The Princess Paradox Essay

In her article What's Wrong With Cinderella, Peggy Orenstein looks at the present "princess" fever that has spread among young women, and how this example could impact their personality later on. Orenstein states that there has been a goliath spike in the commercialization of princesses by Disney and diverse associations, which has incited most toys that are sold to young women being princess themed. The issue with this is being a princess influences young women to endeavor and be "perfect" when they grow up, and Orenstein says that various young women feel monster strain to win concerning all that they do and furthermore be stunning like the princesses they grew up with. In any case, Orenstein is exploding by trying to shield her young lady

As little girls, women may imagine themselves as the princesses that they hear and see in movies and books. These princess often defeat the villain, meet the love of their life, the prince, and live “happily ever after”. Sadly, life is far from the things we see in these movies and books. The Princess bride, by William Goldman is a fantasy novel about a beauiful girl, named Buttercup, who is forced to marry the Prince Humperdinck after the love of her life, Westley dies. She is later kidnapped by three men, and two of those men, named Inigo and Fezzik, come together with the undead Westley to avenge an important death

The author writes “Maybe princesses are in fact a sign of progress, an indication that girls can embrace their predilection for pink without compromising strength or ambition; that, at long last, they can ''have it all.'' Or maybe it is even less complex than that: to mangle Freud, maybe a princess is sometimes just a princess” (Orenstein). Peggy Orenstein is a feminist author with a young daughter obsessed with everything pink and princess, she struggles to find positives from this “princess culture” but realizes that sometimes a princess can just be a princess. Possibly there is no deeper meaning other than being something magical and fun for young girls to enjoy. One common theme in all of the princess movies is good overcomes evil. They show children the pure hearts of the princesses and how to be kind and loving. Andy Mooney, head of the company answered this when asked about “princess culture” and role models “The girl passes through. I see girls expanding their imagination through visualizing themselves as princesses, and then they pass through that phase and end up becoming lawyers, doctors, mothers or princesses, whatever the case may be. ''Mooney has a point: There are no studies proving that playing princess directly damages girls' self-esteem or dampens other aspirations” (Orenstein). Girls are able to preserve their innocence by believing in the magic that comes along

While Bartels does a poor job at owning up to any of the tension in the marriage, he does understand where his wife is coming from with her anger. He understands the hardships of marriage by saying “I think it’s fairly well established by now that marriage is a challenge, a creaky, old institution that may not have fully adapted itself to modern life, one that now fails in this country more often than not. Put children in the picture and you have an

Disney’s Cinderella demonstrates that, whatever the intention of its makers, modern day fairy tales function in our society as hidden instructions for morals and behaviors that we give children. On the surface, it seems to be a simple story about a young woman whose wishes come true. However, the story also reflects cultural expectations of women’s behaviors and goals and defines expectations of “goodness” for women. Power belongs to men in “Cinderella”, and it is depicted as a female ambition and goal. The storyline describes the rise of the submissive haracter to becoming a Princess; she is portrayed as a passive character who waits for the Prince to come for her. While waiting for her Prince Charming she also bears the mistreatment from her stepmother and stepsisters. While masculine power is taken for granted in the figure of the Prince, becoming his wife is the only way women have to share this power. The

Fairy tales are timeless entities that will always be relevant in people’s lives. Fairy tales and stories offer entertainment, advice, and moral examples. The creation of fairy tales is important in the development of social norms. Children everywhere would read fairy tales and learn from them. As a result, these fairy tales are translated into multiple languages and allows people with different backgrounds to understand and relate to the story. People take these stories and adapt them to life around them. Within these adaptations of the same story, it is normal to observe slight differences that contribute as evidence in identifying the culture or societies in which these stories come from. Whether it is the slang of the dialogue or the change of location, modern producers and writers are known to take these classic stories and adding a significant twist to adjust to their cultural agenda. The movie, The Princess and the Frog, is a modern example of writers and directors creating a modern twist to the popular story of the Brother Grimm’s The Frog King. The Princess and the Frog and The Frog King both encode the mores, values, and beliefs of the cultures of the societies from which they come because, even though they both have similar plot ideas, the differences of the location and the differences of the overall specific plotlines attribute to understanding how their own specific cultures influence the adaptation and the actual story.

Bartels explains that wives often let out their stress induced, pent up anger on their husbands. He uses his own life and instances he has experienced with his wife to support himself. He describes his wife as tired, angry, and wanting to take that out on him (Bartels 58). Bartels has experienced this spousal anger firsthand, giving him credibility to write about it. He understands how the cycle of spousal anger works. However, his lack of other means of support makes his article fall short in some areas. Whereas telling a personal story may appeal to one reader, it may not appeal to the next. Bartels lacks a balance of logical and emotional appeal. The emotional appeal that Bartels uses is successful, though. He says that at times his wife is so negative that is “threatens to grind [his] spirit to dust” (Bartels 59). This use of emotional language is well executed because any reader will either be able to relate to him or feel sorry for the situation he is in. However, some women may sympathize with him less as they take the side of the wife in his story. His stance is flawed because he comes at this argument at an obviously subjective position. Bartels overlooks the idea that many women will not feel sorry for him if they disagree with what he has to say.

Many parents/caregivers today may ask themselves if their little girls may be growing up too fast? Are they becoming little women too soon? Stephanie Hanes wrote an interesting and valid article “Little Girls or Little Women? The Disney Princess Effect, “ which argue that many young ladies today in age may be impacted by Disney Princess regarding their life expectations. The author talks about the issues of young girls feeling the necessity to mature sooner rather than at a timely matter.

In Peggy Orenstein’s article, “What's wrong with Cinderella?” she discusses the problems with princesses. The first problem being that princess merchandise is everywhere. Orenstein writes about when she took her daughter to the dentist and once the check-up was over, her daughter got a princess sticker. Princesses are embedded into a child’s everyday life, making a “princess” more of a way of living than a fantasy. To further this point, Orenstein mentions how even now, in a show that is supposed to be about teaching other languages, Dora the Explorer, has turned into Dora finding a fairy tale land where she becomes a princess at the end of her two part movie. This is only the beginning of the issues that are brought to attention in this article.

The effects of the portrayal of the princesses can be positive or negative. Young girls have become more imaginative by watching Disney films. According to Stephanie Hanes (n.p.), “’For 75 years, millions of little girls and their parents around the world have adored and embraced the diverse characters and rich stories featuring our Disney princesses.... [L]ittle girls experience the fantasy and imagination provided by these stories as a normal part of their childhood development’.” Also, children are encouraged to believe and hope. In most Disney movies, the characters convey the message that we can believe in true love (10 DISNEY MOMENTS THAT PROVE LOVE IS ALIVE AND WELL

This tale shows the consequences of a childish dependence clung to for a long time. The princess trusts her mother who then sends her off to get married. Because she was protected as a child she did not develop autonomy. She was very dependent on her parents. Her dependence is then shifted to her maid who robs her of her title. The princess fears the maid and goes along with

Westley, so he sets out to find his fortune so they can be married. A

Authors James Poniewozik and Peggy Orenstein are both concerned with the increase of princess culture among young girls. Poniewozik’s article “The Princess Paradox” and Orenstein's article “Cinderella and Princess Culture” discuss similar aspects of princess culture that could be potentially harmful to it’s audience. Both Poniewozik and Orenstein take on a feminist perspective in their articles. Specifically, both authors discuss feminist themes in princess culture but Orenstein focuses on toddler to pre-teen aged girls while Poniewozik is more concerned with specifically teenagers.

What young girl does not dream of becoming a princess and living in a castle happily ever after? Virtually every young girl identifies with princesses and has watched at least one Disney Princess movie. From the first movies of Snow White and Cinderella, to the later movies of The Little Mermaid and Beauty and the Beast, to the most current movie Moana, Disney Princess movies permeate not only the movie theaters, but also our culture. In fact, “becoming a princess is as easy as purchasing a tiara and hosting a princess-themed birthday party or buying a Halloween costume and playing pretend” (Garabedian, 2014, p. 23). Nonetheless, as declared by Princess Merida in the movie Brave, “there comes a day when I don’t have to be a princess. No rules, no expectations. A day where anything can happen. A day where I can change my fate” (Andrews & Chapman, 2012). In other words, does the life of a princess measure up to the expectations of little girls everywhere? The Disney Princess brand has grown incredibly popular, especially with young girls. In spite of this, the franchise has also become extremely controversial due to potential gender stereotypes in the films. “Gender is one of the most discussed topics in today’s society…[it] represents and also reproduces certain attributes, expectations and roles which are associated with male and female…influencing the views and opinions of future generations” (Maity, 2014, p. 31). Yet, is the Disney Princess brand harmful to young children due to gender stereotypes? Two essays that contemplate the Disney Princess brand and gender stereotypes with opposite viewpoints on this controversial issue are “Girls on Film: The Real Problem with the Disney Princess Brand” by writer Monika Bartyzel and “In Defense of Princess Culture” by writer and mother Crystal Liechty. However, Liechty’s essay “In Defense of Princess Culture,” is the most effective article in convincing the audience of her point of view due to the claim, support, warrant, language, and vocabulary employed.

In Sleeping Beauty, the Prince is portrayed a strong and courageous person, he can be seen as a great character because he overcomes many obstacles to be able to help the Princess survive. Although Sleeping Beauty is a fairy tale and is stereotypically more admired by girls, the masculine tale might be liked by the male population because they aspire to be the male hero. Maleficent shows the feminine tale and warns the girls that not men cannot be trusted in some cases, and that there is no need to have a man by your side. A woman can survive on their own using her own intelligence and courage to overcome any obstacle that she might face. For the female population, this change is very important because this “hero” story helps us relate to the character and our desire to do great and special acts (Seger 387). This film proved that a woman is capable of defeating evil, and brings a new perspective into Disney