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Racism in children's literature
Discuss the value of children's literature
Discuss the value of children's literature
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The next controversial aspect of Enid Blyton is how some of her works can be accused of being racist, in particular, ‘The Three Golliwogs’. These are black dolls, with very dark, jet black skin with large white edged eyes, red clown lips and frizzy hair. They began their life in the 1940’s, where Florence Kate Upton created them and based them on a character that she had at home and were they were seen as a popular fiction character up until 1970’s where problems began to emerge with them. Enid Blyton’s books them started to feature them, often seen as a villain, however sometimes as a hero. The claims that Golliwogs are racist and offensive is supported by evidence created from Enid Blyton’s editions as she represents the Golliwogs as rude, mischievous and villains. For example, in the story ‘Here Comes Noddy Again’, a Golliwog asked the hero for help, then steals his car. At the current time, these come been seen as symbol of racial insensitivity, and many people began to view Blyton’s stories as offensive and personal. Stereotypically, it could be thought that Blyton’s stories which are represented within the books are a clear symbol of what coloured people do, and this could be why people took such offense and deemed Blyton to be racist. …show more content…
This word was used in the war to describe the people in North Africa, and then after the war it became native to black people and therefore seen as racist and offensive. It wasn’t only the actual name of these dolls, which can be seen as offensive, the name of the dolls, ‘Golly’, ‘Woggie’ and ‘Nigger’ also offended people, but ‘Nigger’ was the most offensive because of where this word derives from. However the names of them were changed to “Wiggie’, ‘Wally’, and ‘Wolly’ as people knew the connotations and offense these names were
Naylor implies that derogatory terms have a twist and are a disguise of acknowledgement to her race. Although it was initially created to humiliate and dehumanize African Americans, ‘the n-word’ develops into a word that admires men of that race.
How many years have passed since public discrimination against blacks ended? How many times have you personally heard someone make fun of someone because they are black within the past five years? How many times have you heard the “N” word being used as not an insult, but as a nickname for a friend? The truth is: In 2016, the “petrifying” “N” word has become less of an insult, and more of a simple nickname that many teens and young adults use for each other. The simple connotation of the word has been modified throughout the years from being something that was used as hurtful slander of the black population, to a petty pet name. For this simple reason alone, all of the arguments about Huckleberry Finn being “Racist Trash” and not about anti-racism are erroneous. I believe that Mark Twain’s Huckleberry Finn eloquently conveys an anti-racism message to it’s readers by simple means of satire, hyperbole,
Sixteen years after premiering as Disney’s thirty-third animated film, Pocahontas still incites excitement and wonder within those who wish for nothing more than to be a Disney princess. As Disney’s most notable attempt at political correctness, Pocahontas was created to entertain while attempting to maintain authenticity in regards to historical accuracy and in its fairness of depicting Native American culture. Jacquelyn Kilpatrick, the author of “Disney’s ‘Politically Correct’ Pocahontas”, feels the movie not only failed at being historically accurate but that it fell far short of being politically correct. The article, which appeared in the Fall, 1995 issue of Cineaste, contends the Disney production was duty bound in preserving the integrity of the Pocahontas legend and being both multiculturally and socially inoffensive. However, if being politically correct and constantly factual within any version of media made for entertainment were the standard, we would be left with documentaries and non-fiction. Artistic license allows for a literal account of events to become an engaging, accessible production.
For example, Our Nig presents colored people with the line “She [Frado] was often greatly wearied, and silently wept over her sad fate” (Gates et al. 482). This line indicates the sad fate that Frado would have during her time with the Bellmonts. In addition, the treatment of colored people can be shown throughout the story. For instance, when Frado first came to the Bellmonts’ house, she was sent immediately to sleep in the L chamber, which was small and filthy. Another example of maltreatment was on Frado’s first day of school. “Frado sauntered on far in the rear of Mary, who was ashamed to be seen ‘walking with a nigger.’ As soon as she appeared, with scanty clothing and bared feet, the children assembled, noisily published her approach: ‘See that nigger,’ shouted one” (Gates et al. 482). “‘I won’t play with her,’ said one little girl” (Gates et al. 482). “Mary evidently relished these sharp attacks, and saw a fair prospect of lowering Nig where, according to her views, she belonged” (Gates et al. 482). As shown, even in an educational environment, Frado is looked down upon on her first day of
(Merriam-Webster) Nigger was at first niger, which means the color black in Latin. Over time the Spanish adopted the word and it became negro, the color black. It was not until white Americans adopted the word that it became negative. Instead of using the word as an adjective, it was as a noun. The new meaning of the word was now “colored person” instead of the color black. White people used it as an “insulting and contemptuous term.” It was “a term expressive of hatred and bigotry.” (Merriam-Webster) The word “nigger” later became a synonym for the word “negro” and it was used in “derision”. The word was later used in a variety of ways. For example, nigger-lipping (which meant getting too much spit on the end of a cigarette), nigger-knocking (to knock on someone’s door and run away before they open it), nigger heaven (when you owe money but you are not living like you do), and nigger luck (bad luck). (Middleton, Phill and Pilgrim David) Those are just a few examples but you can see that they are negative. The word is negative. It is and was associated with negative things so it should not be
The “N word” as some people call it, is an age old name for people of African American descent. Now where in tarnation did this monstrosity of a word come from? Well of course we look to Latin American Language as the culprit. The word “niger” is Latin meaning “black” and at the time was only used as the name of a color. Eventually, the word “niger” was turned into a noun, a noun being a word for any person, place or thing. The noun formed from the adjective “niger” was “negro”. Which coincidently enough is the word for the color black in Spanish and Portuguese. From these words, the French developed the word “nigre” meaning a black man and “negress” which referred to a black woman. Now I bet you’re wondering how the word “nigger” originated from the word “negro”. Well it is believed that misinterpretation and mispronunciation from white southerners that led to the development of the word “nigger”.
Personal characteristics, appearance, or natural physical function seem to be the manner in which the black girls view most of the other characters in the story. From Mrs. Margolin, the troop leader, to other characters in the story, the description includes outer personal characteristics or appearance rather than inner qualities to be admired. The description of the camp counselor is an example. “Mrs. Margolin even looks like a mother duck--she had hair cropped to a small ball of a head, almost no neck, and huge, miraculous breast” (357). The description of her attire is equally non-complementary as references to Mrs. Margolin as “Big Fat Mamma. The historical south, as the narrator describes shows white individuals in their segregated locations and blacks in theirs, with only chance meetings as both races conducted daily routines such as shopping or moving about through the streets. Therefore, having the white Brownie troop being a part of the camping trip is like being invaders as Arnetta describes--“with their long, shampoo-commercial hair, straight as Spaghetti from the box” (358). Thus, hair as well as complexion added fuel to the flame of envy and hatred, which is alive in Arnetta’s mind. A physical function such as a sneeze, which causes mucus to drip from her nose caused the narrator to wear the name “Snot” since first
As Kennedy explains “used by black people amongst themselves [the N word ] is a racial term with undertones and good will--reflecting a tragicomic sensibility that is aware of black history” but how could such a contradiction exist (Kennedy 5)? How could the most “noxious” of words also also be used to show comradery and brotherhood for those who have been in the struggle. “He is my nig” or “That guy is my nigga”, phrases like these are uttered by black men to each other to express their most public form of masculine endearment towards one another. Note that it is uttered between black men, to black men, and from black men; Black bodies participate and engage with the “N-word” much more differently than any other non-black person would. The word must come from colored mouths to have a “positive” significance, if I, a Mexican woman, or for instance Nate, in Bernard’s class, say it--we change the meaning entirely. As quoted by Randall Kennedy, Jarvis Deberry states, “[the n-word is ‘beautiful in its multiplicity of functions. I am not aware…of any other word capable of expressing so many contradictory emotions” and I cannot help but to agree that the “N-word” is more messy and complex then we would anticipate it to
The first recorded use of the word nigger was in 1786 in a poem by Robert Burns yet variations on it including negar, neger, and niger are recorded two centuries before then.
Rollin, Lucy. “Fear of Faerie: Disney and the Elitist Critics.” Children’s Literature Association Quarterly Volume 12. Number 2. 1987. Retrieved 18 Dec. 2013 from < http://muse.jhu .edu/journals/chq/summary/v012/12.2.rollin.html>.
Writing has been an important part of every culture from the beginning of time. The illustrations of cavemen have evolved immensely. Today, there are millions of published books. In fact, there are over four hundred books published every month. What happens when these books turn into something more? Is there racism in our children's literature? Ironically, the renowned great works of our past is full of racism. The question that remains, how do we teach our children the great lesson that these brave authors intended?
Race comes in various forms however; it is a topic of concern because no matter if a person claims that they are anti-prejudiced, it is impossible for this world to be free from stereotyping them. A stereotype per dictionary.com is a “set of inaccurate generalizations about a group/race that allows others, outside the group, to categorize them and treat them according to their group/race”, (SITE DICTIONARY.COM). In the story, Recitatif, readers will come across prejudice acts or stereotypes; however, people tend to realize their own stereotypes as they read or learn about someone else’s, hence making it comfortable throughout the story for themselves. According to the character, Twyla, “we didn’t like each other all that much at first, but nobody else wanted to play with us because we weren’t real orphans with beautiful dead parents in the sky.
The Tale of Peter Rabbit and Voices in the Park were published at either end of the twentieth century, a period which witnessed the creation of the modern picturebook for children. They are both extremely prestigious examples of picturebooks of their type, the one very traditional, the other surrealist and postmodern. The definition of ‘picturebook’ used here is Bader’s: ‘an art form [which] hinges on the interdependence of pictures and words, on the simultaneous display of two facing pages, and on the drama of the turning of the page’ (Bader, quoted in Montgomery, 2009, p. 211). In contrast with a simple illustrated book, the picturebook can use all of the technology available to it to produce an indistinguishable whole, the meaning and value of which is dependent on the interplay between all or any of these aspects. Moebius’s claim that they can ‘portray the intangible and invisible[…], ideas that escape easy definition in pictures or words’ is particularly relevant to these two works. Potter’s book is, beneath its didactic Victorian narrative, remarkably subtle and subversive in its attitudes towards childhood, and its message to its child readers. Browne’s Voices in the Park, on the other hand, dispenses with any textual narrative; by his use of the devices of postmodernism, visual intertextuality and metaphor, he creates a work of infinite interpretation, in which the active involvement of the reader is key.
...ed by its culture just as it affects its culture, but its underlying worldview contains patriarchal and racist dimensions. In addition, the portrayal of Scar and the hyenas as having a dark mane and dark coats in the Lion King seems to be a symbolic coding. Our society has associated it darkness and evil and it has become an issue that is very offensive to AfricanAmericans. In addition to sending conflict messages about valuing all races, Disney implies that in Pocahontas, certain personality types are not considered and valued. Similarly in Hercules, the one and only Muse who is not beautiful stereotypically is the one muse who is the comic. What this means is that only the extremely beautiful and fun loving people are valued in our society (Booker 38). The mixed message brought out is that all people are valued, but really only fun and lively people are valued.
The construction of children’s literature was a gradual process. For a long period of time children’s books were frowned upon. The stories were said to be vulgar and frightening. Adults censored children’s ears to stories of daily life, tales with improbable endings were not to be heard. It was not until the mid 1800s that stories of fairies and princesses began to be recognized. Although children’s literature was accepted, the books were not available for all children. With limited access to education, few public libraries, and the books’ costs, these texts were only available to the middle and high- class. As public education and libraries grew so did the accessibility of books and their popularity. They no longer were considered offensive, but rather cherished and loved by many children. Children’s literature became orthodox and a revolution began, changing literature as it was known.