Despite the fact that these women had to suffer great ordeals during those times, fairytales have decided to convert this dreadful story into a story of love. In short, fairytales have always been, and always will be, based on the ideology of love being the true key to happiness. Despite the fact that numerous recent adaptations of the same fairytales try to make it more feminist, the “feminist” protagonist is almost always swept off her feet. References Belinkie, M. (2009). The Princess and the Frog: A Comparative Analysis.
Name (in full) of Participant: Smt. Himanshu Kandpal Designation: Assistant professor in English Name of the Institution: Govt. M.S. College for women, Bikaner (Rajasthan) E- Mail Address: firstname.lastname@example.org Contact Number: 09784728738 Title of the proposed paper: Reinterpretation of Draupadi's myth in Shauna Singh Baldwin's play We Are So Different Now Abstract Myths are important part of any culture and society. Indian scriptures abound in mythological stories which are reinterpreted and revised numerous times by the contemporary writers because these stories are deeply ingrained in the collective unconscious of Indian society and forms the ideological basis of thinking.
Oscar Wilde was an advocator and practitioner of artistic aestheticism, insisting that art should not be related with morality. He exerted every effort to write according to his aesthetic principles. Characters in his works are all transcendence over ethical reality, whether characters in his fairy tales such as the happy prince, the nightingale, the giant, the fisherman or Dorian in his novel The Dorian Gray or Salome in his drama Salome. The Victorian Era is an era full of contradictions and also an era that formed a connecting link between what comes before and what goes after. The Victorian morals, which are obstinate and rigid, unavoidably showed its negative influence while it dominated the England society.
Du Bois, and Paul Lawrence Dunbar, as well as canonical works by William Shakespeare, Charles Dickens, and Edgar Allan Poe.” (pg1.p.2). Angelou uses fiction-writing to complicate the different types of genres relationships to help with truth and memory. “Angelou’s use of fiction-writing techniques like dialogue and plot in her autobiographies was innovative for its time and helped, in part, to complicate the genre 's relationship with truth and memory. Maya Angelou 's relation to the poem was that the entire poem was talking about her and embracing her
Angela Carter’s texts vehemently attacks the stereotypical notions asserted by the culture with a sturdy intention of deconstructing the collective order of society. There is an excessive use of violence, sexual brutality, pornographic contents and exuberance of female power in Carter’s writing. Makinen addresses Carter as the “avant-garde literary terrorist of feminism” (2) for savagely attacking the cultural stereotypes which is both disturbing and alienating. Carter’s The Bloody Chamber and Other Stories is a set of re-structured fairy tales with an obtrusive purpose of altering the formula set by the traditional stories. Carter reassembles the well known fairy tales to an adult version of those tales with a feministic angle to explicate
In fact, Puck and the Red Queen appear quite similar when closely examined because they both derive their power from the realm of the marvelous, their actions exact chaos and complicate the plot, and both offer full realizations of their protagonists’ deepest desires. Before analyzing the antagonists of each of these stories, it is important first to analyze the stories themselves. Alice’s Adventures in Wonderland written by
As an important writer of the Stream-of-Consciousness Novel, Virginia Woolf is one of the most prominent women writers in the history of modern English literature. Under the influence of western philosophy and psychology in the 20th century, she devoted to the reform of novel-writing. She attacked the traditional manner of novel-writing by pointing out that it paid too much attention to exterior details but ignored the inner world of man. She thus asked writers to explore the inner life and called for a new kind of novel, as represented by Ulysses. To Woolf, the world where we live is fragmentary, and disorderly.
In this essay, I will be talking about Christina Rossetti 's poem Goblin Market. Goblin market is Rossetti 's best known poem that contains many themes like the idea of the forbidden fruit, sisterhood, gothic, prostitution, gender roles and sexuality. Goblin Market was originally known as a moral fairytale for children. But researchers disregarded it as a children 's fairytale because of its misleading form and they focused on its real core, which was recognized throughout the poem by the persistent "merchant men" calls and actions towards Laura and Lizzie. Although Goblin Market internal audience is indeed "the little ones" to whom Laura tells her story, it is important to remember that the poem 's first known public audience was not children but adults.
Sometimes the reminder why I don 't want to read only contemporary fiction comes from unexpected places. And I decidedly don 't want to limit this notion to the so-called 'classics ' - a term that ranges between ambiguous and arbitrary - but also include all those stories which are not as widely known. Because the good ones have something to say to us, even centuries later. The Hare of Inaba is a story about a sneaky hare, gullible crocodiles and cruel human princes that breaks the mould in the way it deals with transgressions. A lot of fairytales, at least in their original forms, tend to be places where layers, nuance and complexity are rarely found.
Therefore, even though both of the essays ' theses aim to explicate a way for children to obtain power, they do so on fundamentally different premises. Indeed, Tatar - literary conservative - asserts that "[in traditional tales] every word become a source of wonder, a gateway to the discovery of adult knowledge" (Tatar 60), whereas Joosen builds her whole argument on the importance of reading multiple retellings of fairy tales in order to acquire the ability of "reading against a text 's authority" (Joosen 129). In particular, Joosen 's essay is based on the ambiguities in classic fairy tales - which are "a source of concern […] [because of what] they teach about gender" (129) - and the contentiousness of the reexaminations of the same tales written by exponents of the feminist emancipation movement. Joosen claims that,