Wicked Women Research Articles

“Perempuan Asing” Dalam Amsal 2:16, 5:20, 6:24, 7:5 Dan 23:27

This phrase "strange woman" appears several times in the Book of Proverbs and is problematic. Some translate it as a seductress, a bitch, a woman who has an affair, and as a wicked woman. Interestingly, all these interpretations of the phrase have negative connotations in the context. If so, why is this phrase always associated with negativity? What is the true meaning of this phrase? There seems to be a research gap in discussing this phrase, which is the main reason for the author to provide a specific and comprehensive interpretation of the phrase "foreign woman" and its implications for women today. Based on the qualitative method with sub interpretative design, especially wisdom literature hermeneutics, this study found that, there are five important meanings that explain the phrase "strange woman," namely, a woman who is unfaithful to the covenant with God, a woman who does not honor marriage, a harlot, a seductress, and a wicked woman. The implication of this study is a reference and warning for women to build the right character and become wise women so that they can be exemplary as good mothers and wives.

Aconite-Induced Metamorphosis From Beauty to Ugliness in a Japanese Tale.

The authors present a narrative that details the cause and process of a woman's transformation from beauty to ugliness in a Japanese tale. In " Tokaido Yotsuya Kaidan ," the metamorphosis from a beauty to an ugly woman is analyzed. After taking medication to recover from childbirth, Oiwa's face became disfigured and grotesque. Oiwa: It seems to be good for my blood, but when I drink it, it causes fraying and breakdown, causing sudden pain. I feel a numbing dullness. When she looked at herself in the mirror, she was shocked. Oiwa: What's wrong with my face? I hate this, it's such a disgusting thing. Neighbor: It was a lie that the medicine you drank was a helpful medicine that protects the appearance of people's faces. Your face is that of a wicked woman (). Oiwa: Is it really me? Why does she have the face of an evil woman? Her hair falls out in a gruesome combing scene, driving her mad. The poison Oiwa took was aconite, which grows wild in Japan. Both aconite tincture and raw aconite roots contain high concentrations of Aconitum alkaloids, which can penetrate the stratum corneum following the diffusion gradient. As her hair fell out during a horrific combing session, she abandoned her maternal role and sought revenge, having lost what she considered a symbol of her femininity. In treating female patients with facial disfigurement, it is important to be mindful of their psychological state, akin to that of Oiwa, who became disfigured through no fault of her own.

Analysis of the Image of Wicked Women in Literary and Artistic Work

In the past, the main characteristics of female characters that people came into contact with in books, movies, and TV dramas were mostly kindness, integrity, magnanimity, and selflessness. They not only represented peoples yearning for truth, goodness, and beauty, but also were used as growth templates for countless girls due to their positive images. But in recent years, it is not difficult to find that the most sought-after female characters are mostly bound up with negative words such as revenge, madness, ferocity, and selfishness. When we stand on the standpoint of feminism, it is not difficult to find that these wicked women who do not follow the principles of men in their behavior, whether they go out of their families to participate in social affairs, or face their own desires, boldly breaking through the constraints of ethics and morality, all reflect their sense of autonomy and desire to live the value of being a person. However, the outcome of these women is mostly bleak, even if they spend their entire lives fighting, they still cannot break free from the heavy shackles of patriarchal society. From this, it can be seen the difficulty of traditional customs and the difficulty of womens liberation. This article analyzes the oppression and positive significance of the image of wicked woman in patriarchal and patriarchal societies from an objective perspective through the study of the image of wicked woman and attempts to provide ideas for shaping more diverse female roles in the future.

Mirror, mirror, on the wall! Are all stepparents wicked? Impressions of stepparents’ role in the fairy tales

ABSTRACT This study aimed to explore stepfamily representation in fairy tales and their animations on YouTube. The data was collected via document analysis in the study. The data source of the research is Grimm's fairy tales which are classical fairy tales. The results demonstrate that stepmothers identify with the stereotypical wicked women, both in the book of Grimm’s fairy tales and in the animations of these fairy tales. Also, stepchildren were imaged to neglect and abuse, and it was determined that the stepfather was hardly visible in fairy tales. In line with these results, it is recommended to increase the awareness of families and educators of wicked stepparent stereotyping in children’s fairy tales.

Innocent girls, wicked women: interfaith marriages, class, and ethnicity in Israel

ABSTRACT This paper examines how the state apparatus classifies who are the citizens to be symbolically included in the collective, and who are to be excluded by analysing interfaith marriages in the Israeli context, where ethno-national identity is society’s main category organizer. I argue that the women’s social-economic standing (working-class versus middle-class) and ethnic origin (Mizrahi Jews of Middle Eastern and North African ancestry versus Ashkenazi Jews of European ancestry) play an important role not only in their strategies but in the nationalist rhetoric against them. The paper also shows how interfaith marriages, although rather rare in Israel, determine that ethno-national boundaries are more permeable than they are first appear, although crossing and shifting them is never simple. Yet the importance of this phenomenon is not in its prevalence, but in its social and political impact.

African Women, Colonial Justice and White Man’s Mercy

This article offers the first comparative analysis of the treatment of African women in British and French criminal law. Using evidence from 115 trial records involving female accused from French West Africa and Kenya, the Gold Coast and Nyasaland, it explores the processes through which ideas of race, status and public order intertwined with European and local African gender norms, both within courtrooms and political offices, to determine the outcome of murder cases involving female accused. The article investigates the development of a colonial “white man’s mercy”, analysing the cultural sensibilities and politico-legal reasoning which led to many African women receiving mercy and judicial leniency. It shows how intersections of racial and gendered stereotypes, many shared across French and British colonial cultures, often worked in favour of African murderesses through the operation of mercy processes. It further explores the treatment of “wicked women” who were only spared execution explicitly on grounds “of [their] sex” and often against the opinion of on-the-ground colonial judges. Finally, it interrogates those cases where women were executed, to highlight the limits of gender in determining sentencing.

Saul M. Olyan. Violent Rituals of the Hebrew Bible

Saul M. Olyan. <i>Violent Rituals of the Hebrew Bible</i>

The Witch in the Closet: Disney's Frozen as Adaptation and Its Potential for Queer and Feminist Readings

The Witch in the Closet: Disney's <i>Frozen</i> as Adaptation and Its Potential for Queer and Feminist Readings

The Hidden Body as Literary Strategy in 4QWiles of the Wicked Woman (4Q184)

Abstract The short sapiential poem known as 4QWiles of the Wicked Woman (4Q184) describes the body of an unnamed female who ensnares the righteous into sin and ultimately death. This poetic description of a body has sometimes been compared to the Waṣf, a type of poem which provides a thick description of the body, listing and describing body parts in a movement descending from head to toe. In this essay, I explore the description of the woman’s body in 4Q184 in light of the genre of the Waṣf. By playing with the characteristic structure of the Waṣf, 4Q184 highlights certain aspects of the woman’s body in order to say something specific about her role and activities. In so doing, I uncover an image of the woman which is more erotic than commentators have previously allowed.

New Vistas on Early Judaism and Christianity: From Enoch to Montréal and Back

New Vistas on Early Judaism and Christianity: From Enoch to Montréal and Back

Empire of a wicked woman: Catwoman, royalty, and the making of a comics icon

ABSTRACTCharacter design operates on similar principles whether one is Gotham City’s best cat burglar or a queen sitting for a royal portrait: iconography legitimizes narrative. This essay (expanded from a more informal presentation) discusses some of the ways comics used the iconography and popular narratives of historical women in power – Elizabeth I, Lucrezia Borgia, Caterina Sforza – as archetypes for women characters in the superhero-comic canon. In particular, Selina Kyle’s Catwoman was often placed in a larger legacy of historical women of power, both as a way to explain her ambition, and a way to legitimize her presence. As Catwoman moved through comic book eras (and, eventually, other mediums), her narratives, the cultural politics that surrounded her narratives, and her “statecraft of appearances” often echoed the mythmaking practiced by those historical women in power – relationship to power, relationship to authority and succession, relationship to the past – as Catwoman moves from a comic-book character into a one-woman pop-culture empire.

Transformation of Identity as a Travelling Concept: A Case Study

In his essay “Travelling Theory” Edward Said claims that when a theory and an idea moves from one place to another, it is influenced and to “some extent transformed by its new uses and its new position in new times and places.” This essay will employ the travelling theory to analyse the transformation of the identities of immigrants and ethnic minorities and will focus on how and why this transformation has been identified and explored as one of the major societal changes of migration. Since the interaction between different cultures and societies has accelerated in recent decades, the question of identity or, rather, identities is at stake. With an application Said's travelling theory, the present study seeks to investigate the identity crisis arising from the acculturation experiences of immigrants. However, the principal concern of this essay is to locate how the process of migration and settlement in Britain or the United States – so-called First World nations – might offer possibilities for (re)construction and (re)definition of an immigrant's identity. The essay adopts a case study approach in order to elucidate the relationship between travelling theory and transformation of identity. For this purpose, Buchi Emecheta's Second Class Citizen (1974), Ravinder Randhawa's A Wicked Old Woman (1987), Bharati Mukherjee's Jasmine (1989), Monica Ali's Brick Lane (2003), and Jhumpa Lahiri's The Namesake (2003) will serve as case studies.

1970년대라는 시대의 투영과 ‘악녀’ ― 아리요시 사와코有吉佐和子의 『악녀에 대해서(悪女について)』를 중심으로 ―

1970년대라는 시대의 투영과 ‘악녀’ ― 아리요시 사와코有吉佐和子의 『악녀에 대해서(悪女について)』를 중심으로 ―

Standardized Disgust and Exhibited Madness - A Study of ‘Wicked Women’ in Korean Television drama -

한국 텔레비전드라마에서 악녀들은 빠져서는 안 되는 주요 부속품처럼 거의 모든 작품에 삽입되어 극적 갈등을 일으키는 역할을 수행해 왔다. 그런데 주목할 점은 2000년대 초반부터 한국 텔레비전드라마 속 악녀의 감정과 행동의 강도가 이전보다 훨씬 거세졌으며, 심정적인 분노를 자아내는 수준을 넘어 법의 심판을 받아야 할 정도로 그녀들의 행태가 급격하게 흉포해졌다는 사실이다. 2000년대 이후 등장한 악녀들은 ‘가족을 훼손한 대상을 향한 복수’와 같은 명분이 뚜렷한 이전 시대의 악녀들과는 변별되며, 성공이나 질투 때문에 악행을 저지르고 악행의 대상이 여성이라는 유사성을 보인다. 또한 악행의 정당한 근거나 내적 갈등은 최소한으로 주어지고 마치 기계처럼 악행을 수행한다는 공통점을 보인다. 이렇게 행동과 심정의 개연성은 부재하고 오직 악을 행하며 분노를 발산하기 위해 호명된 기계적 악녀들이 빈번하게 출현하면서, 한국 텔레비전드라마는 극단적 분노를 강요하는 분위기에 빠지게 된다. 위반의 쾌감과 파괴의 불안감을 제공하는 악인은 매력적인 캐릭터로서 극적인 사건과 감정을 위한 불가결한 요소라 할 수 있다. 또한 악 자체가 인간의 본성과 관련된 것이기 때문에 텔레비전드라마가 악녀에 관심을 보이는 것은 자연스러운 일이다. 그러나 개연성을 무시한 채 악녀의 광기에만 의존하는 일련의 작품으로 인해 비상식적인 방법으로 조성된 분노가 텔레비전드라마를 장악하고 있다.

Urban Nomads and a New Urban Community in Ravinder Randhawa’s A Wicked Old Woman

Urban Nomads and a New Urban Community in Ravinder Randhawa’s A Wicked Old Woman

Another look at the identity of the ‘wicked woman’ in 4Q184

In this study, I take another look at the possible identity of the ‘wicked woman’ in 4Q184. Although a number of scholars attempted to identify the ‘wicked woman’, I would like to examine two other possibilities that (as far as I know) have not been discussed yet. The first possibility is that it can be seen as a metaphor for the city Jerusalem. This possibility is inspected by comparing the ‘wicked terminology’ that was used to describe the ‘wicked priest(s)’ in the Habakkuk commentary with the ‘wicked terminology’ that was used in 4Q184, as well as in a study of existing traditions in the Old Testament where Jerusalem was portrayed as a woman or wife. The other option is that the ‘wicked woman’ is a metaphor for foreign wisdom, specifically in the form of Hellenism and Greek philosophy or Hellenistic (non-Israelite) diviners. The fact that 4Q184 refers to ‘teaching’ and warns against her influence (this kind of wisdom), that she can let righteous and upright people (not foolish young people) go astray might be a very strong possibility that the Yaḥad is warned not to get diverted by this ‘upcoming culture’ that seems to be so attractive.

The Ultimate Trickster in the Story of Tamar from a Feminist Perspective

Tamar in Genesis 38.6–30 has conventionally been interpreted as either a righteous woman who restored the discontinuity of the line of Judah or a wicked woman who employed wit and cunningness to achieve her desired ends. This paper tries to reinterpret Tamar’s act by taking account of imagination, and the women’s perspective and experiences.

Maria Carolina and Marie Antoinette: Sisters and Queens in the mirror of Jacobin Public Opinion

Marie Antoinette of Franceand Maria Carolina of Naples, both consorts, contributed to a flourishing of matronage, reproducing conceptions of royal femininity that embraced both the private and public roles they were expected to fulfil. However, while the political role of the first Queen has been largely reconsidered, her sister Maria Carolina has not yet been adjudicated impartially. This is somewhat curious, because Maria Carolina inherited from her sister the same disregard towards the Revolution and this, as perceived by the Jacobins, was duly proposed in their acrimonious criticism of her political role. This paper aims to focus on this criticism, analysing how the charges against Maria Carolina in the post-French revolutionary period, were a political duplication of the Jacobin attacks on Marie Antoinette from 1791 onwards. From this point of view, the paper will focus on the portrait of Maria Carolina in 1793 revolutionary Parisby Giuseppe Gorani, an Italian Jacobin noble. His Memoires Secrets – where Maria Carolina was represented as a wicked woman in the same terms previously employed to denounce her sister Marie Antoinette by the French Republicans – was well known across Italy. This subject dominated the main pamphlets and brochures published in Naples in 1799, during the brief duration of the Neapolitan Republic, because it legitimised the rebellion against the monarchy. After the fall of the Neapolitan Republic, the political attacks on Maria Carolina continued likewise in France, where many Neapolitan patriots were obliged to flee. Analysing Giuseppe Gorani’s Memoires we gather that the portrait of Marie Antoinette’s sister was painted according to the main stereotypes of French revolutionary political culture.

The Ambiguity of Gender : Representations of Wicked Women as Group Identity Markers from the Book of Proverbs to the Pseudo-Clementine Homilies

The article aims at shedding new light on one of the key-feature of the Pseudo-Clementine Homilies’ world-view : Eve // female prophecy, as opposed to Adam // True Prophet. By tracing back the sources of such representation to the Wisdom tradition and the book of Proverbs, as well as to ancient assumptions on women innate ambiguity, it attempts to show how an authoritative Biblical model and gendered prejudices came to be ‘performed’ together in a original and innovative way, in order to make sense of and respond to escalating conflicts among early Christian groups.

He'm ¢i¢imat, 'La Chichimeca'

The paper presents a transcription and Spanish translation of a folktale in Sierra Popoluca, a Mixe- Zoquean language spoken in Southern Veracruz, in the municipio of Soteapan. Published texts in this language are very scarce, so the text may serve as a resource for future studies. The text was dictated to Salomé Gutiérrez Morales, a trained linguist as well as native speaker, by his close relative Jesús Gutiérrez from the village of Amamaloya. It was subsequently checked for details in transcription and translation by both authors in collaboration with another member of the speech community, Nicasio Gutiérrez Juárez. Opting not to present a morphological analysis, the authors have chosen a very literal translation style which should make it simpler, with some help from a grammar such as Elson (1960), to work out an analysis. As is true of much of the lore of the Popolucas, the contents of the tale is predominately of European extraction, in part rather closely resembling the story of "Hansel and Gretel" from the collection of the German brothers Grimm, and similar stories known also from the oral traditions of Spain, among other European countries. It appears to be rather popular in most parts of southern Veracruz, and perhaps beyond, not only among other indigenous groups, such the Popolucas of Texistepec, but also in the general, rural Spanish-speaking population.The story may be summarized as follows. Two children, a boy and a girl, are left out in the country by their father because they are unwanted by their stepmother. They are adopted by an old, blind, wicked woman, the Tzitzimat (or Chichimeca, in Nahuatl-derived Spanish). However, managing to kill the Tzitzimat, the children make their escape. From the cauldron into which they have pushed her spring two dogs. When, later on, the girl h as plans to marry a giant whom they have met during their wanderings, the dogs help out the boy. After an unsuccessful attempt by the dogs to kill the giant, the girl takes revenge on them by hiding a bone in her brother's pillow to kill him. The boy is brought back to life by the dogs. Later follows an episode where the boy saves the life of a princess, killing a snake which had been a threat to her. A Negro, who falsely claims the honor of having saved the life of the princess, is shown to be a liar when the dogs bring the tongue of the serpent to the king as proof that the boy was the true savior of the king's daughter.