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Impact of fairytales on children
Merits and demerits of fairy tales
Analysis of fairy tales
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Recommended: Impact of fairytales on children
Appearance is always the fundamental theme of fairy tales, especially in “Donkeyskin”, “Catskin”, and “The Princess in the Suit of Leather”. The appearances of the girls caused many of the actions made by the other characters. For example, the princesses’ unmatchable beauty made their fathers or an old man to desire to marry them. But appearance is not just about the beauty of the people; it is, also, about the social appearances. It seems that other people’s view of the princesses changed as the girls switched between social classes. The girls worked hard through the rough life of a maid and ridicule but at the end achieved the true “happily ever after” life. Even after a horrible life, the girls were still graceful, beautiful and fair. In any adaptations you may read, they will always have an emphasis on appearances. The reason why these tales focus so much on appearance is because it correlates beauty with goodness and ugliness to evil. The attractiveness of the princesses had a direct linkage to social class and how people treated them. The way that the princesses look and present themselves is the element that creates the plot.
In each adaptations, appearance is the main reason for many of the actions made by the characters. The importance of appearance in “Donkeyskin” is immediately noted in the beginning of the story. “Neither the court with its many beauties, nor the country, nor the city, nor the neighboring kingdoms where they were making the rounds could such a woman. Only his own daughter was more beautiful” (Perrault 110). The king in “Donkeyskin” became maddened with desire to marry his daughters because Donkeyskin was the only woman who surpassed the beauty of her mother. This caused Donkeyskin to run away which u...
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...true” love. When people though the princesses were ugly when they did not own anything, when they saw the girls had these amazing worldly possessions they became beautiful. Not once in these stories did they talk about inner beauty and how caring and selfless the princesses were. Appearance was what really mattered, what the characters cared about. It is just like what Perrault said, as long as you have wealth you will find you prince charming and live happily ever after.
Works Cited
Bushnaq, Inea. “The Princess in the Suit of Leather” Tatar, Maria. The Classic Fairy Tales. New York: W.W. Norton & Company, Inc., 1999. Print.
Jacobs, Joseph. “Catskin.” Tatar, Maria. The Classic Fairy Tales. New York: W.W. Norton & Company, Inc., 1999. Print.
Perrault, Charles. “Donkeyskin.” Tatar, Maria. The Classic Fairy Tales. New York: W.W. Norton & Company, Inc., 1999. Print.
In one, a specimen-creating brute robs a pelican child’s life and her guardian trying to bring her back to life. In the other, a prince learns the value of his frog-turned-princess and sets out on a quest to find her. Joy Williams’s Baba Iaga and the Pelican Child and Alexander Afanasev’s The Frog Princess are both critical facets of the fairy tale genre. While initially it may seem that Williams preserved no elements from Afanasev’s tale, upon a closer glance, it is evident that the two tales’ similarities outnumber their differences. By incorporating a generous portion of the original story into his, Williams’s version brings forth an innovative arrangement of classic and new. As a result, William’s tale introduces features to the tale that mirror everyday life lessons while simultaneously maintaining qualities that are reflective of the definitional aspects of the fairy tale genre.
In the article “Are All Princesses Really Waiting for Princes to Come?” Jack Heckel discusses some of the most common Disney princesses and the stereotypes that come along with them, as well as some of the stereotypes that are seen in the Disney princes. He supports his article by providing a variety of sources not only from Disney movies, but also from various authors and blogs. The analysis of Disney princess stereotypes has been a very common topic for years, and this overall analysis has revealed that a lot of Disney princesses are not good role models. Heckel uses many techniques including using credible, non-Disney sources, discussing other fairytales besides Disney, displaying a timeline of Disney
In “The Company of Wolves” Carter employs conventions of gender construction and didacticism, which help establish a fairy tale space (Koske 323). Carter presents a world in which fairy tale notions of gender are upheld. In her paper, “In Olden Times, When Wishing was Having: Classic and Contemporary Fairy Tales”, Joyce Carol Oates explains that the girls and women in fairy tales “are the uncontested property of men”. Carter alludes to this male dominated reality in her tale (99). When the girl, Carter’s Red Riding Hood, insists on venturing into the woods, the narrator says that “[h]er father might forbid her, if he were home, but he is away in the forest, gathering wood, and her mother cannot deny her” (1224). There is perhaps no gendered element to a parent preventing his child from wandering into the wilderness, b...
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.
Warner, Marina. From the Beast to the Blond on Fairy Tales and Their Tellers. New York: Chatto & Windus, 1994. Print.
In both stories, Cinderella and Zozella are basically rescued by man from their hard, sad life, who then marries them and makes them his queen. This is sending a strong message to not only females but males also that women cannot save themselves and that they need to be “rescued” by a rich man who will marry them and provide them with a luxurious life. However, in Perrault’s “Cinderella” there is a theme which is not present in Basile’s “The Cat Cinderella”, this theme is the idea that beauty equals kindness of character. Cinderella is shown to be good of heart and also incredibly beautiful, unlike her less beautiful, mean spirited sisters, Perrault describes her as “a hundred times handsomer than her sisters, though they were always dressed very richly” (Perrault, 16). This sends the message that if you’re kind you are beautiful and if you are not beautiful then you do not have a good character. This theme is even seen in today’s society where women are judged and judge others based on appearance. This theme is not present in “The Cat Cinderella”, Zozella is beautiful as well but her beauty doesn’t make a good hearted person and this is evident when she commits murder to get what she wants. Creating the stereotypical view of women being cunning and sly in order to get what they want, and sending a message to young girls that women are heartless selfish
Aurora, Ariel, Cinderella and Snow White are all white, slender, skinny princesses, lacking diversity in physical appearance. They are overtly thin as their waists are freakishly tiny, as are their wrists, in contrast to their eyes which are huge. Disney did not create an animated women of colour lead until Aladdin’s Jasmine in 1992, so it is clear that the norm was white princesses back then. None the less, the stereotypical way the women are physically presented shows a clear distinction of what is considered to be beautiful - which is an unattainable idea. Cinderella’s step-sisters are drawn to be much larger than her, along with bigger noses and butts. The same is done in Sleeping Beauty as the three fairies are more plump, emphasising that they are not beautiful, but rather dimwitted. Good traits are often associated with skinny people whereas negative ones correlate with those who do not fit the standards. These values from as early as 1937 have not changed as in today’s society - photoshop culture is still prevalent, and the idea of needing to be skinny and airbrushed perfect is still maintained. Though the images from Snow White and the Seven Dwarfs, Cinderella, The Little Mermaid and Sleeping Beauty reflect the standards of their time, it does not mean that we have overcome these obstacles. These films point out that beauty is only limited to Europeans and that it is very eurocentric - an idea that is still present in today's society, as white-washing is extremely common. It teaches young girls - especially girls of colour, and overweight girls - that there is only one way of being beautiful, and if you do not fit these requirements, you are no longer pretty. It can tremendously harm the self-esteem of these impressionable girls because of the lack of representation in media, especially since these films are marketed for young
Being beautiful for a woman is the most looked at characteristic that each of these princesses have. Attractiveness is the most important attribute that women can posses, and is often an indicator of chances of future happiness (Neikirk). This is how these princesses get by in all of these stories. But what is that telling every young girl who watches or listens to these fairytales. Are we telling these youn...
..., Maria. “An Introduction to Fairy Tales.” Writing and Reading Across the Curriculum. Ed. Laurence Behrens, Leonard J. Rosen. Toronto: Longman, 2013. 230-235. Print.
A prolific exemplification of the ideal female virtues portrayed in fairy tales is Charles Perrault’s “ The Little Glass Slipper”. Perrault presents the ideal female fairy tale character through his portrayal of Cinderella. Cinderella is a tame and forgiving individual who subjects herself to the will of her father, stepmother and s...
Bettelheim, Bruno. The Uses of Enchantment: the Meaning and Importance of Fairy Tales. London: Thames and Hudson, 1976. Print.
Fairy Tale Text & Motif. Prod. Distribution Access. Distribution Access, 2001.Discovery Education. Web. 1 December 2001. .
The story teaches us that society expects women to be passive. Cinderella’s abuse by her stepsisters and stepmother cause her to live in grief silently without expressing her emotions. She does nothing to fight for her freedom except sing about all the dreams of happiness that she hopes will come true someday. She only wishes for things to change rather than attempt to do anything to change it for herself. Cinderella waits to be rescued by Prince Charming instead of fighting for her own freedom. This teaches women that they should suffer in silence without doing anything for themselves.
By exposing the role of fairy tales in the cultural struggle over gender, feminism transformed fairy-tale studies and sparked a debate that would change the way society thinks about fairy tales and the words. “Fairy Tales and Feminism.” Project MUSE -, https://muse.jhu.edu/book/31411.
Zipes, Jack. Why Fairy Tales Stick: The Evolution and Relevance of a Genre. New York: Routledge, 2006. Print.