Fairy tales are deeply-rooted in Europe and they are passed down from the one generation to the other both orally and in writing. It cannot be denied that one of the most favorite past time for all children is listening to fairy tales about mythical creatures, princesses, castles and other enchanting stories. However, until very recently, parents have not realized the immense, hidden power these stories have over the unconscious and conscious mind of young readers. Many classical fairy tales lurk dangers, as they reinforce stereotypical perceptions about gender roles and especially about women. This research paper will attempt to analyze these perceptions, based on some researchers (Rowe Karen E., 1979 and Kumly Esin, 2017). According …show more content…
Esin Kumlu claims that ‘’one of the best examples of that kind of social contract is seen in Rapunzel and the Sleeping Beauty [where] both protagonists are the very center of passivity of the female body’’(129). In order to receive their prince, the first one is captured in a palace and the second one is in deep sleep, both of which are forms of inactivity (119). Furthermore, Kumlu highlights the fact that in the story of Twelve Dancing Sisters and Little Mermaid, the idea of rebellion is penalized. On the other hand, in The Sleeping Beauty and in Rapunzel, passivity is praised (116). As a result, the readers usually ‘’identify with the prettily passive heroine whose submission to commendable roles insures her triumphant happiness (Rowe 248). From all the above arguments, the reader understands that many popular fairy tales urge young girls to be passive in order to lead a happy lifestyle. As far as I am concerned, I believe that both of the sources are right, as for one more time and especially Kumlu Esin refers to specific fairy tales that every kid has read during his childhood and which depicts heroines as subordinate characters, reinforcing in this way another gender …show more content…
In all of the fairy tales that have been mentioned many times before, according to Kumlu, the heroines ‘’are socially existent on condition that they are under the umbrella of the father’’ (122). It is also evident that the heroine does not have the power to act on her own and save herself as ‘’[she] is helpless and needs the strength of man in order to survive’’(Kumlu 130). In addition, in the article of Karen E. Rowe, it is mentioned that a woman protagonist is ‘’subjected to masculine supervision and denied any true independence’’(245). As a result, ‘’she is unable to act independently or self-assertively; she relies on external agents for rescue; she binds herself first to the father and then the prince’’(Rowe 239). At this point, I partially agree with their arguments that fairy tales focus only on women’s dependency on male. There are some stories, in my opinion, such as Beauty and the Beast or Hansel and Gretel, in which female protagonists not only are totally independent, but rescue, the father in the first story and the brother in the second, from death with their own
Walt Disney over the years has impacted the lives of millions of children with his animated films. His Disney movies have evolved in the last years and have moved from the traditional damsel in distress theme. Specifically, the classic movie Cinderella gives the wrong idea about what it is to be a woman for young girls. The movie portrays a young woman facing emotional, mental, and physical abuse by her evil stepmother and later falls in love with a charming prince. However, if viewers take a closer look, Disney’s anti feminist message is firmly emphasized. The story of Cinderella is sexist due to it’s lesson to girls that beauty and submission will award them a rich bachelor. This is seen through Cinderella’s submissive behavior, Prince
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.
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
Some things about fairy tales we know to be true. They begin with "once upon a time." They end with "happily ever after." And somewhere in between the prince rescues the damsel in distress. Of course, this is not actually the case. Many fairytales omit these essential words. But few fairytales in the Western tradition indeed fail to have a beautiful, passive maiden rescued by a vibrant man, usually her superior in either social rank or in moral standing. Indeed, it is precisely the passivity of the women in fairy tales that has led so many progressive parents to wonder whether their children should be exposed to them. Can any girl ever really believe that she can grow up to be president or CEO or an
Samara Green, High school student from Pontiac, Maryland Huffington Post Teen, published (February 14th, 2014) suggests that, “Do we really want to teach young children that women are weak and vulnerable and only succeed when a man intervenes?” She is trying to make a point in saying that mostly all of children’s books or fairy tales, make us women appear in need of help. Especially a from a man who usually appears the strong and supposedly have the capacity to do more. Green supports her statement by asserting and telling that, “These fairy tales became a part of popular culture and when they were adapted to the silver screen during the 20th century, a time when many minorities were striving for equality.” The author’s purpose is to inform
Children fairy tales are some of the first books we’re introduced to growing up. Typically, the princess is saved by the heroic prince and they lived “happily ever after”. Some may think our life should be like a fairy tales while others don’t. These tales created gender roles in which appeared to be very important. In the Grimm Brothers fairy tale, “Hansel and Gretel”, the parents leave the children in the forest to starve due to not having enough money to buy food in order to sustain life. The children later find a house deep in the woods where an old, evil witch lures them in and tried to eat Hansel and Gretel. They eventually kill the witch and find their way home to their father with no stepmother to be found as she has died while the children were away. In the fairy tale, “Hansel and Gretel” gender and feminist criticism are highlighted throughout the tale by defining characteristics, consequences from their actions, and societal roles and expectations that were both prominent in German history and modern society.
During the 17th century, women were expected to take care of family matters and tend to the needs of men. They were expected to stay silent and define their identity based on their husband, father, or master. The role of women is represented through both the archetypal magical child and helpless central character. In traditional fairy tales, the archetypal helpless central character is viewed as powerless, needing to be saved. On the other hand, the magical child archetype is the one who is seen as the one who has the power to overcome their challenges with courage and save the day.
Throughout the years, fairytales have had a crucial role in perpetuating stereotypes regarding gender roles in society that portray women as dependent and distressed, also that being an attractive,young woman is the cause of most predicaments, and how women are entitled to specific jobs in the house while a man is supposed to go out and do all the hard work. In most cases, a beautiful young woman is put in a serious situation by a villain and/or monster who needs a hero, more specifically, a male, to come to her rescue. This is typically classified as using the literary device “Damsel in Distress”.
In fairy tales many of the sexist tropes have seeped into our modern day children’s books and movies
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
First of all, a rather sexist view of women has emerged from the evolution of a variety fairy tales. In older versions of many fairy tales, on can see the female dominant, matriarchal societies through the strong female protagonists. For example, as Yolen reminds, “Cinderella until lately has never been a passive dreamer….The forerunners of the Ash-girl have been hardy, active heroines” (33). One of the earlier Cinderellas belonged to a hunting community where “most important is the function of a female. She was at the center of this society and maintained a nurturing element” (194). As time went by Zipes concludes, women lost their supremacy and “fairy tales…reinforced the patriarchal symbolic order based on rigid notions of sexuality and gender” (qtd. in Tatar 338). As Zipes explains, “the heroines in these fairy tales remain pathetic , passive, and pale in comparison to the more active characters”, usually the men, when compared to those of the first generation of fairy
In fairy tales, female characters are objects, and their value centers around their attractiveness to men. Since fairy tales rely on cultural values and societal norms to teach morals or lessons, it is evident that fairy tales define a woman’s value in a superficial way. Fairy tales teach that, typically, beauty equates to being valuable to men because of their fertility and purity; whereas, ugliness equates to being worthless and evil, including being ruined because of their lack of virginity. Descriptions readers see from fairy tales like “Rapunzel,” and “Little Snow-White” revolve around the women’s, or girl’s, physical appearance, and both stories play out to where the women remain in a state of objectification. In addition, they are damsels
In a society unbridled with double standards and set views about women, one may wonder the origins of such beliefs. It might come as a surprise that these ideals and standards are embedded and have been for centuries in the beloved fairy tales we enjoyed reading as kids. In her analytical essay, “To Spin a Yarn: The Female Voice in Folklore and Fairy Tales”, Karen Rowe argues that fairy tales present “cultural norms which exalt passivity, dependency, and self-sacrifice as a female’s cardinal virtues.” Rowe presents an excellent point, which can be supported by versions of the cult classics, “Cinderella” and “Snow White”. Charles Perrault’s “ The Little Glass Slipper” and the Brothers Grimm’s “ Snow White” exemplify the beliefs that
Fairy tales are full of tropes and stereotypes that exist from story to story, one of the main ones being the “happily ever after” ending. Most fairy tales, especially the traditional Perrault or Grimm versions, fall prey to this trope where the main goal is for the princess to find her prince, get married, and live happily ever after. Many critics, particularly feminist critics, find this trope to be problematic because of the extreme emphasis placed on marriage as women’s main, if not only, objective in life. Karen Rowe, for example, states in her essay “Feminism and Fairy Tales”, that “fairy tales perpetuate the patriarchal status quo by making female subordination seem a romantically desirable, indeed an inescapable fate” (342). In other words, Rowe relates the “romanticizations of marriage” portrayed in fairy tales with promotions of “passivity, dependency, and self-sacrifice” expected of women in their everyday lives (342). However, it can be dangerous to assume that every fairy tale conforms to the singular promotion of marriage as women’s only option. While early fairy tales such as “Cinderella” and “Sleeping Beauty” tend to glorify the romantic ideal of marriage, and in turn female subordination, contemporary tales and adaptations such as Brave and Frozen, are working to give women a more powerful position.
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.