OUTLINE Bram Stoker uses the women and their sexuality in the novel, to portray the changing society. I. Introduction II. Victorian Women -Written before the suffrage movement of the early-mid 20th century -male dominance over women -Women were not to be sexually leading -Conservative society - In the mind of society, females did not have a sexual drive - Unnatural- evil - Victorian standards - III. The Weird Sister -The three mistress vampires -encountered in Dracula’s castle represent all the qualities of how a woman should not be; voluptuous and sexually aggressive IV.
This reversal of gender stereotypes and gothic conventions is used often in Carter’s work. In the Bloody chamber, it seems that although she has adapted gothic conventions into a modern way, presenting females as the more powerful characters than men, she also retains some of these typical roles in some of her stories. The lady of the house of love would be an immediate example of how Carter creates a role reversal that differs from the typically valued places in gender. Carter creates the role of the ‘Femme Fatal’, with this dangerous woman that lives in the castle. This representation of the woman as powerful differs from the original expectation in a gothic novel, as the woman would usually be portrayed as weak, and in need of saving.
In all three of Louise Glück’s poems, Gretel In Darkness, Mock Orange and A Myth of Devotion (see poems below), she is taking a traditional story and twisting it into a new tale. Gretel in Darkness published in 1971, Mock Orange published in 1985 and A Myth of Devotion published in 2006 are all about the myth of devotion itself. Attachment, loyalty and commitment are addressed as distortions of truth in these poems, with a voice that is mocking and cynical. In Gretel In Darkness, we hear the screech of a witch burning in the flames. In the Grimm’s fairytale, the witch’s death is a triumph because the children she has killed or tried to kill, like Hansel and Gretel, return home alive.
The wolf follows the lord back and saw his former wife with her new husband and attacks him. The husband was saved and the wolf’s clothes were returned. The wolf changed back into a human, then he and his wife had many noseless children. Many parts of this poem showed the creative and the silly side of Marie de France’s
So the wolf pack went back to their cave, where the she-wolf gave birth to her young. But hunger had reduced the poor puppies to skin and bone, and afterwards they died, except for one cub, a little gray wolf. One day an emergency case had happened, as the cub and she-wolf were caught by the Indians. It was precisely the Indians, who gave the names to the wolves as Kiche and White Fang. They became the dogs of Gray Beaver.
Until, at the ending one finds out Lady Bertilak was tricking Gawain, the whole time. The two stories, Le Morte d’Arthur and Sir Gawain and the Green Knight, compare because one would get the idea to never trust woman, although Lady Bertilak was just tricking him, but, in d’Arthur, Guinevere actually did have an affair with Lancelot, giving King Arthur the right to say, “Never Trust Woman.” At the time, in medieval times, men had the idea of anti-feminism, which is why woman were less dominant; why woman were more scandalous, because they felt the need of having their own
A young girl is deceived by a wolf, leading to the death of the young girl and her grandmother. ‘The wicked wolf threw himself upon Little Red Riding Hood and ate her up’. The combination of storyline and the side-moral acts as a moralising force to emphasise the need for safety and trust for the responder.
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
Re-Visioning Women in Angela Carter’s “The Company of Wolves” Angela Carter’s “The Company of Wolves” serves to re-vision the age-old traditions of the fairytale, Little Red Riding Hood, by repurposing it into highly symbolic literary erotica. Newfound sexual suggestions made in this retelling highlight the new meaning of being a woman by means of man’s dual purpose as danger and desire, Little Red’s carnal empowerment, and her poor old Granny’s ultimate state of being. In the original tale, Little Red Riding Hood, Little Red encounters two males, one being her savior, the huntsman, and the other being a threat, the wolf. With no other position to be filled, Little Red furnishes the story as a void, as the domestic woman. Carter’s re-vision combines the man and the wolf literally into one character, the werewolf, and metaphorically by presenting “Little Red” in opposition to both ideas the two individually provided, danger and desire.
A Critique of “‘Cinderella’: A Story of Sibling Rivalry and Oedipal Conflicts” The classic, world recognized fairy tale, Cinderella, is a story that may seem only to appeal to certain aspects of a juvenile mind. However, Bruno Bettelheim, author of “’Cinderella’: A Story of Sibling Rivalry and Oedipal Conflicts”, delves deeper into the fable. The author argues that the main characters in the story portray the horrific and troubling experiences of sibling rivalry. Not only that, but he also discusses the psychological disturbances that accompany the burdens of being an unappreciated sibling. Using numerous examples and details, Bettelheim is able to create a logical analysis of Cinderella.