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Women in the ramayana
20th century gender roles in literature
Gender roles throughout literature
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In many ways— that may not be favorable— gender separates human-beings. Often in our society, gender defines a person’s individuality. Whether male or female, gender is a significant factor that contributes to a person’s pressures and responsibilities. As for women, a major social issue today is that their gender identity suppresses and dictates their role among civilization. In literature, authors depict this issue with female protagonist who have restrictions and must maintain her culture’s expectations. If she does not follow the concepts of the ideal woman, the character finds others frowning upon her as she struggles to remain conformed. Eventually she learns to break away from the norm and discovers a new meaningful life. Three works—from …show more content…
In the Ramayana, Sita’s role is being the ideal submissive wife to Rama. Her obligations include worshipping her husband because above all else—he is a God and the highest importance in her life. Betraying the faith and loyalty of her husband would be failing her dharma— which in Hinduism means duty. Even when Rama must leave the kingdom because his step mother Kaikeyi banishes him, he clarifies with Sita that she does not have to join him. Regardless of his persuasion for her stay, Sita says, “After fourteen years! What would be the meaning of my existence? I could as well be dead… I am only alive with you; a forest or a marble palace is all the same to me” (Narayan 53). Although the option to stay is open to Sita, she sacrifices a protective shelter for Rama. To Sita, a wife’s duty is to be with her husband wherever he may go and to ask very little of him. However, when Mareecha lures her to request that Rama leave her and capture the golden deer, readers learn that her desires have consequences. While unprotected from danger, Mareecha kidnaps Sita to make her Ravanna’s wife. Even under this situation, Sita continues to main her loyalty to …show more content…
Although Valmiki’s The Ramayana reflects on a great, Hindu male god and shows Rama’s strong capacities and confidence, a part explores Sita’s character who exhibits courageous qualities. After returning to Ayodhya, the culminating moment of Sita’s story comes during her trial by fire. At this point, Rama tells Sita to leave because he refuses to belief Ravanna and her did not have sexual relations. Her devotion to Rama is so complete that she is willing to walk on fire to prove her purity. “Sita approached the fire, prostrated herself before it, and said, ’O Agni, great god of fire, be my witness.’ She jumped into the fire” (Narayan 149). Through her actions, Sita reveals that she is not a meek woman who allows herself to be enslaved and mistreated by her husband. Rather, she is fierce with a sense of pride and duty, whose rejection of Rama is the ultimate representation of
In today’s society, gender issues are often discussed as a hot topic. In literature, feminist views are used to criticise “societal norms” in books and stories. Two popular pieces by authors Kolbenschlag and Hurston paint two very different views on women. One common assumption in the use of a feminist critical perspective is that gender issues are central. Kolbenschlag who wrote the literary criticism “Cinderella, the Legend” would most likely disagree with this statement, she feels that women bare greater burdens in society and are more largely affected by social norms.
In the Epic of Gilgamesh, gender plays a very significant role. While women were not the most powerful gods nor the strongest or wisest of humans, they still had tremendous influence. Though the main characters of the story, Gilgamesh and Enkidu, are male, women did not play a necessarily minor role. With all the women that play a role in the Epic of Gilgamesh, gender is a topic worthy of discussion.
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.
Due to traditional stereotypes of women, literature around the world is heavily male-dominant, with few female characters outside of cliché tropes. Whenever a female character is introduced, however, the assumption is that she will be a strong lead that challenges the patriarchal values. The authors of The Thousand and One Nights and Medea use their female centered stories to prove their contrasting beliefs on the role of women not only in literature, but also in society. A story with a female main character can be seen as empowering, but this is not always the case, as seen when comparing and contrasting Medea and The Thousand and One Nights.
In summary, the account for a woman’s femininity is primarily encouraged by man. Wollstonecraft inspires readers as she debates the right for woman equality to man, with most, if not all females agreeing with her argument and powerful ideas. Thus it is possible to conclude that the influence of academic literature does complicate everyday contemporary understanding, as reality of the day has differing points of view in writing. According to the referenced literature, woman in contemporary society are considered are flaw of nature however observed by women unreasonably.
Cultures throughout the world encompass a diverse array of lifestyles by which societies are led by. These cultures, in a typical sense, are created by the subset of a population that follows a particular set of morals and ideals. An individual’s own identity, as a result, is dependent on many varying factors of their lifestyle in these culturally regulated regions. In the stories, “Selections from Reading Lolita in Tehran,” by Azar Nafisi, and “The Naked Citadel,” by Susan Faludi, the authors depict the impact made on an individual’s identity by male-dominated communities prejudiced against women. The discriminations described in these stories contribute to the creation of cultures that oppose the idea of seeing women as equals to men. Hence,
Women had no choice but to follow whatever society told them to because there was no other option for them. Change was very hard for these women due to unexpected demands required from them. They held back every time change came their way, they had to put up with their oppressors because they didn’t have a mind of their own. Both authors described how their society affected them during this historical period.
”Women have been taught that, for us, the earth is flat, and that if we venture out, we will fall of the edge”(Kramarae, Treichler). This notion is exemplified through both novels, Antigone by Sophocles, and A Doll’s House by Leo Tolstoy. Both novels provide a different look at women, with the two main characters showing qualities that weren’t common in this era such as determination, intelligence, rebellion, hubris, and stubbornness.
In various countries, women are to live a certain lifestyle through what society places them in. Many novelists, from foreign areas such as the Caribbean’s and Africa, write stories that are heavily influenced by their lifestyles they had when growing up or watching someone else go through the same lifestyle. The stories Women Like Us by Edwidge Danticat and Girl by Jamaica Kincaid, are both a perception on women. However, while Danticat’s story lean more on the subject of women and writing, Kincaid’s story is more about women and femininity. Kincaid and Danticat both have unique backgrounds that influence these stories, and they express the importance of womanhood through theme and figurative language.
In order for us to deal with how a consideration of femininity can effect our understanding of a literary text, we must also be able to grasp the notion of `feminism' and `Feminist Literary Theory'. A dictionary definition of `feminism' is: `the advocacy of women's rights on the grounds of the equality of the sexes.' Although this leans towards feminism in the historical sense of the word, it still provides the grounds, or foundations, from which feminist literary theories were created. Feminists argue against the stereotyping and social construction of female norms, seeing them as created by men in order to establish their own sense of power. It is thought that while males suggest that gender is sex and not actually a construct, the female role will become much more passive, stereotyped and controlled.
...present powerful characters, while females represent unimportant characters. Unaware of the influence of society’s perception of the importance of sexes, literature and culture go unchanged. Although fairytales such as Sleeping Beauty produce charming entertainment for children, their remains a didactic message that lays hidden beneath the surface; teaching future generations to be submissive to the inequalities of their gender. Feminist critic the works of former literature, highlighting sexual discriminations, and broadcasting their own versions of former works, that paints a composite image of women’s oppression (Feminist Theory and Criticism). Women of the twenty-first century serge forward investigating, and highlighting the inequalities of their race in effort to organize a better social life for women of the future (Feminist Theory and Criticism).
The term gender-solidarity refers to a bond among a particular gender. In this article the focus is on unity among the females from all castes and classes in the novels of Toni Morrison and Alice Walker. Some of the characters of the novels find this phenomenon a part of their lives because all of them face the same biasness in the family, society, and everywhere.
In contemporary society, feminism is emerging as a theory of social construct. In literature it is often challenging to discover female characters that go beyond the limits of marginalized female stereotypes and roles as a means to transgress beyond societal norms. Women are characterized as subordinate objects, amid the dominant patriarchal nature entrenched amid the epic. In The Ramayana, women are portrayed as powerless objects that succumb to the manipulation of men as the text portrays a false empowerment of women, which ultimately succumb to common archetypes accustomed to women in literature; implementing a hierarchy of gender that institutionalizes male dominance amid female inferiority. The women of The Ramayana struggle to oppose the systemic patriarchy and pursue a pathway towards attaining dynamic elements of power, that enable their ability to embody autonomous authority. In Valmiki’s The Ramayana, while women appear to be empowered, ultimately they are feeble instruments utilized to fulfill the desires of men.
Rama doesn’t let married women tempt him. When he reflects upon his initial attraction to Sita he “realized that if she were married he would instinctively have recoiled from her” (Narayan 25). By contrast, those who covet married women suffer because of their desires: Indra becomes cursed and covered in female organs and Ravana’s infatuation with Sita is what leads to the poor decisions that eventually culminate in his destruction. Violating a woman against their will is something else that is considered unacceptable. One of the reasons why Rama sides against Vali is that Vali violated his brother’s wife. Rama tells him, “Guarding a woman’s honour is the first duty laid on any intelligent being” (Narayan 102). Rama devotes himself to his wife, Sita; however, a common theme of the story is that being too devoted to one’s wife can be a bad quality. Rama’s desire to please Sita indirectly causes her kidnapping and his failure in fulfilling his duty as Rama laments, “I have failed to protect my wife . . . and I have failed her woefully” (Narayan 96). Dasaratha’s demise is another example of why a king shouldn’t be so devoted to a wife; Dasaratha’s dependence on Kaikeyi allows her the opportunity to manipulate and ultimately, destroy
“Girls wear jeans and cut their hair short and wear shirts and boots because it is okay to be a boy; for a girl it is like promotion. But for a boy to look like a girl is degrading, according to you, because secretly you believe that being a girl is degrading” (McEwan 55-56). Throughout the history of literature women have been viewed as inferior to men, but as time has progressed the idealistic views of how women perceive themselves has changed. In earlier literature women took the role of being the “housewife” or the household caretaker for the family while the men provided for the family. Women were hardly mentioned in the workforce and always held a spot under their husband’s wing. Women were viewed as a calm and caring character in many stories, poems, and novels in the early time period of literature. During the early time period of literature, women who opposed the common role were often times put to shame or viewed as rebels. As literature progresses through the decades and centuries, very little, but noticeable change begins to appear in perspective to the common role of women. Women were more often seen as a main character in a story setting as the literary period advanced. Around the nineteenth century women were beginning to break away from the social norms of society. Society had created a subservient role for women, which did not allow women to stand up for what they believe in. As the role of women in literature evolves, so does their views on the workforce environment and their own independence. Throughout the history of the world, British, and American literature, women have evolved to become more independent, self-reliant, and have learned to emphasize their self-worth.