Disney In recent years Disney has created both live-action and animated movies with female characters that can save themselves, either while leading men or completely without male assistance. Sometimes, they even save the men.
How do Fairy Tales and Myths represent Gender roles in society? How have these narratives lasted so long, and how are they significant today, being that a number of the narratives are centuries years old. I knew through previous research into myth and fairytale, that their narratives reflected the history of the time in which they were based, but I wanted to extent my knowledge further.
I formulated a series of questions, what was the relationship between myth and fairy tale? How did they represent the society in which they were based? Who wrote them and why? And if they are based on historical times, why do we primarily understand them to be fictional?
In this essay I will be presenting both a feminist and psychoanalysis reading of myth and fairy tale, in order to understand the meaning of the narratives. The emphasis being on the gender roles represented in the narratives, and the symbolical meaning behind certain ideas and events.
My psychoanalysis reading will offer ideas of the unconscious and the Oedipus complex, using the theory of Sigmund Freud and writer Bruno Bettelheim. My feminist reading will investigate the relationship between the women who wrote the tales, the main protagonist they created, and women in society today.
To Fairy Tales and Myth Fairy Tales In order to tackle the topic of gender issues within popular fairytales and myths I will initially need to give a brief overview of their histories.
Oral folktales had been in circulation for centuries before the literary form of fairytales eventually took shape in seventeenth century, Europe.
The French high classes made up tales during group games, played during leisure times. They then once finished, preformed them for those in the company of the King. Previously, long-winded romances were the popular tales of choice.
In an attempt to reunite the French court, they used the ideas of fantasy, by using the tools of wonder and marvel as a distraction, to help them forget and move on from their present predicament. It was during this period, that a society of women arranged meetings and began collecting, during their leisure time, a history of tales.
Many literary historians agree that the point of origin for the literary fairytale starts with French writer Charles Perrault, believing him to have created a new genre of literature where before there had been only myths and folklore.
The aesthetics for the fairy tales developed through the gatherings, and the tales produced during the time had a serious and reflective side.
Greek and Roman Myth were understood as classical because of its ancient history, and the stories moral lessons that had been used for centuries.
Fairy tales however, were considered as entertainment literature, an even though they convey significance and ethics. They would then determine whether the tales were going to establish themselves as popular.
He cites Renate Baader who comments. They probably remembered how feminine faults had been revalorized by men and how the aristocratic women had responded to this in their self portraits.
Where the male writers wrote happy, light hearted tales about bravery and discovery, they still used old ideas about gender and class distinctions. The female writers however, saw their opportunity to re-address the fictional assumptions placed upon women in literature by men.
By trying to invent a truthful portrayal of class and gender differences in the society they lived in at the time, they changed their tales to reflect their own lives and their opinions on their society. Zipes continues to comment that despite the search literary historians have pursued in order to find an origin to literary fairy tales they have overlooked one point of discussion that reunites all the early authors.
That the tales they wrote were not intended for children. Fairy tales today are currently understood as fiction, primarily told for entertainment purposes and less in the ways of educating children to the correct ways of society.Elements Found in Fairy Tales A fairy tale is a fictional story that may feature folkloric characters (such as fairies, goblins, elves, trolls, witches, giants, and talking animals) and enchantments, often involving a far-fetched sequence of events.
Re: Critical Analysis of a Fairy Tale Taylor, I did understand perfectly what you were asking, but culture is more than gender, and yes I've done several critical, cultural analysis of fairy tales before. Fairy Tales and Feminism is a rich and readable book that covers a broad spectrum in time and space.
Several appearances of the fairy tale occur in a balanced equilibrium, from seventeenth-century story-tellers to the early twenty-first-century TV shows. fairy-tale criticism and fairy-tale retellings Vanessa Joosen In the large corpus of fairy-tale scholarship since the s, feminist criticism has contributed substantially to analysing, interpreting and evaluating the Grimm tales.
At the same time, fairy tales have been rewritten countless times with an explicit or implicit feminist agenda. Cristina Bacchilega's exploration of postmodern revisions and appropriations of fairy tales is a superb endeavor. She provides an excellent overview of the fairy tale as a genre and goes on to explicate narrative and gender strategies in well-known tales like "Snow White," "Little Red Riding Hood," "Beauty and the Beast" and "Bluebeard."Reviews: 3.
Mulan was a powerful, brave and independent Disney princess. She defied the stereotypical female roles and portrayed a male character in order to fight in place of her father. Mulan is the only disney princess we see take on a male role.
This fairy tale is not a love story. Mulan does not rely on a prince charming to come to her rescue.