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Gender roles in fairy tales
Gender roles in Literature
Gender roles in fairy tales
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Shrek
Rescue of Princess Fiona
In traditional fairytles, such as 'Snow White', traditional ogres and
princesses are enemies by nature. in traditional fairytales it is the
prince who slays the ogre and marries the princess to live 'hppily
ever after' ; they are enemies. Traditionallly thee is good and evil,
ogres are evil (wiched, heartless and violent) unlike princes and
princesses who are goodwilled, noble and kind.
Stereotypical ogres seen as 'beasts' are those who live in the wild
and slaughter animals as they please, it doesn't matter because they
only care for themselves. Stereotypical princesses are seen as
beautiful, elegant and fragile. A startling sight only worth to be
married by royalty.
In comparing, the characters of Shrek to the giant from Jack And The
Beanstalk, they are very different. But one thing they have in common
is that they both live alone because they are feared. But it is the
giant who is the killer and will 'grind your bones for bread'. Shrek
is a sensative charater with his 'layers' and the giant is not. Shrek
has been given a true love by fate, while the giant falls to his death
from the beanstalk.
Snow White from sleeping beauty eats an apple poisoned so she would
sleep for eternity until she is awoken by the kiss of her true love, a
prince. Comparing Lord Farquard to a traditional prince, the prince is
the one to be favoured above Lord Farquard becase Farquard is selfish,
short, evil and stubborn. The prince of Sleeping Beauty marries her
for love, Farquard marries so he can be king and have his kingdom.
In the opening of this film there is upbeat pop music and Shrek is fun
and joyful, entertaining himself. Bathing in the swamp before brushing
his teeth, smiling, causing the mirror to crack. It is all very
comical, junk opera. Comparing this an opening of a traditional
fairytale, in a traditional opening there would be no pop music or at
all comedy but slow, dramtic music played on harps (maybe none at all,
The first scene of Shrek starts off with him in his swamp having fun to an upbeat track (All Star by Smash Mouth), which presents Shrek to be a laidback, peaceful character. After the opening scene, there were a bunch of nearby villagers, who have negative stereotypes about ogres, headed towards Shrek’s swamp to try to drive him away from there (Constructivism). The usage of stereotypes set a theme for the film, to never judge a book by its cover. Once Shrek met Donkey and Fiona, neither one of them assumed that because Shrek was an ogre, it meant he is an evil monster. In addition, everyone else in the movie does not call him Shrek. Everyone calls him “Ogre” instead, further confirming the stereotype. In another scene after Fiona goes into a cave at night to sleep, Shrek and Donkey have a conversation of the aftermath of their quest to rescue Fiona. Shrek goes off on a tangent about how people hate him despite not even getting to know him. Donkey shows an example of personal construct by telling Shrek that he never thought of him as an ugly monster. This scene shows the bipolar dimensions aspect, where people who never tried to know more about Shrek would have a default negative view about him. Donkey, who learned more about Shrek during their journey, does not characterize him as any type of villain and
... and Ragueneau’s arms Cyrano dies. Cyrano Lets his insecurity and love to kill him, and on his death bed Roxane and himself confessed there love for each other. It was too late for them to be together, but Cyrano got what he always wanted . . . Roxane’s love.
In conclusion, Shrek The Musical was a very creative and well produced play that I really enjoyed watching. The costumes, props, backgrounds and theme all helped in bringing the whole play together and to life.
... pain" he had previously endured. He is unable to mourn appropriately, but rather accepts his suffering as part of life. His ability to show true emotion, and love deeply, was torn away from him at the hands of the "merciless plague". Through these two characters we see an exception to the general rule. As aside from a small few, majority felt their potential to love was as strong as ever.
Many of the heroes possess similar tragic downfalls. Pride is usually the main characteristic that brings so many tragic heroes down. Pride was a main downfall that most heroes started with, and later, throughout the tragic, collected more. A combination of all of these cause the hero to eventually succumb to his final ending. Usually, t...
There exists no power as inexplicable as that of love. Love cannot be described in a traditional fashion; it is something that must be experienced in order for one to truly grasp its full enormity. It is the one emotion that can lead human beings to perform acts they are not usually capable of and to make sacrifices with no thought of the outcome or repercussions. Though love is full of unanswered questions and indescribable emotions, one of the most mystifying aspects of love is its timeless nature. Love is the one emotion, unlike superficial sentiments such as lust or jealousy, which can survive for years, or even generations. In the novel The Gargoyle, the author, Andrew Davidson, explores the idea of eternal love between two people, a union that spans over centuries spent both together and apart. Davidson, through the use of flashbacks, intricate plot development and foreshadowing, and dynamic characterization, creates a story that challenges the reader’s preconceived notions regarding whether eternal love can survive even when time’s inevitable grasp separates the individuals in question.
Love is often misconstrued as an overwhelming force that characters have very little control over, but only because it is often mistaken for the sum of infatuation and greed. Love and greed tread a blurred line, with grey areas such as lust. In simplest terms, love is selfless and greed is selfish. From the agglomeration of mythological tales, people deduce that love overpowers characters, even that it drives them mad. However, they would be wrong as they would not have analyzed the instances in depth to discern whether or not the said instance revolves around true love. Alone, true love help characters to act with sound reasoning and logic, as shown by the tales of Zeus with his lovers Io and Europa in Edith Hamilton’s Mythology.
...nd his own mortality. Yet as the anti-hero, he is a coward; he denies his mortality and accepts immortality. He lives within the pantheon of the gods yet by rejecting their societal rules, he is a thinking human mortal being. But as a mortal being he lacks the strength to change and recreate the New York pantheon. He is forever trapped within the walls of its mausoleum.
.... Once she bite the apple she fall asleep until the prince come to save her from the eternal sleep with his kiss.
Death and love: inseparable through the course of time, transcending the ages– both Emperor Hadrian and Coalhouse Walker Jr. face them, and while one gains conviction and a purpose, even if that purpose is ultimately his own death, the other declines, never seeing that the death of his love could possibly serve a purpose other than simple grief and mourning, never understanding that, with time and action, “the future [could] once more [hold] the hope of the past.” (Yourcenar, 176)
her own life and she either wanted to have sex or go back to sleep.
Shrek, an enormous, disgusting green ogre falling in love with a beautiful princess (later turning into a nasty ogre) is a perfect example of a stereotypical fairytale, right? Well in the movie Shrek, the voice over in the trailer talks about a “hero” attempting to rescue a “fair princess” with the help of “his trusty companion." Besides the fact that the hero is a voluptuous green ogre and the companion is a donkey, everything fits in normally to the definition of a traditional fairytale (Diaz). Also according to Mary Kunimitsu, in fantasy films “There may be characters with magical or supernatural abilities such as witches, wizards, superheroes, mythical creatures, talking animals, and ghosts” (Kunimitsu). In Shrek, there are many of these different characters. Therefore, by explanation, a traditional fairytale with the beautiful princess getting saved by the prince and falling in love is exactly what happens in the movie Shrek, just with a twist. The voice over in the trailer for Shrek states it perfectly as he says “Shrek is a highly irreverent take on the classic fairytale” (Adamson). As an untraditional fairytale, and a parody, the movie Shrek poses the breaking of stereotypes of gender and film fairytales all the while keeping the criteria of a fairytale.
"Disney Princesses: Classic Fairy Tales Or Gender Stereotypes?" Hartford Courant, 27 Aug. 2012. Web. 09 Dec. 2013.
The one thing that separates Beauty and the Beast from all the other fairy tales is that Beauty gets to know the Beast before marrying him. She lives with him for several months and gets to know him for what he is inside. He is not a prince that rescues her but she is a woman that rescues him. It is only when she professes her love for him that he is transformed. If it wasn’t for her love of the Beast from the inside he would have never been transformed and they would not have been wed. Yes, he helps her mature and become a beautiful, young women but it is her that causes the transformation.
Love is deep, intense, true and passionate, but all too often ends tragically seemingly to always leaving one person behind who carries the burden of the love. The stories I am comparing all have tragic love as a common theme. When exploring the relationship of young lovers Veronica and JD in Heathers, the passionate love of Ludmila and Theodor in Worthy, or follow the love story of John Keats and Fanny Brawne we get a glimpse of how each of these love stories ends in tragedy and how our survivors of those relationships deal with the aftermath.