The modern girl is a symbol known all around the world, and though she took part in a relatively short period of history; todays fascination with the modern girl still lives on. Education and literary writings gave rise to the modern women we remember today; without increased education accesses and literary works made available to women the social changes in history would not have been possible. The idea of the modern girl not only gave women a new ideal to live up to, but also encompassed the changing societal structures all around the world. This is no exception in Asia; modern girl trends swept over the continent giving change to education, political involvement, fashion and more. Women in Asia became the symbol of what their nations needed …show more content…
Along with this fear there was strong opposition to the education of women and their involvement in public matters. The modern girl did however, help to push the growing of a capitalist economy and for better or for worse, this is what the government wanted. There were new products for women to buy when attempting to embody the modern women, including hair, make- up clothes and literature. This within itself started a new sector of society, including films, magazine, and advertisements. With so much representing the modern girl, both the good and bad, one may assume that the modern girl now embodied the tensions in Chinese and Japanese societies and the world as a whole. Though one crucial area needs to be evaluated in order to fully look at the modern girl we need to evaluate what events help give rise to this character, for the sake of this paper the focus on educational opportunities and accesses for women and the popular works of poetry and …show more content…
This could not be more true when looking at Chinas monumental defeat in the First Sino-Japanese War. Many Chinese civilians where viewing their country as the new losers under Social Darwinism, and many of them thought adopting western political and educational systems would be the answer to their problems. Society thought they needed to produce more enlightened women to raise children better suited for society. The new education system included, and essentially revolved around, women’s education and schools for girls. During this time girl’s schools where not teaching math and science but rather focusing on Chinese, English, physical education and home economics, including needle point, in an effort to make women better suited to raise perfect future citizens. Nonetheless, these educational opportunities, though done in what now is considered oppressive reasoning, women where still able to take these opportunities to learn about the world and new ideas, how to read and write, and the opportunity to not fully rely on a father or husband. Further embodying the new modern women, by laying the ground work of education and
Firstly, the relationship expectations in Chinese customs and traditions were strongly held onto. The daughters of the Chinese family were considered as a shame for the family. The sons of the family were given more honour than the daughters. In addition, some daughters were even discriminated. “If you want a place in this world ... do not be born as a girl child” (Choy 27). The girls from the Chinese family were considered useless. They were always looked down upon in a family; they felt as if the girls cannot provide a family with wealth. Chinese society is throwing away its little girls at an astounding rate. For every 100 girls registered at birth, there are 118 little boys in other words, nearly one seventh of Chinese girl babies are going missing (Baldwin 40). The parents from Chinese family had a preference for boys as they thought; boys could work and provide the family income. Due to Chinese culture preference to having boys, girls often did not have the right to live. In the Chinese ethnicity, the family always obeyed the elder’s decision. When the family was trying to adapt to the new country and they were tryin...
The united States Declaration of independence states that all men are equal, but aren’t all women as well? Nowadays, the numbers for the population are at an increase for the support in gender equality, with the capture of feminist labels. The seek for equality between men and women, and criticize the privileges that arouse by gender differences. However in Old China, males control almost everything due to a patriarchal society. At that time, not only men, but also women are influenced by male chauvinism. In the Jade Peony, written by Wayson Choy, female characters are affected by an unequal perspective despite their age group.
Ye and Ma’s movement of “up to the mountains, down to the countryside” represented a unique reeducation where Ma was sent to a state farm in Yunnan and Ye went the other route to visit the village Shanxi. Ma became a cook and was determined to reform herself into the “iron girl” ideal and prove, “whatever men comrades can do, women comrades can do too”. This ideal forced Ma to rid herself of what distinguished her from her male comrades and hid these natural female tendencies for the higher purpose of unity which was reinforced by the CCP’s Communist ideology. Ye favored a relaxed environment and found that in the peasant village of Shanxi where the “higher a man’s generation the more respect he would get”. This idea directly conflicted with the urban party belief that your position in the party was related to your family’s background. Tradition was tightly held in the rural area of Ye’s reeducation and haunted Ye forcing her to realize just how backwards the rural area was compared to her urban society of downtown Beijing. Villagers had a lackluster belief in the communist practices who felt they hadn’t gained much under the new regime but continued their frail life as they lacked the tools to educate themselves otherwise.
However, how about young women in 1920s and 1930s? After World War I (WWI), women’s social identity rises up. Since after WWI, economic recession was happened in Europe. There were lots of countries in Europe facing serious economic problems; thus its make women also need go out to work maintain the livelihoods. More and more women were forced to work, therefore as a result, the clothes ought to be more necessity than fashion, which were, convince to their new activity. In view of that after WWI, Edwardian era (figure 1,2) and hyperbolic hairstyle weren’t the daily dress for women anymore. S...
Accordingly, I decided the purposes behind women 's resistance neither renamed sexual introduction parts nor overcame money related dependence. I recalled why their yearning for the trappings of progression could darken into a self-compelling consumerism. I evaluated how a conviction arrangement of feeling could end in sexual danger or a married woman 's troublesome twofold day. None of that, regardless, ought to cloud an era 's legacy. I comprehend prerequisites for a standard of female open work, another style of sexual expressiveness, the area of women into open space and political fights previously cornered by men all these pushed against ordinary restrictions even as they made new susceptibilities.
A lady is an object, one which men attempt to dominate. A man craves to get a hold of this being beneath his command, and forever have her at his disposal. In her piece “Size Six: The Western Women’s Harem,” published in 2002, Fatema Mernissi illustrates how Eastern and Western women are subjugated by the control of men. Mernissi argues that though she may have derived from a society where a woman has to cover her face, a Western woman has to face daily atrocities far worse then ones an Eastern woman will encounter. Moreover, Mernissi’s core dogma in “Size 6: The Western Women's Harem” is that Western women are not more fortunate than women raised into harems in other societies. Additionally, she asserts that though women in the Western world are given liberties, they coincide with the unattainable ideals of what is aesthetically pleasing. Furthermore, to strengthen her argument towards her wavering audience, Mernissi’s main approach in her paper is to get the reader to relate with her issue by means of an emotional appeal, while also utilizing both the ethical and logical appeal to support her thesis.
Other research has devoted to unveiling the origins and the development of their stereotyping and put them among the historical contextual frameworks (e.g., Kawai, 2003, 2005; Prasso, 2005). Research has shown that those stereotypes are not all without merits. The China doll/geisha girl stereotype, to some degree, presents us with a romanticized woman who embodies many feminine characteristics that are/ were valued and praised. The evolving stereotype of the Asian martial arts mistress features women power, which might have the potentials to free women from the gendered binary of proper femininity and masculinity. Nevertheless, the Western media cultural industry adopts several gender and race policing strategies so as to preserve patriarchy and White supremacy, obscuring the Asian women and diminishing the positive associations those images can possibly imply. The following section critically analyzes two cases, The Memoirs of a Geisha and Nikita, that I consider to typify the stereotypical depictions of Asian women as either the submissive, feminine geisha girl or as a powerful yet threatening martial arts lady. I also seek to examine
While studying art history in Pre-Industrial Visual Cultures this semester, one theme has become painfully obvious. There are few if any women artists included in the study of art history. If you dig deep into the books you can find mention of many unknown, unrecognized and often times very talented women artists from the past. Women in history are simply not recognized, and this is due to a large extent to their exclusion from the art world. My paper chooses to focus on a few female artists of the sixties and seventies who sought to make up for past history and ensure women were known. These women invented their own language for art making, which included sexual imagery, and left no doubt of their gender. These women made art as women, instead of trying to make art like men and be accepted. My paper therefore focuses on these women, who although werenít involved directly in pre-industrial art history were very much affected by the exclusion of women from it.
In the beginning half of the 20th century, China experienced an intellectual revolution, known as the May Fourth Movement. Among other things, May Fourth thinkers were passionate about women’s rights, and fought for equality between the sexes. Like in any school of thought, ideas about women and their roles evolved over time. In 1925, Lu Xun wrote “Regret for the Past”, a story about Shih Chuan-Sheng and Tzu-chun, a modern couple whose relationship falls apart. Ten years later, in 1935, the film “New Woman” was released. The film follows Wei Ming, a music teacher whose life begins to crumble due to the machinations of a lecherous businessman. Both Tzu-chun and Wei Ming represent a version of the “modern woman, but their similarities and differences illustrate how the idea of the modern woman changed and stayed the same over time.
The reason why women are scarcely mentioned throughout the history textbooks are because women are conformed in their status of the private sphere. Women are related to “nature” considering their roles in society such as child bearers and housewives. Culture is considered as a sustaining force that transcends nature to create and control a new interest. Because of this “nature” status put on women, they are considered inferior to men. However, this is not the case for everyone and not all society understands culture and nature like westerners do. Some consider what women and men do rather than the symbolic attributes that are placed on them.
Women have spent a large amount of time throughout the 20th century fighting for liberation from a patriarchal form that told them that they must be quiet and loyal to their husbands and fathers. For the duration of this essay, I will be discussing how the “Modern Woman” image that appeared through the Art Deco style — that emulated ideas such as the femme fatale and masqueraded woman, and presented new styles to enhance women’s comfortability and freedom — is still prevalent and has grown in contemporary art and design since. Overall I will describing to you how fashion, sexuality, and the newly emerged ‘female gaze’, and how these tie in together — in both periods of time — to produce what can be described as powerful femininity.
The early part of the novel shows women’s place in Chinese culture. Women had no say or position in society. They were viewed as objects, and were used as concubines and treated with disparagement in society. The status of women’s social rank in the 20th century in China is a definite positive change. As the development of Communism continued, women were allowed to be involved in not only protests, but attended universities and more opportunities outside “house” work. Communism established gender equality and legimated free marriage, instead of concunbinage. Mao’s slogan, “Women hold half of the sky”, became extremely popular. Women did almost any job a man performed. Women were victims by being compared to objects and treated as sex slaves. This was compared to the human acts right, because it was an issue of inhumane treatment.
Across cultures, many times similarities lay within them that go unnoticed. It is true that obvious differences set them apart; but if a closer look is taken, it is surprising what can be found. The Chinese culture is obviously different from the American culture, but underneath the surface there are similarities. One of them is how the treatment of women has evolved and changed. Anti-feminism in China has been present since ancient times, and has just recently decreased. Anti-feminism in America has never been as severe as it was in China; however, instead of the value of women gradually increasing over the years - it has reversed. The value of women in America has decreased. There are many similarities between the ancient Chinese women and the modern women of America. Women in China and women in America have both gone through evolutions of how they are treated and looked upon; it is just that women in China have evolved, where the women of America have devolved.
...present powerful characters, while females represent unimportant characters. Unaware of the influence of society’s perception of the importance of sexes, literature and culture go unchanged. Although fairytales such as Sleeping Beauty produce charming entertainment for children, their remains a didactic message that lays hidden beneath the surface; teaching future generations to be submissive to the inequalities of their gender. Feminist critic the works of former literature, highlighting sexual discriminations, and broadcasting their own versions of former works, that paints a composite image of women’s oppression (Feminist Theory and Criticism). Women of the twenty-first century serge forward investigating, and highlighting the inequalities of their race in effort to organize a better social life for women of the future (Feminist Theory and Criticism).
“Girls wear jeans and cut their hair short and wear shirts and boots because it is okay to be a boy; for a girl it is like promotion. But for a boy to look like a girl is degrading, according to you, because secretly you believe that being a girl is degrading” (McEwan 55-56). Throughout the history of literature women have been viewed as inferior to men, but as time has progressed the idealistic views of how women perceive themselves has changed. In earlier literature women took the role of being the “housewife” or the household caretaker for the family while the men provided for the family. Women were hardly mentioned in the workforce and always held a spot under their husband’s wing. Women were viewed as a calm and caring character in many stories, poems, and novels in the early time period of literature. During the early time period of literature, women who opposed the common role were often times put to shame or viewed as rebels. As literature progresses through the decades and centuries, very little, but noticeable change begins to appear in perspective to the common role of women. Women were more often seen as a main character in a story setting as the literary period advanced. Around the nineteenth century women were beginning to break away from the social norms of society. Society had created a subservient role for women, which did not allow women to stand up for what they believe in. As the role of women in literature evolves, so does their views on the workforce environment and their own independence. Throughout the history of the world, British, and American literature, women have evolved to become more independent, self-reliant, and have learned to emphasize their self-worth.