In the poem, the speaker states the girlchild has “wee lipsticks the color of cherry candy” (4), showing that she already wants to alter her appearance. As children grow into young adults, they become aware of outside judgments; as the girlchild was made aware in the poem. “Then in the magic of puberty, a classmate said:/ You have a great big nose and fat legs” (5-6). Girls are pressured into looking the way media portrays beauty. Unfortunately, outward appearances take on a more important role than other characteristics to teenage girls.
"Walt Disney's 'Cinderella,'" adapted by Campbell Grant, is the Little Golden Book adaptation of the Disney film. "Cinderella," by Anne Sexton, is a poetic retelling of the "Cinderella" tale that exposes the artificiality of the fairy tale. The last version, written in 1976, is John Gardner's "Gudgekin the Thistle Girl." After the variants, in "'Cinderella': A Story of Sibling Rivalry and Oedipal Conflicts," Freudian psychologist Bruno Bettelheim analyzes "Cinderella's" hidden meanings and asserts that the tale appeals to children because it focuses on the sibling rivalry many children feel at a young age. A Jungian analyst, Jacqueline Schectman, examines the tale to find a sympathetic Stepmother in "'Cinderella' and the Loss of Father-Love."
The author uses different adjectives to describe to the reader the appearance and personality of Curley’s wife. The fact that Steinbeck refers to her as “A girl” may show her immature desire for attention, and the fact that she wore mainly red symbolizes blood and danger which also hints to the reader that she is a mesmerizing but dangerous woman. Curley’s wife was “heavily made up” which suited the description that Candy gave to George – a tart. However, this may symbolize that she is wearing a mask and is not showing her true persona, and we find that later on in the novel she truly reveals herself to Lennie. This enforces the idea that unlike Lennie, she is a complex character in the novel.
Stories about princesses are read to little girls, while stories of dragons and swords are read to little boys. This socialization of gender roles is reinforced through the family, media and education system. Children in the Hispanic culture learn at a very young age that there are differences between boys and girls. This idea permeates daily life and is encouraged b parents, peers, school, and the media. Little girls learn that they are supposed to like dolls and pink, while little boys learn that they are supposed to like trucks and the color blue.
Fairy-tales employ their pedagogical characteristics to underline hegemonic principles and values of the specific context they were written in. The Brothers Grimm’s 19th century fairy-tail, Rotkappchen, follows a young girl whom disobeys her mother and strays from the path after encountering a wolf on the path to her Grandmother’s house, but after being eaten by the wolf, she is saved by a hunter. Composed for Christian children of the growing middle-class audience during the Industrial Revolution, the need for obedience and discipline was essential to maintain stability, this socialisation is demonstrated in the mother’s imperative, “take this piece of cake… be a good girl”, establishing a perception of right and wrong, simultaneously instituting archetypal roles of household members. Afterwards, the wolf persuades the heroine, “you are marching along... when it is so jolly out here”, revealing his wicked nature by suggesting a breach of work ethic, subsequently foreshadowing an ominous ending for the heroine. Moreover, the wolf’s villain archetype and savagery is evident in the
Think of it as a candle, once you melt that candle there is no way to put it back together. This is true for both of the stories. In “The Rocking Horse Winner” the mother’s greed for money forces her son Paul to find ways to get more money in order to try to win over her love and attention. In the very beginning of the story it described a mother who “had bonny children, yet she felt they had been thrust upon her; and she could not love them (Lawrence, 162).” The mother was always good at showing a respectable image to her friends about how she felt about her children though. It states that her friends say “She is such a good mother: She adores her children (Lawrence, 162).” Paul is determined to win his mother’s love by gambling and goes on a “mad little journey (Lawrence, 165)” in order to try to prove to his mother that he is lucky and she could love him.
Eddie Carbone and his wife Beatrice have brought up Eddie’ s niece Catherine like their own daughter. Eddie is a kind but strict guardian. He loves his niece but wants to be in control. In the first scene, he tells her that her new clothes are too sexy, then that she can’t take the job she wants. He tells her that she is acting in a way he doesn't approve of, he says that she is ‘walkin’ wavy’ and that this is making men notice her and ‘their heads are turning like windmills’.
Companies, such as Disney have twisted, tangled and tweaked the original stories to please the targeted audience, hence where our happy endings come from. My personal favourite fairytale when I was little was Cinderella. However, the genuine story originated in the 1st century BC, where Cinderella’s name was actually Rhodopis. The story was very similar to the modern story with the exception of the glass slippers and the famous pumpkin. But lurking behind this pretty tale is a sinister twist.
Mother Courage and Her Children: Act 7-9 – How is Kattrin in these scenes characterized and the “Song of the Temptations of the Great” reveal Brecht’s view of virtues? In the play, Mother Courage and Her Children, various virtues are mentioned throughout the play. Early on in the play, even Mother Courage herself predicts her children’s death due to their respective virtues, showing that virtues are deemed a liability in war. Eilif will die for his bravery, Swiss Cheese for his honesty, and Kattrin for her kindness. Kattrin is portrayed as a character that is different from the others, as she is the only character of pure intentions, but all the more, she is disadvantaged and still suffers a similar fate as her siblings, as revealed in proceeding scenes.
An old lady has just told me that I speak exactly like Queen Victoria. (Shaw67)” This is a key moment in the play, because the reader can see Eliza’s true desire to ultimately fit in with the elegant women of the higher social class . Before this moment, Eliza wanted to be compared to the queen, but now she realizes she sticks out for, in her mind, the wrong reasons. Prior to her metamorphosis Eliza was alienated by society for her barbaric nature, but after she learns the importance of phonetics she is once again alienated for being exceedingly eloquent. This is ironic because the once poor uneducated flower girl has surpassed the social status of the women she once envied.