Little-Red Riding Hood

In the opening, she shares her childhood encounters with women in prose with the children’s rhyme “a little girl who had a curl”. This personal anecdote introduces the topic of the portrayal of women in literature, as well as establishes a connection with her audience.

Anne Sexton was a junior-college dropout who, inspired by emotional distress, became a poet. She won the Pulitzer Prize as well as three honorary doctorates. Her poems usually dealt with intensely personal, often feminist, subject matter due to her tortured relationships with gender roles and the place of women in society. The movies, women’s magazines and even some women’s schools supported the notion that decent women took naturally to homemaking and mothering (Schulman). Like others of her generation, Sexton was frustrated by this fixed feminine role society was encouraging. Her poem “Cinderella” is an example of her views, and it also introduces a new topic of how out of touch with reality fairy tales often are. In “Cinderella”, Anne Sexton uses tone and symbolism to portray her attitude towards traditional gender roles and the unrealistic life of fairy tales.

People have been telling fairy tales for centuries. When the concept of childhood arose, fairy tales were rewritten with a moral in mind. A woman’s duties and place in society were clearly presented in these fairy tales. In addition to this, some even provided morals specific to young women. Although morals vary from culture to culture, the view on a woman’s sexuality is relatively static; a woman is meant to be a virgin. This moral is revealed through a literary analysis of “Little Brier-Rose” by the Grimm Brothers, which is a metaphorical tale advocating for the preservation of virginity in females.

Snow White is a fairy-tale known by many generations; it is a beloved Disney movie, and a princess favoured by many kids. But did you know the fairy-tale was made to teach young children, especially little girls, their duties in life? It also values beauty over knowledge, portrays women to be naive and incompetent, and assumes that women cannot understand anything other than common household chores. Throughout this criticism, I will be using the feminist lens to analyze the fairy-tale, Snow White, through the perspective of a feminist.

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

“I've told her and I've told her: daughter, you have to teach that child the facts of life before it's too late” (Hopkinson 1). These are the first three lines of Nalo Hopkinson's short story “Riding the Red”, a modern adaptation of Charles Perrault's “Little Red Riding Hood”. In his fairy tale Perrault prevents girls from men's nature. In Hopkinson's adaptation, the goal remains the same: through the grandmother biographic narration, the author elaborates a slightly revisited plot without altering the moral: young girls should beware of men; especially when they seem innocent.

Original fairy tales restrict the opportunities of female protagonists, allowing their fate to be controlled by male characters and society’s restrictive expectations of women. Authors such as Perrault of ‘Little Red Riding Hood’ were quick to provide advice to their suggestible female readers in moral that girls should not try to drift from the path that society has laid out for them. Thus they became ‘parables of instruction’ (Carter) to indoctrinate the next generation in the values of a patriarchal society. Fairy tales of this time consistently remind us that those of the female sex will not prosper if they choose to ignore and defy the social constructs. Pre 1900s, the roles of women were entirely predetermined. A clear female dichotomy was established portraying them as either ‘the virgin’ or ‘the whore’. Stereotypical perceptions of women reduced them to biological functions and stated that they should acquire the role of wife and mother – objectified to such an extent where they were essentially their male counterpart’s possession. Both authors scorn the importance placed on domesticity and conformity, stressing the vital nature of being able to choose and uncover the consequences of societal ignorance. Carter highlights to her literary audience a passive generation of women who face the inability to vocalise their thoughts and opinions in the context of oppressive patriarchy. Within her work ‘The Company of Wolves’ “The

Consequences, however, need not be always negative. Angela Carter’s short story ‘The Company of Wolves’ explores belonging and consequences of belonging through the reinterpretation of the Little Red Riding Hood fairy tale. In Carter’s version, the Red Riding Hood character has agency unparalleled in any other telling of the tale. In the climax and resolution of the short story, the text is obviously heavily influenced by second-wave feminism (the text was written in 1979, over a decade since Germaine Greer’s groundbreaking ‘The Female Eunuch’).

To begin with, this image from Molly Bang’s How Picture’s Work, shows the shapes created in this image for little red riding hood appear to be that the triangle she is represented by, makes her appeal to be an exciting shape because she is placed in a vertical manner and she is placed slightly diagonal to which it is implying movement because she is walking the woods. Unlike the wolf who is drawn in a diagonal manner, makes the image appear to be tense, also by having the wolf with jagged and sharp shapes makes the wolf scarier as for the thought of sharp knives. Next, the spatial presence of little red riding hood versus the wolf is that both objects are very distant from each other, that shows the technique of first the wolf being closer to us shows that he is stronger than little red riding hood while little red riding hood is shown as

Little Red Riding Hood is a fairytale known worldwide about an innocent little girl and a big bad wolf, or so it seems. Deeper investigation into the hidden meanings of this age-old ever changing fairy tale reveals many different tales all together; where the character’s true intentions and character traits might surprise you. Little Red Riding Hood can be traced back to the 10th century. One of the oldest documented versions originated from Italy by Italio Calvino, called The False Grandma.

On her way through the woods young Flossie was setting out to deliver a basket of eggs to her neighbor because of a lurking fox that scared the chickens form laying eggs. As Flossie makes her way through the woods she comes across a talking fox who tries very hard to convince the young girl that he indeed is a real fox, but clever Flossie continues to question him all the way through the woods until she arrives safely at her neighbors home.

“Little Red Riding Hood” by Trina Schart Hyman is an enchanting version of the Brothers Grimm story of a little girl’s journey through the woods to deliver goods to her sick grandmother. This illustrated story introduces characters in such an imaginable way feeling almost as if you’re in the story and being part of that suspenseful expedition. Although in most fairy-tale versions of the story we don’t get the characters actual names; we depict them through physical appearances. An adolescent girl with a red riding hood, a large wolf that is presumably heinous, and a gentleman in the woods. I was quickly introduced to the author’s antagonist; the wolf who appears devious and crafty finding ways to accomplish his own selfish desires. Reaching

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

I chose to revise Perrault 's Little Red Riding Hood because when I was little I enjoyed the story before I knew it 's true meaning. It allowed me to interact and have a connection with my siblings by having the same reaction to the story. The reason why I brought up my mother because she would read versions of Perrault 's and I and my siblings would always be filled with rage and disappointment because LRRH would get eaten. I wanted LRRH, to somehow be the one either in control or somehow be seen as the one on top by beating the wolf, but nevertheless she was the victim. I didn’t choose Grimms tale is because it seemed to not have a connection with me, moreover, I’ve never heard of the tale until I took the honors seminar. I also didn’t like Grimm 's because it focused on a two tales in one story and I am not very fond of that since I prefer if it was another story within a different title. I prefer it in a different tale because it demonstrates that it wasn’t going off topic.

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.