Pippi Longstocking, a symbol of change
Pippi is not an ordinary little girl, living in the little town of Villekulla; she is described as “‘A remarkable child’” (Lindgren 14), defying all traditional norms of children and women in a society that typically restricted them. From the first few pages, we learn that Pippi is an unusual character, doing what she wants, living free, and not letting anyone tell her otherwise. Pippi, represents a break with the image of the passive, well-dressed, well-behaved little girl usually seen in literature, becoming a role model to many young girls today, and taking up the traits typically associated with boys. While Pippi represents a shift in the perception of children in Nordic society, such as in the Moominvalley Tales, I will
…show more content…
Why, she could lift a horse of her own” (Lindgren 14). Astrid Lindgren gives Pippi superhuman strength in order to make her stand out from the rest of the characters, putting all the power in her hands, rather than in the hands of the adults or men. As the story progresses, Pippi is shown to use her force for good, saving little Willie from the 5 boys harassing him:“Pippi went up to the boys and tapped Bengt on the back with her forefinger. ‘Hello, there,’ she said. ‘What’s the idea? Are you trying to make hash out of little Willie with all five of you jumping on him at once?’” (Lindgren 31). Pippi exhibits that she not only possesses raw strength, but also moral conviction to do the right thing, displaying her qualities as leader, and solidifying her status as an empowering figure for girls across the world. All of these qualities were the opposite of the regular ‘damsel in distress,’or background female characters most literature portrayed at the time. By speaking out against Bengt, she confounds him “For a while he stood and gaped at her in astonishment” (Lindgren 32). The use of diction by Lindgren clearly displays how flustered Bengt is, and
Tatar, Maria. Off with their Heads! Fairy Tales and the Culture of Childhood. Princeton: Princeton University Press, 1992.
Tatar, Maria. Off with Their Heads!: Fairy Tales and the Culture of Childhood. Princeton, NJ: Princeton UP, 1992. Print.
Parents play an important role in a child’s life so it is only natural that these roles are portrayed in fairytales meant for children. This is evident in the tale Donkeyskin by Charles Perrault and Cinderella by the Grim Brothers. The differing roles of the fathers in these tales, along with the similar roles of mothers, establish two different beliefs to impart on a child. Donkeyskin reminds a child that his/her parents love is undying and wants what is best for them; while Cinderella stresses the importance of becoming independent. Both of these beliefs recognize and address a child’s simple desires and fears.
For their second edition of fairy tales, the Grimms and their publisher deemed their original version of “Rapunzel” to be inappropriate for children for “what proper mother or nanny could tell the fairy tale about Rapunzel to an innocent daughter without blushing?” (Tatar 18). The Grimms, in fact, changed details of “Rapunzel,” ridding the story of even t...
In Great Expectations, by Charles Dickens, the author begins the tale by revealing Pip's arrogance towards previous companions. By the end of the story, we learn of Pip's love and compassion for everyone.
Over centuries of children have been enjoying the classic fairy tales of the Grimm Brothers and Charles Perrault. The fanciful plots and the vivid details allow children to be entranced by characters and adventures that can only be found in these stories. One of the most beloved fairy tales, which both the Perrault and the Grimms have their own separate versions of, is Cinderella. Cinderella is able to show how both versions are able to feed off the same plots while personifying the century and social economic situation in which they have lived.
This book is trying to show the struggle that many young girls experience and the reasons to why the adolescence years to prove to be such a period of, underachievement, anger, and pain in the lives of girls who can be bright and talented girls. A few of Mary Piphers points that she stresses throughout the book are, girls today are much more distressed, anxious, and uncomfortable than before. The society in which they are coming of age is more dangerous, sexualized, and media saturated, the culture is indeed a girl poisoning one.
“I've told her and I've told her: daughter, you have to teach that child the facts of life before it's too late” (Hopkinson 1). These are the first three lines of Nalo Hopkinson's short story “Riding the Red”, a modern adaptation of Charles Perrault's “Little Red Riding Hood”. In his fairy tale Perrault prevents girls from men's nature. In Hopkinson's adaptation, the goal remains the same: through the grandmother biographic narration, the author elaborates a slightly revisited plot without altering the moral: young girls should beware of men; especially when they seem innocent.
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.
Pip, through spending time with Estella, quickly picks up the desire for social improvement through games, whether physical or emotional, and it is not until he realizes the difference between fantasy and reality that he truly understands the game of life. Just as Estella uses card games to torment Pip, telling him that he is “a common labouring boy” Pip unknowingly begins to see every human interaction as a competition (Volume I, Chapter 8). His physical fight with Herbert represents Pip’s gradual addiction to always winning, never stopping until others are defeated. Pip takes his early, innocent ambition to improve himself and, without even realizing it himself, turns it into a ruthless fight for revenge. Parkinson argues that he sees “the role of chance” influencing his life, forcing himself to submit to whatever life throws at him (Parkinson, 121). Soon, however, Pip becomes the one who forces others, including Joe and Biddy, to simply accept his desire to become an “uncommon” gentleman through his unfailing faith in the wealthy (Volume I, Chapter 8). The problem is not his “fairy-tale expectations,” but his admiration in the wrong people; though he looks up to Miss...
In her article, “If He Should Turn and Beat Her”, Hilary Schor describes Great Expectations through a feminist perspective. In her reading, Schor characterizes both Pip’s feminine upbringing, which leads to his victimization, and its effect on his perception of other women. Pip is raised by Pip’s sister and her husband, Joe. Contrary to the traditional societal roles of the time, Pip’s sister seems to act as the masculine, with a cold, callous attitude. Furthermore, she is abusive to both Pip and her husband. Joe, on the other hand, takes on a motherly attitude, offering advice to Pip and worrying about his wellbeing. Pip, perceiving that a man must be submissive to his wife, develops a flaccid personality, like one would equate with a feminine docility. Schor equates this with sexual oppression, as Pip develop his masculine side. Thus, Pip often associates himself with feminine language, and at times, the role of the heroine. Irigaray would compare this idea to the concept of male subjectivity. While it is a female character that possesses the masculine identity, her subjectivity as an abuser still creates a distortion between her own femininity and Joe and Pip’s masculinity. Pip’s sister holds the phallus in the family, one which is negative and therefore expressively tyrannical. Nevertheless, Pip does not realize his psychic castration, and seeks to escape the abuses he faces. Eventually, this desire leads him to Ms.
Throughout the history of folklore and fairytales, many interpretations of tales have been created and introduced. When exchanged, many details have been lost in translation, only to be redistributed as a similar tale following a certain moral. But throughout the life of the tale “Cinderella,” one objective has never been misconstrued; the social structure and the status Cinderella falls and rises to. Many fairytales display a rise and fall of a protagonist, often in the case of social classes. The many versions of “Cinderella,” including Ever After, exhibit a definite, strong, monarchical settlement with a defined arrangement of classes that create and develop the beloved character of Cinderella, or Danielle De Barbarac, herself.
Pip didn’t know his parents, thus there love and comfort, he never felt. In the absence of parents there are plenty of people who tell Pip what to do, to bully him, in a self-satisfied, self-enhancing way, but there is no one to shield him or guide him, or give him the special kind of love that he seeks. Dickens’ child characters were impeded emotionally in some way: Most of his child heroes and heroines are born sound in their physical form, but a loving home is what they most obviously lack and need. Pip had his wicked sister as a mother figure, thus the warmth and love a stereotypical modern-day mother would give was absent. However, Pip didn’t feel pain for having this hole in his life, because he had never felt the power of unconditional love before. Pip was an orphan. Orphans were one of Dickens' favourite subjects; what could be more crippling emotionally, than not experiencing the support of a mother and father? Pip’s sister, Mrs. Joe, didn’t make this loss much easier. Although they had both lost their parents, Mrs. Joe, never openly displayed any grief for losing her parents and five brothers. Consequently, she complained about having to bring Pip “by hand” and dealt with him physically (with the Tickler) and emotionally. Mrs. Joe talked about him openly as if he had no thoughts or feelings of his own. But, Pip still had some bright...
The story is told by Pip, a grown man describing his experiences as a young common labouring boy in the early Victorian period. He sometimes tends to narrate the story as if through the eyes of an innocent child. The effect that has on the reader is that it brings out both a mature and young adventurous side in us, it also makes us feel sorry for Pip in a way, because of the way he was treated by his merciless sister. For example when Pip?s uncle Mr Pumblechuck tells Pip he has to go and entertain a woman he doesn?t know called Miss Haversham, his sister forces him to go even though he doesn?t want to with a threat. ?If Miss Haversham wants a boy to go and play there and of course he?s going, or I?ll work him?. The explanation for this is she never wanted Pip in the first place as he was dumped on her, so she was happy to get rid of him.
Pip comes from a lower class family of the Victorian era. The reader first meets Pip around the age of 6, when he explains that his parents, as well as 5 of his brothers, have all passed and he has been raised by his sister, Mrs. Joe Gargery, and her husband Joe Gargery. His sister continuously reminds Pip about her having brought him up “by hand” (Dickens 7) and even details her regrets about having taken him in as her own child saying “I’d never do it again!” (Dickens 8). Despite the rough upbringing, or perhaps because of the rough upbringing, Pip has high hopes of one day becoming a gentleman and continuously dreams of what his life will be like once he is part of the upper class. These aspirations indicate that Pip has great expectations for himself. He expects to become a perfect gentleman and climb the social status ladder. Soon after explaining his home situation, Pip describes to the reader of his encounter with Ms. Havisham, who he describes as “an immensely rich and grim lady who lived in a large and dismal hous...