Witch And The Wardrobe Heroism

Femininity is a concept whose attributes are contingent on the culture it is in—what one culture may consider typically feminine traits could largely vary from what another culture views as being feminine. While theater can sometimes subvert theses ideals and present women who function in ways that are not typically feminine, theater can often present idealistic representations of women who exemplify that culture’s ideals of femininity. Take, for example, the female characters in both Guan Hanqing’s Snow in Midsummer and Hroswit’s Martyrdom of the Holy Virgins. While both texts come from largely different cultural contexts—Snow in Midsummer was written in thirteenth century China for a general population whereas Martyrdom of the Holy Virgins was written in tenth century Germany as a closet drama—both texts have female protagonists whose rebellions exemplify feminine ideals of the respective cultures.

Macbeth by William Shakespeare brings about one of the most controversial topic of the gender portrayal in a play. During Shakespearean times, women were considered as the weaker sex, physically and emotionally. On the other hand, men were seen as the dominant sex that is expected to be the head of their households and a strong figure. Unlike this stereotypical representation of men and women, Shakespeare introduces the reversal of gender roles in his play. Shakespeare’s portrayal of the relationship and characteristics of Macbeth and Lady Macbeth diverged from the stereotypical representation of both men and women. The author, William Shakespeare’s use of reverse gender roles which contradicted with the traditional gender roles, is what

In both Goblin Market and “The Bloody Chamber”, women face objectification as pornographic objects whose solitary purpose is to be a man’s appealing possession. Evidently, the objectification of women impacted the way each author constructed their texts. Feminist movements aiming to undermine these rigid female and male roles are prominent in the time period of both literary works. Both Christina Rossetti and Angela Carter use strange worlds to differentiate from the typical fairy tale’s predictable conclusion and instead make a statement through the use of a female heroine. Both literary works contrast the archetypal idea that a man must always be the savior

The folk tale of “Little Red Riding Hood” has numerous variations and interpretations depending on what recorded version is being read or analyzed. “Little Red Cap,” by the Grimm Brothers, and “The Grandmother,” as collected by Achille Millien, are different in numerous ways: the depth of the narrative structure, characters involved, length – yet, the moral lesson is largely unchanged between the two versions. One of the more glaring differences between the two versions is the way that the narrator and the actions of the characters are used to describe the young girl, female, and the wolf, male. Being either female or male are matters of biological makeup. The characteristics of femininity and masculinity that are associated with being

Often females are made to believe that men are more superior in society and are regularly associated to being brave, heroic or courageous. This is a theme that

In modern day times the hero has always been a male, especially during the 12th century where gender stereotypes of men and women greatly existed. At least that’s what we all have been accustomed to believe. Not to mention in movies like Hercules, Twilight, Titanic, and even in Cinderella all men are the heroes of course. However, “Lanval,” a 12th century lay, composed by a woman by the name of Marie De France, during a time when woman did not write or even have rights, contradicts the beliefs of all to prove otherwise. Not always are men “Superior.” Not always is the man the “hero” in the

In fairy tales the hero is often the male. Women often succumb to their naivety and are left to rely on men to be rescued. Furthermore, domestic duties are present in many tales. For instance, in Cinderella, although she is incredibly brilliant and beautiful, she is reduced to a house servant for her evil

Fiction is often thought of as being “fake” or “false” interpretations of real life. While the people and events that occur in fiction are generally imagined, the most successful of these works appeal to audiences as being realistic to some extent. An example of this imagined interpretation of reality in fiction is the portrayal of women. One association given to women of many genres is that of the needy damsel. With that said, examples of heroism and wit have grown over time, adjusting with the trends of feminism today. While women are often considered delicate and in need of protection in fiction, across the genres of gothic, science and mystery, there are also many depictions indicating the contrary.

The roles of masculinity and femininity dominate our society, and remind us that while we may place ourselves into certain boxes, life is not always black and white. When thinking of genders, we associate certain things underneath being male and female. When we think of women, we picture a loving, caring individual. One who is responsible for the household in addition to keeping her husband happy. When we think of men, we picture a strong individual who is fearless. One who is powerful and brave who is also capable of providing for his family. As a cause of centuries of conformity to these assigned gender roles, we have been taught to believe that a brave woman has no place in our society,

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 to write about the hero’s journey, I must first research what the journey usually entails in order to understand what a hero is often faced with and whether or not gender of the hero will affect the journey they must complete. Fantasy often “borrows the theme of quest” in order to explore ideas around ‘power’ (Kilian, 2007) which is always at the heart of the hero’s journey. Joseph Campbell outlined the hero’s journey, referring to the hero throughout as a ‘he’. Within his description, he implies that the only role a female character can take within the hero’s

Folktales are a way to represent situations analyzing different prospects about gender, through the stories that contribute with the reality of the culture in which they develop while these provide ideas about the behavior and roles of a specific sex building a culture of womanhood, manhood and childhood. This is what the stories of Little Red Riding Hood of Charles Perrault (1697) and Little Red-Cap of the Grimm Brothers (1812) show. This essay will describe some ideas about gender in different ways. First, the use of symbolic characters allows getting general ideas about the environment in the society rather than individuals. Second, it is possible to identify ideas about gender from the plot from the applied vocabulary providing a

In well-known fairy tales the males and females characters are often portrayed in the same light. The male characters are often described as the hero with strong masculine traits while the female characters are portrayed as the damsel in distress. Throughout the years fairytales have been casting the same stereotypes for their characters. In the story Beauty and the Beast the author de beaumont depiction of what an ideal woman is lays in Beauty. She is meant to embody the role of a feminine, humble caretaker, lover, and savior. The author depicts males as provider’s, however, it is clear that the men in the story are dependent on a positive female figure for life. Beauty’s disappearance threatens both her father and beast with death, symbolizing

Folktales has created men as the most powerful character in most stories but that does not mean always as there’s a difference in Grandmother’s tale and Little Red Riding hood. Different genders have different expectations according to their characteristics. The Red Riding Hood and Grandmother’s tale has produced ideas such as how a girl’s life is looked upon in the past and how the male has the upper hand in most situations according to the stories. This essay will argue about how the girl’s gender played a major role in the context of the story and how the wolf is represented by a male character and why the male is not always the most powerful character in all stories and the comparison

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