Orenstein then sets out to explore the possible answers to her daughter’s question. The princess “trend,” Orenstein tells us, has taken over the media, jumping from $300 million in revenue in 2001, to $3 billion in revenue in 2007, with Disney producing over 25,000 princess-related items, which she finds overwhelming. The princess craze, however is not limited to Disney as Orenstein learns; it also expands to Barbies, Dora, and Club Libby Lu. Orenstein worries how this craze will affect gender stereotyping because she thinks maybe this preoccupation will “undermine girls’ well being” and be “perilous to their [the parents] daughters’ mental and physical health” (327). But then again, she realizes maybe this obsession is a “sign of progress” (328).
Tiana gets mistaken to be a princess, by Naveen the prince because of her costume. Naveen was turned into a frog by the voodoo man Facilier, he asked Tiana to kiss him to turn him human again. Instead of turning human Tiana also turned into a frog also. Then they go on the search for a good hearted voodoo priestess who they believe can break the curse. Mama Odie tells Naveen and Tiana, that Naveen must kiss Charlotte before twelve for she is the Mardi gras princess.
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).
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. Women could “kick-butt”, and we watched these movies where the women were portrayed as the hero’s. Before that, the fairy tales were pretty much the “back-in-the day” old fashioned versions where the princess was an innocent being who got rescued and swept off her feet by her prince charming. The author explains that drastic change that has occurred, and if you think about it, that is pretty drastic, going from a helpless innocent girl who gets rescued from her dull or evil life by her prince charming. Then it altered to where the “princess” was then a hard core very strong and good fighter who could easily defend herself.
Gretchen and Karen are Regina’s faithful minions who will do whatever it takes to stay in her good graces. They sabotage Cady’s Halloween party; bleach Janis’ hair and destroying the infamous burn book. By going through all Regina’s tasks it gives them dominion over other girls in their school. Yearning for Octavia’s luscious locks, Arnetta possesses power over the other Brownies since Octavia and Arnetta are friends. Octavia’s mane makes her envied because it opens the door for her to become a part of the white girl’s world that is televised.
Andrew Rawlins Mrs. Bonham English 12 ACP 12 October 2012 Too Much Princess In both The Princess Paradox by James Poniewozik and Cinderella and Princess Culture by Peggy Orenstein the authors suggest that there is an over exposure of princess themes to young children and that they have many different effects. Poniewozik offers evidence from Hollywood and different movies that have been released with an underlying princess theme to them. Then, Orenstein takes the approach from the social aspect stating that young girls are thought of being “princesses.” Although both of these authors have the same underlying claim, their approaches are very diverse and one author is much more effective in supporting their claim than the other author. Poniewozik,
Cinderella ends up getting the prize (marriage to the prince) based on looks alone. Most fairy tales follow this general concept: pretty girls who don’t do much get the prize in the end. Lieberman also argues that for boys, it is the bold and active ones that win whatever prize is available, which follows the ideas of traditional gender roles. Lieberman makes a strong point throughout her essay that, “Marriage is the fulcrum and major event of nearly every fairy tale” (325). What Lieberman is trying to stress is that fairy tales always have an emphasis
To make her argument more effective, she talks about a woman named Mary Finucane and her person experience with her daughter. She also uses statistics and similar studies on her topic. Using subtitles made the reading more understandable and easier to follow. This article and argument provides evidence on how young girls are acting older than they should and how they reduce this problem. Hane’s starts her article by talking about Mary Finucane and how she noticed a change in the way her daughter acted after she discovered Disney princesses.
Has Anyone Seen My Shoe? As we like to think of them, most fairytales are the stuff of which dreams are made. Usually, the heroine is a beautiful girl who faces many struggles, but by the end of the story, she gets the handsome prince, and they live happily ever after. This was the case in the 1950 animated production of Walt Disney’s Cinderella, as well as Rodger’s and Hammerstein’s 1965 television musical Cinderella. In “Cinderella,” poet Anne Sexton presents a cynical viewpoint of fairytales and of life lived “happily ever after.” “Cinderella” begins with a litany of stories on the “rags to riches” theme; stories that would have you believe the participants lived happily ever after.
Parents tend to spend less time reading with their sons, and the mother is usually the reader which makes boys think that reading is feminine. Boys tend to form anti-school subcultures, which means they adopt the norms and values of traditional masculinity. Messing around helps their status within the group. Francis says that