Who do you trust when you are suddenly told that you must battle your classmates to the death? According to the students in Battle Royale, not the wanton one. The depiction of Mitsuko Souma, the most promiscuous female character in Battle Royale by Takami Koushun, as being feared and othered by her classmates reflects Japanese society's view of promiscuous and sexually powerful women. During the kill-or-be-killed game that they are thrust into, several students in Mitsuko’s class explicitly state that they do not trust her. Although they do not state their basis of distrust, Takami implies that their abjection of Mitsuko stems from her reputation as a promiscuous girl. When Mitsuko uses her sexuality to lure and kill male classmates, readers …show more content…
For example, classmate Shinji Mimura does not reach out to Hirono Shimizu, one of Mitsuko’s friends, when he sees her. When someone asks him why, he replies, “I don’t know. I guess I’m prejudiced against her. I just don’t trust Mitsuko’s friends,” acknowledging that he has no actual reason not to trust her (Takami 185). Another male student, Tadakatsu Hatagami, exclaims about Mitsuko “There’s no way I can be with this bitch. Don’t you know who we’re dealing with?” (Takami 405). Furthermore, female student Megumi Eto remarks that “Mitsuko Souma was more frightening to [her] than … any of the bad boys.” (Takami 94). Interestingly, readers also learn that “Mitsuko herself didn’t pick on Megumi”, yet Megumi thinks that “Mitsuko Souma would relish killing someone like her” (Takami 94). She accuses Mitsuko of murderous intent, despite never actually having been harassed by her, based only on Mitsuko’s reputation. Other female classmates have similar feelings about Mitsuko: Yukiko Kitano expresses that she “just can’t trust … Mitsuko Souma’s gang”, and Yukie Utsumi explains that, while trying to recruit girls to form a group and survive together, “I said we should call [Yoshimi]. But some of the girls protested. You know Yoshimi was friends with Mitsuko. They couldn’t trust her” (Takami 137, …show more content…
Takako’s relatively pleasant life and death compared to Mitsuko’s shows the Japanese standards of women that deserve better. Takako has dyed hair and wears gaudy jewelry, which some readers might take as signs of delinquency. However, Takako is actually a top student and athlete, and that is why she is able to dress like a delinquent (Takami 238). She is also a virgin, as commented by Kazushi when he tries to convince her to have sex with him, and therefore more “pure” than Mitsuko (Takami 245). Mitsuko herself recognizes the differences between herself and Takako, as before killing Takako she remarks, “I was always a little envious… You were a better girl than me” (Takami 253). These aspects of Takako put her in the category of “good girl”, as she does not deviate enough from Japanese society’s definition of a proper woman (Miller 7). Despite having traits similar to Mitsuko, because Takako is a “good girl” she gets both a decent life (as an attractive top student and athlete) and a relatively pleasant death in the arms of the boy she loves (Takami 262). On the other hand, Mitsuko gets a painful life and a violent death because of her promiscuity and use of sex to kill discussed previously. Starting when she was a child Mitsuko was often raped by men she thought she could trust, including her foster father and elementary school teacher. She also killed
Tannen’s style of language tells the reader that she is a smart women that isn’t messed with by men.
Hero’s plight in Much Ado About Nothing is a perfect example of how the skewed male perspective can turn a sweet and innocent girl into a scheming strumpet in no time.
Most women do allow themselves to be a target in today’s age. As it talks about in the story “In the combat zone” by Leslie Marmon Silko. It’s very important to be able to protect yourself as a woman. The author and I were brought up in different environments. It was okay for her to be a tomboy, while it was not okay for me. I was very secluded growing up, compared to the author who was out there in the world doing things, experiencing and learning things with her father. In addition to being raised in different households, I was unprepared for what could happen to me, the author seemed prepared and unafraid.
The main character says he is “so much a child in my bed. Nothing but a big boy who who needs to be held” (116). The way she talks to him is like a mother figure, but twisted at the same time, “Come to mamita. My stupid little bird” (118). He is frail, gentle, trusting, young, and she is the opposite of innocent, “I’m vindictive and cruel, and I’m capable of anything,” she says (109). Because he is so sweet and frail, she looks like even more of a monster next to him. It makes her character pop out at
woman very well—the narrator—talks about her but not to her. With her own choices, then, the
... to the husband. Yet the reader is presented with woman Wang, who ran away with another man from her husband, Jen. Some of the reasons of her departure could have been neglect from her husband, that she had bound feet and that she had no children. Her actions contradicted any moral wife at that time. After relentless pursuit of happiness woman Wang returned home, there she met her death. The Legal Code justified certain parameters of vengeance on behave of the husband toward his adulterous wife. Nevertheless, Jen was not allowed by the law to simply slaughter his wife. Moreover Jen accused an innocent Kao, for which Jen could have been sentenced to death. Were woman Wang's actions right is for the reader to decide.
Clashing swords, miraculous survivals, pain of loss, and heroic sacrifice are all terrifying yet thrilling moments in a battle. The strong possibility of death and the frailty of human life add into the suspense of battle. Yet the reasons behind the wars, death, and suspense can be overlooked. The stories behind the warriors who have died will not be told again, but the stories of warriors still alive are what give the men strength to continue fighting against impossible odds. Ultimately, the reason of why a man would risk his life in battle is for someone, or something, he loves. Like in Gilgamesh and the Iliad, women help encourage and influence the protagonists to be the heroes and protectors they are meant to be.
Her husband walks into the house and is immediately looking for a confrontation. It is throughout this confrontation that the exploitative and abusive nature of Delia and Syke’s relationship becomes clear. Syke taunts her with his bullwhip, rolls around laughing in mirth at her fear, and continuously kicks the piles of clothing she is working on. Syke, overbearing and dominating, paints a startling portrait of sexist masculinity. He stands in clear contrast to the ways in which Delia is described in his presence: her “thin, stooped shoulders” sag deeper and deeper.
... female victims in mind to raise safety awareness among female students living on college campuses. Women are primary victims of crimes more strongly influenced by the gender factor; they have been known to be easily overpowered by men (assuming the attacker is male!). A male victim may be able to fight back his attacker, but for a female it seems that their best line of defense is simply locking the door.
Cisneros explains that before puberty girls are free spirited, careless, and not focused on their appearance. She describes this time, before girls realize they are viewed as objects, in a very positive manor to emphasize the negative impact that objectifying women has on a girls life. The social impact men can have on a woman 's life is tremendous, and consuming. Once girls realize they are being looked at and judged on their appearance they begin to be self-conscious, which changes not only their behavior but their view on society and themselves. This story once again reveals the relationship between women and the dominant male in society through showing how a girl 's entire perspective is altered due to the actions of
“The essence of this trope is the suggestion that, while male villains can be evil by nature or by choice, such depths of evil are not natural for women, and so, if a female character has truly evil thoughts, a man must be ultimately responsible for putting them there, even if her actions and behavior don 't hint at it. Thus, when facing in-universe justice, she is more likely to receive a less severe fate for the same crimes as a male villain might.”
She makes her own way, makes her own rules and she makes no apologies. A Bad Girl blazes her own trail and removes obstacles from her path. A Bad Girl fights and forces her way to the top with style and beauty. A Bad Girl believes in jumping first and looking later. People will love you. People will hate you. Others will secretly wish to be you. A Bad Girl is you” (Season 16, episode 3). The framing of these women shows the image of an immature young women outrageous behavior and broken down structure to womanhood. Furthermore, sends a message to young girls that it is okay to act like a “bad girl” for older women in their twenties and late twenties are rewarded with camera time, a limitless supply of alcohol with a limo to chauffeur them to party’s. Normal behavior is portrayed as uninteresting, undesirable and worthless, and is covered up by the drama, fighting and drinking to advertise more normal lifestyle for the girls. Girls are put into a terrible double blind. They 're supposed to repress their power, their anger, and their exuberance and be simply "nice", although they also eventually must compete with men in business world and be successful. They must be overly sexy and attractive but essentially passive and virginal (Kilbourne
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
Video game industry have been representing female character as sexually objectified or shown as a victim who is in desperate need of help through male protagonist, this portrayal has negative effect on the mind of our generation and the gender roles they identify with.
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.