Coraline

During the weeks Molly spends with Vivian, she learns a lot from Vivian. Most important, she realizes that Vivian also had a difficult childhood but was able to overcome her bad experiences and lead a happy life. Molly’s realization reflects the theme of the book: learning about the experiences

In Tatar’s article, An Introduction to Fairy Tales, she draws us in by describing childhood books as “sacred objects.” She takes a quote from Arthur Schlesinger, Jr. describing how the stories give lessons about what a child subconsciously knows - “that human nature is not innately good, that conflict is real, that life is harsh before it is happy - and thereby reassure them about their own fears and their own sense of self,” (Tatar 306). She describes how many adults long for the simplicity of enjoying those stories in their childhoods, only to realize that they outgrew them, and instead have been introduced to reality. The original stories were more for adults rather than for children. Nowadays, stories have been adapted to be more suitable for children. Fairy tales may allow a kid to wonder due to their charm, but they also can

When examining various cultural myths, one archetype keeps repeating—the image of the quest. This archetype functions with various different mythologies as a method of learning about the world, both its external features and what is inside the self. The quest comes from ancient origins and is found in Classical Western culture, but has been fine tuned through the generations. In its most modern interpretations, there are continuing elements of the age old myth, where extenuating circumstances or hubris, place the hero in turmoil and needing to find an answer. Having additional sexual charges, it is clear that through the quest, adulthood is not only reached but embraced. This answer represents a completeness of being,

In the familiar more traditional version, Cinderella is a poor maid girl that, with the help of fairy godmother, gets a chance to meet prince charming. They fall in love, get married, and live happily ever after, and then what? What is a happily ever after? Is this even a realistic thought? In the dark comedic poem Cinderella, Anne Sexton forces the reader to examine this question. Utilizing literary devices such as tone, imagery, and style, Sexton encourages the reader to think about how silly and unlikely a fairy tale ending actually is.

In terms of plot, the movie adaptation of Neil Gaiman’s Coraline is extremely true to the source material. It still tells the story of a young girl who grows unappreciative of her real family and finds a magical door in her new home that leads to a better, fantastical version of the family she has now. The creepiness and scary moments are also true to form, with this world being only a copy of the real world, created by the Other Mother in an attempt to trap Coraline forever. The quest to rescue the three ghost children is almost exactly the same, with two of their souls being found in Miss Spink and Forcible’s theater and Mr. B’s circus. But since the movie added a scene in which an enticing garden is used as an item to gain Coraline’s trust in the Other Mother’s fake world, one of the ghost souls was placed in this location instead. Another major difference between the book and the movie is the addition of the character Wybie. He acts as a source of inside knowledge about The Pink Palace and helps kill the Other Mother’s hand at the climax of the movie, while in the book Coraline gathered her information about her home from her parents as well as Miss Spink and Forcible, and killed the Other Mother’s hand by tricking it rather than crushing it. The use of stop motion animation was also a benefactor in bringing this terrifying story to a visual format, as stop motion tends to look uncanny and unsettling at times. Both works are masterpieces of writing and storytelling, and

Once upon a time, there was a literary genre commonly know as fairy tales. They were mystical and wonderful and a child’s fantasy. These fairy tales were drastically misunderstood throughout many centuries, however. They endured a hard life of constant changing and editing to fit what the people of that time wanted. People of our own time are responsible for some of the radical changes endured by this undeserved genre. Now, these fairy tales had a young friend named Belle. Belle thought she knew fairy tales very well, but one day she found out just how wrong she was.

In most stories, the main character has a goal. This goal could be a variety of things but most importantly, they must endure a journey to reach that goal. This journey, is their quest. Foster breaks the quest down into 5 simple parts, “a quester (a), a place to go (b), a stated reason to go (c), challenges and trials en route (d), and a real reason to go (e).” (Foster 18) Part a is simple, the quester is normally the main character, b is the goal, and c being the reason for wanting that goal. C is what the quester comes across in their quest, the “monsters” and hurdles they must pass. Part e is where most stories create their theme. What the quester learns throughout their quest, changes their desire for the original quest. They usually learn a lesson, or gain knowledge that is more valuable and important than the original quest and it changes the character for the better. The Wizard of Oz is a phenomenal textbook example of what a quest is. Dorothy, the quester from Kansas dreams of going "over the rainbow" to somewhere safe where her unkind neighbor won't harass her dog. Dorothy ends up in the land of Oz, and faces many challenges and trails en route. On her trip she meets the scarecrow, the tin man, the cowardly lion, and the wicked witch of the west. Each new character adds a new stress to Dorothy and forces her to make critical

Homer’s The Odyssey tells the story of young Telemachus with the task of finding his father, Odysseus while also finding himself. As the hero of this journey, Telemachus develops into a noble, brave, and strong man, through complications inflicted by others’ mental endurance. By overcoming these obstacles Telemachus develops into the universally known stereotypical hero. However, the same cannot be said for the heroes of William Faulkner’s As I Lay Dying and Lewis Carol’s Alice in Wonderland. At the end of their journeys, Jewel and Alice become different kinds of heroes; instead of becoming a stereotypical plucky adventurer, they each develop different traits to benefit themselves along their journey.

“She screamed and shouted, too, with a terrific volume of sound which, doubtless, caused the hearts of the fugitives to quake within them. The victory accomplished, Pearl returned quietly to her mother, and looked up, smiling, into her face.”(96). Pearl yells at the kids who are throwing mud at her mother because she is a child and doesn’t know any better. “At first, as already told, she had flirted fancifully with her own image in a pool of water, beckoning the phantom forth, and—as it declined to venture—seeking a passage for herself into the sphere of impalpable earth and unattainable sky.(168). Now that she is older, she has noticed how her mother acts around other people and plays by herself. She has fun even though she is her only friend. Pearl begins to care about other things than just herself. “Perceiving a flock of beach birds that fed and fluttered along the shore, the naughty child picked up her apron full of pebbles, and creeping from rock to rock after these small seafowl, displayed remarkable dexterity in pelting them.”(168). When she sees that she has hurt the poor creature she stops throwing the pebbles. Her emotions build due to her being alone for so long. Pearl wants a friend, but Hester knows that if Pearl has friends they will tell her the true meaning of the scarlet

Fairy tales always have a way of making the reader feel really connected to the protagonist through the use of hardship. Readers get attached to the protagonist by using their own life’s problem to replace with the protagonist’s problem and the journey of the protagonist overcoming their problems gives the reader sense of hope to look forward to in their own lives and maybe they can solve their own problems. Fairy tales give people hope in tough times because when they can not solve a problem, they often to refer back to struggles characters in fairy tales that did not give up, but kept going as

There is nothing more precious and heartwarming than the innocence of a child. The majority of parents in society want to shield children from the bad in life which is appreciated. Within human nature exists desires of inappropriate behavior; envy, deceit, selfishness, revenge, violence, assault and murder. The most well-known fairy tales depict virtue and the evil in life. Even more important, the form and structure of fairy tales suggest images to the child by which he can structure his daydreams and with them give a better direction to his life. (Bettelheim).

Fairy tales have been told for years and have been adjusted as authors see fit to portray their particular message or create a more applicable story for a new culture or era. At times, these tales remain true to their purpose even when written in different. By specifically evaluating the purpose, moral, and characters within two versions, Brothers Grimm’s titled “Briar Rose” and Charles Perrault’s “Sleeping Beauty in the Wood,” an understanding of their relevance can be distinguished. These versions of Sleeping beauty act as one of these tales though “many…have done their best to make her story go away” (Tartar). Although written in an earlier era, Brothers Grimm’s “Briar Rose” and Charles Perrault’s “Sleeping Beauty in the Wood” work effectively on a modern teenage and young adult audience evident in the similar purpose through their tale’s distinct morals and character portrayal.

From the moment the world introduced us to television, we have been bombarded with images of fantasy and “happily ever after’s.” Perhaps the most well known corrupter of reality lies within the Disney franchise. Disney’s, The Little Mermaid, follows a typical fairy tale format in which all goals and dreams are achieved. Its counterpart, however, moves to the beat of a different drum. Hans Christian Andersen’s, The Little Mermaid, portrays a more serious plot much different from Disney’s loveable adaptation. One may conclude that the most these two stories have in common is their titles, but a deeper theme runs throughout both of these fictional plots. Despite these two stories’ conflicting agendas and the

As we grow up, we hear fairy tales and we read them into our lives. Every word and every image is imprinted into our minds. The fairy tales we read are never abandoned. They grow with us and our dreams become molds of the many morals and happily ever afters fairy tales display. We tell children fairy tales when they go to sleep and they read them in school and we even have them watch Disney adaptions that reinforce them further. Generally, they were everywhere while we grew up and they continue to be present while children are growing up now. But what influence do these stories have? We casually expose our children to these tales, but in some cases they can have particularly, harmful personal effects on them, although there is nothing completely or visibly “bad” about them or about the characters in them. Before we divulge our youth to these stories, we should assess their substance and see what sort of effect they may be having on them. They have received so much scrutiny and have been studied by many. Recognizing fairy tales effects on the minds of children is vital in their development. This paper will focus on the underlying messages that the average person wouldn’t recognize in these everyday stories. There’s a modern distort with fairy tales because while they still are widely popular with the youth, they influence children’s self images, outlooks on reality and expectations for their futures, especially for young women.

Fairy tales are full of tropes and stereotypes that exist from story to story, one of the main ones being the “happily ever after” ending. Most fairy tales, especially the traditional Perrault or Grimm versions, fall prey to this trope where the main goal is for the princess to find her prince, get married, and live happily ever after. Many critics, particularly feminist critics, find this trope to be problematic because of the extreme emphasis placed on marriage as women’s main, if not only, objective in life. Karen Rowe, for example, states in her essay “Feminism and Fairy Tales”, that “fairy tales perpetuate the patriarchal status quo by making female subordination seem a romantically desirable, indeed an inescapable fate” (342). In other words, Rowe relates the “romanticizations of marriage” portrayed in fairy tales with promotions of “passivity, dependency, and self-sacrifice” expected of women in their everyday lives (342). However, it can be dangerous to assume that every fairy tale conforms to the singular promotion of marriage as women’s only option. While early fairy tales such as “Cinderella” and “Sleeping Beauty” tend to glorify the romantic ideal of marriage, and in turn female subordination, contemporary tales and adaptations such as Brave and Frozen, are working to give women a more powerful position.