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This study examined whether life satisfaction varied among women who occupy different motherhood statuses, and if these variations were influenced by differences in women’s internalization of cultural motherhood norms. We distinguished among women as biological mothers, stepmothers, and “double mothers,” who were both biological and stepmothers. We also included two groups of women without children: voluntary childfree and involuntary childless women.

Data were drawn from the National Study of Fertility Barriers and analyzed using OLS regression.

Biological mothers reported greater life satisfaction than women in other motherhood statuses. Accounting for the internalization of motherhood norms, double mothers had significantly lower life satisfaction compared to biological mothers, but voluntary childfree women had significantly greater life satisfaction. More detailed analyses indicated that internalization of cultural norms only appears to influence the life satisfaction of women with biological children.

The results suggest that it may not simply be motherhood that affects women’s well-being, but rather that women’s internalization of motherhood ideals, particularly when it corresponds with their motherhood status, significantly impacts well-being. Limitations of this study include small cell sizes for some categories of women where additional distinctions may have been useful, such as lesbian or adoptive mothers. Future work should incorporate diverse family forms and expand on the newly named category “double mothers.”

By providing a more nuanced approach to categorizing motherhood status, including identifying double mothers, stepmothers-only, and two groups of childless women, the study added detail that has been overlooked in previous work on well-being.

Difficulties in defining stepfamily roles remain an important issue for its members. A potentially important factor in defining roles in the family is the identification with a particular gender type and how it relates to one's expectations about one's place in the family system. The purpose of this paper is to explore how gender typing processes inform our understanding of the stepmother role construction process, and its link with stepfamily adjustment.

Semi‐structured interview data from six androgynous and six feminine stepmothers were selected based on gender type identification.

Results from this analysis were analyzed using a phenomenological approach, and are presented with the intent to explore how gender typing processes inform our understanding of the stepmother role construction process, and its link with stepfamily adjustment.

Gender typing has not been studied in the context of stepmother families, even though research on stepmothers’ adjustment has highlighted the ambiguous nature of their role in the stepfamily. Additionally, while qualitative inquiry continues to represent the favoured paradigm in the emerging area of stepmother research, studies of this type remain limited in scope.

Some of the most recognizable ‘evil’ fairy tale characters are the stepmothers; second-wives who enter happy households, and seek to subjugate their step-children. This character arc is due to be dismantled. Patriarchal regimes over time have constructed realities where women and power do not go together. In early-to late-modern (white, European) societies, patriarchal structures placed restrictions on the decisions women could make with their lives. This meant that women with status were left with very few options to earn an income. The aim for this analysis is to show this distortion of upper-class female reality by analysing the portrayal of the stepmother characters in four fairy-tale film narratives released since 2000, focusing on the Cinderella and Snow White narratives (two of the more widely disseminated fairy-tale stories). By illustrating how little information is given about their lives before re-marrying, this chapter will demonstrate how audiences are still ignorant to the backdrop of wealthy male superiority and the patriarchal structures that would lead to a woman remarrying for economic security, showing them in a more sympathetic light.

The pretty girl with raven hair sings as she works and dreams of wonderful days ahead. The girl's dream is deferred by the wickedly jealous stepmother who sends a trusted guard to commit murder. The man, overwhelmed by the girl's inherent goodness is unable to complete his deed, and warns her to run away and never return. She travels deep into the woods and is helped by friendly forest creatures with big eyes. They take her to a small cottage and she falls asleep, to be awakened by several small men who find it in their hearts to allow her to remain. The miniature men leave for work the next day, warning the girl of the stepmother and her trickery. The nasty woman disguises herself and easily convinces the girl to take a bite of the religiously symbolic apple, after which the girl is induced into a coma. The small men return, chase after the horrible stepmother and cause her to fall to her death, after which they do not bury the beauty-girl, but instead leave her ensconced in a glass tomb for all to see. The gallant prince finally arrives and kisses her, true love breaking the apple's spell and allowing the girl to ride away on the horse with the true hero, leaving behind the woodland creatures and small men forever. Sunlight beaming, girl beaming, small men and creatures beaming. All is right with the world.

The ‘Terrible Mother’ traditionally connotes monstrous aspects of motherhood and devouring femininity, encompassing two stereotypical representation of women in myth, fairy tale and fantasy: The Seductress and the Wicked stepmother. The Seductress personifies female malevolence and is characterized as rebellious, manipulative and relentless. Furthermore, she often adopts male aggressiveness, especially sexual, thus usurping male prerogative. Ironically, the temptress is condemned for exhibiting traits which the male hero is lauded for, while also embodying a warning to other women regarding their fate should they rebel against male authority. These narrative strands converge in Cersei, who becomes an embodiment of male anxiety and stands as the chief moral foil and greatest sociopolitical threat to male hegemony.

Concomitantly, Cersei plays the part of the wicked stepmother to Sansa Stark, the series' archetypal damsel in distress. Like Sansa, Cersei began with starry-eyed dreams of womanhood, but quickly grew disillusioned. Despite this, Cersei subjects Sansa to the same injustices she suffered. This re-enactment of her own mistreatment situates Cersei as the female accomplice to the patriarchy. Yet, Cersei also attempts to educate Sansa about women's position vis-à-vis the patriarchy and the tools at their disposal, thus layering the role of the wicked stepmother. Furthermore, Cersei's narrative is complicated as she becomes a point of view character: her focalization becomes a fertile ground for myriad challenges to an androcentric culture, opening avenues for social criticism and possible reimagining of gender roles.

Postmodern informed sociologists advocate the study of oppressed and disenfranchised groups. Yet, they never go beyond the boundaries of the commonly researched groups – women, deviant subcultures, homeless, minorities and the like. What about the wicked? Howard Becker wrote about individuals being labelled by society as deviant, but in postmodern society people are also labelled by mass media. Stepmothers have been labelled for a long time as wicked. Indeed, in many fairy tales they are lumped together with witches. Tom Stoppard re-wrote Hamlet from the viewpoint of two minor characters, Rosencranz and Guildersten. Here, in a more modest way, I look at the Snow-White caper from the viewpoint of the wicked stepmother.

This paper, which originates in an English-as-a-foreign-language (EFL) classroom activity in Hong Kong, aims to explore English learners’ expressive and creative potential in writing by studying their work in the literary narrative genre.

A group of upper secondary students (15-16 years of age) with limited English resources and competence was enlisted to remake a folktale with visual and written prompts.

The writing samples demonstrate that these low-level EFL writers are able to refashion the narrative elements, and to communicate meanings for their own purposes. They exhibit logicality and problem-solving skills in their attempts to challenge and transform idea and to include themes of interest to them. There is also evidence of creative play with language in their use of dialogues and figures of speech.

These writing outcomes suggest the need to re-vision English language arts practices in increasingly diverse education systems. Genre-based instruction, with its emphasis on “writing to mean” as a social activity supported by learning to use language, could lead to widening EFL learners’ access to genre knowledge and to greater life chances.

A linguistics-based pedagogy scaffolding less able EFL writers while they learn to build effective narratives is identified as a way forward.

Although the idea of using narratives to engage EFL learners in writing is not entirely new, this paper contributes to the field by responding to low-level learners’ writing that goes beyond linguistic “correctness”, and developing strategies for supporting creativity and language play.

The Evil Queen is a staple character in many fairy tales, but perhaps one of her most famous incarnations is as Snow White's evil stepmother. In order to gain a better understanding of the dynamics of gender and morality in this story, this chapter analyses three different versions of the fairy tale Snow White and the Seven Dwarfs: the Brothers Grimm's nineteenth-century text, Disney's 1930s film adaptation, and The Snow Queen's Shadow, a contemporary novel based loosely on a mix of well-known European fairy tales. The chapter explores what, exactly, marks the Queen as evil in the different versions, how her morality interacts with questions of gender and cultural context, and how the different versions portray the relationship – and often the moral dichotomy – between the Evil Queen and Snow White.

As we opened this chapter in relation with Loyla's life, we did so with a transcript excerpt from a research conversation in which Loyla spoke about a series of experiences shaping much unhappiness in her life; they were experiences also creating significant concern for Orie. On the day in May when Loyla, Orie, and Janice engaged in the conversation from which the transcript excerpt is taken, Orie and Loyla had, just hours prior, participated in an after-school meeting with Mrs. Gallagher. Orie explained to Janice that she had requested the meeting as a result of a series of situations unfolding over a number of months between Loyla, Cicily, and Ahlam. Recounting the events to Janice, Orie began with Loyla's shift in inviting Ahlam to her birthday party. Initially, Loyla suggested Ahlam as a friend she wanted to invite but then, the next morning, she told Orie she no longer wanted to invite Ahlam because Cicily had said that if Ahlam was invited, she would not attend (Journal entry, Orie, December 8, 2008).