Lieberman’s point is that fairy tales make beauty the basis for which reward is given, not intelligence, work ethic, or anything else a radical feminist would see as an asset. Lieberman also stresses that in popular fairy tales, beauty is associated with being kind and well-tempered whereas ugliness is associated with being ill-tempered and often jealous. This can be easily shown in one of the most popular fairy tales of all—Cinderella. In this, Lieberman argues, Cinderella is oppressed by her cruel, ugly stepsisters and stepmother who force the kind, beautiful girl to do all the chores in the house. Cinderella ends up getting the prize (marriage to the prince) based on looks alone.
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.
Whitney Slusser Mrs. Sherrow ACP W131 December 2, 2010 Summary Final of “Cinderella: Not So Morally Superior” (Panttaja 644-647) In her article, “Cinderella: Not So Morally Superior,” Elisabeth Panttaja (644-647) argues that Cinderella is not the motherless, good hearted, and honest character that she is portrayed to be. Panttaja believes Cinderella’s mother has a main role in the story, and that Cinderella is a lying, deceiving, and serpentine character. In almost every Cinderella story, Cinderella is thought to be completely absent. However, according to Panttaja, her mother plays a key role in Cinderella’s future, and in the story’s moral. Although Cinderella’s mother seems to be dead, it is she who holds the most power within the
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.
Ghazala Noor Hist 117A U.S. History: 1600-1877 Monday 6:00 – 9:10 Was the Salem Witchcraft Hysteria a Product of Women's Search for Power? The two articles in this Issue seek to answer whether the witchcraft hysteria was a product which helped women get power or not. Lyle Koehler is the more persuasive author arguing: yes it was a product of women search for power. In the past, at sixteen to seventeenth century, women had no rights like men, they fought for their rights; however, they didn't get freedoms till the nineteenth century. The most plausible reasoning for the Salem witch trials was that the women were trying to show social equality and they wanted to seek attention.
If she were strong and independent, she would end up alone. If she wasn’t subservient, she would end up an old spinster. Yes, the prince will save her, not from drowning... but from being alone! As far as the story went, she remains a princess, never becomes the
“Where Are You Going, Where Have You Been?” Evoked Female Identity During the 1960s in America, where phallocentrism is still ruling society, many social problems caused younger people to be unsatisfied with reality and to become rebellious. In Oates’s story, the character of Connie is affected by patriarchal oppression. Oates gives Connie an independent identity while using her mother and sister as opposite characters to reflect her uniqueness and to let the reader understand the female identity. Connie's mother and sister portray typical females under patriarchal oppression. In the case of Connie’s mother, she rejected Connie’s attitudes because it often went against the patriarchal society's code of conduct.
As such, it moves beyond the scope of one's own interests and takes into account the interests of others.” (Cavalier, 2002) With the Women’s Rights Movement, there were a lot of pros and cons that can about, mostly positives. Women are now seen in a different light after a long deliberation and fighting. Most of the country is more so scared of the fact women are rising from the wood works. They are taking charge of positions and moving on and changing this societies culture. Culture is the “particular ways of belief in society and ways of life; a way of thinking, behaving, or working
At its core, Ella Enchanted is a novel that champions female independence; Levine expresses this by granting her main character the gift of agency, exposing the patriarchal alienation that underlies the convention of romantic folklore, and by changing the standard of what it really means to live “happily ever after.” Ella Enchanted is the story of Eleanor (Ella) from Frell who, at birth, is given a “gift” in the form of a magic spell by an amusingly misguided fairy named Lucinda. The spell dictates that Ella obeys every direct command she is given, and that she must also keep this condition a secret. It is in this way that Levine addresses the “burden of obedience” suffered by many of the women in similar tales before Ella (Carbone 1). The difference between these women and Ella, is that Ella’s predecessors don’t seem to have a problem with their own acquiescent nature. According to Mirsadjadi, Levine wanted to
While the battle for equality in political positions in government grows, the challenges that women face are no where near as bad as those that women in the 19th century had to undergo when women had not representation in government at all. Women today still face social challenges, especially in the workplace, in perceptions of gender roles and in education; however, they are nowhere near as bad as those that women in 19th had to suffer through. Women from the 19th century had very limited job