Relevant bibliographies by topics / Cinderella (Tale)

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Cinderella (Tale)'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Cinderella (Tale)"

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Mardani, Puri Bestari, and Maria Febiana Christanti. "Cinderella: The Feminist Tale (A Discourse Analysis of the Story’s Adaptation through Podcast)." EKSPRESI DAN PERSEPSI : JURNAL ILMU KOMUNIKASI 7, no. 2 (May 31, 2024): 354–66. http://dx.doi.org/10.33822/jep.v7i2.7691.

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Cinderella’s character and feminist ideology are contradictory. The phrase “Cinderella Complex Syndrome,” which refers to women’s dread of independence, supports this idea. Fairy tales are full of beautiful, passive, submissive princesses, as well as bold, independent female constrained by archaic gender stereotypes. They uphold conventional norms about gender roles and value. Fairy tale adaptation is not a new phenomenon; for centuries, people have used it to further their objectives, uphold their cultural standards, and further their ideologies. The construction of feminism in Cinderella rhyme via podcast is the main focus of this study. This rendition carries the feminist ideals while representing an unexpected tale. This study uses discourse analysis methodology, relying on the ideas of liberal feminism and Linda Hutcheon’s theory of adaptation. According to this theory, adaptation encompasses both the process and the final output. It is evident from Cinderella’s podcast that retelling of the narrative is dependent on the story teller’s perception and incorporates a new ideology – liberal feminism, which is associated with the second wave of feminism. This study shows how the liberal feminism ideology in Cinderella’s rhyme is constructed through modifications in the storyline and characterization. This Cinderella portrayal gives more depth that doesn’t match the image of a traditional princess and shows that she can accomplish anything she sets her mind to. This Cinderella adaptation tale shows Cinderella active role that frees herself from her oppressor as the development of liberal feminism in her character. Cinderella’s assertive voice in voicing her demands and desires also supports the liberal feminism idea.
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Shi, Danqing. "Cinderella Lunar Mission: Everyone Has a Chance to Set Foot on the Moon." Leonardo 43, no. 3 (June 2010): 218–22. http://dx.doi.org/10.1162/leon.2010.43.3.218.

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The author compares the original story of Cinderella with the modern fairy tale created by the news media in covering the Apollo Program. This comparison builds the basis for the design of Cinderella Lunar Mission, a pseudo-lunar mission consisting, variously, of an installation, fake news reports, a lunar mission network game and real-world action 〈 www.cinderellalunarmission.com 〉. Inspired by Cinderella's glass slipper, the exclusive sign of her identity, Cinderella Lunar Mission examines the idea of shifting identity and ways of fabricating new fairy tales using such digital technologies as programmatic text, network games and barcode identification.
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S. Vanya Ides Ramadhani. "Characterization Analysis: Cinderella in Grimm's Fairy Tales (Jacob & Wilhelm Grimm) and Cinderella (Grimm's Fairy Tales 2003)." Khatulistiwa: Jurnal Pendidikan dan Sosial Humaniora 3, no. 3 (July 13, 2023): 242–53. http://dx.doi.org/10.55606/khatulistiwa.v3i3.1954.

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The present article aims to identify the characterization of Cinderella in two different versions of the fairy tale: "Cinderella Fairy Tales" (Grimm's Fairy Tales Version) by Jacob & Wilhelm Grimm and "Cinderella" (Grimm's Fairy Tales 2003) Selected & Edited by Edna Henry Lee Turpin. By applying a formalist approach, the article focuses solely on identifying the differences in the characterization of the main character between the two fairy tales.Through a close reading method to collect data from both versions, the present paper elaborates on Cinderella's characterization, highlighting her traits such as being good and pious, grateful, resilient, strong and agile, beautiful, dirty, and even a liar. The differences lie in how the authors describe these traits. The characterization of "liar" suggests that Cinderella is not merely an innocent child; she is also capable of engaging in negative behavior.
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Mirskaya, Liudmila A., and Victor O. Pigulevskiy. "Archetypal analysis of “Cinderella”." SHS Web of Conferences 122 (2021): 06006. http://dx.doi.org/10.1051/shsconf/202112206006.

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Psychologists often use the name of the protagonist of the fairy tale “Cinderella”, which is famous thanks to the brothers Grimm and Charles Perrault, for a sacrificial girl prone to dissociation, illusions, and waiting for a prince. This is typical for psychoanalysis. However, such an idea of Cinderella’s character does not fully reflect the essence of the matter. Moreover, it is generally not true. From the perspective of C.G. Jung’s analytical psychology, Cinderella is not a victim or an infantile dreamer and is not a real girl at all. Any tale represents an archetypal process of individuation. This is a collective natural constant of the psyche that excludes individual problems. Cinderella cultivated in herself what the ancient Greeks called “paideia” – the integrity of the personality and inner strength, influence on others. The purpose of the article is to describe the process of Cinderella’s individualization from the position of C.G. Jung’s archetypal approach based on the amplification method. The most relevant sources of recent years on the archetypal analysis of fairy tales are the works by M.-L. von Franz, H. Dieckmann, and C.P. Estés. The novelty of the study consists in the description and analysis of the archetypal images of the collective unconscious, which underlie the process of Cinderella’s individuation and determine her life path. These archetypal images are Persona, Self, Shadow, Anima/Animus, and the symbolic levels of the individuation process can be represented by such alchemical terms as “separation”, “multiplication”, “calcination”, “initiation”, “transformation”, “conjunction”, “solidification”. The levels testify to the character’s inner transformation and, as a result, lead to a happy woman’s destiny. The result of understanding the deep essence of the tale is a psychologist’s analytical work with modern young women, which will lead to positive changes in thinking and behavior.
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King, Sally. "Identifying the socio-economics of pantomime through Cinderella’s footwear in 2017–18 adaptations of the tale." Studies in Costume & Performance 4, no. 1 (June 1, 2019): 43–64. http://dx.doi.org/10.1386/scp.4.1.43_1.

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Footwear plays a significant role in the fairy tale Cinderella and in different versions of the tale the eponymous character’s slipper has taken many different forms. Meanwhile, pantomime producers have for centuries been turning to the Cinderella tale for their stage adaptations, during which time the pantomimic slipper has regularly been described as a glass slipper, drawing on Charles Perrault’s 1697 French version of the tale. The glass slipper has also become the most popular form in literature, film and other media, particularly under the influence of Disney. This said, the description does not accurately reflect the physical form of Cinderella’s footwear in modern pantomime performances, which tends to be silver, sparkling, high-heeled shoes. Yet despite this general uniformity in the colour, style, size and material of Cinderella’s slipper presented in pantomimes, each theatre and production company shade their depiction with different nuances. This distinction is achieved through the handling of the slipper in the performance proper, through scripting and mise-en-scène, and through the framing of the slipper in paratextual material, such as programmes, flyers, posters, promotional videos, publicity shots, reviews and exhibitions. Research into this material through document analysis and live spectatorship suggests that the depiction of the slipper is intertwined with identity, specifically the socio-economic identity of each theatre and production. Based on a sample of six Cinderella pantomime productions from the 2017–18 season, it appears that Cinderella’s slipper works to prime and satisfy audiences attending different types of pantomimes. In this way, footwear bolsters each theatre’s self-identification and distinction from others whether they be small or large, recently founded or long-established, locally oriented or inflected by mass-media popular culture, in-house or commercially produced. Financial limitations or extravagance are encoded in the shoes, even when they appear almost identical upon cursory glance.
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Altashina, Veronika D., and Lathsadaphone Phanavanh. "Nearest Metempsychosis in the Cinderella Fairy-Tale." Proceedings of Southern Federal University. Philology 25, no. 3 (September 30, 2021): 87–101. http://dx.doi.org/10.18522/1995-0640-2021-3-87-101.

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The article describes functional mechanism of heroine’s metempsychosis in the Oriental and Occidental Cinderella fairy-tale. According to the classification of Aarne - Thompson, these tales belong to the type 510 A “persecution of the heroine”, which is associated with a complex of other plots (510 B, 511, 511 A). We limit our research only to those tales in which the identification of the heroine occurs by the shoe. The origins of this literature phenomenon are disclosed in terms of religious conception and traditional believes of the representatives of the thai-kadai language group (IX-XIX centuries). For analysis the Zhuang, Thai and Lao versions of Cinderella fairy-tale were taken, the ritual and mythological aspect of fairytale narrative is disclosed on the material base. The article also describes functions of ancestors’ cult and discusses totemic attitude of the people of the East and South-East Asia in the functioning system of the oriental fairytale which all together form the metempsychosis conception. On the ground of the ethnographic data the author substantiates the choice of animal and plants (namely, a bird/parakeet, bamboo, quince tree, hazel, palm tree, dove) which were used for the sequence of character’s incarnations in the tales. If in oriental tales the heroine’s soul is transmigrated into animals and plants, in Western European fairy tales the heroine is transformed thanks to the help of a plant or bird - the reincarnations of her mother. Only Ch. Perrault, following the rationalistic spirit of the times, does not use metempsychosis directly, but his tale also contains transformations of the inanimate into the animate: plants and animals turn into coachmen and lackeys. The metempsychosis’ final aims of the magic fairy-tales are formulated. An appeal to the European tradition (Basile “The Cat Cinderella”, 1634; Perrault “Cinderella”, 1697; the Brothers Grimm “Cinderella”, 1812), in which metempsychosis is partially preserved, confirms the eastern origin of the tale and allows a deeper understanding of its folkloric origins.
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Acorn, Annalise. "Should the Injustice Done to Her be the Law’s Concern? The Case of Cinderella." Canadian Journal of Law & Jurisprudence 30, no. 2 (August 2017): 237–58. http://dx.doi.org/10.1017/cjlj.2017.12.

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In this paper I draw on the fairy tale Cinderella to examine the distinction articulated in analytical jurisprudence between harm and injustice. I argue that the wrong done to Cinderella is an injustice, not a harm. While law is increasingly concerned with harms to children, it is persistently unconcerned with the injustices they suffer. This, I argue, is a mistake informed by a deeply gendered understanding of the distinction between the public and private realms. From Cinderella’s case, I turn to the US Supreme Court decision in Brown v. Board of Education and the settlement of the residential schools claims of Indigenous children in Canada to argue that the law ought not to take the view that injustice to children is not legally cognizable unless and until it can be conceptually transposed into harm. Injustice to children ought particularly to engage the law’s concern where (as in both school segregation in the US and the residential schools in Canada) state action is directly responsible for the injustice in question.
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Werth, Romina. "The Fleece of the Ram." European Journal of Scandinavian Studies 53, no. 1 (April 1, 2023): 61–79. http://dx.doi.org/10.1515/ejss-2023-2002.

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Abstract The fairy tale tradition of Cinderella in folklore (ATU 510) and the medieval Breton fabliau of a magic chastity-testing cloak, known as Le Mantel mautaillié (The Ill-fitting Cloak), and its various analogues, do not seem to have much in common at first. However, both the tale type and the medieval narrative contain an intriguing episode about an item of clothing – a delicate slipper, or a magic cloak – which perfectly fits only one particular woman. This article will show that Icelandic medieval literature and modern fairy tales sharing the image of a colourful fleeced ram are at the crossroads of Cinderella and the mantle tradition, and will help bring them into mutual illumination.
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Daly, Martin, and Margo Wilson. "The ‘Cinderella effect’ is no fairy tale." Trends in Cognitive Sciences 9, no. 11 (November 2005): 507–8. http://dx.doi.org/10.1016/j.tics.2005.09.007.

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Baylen, Danilo M. "Notable Trade Book Lesson Plan Glass Slipper, Gold Sandal: A Worldwide Cinderella Written by Paul Fleischman and Illustrated by J. Paschkis." Social Studies Research and Practice 5, no. 2 (July 1, 2010): 92–102. http://dx.doi.org/10.1108/ssrp-02-2010-b0009.

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Glass Slipper, Gold Sandal: A Worldwide Cinderella draws from a variety of folk traditions, including images and texts, to put together a version of a Cinderella story. The writing blends various elements from Cinderella stories from twenty countries and places to create a tale full of culture-specific images and perspectives. The book illustrates the diversity in people’s lives, which is continuously connected through our similarities and differences. The book is appropriate to use as a hook supporting delivery of a social studies curriculum, and to introduce social studies concepts in third and fourth grade classrooms.
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Dissertations / Theses on the topic "Cinderella (Tale)"

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Westerlund, Johanna. "The Brazilian Fairy Tale – The Union Leader Becomes President." Thesis, Halmstad University, School of Social and Health Sciences (HOS), 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-2321.

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Brazilian politics has for a long time been considered an elitist system, dealing with corruption and social inequalities. In 2002 something unimagined happened when the former industrial worker Luiz Inácio Lula da Silva, was elected President of the Republic of Brazil. This case study examines Lula’s authority role as President by testing the theories Cinderella Complex and Max Weber’s theory of Pure Leadership. It also tries to explain what motivates Lula’s actions and what affect this has on Brazilian politics. The case study reveals that Lula is not driven by any ideology, but is motivated by own personal interests of eliminating hunger and poverty. To realise these wishes he creates alliances in order to get enough support for these policies. Even though his government is designed as a bureaucratic administration, Lula has not proven to use rational ideas to establish new reforms. Instead he is dependent on raising enough support and trust, through his charismatic image. This is visible in his election campaigns. This leadership style has implemented some valuable programmes like the Fome Zero and Bolsa Familia, but his endless travels and commitments abroad joint with his approach to the corruption scandal in 2005 has created a new image of Lula as a negligent person.

This case study is using qualitative methods to explain the leader and President of Brazil.

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Persson, Penzer Anna. "Modern Day Fairy Tales : A comparative study between Amy Plum's Die for Me and the Western Fairy Tale Tradition." Thesis, Högskolan Dalarna, Engelska, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:du-24632.

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Sinn, Julie A. ""I ain't no trick baby" or princess in disguise gender boundaries and female mobility in Freeway, Snow White : a tale of terror, and Ever after : a Cinderella story /." [Gainesville, Fla.] : University of Florida, 2001. http://purl.fcla.edu/fcla/etd/UFE0000353.

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Yang, Su Jin. "Adapting Korean Cinderella Folklore as Fairy Tales for Children." Thesis, University of Louisiana at Lafayette, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3622966.

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Cinderella stories are one of the most popular fairy tales in the world. At the same time, they are most stigmatized by people for describing a weak and passive female protagonist. To discover possible explanations for this continuing popularity of Cinderella stories, I chose to analyze the Kongjwi Patjwi story, one of the Cinderella tales in Korea. The Kongjwi Patjwi story is one of the well-known folktales in Korea that has been adapted for children since the beginning of the 20th century. Since the Kongjwi Patjwi story is not familiar to many western people, I first analyze two of the folklore versions of Kongjwi Patjwi to prove that this story is also one kind of Cinderella tale. Both of them have the "innocent, persecuted heroine" theme, which is one of the most distinctive features of Cinderella tales. In one version, the plot follows almost exactly the same trajectory as European Cinderella tales in that it has the lost shoe motif and marriage with the Prince. The biggest difference between the Korean Cinderella and other Cinderella stories is that there is another plot in the Korean Cinderella story as the passive protagonist matures and becomes an independent woman. In some of the adapted fairy tale versions for children, this plot does not appear and the Korean Cinderella becomes another passive girl who is rescued by her Prince Charming. One of the reasons for this change is that the mothers, the buyers of the children's books, want the "Prince Charming's rescue" plot because they find that it is hard to become an independent woman in Korean society. To accommodate the consumers' wants and needs, publishers intentionally change the plots with passive protagonists. The folklore version of Kongjwi Patjwi actually suggests a more independent and mature female character which would be a good role model for many young boys and girls.

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Carling, Rylee. "Damsel in Distress or Princess in Power? Traditional Masculinity and Femininity in Young Adult Novelizations of Cinderella and the Effects on Agency." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8758.

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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. Critical multicultural analysis determining the effect of race, gender, disability, and more has been completed for both original fairy tale retellings and fairy tale retellings for children, but scholars have neglected popular YA novelizations. This study aims to determine how traditional masculinity and femininity affect agency in both male and female characters in YA novelizations of Cinderella. To examine the role of traditional masculinity and femininity in young adult novelizations of Cinderella, a qualitative study was designed to look at the five main archetypal characters of Cinderella, the prince, the stepmother and stepsisters, and the fairy godmother. The study used critical multicultural analysis as defined by Botelho & Rudman (2009) to examine uses of agency and other utilization of power from the characters, and the Bem Sex Role Inventory (1974) was employed to determine traditionally masculine and feminine traits exhibited by characters. Each novel was analyzed on an individual level to determine how traditional masculinity and femininity affected the agency of the characters, after the books were examined on a broader level to establish themes found across the selection. The general trend seemed to indicate that traditionally feminine traits hinder the agency of female characters while affecting male characters less or not at all. The analysis is followed by a discussion about the implications for both educators and readers of young adult literature.
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Rice, Jessica. "Women in Fairy Tales: The Pursuit of a Modern-Day Heroine." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/907.

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This thesis reexamines the purpose of fairy tales throughout history and explores the effectiveness of a modern alternative to classical methods of telling these stories. To increase interactivity as well as the agency of the female protagonist and players themselves, this thesis reimagines the popular classic, Cinderella, as a visual novel.
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Wittmann, Gerda-Elisabeth. "Aschenputtel und ihre Schwestern - Frauenfiguren im Märchen : Eine Kontrastierung des Grimmschen Aschenputtel von 1857 mit Aschenputtelerzälungen des 20. und 21. Jahrhunderts /." Link to the online version, 2008. http://hdl.handle.net/10019/2040.

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Wittmann, Gerda-Elisabeth. "Aschenputtel und ihre Schwestern : Frauenfiguren im Marchen : eine Kontrastierung des Grimmschen Aschenputtel von 1857 mit Aschenputtelerzählungen des 20. und 21. Jahrhunderts." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/2145.

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Thesis (MA (Modern Foreign Languages))--Stellenbosch University, 2008.
It has been widely assumed that the portrayal of women in fairytales subscribes to somewhat outdated and stereotypical modes of representation. Upon closer inspection however, it can be seen that this is a fallacious assumption and that the female roles in these stories are much more multidimensional in nature. One of the most popular fairytales from the Grimm Brothers is Cinderella. The portrayal of women in this story is typical of the weak, subjected woman who needs to be rescued by the prince from her unfavourable and subjugated position. The research presented here aims to show that the Grimm’s specific depiction of Cinderella in the 19th century provides an alternative to the modern myth. Here, she reacts strongly and independently to find the most advantageous resolution to her problematic subject position. To this end the Grimms’ version will be compared to text and filmic versions from the 20th and 21st centuries. By comparing aspects of female representation in the Cinderella-themed portrayals, one can evaluate the extent to which societal expectations have altered over time as well as investigating the modern-day implications of this.
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Iacovetta, Anna C. "Moving Up the Social Ladder: An Analysis of the Role of Temptation in Shaping Characters in Select Fairy Tales Employing Marxist and Psychological Lenses." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1491073505893036.

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Nyh, Johan. "From Snow White to Frozen : An evaluation of popular gender representation indicators applied to Disney’s princess films." Thesis, Karlstads universitet, Institutionen för geografi, medier och kommunikation, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36877.

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Simple content analysis methods, such as the Bechdel test and measuring percentage of female talk time or characters, have seen a surge of attention from mainstream media and in social media the last couple of years. Underlying assumptions are generally shared with the gender role socialization model and consequently, an importance is stated, due to a high degree to which impressions from media shape in particular young children’s identification processes. For young girls, the Disney Princesses franchise (with Frozen included) stands out as the number one player commercially as well as in customer awareness. The vertical lineup of Disney princesses spans from the passive and domestic working Snow White in 1937 to independent and super-power wielding princess Elsa in 2013, which makes the line of films an optimal test subject in evaluating above-mentioned simple content analysis methods. As a control, a meta-study has been conducted on previous academic studies on the same range of films. The sampled research, within fields spanning from qualitative content analysis and semiotics to coded content analysis, all come to the same conclusions regarding the general changes over time in representations of female characters. The objective of this thesis is to answer whether or not there is a correlation between these changes and those indicated by the simple content analysis methods, i.e. whether or not the simple popular methods are in general coherence with the more intricate academic methods.

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Books on the topic "Cinderella (Tale)"

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Judy, Sierra, ed. Cinderella. Phoenix, AZ: Oryx Press, 1992.

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Gary, Linda. Cinderella. Bath: Parragon, 2012.

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Paulding, Thrasher Barbara, ed. "Van Gool's" Cinderella. London: Twin Books, 1992.

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Charles, Perrault. Cinderella: A fairy tale. New York: Abbeville Kids, 1999.

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Gianotti, Carla. Cenerentola nel paese delle nevi: Fiaba tibetana. Torino: UTET, 2003.

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Neil, Philip. The Cinderella story. London, England: Penguin Books, 1989.

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artist, Chaffey Samantha, ed. Cinderella: A sparkling fairy tale. Wigston, Leicester: Armadillo, an imprint of Anness Publishing Ltd, 2014.

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Heurtelou, Maude. Sandra: Cinderella in Haiti. Coconut Creek, FL: Educa Vision, 2004.

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Umansky, Kaye. Cinderella. Studio City, CA: Players Press, 2012.

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Perkal, Stephanie. Midnight: A Cinderella alphabet. Arcadia, Calif: Shen's Books, 1997.

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Book chapters on the topic "Cinderella (Tale)"

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Williams, E. "Cinderella." In Fairy-Tale Revivals in the Long Nineteenth Century, 127–96. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003034643-6.

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Tzitzikas, Yannis, and Yannis Marketakis. "The Fairy Tale of Cinderella." In Cinderella's Stick, 13–14. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-98488-9_2.

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Aulich, Chris. "Australia: still a tale of Cinderella?" In Comparing Local Governance, 193–210. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-21242-8_12.

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Murphy, Terence Patrick. "A Functional Analysis of Charles Perrault’s Cinderella." In From Fairy Tale to Film Screenplay, 16–26. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137552037_3.

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Barrie, J. M. "A Kiss for Cinderella: A Comedy." In Fairy-Tale Revivals in the Long Nineteenth Century, 75–126. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003034643-5.

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Künzler, Sarah. "A Male Cinderella and a Sea Serpent’s Teeth: Scandinavian Echoes in an Orkney Folk-Tale." In Acta Scandinavica, 159–74. Turnhout, Belgium: Brepols Publishers, 2021. http://dx.doi.org/10.1484/m.as-eb.5.121339.

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Nehmé, Rima Zeid. "“Do You Know the Tale of Cinderella?”: Case Study of the Use of Metaphor and Proverbs with a Newlywed Syrian Couple in a Refugee Camp in Sidon, Lebanon." In Family Systems and Global Humanitarian Mental Health, 69–76. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-03216-6_6.

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Talairach-Vielmas, Laurence. "Nature under Glass: Victorian Cinderellas, Magic and Metamorphosis." In Fairy Tales, Natural History and Victorian Culture, 80–100. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137342409_5.

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Cantu, Maya. "Twentieth-Century Fairy Tales: Princesses, Prostitutes, and the Feminine Mystique in the Broadway Musicals of the 1950s." In American Cinderellas on the Broadway Musical Stage, 157–201. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1007/978-1-137-53453-8_5.

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Bellas, Athena. "Cinderella’s Transformation: Public Liminality and Style as Subversion in Gossip Girl (The CW 2007–2012)." In Fairy Tales on the Teen Screen, 147–88. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64973-3_5.

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Conference papers on the topic "Cinderella (Tale)"

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Vučković, Dijana Lj. "RECEPCIJA PRIČE SA ENORMATIVNOM RODNOM KARAKTERIZACIJOM LIKOVA OD STRANE UČENIKA PETOG RAZREDA." In KNjIŽEVNOST ZA DECU U NAUCI I NASTAVI. University of Kragujevac, Faculty of Education in Jagodina, 2022. http://dx.doi.org/10.46793/kdnn21.141v.

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The aim of this research was to examine fifth-grade students’ reactions to a fairy tale which contains a non-normative gender characterization, entitled Cinderella Liberator by Rebecca Solnit. The research is based on a whole series of similar qualitative research studies that have been conducted in different parts of the world since 1980s. The research was inspired by the feminist movement, especially Marcia Lieberman, who drew attention to classical fairy tales as a very important factor in preserving the normative gender key (Lieberman 1972). As a result, pure feminist fairy tales have been written, stories in which independent and stroThe researchers have used these stories to test whether children accept non-normative gender discourse. Their studies have shown that resistance to alternatives increases with children’s age, that boys are more conservative while girls are more open to new ideas. Furthermore, the studies have shown that even a non-sexist and non-normative school curriculum can not encourage children to use gender equality discourse. The deconstruction of classical stories was highlighted as a very important factor. In order to investigate how ten-year-olds in Montenegro react to an alternative story, we conducted a survey with a total of 52 students from two urban schools. The students’ task was to read the story at home, and they were given a printed illustrated version of the text along with research questions. Having read the story, the students participated in focus group discussions. They were divided into six focus groups: two focus groups were made of girls, two other were made of boys, and the remaining two groups were mixed. Focus group interviews took approximately one hour, and the main goal of the interview was to determine how students reacted to atypical gender roles in the fairy tale they had read. The results of the research were grouped into three themes: whether children preferred the classic story or the new one; children’s attitude towards the relationship of the protagonist and the antagonist in both stories; children’s attitude towards the ending of the story. More than half of the respondents (32 students) pointed out that they preferred the new version because it differed from classic fairy tales, had more events and it was more interesting. Twenty students (15 male and 5 female) remained absolutely committed to the classic version of the text. The relationship between the protagonist and the antagonists was correctly understood by the students – there are no negative characters in the new version and all the characters eventually become friends. Most of the students liked the end of the story, but some of them thought that the story should have had a typical fairy tale happy ending. It can be concluded that in order to provide gender equality discourse among students it is necessary: to include alternative stories in the curriculum, to apply methods based on literary reception theory and to continuously train teachers to deconstruct classical texts and encourage children to critically evaluate gender equality discourse.ng heroines occurred (Zipes 1986).
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Khrisna, Dyah. "The Fairy Tales’ Stepmothers: They are not Evil, They are just Insecure (Portraying the Character of Cinderella, Hansel and Gretel, and Snow White’s Stepmothers from the Appraisal Framework)." In Proceedings of the First International Conference on Communication, Language, Literature, and Culture, ICCoLLiC 2020, 8-9 September 2020, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.8-9-2020.2301319.

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