The Mists Of Avalon : A Feminist Perspective

A close reading of the Sir Gawain and the Green Knight reveals a very antifeminist view. The poem, told in four parts, tells of common medieval folklore. The stories seem to be of different plotlines, but start to intersect in interesting ways – that is, the character of Morgan Le Fay begins to frame the stories together. The half-sister of King Arthur, she holds intense hatred for her half-brother and his court. It is her thirst for the downfall of Camelot that makes this character infamous, and, surprisingly, her success and the strength of her ability that give a bad name to women. Through the examination of Morgan Le Fay’s character, it is clear that a successful woman is always an illusion.

The Odyssey, by Homer, was written with the Greek mindset that women were supposed to be submissive. If the woman in question was not submissive enough, she was depicted as cruel, selfish, a monster, or a whore. This is true for both mortal women, such as Penelope, and immortal goddesses, such as Calypso. Mortal women were expected to be good faithful wives who listened to everything the head of the household said, while goddesses were expected to follow the gods every order and were called sexist slurs if they ever got involved with a mortal man.

Sir Gawain and The Green Knight is an example of medieval misogyny. Throughout Medieval literature, specifically Arthurian legends like Sir Gawain and the Green Knight, the female characters, Guinevere, the Lady, and Morgan leFay are not portrayed as individuals but social constructs of what a woman should be. Guinevere plays a passive woman, a mere token of Arthur. The Lady is also a tool, but has an added role of temptress and adulteress. Morgan leFay is the ultimate conniving, manipulating, woman. While the three women in this legend have a much more active role than in earlier texts, this role is not a positive one; they are not individuals but are symbols of how men of this

In today’s world, specifically in the twenty-first century, men are known to dominate society—especially in a workplace. This domination portrays women to be fragile individuals; however, after reading Marie de France’s “Lanval,” readers learn that the gender roles are interchanged—women are men and men are women. In “Lanval,” Queen Guinevere, King Arthur’s wife, is depicted as an authoritative woman—specifically over Lanval, the knight. Queen Guinevere wants Lanval to take part in an adulterous relationship—she wants to be his mistress: “Lanval, I’ve honored you sincerely, / Have cherished you and loved you dearly/All my love is at your disposal/ What do you say to my proposal? /Your

During a high point in medieval chivalric romance, both Marie de France’s Lanval and the anonymous Sir Gawain and the Green Knight tell fanciful tales of knighthood, chivalry, and spiritual and temporal (courtly) love. Both Lanval and Sir Gawain and the Green Knight portray their female characters as possessing considerable power and influence, within the events in the story and in the structure of the plot. Indeed, the female characters in both works function as the catalysts of the events within the stories, and also as instruments for each author's conveyed meaning. While Lanval presents its female characters in an unorthodox reversal of gender roles, Sir Gawain and the Green Knight employs the female characters as moral and spiritual trials for the hero, Sir Gawain. I will examine how the fairy princess and Queen Gwenevere in Marie de France's Lanval present a reversal of gender roles as was traditionally understood; she presents femininity as powerful, inspiring, and morally dynamic (for a woman can be ideal, or she can be corrupt). I will compare this to the representation of Lady Bertilak and Morgan le Fay in Sir Gawain and the Green Knight, in which they are used to convey a “Biblical” warning for an ecclesiastical audience; particularly that of moral failure and the temptation of the flesh.

Mist of Avalon breaks through many stereotypes but also strengthens some in some ways. One stereotype that was torn down was that women are not as strong as men. This is proved to be wrong when they have Morgaine fighting men and actually being victorious. This movie also breaks the stereotype that women can’t be in power. Most women in this movie hold very high positions. For example, Viviane is the high goddess of Avalon. Also Morgaine is her second in command. Although this movie breaks some stereotypes it also reinforces them by putting the blame on a women for not being able to give the king an heir. Although in this case it really is her fault nobody knows this information and automatically blames her. These are just a few of the reasons that Mist of Avalon strengthens and breaks through common stereotypes.

In Homer’s The Odyssey female characters have a surprising amount of power over men. In Ancient Grecian times women were usually thought of a being less than men, only performing domestic tasks and serving them. In contrast, The Odyssey portrays many females as strong and having a lot of power over men. One specific example is the witch, Kirke. She exerts her power by tricking Odysseus’s men, making choices for herself, and finally helping Odysseus get to Ithaca in the end. In her actions we can learn that through womanhood there are powers that are even stronger than that of being a man.

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

Greek society is highly stratified, one where the distinctions between Nobles, peasants, and slaves are explicit. While many people consider women oppressed in the ancient hierarchy, this notion is somewhat contradicted in the Odyssey, where many women act as powerful figures. Penelope separates herself from the suitors that plague her palace, who are relentless in their pursuit for her hand in marriage. Circe has the capability to seduce an entire unit of Odysseus’ men and turn them into pigs. Athena benevolently guides Telemachus over the many obstacles he faces on his quest to seek out his father. Helen defects from Sparta, rallying all of Troy for her cause. Clytemnestra deceitfully plans Agamemnon's death for her new love interest, Aegisthus. Women in the Odyssey show that through seduction, trickery, and wisdom, women of Ancient Greece are able to obtain significant power.

The story displays a type of chivalry by Gawain through respect. Knights respect women, their peers, as

During the Medieval times of England, society was created as a pure patriarchy by the Christian church, and nearly everything was made male-dominated where the men held the power and their female counterparts held little to no power at all. Arthurian texts such as Sir Gawain and the Green Knight showcase many of the characters mostly following these traditions with the men being portrayed as strong-hearted knights who follow a code of chivalry, and the women as passive and submissive beings to the men. However, Arthur’s half-sister Morgan Le Fay is featured in Sir Gawain, and she does not play any parts given to her as a woman, as she is portrayed as an enchantress and an evil, manipulative woman, which is an archetype that was given to women who did not follow their given gender roles. Morgan Le Fay subverts the traditional roles for women by having her own power in the play, and overall presents herself as the antithesis to the church and the patriarchy of the Medieval times.

     Until recently, the role of women in literature has seemed to reflect the way they were treated in society. Women were seen as secondary to men, and their sole purpose in life was to please a man’s every desire. This is not the case in three specific literary works. The Odyssey, The Wife of Bath, and Sir Gawain and the Green Knight use the actions of its women characters to greatly enhance important thematic elements. The women in each of these works use feminine psyche to persuade men to do things that men of the time would not usually do. The use of women in these literary works is very contrary to the prevailing ideals of the female and her responsibilities at the

Throughout many pays and novels, women have had important roles of helping form the main characters, in the way they think, move or change the story. Women have always been subordinate to men all through history, but in plays, novels, short stories, etc, they have been given large enforcing roles, showing the power within women. William Shakespeare and Sophocles use guilt, pride, and influence to demonstrate the importance of the women’s role to support the main characters in both the plays of Macbeth and Antigone.

In Hosseini’s A Thousand Splendid Suns, Mariam and Laila were brought together due to circumstances they could not control. Although they were both oppressed wives of a cruel and violent husband, Rasheed, they were eventually able to regain power over their own lives. The two women supported and learned from each other, finding strength in their relationship. Their relationship was an alliance of sorts and was essential to their ability to regain power over their lives. Once Mariam and Laila befriended each other, they each started to gain courage and hope and began to take more control over their lives in separate, small acts of courage and rebellion that eventually led to significant events which cemented their newly regained power. The developing of power did not come without obstacles, but Mariam and Laila were able to persevere and continue to stand up for themselves against both Rasheed and their societal constraints. Finding strength and motivation from each other and from other loved ones essential to their efforts, Mariam and Laila were able to take power over their own lives by standing up to and retaliating against oppressors in a series of events which led to the pivotal moment when Mariam kills Rasheed, finally setting both women free and giving them both complete power over

Joseph Conrad’s varying depiction of women in his novel Heart of Darkness provides feminist literary theory with ample opportunity to explore the overlying societal dictation of women’s gender roles and expectations in the late nineteenth and early twentieth century. The majority of feminist theorists claim that Conrad perpetuates patriarchal ideology, yet there are a few that argue the novel is gendered feminine. Sandra Gilbert and Susan Gubar claim “Conrad’s Heart of Darkness…penetrates more ironically and thus more inquiringly into the dark core of otherness that had so disturbed the patriarchal, the imperialist, and the psychoanalytic imaginations…Conrad designs for Marlow a pilgrimage whose