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Japan culture GENDER ROLE
Role of traditional Japanese women
Gender roles in Japanese culture
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Recommended: Japan culture GENDER ROLE
Women have always – and currently – played an important role in society, even if this fact has not always been recognized as so. This opposition is obvious in literature around the world from medieval/pre-medieval times. Women did important things such as continuing the lineage through childbirth, keeping house, etc.; however, there is a common theme of a woman’s role in Japanese tales and how these women are portrayed that is contrary.
The way a woman’s role in Japanese tales is portrayed is less than what their role actually was in that time period. A woman’s role in tales was more focused on having children, being a wife to the husband, and providing men with pleasure/whatever they may want. Having children was important to populate the world as well as continuing bloodlines. In the Kojiki, Izanami and Izanagi have many, many ‘children’ and when Izanami dies from giving birth to a fire deity, Izanagi goes to the underworld or afterlife to bring her back because they have not finished constructing the world – meaning that they needed to reproduce more.
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Another role that is along the lines of bearing children is that women are made to be wives and without their husbands they are nothing.
This idea comes across in many different tales. In both tales, “She Died Long Ago” and “Astride the Corpse” the woman dies because the husband leaves her.
Thirdly, women can just play the role of giving men pleasure no matter what the cost is. There is a Japanese tale called “The Loving Fox” in which the beautiful woman – the fox – tells the man that if they have sexual relations the man will die. The man did not believe the woman and kept pressuring her to have sex with him. She finally relents and tells him that she will die in his place. The man wants pleasure so much, that he doesn’t even care in the moment that she will die. Afterwards, he finds a dead fox and feels bad, but that didn’t stop him the night
before. There is also usually, in Japanese tales, a certain type/kind of woman that is portrayed. Depending on what a person thinks of when they think of “kind of woman” they could imagine how a woman should act or a physical type of woman. In the way of thought of a “kind of woman” in terms of how a woman should act, one that is portrayed in Japanese Tales is a caring and loyal wife. This type of woman is portrayed in the before-mentioned stories “She Died Long Ago” and “Astride the Corpse”. In these two stories, the wife loves her husband so much and is so loyal to him that when he leaves her she becomes ill with sadness and dies. Another loyal wife would be Izanami; Izanami was going to leave the afterlife to be with her husband again (if he wouldn’t have broken the taboo by looking at her corpse) and that is a great loyalty to not turn him away. The other view on “type of woman” is in a physical sense. Many Japanese tales speak of how a woman is physically attractive or hideous – there doesn’t seem to be much in-between. In the tale “The Loving Fox” that I have also mentioned before, portrays an extremely beautiful woman that the man cannot resist. Another, slightly similar, “Touched in the Head” depicts an extremely beautiful woman that is so gorgeous the man loses himself and runs of to live with this beautiful lady even though he already had a family.
Ironically, Murasaki was able to write The Tale of the Genji in a patriarchal environment, which was typically dominated by male poets and historical writers. The background of this 11th century Japanese “novel” defines the unusual circumstances of a male-dominant literary culture, which allowed Murasaki to tell this story as a female author. In her own diary, Murasaki Shikibu writes about the power of patriarchal authority in the royal court, when she learns that the emperor was reading Tale of Genji. This aspect of 11th century Japanese society defines the assumption of ignorance and submissiveness that Murasaki had to endure as a female
Japanese film serves as a lens through which one observe Japan’s shifting culture in the era of the post-war period; specifically one can trace the changing social perceptions and obligations of women. Departures is a prime film to examine the role of women within Japanese society due to the variety of women it offers up for analysis within and outside of the film. While Departures has a male director and is not overtly dealing with women, Daigo is consistently guided and influenced by the women in the film, who are featured much more prominently in both major and minor roles. This film speaks to large universal themes and questions such as death and family, however Takita uses specific Japanese customs and filial traditions to frame these
Known for her work as a historian and rather outspoken political activist, Yamakawa Kikue was also the author of her book titled Women of the Mito Domain (p. xix). At the time she was writing this work, Yamakawa was under the surveillance of the Japanese government as the result of her and her husband’s work for the socialist and feminist movements in Japan (p. xx-xxi). But despite the restrictions she was undoubtedly required to abide by in order to produce this book, her work contains an air of commentary on the past and present political, social, and economic issues that had been plaguing the nation (p. xxi). This work is a piece that comments on the significance of women’s roles in history through the example of Yamakawa’s own family and
Bainbridge, Erika. “The Madness of Mothers in Japanese Noh Drama.” U.S.- Japan Women’s Journal English supplement No.3 (1992): 84-104. PDF file.
In order to analyze how gender ideals in the Heian society were formulated and how they were expressed in the Genji Monogatari, it is necessary to have an understanding of the Chinese society from which they were derived. The Chinese works often alluded to in the Genji Monogatari are primarily from the Tang dynasty period of China(618-907AD), which formed the basis of the flourishing of Japanese culture during the Heian period.3 Therefore an analysis of Heian gender ideals must begin from the Tang dynasty court-life culture.
The grace of a swan, subtle graceful movements, beauty, and finesse, these are all aspects of the Japanese Onnagata 1.The Onnagata (male actors portraying women) in Japan is viewed as the ideal women, according to the revered Misaki Isaka, their conduct “offstage is made responsible for artistry onstage, such as singing (ka), dancing (bu), and acting (ki)” 2. This is how Japanese society has come to view them over the years, but in reality, the Onnagata is a repressed individual that is not allowed to express their masculinity in any facet in society. This can be seen in a quote, within a short story, written by Yukio Mishima; “ He must live as a woman in his daily life, he is unlikely to be considered an accomplished Onnagata. When he appears on stage, the more he concentrates on performing this or that essentially feminine action the more masculine he will seem”3. The Onnagata, in Japan, is the ideal perfect woman who surpasses all women, but they are the contradictory, male representation of the male fantasy.
In multiple instances throughout the film, female characters violate gender norms by acting as both warriors and leaders because they are adapting typically masculine traits. In the film, women are the majority of the labor force at iron town. The men are merely there to do the labor that needs the most physical power. “Americans oversimplify Japanese women as demure, submissive, and oppressed” (Kyu Hyun, 2002, 38). This quote shows that the stereotype of women in Japanese culture had been just like the western perspective where they were below men. This quote also shows that Princess Mononoke reverses the gender role from being submissive to being above men. Another quote that supports that women were not submissive says that “the young unmarried women in Japan have become a powerful group, demographically and economically” (Kyu Hyun, 2002, 39). The women who were in the upper class society of Japan had time on their hands and we know this because they had time to write literature. “Most of the canonical work from this period was produced by women of the upper social class” (Varner, 2005,
The understanding of gender roles, by Okonkwo as well as the clan as a whole, presents the first, and most recurring, conflict between perspectives. Okonkwo, keeping with the tradition of a patriarchal society, views women as inferior. Often wishing that his daughter, Ezinma, “should have been a boy” (64). This wish reflects a practice, consistent by both Okonkwo and his clan, of devaluing women’s experiences and importance to the society. However, the level of this devaluation becomes unclear through the dialogue an...
In a study done by Robert J. Adams he noted in one of his work on Folktale telling and storytellers in Japan that “Folk religion, costume, art, crafts, and all other facets of folklife contributed to the different version of stories.” (Adams 79) not one story was the same people changed them to have different hidden meanings in them and to teach children different value. Like in this story it teaches you that just because you are a women you should still be able to make your own decision in life. Because during the Meiji restoration the men of the household were losing their power because of Japan going the transitions of industrialization and urbanization. This can be portrayed in the story that women have the power to make their own decisions. But also in today day and age, storytelling has become less and less common though out Japan. Many people would settle to the city to raise families, being separated from the influences and the constant storying telling of the old tales, because they were be to busy taking care of the children and going to
A woman of broken spirits is not really living. In each of these cases, abuse within the marriage occurred over a period of time, and eventually the wives broke. In two of the scenarios, the abusive husbands lost their lives; however, in the third, the wife finally appeared to have completely lost her wits. The male roles in these pieces of literature did not validate the female roles; women were made to feel inferior, as if they didn’t know better. As stated here, men were commonly found “leaving women to unravel mysteries and then keep real stories hidden in a dark pocket where men will never think to look.” (“Literary Interpretation”) Love did not triumph--neglect and abuse won out in all three scenarios. In each of the stories, some sort of escape or revenge prevailed for the wife. Abuse and neglect must eventually go hand-in-hand with escape and revenge in a more concise manner than the idea that marriage and love go hand-in-hand with one
Shirane Haruo. et al. Early Modern Japanese Literature: An Anthology 1600-1900. New York: Colombia University Press, 2002. Print.
The Tale of Genji, not only had a huge impact on Japanese literature, it is considered to be the first novel ever written in the world. Japanese literature was limited to poetry, fairytales, and memoirs until the birth of this remarkable work. The tale revolves around prince Genji’s life and his love adventures in an important period in Japanese history. Its complicated plot focuses on the significance of the Heian period and portrays in detail the life of the upper society in the Heian court. A court lady named Muraski Shikibu who had first hand experience of Heian society and Japanese aristocracy having served the empress wrote this literary work. She managed to pull the reader deep in to her world of women’s aristocratic lifestyle that reveals the patriarchal and hierarchal nature of Heian society by showing that the obedient nature of women was valued and that communication barriers were enforced on them for their status. Women struggle to break these barriers throughout the tale and attempt to escape the aesthetic lifestyle of the aristocratic world through Buddhism. The Tale of Genji portrays women’s’ lifestyles that revolved around society’s obsession with ranking and the idea of an ideal woman dealing with this type of aristocratic lifestyle although some scholars argued that women viewed this lifestyle as their own and were not oppressed by these expectations.
Throughout history, society has been predominately patriarchal. The male is seen as the primary authority figure. This system is often displayed in many family structures and there is nothing wrong with patriarchy; however when it leads to kyriarchy, it becomes an issue. Women, past and present, are often viewed as second rate citizens. Over half the work force around the world consists of women and yet they are paid 77 cents to a dollar of what a man earns (Shane). Women have a voice and deserve to be heard. When analyzing works such as “Hills Like White Elephants” by Ernest Hemmingway, the poem “Stations” by Audre Lorde, and “Sweat” by Zora Neale Hurston, one can observe the common theme of women finding their voice, discovering strength and standing up for what’s right.
(Intro) Throughout his many years in the film industry, Miyazaki never fails to show his portrayal of a strong, female lead. His representations of the female identity in films like Laputa: Castle in the Sky can show examples of different types of feminist and antifeminist elements. Many of his works seem to reflect to the viewers on the ideals role of women. Despite widening the gap of following traditional roles and values in Japanese society, Miyazaki through his films wants us as the audience to question the legitimacy of these roles by stepping on stereotypes and bringing up questions about issues that surround the female body and place in society (Gelb 21). These
Truth is not the only relative subject matter Akutagawa Ryunosake questions in his short story, “In a Grove.” The text is an enigmatic view of everything from traditional Japanese symbolism to traditional gender roles. These paradoxes are reflected not only in the questions raised by each character’s version of the truth, but in the upended stereotypes of traditional Japanese symbols and revealed in each witness’ response to the crime. Interestingly, Akutagawa wraps the whole story in the framework of an old Japanese Konjaku folk-tale and rewrites it to tell a modern tale where everything is in opposition to traditional Japanese perception. As reflected in the era he wrote the story, Akutagawa throws tradition on its ear and fills the story with contradictions. When examining the text of “In the Grove,” through the lens of Japanese symbolism, every detail in the story is a commentary that opposes a traditional reading of the text. It becomes clear that Akutagawa was not only skewering traditional notions of truth but his depictions of the thief, the samurai and the woman’s account of the rape reveals a modernist interpretation of this crime and presents a “new” response to these ideas in his story. At first glance, it may appear that this story is a laundry list of stereotypical rape myths but the gender roles Akutagawa presents in this story are representative of a new woman who is taking her destiny in her own hands.