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Seen from descriptions in the most prominent literature works in Heian era, such as Ise Monotagari, Kagerō Nikki, Izumi Shikibu Nikki, Makura-no-Shōshi, and Genji Monogatari, gender roles during the period were implicitly or explicitly defined, and I assume, because of this climate, they were considered as major parts of the society, and vice versa. There are many characters appearing in Genji Monogatari. I think each of them is a representation of people whom Murasaki Shikibu had observed around her in her time, and that reviews of those characters are the key to a glimpse into ideal manliness and ideal femininity and manliness in the Heian era. In this paper, I will discuss the ideal images of men and women in Heian era by analyzing distinctive characters in those historical pieces, mainly from Genji Monogatari in comparison with the others.
Some concrete image of ideal women is described in the second chapter of Genji Monogatari, where Tō no Chūjō and a couple of his friends discuss over criterion for choosing good lovers and wives and share their experiences of love affairs. This discussion reveals some features of ideal women of the Heian era, in terms of social ranks, personality, looks, and gender roles as a wife and mother: someone who is in a rather high social status with education (middle-class preferred to highborn), not snobby but genuine, beautiful and young, good at taking care of children, and respectful to her husband. In fact, these characteristics of the ideal woman are already introduced in Chapter 1, by descriptions of Kiritsubo-no-Kōi and Fujitsubo. Before the reader reaches the end of the chapter, s/he will learn that Kiritsubo-no-Kōi is loyal to her husband and patient despite of other women’s harass...
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...t the story, Genji is a genuine individual. Apparently the people in the era were romanticists and they might believe in the body-mind connection that one’s heart shows on his/her appearance.
In conclusion, Genji Monogatari contains various aspects of the culture and society in Heian era to provide with information of the time, including social values, religious beliefs, customs, events, clothing, housing, etc. This paper focused on the femininity and manliness which the Heian aristocrats saw and discovered that some human traits have remained as virtue and others have turned into vice throughout the past 1,000 years; women were expected to be patient, generous, reserved, reliable, not jealous, loyal, educated, and physically attractive; men were desired if they were sensitive, aesthetically creative, musical, caring, romantic, and physically attractive.
This literary analysis will define the historical differentiation of female gender identity roles that occurred in the Memoirs of Lady Hyegyong and the Tale of Genji. The modern gender values in the Joseon Period define a more elevated freedom for women in patriarchal Korean society that is defined in Memoirs of Lady Hyegyong. In a more progressive gender role for women, Lady Hyegyong exhibits an aggressive male trait in angrily denouncing the execution of her younger brother, which advocates a less submission depiction of women’s rights in early 19th century Korea. In contrast to this aggressive female gender role, Murasaki Shikibu writes a novel through the perspective of Emperor Hikaru Genji and his illicit love affair with his stepmother, Lady Fujitsubo. Lady Fujitsubo is a strong woman, much like the mother of Genji, but she is a concubine with little real power in the court. Historically, the patriarchal culture of 11th century Heian Period in Japan is different from the Joseon Period in that
Most classical society’s political and social organization revolved around the idea of patriarchy, a male dominated social system. This system exacerbated the inherit difference between men and woman and assigned gender roles based on these observations. Men were generally regarded as superior to woman therefore given greater religious and political roles as well as more legal rights. As the natural inverse, women were subordinated and seen as week; their main roles reproductive and domestic. Information about patriarchy in the classical era, though abundant, was, for the most part, written by men, therefore history does not give us an accurate depiction of women’s viewpoints. Four societies of the classical era, India, China, Greece, and Rome, adopted a patriarchal system, however, due to many factors, each developed identifiable characteristics.
During this time period women were not respected at all and were belittled by all med in their lives. Even though men don’t appreciate what women they still did as they were told. In particular, “Women have an astoundingly long list of responsibilities and duties – th...
One of the aspects of the Middle Ages which is explored by numerous scholars today is that of the antifeminist stereotypes which pervaded literature and cultural mores during the period. In an era governed by men, the fact that women were treated as inferior is unsurprising; archetypal visions of femininity fit neatly into medieval history. However, most people would like to believe that such pigeonholing has been left in the past, allowing for more liberated times in which women are portrayed realistically and as the equals of men.
...e taken the traditional women’s obligation of loving and caring her husband. Her love to her husband reveals part of her identity as a conventional responsible wife, yet her internal desire of freedom sets another part of her feminity as an unconventional self-supporting woman.
This essay explores the role of women in Homer's Odyssey, James Joyce's Ulysses (1922) and Derrick Walcott's Omeros (1990), epics written in very different historical periods. Common to all three epics are women as the transforming figure in a man's life, both in the capacity of a harlot and as wife.
Many readers feel the tendency to compare Aphra Behn's Oroonoko to William Shakespeare's Othello. Indeed they have many features in common, such as wives executed by husbands, conflicts between white and black characters, deceived heroes, the absolute vulnerability of women, etc. Both works stage male characters at both ends of their conflicts. In Othello, the tragic hero is Othello, and the villain is Iago. In Oroonoko, the hero is Oroonoko, the vice of the first part is the old king, and the second part white men in the colony. In contrast to their husbands, both heroines—Desdemona and Imoinda—seem more like "function characters" who are merely trapped in their husband's fates, occasionally becoming some motivation of their husbands (like Desdemona is Othello's motivation to rage, Imoinda's pregnancy drives Oroonoko restless to escape). While Shakespeare and Behn put much effort in moulding them, to many readers they are merely "perfect wives". This paper aims to argue that, Desdemona and Imoinda's perfect wifehood may be the product of compliance to male-dominated societies, where women are
Murasaki Shikibu’s Tale of Genji, set in the Heian Period, gives a good idea of what the model Heian man and Heian woman should look like. Genji himself is like a physical embodiment of male perfection, while a large portion of the Broom Tree chapter outlines the ideal of a woman—that it is men who decide what constitutes a perfect woman, and the fact that even they cannot come to decide which traits are the best, and whether anyone can realistically possess all of those traits shows that the function of women in the eyes of men of that period was largely to cater to their husbands and households. Broken down, there are similarities and differences between the standard for Heian men and women, and the Tale of Genji provides excellent examples of characters who fit into their respective gender roles.
The male dominated society of the Heian and Tang periods led to the creation of biased ideals of men and women. Although the author of the Genji Monogatari, Murasaki Shikibu, was a woman, her perception of male and female ideals was also influenced by centuries of male dominated thought as conveyed through the vast amounts of Chinese culture which permeated the society she was a part of. Thus, one can read the Genji Monogatari as an example of gender ideals in Heian Japan as well its Chinese predecessor, the Tang dynasty.
The account of Roman women is a fascinating facet of the greater saga of the Roman Empire itself. During the Roman Empire, the economy, politics and civilization as a whole, was dominated almost entirely by men. As a result, a number of expectations were placed on women, detailing how they should look, behave and with whom they should associate. These expectations were reinforced and affected by both the social and political fixtures of the Roman Empire. Although women made a number of important social and legal advances in Ancient Rome, the development of the Empire proved to be detrimental to the emancipation of women as the pre-existing social expectations were altered in order to impose a more conservative moral order. These antecedent expectations were crafted from a number of ideals concerning female intellect, sexuality and influence, that existed in society prior to the development of the Roman Empire.
III. The Obedience of Women Introduction Not only are women expected to lead lives in which they depend on men to be happy and wealthy, but they are expected to do so with total obedience to the expectations of men. It is important to see how women react to the requests of men and how much freedom for thought and action they are allowed to have and what consequences occur when a woman disobeys what is asked of her. Cinderella In the Brothers Grimm, the first characterization of Cinderella is a description that “she was always good and said her prayers” (Grimm 122).
Evaluate and respond to the presentations of women in the Romantic period. Feel free to discuss presentations of women, by women (such as Austen’s Persuasion) as well as presentations of women by men (such as the “she” in Byron’s “She Walks in Beauty”). Consider the following questions: are these presentations problematic? What do they tell us about the values and briefs of the Romantic Period? Do any of these presentations subvert (complicate, or call into questions) the time’s notions of femininity?
Women were often subjects of intense focus in ancient literary works. In Sarah Pomeroy’s introduction of her text Goddesses, Whores, Wives, and Slaves, she writes, “Women pervade nearly every genre of classical literature, yet often the bias of the author distorts the information” (x). It is evident in literature that the social roles of women were more restricted than the roles of men. And since the majority of early literature was written by men, misogyny tends to taint much of it. The female characters are usually given negative traits of deception, temptation, selfishness, and seduction. Women were controlled, contained, and exploited. In early literature, women are seen as objects of possession, forces deadly to men, cunning, passive, shameful, and often less honorable than men. Literature reflects the societal beliefs and attitudes of an era and the consistency of these beliefs and attitudes toward women and the roles women play has endured through the centuries in literature. Women begin at a disadvantage according to these societal definitions. In a world run by competing men, women were viewed as property—prizes of contests, booty of battle and the more power men had over these possessions the more prestigious the man. When reading ancient literature one finds that women are often not only prizes, but they were responsible for luring or seducing men into damnation by using their feminine traits.
As we learned during the first half of the course, the Heian period focused their attentions on elegance, aesthetics (of actions or objects), and relationships (specifically the feelings of love, longing, and waiting). This is reflected that period’s literature. In “Genji Monogatari,” the characters continuously behaved elegantly and gracefully spoke in poems. “Makura no Sōshi” acted as a reference and guide for appropriately refined court behavior. While various nikki, such as “Izumi Shikibu Nikki” and “Kagerō Nikki,” gave readers insight into the lives and relationships of people in the Heian period court.
“Gender is one of those big themes that is a little difficult to nail down, in part because it often informs a text without being explicitly addressed. Of course, there are instances in Sula in which we do get direct commentary on gender and gender roles, particularly as they relate to the limits placed on women. But more often than not, we have to dig a little deeper to understand the gender dynamics. And it 's not just men who are invested in upholding certain gender roles while dismantling others. Some women are just as invested in maintaining these societal roles, no matter how restrictive they seem.”