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The portrayal of women in literature
The portrayal of women in literature
The portrayal of women in literature
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Thomas Malory’s Le Morte Darthur and Monty Python and the Holy Grail
Professor’s comment: This student uses a feminist approach to shift our value judgment of two works in a surprisingly thought-provoking way. After showing how female seduction in Malory’s story of King Arthur is crucial to the story as a whole, the student follows with an equally serious analysis of Monty Python’s parody of the female seduction motif in what may be the most memorable and hilarious episode of the film.
Much of the humor in Monty Python and the Holy Grail derives from the pure absurdity of its characters and situations. King Arthur roams the British countryside on an imaginary horse, evil enemies can only be appeased with offerings of shrubbery, and the knights of the Round Table battle a bloodthirsty killer bunny, to cite just a few examples. The movie contains a great deal of such explicit comedy, but much of its humor works on a more subtle level, plot and dialogue shrewdly satirizing the unjustness of such Arthurian conventions as autocracy, severe social class distinctions, and vainglorious codes of chivalry. The movie also pokes fun at the rather demeaning view of women in traditional Arthurian legend. In Thomas Malory’s Le Morte Darthur women primarily serve as figures of sexual temptation who bring great danger and suffering to the men that interact with them. Monty Python and the Holy Grail,on the other hand, satirizes the idea of the destructive temptress and presents women characters in a manner that undercuts this negative Arthurian stereotype.
In Malory’s famous account of the King Arthur legend, the most notable example of woman as destructive sexual temptation is, of course, Queen Guinevere. Sir Lancelot’s affair wi...
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..., then, Monty Python and the Holy Grail challenges many of the Arthurian conventions that modern audiences consider outmoded and unjust. With their clever exploitation of the role of Arthurian women, Monty Python rebukes the idea of women as manipulative seductresses and effectively exposes the shallowness of this Arthurian stereotype. And on top of all this cultural enlightenment, they still manage to give their audience a good laugh along the way.
Works Cited
American Heritage Dictionary, 2nd College Edition, 1982.
Malory, Thomas. King Arthur and His Knights: Selected Tales by Sir Thomas Malory, ed. Eugene Vinaver (London: Oxford UP, 1975) 124-25.
Monty Python and the Holy Grail. Dir. Terry Gilliam and Terry Jones. Perf. Graham Chapman, John Cleese, Eric Idle, Terry Gilliam, Terry Jones, and Michael Palin. Columbia Pictures Home Entertainment, 1975.
Marie De France’s Lanval is a remarkable short narrative that engages the reader into a world filled with unrealistic elements, but enhances on the true meaning of romance, chivalry and nature during the years that King Arthur reigned. “Sir Gawain and The Green Knight” unfortunately does not have an author that can be recognized but this epic poem demonstrates the ghastly adventure of a knight who decides to defend the honor of young King Arthur against a supernatural being in this malicious game of cat and mouse. Both of these pieces of literature have enchanting characteristics that define them as a masterpiece of their era and that’s why they both are easily compared and contrasted. In addition, both Lanval and “Sir Gawain and The Green Knight” can be classified as similar through their themes, style and plots, although they are different through their language and diction. Even though both of these literatures can be viewed as similar as well as contrasting, in the end, each of these tales have illuminated the realm of fantasy throughout the court of King Arthur.
Traditional female characteristics and female unrest are underscored in literary works of the Middle Ages. Although patriarchal views were firmly established back then, traces of female contempt for such beliefs could be found in several popular literary works. Female characters’ opposition to societal norms serves to create humor and wish- fulfillment for female and male audiences to enjoy. “Lanval” by Marie De France and “The Wife of Bath’s Tale” by Geoffrey Chaucer both show subversion of patriarchal attitudes by displaying the women in the text as superior or equal to the men. However, “The Wife of Bath’s Tale” also incorporates conventional societal ideas by including degradation of women and mistreatment of a wife by her husband.
The narrative opens with a holiday feast in King Arthur’s court. The richness of this setting is represented by the decorations surrounding Queen Guenevere described in lines 76-80. “With costly silk curtains, a canopy over,/ Of Toulouse and Turkestan tapestries rich/ All broidered and bordered with the best gems/ Ever brought into Britain, with bright pennies/ to pay.” These lines also symbolize the queen’s role in the poem of a stately symbol of chivalric Camelot and as a female ideal. In this setting women are all around, but Guenevere is positioned above them and is surrounded by expensive, beautiful things. She is clearly made superior.
Lehman, Peter and Luhr, William. Thinking About Movies: Watching, Questioning, Enjoying. 2nd ed. Oxford: Blackwell, 2003.
Some examples of farce in the movie are: • In the beginning of the movie, you hear the sound of music and horses. However, it turns out that it was not horses at all; it was the sound of King Arthur’s squire pounding two coconut halves together to make the sound of horses galloping. They then go on to confront two soldiers at the castle gates to invite their lord to be apart of the round table. they approach a castle and are quickly confronted by soldiers on top of the castle walls. The soldiers went on to question their mode of transportation.
Morgan, Gerald. "Medieval misogyny and Gawain's outburst against women in 'Sir Gawain and the green Knight'." The Modern Language Review 97.2 (2002): 265+. Literature Resource Center. Web. 28 Jan. 2014.
Over the course of time, the roles of men and women have changed dramatically. As women have increasingly gained more social recognition, they have also earned more significant roles in society. This change is clearly reflected in many works of literature, one of the most representative of which is Plautus's 191 B.C. drama Pseudolus, in which we meet the prostitute Phoenicium. Although the motivation behind nearly every action in the play, she is glimpsed only briefly, never speaks directly, and earns little respect from the male characters surrounding her, a situation that roughly parallels a woman's role in Roman society of that period. Women of the time, in other words, were to be seen and not heard. Their sole purpose was to please or to benefit men. As time passed, though, women earned more responsibility, allowing them to become stronger and hold more influence. The women who inspired Lope de Vega's early seventeenth-century drama Fuente Ovejuna, for instance, rose up against not only the male officials of their tiny village, but the cruel (male) dictator busy oppressing so much of Spain as a whole. The roles women play in literature have evolved correspondingly, and, by comparing The Epic of Gilgamesh, Sir Gawain and the Green Knight, and The Wife of Bath's Prologue, we can see that fictional women have just as increasingly as their real-word counterparts used gender differences as weapons against men.
Sir Gawain and The Green Knight is an example of medieval misogyny. Throughout Medieval literature, specifically Arthurian legends like Sir Gawain and the Green Knight, the female characters, Guinevere, the Lady, and Morgan leFay are not portrayed as individuals but social constructs of what a woman should be. Guinevere plays a passive woman, a mere token of Arthur. The Lady is also a tool, but has an added role of temptress and adulteress. Morgan leFay is the ultimate conniving, manipulating, woman. While the three women in this legend have a much more active role than in earlier texts, this role is not a positive one; they are not individuals but are symbols of how men of this time perceive women as passive tokens, adulteresses, and manipulators.
Eliza Haywood’s Fantomina focuses on an unnamed woman who seduces Beauplaisir several times, using stratagems that on first glance consist of wearing disguises and taking on a new identity. I argue that each of the heroine’s stratagems go beyond simply allowing her to pretend to be something other than she is by giving her agency when it comes to romance and letting her pursue her sexual desires in a time where honor means everything. However, her stratagems are so successful in playing on the perceptions and desires of Beuaplaisir because they appear to give this control to Beauplaisir, making him seem the ‘mastermind’ romancer of ‘many’ women.
Arnheim’s body of theory suggests that the necessity of human intervention to implement plot, tropes, and culturally legible symbols raises a film to a higher level than a mere copy of reality, and that this interpretation and expression of meaning is “a question of feeling” or intuition on the part of the filmmaker. (“Film Theory and Criticism” 283) One consequence of effective directorial intervention is that differences in speed, stops and starts, and what would otherwise be jarring gaps in continuity can be accepted by viewers, because if the essentials of reality are present, th...
Within this paper we will take a brief look at the Language Acquisition Principles and how they work on the behalf of ELL students. We will see how these principles can be applied within our own learning environment. There is much information from Walqui article that gives a brief overview of ELL students and how things looked in the past for these students. Now that times has change we will see how educators can make the requirements for ELL students better and more effective for teacher and students. Hopefully, as we look at ways of changing learning for our ELL students we must remember that every student learns differently. Even if you follow the principles from 1-8 we must keep in mind that everyone is unique and process things within their own time table.
Rascaroli, Laura. "The Essay Film: Problems, Definitions, Textual Commitments." Framework: The Journal of Cinema and Media 49.2 (2008): 24-47. JSTOR. Web. 08 May 2014.
Social factors have always encouraged the idea that men embody masculinity and women embody femininity and, thus, certain gender-norms are expected accordingly. In the past, such expectations were traditional and to go against them was frowned upon by the general public. Contemporarily speaking, there is more freedom to avail oneself of today than there was once upon a time. Jeanne-Marie LePrince de Beaumont’s fairytale adaptation of ‘Beauty and The Beast’ was published in 1740. During this time, men and women were compelled by the social conventions associated with their gender. When analyzing the literary work, the reader can grasp what gender roles are eminent in the characters identity and motives. By exploring the choice of language being
3 Cleary, M. N. (2012). Anxiety and the newly returned adult student. Teaching English in the
Challenging gender roles has been an arduous task. As Virginia Woolf notes, “For most of history, Anonymous was a woman.” The structure of history, particularly that of war, has placed women as useless in comparison to men and as having no purpose beyond pleasing their partner. Euripides, for example, places women in the aftermath of the Trojan War as helpless in the face of the victors. Moreover, Macawen’s adaptation of the tragedy Trojan Women and Evans’ Trojan Barbie both discuss the docile attitude of women after a period of war. Aristotle signals diction and plot, two of the six parts of tragedy, which interprets events through the language and the actions that take place. Through the use of diction and plot, both Macewen and Trojan Women and Trojan Barbie, both Macawen and Evans challenge gender roles through the character of Helen, shows she will do whatever it takes to survive an atmosphere of male dictated war.