Female Warriors Research Articles

THE ‘SWORD BEARERS’: WOMEN BEARING SWORDS? RETHINKING A GROUP OF FIGURES IN MYCENAEAN PICTORIAL VASE PAINTING

This paper focuses on a particular group of human figures attested on a number of Late Helladic (LH) IIIA2–B1 pictorial kraters which show specific attributes: they have long hair, wear an elaborate cloak-like robe and bear a sword on their chest. Furthermore, they appear in clearly peaceful representations like chariot or processional scenes. These accurately rendered ‘Sword Bearers’ have so far been assumed to be of male sex due to the presence of the sword; the interpretation proposed here, that they are women, is based on the presence of distinctive female traits as also found on female representations on pictorial vessels and other media of the same period. Particularly striking is the similarity with the enigmatic ‘Sword Bearer’ from the Cult Centre of Mycenae, who is the sole contemporary model of a female figure with a sword wrapped in a long cloak. Though not postulating that these figures are female warriors, attention will be drawn to the fact that weapons have a strong association to the female imagery as well to the sphere of ritual – a sphere in which women played, as is well known, a predominant role in Aegean culture.

The rise of female warriors: Unveiling the factors behind career progression of Indonesia's army corps

Although modern‐day institutions have bridged gender inequality gaps to some extent by recruiting female employees, there is limited information about the career progression (CP) of these females especially in military institutions. Accordingly, the present study aims to investigate the factors affecting the CP of female army corps employed in developing countries. The fundamentals of the theory of gendered organizations are operationalized to develop the theoretical model and investigate whether institutional factors (IFC), sociocultural background (SCB), resource facilitation (RFC), and personal skill and competency (PSC) influence CP of female army corps. The primary data was collected from 352 females employed in the army corps and was analyzed using the structural equation modeling (SEM) technique. The findings confirm that our conceptualized factors (IFC, SCB, RFC, and PSC) influence CP. Particularly, the results indicate a significant positive impact of IFC and PSC and an insignificant positive impact of SCB and RFC on the CP of female army corps. This empirical study contributes to developing gender and talent management strategies in the workplace by enhancing the CP of females.

I'm not, like, the best dragon, ya know?: A Deconstructionist Reading of Disney’s Raya and the Last Dragon

Background: Raya and the Last Dragon is the first Disney movie inspired by traditional Southeast Asian cultures, somewhat under-represented in mainstream media. Hence, the movie is worth further investigation. Purpose: The study intends to read Disney’s Raya and the Last Dragon using a deconstructionist lens. Methods: The study used qualitative analysis of audio-visual materials. The auditory and visual aspects of the movie are examined using a deconstructionist lens by watching and rewatching the movie with occasional note-taking. Data are presented in the forms of characters’ dialogues, and screen captures of relevant scenes. Results: It found that, to a certain extent, the movie deconstructs dominant narratives. The most prosperous tribe, Heart’s chief, chooses to promote trust and cooperation over violence. Then, against popular views associating toddlers with innocence, this movie presents a toddler as a con baby. It also seems to advocate the power of youngsters to make a difference in society. Though it seems to have feminist details through its two androgynous female warriors, Raya and Namaari, the same characters lead Kumandra to its downfall and eventual rise. It suggested that female warriors can achieve great things but also bring catastrophes. The movie, furthermore, portrays Sisu as an insecure yet trusting dragon, quite different from the typical portrayals of dragons often associated with power and destruction. However, the movie marginalizes the antagonists, the Druun, by not giving them the language to defend themselves from the judgmental assumptions of the talking characters. Implications: The movie carries hidden messages and could be used to challenge dominant narratives. It, however, could also be used to marginalize certain groups.

An Analysis of the Female Images in Tolkiens Works: Galadriel, owyn and Arwen

John Ronald Reuel Tolkien is well recognized for his notable contributions to the genre of heroic romances, as shown by his renowned works, namely The Hobbit and The Lord of the Rings. Consequently, he is widely regarded as the progenitor of contemporary fantasy literature. The study aims to examine the principal female characters in the works of J.R.R. Tolkien, namely Galadriel, owyn, and Arwen, employing textual analysis and comparative study as the primary methods. The former two individuals serve as exemplars of female warriors, characterized by their courage, strength, unwavering convictions, and relentless pursuit of their aspirations. The latter represents a somewhat less favorable portrayal of the female image. Arwen, being designated as the "second sex", is shown with a dearth of individual narratives and distinct characteristics, primarily serving as a supporting figure to the male protagonists within the story. Nevertheless, despite the deficiencies in Tolkien's depiction of female representations, the merits of his work ultimately surpass the drawbacks.

“Night Witch”, Warrior Maiden, Soviet Woman: The Image of a Military Pilot in the Literature of Socialist Realism (M. Chechneva <i>My Fighting Friends</i>)

Purpose. The article analyses the image of a military pilot in Soviet memoir literature. A lot of research works were devoted to the study of Soviet literature and its figurative system, but no special works have been found that focus on this character. The research material is a book of essays by M. Chechneva My Battle Friends (1968). The author used the method of mythopoetic analysis, as well as a structural-typological approach.Results. The work substantiates a typological similarity between a pilot and a warrior maiden at the characterological, gender, mythopoetic, allusive, and nominative levels. The study revealed significant elements of the image of a military pilot and associated motives – revenge, delayed marriage. These motifs refer to the inherent gender inversion in such plots, highlight the masculinity of the heroines, a characteristic of the type of female warrior. The image under the study is intertextually connected with Russian epic heroines, which allows us to talk about the traditional nature of the type itself. The semantics of the nomination “night witches” is also analyzed, which paradoxically takes on positive connotations. In addition, specific socialist realist layers were found in the model under consideration – the heroines are characterized by such qualities as discipline, rigor, and calmness.Conclusion. The image of a military pilot fits into the paradigm of the warrior maiden type, but has some peculiarities. This is due to the artistic method within which the author of the essays worked, as well as to the time of writing the works.

Чернокожая воительница в сценической миниатюре Любови Столицы «Зеркало девственниц» (1917): гендер и раса в театре кабаре

The paper considers how the heroic, romanticized, often tragic image of the warrior woman received parodic coverage in the “Mirror of Virgins” (1917), a miniature play by Lyubov Stolitsa. The comic representation of the female warrior in this play is an exceptional instance in the realm of Russian Modernist literature. In addition, to the author’s knowledge, it is the only image of a black female warrior and the only one found in a text written for the cabaret theater. The hypothesis of this paper is that it is in relation to the black heroine and within the framework of the cabaret culture that the comic and degrading representation of the high image occurs. Russian culture had no specific colonial discourse towards black people, typical of England, France, and the United States. However, it has been found that black people were perceived as savages, obeying only natural laws close to primitiveness. Additionally, the review of miniature plays by Potemkin, Agnivtsev, Chuzh-Chuzhenin, and others, including the “One Sheer Nonsense,” a “harlequinade” by Shershenevich, has revealed that cabaret plays characterized by their inevitable parodic perspective exacerbated this perception. Given this background, it is obvious that Stolitsa portrays her black woman, albeit somewhat comically, but with much more reverence than other authors of cabaret plays. Moreover, it is worth noting that all the elements that “diminish” the image of the black heroine are given from the perspective of the caliph, a character who proves himself an object of ridicule.

Late Iron Age female warriors from Jrapi cemetery (Armenia, Shirak province) (bioarchaeological studies)

Late Iron Age female warriors from Jrapi cemetery (Armenia, Shirak province) (bioarchaeological studies)

Tripathi's Sita: A Symbol of Feminist Revisionist Nationhood

Amish Tripathi's novel Sita: Warrior of Mithila (2017) is the second installment in the Rama Chandra Series, offering a reimagined portrayal of Lord Rama and other key figures from the Ramayana in a modernized context. Through its exploration of human nature, politics, and morality, the series captivates readers both in India and internationally. Tripathi's adept fusion of Indian mythology and history has garnered widespread acclaim, with his books consistently ranking as bestsellers. The title, Sita: Warrior of Mithila, aptly reflects the central character's portrayal as a formidable female warrior. While the narrative begins with Sita's demonstration of courage during her abduction, it evolves to delve deeper into her transformation into a warrior princess. Sita embodies a form of feminist nationalism, championing altruistic warrior ideals. Guided by her mother's wisdom, she emerges as a symbol of this novel feminist nationalism, challenging traditional gender roles within the political sphere. Through Sita's journey, the narrative dismantles gender-based political norms, offering a fresh perspective on nation-building and the role of women within it. In contrast to conventional mythology, the revisionist approach taken by Tripathi actively engages with the development of women's political identities, highlighting their significance in the broader context of nationhood. The research question for the current study is: How does Amish Tripathi's novel Sita: Warrior of Mithila depict the development of Sita's feminist ideology, challenge traditional portrayals of Sita in the Ramayana, and explore the connection between Sita's transformation and the concept of feminist nation-building?

Wives, Mothers, Female Warriors. The Image of Polish Women in Nineteenth Century American Historiography

The author analyzes selected American historical narratives published in the nineteenth and early twentieth centuries, and describes the image of Polish women presented in them. Women were not usually visible in the historiography of this period, and in fact, they are rarely mentioned, but if they are mentioned, it is mainly as rather inactive wives and/or mothers. In Polish history, however, there were important exceptions, such as Dobrawa and Jadwiga Andegawenska or, to a lesser extent, Bona Sforza and Marysieńka Sobieska. Other queens are mentioned rather rarely, and only exceptionally do women from outside the ruling families appear, which is something that applies even to aristocratic women. It is these very rare mentions of Polish women that are taken into consideration even if they are usually mentioned in single publications. In addition, detailed research is presented to isolate certain statements about Polish women in general and their character and virtues. These statements are relatively few in number, but they are occasionally included especially when they describe customs. These elements serve as the basis for analyzing the overall image of Polish women in American historiography with a particular emphasis on the process of its historical modification. Moreover, the author also includes elements of comparison between descriptions of Polish women and those of women from other countries and nations with the aim of identifying any possible similarities and/or differences with regard to the Polish national (feminine) character and the national (feminine) set of virtues.

Female Warriors, Social Injustice and the Transformational Force of Anger in Jaye Wells' Sabina Kane Series

Urban fantasy heroines tend to be highly trained supernatural or magical beings who unapologetically use violence to achieve their goals. Their stories, often plotted as revenge narratives, are in many cases driven by anger, a key force of good in the quest for justice. Heroines are transformed into protectors when their personal trajectories, often motivated by complicated family bonds, become entangled with the fate of specific cities. Rereading Jaye Wells’ Sabina Kane series in the context of recent feminist reinterpretations of women’s anger, I will argue that anger is a source of social responsibility, thus resolving the apparent contradiction between caring and violence, and can become a legitimate affect in romance fiction. I will explain how, in Wells series, the female questor achieves the transition from lone wolf to caring warrior without sacrificing her capacity to expertly wield extreme violence or deny her rage.

Nation from Village: The Evolving Landscape for Rural Women in the First Half of the Twentieth Century*

In the first half of the 20th century, during China’s rapid transition from tradition to modernity, three major historical events occurred successively in Ding County, Hebei Province. These events illustrate the gradual broadening of the horizons of some rural women: shifting from the Confucian expectation that “women’s rightful place is in the home” to a gradual extension into the public domain. The Zhaicheng village system took the first small step in breaking the Confucian gender norms by promoting female education in public spaces, yet it did not truly challenge the fundamental gender order of males outside the home and females within it. The Mass Education Movement saw the emergence of the first group of professional women in rural Ding County. However, they faced social exclusion as a consequence of entering the public domain. The Zhaicheng system and the gender-based teaching practices during the Mass Education Movement sowed the seeds of the impending tension and conflict experienced by women juggling dual roles within and outside the family. Amidst the bloodshed of the Chinese People’s War of Resistance against Japanese Aggression and the War of Liberation (wars of Resistance and Liberation), female warriors, through sacrifice and devotion, ventured into the newly expanded public sphere of war, yet traditional gender norms continued to confine their broadened horizons to a transient phase in their lives. A collective examination of these three major occurrences shows that the gradual broadening of horizons for rural women in Ding County during the first half of the 20th century was inherent in the developmental trajectory of the village, embodying the idea that the modern nation was gradually emerging within the village in the concept of “nation from village.”

Transformation of Female Archetypes in Chinese Traditional National Opera of the Twentieth Century

The purpose of the article is to identify transformative changes in female archetypes in twentieth-century Chinese national opera in the context of the gender factor and the ideologisation of Chinese society. The research methodology is to apply the methods of analysis and synthesis, systematisation of facts, comparison and generalisation of the research results. The system-historical method allowed us to consider the formation of female archetypes in Chinese national opera. The comparative and analytical methods were used to structure the stages of transformation of female archetypes in Chinese national opera of the twentieth century. The novelty of the research lies in an attempt to periodise the stages of transformation of female archetypes in twentieth-century Chinese national opera, to identify the reasons for these changes, and to contrast the traditional European masculinisation of artistic archetypes with the Chinese operatic tradition. Conclusions. The Chinese patriarchal system has consistently adapted to a series of revolutionary reforms in society in twentieth-century society. The key meanings of modernity emerged in public debates and transformed the social and political life of the Chinese. However, even in the twentieth century, Chinese culture demonstrated a specific context in relation to European culture. For example, the main characters in many classical tragedies, from monumental ancient Greek works to works of the Renaissance, were men. This tradition is opposed to Chinese culture, in which female archetypes were particularly prominent in the context of strong female heroines and female warriors. The cultural code of the female archetype in Chinese opera contrasted with the traditional European cultural code, where "softness won over strength". Women in twentieth-century Chinese society challenged gender norms, which contributed to their empowerment, increased social status, and strengthened their positions in the opera genre. Key words: Chinese national opera, female archetype, gender factor, image of a female warrior, transformation, decline of the opera genre.

IMAGES OF FEMALE WARRIORS IN THE FILM WORKS OF MICHELLE YEOHAS AN INDICATOR OF RETHINKING THE ROLE OF WOMEN IN SOCIETY

The article studiesthe work of film actress Michelle Yeoh, in particular, the evolution of the images of female warriors created by her. It is shown that the various stages of the actress' creativity reflect the global processes of reinterpretation of female characters in adventure, fantasy, spy movies, wuxia and kungfu movies. It has been proven that the dramatic talent of Michelle Yeoh is fully revealed in adulthood and complements the images of female warriors with Taoist-Buddhist values.The subject of the article is the images of female warriors in the works of film actress Michelle Yeoh.The research methodology is based on search, system-historical, analytical and comparative methods, which allowed to carry out a comprehensive artistic analysis of Michelle Yeoh's creativity at various stages of her film career.It was concluded that several types of warriors can be distinguished in Michelle Yeoh's work: "a girl with a gun"; master of martial arts; protector - sorceress - mentor; superheroine from science fiction films; a multifaceted dramatic character focused on universal existential questions. It is emphasized that the creative path of M. Yeoh is consistent with the general process of feminization of world cinema, the transfer of emphasis from the patriarchal understanding of the role of women in society to the issue of gender equality and the study of the deep nature of femininity.Key words: Chinese cinema, Michelle Yeoh, wuxia action films, kung fu films, feature film.

GENDER INEQUALITY IN ELIZABETH RUDNICK’S NOVEL MULAN

This study is aimed at analyzing gender inequality in Elizabeth Rudnick’s Novel Mulan. This study is focused on the phenomena of gender inequality in the novel, and the gender inequality seen through socio-cultural context. Mulan tells about of a young Chinese woman, a female warrior from the period of the Northern and Southern Chinese dynasties. She disguises herself as a man to fight. She replaces her father in a war. As the first child, Mulan is burdened with the tasks of bringing honor to her family; while, at that time, the kingdom does not allow a woman to join the war. Such part of the story in the novel portrays gender inequality. In the study, the descriptive qualitative method is applied. The result of this research shows that the phenomena of gender inequality cover gender violence against women presented in the novel. Besides, the gender inequality can be seen through socio-cultural context in the novel. It can be concluded that gender difference between women and men can be found in the novel. It occurs in social and cultural context in the novel.

BATTLE AXES OF AMAZONS OF EUROPEAN SCYTHIA

Weapons are one of the most important elements of the material culture of the North Pontic nomads. Archaeological finds from the steppe kurhans testify that the Scythians were armed with bows and arrows, spears and javelins, slings, swords and daggers, battle axes, horseman’s picks (pick axe), hammers and maces. However, not all types of weapons were equally common, and battle axes were less popular.
 Relatively few battle axes came from burial assemblages on the territory of European Scythia — from 50 to 100 items, according to the data of various researchers. By morphological features, two groups are distinguished: battle axes (three divisions) and axes with hammers (two divisions). The length of the wooden handles in most cases is about 50―70 cm. Battle axes are known in Scythian burial sites from the 7th to the 2nd century BC. Finds of early specimens are correlated mainly with antiquities of the Forest Steppe, while later specimens are concentrated in the central part of the territories of European Scythia. Until recently, it was believed that this type of weapon marked only male Scythian burials, however, the presence of axes in several female burials proves otherwise.
 The use of axes by the Amazons is mentioned in the works of several ancient authors, the works of ancient art demonstrate this phenomenon as well. According to archaeological materials, battle axes were found in only six (2 %) women’s graves: two in the Lower Dnipro Steppe Group and four in the Lower Dniester Steppe Group. An examination of the burial complexes of Scythian female warriors with axes made it possible to note several characteristic features.
 
 All axes are iron. Five of them have a single blade, from 16.5 to 22 cm long. And only one axe has a double blade. It is also stand out by its small size — 14.6 cm. Typologically and in terms of size, all these axes fully correspond to samples from other Scythian graves of European Scythia.
 An examination of the placement of axes in the graves showed a variety of its options. This means that there were no clear canons for the location of axes regarding the dead.
 The nature and size of the burials, as well as the assortment and number of grave goods testify that Scythian female warriors armed with axes were mainly representatives of the middle class of nomadic society.
 The age of women who were buried with axes is determined to be between 20 and 35 years old. This means that we are talking about the most active members of military units.
 Only ordinary iron axes were found in women’s graves, usually in sets with other weapons, mainly arrows. Gala and artistically decorated pick axes or sceptre axes, which served as symbols of high social status and power, are not known in women’s graves.
 Axes from women’s graves typologically and chronologically do not differ from those found in men’s graves.
 
 Therefore, iron axes from women’s graves, along with other types of weapons, were obviously used for their intended purpose. They were not part of the insignia of power but marked the belonging of women to the military state.

Weapons of long distance combat in the arsenal of Scythian female warriors

Archaeological finds, supported by data from the literary tradition, indicate that women were presented among the Scythian army. 303 burials of Amazons have been recorded on the territory of European Scythia. A characteristic feature of their burials is the mandatory presence of weapons in the accompaniment sets. In the graves of the Amazons there are almost all types of attack weapons, dominated by the items of long-distance combat. The weapons of the female warriors completely corresponded to those in the arsenal of the Scythian army.

A STUDY OF FOLKLORE MATERIALS IN THE NOVEL BIRGWSRINI THUNGRI BY BIDYASAGAR NARZARY

This paper aims to study and identify the various aspects of Bodo folklore as depicted in the novel Birgwsrini Thungri by Bidyasagar Narzary. It is also an attempt to analyze and critically examine the significance of folklore materials found in the selected novel in contemporary Bodo society. Birgwsrini Thungri is a Bodo historical novel of Bidyasagar Narzary, which fetched him the Sahitya Akademi and Rangsar Literary awards. The novels main theme is based on a legendary Mech female warrior and martyr, Birgwsri, who had fought against the British to liberate the Duars and establish a new Mech kingdom. Birgwsri served as a tax collector under the British government, and later she sacrificed her life for the noble cause of the Mech or Bodo people. The novelist vividly and beautifully reflects the realistic socio-cultural and religious life of the Bodo community. Various elements of Bodo folklore, including charms, proverbs, handicrafts, food habits, folk medicine, rituals, festivals, customary law, judicial systems, etc., are found to be reflected in this novel. Therefore, it is hoped that the study shall help the readers know about the relationship between Folklore and literature, as well as the folklore materials of the Bodo community.

A Study of Ballad Literary Techniques, Aesthetic sense and Bravery of a Tamizhachi through the lens of Vanavil K. Ravi’s The Ballad of the Warrior Girl Kuyili

Tamilnadu, the ancient land with many accolades including the eminent language, culture, bravery, hospitality has more crown and feather to its caps. Its achievements and accomplishments knew no bounds. Endless song on the praise of Tamil and Tamil culture can be sung for ages and ages. Among the versatility of Tamil culture, the bravery of female warriors cannot be ignored. One such significant contribution is The Ballad of the Warrior Girl Kuyili by Vanavil. K. Ravi. Through this text, the magnificent achievement and the contribution of female warriors for the independence is well brought out and presented to the younger generation. This paper explores the techniques, aesthetic sense and bravery of blood in a woman. The ballad form employed by the poet adds more flavour and enthusiasm while approaching this text, henceforth this paper ventures to explore on the aspects of Ballad form in addition.

Fulvia and Octavia: the female warrior's and the matron's coins

This paper aims to discuss the representation of two Roman women, Fulvia and Octavia, who were very different characters: the former was a model not to be followed; and the latter, a real matron. To work with this theme, written and material sources such as coins were used. It is known that Roman written sources were used to build hierarchies linked to an idealized discourse related to male domination. However, coins of these women were analysed in terms of what they wanted to communicate, especially the gender strategies built in their coinage, which suggested questioning how Fulvia and Octavia were presented to the public. To introduce the context in which these women lived, it should be borne in mind that, theoretically, the family remained under the power of the paterfamilias (patria potestas) at the period of the Republic and beginning of Empire. It was concluded that Fulvia and Octavia showed a female diversity in different sources, which were multiple constituted and took up multiple positions within a range of social discourses and practices.

V. B. Zuseva-Ozkan. The warrior maiden in Russian modernist literature: Image, motifs, and plots

The review deals with V. Zuseva-Ozkan’s monograph that describes the folkloric and mythological origins of warrior maidens and their depictions in European literatures. This study focuses on the Amazons, Valkyries, Artemis, Athena, Brunhild, Jeanne D’Arc, and other female warriors. In her ground-breaking work that greatly enriches Russian gender studies, the scholar finds and examines the representations of female warriors by Russian modernist authors (V. Bryusov, A. Blok, A. Bely, N. Gumilyov, M. Tsvetaeva, and others). The scholar conducts a detailed analysis of the selected texts, drawing parallels with the authors’ other works and uncovering the sources of their inspiration. Establishing the motifs and topoi of the warrior maiden subject (the heroine wearing male clothing or armour, the virginity motif, her androgyny, etc.), the monograph examines them in the context of an individual author’s world. It is suggested, for example, that, while Blok and Bely incorporated female warriors in their mystical schemes, Tsvetaeva used the image as the embodiment of gender transgression.