Alexey Cruz

Professor Orwig

FIQWS 10105

11-08-24

    It is a fact that Fairytales are so widely known throughout the world. They have become a part of the global culture, ranging from literature, media, and traditions. There are many beloved and recognizable stories that come to mind like Cinderella for instance. However, in traditional versions of fairy tales such as The Grimm Brothers’ “Cinderella”, and Charles Perrault’s “Cendrillon”,  Cinderella is depicted as an outdated and problematic portrayal of women. In these traditional adaptations she is portrayed as a passive, submissive and highly dependent person. As a result, this impacts women of all ages negatively because it conveys a stereotypical depiction of what a woman should be. It assumes that women aren’t independent, intelligent, need a man for happiness, should focus on beauty, and should wait for the successes that come in life. This essay presents evidence in the form of articles, studies, books, journals, etc. that emphasize the need for retellings of fairy tales to promote empowerment and equality for all women.

     In Charles Perrault’s “Cendrillon”, Cinderella is perceived as a submissive heroine. She endures mistreatment from her stepfamily without resistance, relying on her fairy godmother and the prince to alter her circumstances. The Grimm Brothers’ “Cinderella” emphasizes her passivity, with magical forces, using a tree planted at her mother’s grave that assists her throughout the plot. Both versions depict Cinderella as beautiful and pure. However, her lack of independence conveys a troubling message saying women should endure hardships silently, waiting for outside forces or male figures to rescue them. This portrayal lines up with Marcia R. Lieberman’s claim in her article, “Someday My Prince Will Come: Female Acculturation Through the Fairy Tale,” that “such narratives teach young girls to aspire to beauty and compliance rather than independence and resilience” (Lieberman 386). The effects of these portrayals have a bigger impact beyond the stories themselves. When Cinderella is consistently presented as a passive character who is only defined by her beauty and kindness, these tales reinforce social stereotypes that women should focus on their appearances and rely on others for solutions. This representation of submissive roles is different from the beliefs of modern feminist movements, which advocate for equality, self determination, and the rejection of traditional gender roles.

      Ella Westland’s study in “Cinderella in the Classroom: Children’s Responses to Gender” analyzes how traditional fairy tales influence children’s perceptions of gender roles. The study was conducted with elementary school students, and used the Grimm Brothers’ versions of Cinderella, Snow White, and Sleeping Beauty as texts. During class discussions and creative activities, Westland found that many girls rejected characters like Cinderella due to their lack of independence, while some still preferred the “damsel in distress” role (Westland 72). This divide shows the power these narratives have in shaping young minds. Westland’s findings suggest that even in modern classrooms, these tales reinforce outdated gender roles, emphasizing the importance of monitoring their content consumption. Furthermore, Westland’s study highlights the role of educators in shaping children’s responses to these stories. By encouraging discussions and critical thinking, Teachers can help students learn the close minded thinking traditional narratives bring and explore more open interpretations. For example, asking students to rewrite Cinderella’s story with a more active role for the protagonist can increase creativity and challenge traditional stereotypes at the same time. This approach not only improves analysis skills but also promotes gender equality by encouraging children to envision empowered female characters.

     Laura Miller’s “Japan’s Cinderella Motif: Beauty and Mass Culture Interpretations of a Popular Icon” highlights cultural variations of the Cinderella story and their various effects. Miller introduces the Japanese variation which emphasizes resilience and personal growth unlike the Americanized Cinderella, originating from Perrault’s version. While the American Cinderella is portrayed as dependent on the prince, the Japanese Cinderella shows she is more active, challenging the stereotype of passive femininity. Miller argues that the Americanized version perpetuates a harmful belief that beauty and passivity lead to success, shaping cultural expectations of women (Miller 205). This shows readers that they should consider how cultural contexts influence the representation of these tales but also how well received they are. But also seeking the potential for more empowering adaptations. Miller’s work also emphasizes the global impact of Cinderella’s narrative and its ability to shape cultural norms across different societies. By analyzing the Japanese adaptation, she shows how alternative interpretations can challenge traditional depictions and inspire more diverse representations of femininity. This perspective encourages new discussions about the role of fairy tales in shaping social values and highlights how cultural diversity can assist in progressive movements.

    In “Good and Bad Beyond Belief: Teaching Gender Lessons Through Fairy Tales and Feminist Theory” Jerilyn Fisher and Ellen S. Silber criticizes the “happily ever after” trope in traditional fairy tales. They argue that tales like Cinderella promote the illusion that patience and compliance guarantee success, which is a misleading message for impressionable audiences. According to Fisher and Silber, stories like Cinderella persist with the idea that women’s happiness is based on finding true love and looking to a male for approval (Fisher and Silber 89). They advocate for remaking these stories to reflect modern values, promoting independence and equality. Their critique emphasizes the need to move beyond passive heroines to inspire young readers with empowered role models. The emphasis on happy endings clouds readers from the hardship of real life issues, creating unrealistic expectations for readers. By presenting love and marriage as the ultimate goals, these tales limit readers from other forms of fulfillment, such as personal growth, career achievements, and meaningful relationships outside of romance. This close minded approach limits the possibilities for young readers, particularly girls, who may absorb these messages and live their lives exactly like this.

     Marcia Lieberman’s analysis in “‘Someday My Prince Will Come’” further explores how fairy tales shape society’s perceptions of women’s roles. Lieberman compares and contrasts passive heroines like Cinderella with more independent characters, like Paulina from Bluebeard. Paulina’s ability to be resourceful challenges traditional gender norms, and Cinderella’s reliance on others reinforces them. Lieberman’s research reveals that fairy tales have a lasting impact on young audiences, with their messages often becoming absorbed by them (Lieberman 389). The pervasiveness of these fairytales adds on to the urgency of creating alternatives that promote independence and resilience, rather than dependence and passivity. Lieberman’s findings are especially relevant in today’s media, where traditional fairy tales continue to be adapted for new audiences. From animated films to live action remakes, these stories remain influential, shaping perceptions of gender roles for newer generations. By analyzing Cinderella and similar tales, Lieberman’s work amplifies the need for a much needed rework of their messages and their ability to promote more inclusive and empowering stories/ characters.

     Modern adaptations of Cinderella have already begun to come out. These adaptations challenge traditional portrayals, allowing heroines to be more active in their own stories. For example, the 2015 live action adaptation of Cinderella by Disney, still contains elements of the original, but still emphasizes kindness and inner strength over passive beauty. Additionally, feminist adaptations, such as the novel “Cinder” by Marissa Meyer, recast Cinderella as a skilled mechanic in a futuristic world. These adaptations reflect a growing need for stories that inspire independence and self determination. Furthermore, modern retellings often incorporate themes of diversity and inclusivity, allowing these tales to challenge traditional norms. By including protagonists from different cultural backgrounds and emphasizing universal values such as resilience and compassion, these adaptations create a positive fairytale reading experience. This evolution shows the potential fairy tales have to inspire positive change and promote social justice.

     The influence of Cinderella and similar tales emphasizes the importance of analyzing their messages and adapting them to reflect modern values. Unlike traditional versions by the Grimm Brothers and Charles Perrault that inflict harmful stereotypes, Modern retellings offer an opportunity to recreate these stories appropriately. They do this by incorporating empowered heroines, who are more than just their looks. These adaptations can challenge outdated norms and inspire readers to embrace independence, intelligence, and resilience. The stories we tell have profound implications for the values we instill in future generations. It is important to ensure that these stories reflect the diversity, and strength of all women today.

Works cited page

Fisher, Jerilyn, and Ellen S. Silber. “Good and Bad Beyond Belief: Teaching Gender Lessons through Fairy Tales and Feminist Theory.” Women’s Studies Quarterly, vol. 28, no. 3/4, 2000, pp. 121–36. JSTOR, http://www.jstor.org/stable/40005478. Accessed 24 Oct. 2024.

Grimm, Jacob et al. The Original Folk and Fairy Tales of the Brothers Grimm : The Complete First Edition. Princeton University Press, 2015. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=e000xna&AN=795265&site=ehost-live.

Lieberman, Marcia R. “‘Some Day My Prince Will Come’: Female Acculturation through the Fairy Tale.” College English, vol. 34, no. 3, 1972, pp. 383–95. JSTOR, 

“Some Day My Prince Will Come’: Female Acculturation through the Fairy Tale.”

Miller, Laura. “Japan’s Cinderella Motif: Beauty Industry and Mass Culture Interpretations of a Popular Icon.” Asian Studies Review, vol. 32, no. 3, Sept. 2008, pp. 393–409. EBSCOhost, https://doi-org.ccny-proxy1.libr.ccny.cuny.edu/10.1080/10357820802295955.

 Perrault, Charles. The Complete Fairy Tales. OUP Oxford, 2009. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=e000xna&AN=302377&site=ehost-live.

Secondary Source

Westland, Ella. “Cinderella in the Classroom. Children’s Responses to Gender..” Gender & Education, vol. 5, no. 3, Oct. 1993, p. 237. EBSCOhost, https://doi-org.ccny-proxy1.libr.ccny.cuny.edu/10.1080/0954025930050301.

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