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The role of women in the Middle East
The role of women in the Middle East
The role of women in the Middle East
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Fatima Mernissi is a young woman who learns so much about herself from her culture, her society, and politics. She puts the same level of thought into understanding all aspects of life and especially wants to understand and explore the ideas of a frontier, or boundary, between the harem and the outside world. Fatima dreamed of trespassing and seeing new things (2). The Frontier is a symbolic division between life in the harem and life outside the harem, Fatima says that in some cases the frontier is tangible, such as in the example of the gate at her house.
The women of the harem are like caged animals who run on demand and are there to be petted and admired and fed delicacies, but not left to run free. Although they might be allowed out for a visit here and there, but then brought back home and locked up again. For example, when Fatima's cousin Chama, tries to go out to the movies with the boys of the family, she is told no by force with the doorkeeper sometimes chasing her down and physically taking her back to the harem. Still, the women of the harem find small ways to rebel against this and to create small escapes for themselves. One of these methods is through acting and the women often
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In America, women are allowed to have an education poor or rich. In Fatima’s society women are not always educated and a lot of the times not able to attend schools. Yasmina says that Fatima will be educated and the first step toward that occurs when nationalists create schools that accept young women and encourage girls to attend. Fatima's mother immediately petitions her husband to allow Fatima to transfer to that school and the family council permits all the girls to go. In Fatima’s society, women are forced to do things they don’t want to do and they don’t have a choice to do it or they could be killed. They also have public baths Sidi Slimane Krishna took members of Yasmina's harem to this location to
Dolores Stewart Riccio is an American author that writes cookbooks, poems, and novels in the mystery and thriller genres. Born in Boston and brought in New England most of the settings of her Circle of Five series of noels are set in Pembroke, Massachusetts where she grew up. She was married to Ottone Riccio an author, teacher, and poet best known for the Intimate Art of Writing Poetry. From that first marriage she had two children son, Charles Sundance Anderson and daughter Lucy-Marie Sanel both of whom deem themselves among the Penobscots of Maine. Dolores is Scotch-Irish though she held a traditional Penobscot funeral on Indian Island on Old Town, Maine for her son when she died in 2007. For her cookbooks, she has always preferred to use her married name Dolores Riccio as she credits her Native American husband who was insistent that she try many experimental dishes. Conversely, she uses her maiden name of Dolores Stewart when she is writing her poetry. Not one to abandon either of her heritage or past life she decided to use both of her names when she pivoted to the writing of fiction novels. She has recently moved back to Pinehills in Plymouth the small town that she had always adored growing up as a child in nearby Pembroke. She lives at the Avalon Apartments a pleasant and peaceful apartment complex in town, where
The human form transcends throughout time persistently present in art. Dating all the way back to Paleolithic human beings our renderings of idealized forms have served many purposes. Though the Neolithic and Paleolithic purpose of these renderings is widely speculative the range of reason for these depictions ranges from idolization and worship to assertion of aristocratic and economic status even to simply serving as statements of self-expression. Amongst ruins and artifacts, sculptures of ancient cultures demonstrate the ways in which humans perceptions of what is aesthetically desirable have progressed. Two idealized sculptures the Woman from Willendorf and the Khafre statue with approximately 21,500 years separating their individual gestations this demonstrate the stylistic progression of idealized imagery through time.
In the story, there are many examples of women who suffer from a lack of an education. One of the Mirabal sisters, Patria, has a dream of becoming a nun, but Papa does not support her. “It started with Patria wanting to be a nun. Mamá was all for having religion in the family, but Papá did not approve in the least. More than once, he said that Patria as a nun would be a waste of a pretty girl. He only said that once in front of Mamá, but he repeated it often enough to me.” (Ch. 2 pg. 11) Papa believes that a woman cannot be more than a pretty face, that they should not pursue their interests and have an equal position in society. This describes that women were not allowed to become more than they could be. When Minerva tells her family that she aspires to become a lawyer, her mother does not take her seriously: Ay, Dios mío, spare me." Mamá sighs, but playfulness has come back into her voice. "Just what we need, skirts in the law!"(Ch. 1 Pg. 10) This shows that even Mama believes that women should not have a say in certain matters because she has a notion that women were not cut out for things like politics. Sometimes, even the women agree that they should not have equal representation as men. Mama seems to imply that it may be better for woman to preserve one’s innocence and integrity by avoiding politics. Minerva again argues that women deserve equality in their society. This is because at that time, the thought of a woman studying law was unusual. No one believed that a woman would be capable of studying law, which proved that women were not considered equal. Even though women were not given equal opportunities as men, the sisters fought for equality, and
...eedom was found and cultural boundaries were not shattered, simply battered, the narrator’s path was much preferable to that of her sisters (those who conformed to cultural boundaries). Through this story we can see how oppression in certain cultures changes individuals differently, creates tension between those who do not wish to be subjugated and those doing the subjugating, and we see the integral opposition between the path of Catholicism and that of curandismo.
Within every woman exists multiple facets of the self. The artist and poet help her to keep dreaming and feeling while the crone serves as her intuition. The seductress keeps her in touch with the fountain of youth and the mother takes care to nurture, heal and protect. The saint is her conscience and moral compass who keeps her on the straight and narrow as far as possible. The warrior rises up in times of trouble and fights the good fight, risking everything to survive. The clown keeps her grounded and playful. The wife does what is good and right, she has the morals and good sense to see things through while the temptress is naughty and daring, planting seeds that come from
...ionalists’ quest for women’s rights. The Mernissi women figth against a physical barrier showing solidarity toward each other, and teaching their children to stick to those of their gender. She is taught to be strong and to never depend on anyone of the opposite gender to save her, while at the same time she is taught that ultimate happiness happens with a good man, in a good relationship. The opening of the harem is gradually coming to the Mernissi household. Fatima is young enough to not be radically affected by the close doors, in great measure thanks to her mother who makes sure she is never measured any lower than anyone of the opposite gender. The effects of gender subjugation and the haremnization of women persist through out the decades even after the doors have been opened. Asya is a perfect example of seemingly open freedom but severe psychological damage.
The women represented in this essay may come from similar backgrounds, but have both grown to become drastically different human beings. One in a desperate attempt to keep the peace in her marriage and keep her family together, has given up nearly every form of freedom she has the right to have as a human being. The other, however, lives independently and freely, having given working hard to achieve her goals a chance.
In her critical essay, Anne K. Mellor is arguing that the deaths of the women in the text and the birth of the creature all represent Frankenstein’s desire to create a male dominated society while completely destroying the need for women. As Mellor states, “by stealing the female’s control over reproduction, Frankenstein has eliminated the female’s primary biological function and source of cultural power” (355). If Frankenstein were able to construct men from pieces of random corpses successfully, he would obliterate the woman’s primary function in society: to birth babies. Mellor states that Frankenstein’s primary motivation for his horrific actions is fueled by his fear of female sexuality. The treatment of females in this text is a reflection of the repression of sexual desire in the 18th century.
The play "The House Of Bernarda Alba" gives an interesting portrayal of a middle class home consisting entirely of women. The plot is set in a small town, middle class house in a society dominated by men. It is believed to be set somewhere in Spain in the 1930s. The play was written in a time when the suppression of woman was still strong. The mother, the head of the household, does everything she believes is necessary to keep her house within a good social standing in the town. The mother had become the master of the house after her husband died, which makes her work harder to keep a good reputation for her house of women. Looking deeper into the story one might find two sides to the dilemmas that cover the house. There are protagonists, principle characters in a story, and antagonists, characters that act adversaries or opponents to the principle characters. In this play one of the maids, Poncia, is forced to be in the middle of much of the drama consuming this house. She, Poncia, can be looked at as both a protagonist and antagonist. One might say that she fits into a back up role; helping support the main characters' roles, in the cast of characters.
...ters. Yet, this is not all that she does. She also refuses to listen to the opinion of the men of the house. She is a very strong woman and argues with them to make sure her opinion is heard. She may play a fool, but she also plays a fool that is opinionated and is not afraid to argue with the men. This is not something that was common in the 17th century. During this time, men were believed to know all. Women were meant to listen and follow. Marianne plays the subservient daughter. She is willing to marry a man that she does not want to marry simply because her father demands it. Yet, she plots with her maid Dorine to help her get out of the situation. This is something that does not follow gender norms. A good daughter of the time would listen to her father religiously. Every woman in this play defies gender norms, even if some of they do it in a very minor way.
...e role of a married woman throughout the entire play. She is a concerned mother, who desires the traditions to be maintained by her son’s offspring- her grandchildren. The Bridegroom, influenced by his overbearing Mother, follows the cultural roles to a tee also. He dreams of having a family with children who are raised in the same atmosphere he was, one that embraces the gender-polarized roles and creates a father-dominated environment.. He is willing to have a bountiful amount of children so that the ideology he passes down to them, will therefore live on. The Servant also conveys the cultural role. She unfortunately was unable to live the norm Andalusian life that she dreamt of. She still reveals the facts of the culture, and tries to influence the Bride to follow those ways. The characters passionately devote their lives to the culture and want others to follow.
“The Harem Within” is a life story that portrays Mernissi’s childhood experiences while growing up in her family house in Fez, Morocco. Fatema Mernissi was a daughter of wealthy landowners and agriculturalists family. Even though she was raised in indulging and a privileged neighborhood, detached from the poverty most Moroccans experienced, her childhood was spent in the limits of her household shape. Mernissi was raised in a “classical domestic harem”, which abides of extended family and was designed to keep the women sheltered from men outside of the family and the public in general. Occasionally, this exceedingly limitation nurtured feelings of frustrating separation and isolation. Mernissi’s upbringing in this habitat influenced her progress as a scholar and writer.
A woman's world may be disconnected from the realities of the actual world, but it acts as a safety blanket to secure sanity for not only herself, but also for a man to avoid losing hope. When Marlow, a sailor who sets off to the Congo for exploration, speaks to his aunt before his departure, he sees how women's worlds are “too beautiful altogether, and if they were to set it up it would go to pieces before the first sunset” (77). The world of a woman is set up so that she can bloc...
Worse, when women swallow the emptiness, loneliness, and naked violence that comes with their gender performance, their ability to develop self-awareness on matters such as academic, sexual, reproductive, safety, and health care rights no longer exists. When characters such as Ruth from Green Girls come to believe that womanhood means being on display and having to perform their roles as women in public spheres despite the feelings of wanting to shield oneself from strangers, they lose their freedom and become fettered to performative roles. Their performance of gender becomes, as Butler mentions, the result of both subtle and blatant coercions. These coercions offer a script of life that women must follow in order to remain the star of their
Also, the film revealed women empowerment and how superior they can be compared to men. While demonstrating sexual objectification, empowerment, there was also sexual exploitation of the women, shown through the film. Throughout this essay, gender based issues that were associated with the film character will be demonstrated while connecting to the real world and popular culture.