Women warriors in literature and culture

Short description: Archetypal figure

For other uses, see Warrior woman (disambiguation).

This article contains one or more incomplete lists which may never be able to satisfy particular standards for completeness. You can help by expanding it / them with entries that are reliably sourced.

Template:Sex in SF mini Template:Women in warfare

Britomart Redeems Faire Amoret, William Etty (1833)

The portrayal of women warriors in literature and popular culture is a subject of study in history, literary studies, film studies, folklore history, and mythology. The archetypal figure of the woman warrior is an example of a normal thing that happens in some cultures, while also being a counter stereotype, opposing the normal construction of war, violence and aggression as masculine.[1]: 269 This convention-defying position makes the female warrior a prominent site of investigation for discourses surrounding female power and gender roles in society.

## Contents

* 1 Folklore and mythology
* 1.1 Greek legends of the Amazons
* 1.2 Scythian women
* 1.3 Indian folklore
* 2 Religion
* 3 Folk and fairy tales
* 4 Literature, film, and television
* 5 In feminism
* 5.1 Violence
* 6 See also
* 7 Notes
* 8 Further reading
* 9 External links

## Folklore and mythology

Medieval women helping to defend the city from attack

Main article: Social:List of women warriors in folklore

Further information: Template:Female wartime cross-dressers

### Greek legends of the Amazons

The Amazons were an entire tribe of woman warriors in Greek legend. The earliest known recording of the Amazons can be found in Homer's epic poem the Iliad, in which Homer described them as Amazon antianeirai, a term with multiple translations including "the equal of men."[2] "Amazon" has become an eponym for woman warriors and athletes in both modern and ancient society.

In British mythology, Queen Cordelia fought off several contenders for her throne by personally leading the army in its battles as well as defending her home from her own warring family members, until she eventually commits suicide due to grief. Another example in ancient British history is the historical Queen Boudica, who led a rebellion against the Roman Empire.

In his On the Bravery of Women, the Greco-Roman historian Plutarch describes how the women of Argos fought against King Cleomenes and the Spartans under the command of Telesilla in the fifth century BCE.[3][4]

### Scythian women

Among Scythians, warrior women were not unknown. Archaeologists have uncovered more than 40 graves of female warrior leaders. The Roman general, Pompey defeated Scythians fighting for Mithridates VI of Pontus, and in his triumph displayed female warrior rulers among the leaders he defeated. Scythian lifestyle included equality among the sexes, and some women took the opportunities that a warrior lifestyle offered to both men and women.[5] As a result of typical gender roles represented in Scythian burials, such as men being buried with weapons and women being buried with jewelry, mirrors, or needles, Scythian women who were buried with weapons were originally classified as male. Female warriors were buried in the same manner as male warriors, with weapons and the skeletal remains of horses that were used by warriors in battle. However, the Scythian women's involvement in the warrior lifestyle was not only represented in grave goods. Upon discovering that the skeletal remains in the Scythian graves belonged to women, it was also found in the grave discoveries that these women endured battle scars, further confirming their participation in battle, but also in activities like horse riding and archery. Many of the Scythian female skeletons showed evidence of fractures and slashes on the bones, on the upper body, including the ribs and skull. Additionally, it was common to find weapons such as arrowheads embedded in the skull, which further pointed to signs of involvement in war.[6]Scythian culture touched on both Greece and India, both of whom have tales of warrior women in their histories and mythologies.

### Indian folklore

Accounts of martial women were included in the Ramayana (ca. 500 BCE) and Mahabharata (ca. 400 BCE) In Hindu mythology, Chitrāngadā, wife of Arjuna, was the commander of her father's armies. Satyabhama was a warrior wife of the god Krishna who led an army against Narakasura; she was an archer and expert in wartime tactics. Shikhandini was a princess who learned "archery, martial arts, war-techniques" and fought to avenge herself for past wrongs in another life; she eventually became a man (through supernatural intervention). Kaikeyi was the wife of a king who drove his chariot in battle and saved his life.[7]

Other examples of warrior women in India may be seen in sculpture.

* India, Bala Krishna Temple at Hampi. Woman with bow, an attendant removing a thorn from her foot. Early 16th century C.E.

* Srirangam, India. Sculpture of warrior woman from the Vijayanagar period, 16th century, Sesha Mandapa hall of the Sri Ranganathaswamy Temple.

* Sculpture of warrior woman from the Vijayanagar period armed with a katar, 16th century, Sesha Mandapa hall of the Sri Ranganathaswamy Temple

* India. A warrior woman sacrifices herself, cutting her own throat.

## Religion

Several women are described in the Hebrew Bible as participating in wars or battles, including the prophetess Deborah, Rahab, and the unnamed "woman of Thebez".

Hind bint ‘Utbah was an Arab woman in the late 6th and early 7th centuries who converted to Islam. She took part in the Battle of Yarmouk in 636, fighting the Romans and encouraging the male soldiers to join her.[8]

Khawlah bint al-Azwar was a prominent woman Muslim warrior in the 7th century, leading battles in what are today Syria, Jordan and Palestine.[9]

Ghazala the Kharijite was also a commander in battle, making famous generals like al-Hajjaj flee. Her courage was extolled in poems.

Joan of Arc was a warrior in the 15th century and considered a heroine in France for her role in the Hundred Years' War. Joan of Arc alleged that she had a connection to the saints of her church and that they communicated with her to tell her to join the war effort of the French in 1429. Her effort in the battle of Orléans in May 1429 contributed to the retreat of the English from the city.[10] She was later canonized as a Roman Catholic saint. In modern popular culture, Joan of Arc has been depicted many times, including in The Passion of Joan of Arc (1928 film), a silent historical film from Danish director Carl TH. Dreyer.[11] The film depicts the real trial of Joan of Arc leading up to her execution.

Mai Bhago was a Sikh warrior of 18th century. She encouraged and rallied the soldiers who abandoned Guru Gobind Singh during the siege of Anandpur Sahib to refight. She, alongside 40 soldiers confronted the Mughal Army and fought the Battle of Muktsar. She wore a masculine attire during her lifetime and by doing so, challenged patriarchy and started the debate around 'Role of Women' among Scholars and Philosophers. She was honored the title of being the bodyguard of Guru Gobind Singh during his exhile in Nanded, Maharashtra. Many ballads and folksongs glorify her bravery and she is revered as a Feminist Icon.

## Folk and fairy tales

In one Chinese legend recorded by Gan Bao, a girl named Li Ji slays a serpent who devoured many maidens in her village (Li Ji Slays the Giant Serpent or Li Chi Slays the Serpent).[12][13][14][15][16][17]

The narrative of the woman warrior sometimes involves the motif of crossdressing or disguising herself as a man or a male soldier. These stories belong to the cycle of La Doncella Guerrera, or The Warrior Maiden.[18] One popular instance of this is the legendary heroine Hua Mulan of Chinese history. Mulan's earliest records date back to the time of China's Northern and Southern Dynasties era (4th to 6th century AD).[19] In the ballad, Mulan disguises herself as a man and takes her father's place in war to protect him. Since it was first written, the original story has been retold many times by different authors.[20] Hua Mulan was further popularized, especially in the United States, through Disney's 1998 feature film Mulan.[21]

18th century depiction of Mulan

In many cases, the disguised maiden enters the service of a king and discovers the queen's infidelity. The queen is punished and the king marries the warrior maiden.[22] One example is A afilhada de São Pedro ("St. Peter's Goddaughter"), a Portuguese folktale collected by Consiglieri Pedroso.[23] These stories are classified in the Aarne–Thompson–Uther Index index as ATU 513, "The Extraordinary Companions" and subtypes, and ATU 514, "The Shift of Sex".[24]

Other fairy tales include:

* Belle-Belle ou Le Chevalier Fortuné (French literary fairy tale by MMe. d'Aulnoy)
* Princess Belle-Etoile (French literary fairy tale by MMe. d'Aulnoy)
* Costanza / Costanzo (Italian literary fairy tale by Giovanni Francesco Straparola)
* The Three Crowns (Italian literary fairy tale by Giambattista Basile)
* Ileana Simziana (Romanian fairy tale)
* Fanta-ghirò, The Beautiful (Italian folktale heroine) and her film series
* Marya Morevna, the warrior princess of the tale of Koschei the Deathless (Russian fairy tale)[25][26]
* The Princess in variants of Aarne–Thompson–Uther ATU 551, "The Water of Life", where the hero quests for an object of the fairy/warrior princess (mirror, flower, fountain, etc.) and she goes after the prince with her army.[27]
* The female character of the tales classified as ATU 519, "The Strong Woman as Bride (Brunhilde)"
* The female hero of ATU tale type 300, "The Dragon-Slayer", in variants from Latin America[28]
* The Girl as Soldier, Russian tales about a girl in male disguise

## Literature, film, and television

See also: Social:List of female action heroes and villains

Literary women warriors include "Gordafarid" (Persian: گردآفريد) in the ancient Persian epic poem The Shāhnāmeh, Delhemma in Arabic epic literature, Mulan, Camilla in the Aeneid, Belphoebe and Britomart in Edmund Spenser's The Faerie Queene, Bradamante and Marfisa in Orlando Furioso, Clorinda and (reluctantly) Erminia in La Gerusalemme liberata, and Grendel's mother.

The woman warrior is part of a long tradition in many different cultures including Chinese and Japanese martial arts films, but their reach and appeal to Western audiences is possibly much more recent, coinciding with the greatly increased number of female heroes in American media since 1990.[29]: 136 [30]: 25 Films have brought women warriors to the silver screen, such as in King Arthur (2004 film), in which Keira Knightley plays heroine Guinevere, originally the love interest of King Arthur. In this iteration, Guinevere is portrayed as a warrior of equal strength as her male counterparts.[31]

Women warriors have also grown in recent years in part due to the popularity of comics and franchises inspired by them, most notably films by Marvel Studios and films within the DC Extended Universe. Characters such as Wonder Woman, Captain Marvel, Wasp, Black Widow, and, more recently, Jane Foster, a female iteration of the hero Thor, originally were superheroines in popular DC and Marvel comics series, as well as others.[32]

## In feminism

Women warriors have been taken up as a symbol for feminist empowerment, emphasizing women's agency and capacity for power instead of the common pattern of female victim-hood.[1]: 269 Professor Sherrie Inness in Tough Girls: Women Warriors and Wonder Women in Popular Culture[33] and Frances Early and Kathleen Kennedy in Athena's Daughters: Television's New Women Warriors,[34] for example, focus on figures such as Xena, from the television series Xena: Warrior Princess or Buffy Summers from Buffy the Vampire Slayer. In the introduction to their text, Early and Kennedy discuss what they describe as a link between the image of women warriors and girl power.[35]

### Violence

Although there is a distinction between positive aggression and violence, fictional representations of female violence like Kill Bill still have the power to function positively, equipping women for real-life situations that require outward aggression.[36]: 108, 237 Beyond the individual level, fictional depictions of violence by women can be a political tool to draw attention to real-world issues of violence, such as the ongoing violence against Indigenous women.[37] Others say that a violent heroine undermines the feminist ethics against male violence, even when she is posited as a defender of women, for example in films such as Hard Candy.[1]: 269 The 2020 film Promising Young Woman also explores the idea of a warrior woman railing against deadly sexual inequity, using either passive or active violence in order to restore some sense of justice to a world skewed towards sympathy for sexually violent men. Often the violence is only implicit, or threatened, and exists in juxtaposition to the film's pastel colour palette and stereotypically feminine aesthetic.

## See also

Lists

* List of women warriors in folklore
* List of female action heroes and villains
* Women in ancient warfare
* Women in post-classical warfare
* Women in warfare (1500–1699)
* Women in warfare and the military in the 19th century

Nonfiction book articles

* Penelope's Bones by Emily Hauser

Related articles

* Media and gender
* Amazons
* Birka female Viking warrior
* Counterstereotype
* Fighter
* Girls with guns
* Kunoichi
* Magical girl
* Martial arts
* Onna-musha
* Shieldmaiden
* Valkyrie
* Virago

## Notes

1. ↑ 1.0 1.1 1.2 Stringer, Rebecca (2011). "From Victim to Vigilante: Gender, Violence, and Revenge in The Brave One (2007) and Hard Candy (2005)". in Radner, Hilary; Stringer, Rebecca. Feminism at the Movies. Routledge. doi:10.4324/9780203152416. ISBN 978-0-203-15241-6. https://www.taylorfrancis.com/chapters/edit/10.4324/9780203152416-31/victim-vigilante-gender-violence-revenge-brave-one-2007-hard-candy-2005-rebecca-stringer.
2. ↑ Foreman, Amanda. "The Amazon Women: Is There Any Truth Behind the Myth?" (in en). https://www.smithsonianmag.com/history/amazon-women-there-any-truth-behind-myth-180950188/.
3. ↑ "Plutarch • On the Bravery of Women — Sections I‑XV". penelope.uchicago.edu. https://penelope.uchicago.edu/Thayer/E/Roman/Texts/Plutarch/Moralia/Bravery_of_Women*/A.html.
4. ↑ Plant, I.M. (2004). Women Writers of Ancient Greece and Rome: An Anthology. University of Oklahoma Press. p. 33. ISBN 9780806136219. https://books.google.com/books?id=uYGay_yqBLUC. Retrieved 2014-11-18.
5. ↑ Smith, Patrick Scott (30 June 2020). "Scythian Women". https://www.worldhistory.org/article/1783/scythian-women/.
6. ↑ Mayor, Adrienne (2016). "Warrior women: The archaeology of Amazons". in Budin, Stephanie Lynn. Women in Antiquity: Real Women across the Ancient World (1st ed.). Routledge. pp. ( 969-985). https://api.pageplace.de/preview/DT0400.9781317219910_A27457904/preview-9781317219910_A27457904.pdf.
7. ↑ Rashmi Vajpayee. "Discovering the Forgotten Female Warriors of Mahabharata". https://indianculturecivilization.blogspot.com/2020/08/discovering-forgotten-female-warriors.html?m=1.
8. ↑ Azmy, Ahmed (7 March 2017). "Arab Women at War: Battles, Assassinations, and Army Leaders". Raseef22. https://raseef22.com/en/politics/2017/03/07/arab-women-war-battles-assassinations-army-leaders/.
9. ↑ "15 Important Muslim Women in History". Islamophobia Today. http://www.islamophobiatoday.com/2014/03/12/15-important-muslim-women-in-history/.
10. ↑ "Joan of Arc | Biography, Death, Accomplishments, & Facts" (in en). https://www.britannica.com/biography/Saint-Joan-of-Arc.
11. ↑ "The Passion of Joan of Arc" (in en). https://www.criterion.com/films/228-the-passion-of-joan-of-arc.
12. ↑ Gan Bao. In Search of the Supernatural: The Written Record, translated into English by Kenneth J. DeWoskin and James Irving Crump. Stanford University Press, 1996. pp. 230-231. ISBN 0-8047-2506-3
13. ↑ Ch, Russell Maeth (1 September 1990). "El cuento de Li Ji" (in es). Estudios de Asia y África 3 (83): 537–539. https://estudiosdeasiayafrica.colmex.mx/index.php/eaa/article/view/1207. Retrieved 25 February 2022.
14. ↑ Journey of a Goddess: Chen Jinggu Subdues the Snake Demon. Translated, edited, and with an introduction by Fan Pen Li Chen. Albany, New York: State University of New York Press. 2017. p. 31. ISBN 978-14384-6-7078
15. ↑ Idema, Wilt L. Personal Salvation and Filial Piety: Two Precious Scroll Narratives of Guanyin and Her Acolytes. University of Hawai'i Press. 2008. p. 205. ISBN 978-0-8248-3215-5
16. ↑ He, Saihanjula (2000). Critical Fantasies: Structure of Chinese Folk Tales (Thesis). Archived from the original on 2022-03-03. Retrieved 2022-02-25.
17. ↑ Ting, N.-T. (1969). "[Review of Folktales of China, by W. Eberhard]". The Journal of American Folklore 82 (326): 381–384 [383]. doi:10.2307/539788. "... China is perhaps the only nation that produced a female dragon-slayer, Li Chi, and a very ancient heroine at that!".
18. ↑ Delpech, François (1984). "Essai d'identification d'un type de conte. Première partie. Le sauvage et la fille travestie.". Mélanges de la Casa de Velázquez 20 (1): 285–312. doi:10.3406/casa.1984.2419.
19. ↑ "'The Ballad of Mulan': A Rhyming Translation" (in en-US). 2018-09-23. https://classicalpoets.org/2018/09/23/the-ballad-of-mulan-a-rhyming-translation/.
20. ↑ Kwa, Shiamin; Idema, Wilt L. (2010-08-13) (in en). Mulan: Five Versions of a Classic Chinese Legend, with Related Texts. Hackett Publishing Company, Incorporated. ISBN 978-1-60384-871-8. https://books.google.com/books?id=fHzXt8AHyhIC.
21. ↑ "Mulan: the history of the Chinese legend behind the film" (in en). https://www.historyextra.com/period/ancient-history/real-history-mulan-who-what-looked-like-chinese-legend-disney-culture/.
22. ↑ Delpech, François (1985). "Essai d'identification d'un type de conte. Deuxième partie: Antoine, la princesse muette et l'amour médecin.". Mélanges de la Casa de Velázquez 21 (1): 255–280. doi:10.3406/casa.1985.2446.
23. ↑ Pedroso, Consiglieri. Portuguese folk-tales. London: E. Stock. 1882. pp. 53-59.
24. ↑ Thompson, Stith. The Folktale. University of California Press. 1977. pp. 53-55. ISBN 978-0520035379
25. ↑ Ralston, William Ralston Shedden. Russian fairy tales: a choice collection of Muscovite folk-lore. New York: Pollard & Moss. 1887. p. 108.
26. ↑ Hooker, Jessica (January 1990). "The Hen Who Sang: Swordbearing Women in Eastern European Fairytales". Folklore 101 (2): 178–184. doi:10.1080/0015587X.1990.9715792.
27. ↑ Johns, Andreas. Baba Yaga: The Ambiguous Mother and Witch of the Russian Folktale. New York: Peter Lang. 2010 [2004]. pp. 144—145. ISBN 978-0-8204-6769-6
28. ↑ Bierhorst, John (2019). "Myths and Folktales in Latin America". The Fairy Tale World. pp. 199–209. doi:10.4324/9781315108407-17. ISBN 9781315108407.
29. ↑ Dawn, Heinecken (2003). The Warrior Women of Television: A Feminist Cultural Analysis of the Female Body in Popular Media. New York: Peter Lang.
30. ↑ Tasker, Yvonne (1993). Spectacular Bodies: Gender, Genre and the Action Cinema. New York: Routledge.
31. ↑ Gaboury, Jennifer. "Women Warriors Are the Rage in Hollywood--But What Was the Truth?". History News Network. https://historynewsnetwork.org/article/7129.
32. ↑ "Avenging Women | Avengers | Marvel Comic Reading Lists". https://www.marvel.com/comics/discover/291/avenging-women.
33. ↑ Tough Girls: Women Warriors and Wonder Women in Popular Culture
34. ↑ Athena’s Daughters: Television’s New Women Warriors
35. ↑ "Book review". http://www.h-net.org/reviews/showrev.cgi?path=238391094059727.
36. ↑ Lavin, Maud (2010). Push Comes to Shove: New Images of Aggressive Women. London: MIT. https://archive.org/details/pushcomestoshove0000lavi.
37. ↑ Verstraten, Katelyn (22 June 2013). "For Indigenous Women, Radical Art as a Last Resort". The Tyee. https://thetyee.ca/ArtsAndCulture/2013/06/22/Radical-Art/.

## Further reading

* Alvarez, Maria (14 August 1998). "Feminist icon in a catsuit". New Statesman. (female lead character Emma Peel in defunct 1960s UK TV series The Avengers)
* Au, Wagner James. "Supercop as Woman Warrior ." Salon.com.
* Barr, Marleen S. Future Females, the Next Generation: New Voices and Velocities in Feminist Science Fiction Criticism. Lanham, Md.: Rowman & Littlefield, 2000.
* Clayton, Sally Pomme (2001). "The woman Warrior: fact or tale". Estudos de Literatura Oral (7–8): 63–77.
* Davis-Kimball, Jeannine. Warrior Women: An Archaeologist's Search for History's Hidden Heroines. New York: Warner Books, 2001.
* DeCoste, Mary-Michelle (2009). "Warrior Woman/Lovely Lady". Hopeless Love: Boiardo, Ariosto, and Narratives of Queer Female Desire. University of Toronto Press. pp. 23–36. doi:10.3138/9781442697447. ISBN 978-0-8020-9684-5.
* Delpech, François (1998). "Pilosités héroïques et femmes travesties : archéologie d'un stratagème". Bulletin Hispanique 100 (1): 131–164. doi:10.3406/hispa.1998.4963. http://www.persee.fr/docAsPDF/hispa_0007-4640_1998_num_100_1_4963.pdf. Retrieved 2022-02-25.
* Deuber-Mankowsky, Astrid and Dominic J. Bonfiglio (Translator). Lara Croft: Cyber Heroine. Minneapolis: University Of Minnesota Press, 2005.
* Dugaw, Dianne M. (1986). "Structural Analysis of the Female Warrior Ballads: The Landscape of a World Turned Upside down". Journal of Folklore Research 23 (1): 23–42.
* Early, Frances and Kathleen Kennedy, Athena's Daughters: Television's New Women Warriors, Syracuse University Press, 2003.
* Edwards, Louise. “Women Warriors and Amazons of the Mid Qing Texts Jinghua Yuan and Honglou Meng”. In: Modern Asian Studies 29, no. 2 (1995): 225–55. http://www.jstor.org/stable/312812 .
* Garner, Jack. "Strong women can be heroes, too ." Democrat and Chronicle. 15 June 2001.
* Greenhill, Pauline (1995). "'Neither a Man nor a Maid': Sexualities and Gendered Meanings in Cross-Dressing Ballads". The Journal of American Folklore 108 (428): 156–177. doi:10.2307/541377.
* Heinecken, Dawn. Warrior Women of Television: A Feminist Cultural Analysis of the New Female Body in Popular Media, New York: P. Lang, 2003.
* Hopkins, Susan, Girl Heroes: the New Force in Popular Culture, Pluto Press Australia, 2002.
* Infante, Joyce Rodrigues Ferraz (2017). "Revisitando o tema da donzela-guerreira em Grande sertão: veredas". in Rivas Hernández, Ascensión. João Guimarães Rosa: Un exiliado del lenguaje común. Ediciones Universidad de Salamanca. pp. 205–224. ISBN 978-84-9012-766-7. OCLC 1027200292.
* Inness, Sherrie A. (ed.) Action Chicks: New Images of Tough Women in Popular Culture, Palgrave Macmillan, 2004.
* Inness, Sherrie A. Tough Girls: Women Warriors and Wonder Women in Popular Culture. Philadelphia: University of Pennsylvania Press, 1999.
* Karlyn, Kathleen Rowe (2009). "Scream, Popular Culture, and Feminism's Third Wave: 'I'm Not My Mother'". in Addison, Heather; Goodwin-Kelly, Mary Kate; Roth, Elaine. Motherhood Misconceived: Representing the Maternal in U.S. Films. SUNY Press. pp. 177–196. ISBN 978-1-4384-2815-4. https://books.google.com/books?id=E1XamjDWjnwC&pg=PA177. Retrieved 2022-02-25.
* Karras, Irene. "The Third Wave's Final Girl: Buffy the Vampire Slayer ." thirdspace 1:2 (March 2002).
* Kennedy, Helen W. (December 2002). "Lara Croft: Feminist Icon or Cyberbimbo? On the Limits of Textual Analysis". Game Studies 2 (2). http://www.gamestudies.org/0202/kennedy/. Retrieved 2007-10-19.
* Kim, L.S. (2006). "Crouching Tiger, Hidden Dragon: Making women warriors — a transnational reading of Asian female action heroes". Jump Cut 48. https://www.ejumpcut.org/archive/jc48.2006/womenWarriors/text.html. Retrieved 2022-02-25.
* Kingston, Maxine Hong. The Woman Warrior: Memoirs of a Girlhood Among Ghosts. New York: Vintage, 1975.
* Magoulick, Mary (2006). "Frustrating Female Heroism: Mixed Messages in Xena, Nikita, and Buffy". The Journal of Popular Culture 39 (5): 729–755. doi:10.1111/j.1540-5931.2006.00326.x.
* Mainon, Dominique. The Modern Amazons: Warrior Women on Screen. Pompton Plains, N.J. : Limelight Editions, 2006.
* McDougall, Sophia (August 15, 2013) "I hate Strong Female Characters ." The New Statesman. (Retrieved 8-24-13.)
* Osgerby, Bill, Anna Gough-Yates, and Marianne Wells. Action TV: Tough-Guys, Smooth Operators and Foxy Chicks. London: Routledge, 2001.
* Prandi, Julie D. (1985). "Woman Warrior as Hero: Schiller's "Jungfrau von Orleans" and Kleist's "Penthesilea"". Monatshefte 77 (4): 403–414.
* Raber, Karen L. (2000). "Warrior Women in the Plays of Cavendish and Killigrew". SEL: Studies in English Literature 1500–1900 40 (3): 413–433. doi:10.2307/1556254.
* Rowland, Robin (31 July 2004). "Warrior queens and blind critics". Canadian Broadcasting Corporation. http://www.cbc.ca/arts/features/kingarthur/.
* Spicuzza, Mary (27 March 2001). "Butt-Kicking Babes". Alternet.org. https://www.alternet.org/2001/03/butt-kicking_babes/.
* Stoppino, Eleonora (2012). Genealogies of Fiction: Women Warriors and the Medieval Imagination in the 'Orlando furioso'. Fordham University Press. ISBN 978-0-8232-4037-1.
* Tasker, Yvonne. Action and Adventure Cinema. New York: Routledge, 2004.
* Tasker, Yvonne.Working Girls: Gender and Sexuality in Popular Culture. London: Routledge 1998
* Tasker, Yvonne.Spectacular Bodies: Gender, Genre, and the Action Cinema. London and New York: Routledge, 1993.
* Trickey, Helyn. "Girls with Gauntlets ." Turner Network Television.
* Marano, Hara Estroff (2 November 2002). "A Case of Catch-22". Psychology Today. https://www.psychologytoday.com/intl/articles/200211/case-catch-22.

## External links

* "Scythian Women". https://www.worldhistory.org/article/1783/scythian-women/.
* "Women Warriors in History". https://www.lothene.org/women/women.html.
* "Females in Fantasy". http://www.starsuncounted.com/p/females-in-fantasy.html.

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