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In this modern day and age, the epitome of manliness, at least to the Western world, includes a few main things – masculinity, or physical strength, mental acuity, and being an emotional rock – one who is emotionally stable and almost stoic, capable of comforting and lending strength. The modern epitome of womanliness is one encompassing sensuousness, gentility, emotion, cunning, and more and more often, strength of mind. This plays in stark contrast with the Japanese Heian-era notions of the ideal man and woman as portrayed in Murasaki Shikibu's Tale of Genji. When assessing these ideals, one must also take into account the fact that this novel describes the somewhat atypical Japanese Heian court life as opposed to the daily life of commoners.
When assessing Tale of Genji and attempting to understand the ideal qualities of a man or woman of the time, one must also take into account the author and the audience she writes for, as well as what should be considered a miniscule amount of background knowledge on the Heian era of Japan. Murasaki Shikibu was a gentlewoman in the services of the Empress Akiko (or Shoshi, as she is sometimes called) during the reign of Emperor Ichijou, taken into service for her remarkable literary prowess. The Heian court life was thus constantly revolving around our Murasaki, and allowed her to write what is arguably the most accurate literary depiction of itself and its inhabitants available to the public. The novel was written for the yokibito, or women of the aristocracy.
According to The Tale of Genji,the ideal Heian court gentleman was a man of many talents, one of political power and prestige, and as it seems in the novel, one of considerably good looks and emotion. If one takes a quick look at...
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...tween lovers. Women were mild, yielding, and soft, and men were emotional, diligent and passionate in character. Both men and women of high class seemed to have been educated in the musical arts, particularly in playing the koto, and the art of dance. Essentially, Murasaki Shikibu's depiction of Heian court life in Genji Monogatari was one of distinction, elegance, aesthetic appreciation, literacy, passion, and emotion, most highly exemplified in ideal male form by Prince Genji, and in ideal female form by Fujitsubo. These two characters present the most accurate representations of model Heian court nobles, and truly illustrate to readers not only the beauty present in the Heian court, but of the flaws and trials present as well, presenting a wonderful contrast to the ideal views of men and women in modern Western society, and insight into ancient Japanese culture.
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
III. The Obedience of Women Introduction Not only are women expected to lead lives in which they depend on men to be happy and wealthy, but they are expected to do so with total obedience to the expectations of men. It is important to see how women react to the requests of men and how much freedom for thought and action they are allowed to have and what consequences occur when a woman disobeys what is asked of her. Cinderella In the Brothers Grimm, the first characterization of Cinderella is a description that “she was always good and said her prayers” (Grimm 122).
The epic poem Gilgamesh is the first heroic epic of world literature. The role of the primary mortal woman mentioned in it is only to benefit and please men, and with little or no consideration as to how she feels...
Many readers feel the tendency to compare Aphra Behn's Oroonoko to William Shakespeare's Othello. Indeed they have many features in common, such as wives executed by husbands, conflicts between white and black characters, deceived heroes, the absolute vulnerability of women, etc. Both works stage male characters at both ends of their conflicts. In Othello, the tragic hero is Othello, and the villain is Iago. In Oroonoko, the hero is Oroonoko, the vice of the first part is the old king, and the second part white men in the colony. In contrast to their husbands, both heroines—Desdemona and Imoinda—seem more like "function characters" who are merely trapped in their husband's fates, occasionally becoming some motivation of their husbands (like Desdemona is Othello's motivation to rage, Imoinda's pregnancy drives Oroonoko restless to escape). While Shakespeare and Behn put much effort in moulding them, to many readers they are merely "perfect wives". This paper aims to argue that, Desdemona and Imoinda's perfect wifehood may be the product of compliance to male-dominated societies, where women are
This essay explores the role of women in Homer's Odyssey, James Joyce's Ulysses (1922) and Derrick Walcott's Omeros (1990), epics written in very different historical periods. Common to all three epics are women as the transforming figure in a man's life, both in the capacity of a harlot and as wife.
Saikaku, Ihara. Life of a Sensuous Woman. The Norton Anthology of World Literature. 3rd Ed. Volume D. Ed. Martin Puchner. New York: Norton, 2013. 591-611. Print.
Saikaku, Ihara. Life of a Sensuous Woman. The Longman Anthology of World Literature. (Vol. D) Ed. Damrosch. New York: Pearson, 2004. 604-621. [Excerpt.]
...ic female figures in Ancient Japanese literature. His sentiment is basically that such acts are melodramatic and lead only to regret on her part (pg. 25). I took it to mean that Murasaki Shikibu was criticizing those old tropes used in Japanese literature, and the unrealistic standards (which the men in Chapter Two later admit are impossible) are a criticism of the expectations placed on women in Heian society. All in all, the book points at the despairing conditions of women in the Heian Period, and as for Genji, who is described by the author and other characters as “perfect” in every imaginable variation of words, it is made clear through his actions and decisions that he is not perfect, and tends to be quite selfish—signifying that the male ideal is also unrealistic and unattainable.
Virgil connects femininity with hysterical passion and masculinity an accomplished restraint of self. Due to this, women are often the conflict makers and men the solvers. However, this flat assumption does not work for these characters, as they are far more complicated than mere terms. They are fluid people who are influenced by the workings of Virgil along with the implications of their time period. The conflict between man and woman may therefore not be the si...
Women are what bring this story to such cavernous depths. We are not brought into the perspective of the men, we are, however, told about how they are loved, hurt, and manipulated by the women. There is a scale of personality among the ladies which ranges from the pious uncertainty of Gwenyfar to the essence of strength from Morgaine. We are first enthralled with Igraine’s love, repulsed by the sinister Morgause, respectful to the lady Igraine, enchanted by Morgaine’s wisdom and angered by Gwenyfar’s ignorance. The qualities possessed by these woman can be both glorious and destructive.
In the Victorian years “manliness” was seen as physical and sexual restraint and moderation in all things. However, changes in society called for a different view of “manliness” as the 20th century drew near.. It is important to note the title of the book as being Manliness and Civilization, as the subjects of the book being “manliness” and “civilization”. The “manliness” of whites and white “civilization”.
In conclusion, the development of the folktales leads to the obtaining of ideas about gender. In many ways our society supports the idea that women seem underestimated as well as physically and mentally weak in comparison with the men who is portrayed as intelligent and superior. This can be shown in many ways in the different versions of this folktale through the concepts of symbolic characters, plot and narrative perspective.
Although the author of the Genji Monogatari, Murasaki Shikibu, was a woman, her perception of male and female ideals was also influenced by centuries of male dominated thought as conveyed through the vast amounts of Chinese culture which permeated the society she was a part of. Thus, one can read the Genji Monogatari as an example of gender ideals in Heian Japan as well its Chinese predecessor, the Tang dynasty.
Evaluate and respond to the presentations of women in the Romantic period. Feel free to discuss presentations of women, by women (such as Austen’s Persuasion) as well as presentations of women by men (such as the “she” in Byron’s “She Walks in Beauty”). Consider the following questions: are these presentations problematic? What do they tell us about the values and briefs of the Romantic Period? Do any of these presentations subvert (complicate, or call into questions) the time’s notions of femininity?
The Damsel has spanned throughout history as a popular archetype in literature, movies, and music. Through these forms of entertainment, The Damsel is portrayed as naïve, innocent, and feeble. In media, she eagerly awaits to be rescued and protected by a handsome prince, and live “happily ever after.” The Damsel has potential for greatness, yet only realizes it when guided by a prince. In addition to the naïve feebleness of The Damsel, the archetype originally symbolized purity, kindness, and an immunity to the taint of evil. In relation to romance, the light attributes of The Damsel encourages her to rely on herself, and recognize the qualities of a healthy romance. The shadow attributes of The