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Masaryk University

Faculty of Education

Department of English Language and Literature

Gender Stereotypes in Fairy Tales

Diploma Thesis

Brno 2014

Supervisor: Mgr. Pavla Buchtov Author: Bc. Alena Vesel

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I hereby declare that I have worked on this thesis on my own,

and that I used only the sources listed in the bibliography.

I agree that this thesis can be filed in the Library of the Faculty of Education

at Masaryk University in Brno and made available for academic purposes.

.................................................

vbenice 20.4.2014 Bc. Alena Vesel

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Acknowledgment

I would like to heartily thank my supervisor Mgr. Pavla Buchtov for her kind

help, time, willingness and for her valuable comments.

Furthermore, I would also like to express my gratitude to my family and friends

for their support during the process of writing this thesis.

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Abstract

This diploma thesis deals with gender stereotypes in fairy tales, i.e. typical stereotyped

and biased portrayals of the main male and female characters in fairy stories.

The theoretical part concerns with the history and development of fairy tales and

provides with the explanations of the terms gender, gender identity, gender role, gender

stereotype and sexism. The practical part is based on the analysis of the two most

well-known fairy tales, i.e. Cinderella and Snow White and their five variations

by different authors, namely brothers Grimm, Joseph Jacobs and Roald Dahl,

the animated films by Walt Disney and the film adaptations from the 21st century.

The aim of the thesis is to analyse typical stereotyped portrayals of the male and female

characters in the fairy tales and it focuses on the negative aspects of gender stereotypes

in connection with childrens perception of the reality. The goal of the thesis is also

to find out whether some alterations connected with the depiction of the main characters

in these versions have been made.

Key words

Fairy tales, gender, gender identity, gender role, gender stereotypes, stereotype, sexism,

Cinderella, Snow White, brothers Grimm, Joseph Jacobs, Roald Dahl, Walt Disney, A

Cinderella Story, Mirror Mirror, children, perception of reality

Vesel, Alena. Gender Stereotypes in Fairy Tales. Diploma thesis. Masaryk University,

2014. Print.

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Anotace

Tato diplomov prce se zabv genderovmi stereotypy v pohdkch, co znamen

stereotypnmi a zaujatmi vyobrazenmi hlavnch muskch a enskch postav.

Teoretick st se vnuje historii a vvojem pohdek a vysvtluje pojmy jako gender,

genderov identita, genderov role, genderov stereotyp a sexismus. Praktick st

je zaloena na analze dvou nejznmjch pohdek, Popelky a Snhurky, a jejich pti

verz od rznch autor. Konkrtn se jedn o verze brat Grimm, Josepha Jacobse

a Roalda Dahla, dle o animovan filmy Walta Disneyho a filmov adaptace

z 21. stolet. Zmrem tto prce je analyzovat typick stereotypn vyobrazen

muskch a enskch postav v pohdkch, piem analza se zamuje na negativn

aspekty genderovch stereotyp ve spojen s dtskm vnmnm svta. Clem tto prce

je tak zjistit, zda se v tchto verzch objevuj njak zmny tkajc se vyobrazen

hlavnch postav.

Klov slova

Pohdky, gender, genderov identita, genderov role, genderov stereotypy, stereotyp,

sexismus, Popelka, Snhurka, brati Grimmov, Joseph Jacobs, Roald Dahl, Walt

Disney, Modern Popelka, dti, vnmn svta

VESEL, Alena. Gender stereotypes in fairy tales. Brno, 2014. Diplomov prce.

Masarykova univerzita. Vedouc prce Mgr. Pavla Buchtov.

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Table of Contents

1. Introduction ................................................................................................................ 7

2. Fairy Tales ................................................................................................................. 10

2.1. Brief History of Fairy Tales ................................................................................ 11

3. Gender Stereotypes .................................................................................................. 17

4. Gender Stereotypes in Fairy Tales .......................................................................... 22

4.1. Cinderella ............................................................................................................ 24

4.1.1. Portrayal of Cinderella ............................................................................... 27

4.1.2. Portrayal of Cinderellas Stepmother and Stepsisters ................................ 31

4.1.3. Presence of Cinderellas Father and Mother .............................................. 35

4.1.4. Presence of Magic Objects ........................................................................ 36

4.1.5. Portrayal of the Prince ............................................................................... 38

4.1.6. Princes Affections towards Cinderella ..................................................... 39

4.1.7. Wedding and Marriage .............................................................................. 41

4.2. Snow White ......................................................................................................... 42

4.2.1. Portrayal of Snow White ............................................................................ 44

4.2.2. Portrayal of Snow Whites Stepmother ..................................................... 47

4.2.3. Presence of Snow Whites Father and Mother .......................................... 48

4.2.4. Role of the Dwarfs ..................................................................................... 49

4.2.5. Portrayal of the Prince ............................................................................... 50

4.2.6. Princes Affections towards Snow White .................................................. 51

4.2.7. Wedding and Marriage .............................................................................. 52

5. Conclusion ................................................................................................................. 54

Rsum ........................................................................................................................... 57

Works Cited ................................................................................................................... 58

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1. Introduction

Fairy tales have always been the very first kind of literature with which children

meet. They listen to their parents telling or reading the stories or they simply watch

some fairy tales on television. The children come into contact with them very frequently

that we cannot be surprised that they are also formed by them, especially by the way

the stories depict the behaviour of people who are usually portrayed in a stereotyped

way. Therefore it is necessary to be aware of such portrayals not only in fairy tales.

Undoubtedly, the author of this thesis does not deny the importance of fairy tales

in childrens lives and especially their influence on the fundamental moral principles

the children should obtain. Fairy tales are a very essential part of literature

and they should not be deleted from childrens lives. After all, famous people

emphasizes the significance of fairy tales as well, for instance, Albert Einstein

was aware of their magnitude in forming children as it is obvious from his well-known

quote: "If you want your children to be intelligent, read them fairy tales. If you want

them to be more intelligent, read them more fairy tales." Nevertheless, not only

do children meet with the first differences between the good and evil or consequences of

their own demeanour, they also acquire the basic stereotypes related to both women

and men, which can be harmful in case of childrens general and simplified perception

of the world. Regarding the typical gender stereotypes present in fairy tales, it is not

necessary to stress the fact that the inappropriate and one-sided portrayals concern

females to a large extent.

As for the characteristic portrayals themselves, women are typically depicted

in an inferior or even unfavourable way. They are portrayed as weak princesses that

wait for a brave prince to rescue them, or as evil witches who want to kill someone or

thwart anybodys plans. Princesses are always very beautiful with a gorgeous dress and

they are also naive and unable to act or decide without a necessary help either

of animals or miraculous objects. On the other hand, typical characters that men

represent in fairy tales are courageous princes who are able to save anyone, usually

the weak princesses, almost without any obstacles and, moreover, they get the princess

as a reward.

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These typical portrayals of women and men, gender stereotypes,

occur in childrens literature regularly, which often means that children can begin

to consider these sexist features normal, usual and also right. Undoubtedly, this point

of view is not proper as it deepens the prejudices against both women and men and,

at the same time, it contributes to form childrens incorrect and biased ideas about

the typical behaviour patterns of females and males.

The main aim of this study is to point to this problem that children have to face

every day as well as to analyse the issue concerning the occurrence and potential change

of gender stereotypes in fairy tales. The research was based on the analysis of the two

well-known fairy tales, namely "Cinderella" and "Snow White" and their variations

by brothers Grimm, Jacobs, Disney and Dahl written from the beginning of the

19th century to the late 20th century and their contemporary film adaptations. This

diploma thesis calls attention to typical gender stereotypes present in the fairy tales

and their negative aspects in connection with childrens perception of the reality.

The goal of this study is also to find out whether some alterations connected

with the portrayal of the main female and male protagonists in the fairy tales have been

made throughout the course of time.

This diploma thesis consists of two parts - theoretical and practical.

The theoretical part focuses on a brief history and development of fairy tales in general

as well as the explanation of the term gender stereotypes and other important

expressions and it provides with more information about this issue. Primarily secondary

sources were used for this part.

The practical part of the thesis concentrates on the analysis of the two fairy tales,

"Cinderella" and "Snow White", and the portrayal of the individual characters that play

the most important roles in the stories. The study focuses on the typical depiction

of both men and women, gender stereotypes, in the fairy tales and their potential change

and development with the course of time in the different versions. As it has been

already written, the findings for this study were collected by examining the certain

versions of the fairy stories for children and focusing primarily on the portrayal of the

main characters in the stories. The comparison of the gender stereotypes typical for each

character in different versions of the fairy tales is also included.

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The findings of the diploma thesis provides with an overview of the typical

features of gender stereotypes connected with the main characters of the fairy tales

written from the nineteenth century to the present day. The results of this work also

compares the differences between the characteristic attributes of stereotyped depictions

of each main protagonist in the certain period.

As it was already mentioned at the beginning, children encounter fairy tales very

frequently and they play an inseparable role in their lives. Thanks to the fairy tales,

children can experience fun and adventures; nevertheless, they can learn a great number

of information about the behaviour of men and women. Therefore it is necessary

to point out that inaccurate and one-sided portrayals of the main characters in childrens

literature are dangerous as the children are prone to be influenced very easily and these

stereotypes contribute to deepen these misleading ideas. The thesis should help not only

parents, but all people become more aware of this fact and focus on eliminating such

stereotyped features in fairy tales and childrens literature in general.

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2. Fairy Tales

Regarding the origin of the expression fairy tale itself, its inception can be

found three centuries earlier, the English term is derived from the French word

contes des fes, namely the word contes (Carpenter and Prichard 177). According

to Baldick, the term can be explained as "[a] traditional folktale adapted and written

down for the entertainment of children, usually featuring marvellous events

and characters, although fairies as such are less often found in them than princesses,

talking animals, ogres, and witches" (361). At the same time, as another definition

explains the term, "[f]airy tales, fairy stories, or wonder tales, a subdivision of folktales

that usually involve magic, tell of transformations and wondrous changes in fortune

of a disadvantaged protagonist, usually culminating in a happy end" (OSullivan 94).

As it was already mentioned in this work, fairy tales play a significant role

in childrens lives as they are the very first kind of literature young readers

are acquainted with. Furthermore, fairy tales serve as a basic means of childrens

understanding of the real world and they provide them with the essential conception

of the difference between the good and evil. As Zipes discusses in his work, "we all

pass through fairy tales, which inscribe indelible marks on our imagination and affect

our behavior and role playing" (The Trials and Tribulations xi). This concerns not only

our moral values, but also the way we perceive the world around us.

A great impact of fairy tales on children and their understanding of the reality

has been proved even by "psychologists and educators time and again that stories

and fairy tales do influence the manner in which children conceive the world and their

places in it even before they begin to read" (Zipes, "Dont Bet on the Prince" xii).

Even an American psychologist Bruno Bettelheim was aware of the importance of fairy

stories, he held the view that fairy tales "contribute to the emotional health of the child"

(Carpenter and Prichard 179). He also helped fairy tales expand in society

by means of his treatise called "The Uses of Enchantment (1976) and its claims

about the psychologically beneficial aspects" of fairy stories in general (OSullivan 96).

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2.1. Brief History of Fairy Tales

As Windling points out in her article, it is necessary to focus our attention on the

difference between "the oral folk tales and the literary fairy tales of Europe" (Les Contes

de Fes). Undoubtedly, oral folktales as well as fairy tales has a very rich and long

history, they have existed in our society for thousands years. As people were first able

to speak than write, at the very beginnings fairy tales were passed on orally

and the topics they concerned with were closely connected with the life of the people

within the community. Windling further explains how the oral folktales and fairy tales

differ from the literary ones. It is obvious that the first mentioned "are humbler stories

than the great cosmological myth cycles or long heroic Romances, and as such have

been passed through the generations largely by the lower caste portions of society:

women, peasants, slaves, and outcast groups such as the gypsies" (Les Contes de Fes),

which can be supplemented by Zipes description of very early fairy stories:

Fairy tales were first told by gifted tellers and were based on rituals intended

to endow meaning to the daily lives of members of a tribe. As oral folk

tales, they were intended to explain natural occurrences such as the change

of the seasons and shifts in the weather or to celebrate the rites

of harvesting, hunting, marriage, and conquest. The emphasis in most folk

tales was on communal harmony. A narrator or narrators told tales to bring

members of a group or tribe closer together and to provide them

with a sense of mission, a telos. (Fairy Tale as Myth 10)

Regarding the very first written records of fairy stories, it had been assumed that

the history of these tales is rather young. Nevertheless, it is obvious that fairy tales

are much older than it had been believed. Stories in which we can find the features

of contemporary fairy narratives "appear in several early oriental story-collections,

such as the Indian Panchatantra (which was in existence by the 6th cent. AD)

and the Katha Sarit Sagara (Ocean of Streams of Story), the Book of Sindibad (which

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probably originated in Persia at the beginning of the 9th cent.)" (Carpenter and Prichard

177) as well as "the Oriental Arabian Nights (ca. 10th century)" (OSullivan 94).

The history of the European awareness of the written tales is closely connected

with the invention "of printing in the 15th century [and the] first printed collection

of wonder tales from the oral tradition set down to amuse educated readers were

in Italian" and lately in French (OSullivan 94). However, it is surprising that

the original audience of the first fairy stories were not children as it could be assumed,

especially because "[the] narratives were often violent or bawdy [but such stories were

written especially to entertain adults] and during most of the 16th and 17th cents. there

was no special attempt to make fairy stories available in print for young readers"

(Carpenter and Prichard 177).

Regarding the audience, it is a known fact that only upper class of people was

able to read and therefore enjoy the literary fairy tales and stories that were very

favourite in the 17th century not only in France. As Zipes explains, fairy-tale books

were "written in a standard "high" language that the folk could not read, and it was

written as a form of entertainment and education for members of the ruling classes.

Indeed, only the well-to-do could purchase the books and read them" (Fairy Tale as

Myth 13). As Windling suggests, this could be also influenced "by advances in printing

methods and rising literacy" (Les Contes de Fes).

What can be interesting is the fact that primarily women were the originators

and tellers of the very first fairy narratives. As Windling notes, even very famous male

writers such as "Straparola, Basile, Perrault, and even the Brothers Grimm made no

secret of the fact that their source material came largely or entirely from women

storytellers" (Les Contes de Fes). On the other hand, it is not surprising as it is widely

known that women stayed at home with children and therefore they had time to tell

stories besides other duties concerning keeping the household whereas men had to work

outside to be able to sustain the rest of the family.

As it was already mentioned earlier, fairy tales originally served as a kind

of entertainment for upper classes whose members usually met in Parisian salons

which were "hosted by prominent aristocratic women, where women and men could

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gather together to discuss the issues of the day" (Windling, "Les Contes de Fes").

Thanks to these salons "women were able to demonstrate their intelligence and

education through different types of conversational games" (Zipes, "Fairy Tale as

Myth" 20). As the author comments more on this subject, it is obvious that being tellers

helped women express themselves without fear or rejection of others:

Eventually, women began telling the tales as a literary divertimento,

intermezzo, or as a kind of dessert that one would invent to amuse other

listeners. This social function of amusement was complemented by another

purpose, namely, that of self-portrayal and representation of proper

aristocratic manners. The telling of fairy tales enabled women to picture

themselves, social manners, and relations in a manner that represented their

interests and those of the aristocracy. (21)

The performers in the salons intentionally made a decision to choose just fairy

narratives that were more than convenient for the demanding audience of early modern

France. Regarding the choice and suitability of fairy stories of the salons,

Carpenter and Prichard suggest the explanation that this decision may be connected

with the age the people lived in:

It may also be argued that in the later years of Louis XIV a society

exhausted by extravagant wars and by fervid court competition and intrigue,

was happy to retreat to the relatively simple moral basis and childhood

associations of fairy tales. The intelligent and comparatively pious Mme de

Maintenon, first the governess of Louis XIVs children, then his mistress,

and from about 1684 his wife, possibly also contributed to a general sense

that scandal was out of fashion, and that stories which were fit for children

were suitable for adults. (178)

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Since the performers in the salons were primarily females, it is not surprising

that the first literary fairy tales were written by women as well. "Mme dAulnoy,

in 1690, was the first writer of this fashion to publish a fairy story, slipping it

into a novel, though there is no evidence that she was in any other sense an originator

of the cult" (Carpenter and Prichard 178). Marie-Catherine DAulnoy "was known

as an entertaining raconteur whose fairy tales circulated in fashionable circles and

female salons" (OSullivan 80). Furthermore, "dAulnoy had a significant influence

on the development of the genre in France and other countries" (Zipes, "The Oxford

Companion" 29). As the author further adds, she wrote a number of works although

"she is best known for the two collections of fairy tales published in 1697 and 1698:

Les Contes des fes . . . and Contes nouveaux ou les fes la mode" (The Oxford

Companion 31). This writer is also frequently associated with the very first use

of the "term conte de fes, or fairy tale" (OSullivan 94-5).

It is obvious that this genre apace became very favourite and it expanded

throughout the whole France as there were more and more authors of fairy tales,

for example Charles Perrault and his "famous collection Histoires, our Contes du temps

pass" (OSullivan 95), "The Sleeping Beauty (La Belle au bois dormant), the first prose

fairy tale" (Carpenter and Prichard 178) or his well-known "Contes de ma Mre lOye

(Mother Goose Tales)" (Zipes, "The Oxford Companion" 176). With the course of time,

there were more fairy stories published and "then in 1704 the French text

of the Arabian nights was published . . . [and] the products of the fashion for fairy

stories were gathered together in Le Cabinet des fes (from 1785) [and] they extended to

41 volumes" (Carpenter and Prichard 178). Regarding other famous and remarkable

authors concerning with this fashion, the following names such as

"Mademoiselle La Force, Les Contes des Contes (1697), Mademoiselle LHritier,

Oeuvres mesles (1696), . . . [or] Madame de Murat, Contes de Fs (1698)"

(Zipes, "Fairy Tale as Myth" 23) cannot be omitted.

As it was already mentioned, the first fairy tales were intended primarily

for entertaining adults. Nevertheless, childrens audience was not forgotten at all as

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there were so-called chapbooks1 that were a very favourite kind of literature especially

among English young readers and these "did include such tales as Tom Thumb (first

printed in 1621) and The Seven Champions of Christendom (1596-7), as well as

versions of many medieval romances which contained marvels and magical happenings,

such as Guy of Warwick and Fortunatus" (Carpenter and Prichard 177). As Zipes

further presents, the first "chapbooks . . . [also] contained numerous abbreviated

and truncated versions of the literary tales" (Fairy Tale as Myth 12). Windling further

states that in "the 18th century, stories by dAulnoy, de Murat, LHritier, Perrault

and other salonnires began to find their way into the pages of the Bibliotheque Bleue --

a series of cheap and popular chapbooks" (Les Contes de Fes).

Nevertheless, fairy tales did not always contend only with their acceptance

since especially "[e]ducators in the Puritan tradition rejected fairy tales for their lack

of moral instruction" (OSullivan 95) and for the presence of "ignorant superstition"

(Carpenter and Prichard 179). Therefore, as the authors further explain, there was

"the growing popularity of moral tales by such writers as Mrs Barbauld and Maria

Edgeworth . . . [which] led to the belief that fairy stories could be entirely dispensed

with as nursery reading" (179).

Fortunately, some publishers did not recoil from issuing fairy tales and they

persevered in publishing "collections of them with such regularity that it is evident there

was still an audience for them" (Carpenter and Prichard 179). Additionally, "in 1823,

the number and variety of fairy tales available to English children was greatly increased

by the appearance of the first translation of the work of the brothers Grimm"

(Carpenter and Prichard 179). "The English translation of these tales by Edgar Taylor,

German Popular Stories (1823), brought about a change in attitude toward this genre

for children in the English-speaking world, leading to the recognition that imaginative

literature was an important element for childrens recreation" (OSullivan 95)

and fairy stories became popular anew. There was also a number of other English

translations of foreign fairy narratives, such as those by Hans Christian Andersen

or translated versions "of collection of Danish, Indian, and Russian tales . . .

1 "Works of popular literature sold for a few pence, often by itinerant pedlars or 'chapmen'"

(Carpenter and Prichard 105).

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[and this] renaissance of the traditional fairy story was related to a new wave of

imaginative writing in Britain and elsewhere " (Carpenter and Prichard 179).

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3. Gender stereotypes

Before focusing on the analysis of gender stereotypes in the fairy tales it is

necessary to deal with the most important terms, namely gender identity, gender roles,

gender stereotypes and sexism. It is essential to concentrate on the explanations

and meanings of these expressions as they are crucial for understanding of the issue

concerning gender stereotypes and typical portrayals of the main characters in fairy tales

and consequent influence on children.

One of the most important key terms is gender. The explanation of this

expression can be sometimes misleading as there are two primary interpretations of the

word. The first one is sex, that is to say if an individual is a man or woman according to

genitalia. As Cranny-Francis et al. further explain the term sex, it can be described as

"a theory about human beings which divides them into two biologically based

categories - male or female" (7). We use this term "when we want to talk about basic

physiological differences between men and women, i.e. particularly distinctions relating

to genitalia and reproduction dispositions"2 (Spolenost en a mu z aspektu gender

10).

Regarding the second meaning of the term, according to the World Health

Organization, gender "refers to the socially constructed roles, behaviours, activities, and

attributes that a given society considers appropriate for men and women" ("What Do

We Mean by 'Sex' and 'Gender'?"). As Cranny-Francis et al. describe, gender "divides

humans into two categories: male and female" (1). At the same time, this expression

"is used to term the differences between men and women that are not biologically given

but they are given by upbringing under the terms of a certain society or culture"3

(Prvodce na cest k rovnosti en a mu 5). Regarding the differences, as we can find

out by further reading in the brochure, we talk about "distinguishing social and

psychical distinctions . . . that change in time and they also differ in different cultures"4

(5). Furthermore, gender also "includes primarily social and socially conditioned

2,3,4

Translated from Czech.

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cultural differences, expectations, prejudices and particularities of mens and womens

statuses"5 (10).

As it has been already discussed, the term gender does not mean only the sex

in connection with genitalia, but it also signifies everything around us that "help" us

exist either as a man or woman. In terms of being a male or female, we can talk about

"ones subjective realization as being a woman or man - a subjective feeling of

femininity or masculinity"6 (Valdrov 7), which is called gender identity. This phrase

can be also described as "[t]he sense of identification with either the male or female sex,

as manifested in appearance, behavior, and other aspects of a person's life"

("Gender Identity"). It refers to "how we feel about and express our gender and gender

roles - clothing, behavior, and personal appearance. It is a feeling that we have as early

as age two or three" ("Gender & Gender Identity") and this realization "is reinforced

at puberty. Once established, it is generally fixed for life" ("Gender Identity").

Regarding femininity and masculinity and the term gender identity, there are

certain feminine and masculine traits that can be characterized as "ways of behaving

that our culture usually associates with being a girl or woman [or a boy or man]

("Gender & Gender Identity"). Such traits are also connected with certain adjectives that

are frequently used in connection with either femininity or masculinity, such as

"dependent, emotional, passive, sensitive [for feminine attributes and] independent,

non-emotional, aggressive, tough-skinned" ("Gender & Gender Identity") for masculine

characteristics. Other examples of such stereotyped traits and adjectives are illustrated

in connection with gender stereotypes below.

In relation to being a male or female, there are certain "social roles that the

society prescribes to individuals on the basis of their sex"7 (Prvodce na cest k

rovnosti 5) which are called gender roles. In other words, such roles can be

characterized as "an aggregate of evident and hidden regulations valid for womens and

mens behaviour and actions and relationships between them; there are certain work,

values, duties and responsibilities that are ascribed to women and men within gender

roles"8 ("Gender(ov) Role"). Moore defines gender roles as "[s]ets of attributes,

5,6,7,8 Translated from Czech.

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including attitudes, personality traits, abilities, interests, and behaviors that are defined

as appropriate for each sex" (578). As Valdrov further adds on this subject in her book,

"a child learns her/his female or male role under the assistance of his/her surroundings -

parents, school, media, church, various institutions. These socializing subjects

appreciate when a child demonstrates the 'right' character traits and they adjust the

'wrong' ones"9 (10). It is obvious that the realization of gender identity is closely

connected with gender roles. What is a surprising fact is that while "gender identity as

man or woman is stable, some of the content of an individual's gender role may change

over a lifetime because of changing social norms or a move to another society"

(Lehne 729).

After explaining the key terms related to the topic of this work, it is possible to

focus on the most crucial expression that is gender stereotypes. As Cranny-Francis

et al. firstly deal with the term stereotype itself, it can be described as "a radically

reductive way of representing whole communities of people by identifying them with

a few key characteristics. Individuals from the group who [do not] fit that stereotype are

then said to be atypical" (141). Stereotypes can be seen in our society very frequently.

It is obvious that in terms of stereotypes people are accustomed to certain norms and

they are afraid of changes and therefore if one behaves in contradiction with such

norms, others find it inappropriate and uncommon.

Psychologists have also noted the role stereotypes play in human memory.

When meeting a new person, for example, people sometimes combine their

firsthand perceptions of that person appearance, personality, intelligence

with stereotypes they have formed about similar people. Later, when

trying to describe or recall that person, the actual characteristics become

distorted by the stereotypical features that often have no relation to that

person. ("Stereotype" 628)

9 Translated from Czech.

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Therefore, gender stereotypes can be characterized, according to Prvodce na

cest k rovnosti en a mu, as "stereotyped opinions, prejudices and ideas about 'right'

and 'natural' general behaviour and considering individuals on the basis of their gender

without deep concerning the fact what is innate and what they gained by upbringing,

what their individual abilities or ideas about life are and so on"10

(6). As Moore further

explains, we can talk about gender stereotypes "when individuals employ [gender-role]

sets of behaviors as rules to be applied to all males and females" (579). In other words,

as Renzetti and Curran summarize in their book, "gender stereotypes are simplifying

descriptions of what a 'masculine man' or a 'feminine woman' should look like"11

(20).

As Deaux and Kite add, "people usually think of such stereotypes in a bipolar way, i.e.

a normal man does not have any feminine features and vice versa"12

(qtd. in Renzetti

and Curran 20).

Gender stereotypes are widespread in our society and a great deal of people

follow these stereotypes without noticing. As Moore provides with some examples of

typical gender stereotypes, those "for femininity include expectations to be domestic,

warm, pretty, emotional, dependent, physically weak, and passive" (579). Furthermore,

females "have come to be seen as naturally nurturing, sensitive . . . and deferring"

(Cranny-Francis et al. 143). On the contrary, "men are thought of as being more

competitive and less emotional than women. Masculinity stereotypes can be described

by words such as unemotional, physically strong, independent, active, and aggressive"

(Moore 579). At the same time, "men are seen as removed, rational and authoritative"

(Cranny-Francis et al. 145).

As stated in the paragraph above, it is obvious that women are frequently

associated with either negative or inferior attributes and characteristics while men seem

to be "the stronger ones". In terms of such prejudiced traits and expectations of women,

another significant term must be explained, which is sexism that is closely connected

with gender stereotypes. This expression can be described as "the appraisal of one sex,

in this case male, as more valuable than the second one"13

(Renzetti and Curran 31).

Another explanation of the word says that sexism "commonly describes attitudes,

statements, acts, strategies, or methods that lead to the discrimination, marginalization,

10,11,12,13

Translated from Czech.

~ 21 ~

or oppression of individuals or groups based on their sex" ("Sexism" 473). As it was

written, females are usually those who are treated in a lesser way, which has a great

impact on their lives and, in terms of childrens perception of gender roles and their

general and superficial understanding of the world, they are at a disadvantage of being

considered an inferior sex. Furthermore, "[s]exism against women pervades all areas of

their lives, public and private, legal and economic, educational and social, religious and

psychological, and gender relations in particular" ("Sexism" 473). Sexism is also often

called gender discrimination, which "is any action that specifically denies opportunities,

privileges, or rewards to a person (or a group) because of gender. The practice of letting

a person's gender become a factor when deciding who receives a job or a promotion"

("Gender Discriminations" 533).

~ 22 ~

4. Gender stereotypes in fairy tales

Thanks to the two previous chapters we were acquainted with the development

of fairy tales as well as the key terms connected to gender stereotypes in general. As it

has been already written in this thesis, already small children realize the differences

between their gender, especially thanks to the environment they are surrounded by.

When we talk about the environment, it includes not only parents or peers who have

a great impact on childrens formation, but also fairy tales in connection with childrens

perception and embracing gender roles. As Zipes claims:

Children are conditioned to assume and accept arbitrary sex roles. These

socially conditioned roles prepare females to become passive, self-denying,

obedient, and self-sacrificial . . . as well as nurturing, caring, and

responsible in personal situations . . . They prepare males to become

competitive, authoritarian, and power-hungry as well as rational, abstract,

and principled. (Dont Bet on the Prince 3)

There have been a number of research the findings of which prove that

"children start to give preference to certain toys in compliance with gender stereotypes

already at the age of eighteen months. Two-year-old children are aware of their own

and others gender and during their third year of life they start to evaluate certain

qualities and characteristics in a stereotyped way"14

(qtd. in Renzetti and Curran 93-4).

At this age, children come into contact with fairy tales regularly and therefore it is

obvious that already in such early age they form their basic ideas about womens and

mens roles in the society. As Cranny-Francis et al. state in their book:

The dichotomies and associated connotations of (active) masculinity and

(passive) femininity, (good) beauty and (evil) ugliness, and (pure) whiteness

14

Translated from Czech. Golombok, Susan, and Robyn Fivush. Gender development. Cambridge:

Cambridge University Press, 1994. Print.

~ 23 ~

and (corrupt, contaminated) blackness recur as potent archetypes within a

range of favourite childrens stories. As such, they become inscribed on

developing psyches as heavily encoded and covert signifiers of societal

values, and from the point of view of gender, race and class analysis, they

are far from egalitarian. (244-5)

Regarding typical portrayals of men and women in the tales, Moore provides in

his study with a number of examples of such stereotyped and sexist portrayals.

"(1) Females are poor girls or beautiful princesses who will only be rewarded if they

demonstrate passivity, obedience, and submissiveness. (2) Stepmothers are always evil

. . . (4) Beauty is the highest value for women . . . (6) Money and property are the most

desirable goals in life [for women]"15

(qtd. in Zipes, "Dont Bet on the Prince" 6).

There have been a great deal of research concerning gender stereotypes in fairy

tales which proved that male characters are portrayed in a positive and active way to

a large extent whereas female characters are depicted in a negative or passive way or

they are not present at all. Weitzman et al. found out that "male characters are depicted

in active roles of adventurers and leaders whereas female characters are portrayed in

passive roles of companions and helpers"16

(qtd. in Renzeti and Curran 117).

Furthermore, as Odean found out in her study from 1997, "female characters play

an inferior role and only a small part of the characters is described as brave, physically

fit or independent"17

(qtd. in Renzetti and Curran 118).

On the following pages, the analysis of the two well-known fairy tales, namely

"Cinderella" and "Snow White", is provided, which focus especially on the negative

aspects of stereotyped and biased portrayals of the main characters in relation with their

impact on childrens perception of typical behavioural pattern related to men and

women.

15

Moore, Robert B. From Rags to Witches: Sterotypes, Distortions and Anti-humanism in Fairy Tales.

Vol. 6. New York: Council on Interracial for Children, 1975. Print. 16

Translated from Czech. Weitzman, Lenore J. et al. "Sex-Role Socialization in Picture Books for

Preschool Children." American Journal of Sociology 77.6 (1972): 1125-150. Print. 17

Translated from Czech. Odean, Kathleen. Great Books for Girls: More than 600 Books to Inspire

Today's Girls and Tomorrow's Women. New York: Ballantine, 1997. Print.

~ 24 ~

4.1. Cinderella

Undoubtedly, "Cinderella" can be considered as one of the most famous as well

as favourite fairy tales throughout the world. There is a large number of variations of

this story as the first mentions of the tale are almost two thousand years old. There are

two extant versions of this fairy tale that are considered to be the oldest known

interpretations based on the main theme of the story, which are "a Chinese version from

the ninth century AD, and a much less well-publicised Sanskrit version underlying

Kalidasas drama Sakuntala, of the fifth century AD, and also known as early as an

allusion in the Mahabharata of some two centuries earlier" (Anderson 27).

As it has been already written, there have been a number of versions as well as

the names of Cinderellas story; nevertheless, the main theme always remains the same.

As Anderson refers to Aarne-Thompsons division of the folktales and fairy tales18

,

the structure seen in the stories based on Cinderellas topic can be divided as follows:

1. The persecuted heroine

(a1) The heroine is abused by her stepmother and stepsisters; she stays

on the hearth and ashes; and

(a2) is dressed in rough clothing - cap of rushes, wooden cloak, etc.

(b) She flees in disguise from her father who wants to marry her; or

(c) is to be killed by a servant.

2. Magic help

While she is acting as servant (at home or among strangers) she is

advised, provided for, and fed

(a) by her dead mother; or

(b) by a tree on the mothers grave; or

(c) by a supernatural being, or

(d) by birds; or

(e) by a goat, a sheep, or a cow.

18

Aarne, Antti, and Stith Thompson. The Types of the Folktale. Helsinki: Academia Scientiarum Fennica,

1961. Print. (Type 510)

~ 25 ~

(f) When the goat (or other helpful animal) is killed, there springs up

from her remains a magic tree.

3. Meeting the prince

(a) She dances in beautiful clothing several times with a prine who

seeks in vain to keep her, or she is seen by him in church;

(b) she gives hints of the abuse she has endured as a servant girl; or

(c) she is seen in beautiful clothing in her room or in the church.

4. Proof of identity

(a) She is discovered through the slipper test; or

(b) through a ring which she throws into the princes drink or bakes in

his bread

(c) She alone is able to pluck the apple desired by the prince.

5. Marriage with the prince (24-25)

On the subject of the versions chosen for the analysis in this diploma thesis,

there are five different ones of Cinderellas story present in this work, which are Jacob

and Wilhelm Grimms "Aschenputtel" originally published in 1812 in the book called

Kinder- und Hausmrchen. Secondly, there is Joseph Jacobs "The Cinder Maid"

published in 1916 in the book consisting of the collection of fairy tales called Europas

Fairy Book, which is his own variation of the stories known throughout the whole

Europe. The next used version is one of the first animated adaptations of this fairy tale

Cinderella by Walt Disney that was released in 1950 by Walt Disney Productions.

It can be also characterized as an animated musical because of a number of songs it

contains. The film refers to one of the very first writers and publishers of fairy tales

Charles Perraults version from the 17th century and it is 74 minutes long and was

directed by Clyde Geronimi, Hamilton Luske and Wilfred Jackson.

Roald Dahls "Cinderella" is written as a poem that was published together with

other rhymed fairy tales in his book called Revolting Rhymes, which is rather a parody

~ 26 ~

of traditional fairy tales and it was originally published in 1982. Undoubtedly, this

version differs from the classical ones to a large extent not only by the style of writing,

but also by the end of the story Cinderella does not marry the prince who she met at

the ball, she gets married with "a lovely feller, simple jam-maker by trade" (Dahl 12).

It is obvious from reading the text that it really is a parody rather than a traditional fairy

tale. The author uses a large number of informal words and expressions that are not

suitable for fairy tales, such as "crate of beer" or "dirty slut". Furthermore, he calls the

main character Cindy rather than Cinderella. Undoubtedly, this story is different since

the time it was written in was different from the past and the author tried to connect the

modern perspective of the youth as well as gender approaches and the traditional story.

As for the last version analysed in the thesis, there is another film adaptation of

the fairy tale, which is an American romantic comedy called A Cinderella Story that

was released in 2004 by Warner Bros. Pictures. The film is 95 minutes long and it was

directed by Mark Rosman. At the very beginning it is necessary to mention that this

filmed interpretation of the story is affected by the modern age, which means that there

is not any occurrence of the supernatural, there is not a royal family, the characters are

ordinary people. Furthermore, the thing Samantha, Cinderellas personification, loses at

the ball is not a slipper but a mobile phone. The story is adapted to the 21st century and

it takes place in San Fernando Valley in Los Angeles.

As mentioned above, the plot is always identical. After Cinderellas mothers

death, her father marries another woman with two daughters. Her stepmother and

stepsisters treat Cinderella as a maid who has to work very hard. One day, there is a ball

in the town and everybody is to partake in that event except Cinderella. Nevertheless,

she manages to attend the ball by means of some supernatural power where she meets

the prince and, at the same time, loses her slipper, which is important for unfolding the

story. The prince tries to find the girl in the town whom the slipper belongs to, after

some time he finally manages and as a result Cinderella becomes his wife.

Regarding the plot of the versions listed above, there are not many differences in

the storyline; however, some changes occur, especially in the parts related to the

presence of magic objects in the brothers Grimm version there are doves and other

birds who help Cinderella fulfil assigned tasks and the little tree on her mothers grave,

~ 27 ~

whereas in Jacobs version from 1916 it is the hazel tree and little bird. Cinderellas

helpers in Disneys version are embodied not only by animals, such as mice or birds,

but also by her Fairy Godmother. In Dahls version from the eighties, on the contrary,

there occurs the Magic Fairy who helps Cinderellas dreams come true. On the other

hand, regarding A Cinderella Story, a film adaptation, there is not any occurrence of any

magic objects, there are the main characters friends who help her instead.

Concerning the analysis itself, there can be stated the main themes that all the

five versions have in common and that are partially grounded in Aarne-Thompsons

structure which Anderson refers to (24-5); namely, the portrayal of Cinderella herself,

then the depiction of Cinderellas stepmother and stepsisters, the presence of the main

protagonists mother and father as well as the magic objects. Next, there is a certain

association with the prince and his affection by Cinderella with the emphasis on her

appearance. Lastly, what is really interesting and cannot be omitted is dealing with the

wedding and marriage in the versions by the different authors.

4.1.1. Portrayal of Cinderella

The main female character is depicted very similarly in all versions except

Dahls one. Cinderella is represented as a poor, defenceless girl who "[is] abused,

humiliated, and finally forced to become a servant in her own house" (Disney,

Cinderella). She must obey her stepmothers and stepsisters commands and take care

of the household, she is in charge of cleaning and keeping the household, she is "set to

do all the drudgery of the house, to attend the kitchen fire, and [has] naught to sleep on

but the heap of cinder raked our in the scullery . . . [a]nd no one [takes] pity on her..."

(Jacobs 3). In a short, she is literally a maid and is exploited by her stepfamily without

any signs of Cinderellas resistance to them, which is a typical feature of

submissiveness connected to the main female protagonists in fairy tales. On the other

hand, in Dahls version there is not any mention about her duties in taking care of the

household but she still is "locked up in a slimy cellar" (5).

It seems that a girl cannot merit a happy life or a happy ending without being

a servant, captured or working very hard, she has to deserve it. In general, based on the

~ 28 ~

facts stated above, you have to experience something very bad to be rewarded, as in

Cinderellas case, you have to suffer and be treated as a slave. Furthermore, you have to

be inactive, avoid talking back if you do not agree and, at the same time, you simply

have to wait passively for your rescuer who will certainly come and you will live

happily ever after as almost every fairy tale guarantees.

At the same time, Cinderella is characterised as an "ever gentle and kind"

(Disney, Cinderella) young lady, which is also another typical example of the

stereotypes connected to the female heroines. Not only is she submissive and obedient,

she is also very good and although her life is very difficult, she does not seem to

complain and she helps the animals, or other people, instead and flees from the reality

into her dreams about a happy life, usually with a prince, which can mean that the only

possibility of being rescued from an inequitable life full of sadness and hopelessness is

the prince.

Regarding Cinderellas positive traits, it cannot be doubted that these good

characteristics were chosen intentionally. Such typical portrayal of the main female

protagonists in fairy tales can be also connected with the reader himself as we usually

tend to grow fond of the characters, in terms of gender, women, who are depicted with

good qualities and behaviour and help others. Readers also have an inclination

to empathize with poor girls who are treated unfairly or who are abused, such as the

main character of this fairy tale. Concerning children and their possible interpretation of

these facts, it suggests that a girl does not have to fight for the justice and she can let

others hurt her feelings and treat her in a bad and inferior role. Everything a girl has to

be is good and kind in any case.

On the contrary, Dahls Cindy, as he refers to her, is not portrayed in the same

way as in the other versions of the tale. She seems to be obstinate and she cannot use

any kind word or be grateful for the help of the Magic Fairy who serves here to help

Cinderellas dreams and wishes come true, as it is obvious from the following lines:

I feel as rotten as can be!

She beat her fist against the wall,

~ 29 ~

And shouted, Get me to the Ball!

There is a Disco at the Palace!

The rest have gone and I am jalous!

I want a dress! I want a coach!

And earrings and a diamond brooch!

And silver slippers, two of those!

And lovely nylon panty-hose!

Done up like that Ill guarantee

The handsome Prince will fall for me! (Dahl 6)

Cinderella is not depicted as weak and defenceless as in the other variations of

the tale; moreover, at the end of the story, Cindy decides that she does not want to

marry the prince because of his sadist interest in killing people, especially women, she

wants to meet a nice man instead. She realizes that the social status and money is not

the most important thing in the world and she changes her attitude towards men and

"happiness". Similarly, Samantha in A Cinderella Story finally is not afraid to express

herself as well, she confronts her lover Austin about his behaving so cowardly and

unfairly towards her, she is not afraid to express her feelings and opinions.

Undoubtedly, this sudden change in Cinderellas behaviour is closely connected with

the age the stories were released and, simultaneously, it is associated with the impact of

the development of the feminist movement and gender equality throughout the last

century.

What is an interesting point is that in Grimms, Jacobs and Disneys there is not

any emphasis on Cinderellas intelligence whereas the main character in A Cinderella

Story is portrayed as a very smart girl who studies a lot and finally is admitted to a

prestigious university, which is the only version that emphasizes her intellect. As it was

suggested above, the focus on Cinderellas intellect is influenced by the 21st century as

it is not any exception that women study at universities, prejudices concerning womens

staying at home and keeping the household are not as strong as they used to be in the

past.

~ 30 ~

Although Cinderella is depicted as a very hardworking girl, she does not seem to

be able to finish the work or tasks without help of either animals, such as in Grimms

version, or people, namely Samanthas friends in A Cinderella Story. She would not

even be able to attend a ball without some supernatural power, animals or other people.

As in the brothers Grimm interpretation, she relies on the pigeons for the rest of the

story. Furthermore, she does not even try to do a task on her own, she calls doves and

birds instead:

O gentle doves, O turtle-doves,

And all the birds that be,

The lentils that in ashes lie

Come and pick up for me!

The good must be put in the dish,

The bad you may eat if you wish. (Grimm)

She is dependent on the supernatural things that will make her happier, which is

also connected to her characteristics, she seems to be feckless as she is not able to

handle with the problems herself, she always needs some assistance or advice. This also

reinforces the image of women as helpless and even unwilling to face the problems.

On the other hand, Disneys Cinderella fulfils tasks without the help of the animals, she

cleans on her own and she is very hardworking and she does not have any problems

finishing it. However, it does not matter whether Cinderella finishes the tasks with or

without any help of animals as it does not assist her with attending the ball, the eventual

reason why she cannot participate in this event is the fact that she does not have any

beautiful dress to wear.

As for the physical appearance of Cinderella, she is always described as a very

beautiful and charming girl, especially in connection with a gorgeous dress she wears at

the ball. It is interesting that there is no emphasis on her intelligence, except

A Cinderella Story, which can be understood that "[a]ttractiveness is the most important

attribute that a woman can possess, and is often an indicator of chances of future

~ 31 ~

happiness" (Keikirk 38). The same author refers in her essay to the research of the

development of almost two hundred tales, the findings of which claim that there is "a

strong correlation between the number of times a book was reproduced and the number

of times the appearance (i.e. beauty) of the female lead was stated"19

(38). This gives

the impression that everything a young lady needs to be finally rescued and live a happy

life with her prince is her beauty and especially her appearance, it is not important to be

clever as a prince does not care about her intelligence at all.

On the other hand, although there is seldom a mention about her natural beauty,

Cinderella always becomes a beautiful princess after dressing herself into a gorgeous

dress with slippers. This fact gives the impression that no one concerns whether a girl

herself is pretty, she needs to wear a gorgeous dress, slippers and coiffure her hair to be

beautiful and, in terms of this fairy tale, to attract a prince, who would not pay attention

to her if she attended the ball in her common dirty clothes. It is possible that the prince

would not even recognize his future wife without the lost slipper that all women living

in a kingdom were supposed to put on. Although it can seem trivial, this is a very

influential point since children, and especially girls, are guided to be beautiful otherwise

they will never be able to find their heroes who would provide them with happiness. As

they ground their primary ideas of the reality predominantly on fairy tales, their first

knowledge concerning differences between the two genders are very limited and

especially stereotyped.

4.1.2. Portrayal of Cinderellas stepmother and stepsisters

Regarding the other main female characters qualities and behaviour, it is

identical in all five versions that were chosen for this analysis. As it was already

suggested, Cinderella is portrayed as a good person and, therefore, there must be the

opposite of her humane and innocent characteristics, which represents her stepmother

and two stepsisters.

19

Baker-Sperry, Lori and Liz Grauerholz. "The Pervasiveness and Persistence of the Feminine Beauty

Ideal in Childrens Fairy Tales." Gender and Society 17.5 (2003): 711-726. Print.

~ 32 ~

Although Cinderellas portrayal differs to some degree in the versions chosen for

this analysis, the stepmother and stepsisters depiction is more or less the same, except

the mention of the their physical appearance. The brothers Grimms variation is the only

one where the focus on their attractiveness is stated; these characters are "beautiful and

fair in appearance, but at heart they [are] black and ugly" (Grimm). The other versions

either do not concern their appearance at all or they are noticeably more unattractive in

comparison with the main character; for instance, Dahl calls the stepsisters literally the

Ugly Sisters.

The appearance is not the only contrast to Cinderella, there is a striking

difference evident in the stepmother and stepsisters characteristics and demeanour as

well. While Cinderella represents the good in general, her stepfamily embodies the evil.

Cinderellas stepmother is described as a wicked and mean person who is not concerned

with anyone else but herself and her two daughters, she is not interested in others

feelings, "she would give [her daughters] beautiful dresses but none to her

stepdaughter" (Jacobs 3). Similarly, Disneys Lady Tremaine is "very cold, cruel, and

bitterly jealous of Cinderella's charm and beauty, she [is] grimly determined to forward

the interests of her own two awkward daughters" (Disney, Cinderella). This

corresponds with Moores findings of his study that the characteristics attributed to

stepmothers are negative at all times (qtd. in Zipes, "Dont Bet on the Prince" 6).

The stepmother in Disneys Cinderella is not as naive as she is depicted in the

other versions, which is obvious from the scene where the prince is dancing with the

unknown beauty, who seems very familiar to her and finally the stepmother finds out

that the beauty is Cinderella herself and as a result she locks her in the attic so that she

cannot try the slipper out. Even Fiona, the stepmother in A Cinderella Story, seems to

be more clever and malicious as she hides the will where Samanthas father bequeathed

everything to her instead of Fiona and she falsified the result from the university

(A Cinderella Story).

It seems that with the course of time as well as film versions the stepmothers

cruelty and insidiousness grows, which can also deepen childrens negative image of

women in general and especially stepmothers. It is a known fact that when childrens

parents get divorced, a child usually finds it very difficult to build a relationship with

~ 33 ~

a new mother and if children learn about their biased negative and evil qualities in fairy

tales, it can even lead to even to the rejection of their potential stepfamily.

As it was mentioned earlier, in all versions, except for brothers Grimms one,

there is the focus on the stepsisters unattractiveness; moreover, the versions also

stresses their unintelligence since they are described as childish and simple girls who

experience a number of embarrassing situations, especially those in A Cinderella Story.

Not only are the stepsisters depicted as unintelligent, they are also portrayed as

insidious and mean girls who have fondness especially in ridicule, mockery and

bringing disgrace on Cinderella. Furthermore, Drizella and Anastasia in Disneys

Cinderella seem to be unusually brutal as they tear Cinderellas dress so that she could

not attend the ball and they enjoy it.

The stepsisters are also very jealous of Cinderella as they want to marry the

prince; however, although there is no cogent reason explained why they long for that so

much, this can be interpreted that women are interested in money and wealth, thanks to

which they can be considered "gold-diggers" who are able to do anything to reach

money in order to be provided for. In this case, the stepsisters are willing even to cut

their toes and parts of feet. Simultaneously, such intentional self-inflicted injuries can

indicate the fact that females are mean and they always compete with each other in

order to win, there is nothing that could stop them, not even the family relationships.

As Neikirk explains in her essay, the "mutilation of the stepsisters feet . . . also presents

the notion that women will go to great lengths in order to undermine each other. This

common theme sends a message to girls that they cannot trust one another, a message in

approximately 17 % of the tales"20

(39).

It is obvious that these female characters serve as the foil of Cinderella and

therefore they are portrayed in a completely reverse way than the main character herself.

There is a noticeable connection between the beauty and positive traits and between the

unattractiveness and negative characteristics, which can be understood that "ugly

women are source of suspicion" (Neikirk 38). If a woman is not attractive, she is

automatically considered evil or, at least, peculiar and she must be jealous of more

20

Baker-Sperry, Lori and Liz Grauerholz (2003). The Pervasiveness and Persistence of the Feminine

Beauty Ideal in Childrens Fairy Tales. Gender and Society, pp. 711-726

~ 34 ~

attractive women. Therefore, if a young girl wants to be perceived as good, she has to

be beautiful at first. Unfortunately, this wrong attitude is still widespread among not

only children, but also teenagers; there is a number of beauty contests worldwide where

the attractiveness is greatly emphasized. When we see a pretty girl, we automatically

tend to connect her appearance with positive qualities as people, and especially young

girls, according to Lieberman, incline to "believe in a correlation between a loveable

face and a loveable character" (qtd. in Neikirk 39).

What really is worth noticing is dealing with the stepmother and stepsisters

punishment at the end of the tale. While in Jacobs and Disneys versions there is no

more detailed explanation of what happens to Cinderellas stepfamily next, the

stepsisters in brothers Grimms "Aschenputtel" are attacked by birds which peck out

their eyes so that they are "condemned to go blind for the rest of their days because of

their wickedness and falsehood" (Grimm). In Dahls version, the punishment is

represented by the stepsisters execution by the prince himself. Similarly, A Cinderella

Story provides another description of the punishment - Samanthas stepmother and

stepsisters bad deeds are revealed and they have to expiate everything abominable they

have done to the main character. The brothers Grimms fairy tales are known for their

brutality present in the stories; however, as there is no reference to the punishment in

the two remaining versions, it can be concluded that the authors did not want to include

any kind of brutality in their stories.

The reason may be connected with the fact that the stories were primarily

intended for children and they would not liked it. However, it seems that with the course

of time it was necessary to focus on the moral and punishment itself. In the older

versions it was enough when the main protagonist was rescued by the prince whereas in

the two latest variations the punishment itself was stressed. In a word, even little

children should be aware of the consequences of their actions, if you behave good, you

will be rewarded but if you behave badly, you will be punished instead. Regarding

gender stereotypes, this implies that a girl who is not obedient and who does not wait

passively cannot expect a happy life but a punishment instead.

~ 35 ~

4.1.3. Presence of Cinderellas mother and father

Concerning the presence of Cinderellas closest relatives, it is typical for the

fairy tale that there is either no mention of her mother and father, as in Dahls version,

or there is only a brief reference to them throughout the story or only at the beginning.

While in Grimms "Aschenputtel" the father is mentioned very sporadically

throughout the story, in Jacobs version he plays more significant part. Firstly, he is

described as a weak man who is not respected and anything he says in defence of his

daughter is considered nonsense, for example, when he tries to persuade his wife that

his daughter should also attend the ball, he is mocked by her and her two daughters:

"What, Cinder Maid going to the kings ball? Why, look at her, she would only disgrace

us all." And so her father [holds] his peace." (3) Furthermore, he does not even struggle

for improving his wifes relationship and attitude towards Cinderella as he himself

accompanies her to the ball. In this case he seems to be as weak and defenceless as well

as Cinder Maid and it is obvious that Cinderellas stepmother is the only one who is

head of the family. Similar to the portrayal of the father in Jacobs "The Cinder Maid",

this character in the brothers Grimm version stays aloof; in addition, when the prince

asks him whether he has another daughter who could try to put on the slipper, he firstly

denies her.

On the other hand, Disneys Cinderellas father, "a kind and devoted father . . .

[who gives] his beloved child every luxury and comfort" (Disney, Cinderella), is

mentioned only at the very beginning of the film because he dies shortly after his

marriage with Lady Tremaine. It can be interpreted that Cinderellas stepmother is the

reason why the father dies at the beginning of the story. Although Samanthas father in

A Cinderella Story also dies at the very beginning, the reason of his death is explained,

which is the earthquake.

According to these facts it implies that older men are not suitable for the fairy

tales because their presence is very limited or they are not portrayed as the strong ones

who help others to fulfil their dreams or survive difficulties connected to the main

characters life, which seems to be left to the prince. This suggests that a girl cannot rely

on her father during harsh times but on the prince who will come and rescue her.

~ 36 ~

Although this is not connected with gender stereotypes, it still can be considered

another kind of stereotypes, that is to say ageism, which can be described as "prejudice

and discrimination against older people based on the belief that aging makes people less

attractive, intelligent, sexual, and productive" (Chen 51). On the other hand, it can

evoke in children that all old women are evil and the only men who they can rely on is a

young and strong prince.

As for Cinderellas biological mother, the authors are not concerned with her

presence in the story as either her death is mentioned already at the very beginning of

the story or there is no mention of her, as in Dahls version. Similarly to the analysis of

Cinderellas father, it seems that it is not appropriate to mention another female

character with good qualities apart from Cinderella herself as the reader would not have

to be attracted by the main protagonist. However, although the mother herself is not

present in the story, there are some references to her through the presence of magic

objects, such as her grave, and help to Cinderella.

In terms of relations, one significant fact cannot be omitted and it is the

importance of the family. It is interesting that there is not any focus on the family

cohesion or support of Cinderella during her harsh times. She has to handle the

problems with the help of either the animals or supernatural power and her rescuer, not

her father or mother. Furthermore, due to the absence of Cinderellas mother and father,

the portrayals of the main protagonists present in the fairy tale are very limited and

one-sided since there are several dominant evil characters, such as the stepmother and

stepsisters, and only one female character with positive traits, Cinderella herself, and

one good male character, the prince whereas the rest of the people either plays a neutral

part in this tale or they are not present in the story. Therefore, as it has been already

suggested, little children acquire very limited interpretation of the reality, it leads to the

idea that all older or unattractive women are evil and the only person the children can

trust and who can provide them with happiness and satisfaction is "the prince".

~ 37 ~

4.1.4. Presence of magic objects

As it was already briefly mentioned in the chapter concerning Cinderella herself,

the presence of magic objects throughout the story is very specific for this fairy tale. In

each version that were analysed for this work there are different types of magic objects

that assist Cinderella either with assigned tasks or they help her dreams come true; the

only exception is A Cinderella Story, there is not any occurrence of the supernatural

power, yet still there are Samanthas friends who serve as her help and support.

It is obvious that without the supernatural power Cinderella would not be able to

attend the ball, meet the prince and finally become his wife and live happily ever after,

which gives the impression of Cinderellas incapacity to handle the problems herself.

As in Grimms version, she depends on the magic pigeons throughout the whole story

and with the help of the little tree on her mothers grave she manages to attend the ball.

Similarly, as in "Aschenputtel", there is a little bird and hazel tree to help the main

female character in Jacobs "The Cinder Maid".

Animals play a significant part also in Disneys variation of the story as they

help Cinderella from the very beginning until the very end of the story. In addition,

there is also Cinderellas Fairy Godmother who creates necessary dress and accessories

by magic so that Cinderella can attend the ball, the Magic Fairy occurs also in Dahls

variation. It seems that, in terms of gender stereotypes, the only good female characters

among Cinderella that can occur in fairy tales are "the relatively asexual fairies"

(Keikirk 39) who are not present throughout the whole story and whose occurrence is

not stressed enough. As it has been already suggested in the analysis above, it seems

that there can be only one good as well as beautiful female character in the story

otherwise readers would not have to sympathize with her.

Undoubtedly, this is not a proper conception of the reality the children should

adopt by means of fairy tales. Not only does not it correspond with the truth, but, as it

was already stated, the absence of other leading characters in the fairy tale also results in

the childrens inadequate and stereotyped interpretation of the division of individuals,

and especially women, in the real life.

~ 38 ~

4.1.5. Portrayal of the prince

It seems that the only lead male character present in this fairy tale who is, at the

same time, depicted as an idol and rescuer, can be the prince himself. Although he really

is the one who saves Cinderella and helps her escape from her unsatisfied life at the end,

he does not play a significant part throughout the whole story until the very end of the

fairy tale. As for the rescue of the main character, it is obvious from the tale that the

only possible salvation of Cinderella is the prince himself, the only hero who can

provide her with happiness and welfare. What is interesting in connection with gender

stereotypes and the influence on the children is the emphasis on the heros financial

provision as even little girls are already guided to find a rich husband who will render

them the necessary comfort that will secure their contentment.

Nevertheless, the prince is not portrayed only as a personage, he is also depicted

as a very naive and unintelligent man who needs the help of others, namely the pigeons

or little bird, otherwise he would not be able to recognize his upcoming wife whose the

slipper belongs to although it is visible that the stepsisters cut their feet according to

bloody slipper, as in Grimms and Jacobs versions.

In comparison with the two oldest versions, the other three differ to some degree

in terms of the portrayal of the prince. For instance, the character in Disneys Cinderella

is not as present as in the other variations of the story, there is not many scenes with him

in the film; moreover, he does not have any interest in getting married, he does not even

search for his future bride with a lost slipper but the Grand Duke is in charge of it

instead. Nevertheless, it is obvious that there is the King and the Grand Duke who seem

to take actions and make decisions in the princes stead, they are involved in holding the

ball so that he can get married and engender some grandchildren to the King who longs

for them and forces the Prince to find "a suitable mother" (Disney, Cinderella).

The princes main role in this variation is to get married.

On the other hand, the main male character in A Cinderella Story Austin, who

embodies the prince, is one of many main characters present in the story who plays the

significant part and who is crucial for unfolding the story. Although Austin is not a

prince as such, he is considered to be the most handsome boy at school, he is a football

~ 39 ~

captain and is regarded by everyone. On the other hand, he is afraid to oppose his father

and his intentions with him and can be even considered a coward as he does not defend

Samantha when she needs it. Nevertheless, at the end of the story, but thanks to

Samanthas actions, he changes and decides to face the situation and problems. This

sudden change in the princes behaviour and his portrayal as a coward can be connected

to the development of the feminist movement as well, as Samantha is portrayed as the

stronger one who is not afraid to express herself since women are considered to be equal

to men and perhaps there is the emphasis put on this fact.

As it is typical for Dahls version of the story, the Prince, who is the only male

character, is depicted in a completely different way than in the rest of the variations. He

is portrayed as a sadist who has an avocation in violence, he himself chops the Ugly

Sisters heads off as they try to deceive him by lies. Moreover, he uses vulgar and

abusive words and he even calls Cindy a "dirty slut" (Dahl 12).

4.1.6. Princes affections towards Cinderella

Undoubtedly, an inseparable part of the analysis that cannot be omitted is

connected to the princes attraction to the main female character. It is very interesting

that in all versions there is an obvious correlation between the princes affection and

Cinderellas attractiveness, or rather her physical appearance.

In Grimms version, he falls in love with her immediately when he sees her at

the ball as she looks "so beautiful in her golden dress" (Grimm). Similarly, in Jacobs

"The Cinder Maid", the conditions of the princes feelings towards her are the same as

in Grimms version. When he sees her for the first time, he is not fascinated by anything

but her appearance as she wears the most beautiful dress on the ball. Therefore it is

obvious that he falls in love with Cinderella only due to her external beauty, not internal

one. Even the narrator mentions nothing but her look in the relation to the prince, there

is not any passage that would describe a lovely or meaningful discussion between the

prince and Cinderella. Correspondingly, Disneys prince falls in love with Cinderella at

the first sight, he is in love only with her appearance, they do not talk to each other

except for their dancing or singing love songs, he does not even know her name.

~ 40 ~

However, as it is said in the film itself, "he loves her . . . [and he is] determined to marry

her" (Disney, Cinderella).

Regarding Dahls version, which can be definitely considered controversial, it is

not written in the text that he would be impressed directly by her appearance but the

way Cinderella dances with him, she is very close to him and it is obvious from the text

that he feels some sexual tension towards the main character, "the Prince himself [is]

turned to pulp, [a]ll he [can] do [is] gasp and gulp" (6). At this time, it is not only

womans beauty that attracts the mens attention, it seems as it is not enough to be

beautiful but a girl has to impress a man by touching him and by some closer contact.

Moreover, when Cinderella wants to leave the ball, the prince does not want her to do

so and he tears her dress by mistake. If we go into details, it is possible that he also likes

her body.

On the contrary, it is obvious that the latest version of the story chosen for this

thesis, A Cinderella Story, is completely different in relation to the main male

characters feelings towards the main female protagonist. They two fall in love with

each other due to their personalities and mutual understanding rather than just due to the

appearance; however, the latter finally intensifies their feelings. This difference can be

connected with the 21st century as there is an appeal to children and teenagers that

although they fancy each other, it is not the most essential item that should be decisive

in the relationship. Furthermore, this appeal can be connected to the equality between

men and women as the women are not only the sexual objects but they are equivalent to

men.

As for the summary of this point related to the princes affections towards

Cinderella, this representation of the emphasis on the eternal beauty can mean that it

does not matter how clever you are, it is not necessary to reveal your real personality;

on the contrary, everything a girl needs is to be beautiful to attract mens attention and

wait for her prince who will choose her to marry her and rescue.

Thanks to the emphasis of the beauty it is possible that not only small girls, but

also small boys start consider beauty as an important attribute a girl should have.

Already at elementary schools boys evaluate girls appearance and if there is a girl who

~ 41 ~

is deviating, she is considered ugly or uninteresting. Furthermore, it evokes in boys that

they have to choose their future brides according to the appearance as it seems as if it

could guarantee a happy life. This is also frequently connected with the fact that these

beautiful girls will not talk back and they will keep the household and raise children,

which stresses womens subordination and biased role in society.

4.1.7. Wedding and marriage

Dealing with the wedding and marriage itself is also very interesting and cannot

be ignored in this work. It is obvious that all versions, except for A Cinderella Story,

result in the wedding although there is hardly a comment about the progress of the event

or the progress of the life after the marriage. In Jacobs variation, there is only one

sentence at the very end referring to the ending of the story, which is: "And so they

were married and lived happy ever afterwards." ("The Cinder Maid" 12) Brothers

Grimms variation, the progress of this occasion is described very briefly primarily in

connection with the stepsisters punishment. On the contrary, Disneys version is the

only one that depicts the part of the wedding; however, it is only a brief selection of the

occasion. The lack of the details concerning the wedding can imply the fact that even

though the marriage with the rich and brave "prince" seems to be the main goal in a

girls life, it is not necessary to be perturbed about the married life since the fairy tales

indicates that, on the basis of the appearance and typical characteristics possessed by a

man and woman, the spouses will live happily until the end of their lives.

As it is typical for Dahl and his variation of the tale, the ending and dealing with

the wedding differs as well. Not only is it the only version that, although briefly,

mentions the marriage and the characters satisfaction and happiness after the wedding,

but Cinderella does not even marry the prince, she marries another man who she is

happy with instead. Similarly, A Cinderella Story does not provide the audience with

the wedding at all. This fact is certainly influenced by the modern age and the fact that

there is an increasing number of young people who do not believe in the marriage as

well as the later average when people enter into marriage.

~ 42 ~

Nevertheless, it is obvious that the fairy tale puts an emphasis on the importance

of the wedding and marriage itself. Due to the lack of particulars concerning the marital

life it seems that the best reward for a poor girl that has been suffering for a long time is

the marriage with the prince. The typical phrase with which the fairy tales conclude is

apposite and there is no need to focus on anything detailed, it is obvious t