Fairy Tales Are The Favourite Bedtime Stories Cultural Studies Essay

king Tales argon The Favourite Bed eon Stories Cultural Studies Essay fag bol wholenessys be the favourite bedtime stories for infantile children peerless and only(a) of the reasons is because they feces check righteouss. Fairy records dedicate been around for centuries so far before they emerged as a literary genre of their own. Children the world e rattlingplace absorb been exposed to different fay relations and folklore.Fairy narratives stand excessively been know to be essential in a childs develop custodyt, because of its suitability to teach childly children moral value while servicinging children distinguish in the midst of rubrics that atomic number 18 good and deeds that ar evil, much(prenominal) as vengeance. Fairy tales accomplish this by casting protagonists as ordinary children with whom untried auditions can easily identify (Cashdan, 2000) in other words, children ar capable to relate with the protagonists of fe masculine monarch tales a nd as they argon just like roughly(prenominal) other children, except for their titles (Cashdan, 2000). Fairy tales throw off excessively been described by Bettleheim (1962) as cite cockeyeds by which culture is assimilated by children.Bettelheim (1976) suggests that our unconscious mind desires are expressed through with(predicate) faerie tales and sissy tales symbolize fatheaded hidden meats within our beings. For children, he asserts that sprite tales are a fantastic experience because the child feels understood and appreciated incomprehensible down in his feelings, hopes, and anxieties, without theses tot eithery having to be dragged up and investigated in the harsh brightness level of a rationality that is still beyond him (Bettelheim, 1976). Christians (2009) summarizes this as fe priapic monarch tales are to a greater extent naturally suited for children because children can fill a deep mental need with stories.Fairy tales be guard to a fault received incre asing investigate as a literary genre because of its influence on children who have been exposed to pouf tales from a three-year-old age. Fairy tales, particularly westbound European fay tales have secured a unique place in literature written in English because they have entered our cultural stenography via the popularity of English translations of the works of Perrault and the Brothers Grimm as bearing atably as Disney movies (Schanoes, 2007) making pansy tales a fairly an integral part of childishness. It is similarly because of the popularity of western European pouf tales that Christians (2009) derives that tabby tales can now be defined on their own while receiving considerable scholarly attention due to its general influence.On the other hand, libber writers have cited cigarette tales as an effectual means of submitting women to the values of a old steep bon ton, particularly through delineation the poof tale heroines as beautiful and passive. Fairy tale s as a literary genre have similarly been employ in Western cultures to safeguard the values and conventions of its gray societies (Comtois, 1995). These values and conventions embedded in pouf tales, Comtois illustrious, were self-consistent with the values that were enforced during the times the tales were written. Fox (1997) nones how the effeminate looker can be seen as a normative means of affectionate control whereby tender control is accomplished through the internalization of values and norms that serve to restrict womens lives. Doll (2000) similarly states that good girls become idealized, amend objects, pedestaled for the males gaze, promote enforcing that women are shaped into characters that are appealing to males.Many libber writers such as Freed valet (1986), Fox (1977), Dellinger and Williams (1997), Baker-Sperry and Grauerholz (2003), and Stone (1985) have noned how fairy tales, particularly princess-themed fairy tales, ofttimes employ the picture of distaff yellowish pink as a means of control over women by men and the senile societies in which we live in. bang is a key element in the lives of many women who spend time, resources and effort in the avocation of the ideal kayo, most often d heroic poemted in numerous media. Women inexorable gain to pursue the feminine looker ideal, which is viewed largely as an oppressive, olden practice that objectifies, devalues, and subordinates women (Baker-Sperry and Grauerholz, 2003).Despite this, many women continue to strive for beauty, believing that it plays a major social mathematical function in their lives. Backman and Adams (1991) and Suitor and Reavis (1995) assert that beauty is one of the main focussings self-esteem and social lieu are shape uped by cardinal-year-old women and adolescent girls. Women non yet want to be beautiful for self-gratification, but also for social gets, particularly the approval and idea by men, whereby according to Freedman (1989), w omen are aware that beauty comes to a great extent with men and they so work hard to discover it.The frequent portrayal of women uprightly as pretty things to look at often stool stereotypes that women are exactly that-beautiful dolls who are meant to be seen, and never heard and all those who do non adhere to such femininity are incapable and lacking. Dellinger and Williams (1997) found in their shoot Makeup at work Negotiating appearance rules in the workplace that women who wear makeup in the workplace are seen as healthier and more than competent while those who do not are seen in a banish light. Women who achieve a elevated degree of attractiveness are mentally and socially rewarded (Dellinger and Williams, 1997 Hatfield and Sprecher, 1986).This patriarchal society where women are meant to pursue the ideal feminine beauty is mirrored very heavily in fairy tales, especially princess-themed fairy tales, where beauty is often the only power granted to the heroine (Chr istians, 2009). Jorgensen (2012) declares that beauty is not only associate with success of the heroines in fairy tales but also with character. Fairy tale princesses like Snow White, Cinderella and sleeping Beauty all rely on using their beauty to entice a prince to liberate them from their burdens enactment the man as the only key to women to free themselves from problems and to upgrade their social status.The way most classic fairy tales depict women is capable of exposing young children to womens role stereotyping. accord to Comtois (1995), libber writers such as Lieberman (1972), Bottigheimer (1987), Stone (1985), and Tartar (1987) have contended that folklore has at least allow fored in the perpetuation of stereotypes in society. These libber writers also assert that traditional fairy tales have not only served as a mirror of society but have been intentionally utilise to promote societal values which often depict grammatical sex activity roles in narrow, pre modeld ways (Comtois, 1995). Feminist scholars often consider females in fairy tales to be too passive, pretty, and domestic (if protagonists), or alternately too wicked, ugly, and inhumane (if antagonists) (Jorgensen, 2012) and these passive, pretty fairy tale heroines receive rewards when they adhere to said roles (Gauntlett, 2002).1.1 logical argument of the ProblemWhile research on fairy tales is not smart (with studies of fairy tales dating back as far as the nineteenth century and primaeval 20th century), its research is not widespread, though gaining pulsation because of the popularity of Western European fairy tales. Research on womens lib and sexual activity stereotyping in fairy tales have dated back as early as the 1960s with Bettelheims Use of Enchantments (1962) and Heuschers (1963) A Psychiatric Study of Fairy Tales Their Origin, Meaning, and Usefulness for example.Much of feminist fairy tale researches focus in the main on the familiar stereotyping of women in fairy tales, as carried out by feminist writers such as Bottigheimer (1987), Stone (1985), Comtois (1995), and Baker-Sperry and Grauerholz (2005). Some research also focuses on the negative bear upon of fairy tales as found in Stones 1985 study The misuse of enchantment Controversies on the significance of fairy tales. According to Stone (1985) stereotypes are engraved in the perceptions of young women from early childhood and it is affirmable that as these young girls progress into young adults, the sexual activity stereotypes created in their childhood leave still persist and perhaps result in negative effects regarding their perceptions of gender roles and stock-still confidence and self-image.This study aims to pause the impacts of fairy tales on young adult males who have been exposed to fairy tales, particularly princess-themed fairy tales, to determine what kind of gender stereotypes have been c erstwhileptualized and their perceptions towards gender roles depicted in fairy tales. This study also aims to determine whether womens liberation movement has had an impact on altering the stereotypes created by fairy tales.Moreover, some(prenominal) of the feminist researches focus more on womens responses and trusts towards fairy tales and these researches are mostly conjectural in nature. Previously, there have been two researches conducted on the impact of fairy tales on people Kay F. Stones 1985 study which involved a sample consisting of women, children, and men and Rita Comtois 1995 study which featured a sample of women only. According to Comtois (1995), contempt a number of feminist writers who have studied the potential impact of sexual stereotyping in fairy tales (Bottigheimer, 1987 Stone, 1985 Tatar, 1987), the majority of their opinions are imaginary, based on conclusions gaunt from and implications of a fairy tales scene on its auditory modality.This study allow for be confusable to Rita J. Comtois 1995 qualitative study of the perceive d impact of fairy tales on a group of women. This study lead also be similar to K. F. Stones 1985 study on the impact of fairy tales, which she conducted in a series of interviews, with a sample of forty-four people, whereby 6 of her respondents were boys. While Comtois research explored the psychological impact fairy tales have had on a female audience which has reached adulthood, this study result instead use a male audience as the sample.With the use males as the respondents, this study, which adopts a feminist approach, it will be possible to collect data on the opinions of males on the topic without resorting to speculative theories. The results of this study whereby a bigger male sample is apply, as tuneed to the 1985 study carried out by Stone (with only a slender sample of 6 males), it will also be possible to gain more insight into what males think without resorting to conjectures.Purpose of this studyThis study aimsTo determine the effects of icon of fairy tales fr om an early age on young male adults regarding the way they perceive stereotypical gender roles.To establish whether the gender stereotypes in young male adults have slowly changed over time or are carried well into adulthood due to these effects of exposure to princess-themed fairy tales.To determine how feminist views have altered and changed the way young adult males view the stereotypical female characters depicted in fairy tales and women in real life.Research questionsAt the end of this study, the researcher hopes to tell the following research questionsWhat are the effects of exposure of fairy tales on young adult males regarding their perspectives of stereotypical gender roles?How have the effects of exposure to princess-themed fairy tales on young adult males from their youths persisted over time?How have feminist views changed the perception of gender stereotypes holded in young male adults regarding female characters depicted in fairy tales as well as cleaning lady in r eal life?1.4 Significance of the StudyThe results from this study will succor to increase the knowledge and awareness on the impact of fairy tales on the phylogeny of stereotypes of women in young adult males who have been exposed to fairy tales at a young age. From the study, it will also expand the knowledge base on what kind of gender stereotypes are formed and whether they are identical to the stereotypical characteristics of women (particularly princesses) that have been depicted in fairy tales. It will also help to shed some light on whether these stereotypes have degraded over time in the expectation of young adults, whether they have applied these stereotypes onto women in real life, and whether the onset of feminism has in turned further altered these stereotypes.If the gender stereotypes formed through the exposure of fairy tales from an early age still persist passim the lives of the respondents well into their young adult years, then it will show that fairy tales do have a lasting impact on young adult males. The results of study will provide more insight into how much fairy tales have affected young adult males and what kind of stereotypes have formed as a result of fairy tale exposure. apart from that, based on the results from this study, it will shed some light on whether young adult male still hold stereotypes towards feminine beauty and women (whereby women who make an effort to enhance their appearance are more valued than those who do not) as suggested by Dellinger and Williams (1997) as well Hatfield and Sprecher (1984). Instead of rough drawing conclusions from theoretical analysis and assumptions of what kind of impact fairy tales have on men, the data collected from this study will provide will help to clarify what sort of stereotypes that males really have towards women as a result of exposure to fairy tales.1.5 Scope of Study and MethodologyThe independent inconstant of this study is the princess-themed fairy tales. The depende nt variable would be the responses provided from the respondents towards the princess-themed fairy tales text. The scheme of this study is that fairy tales do have some impact on the formation of gender stereotypes in men.In this study, the respondents will be male Faculty of Arts and Social Science students studying in UTAR. A total of 50 respondents will be chosen through two consume methods to participate in this study where respondents will be involve to answer an online questionnaire based on their cognitive knowledge of fairy tales. The kickoff will be the purposive sampling method which is a form of non-probability sampling technique by which the researcher chooses the sample based on who they think would be appropriate for the study.The second method used will be snowball sampling, a non-probability sampling technique where the participants that have already been selected will be asked to recommend new respondents from their friends and acquaintances. In this study, pur posive sampling will be used because the selection of respondents will not be random as only male respondents will be chosen and the snowball sampling method is used to gain access to a larger sample of young adult males.1.6 Limitations of the studyThis study will be conducted among Faculty of Arts and Social Science students in UTAR, which would mean that the scope of respondents is limited as the findings cannot be generalized to all students.In this study, there will be no equal distribution of race, so it would not be possible to examine the different responses among races and cultures. Moreover, this study will only focus on princess-themed fairy tales, namely Snow White, quiescence Beauty, and Cinderella. Therefore, the finding cannot be generalized with other non-princess-themed fairy tales.Furthermore, the use of an online questionnaire, despite its advantages, will not guarantee absolute control over the respondents. additionally the use of snowball sampling might result in handle anchoring, whereby there is a lack of definite knowledge on whether the respondents are from the intended target group. Time constraint is also a boundary in this study. With a set time limit allocated, it was not possible to gather more thorough data for more conclusive findings.1.7 operating(a) Terms1.7.1 Fairy TaleA fairy tale, according to Anderson (2000) can be defined as short, inventive, traditional tales with a high moral and magical content. Heuscher (1963) defines the fairy tale as a account which is not based on historic persons or events, as opposed to an epic or saga.1.7.2 Gender StereotypesGender stereotypesare simple generalizations closely the gender attributes, differences, and roles of individuals and groups. Gender stereotypes are widely held tenets about the characteristics and behaviour of not only women and men but also transgendered people (Manstead and Hewstone 1995) which suggest how men and women should and should not behave. These stereotyp es can be positive or negative, but are rarely accurate.1.7.3 FeminismFeminism is the championing of equal rights for men and women. It is defined as the belief in the social, political, and economical equality of the sexes (Rowe-Finkbeiner, 2004) such as the right to select pursue a career and to have equal social status.1.7.4 womanly beauty idealFemininity is a set of womanly qualities, behaviours, and roles for the most part associated with girls and women. Baker-Sperry and Grauerholz (2003) define the feminine beauty ideal as the socially constructed impulse that physical attractiveness is one womans most key assets, and something all women should strive to achieve and remark.1.8 Organization of the ThesisThis study consists of a total of v chapters, which are Introduction, Literature Review, Methodology, Findings Analysis, and Discussion Conclusion.The Introduction, which is the first chapter, calles the background of study, statement of problem, purpose of study, res earch questions, significance of study, scope and limitations of study, the definition of key terms and the shaping of the thesis.The second chapter, Literature Review, will outline the definitions of fairy tales, feminine beauty ideal, gender stereotypes, as well as men and their negative reception towards feminism. Additionally this chapter will also explore some of the introductory feminist critiques on fairy tales, the feminine beauty ideal, and gender stereotypes investigate the kin between fairy tales and feminism through past research, and briefly address the correspond study.The third chapter, Methodology will explain the research design, sampling, instruments used for data gathering, the pilot study, procedures, and the data analysis.The fourth and fifth chapter will present the findings and discuss its significance in relation to the study as well as provide recommendations for further research and conclusions respectively.CHAPTER II LITERATURE round off2.0 Introduc tionThis chapter will highlight more on the definitions of fairy tales, feminine beauty ideal, gender stereotypes, as well as men and their negative reaction towards feminism. Additionally this chapter will also explore some of the previous feminist critiques on fairy tales, the feminine beauty ideal, and gender stereotypes investigating the descent between fairy tales and feminism through past research.2.1 Fairy talesIn order to find out about the impact of fairy tales on young adult males, it is first crucial to understand the meaning of fairy tales as well as their purpose in society, and the relationship between feminist criticism, fairy tales, and society-which first begins with the question What is a fairy tale?2.1.1 What is a fairy tale?A fairy tale is a very powerful literary piece that undoubtedly resonates throughout the entire world as everyone has been exposed to fairy tales at one point in their lives, most notably during their childhood. Rohrich (1986) describes fairy tales as one of the deepest and most enduring childhood impressions.If one were to be asked to define a fairy tale, no doubt it would be described as a story with magical elements where a hero does a good deed while rescuing a princess in between, thus saving the day. According to Anderson (2000), fairy tales can be defined as short, imaginative, traditional tales with a high moral and magical content. Heuscher (1963) defines the fairy tale as a narration which is not based on historic persons or events, in contrast to an epic or saga. Jack Zipes (2012) has described the fairy tale as both an elaborate and simple narrative.Various fairy tale scholars consider fairy tales to be highly structured fictional stories wherein youth protagonists attain riches, marriage, and social justice by means of cleverness, beauty, endurance, and magic (Christians, 2009). However, even with all the definitions provided on fairy tales, it has been renowned that fairy tales cannot easily be defined. Rachael Burkholder (2011) explains that even within the genre itself, there are minor discrepancies in definitions, make overlap within the definitions and such variations within the genre make expire definitions difficult. Author J.R.R. Tolkien has also confessed to being a fairy tale sports fan though he uses the term fairy-stories instead. Tolkien himself has found difficulty in delimit fairy tales or fairy-stories in his study On Faerie StoriesYou will turn to the Oxford English Dictionary in vain. It contains no reference to the conclave fairy-story, and is unhelpful on the subject of fairies generally. In the Supplement, fairy-tale is recorded since the year 1750, and its prima(p) sense is said to be (a) a tale about fairies, or generally a fairy legend with developed senses, (b) an unreal or incredible story, and (c) a falsehood. (Tolkien, The Tolkien Reader, 1966).2.1.2 The purpose of a fairy taleIt is also important to understand the purpose of the fairy tale. The goa l of the fairy tale is to describe the marvellous and mysterious that is, happenings which transcend everyday reality and as such are impossible to study by any scientific method (Comtois, 1995). Cashdan (2000) states that fairy tales are more than suspense-filled adventures that excite the imagination, more than mere entertainment Cashdan stresses that while the initial attraction of fairy tales may be for entertainment and enjoyment purposes, its lasting value lies in its power to help children deal with the internal conflicts they face in the course of growing upThe fairy tale genre has roots deeply embedded in the traditions of oral tales, myths and legends (Christians, 2009) and many scholars severalize fairy tales with folklore narratives-which are the various genres such as legends, fairy tales, myths, epics, ballads, folktales and so on (Christians, 2009). The emergence of the fairy tale as a literary genre has been fairly recent the fairy tale has evolved through many cult ural changes, making it one of the more diversified genres (Christrians, 2009). While many people of today often classify fairy tales as childrens literature, these stories were in fact intended for adults instead. However, the tales have been fitting and revised for children because they are a suitable medium for teaching morality (Christians, 2009) because children find it easy to identify with the protagonists in fairy tales, whom they regard as ordinary and therefore similar to themselves (Cashdan, 2000).It is because of this that fairy tales, particularly fairy tales by the Grimm brothers in the nineteenth century were originally used as primers for relatively affluent European children and served to impart moral lessons to them (Zipes, 1988a as cited in Baker-Sperry and Grauerholz, 2003). Bettelheim (1976) has also noted how fairy tales manage to connect with children on a deep psychological level, as opposed to adults, where he argues that for adults, the fairy tale motif s are something one is better off understanding rationally so one can rid oneself of them. As Zipes (2002) states, Most fairy tales are an imaginative depiction of healthy human development and help children understand the motives merchantman their rebellion against parents and the fear of growing up.Today, fairy tales especially those that have survived the evidence of time are one of the most widely read genres in the world. They are actively read by children across the globe and its readership transcends the borders of social class and racial groups (Zipes, 1997) while continuing to contain symbolic mental imagery that legitimates existing race, class, and gender systems (Baker-Sperry and Grauerholz, 2003).2.1.3Fairy tale as a mirror of societyIt is generally recognized by fairy tale scholars such as Jack Zipes (1988), Kay Stone (1985) and Maria Tatar (1987) that fairy tales have been known to reflect the culture and values of the society of their time. As fairy tales are one of the most influential forms of literature, one of the more important purposes of fairy tales was to teach children good moral values as well as the norms of society.Bettelheim (1976) suggests that fairy tales symbolize deep hidden meanings and desires within our unconscious mind, therefore it is much easier for children to identity with fairy tales as children can fill a deep psychological need with stories (Christians, 2009). Folklorists thus utilize fairy tales to circulate the cultures and traditions acceptable in society to young children. According to Glassie (1999), folklorists learn to stress transmission and to think of traditions as things, items, as song texts and quilt patterns passed from propagation to generation.Considering the impact of fairy tales on young children, it is not surprising that fairy tales have been made into a medium used to imprint sought after gender roles before being transmitted to the young. Therefore it should also not be unforeseen that ch ildrens literature contains messages, both implicit and explicit, about controlling power structures in society, particularly about gender roles (Clark, Lennon, and Morris, 1993 Crabb and Bielawski, 1994 Kortenhause and Demarest, 1993 Weitzman et al., 1972 as cited in Baker-Sperry and Grauerholz, 2003).With the rise of technology in the 18th century due to the development of the printing press, the publishing power and distribution were in the hands of the noblesse and the bourgeoisie (Comtois, 1995) who had originally considered fairy tales to be lacking in morals for their failure to promote hallowed virtues such as order, discipline, and modesty which were indispensable to cultivate and thereby train newly rising capitalist interests and which were consistent with the Christian ethic (Comtois, 1995). In order to keep with the socio-political era in 19th century Germany, many tales were sanitized and adapted by the Grimm brothers.Zipes (1988a, 1988b) had noted that apart from teaching young children appropriate values and attitudes of the time, fairy tales were also intended to teach young girls and women how to become responsible, domesticated and attractive to a marriage partner during the 18th and nineteenth centuries. Bottigheimer (1986) also found that tales strengthen womens silence, a cultural preference at the time-a trait noticeable in fairy tale heroines who often stay silent and only give tongue to in response to a question posed by a male character.2.1.4 Feminism, Fairy tales and Patriarchal SocietyOne of the main concerns of feminist scholars is the way traditional fairy tales are used by patriarchal societies to promote narrow, predetermined views on gender roles whereby women are portrayed in a shallow light.Feminist writers like Lieberman (1972), Bottigheimer (1986), Stone (1985), and Tatar (1987) maintain that fairy tales have resulted in the formation of gender stereotypes. Women are evaluate to behave like fairy tale heroines and t hus be seen and not heard-they are expected to be pretty, passive, domesticated and silent.It is a common opinion among feminist writers that fairy tales are indeed a tool used by men in patriarchal societies to impart what they think is considered as beseeming behaviour for women, setting the blueprint for what they see as proper gender roles in society. Therefore, fairy tales are used to shape and pattern women to conform to the patriarchal values and norms or simply as a form of control on womens behaviour.Taking a closer look at the use of fairy tales to promote norms and values that are viewed as acceptable in a patriarchal society, Tatar (1987) uncovered some interesting details about fairy tales, front to and after the eighteenth and nineteenth centuries. In her 1987 work The hard facts of the Grimms Fairy tales, Tatar notes that prior to the 18th century, male and female Cinderellas were found in equal frequencies in European folklores. The male counterparts of the presen t-day female fairy tale heroines were not limited to Cinderella alone-documentations of male Snow Whites were also found in Turkish folklores as well as a Russian male Sleeping Beauty (Tatar, 1987).From this knowledge, it is rather interesting to ponder on the reason for the sharp drastic change in the role of the rescuer and the rescued. When early European folktales have promiscuously placed women in the roles that, in todays patriarchal society, would conventionally be bestowed on males, Tatar (1987) prompts us to think twice about male hero patterns when we come across a collection of tales depicting heroines who carry out tasks normally put to male heroes alone or who denounce fathers too weak to protect them from evil stepmothers.2.1.5 Female heroines and patriarchal societyConsistent with the values of the era, the Grimmss tales made it clear that domestic talents were a heroines ideal (Comtois, 1995). However, Tatar (1987) questions the motives of the Grimm brothers, who w ere responsible for collecting, rewriting and adapting the folklores for the German audience to ensure that the folklores to fit in with the morals, values and norms in 19th century Germany.Women, who were once revered as brave and worthy, were suddenly reduced to the role of damsels in distress morphing into what Kohlbenschlag (1988) refers to as the formula female. The formula female, according to Kohlbenschlag, has two personas-the preferable object, and the woman who is geared to live for another person (Comtois, 1995) she is a woman who will sacrifice her own needs in order to achieve these two personas.Atkins (2004) states that fairy tale heroines like Snow White, Cinderella and Sleeping Beauty are schooled through their gender constructions, must participate in patriarchal society because their happiness depends on conformity to its rule (Zipes, 1983). Atkins further asserts that these fairy tale heroines are left with no choice as they have no right to challenge their roles as idealized women.There are fairy tale females who do not fit into the passive, obedient syndicate and as these female characters fail to conform (Zipes, 1983), they are typecast as wicked women. These are the wicked female antagonists that we see in fairy tales-mothers, step-mothers, stepsiblings, and evil witches. These women are punished at the end of the tales for their contravention (Mueller, 1986) against the good-girl heroines (Atkins, 2004), normally during, immediately after or before the wedding of the heroine princess. This, according to Atkins (2004) makes it clear to readers of fairy tales that the choice is simple-conform to the norms of patriarchal society or suffer the consequences.Atkins (2004) further states that conformity is the key to the kingdom where women must submit themselves to the patriarchal rule, because they are compelled to do so (Rowe, 1979 Atkins 2004). According to Rowe (1979), fairy tales perpetuate the patriarchal status quo by making female s ubordination seem a romantically desirable, indeed and inescapable fate.2.2 Gender StereotypesGender stereotypes are also an important key term in this study as the main target area of this research is to explore the effect of fairy tales on the formation of gender stereotype