Judith Shares Similarities With Deborah And Jael

How does one read the story of Sarah and Hagar, or Jezebel and Rahab today, if one is a woman reader situated in a postcolonial society? This question animates Judith E. McKinlay’s Reframing Her: Biblical Women in Postcolonial Focus. In this text, McKinlay takes different biblical women’s narrative and gives them agency. McKinaly opens this text from both with a feminist hermeneutic and a postcolonial criticism that helps to shape the context and location for the women she will explore and also her own personal context. One of the things I most appreciated about the opening us this book is the location in which she situates herself. She is a New Zealander, a Pakeha, which is described by the people of Maori, for people who are not Maori. Her narrative becomes critical in how she shapes these biblical women who are considered outsiders from those within. Location and identity politics becomes a critical theme within this text. I can remember Historian Vincent Harding who would open his class asking everyone to identify who they were and where they were from. At the time, I never understood why that was necessarily, but as a historian, I understand to know who we are and where we are from shapes our context.

Using the example of Judith, Shakespeare’s imaginary sister, Woolf depicts this character as how society discriminated against women. Judith, a woman, was just as talented as her brother, William Shakespeare, though had to write in secret. A man’s talent was highly recognized in

To begin with, she pointed out examples of how women are treated unfairly in society. She began to point out several double standards. The wife states, “about accused Lamech’s bigamy? Abraham was a holy man I know, And as I understand it Jacob also; And each of them had wives now, more than one, as many other holy men have done.” (61-65) Here, she shows that there is truly a double standard for women who behave in an exact manner as men.

From a plethora of many authors and compilations over many centuries comes the fourteenth century The Thousand and One Nights, a Middle Eastern frame story during which there are as many as four implanted stories. In the outermost frame of this tale, a king who is betray by his wife vows to take a new wife each night and kill her the next morning in order to prevent further unfaithfulness. The main inner frame are stories from one of his wives which she continues each night to keep the king interested and thus postpone her death. Through these stories, the reader can examine the role of men and women in this time, specifically how women function in conjunction to men in the text. The reader may assume the men are superior while the woman are inferior, but through close reading of the text, the reader will discover that women in the text are only treated subordinately by men in the story but are revealed to the reader as the more powerful of the sexes. Authors reveal the power of women by their prowess at trickery or “women’s cunning” (The Thousand 1181), and their ability to force the actions of male counterparts. The reader can examine men’s attempt to stifle this power, which further acknowledges the women’s merit, through the excessively frequent occurring instances of men treating the women as insignificant, as well as instances when women are turned to ungulate animals, such

The chorus during one of their observations blames the Trojan War on Helen, the most beautiful women of all the land who was whisked away by Paris of Greece. "He had skill in the swordplay, He went down so tall in the onslaught, All for another's women" page 119. The chorus was talking about the men of Greece sent to go to war. Explaining that the men may have fought a good battle

Ehud * Rescued the Israelites from Moabites. Shamgar – next judge of Israel. * Delivered them from Philistines. Deborah – 21 Century B.C. * First female judge.

Artists striving for any appearance of propriety created extremely feminine, quiet and bland Judiths, perhaps to avoid the controversy Gentileschi wholeheartedly invited. Veronese's Judith7 (1570) is a perfect example of this. Her hair is immaculately braided and her skin a porcelain white rivaling the delicate pearls around her neck. She gazes into the distance as she daintily places the head of Holofernes in the bag her servant holds out for her. Simply put, Judith appears as dead as the head she holds. She is devoid of emotion, intelligence and humanity. Again, she is nothing but an allegory, a warning for proud and arrogant men.

Virginia Woolf once iterated, “ I would venture to guess that Anon, who wrote so many poems without signing them, was often a woman.” Often, the endeavors of women in history go undocumented or discounted, hindered by either the prevailing male entities which tend to govern most enterprises or, the establishment of a structure which markedly devalues them. With a similar sentiment, in Barbara Kingsolver’s The Poisonwood Bible, the efforts of women are noted to occur without recognition from the patriarchal structure which governs the societies discussed. Towed to the Congo by the will of the father and husband, Nathan Price, Orleanna and her four daughters, Ruth May, Leah, Adah, and Rachel must struggle to survive and support Nathan, while

The story behind this painting is a Biblical tale about a strong heroine named Judith, who was known for her bravery and resistance against the Assyrian troops that come to assume control over her people. In this story, Judith uses her wit and seduction to ease her way into the Assyrian troops' camp and continue with a genius plan to execute the Assyrian General, Holofernes. She seduces him, and once he is drunk, beheads him in his own tent, with his own soldiers all around him oblivious (Branch). Judith was able to defeat the enemy and resist what could have been the end of many Israelites' lives. Cranach's choice suggested a political resistance that required a bravery similar to that of Judith's. Small details in the painting such as the bodice of the dress and Judith's jewelry show Cranach's love for a decorative surface, as well as the

The poet, ensuring that the reader is constantly reminded that Judith is a woman, mentions her beauty and physical traits frequently. Right from the beginning, readers are introduced to Judith and told of her incredible beauty, which differentiates her from her male counterparts. At line 14, she is said to be “ides ælfscīnu” which translates as a “lady of elven beauty”. Not only is Judith a beautiful woman, but she is beautiful in an otherworldly manner. This seemingly supernatural quality aligns her with heroes of supernatural strength, such as Beowulf, while also cementing her female identity.

It is tough to get a clear look into the ways Meyers interprets textual evidence since her focus on women’s religion is often marginalized. Nonetheless, she does with what she has to make a full and convincing argument. Meyers identifies that feminist biblical study is masculinized, so she decides to uncover the role of women in the sanctuary through the Deuteronomic use of unisexual terms such as “you” and “person”. In doing so, she concludes that both women and men were to engage in communal events and offerings (Meyers 2002, 279-280).

In this essay, I will discuss the startling differences between two depictions of the story of Judith and Holofernes. “Judith with the Head of Holofernes”, 1495, created by Andrea Mantegna, is a small-scale painting that was completed during the Renaissance. The second is a Baroque painting, “Judith Slaying Holofernes”, c.1620 by Artemisia Gentileschi and is on a larger scale than the version created by Mantegna. Both artworks take inspiration from the religious story that appears in the Catholic editions of the Bible. The story is about a young widowed Jewish woman, by the name of Judith, who murdered an enemy army general, Holofernes, to spare her people from death. I will compare and contrast how the scene has been depicted in rather different ways by each of the artists and the influencing factors that contributed to the overall outcome of both works. I will also be discussing how form and naturalism are portrayed between the two paintings, use of colour, symbolism and religion, as well as the Renaissance and Baroque eras.

“Thinking about Shakespeare’s sister,” resonated how women were treated and how their opportunities differ from that of a man. Virginia Woolf tries to boil down the main cause of why there are not any great women authors. Is it because women do not have the ability to be or raw talent great writers? Woolf’s essay examines the life of William Shakespeare’s sister to answer this question: What kind of life would have Judith lead? Judith is a fictional character created from Virginia Woolf’s imagination.

‘Judge,’ however, can also mean a military leader, presumably someone who makes tactical military decisions during wartime and also a general-type leader who fights alongside his or her soldiers. It seems possible that this role could also be designated to Deborah, since she travelled with Barak to gather soldiers for the Battle of Mount Tabor and subsequently convinced Sisera to engage in battle. Also, as Tikva Frymer-Kensky explains in Readings in the Bible: A New Interpretation of Their Stories, “the ‘judges’…usually acquired their political authority after they saved Israel through battle” (46). This directly connects to the possibility that Deborah engaged in war as a leader.

The Book of Judges talks about ancient Israel, and how they extended their territory by acquiring lands from the non-Israelites. The book narrates how Israelites conquered and reclaimed their lost land from non-Israelites and how they used to turn from God whenever they are satisfied. But it is written in the Bible that, the guilty are by no means cleared, as Exodus (34:7) says this is the reason why the Lord used several Kings and Judges like Deborah to help the people of Israel find their way back to Him. As the book reveals, it is evident that most of the judges were men (as they were most of the times referred to as Judges). The book talks about a great woman Deborah, also referred to as the “bee”, as a key judge in the entire book. This book unveils the importance of women (through acts and strengths of Deborah (mainly) and other heroic female characters) and their power to the readers.