Is There an Egyptian Cinderella? | ||
| TANWĪR: A Journal of Arts & Humanities | ||
| Volume 2025, Issue 2, May 2025, Pages 4-26 PDF (1.18 M) | ||
| Document Type: Original Article | ||
| DOI: 10.21608/tanwir.2025.430148 | ||
| Author | ||
| Nadia El Kholy | ||
| Department of English Literature and Language, Faculty of Arts, Cairo University | ||
| Abstract | ||
| The Cinderella story is widely perceived as a quintessentially European fairy tale, crystallized through Charles Perrault’s Cendrillon, the Brothers Grimm’s Aschenputtel, and Walt Disney’s 1950 animated film. However, this study questions the presumed Western lineage of Cinderella by tracing its origins to ancient and multicultural roots, particularly an early Egyptian tale about a slave girl named Rhodopis. Drawing on the insights of scholars such as Jack Zipes, Patricia Monaghan, and Bruno Bettelheim, the paper explores Cinderella’s transcultural journey, illustrating how the tale has been adapted to reflect various cultural, historical, and ideological contexts. While Perrault’s version reflects aristocratic and patriarchal values, the Grimm version aligns more closely with folk traditions and female agency. The study also highlights narrative variations, including differences in family dynamics, moral values, and character development, to show how Cinderella evolves with each retelling. Emphasizing that fairy tales are dynamic cultural artifacts rather than fixed texts, the article argues that Cinderella’s enduring global appeal lies in its adaptability and its capacity to mirror both local identities and collective human experience. In light of growing cultural homogenization, the research underscores the importance of recovering and preserving regional variants like the Egyptian Cinderella, not out of nostalgia, but to revitalize the diverse cultural traditions from which they sprang. Ultimately, the tale's timeless promise of transformation and hope invites readers to consider what constitutes a true “happily ever after” in both personal and societal terms. This paper thus repositions Cinderella as a shared global narrative with deep historical and cross-cultural significance. | ||
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