The series and movies have another common arena. The mothers of these female heroes are to be absent. For example, in Buff y the Vampire Slayer, Buffy’s mother dies, leaving Buffy to take on the parental figure. In Charmed, the sisters do not have a living mother or grandmother; they only encounter them as ghost. The mother of Sabrina in Sabrina the Teenage Witch is an absentee figure on an extended archaeological dig. The mother of Hermione in Harry Potter is never shown but she is described to be a dentist and non-magical. So she is absent in the tradition of magic that Hermione articulates. This shows a shift, an articulation of a new brand of feminine empowerment through the displacement of an older (second-wave feminist) order represented by mythical figures and maternal figures like the mother and grandmother in Charmed. While these witches draw on their maternal ancestry for assistance and recognize its importance, they develop their own way of defeating …show more content…
Vande Berg’s feminist reading of the television series Sabrina the Teenage Witch which revolves around the story of a teenage girl discovering her heritage as a witch and the complications that come along with it, they argue that the programme “offers empowering representations of independent girls who have access to equality and engage in cross-gender behaviour and that it simultaneously contains those representations within narratives that emphasize beauty, male attention, and taking responsibility for others” (Helford 16). According to Vande Berg and Projansky, Sabrina expects gender equality, and the series is fluid in its constructions of gender and sexual boundaries. Despite the series’ continual attempts to negotiate feminist position, its “affirmation of traditional patriarchal feminine concerns with physical beauty, acquisition of heterosexual male attention, and responsibility for others undermines Sabrina’s access to independence and contains her feminist potential”
Women pageant queens think they are supposed to represent the ideal of female beauty. The tomboy is especially associated with childhood and is defined by the girlhood performance of masculinity. As Michele Abate noted, “The traits most Americans are likely to name as constitutive of this code of tomboy conduct include proclivity for outdoor play (especially athletics), a feisty independent spirit, and a tendency to don masculine clothing and adopt a boyish nickname” (Abate). What does it mean to be a boy in children’s literature and the kind of varieties of boys that are represented? J.K. Rowling’s Harry Potter series typically features a social, educational, and physical dangers of school life that provide opportunities for adventure, mischief, and exploration. This collection of experiences allows boys to enact traditional forms of boyhood while practicing many of adult men’s culture and the ability to plan out schemes. Not all boys in children’s literature fit these conventional models of the physically robust athlete, hearty survivalist, or mischievous bad boy. Children’s literature also includes boys such as Laure in Little Women, who are described as sensitive, saintly, sickly, or effeminate. The literary and popular texts help understand expectations of boyhood and the insight into contemporary constructions of
Modern-day feminists state that there are many repressed attitudes and fears which keep women in a kind of half-light, forcing them to subconsciously retreat from the full use of their minds and creativity (Dowling, 595). The archetypal Cinderella is often criticized by feminist critics for waiting for something external to transform her life (Abel, 192). Contrary to this assumption, passivity is not prevalent in the original Brothers’ Grimm tale. However, actions performed by women in the tale are often associated with darkness. It is this overpowering association with the color black and its implications that truly keep women in a “half-light” in the tale.
Throughout these stories, young females are portrayed as passive beings in the beginning of the stories but it becomes clear in each that passivity is not celebrated in women.
Within every woman exists multiple facets of the self. The artist and poet help her to keep dreaming and feeling while the crone serves as her intuition. The seductress keeps her in touch with the fountain of youth and the mother takes care to nurture, heal and protect. The saint is her conscience and moral compass who keeps her on the straight and narrow as far as possible. The warrior rises up in times of trouble and fights the good fight, risking everything to survive. The clown keeps her grounded and playful. The wife does what is good and right, she has the morals and good sense to see things through while the temptress is naughty and daring, planting seeds that come from
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
A little girl sits on the floor with her gaze fixed on the television screen in front of her, watching magical images dance before her eyes and catchy songs flow through her ears. Even though she had seen it at least twenty times before, she still loved The Little Mermaid just as much as she did the first time she watched it. As she watched it, she longed to be a beautiful mermaid with a curvy body and wonderful singing voice like Ariel. She longed to be saved by the handsome Prince Eric, and fall in love and live happily ever-after like Ariel did. In today’s society, women strive to achieve equality between the sexes.
Worse, when women swallow the emptiness, loneliness, and naked violence that comes with their gender performance, their ability to develop self-awareness on matters such as academic, sexual, reproductive, safety, and health care rights no longer exists. When characters such as Ruth from Green Girls come to believe that womanhood means being on display and having to perform their roles as women in public spheres despite the feelings of wanting to shield oneself from strangers, they lose their freedom and become fettered to performative roles. Their performance of gender becomes, as Butler mentions, the result of both subtle and blatant coercions. These coercions offer a script of life that women must follow in order to remain the star of their
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).
...e relationship with men, as nothing but tools she can sharpen and destroy, lives through lust and an uncanny ability to blend into any social class makes her unique. Her character is proven as an unreliable narrator as she exaggerates parts of the story and tries to explain that she is in fact not guilty of being a mistress, but a person caught in a crossfire between two others.
...wed to treat Nora in any way they desire. Essentially, power contains aspects to fully control the female characters in the play by the male characters.
Picture a child sitting in front of a television watching the Wizard of Oz. To them, it is an assortment of magical beings, a land filled with wonderful places, with varieties of different colors. They do not picture it as something with far more meaning than just a plain fairytale. On the other hand, gender/feminist critics have been able to analyze the Wizard of Oz as well as Wicked, in order to find a more elaborate meaning behind the story itself. They have discussed what lies behind the story when it comes to the issue of sexism and masculinity towards the book itself as well as the characters. There are many concepts as well that help to further explain feminism and gender criticism. The four concepts that will be discussed later on are gender, feminist writings, patriarchal society, and gynocriticism. These concepts will then be reviewed as to how they play a part in the book Wicked.
The portrayal of female characters in British literature has most often reflected the larger perception of women by society during the time of a work’s publication. In this regard, the immensely popular Harry Potter series written by author J.K. Rowling is certainly no exception. The circumstances for women in late 20th century Britain have improved and in many ways are nearing equality with men, yet a notable upper barrier to success still remains. Rowling captures this gender dynamic throughout the Harry Potter series by including a diverse cast of resilient female characters who are not allowed to take on the same leadership roles dominated by the men at Hogwarts, at the Ministry of Magic, in quidditch, and during the Triwizard tournament. The novels also center on an important theme of motherly love that Rowling uses to explore the sacrifices women must make in order to raise their children well. Such issues have been present in British literature for well over a century, with each generation seeing steps toward equality, both for the fictitious characters and the women of a given time period. The Harry Potter series, therefore, constitutes a reflection of female status in modern Britain that has advanced, but remains perpetually flawed.
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
The films message to viewers about gender and power is that women are meant to take care of the home and play the supportive role, while men go out to their jobs and provide. Men are strong and burly and women are naïve and domesticated. Women need men and men always come to the rescue to save women and give them a happy ending. Power is portrayed in the film both visually and through the film’s script and dialogue. The common idea that women are inferior to men is placed subtly in this movie throughout the plot and how these charac...