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The role of women in literature
The role of women in literature
Gender in literature
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The Tale of Genji is a classic work of Japanese literature attributed to the Japanese noblewoman Murasaki Shikibu in the early eleventh century, around the peak of the Heian period. It is sometimes called the world's first novel, the first modern novel, the first psychological novel or the first novel still to be considered a classic. While universally hailed as a masterpiece, its precise classification and influence in both Western and Eastern Canon has been a matter of debate (the Tale of Genji).
The Tale of Genji was written chapter by chapter, as Murasaki Shikibu delivered the tale to women of the aristocracy. It has many elements that are found in a modern novel including a central character and a very large number of major and minor characters. It has well-developed characterization of all the major characters, and a sequence of events happening over a period of time covering the Genji’s lifetime and beyond. The work does not make use of a plot and instead, events just happen and characters change simply by growing older. One remarkable feature of the Tale of Genji is its consistency, despite having some four hundred characters. One Example is that, all characters age, and all the family and feudal relationships are consistent among all chapters (the Tale of Genji).
A major ambition of any ranking gentlemen in the world of the Tale of Genji was to present a daughter to the Emperor or the Heir Apparent. Because of this the Emperor normally had a number of recognized relationships with women. Not because of sexual tendencies on his part but because he was required to make his prestige widely accessible to the members of the upper aristocracy. Below his one Empress he had several Consorts, and below that, a number of Intimate...
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...man in government service and no note she wrote contained kana, instead being written in Chinese. Her one major flaw though was one day when he went to visit her she hid behind and spoke to him through an “absurd screen.” Upon further examination it turned out that due to purposed she was forced to ingest “allium sativum,” or garlic, which caused her breath to be “too noxious” to entertain in a normal fashion. This proved to be too overpowering for him and he basically got up and fled the scene. Something as simple and overpowering as Garlic was enough for a man back in those days to deny a woman; no matter what other qualities she might posess.
Works Cited
Murasaki, Shikibu, and Royall Tyler. The Tale of Genji. New York: Viking, 2001. Print.
"The Tale of Genji." Wikipedia, the Free Encyclopedia. Web. 01 Mar. 2011. .
Power and Money do not Substitute Love and as it denotes, it is a deep feeling expressed by Feng Menglong who was in love with a public figure prostitute at his tender ages. Sadly, Feng Menglong was incapable to bear the expense of repossessing his lover. Eventually, a great merchant repossessed his lover, and that marked the end of their relationship. Feng Menglong was extremely affected through distress and desperation because of the separation and he ultimately, decided to express his desolation through poems. This incidence changed his perception and the way he represents women roles in his stories. In deed, Feng Menglong, is among a small number of writers who portrayed female as being strong and intelligent. We see a different picture build around women by many authors who profoundly tried to ignore the important role played by them in the society. Feng Menglong regards woman as being bright and brave and their value should never be weighed against
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.
Some of the more fascinating documents of the Han period in ancient China were arguably those written by women. The writings were at once contradictory due to the fact that they appeared to destroy the common perceptions of women as uneducated and subservient creatures while simultaneously delivering messages through the texts that demonstrated a strict adherence to traditional values. Those are the paradoxical characteristics of prominent female scholar Ban Zhou’s work called Lesson for a Woman. Because modern opinions on the roles of women in society likely cloud the clear analysis of Zhou’s work, it is necessary to closely examine the Han’s societal norms and popular beliefs that contributed to establishing the author’s perspective and intent.
Chinese eunuchs were the original gate-keepers of the imperial palace, menial servants in the imperial harem, and messengers between the emperor, his concubines, and the imperial court. The Chinese inscriptions combing the graphs for ‘male reproductive organ’ and for ‘knife’ have been found on oracle bones dating from about 1300 BCE.1 The context of the inscriptions generally indicates that the castration of captured prisoners of differing ethnicities existed at this early date.2 The word for eunuch, taijan , often connotating a pervert, first appeared in the Chinese language about one thousand years ago.3 Eunuchs were deemed suitable candidates for the emperor’s close aides and attendants because they possessed both a masculine physique and a feminine docility. More important, however, was the use of men deprived from their reproductive power and sexual desires was thought to safeguard the moral purity and sanctity of an emperor’s private chambers.4 Throughout the three-thousand year old institution, the number of eunuchs in the imperial palaces varied between less than 100 in the early years, to more than 100,000 in 1620, roughly 1% of the population.5 The extent, role, and nature of the eunuch presence in Chinese history varied according to specific social and political backgrounds throughout the long existence of the political institution, but identifying some recurring themes of eunuch activities is useful towards reconstructing the social history of eunuchism in China. It is apparent, however, that as imperial power and autocracy increased, the use of castrated men to fill various male jobs in the palace gradually became a necessity.
Gender roles have been a predominant factor in our world since the early emergence of human societies whether they are positive or negative. They are based on expectations that societies have over the people in them. The Epic of Sunjata, shows us how men and women are treated almost equally in different forms. Women are praised for their ability to birth leaders, which is similar to the early Greek Society. In most societies, women are treated less equal than men. This was prevalent in the early Indian society. No matter the gender role, it has been shown that any society cannot survive without both men and women.
Ironically, Murasaki was able to write The Tale of the Genji in a patriarchal environment, which was typically dominated by male poets and historical writers. The background of this 11th century Japanese “novel” defines the unusual circumstances of a male-dominant literary culture, which allowed Murasaki to tell this story as a female author. In her own diary, Murasaki Shikibu writes about the power of patriarchal authority in the royal court, when she learns that the emperor was reading Tale of Genji. This aspect of 11th century Japanese society defines the assumption of ignorance and submissiveness that Murasaki had to endure as a female
Empress Wu’s rise to power was due to her unwavering determination and ruthless spirit. She first entered the palace as a thirteen year old concubine and from an early age she realized the importance of raising her status. Wu was ‘not just another imperial consort… she was very much a political fig...
“Girl” written by Jamaica Kincaid is essentially a set of instructions given by an adult, who is assumed to be the mother of the girl, who is laying out the rules of womanhood, in Caribbean society, as expected by the daughter’s gender. These instructions set out by the mother are related to topics including household chores, manners, cooking, social conduct, and relationships. The reader may see these instructions as demanding, but these are a mother’s attempt, out of care for the daughter, to help the daughter to grow up properly. The daughter does not appear to have yet reached adolescence, however, her mother believes that her current behavior will lead her to a life of promiscuity. The mother postulates that her daughter can be saved from a life of promiscuity and ruin by having domestic knowledge that would, in turn also, empower her as a productive member in their community and the head of her future household. This is because the mother assumes that a woman’s reputation and respectability predisposes the quality of a woman’s life in the community.
The Epic of Gilgamesh is a story of Gilgamesh, a man who was two-thirds god that was saved by companionship. Gilgamesh was a cruel and careless king, who spent his time raping women, exhausting citizens, and conquering foes and foreign lands until he met, fought and was guided by his great friend and soul mate, Enkidu. With the help of Enkidu and his influence, he learned compassion as well as wisdom and integrity, and eventually Gilgamesh became a great and fair king. Though the story focuses mainly on Gilgamesh and his friendship with Enkidu, there are several roles played by women that help to make and move the story along. Without these important women who show great strength and feminine qualities despite being oppressed by the patriarchy, Gilgamesh would not have been the great king he was meant to be.
Perspectives on gender roles throughout history majorly favor the male over the female; her abilities are underestimated by society thus her role is belittled and objectified. The ancient Mesopotamian epic, Gilgamesh, follows this norm of males being in the lead. However in truth, the women play a small but significant role as their drive. The females provide the wisdom and balance the main characters need to endure their journey. Men worship the opposite sex, relying on the power of their love to the point where they are ultimately exposed to a new way of life.
...ic female figures in Ancient Japanese literature. His sentiment is basically that such acts are melodramatic and lead only to regret on her part (pg. 25). I took it to mean that Murasaki Shikibu was criticizing those old tropes used in Japanese literature, and the unrealistic standards (which the men in Chapter Two later admit are impossible) are a criticism of the expectations placed on women in Heian society. All in all, the book points at the despairing conditions of women in the Heian Period, and as for Genji, who is described by the author and other characters as “perfect” in every imaginable variation of words, it is made clear through his actions and decisions that he is not perfect, and tends to be quite selfish—signifying that the male ideal is also unrealistic and unattainable.
It is very common for several TV shows or movies to reflect real life society, depending on what genre. Game of Thrones, a TV adaptation of George RR Martin’s A Song of Ice and Fire series depicts our society very well; despite the fact that it takes place in a fantasy medieval-like land, called Westeros. This show puts an emphasis on both gender and sexuality, with men being dominant in that society while women are often referred to as the inferior. It also includes several double standards for men and women and comprises compulsory heterosexuality. The show also heavily focuses on class and social stratification: the differences between two of the main classes in the
The Heian period(794-1185), the so-called golden age of Japanese culture, produced some of the finest works of Japanese literature.1 The most well known work from this period, the Genji Monogatari, is considered to be the “oldest novel still recognized today as a major masterpiece. ”2 It can also be said that the Genji Monogatari is proof of the ingenuity of the Japanese in assimilating Chinese culture and politics. As a monogatari, a style of narrative with poems interspersed within it, the characters and settings frequently allude to Chinese poems and stories.
I think that any female you see in mystery stories and tv shows are all femme fatale or the victim. Most would say that you can't assume that women can only be those archetypes, but after witnessing each of these stories, I can confirm that all female characters are either the femme fatale or the victim.
Many people think that boys in our culture today are brought up to define their identities through heroic individualism and competition, particularly through separation from home, friends, and family in an outdoors world of work and doing. Girls, on the other hand, are brought up to define their identities through connection, cooperation, self-sacrifice, domesticity, and community in an indoor world of love and caring. This view of different male and female roles can be seen throughout children’s literature. Treasure Island and The Secret Garden are two novels that are an excellent portrayal of the narrative pattern of “boy and girl” books.