Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Women portrayed in classic mythology
Women portrayed in classic mythology
Women portrayed in classic mythology
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Women portrayed in classic mythology
Little Red Riding Hood and Grandmother’s tale
Folktales has created men as the most powerful character in most stories but that does not mean always as there’s a difference in Grandmother’s tale and Little Red Riding hood. Different genders have different expectations according to their characteristics. The Red Riding Hood and Grandmother’s tale has produced ideas such as how a girl’s life is looked upon in the past and how the male has the upper hand in most situations according to the stories. This essay will argue about how the girl’s gender played a major role in the context of the story and how the wolf is represented by a male character and why the male is not always the most powerful character in all stories and the comparison between the two stories.
A way in which folktales in the past has created ideas about gender is how the female plays a specific roles in the story according to her gender. Both stories uses the forest as a path the girl had to take. This could be represented as how the forest was an experience of how a girl’s life is changed because as soon as she enters the forest she meets the wolf and listened to what he said. She did what the wolf asked her to do by gathering nuts in Red Riding Hood and picking up needles which already shows that men has the upper hand because the female is doing what she is told to do. For instance, in both stories she strips naked and gets onto the bed with the wolf, which could be interpreted as how a girl is experiencing sexual experiences for the first time in her life. And the flowers that was told in the story could mean she was perhaps deflowered. So, this may seem that women will do whatever the men says according to folktales, however it is a great mistake to assume t...
... middle of paper ...
... on. This may be interpreted as how the female gender is more intelligent than what was assumed of her. The girl understands what the wolf was trying to do so she goes out with a thread tied to her ankle but ‘she cuts the thread with her sewing scissors and ties it to a plum tree’. She managed to escape from the wolf which tells us the female can be unpredictable at times and physical strength from men does not always necessarily mean an instant victory. The girl escaped from the wolf and asked for help from the laundresses who is a women as well so she helped her cross the river but when the wolf came to ask she helped him until he was half way but as soon as he reaches the deep part of the river she lets go. This shows that a women should never be underestimated and there is no such thing as a stereotypical folk tale which always results in men taking charge.
According to the Oxford Student’s Dictionary, adulthood is associated with being “grown to full size or strength, mature” (Seuss.14). Then why is it presented in underlying ways, in works that are considered to be children’s texts? The assumption is that children’s texts are supposedly “childish” which means “ unsuitable for a grown person, silly and immature” (pg.172). However, while studying Dr. Seuss’ The Cat In The Hat, Lewis Carroll’s Alice in Wonderland, “The Story of Grandmother”, Charles Perrault’s “Little Red Riding Hood” and Brothers Grimm “Little Red Cap” and “Snow White”, it was evident that adulthood was both reinforced and subverted through the use of literary and narrative techniques.
“I've told her and I've told her: daughter, you have to teach that child the facts of life before it's too late” (Hopkinson 1). These are the first three lines of Nalo Hopkinson's short story “Riding the Red”, a modern adaptation of Charles Perrault's “Little Red Riding Hood”. In his fairy tale Perrault prevents girls from men's nature. In Hopkinson's adaptation, the goal remains the same: through the grandmother biographic narration, the author elaborates a slightly revisited plot without altering the moral: young girls should beware of men; especially when they seem innocent.
Everyone’s childhood was filled with fairytales, and stories that will forever be programed into our minds even memory that continues from generation to generations. You’ll remember in school your first book were both the three little pigs and even Little Red Riding Hood. Yes, good old fairytales who knew when you was reading the most famous little red riding hood it was actually a lot history behind the tale. Just to allow a slight backstory about the tale we were taught of the story going like this little girl goes to bring her grandmother a basket of sweet on the way she encounters a wolf she tells him she on her way to her grandmother’s house from there the wolf bets the little to the grandmothers house eats the hopeless grandmother then
“I've told her and I've told her: daughter, you have to teach that child the facts of life before it's too late” (Hopkinson 1). These are the first three lines of Nalo Hopkinson's fairy tale “Riding the Red”, a modern adaptation of Charles Perrault's “Little Red Riding Hood”. Perrault provided a moral to his fairy tales, the one from this one is to prevent girls from men's nature. In Hopkinson's adaptation, the goal remains the same: through the grandmother biographic narration, the author advances a revisited but still effective moral: beware of wolfs even though they seem innocent.
Modern-day feminists state that there are many repressed attitudes and fears which keep women in a kind of half-light, forcing them to subconsciously retreat from the full use of their minds and creativity (Dowling, 595). The archetypal Cinderella is often criticized by feminist critics for waiting for something external to transform her life (Abel, 192). Contrary to this assumption, passivity is not prevalent in the original Brothers’ Grimm tale. However, actions performed by women in the tale are often associated with darkness. It is this overpowering association with the color black and its implications that truly keep women in a “half-light” in the tale.
Carter's twist on a well-known tale likely surprises many readers. Thus she is likely suggesting we should rethink our expectations of gender roles. Another way of presenting alternate gender roles would be making Red a boy, and having him saved by a girl at the end, but this scenario would not be as striking and therefore effective. Furthermore, Red's sexual awakening and consequent taming of the "wolf" serves as encouragement for women not to be passive, but to assert themselves in all situations, especially sex, which is one area that has long been characterized by rigid/traditional expectations of gender roles.
According to “Boys and Girls”, there are certain things women should not be doing as defined by their genders. The narrator, a young girl, feels more inclined to spend her time outside alongside her father, “I worked willingly under his eyes, and with a feeling of pride.” She finds her place in a man’s world, outdoors in her father’s domain. While she is a female, she does not relate herself to the things of feminine nature. When her mother goes to speak with her father in the barn the narrator “felt my mother had no business down here,” admitting that it was a man’s world, and also her place, but not her mother’s. Her mother could not stand the idea of her daughter doing a man’s work, reminding her husband, “Wait till Laird gets a little bigger, then you’ll have real help and then I can use her more in the house. It’s not like I had a girl in the family at all.” According to her mother’s definition of girls, a daughter, who spends all her time outside doing a son’s work, is not a daughter at all.
In conclusion, the development of the folktales leads to the obtaining of ideas about gender. In many ways our society supports the idea that women seem underestimated as well as physically and mentally weak in comparison with the men who is portrayed as intelligent and superior. This can be shown in many ways in the different versions of this folktale through the concepts of symbolic characters, plot and narrative perspective.
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.
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.
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.
...develops in. In Little Red Riding Hood, the grandmother, mother, and child all demonstrate the stereotypical woman in an ancient society where men are superior to women. The wolf and the male character that rescues the female validate the stereotypical male in that time period as the males become clever, brave, and strong throughout the entire story. These gender tactics appear in almost any work of literature to convey the message that the popular belief of genders can either be continued by the submission of individuals to society or altered by the recognition that these labels do not have to exist.
A Comparison of Little Red Riding Hood by Charles Perrault and Little Red Cap by the Brothers Grimm
This article, is arguing about the cultural history on how the poor and the lower class would tell stories. These stories still affect our society today. This article states that fairy tales at first were meant for adults because children could not read. An example is Brothers Grimm, where “Weber argues that fairy tales can tell us a great deal about the real conditions in the world of those who told and those who heard the tales” (344). It also explains how the Grimm’s brother changed society with their stories of cruelty.