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herself; this indicated the individuals sexualize women, and the ideal set by society that women should appear beautiful to others at all times because looks matter in society. Because of these preset standards, women feel the need to always appear their best and to be sexy. By portraying the mermaid as admiring herself, she seems selfish and aware of others’ opinions about her.
Mermaids seem to be oppressed in society; a representation of mermaid oppression is in The Little Mermaid. In the original version by Hands Christian Andersen, the Little Mermaid gives up her voice in exchange for legs by getting her tongue cut off, so she can be able to walk on land and attract the man she loves because if she can win him in marriage she will gain
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In Walt Disney’s adaptation of the story, she defies her father, which correlates to there being a sense of wanting to be independent going against a patriarchal society, yet her reasons behind doing so are not what they should be. Her father, Triton, who eventually hands her over to Prince Eric to get married, controls her every move. After her whole struggle of leaving the sea to be free, she is never really free; she is simply transferred from one male to another. This idea comes from the American wedding ritual in which the father escorts his daughter down the church aisle (Dundes 120). Moreover, this protagonist highly relies on her friends who are all male. This shows that her depiction is simply a woman who cannot think or speak for herself. This rendition of the story is altered to conform to male ideology (120). Even in Andersen’s original version, the idea that the Little Mermaid has to conform to the Prince’s ideals and depend on him to not die is simply a generalization of women being oppressed by the male gender: “One might venture to say that H.C. Andersen’s tale thus thematizes the suppression of female and maternal subjectivity in the patriarchal order” (Dahlerup 146). It is important to note that in the original version, Andersen uses the female figure as the bad sea witch. Perhaps this is to aim towards the patriarchal society in which the mermaid
From mermaids to female Navy officers, the relationship between women and the sea, in both history and literature, has been a complicated one. Mariners traditionally had conflicting superstitions involving a woman’s place on a ship, and this sense of conflict spills over into two Early Modern works of drama—namely Heywood’s Fair Maid of the West and Shakespeare’s Pericles. Bess and Marina, the main female characters of both plays, walk a fine line between captors and masters of the sea, and similarly between the roles of strong heroines who act outside of their gender-roles and hetero-normative females who are mastered by the plays’ respective male characters. Indeed, the sea seems to have either a link to independence or confinement for both female protagonists, which ultimately relates to their “proper” (non-threatening) place as traditional wives and homemakers.
Most women in their childhood had probably dreamt of being a princess and meeting their charming prince. As Walt Disney’s figures have been influential in this sense, the ideal portrayal of princesses still attracts young girls who imitate them, their lifestyle and their physical appearance. In Sleeping Beauty (1959) and in The Little Mermaid (1989) the narration is focused on the search for true love, personified by a prince, for self-accomplishment. It is crucial to differentiate the representation of femininity of the two protagonists in the two movies to better understand if the role of Princesses has changed over those last thirty years. The main figures in both movies
In “Escape from Wonderland” by Deborah Ross, the writer explains how the fictional characters are admired. Although they seem to be sending a bigger message to young girls. The writer talks about drawing a line between fantasy and reality. In the end Ross’s objective is to show how some Disney characters break the femininity and imagination tradition. Which can have an effect in children and how they value their own ability to have unique visions. By comparing Alice in Wonderland (1951), The Little Mermaid (1989) and Beauty and the Beast (1991) to heroines like Arabella from The female Quixote. “Charlotte Lennox’s (The Female Quixote illustrates both these conservative and progressive plot patterns, for it both draws upon and criticizes earlier romances, which themselves often both celebrate and punished female imagination and expressiveness. Therefore, like Disney’s movies today, which also use material from romance and fairy-tale tradition”, (pg. 473, Escape from Wonderland). Young women may not only begin to fantasize about a grandeur life more exciting than reality but to be disappointed with society in the workplace and relationships. For example, Meredith from Brave she is a princess that wishes to have a different life than what her mother has planned for her. She refuses to get married and have the duties of a princess. She wants to have adventures and be
Under the sea, in an idyllic and beautiful garden, stands a statue of a young man cut out of cold stone – for the Little Mermaid who knows nothing but the sea, the statue stands as an emblem of the mysterious over-world, a stimulus for imagination and sexual desire, an incentive for expansion of experience, and most predominately, an indication that something great and all-encompassing is missing from her existence. Traces of curiosity and a vague indication of the complexities of adult desires mark the child mermaid; in such a stage of development, the statue will suffice. However, as the Little Mermaid reaches puberty, the statue must allegorically come alive in order to parallel the manifestation of her new-found adult desires – the statue must become a prince in his world of adulthood above the sea. Thus, powered by an insistent and ambiguous longing for self-completion, the Little Mermaid embarks on a journey of self-discovery, and, to her ultimate misfortune, prematurely abandons her child-like self as sexual lust and the lust for an adult life takes hold of her.
Disney promotes sexisim by forcing young girls to live in a patriarchal world. Cinderella, Sleeping Beauty, The little mermaid, Aladdin, and Snow White are all examples of popular Disney movies that encourage young viewers that they need a man to save the day. Yes, it’s true that there are recent movies such as Moana and Frozen that prove otherwise, but how long will it take to completely get over the fact that women are mainly viewed as secondary citizens compared to the men? There are countless examples of how Disney movies influence this theme, and how much the female characters’ actions, ideas and thoughts are not included in a Disney movie.
A little girl sits on the floor with her gaze fixed on the television screen in front of her, watching magical images dance before her eyes and catchy songs flow through her ears. Even though she had seen it at least twenty times before, she still loved The Little Mermaid just as much as she did the first time she watched it. As she watched it, she longed to be a beautiful mermaid with a curvy body and wonderful singing voice like Ariel. She longed to be saved by the handsome Prince Eric, and fall in love and live happily ever-after like Ariel did. In today’s society, women strive to achieve equality between the sexes. Despite the tremendous steps that have been taken towards reaching gender equality, mainstream media contradicts these accomplishments with stereotypes of women present in Walt Disney movies. These unrealistic stereotypes may be detrimental to children because they grow up with a distorted view of how men and women interact. Disney animated films assign gender roles to characters, and young children should not be exposed to inequality between genders because its effect on their view of what is right and wrong in society is harmful to their future.
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)
In the article Construction of the Female Self: Feminist Readings Of the Disney Heroine, Jill Birmie Henke, Diane Zimmerman Umble, and Nancy J. Smith are looking at the female self and how it was developed based on two theories: Standpoint by Parker Follet and the psychological development of girls by Gilligam. That by examines gender identity especially girls and how media exposure affects them through analyzing five of Disney movies: Cinderella, Sleeping Beauty, The little Mermaid, Beauty and the Beast, and Pocahontas. They segmented the article into three titles: The Oxymoron of Power and the Perfect Girl where they introduced the two theories in which they built their critic on, Construction of the Female Self where they talk about the evolution in the female character from Cinderella to Pocahontas, and Construction of Self in Relation to Others where they talk about the evolution of the self in relation to others from power-over to power-with until power-to. Finally they concluded that even if the female character in Disney’s movies was changing to become more
In both Hans Christian Andersons “The Little Mermaid,” and Disney’s version of the story, the main character— a young and beautiful mermaid— waits anxiously for her fifteenth birthday to venture from her father’s underwater castle to the world above the water. As the story carries on the mermaids priorities change; her modest and selfless nature is revealed towards the end in Andersen’s version. However, Disney’s version encompasses a rather shallow ending and plot throughout. The theme found in comparing the two versions reveal that Andersen’s substance trumps Disney’s entertainment factor in fairy tales.
...hey were servants, like Ariel and Caliban, representing the traditional social world of European societies. The other men’s power came from the inheritance of their social positions, asserting their will on those below them, without little physical work. While in both stories, women were dominated by male power and their greatest values appeared as possessions of men, on certain occasions, women were able to break away from being subservient by standing up for what they believed in. Ekwefi risked her own life to be with the man she loved and to save her only surviving daughter, while Miranda stood up to the mistreatment of Ferdinand and openly admitted her feelings. However, these small scenes cannot fight the male dominance in both Things Fall Apart and the Tempest, and show the same gender problems in both the civilized and “savage” societies of the colonization.
The first thing to pop into one’s mind when they hear The Little Mermaid is most likely the Disney animated movie starring the beautiful red haired mermaid, Ariel. However, as with most Disney films, The Little Mermaid is an adaption of an original story written by Hans Christian Andersen in the 1830s. The creation of this classic fairytale into an animated feature required alterations from the Disney corporation, leading to a final product that is reminiscent of Andersen’s original story with added layers of American culture, sexism, and musical numbers. The initial release of Disney’s The Little Mermaid was highly successful both domestically and overseas, resulting in a total box office revenue of about 180 million. Although the film received rave reviews and substantial profit, I argue that the Disney adaption loses the fundamental elements of Andersen’s original story and presents a new narrative laced with negative values and inferior moral lessons. The changes in the Disney remake are closely connected to cultural and social aspects of America in the late 1980’s, making it arguably more relatable and successful for current audiences of the time. However, Disney’s adaption of The Little Mermaid perpetuates negative American ideals and incorporates classic Disney fairytale elements, ultimately erasing the positive moral overarching theme of Hans Christian Andersen’s original story.
Women were seeked out as witches if they were different but this also “deepened the divisions between women and men, teaching men to fear the power of women” (p. 165). This division between women and men can be seen through The Little Mermaid with it being the division between human and mermaid. In the scene where Ariel goes to Ursula because she decides she wants to be human, this is a scene of Ariel accepting that she is different and that in order for her to be welcomed by the other humans, she must also be like them. Instead of it being men fearing the power of women, it is humans fearing anything that is different from them. Not only is it the fear from humans, we can also see that Ariel is not confident that she would be able to introduce herself to the Prince if she wasn’t a human like him. Before Ariel makes her decision she contemplates on the fact that she would no longer see her family anymore and in the end that’s not enough for her to decide not to become a human. From this we can see that her urge to be a human and to be accepted by this man transcends anything
All of the challenges that were encountered while developing the production were overcome and paid off in the end. Before The Little Mermaid could hit the Broadway stage, it had to hit off-broadway to test how successful it was going to become. In July 2007, the first production of The Little Mermaid was shown at the Ellie Caulkins Opera House in Denver, Colorado after six weeks of rehearsals. The production ended the same year in the month of September, after many successful shows. It was such a big success that every show was sold out and the actors even got a standing ovation at the end.
The evocation of male beauty through the use of strong imagery promoted the insight that the woman at the water trough wanted
“The mermaid swam with her prince toward the beach. She laid him in the fine white sand, taking care to place his head in the warm sunshine, far from the water. She also had to give up her voice, which she had done so willingly, endure tremendous amounts of pain to have the legs of a human, and give up her life as a mermaid as well as never be able to be with her sisters at the bottom of the ocean again. The little mermaid passed all of the tests that the universe threw at her, but in the end, she did not get to marry the prince and this is a great example of a message from the author that life can be unfair sometimes.