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Gender roles in fairytales
Gender roles in fairytales
Negative impacts of fairy tales
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In her essay, “Onceuponatime” feminist writer Andrea Dworkin emphasizes the detrimental impact that fairy tales have on society and how they reduce males and females to one dimensional characters: “Fairy tales are the primary information of the culture. They delineate the roles, interactions, and values which are available to us. They are our childhood models, and their fearful, dreadful content terrorizes us into submission - if we do not become good, then evil will destroy us; if we do not achieve the happy ending, then we will drown in the chaos.” By asserting that fairy tales are the bedrock for which males and females are built upon in society she is essentially blaming fairy tales for creating false expectations and realities that will never come true. Through her lens, she sees that these fairy tales teach us lessons that stay with us for life and are basically a curse placed upon human existence. Furthermore, Dworkin emphasizes her point in the fairy tale, Snow White, in saying that women must be passive, pious, beautiful, and innocent in order to be framed as the “good” characters. In the text, it mentions that Snow White is …show more content…
“He is handsome and heroic. He is a prince, that is, he is powerful, noble, and good. He rides a horse. He travels far and wide. He has a mission, a purpose. Inevitably he fulfills it. He is a person of worth and a worthwhile person. He is strong and true.” Nonetheless, he is not real. Males in society constantly try to live up to these expectations that a typical male should capture. Through this process, they end up suffering and getting hurt trying to become the “noble prince.” Dworkin suggests that both males and females end up harming themselves trying to be like these characters in fairy tales. They diminish their humanity and who they are in order to fit these stereotypes, that in reality, hold no truth to how society really is and
Every fairytale seems to have the usual prince saving the poor girl from harm or servitude or whatever horrid situation she may be in, and then companies like Disney add their movie magic and make it into a franchise. Others may add a twist or two, such as the film Ever After, directed by Andy Tennant. Yet no matter how the story goes, there is the same feminine ideas imposed upon the female lead. She has to compete with others for the attention of her “prince,” gender roles are a must, and morals are taught in some way or another through some kind of stereotype. These tend to cause some feminist outrage and even maybe a small outrage among parents who must deal with the children that watch these movies and read the stories because of the behavioral
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.
Since the dawn of man and women, the issue of gender role has existed. Throughout history the norms of each gender have shifted. The two texts of Beowulf and We Have Always Lived in the Castle, both support a single sex, but are on opposite sides of the spectrum. Beowulf, written in around 800 AD represents the time of men superiority over women, who were the dominant figures in society and their families. On the other hand, We Have Always Lived in the Castle, depicts the contrary, the time of the 1960’s where women’s power grew stronger in contrast to men. In each test the power of each gender is perceived as threatening to the opposite sex, to keep in place, the supremacy of their own gender.
This passage from the story insinuates that men need women to see it they way they do, and men don’t appreciate it when women are free-thinking. Women in fiction, not just in books but in movies and television as well, are often represented in certain molds or ideas. The story of Cinderella and the story by Hurston both reinforce the idea that fictional portrayals of women are
Picture a child sitting in front of a television watching the Wizard of Oz. To them, it is an assortment of magical beings, a land filled with wonderful places, with varieties of different colors. They do not picture it as something with far more meaning than just a plain fairytale. On the other hand, gender/feminist critics have been able to analyze the Wizard of Oz as well as Wicked, in order to find a more elaborate meaning behind the story itself. They have discussed what lies behind the story when it comes to the issue of sexism and masculinity towards the book itself as well as the characters. There are many concepts as well that help to further explain feminism and gender criticism. The four concepts that will be discussed later on are gender, feminist writings, patriarchal society, and gynocriticism. These concepts will then be reviewed as to how they play a part in the book Wicked.
In fact, Cinderella itself is a prime example on how women should not be suppressed of their own potential. The Cinderella story most known is the “Disney version.” This version is criticized greatly by feminists due to Cinderella’s lack of taking action. Peggy Orenstein wrote an article in the New York Times in 2006 commenting on princesses in today’s society. She speaks of how every little girl these days are expected to be enthralled with princesses. She notes how they cannot grow up wanting to be heroes or anything of that sort. This is similar to “The Yellow Wallpaper” because due to princess stories such as Cinderella, little girls are pushed so often to desire being princesses just like in the short story, wives must succumb to their husband’s authority and ‘superior’
When analyzing a classic fairytale such as, Snow White, by the Brothers Grimm through a feminist lens, it is clear that it is a phallocentric fairytale that includes stereotypes, gender roles, the male gaze, and paternalism.
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)
Thinking back to our childhood, we all remember hearing many kinds of fairy tales. Some of them inspired us others confused us, and most of them taught us valuable lessons. Through out centuries tales and stories have been used as a valuable tool to pass on our culture to new generations. There is a strong belief that these fairy tales mirror and influence society. All cultures interpret tales in their own unique way. They add and subtract various aspects of the tale to fit the needs of their particular society. The same tale in the United States is different from the tale told in Asia. A good example of tale evolution can be seen in one of the most famous tales ever told which is “Cinderella”. As a professor of women’s history Karol Kelley points out in her essay Pretty Woman: A Modern Cinderella “There are some 700 versions of Cinderella”.This fairy tale as many others has been changing for many years, and in recent years Cinderella has come under some criticism for its depiction of women’s roles in society.
...cardinal virtues.” This cannon is exemplified in multiple fairy tales, especially Charles Perrault’s “ The Little Glass Slipper” and the Brothers Grimm’s “ Snow White”. Throughout these two fairy tales the main characters are perfect embodiments of these ideal female virtues. Cinderella is passive and forgiving even though she is mistreated. Snow White is passive and her life is completely dependent on the males present in the tale. In both instances the opposing women in the narratives are characterized as villains because they are strong and dominant. In the case of “Snow White” only the queen is looked down upon when she tries to kill Snow White, while the huntsman is proclaimed a hero even though he was intent on killing her. These cannons and ideals, demonstrate why our society is full of double standards and set ideals that women are suppose to live up to.
In “Things Walt Disney Never Told Us” by Kay Stone, the author began her article by contrasting the infamous Grimm fairy tales and the passive Disney fairy tales with the characters from the Märchen, which is all types of fairy tale in general including stories with active heroes or heroines. She also talks about the Grimm brother and Disney's negligence to include active characters and the black and white stereotypes of the beautiful and kind protagonists and the ruthless and ugly antagonists. Although some of the heroines from the Grimm and Disney stories do show signs of bravery, but they are overpowered by the men in the end: “In "The Clever Peasant Lass" the girl is threatened with abandonment by her boorish husband, and the proud daughter in "King Thrushbeard" is humbled by both her father and her unwanted husband.” The main characters from both the Grimm and Disney are viewed to be “uninspiring” as Stone puts it: “The popularized heroines of the Grimms and Disney are not only passive and pretty, but
...present powerful characters, while females represent unimportant characters. Unaware of the influence of society’s perception of the importance of sexes, literature and culture go unchanged. Although fairytales such as Sleeping Beauty produce charming entertainment for children, their remains a didactic message that lays hidden beneath the surface; teaching future generations to be submissive to the inequalities of their gender. Feminist critic the works of former literature, highlighting sexual discriminations, and broadcasting their own versions of former works, that paints a composite image of women’s oppression (Feminist Theory and Criticism). Women of the twenty-first century serge forward investigating, and highlighting the inequalities of their race in effort to organize a better social life for women of the future (Feminist Theory and Criticism).
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.
Some fairy tales are so iconic that they withstand the passing of time. One of those fairy tales is that of Cinderella. The rags to riches story that gives even the lowliest of paupers, hope that they may one day climb the social ladder. While the core message of the story has transcended time, over the years it has been adapted to address a variety of audiences. One of those renditions is Perrault’s Cinderella where the traditional idea of gender is conveyed and therefore associated with good/evil. This idea is challenged by a fellow 1600’s French author, L’heriter de Villandon’s, who’s version of Cinderella brings about a female protagonist who is also the heroine.
Disney and old fairytales threaten gender politics and ideal women roles by giving certain stereotypes for domestic and personality traits. Fairytales that have turned into Disney productions have sculpted domestic roles for women that consist of cooking, cleaning and caring for the children. Disney has also created these princesses with personalities that are shy, passive, and vulnerable. The cause of these stereotypes are making individuals obliterate their own identities and becoming clones from the mold that was prepared for