Wilhelm and Jacob Grimm did not stray far from the previous depictions of witches, focusing mostly on wicked witches themselves. The typical witch in a Grimm fairytale was described as an old woman or a stepmother with no further elaboration. It was rare to find a detailed physical description of a witch in one of their stories as well. It is thought that this is due to the preconceived notion of society that those who are evil are ugly and those who are good are attractive. Behaviorally, the wicked witch is most often described as envious of one of the main characters, unloved, and an outsider in society. This is evident in the fairytale Sweetheart Roland. The wicked witch is a mother of two daughters, one biological daughter who is …show more content…
This is a defining aspect of the sitcom that was the first of its kind to approach such open-minded views regarding gender roles. It was through the guise of quirky comedy involving magic gone awry that tricked viewers into thinking about real feministic issues at hand in mid-20th century society. During the late-20th century and extending into the 21st century, American girls’ favorite teenage witch resurfaced with her own sitcom and brought even more enlightened ideas of feminism with …show more content…
However, when she turned 16 her aunts, Hilda and Zelda, revealed that she came from a long line of witches and would start developing her own magical powers. As mentioned earlier, Sabrina did not reflect real practicing witches of modern society, but the show did use magic as a way of approaching a feminist perspective on life. Sabrina’s character has a gender-blind view of the world, with her aunts as supportive role models, both wonderful examples of women who do not fit the traditional gender roles themselves. These sisters were very career oriented, Hilda an entrepreneur and small business owner and Zelda a scientists and professor, were in no hurry to be married off, and frequently voice that women are powerful, intelligent, and should never be denied the right to use all their power (whether magical or not) to its full potential. The tone of the show is best described in a paper by two female professors, projansky and Vande Berg that analyzed the show’s feminist features, “The show criticizes gender and other discrimination, emphasizes acceptance and equality on the basis of both gender and sexuality, and portrays Sabrina 's aunts as self-confident, independent and talented, and Sabrina as following their model” (ref). While these are all great things, the authors continue on to highlight aspects that actually reinforce culturally defined
. She claims that the proceeding force connected with lady as-witch in this combination creative ability handles the problem on the power that surpasses embellishment and design the particular discernment connected with witches and witchcraft throughout. Looking at these kind of queries could encourage selection that the mention of their imagination and prejudices attached to the particular "lady as-witch" idea that the current strain on females building in popularity can easily trigger anger these days. She slyly evaluates having less adequate traditional beliefs with regards to the part women performed inside creating our community, at a variety of instances.
A feminist lens analyzes how the female characters and their experiences are presented and explained in comparison to male characters (Lincoln School Providence). Merna Summers’ “The Skating Party” develops and demonstrates feminist themes in the ways in which the characters’ experiences, expectations, and lives are represented. Applying feminist critique unravels and deconstructs perceptions that shape and normalize the experiences of women in Willow Bunch while demonstrating the objectification and submission, standards of beauty, and ownership and empowerment that occur within the story.
In February 1692, the girls who were attacked by specters named three witches: Sarah Good, Sarah Osborne, and Tituba. Sarah Good and Sarah Osborne were rude and unpopular in the village, so it was easy to say that they are witches. Tituba was a maid from the Caribbean. Because there were rasistism then, she was considered a witch because of her race. When Sarah Good was on court, she claimed innocent, but no one believed her. The girls who were attacked by specters screamed in pain, ...
First of all, throughout many cultures, physical characteristics associated with witches ring strangely the same. Anthropologist Philip Mayer says that witches typically bear a physical stigma, like a red eye for example (Mayer 56). In the Brother's Grimm fairytale "Hansel and Gretel," the witch shares this same beastly characteristic. Also, people usually cast off as witches are typically always old women. In Slovakia, Milan Mramuch accused his elderly neighbor of witchcraft and allegedly beat the old woman to death (Whitmore). In "Hansel and Gretel" the witch who lives in the tempting, candy house is an old crippled woman and in the Brother's Grimm fairytale "Snow White," the witch who was an elegant queen, performs her craft disguised as an old peasant woman.
Angela Carter was a writer in the 1970s during the third wave of feminism that influenced and encouraged personal and social views in her writing. This is demonstrated through her own interpretation of fairy tales in The Bloody Chamber. She combines realism and fantasy to create ‘magic realism’ whilst also challenging conventions of stereotypical gender roles.
In Feminism and Fairy Tales, Karen E. Rowe asserts that “popular folktales” have “shaped our romantic expectations” and “illuminate psychic ambiguities which often confound contemporary women.” She believes that “portrayals of adolescent waiting and dreaming, patterns of double enchantment, and romanticizations of marriage contribute to the potency of fairy tales” makes “many readers discount obvious fantasy elements and fall prey to more subtle paradigms through identification with the heroine.” As a result, Karen Rowe contends “subconsciously women may transfer from fairy tales into real life cultural norms which exalt passivity, dependency, and self-sacrifice as a female’s cardinal virtues suggest that culture’s very survival depends upon a woman’s acceptance of roles which relegate her to motherhood and domesticity.” It is undeniable that numerous folk tales implant male chauvinism into women’s minds and thus convey an idea that woman should obey and depend on men. However, Rowe neglects the aspect that many other folk tales, on the contrary, disclose the evil and vulnerable sides of man and marriage and thus encourage women to rely on their own intelligence and courage other than subordinating to man. The Fairy tales “Beauty and Beast” and “Fowler’s Fowl” challenge Rowe’s thesis to some extent and exemplify that some fairy tales motivate women to be intelligent and courageous and to challenge patriarchy.
...present powerful characters, while females represent unimportant characters. Unaware of the influence of society’s perception of the importance of sexes, literature and culture go unchanged. Although fairytales such as Sleeping Beauty produce charming entertainment for children, their remains a didactic message that lays hidden beneath the surface; teaching future generations to be submissive to the inequalities of their gender. Feminist critic the works of former literature, highlighting sexual discriminations, and broadcasting their own versions of former works, that paints a composite image of women’s oppression (Feminist Theory and Criticism). Women of the twenty-first century serge forward investigating, and highlighting the inequalities of their race in effort to organize a better social life for women of the future (Feminist Theory and Criticism).
In the mid-nineteenth century, many American men based the worth of a person primarily on his or her race and gender. Kate Chopin often wrote about topics that were extremely sensitive during her lifetime. Men were usually pictured as the person who earns money for the family, as well as the well-educated and the sole structure of the family. Women are illustrated as sensitive, sweet, caring, and faithful. In “Desiree’s Baby,” a short story by Kate Chopin, there are three major themes: identity, racism, and gender roles.
In a society unbridled with double standards and set views about women, one may wonder the origins of such beliefs. It might come as a surprise that these ideals and standards are embedded and have been for centuries in the beloved fairy tales we enjoyed reading as kids. In her analytical essay, “To Spin a Yarn: The Female Voice in Folklore and Fairy Tales”, Karen Rowe argues that fairy tales present “cultural norms which exalt passivity, dependency, and self-sacrifice as a female’s cardinal virtues.” Rowe presents an excellent point, which can be supported by versions of the cult classics, “Cinderella” and “Snow White”. Charles Perrault’s “ The Little Glass Slipper” and the Brothers Grimm’s “ Snow White” exemplify the beliefs that females are supposed to be docile, dependent on the male persona and willing to sacrifice themselves. In many cases, when strong female characters are presented they are always contradicting in these characteristics, thus labeled as villainous. Such is the case of the Cinderella’s stepsisters in Perrault’s “Cinderella” and the stepmother in the Brothers Grimm’s “Snow White.” These female characters face judgment and disapproval when they commit the same acts as male characters. With such messages rooted in our beloved fairy tales it is no wonder that society is rampant with these ideals about women and disapprove of women when they try to break free of this mold.
“Girl” written by Jamaica Kincaid is essentially a set of instructions given by an adult, who is assumed to be the mother of the girl, who is laying out the rules of womanhood, in Caribbean society, as expected by the daughter’s gender. These instructions set out by the mother are related to topics including household chores, manners, cooking, social conduct, and relationships. The reader may see these instructions as demanding, but these are a mother’s attempt, out of care for the daughter, to help the daughter to grow up properly. The daughter does not appear to have yet reached adolescence, however, her mother believes that her current behavior will lead her to a life of promiscuity. The mother postulates that her daughter can be saved from a life of promiscuity and ruin by having domestic knowledge that would, in turn also, empower her as a productive member in their community and the head of her future household. This is because the mother assumes that a woman’s reputation and respectability predisposes the quality of a woman’s life in the community.
Once upon a time, there was a beautiful princess named Caroline. She had blonde, wavy hair that stopped just below her shoulders, blue eyes, and a natural blush that lightened up her whole face. However, Caroline was not just a princess, but also a witch. She came from a strong and powerful witch line named the Shapiro witches. Caroline’s mother, Rebekah, was the queen of Lokiville and was a witch, unlike King Stefan. When Caroline turned thirteen, she started to gain her powers. Queen Rebekah helped control her powers and showed her a few easy spells from her Grimoire (a book of spells that witches use). As the years went by Caroline was almost as strong as her mother and could do difficult spells.
The Grimm Brothers’ “Rapunzel” encourages women to subscribe to domestic roles. Through the tales of various female characters, “Rapunzel” teaches women to embrace their domesticity even at the risk and disadvantage of such a single-faceted lifestyle. The first female character is Rapunzel’s biological mother, who embodies the domestic women by relying on her husband and never leaving her house. Her husband encounters the enchantress in her own garden, who, though supernatural, cannot expand beyond the domestic realm. Moreover, Rapunzel, the heroine herself, willingly relegates her life to a life of stability, dependence, and ultimately, domesticity.
The collaboration between Walt Disney Productions and International Cellucotton Products Company Inc.(Kotex) may have been a result of financial trouble, but nonetheless purports rather unrealistic expectations for adolescent girls. I came to discover The Story of Menstruation as part of a desire to understand the various complexities of girl culture in American society. In doing so, I noticed that the dichotomous media texts marketed toward girls during the mid-century were as difficult a terrain to navigate as much of the media presentations are today. Such materials perpetuate Judith Butler’s theory of gendered performance which underline society’s construction of femininity in order to define what it means to be a “girl.” The primary sources throughout this study often created conflicting messages for adolescent female viewers. For example, Kotex attempted to market a modern woman and was influential in the beginning of a menstrual hygiene education curricula, yet the company simultaneously was also perpetuating quintessential American ideals. Similarly, sex education curricula of the 1940s point to the importance of educating female students about their bodies, yet sexual desire, masturbation, and infidelity were only typically discussed regarding the male
Setting the tale in Nazi Germany creates an atmosphere of fear and anxiety, and establishes a set of circumstances in which it is possible for people to act in ways that would be unacceptable under other circumstances. The stepmother is a good example of this. She is the force in the family – it is she who decides that everyone in the family will have a better chance of survival, if they split up – the children going off alone together and the parents going in another direction. Unlike the portrayal of the stepmother in the Grimm fairy tale, this stepmother is not wicked. She is strong willed and determined, but not evil, although she is protecting herself and her husband by abandoning the children.
Traditional gender roles exist in Gabriel Garcia Marquez’ novel One Hundred Years of Solitude, but traditional distribution of power between the genders does not. In analyzing each character and their life, it’s easy to see how Marquez presented each in terms of his own view on gender constructs. Marquez portrays femininity and masculinity very differently. But why would Marquez choose to make such a clear distinction between the roles of each gender? Marquez sees women as spiritual and overpowered by traditional standards, and men doomed by their own obsessions. Men are wily and therefore vulnerable, whereas women are dignified and durable, and survive for much longer.