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Fairy Tales and Gender Roles
Some things about fairy tales we know to be true. They begin with "once upon a time." They end with "happily ever after." And somewhere in between the prince rescues the damsel in distress. Of course, this is not actually the case. Many fairytales omit these essential words. But few fairytales in the Western tradition indeed fail to have a beautiful, passive maiden rescued by a vibrant man, usually her superior in either social rank or in moral standing. Indeed, it is precisely the passivity of the women in fairy tales that has led so many progressive parents to wonder whether their children should be exposed to them. Can any girl ever really believe that she can grow up to be president or CEO or an astronaut after five viewings of Disney's "Snow White"?
Bacchilega (1997, chapter 2) chooses "Snow White" as a nearly pure form of gender archetype in the fairytale. She is mostly looking at Western traditions and focusing even more particularly on the two best known versions of this story in the West, the Disney animated movie and the Grimm Brothers' version of the tale. However, it is important to note (as Bacchilega herself does) that the Snow White tale has hundreds of oral versions collected from Asia Minor, Africa and the Americas as well as from across Europe. These tales of course vary in the details: The stepmother (or sometimes the mother herself) attacks Snow White in a variety of different ways, and the maiden is forced to take refuge with a number of different kinds of unlikely protectors robbers, assassins, giants, and fairies as well as those adorable Disney dwarves (Bacchilega, 1997, p. 29).
Each version of "Snow White," no matter how different the surface details, shares several factors in common that are central to the way gender is described and used in so many Western fairytales: The heroine has a wondrous origin, she is innocent, she is persecuted at the hands of a jealous older woman, she is apparently killed (or dies) and she is then resurrected (Bacchilega, 1997, p. 31). The most striking of these elements is female jealousy, because while it is certainly not essential to the plot, it is a ubiquitous element of these stories.
Fairytales, like other commonly performed cultural texts, must be seen in some sense as methods of instruction. We tell stories to our children to entertain and amuse them, to ...
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...bmissive. When the princess gets tired of dealing with all the terribly obnoxious princes that her parents keep sending to her in an effort to get her married off, she turns Prince Swashbuckle into a gigantic warty toad. "And when the other princes heard what had happened to Prince Swashbuckle, none of them wanted to marry Smartypants... and so she lived happily ever after (Cole, 1986, p. 29).
And in the recent film version of "Cinderella," ("Ever After"), the orphaned girl saves herself both through physical bravery and by preaching socialist principles to the aristocracy. When the prince finally realizes that he wants to marry her and that she may be in terrible danger, he rushes off to the castle of the villain only to meet the heroine just after she has vanquished the villain herself. "What you thought I needed to be rescued?" she asks, thereby completely rewriting her gendered role.
Works Cited
Bacchilega, C. (1997). Postmodern Fairytales: Gender and Narrative Strategies.
Philadelphia: University of Pennsylvania.
Cole, B. (1986). Princess Smartypants. New York: G.P. Putnam's Sons.
Rohrich, L. (1970). Folktales and Reality. Bloomington, IN: Indiana University.
Before Dimmesdale’s untimely death in Nathaniel Hawthorne’s The Scarlet Letter, Dimmesdale committed the sins of adultery and lying. In order to keep his sins a secret, Dimmesdale spoke nothing of his involvement in the affair until it tore him apart from the inside out.When Dimmesdale tried to confess his sin to his congregation, they saw the confession as if it were part of his sermon. “He had spoken the very truth, and transformed it into the veriest falsehood”. (Hawthorne 171) Instead of correcting their assumption, Dimmesdale went along with it, once more hiding his sinfulness. When Dimmesdale finally confessed his sin openly...
...ndency on the fairy godmother and the prince encourages a meek and inactive behaviour to achieve a rewarding future (Robbins, 104). Overall, Cinderella’s behaviour is “...weak, silent and passive...” (Trousdale & McMillan, 12) which is unacceptable for a modern western woman.
One of the biggest factors for immigration is Canada’s economy. Skilled worker immigrants or the Economic class
her and he wanted to marry her. But he couldn’t because he was poor. Daisy was rich,
Author of thirty-seven plays and 154 sonnets, William Shakespeare has been known to us as one of the most influential writers of English literature. Written in the mid-1590s, Shakespeare gave birth to A Midsummer Night’s Dream, which is still considered to have been his most strangest and delightful creation yet. The play reveals to us the magnitude of his imagination and originality. Contrary to many of his other plays, A Midsummer Night’s Dream doesn’t seem to have been stemmed from any particular source, though some believe it was written for and performed at a private aristocratic wedding with Queen Elizabeth I in attendance. Some critics have even speculated that it was Shakespeare’s light hearted and silly version of Romeo and Juliet. However, no evidence has ever been found to prove either theory.
Daisy is and what she wants. Gatsby went of to war and Daisy felt the need for comfort, so she
his poor youth kept him from being an aristocrat. Daisy only wanted to be with
of the Cinderella story are psychologically harmful to women.” (p648). The fact that Cinderella is a limited character may give the girl an impression that she should be happy with what she has and not have any or aspirations in her life. That is, until her Prince comes to rescue her. Since these comments were made, the Cinderella story has been modified and changed. In order to see how gender roles have changed in fairy tales from the old to the new, let’s compare the classic version of Cinderella by Charles Perrault to a recent version which is a movie that was released in 1998 called “Ever After”which was directed by Andy Tennant.
In the first opening scene, Snow White is referred to as a “lovely little princess.” In her first appearance, she is cleaning and looks as though she is in despair waiting to be saved. Snow White is portrayed as young, virginal, pretty, obedient and incapable of helping herself. This movie having been released in 1937, conveys what the “proper” gender roles of the time were. In Snow White and the Seven Dwarfs, power is segregated between genders and even to this day, the stereotypical gender roles seen in this movie still hold some weight in our society.
The media today is overflowing with idealistic representations of modern life; society’s hunger for excellence is reproduced in every detail of the media we consume. Reality, in contrast, is a poor substitute for the fairytale world of film, where good beats evil and stories end with a happily ever after. Arguably, women are often the “victims” of motion picture’s perfect perceptions, and feminism’s persistent test is to challenge these impractical representations. The female princess characters show an example of inaccurate feminine fulfillment.
"Disney Princesses: Classic Fairy Tales Or Gender Stereotypes?" Hartford Courant, 27 Aug. 2012. Web. 09 Dec. 2013.
Snow White from Snow White and the Huntsman was completely aware of her situation, as shown by the quote, “I would rather die today than live another day of this death.”(Sanders). Snow White declared this once she woke up from the poisoned apple from Ravenna (the evil queen). Snow White was upset that everyone was still afraid of Ravenna, she was standing up for herself and her people. Snow White knows how to take care of herself, when she was locked in the tower she didn’t die. When she was in the woods she learned new skills from the Huntsman, and in the end she out smarted Ravenna. Instead of relying on her beauty she showed other qualities such as kindness and intelligence. For practical reasons the Huntsman even cut off her dress. These examples demonstrate that gender roles have shifted over
The folk tale of “Little Red Riding Hood” has numerous variations and interpretations depending on what recorded version is being read or analyzed. “Little Red Cap,” by the Grimm Brothers, and “The Grandmother,” as collected by Achille Millien, are different in numerous ways: the depth of the narrative structure, characters involved, length – yet, the moral lesson is largely unchanged between the two versions. One of the more glaring differences between the two versions is the way that the narrator and the actions of the characters are used to describe the young girl, female, and the wolf, male. Being either female or male are matters of biological makeup. The characteristics of femininity and masculinity that are associated with being female or male, however, are socially and culturally defined. How do these different descriptions inform gender construction, and more specifically, how do gender constructions help to naturalize stereotypes within the collective conscience of society?
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.
F. Scott Fitzgerald’s novel, The Great Gatsby, portrays the pursuit of Daisy as a mere contest between Jay Gatsby and Tom Buchanan. In the plot of the Great Gatsby, the idea of true love during the Jazz Age is defunct, and the social ideals of the American Dream show the aristocratic, materialistic lifestyles of the upper class in society. Tom and Gatsby’s fight for the “golden girl” represents the idea of materialism than true love. Gatsby and Tom’s quarrel for Daisy illustrates their fight over Daisy’s image of success and glamour by showing their economic power than contending for her true love.