Snow, Fire, Sword is an epic fantasy novel written by Sophie Masson. It tells about the quest of the main characters of the story, Dewi and Adi, for Snow, Fire, Sword which is the only thing that can save Jayangan from the terror of the Hantumu. While other novels of the same genre rarely portray the importance of women, this novel, on the contrary, shows the great value of women’s contribution to the success in the quest journey. The passivity, weakness, and little contribution of the male characters in the story (especially the main male character Adi), compared to the activeness, power, and great contribution of the female characters, make the main female character Dewi appear to be the hero.
Epic fantasy novels, such as Stone of Tears, The Lord of The Ring, and Harry Potter are often dominated by male heroes. Campbell (2006) states that epic fantasy novels often portray male heroes as “unflinching warriors, righteous defenders of nations, virtuous and wise wielders of justice, revered conquerors, and rightful kings”. Female characters are often marginalized. Although there are also some main female characters in the story, however the actions of the female characters, often times, only contribute to the adventure of the male protagonist. Like in the case of Hermione Granger in the Harry Potter series. Hermione is portrayed as an intelligent girl. Although her knowledge is important, but it “only contributes to Harry’s adventures and not hers” (Heilman, as cited in Mikulan, 2009).
One of the reasons for the lack of female heroes in epic fantasy novels is perhaps because epic fantasy requires its characters to get involved in a quest journey. The quest journey is often associated with masculine heroic activity. Therefore, male...
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...ild Protagonist in the Epic Fantasies of George, Macdonald, C.S. Lewis, and Philip Pullman.
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In medieval literature, the role of women often represents many familiar traits and characteristics which present societies still preserve. Beauty, attractiveness, and grace almost completely exemplify the attributes of powerful women in both present and past narratives. European medieval prose often separates the characteristics of women into two distinct roles in society. Women can be portrayed as the greatest gift to mankind, revealing everything that is good, pure, and beautiful in a woman's life. On the other side of the coin, many women are compared to everything that is evil and harmful, creating a witch-like or temptress quality for the character. These two aspects of European culture and literature show that the power of women in medieval narrative can be portrayed through both evil and good, and more often than not, power is derived from the latter.
Throughout most of literature and history, the notion of ‘the woman’ has been little more than a caricature of the actual female identity. Most works of literature rely on only a handful of tropes for their female characters and often use women to prop up the male characters: female characters are sacrificed for plot development. It may be that the author actually sacrifices a female character by killing her off, like Mary Shelly did in Frankenstein in order to get Victor Frankenstein to confront the monster he had created, or by reducing a character to just a childish girl who only fulfills a trope, as Oscar Wilde did with Cecily and Gwendolen in The Importance of Being Earnest. Using female characters in order to further the male characters’
Lefkowitz, Mary R. "The Heroic Women Of Greek Epic." The American Scholar Autumn 87, Vol. 56 Issue 4: 503-518. Academic Search Premier. EBSCOhost. Montgomery, AL. 2 Feb 2006 troy.blackboard.com/webapps/portal/frameset.jsp?tab=courses&url=/bin/common/course.pl?course_id=
Men exemplify heroic qualities in both Beowulf and Sir Gawain and the Green Knight, however, women are depicted differently in the two stories. In Beowulf, women are not necessary to the epic, where as in Green Knight, women not only play a vital role in the plot, but they also directly control the situations that arise. Men are acknowledged for their heroic achievement in both stories, while the women's importance in each story differ. However, women are being equally degraded in both Beowulf and Sir Gawain and the Green Knight.
Though not the focus of epic poetry, the female characters of this ancient genre play a central role, as they have a great influence on the male heroes they encounter. In a genre which idealizes manliness and heroism—that is, acts of courage, strength, and cunning— women are set in opposition to these ideals and therefore less respected. At the same time, women who attempt to take on more “masculine” roles are vilified. Here, antagonist is defined as anyone in opposition to the hero’s goals. Female agency—their free will and ability to wield power—is directly related to their role in epic poetry; that is, the more agency a female character has, the more antagonistic of a role she plays. This agency is often enacted through sexuality or supernatural
Reading literature, at first, might seem like simple stories. However, in works like William Faulkner's “A Rose for Emily,” Katherine Mansfield's “Miss Brill,” and Kate Chopin's “The Storm,” the female protagonists are examples of how society has oppressive expectations of women simply because of their gender.
Throughout time and across many cultures, women have had the lowest status in society. In a patriarchal world, women have consistently been viewed as weaker and inferior to men. As a result, it is no surprise that men have found themselves in places of power and admiration. However, this does not mean that society completely neglects the impact of women; in Greek lore, women take on passive yet important roles, weaving the destinies and doom of many men and earning themselves a reputation as banes of manipulation and deception. Negative as that portrayal may seem, other societies have defined the roles of their women differently. Anglo-Saxons also flaunted the heroics of their men, as exemplified
In considering the relationship between the meanings of myths and their representation of women, we learned that the major role in shaping the narratives was played by men.
Gender plays a role in literature, often reflecting the culture at the time of their creation. In such cases, it is also easy to tell the expectations of men and women in society. Gender roles in the works The Odyssey and The Epic of Gilgamesh are similar to which there is an obscure line between the two genders. Although most women are presented as maternal figures in both works, they are mainly seen as tools at the disposal of men.
In the Epic of Gilgamesh, gender plays a very significant role. While women were not the most powerful gods nor the strongest or wisest of humans, they still had tremendous influence. Though the main characters of the story, Gilgamesh and Enkidu, are male, women did not play a necessarily minor role. With all the women that play a role in the Epic of Gilgamesh, gender is a topic worthy of discussion.
The characterizations of women have, throughout history, been one of the most problematic subjects in literary tradition. An extraordinary dichotomy has existed with women as being both the paragon of virtue and the personification of evil. Ancient Greeks feared women, and poets such as Hesiod believed the female sex was created to be the scourge of the gods and the bane of men (Fantham 39). Romans, on the other hand, incorporated tales of brave and virtuous women as an intrinsic part of their legendary history (219). Many Catholic saints, revered for their piety, were notoriously misogynistic (Dollison 106), and yet the church counted legions of holy women in the rosters of saints alongside their male counterparts. Despite much historical controversy as to the precise nature of women, none of this confusion seems to seep into the writings of George MacDonald, and there appears to be no conflict to MacDonald’s regard towards women in his female characters in The Princess and the Goblin. The character of the Grandmother in particular is one of the most complimentary fabrications of the figure of the mature female in literature. MacDonald created this fascinating construct of femininity by steeping the Grandmother not only in the arcane feminine symbols such as spinning, pigeons, and the moon, but also in his own concept of the ideal woman, as wise and compassionate as she is mysterious.
In a society unbridled with double standards and set views about women, one may wonder the origins of such beliefs. It might come as a surprise that these ideals and standards are embedded and have been for centuries in the beloved fairy tales we enjoyed reading as kids. In her analytical essay, “To Spin a Yarn: The Female Voice in Folklore and Fairy Tales”, Karen Rowe argues that fairy tales present “cultural norms which exalt passivity, dependency, and self-sacrifice as a female’s cardinal virtues.” Rowe presents an excellent point, which can be supported by versions of the cult classics, “Cinderella” and “Snow White”. Charles Perrault’s “ The Little Glass Slipper” and the Brothers Grimm’s “ Snow White” exemplify the beliefs that females are supposed to be docile, dependent on the male persona and willing to sacrifice themselves. In many cases, when strong female characters are presented they are always contradicting in these characteristics, thus labeled as villainous. Such is the case of the Cinderella’s stepsisters in Perrault’s “Cinderella” and the stepmother in the Brothers Grimm’s “Snow White.” These female characters face judgment and disapproval when they commit the same acts as male characters. With such messages rooted in our beloved fairy tales it is no wonder that society is rampant with these ideals about women and disapprove of women when they try to break free of this mold.
Perspectives on gender roles throughout history majorly favor the male over the female; her abilities are underestimated by society thus her role is belittled and objectified. The ancient Mesopotamian epic, Gilgamesh, follows this norm of males being in the lead. However in truth, the women play a small but significant role as their drive. The females provide the wisdom and balance the main characters need to endure their journey. Men worship the opposite sex, relying on the power of their love to the point where they are ultimately exposed to a new way of life.
Throughout literature, authors employ a variety of strategies to highlight the central message being conveyed to the audience. Analyzing pieces of literature through the gender critics lens accentuates what the author believes to be masculine or feminine and that society and culture determines the gender responsibility of an individual. In the classic fairytale Little Red Riding Hood, the gender strategies appear through the typical fragile women of the mother and the grandmother, the heartless and clever male wolf, and the naïve and vulnerable girl as little red riding hood.
In contemporary society, feminism is emerging as a theory of social construct. In literature it is often challenging to discover female characters that go beyond the limits of marginalized female stereotypes and roles as a means to transgress beyond societal norms. Women are characterized as subordinate objects, amid the dominant patriarchal nature entrenched amid the epic. In The Ramayana, women are portrayed as powerless objects that succumb to the manipulation of men as the text portrays a false empowerment of women, which ultimately succumb to common archetypes accustomed to women in literature; implementing a hierarchy of gender that institutionalizes male dominance amid female inferiority. The women of The Ramayana struggle to oppose the systemic patriarchy and pursue a pathway towards attaining dynamic elements of power, that enable their ability to embody autonomous authority. In Valmiki’s The Ramayana, while women appear to be empowered, ultimately they are feeble instruments utilized to fulfill the desires of men.