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Women in medieval literature and society
Female roles in medieval literature
Women in medieval literature and society
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Margery Kempe was an English Christian who is responsible for dictating The Book of Margery Kempe, which is possibly the first autobiography in the English language. This autobiography documents her travels and her experiences of divine revelation as she remembers them. It is quite evident that Margery Kempe, who refers to herself as “the creature,” is exceedingly obedient to a man that might not even exist, but why? Throughout this entire book, there are many signs indicating objectification. This “involves the lowering of a person, a being with humanity, to the status of an object” (McKay 56). In other words, this is the seeing and/or treating of a person, usually a woman, as an object. Objectification is a key concept in feminist theory …show more content…
Notably, instrumentality is very apparent throughout the entire autobiography. Jesus essentially uses Margery Kempe and takes complete advantage of her. This is an example of instrumentality, which is “the treatment of a person as a tool for the objectifier purposes” (McKay 56). In this case, Jesus only calls upon Margery when it is beneficial to him. Correspondingly, Kempe acts as if she is Jesus’ puppet which is a clear indication that denial of autonomy is taking place. Tarjan McKay defines this as “the treatment of a person as lacking in autonomy and self-determination” (56). The creature looks up to Jesus very much but unfortunately there is no respect coming from his end. Christ knows that he can essentially control Margery and her actions because she lacks independence and self-sufficiency. In order for Margery to go to heaven one day, as Jesus promised, she has to do what he says. For example, he directs her to take off the hair shirt. On page 14, Jesus asserts “And daughter, you have a hair cloth upon your …show more content…
This concept “takes place when a person’s experiences and feelings are not taken into account” (McKay 57). Christ isn’t remotely considerate when it comes to Kempe’s feelings. To illustrate, Jesus wants the creature to wear all white even though she is against it. She is displeased with the idea of this because people already make fun of her as it is and she does not want it to get any worse. In other words, Margery is afraid that people will continue to slander her and call her a hypocrite if she wears white because she is obviously not a virgin. Unfortunately, he does not care. Christ asserts “Yes, daughter, the more wondering that you have for my love, the more you please me” (25). To clarify, Christ tells Kempe that her misery pleases him and that she will have to suck it up. This is a perfect example of how Jesus disregards Margery’s feelings entirely. Certainly, Jesus walks all over Margery Kempe as if her feelings and emotions don’t
Mixing religion and identity will take truth away from one’s religion, therefore, leading them to beg for salvation. For example, the grandmother manipulates everyone, compares the past to the present, and believes so hard in her lady hood that it becomes her religion. Flannery O’Connor used gothic horror and Catholicism to make the readers question themselves, Are they living a false life based on personal “quota” or by God’s teachings? After the grandmother realizes her faults she allows the hat to fall to the ground, symbolizing her final truth of her identity. It is now up to her to beg for salvation. Only by the grace of God does someone receive salvation and enter the holy gaits above. The decision is based on their life’s journey. Do you deserve salvation and everlasting life?
Gender inequality has been a major issue for many centuries now. Societies insist in assigning males and females to different roles in life. The traditional stereotypes and norms for how a male and female should present themselves to the world have not changed much over time. But individuals are more than just their gender and should have the right to act and be treated the way they want. The novel, Their Eyes Were Watching God by Zora Neale Hurston
Knowing this you would think women would portray themselves more seriously, but the exact opposite is happening. These continuous loops of failure have severely weakened women’s physical presence, and because of this, are continuously singled out in world discussions on topics such as war or threats to national security, and are constantly burdened with tasks regarding health and family life. In my research I read many books from the nineteenth-century onwards, such as, Stuart Mill’s book ‘The Subjection of Women’ (1869) to Butler’s ‘Gender Troubles’ (1990), both of these and many more books has helped in my quest to conjure up a personal concept of women, but out of all of them I found Berger’s ‘Ways of seeing’ the most fruitful in terms of a literal explanation of women.
As a woman in the world, I am a prisoner, trapped in an idea of how women should be and how I should force myself to be. In the allegory one prisoner had escaped, until we can put aside the standards and expectations that were forced upon us, we cannot escape the endless cycle. The shackles bind the prisoners, to only view what the captors allow; the feeling of being held back and being weighed down by invisible forces. Women are bounded by expectations, standards and limited to their success, we are always one step behind. If we speak what we think, we are threatening others and if we act the way we want, we are condemned. Even now, as a teenager when I walk the halls of Weston; I hear derogatory words being thrown mercilessly at a woman for dressing the way she wants, what is seemingly provocative in their minds. Her clothes automatically determine what type of personality or character she is, without knowing who the person really is. One can think that a high school filled with millennials, they would be more evolved in their way of thinking but still that is not the case. Why are women degraded to some type of object? Many of us feel as though, we can’t dress the way we want or a label will be put on us, we think about how we should dress in the morning and how people
Ramshaw G, The Gender of God, In, Loades A, (Ed), Feminist Theology, A Reader, SPCK, London, 1990
In the novel, Mrs. Wilson, a woman of Calvinist religion has taken in her niece Jane after the death of her parents. During one of their first conversations, Mrs. Wilson immediately expresses one of the important guidelines of her household to her niece after she sees she is not as easily swayed as she first thought. “I tell you once for all, I allow no child in my house to know right from wrong: children have no reason, and they ought to be very thankful, when they fall into the ...
Women’s lives are represented by the roles they either choose or have imposed on them. This is evident in the play Medea by Euripides through the characters of Medea and the nurse. During the time period which Medea is set women have very limited social power and no political power at all, although a women’s maternal and domestic power was respected in the privacy of the home, “Our lives depend on how his lordship feels”. The limited power these women were given is different to modern society yet roles are still imposed on women to conform and be a dutiful wife.
Discussing the contemporary sociological perspective of modern feminism to ‘divine’ wisdom should involve a brief overview of the theology’s focus. McGrath suggests that ‘Feminism is a global movement, arguing for gender equality and a right understanding of the relationship between women and men to be affirmed by contemporary theology and practice’ (McGrath, 2011: p.88). Thus, when discussing wisdom in the scriptures the feminists are observing how gender is represented and the effect of this representation upon helping or hindering a ‘right relationship’ between the genders.
Objectification of women has existed for as long as women have been used for men’s sexual pleasure. One might like to think that feminism has come a long way since the 60s and 70s. Yet if one has look at a newspaper, a woman's magazine, a Hollywood movie, etc, one would realize that the objectification of women is still around. When looking at the stories, The Bloody chambers, Fairytales are clear representation of objectification. These stories portray women as weak, submissive, dependent, and self-sacrificing while men are powerful, active and dominant. As long as women are primarily bought and sold and are willing to be bought and sold, women will always be looked at as only objects.
Feminist criticism can be defines as a having to deal with stereotypical representation of genders( Feminist Criticism). Within this story we can see stereotypes of women. Connie is a teenage girl who is only concerned with her friends and boy at this point within her life. At the same time she wants as much attention as she can, especially from the boys that she tries to make herself more attractive and appealing. However, going out of her way to make herself appealing to the guys is dangerous because she is still a young girl. She was engulfed in the fact that she thought she was beautiful and it was the only thing she had going for. Her confidence seemed to be based solely off her looks that she did not factor in her reputation or personality. The author even said "She knew she was pretty and that was everything"(Oates, pg. 1408). When a girl is to materialistic it leads to more people to take advantage of them because people think they have no morals.
Throughout A Lost Lady by Willa Cather, there are themes and notions that portray women as objects or that they are used to exemplify the man. In the novel, the main character is Niel Herbert, who develops a unique relationship with Captain Forrester and his wife Marian Forrester. Captain Forrester was a successful railroad man and retired in his lavish house with his beautiful wife. Right away in the novel, Mrs. Forrester is described by having a charm with men and for her physical beauty. This theme of objectifying Marian Forrester and the idea that she is used to exemplify her husband is prominent throughout the novel. This idea sheds a light on the cultural views of the time period.
Feminism. The word itself implies discriminatory and unjust interpretations of ‘equality’. The definition of feminism has been modernised to such an extent that its original meaning is completely lost. In Britain 61% of the people who agreed with gender equality would not describe themselves as feminists. The profound ideology which characterizes women as the eternal victims and prey for the aggressive, violent and savage male species, illustrates the illusion of a never-ending engulfment of power which [modern] feminists
VanEsveld Adams, Kimberly. "Feminine Godhead, Feminist Symbol: The Madonna in George Eliot, Ludwig Feuerbach, Anna Jameson, and Margaret Fuller." Journal of Feminist Studies in Religion , Vol. 12, No. 1 (1996): 41-70. Web.
To elaborate, it suggests that men are the virtuous ones – and that, by proxy, women are not. It claims men to be the saintly guide of the feminist revolution proposed, and suggests that women are incapable of realising their suffering and subjugation on their own. Of course this view is problematic (especially to those who are interested in a more intersectional feminism), but when looked at in its original context, it becomes even more fascinating.
Isabella's only power could be in saying 'no', her 'no' to Angelo that she would not leave the world despoiled and soulless, 'no' to Claudio that she would sacrifice herself, 'no' to the nunnery that she had wished to enter or 'no' to the Duke's offer of marriage. Isabella's role ability to be self-determining was quite different from Portia's advocacy in The Merchant of Venice, for Isabella was the tool of the Duke, fulfilling his scripting. Her nun's garb should have ensured a neuter role, and she intended her pity and love for her brother to involve her in this world only so far as to counsel him in honour. Despite her self concept, two men of the world with power over her saw her as a beautiful sexual object to be acquired. Against this, Isabella's strength was in theological purity, going straight to the sense of the Gospels. We cannot cast the first stone. We must have mercy for others, because "he which is the top of judgement" had mercy on us. Because the censors usually eliminated the word 'God', references were oblique, but there could be no real substitution of 'Jove' or 'the gods' here where the sense was so very New Testament. Isabella was preaching to a society which had gone far in condemnation and execution in the name of religion; she was a beacon of clear light.