The Female Figure From The Narrative As A Mourning Woman

Larissa Taylor takes her readers on a journey through the life of the infamous Joan of Arc. Joan can be easily recognized as a historical figure in the 15th century, a female warrior, and a woman that was fiercely independent and determined. Joan’s life has been told again and again, which has slowly taken away from the incredible woman that held so many triumphs. Instead of giving her readers a list of Joan’s accomplishments, Taylor enthralls the reader by detailing every step of Joan’s life, start to finish, so that one can really understand the life of the warrior.

The main characters, Day and June have no reason to cross paths, until the day June's brother, Metias, is killed. Day becomes the most suspected killer. While Day is trying to make sure his family survives, June wants to kill whoever ended her brother,Metias's, death. As the story unravels its dizzying twist and turns, the two realize the reason they came together in the first place.

The Portrayal of the Plight of Women by the Author, In Their Particular Period of Time

In a world usually depicted as a “man’s world,” a woman’s role is not considered as significant and thus can be repressed. It is why a feminist perspective or criticism comes into place, especially in literature. By definition, a feminist criticism consist of scrutinizing “the ways in which literature reinforces the economic, political, social, and psychological oppression of women.” (Tyson) In Gail Godwins’s A Sorrowful Woman, the leading female character is concentrated in her efforts in distancing from her structured lifestyle. A feminist would critic Godwins story by as the female character is in pursuit of peace and happiness and wants to escape from the role she has been implanted. The critic would concentrate on the experience woman

In Chaucer’s “Merciles Beautee”, feminine beauty is represented as a superficial threat, “merciless” lust is the sole weapon of the female against man in the fin

Consider the word “see” in line 606, as Lanval’s love enters the room she is immediately noticed. This prompt response to her entrance straightaway reveals the implications of her beauty and the importance it has on Lanval’s trial along with the male relation the females in this time period. Women are objectified to a certain extent yet also essential to the inner workings of society. This can also be observed in the context of this passage due to the fact that the queen made the accusations against Lanval and though they were lies the extensive reach of her authority is notable. Also consider the line 607 “The king who was well bred rose and went to meet her” (166). This line directly relates aspects of the chivalric code to a woman’s beauty due to the fact that the king was “well bred” he did not make her walk all the way to him and instead rose to meet

In Claudia Llosa’s The Milk of Sorrow, a girl from the Andes named Fausta has an odd disease contracted from her mother’s milk. Because her mother was raped and tortured during the Peruvian Civil War with Fausta in her womb, the mother’s milk is contaminated with the disease, according to the local people. This condition causes symptoms such as rarely leaving one’s home by will, avoiding men, rarely speaking, and walking close to the walls of houses for fear of having one’s soul stolen. In the film, Fausta undergoes a journey to empower herself to cure this disease and create a voice for herself. Through the use of central recurring symbols, Fausta’s actions, and the interactions of the people around her, the film suggests that historical trauma, if left unchecked, can negatively influence the person with trauma, the people around them, and even generations to come.

Euripides and Sophocles wrote powerful tragedies that remain influential to this day. The vast majority of work recovered from this time is by male authorship. What remains about women of this time is written through the lens of male authors’ perspective and beliefs about the role of women in Greek culture. The works of these two playwrights frequently characterize women as unstable and dangerous. Agave, Antigone, and Medea are all undoubtedly the driving force behind the tragic action in these plays. It is their choices that lead to the pain and death of the people around them. Through an examination of the evidence from three separate works, Antigone, The Bacchae, and The Medea, the role of women in ancient Greek tragedy becomes clear. The actions of Agave, Antigone, and Medea repeatedly prove their characters instability and danger.

It was determined that the women in the portrait was most likely a freeborn, upper-middle class citizen of Rome. The portrait seems to have been a part of a funerary monument, a conclusion which was drawn due to the pattern of cleavage observed at the back of her head and the sides of her face. It was also observed that there was a

More than anything on this painting, it is focused on the woman state of mind and heart rather than the skull or anything else. The simple arrangement of how the artist used vertical and horizontal shapes draws the viewer really close into the Magdalen's thoughts. The skull and the books purpose is to set the mood in what the woman might be feeling. The focal point of the entire painting seems to be the candle because not only is it bright, but the woman is gazing profoundly into it.

One of the first complexities that "The Dead Woman," a poem written in the first person by Pablo Neruda, exhibits can be clearly seen in the first three lines: "If suddenly you do not exists, / if suddenly you no longer live, / I shall go on living" (Neruda, "The Dead Woman," YEAR, 1-3). Neruda talks about someone or something that is in existence right now in the moment but he speculates on the death of this thing. Because he writes, "I shall go on living," the reader immediately wonders about the kind of relationship that Neruda has with this thing that might die. Is this an ordinary love? The lines would seem to imply that it is not, that there is something, in fact, unordinary about it something beyond special. Why would this thing die suddenly as well? Wouldn't that be a bigger shock to someone to have something taken away from him suddenly? This poses a paradox from the beginning. The theme of the poem seems to be about giving up old things, people and ways. It also seems to have an element about dealing with the unconscious mind. Neruda is speculating on death and what life will be like for him after the fact of this thing's death. There is a spiritual element to this poem and an overall theme of getting on with life after a major loss. The poem carries this element throughout the entire poem, which adds unity and fluidity at the same time.

Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.

The story that is A Sorrowful Woman seems to be a story told from the point of view of a narrator who focuses only slightly on the inner conflict of one of the main charters in the story. The character of which I am speaking is never referred to by name, instead is called she, the woman, mommy, and wife throughout the entire story which lends credence to the conclusion of the viewpoint as being told from the outside. The first indication that the focus of the story will be not of a warm and loving nature is the line “The sight of them made her so sad and sick she did not want to see them again”(1). This is where a hypothesis can begin to be formed as to who the antagonist of the story is, bearing the statement above in

The Lady of Shallot can be interpreted as a symbol of artists and their commitment to their work, in this poem represented by weaving, but also paralleling Tennyson and his poetry. She sacrificed herself to her passion and ironically Sir Lancelot made her into nothing more than a piece of art, he said, “She has a lovely face; / God in his mercy lend her grace” (line 169) she can no longer weave “A magic web with colors gay,” (line 38) rather, just be objectified into a dead-pale beauty not able to offer anymore creativity.

Sadeq Hedayat 's 'The Blind Owl ' is one of the most important literary works in Persian language. The original Persian text of The Blind Owl, marked "not for sale in Iran," appeared as a mimeographed publication in India in 1937. It was assumed at the time that Hedayat feared the repressive rule of Reza Shah; he feared especially that with the publication of this work he might have violated the established norms. He was aware that the propagation of a message that focused on the strangulation of the Iranian people, on the denial of individual human rights, and on the need for individual enlightenment would not remain undetected for ever.