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Project gender roles in fairy tales
Gender in literature
Gender discrimination in literature
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Next, both tales depict the submissiveness and naiveness of women, particularly adolescent, childbearing-aged women. For example, in Briar Rose, although a curse was cast on her in her toddlerhood, she was kept in the dark for her entire life and thus as she sees the woman spinning, and is mesmerized and fascinated (therefore, adding to the fact that a woman’s desire should be inherently domestic) and foolishly grabs the spindle setting the curse (Little Brier Rose). Additionally, in Briar Rose, her submissive qualities become very apparent as she awakes from her deep sleep by the kiss of the prince. Briar Rose instantly falls in love with the prince and agrees to marry him, all seemingly prior to them ever sharing a dialogue. Once again, however, Snow White portrays the stereotype to a much greater extent and is much …show more content…
The characters’ roles in the Grimm’s fairy tales such as Briar Rose and Snow White are consistently gender uniform. The princess, because of her submissive and naiveness, is stricken by misfortune and is left to suffer until a male character comes to solve the conflict. Additionally, the accessory characters in the tale are also gender uniform. Many tales contain the evil stepmother not the evil stepfather. In Snow White, it is the stepmother who is envious and abhorrent of her stepdaughter, which leads her to wish for her stepdaughter’s death. In contrast, in Briar Rose, the father carries out a massive demand: to destroy all spindles throughout the kingdom in his attempt to protect his beloved daughter. Therefore, it is the male figures who are depicted as the most caring and the best parents, where the female characters are depicted in a much more negative way. Even when a female character is initially positively presented, she often succumbs to a sudden catastrophe, such as death (Little Snow
Presently, many books and fairytales are converted movies and often, producers alters the original tales to grasp the attention of a large audience. However, some of these interpretations hide the primary interpretation. The original interpretations of the Disney classics Snow White and Sleeping Beauty are greatly reinvented from the original fairytales Sun, Moon, and Talia and Snow White and the Seven Dwarfs because of the brutal nature of the treatment women in these original forms. Although there are differences in certain aspects from the original tales to the movies, there are many issues that are influential to the young girls who are still watching the Disney version. I realize this when my youngest niece, Anella asks me, “Why can’t I be beautiful and fall asleep and suddenly wake up to finally find my prince?” This is true in all cases of the four different translations of the fairytales. Every single girl in these stories are in a “beautiful” state of half-death who wake to find a prince who if eager to carry them off. This can lead to negative psychological effects on young girls as they are growing up, creating a large amount of pressure and low self-esteem due to the beauty that these stories portray and maintaining restrictions that these women experience in the stories. While it is true that Sleeping Beauty and Snow White and the Seven Dwarves are considered Disney classics that entertain children and provide meaningful role models, it is evident that the true, vulgar nature of these tales are hidden; these stories are about women who are thrown away.
This is typical of antagonistic characters written during the time Perrault was alive and writing. In a certain variation rehashing of Cinderella, “Confessions of an Ugly Step-Sister” by Gregory Maguire, even though the setting is a long time ago like Perrault’s version, the writer is of modern times and it is a book instead of a short tale. Because of these factors the characters are more fleshed out and person-like. The reader sees that these ‘ugly stepsister’ are merely girls in poverty trying to have a happy life. They are not evil or cruel; if anything Clara, the Cinderella of this story, can be very cruel despite her beauty. One factor that is similar in both the modern and old tale is the eventual antagonism the stepmother directs at Cinderella. In Maguire’s version even though (stepmothers name) does not force Clara to become a maid(it is in fact Clara’s own choice), the reader finds out that the evil stepmother actually poisoned Clara’s mother so that she could marry Clara’s rich father. In Perrault’s version, the stepmother isn’t shown to be evil to that extent, but she is much more cruel to Cinderella. In both the old and new stories the stepmother remains an evil character, which is a common trop in fairy
Folktales can be used to share morals or a lesson using symbols, and this is true of the classic “Cinderella” story. Madonna Kolbenschlag, a feminist, writes “A Feminist’s View of ‘Cinderella,’” explaining the Cinderella story in a more sexist view. Bruno Bettel-heim, a distinguished psychologist, centers his article, “‘Cinderella’: A Story of Sibling Rivalry and Oedipal Conflicts” very specifically on the sibling rivalry exhibited in the classic “Cinderella” story. He also writes about the oedipal period of a child’s life. Both authors agree that “Cinderella” is most likely the best-known and best-liked fairy tale. Although, according to Stith Thompson, folktales have been passed form country to country and through different time periods,
Shrek, an enormous, disgusting green ogre falling in love with a beautiful princess (later turning into a nasty ogre) is a perfect example of a stereotypical fairytale, right? Well in the movie Shrek, the voice over in the trailer talks about a “hero” attempting to rescue a “fair princess” with the help of “his trusty companion." Besides the fact that the hero is a voluptuous green ogre and the companion is a donkey, everything fits in normally to the definition of a traditional fairytale (Diaz). Also according to Mary Kunimitsu, in fantasy films “There may be characters with magical or supernatural abilities such as witches, wizards, superheroes, mythical creatures, talking animals, and ghosts” (Kunimitsu). In Shrek, there are many of these different characters. Therefore, by explanation, a traditional fairytale with the beautiful princess getting saved by the prince and falling in love is exactly what happens in the movie Shrek, just with a twist. The voice over in the trailer for Shrek states it perfectly as he says “Shrek is a highly irreverent take on the classic fairytale” (Adamson). As an untraditional fairytale, and a parody, the movie Shrek poses the breaking of stereotypes of gender and film fairytales all the while keeping the criteria of a fairytale.
The Grimm’s stories have strict criteria for good and evil. Good women are not the hero, they do not plan, nor do they get themselves out of bad situations; they are obtuse and wait until a Prince saves them. These qualities doom the female protagonists (and readers) to pursue the only destiny women have, and that is to be a wife and mother (Rowe, 1978). Cinderella is the heroine and the ideal good girl. She is unambiguously beautiful, kind, and compassionate. She does not complain or get angry. This is foreseen early in the Grimm’s Cinderella story:
In the story “Ash Girl” the protagonist wanted to live up to her mothers dying wish of remaining “devout and good” (Grimm 23). Being labelled a “good girl” around that time meant that you followed the basic roles of a daughter, sister and wife. “Ash Girl’s” motives to escape her family by getting married was greatly influenced by her mothers last words. In contrast to, the protagonist in the story “Cinderella, or the litter glass slipper”. In this story, Cinderella is not influenced by a specific person, instead she just wants to get away from her family. Naturally, the only way she knows how to so is to get married. Another example of how literature takes the stereotypical idea and portrays men as the superior race is with the stepsisters in both stories. The stepsisters were just as obsessed with marriage as the protagonists, as they even fought over the same man. However, there are some differences with the steps that the stepsisters took in order to get married. For instance, the stepsisters in the story “Ash Girl” went as far as cutting off a part of their foot in order to trick the prince into a marriage. In the story “Cinderella, or the little glass slipper”, all three sisters did indeed try to get the attention of the prince so that one can become his bride. However, the story was different in the way that the protagonist did have some compassion towards her stepsisters. So when the prince chose her to become his wife, on her wedding day, she found suitable matches for her sisters to marry and to also attain their goal of
Setting the tale in Nazi Germany creates an atmosphere of fear and anxiety, and establishes a set of circumstances in which it is possible for people to act in ways that would be unacceptable under other circumstances. The stepmother is a good example of this. She is the force in the family – it is she who decides that everyone in the family will have a better chance of survival, if they split up – the children going off alone together and the parents going in another direction. Unlike the portrayal of the stepmother in the Grimm fairy tale, this stepmother is not wicked. She is strong willed and determined, but not evil, although she is protecting herself and her husband by abandoning the children.
This characterization of the woman shows how she overpowers her husband, as opposed to the first wife (Snow White’s mother) who is characterized as being obedient and “sitting and sewing by a window with a black ebony frame” (Grimm 249). This characterization contrasts starkly with the dominant woman who plays the archetype of the evil stepmother. The original mother’s wishes came true as she wished for “a child as white as snow, as red as blood, and as black as the wood of the window frame” (Grimm 249). In this imagery, we are given a color palette that represents a beautiful woman (pale white skin, red rosy cheeks and black ebony hair). Anne Sexton never offers a description of Snow White’s real mother, perhaps showing the reader how it is less important whether the mother is evil or good, but rather how the stepmother and daughter relationship became muddled by the fear the stepmother had to have beauty surpass her own.
the story. As the stories were altered little by little as it was passed on from one generation to another, so did the way society treated the respective gender roles at their time-frames. This is very evident in the many different versions of the Little Red Riding Hood tales as the story progresses. After close examination of the folk tales, a lot of connections can be made between the characters and the ideas about gender.
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.
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.
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.
...cles under her eyes and a look of weary resignation upon her face with an older man lying on top of her, caressing her face. Briar Rose was, in a way, forced to accept her father’s abuse as a part of her life because even if she cried out, no one would listen. When the original fairy tale was published in the early 1800s, most people would have quickly and quietly dismissed her claims. In the mid-twentieth century, Sexton experienced the same thing. Most accusations of sexual abuse at the time were quite simply ignored. Sexual violence was a topic to be avoided, especially when it concerned incestuous relationships (Skorczewski 323).
Fairy Tales are made of many different ideas. There is no exact author because there are many versions. The beauty about Tales is that anybody can make it their own. Because ones imagination is unique, many come up with ideas to slightly alter the tale to make it their very own. very always leave the readers thinking, and leaves the reader to interpret a moral. There are many different lessons an audience can take from just one tale. However, Different versions of “Snow White” are comparable to each other because they all show the positive and negative aspects of the expectations that society has on each gender.