Angela Carter, the Snow Child Symbolism Essay

A CRITIQUE OF THE SNOW CHILD, TAKEN FROM ANGELA CARTER’S THE BLOODY CHAMBER. Throughout ’The Bloody Chamber’, Angela Carter takes the highly successful conventions that belong to once innocent fairy tales, and rips them unremorsefully from their seemingly sound foundations to create a variety of dark, seductive, sensual stories, altering the landscapes beyond all recognition and rewarding the heroines with the freedom of speech thus giving them license to grab hold of the reigns of the story.

Throughout the text, Michael mentions the snow. Considering the book’s about a blizzard, that’d be normal, right? However, in my view, the snow symbolizes something, like dreadful times. Scattered around, the context surrounding the snow can be interpreted as how you feel during those times. For example, later in the book, when the students realize just how bad it is, they explain it as, “There was no higher ground, no place left for us to go”(Northrop 158). Here, a relation to people feeling as if there’s nowhere else to go, so they’re trapped in the horrible event occurring can be made. Results tend to be mourning over those poor times in people’s lives. Similarly, Michael connects that to how we view bad situations. Early on in the book, description of the snow is showed as it being “small flakes”, “like grains of sugar… the flakes had fattened up and

Snow White is a fairy-tale known by many generations; it is a beloved Disney movie, and a princess favoured by many kids. But did you know the fairy-tale was made to teach young children, especially little girls, their duties in life? It also values beauty over knowledge, portrays women to be naive and incompetent, and assumes that women cannot understand anything other than common household chores. Throughout this criticism, I will be using the feminist lens to analyze the fairy-tale, Snow White, through the perspective of a feminist.

Original fairy tales restrict the opportunities of female protagonists, allowing their fate to be controlled by male characters and society’s restrictive expectations of women. Authors such as Perrault of ‘Little Red Riding Hood’ were quick to provide advice to their suggestible female readers in moral that girls should not try to drift from the path that society has laid out for them. Thus they became ‘parables of instruction’ (Carter) to indoctrinate the next generation in the values of a patriarchal society. Fairy tales of this time consistently remind us that those of the female sex will not prosper if they choose to ignore and defy the social constructs. Pre 1900s, the roles of women were entirely predetermined. A clear female dichotomy was established portraying them as either ‘the virgin’ or ‘the whore’. Stereotypical perceptions of women reduced them to biological functions and stated that they should acquire the role of wife and mother – objectified to such an extent where they were essentially their male counterpart’s possession. Both authors scorn the importance placed on domesticity and conformity, stressing the vital nature of being able to choose and uncover the consequences of societal ignorance. Carter highlights to her literary audience a passive generation of women who face the inability to vocalise their thoughts and opinions in the context of oppressive patriarchy. Within her work ‘The Company of Wolves’ “The

The Snow Child, another short story within The Bloody Chamber, is ambiguous. In this small story there are two victims, both of them women, in this case the bloody chamber could relate to the hole in the snow that the countess and count ride past, or it could relate to the vagina and virginity of the girl. This expresses how the role of the women within the gothic genre is ultimately as victims, sometimes through their naivety and innocence and sometimes through male authority. The count sees both of the bloody chambers present as objects for his pleasure, therefore

“The Tell Tale Heart” by Edgar Allen Poe is a fantastic short story, but how does it fit into literature? The story uses elements and techniques that delve into the gothic genre and allows the reader to be introduced to a darker reality. In “The Tell Tale Heart”, gothic elements reveal themselves in the short story through the use of setting and also through the use of characterization. These two elements are key components which demonstrate gothic features and help to classify this story as gothic literature. Murder and the supernatural elements also show that this text can be considered within the gothic genre of literature.

Although now seen as the father of the modern horror story, Edgar Allan Poe was previously viewed as a drunken failure. Within Poe’s writings much of his own life riddled with guilt, anxiety, alcohol, depression and death shines through resulting in works that appear unrelated yet once dissected prove similar. This is true for Poe’s works “The Raven” and “The Black Cat”. Poe’s examples of gothic fiction share the use of the color black and a rapid digression of the narrator 's sanity while seemingly unveiling Poe’s internal pain. Despite these similarities, Poe’s works also differ immensely. “The Black Cat” focuses around death while “The Raven” is fixed around discovering the reasoning for a bird 's arrival. Moreover, gothic themes seen within “The Raven” do not necessarily remain constant when compared to “The Black Cat”.

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.

In order for women to get ahead in the world, the fairy tales say that they have to be with a Prince Charming type figure that has money and is famous. Most of the fairy tales that were made by the Brothers Grimm have royalty as a factor in the main character's happy ending. Whether it is the poor girl marrying a prince or a princess getting the kiss of life, all of the stories end to perfect leaving so many women with their heads in the clouds. They objectify women by showing them what they need to be to have that happy ending, an encounter with royalty.

Edgar Allan Poe, renowned as the foremost master of the short-story form of writing, chiefly tales of the mysterious and macabre, has established his short stories as leading proponents of “Gothic” literature. Although the term “Gothic” originally referred only to literature set in the Gothic (or medieval) period, its meaning has since been extended to include a particular style of writing. In order for literature to be “Gothic,” it must fulfill some specific requirements. Firstly, it must set a tone that is dark, somber, and foreboding. Next, throughout the development of the story, the events that occur must be strange, melodramatic, or often sinister. Poe’s short stories are

In The Snow Child, by Eowyn Ivey, an Alaskan setting in the 1920’s contributes to the atmosphere of isolation, harsh conditions, and quiet.

Within the collection of fairy tales, one of the most prominent is Snow White. The tale conjured up by the Brothers Grimm keeps to what one would expect with fairytale stereotypes. However it also plays the part of ancient myths of Aphrodite. The fairytale is simplistic in reasoning, and holds to the ancient goddess’s petty reasoning. Thus, other authors have taken it upon themselves to rewrite it with different plots, once such author being Angela Carter. In her story, The Snow Child, the queen is transformed into a Hera figure. This change rewrites the story’s meaning as well as one’s view point on the villain.

The reader of any novel is reliant upon the narrator’s perspective: the reader only has insight into the thoughts and opinions of the character who is describing the story. Consequently, the reader is dependent on what information the narrator chooses to share. It is difficult to rely entirely on the perspective of the narrator then, because the reader is forced to determine what is authentic and plausible. In novel the narrator is Snowman, a character who shares the story by alternating between the present and the past. In Margaret Atwood’s Oryx and Crake, Snowman is an unreliable narrator because he is dependent on the approval of others, insecure, and inexperienced.

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

Remarkably throughout all of history, females have encountered the issue of oppression while any form of power is ripped away from them. The concept is plainly indicated within countless fairytales, much like Cinderella as it is narrated from the female perspective. When examining and using the feminist lens for the folk tale of Cinderella, numerous power relationships were clearly viewed. In other words, the relationships correspond with both gender, and how the individual is portrayed. At the beginning of the story’s context, the power connection between Cinderella and her step-mother is rather obvious. In addition, the constant power relationships among male and females within the general public greatly influences Cinderella. Therefore every