13 Treasures Mitchelle Harrison Analysis

In the short story “the White Heron” (1886), Sarah Jewett portrays a young little girl, Sylvia, bear the temptation of money and affection from the young man with mental struggle, and resolutely determined to protect the fairy of nature – a white heron. Through describing Sylvia’s authentic emotions and using of vivid theme colors and exquisite word choice, Jewett delivers the story like showing a lifelike 19-century country-life drama in front of the readers.

In Perrault’s fairytale, as a reward for her patience and compassion in the face of suffering, Cinderella is sent a fairy godmother to grant all of her wishes. But Maitland’s Stepmother, lives in reality, and in her experience, such instances of divine intervention are hard to come by. While even she admits what she did was immoral, her reasoning behind why she did it was understandable: “All I wanted was for her to grow up… and realize that life was not a bed of roses and she had to take some responsibility for her own life…instead of waiting and waiting and waiting for something or someone to come shining out of the dark and force safety on her (Hallett and Karasek, "The Wicked Stepmother's Lament by Sara Maitland" 134).” Whereas Perrault’s Cinderella is rewarded for her innocence with a happy ending, Maitland’s Stepmother hold firmly to the conviction that Cinderella’s suffering will never end until she grows up and accepts that the world is not always a magical, wonderful, fair

Lin Lan’s “Cinderella” is a classic fairy tale that depicts the life of a poor, young girl named Beauty in the hands of her wicked stepmother and stepsister. The story leads one to believe a moral lesson is portrayed as how in the end evil never prospers. Beauty is rewarded in many different forms for being the innocent protagonist, while the stepmother and stepsister are chastened for their heinous deeds. As children are the main targeted audience for fairytales, it would seem evident to create a character of good standing morals and virtue; however, there are multiple instances that contradict Beauty’s faultless character.

Fairy takes are the primary information of the culture. They delineate the roles, interactions, and values which are available to us. They are our childhood models, and their fearful, dreadful, content terrorizes us into submission- if we do not become good, evil will destroy us; if we do not achieve the happy ending, then we will frown in the chaos (34-35).

Once upon a time, there was a literary genre commonly know as fairy tales. They were mystical and wonderful and a child’s fantasy. These fairy tales were drastically misunderstood throughout many centuries, however. They endured a hard life of constant changing and editing to fit what the people of that time wanted. People of our own time are responsible for some of the radical changes endured by this undeserved genre. Now, these fairy tales had a young friend named Belle. Belle thought she knew fairy tales very well, but one day she found out just how wrong she was.

The Haunting of the Sunshine Girl is a thrilling book by Paige Mckenzie. It explores the theme that nothing has to be done alone. Everything started on Sunshine Griffith’s sixteenth birthday, throughout the year Sunshine has been faced with a series of tests followed with her new powers. Every since she was young, Sunshine knew she was adopted, but who has she inherited these powers from? While Sunshine’s life changes forever, the people she loves change affecting everything. The whole story is described in detail affecting the imagery, characters and the two point of views.

In Hopkinson's story, experience is central as it leads to potential complications the grandmother tries to avoid for her granddaughter by telling her personal story. The mother opposes her mother's urges for protection and tells her it is not necessary to frighten her daughter because “girlie's too young yet, there's plenty of time.” (2). The mother sees her mother's personal story as a “ghastly old wi[fe's] tale[s].” (1-2) therefore there is no rush to inform her child on dangers, but also because she believes her girl is too young. This opposition between both characters links to a broader opposition between two different ways to report events: on the one hand this story could be based on realistic facts when on the other hand it contains allegories and a moral which are features of fairy tales. This text mixes both types which revels Hopkinson's style, designated by herself in a 1999 interview with Gregory E. Rutledge, as "speculative fiction” and defined by Jewelle Gomez in her article “Speculative Fiction and Black Lesbians”: “I conflate the terms science fiction and fantasy fiction under this rubric [Speculative Fiction] because each in its own way addresses human concern with the future, with magic, and with the preternatural.” (949). The story borrows its

Stanley is a Mexican-American boy; he emigrated from Mexico with his parents and siblings. Stanley talks about living in Mexico. He reports that he remembers living there and that he enjoyed it. Stanley reported that his parents did not have very much money and they did not have very much food and he did not have very many clothing items to wear. Stanley reports that he enjoys visiting Mexico, but does not want to live there again. He is very proud of his heritage. Cooking Mexican food with his mother is one of his favorite things to do. Being Hispanic for Stanley is a sense of pride and resiliency this is often common for people who identify as an ethnic minority. This writer used this sense of pride and resiliency to aid Stanley in his treatment. This writer allowed Stanley to talk about his heritage and culture. This writer vocalized to Stanley that it was as strength of his to know so much about his heritage and be proud of his culture (Hotez, 2008)

In “Harlyn’s Fairy,” there is a recurring motif of mental illness, delusion, and fantasy, and comparisons are drawn between the two latter. I think that one of the main messages this story sends is that playing make-believe is a healthy mental exercise, not a sign of mental illness. Aunt Marilyn is concerned when Harlyn tells her that there is a fairy in the garden; Yolen depicts her worry through behaviour such as “hover[ing] over” (27) Harlyn and scrutinizing her behaviour for signs of mental illness. She is depicted as a kind of helicopter-parent, but her fears are explained by details in the story, such as Harlyn’s mother having “delusions” (27) and being in “the hospital” (37). Frequent attention is paid to Harlyn’s mother’s mental illness,

The main character of Sarah J. Maas’ novel is Feyre. Feyre, while complex and well-written, is not a round character. She is categorized as a dynamic character, due to her rapid switch in morals. Being dynamic is, in fact, part of what Feyre contributes to the plot. Her coming into the fairy world will fulfill a curse said years ago: “If he wanted to break her curse, he need only find a human girl willing to marry him. But not any girl- a human with ice in her heart, with hatred for our kind. A human girl willing to kill a fairy” (Maas 283). Maas’ novel starts with Feyre killing a fairy and ends, as predicted, with her and a High Fairy Lord marrying. Such a change in beliefs makes Feyre a dynamic character.

Whether Female antagonists within fairy tales are portrayed in a positive or negative light their roles within the stories are very important if not crucial to the development of the protagonists. Karen Rowe in “Feminist and fairy tales” explains the divide between different female antagonists. Female antagonist come in all forms, Faeries, ogresses, evil queens, and evil witches step mothers and or step sisters. For the most part these characters are often divided between good and evil, or light and dark, but what is often realized, is that there isn’t much of a combination between the two groups in which an antagonist falls in between both categories. In this essay I will lay out the thematic roles of these different types of female antagonist’s portrayed within fairy tales.

Fairy tales make an important part of cultural prophecy, because they contain wisdom which is passed from parents to their children. They contain basic moral and ethical guidelines for children. Images and symbols used in fairy tales can help to judge about cultural, ethical, social and moral values popular in the contemporary society. Changes and similarities, which can be found in the popular fairy tale Cinderella by Jacob and Wilhelm Grimm, version of 1812 and the Disney version of Cinderella (2015), can help to realize the changes in cultures and historical epochs.

that she has an influence on her own future.  She begins to develop what she

Angela Carter, an English writer, is best known for her feminist rewriting of classical fairy tales. In her stories she prominently uses themes, such as, virginity, the pornographic image, violence and sex, and many others. Degrading someone to the status of a mere object, in other words objectification, is a theme Angela Carter shows in many of her fairy tales, specifically the objectification of women. According to Carter, the objectification and subjugation of women is part of a “latent context” of fairy tales that she expressed simply by virtue of being a woman. Both “The Tiger’s Bride” and “The Courtship of Mr. Lyon” are fairy tales intertextually linked with “Beauty and the Beast” and show the reader Carters’ views on femininity. Not

As we grow up, we hear fairy tales and we read them into our lives. Every word and every image is imprinted into our minds. The fairy tales we read are never abandoned. They grow with us and our dreams become molds of the many morals and happily ever afters fairy tales display. We tell children fairy tales when they go to sleep and they read them in school and we even have them watch Disney adaptions that reinforce them further. Generally, they were everywhere while we grew up and they continue to be present while children are growing up now. But what influence do these stories have? We casually expose our children to these tales, but in some cases they can have particularly, harmful personal effects on them, although there is nothing completely or visibly “bad” about them or about the characters in them. Before we divulge our youth to these stories, we should assess their substance and see what sort of effect they may be having on them. They have received so much scrutiny and have been studied by many. Recognizing fairy tales effects on the minds of children is vital in their development. This paper will focus on the underlying messages that the average person wouldn’t recognize in these everyday stories. There’s a modern distort with fairy tales because while they still are widely popular with the youth, they influence children’s self images, outlooks on reality and expectations for their futures, especially for young women.