Essay #2
Condemning the so called “princess culture” seems to be a new trend in the 20th century; many people are convinced that society stereotypes children and forces them into being someone they are not. Besides gender specific toys and colors, especially fairytales are often criticized harshly. The author of the article “One Day my Prince will come”, Marcia K. Lieberman, claims that women in fairytales are portrayed as passive and weak and that this image influences the self-image of young children. However, I disagree with Lieberman’s opinion. Even though many fairytales glorify the image of a passive, obedient woman, there is always a moral to the story – and many other great fairytales have an independent and active heroine. Two great
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In her article, Marcia Lieberman claims that Gretel only takes charge in the last action, throwing the witch into an oven, but “for the first half of the story she is the frightened little sister, looking for her brother for comfort and help” (252). Lieberman makes it sound like Gretel being frightened in the beginning determines the entire mood of the story and makes her a bad example for children. However, Lieberman does not consider the fact that the fairytale needs exactly this beginning to be a good example for the reader; children are often scared by numerous things and the story shows that even though Gretel was frightened, she overcame her fear, made a plan to get out of her situation, and took the courage to carry it out. Besides the lesson of overcoming fear, the reader can learn much more from “Hänsel and Gretel”; when Gretel is scared and searches for comfort and help, her brother tells her: “Don’t get upset. I’ll soon find a way to help us”. Then he comes up with a plan that works once, but fails the second time. Even though Hänsel’s words comforted Gretel, his plan did not work. Gretel solving the situation in the end shows the reader, that it is not always safe to rely on other people’s comforting words and plan. This teaches children that they have to find their own way to get out of certain situations instead of relying on other, seemingly stronger people. Another interesting fact is that the hero and the heroine of the story are siblings. Metaphorically this suggests that they are equals which is validated by the fact that both, Hänsel and Gretel, take charge at some point in the story. Lieberman interprets Hänsel comforting his sister as Gretel being weak and passive. However, most commonly women are associated as being comforting. Would this not mean that Hänsel is taking on the role of a woman? And is it not true that mostly men are the ones
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.
Today, adults reading Charles Perrault’s Cinderella realize similarities and differences between Cinderella and a modern western woman. Adults recognize that Cinderella in Perrault’s fairy tale has undesirable qualities for a modern western woman, today. Cinderella is affectionate, goodwill, forgiving, and loyal. On the other hand, Cinderella is not independent, outspoken, confident, and strong. Cinderella has low self esteem and is incapable of solving problems. Inferiority, dependence and passiveness are characteristics that represent Cinderella do not characterize a modern western woman.
Throughout the poem, there is a sense the reader is looking at Gretel through the eyes of a psychologist, listening to her devolving her deepest secrets about how the darkness has rendered her almost helpless or defenceless. Gretel is yearning for answers to the question “Why do I not forget” as she is haunted by the death of the witch. She confronts Hansel, “No one remembers”. Even you, my brother, / as though it never happened / But I killed for you.”
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
Your sparkling eyes gazed at the television, reading the word “Cinderella” by Disney. You had all your Cinderella toys lined up, ready to grab whenever necessary. Your Cinderella pajamas on, and your tea set is all prepared.Your mom adored your love for princesses. Didn’t we all love to sing along to the Disney movies about princesses and true love? Peggy Orenstein sure didn’t. Peggy Orenstein, the author of Cinderella Ate My Daughter has a sharp opinion about how a “pretty and pink” culture is influencing girls in a negative way. The author proves this argument by discussing gender colorization, dolls, and princesses.
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.
In the 1950s Disney character such as “Cinderella” and “Sleeping Beauty” depicted women as still innocent and meek, thereby alluding to the permanence of pre-feminist stereotyping of women in popular culture (Cheu 150). In the two fi...
We all grew up hoping that we were the princesses who met the dreamy prince and lived ‘happily ever after’ like in a fairytale.People debate over whether or not Disney fairytales are beneficial for children. Like Melissa Taylor the author of the piece ‘10 reasons why kids need to read non disney fairy tales’, I am against disneyfied fairy tales. In this essay I will argue on why kids should not only watch disney fairytales but also the real versions.
Fairy Tales have been around for generations and generations. Our parents have told us these stories and we will eventually pass them down to ours. In this time of age the most common fairytales are Cinderella, Snow White, Sleeping Beauty, Beauty and The Beast and many more. Children idolize their favorite character and pretend to be them by mimicking everything they do in the stories. The character’s behavior is what is viewed as appropriate in society. These fairy tales show a girl and a boy fall in love and live “happily ever after”. The tales in many people’s eyes resemble a dream life that they would want to have of their own. However, have you ever really looked at what makes up a fairy tale? Many things are unrealistic but the most unflattering aspect of these tales is how women are depicted in them. Fairy tales give an unrealistic view to how women should look and behave in real life.
Fairy tales have been a big part of learning and childhood for many of us. They may seem childish to us, but they are full of life lessons and intelligent turnings. Components of fairy tales may even include violence, but always with the aim to provide a moral to the story. Hansel and Gretel is in itself a very interesting story to analyze. It demonstrates the way that children should not stray too far from their benchmarks and rely on appearances. In 2013, a film adaptation was produced. This film is produced for an older public and has picked up the story to turn it into a more mature and violent version. Hansel and Gretel is a German fairy tale written by the Grimm Brothers which has undergone several changes over the years and across the cultures which it touched, but for the purposes of this essay, I will stick to the original story. In the development of this essay, I will analyze the components of this tale by the Brothers Grimm based on the factors listed in the course syllabus (violence, interpersonal relationships, the function of magic and the ending), and I will then do a summary and comparison between the story and the film which was released in theaters recently.
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.
Fairytales have been around as long as man can remember. Fairytales are told not just for entertainment but try to instill morals and build character. The cultural norms represented in fairytales play a large part in the socialization processes of the child who reads them. Contained within these cultural norms are the beliefs about gender roles that are held by society. The characters in the stories help children to determine what behaviors, traits, or roles are acceptable for children of certain genders. In Angela Carter’s book, The Bloody Chambers, one sees major themes being used to influence people. One of these themes is objectification of women. In every one of Carter’s stories women are objectified. These stories portray women as weak, submissive, dependent, and self-sacrificing while men are powerful, active and dominant. As long as women are primarily bought and sold and are willing to be bought and sold, women will always be looked at as only objects. When looking at the stories, The Bloody chambers, The Courtship of Mr.Lyon, and The Tigers Bride, women are seen being objectified by men. Carter doesn’t give men all the blame, she also shows man as being objectifies in Lady in the house of Love.
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.