Sūdābeh and Rūdābeh: Mythological Reflexes of Ancient Goddesses

2016 ◽  
Vol 20 (2) ◽  
pp. 205-214
Author(s):  
Manya Saadi-nejad
Keyword(s):  
Female Characters ◽  
Female Figures ◽  
Islamic Society

Many female characters in the Šāhnāmeh are striking for their extraordinary independence and self-assertion, qualities not typically associated with women in the medieval Islamic society in which Ferdowsi lived. This may be an indication that such female figures have superhuman roots, possessing features that may be derived from those attributed to goddesses in ancient mythology. The characters of Sūdābeh and Rūdābeh who can be seen as representing opposing archetypes of feminine power are analyzed in terms of their possible derivations from female divinities in Iranian and Mesopotamian mythology.

THE FEATURES OF FEMALE IMAGES IN THE TRAGEDIES OF GUSEYN JAVID

2020 ◽  
Vol 5 (3) ◽  
pp. 180-188
Author(s):  
Malika Adigezalova ◽  
Keyword(s):  
Female Characters ◽  
Female Images ◽  
Female Figures ◽  
Characteristic Features ◽  
And Behavior ◽  
The Given

The article is devoted to the features of female types in the tragedies of one of significant playwrights of the XX century Guseyn Javid. In the given article, they analyse and compare the characteristic features and behavior of the female figures of the author’s such literaryworks as «Mother»(Selma, Ismet), «Maral»(Maral, Humay), «Afet»(Afet, Alagoz), «Siyavush»(Farangiz, Sudaba). The basis of the article lies in the creative works of G.Javid, where special attention is attracted by several types of female characters, among which the types of a traditional eastern woman are most brightly represented

scholarly journals Kajian Sastra Feminisme terhadap Citra Perempuan Adonara dan Ketidakadilan Gender dalam Novel “Ikhtiar Cinta dari Adonara” Karya J. S. Maulana

2020 ◽  
Vol 4 (2) ◽  
pp. 121-129
Author(s):  
Yunita Laka Marawali
Keyword(s):  
Data Analysis ◽  
Literary Studies ◽  
The Novel ◽  
Female Characters ◽  
Women And Gender ◽  
Self Image ◽  
Data Analysis Technique ◽  
Analysis Technique ◽  
Female Figures ◽  
And Gender

This study aims to describe the image of Adonara women and the types of gender injustice experienced by female characters in the novel "Ikhtiar Cinta dari Adonara" by J. S. Maulana. This study uses a literary approach based on literary studies of feminism and gender. The object of research is the description of Adonara women and gender injustice found in the novel "Ikhtiar Cinta dari Adonara" by J. S. Maulana. The source of data in this study is the novel “Ikhtiar Cinta Adonara’ by J. S Maulana. The novel written by J. S. Maulana consists of 320 pages. Published by Kaysa Media (Puspa Swara Group) in 2014. The data analysis technique was done by reducing data, presenting data analysis and interpreting the data and summarizing the results of research in order to obtain a picture of the image of women in the novel "Ikhtiar Cinta dari Adonara" by J. S. Maulana. In this study, researchers analyzed two female figures to describe the image of women in the novel. The results obtained are (a) The image of a woman, namely the figure of Syarifah, is a Muslim who is devout in worship and always submits to God, a woman who is educated, tough, has positive thoughts, is courageous and principled, is humble, and a woman who loves sincerely. (b) Fatimah's self-image, namely women who are willing to sacrifice, are brave and have principles, (c) gender injustice is found, namely marginalization, subordination, stereotypes, violence, and workload.

scholarly journals Javanese Women's Efforts to Face Patriarchal Culture in the Novel Para Priyayi by Umar Kayam

2021 ◽  
Vol 8 (1) ◽  
pp. 100
Author(s):  
Haalin Mawaddah ◽  
Suyitno Suyitno ◽  
Raheni Suhita
Keyword(s):  
Women Leaders ◽  
The Novel ◽  
Simone De Beauvoir ◽  
Female Characters ◽  
Literary Works ◽  
Patriarchal Culture ◽  
Female Figures ◽  
Private And Public

This study analysed the problems caused by the patriarchal culture and the Javanese women’s effort to get their existence in society. The novel Para Priyayi by Umar Kayam was one of the literary works that was thick with Javanese culture. This study used the theory of existentialist feminism Simone de Beauvoir (De Beauvoir, 1949). The result of this research was the Javanese female characters in the novel Para Priyayi by Umar Kayam experienced injustice due to the patriarchal culture. However, Javanese women leaders made efforts, so they could bring out their existence in the private and public. The existence raised by Javanese female figures in the form of women can become someone who can become an intellectual woman.

Women and Genre in Calpurnius Siculus’ Eclogues

Antichthon ◽  
2020 ◽  
Vol 54 ◽  
pp. 103-126
Author(s):  
George C. Paraskeviotis
Keyword(s):  
Female Characters ◽  
Literary Genres ◽  
Love Elegy ◽  
Female Figures ◽  
Pastoral Tradition ◽  
The Erotic

AbstractThis article aims to examine the ways in which the Calpurnian text converses with the earlier pastoral tradition focusing on the women identified in the collection. Leaving aside the mythical female figures who are also traced in the collection (e.g. Pales and Venus), this study focuses on all the female characters mentioned by male figures, trying to show that women in the Eclogues, among other elements (such as subjects, motifs, intertexts, language and style), constitute a significant means by which Calpurnius shows originality and generic evolution.It is argued that the female characters in Calpurnian pastoral are the erotic objects of the herdsmen and the recipients of their songs and in that sense they recall the pastoral tradition (Greek and Roman) that Calpurnius inherited. What is more, they are central metapoetic elements which show Calpurnius’ metaliterary engagement with gender in a collection that stresses the originality of the Neronian pastoral. Most importantly, however, they incorporate features and elements from other literary genres (mostly from Roman comedy and love elegy) and in that sense they constitute a significant means by which Calpurnius maintains the generic tensions employed by his literary antecedents (i.e. Vergil) and broadens the limits of pastoral.

scholarly journals Presencia femenina en la travesía de Odiseo : estudio iconográfico

1999 ◽  
Author(s):  
Mercedes Aguirre Castro
Keyword(s):  
Significant Role ◽  
Female Characters ◽  
Trojan War ◽  
Female Figures ◽  
Greek Art

En la travesía de Odiseo rumbo a haca tras la guerra de Troya, los personajes femeninos (diosas o mujeres mortales) tienen un papel muy significativo. De ellas unas se muestran benévolas con el héroe, como la diosa Atenea o la joven princesa Nausica, otras son auténticas femmes fatales que intentan impedir al héroe el regreso al hogar. Sin embargo, Circe y Calipso presentan una doble cara: peligrosas al principio, van a resultar después de gran ayuda. Pero siempre peligrosas son las monstruosas Escila, Caribdis o las Sirenas. Las imágenes en el arte griego de estas figuras femeninas nos muestran cómo los artistas no siguieron siempre la tradición homérica sino que pudieron inspirarse en otras leyendas relativas al mar y a la travesía del héroe Odiseo y ello explicaría las ocasionales divergencias entre los textos y las imágenes.On Odysseus' return to Ithaca after the Trojan war, female characters (goddesses or mortal women) have a very significant role. Some of them show a benevolent attitude towards the hero, like Alhena or the young princess Nausicaa; the others are femmes fatales who attempt to detain the hero on his journey to his homeland. However, Circe and Calypso are double faced: they are first dangerous, next very helpful; but the monsters Skylla, Charybdis and the Sirens are always dangerous. The representations in Greek Art of these female figures show how artists were not always inspired by Homeric tradition, but they could have sought inspiration from other legends related to the sea and Odysseus journey, and that would explain the occasional contradictions between texts and images.

scholarly journals Women Empowerment in Select Novels of Ian McEwan

2021 ◽  
pp. 123-133
Author(s):  
Deepati Pant ◽  
Dr. Kavita Pant
Keyword(s):  
Early Phase ◽  
Women Empowerment ◽  
Female Characters ◽  
Power Shift ◽  
Female Figures ◽  
Ian Mcewan ◽  
Male To Female ◽  
Later Phase

This article is an attempt to trace women empowerment in select novels of Ian McEwan. It is through this article that I would present the empowered female characters in Ian McEwan's novels The Cement Garden (1978) and Nutshell (2016). These three novels are different from each other in their material, plot and characterization. But these novels bear a unique similarity. These novels show highly empowered female figures who have endowed with amazing capacity of head and heart. His novels show that Ian himself advocates power shift from male to female. It is because of this advocacy Ian appears to be a feminist. The Cement Garden belong to the early phase of Ian McEwan while Nutshell belongs to the later phase of Ian McEwan. Unique thing that captures our attention is the presence of empowered female characters in both the novels.

scholarly journals Gender Issues and Intricacies in Shobha De’s Select Novels

2021 ◽  
Vol 6 (3) ◽  
pp. 99-104
Author(s):  
Ollala Srinivas
Keyword(s):  
Domestic Violence ◽  
Gender Issues ◽  
The Other ◽  
Male Dominance ◽  
Sexually Active ◽  
Female Characters ◽  
Self Identity ◽  
Female Protagonists ◽  
Male Characters ◽  
Female Figures

Shobha De, a feminist writer, depicts her female protagonists in a forceful way and uses the plot to emphasize her point that personal is not private but political. The protagonists in her works were outspoken critics of conventional society and its rules. They are not the typical women who accept abusive, unsatisfying, or uncomfortable relationships (in all aspects). It could be male dominance, objectification, sexual discontent, passion, or something else entirely. They don't keep it hidden because they believe it is taboo. On the other hand, the male characters are not shown as villains, but it is evident from the plot that they are products of patriarchal society. Gender issues in her works aren't about female oppression in terms of domestic violence; rather, they are about the sexual vacuum that all of the female characters experience. Male characters were traditionally assigned duties such as sexually active, powerful, and have self-identity, but these female figures defy such stereotypes. They represent women by demonstrating that they too have sexual wants, power, and a need for self-identity. As a result, this research focuses on Shobha De’s novels Socialite Evenings (1989), Sisters (1992), Starry Nights (1991), Second Thoughts (1996), which all deal with gender issues. The study not only examines issues but sheds light on the protagonists' struggles to find self-identity.

scholarly journals Normative Women and Patriarchal Hegemony in Ariyoshi Sawako’s Hanaoka Seishu no Tsuma (1966)

IZUMI ◽  
2021 ◽  
Vol 10 (1) ◽  
pp. 143-155
Author(s):  
Nina Alia Ariefa ◽  
Andhika Pratiwi
Keyword(s):  
World War Ii ◽  
Women Characters ◽  
Feminist Criticism ◽  
The Novel ◽  
Female Characters ◽  
World War ◽  
Gender Performativity ◽  
Edo Period ◽  
Japanese Female ◽  
Female Figures

This research examines the depiction of normative women in the Edo period (1603-1868) in the novel entitled Hanaoka Seishu no Tsuma (1966) by Ariyoshi Sawako, a Japanese female writer in the post World War II Showa era. Reflecting on the novel’s normative female characters, it analyzes the silenced voices of women. It will contribute to the discussion on how the normative female figures criticizing the patriarchal hegemony that has not been revealed in the literary canon of the Edo period. This research shows how normative women characters are presented in the text as a feminine strategy to criticize this hegemony. The researchers use feminist criticism theory from Butler’s gender performativity (1990). The study concludes that although normative women characters are commonly represented as men dominating women, those can also be used to criticize the patriarchal hegemony.

scholarly journals Characterisation of Women in Maxim Gorky’s Novel “Mother”: A Marxist Feminist Perspective

Al-Burz ◽  
2016 ◽  
Vol 8 (1) ◽  
pp. 19-36
Author(s):  
Javed Akhter
Keyword(s):  
World Literature ◽  
Daily Life ◽  
Living Conditions ◽  
Feminist Perspective ◽  
Social Classes ◽  
Class Consciousness ◽  
Female Characters ◽  
Social Formation ◽  
Female Figures

Maxim Gorkyis one of the great portraitists of typification of women in Russian as well as in world literature. He presents a panoramic gallery of female characters such as Nilovna, Sophia, Natasha, Sasha and Ludmilla in his debate-raging novel “Mother”. These female personages belong to the various social classes of the Russian social formation but they possess universality in their personalities whom we have often met every day and everywhere in our daily life. Gorky endows them with class-consciousness, which enables them to involve in the revolutionary proletariat movement, considering Socialism the only way of woman’s emancipation and enfranchisement as well as class-liberation. This paper tends to focus on the re-evaluation and investigation into Maxim Gorky's realistic depiction of these women to delineate their revolutionary roles in the structure of his novel as well as in the Russian Communist politics and social formation form a Marxist Feminist perspective in a new and innovative way. How these female figures are developed from their bourgeois and petty-bourgeois class-milieu to the level of radical Marxist activists and militants. How they liberate themselves from their cowed, wretched and oppressed living conditions into which they have been subjugated, tortured and beaten by men.

Damsels Who Distress

2020 ◽  
Vol 35 (2) ◽  
pp. 63-93
Author(s):  
Liam Mitchell
Keyword(s):  
Video Games ◽  
Sexual Difference ◽  
Popular Fiction ◽  
Female Voice ◽  
The Political ◽  
Female Characters ◽  
Women's Voices ◽  
Female Figures ◽  
The Voice

Female figures routinely appear in popular fiction as ostensibly critical correctives to masculinity who can inadvertently retrench problematic divisions between “Woman” and “Man.” In video games, these figures are often aural rather than visual; whether they are off-screen narrators, nonplayer characters, framing devices, or divinities, players regularly hear voices without seeing their source. While many games leave voices off-screen for reasons of technical and economic constraint, developers may restrict voices in this manner for other reasons as well—or at least with other consequences. The voice is a particularly potent site for the production of sexual difference, and the restriction of the female voice to relatively narrow protocols can result in the reduction of female characters to mere agential functions. This article offers brief critical readings of the acousmatic female voice in five recent games—BioShock (2007), Gone Home (2013), The Stanley Parable (2013), The Talos Principle (2014), and Firewatch (2016)—that illustrate the complicated connections between gender, games, technology, and the political. It then turns to the work of Super-giant Games, a small developer responsible for four critical and popular successes. Rather than reducing women’s voices to agential player functions, Supergiant’s first two games, Bastion (2011) and Transistor (2014), pose these voices as an affirmation of the characters’ agency. Moreover, because of the distressing character of this affirmation for certain players, Supergiant at first represses these characters’ speech. Although they are rendered voiceless, they are anything but powerless.

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