Fairy Hood Culture

Children grow up with multiple influential models. Some children grow up in families where they never see violence of any kind. However, many children who enter the sex trafficking system have grown up around violence and 70 to 80 percent have been sexually abused (Clawson, Dutch, Solomon & Grace, 2009). Children learn from models within their environment and if their environments are dysfunctional, they learn and copy some of the dysfunctions that they see. In America, messages are sent to children that men must be masculine and that women must be sexy. Girls as early as three are putting toilet paper down their shirts in an effort to create breasts and will imitate much of that they see on the television or in their

Maria Tatar’s “An Introduction to Fairy Tales” discusses the impact on how the stories help guide the children from their younger age. The first five paragraphs of the article mentioned about how the children can overflow with imagination, and can vividly see their reality of desire and also, fear. The fairytales can also corrupt the naïve minds of the child in a way of making them realize the reality of the world is unjustified, and people can be harsh. Moreover, Tatar gives an explanation on how people grow up with the same fairy tales with different versions; which gives an entirely different personal idea. Fairy tales also develop the child’s intellectual mind by reading various kinds of genre.

Fairy tales have existed for years, some starting as oral stories for decades before ever being recorded on paper. These tales continue to hold an importance in the present such that they reflect the changes in time and progression of thought and ideas. Over time, many fairy tales are retold for various reasons including reforming them to be used for new audiences to make the story more relatable or to convey a different point of view to various specific audiences. This can be seen in various renditions; Andrew Anderson’s Shrek can be compared to Steig’s “Shrek!” and Perrault’s “Sleeping Beauty in the Wood” and evaluated as a retelling of either based on specific criteria. Although some may argue that William Steig’s “Shrek!” appears more closely similar to Anderson’s Shrek, as evaluated from the presence of similar characters, general plot structure, and targeted audience, the movie Shrek is more closely a retelling of Charles Perrault’s “Sleeping Beauty in the Wood.”

Fairy Folk Tales are the most popular types of literature. The tale is an orally transmitted tradition by generations through the time; some events are changed to fit reality and society. Folk fairy tales deal with the dualism of the good and the evil. They are basing on a conflict between the good and the evil forces. The conclusion comes from aspirations of the human desire to achieve the justices. There are no known authors and sources for ancient literature. We have many versions of the story; they are credited by many authors later. Each tale is very like some other culture’s tale. Each culture has own tales, but all the tales are similar and different in some points. This essay will compare between two

The folk tale of “Little Red Riding Hood” has numerous variations and interpretations depending on what recorded version is being read or analyzed. “Little Red Cap,” by the Grimm Brothers, and “The Grandmother,” as collected by Achille Millien, are different in numerous ways: the depth of the narrative structure, characters involved, length – yet, the moral lesson is largely unchanged between the two versions. One of the more glaring differences between the two versions is the way that the narrator and the actions of the characters are used to describe the young girl, female, and the wolf, male. Being either female or male are matters of biological makeup. The characteristics of femininity and masculinity that are associated with being

The tradition of telling fairy tales to children effects not only the listener but also the reader. Maria Tatar, in her book Off with Their Heads!, analyzes how fairy tales instill and reaffirm cultural values and expectations in their audience . Tatar proposes that fairy tales fall into three different tale-types: cautionary tales, exemplary stories, and reward- and- punishment tales. These three types portray different character traits as desirable and undesirable. Due to the tale’s varying literary methods it can change the effectiveness of the tale’s pedagogical value. In Tatar’s opinion, all of these tales are similar in the way they attempt to use punishment, reward, and fear to encourage or discourage certain behaviors. In the cautionary fairy tale “The Virgin Mary’s Child”, the use of punishment and fear to discourage certain behaviors is enhanced by the Christian motifs and values employed by the tale. These literary devices encourage the audience to reflect on and internalize the lessons that are presented in the fairy tale.

The story of Cinderella has become a classic fairy tale, known around the world, and past down from generation to generation. Yet, over the years, the story has been rewritten to better relate to different cultures. While some things never change, authors still manage to convey different messages by making the story their own. This can be clearly seen when the Grimm brothers version of Cinderella is compared to Charles Perrault’s version of Cinderella. While the core of the story does not change, the moral, tone, and “magical” aspects of the two stories are clearly shaped by the different cultures in which they were written in.

Sexual abuse of children damages them for them entire lifetimes and robs them of the full, comfortable relationships they should have as adults. However, given these differences, sexual abuses evokes similar responses in everyone because it is as aggressive and conceive abuses of power that is expensive as humiliating, degrading and destruction. One of the major achievements of the past quarter century has been the growing awareness of the prevalence and changing psychological consequences of the sexual abuse of children. The majority of perpetrators are someone the child or family knows. As many as 93% of victims under the age of 18 know the abuser. A perpetrator does not have to be an adult to harm a child. They can have any relationship to the child including an older sibling or playmate, family member, a teacher, a coach or instructor, a caretaker, or the parent of another child. According to 1 in 6, sexual abuse is the result of abusive behavior that takes advantage of a child’s vulnerability and is in no way related to the sexual orientation of the abusive person.”

In Margaret Atwood’s poem “There Was Once”, Atwood uses irony to point out the societal problems within the genre of fairy tales. Charles Perrault, the author of the short story “The Sleeping Beauty in the Wood”, writes about fantastic creatures, magic, and love, following the generic conventions of fairy tales. When compared to Perrault’s short story “The Sleeping Beauty in the Wood”, Atwood’s poem both compliments and contrasts Perrault’s. These two texts, although similar, offer different views on the genre of fairy tales.

Folktales are a way to represent situations analyzing different prospects about gender, through the stories that contribute with the reality of the culture in which they develop while these provide ideas about the behavior and roles of a specific sex building a culture of womanhood, manhood and childhood. This is what the stories of Little Red Riding Hood of Charles Perrault (1697) and Little Red-Cap of the Grimm Brothers (1812) show. This essay will describe some ideas about gender in different ways. First, the use of symbolic characters allows getting general ideas about the environment in the society rather than individuals. Second, it is possible to identify ideas about gender from the plot from the applied vocabulary providing a

Once upon a time, there lived a girl named Little Red Cap. Everyone believed that she was a sweet and innocent girl, but did someone else lay beneath her exterior? In the Brothers Grimm version of the story, Little Red Cap takes on the persona of childlike innocence. In the animated movie Hoodwinked!, she is seen as a young girl who is smart, independent, and named Red. There are numerous fairy tales that have been told throughout the course of history. Many of the tales remain independent and true to the original version, and then there are those that have been altered in many different ways. “Little Red Cap” has been revised into the version of “Little Red Riding Hood,” which many of us are familiar with, to the different and modern film version of Hoodwinked!. These stories are updated to appeal to modern generations, cultures and societal views. Consequently, they do pose many similarities, but their differences make each work unique in their own way.

Folktales has created men as the most powerful character in most stories but that does not mean always as there’s a difference in Grandmother’s tale and Little Red Riding hood. Different genders have different expectations according to their characteristics. The Red Riding Hood and Grandmother’s tale has produced ideas such as how a girl’s life is looked upon in the past and how the male has the upper hand in most situations according to the stories. This essay will argue about how the girl’s gender played a major role in the context of the story and how the wolf is represented by a male character and why the male is not always the most powerful character in all stories and the comparison

But in fact we use the stories that we tell children, and especially those that we tell over and over, to instill messages, to teach cultural norms, to establish the roots of what we hope will be proper behavior as the children grow up. Fairytales are a form of propaganda. The traditional fairytale almost always reflects (and therefore works to reproduce) the power relations of patriarchy; its rigid sexual patterns teach that fear and masochism are tenets of femininity and all of the symbolic inversions that occur are not chances to upset the standard patriarchal hierarchy but are instead ways of maintaining it (Bacchilega, 1997, pp. 50-1).

Conversely, Orenstein maintains that, by focusing on only the historical dimension of the tale as opposed to its larger social context, Darnton misses vital elements of the tale’s broader themes as well as the changes which occurred in the transition to the male-dominated written tradition. Orenstein begins by noting the wide breadth of oral cognates to “Little Red Riding Hood” which had been discovered across Europe and in Asia (Orenstein 69). Citing the work of folklorist Paul Delarue, she establishes that “Charles Perrault - whose 1697 text is the presumed source of the Grimms’ “Little Red Cap” - had dramatically revised the original folk tradition” (Orenstein 71). Most significantly, Orenstein observes - and criticizes Darnton’s lack of observation - that when authors began to put these stories onto paper, “the sense of female authorship - literally, female authority” (Orenstein 83) disappears from their tales. Fundamentally, Orenstein advances an interpretation of Little Red Riding Hood as a hero story whose “heroic heroine” (Orenstein 82), her cleverness, and most significantly her triumph over evil have all but vanished from the popular literary tradition.

Fairy Folk Tales are the most popular types of literature. The tale is an orally transmitted tradition by generations through the time; some events are changed to fit reality and society. Folk fairy tales deal with the dualism of the good and the evil. They are basing on a conflict between the good and the evil forces. The conclusion comes from aspirations of the human desire to achieve the justices. There are no known authors and sources for ancient’s literature. We have many versions of the story; they are credited by many authors later. Each tale is very like some other culture’s tale. Each culture has own tales, but all the tales are similarities and differences in some points. This essay will compare between two fairy tales, “Cinderella” and “In the Land of Small Dragon”. The tale of Cinderella is a French tale. It is credited by Charles Perrault; it is published in 1697. The in the Land of Small Dragon is a Vietnamese folktale; it is told by Dang Manh Kha in 1979.