portrayed in a gentle, positive figure in whom the girl finds solace. However, this "honeyed edge of li...
The characterizations of women have, throughout history, been one of the most problematic subjects in literary tradition. An extraordinary dichotomy has existed with women as being both the paragon of virtue and the personification of evil. Ancient Greeks feared women, and poets such as Hesiod believed the female sex was created to be the scourge of the gods and the bane of men (Fantham 39). Romans, on the other hand, incorporated tales of brave and virtuous women as an intrinsic part of their legendary history (219). Many Catholic saints, revered for their piety, were notoriously misogynistic (Dollison 106), and yet the church counted legions of holy women in the rosters of saints alongside their male counterparts. Despite much historical controversy as to the precise nature of women, none of this confusion seems to seep into the writings of George MacDonald, and there appears to be no conflict to MacDonald’s regard towards women in his female characters in The Princess and the Goblin. The character of the Grandmother in particular is one of the most complimentary fabrications of the figure of the mature female in literature. MacDonald created this fascinating construct of femininity by steeping the Grandmother not only in the arcane feminine symbols such as spinning, pigeons, and the moon, but also in his own concept of the ideal woman, as wise and compassionate as she is mysterious.
In Parable of the Sower, many issues are addressed and discussed in a new and creative way. One issue addressed is how women are treated in society. Although Parable of the Sower is considered a dystopian world and is an exaggerated sense of reality, the concepts remain true. The shortfalls of the society and larger systemic ideas throughout the book in some sense are an exaggerated sense of the truth. These concepts are lessons to the readers and can often lead to morals or conclusions that can be taken away from the book. This is true of most books, and thus it is important to read the lessons and make connections to find the deeper moral of the
In medieval literature, the role of women often represents many familiar traits and characteristics which present societies still preserve. Beauty, attractiveness, and grace almost completely exemplify the attributes of powerful women in both present and past narratives. European medieval prose often separates the characteristics of women into two distinct roles in society. Women can be portrayed as the greatest gift to mankind, revealing everything that is good, pure, and beautiful in a woman's life. On the other side of the coin, many women are compared to everything that is evil and harmful, creating a witch-like or temptress quality for the character. These two aspects of European culture and literature show that the power of women in medieval narrative can be portrayed through both evil and good, and more often than not, power is derived from the latter.
In the Homer's epic poem the Odyssey, there are many themes that serve to make a comment about the meanings of the story. The theme of women in the poem serves to make these comments but also establishes a point of view on women in the reader. From this point of view, a perspective is developed into the "best" and "worst" in women. Achievement of this is through the characterization of many women with single notable evil qualities. Similar to the biblical story of Adam and Eve, Eve like the many women in the Odyssey brings about pain and suffering for mankind. Contrary to the depicting of women as roots of evil, the reader sees the other traits of women that are most desirable. The roles of these women are achieved by their portrayal throughout the poem. This in return has a significant affect on how the poem and the message that is conveyed.
Although Eichendorff’s story displays religious elements, the pious facets take on a different form than in Psyche. In “The Marble Statue”, Sunday remains a holy day where evil subsides. God and Satan manifest into the metaphysical through characters, settings, and motifs. Fortunato is a pure character directing Florio towards the path of the righteous man while Donati is a sinister man leading the boy into temptation. The seductress is the embodiment of evil while Bianca is the good. The aspect of religion is demonstrated in a more direct manner in Psyche. The artist abandons a life of art to become a brethren of the covenant where it is proclaimed the Goddess of Art is “a witch who carries towards vanity, towards earthly pleasure”. The good and evil is left to interpretation in “The Marble Statue” while religion in Andersen's tales contains a straightforward portrayal of faith and sin.
As a man fascinated with the role of women during the 14th Century, or most commonly known as the Middle Ages, Chaucer makes conclusive evaluations and remarks concerning how women were viewed during this time period. Determined to show that women were not weak and humble because of the male dominance surrounding them, Chaucer sets out to prove that women were a powerful and strong-willed gender. In order to defend this argument, the following characters and their tales will be examined: Griselda from the Clerk's Tale, and the Wife of Bath, narrator to the Wife of Bath's Tale. Using the role of gender within the genres of the Canterbury Tales, exploring each woman's participation in the outcomes of their tales, and comparing and contrasting these two heroines, we will find out how Chaucer broke the mold on medievalist attitudes toward women.
In conclusion, the development of the folktales leads to the obtaining of ideas about gender. In many ways our society supports the idea that women seem underestimated as well as physically and mentally weak in comparison with the men who is portrayed as intelligent and superior. This can be shown in many ways in the different versions of this folktale through the concepts of symbolic characters, plot and narrative perspective.
This helps define her as an obedient daughter who will later be rewarded for such behavior. Obedience was clearly an important aspect for women in the Brothers
Within the pages of the well-known epic poem are many extraordinary and warring narratives of the Middle Ages. Beowulf is important because it is one of the most ancient European epics written in the vernacular, or native tongue. The seemingly super natural heroes of this exciting and famous writing have a great impact on the typical roles of their women. As declared through out the many lines of the astonishing poem, the women have many purposes and serve a variety of roles. Wealhtheow, Hygd, Hildeburh, Freawaru, and Grendel’s Mother give examples of the historical roles that are expected of the women of this ancient time. The women in “Beowulf” have the significant roles of hostess, peaceweaver, and mother.
In a society unbridled with double standards and set views about women, one may wonder the origins of such beliefs. It might come as a surprise that these ideals and standards are embedded and have been for centuries in the beloved fairy tales we enjoyed reading as kids. In her analytical essay, “To Spin a Yarn: The Female Voice in Folklore and Fairy Tales”, Karen Rowe argues that fairy tales present “cultural norms which exalt passivity, dependency, and self-sacrifice as a female’s cardinal virtues.” Rowe presents an excellent point, which can be supported by versions of the cult classics, “Cinderella” and “Snow White”. Charles Perrault’s “ The Little Glass Slipper” and the Brothers Grimm’s “ Snow White” exemplify the beliefs that females are supposed to be docile, dependent on the male persona and willing to sacrifice themselves. In many cases, when strong female characters are presented they are always contradicting in these characteristics, thus labeled as villainous. Such is the case of the Cinderella’s stepsisters in Perrault’s “Cinderella” and the stepmother in the Brothers Grimm’s “Snow White.” These female characters face judgment and disapproval when they commit the same acts as male characters. With such messages rooted in our beloved fairy tales it is no wonder that society is rampant with these ideals about women and disapprove of women when they try to break free of this mold.
The speaker reflects on the teenage girl’s childhood as she recalls the girl played with “dolls that did pee-pee” (2). This childish description allows the speaker to explain the innocence of the little girl. As a result, the reader immediately feels connected to this cute and innocent young girl. However, the speaker’s diction evolves as the girl grew into a teenager as she proclaims: “She was healthy, tested intelligent, / possessed strong arms and back, / abundant sexual drive and manual dexterity” (7-9). The speaker applies polished language to illustrate the teen. This causes the reader not only to see the girl as an adult, but also to begin to grasp the importance of her situation. The speaker expresses what the bullies told this girl as she explains: “She was advised to play coy, / exhorted to come on hearty” (12-13). The sophisticated diction shifts towards the girl’s oppressors and their cruel demands of her. Because of this, the reader is aware of the extent of the girl’s abuse. The speaker utilizes an intriguing simile as she announces: “Her good nature wore out / like a fan belt” (15-16). The maturity of the speaker’s word choice becomes evident as she uses a simile a young reader would not understand. This keeps the mature reader focused and allows him to fully understand the somberness of this poem. The speaker concludes the poem as she depicts the teenage girl’s appearance at her funeral: “In the casket displayed on satin she lay / with the undertaker’s cosmetics painted on” (19-20). The speaker elects not to describe the dead girl in an unclear and ingenuous manner. Rather, she is very clear and
The role of women in religious scripture dictates an inferior position in society. Beginning with the creation of Adam and then Eve, as his helpmate. Her purpose was that Adam would not be lonely. This origin provides the ground work for inequality of genders on the basis of religious scripture. The roles prescribed determined that women should be in a subordinate position to man. The female role and relationship with God is defined by the various books of the Old and New Testaments, the reported actions of Jesus Christ, and finally the Qur'an.