The Story Of Childhood Literary Analysis

Given that his stance on the ownership of fairy tales is strikingly different from the prevalent, popular opinion that “establishes fairy tales as national property”(355) or is “thought to reach back like sacred works”(353), by positioning his own belief of “Individual Ownership of Fairy Tales”(362) towards his conclusion, Haase gains a terrific advantage in being able to persuade the reader, since the alternatives, “Revered Place of Folklore”(353), “The Nationalistic View of Folklore”(354), “Vessels of purportedly universal human truths”(358), have all been rendered sufficiently unsound. Had Haase not used this particular stratagem, he would have opened up his essay to a lot of speculation, skepticism, assumptions and even repudiation. If he were to present his case differently, say chronologically tracking the ideas of ownership throughout history, it would be interesting to see whether the inference that a reader drew from the essay or his ultimate acceptance of Haase’s view would be entirely so straightforward. He is also completely humorless while writing about fairytales, failing to inculcate wit, sarcasm, quips, lively phrases, or even scholarly badinage, in any shape or form, which is a rather curious departure from the amusing perception of the subject at hand. This, however,

In the piece “Yours, Mine, or Ours?, Donald Haase discusses on the ownership of fairytales. Fairy Tales originate from folklore, described as traditional art, literature, knowledge, and practices that are passed on in large part through oral communication. With fairytale's being passed down through generations its new ‘authors’ take ownership of them. Ownership impacts the reception of the fairytale and determines how the audience reads and interprets it. Haase discuss how fairytales are suppose to show and tell what is true and what is acceptable in the context it was written in. With fairytales being changed the reader is exposed to a different moral and purpose with its telling. Haase concludes by informing that fairy tales belong to everyone and that we must take

In the folktale “The Blue Beard” written by Charles Perrault, conforms to both Dworkin’s and Lurie’s representations of fairy tale heroines. Perrault states, “The fatal effects of curiosity, particularly female curiosity, have of course long seen the subject of report” (133). Andrea Dworkin author of “Women Hating” and Alison Lurie author of “Don’t Tell the Grown-Ups” explain their different views regarding the heroines in fairy tales.

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

This modern fairy tale contains diverse characters but none of them are as important as the grandmother. In fact, through her narration the reader gets the basic

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

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.

In her transformation of the well-known fable "Little Red Riding Hood," Angela Carter plays upon the reader's familiarity. By echoing elements of the allegory intended to scare and thus caution young girls, she evokes preconceptions and stereotypes about gender roles. In the traditional tale, Red sticks to "the path," but needs to be rescued from the threatening wolf by a hunter or "woodsman." Carter retells the story with a modern perspective on women. By using fantasy metaphorically and hyperbolically, she can poignantly convey her unorthodox and underlying messages.

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

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

In a society unbridled with double standards and set views about women, one may wonder the origins of such beliefs. It might come as a surprise that these ideals and standards are embedded and have been for centuries in the beloved fairy tales we enjoyed reading as kids. In her analytical essay, “To Spin a Yarn: The Female Voice in Folklore and Fairy Tales”, Karen Rowe argues that fairy tales present “cultural norms which exalt passivity, dependency, and self-sacrifice as a female’s cardinal virtues.” Rowe presents an excellent point, which can be supported by versions of the cult classics, “Cinderella” and “Snow White”. Charles Perrault’s “ The Little Glass Slipper” and the Brothers Grimm’s “ Snow White” exemplify the beliefs that

Roy Conli once said “When you're telling a story, the best stories, every character has an arc. Every one. And that arc is usually about finding yourself, or about at least finding something about yourself that you didn't know.” This is a prevalent theme in many examples of Young Adult Literature (YAL or YA). Three books that demonstrate the critical transformation between childhood and adulthood by exploring difficult social issues, finding personal identity, and letting go are a Monster Calls by Patrick Ness, The Outsiders by S. E. Hinton, and Speak by Laurie Halse Anderson.

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.

As technology and media have developed, many folktales have evolved from simply being fairy tales to being a significant element in the world of modern pop culture. In the past feminism was not as culturally accepted, and sexism was the norm. As time went on these stories with crooked ideologies were passed down, without many changes in the main