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Prescribed role of women in persepolis
Prescribed role of women in persepolis
Prescribed role of women in persepolis
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The Arabian Nights is a collection of fictional stories of ages past. The book in itself contains many variations of plots, scenes, story elements, and characters. Honing in onone of the many, the focus of this dissertation is to present a scene in The Talking Bird, the Singing Tree, and the Golden Water. The scene in question is of Perizade, one of three main characters, successfully gathering all three items and saving all of the men who tried their hand at the task before her. This scene is a clear example of how women can match men eye for eye and succeed in areas that men cannot.
The writer’s desired response was for the reader to be nervous of what would happen to Perizade – at first, at least. It is clear that the woman would be in despair if turned back from the objects. In addition to the above, there is language that suggests she was both nervous and determined. It is heavily implied that the harsh remarks do not affect her while she is on the path due to her extreme focus on the goal at hand. On the other side of things, the Talking Bird is portrayed as somewhat of a sympathetic character from the beginning. Though it is trapped in the cage it is still beholden to no person. It could act of its own free will. The bird had no way to tell whether the person approaching it was benevolent or malicious. Therefore it reacted instinctively in spite, as most creatures do when their freedom is threatened. The bird warms to Perizade once she approaches and it sees that she means no harm to it.
Before the scene in discussion, an old woman arrives at Perizade’s home when her brothers were not present. The old woman is impressed with the home, but she mentions that it is lacking in three objects; the Talking Bird, the Singing Tr...
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...ll the siblings is an unexpected twist of things that works out splendidly. Though the story does continue on and reaches another happy conclusion, if the story had ended immediately following the scene presented here then it would have been a satisfactory ending. It also demonstrates Perizade’s complete determination to finally achieve her goal and that she was more than capable than the many men who had tried before her, if only because she attempted a new approach that no one had yet thought of. Therefore, this scene was one of, if not the, most important scene in the story. Many things before in the story lead to the events of the scene and many things after hinge upon it. Leaving with that, it presents an interesting question of morals – with woman being capable of just as many things as men, why are they still often treated as the inferior of the two sexes?
Although Rivka Galchen’s “Wild Berry Blue” and James Joyce’s “Araby” have some differences, there even more similarities. The narrators, their journeys, and their conclusions at the end of their journeys are analogous. Both attempt to win over the object of their affection through a gift, and yet thorough the purchase of that gift they realize their folly in love. As Joyce wrote “Araby” in 1914, yet Galchen did not write “Wild Berry Blue” until nearly 100 years later, Galchen may have written “Wild Berry Blue” as a modern retelling of Joyce’s classic short story.
...d longs for her elder sister and mother. Frances is a good person – at heart – and is always looking out for her younger sister. Moreover, even though she has different views that her father and will always do the opposite of what is expected of her, it is seen that this insecurity is caused by James indeed. Frances feels that in order to gain security in her life, she must perform these actions. She feels compelled to live her life the way she does. Frances’s naughty and mischievous behaviour can be viewed as a weakness she possesses, and she longs to correct these weaknesses by her actions. She is not a role model by any means, but she is by no means the Devil’s advocate. A sincere heart – compelled by circumstances – does its best to make the situation turn out for the better than the worse, and Frances, through her love for her mother, inevitably does just that.
Isobelle Carmody’s short story, “The Pumpkin-Eater”, portrays a middle eastern woman, a lone rider and former princess in the days of the crusades, retelling her story of her childhood living in a tower with her mother and maid, leaving to accept the engagement proposed by a prince, only to discover that in this, she is to be exchanging one prison for another. The discovery of self-reliance is seen through her leaving to take care of herself, to not be locked up and kept hidden away to preserve beauty. Foreshadowing of her journey is utilised through the drawing of tarot cards to set the story in motion. “I remember drawing the card of long journeying the year my firstblood came. The bird of my heart, caged for so long, beat its wings against my chest” The mention of her “firstblood”, a significant component to becoming a woman, as a normally hidden bodily function attends to the process of maturity, and the metaphor of the caged bird of her heart symbolises the anticipation and excitement to escape her tower prison to find love of her own. The drawing of this particular card acts as a catalyst to the protagonist’s story, providing reason for her to leave and start anew. The world the protagonist is confined to the tower, with her mother and her maid warning her from love, therefore, forming her basis of rebellion, challenging the views of the world seen through other’s eyes. “ ‘Was it love then?’
Their fates constantly depend on men’s decisions to save them or to take advantage of them; the women do not seem to have any power or will of their own. This pattern of helplessness is illustrated throughout several stories in the Metamorphoses, one of which is the story of “Perseus and Andromeda.” In this story, Andromeda is a young girl who is first seen on a mountain top, tied to a cliff, awaiting death by sea monster. The reader is not given any other description of her besides that her “beauty quite astounded [Perseus]”. After Perseus sees her beauty, he decides to intervene. He flies over to her riding the wings strapped to his feet and asks her why she is there. Her reaction to his coming, however, is not one of hopefulness, but of
I noticed along with the caged birds in the opening of the story the number of bird images throughout. It is Mademoiselle Reisz that tells Edna, “The bird that would soar above the level plain of tradition and prejudice must have strong wings. It is a sad spectacle to see the weaklings bruised, exhausted, fluttering back to earth.’”Edna refers to her new home as “the pigeon-house”. It pleased her. “It at once assumed the intimate character of a home, while she herself invested it with charm which it reflected like a warm glow.
The tile of the poem “Bird” is simple and leads the reader smoothly into the body of the poem, which is contained in a single stanza of twenty lines. Laux immediately begins to describe a red-breasted bird trying to break into her home. She writes, “She tests a low branch, violet blossoms/swaying beside her” and it is interesting to note that Laux refers to the bird as being female (Laux 212). This is the first clue that the bird is a symbol for someone, or a group of people (women). The use of a bird in poetry often signifies freedom, and Laux’s use of the female bird implies female freedom and independence. She follows with an interesting image of the bird’s “beak and breast/held back, claws raking at the pan” and this conjures a mental picture of a bird who is flying not head first into a window, but almost holding herself back even as she flies forward (Laux 212). This makes the bird seem stubborn, and follows with the theme of the independent female.
Throughout the story, it has been Sister who has tried to persuade the reader to take her side in the debacle with her family. The truth is that it was Sister who caused the entire dispute that is going on with her obsession to compete with her sister that goes back to her childhood where she feels that Stella-Rondo is spoiled and continues to be spoiled up to the end following Sister’s desperate need for attention.
The plot of this short story is mainly about the insecurity and jealousy that the author feels when it comes to his wife. He believes that his wife is consecutively cheating on him with different man. The feeling of insecurity was shown before the husband came back to life as a form of a parrot. An example of his peculiar and obsessive insecurity can be found in paragraph (11-12) in the short story when he is led by his insecurity to impulsively look up the name and address of his wife supposedly lover. “But this guy from shipping. I found out his name and his address and it was one of her typical Saturday afternoons of vague shopping”. “So I went to his house, and his car that was just like the commercial was outside. Nobody was around in the neighborhood and there was this big tree in the back of the house going up to a second floor window that was making funny little sounds.” During the time that this man was alive, and time that he came back to life as a parrot, he failed miserably to communicate his wife his feelings and fears; therefore he could only made assumptions instead of just facing his wife and clarify the situation. In paragraph 19 he portraits his inability to exchange ideas with his beloved wife “I talk pretty well, but none of my words are adequate. I can’t make her understand.” The man is total loser, he is unable to express his emotions and ends up paying for his lack of courage
Many stories talk about relationships, especially the ones between man and woman as couple. In some of them, generally the most popular ones, these relationships are presented in a rosy, sentimental and cliché way. In others, they are presented using a much deeper, realistic and complicated tone; much more of how they are in real life. But not matter in what style the author presents its work, the base of every love story is the role each member of that relationship assumes in it. A role, that sometimes, internal forces will determinate them, such as: ideas, beliefs, interests, etc. or in order cases external, such as society. In the story “The Storm” by American writer Kate Chopin and the play A Doll’s house by Norwegian playwright Henrik Ibsen I am going to examine those roles, giving a special focus to the woman´s, because in both works, it is non-traditional, different and somewhat shocking, besides having a feminist point of view.
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.
Women are what bring this story to such cavernous depths. We are not brought into the perspective of the men, we are, however, told about how they are loved, hurt, and manipulated by the women. There is a scale of personality among the ladies which ranges from the pious uncertainty of Gwenyfar to the essence of strength from Morgaine. We are first enthralled with Igraine’s love, repulsed by the sinister Morgause, respectful to the lady Igraine, enchanted by Morgaine’s wisdom and angered by Gwenyfar’s ignorance. The qualities possessed by these woman can be both glorious and destructive.
A prolific exemplification of the ideal female virtues portrayed in fairy tales is Charles Perrault’s “ The Little Glass Slipper”. Perrault presents the ideal female fairy tale character through his portrayal of Cinderella. Cinderella is a tame and forgiving individual who subjects herself to the will of her father, stepmother and s...
The Thousand and One Nights and Arabian Nights comes in the Middle Eastern and Western origin. The stories gathered from different cultures in India, China, Iran, Iraq, Egypt, Turkey, and Greece. The Thousand and One Nights and Arabian Nights give triumph to fables bring heroes and heroines with moral lesson to life. “King Shahryar and his brother, Shahzaman believe women are treacherous” (Byatt, 1). “This led Sultan with every new wife to be executed by the next morning “(Byatt, 1). Until Shahryar married Shahrazade this man’s mind and heart begin to change with her 1,001 nights of stories. The tales will explore aspects similarities personality of the characters, comparison Western and Eastern stories, and moral message helps the reader to understand the purpose.
The myth Leda and the Swan has been used by artists for inspiration since it was known. It invokes powerful feelings in us because of its representation between men and women. It makes us think about the relationship between men a women though out history. Artwork of Leda and the Swan also brings to the mind the question of what types of displays of affection are appropriate to be seen. Myths were written by men and for men, this is reflected the artwork we see of Leda and the Swan. The art changes though history and reflects the attitudes of men towards women form each time period the piece is from. Leda and the Swan shows us how men think about women, and also how society thinks about
Amidst the glittery throng of South-Asian Literature, Nadeem Aslam’s Maps For Lost Lovers rises to a stature of its own. Aslam, in his novel, builds characters whose lives revolve around a plethora of symbols. These symbols not only help in deciphering all of his characters, but it also adds depth and substance to their personalities. The three-dimensional nature of these characters, uncovers their complexity. Interestingly, these abstract symbols and signs can be linked to the ancient tradition of folklore and mythology. Suraya, one of Nadeem Aslam’s characters, is of an elusive, intangible and mysterious nature. She tempts Shamas and Charag with her beauty; and it is precisely this attribute of her character that can directly be linked to mythology itself. Thus, the main premise of this response is to proclaim Suraya as the Siren in Nadeem Aslam’s text.