From victim to heroine: children's stories revisited.

A. Turkel
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引用次数: 6

Abstract

The need to escape reality and the taste for adventure with the unknown fills a universal need for both adults and children. Fairy tales have a powerful grip on the imagination because they are homespun versions of myths and have passionate intensity without epic grandeur. The happy ending of fairy tales reflects gender stereotyping because the heroine usually does very little except sit, wish, and wait for marriage. She has no control over her destiny and no active involvement in selecting or planning her future. These heroines are really passive victims. Sexism was once rampant in children's books. The Oz books, with their independent, courageous, and active heroine were way ahead of their time. The advent of women's liberation has led to a reappraisal of the female in folk literature. Anthropologists have now discovered stories of admirable women who were strong characters in their own epic dramas.
从受害者到女主角:重新审视儿童故事。
逃离现实的需要和对未知的冒险的品味满足了成年人和儿童的普遍需求。童话对想象力有着强大的控制,因为它们是神话的朴素版本,有激情的强度,但没有史诗般的宏伟。童话故事的幸福结局反映了性别刻板印象,因为女主角通常除了坐着、许愿和等待结婚之外什么都不做。她无法控制自己的命运,也无法积极参与选择或规划自己的未来。这些女主人公都是被动的受害者。性别歧视曾经在儿童书籍中猖獗。《绿野仙踪》中独立、勇敢、积极的女主角走在了那个时代的前面。妇女解放运动的到来,引起了人们对民间文学中的女性形象的重新评价。人类学家现在已经发现了一些令人钦佩的女性的故事,她们在自己的史诗剧中扮演着强大的角色。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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