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Gender equality in literature
Gender equality in literature
Gender inequality in literature
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Peggy Orenstein, a feminist mother, wrote the article, “Cinderella and Princess Culture” stating the princess culture is ruining young girl’s minds. Orenstein developed the theory that the princess movement would cause negative effects to her daughter and all the young females in their later futures.
Orenstein asserts in her article by providing her perspective of being a parent whose daughter is being called princess and is treated like one wherever she goes. Orenstein is fed up with keeping quiet about the princess movement frustrating her that she loses her patience and lashes out on her daughter. Orenstein’s feminist views address her reinforcements that she sets upon her daughter. Orenstein is a witness to the struggles that young
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females encounter in their daily lives. According to Orenstein, this princess movement is creating specific gender stereotypes because females are being predisposed to like pink things. Orenstein believes females get the idea that pink is their favorite color because “that’s what girls like” (Orenstein 326). Going along with her feminist views, Orenstein states how the princess movement is undermining a female’s well-being, both physically and mentally. Orenstein views the princess movement as anti-feminist because at a young age, females are discovering themselves and society emphasizes mainly on physical beauty. Orenstein believes society leads a female to think negatively about themselves, and this view that society places upon children can lead to depression and a negative self body image. Orenstein is unsuccessful in supporting her claim because reading her article, it leaves an unsettling biased view.
Orenstein’s use of her own opinion overpowers the premise of the article. Orenstein proposes the question: What came first the Princess or the Product? Orenstein gathers all her information through the Disney Princess and information provided by former Nike executive, Andy Mooney. Orenstein believes the princess movement began when these nine female characters went public (328). Using James Poniewozik article, The Princess Paradox, as a lense to prove Orenstein's weak evidence, Poniewozik used princess movies as fulfilling the reoccurring theme of females having it all while still in a feministic way. Poniewozik keeps his claim the same throughout his article that the princess movement is quality for young females by using less facts and more opinion based evidence. At the beginning of Orenstein’s article, she stated how this movement is ruining the minds of young females however, in some instances Orenstein contradicted her beliefs. Orenstein begins stating factual evidence that disproves her theories, making her argument less valuable. Orenstein lacks the concept of proving how her beliefs could be …show more content…
right. Although Orenstein has some weaknesses that does not support her claim, she does fairly point out the pressure women feel within society.
Orenstein expresses that the princess culture can cause a lot of struggles within a young girl’s life. Orenstein provides evidence that states females often feel the pressure to be perfect, have good grades, be president of all the clubs, participate in sports, have enthusiastic personality traits, the idea of being thin and dressing well (329). These negative thoughts flood the female’s mind into thinking that there is no point in trying to succeed in these fields if they do not have the
qualities. Orenstein calls the princess movement an anti-feminist movement. Though Orenstein’s opinion remains the same throughout her article, she never fails to contradict the point in which she was trying to make. For example, Orenstein being feminist looked at this moment through a negative lense but some way along the article she sees this movement as a sign of progress. Orenstein categorizes herself as a feminist mother. Being a feminist mother, Orenstein tends to care more about what she is saying putting her femininity before motherhood. For example, Orenstein comes to say that her daughter likes princesses as an effect to torture her (327). Orenstein tries to look at her beliefs in a different perspective that instead of weakening a female’s mental and physical health that this movement is actually strengthening it. Pink becoming the dominant color for a female could mean determination. Orenstein learned that Disney’s secret was picturing themselves as a little girl would react to such princess products. The companies make more money by envisioning through a little girl’s mind such as their bedroom decor. This decor would extend to bedding, televisions, and alarm clocks (329). Relating back to Poniewozik, his view on the princess movement being it is in the hands of the child essentially not the parent. Orenstein weakens her credibility by saying that she is in control of what her daughter wants to be or be a part of. Orenstein is looking too deep into the princess movement to where she is not allowing her daughter to be free. Orenstein has created a perspective where femininity overpowered her motherhood. Orenstein overall did not succeed in supporting her argument well. Orenstein relied on bias and opinion rather than factual evidence. Besides looking at this issue as a whole, Orenstein based her evidence off how she raises up her daughter.
Quenzer is a mother and also a blogger for The Everyday Mom Life. On August 2016, she posted an article called “Be The Princess If That’s What You Want to Be.” She argues that parents should not steer their children away from what feels normal to them. She explains that most people associate princesses and pink with girl activities and applaud those who love blue and orange. The girls who love princesses and pink should not be ignored. She states, “If I don’t believe she can [be kind, generous, and polite] while being a princess and liking the color pink, then I am part of the problem. If I don’t believe that she can enjoy things that are still traditionally stereotyped as girl things and still be strong, brave, and fearless, then what am I teaching her” (Quenzer). Quenzer claims that she should not depict what her daughter can be, but she wants her daughter to find her own passion. Quenzer adds to Liechty’s argument because she adds that even though the princess culture can teach a child values, it can also allow children to discover who they are. Quenzer also furthers Bartyzel’s claim because she argues that parents should not narrow what it means to be feminine. The author’s purpose is to inform parents that they should not limit their children in order to persuade the audience to let their child find their passions. The author writes in a suggestive tone for parents. I agree with this claim because I believe
Finucane’s daughter had seemingly been robbed of her creative imagination after trying to live up to the expectations of a Disney princess. Her daughter “seemed less imaginative, less spunky, and less interested in the world” (Hanes 1) after being introduced to the Disney princess line, willing herself to be just like the princesses. Young children know no better and are very susceptible to the world around them, and are very likely to imitate what they are shown or what intrigues them. Hanes was outraged at how Disney had stripped the child of believing in other imaginative creatures and activities, and was stuck on behaving as a princess. Hanes provides research in the article that supports that Finucane’s daughter is not the only one to catch the Disney princess symptoms. There is a whole book about this “diseases” as well as much research conducted on educators that seemingly all agrees that “[teachers] are unable to control the growing onslaught of social messages shaping their…students” (Hanes 1). Through her research Hanes discovered that the Disney Princess empire is a $4 billion dollar industry that leads to “self-objectification, cyber bullying, and unhealthy body image…” (1) causing problems for young girls. These “ideals” will stay with them throughout the remainder of their life, based on decisions that were made for them, to introduce such “ideals” into their minds. Hanes’ readers are most likely to be parents or adults who will likely become parents in the near future, and this article is a great introduction to the long road of making decisions that will impact the way their children think
The woman society wants and idolizes cannot exist because it is impossible to remain true to oneself and one's personal goals completely, while still maintaining a relationship and the responsibilities of royalty. Society is not merely receiving this paradox, but perpetuating and encouraging it by turning a blind eye to something they do not want to see. This unrealistic, unattainable fantasy has become the goal of this modern feminist generation, and Poniewozik highlighted how this new tale has distracted from the true telling and story. Cinderella was simply a woman who just wanted to go to ball, and now she has become someone who is independent and driven, but still falls in love and learns to accept the fact that she is a princess. A woman who doesn't change who she is, but then changes titles and falls in love doesn’t exist, she is a
In today’s society, gender issues are often discussed as a hot topic. In literature, feminist views are used to criticise “societal norms” in books and stories. Two popular pieces by authors Kolbenschlag and Hurston paint two very different views on women. One common assumption in the use of a feminist critical perspective is that gender issues are central. Kolbenschlag who wrote the literary criticism “Cinderella, the Legend” would most likely disagree with this statement, she feels that women bare greater burdens in society and are more largely affected by social norms.
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’
...aves Princess Jasmine multiple times and falling in love at first sight. They also live happily ever-after together, just as every other Disney prince and princess in every other Disney movie. Parents should be aware of the subliminal messages that their children view in the Disney movies they are watching, and grow up to believe that is how life goes. The children that are growing up watching Disney movies with such strong gender stereotypes are learning things they may factor into their own futures, and think that acting the way of the Disney roles is the only way for them to live their life in a happy manner. The way Disney animated films assign gender roles to their characters effect young children’s views of right and wrong in society. It is wrong, and they should not be exposed to such material growing up because it is harmful to their future expectations.
Disney princesses are fun for all ages, but their target audience is young children and “as children grow and develop, they can be easily influenced by what they see and hear”. Therefore, what they see and hear in Disney movies leaves an impression on them. The first princess, Snow White, was created in a time where each gender and race had a specific role in society. Recently, many believe that Disney has come a long way in regards to gender and race since Snow White, as several multi-cultural protagonists have been introduced subsequently, and gender roles do not appear to be as stereotypical as they once were. However, many of the apparent innocent messages about race and gender in these movies, can be exposed as otherwise. Despite their mask of progression, Disney princesses still have the potential to corrupt the minds of young children through sexism and racism.
Throughout many fairytales, Cinderella more evidently, there is the stigma of male roles and female roles. The man is the prince, the knight in shining armor, the strong protector and able provider, and the woman is the princess. Dainty and innocent, weak and capable only of looking pretty, fostering children and maintaining appearances of house and home. These roles of placement have been around long before fairy tales, and they’ll be around long after fairy tales, but the inclusion of these roles through characters in fairy tales does nothing but enforce the idea that this is the way things are meant to be, and women who do not assume these roles are wrong and unworthy. In her article, Orenstein refers to Cinderella as “the patriarchal oppression of all women”, and she is exactly right (Orenstein “What’s wrong with Cinderella?”). The impression left of these gender stereotypes travels off the pages of the fairy tale and into the real world when studies show that there is a “23% decline in girls’ participation in sports and other rigorous activity … has been linked to their sense that athletics is unfeminine” (Orenstein “What’s wrong with Cinderella?”). The blatant disregard for equality in these stories can be summed up with a term Orenstein coined, “relentless resegregation of childhood”, which ultimately defines what it means to be a boy or a girl in the terms of set behaviors and life duties (Orenstein “What’s wrong with Cinderella?”). Whether it be Cinderella or any other princess, the fairy tale business makes it a point to create a place for women with their stories, and unfortunately that “place” is demeaning and still practiced
In present day society, where political correctness and equality are at the top of the priority list, by reading essays such as the one by Karol Kelley we find that this might not have been the case in earlier days. Fairy tales such as Cinderella have been found guilty of possessing subliminal socialization traits. Classifying genders as inferior and molding young girls into the female that society expects them to be. In Charles Perrault’s version, which is considered the most common, Cinderella is seen as passive, limited, dependent and inferior. As critics argue, these traits can hinder a child’s self esteem. Karol Kelley states that the “expectations and the promises
England, D. E., Descartes, L., & Collier-meek, M. (2011). Proquest. “Gender role portrayal and the disney princesses”. Sex Roles, 64(7-8), 555-567.
Since 1937, when Snow White was created, Disney princesses have been falsely portraying women. While their personalities have changed to keep up with society’s standards, their unrealistic body
"Disney Princesses: Classic Fairy Tales Or Gender Stereotypes?" Hartford Courant, 27 Aug. 2012. Web. 09 Dec. 2013.
The biological differences that set apart the male and female gender throughout any culture remain eminent. Men are perceived as the stronger and dominant gender; women play the role of the weaker. In each culture the expectation of the manner in which men and women behave are influenced by the ideals and customs of that culture. In most predominant cultures, the man undertakes the role as a leader, and the woman devotes her life to the husband. Throughout history, traditions and literature provide a template to the identities of various cultures. Sleeping Beauty’s classic tale of a beautiful princess takes a central precept that previous patriarchal archetypes dominated during the 17th Century. The archetypal perceptions of women resulted from conscious and unconscious literature influenced by male-dominated perspectives and social standards.
In society today, there is pressure from all sides to conform to a certain ideal of beauty. People are overwhelmed with the different types of images and media forms that are telling people how to act and what to look like. Media is one of the most powerful tools at our disposal. It has the power to educate, affect social change, and much more, but if taken incorrectly people will take drastic lengths to change something about themselves. There have been many attempts to empower women through different types of media, but many have failed miserably. Over the last couple of years, Disney has struggled greatly with the representation of women throughout Princess movies because young girls are hounded with images of princesses,
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