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The Little Mermaid is well known to everyone, but which version is known best? Hans Christian Andersen or Walt Disney, both are very similar mostly because Hans Christian Andersen’s Little Mermaid was the most popular version of the story before Walt Disney. 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) Walt Disney needed to change his version and many of his other fairy tales and in doing so started a change in the way we see fairy tales. Ask someone today to define a fairy tale and they will tell you along the lines of a beautiful woman put threw hardships that in the end of the story gets the man and becomes a queen of her own castle. If children or adults think of the great classical fairy tales today, be it Snow White, Sleeping Beauty, or Cinderella, they will think Walt Disney. Their first and perhaps lasting impression of these tales and others will have emanated from Disney film, book, or artefacts (Zipes 72) Before Disney the definition was: Simple narrative typically of folk origin dealing with supernatural beings. Fairy tales may be written or told for the amusement of children or may have a more sophisticated narrative containing supernatural or obviously improbable events, scenes, and personages and often having a whimsical, satirical, or moralistic character. The term embraces popular folktales such as “Cinderella” and “Puss in Boots,” as well as art fairy tales of late... ... middle of paper ... ...on silver plates. Disney changed the idea of the fairy tale from a girl who works for what she wants to a girl who gets what she wants. Works Cited "The Little Mermaid." IMDb. IMDb.com, n.d. Web. 18 Nov. 2013. Merriam-Webster. "Fairy Tale." Merriam-Webster. Merriam-Webster, 2013. Web. 18 Nov. 2013. Tatar, Maria. The Annotated Classic Fairy Tales. Norton: New York, 2002. Print. Tatar, Maria. Off with Their Heads!: Fairy Tales and the Culture of Childhood. Princeton, NJ: Princeton UP, 1992. Print. Trites, Roberta. "Disney's Sub / Version of Andersen's The Little Mermaid." Journal of Popular Film and Television 18.4 (1991): 145-52. Print. Warner, Marina. From the Beast to the Blond on Fairy Tales and Their Tellers. New York: Chatto & Windus, 1994. Print. Zipes, Jack. Fairy Tale as Myth/myth as Fairy Tale. Lexington: University of Kentucky, 1994. Print.
Anderson, Hans Christian. “The Little Mermaid.” Folk and Fairy Tales. 3rd ed. Eds. Martin Hallett and Barbara Karasek. Toronto: Broadview, 2002.
Originally, the purpose of Hans Christian Andersen's fairy tales were to articulate his life experiences unlike like modern Disney adaptations that focus on the entertainment value. Andersen used his fairy
Francescone’s paper, “Someday My Prince Will Come: The Impact on Fairytales in Print and Film over Time,” was filled with many clear points and grabbing details on the changes Disney has made to make fairytales more suitable for children and creating strong, female characters. This essay was very interesting to read and was filled with details; however, there were too many quotes and grammatical errors.
A fairytale is a fictional fantasy fable that passes through generations of children as source of interest to them. Though used for the intent of entertainment, fairytales often indirectly advocate a moral or message to readers (whom are usually children), in hopes that they will grow up to apply these ethics and lead a righteous life. This criteria, however, often originates from the occurrence of a magical transformation; it is this paranormality that introduces the characters of the story to a side of life far from what they have grown to know and learn to adapt to the dramatic amend in their life. This is evident in the characters in world-renowned tales such as The Little Mermaid, Aladdin and Beauty and the Beast.
At first glance, what makes a fairy tale a fairy tale may seem obvious—some kind of magic, hidden symbols, repetition, and of course it’s evident it’s fiction—but fables are more than that. As Arthur Schelesinger puts it, it’s about “[expanding] imagination” and gaining understanding of mysterious places (618). While doing this, it also helps children to escape this world, yet teach a lesson that the reader may not be conscious of. A wonderful story that achieves all of this is Cinderella, but not the traditional tale many American’s have heard. Oochigeaskw, or The Rough-Faced Girl, and Ashputtle would be fitting for a seven-year-old because they get the gears of the mind turning, allowing for an escape on the surface, with an underlying enlightenment for children of the ways of the world.
The simplicity of fairy tales and non-specific details renders them ideal for manipulation allowing writers to add their own comments often reflecting social convention and ideology. Theref...
The Grimm brothers were motivated to change the stories up a bit as their tales captivated more people. They incorporated a softer side with a primary moral of the story for the readers (GrimmFairytales.com). It is from these original Grimm versions that modern fairytales, such as Cinderella, originated from. The original version, published in 1812 portrays Cinderella as a poor child who lost her beloved mother; she lived a life of misery as a result of this death. Her father remarried and took on a new life, letting the evil stepsister torment Cinderella.
Fairytales express the creative fantasies of the rural and less educated layers of common man (Cuban, 1984). They are characteristically full of magic, often involving upper class characters (Cuban, 1984). In short, Fairytales are organically grown with the creative material of a collective group. The Grimm Brother’s fairytale, The Frog Prince, is no exception. The Grimm Brothers’ fairytale is about a handsome prince trapped in the repulsive body of a frog, but who nevertheless overcomes and transcends this bewitched state through his wit, perseverance, and magic (Prince, 2009). Until the seventeenth century, it was the adult population that was interested in fairytales (Cuban, 2009). Their allocation to the nursery was a late development (Cuban, 2009). This allocation can be credited to the rejection of the irrational, and development of the ra...
During the 19th century, Grimm’s fairytales were strongly disapproved of due to harsh, gruesome details and plots. One American educator from 1885 stated, “The folktales mirror all too loyally the entire medieval worldview and culture with all its stark prejudice, its crudeness and barbarities.” As childre...
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.
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.
..., Maria. “An Introduction to Fairy Tales.” Writing and Reading Across the Curriculum. Ed. Laurence Behrens, Leonard J. Rosen. Toronto: Longman, 2013. 230-235. Print.
Fairy Tale Text & Motif. Prod. Distribution Access. Distribution Access, 2001.Discovery Education. Web. 1 December 2001. .
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.