Fairy tales have been part of the collective work of different cultures for centuries. Their main functions were to dictate moral concepts such as good and evil, as well as ideal notions of beauty, femininity, and motherhood. Such tales often told the struggles of different women who were bound to fill out their designated roles in patriarchal societies and were thrashed against each other in order for the author to make a point. The typical representations of women in fairy tales as good or evil, feminine or wicked, is a valid topic for research because it leads to a variety of subtopics, such as women’s relationships as depicted in this literary form. The most interesting aspect of the latter is the rivalry shared between the heroine and
Fairy tales have been told for centuries and have been used to portray the conflict of sexual politics over time. Little Red Riding Hood and Beauty and the Beast are both examples of fairy tales with this focus. Making use of this conflict in The Handmaid 's Tale, Margaret Atwood has used certain elements of fairy tale genre to have the opposite effect of the stereotypical ‘happy ever after’ as the novel plays in a dystopian world. More specifically, the author has borrowed elements of fairy tales to develop the theme of shifting power in The Handmaid’s Tale. In the novel the author uses the elements of good and evil from fairy tales to have an opposite effect in the novel.
One such Broadway pioneer, Stephen Sondheim, develops a style that relies on wit and shock factor to make statements about American society. Unlike the musical comedies that initially set a precedent for their gaudy numbers that highlight the performers, Sondheim’s musicals contain strong plots and characters that highlight the plot. The songs contribute to the setting and situation of the musical instead of distracting from the story. Audiences initially meet his musicals with mixed opinions: some love them for their intellectuality, but the musicals shock others with their bold themes. Presently, audiences increasingly respect Sondheim’s musicals for their innovative themes and formats.
Fefu, in shooting her husband 's now loaded gun with real slugs rather than blanks, creating the environment in which Julia dies (although confusingly the gun is not shot at Julia). This illusory death spawns a drastic change for Julia from life to death and the much needed discharge from her insanity. For Fefu, perhaps a redeeming act that has freed Julia and herself from the “judges”. Fefu and her friends is a witty play which helps the readers open their eyes to the reality women face. This play perfectly covers all aspects of issues women face till present
While what we may be reading is not the exact terms that the original poet intended to use, we are using the translated terms to describe Grendel’s mother. In researching more extensively, in Old English, the original poet describes Grendel’s mother as “ides, aglæc-wif” (1259) which according to an Old English to Modern English Translator, “ides” means lady/woman, “aglæc” which means “trouble distress oppression misery grief torment” and “wif” which means wife. However, when translated, the translation is quite different. On the same line, in modern English, we get “monstrous hell-bride” (1259). Therefore, when analyzing the whole text to figure out who exactly is Grendel’s mother, perhaps it is impossible.
30-35) This is evidence towards Lady Macbeth wanting to have full masculine emotions. Which she hopes with this masculinity she can pull off a huge cruel, murderous, plan. Lady Macbeth made it clear in the story that she was ruthless. She told Macbeth that she would bash in the brains of her baby she was nursing. How tender ’tis to love the babe that milks me.
In Macbeth, Lady Macbeth has power over her husband and manipulates his thoughts to kill others in order to gain more power; however, the plan failed as Lady Macbeth and Macbeth lost their sanity and brought their reign to an end by bringing misery and misfortune to everyone around them. Also, in Othello, Desdemona went against her father by sneaking out to marry Othello and completely went against the female norms by joining Othello to the battlefield. As a result, the antagonist manipulated Othello into killing Desdemona due to her determination and independence. Shakespeare has always portrayed females as strong, prideful and independent individuals who aren’t afraid of speaking up to defend their thoughts, however, due to the long-established gender roles, these individual will ultimately bring bad omen to their own family and lead them to their own
(Beauty and the Belles Discourses of Feminism and Femininity in Disneyland, Allison, 2002) critically analyzed Belle in a more general and brief historiography of the fairy tale. It uses a rather general feminist approach to do so. This paper critically analyzed Belle alongside with Snow White in terms of beauty, costume, psyche and the motherless similarities between the two Disney female characters. The representations of these women can be seen to replicate certain of the myths of femininity perpetuated in Disney fiction, including feistiness, tragedy, associations with mutant masculinity, and an unusual relation to maternity (Allison, 2002 page 135). However, the masculinity stated by the author was not further
Beauty was definitely mentioned since the main character’s name was Beauty and she was the prettiest of the three sisters. The villain in the storyline would depend on the perspective of the tale. The two older sisters were always rude to Beauty, but on the other hand, Beauty’s father got into mischief which caused the Beast to take Beauty away from her father. The hero may be Beauty because she figured a way to create happiness even though she was away from her father. Another hero would be the Beast because he took her to his castle, away from Beauty’s mean
The traits Lady Macbeth wish to portray also exhibit the traits needed to be a man. Lady Macbeth states, “Come, you spirits that tend on mortal thoughts, unsex me here And fill me from the crown to the toe top-full of direst cruelty make thick my blood stop up the access and passage to remorse”(1.5.47-51). In other words, Lady Macbeth is willing to give up her femininity to become a man so that she may in turn, possess manly qualities that would be unethical to possess as a woman. She wants to become a man so that her “blood [can be] thick”, and she can feel no remorse when having “direst cruelty”; all of these traits would help the plot to kill King Duncan. Furthermore, the traits Lady macbeth wishes to have are also the ones she wants to see manifested in Macbeth.
In his new town, his completed masterpiece has developed into an invigorating “pit-stop” for travelers. As mentioned before, J.R.R. Tolkien’s “On Fairy Stories” and “Leaf by Niggle” share the common concept of sub-creation. Tolkien’s concept of sub-creation may be defined as the process of creating an imaginary or secondary world, contrasting from the primary world but coherent. Using this definition roughly, one may consider any artist as a sub-creator, a secondary world does not only
She says, “Did ever a dragon keep so fair a cave? Beautiful tyrant! Fiend angelical!” (178). This shows the feeling that Juliet has about Romeo and how he could be a terrible person for killing Tybalt, but he is also Juliet’s husband and she loves him more than anything else. This echos Friar Lawrence’s comments about the flower because the flower will strengthen you if you smell it but will kill you if you eat it.
She demands that “direst cruelty” assemble her. She assembles everything that is evil inside her body in order to complete the evil deed of killing Duncan. If she is missing form the story, the murder of Duncan would not take place. This is because during multiple parts in the story, Macbeth possesses terrible uncertainty of whether it is right to take the life of such a great king in order to obtain the power of the throne. Despite Macbeth doubting whether or not he should follow through with the assassination of Duncan, he is always convinced by Lady Macbeth that killing Duncan is appropriate.
The main character being a mermaid longing for the human world is an homage to Andersen’s fairytale The Little Mermaid, although the contemporary setting allowed me to explore different implications. Fantasy is excellent for metaphors and parallels - one of its premises is to talk about issues of our society while discussing something that is apparently the furthest away from it. I’ve encountered feminist themes in Angela Carter’s re-imagined fairytales, where she gives women the agency they lacked during her time. The movie Maleficent deals with growth, rape, self-healing and the role of women through a retelling of Perrault’s Sleeping Beauty from the antagonist’s point of view. So while Astrid struggles to follow a career she is supposedly not predisposed for, that reflects back into our society’s need to label and categorise and to make assumptions based on qualities people have no control over.