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Journal articles on the topic 'Disney's The Little Mermaid'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Nur Iman, Asrul, Dzakiyyah Dzikraa Paokuma, Elsa Hidayati, and Silvi Ramawati. "The Little Mermaid: Equality of Race and Skin Color to Criticism of Disney Film Fans on Twitter." Dinasti International Journal of Education Management And Social Science 5, no. 6 (2024): 2430–38. https://doi.org/10.38035/dijemss.v5i6.3225.

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The animated film The Little Mermaid, adapted by Walt Disney in 1989, is a heartwarming tale about a mermaid named Ariel who falls in love with a prince. Social media users, mainly young adults, have noticed that the film touches on issues related to race and ethnicity. This study utilizes a content analysis method with a qualitative approach to explore the messages of equality that Disney conveys through the film. By examining fan comments, scenes, dialogue, and various forms of media such as images and text, we tried to uncover how Disney promotes equality in The Little Mermaid. Based on fin

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Kapurch, Katie. "Once Upon a Fishtail in Aquamarine, an Ecofeminist Fairy Tale: Mermaids as Water Girls from the Nineteenth Century to Twenty-First-Century Disney." Interdisciplinary Literary Studies 26, no. 3 (2024): 320–54. http://dx.doi.org/10.5325/intelitestud.26.3.0320.

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ABSTRACT Guided by ecofeminist philosophy and fairy tale criticism, this article theorizes the metaphorical potency of mermaids via Alice Hoffman’s Aquamarine (2001). The novella narrativizes mermaids’ twined applicability to girlhood and the environment while resisting Disneyfied depictions of wish fulfillment. Although Hoffman actively distances her fishtailed water girl from Disney’s source, Hans Christian Andersen’s 1837 fairy tale, she recovers the little mermaid’s folkloric predecessors, the fairy Melusine and the water nymph Undine. Allusions to and divergences from this identifiable me

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Hastings, A. Waller. "Moral Simplification in Disney's The Little Mermaid." Lion and the Unicorn 17, no. 1 (1993): 83–92. http://dx.doi.org/10.1353/uni.0.0281.

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4

Lailiah, Alfia Rismatul. "Positive Gender Responses to Hate Speech of ‘The Little Mermaid’ on Twitter." Language Horizon: Journal of Language Studies 11, no. 2 (2023): 19–26. http://dx.doi.org/10.26740/lh.v11n2.p19-26.

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Hate speech indicates hatred, prejudice, or discrimination toward individuals or groups due to appearance, race, religion, etc. Hate speech quickly occurs on social media; everyone can be the victim, like Disney posted about Little Mermaid on Twitter. People filling the comment section of Disney posted with the reactions, including hate speech and positive responses toward Halle as the character of Ariel. This study aims to find the different positive responses of women and men toward hate speech using women's and men's language features, stereotyped language that appears in a positive respons

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Huang, Zhenqi. "Disney's Approach to Racial Representation: Superficial Changes or Genuine Cultural Engagement?" International Journal of Education and Humanities 15, no. 1 (2024): 200–202. http://dx.doi.org/10.54097/7c6xc606.

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This paper explores Disney's approach to racial representation in its films, focusing on whether changes are superficial or reflect genuine cultural engagement. Using Stuart Hall's theory of encoding and decoding, this study examines the impact of character changes in "The Little Mermaid" (2023) on cultural representation.

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Pressman, Jessica. "Hooked on Mermaids." Minnesota Review 2023, no. 101 (2023): 113–22. http://dx.doi.org/10.1215/00265667-10770219.

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This article is part reflection on how academic disciplines can stymie creative scholarship and part critical effort to break out of that orientation to reclaim the author’s personal passion for mermaids as subject for scholarly analysis. Pressman argues that contemporary mermaid literature has much to tell us about our most pressing social, cultural, and political issues. This article takes as its starting point the racist backlash over Disney’s 2019 casting announcement for its 2023 feature film and the 2020 antiracist graffiti on The Little Mermaid statue in Copenhagen as the complex site f

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Griszbacher, Norbert, Ildikó Kemény, and Ákos Varga. "Echoes of Our Favourite Childhood Figures." GiLE Journal of Skills Development 2, no. 2 (2022): 51–72. http://dx.doi.org/10.52398/gjsd.2022.v2.i2.pp51-72.

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Since its founding, Disney has become the symbol of values such as joy, magic, entertainment, and family in our lives through loveable stories, characters, and unique experiences. Disney also has had a significant impact on youth culture with its ability to appeal to universal human experiences through its versatile character portfolio. Disney's recent tendency to reproduce their earlier success in modern adaptations (e.g., The Little Mermaid and Snow White coming in 2023) is the focus of this paper. It aims to examine the influence of Disney's representation of the mechanisms of our world on

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Putri, Zalfa Melanie. "Perbandingan dalam Film Animasi The Little Mermaid (1989) dan Versi Adaptasi Live-Action The Little Mermaid (2023)." Syntax Idea 5, no. 6 (2023): 612–20. http://dx.doi.org/10.46799/syntax-idea.v5i6.2374.

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Animated films are one of the most popular children's literature, various themes and genres of animated films are certainly like friends for children. This study aims to analyze the comparison in an animated film and its adaptation work qualitatively and comparative in the overall exposure of the animated film The Little Mermaid (1989) and The Little Mermaid (2023) live-action produced by Disney with the musical-fantasy genre, where this study focuses on the transformation (alih wahana). An animation that is made into a live-action certainly experiences differences in terms of addition, reduct

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G'Sell, Eileen. ""Wandering Free, Wish I Could Be . . .": Ambition, Art, and Nostalgia in Disney's The Little Mermaid." Hopkins Review 16, no. 4 (2023): 159–66. http://dx.doi.org/10.1353/thr.2023.a911585.

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10

Avissar, Ariel. "Under the sea." Teknokultura. Revista de Cultura Digital y Movimientos Sociales 21, no. 1 (2024): 95–96. http://dx.doi.org/10.5209/tekn.90515.

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This video applies a deformative logic to images taken from Disney’s The Little Mermaid (1989), connecting them intertextually with the film Under the skin (2013), which provides the music for the piece. It thus highlights and accentuates the violent, rageful gender dynamics of The Little Mermaid, reimagining it as a nightmarish scene of body horror and female subjugation.

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Tano, Andreas, and Immanuel Sheva Simanjuntak. "Decolonizing Character Representation: A Postcolonial Analysis of Race-Swapping in Disney's The Little Mermaid Movie (2023)." BOANERGES: Makarios Education Journal 2, no. 1 (2024): 1–11. https://doi.org/10.5281/zenodo.13801365.

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This article investigates the implications of race-swapping character representation in the 2023 live-action adaptation of Disney's <em>"The Little Mermaid," </em>focusing on the casting of Halle Bailey, a Black actress, as Ariel. Utilizing <em>postcolonial </em>criticism frameworks, particularly Robert J.C. Young's theories, this study explores the historical and cultural significance of this casting decision. The findings suggest that the movie's approach to race-swapping serves as a means to challenge and redefine traditional racial narratives within popular media. The r

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Marcelino, Ariel, and Dorien Kartikawangi. "ANALISIS SEMIOTIKA PADA REAKSI WARGANET TENTANG PERBEDAAN REPRESENTASI ARIEL TERHADAP CITRA DISNEY DAN FILM THE LITTLE MERMAID." Prosiding Konferensi Linguistik Tahunan Atma Jaya (KOLITA) 21, no. 21 (2023): 24–38. http://dx.doi.org/10.25170/kolita.21.4830.

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Dengan perkembangan teknologi yang pesat, saat ini pengguna media sosial khususnya warganet bisa aktif berinteraksi dengan menanggapi informasi atau konten yang mereka dapatkan di media sosial. Disney mengunggah video official teaser trailer film The Little Mermaid di media sosial resmi mereka yakni YouTube, Instagram dan Twitter. Unggahan tersebut memunculkan berbagai reaksi dari warganet hingga menimbulkan kontroversi di kalangan warganet. Hal tersebut dikarenakan oleh perbedaan representasi Ariel di film The Little Mermaid versi live action (2023) dengan versi kartun atau orisinal (1989). T

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Trites, Roberta. "Disney’s Sub/Version of Andersen’s “The Little Mermaid”." Journal of Popular Film and Television 18, no. 4 (1991): 145–52. http://dx.doi.org/10.1080/01956051.1991.10662028.

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14

Ue, Tom. "The Little Mermaid, Rob Marshall (dir.) (2023), USA: Walt Disney Pictures." Studies in Musical Theatre 18, no. 1 (2024): 78–81. http://dx.doi.org/10.1386/smt_00151_5.

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15

R, Roshini, and Rajasekaran V. "An Analysis of Disability in The Little Mermaid: Examining Disparities and Similarities in the Fairytale and Its Movie Adaptation." Studies in Media and Communication 11, no. 4 (2023): 220. http://dx.doi.org/10.11114/smc.v11i4.6128.

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Differences and disabilities have always been a part of oral tradition and folklore. These differences greatly influenced story-telling that eventually stemmed from oral tradition. The western canon has included disability in their literature for some time now, but their portrayal of disability from the beginning to the twentieth century has drastically improved. Fairytales and folktales were historically associated with values and morals, and the moral system during the olden times was completely patriarchal and abelistic. The tales never offered any space for disability to exist as a simple

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Sebring and Greenhill. "The Body Binary: Compulsory Able-bodiedness and Desirably Disabled Futures in Disney's The Little Mermaid and The Little Mermaid II: Return to the Sea." Marvels & Tales 34, no. 2 (2020): 256. http://dx.doi.org/10.13110/marvelstales.34.2.0256.

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17

Frasl, Beatrice. "Bright young women, sick of swimmin’, ready to … consume? The construction of postfeminist femininity in Disney’s The Little Mermaid." European Journal of Women's Studies 25, no. 3 (2018): 341–54. http://dx.doi.org/10.1177/1350506818767709.

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This study assesses how Disney’s The Little Mermaid can be read as a ‘postfeminist text’. It uses Gill’s concept of ‘postfeminist sensibility’ and McRobbie’s understanding of postfeminism as a ‘double entanglement’ of feminist and antifeminist discourses in analysing the text. Furthermore it aims at contributing to the understanding of postfeminism as a pop cultural discursive mode by focusing on the ways heteronormativity structures and presupposes it. In this sense, this reading of The Little Mermaid can be understood as a case study on the heteronormativity of postfeminist discourses and re

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Tian, Yuan Tian. "The Awakening and Development of Feminism in Disney's Typical Princess Films." Lecture Notes in Education Psychology and Public Media 5, no. 1 (2023): 25–32. http://dx.doi.org/10.54254/2753-7048/5/20220380.

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This paper takes Snow White and the Seven Dwarfs, The Little Mermaid, and Frozen, three representative Disney princess films, as reference samples to analyze the changes in the image of women in these films. Through plot development and exploration of the relationship between the main characters and the supporting characters, it analyzes the continuous awakening of women's consciousness in this film series. The image of the princess gradually shifts from a "perfect" woman who is dependent on men to an independent personality who is both rebellious and exploratory, and finally becomes a true se

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Jayanti, Elvira Eka, Nova Indriani, Vera Febrianti, An’nisa Purnama, and M. Afifulloh. "Racism in the film The Little Mermaid: Assessing its impact on social media." Loquēla (Journal of Linguistics, Literature, and Education) 2, no. 1 (2024): 22–28. http://dx.doi.org/10.61276/loqula.v2i1.29.

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The controversy surrounding the casting of Halle Bailey, a black actress, as Ariel in the live-action adaptation of "The Little Mermaid" has sparked discussions about racism and representation in the media. Some people have rejected the idea of a black actress playing the role of a character who was initially depicted as white. The controversy highlights the ongoing struggle for representation and diversity in the entertainment industry. This research aims to see how people respond to the film The Little Mermaid in real life with a black main character. The Little Mermaid, a Disney classic, ha

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20

Richardson, Niall. "Part of whose world? How The Little Mermaid (2023) attempts to revise the racist tropes of the 1989 animated film musical." Alphaville: journal of film and screen media, no. 27 (July 2, 2024): 94–109. http://dx.doi.org/10.33178/alpha.27.08.

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The Little Mermaid (1989) has been the subject of much critical discussion but there has been little attention paid to its representation of race. Utilising textual analysis and drawing upon relevant critical paradigms from Disney studies and scholarship of film musicals, this article argues that The Little Mermaid was an implicitly racist narrative. Through analysis of the musical sequences this article shows how The Little Mermaid created a dichotomy between an exclusively white land life that is coded as superior to multiethnic Mer life. While white society on land is represented as postind

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21

Hou, Xinyue. "Research on Media Marketing Strategy of Disney China Market." SHS Web of Conferences 181 (2024): 01020. http://dx.doi.org/10.1051/shsconf/202418101020.

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The theme “Research on Media Marketing Strategies for Disney’s China Market” is crucial. As one of the major powers, China provides Disney with a large consumer base, which can help Disney expand its power effectively worldwide. Disney’s marketing strategy is a very good example for people to learn. Studying this theme can also help Disney Group better understand China and provide better services in the future paper, including the Case study of “The Little Mermaid”. The result of Theory and development status、Possible problems. The Discussion of “Solution for cultural difference”, ”Solution fo

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Lacroix, Celeste. "Images of Animated Others: The Orientalization of Disney's Cartoon Heroines From The Little Mermaid to The Hunchback of Notre Dame." Popular Communication 2, no. 4 (2004): 213–29. http://dx.doi.org/10.1207/s15405710pc0204_2.

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Spencer, Leland G. "Performing Transgender Identity inThe Little Mermaid: From Andersen to Disney." Communication Studies 65, no. 1 (2013): 112–27. http://dx.doi.org/10.1080/10510974.2013.832691.

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24

Hong, Young-Mi. "A Text Mining-Based Comparative Study on the Box Office Success Factors of the Films “Heartsping : Teenineping of Love” and “The Little Mermaid”." K Association of Education Research 9, no. 4 (2024): 325–45. https://doi.org/10.48033/jss.9.4.18.

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This study utilized text mining techniques to compare and analyze the box officefactors of the movies Heartsping: Teenineping of Love and The Little Mermaid. Through keyword frequency analysis, TF-IDF, sentiment analysis, and keyword centrality analysis, thedifferences in target audience and marketing strategies between the two films were identified. Heartsping: Teenineping of Love achieved a clear target audience (children and families) byfocusing on character-driven narratives and emotional messaging (“love,” “children”), resultingin positive reactions and stable audience numbers. Sentiment

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Sun, Chyng Feng, and Erica Scharrer. "Staying True to Disney: College Students' Resistance to Criticism of The Little Mermaid." Communication Review 7, no. 1 (2004): 35–55. http://dx.doi.org/10.1080/714856593.

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Sun, CHYNG FENG, and ERICA SCHARRER. "Staying True to Disney: College Students’ Resistance to Criticism of The Little Mermaid." Communication Review 7, no. 1 (2004): 35–55. http://dx.doi.org/10.1080/10714420490280189.

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Cerdán Molero, Silvia, and Jose Antonio Martínez García. "Nostalgia in the entertainment industry: the case of Pokémon Go and The Little Mermaid." Redmarka. Revista de Marketing Aplicado 28, no. 1 (2024): 13–34. http://dx.doi.org/10.17979/redma.2024.28.1.10731.

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Nostalgia-based marketing strategies have garnered significant attention in recent times owing to their ability to evoke deep emotions and influence consumer behaviour. However, the success of nostalgia-based marketing is not a foregone conclusion. The effectiveness of nostalgia depends on the characteristics of the product and the target audience. This study uses qualitative research to explore the boundaries of strong nostalgia-triggered feelings in two different entertainment products: the 2015 video game Pokémon Go and Disney’s 2023 remake of The Little Mermaid. Interpretative analysis rev

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Han, Hye-Jin. "The Visual Influence of Political Correctness in Disney’s Works –Focusing on Skin Color in Disney’s 〈The Little Mermaid〉–." Cartoon and Animation Studies 76 (September 30, 2024): 279–307. http://dx.doi.org/10.7230/koscas.2024.76.279.

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Myisha, Nabila, Dinda Sabila, Dinera Qurrotul Aini, Mayang Anggun Febrianti, and Farah Malaika Putri. "Representation of Diversity in <i>The Little Mermaid<i> (2023)." Cultural Narratives 2, no. 1 (2024): 1–13. https://doi.org/10.59066/cn.v2i1.856.

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As a cultural product of one of the world’s most influential media corporations, the film represents a significant departure from the Eurocentric depictions traditionally associated with Disney princesses. This research aims to identify inclusion and diversity in representing multiculturalism in the movie adaptation of Hans Christian Andersen’s work “The Little Mermaid”. This study employs descriptive qualitative research to explore and analyze the representation of diversity and multiculturalism in the film adaptation of “The Little Mermaid 2023.” Descriptive qualitative research is chosen fo

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Hoey, Aisling. "UNDER THE SEA: THE DEPICTION OF GENDER ROLES AND FEMININITY IN 'THE LITTLE MERMAID'." Messages, Sages and Ages 7, no. 1, 2020 (2020): 18–27. https://doi.org/10.5281/zenodo.4008622.

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The literary genre of fairy tales is globally recognised. Fairy tales are ancient tales shared amongst generations, a memorable feature of childhood to many. Fairy tales carry a social message, a reflection of the cultural values and norms of society and constructing what we refer to as idealised gender roles. This article is interested in the representation of women in fairy tales, giving particular focus to various adaptions of Hans Christian Andersen’s “The Little Mermaid”. This article analyses Andersen’s 1837 original along with Walt Disney’s 1989 animated ad

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Dundes, Lauren, and Alan Dundes. "The Trident and the Fork: Disney’s ‘The Little Mermaid’ as a male construction of an Electral fantasy." Psychoanalytic Studies 2, no. 2 (2000): 117–30. http://dx.doi.org/10.1080/14608950050013314.

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Dundes, Lauren, and Alan Dundes. "The Trident and the Fork: Disney’s ‘The Little Mermaid’ as a male construction of an Electral fantasy." Psychoanalytic Studies 2, no. 2 (2000): 117–30. http://dx.doi.org/10.1080/713692451.

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Jahangir, Junaid B. "Economic pluralism and the Disney princesses." Advances in Economics Education 3, no. 2 (2024): 107–23. https://doi.org/10.4337/aee.2024.02.01.

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The objective of this paper is to present a pluralist perspective on teaching economic principles through the three Disney stories of Cinderella, The Little Mermaid and The Princess and the Frog. Introducing both neoclassical and heterodox perspectives through Disney animations catches student interest and improves student understanding in a way that traditional pedagogies do not. This is because it makes economic content more relatable to students and thus improves their retention of economic ideas. The emphasis in this paper is on complementing the teaching of standard economics principles w

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Fernández, Cristina Beatriz. "Andersen / Walt Disney: reescrituras de La Sirenita." GALAXIA 1, no. 1 (2001): 171–86. https://doi.org/10.5281/zenodo.10116602.

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El propósito de este trabajo es analizar la modalidad peculiar en que el relato literario y, por ende, verbal La Sirenita, de Hans Christian Andersen, ha sido traducido al sistema semiótico del cine el dibujo animado, más específicamente por Walt Disney. Para ello se analizan las relaciones entre el texto ´original´ y sus traducciones, se compara la versión literaria del relato con el dibujo animado en cuestión, a partir de la forma narrativa compartida por ambos, se estudia la sintaxis de las acciones en cada una de las versiones y la composición diferenciada de los personajes. Finalmente, s

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Abdulqadr, Kizhan Salar, Ranjdar Hama Sharif, Roz Jamal Omer, and Zanyar Kareem Abdul. "Disney Classics between Feminism and Victimization of Women: A Historical Analysis." Technium Social Sciences Journal 21 (July 9, 2021): 833–39. http://dx.doi.org/10.47577/tssj.v21i1.3853.

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This paper focuses on the two contradictory themes of feminism and victimizing women in Disney Classics, a series of films which are based on famous fairy tales and the development of the changes undergone by these stories over time. The study is carried out through an analysis of the themes of the stories with a critical feminist approach in three chronological stages. Previous studies have explored these themes, but no report to date has used a chronological approach to compare the significance of the mentioned themes with the stages of feminism. These stories develop in line with developmen

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Huang, Zijun. "The Reciprocal Relationship of the Content and Social Values in Disney Princess Films: An Analyze of Snow White and the Seven Dwarfs, the Little Mermaid, and Frozen." Lecture Notes in Education Psychology and Public Media 9, no. 1 (2023): 154–58. http://dx.doi.org/10.54254/2753-7048/9/20230118.

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It has become common practice to criticize Disney princess franchises and contrast the leading female characters with the more mature, highly socially conscious female characters in the present. However, these criticisms may forget to take other factors into consideration, such as social development. The progress of society will lead to changes in people's thinking and cognitive renewal. Today's popular views might not be viewed the same as in the past. So it would be harsh to rely on today's connotations to conclude that popular Disney princesses are failed child models. Through a literature

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Piluso, Francesco. "Collecting objects, becoming human subjects: The fetishism of collection in modern myths and narratives." Punctum. International Journal of Semiotics 09, no. 01 (2023): 153–70. http://dx.doi.org/10.18680/hss.2023.0009.

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Despite sharing some structural analogy with the processes of technical reproduction and commodities consumption, implying the passive cult of the serial objects and their fetishized value, the practice of collecting fosters the active role of the collector in restoring the historical and cultural meaning of material things. The simple syntactic logic of collection is enriched by accumulating new elements but mainly through their constant reassembling in original dispositions. The practice of collecting in modern mythology and narratives attests to human fascination and a fatal attraction to s

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Bonner, Kayleigh. "Flipping Your Fins Can Get You Far: How the Walt Disney Company Has Ensured the Longevity of The Little Mermaid Through Franchise Management." Film Matters 4, no. 3 (2013): 5–11. http://dx.doi.org/10.1386/fm.4.3.5_1.

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Kim, Hye-sung. "A Study on the Characteristics of Digital Live-Action Adaptation of Animation: Focusing on Disney Animations The Little Mermaid, The Lion King Aladdin." Journal of International Culture & Arts 6, no. 1 (2025): 147–62. https://doi.org/10.46506/jica.2025.6.1.147.

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40

Callan, Mary Rose. "Little Mermaid." Books Ireland, no. 214 (1998): 179. http://dx.doi.org/10.2307/20623662.

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Spaar, Lisa Russ. "Little Mermaid." College English 59, no. 4 (1997): 454. http://dx.doi.org/10.2307/378843.

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Ana Merino and Toshiya Kamei. "The Little Mermaid." Sirena: poesia, arte y critica 2010, no. 2 (2010): 91. http://dx.doi.org/10.1353/sir.2010.0069.

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Abate, Michelle Ann. "NosferatUrsula: The Little Mermaid and Vampirism." Journal of Popular Culture 54, no. 1 (2021): 165–84. http://dx.doi.org/10.1111/jpcu.12997.

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BENNETT, RACHEL. "HAJJI AND MERMAID IN LITTLE DORRIT." Review of English Studies XLVI, no. 182 (1995): 174–90. http://dx.doi.org/10.1093/res/xlvi.182.174.

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Stevenson, Deborah. "The Little Mermaid by Jerry Pinkney." Bulletin of the Center for Children's Books 74, no. 4 (2020): 187–88. http://dx.doi.org/10.1353/bcc.2020.0862.

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Cahya, Silviana Lintang, Afwi Madinatul Ilmi, Desvita Nuraini, Dyah Uyun Wulandari, Qirara Azamatul Aminah, and Rani Pradiva Purmitasari. "Swimming Across the World: The Portrayal of Mermaid in Mermaid and Swordsman, The Little Mermaid Live Action and Mermaid in Love 2 Dunia." EDU-KATA 11, no. 1 (2025): 48–57. https://doi.org/10.52166/kata.v11i1.9151.

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Mermaids are one of the most popular mythological creatures and are often discussed today. It's no wonder that nowadays, mermaids are featured in various media, including films. More interestingly, it turns out that each culture has a different interpretation of mermaids, especially their portrayal. This research explores the portrayal of mermaids in three cultural contexts depicted in the films Mermaid and Swordsman (China), The Little Mermaid Live Action (Denmark), and Mermaid in Love 2 Dunia (Indonesia). Using Hayward's (2018) theoretical framework, this analysis categorises these represent

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Shkurskaya, E. A. "THE IMAGE OF A MERMAID IN THE DANISH ROMANTIC PROSE OF THE FIRST HALF OF THE XIX CENTURY." EurasianUnionScientists 7, no. 6(75) (2020): 58–61. http://dx.doi.org/10.31618/esu.2413-9335.2020.7.75.879.

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The purpose of this work is to study the image of the mermaid in Danish romantic prose of the first half of the XIX century. In accordance with this goal, the following tasks are formulated: to study the elements of romantic poetics that make up the structure of the image of the mermaid; consider the features of the functioning of the image of the mermaid in the Danish literature of the romantic era. To achieve this goal, we used descriptive, comparative, and contextual analysis methods. The image of the little Mermaid in the Danish romantic tradition combines the functioning of mythological,

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Collins, Emily. "Nabokovis Lolita and Andersen's The Little Mermaid." Nabokov Studies 9, no. 1 (2005): 77–100. http://dx.doi.org/10.1353/nab.2005.0007.

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Lee, Seungyeon. "The Lightness of the Sexual Being: A Short Reflection on Hans Christian Andersen’s “The Little Mermaid”." Societies 8, no. 4 (2018): 116. http://dx.doi.org/10.3390/soc8040116.

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Hans Christian Andersen’s tale, “The Little Mermaid,” has been adored by both children and parents for decades. The tale shows an astonishingly different quality to Andersen’s early genre of fairy tales, which allows the reader to sense his keenness on the meaning of human sexuality. The author used the short narrative form, becoming more conservative, cautious, and concise in his ideological compromise between religiosity and human nature. “The Little Mermaid” is a tale that draws the reader in about “universal preoccupations” of femininity, self-concept, and self-actualization. Andersen’s in

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Ross. "Miyazaki's Little Mermaid: A Goldfish Out of Water." Journal of Film and Video 66, no. 3 (2014): 18. http://dx.doi.org/10.5406/jfilmvideo.66.3.0018.

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