Female Self Sexualization Of The Great Grass Sea, Breaker Of Chains, And Now Mother Of Dragons

Kate Chopin's short story 'The Storm'; describes an encounter of infidelity between two lovers during a brief thunderstorm. The story alludes to the controversial topic of women's sexuality and passion, which during Chopin's time no one spoke about much less wrote about. So controversial was 'The Storm,'; that it was not published until after her death in eighteen ninety-nine. The story is broken up into five sections, each filled with small clues and hints that reflect her message. In short, Kate Chopin's 'The Storm'; is about a confirmation of feminine sexuality and passion and a rejection of the suppression of it by society.

The text ‘The Daughters of England’, is a book written to provide guidance for young women, pertaining to their character and behaviour; the book creates the framework for the role of women in the household. It instructs that women must offer a virtuous influence on men - as wives, mothers, and daughters - as part of their role within society. Estimated to have been written in 1842, in London, ‘Daughters of England’ was penned by Sarah Stickney Ellis; a popular author of Victorian conduct literature. Ellis’ popularity implies that the source was widely circulated at the time, thus represents an important view of contemporary society. This document reveals to us the ideals expected of middle class women of the time, and the principles that were envisioned for them, relating in particular to the ‘separate spheres’ ideology.

The Epic of Gilgamesh is a story of Gilgamesh, a man who was two-thirds god that was saved by companionship. Gilgamesh was a cruel and careless king, who spent his time raping women, exhausting citizens, and conquering foes and foreign lands until he met, fought and was guided by his great friend and soul mate, Enkidu. With the help of Enkidu and his influence, he learned compassion as well as wisdom and integrity, and eventually Gilgamesh became a great and fair king. Though the story focuses mainly on Gilgamesh and his friendship with Enkidu, there are several roles played by women that help to make and move the story along. Without these important women who show great strength and feminine qualities despite being oppressed by the

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 Greco-Roman society was a very patriarchal society. This is reflected throughout the myths in classical mythology. By looking at the classic mythology we will see that the roles women portrayed are very different than women's roles in today's society. Although there are a few similarities to women's roles in today's society, their roles are more like those women in the past. We can see this by looking at the attributes of Greco-Roman female gods and looking at the roles women play in the myths. By comparing the roles of women in the myths with women's roles today we will see that the roles have many differences and few similarities.

“A White Heron”, written by Sarah Orne Jewett, is a timeless classic of a girl finding a heron and keeping it a secret from a man she meets in the woods. There is a lot of symbolism in the story, but it also talks about the difference between the gender roles of the characters in the story and their approach to the natural world. This is a major facet especially in the time period the story takes place which is during the 1880’s. The author shows moments where gender roles fit the norms of the times but what is more fascinating is the focus given on the changing gender norms that conflict with the time period. I will give my opinion of the gender roles and also discuss two other opinions from other literary analysis by Aubrey E. Plourde and Effie Heotis.

This is represented here when the king, “…entered the queen’s apartments and when she saw him, she complained aloud, fell at his feet, cried for mercy and said that Lanval had shamed her” (77). After the queen offers herself and attempts to throw herself at Lanval, he denies her because of his new fairy like lover. Once the king walks in the queen victimizes herself as soon as she sets eyes on him. Her ability to completely transform herself at the sight of her husband and manipulate his thoughts to her favor shows the power of women. In showing her weakness by falling to her feet and putting herself in a vulnerable position, she is ultimately taking the power into her own hands. With his wife in this state, the king feels an obligation to protect her by punishing whoever did her wrong. In reaction to the queen’s account of what Lanval has done, “The king grew very angry and swore on oath that, if Lanval could not defend himself in court, he would have him burned or hanged” (77). This is a significant act because it displays the control a woman has in a relationship, It also demonstrates how a dominant feminist character influences her male counterpart’s masculinity and gives it purpose within a

“The world is still sexist.” — Barbara Broccoli. From the creation story to modern day, women and men still struggle with a power dynamic of inferiority and superiority. The problem of sexism has been ever-present throughout history, and although it has been acknowledged by many, it has not been eradicated or resolved. Although the acknowledgment of sexism has grown over the course of the modern era, it is heavily rooted in society’s developmental process, which makes it continuously difficult to annihilate. Furthermore, throughout many historical texts, women are often represented as objects instead of real people. Within texts, such as the Epic of Gilgamesh, the Bible, the Quran, and the Torah, women are constantly regarded as inferiors instead of equals with men. Throughout these texts, there is a clear separation between the treatment of men and women, with women always being referred to as property.

Changing Women's Roles in The Epic of Gilgamesh, Sir Gawain and the Green Knight and The Canterbury Tales

Hesiod leaves no doubt that the existence of women is on balance a terrible thing for men. Zeus ordered Hephaistos to create women as a punishment for his having been decieved.. Women were to be a poisoned gift for men, which "all shall take to their hearts with delight, an evil to love and embrace" (W&D, 57-59). In the Theogony women are called "a great plague" because they are "ill-suited to Poverty’s curse, but suited to Plenty" (592-93), among other flaws. While Hesiod offers some well-turned phrases in praise of womens’ good qualities, it is unmistakable that these positive attributes are all put there by Zeus for the sole purpose of making woman an "inescapable

Beowulf is known for displaying the importance of male heroism via Beowulf, but what about the significance of the women in the poem? The significance of women in Beowulf is overshadowed by the great heroism of the character Beowulf, but the women each have a reason for participating in the epic. The ideal woman was someone who was a noble, a mistress and loyal. An ideal woman is described in Maxim I: “at mead drinking she must at all times and places approach the protector of princes first, in front of the companions, quickly pass the first cup to her lord’s hand”. The significance of women in Beuwolf is a minor detail in the epic, but proves to be vital to Beuwolf. The epic of "Beowulf" illustrates three major roles for the women in the society: the hostess, the peacemaker, and the monster. Five women in Beowulf play the major roles throughout the epic: Wealhtheow, Freawaru, Thyrth, Grendel's Mother, and Hildeburh. These women entertain, bring peace, and contradict societal expectations of the female gender, either directly or indirectly.

Almost all the female characters in the story were seen as a possession and/or wife. One of the few exceptions to this would be Queen Olof, the mother of Yrsa. Queen Olof acted more as if she were a king rather than a Queen, in the sense that she would “dress in a coat of mail, carried a sword and shield, and wore a helmet” (Anon, 6. King Helgi attempts). She ruled over her own land in Saxland and had no intention of getting married (in

Sheryl Sandberg once said, “We need women at all levels, including the top, to change the dynamic, reshape the conversation, to make sure women's voices are heard and heeded, not overlooked and ignored.” The Odyssey incorporates an epic adventure with family drama. The book is staged in ancient Greece 20 years after the trojan war. The Odyssey is narrated by Homer, the first person to write down the adventures of Odysseus. The epic poem focuses on Odysseus’s journey home and what is happening to his family in Ithaca. Overall The Odyssey is a journey about gender stereotypes and how some women defy those gender stereotypes. Homer uses many traits of characters to address this everyday life topic. He specifically Athena’s wisdom, Circe’s strength, and Penelope’s cleverness to convey the theme though gender stereotypes often elevate men, women have prized traits as well.

The film The Mists of Avalon is an Arthurian work that relates the legend from the perspective of the female characters that manipulated the reigns of the power. This film, follows the journey of the priestess, Morgaine, in her fight to preserve her Celtic culture in a kingdom where those who embrace Christianity threaten to end their pagan way of life. This legend also focuses on the ladies, Viviane, Igrane, Morgause, and Guinevere as well as other significant female characters in Arthurian literature. The male leaders like King Arthur, Lancelot, and the other knights of the Round Table are portrayed as the supporting characters rather than the main characters. This film 's feminist perspective allows the audience to understand the great significance of the female roles in Arthurian retellings.

My research paper focuses on how the 1989 Disney film, The Little Mermaid, objectifies the female characters' value and bodies within the film's music, rhetoric, and imagery. I analyze direct examples in which the male characters, King Triton and Prince Eric, impose misogynistic and sexist attitudes towards the female characters, Ariel and Ursula, which may ultimately idealize women as weak, submissive, and objects of sex. This is a problematic theme to perpetuate within classic films viewed by all ages simply because these ideas are vital in sustaining women’s social maltreatment and demonization within society. Because the audience of this paper includes my fellow colleagues and highly skilled and trained professor, I present it in an academic