Virtuous Wife Research Articles

The Contemporary Transformation of Mythical Women: Helen and Penelope in Margaret Atwoods Reconstruction

The feminist movement has driven the reinterpretation of classical texts such as Homers epics, with Margaret Atwoods works exemplifying this trend. Atwood has created poetry and novels rooted in the tradition of feminist rewriting, utilizing mythological female figures like Helen and Penelope to explore their inner worlds and unveil the long-concealed mechanisms of patriarchal power. Employing techniques such as multiple perspectives and nonlinear narratives, she disrupts the constraints of a singular authoritative discourse. By merging the ancient with the modern, Atwood highlights the shared experiences of women while portraying the awakening of female consciousness. She transforms the stereotypical images of the whore and the virtuous wife into complex, autonomous individuals, challenging traditional gender role definitions. Atwoods rewritings are not merely retellings of the original stories but also explorations of the deeper structures of gender power. She weaves a rich cultural network of women, opening new frontiers for literature of their own.

Exploring the Development Path of Female Leading Characters in Film and Television Works - Taking the Image Shaping of Female Characters as an Example

In recent years, people have been paying more and more attention to the development direction of the "women" group, and the image of women in society has become increasingly diverse. In today's society, film and television media are important channels that can quickly disseminate information, attract social attention, and disseminate value orientation. This paper explores the development path of female protagonists by examining the image shaping of female characters in film and television works. By analyzing the evolution of female characters in various types of film and television productions, one can see that female roles are no longer confined to traditional archetypes such as the virtuous wife and loving mother or tragic figures. Instead, they increasingly exhibit qualities of independence, bravery, confidence, and intelligence. These changes enrich the content of film and television works and provide audiences with more diverse values and role models. The study finds that the diversification of female character portrayals not only enhances the artistic quality and appeal of the works but also exerts a positive influence on society. The image of women in film and television is gradually becoming an important force in guiding social trends and promoting gender equality. Therefore, in-depth exploration and research into the development path of female characters in film and television works are of great significance for understanding social and cultural changes and promoting gender equality.

Proverbs 31:10–31: The Significance of A Qualified Wife As A Noble Woman

The passage in Proverbs 31:10–31 is a beautiful depiction of the virtuous wife, also known as the Proverbs 31 woman. This passage is often used as a guide for women in their roles within their families and communities. The heart of her husband trusts in her” (Proverbs 31:11). She seeks wool and flax and works with willing hands” (Proverbs 31:13). She opens her hand to the poor and reaches out her hands to the needy” (Proverbs 31:20). 4. She opens her mouth with wisdom, and the teaching of kindness is on her tongue” (Proverbs 31:26). Charm is deceitful, and beauty is vain, but a woman who fears the Lord is to be praised” (Proverbs 31:30). The Role of the Husband and Family The passage also highlights the role of the husband and family in relation to the virtuous wife. The husband of the virtuous wife is respected and known in the gates, which indicates that he benefits from her hard work and reputation (Proverbs 31:23). The children and husband of the virtuous wife praise her, and her works bring them honor (Proverbs 31:28). Reflection on Proverbs 31:10–31 The passage in Proverbs 31:10–31 provides a timeless model of a woman who is dedicated to her family, diligent in her work, and deeply rooted in her faith. It serves as a source of inspiration and encouragement for women in their various roles within the family and society.

학생들의 출신지를 통해 본 생시르 - Fleury Vindry의 Les Demoiselles de Saint-Cyr(1686-1793)를 중심으로

Saint-Cyr lies at the intersection of the Catholic Reformation and the aristocratic policies of Louis XIV in the late 17th century. As evidenced by the fact that it was founded with the administrative and economic support of the absolute monarch Louis XIV, Saint-Cyr was an expression of the political will of the monarch to ultimately hold sociocultural hegemony by fundamentally cultivating subjects who would obey to the national authority through women education which is both pious and compliant to the patriarchal order. In this sense, Saint-Cyr illustrates the correlation of politics and education during the French absolute monarchy. Based on Fleury Vindry’s Les Demoiselles de Saint-Cyr(1686-1793), this paper analyzes the origins of the students who enrolled at Saint-Cyr from its opening in 1686 to its closure in 1793. This analysis shows that, while there was a regional bias in the origins of Saint-Cyr’s students in the early days of Saint-Cyr, over time “fragmentation of recruitment” or, an even nationwide distribution from the most central to the most remote parts was shown. This suggests that Saint-Cyr was not a school to educate some girls of interested local noble families into cultured women, but rather functioned to nationally propagate the political goals of the absolute monarchy through women who would become “first teachers” for their children and virtuous wives for their husbands.

Das Bild der tugendhaften Frau als Ehefrau und Mutter in ausgewählten lateinsprachigen Epithalamien und Epitaphien des 16. Jahrhunderts

A Virtuous Woman in the Renaissance In this article, I analyze selected texts of epithalamia and epitaphs, on the basis of which we can conclude that it is no accident that male poets paid so much attention to women in these two genres. This is so because in wedding songs they needed a virtuous wife, and in funeral songs they had to prove that they had found one. In both types of works, the catalogue and the laudatio of female virtues are very similar. The difference is visible in the description of appearance, which in epitaphs is of secondary importance, because the body disintegrates after death, unlike the immortal soul. In the sixth epitaph to Elżbieta Szydłowiecka, Piotr Rojzjusz emphasizes the grace and beauty of the deceased, but puts them between two other virtues: kindness and holiness. All virtue lay at rest in the grave with this beautiful woman. The funeral laudatio coincides with the laudatio in wedding songs. The woman was to be the model of a good wife, a mother, and a Christian. The topos of the good wife required of her: good birth, love for her husband, piety, decency, honesty, modesty, unconditional obedience to her husband, and lack of a quarrelsome disposition (the epitaphs lack pulchra and pecuniosa). The topos of a good mother, however, includes giving birth and raising children. A good mother had to be pious, modest, and caring for her family and children. In each of these roles, the description of virtues is strongly prescriptive. A woman becomes a being programmed by nature and patriarchal society to fulfill the role of an obedient daughter, a virtuous wife, a caring mother, and a good housewife.

Chinese Contemporary Idealized Female Image under "Sister Culture"——Within a Case Analysis of "Love Myth"

The 2021 female-directed film "Love Myth" has created many buzzwords and is regarded as a phenomenon-level work of current feminist films. This article takes the "Love Myth" as a case study. Through the deconstruction of the ideal female image in the film, it analyzes the development of the latest feminist image in the current Chinese popular industry under the influence of China's "sister culture" (After 2020, "sister" has become an idealized image in the hearts of Chinese middle-class women, representing that a middle-aged woman can still maintain beauty, fulfill her own career pursuits, and fulfill the social expectations of being a good mother and a virtuous wife). Through discourse research, it is demonstrated that the female images in the film present a mixed pseudo-feminist temperament. Behind its discourse are the narratives of post-feminism, neo-liberal feminism, and pop feminism based on China's unique social, cultural, and economic backgrounds. Although this female image presents the temperament of female empowerment, it does not touch any deep social structural problems in essence.

The Images of Women in the Films on Ethnic Minority Subjects in the New Period

Women in films are portrayed as the “ Others”, the victims of a patriarchal society and a vulnerable group, and since the 1970s, the image of women in Chinese films has shifted from the traditional “virtuous wife and mother” to the “Others”. This paper analyses the images of women in minority films in the new period from three perspectives: ethnic consciousness, traditional and modern factors, and social transformation.

Top Graduate Zhang Xie: The Earliest Extant Chinese Southern Play

Top Graduate Zhang Xie: The Earliest Extant Chinese Southern Play

The speech of Imam Ali (peace be upon him) at the burial of Fatimah al-Zahra, a consolation for the soul and the eloquence of patience

Imam Ali addressed his oratory to the messenger of God and gave a salute and peace to him after he had completed Fatima Azzahraa's burial, nearby her father's tomb.
 In this speech, Imam Ali adopted the style of grievance and soliloquy. His expressions referred to many meanings of sadness and suffering due to the loss of this virtuous wife.
 This state reminded him of how he lost the messenger of God and how he did the mission of his bod-washing and burying him, stating that patience and reward will be taken into consideration by Alla owing to this painful loss. The influence of Quran was very clear in this abridged speech which expresses many meanings and indications with reference to the tyranny and aggression launched against the daughter of the messenger of Alla wich was considered the cause of her speedy following with her father and her departure from the world.

„Złego sługę malarze tak figurowali”. Źródła wizerunków dobrego i złego sługi oraz dobrej i złej żony z czwartego rozdziału Źwierzyńca Mikołaja Reja

“Złego sługę malarze tak figurowali” (“A bad servant was so depicted”): Sources of the Images of a Good and Bad Servant and of a Good and Bad Wife in Chapter 4 of Mikołaj Rej’s Źwierzyniec (‘The Bestiary’) The chapter of Mikołaj Rej’s Źwierzyniec (‘The Bestiary’), entitled Jako starych wieków przypadki świeckie ludzie sobie malowali (‘As People Painted Secular Shapes from Old Times’), is a collection of epigrams accompanied by visual illustrations of various human features and vices. As proved in 1893 by Ignacy Chrzanowski, some of the pieces were inspired by Andrea Alciato’s emblems, hence the search for Rej’s sources focused on emblem literature. However, despite the evidence that Rej’s epigrams were intended as comments to illustrations, they still may be rooted in literary texts. This article deals with the sources of four epigrams, namely, the one depicting a bad servant, a good servant, a good wife and a bad wife. The epigram Sługa dobry (IV 31, ‘The Good Servant’) may have been modeled on the popular treaty Οίκετηςsive De officio famulorum, written in 1535 by Gilbert Cousin, who described an image of a good servant, subsequently painted in French nobles’ chambers. It presented a human silhouette with a pig’s face, donkey’s ears and deer’s legs, which captured the idea of the servant being easy to feed, eager to listen and fast to follow the master’s orders. This image was widely popularized in 16th-century drawings, however none of them is known to have been familiar to Rej before 1562 and used by him as a pattern for his epigram. Since a pig’s snout is associated with gluttony in Rej’s other texts, in the epigram Sługa dobry it is replaced by a bull’s head. The image of the snout is exploited in Zły sługa (IV 30, ‘The Bad Servant’). Rej equipped the bad servant with a wolf ’s ears – he will pretend to misunderstand orders for his own benefit, a bear’s paws –he steals, and a dog’s tail – he flatters his master. The two epigrams presenting the images of a good wife and a bad wife, were inspired by verses that were echoed in Rej’s other works, for instance in Postylla (1557, ‘Postil’) and Żywot człowieka poczciwego (1568, ‘Life of a Virtuous Man’). The epigram Żona poczciwa (IV 32, ‘The Virtuous Wife’) alludes to Ps. 128(127):3, whereas Żona wszeteczna (IV 33, ‘The Profligate Wife’) to Prov. 11:22.

She did it her way: An analysis of female rebellion in contemporary Bollywood movies

ABSTRACT Mainstream Hindi cinema, or Bollywood, has often clustered female characters into a finite number of gendered tropes, from damsels in distress, Hindu goddesses, virtuous wives and mothers, to vamps, molls, vindictive mothers-in-law, and justice-seeking avengers. Recently, women-centric cinema has attempted to depart from such stereotypical portrayals, with movies such as Queen, Pink, and Tumhari Sulu. The present study investigates the nature of female rebellion in women-centric Bollywood movies from 2007 to 2017, delineated by a major act of rebellion undertaken by the female protagonist(s), the antecedents to the major act, the immediate reactions to, and the cinematic consequences of this act. Based on these criteria, four coders independently assessed 13 movies depicting rebellion in women-centric Bollywood movies. Quantitative analyses revealed a consistent story arc of rebellious depictions across movies. Qualitative analyses showed that major acts of rebellion occurred subsequent to negative antecedents such as disrespect, lack of freedom, abandonment, and inequality. Overall, the study contributes to understanding the contemporary portrayal of female rebellion in Bollywood.

Mothering practices across three generations of Chinese women: from liberated woman, virtuous wife and good mother, to intensive full-time mother

Chinese women have lived through huge societal changes. This article aims to explore women’s lived experiences as mothers over three generations under such transformations, specifically how women’s childrearing practices are distinctively constructed and how each generation of women makes their own mark on such constructions. The study of what women do in their everyday lives creates methodological challenges. In the study on which this article draws, a biographical narrative interview method was applied and adapted to take into account the researcher’s impact on the co-construction process of the interviews and to understand some ‘untellable’ stories. Three detailed cases are analysed to demonstrate individual woman’s struggles and achievements when acting on the particular ideological contexts of the periods in which they were mothers.

The Host, the Man of Law's Tale, and the Fantasy of the Foreign Wife

Abstract In the Canterbury Tales Chaucer associates different models of wifehood with different geographic regions: unruly wives are associated with England, while virtuous wives are associated with the European Continent. In pairing geographic location with wifehood, Chaucer joins concepts that were, in his era, highly unstable: English culture underwent developments leading to rethinking the island kingdom's relation to the Continent, while marriage underwent changes that reconceptualized the conjugal relationship and what constituted a good wife. The English and continental wives of the Tales highlight this flux and instability. Through figures like Custance and Goodelief, Chaucer engages in open-ended thought experiments regarding what characterizes England, the Continent, and a good wife. Identifying Chaucer's interest in geography and wifehood sheds particular light on the Man of Law's Tale as a tale not only invested in English/continental relations, but also in contemporary developments in love, marriage, and wifehood.

The content values of Tuong art performance in the Southern area before 1945

Has been existed for a long time in the Southern area of Vietnam, Tuong art performance became the only unique spiritual dish in many centuries and leaving dozens of scripts of literary value. However, Tuong art performance is gradually losing its position due to many objective and subjective reasons. By studying the content values of classical drama, we can feel the beauty of Tuong art performance and understand more about this type of art. The content values of Tuong art performance have been interested in many researchers; however, they only stopped at studying Vietnamese Tuong generally or specific in some works such as Kim Thach ky duyen, Son hau… The researchers haven’t been a focus on exploiting the issues of the content values of Tuong art performance in the Southern area in general. So in this article, we want to have a general view of the content values of Tuong art performance in this area. The content values of Tuong art performance in the Southern area before 1945 was divided into three following parts: Elevating the values of loyalty, filial piety, virtuous wife, benevolence and righteousness; Criticizing the moral degeneracy of people in the society; Prasing the loyal love in the troubled times. But, because of material limitations, we just studied the content of Tuong in general based on existing documents, this article can not avoid shortcomings and limitations.

Khadeejah (Ra) an Ideal Wife: A Perfect Model and Example of Muslim Women

The marriage is not just an economical and physical arrangement of living together but a holy agreement, a gift of Allah, to lead a joyful life and carry on the lineage. The connection between them is not like as neighbors and friends; it is more excessive. Allah (SWT) explained in the Quran: The sign of Allah is that He created mates for you from your selves to get tranquility in each other’s, and He placed between them love and compassion (Al-Quran, 30: 21).Husbands and wives must be well-mannered, pleasant, sympathetic, frank, helpful, reliable, well-wishing, loyal, and polite with one other. A good and virtuous wife is a most pleasure for a husband. Mother of the believers Khadijah (Ra) was dutiful, comfortable, and well-being of her husband to Prophet Muhammad (saw).This paper aims to explore and highlight the Khadijah (Ra) works, activities, behavior, and manners as a righteous wife of Prophet Muhammad (saw) and investigate the probable measures for Muslim women from her family life. This paper is a theoretical study based on the biography of Khadijah (Ra) and Hadith of the Prophet (saw). Therefore, I strongly think that today the instructions, lessons, and teachings from Khadijah (Ra) family life are indispensable for Muslim Ummah to bring peace and happiness in the modern age.

Muses, Heroines, and Virtuous Wives in Nineteenth-Century Italy: Erminia Fuà Fusinato’s and Matilde Serao’s Literary Portrayals of the New Italian Woman

ABSTRACTThe nineteenth-century revival of Dante brought renewed fame to his characters Beatrice and Francesca, who became the inspiration for a multitude of poems, tragedies, paintings, drawings, and musical compositions. The poet Erminia Fuà Fusinato (1834–1876) and novelist Matilde Serao (1856–1927) rejected the idealized characterization of Dante’s muses and proposed instead the concreteness of everyday women’s life, considered more relevant to their times and to their poetics, which were infused with civil commitment and social engagement. The female figures developed by Fuà Fusinato and Serao were portrayed as the heroines and antiheroines of modern Italy, defying any abstract or symbolic personification of womanhood and providing female readers with characters, such as the virtuous wife, which they could easily relate to their life and identify with experiences. Partly idealistic, and partly realistic, these literary portrayals sought to define new social and gender identities, in line with the national project of cultural formation, and to respond in narrative terms to the reforms (such as the Pisanelli Family Law) enacted by Italy in the aftermath of its political unification.

西浦 金萬重의 端川節婦詩 서사 기법 연구

西浦 金萬重의 端川節婦詩 서사 기법 연구

Samuel Clarke’s Lives and husbands’ remembrances of their wives

ABSTRACTAmong the narratives of eminent divines and Christian worthies that Samuel Clarke derived from published sources and included in his many publications are the lives of fifteen early modern women, three of them written by their husbands. Humphrey Gunter’s funeral memorial of his wife Mary, Samuel Clarke’s life of Katherine, and Richard Baxter’s of Margaret have a personal immediacy and an affectionate detail often absent from the other biographies. In the contexts of both the original publications and Clarke’s texts, their depictions of spousal relationships reflect the tension between traditional commemoration and individual expression apparent in seventeenth-century narratives of women’s lives. The bonds each husband recalls celebrate the virtuous wife, though none of the recollections is as forthright as Baxter’s insightful recognition of Margaret’s complex character and her significant role in their marriage.

KEKERASAN SEKSUAL TERHADAP PEREMPUAN PERSPEKTIF FIKIH KLASIK

Books circulating widely in Indonesia and viewed as authoritative regarding sexual issues generally place women as subordinate men. Men are leaders and rulers of women, while women as guided must obey the husband’s command. The piety of a wife is measured by how far the devotion of her body soul to her husband. The virtuous wife is the one who never demands his rights from the husband, does not go out and give charity without the husband’s per- mission, does not raise his eyes and voice in the presence of the husband, does not require knowledge except with the permission of the husband, and does not worship the sunna without the blessing of the husband. If the husband does not grant his rights, then he must give up with sincerity to be saved from the terrible threat of God’s punishment. Related to intimate relationships, women are positioned as sex objects, not subjects. He should not delay the sexual desire of the husband, let alone reject it. Such positions have an adverse effect on the wife. Wives often experience sexual violence and neglected their sexual rights. The underlying perspective of husband-wife sexual relationships in the jurispruden- tial books circulating in Indonesia is generally still classic and emphasizes only the power of men against women in the family. Such perspectives are no longer appropriate to the present condition, in which sexual problems are seen as a common right that should be practiced fairly between husband and wife. Allegedly there has been a distortion of understanding of husband-wife sexual relationships that need to be straightened out, in order to avoid the impression, Islam legalize sexual violence in women

Strengthening Aspects of the Women’s Fidelity ideology in the Adaptation Process of A Virtuous Wife’s Grudge

Strengthening Aspects of the Women’s Fidelity ideology in the Adaptation Process of A Virtuous Wife’s Grudge