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Relationship between gender and society
Relationship between gender and society
Relationship between gender and society
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In the 1984 text Nights at the Circus, Angela Carter explores the theme of agency and empowerment through the subversion of traditional fairy tale and mythical elements. Carter places immense emphasis on the importance of the time period and the ‘liminal’ to explore how setting and time contribute to the central theme of agency and empowerment. Through the journey and character subversion of the protagonist Sophia Fevvers, Carter challenges the audiences perception on females of the time period, while the characterisation of her counterpart Jack Walser, is used to explore the common archetype, ‘The Journey of the Fool.’ Through anthropomorphism, Carter grants animals with gift of human intellect and emotions to create a point of contrast whilst …show more content…
Although, the animals in the text do not have the ability to speak, Carter grants them with the ability to feel human emotions and learn. The chimpanzees of the circus appear stupid to the circus members, especially their master Monsieur Lamarck, ironically nicknamed the ‘Ape Man.’ Carter juxtaposes the intellectual apes with their beastly Master who cruelly abuses his wife ultimately subverting the characteristics of the wild chimps and the smart trainer. Carter expresses the chimpanzees empowerment through their intellectual persistence as the chimpanzees secretly teach themselves to read and write English, but when observed return to their expected ‘ape like’ behaviour. With their profuse knowledge, they break free of their contract with the Colonel, ultimately earning their freedom reinforcing the theme of agency and empowerment. Throughout Nights at the Circus, author Angela Carter subverts traditional fairy tales elements to enhance the theme of agency and empowerment. Through a combination of immense symbolism and the subversion of common archetypes including feminine traits and the fool and common mythical elements such as manipulation of time, anthropomorphism and the liminal, Carter challenges the audience to explore how the elements contribute to the overarching theme the of agency and empowerment through complex animal, male and female
In James Poniewozik's "The Princess Paradox" (323-325) the author explains how the idea of a feminist, independent woman becoming a fairy tale princess is a paradox and that society is engaging in a paradox through the belief of it. He utilizes the recent bout of Cinderella retellings to show the paradox of how girls cannot be both completely independent and a fairytale princess, and yet society perpetuates the paradox through believing that this is not only possible, but realistically attainable as well. Poniewozik exposes the contradictions that surround these new Cinderellas to defy these "realistic" stories that society has come to embrace. By showing how truly constrictive and illogical these fantasies are, Poniewozik also shows how hypocritical society has become for idolizing them and why this new princess is a true paradox.
The gorilla, named Ishmael, can communicate telepathically. Communicating with him in this fashion, the narrator learns Ishmael’s background - in which the gorilla was stolen from the wild and displayed in a menagerie, then rescued by a Holocaust survivor who taught him his name and how to learn. Impressed, the narrator decides to accept his teachings, returning to Ishmael's office throughout the story.
Lillian Doherty, Siren Songs: Gender, Audiences, and Narrators in the Odyssey (Ann Arbor 1995), esp. chapter 1.
There is plenty of opportunity for interpretation in Carter’s writing, particularly in her book ‘The Bloody Chamber’ which is commonly considered to be her masterwork, brimming with intertextualities and ambiguities. Some may find her work to be excessively violent or savage, perhaps even alienating. Yet others may have found this no-holds-barred approach to be exhilarating and refreshing in comparison to other authors of her time. In her re-writing of Perrault and Beaumont’s classic tales, Carter proposes a reading of several well-known stories with intent to unveil through a feminist perspective the ideological content they present. “The Bloody Chamber” is her take on the tale of Bluebeard; “The Werewolf” is her variation of the tale of Little Red Riding Hood; and “The Snow Child” is a very brief but equally powerful story based on the tale of Snow White. Whilst some may find her writing to be ‘grossly repellent’ and most certainly did at the time of its original publication, it remains clear that there are numerous aspects of intertextuality within her writing which delve beyond the face value of her work, that there is much latent content within every story in the collection.
Much of history’s most renown literature have real-world connections hidden in them, although they may be taxing uncover. William Golding’s classic, Lord of the Flies, is no exception. In this work of art, Golding uses the three main characters, Piggy, Jack, and Ralph, to symbolize various aspects of human nature through their behaviors, actions, and responses.
Although Hans Christian Andersen’s “The Little Mermaid,” published in 1837, contains many patronizing nineteenth-century attitudes towards women, a value system that at least acknowledges the legitimacy of femininity shapes the fairytale. Unfortunately, Walt Disney’s 1989 film version of “The Little Mermaid” eliminates the values that affirm femininity in the original story (Trites 145)
(Google ebook page 96) Roemer, D.M and Bacchilega, C. (2000) Angela Carter and the Fairy Tale. Detroit, MI: Wayne State University Press.
Angela Carter was a writer in the 1970s during the third wave of feminism that influenced and encouraged personal and social views in her writing. This is demonstrated through her own interpretation of fairy tales in The Bloody Chamber. She combines realism and fantasy to create ‘magic realism’ whilst also challenging conventions of stereotypical gender roles.
The Paper Bag Princess is a counter point to traditional fairy tales about Princes and Princesses as it displays characters in altered roles. Princess Elizabeth challenges the modern view of the masculinity of a hero by reversing gender roles when she chooses to save Prince Ronald herself. By taking on the fire breathing dragon and outsmarting him, Princess Elizabeth defies typical princess roles and fairytale plots. Although lacking Cinderella elegance, Elizabeth's determination, self-confidence and awareness of her inner be...
Ross, D. (2004). Proquest. “Escape from wonderland: Disney and the female imagination”. Marvels & Tales, 18(1), 53-66,141.
In a society unbridled with double standards and set views about women, one may wonder the origins of such beliefs. It might come as a surprise that these ideals and standards are embedded and have been for centuries in the beloved fairy tales we enjoyed reading as kids. In her analytical essay, “To Spin a Yarn: The Female Voice in Folklore and Fairy Tales”, Karen Rowe argues that fairy tales present “cultural norms which exalt passivity, dependency, and self-sacrifice as a female’s cardinal virtues.” Rowe presents an excellent point, which can be supported by versions of the cult classics, “Cinderella” and “Snow White”. Charles Perrault’s “ The Little Glass Slipper” and the Brothers Grimm’s “ Snow White” exemplify the beliefs that females are supposed to be docile, dependent on the male persona and willing to sacrifice themselves. In many cases, when strong female characters are presented they are always contradicting in these characteristics, thus labeled as villainous. Such is the case of the Cinderella’s stepsisters in Perrault’s “Cinderella” and the stepmother in the Brothers Grimm’s “Snow White.” These female characters face judgment and disapproval when they commit the same acts as male characters. With such messages rooted in our beloved fairy tales it is no wonder that society is rampant with these ideals about women and disapprove of women when they try to break free of this mold.
Throughout literature, authors employ a variety of strategies to highlight the central message being conveyed to the audience. Analyzing pieces of literature through the gender critics lens accentuates what the author believes to be masculine or feminine and that society and culture determines the gender responsibility of an individual. In the classic fairytale Little Red Riding Hood, the gender strategies appear through the typical fragile women of the mother and the grandmother, the heartless and clever male wolf, and the naïve and vulnerable girl as little red riding hood.
Rohrick, Lutz. Introduction. Fairytales and Society: Illusion, Allusion and Paradigm. Ed. R.B. Bottingheimer. Philadelphia: University of Pennsylvania Press, 1986. 1-9.
Bettelheim, Bruno. “Fantasy, Recovery, Escape, and Consolation. “The Uses of Enchantment: The Meaning and Importance of Fairy Tales. New York: Vintage Books, 1976.
By exposing the role of fairy tales in the cultural struggle over gender, feminism transformed fairy-tale studies and sparked a debate that would change the way society thinks about fairy tales and the words. “Fairy Tales and Feminism.” Project MUSE -, https://muse.jhu.edu/book/31411.