Over the last few years there have been alterations in the construction of gender, particularly for women. The concepts of sex and gender are divided with sex remaining biological, and gender becoming constructed. The depiction of the ideal woman as passive, faithful, and obedient thus changed. As the gender issue reforms, motherhood has also begun to be questioned due to its association with the female sex. Women who meet these requirements are labelled “good” mothers, while those who do not are “bad”. Such changes in gender and motherhood led to the distinct characterization of women in daily life and these women began to be portrayed in literature with a special emphasis on their newly constructed female images. Novels and plays that display the changing face of motherhood with careless, nasty and irresponsible mothers have also appeared. However, there are still literary works that represent a more traditional woman and mother. In literature, even the representation of traditional womanhood and motherhood differs since some writers use these women to reveal their weakness, oppression, and vulnerability while others use their literary ability to exhibit how a traditional woman and mother can be strong, dedicated and compassionate to her children. Elias Lönnrot, a well-known literary figure in Finland, with his epic compilation of national folklore, The Kalevala, and Yashar Kemal, one of the most noteworthy authors of Turkish literature, with his renowned Memed, My Hawk, unveil entirely divergent attitudes towards the identities of “woman” and “mother”. The aim of this paper is to demonstrate how Kemal portrays womanhood and motherhood positively in Memed, My Hawk, while Lönnrot flaunts a dismissive viewpoint in The Kalevala. Analysis of these two masterpieces from disparate authors and epochs shows their distinctiveness in consideration of the Anatolian and Finnish cultures.
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