To begin with, when Hatsumomo meets Chiyo, she treats her with
To begin with, when Hatsumomo meets Chiyo, she treats her with
Hatshepsut was a great leader, because she was strategic, persistent, and brave. Hatshepsut was a very strategic Pharaoh. She made sure she would be remembered by making many trade agreements (even if she was erased from history). She was also a very persistent ruler. She lied about her parents in order to become Pharaoh when the true heir was too young, and even when people discriminated against her, she never gave up. Hatshepsut was also very brave. She was one of Egypt’s only female Pharaohs and it was brave of her to do that, even though she knew there would be problems. Overall, Hatshepsut was an amazing Pharaoh because she was strategic, persistent, and brave.…
Musui’Story is a samurai’s autobiography that describes the Tokugawa society. Katsu was born as the third son of Otani family, and was given away to a family with hereditary privilege. Unlike Hagakure: The book of the Samurai, and other Samurai books written functionally. Musui’Story taught all Samurai after him a lesson by telling his unworthy and complicated life of a samurai’s way, running, cheating, lying, challenges and triumphs. This essay would analyze Katsu an a subject to demonstrate the real samurai’s life reflecting the class dedifferentiation in the late Tokugawa Era.…
again and again she struck. ”(25). Nagaina is probably the most violent character in the story because she will do whatever it takes to get her way no matter the cost. Second Nagina shows great cruelty when she says “Stay still I am not ready yet Wait a little, keep very still all you three!…
Nagaina, another character in the story is vicious. “ Go in quietly, and remember that the big man who killed Karait is the first one to bite.”(para 49). Nagaina is fierce and wants to kill Rikki’s friends. Nagaina is also fierce when it comes to fighting, but Nagaina fights because she is…
Mitsuko, a woman tormented by her past, in Shusaku Endo’s “Deep River,” travels to India to find the meaning of life. Her friends called her Moira, a seductress who preyed on innocent men. She found enjoyment in tormenting men by seducing them and then leaving. One man in particular, Otsu, was different than the rest of the men she sought after. He was a Catholic. After leaving him brokenhearted, she moved on with her life and eventually got married. After her marriage failed, she struggled to find the meaning in her life, and decided to travel to India. She found Otsu working as a Catholic priest close to where she was staying and wanted to make amends. To the reader, Mitsuko seems like a cold-blooded heartbreaker, but upon further analysis, it is clear that she is struggling to forgive herself for the terrible actions of her past. From her college days as a seductress, to having a failed marriage, to finding her place in the world on the banks of the Ganges, Mitsuko evolves into a completely new person by the end of the story.…
Jeanne is now reaching the developmental stage of her youth where she is learning the harsh truths of the world and formulating her own views and opinions of the world surrounding her. It is not until she encounters her differences in the form of subtle racism that she realizes that being Japanese is not something she can solely push away. She must accept her identity because that is what the society at the time forces her to do: “…I would be seen as someone foreign, or as someone other than American,” (158). She will always be an outsider looking in: unable to truly be one with the culture she so strongly identifies with. She may not even be acknowledged: “…I would…perhaps not be seen at all” (158). She cannot be seen at all representing how alone and invisible she feels in an environment beyond reproach at the time. It is interesting to see how desperate Jeanne is to join the environment that reproaches her for existing. Her acceptance of her Japanese ancestry is a very important transformation that will lead to a more complete fulfillment and understanding of her own…
Confucianism strongly stresses in the fulfillment of responsibilities by the roles in society, whether husband to wife or woman to woman. This particular teaching was the ultimate basis for the plot and conflict in The Love Suicides of Amijima. In this play, the duties as a husband and father and as a woman to another woman are illustrated and strongly affected the characters’ decisions or lack of decisions. The general outline of the story is a love triangle; Jihei, a married man falls in love with a prostitute, Koharu, is unable to “ransom” her (buy her contract from the owner), and eventually commits suicide together. Jihei’s final decision of death was based on his inability to choose between his obligation as a husband and father to Osan and his children, and his love for Koharu. Making his decision even harder was the nobility both women had towards each other; Koharu agrees to give up her love to save Jihei for Osan and Osan agrees to pawn even her own clothing to pay ransom for Koharu to save Koharu’s life. Unable to have both women, Jihei’s suicide was the only way he could deal with losing one. Without his Confucius sense of obligation to Osan, there would be no predicament and…
Shirane compares the characters in the book with historical figures, illustrating how the people in history get embodied into their fictional counterparts. He first shows that Kiritsubo Emperor is the alternative version of the historical Daigo Emperor, by indicating that the two have the same father (Shirane, p. 621), and the reign of Kiritsubo is similar to that of Daigo (Shirane, p. 622). In addition, Genji in the book is based on a real Genji named Minamoto no Takaakira, son of the Daigo Emperor (Shirane, p. 624). Takaakira was then the Minister of the Left and married his daughter to a likely candidate for crown prince, but later he was pushed into an exile (Shirane, p. 625 & 635). Fujitsubo in the book also echoes an important historical figure, the Empress Dowager Senshi, because both of the two had renounced the secular world but were still possessing the highest political power as the mother of the reigning emperor (Shirane, p. 638 & 639).…
However, Hata loses his new perspective of the national identity when Captain Ono points out his fragility that he depends too much on “generous fate and gesture” and has “no internal possession, no embodiment” (Lee 266). He chooses to remain loyal to his adoptive nation; nevertheless, he is transformed by K’s death. Hata mourns the death of K, a girl victimized under colonialism, in which he also was complicit. Since he has associated K with Korea, his native country, he feels that his national self is lost. He also cannot construct his national identity in Japan, which makes him an instrument of the colonial power.…
Seibei is portrayed as an ill-fated samurai who seems to continuously have new hurdles appearing in his life. Some of the elements projected amidst it all has shown us certain aspects important to the samurai tradition, and reflect certain romanticized and stereotyped, or not, images of themselves to the audience.…
Yukio Mishima was born in January 14 1925 in Tokyo. This Japanese novelist, playwright, actor, film director, model and poet is now considered one of Japan’s greatest modern writers. In his lifetime he produced over 100 works, including novels, short stories, plays, literary essays, and screenplays. He was nominated for the Nobel Prize three times. His books tend to have themes such as death, spiritual barrenness, beauty, sexuality, cultural norms and changes, and the tensions between mind and body. Forbidden Colors is one of his many acclaimed novels, published in 1951, which deals with coming-of-age, homosexuality, the life of the wealthy in Japan and also the burden of the beautiful. Yukio Mishima himself never came out as gay, his family still denies the stories that several of Mishima’s lovers have disclosed. However, he is still very significant in Japanese literature, since he gave insight to life in Japan at that time. He influenced the new generation of Japanese writers, which includes Haruki Murakami. Yukio Mischima’s novels had references from his own life, Yuichi’s life is very similar to his author’s; because he had to understand the adversity that one goes through in life if different from the mass, as well as what it feels to be constricted and having to feel confused.…
Kambili is stunned by her Aunty Ifeoma, especially because Aunty Ifeoma is the first woman that Kambili sees who speaks her mind without worrying about any consequences. Adichie emphasizes the astonishment and admiration that Kambili has for Ifeoma, when Kambili sees her aunt and can “not tear [her] ears away. It [is] the fearlessness about [Aunty Ifeoma]” (76). Kambili has never experienced being in the same environment as someone who is so true to herself, which initially evokes her renewal. Not only does Aunty Ifeoma stand as a role model for Kambili, but also she teaches her an important lesson: how to speak up for herself. When Amaka insults Kambili, Aunty Ifeoma instantly advises Kambili to “talk back to her!” (170). Aunty Ifeoma’s confrontation to Kambili regarding her speaking up for herself, affects her greatly, as it is the first piece of advice that Kambili receives involving the action of defending herself. Moreover, Aunty Ifeoma advocates for Kambili to stand up for herself and overthrow Papa’s strict regime, such as when Aunty Ifeoma seizes the schedule that Papa gave the children. Ifeoma displays a strength to her that Kambili has never witnessed due to her mother’s fear of Papa. Aunty Ifeoma molds Kambili into an independent young lady, but without Amaka’s stubbornness towards Kambili she would not have the opportunity to display her…
Her brothers’ attempts to drive her mad fail, and her dignified nobility at her death transforms the character of her murderer.…
Patriarchal oppression is one of the major themes in Dangarembga’s Nervous conditions. According to Dambe 2014, patriarchy refers to a system of practices and structures in which men have more power than women and are able to use their power to dominate and oppress women. It is this patriarchal distribution of power that puts women in all kinds of dilemmas in the novel. One of weapon men use to oppress women is “silence and obedience’. Silence and obedience are considered as important values in Shona culture and colonial Rhodesia. This essay will therefore, explore the kinds of dilemmas nyasha, Tambu, Lucia, Mainini and Maiguru go through in the hands of patriarchal system and how they come to terms with it.…
Most important of all, she is so self-centered. It appears as following aspect: Firstly, she looked at author and the party of Japanese Gentlemen (from text). And many times Japanese Gentlemen behave in a noticeable way. But she doesn’t notice them and just thinks her own problems. Secondly she is talking all the time about her own problems without listening to her fiancé’s. She is talking about her…