Reconstruction of Fairy Tales People can transfer a fairy tale from generation to generation and learned from it. However, these days, children rarely come into contact with the complete fairy tales because they always read fairy tales through TV, magazines, etc. These media will always simplify the full text of fairy tales by cutting parts that seem not affect the plot of the story such as the Disney’s animated version. But this simplification indeed minimized the value of the story and fairy tales became nonsense pastimes.
The story telling is a means of teaching the child the social norms of their nation. There as a time when female writers were led to believe that their gender prevented their works from being taken seriously. Patriarchal gaze which occupied the right in literature discourages women from fully experiencing their sexuality in writing. However, contemporary writers and directors attempt to rewrite and remake fairy tales, let alone their desire for artistic creativity through editing new books, movies as an entertainment.
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Revised contemporary fairy tales with narratives opposed to simplification of stories and normalization of women, can be more active contributors to new construction of sexual representations. Contemporary, a variety of feminist scholars have sought to understand how alternative spectator positions, including a “feminine” gaze, can function to resist patriarchy and affirm women’s perspective and experiences. Exposing the disciplining of female sexuality embedded in our cultural knowledge, writers of new fairy tales try to introduce a dominant female gaze resisting the position of women under patriarchy.
It matters a lot because their reviving, rewriting, retelling, or cross-writing of fairy tales first re- discipline our knowledge of gender roles and female sexuality in cultural discourses ND Grill (1987) explain what is at stake: When we are armed with knowledge of how power relations operate in a discursive to choose whether or not to accept the influence of the formation, we are more able power in the system, how to garner more power as rhetoric in the system, and how to loosen the hold of the power over us. (p. 97) Understood more broadly, the rewritten fairy tales’ resistant gaze stands as a site of challenge to an entire network of cultural discourses represents a site of resistance to disciplinary power that constitute a patriarchal pontific and demand that male sexuality be understood from a heterosexual masculine point-of-view. Also, education meanings are contained in the details of the fairy tale. The fairy tale is not pointing to the external reality but focusing on the subconscious formation and development of children’s individual.
The children’s colonization is mainly sourced from fairy tales and religious stories. As Ursula K. El Gun said in The Child and the Shadow (1974): ‘The great fantasies, myths and tales are indeed like dreams: they speak from the unconscious to the unconscious, in the language of the unconscious вЂ??symbol and archetype. ….. They are profoundly meaningful, and usableвЂ??practical вЂ??in terms of ethics; of insight; of growth’ (IPPP). Fairy tales are received, circulated, and consumed today through books, cottons and especially movies. Though we’ve in media frequently.
Feminist film scholar Laura Mulled (1975) theorized that a dominant male gaze structures mainstream Hollywood films and invites the viewer to identify with male protagonists and to marginality and objectify women. In those films revised from old fairy tales like Black Swan(2010) still disciplined by a patriarchal pontific some ways. In the story, Nina only notices that she goes home with her friend Lily. She believes that she asked Lily to come with her to home and Nina drags her to her bedroom. Nina is fantasizing about making love with Lily at that time.
Such images implicitly convey that the most desirable and acceptable form of female-female sexuality is that which pleases and plays to the heterosexual male gaze. Though we’ve made great strides in literature (one of the many successes to celebrate during Women’s History Month), that same outdated belief continues to affect women writers. Perhaps recognizing some of the more famous writers who mound success after eschewing their male pseudonyms will show that a woman doesn’t need a man’s name to set the literary world ablaze.
Joanne Rolling O. K. Rolling) Anyone who doubts that there’s still a double standard in the publishing industry doesn’t know his or her Harry Potter history. Rolling was told by her publisher that her series wouldn’t be as popular among boys if it was penned by a woman. She used a set of initials instead (not even her own, since she has no middle name) and as we all know, the Harry Potter books catapulted in popularity even after her gender was revealed.