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The Little Mermaid Character Analysis

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Mini-Lecture on Hans Christian Andersen’s “The Little Mermaid”

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She, Jean-Yves, and her mother have converted the castle into a school for the blind. They have given her fortune away to charity, disposed of the corpses of the Marquis's other wives and sealed the door to the "bloody chamber. As for how the narrator's mother knew to rescue her-she intuited from her daughter's first phone call that something was terribly amiss. Even though she the heroine escaped the Marquis, no amount of washing or makeup can cover the red mark on her forehead.

She says she is glad Jean-Yves cannot see the mark, because it spares her shame. Carter preserves the legend's plot, casting the Marquis in the role of Bluebeard, who kills his wives and stores their corpses in a secret chamber. Like Bluebeard, the Marquise entices each new wife to explore the forbidden chamber and then kills her once she has discovered his secret. Carter goes so far as to reference the Bluebeard legend toward the end of "The Bloody Chamber. By likening the Marquis to Bluebeard, Carter makes it clear that he is not Bluebeard. In doing so, she draws attention to the ways her story is distinct from the legend of Bluebeard and, moreover, from fairy tales in general. One distinguishing feature of "The Bloody Chamber" is its narrator.

Unlike a traditional fairy-tale narrator, generally an impartial third person, this narrator is the heroine herself. By giving the heroine a voice, Carter challenged the fairy-tale tradition of our seeing, from the outside, events befall an innocent girl. Letting the heroine tell her story empowers the figure of woman by putting her in the traditionally male-dominated roles of storyteller and survivor instead of relegating her to the role of helpless princess. In The Bloody Chamber, the heroine tells us personally about how her suffering became the source of her enlightenment.

Of the heroine's namelessness, Rosemary Moore writes, "Carter acknowledges that in fairy tales characters are generally abstractions and her young bride is nameless because she is defined by her role as Marquise. However, it is also significant that Carter never actually refers to the heroine as "Marquise. She has become wise through her experience and no longer considers herself a Marquise, a title that only implies deference to the Marquis. Secondly, by leaving the heroine nameless, Cater universalizes her triumph so that she represents all women. Even though Carter empowers the heroine on a literary level, in the story she is forced into a position of subjugation and ignorance. She marries primarily for money and position, because as a peasant woman she has little opportunity or encouragement to earn these for herself.

As she tells her mother, she may not be sure that she loves the Marquis but she is "sure [she wants] to marry him. She recalls how the romantic opera Tristan made her feel as though she loved the Marquis, saying, "And, do you know, my heart swelled and ached so during the Liebestod that I thought I must truly love him. Then she makes it clear that her desire, while real, was for the wealth and position that the Marquis gives her; she follows the first statement with, "Yes. I did. On his arm, all eyes were upon me. Clearly, the Marquis is more concerned with his wealth than with his wife; in fact, he loves his wives more when they are dead-and truly objects-than when they are alive.

Despite her excitement at being married, the heroine's early statements tell us that she is afraid of her husband and mistrusts him. She describes him as both beast-like and plant-like; he is strong and imposing like a lion but so emotionless that he reminds her of a "funereal lily. She also connects his passion explicitly to destruction when she describes her anticipation at losing her virginity: "It was as though the imponderable weight of his desire was a force I might not withstand.

The heroine also equates her marriage to the Marquis with banishment when she states, "into marriage, into exile. With these words, the heroine indicates that by getting married, she is not gaining but surrendering power. Power in the story is located primarily in sexual interactions. What makes the heroine appear so powerless to the Marquis and perhaps to herself is her virginity. Being a virgin, the heroine has not yet learned to access her sexual power and is submissive to the Marquis, relying on his experience as a non-virgin and a man. Because of her youth and inexperience, "The Bloody Chamber" is for the heroine a story of sexual self-discovery.

She delights in her newfound sexual awareness, which Carter brings to life with vivid words such as, "I lay awake in the wagon-lit in a tender, delicious ecstasy of excitement, my burning cheek pressed against the impeccable linen of the pillow and the pounding of my heart mimicking that of the great pistons ceaselessly thrusting the train that bore me through the night, away from Paris, away from girlhood, away from the white, enclosed quietude of my mother's apartment, into the unguessable country of marriage. The comparison emphasizes how the heroine is not just getting married, but being transformed from a girl, "away from girlhood" into a woman. The heroine's arousal on the train, heightened by sexual verbs such as "pounding," "thrusting" and "burning" comes not so much from her attraction to the Marquis but from her curiosity at the "unguessable" act of sex that she anticipates.

Even though the Marquis evaluates her as though she is "horseflesh," his condescension excites her because it makes her realize her own "potential for corruption," for sexuality and desire. She does not find out until later how literally the Marquis makes love and corruption into a single act with the fetish of murdering his wives. He takes his favorite quote, by Baudelaire, literally: "There is a striking resemblance between the act of love and he ministrations of a torturer.

Because the Marquis's objectifying remarks and actions excite the heroine, we can see that until she realizes the extent of her dilemma, she is somewhat complicit in her own subjugation. Images of rebirth and sexuality make the narrator's entrance into marriage seem full of life. But the moment she arrives at the castle, this feeling is tempered with symbols of death that foreshadow her own near-death.

She arrives at dawn, a time of freshness and possibility, but in the month of November in late fall, which traditionally represents a decline into winter and death. The sea has an "amniotic salinity"-the word amniotic referencing birth, but it surrounds the castle when the tide is high, so that for all its majesty the palace resembles a prison. She describes it as, "at home neither on the land nor on the water, a mysterious, amphibious place, contravening the materiality of both earth and the waves That lovely, sad, sea-siren of a place! When she compares it to a siren or mermaid, who lure sailors and then drown them, she evokes another symbol of death and foreshadows her fate.

The bridal chamber itself is filled with symbols of death and martyrdom. On the wall hangs a painting of Saint Cecilia, who died by decapitation. The Marquis sees the heroine as his own personal Saint Cecilia, whom he plans to kill in a sick bastardization of martyrdom. The heroine's necklace, which the Marquis instructs her not to remove, references the same bloody death. Entertainment Weekly 's Owen Gleiberman wrote, "Far more than Beauty and the Beast or the stolidly virtuous Pocahontas , Mulan showcases a girl who gets to use her wits Because she seems so confident and intelligent, her sad statement that she wants to 'see something worthwhile' in the mirror comes as a bit of a shock. Critics were not unanimous in their praise. The Phoenix 's Jeffrey Gantz felt that character was unoriginal, inaccurate and Westernized , writing, "[her] costumes particularly the kimono and obi Mulan wears to the Matchmaker and hairdos look Japanese Give Mulan Native American features and you have Pocahontas.

The film isn't very subtle in reinforcing the idea of equality between the sexes". Gingerly, the film attempts to tread a middle path, implying that Mulan annihilates most of the Hun army by causing an avalanche, and having her dispatch Shan Yu with a load of fireworks. Very pretty. But still technically killing. Liu's portrayal as Mulan in the film was generally well received by critics. Richard Roeper of Chicago Sun-Times described Liu's performance as "star-turning" as well as "a boundaries-shattering, stereotype-defying hero-warrior for her time and for ours.

Liu often looks 13, but is actually She has the kind of face you never get bored of. Unlike the generally positive reviews received by Mulan, critical reception towards the character's romantic relationship with Li Shang has been largely negative, drawing much speculation from critics who accused Mulan of having "a typical girl-hooks-up-with-boy ending. But Mulan has it both ways, since inevitably Mulan's heart goes pitty-pat over Shang, the handsome young captain she's assigned to serve under.

The movie breaks with the tradition in which the male hero rescues the heroine, but is still totally sold on the Western idea of romantic love. Citing Mulan's relationship with Shang as an example of sexism , a film critic writing for Teen Ink wrote:. Even though Mulan as Ping gains the respect of the army commander and her comrades, once they discover that she is a woman, her army commander and potential love-interest, Shang, loses respect for her and even hates her. Mulan is sentenced to death, and Shang, the macho man of the film, ultimately gets to decide her fate. The only reason she survives is because Shang decides he'd rather just send her home.

To add insult to injury, at the end of the film, Shang fixes up his shattered ego by claiming Mulan as a suitor. Even as Mulan is being praised and cheered in the Forbidden City after she almost single-handedly saves China this time, as a woman , at the end of the film, the audience is reminded that Mulan is really just another woman looking for a man. Mulan's real victory isn't saving her country from invasion. No, it's marrying Shang. Betsy Wallace of Common Sense Media observed that Mulan "doesn't fit the princess mold, and most moviegoers had never heard of her.

Mulan is culturally recognized for her unique role in Mulan specifically in regards to the character's heroism, ethnicity and disinterest in romance, serving as a departure from traditional Disney heroines and princesses because she "challenged gender stereotypes and offered up an animated Disney experience that isn't princess-centric" as "one of the few strong, self-propelled female characters that Disney has. Mulan, let the record show, does not put out. In , CNN 's Stephanie Goldberg recognized Mulan as one of Disney's bravest and most heroic animated heroines to-date in her article " Brave 's Merida and other animated heroines," writing, "Mulan bent traditional gender roles when she took her father's place in the Chinese army.

Additionally, the song peaked at number nineteen on the Billboard Adult Contemporary chart. The Disney princess redesigns portrayed Mulan with features that differ from her film appearance. The artwork featured Mulan with blue eyes, bigger lips, noticeably lighter skin, and golden clothing which does not resemble any outfit she has worn in the film. Her new appearance has caused an uproar due to the whitewash of her character. This was particularly troubling as Mulan is one of the few princesses of color. McKinstry of SPARK Movement writes that Mulan's redesign "seem to be directly counter to her personality and character in her film", and also notes how all the princesses of color have been "noticeably pushed to the back or left out completely" from the new Disney merchandise which featured the redesigns.

McKinstry argues that Disney "prefers to portray one demographic of princess, simultaneously alienating so much of their fanbase", pointing out that of the "ten Disney Princesses in the brand, six are white". The study revealed that in the group of girls ranging from 3 to 6 years old, Of these respondents, over half would change their hair and over a quarter would change something about their body, such as skin color. The interviewed group was predominantly white.

Disney has since altered the coloration in Mulan's design by changing the blue eye highlight to brown, darkening the color of her skin, and changing her clothing to better resemble her attire in the film. From Wikipedia, the free encyclopedia. Title character from Disney's animated film of the same name. This article needs to be updated. Please help update this article to reflect recent events or newly available information. September Mulan as she appears in Mulan Main article: Mulan film. Main article: Mulan II. Retrieved September 22, United States: AuthorHouse. ISBN Retrieved March 11, San Souci". Retrieved February 23, Frame by Frame Three. United States: Indiana University Press.

Retrieved February 25, March 12, The Christian Post. Animation World Network. Angela Kuo. Retrieved March 10, Animated Views. Retrieved February 24, Groucho Reviews. Peter Canavese. The Hollywood News. Retrieved February 27, United Press International. Archived from the original on March 1, Retrieved 21 November Adventures of a Couponista. Archived from the original on February 27, Trippin With Tara. Genesis Framework.

Mom Knows It All. Mom with a Dot Com. October Mark Henn". United States: Xlibris Corporation published September 30, August 11, IGN Entertainment. In Elledge, Jim ed. United States: Praeger. Los Angeles Times. The Hollywood Reporter. December 4, Psychology Today. The New York Times. Retrieved March 4, Disney Princess. Family Choice Awards. Family Magazines. Jim Hill Media. TV Guide. July 22,

Before that, stars like The Little Mermaid Character Analysis Wayne appeared The Little Mermaid Character Analysis TV selling cigarettes, The Little Mermaid Character Analysis highly of the product: "Mild and good tasting pack after pack. The Little Mermaid Character Analysis the episode " The Little Mermaid Character Analysis Reality In Shirley Jacksons The Lottery, Ursula is described as a sea goddess whom no one has seen for a thousand years. An enraged Shan Yu slashes her in The Little Mermaid Character Analysis chest, and after types of communication in nursing avalanche subsides, her deception is revealed when the wound is bandaged. Ursula is a fictional character who The Little Mermaid Character Analysis in Walt Disney Pictures ' 28th animated feature film The Little Mermaid

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