How Is Carrie A Universal Fairy Tale

There are numerous genre’s in literature, but the level of importance and influence on an individual will differ. Exposure to books and stories is especially important for children because it their chance to acclimate themselves to written language and in turn create their own visuals for the toneless words. “Why Fairy Tales Matter: The Performative and the Transformative”, by Maria Tatar contains an ample amount of textual evidence from author’s research into fairytales, as well as writer’s personal experiences with fairytales. Although Tatar supports her claims with evidence, her resources are not concrete, and seems excessive at times. Also, her assertions are weakened by her failure to defend her conclusion against competing beliefs.

In his evaluation of Little Red Riding Hood, Bill Delaney states, “In analyzing a story . . . it is often the most incongruous element that can be the most revealing.” To Delaney, the most revealing element in Little Red Riding Hood is the protagonist’s scarlet cloak. Delaney wonders how a peasant girl could own such a luxurious item. First, he speculates that a “Lady Bountiful” gave her the cloak, which had belonged to her daughter. Later, however, Delaney suggests that the cloak is merely symbolic, perhaps representing a fantasy world in which she lives.

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.

Triumphant reward in spite of unjust punishment is a universal sentiment that transcends languages and cultures. There are thousands of folktales and fairy tales that are firmly rooted in individual cultures, yet the tale of Cinderella has been told through many centuries and throughout the far corners of the world. With thousands of versions of this classic tale in print worldwide, the tale is believed to have originated with the story of Rhodopis, a Greek slave girl who is married to an Egyptian King. The story of Rhodopis, which means rosy-cheeks, dates back to 7 BC and is attributed to a Greek geographer named Strabo. The Chinese variation of this fairy tale is named Yeh-hsien. The Chinese version is traceable to the year 860 and appears in Miscellaneous Morsels from Youyang by Duan Chengshi. Yeh-hsien is a young girl, motherless and in the control of her stepmother, who befriends a treasured fish. The jealous step-mother kills the fish, but it’s bones provide Yeh-hsien with magical powers, eventually enabling Yeh-hsien to escape the control of her step-mother for a royal life. The Story of the Black Cow which is found within the pages of Folk Tales from the Himalayas by John Murray, published in 1906, the child who is mistreated by a stepmother is a male and the role of savior is portrayed by a snake, with a cow serving as the moral of the story, faithfulness. These two versions of Cinderella carry many common threads that are

Fairy Tales are not just stories that parents tell to their children, but stories with hidden valuable messages which are mostly left on a side. In the article “An Introduction to Fairy Tales,” Maria Tatar clearly explains how people need fairy tales in their lives. Tatar also states how fairy tales have the ability to take the listener, especially children’s, into a journey in which they can play with their imagination so that they can discover their deepest fears and wishes. Personally I agree with the author, because of the fact that in an individual’s lives as they get older, they will try to define themselves, sometimes comparing their own life with a character from their favorite story or Fairy Tale.

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

Like all fairytales, Rapunzel has a history that extends far earlier than the 1800s when it first transcribed by brothers Jacob and Wilhelm Grimm. However, Rapunzel is a tale that continues to be re-written and re-interpreted even today. From the 1970s with the feminist revitalization of fairy tales to the early 2010s with Disney’s Tangled (2010), this timeless tale continues to engage its listeners. In 2015, Katie Kapurch of Texas State University revisited Rapunzel with an eye on its more recent modernizations. By starting with Anne Sexton’s poem “Rapunzel” from her 1971 collection Transformations, Kapurch analyzed the lesbian elements of the tale in order to examine the 21st century Tumblr culture that “ships” Tangled’s Rapunzel with Brave’s (2012) Merida.

The tradition of telling fairy tales to children effects not only the listener but also the reader. Maria Tatar, in her book Off with Their Heads!, analyzes how fairy tales instill and reaffirm cultural values and expectations in their audience . Tatar proposes that fairy tales fall into three different tale-types: cautionary tales, exemplary stories, and reward- and- punishment tales. These three types portray different character traits as desirable and undesirable. Due to the tale’s varying literary methods it can change the effectiveness of the tale’s pedagogical value. In Tatar’s opinion, all of these tales are similar in the way they attempt to use punishment, reward, and fear to encourage or discourage certain behaviors. In the cautionary fairy tale “The Virgin Mary’s Child”, the use of punishment and fear to discourage certain behaviors is enhanced by the Christian motifs and values employed by the tale. These literary devices encourage the audience to reflect on and internalize the lessons that are presented in the fairy tale.

Joosen’s thesis revolves around the didactic potential fairy tales hold, arguing the feminist side in criticizing the gender bias and influence that fairy tales have on young children. She goes on to introduce the idea that retelling fairy tales, with a feminist twist, provides a new perspective on the traditional ones, using Sleeping Ugly as an example. Joosen then compares Lieberman’s critiques to the tale – traditional versus transformed. Following, she analyzes the purpose of retellings and problems within the example tale. The writer highlights the idea of “read[ing] against the text” to question the intertextual connections (135). To conclude, Joosen reiterates the argument between the educational and aesthetic aspect of the

Fairy tales have always been focused towards children ever since Walt Disney took over the industry of remaking these stories. He took out all of the gore and some of the violence to make it more acceptable for children. With Anne Sexton's version of Cinderella, she brings back the gore and violence to its full capacity just like with the original Brothers Grimm story. Sexton's poetic version of Cinderella gives a humorous and eye-opened twist to this classic fairy tale. What brings all of these stories together is the way they all socialize women to make them naive. With this in mind, fairy tales do humiliate and objectify women to get them to accept violence within society.

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.

When someone mentions the name “Cinderella”, the first thing that usually comes to our minds is the fairytale in which the fair maiden who works so hard yet it treated so poorly gains her “fairytale ending” with a wave of a magic wand. However, the fairytale of Cinderella written by the Grimm Brothers has multiple differences in plot from the fairytale we all usually think of. The plot of the Cinderella written by the Grimm Brothers, written in 1812, is that a young female’s mother passes away early in the story, departing with the message to Cinderella to remain “pious and good”. Cinderella remained true to this message given to her by her mother, and she showed this in her work ethic. Because Cinderella had remained pious and good, her mother, in return, watched over her in the form of the birds above her grave that gave Cinderella help and material things that she needed. In the end, Cinderella has her “happily ever after”, for when the prince held a festival to find a new bride, she was chosen due to her insurmountable beauty. The feminist lens critiques how females are commonly represented in texts, and how insufficient these representations are as a categorizing device. These representations of women often include them being passive and emotional—staying back while the men do the work. Cinderella relates to the feminist lens because she fits into the typical representations of women created by men. Feminist criticism is important to recognize because women are often falsely represented as helpless, thus needing a man to come to their rescue. It is common in literature to see helpless women, crying and begging for help instead of being able to work out their own problems and hardships. Others, however, may believe that it is still important to uphold the fundamentals of the feminist lens because it keeps the man in power, which they say is important in keeping the man the head of the household. Cinderella thoroughly represents the feminist lens because it shows how women in literature uphold the representations of passive and emotional, created by the man.

Fairy tales have been embedded into our culture and date back before recorded times, they provide a source of entertainment and imagination for children. Despite today’s fairy tales having positive moral intentions they have been adapted from earlier versions which often can be very different and much more sinister. The fairy tale “Sun, Moon, and Talia” by Giambattista Basile formed the basis for the more commonly known Disney interpretation called the “Sleeping Beauty” however they are vastly different, Basile’s original is a very dark and twisted story compared to the Disney version.

Did you know that your favorite fairytales were once violent? Originally, Grimm’s Fairy Tales were intended for children to read. However, because they contained remarkably dark elements, parents soon believed these stories were too violent for their children. Eventually, only adults read the tales. In the 1950s, Walt Disney created a non-violent version of the classic Grimm fairytale, Cinderella. Walt Disney’s cinematic version is more accessible to a wider audience than the Grimm tale because Disney removed most of the violence and simplified the tale while maintaining the original story.