In this story Panttaja says it is both mothers that are wicked. Panttaja states the real mother “plots and schemes, and she wins” (Panttaja 660) when it comes to fulfilling the wishes of Ashputtle. But actually the two mothers have the same goal in mind; to have their daughters married off and have a joyful life. To be able to do this, the real mother puts a charm on the prince to make him fall in love with Ashputtle instead of anyone else. The prince did not dance with anyone else all night and would always say “she is my partner” (Grimm 630).
Lieberman’s point is that fairy tales make beauty the basis for which reward is given, not intelligence, work ethic, or anything else a radical feminist would see as an asset. Lieberman also stresses that in popular fairy tales, beauty is associated with being kind and well-tempered whereas ugliness is associated with being ill-tempered and often jealous. This can be easily shown in one of the most popular fairy tales of all—Cinderella. In this, Lieberman argues, Cinderella is oppressed by her cruel, ugly stepsisters and stepmother who force the kind, beautiful girl to do all the chores in the house. Cinderella ends up getting the prize (marriage to the prince) based on looks alone.
A Jungian analyst, Jacqueline Schectman, examines the tale to find a sympathetic Stepmother in "'Cinderella' and the Loss of Father-Love." The chapter concludes with "Cinderella's Stepsisters" by Toni Morrison, which focuses on the evil women inflict on each other and appeals to women not to treat each other with enmity but to nurture each
(629). The doves once again come to Ashputtle’s aid but in the end the stepmother breaks her promise and Ashputtle is not allowed to go. (629). Once everyone leaves to the wedding, she goes and weeps at her mother’s grave. There, Ashputtle asks the hazel tree for a dress, “to throw her down silver and gold”.
The Princess Paradox Critique Alexandra Heinrich May 2012 English 120 In the article “The Princess Paradox” By James Poniewozik the author explains how “modern day” Cinderella stories have came a long way from what they once were. Although, no matter how hard we try, the Cinderella story will always end the same and our young girls will always want to be a princess, no matter how the princess is portrayed in the fairy tail. In this article, Poniewozik explains the changes that have occurred in the princess stories throughout the years, and the way that they have changed from one story to the next. He shows how the fairy tales and ideal women in movies went from being just a few years ago the “girls-kick-ass culture” to now the much more elegant fairy tales. A few years ago there were movies such as his examples “Charlie's Angels, Crouching Tiger, Hidden Dragon, and the Powder Puff girls” Where women were very fierce and self defendant.
Lakisha Slaughter September 16, 2013 English 102 Dr. Fierce In the article “What’s wrong with Cinderella” Peggy Orenstein’s views are that of a mother and of a feminist. Orenstein raised several concerns regarding the mental and physical control brought upon the younger generation in which she contradicts herself and assign blame. The writer claims that the princess-themed commercial products have distressing effects in shaping young female generations’ outlooks as well as their qualities. Orenstein uses her daughter as the example in the article.
The dentist asked her daughter if she wanted to sit in the “special princess throne.”She then goes on about other times the princess label has been put on her daughter and about her frustrations with these situations. Then, her daughter asks what’s wrong with princesses? She makes references to real life princesses, and also she talked about the princess trend that has swept across the nation. She states her strong feminist beliefs and questions “what playing Little Mermaid is teaching her [daughter] (Orenstein 671).” She then briefly acknowledges the counterargument and moves on to discussing the start and instant success of Disney’s princess products. She quotes the founder of the princess products, Andy Mooney, when he says that boys pass through phases and so will girls with the princess phase.
Flaubert’s Madame Bovary describes the tragic life of Emma Bovary, an ordinary country girl who grew up to be a woman with false and idealistic visions of romance, love and wealth. In the first part of the novel, readers are introduced to Emma and gains an understanding of her childhood, her naive character and how her unrealistic ideals takes a toll on her physical, emotional and mental states. Flaubert reveals little of Emma’s character until after the wedding where she becomes Madame Bovary, and the reader starts to realize that unlike Charles, Emma already regrets the marriage. “And Emma sought to find out exactly what was meant in real life by the words felicity, passion and rapture, which had seemed so fine on the pages of the books.” (Flaubert 27) This is the first instance in the book where it is suggested that Emma is disillusioned about romance and discontent with her life. She often compares her own life with that she reads in books, without realizing how unreasonable her dreams and desires seem.
At the end, Lily finds out the complete truth about her mother who lived in the Pink house, and on the day that she died, she went to get Lily and to run away from T. Ray. Lily also learns that she did kill her mother by accident, forgives herself and learns to love her mother. I would improve the book by adding Deborah's ghost as she watches over Lily through the whole story, and how much she changes as the climax reaches its end. I would recommend this book to families and friends, since it has a very important life lesson. “The Secret Life of Bees” is, once again,
(23.86-87) Aunty sees the Finch name like an exclusive brand – it’s valuable when you can only find it at Bloomingdale’s, but make it available at Wal-Mart and it’ll seem cheap. Aunt Alexandra’s obsession with “What Is Best For the Family” (13.22) – in Scout’s ears, Aunty often speaks in Capital Letters Of Doom – is part of her more general way of classifying people by family heritage. Aunt Alexandra, in underlining the moral of young Sam Merriweather's suicide, said it was caused by a morbid streak in the family. Let a sixteen-year-old girl giggle in the choir and Aunty would say, "It just goes to show you, all the Penfield women are flighty." Everybody in Maycomb, it seemed, had a Streak: a Drinking Streak, a Gambling Streak, a Mean Streak, a Funny Streak.