DOCSLIB.ORG

Adapting the Cinderella Story for the Modern World

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Adapting the Cinderella Story for the Modern World Sutphin 1 Caroline Sutphin Professor Graham ENGL 3524 27 April 2015 Adapting the Cinderella Story for the Modern World “Cinderella” is one of the most well-known and culturally-embedded fairy tales. Linda Parsons writes in "Ella Evolving: Cinderella Stories and the Construction of Gender-Appropriate Behavior” that there are over 700 documented versions of the famed fairy tale, dating all the way back to 850-860 AD in China (143). Every culture and time has their own version of the Cinderella story; it’s been told over and over again in every possible context. In more recent history, “Cinderella” has been adapted to the world of film in several ways. How the story changes in these retellings reflects the changes in the world. The message being sent to young girls through “Cinderella” has evolved to one of empowerment and agency in recent years. First, it’s important to look at what Western culture considers the “original” story in Perrault’s “Cinderella or The Little Glass Slipper” and the Grimm Brothers’ “Aschenputtel.” Then, exploring the film adaptations will begin with Walt Disney’s Cinderella, which created the image most associated with the story today. The evolution of Cinderella can then be seen through the films Rodgers and Hammerstein’s Cinderella (1957), Rodgers and Hammerstein’s Cinderella (1997), Ever After, Ella Enchanted, and A Cinderella Story. In the end, the “Cinderella” heroine becomes a strong woman who chooses her own fate and doesn’t rely on the agency of her prince. The first version considered to be an “original” is Charles Perrault’s “Cinderella or The Little Glass Slipper.” This version is very familiar, mainly because it is the version that the Sutphin 2 Disney animated adaptation was based on. The fairy tale was written in French in 1697 and includes some of the most lasting “Cinderella” images, like the pumpkin carriage and the glass slipper. Cinderella has a wicked stepmother and two terrible stepsisters, something that is still seen in most “Cinderella” adaptations. Cinderella’s father is alive in Perrault’s version but completely controlled by his wife; the father’s involvement in the story varies throughout the retellings. Cinderella, who grows up more beautiful than either of her stepsisters, is forced into their servitude. One day, the girls receive an invitation to the Prince’s two-day ball, where he will be choosing a wife. The taunting stepsisters depart for the ball, leaving Cinderella in despair. Then, her Fairy Godmother appears and transforms a pumpkin into a carriage, small animals into horses and coachmen, and Cinderella’s rags into a beautiful gown, complete with a pair of glass slippers. Cinderella is warned to be back by midnight. The first night, the Prince is enchanted by her, but Cinderella remembers to leave before midnight. The second night, she loses track of time and leaves the famed glass slipper behind. The Prince searches the kingdom for her with the shoe, eventually coming to the right house. The stepsisters try to squeeze into the slipper, but it only fits Cinderella’s foot. Cinderella marries the Prince and forgives her stepsisters, who marry two lords. Parsons writes about the heroine in her essay, “This Cinderella cannot speak for herself, she cannot act on her own behalf, and she cannot function autonomously” (144). Cinderella is submissive to her family and doesn’t change her own situation. The Fairy Godmother is the one who changes Cinderella’s fate. In the end, she is rewarded for her submission and graciousness by marrying the Prince. Those who have abused her are forgiven, and she has little to no agency in her life. This classic and well-known version of “Cinderella” strongly reflects patriarchal ideals, valuing Cinderella’s beauty and meek submission over everything else. Sutphin 3 The other version of the story considered to be “original” is the Grimm Brothers’ “Aschenputtel.” This version is less familiar to Western readers than Perrault’s and Disney’s fairy tale. The first major difference between this and Perrault’s “Cinderella” is the focus on the mother. Aschenputtel’s mother tells her on her deathbed to always be good and kind and that God would protect her. After her death, Aschenputtel plants a hazel tree on her grave, where she prays and is visited by a white bird. The mother’s spirit helps her daughter throughout the story. Another key difference is in the stepsisters, who while still being cruel and selfish, are also physically beautiful. This implies that physical beauty is not as important as it is in other versions. The ball in this story comes in the form of a three-day festival for the Prince to choose his bride. Aschenputtel begs to attend, but is denied by her stepmother. In this version, Aschenputtel receives her gowns magically from her mother at her grave. The first night she wears a white gown and silk shoes and leaves before midnight. The Prince is infatuated with her. The second night she wears a grander silver gown and glass shoes and leaves before midnight again. On the third night, she wears a gold gown and gold shoes. The Prince leaves pitch on the stairwell, determined to keep her there. She loses one of her gold shoes on the pitch. Both the stepsisters mutilate their feet trying to fit into the shoe, but Aschenputtel is recognized as the Prince’s mystery girl. At their wedding, the stepsisters are attacked by the doves and have to live blind for the rest of their lives. Cinderella is very different in this version. She doesn’t bear her treatment with a smile like in Perrault’s; she goes to her mother’s grave to lament her state. Parsons writes, “The bitterness she feels is palpable. This Cinderella gives us permission to experience a full range of emotions” (145). This is dramatically different from Perrault’s unfailingly good and meek Cinderella. She also shows some agency by asking her stepmother to allow her to attend the festival. In this version, the stepsisters are not forgiven and are severely Sutphin 4 punished for their cruelty. Cinderella is more active in deciding her fate in this version, but she is still reliant on magical forces, and happiness is still only found in her marriage to the Prince. Less film adaptations are based strongly on this version of “Cinderella;” most of them have a “Fairy Godmother” character, leaning more closely to Perrault’s. Cinderella is most commonly known today by her representation in the Walt Disney animated film. Cinderella, directed by Clyde Geronimi, Hamilton Luske, and Wilfred Jackson, was released in 1950 and is similar to Perrault’s interpretation. One of the main differences is that her father passes away in the film, instead of being a present but passive character. Like in the Perrault version, she grows up kind and obedient to her cruel, selfish family members. After making a gown for the ball and having it destroyed by her stepsisters, Cinderella is visited by her Fairy Godmother, who sings “Bibbidi-Bobbidi-Boo” and makes her over. Again we are seeing a lack of agency. While Cinderella did try to make her own dress at first, it was her Fairy Godmother that actually saves her. We see the same plot as in Perrault with the glass slipper. When the Grand Duke comes to their home with the slipper, the stepmother tries to lock Cinderella in the attic, but her animal friends get her out just in time. Despite the frequent sabotage from her stepsisters and stepmother, Cinderella marries Prince Charming, and they live happily ever after. This film reflects patriarchal ideals strongly. Cinderella suffers with a smile until she is chosen by the Prince. Marrying him is the only road to self-fulfillment for Cinderella. Her beauty and submission are what make her worthy of the marriage. Alexandra Robbins writes in “The Fairy-Tale Façade: Cinderella’s Anti-Grotesque Dream,” “Disney, in particular, suggests that a woman’s function in society is to wait prettily in a passive and docile manner until she is chosen—based on her appearance—for motherhood” (109). This is especially concerning when thinking about how vastly Disney’s Cinderella reaches; she’s on all kinds of merchandise and Sutphin 5 nearly every child in America can identify her. The lesson this teaches boys and girls about gender-appropriate behavior is antiquated and often criticized by feminists. Another version of “Cinderella” that follows the classical Perrault model is Rodgers and Hammerstein’s Cinderella. The musical, starring Julie Andrews, was released on television in 1957 and includes songs like “In My Own Little Corner” and “A Lovely Night.” Like in the Disney version, Cinderella’s beloved father has died, and she is forced to work for her stepmother and stepsisters. Cinderella is a dreamer who aspires to more than her humble life. The main plot difference is that when they go on the search with the glass slipper, Cinderella is not at home; she is hiding in the palace garden. There, she is arrested, but the Fairy Godmother convinces them to let Cinderella try on the shoe. While Rodgers and Hammerstein’s Cinderella presents a more developed heroine, who has hopes and dreams of adventure, it presents many of the same problems from a feminist perspective as Perrault’s “Cinderella” and Disney’s Cinderella. She is still submissive and almost entirely inactive in changing her life. The Fairy Godmother comes in to guide her towards happiness twice in the film. Again, Cinderella can’t be happy or fulfilled until she marries her Prince. Her physical appearance is still one of her most important features as is displayed through the song “Do I Love You Because You’re Beautiful?” One line from the song reads “Are you the sweet invention of a lover's dream, Or are you really as beautiful as you seem?” Physical appearance drives the one-night romance, and Cinderella is again rewarded for her meek submission and beauty.
Load more

Recommended publications
  • Study Guide for Teachers and Students
    Melody Mennite in Cinderella. Photo by Amitava Sarkar STUDY GUIDE FOR TEACHERS AND STUDENTS 1 TABLE OF CONTENTS PRE AND POST-PERFORMANCE ACTIVITIES AND INFORMATION Learning Outcomes & TEKS 3 Attending a ballet performance 5 The story of Cinderella 7 The Artists who Created Cinderella: Choreographer 11 The Artists who Created Cinderella: Composer 12 The Artists who Created Cinderella Designer 13 Behind the Scenes: “The Step Family” 14 TEKS ADDRESSED Cinderella: Around the World 15 Compare & Contrast 18 Houston Ballet: Where in the World? 19 Look Ma, No Words! Storytelling in Dance 20 Storytelling Without Words Activity 21 Why Do They Wear That?: Dancers’ Clothing 22 Ballet Basics: Positions of the Feet 23 Ballet Basics: Arm Positions 24 Houston Ballet: 1955 to Today 25 Appendix A: Mood Cards 26 Appendix B: Create Your Own Story 27 Appendix C: Set Design 29 Appendix D: Costume Design 30 Appendix E: Glossary 31 2 LEARNING OUTCOMES Students who attend the performance and utilize the study guide will be able to: • Students can describe how ballets tell stories without words; • Compare & contrast the differences between various Cinderella stories; • Describe at least one dance from Cinderella in words or pictures; • Demonstrate appropriate audience behavior. TEKS ADDRESSED §117.106. MUSIC, ELEMENTARY (5) Historical and cultural relevance. The student examines music in relation to history and cultures. §114.22. LANGUAGES OTHER THAN ENGLISH LEVELS I AND II (4) Comparisons. The student develops insight into the nature of language and culture by comparing the student’s own language §110.25. ENGLISH LANGUAGE ARTS AND READING, READING (9) The student reads to increase knowledge of own culture, the culture of others, and the common elements of cultures and culture to another.
    [Show full text]
  • Malinda Lo - Press Kit Page 1 of 7 MALINDA LO
    Malinda Lo - Press Kit Page !1 of !7 MALINDA LO Photo by Sharona Jacobs Photo by Sharona Malinda Lo is the author of several young adult novels, including A Line in the Dark (forthcoming Oct. 17, 2017 from Dutton Books for Young Readers). Her novel Ash, a lesbian retelling of Cinderella, was a fnalist for the William C. Morris YA Debut Award, the Andre Norton Award for YA Science Fiction and Fantasy, the Mythopoeic Fantasy Award, and was a Kirkus Best Book for Children and Teens. She has been a three-time fnalist for the Lambda Literary Award. Malinda’s nonfction has been published by Te New York Times Book Review, NPR, Te Huffington Post, Te Toast, Te Horn Book, and AfterEllen. She lives in Massachusetts with her partner and their dog. Her website is www.malindalo.com. Twitter: @malindalo Facebook: facebook.com/malindalo Tumblr: malindalo.tumblr.com Instagram: @malindalo For media inquiries related to A Line in the Dark, contact Katie Quinn at [email protected]. For all other publicity inquiries, please email [email protected]. Updated April 2017 Malinda Lo - Press Kit Page !2 of !7 Coming Oct. 17, 2017 A LINE IN THE DARK Te line between best friend and something more is a line always crossed in the dark. Jess Wong is Angie Redmond’s best friend. And that’s the most important thing, even if Angie can’t see how Jess truly feels. Being the girl no one quite notices is OK with Jess anyway. While nobody notices her, she’s free to watch everyone else.
    [Show full text]
  • CINDERELLA Curriculum Connections California Content Standards Kindergarten Through Grade 12
    San Francisco Operaʼs Rossiniʼs CINDERELLA Curriculum Connections California Content Standards Kindergarten through Grade 12 LANGUAGE ARTS WORD ANALYSIS, FLUENCY, AND VOCABULARY DEVELOPMENT Phonics and Phonemic Awareness: Letter Recognition: Name the letters in a word. Ex. Cinderella = C-i-n-d-e-r-e-l-l-a. Letter/Sound Association: Name the letters and the beginning and ending sound in a word. C-lorind-a Match and list words with the same beginning or ending sounds. Ex. Don Ramiro and Dandini have the same beginning letter “D” and sound /d/; but end with different letters and ending sounds. Additional examples: Don Ramiro, Don Magnifico, Alidoro; Cinderella, Clorinda. Syllables: Count the syllables in a word. Ex.: Cin-der-el-la Match and list words with the same number of syllables. Clap out syllables as beats. Ex.: 1 syllable 2 syllables 3 syllables bass = bass tenor = ten-or soprano = so-pra-no Phoneme Substitution: Play with the beginning sounds to make silly words. What would a “boprano” sound like? (Also substitute middle and ending sounds.) Ex. soprano, boprano, toprano, koprano. Phoneme Counting: How many sounds in a word? Ex. sing = 4 Phoneme Segmentation: Which sounds do you hear in a word? Ex. sing = s/i/n/g. Reading Skills: Build skills using the subtitles on the video and related educator documents. Concepts of Print: Sentence structure, punctuation, directionality. Parts of speech: Noun, verb, adjective, adverb, prepositions. Vocabulary Lists: Ex. Cinderella, Opera glossary, Music and Composition terms Examine contrasting vocabulary. Find words in Cinderella that are unfamiliar and find definitions and roots. Find the definitions of Italian words such as zito, piano, basta, soto voce, etcetera, presto.
    [Show full text]
  • Racing Australia Limited
    5 RANSOM TRUST (9)57½ WELLO'S PLUMBING CLASS 1 HANDICAP Owner: Mrs V L Klaric & I Cajkusic 1 4yo ch m Trust in a Gust - Love for Ransom (Red Ransom (USA)) KAYLA NISBET 1000 METRES 1.10 P.M. BLACK, GOLD MALTESE CROSS AND SEAMS, BLACK CAP Of $24,000.1st $12,280, 2nd $4,440, 3rd $2,300, 4th $1,200, 5th $750, 6th $550, 7th (W) 8 Starts. 1-0-1 $51,012 TECHFORM Rating 95 ' $500, 8th $500, 9th $500, 10th $500, Equine Welfare Fund $240, Jockey Welfare Fund Josh Julius (Bendigo) $240, Class 1, Handicap, Minimum Weight 55kg, Apprentices can claim, BOBS Silver Dist: 2:0-0-1 Wet: 3:1-0-1 Bonus Available Up To $9625, Track Name: Main Track Type: Turf 4-11 WOD 27Nov20 1100m BM64 Good3 H Coffey(4) 56 $10 This Skilled Cat 60 RECORD: 950 0-57.60 Emerging Power 1.0L, 1:04.30 5-12 ECHA 31Dec20 1200m BM58 Good4 D Stackhouse(1) 58.5 $4.60 Diamond FLYING FINCH (1) 61 Thora 59.5 3.2L, 1:10.75 1 9-10 BLLA 19Jan21 1112m BM58 Good3 M Walker(10) 60 $6 Arigato 61 9.8L, Owner: Dr C P Duddy & R A Osborne 1:05.10 5yo b or br g Redente - Lim's Falcon (Fasliyev (USA)) 3-8 COLR 05Aug21 1000m BM64 Soft7 D Bates(4) 56 $31 Bones 60.5 2.5L, MICHAEL TRAVERS 0:59.88 LIME, PALE BLUE YOKE, YELLOW SASH 10-11 MORP 21Aug21 1050m NMW BM70 Soft6 J Eaton(1) 54 $21 Lohn Ranger 54.5 (DW) 7 Starts.
    [Show full text]
  • The Stepsister's Tale
    The Stepsister’s Tale By TRACY BARRETT !"#$%&" '&%() *+,* Cinderella was horribly E mistreated by her ugly and wicked stepsisters. But what if the storybooks got it wrong? Jane Montjoy is tired of pretending to live up to the standards of her mother’s noble family—especially now that the family’s wealth is gone and their stately mansion has fallen to ruin. It’s hard work tending to the animals and -nding a way to feed her mother and her little sister each day. Jane’s burden only gets worse after her mother returns from a trip to town with a new stepfather and stepsister in tow. Despite the family’s struggle to prepare for the long winter ahead, Jane’s stepfather remains determined to give his beautiful but spoiled Isabella her every desire. When her stepfather suddenly dies, leaving )BSMFRVJO5FFOr*4#/ nothing but debts and a bereaved daughter behind, it seems to Jane that her family is destined for eternal unhappiness. But a mysterious boy from the woods and an invitation to a royal ball are certain to change her fate . Readers will be thoroughly captivated by award-winning author Tracy Barrett’s imaginative retelling of the Cinderella story from an unexpected perspective. They’ll never think about fairy tales the same way again! “Tracy’s stories are always unique, her prose always lovely. The Stepsister’s Tale is no exception. A brilliant and innovative retelling of a classic that gives entirely new meaning to the term ‘Cinderella story.’”—Ruta Sepetys, New York Times bestselling author of Between Shades of Gray +“Highly imaginative as well as insightful, this outstanding revision has the power to entrance and provoke thought.”—Kirkus Reviews, starred review +“A provocative inversion of the tale of Cinderella.
    [Show full text]
  • Sweetbox Download
    Sweetbox download click here to download Best Sweet box free stock photos download for commercial use in HD high resolution jpg images format. sweet box, free stock photos, sweet box, sweet . sweet box. Download thousands of free photos on Freepik, the finder with more than a million free graphic resources. Best Sweet Box Free Vector Art Downloads from the Vecteezy community. Sweet Box Free Vector Art licensed under creative commons, open source, and. Sweetbox | Sweetbox to stream in hi-fi, or to download in True CD Quality on www.doorway.ru box 10x10cm - Sweet box - Download Free 3D model by Javier Martín Hidalgo ( @www.doorway.ru). Sweetbox Everything's Gonna Be Alright. Closed captioning no. Identifier Sweetbox_Everythings_Gonna_Be_Alright. Scanner Internet Archive. Watch the video, get the download or listen to Sweetbox – Somewhere for free. Somewhere appears on the album Adagio. Discover more music, gig and. Sweet Box Android latest APK Download and Install. Cases Photographers and VideMakers. Each Sweet box icon is a flat icon. All of them are vector icons. They're available for a free download in PNG of up to x px. For vectors, such as SVG, EPS, . Of the million Sweetbox downloads, , were of “Life Is Cool,'” , of “Don't Push Me,” and , of “Cinderella. You can download or listen to the songs of Sweetbox: Miss You, Everything's Gonna Be Alright, Don't Push Me, Everything's Gonna Be Alright (Classic Version ). Download the song of Sweetbox — I Know You're Not Alone, listen to the track, watch clip and find lyrics. A very fresh and modern effect where you make a color change of a COMPLETE BOX of candies.
    [Show full text]
  • Rodgers & Hammerstein
    Connect the Devon Energy Presents Dots to Find Lyric Theatre’s the Castle! CinderellaA Literary Tale Interactive Rodgers & Hammerstein The music of Cinderella was composed by Richard Rodgers. The lyrics to the songs and book (script) were written by Oscar Hammerstein II. Originally presented on television in 1957 starring Julie Andrews (pictured below), Rodgers and Hammerstein’s Cinderella was the most widely viewed program in the history of the medium. Andrews starred in many musicals and movies, such as The Sound of Music, Camelot, and The Princess Diaries. Music by Richard Rodgers Book & Lyrics by Oscar Hammerstein II After long and highly distinguished careers with Study Guide Recommended for Children of All Ages other writing partners, Richard Rodgers (composer, Lyric’s Cinderella - A Literary Tale Interactive is a thrilling program 1902-1979) and Oscar Hammerstein II (librettist/ offering an original take on a familiar story. You will visit with favorite lyricist, 1895-1960), also known as R&H, joined characters: the gracious Cinderella, the charming Prince, and the forces in 1943 to create the most consistently fruitful evil Stepsisters. Through the music and dialogue of Rodgers and and successful partnership in the American musical Hammerstein, you will learn fun and important literary terms and theatre. Oklahoma!, the first Rodgers & Hammerstein concepts. musical, was also the first of a new genre, the musical play! Other R&H Musicals You May Know: Carousel, South Pacific, The King and I,and The Sound of Music Carolyn Watson THE Wilshire Rural Oklahoma McGee Charitable Source: www.rnh.com Community Foundation FOUNDATION Foundation LYRIC IS OKLAHOMA’S LEADING PROFESSIONAL THEATRE COMPANY and Seek & has been producing classic and contemporary musicals featuring both nationally Literature Plot Diagram known Broadway stars and local favorites for over 50 years.
    [Show full text]
  • Into the Woods Character Descriptions
    Into The Woods Character Descriptions Narrator/Mysterious Man: This role has been cast. Cinderella: Female, age 20 to 30. Vocal range top: G5. Vocal range bottom: G3. A young, earnest maiden who is constantly mistreated by her stepmother and stepsisters. Jack: Male, age 20 to 30. Vocal range top: G4. Vocal range bottom: B2. The feckless giant killer who is ‘almost a man.’ He is adventurous, naive, energetic, and bright-eyed. Jack’s Mother: Female, age 50 to 65. Vocal range top: Gb5. Vocal range bottom: Bb3. Browbeating and weary, Jack’s protective mother who is independent, bold, and strong-willed. The Baker: Male, age 35 to 45. Vocal range top: G4. Vocal range bottom: Ab2. A harried and insecure baker who is simple and loving, yet protective of his family. He wants his wife to be happy and is willing to do anything to ensure her happiness but refuses to let others fight his battles. The Baker’s Wife: Female, age: 35 to 45. Vocal range top: G5. Vocal range bottom: F3. Determined and bright woman who wishes to be a mother. She leads a simple yet satisfying life and is very low-maintenance yet proactive in her endeavors. Cinderella’s Stepmother: Female, age 40 to 50. Vocal range top: F#5. Vocal range bottom: A3. The mean-spirited, demanding stepmother of Cinderella. Florinda And Lucinda: Female, 25 to 35. Vocal range top: Ab5. Vocal range bottom: C4. Cinderella’s stepsisters who are black of heart. They follow in their mother’s footsteps of abusing Cinderella. Little Red Riding Hood: Female, age 18 to 20.
    [Show full text]
  • A Study on Disney Princesses and Their Influence on Oungy Women and Their Personal Love Narratives
    University of the Incarnate Word The Athenaeum Theses & Dissertations 12-2014 Happily Ever After: Is Disney Setting Us Up? A Study on Disney Princesses and Their Influence on oungY Women and Their Personal Love Narratives Brittany Danielle Minor University of the Incarnate Word Follow this and additional works at: https://athenaeum.uiw.edu/uiw_etds Part of the American Film Studies Commons, and the Other Feminist, Gender, and Sexuality Studies Commons Recommended Citation Minor, Brittany Danielle, "Happily Ever After: Is Disney Setting Us Up? A Study on Disney Princesses and Their Influence on oungY Women and Their Personal Love Narratives" (2014). Theses & Dissertations. 1. https://athenaeum.uiw.edu/uiw_etds/1 This Thesis is brought to you for free and open access by The Athenaeum. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of The Athenaeum. For more information, please contact [email protected]. HAPPILY EVER AFTER: IS DISNEY SETTING US UP? A STUDY ON DISNEY PRINCESSES AND THEIR INFLUENCE ON YOUNG WOMEN AND THEIR PERSONAL LOVE NARRATIVES A Thesis by BRITTANY DANIELLE MINOR Presented to the Graduate Faculty of University of the Incarnate Word in partial fulfillment for the degree of MASTER OF ARTS December 2014 Communication Arts HAPPILY EVER AFTER: IS DISNEY SETTING US UP? A STUDY ON DISNEY PRINCESSES AND THE INFLUENCE THEY HAVE ON YOUNG WOMEN AND THEIR PERSONAL LOVE NARRATIVES A Thesis by BRITTANY DANIELLE MINOR APPROVED: Dr. Valerie K. Greenberg - Ph.D. Cpnikiittee Chair Michael L. Mercer - Member ABSTRACT Happily Ever After: Is Disney Setting Us Up? A Study on Disney Princesses and the Influence they have on Young Women and their Personal Love Narratives Brittany Danielle Minor, B.A., University of the Incarnate Word This study discusses the issue of whether the influence of Disney films affects the girls who watch these films once they become adult women.
    [Show full text]
  • Damsel in Distress Or Princess in Power? Traditional Masculinity and Femininity in Young Adult Novelizations of Cinderella and the Effects on Agency
    Brigham Young University BYU ScholarsArchive Theses and Dissertations 2020-12-09 Damsel in Distress or Princess in Power? Traditional Masculinity and Femininity in Young Adult Novelizations of Cinderella and the Effects on Agency Rylee Carling Brigham Young University Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Education Commons BYU ScholarsArchive Citation Carling, Rylee, "Damsel in Distress or Princess in Power? Traditional Masculinity and Femininity in Young Adult Novelizations of Cinderella and the Effects on Agency" (2020). Theses and Dissertations. 8758. https://scholarsarchive.byu.edu/etd/8758 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Damsel in Distress or Princess in Power? Traditional Masculinity and Femininity in Young Adult Novelizations of Cinderella and the Effects on Agency Rylee Carling A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Paul Ricks, Chair Terrell Young Dawan Coombs Stefinee Pinnegar Department of Teacher Education Brigham Young University Copyright © 2020 Rylee Carling All Rights Reserved ABSTRACT Damsel in Distress or Princess in Power? Traditional Masculinity and Femininity in Young Adult Novelizations of Cinderella and the Effects on Agency Rylee Carling Department of Teacher Education, BYU Master of Arts Retellings of classic fairy tales have become increasingly popular in the past decade, but little research has been done on the novelizations written for a young adult (YA) audience.
    [Show full text]
  • What's the Use of Wondering If He's Good Or Bad?: Carousel and The
    What’s the Use of Wondering if He’s Good or Bad?: Carousel and the Presentation of Domestic Violence in Musicals. Patricia ÁLVAREZ CALDAS Universidad de Santiago de Compostela [email protected] Recibido: 15.09.2012 Aceptado: 30.09.2012 ABSTRACT The analysis of the 1956 film Carousel (Dir. Henry King), which was based on the 1945 play by Rodgers and Hammerstein, provides a suitable example of a musical with explicit allusions to male physical aggression over two women: the wife and the daughter. The issue of domestic violence appears, thus, in a film genre in which serious topics such as these are rarely present. The film provide an opportunity to study how the expectations and the conventions brought up by this genre are capable of shaping and transforming the presentation of Domestic Violence. Because the audience had to sympathise with the protagonists, the plot was arranged to fulfil the conventional pattern of a romantic story inducing audiences forget about the dark themes that are being portrayed on screen. Key words: Domestic violence, film, musical, cultural studies. ¿De qué sirve preocuparse por si es bueno o malo?: Carrusel y la presentación de la violencia doméstica en los musicales. RESUMEN La película Carrusel (dirigida por Henry King en 1956 y basada en la obra de Rodgers y Hammerstein de 1945), nos ofrece un gran ejemplo de un musical que realiza alusiones explícitas a las agresiones que ejerce el protagonista masculino sobre su esposa y su hija. El tema de la violencia doméstica aparece así en un género fílmico en el que este tipo de tratamientos rara vez están presentes.
    [Show full text]
  • Princess Stories Easy Please Note: Many Princess Titles Are Available Under the Call Number Juvenile Easy Disney
    Princess Stories Easy Please note: Many princess titles are available under the call number Juvenile Easy Disney. Alsenas, Linas. Princess of 8th St. (Easy Alsenas) A shy little princess, on an outing with her mother, gets a royal treat when she makes a new friend. Andrews, Julie. The Very Fairy Princess Takes the Stage. (Easy Andrews) Even though Gerry is cast as the court jester instead of the crystal princess in her ballet class’s spring performance, she eventually regains her sparkle and once again feels like a fairy princess. Barbie. Barbie: Fairytale Favorites. (Easy Barbie) Barbie: Princess charm school -- Barbie: a fairy secret -- Barbie: a fashion fairytale -- Barbie in a mermaid tale -- Barbie and the three musketeers. Child, Lauren. The Princess and the Pea in Miniature : After the Fairy Tale by Hans Christian Andersen. (Easy Child) Presents a re-telling of the well-known fairy tale of a young girl who feels a pea through twenty mattresses and twenty featherbeds and proves she is a real princess. Coyle, Carmela LaVigna . Do Princesses Really Kiss Frogs? (Easy Coyle) A young girl takes a hike with her father, asking many questions along the way about what princesses do. Cuyler, Margery. Princess Bess Gets Dressed. (Easy Cuyler) A fashionably dressed princess reveals her favorite clothes at the end of a busy day. Disney. 5-Minute Princess Stories. (Easy Disney) Magical tales about princesses from different Walt Disney movies. Disney. Princess Adventure Stories. (Easy Disney) A collection of stories from favorite Disney princesses. Edmonds, Lyra. An African Princess. (Easy Edmonds) Lyra and her parents go to the Caribbean to visit Taunte May, who reminds her that her family tree is full of princesses from Africa and around the world.
    [Show full text]