Both Cinderella’s mother and her stepmother were devoted to their children. Both of them had the same goal of getting their daughter married to the prince and both of them were willing to go to any extreme to reach their goal (Panttaja, 2008, par.2). Both Cinderella’s mother and her stepmother were in a way at war and both were willing to do whatever it took to win. Both wanted the status and wealth for their daughter. Cinderella’s mother had a secret weapon, her magic, which she used to make sure that Cinderella was successful in marrying the prince.
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.
5/25/2011 Enc1102 “ Bonfire of the Princesses Analysis” Barbara Ehrenreich is the author of the article “Bonfire of the Princesses.” In her article, the author points out how Disney has been over marketing their princesses to girls, and how Disney’s princesses are bad role models for children. She points out that everything on Disney’s product line is there to draw your child in to the princesses. While stating these points in her article she is trying to convince readers that Disney and its marketing is bad. Ehrenreich is effective with her appeal by getting the readers emotion and making them want to side against Disney; and also by getting the reader to think about if Disney should have as much credibility as it does with people. The
Charlotte Perkins Gilman’s literature is based on women’s issues. She wrote fiction mainly depicting her social ideas. In her works, she portrays women struggling to achieve personal autonomy, adapting to independence, and challenging accepted images of women. In her novel Women and Economics, Gilman argues that women need to change their identities in society in order to be equal to men and become part of the world’s evolution. In addition, her novel Herland depicts women at their true, full potential in roles equal to men.
How does Hardy portray women as not having the same rights as men in Tess of the d’Urbervilles? By structuring Tess of the d’Urbervilles in the way that he has, in seven phases, Thomas Hardy has created a character that almost defies classification. Margaret Higonnet said that Tess is a “patchwork of cultural stereotypes” (dutiful daughter, child of the Earth, mother, doomed bride, princess in disguise, prostitute, etcetera), which the critic Ellen Moers complained formed “the all-purpose heroine”. I however believe that Hardy has purposefully created a literary figure that is representative of women of all ages and classes. Every female reader would, at some stage of Tess’ development in the novel, find at least some aspect of the character that they can empathise with.
Millay uses the word “distressed” as a connection to the concept that all women are helpless; hence the familiar expression “Damsel in distress” originated in the Arthurian Legends and the idea of chivalry. In this way Millay expresses her detest of the common association between women and inferiority in a clever and innovative fashion. “By all the needs and notion of my kind” (line 2), Millay again mocks the general assumptions made
A Response to “What’s Wrong With Cinderella?” In the article “What’s Wrong With Cinderella?,” written by Peggy Orenstein, one mother explores the possible consequences mass marketed princess themed products have on impressionable young girls. As a self proclaimed “feminist mother”, Ms. Orenstein struggles with the meaning of ‘Princess’ thrust upon girls as young as age two. A meaning, that may include traditionalism and perhaps old-fashioned ideas, that is alive and well in the stories that are the Disney Princesses. Is one trend so popular and so dominant these young girls feel they have no other choice? At any given time, approximately 25,000 Disney princess products can be found on store shelves, with more released every day.
“Unlike the narratives favored by psychoanalysis, which are about maternal absence and disempowerment, this tale tells a story about a strong mother/daughter relationship that shape events.” (660). Cinderella’s mother, ultimately, helps Cinderella find a husband. Cinderella’s mother and the step sisters’ mother, in the end, want the same thing. They both want to find their daughters the “right” man, but Cinderella’s mother comes out on top. Yes, Cinderella and her mother ended up on top but not while being morally sound.
These will include the evil step mother and Cinderella from Cinderella, Cruella De Vil from 101 Dalmatians, Mulan, Snow White and the evil step mother from Snow White. Presenter: Traditional Disney films will portray female characters one of two roles. She will either portray the pure and innocent damsel/princess, who is domesticated and in distress and in need of rescuing by her ‘prince’. This is a clear motif within all ‘princess’ Disney films, including Cinderella and Snow White. The other role that females take is the evil, jealous, vindictive woman who wants revenge, evident with Cruella De Vil and the ‘evil step mothers’ which are shown in many of the Disney films.
Fairy Tale Stereotypes in Anne Sexton’s “Cinderella”: Raggedly Ever After Anne Sexton’s parody on the age-old fairy tale “Cinderella” provides insight into the stereotypical characteristics that are ingrained into the minds of millions of children, characteristics that govern the perception and definition of both men and women. These fairy tales distort the way in which young children view the world, encouraging them to fit their lives into these storybook candy coatings. Girls make every painstaking effort to become either the dainty princesses longing for when their chivalrous princes will come or the obedient maids taking care of the household because these are the heroines’ roles just prior to reaching eternal happiness. In contrast, boys strive to become the “knights in shiny armor” who undertake a daunting quest to save the kingdom or the heroic gentlemen destined to be the kings of vast and wealthy realms. 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.