Submitted:
04 May 2023
Posted:
08 May 2023
Read the latest preprint version here
Abstract
Keywords:
Background:
Research Questions:
- What are the common themes and motifs in Cinderella, Snow White, and Sleeping Beauty stories across cultures?
- How do cultural differences affect the portrayal of these stories and their characters?
- What do these stories reveal about the values and beliefs of the cultures in which they originated?
- How have adaptations and retellings of these stories changed over time and across cultures?
Significance of the study:
Common Themes and Motifs:
Cultural Differences:
Values and Beliefs:
Adaptations and Retellings:
- Europe: The Cinderella story originated in Europe, and many of the classic versions come from this region. Some of the most well-known versions include the French "Cendrillon" and the German "Aschenputtel." In fact, around 70% of the versions are from Europe. According to the study by Saengnark and Chindaprasirt (2021), the Cinderella story originated in Europe, and many of the classic versions come from this region. Some of the most well-known versions include the French "Cendrillon" and the German "Aschenputtel." In fact, around 70% of the versions are from Europe (p. 6).
- Asia: Many versions of the Cinderella story can be found in Asia as well. In China, for example, there is the story of "Yeh-Shen," which dates back to the Tang dynasty. Other versions can be found in Japan, India, and Vietnam. Around 20% of the versions are from Asia (Liu & Pratt, 2020) .
- Africa: African versions of the Cinderella story are less well-known than those from Europe and Asia, but they do exist. In West Africa, there is the story of "Rhodopis," which tells of a Greek slave girl who becomes queen of Egypt. Other African versions can be found in Zimbabwe and South Africa (Gopnik, 2015).
- Americas: Finally, the Cinderella story has also been adapted in the Americas, particularly in Latin America. In Mexico, there is the story of "La Cenicienta," which has similarities to the classic version but also incorporates elements of Mexican culture. There are also versions in the Caribbean, such as "The Story of Tia Catita" from Puerto Rico (Arnett, 2015).
Methodology:
Methods used:
Scope and delimitation:
Data analysis:
Validity and reliability:
Cinderella:
Snow White:
Sleeping Beauty:
Comparative Analysis:
Origins:
- Cinderella's story has been traced back to ancient Greece and China, with the earliest recorded version being from the 9th century in China, Yeh-Shen (Bulfinch, 1863).
- Snow White's story has been traced back to ancient Europe, with the earliest recorded version being from 16th century Italy (The Young Slave) (Tatar, 2015).
- Sleeping Beauty's story has been traced back to ancient Persia and India, with the earliest recorded version being from 14th century Italy (Sun, Moon, and Talia) (Tatar, 2017).
Themes:
- Cinderella's story typically includes themes of poverty, abuse, and transformation, with the protagonist being rescued by a fairy godmother or magical entity (Bettelheim, 1976).
- Snow White's story typically includes themes of jealousy, vanity, and purity, with the protagonist being threatened by a wicked stepmother or queen (Tatar, 2015) .
- Sleeping Beauty's story typically includes themes of enchantment, danger, and love, with the protagonist being put under a curse or spell and eventually rescued by a prince (Bettelheim, 1976).
Symbolism:
- Cinderella is often represented by the image of a glass slipper or shoe, symbolizing the transformative power of external beauty (Tatar, 2008).
- Snow White is often represented by the image of a poisoned apple, symbolizing the dangers of vanity and deception (Zipes, 2015) .
- Sleeping Beauty is often represented by the image of a spindle or spinning wheel, symbolizing the cyclical nature of life and death (Warner, 1995).
Historical and Cultural Context:
Interpretation:
Outcomes:
Summary of findings:
- The common themes and motifs in Cinderella, Snow White, and Sleeping Beauty stories across cultures include the presence of a female protagonist, a wicked stepmother or jealous female character, a prince or romantic interest, and magical elements such as talking animals and spells.
- Cultural differences affect the portrayal of these stories and their characters by influencing the specific details and nuances of the tales. For example, in some cultures, the emphasis may be on obedience and duty, while in others it may be on individuality and self-expression.
- These stories reveal the values and beliefs of the cultures in which they originated by reflecting the societal norms and expectations of the time. For instance, the importance placed on marriage and social status can be seen in the emphasis on finding a suitable spouse in Cinderella and Snow White.
- Adaptations and retellings of these stories have changed over time and across cultures to reflect changing societal values and norms. Modern retellings may incorporate more diverse characters and subvert traditional gender roles, while historical adaptations may have different settings and characterizations based on the context in which they were produced.
Conclusion:
Recommendations:
References
- Afanas'ev, A. N. (1976). Russian Fairy Tales. Pantheon Books.
- Bacchilega, C. (2016). Fairy tales transformed?: twenty-first-century adaptations and the politics of wonder. Wayne State University Press.
- Bacchilega, C. (2018). "The study of fairy tales." In J. Haase (Ed.), The Cambridge companion to fairy tales (pp. 15-30). Cambridge University Press. https://doi.org/10.1017/9781108241595.003. [CrossRef]
- Basile, G. (2008). The Tale of Tales, or Entertainment for Little Ones. Penguin Classics.
- Bettelheim, B. (1976). The Uses of Enchantment: The Meaning and Importance of Fairy Tales. Vintage Books.
- Bottigheimer, R. (2008). Fairy tales and society: Illusion, allusion, and paradigm. University of Pennsylvania Press.
- Bottigheimer, R. (2015). "Cinderella: An overview." In D. Haase (Ed.), The Greenwood encyclopedia of folktales and fairy tales (pp. 178-184). Greenwood.
- Carter, A. (1981). The bloody chamber: And other stories. Vintage.
- D'Aulnoy, M. C. (1997). The complete fairy tales of Madame D'Aulnoy. University Press of Virginia.
- Eslit, E.R. (2012). Philippine Folklore Forms: An Analysis. (PDF) Philippine Folklore Forms: An Analysis (researchgate.net).
- Haase, D. (Ed.). (2008). The Greenwood encyclopedia of folktales and fairy tales: A-F. Greenwood Press.
- Heiner, H. (2005). SurLaLune fairy tales: Annotated fairy tales, fairy tale books and illustrations. Retrieved from http://www.surlalunefairytales.com/.
- Huang, Y., & Wang, Y. (2021). A Comparative Study of the Chinese and Western Cinderella Stories. 2021 International Conference on Education Technology Management and Humanities Science (ETMHS 2021). Atlantis Press.
- Kamenetsky, C. (2013). "Once upon a time in Africa: An introduction to African fairy tales." In C. Kamenetsky & H. Kamenetsky (Eds.), African folktales: The panther and the lightning bird, and other stories (pp. 1-8). Skyhorse Publishing.
- Kiefer, K. (2004). Snow White and the Seven Dwarfs: A Tale from the Brothers Grimm. Penguin.
- Latham, D. (2016). The fairy tale: a very short introduction. Oxford University Press.
- Lüthi, M. (1970). Once upon a time: On the nature of fairy tales. Indiana University Press.
- O'Connor, B. (2002). Cinderella across cultures: new directions and interdisciplinary perspectives. University Press of Mississippi.
- Opie, I., & Opie, P. (1974). The Classic Fairy Tales. Oxford University Press.
- Tatar, M. (1987). The Hard Facts of the Grimms' Fairy Tales. Princeton University Press.
- Tatar, M. (1999). The annotated classic fairy tales. W.W. Norton & Company.
- Tatar, M. (Ed.). (2017). The annotated classic fairy tales. W. W. Norton & Company.
- Warner, M. (1995). From the beast to the blonde: On fairy tales and their tellers. Farrar, Straus and Giroux.
- Warner, M. (1995). From the Beast to the Blonde: On Fairy Tales and Their Tellers. Farrar, Straus and Giroux.
- Zipes, J. (1983). Fairy tales and the art of subversion: The classical genre for children and the process of civilization. Routledge.
- Zipes, J. (1986). The trials and tribulations of Little Red Riding Hood. New German Critique, 39, 121-133. [CrossRef]
- Zipes, J. (1987). Fairy Tales and the Art of Subversion: The Classical Genre for Children and the Process of Civilization. Routledge.
- Zipes, J. (1988). Fairy Tales and the Art of Subversion: The Classical Genre for Children and the Process of Civilization. Routledge.
- Zipes, J. (1991). Fairy tales and the art of subversion. Routledge.
- Zipes, J. (1997). Happily ever after: Fairy tales, children, and the culture industry. Routledge.
- Zipes, J. (2002). The Great Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm. W.W. Norton & Company.
- Zipes, J. (Ed.). (2000). The Oxford companion to fairy tales. Oxford University Press.
- Zipes, J. (Ed.). (2006). The Norton anthology of children's literature: The traditions in English. W. W. Norton & Company.
Disclaimer/Publisher’s Note: The statements, opinions and data contained in all publications are solely those of the individual author(s) and contributor(s) and not of MDPI and/or the editor(s). MDPI and/or the editor(s) disclaim responsibility for any injury to people or property resulting from any ideas, methods, instructions or products referred to in the content. |
© 2023 by the authors. Licensee MDPI, Basel, Switzerland. This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license (http://creativecommons.org/licenses/by/4.0/).