"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."
In the critique Cinderella: Not So Morally Superior, Elisabeth Panttaja critiques a version of a Cinderella story, Ashputtle, by Jakob and Wilelm Grimm. Panttaja goes in depth about hidden details of Ashputtle and how Ashputtle is not actually motherless, and the real mother is behind all the magic. Even though Panttaja states that Ashputtle’s real mother is violent and evil, she is actually a sweet, godmother like person. Panttaja argues that even though Ashputtle does not have a real living mother, the hazel branch, given to her by her father that she planted at her mother’s grave, which grows into a tree, acts as her mother by taking care of Ashputtle (Panttaja 659). The tree grants Ashputtle’s every wish; from her clothes to helping out with chores.
Sexton targets this concept of inequality--especially in the enormous gulf between female and male roles--to illustrate how fairy tales are far from “happily ever after.” In the introductory section of “Cinderella,” Sexton derisively conveys formulaic examples of “once upon a time” fairy-tale success stories. She generates humor by creating an outrageous disparity between the before and after in each case. For example, Sexton tells of such improbable transformations as “From toilets to riches,” “From diapers to Dior,” “From homogenized to martinis,” and “From mops to Bonwit Teller” (Sexton 1). Nevertheless, this humor mocks the perception that to be successful, a person must start out as dirt poor and by a stroke of luck, shakes the hand of Midas. Because Cinderella matches this model perfectly, it is, therefore, used as a stereotypical standard.
In Eudora Welty’s “Why I live at P.O.”, Sister, the narrator, tries to alter the viewpoints of the reader to shape their interpretations to match the bias and the animosity towards the family. People often allow their perceptions to be influenced by a self-serving bias that can jade the depth of reality. In her reality, Sister is the victim that gets ridiculed by her family especially her sister Stella-Rondo whom she harbors a jealousy. Sister claims her life was “fine” before Stella-Rondo shows up and interrupts everything. She describes Stella-Rondo be inconsistent and unstable based on her being spoiled when they were children.
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
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.
* Both Emphasize restraints and the opportunities for replay. * What the film emphasizes however is the fact that there are high stakes involved; victory will be represented by Manni's life Love * Hybrid nature of the film, describing it as post-modernist, punk, a fairy story or a crime thriller. * Lola is alienated by both her parents, rude awakening to her father’s mistress. * She is pro-active and authoritative while Manni is represented in a more static, pessimistic way, reliant on her to save him. * Distorts gender rolls by making Lola the hero and Manni the one who needs to be rescued.
The differences between the two are disease, and modern era’s attraction to good-hearted delinquents. In present-day, illness is common. Illness is a wide-ranging problem for families in present times. In the opening scenes of Disney’s Tangled the audience quickly learns that the queen has contracted an ailment. The queen’s dilemma permits the viewers to relate to the story.
The reader’s interpretation of these characters is how Nick sees them and describes them, which is why his protagonist role is very important in the way in which the story is told throughout the novel. Also from Nick’s narrative, in chapter 1we see that unlike Nick, Tom is very arrogant and dishonest at the dinner party, advancing racist comments, and also having public affairs. We get the impression that Daisy is very emotional and tries to appear “shallow” as she says that she hopes her baby daughter will be fool, because “that’s the best thing a girl can be in this world, a beautiful fool.” This is said because of the unattractive reality in the East Egg that Daisy’s husband, Tom Buchanan, is having an affair. In the final part of chapter 1, as Nick arrives home from the dinner party he sees Gatsby for the first time, reaching out at a distant green light at the end of a dock. At this moment in the story, Nick does not know the significance of this green light and what it represents, which gives Nick another reason to be intrigued by Gatsby, as well as his source of
Despite this difference, they are equally influenced by their mothers' philosophies, each sharing a desire to break away from their routine lives. Unfortunately, Hulga and Rose do not realize that what gives birth to this craving is also what makes them ill-equipped to handle the situations that set them on their individual courses of transformation. 2) The characterization of our protagonist Connie is vital to an understanding of her ripeness for seduction in Joyce Carol Oates' short story "Where Are You Going, Where Have You Been?" Connie's youth and vanity, coupled with her antagonistic relationship with the members of her family, effectively set the stage for her seduction by the older Arnold Friend. 3) In Flannery O'Connor's "Good Country People," the cynical, rude, and world-weary Hulga believes herself to be on such a high philosophical and intellectual plane that she is without illusion.