Cinderella’s Transformation

LINDA PARSONS

doi:10.15763/issn.2376-5275.2021.5.1.85-108

Cinderella’s Transformation

Study and Scrutiny Research on Young Adult Literature ◽

10.15763/issn.2376-5275.2021.5.1.85-108 ◽

2021 ◽

Vol 5 (1) ◽

pp. 85-108

Author(s):

LINDA PARSONS

Keyword(s):

Gender Roles ◽

Female Relationships ◽

Binary Gender

Cinderella’s story endures through countless adaptations. In this study, I analyzed the tropes of the patiently suffering heroine, the cruel stepmother, magical help, beauty as female currency, and being chosen by the prince in Cendrillon (Perrault, 1697), Mechanica (Cornwell, 2015), and Cinder (Meyer, 2012). The (re)visions deconstruct binary gender roles through heroines who liberate themselves from their servitude, prioritize independence over marriage, and experience supportive female relationships. The portrayals of the cruel stepmothers disrupt the trope of powerful women as inherently evil, and the storylines critique the injustices of Othering. These (re)visions reflect contemporary discourses that expand expressions of femininity.

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Ah!Nana’s Fairytale Punk-Comics: From the Comtesse de Ségur’s “Histoire de Blondine, Bonne-Biche et Beau-Minon” to Nicole Claveloux’s “Histoire de Blondasse, de Belle-Biche et Gros Chachat”

Open Cultural Studies ◽

10.1515/culture-2020-0136 ◽

2021 ◽

Vol 5 (1) ◽

pp. 235-247

Author(s):

Valentina Denzel

Keyword(s):

Nineteenth Century ◽

Gender Roles ◽

Fairy Tales ◽

Role Models ◽

Fairy Tale ◽

Female Role ◽

New Perspective ◽

Second Wave ◽

Binary Gender

Abstract During its brief existence from 1976 to 1978 the French underground feminist magazine Ah!Nana represented a powerful medium to discuss various topics related to women, sexuality, and discrimination. One of its main goals was to challenge traditional (literary) female role models, including housewives, submissive mothers, and “damsels in distress.” Through the adaptation of fairy tales, a genre particularly suited through its imaginative worlds to challenge preconceptions and norms, Ah!Nana deconstructed and questioned binary gender roles and heteronormativity. This article analyzes cartoon artist Nicole Claveloux’s queer adaptation of the nineteenth-century fairy tale “Histoire de Blondine, Bonne-Biche et Beau-Minon” (Blondine, the Good Doe, and the Gallant Cat) by the Comtesse de Ségur. Claveloux addresses her queer parody to an adult audience, and conveys a new perspective on gender, sexuality, and humanness that is in line with Ah!Nana’s promotion of second-wave feminist standpoints and punk culture. She advocates the exploration of new sexual pleasures, and the disruption of bourgeoisie values, including binary gender roles.

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The Front Runner Patricii Nell Warren. Coming out, czyli zwycięstwo i koniec tragedii

interalia: a journal of queer studies ◽

10.51897/interalia/ukea5086 ◽

2020 ◽

pp. 51-63

Author(s):

Mateusz Świetlicki

Keyword(s):

Gender Roles ◽

Reader Response ◽

Coming Out ◽

Social Attitudes ◽

Literary Representation ◽

Commercial Success ◽

Traditional Gender Roles ◽

Aids Epidemic ◽

Binary Gender

Before coming out of the closet and publishing a series of successful gay novels, Patricia Nell Warren was known as Patricia Kilina, wife of a Ukrainian émigré writer George Tarnawsky. Her early poetry, written in Ukrainian, includes numerous references to non-traditional gender roles which she further explored in her anglophone novels. The Front Runner (1974) was published when Warren had already divorced her husband and came out of the closet. It was met with commercial success and became the first contemporary American bestseller about gay love. In this paper, I focus on the mixed reader-response of The Front Runner in the LGBTQ+ community, as well as the role of homophobia and misogyny in Patricia Nell Warren’s novel. I argue that The Front Runner provides readers with a thought-provoking literary representation of the changing social attitudes towards non-binary gender roles and non-heterosexuality right after Stonewall and before the AIDS epidemic.

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Sex Differences in Cardiovascular Reactivity

Journal of Psychophysiology ◽

10.1027/0269-8803.23.2.77 ◽

2009 ◽

Vol 23 (2) ◽

pp. 77-84 ◽

Cited By ~ 11

Author(s):

Matthew C. Whited ◽

Kevin T. Larkin

Keyword(s):

Blood Pressure ◽

Heart Rate ◽

Sex Differences ◽

Gender Roles ◽

Cardiovascular Reactivity ◽

Task Type ◽

Conflict Task ◽

Men And Women ◽

Conflicting Evidence ◽

Blood Pressure Responses

Sex differences in cardiovascular reactivity to stress are well documented, with some studies showing women having greater heart rate responses than men, and men having greater blood pressure responses than women, while other studies show conflicting evidence. Few studies have attended to the gender relevance of tasks employed in these studies. This study investigated cardiovascular reactivity to two interpersonal stressors consistent with different gender roles to determine whether response differences exist between men and women. A total of 26 men and 31 women were assigned to either a traditional male-oriented task that involved interpersonal conflict (Conflict Task) or a traditional female-oriented task that involved comforting another person (Comfort Task). Results demonstrated that women exhibited greater heart rate reactions than men independent of the task type, and that men did not display a higher reactivity than women on any measure. These findings indicate that sex of participant was more important than gender relevance of the task in eliciting sex differences in cardiovascular responding.

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