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Ownership is a symbol of control. As human beings, we tend to put labels on things, believing that everything must belong to someone or something. This issue of ownership does not exclude the world of fairy tales. Fairy tales, much like birds, follow no rules and are free, but can be over ruled by potential superiors. In Donald Haase’s essay entitled, “Yours, Mine, or Ours?” and Lawrence R. Sipe’s case study, “Talking back and taking over: Young children’s expressive engagement during storybook read-alouds”, both scholars claim that children holds the baton of ownership over fairy tales. Although Haase and Sipe lay out an appealing theory and practice for children’s literacy, a story like “The Juniper Tree” by the Grimms brothers suggest skepticism …show more content…
Sipe highlights five different expressive engagements—dramatizing, talking back, inserting, and taking over—that children portray during story book read- alouds. He believes that teachers must encourage these behaviors in children because it shows participation and it inspires children to take over the story. Some of these expressive engagements are reasonable while some serve as a disfavor to children’s learning. On page 482, he gives instruction on how teachers can implement the expressive engagements in their classroom. Sipe claims, “the first type of expressive engagement, dramatizing, can be encouraged through dramatic reenactment” (481). This can be problematic for fairy tales such as “The Juniper Tree”. This story about a stepmother killing her stepson by beheading him then cooking him in a stew, and a little boy turned into a singing bird who then later kills his murderer by “…dropping a millstone on her head and crush[ing] her to death” (252) can be gruesome for children to dramatize. Another expressive engagement that Sipe mentions is “inserting”. Sipe claims that if children are encouraged to insert themselves or other people around them into the story that they are reading, they can exercise their power over the tales. Through this process, Sipe claims “children in process of becoming one with the story, to the extent of assuming their stance as fellow characters with equal agency and presence in the story” (478). The story of the little boy in “The Juniper Tree” suggest a different view about mechanically inserting characters in a story. The little boy must learn about what each of his family members did to contribute to his death. When the little boy died, he did not know anything about the causes of his death and the things that happened after. He had to learn that his “mother, she slew [him]”, his father
...nt approach as “fairy tale was property and could be taken by its owner and read by its owner at his or her leisure for escape, consolation, or inspiration.” (Zipes 1999, 338).
A fairy tale is seemingly a moral fiction, intended mainly for children. A lesson in critical analysis, however, strips this guise and reveals the naked truth beneath; fairy tales are actually vicious, logical and sexual stories wearing a mask of deceptively easy language and an apparent moral. Two 19th Century writers, the Grimm brothers, were masters at writing these exaggerated stories, bewitching young readers with their prose while padding their stories with allusion and reference: an example of which is "Rapunzel." Grimm's "Rapunzel" is packed with religious symbolism, which lends a new insight to the meaning of this classic story.
Tatar, Maria. Off with Their Heads!: Fairy Tales and the Culture of Childhood. Princeton, NJ: Princeton UP, 1992. Print.
At first glance, what makes a fairy tale a fairy tale may seem obvious—some kind of magic, hidden symbols, repetition, and of course it’s evident it’s fiction—but fables are more than that. As Arthur Schelesinger puts it, it’s about “[expanding] imagination” and gaining understanding of mysterious places (618). While doing this, it also helps children to escape this world, yet teach a lesson that the reader may not be conscious of. A wonderful story that achieves all of this is Cinderella, but not the traditional tale many American’s have heard. Oochigeaskw, or The Rough-Faced Girl, and Ashputtle would be fitting for a seven-year-old because they get the gears of the mind turning, allowing for an escape on the surface, with an underlying enlightenment for children of the ways of the world.
The simplicity of fairy tales and non-specific details renders them ideal for manipulation allowing writers to add their own comments often reflecting social convention and ideology. Theref...
Fairytales express the creative fantasies of the rural and less educated layers of common man (Cuban, 1984). They are characteristically full of magic, often involving upper class characters (Cuban, 1984). In short, Fairytales are organically grown with the creative material of a collective group. The Grimm Brother’s fairytale, The Frog Prince, is no exception. The Grimm Brothers’ fairytale is about a handsome prince trapped in the repulsive body of a frog, but who nevertheless overcomes and transcends this bewitched state through his wit, perseverance, and magic (Prince, 2009). Until the seventeenth century, it was the adult population that was interested in fairytales (Cuban, 2009). Their allocation to the nursery was a late development (Cuban, 2009). This allocation can be credited to the rejection of the irrational, and development of the ra...
Fairy tales portray wonderful, elaborate, and colorful worlds as well as chilling, frightening, dark worlds in which ugly beasts are transformed into princes and evil persons are turned to stones and good persons back to flesh (Guroian). Fairytales have long been a part of our world and have taken several forms ranging from simple bedtime stories to intricate plays, musicals, and movies. However, these seemingly simple stories are about much more than pixie dust and poisoned apples. One could compare fairytales to the new Chef Boyardee; Chef Boyardee hides vegetables in its ravioli while fairytales hide society’s morals and many life lessons in these outwardly simple children stories. Because of this fairytales have long been instruments used to instruct children on the morals of their culture. They use stories to teach children that the rude and cruel do not succeed in life in the long run. They teach children that they should strive to be kind, caring, and giving like the longsuffering protagonists of the fairytale stories. Also, they teach that good does ultimately defeat evil. Fairy tales are not just simple bedtime stories; they have long been introducing cultural moral values into young children.
Hansjorg, Hohr, (2000). Dynamic Aspects of Fairy Tales: social and emotional competence through fairy tales. Scandinavian Journal of Educational Research, Vol 44, No 1, Department of Education, Norwegian University of Science and Technology
This activity suits the child’s current stage of oral development will interest them and aid in them progressing in their oral development. Children at this stage of development enjoy listening to stories which is good not only for their receptive skills, but also for their expressive language (Fellows and Oakley, 2014), in all four key components of spoken language. It helps with phonemes by getting the child to focus on the phonological patterns throughout the text (Fellows and Oakley, 214). Syntax knowledge allows them to observe the sentence structure and grammar in the book which allows them to develop a stronger awareness of the syntax. Visual aids in storybooks can aid in the child in the understanding of semantics (Fellows and Oakley’s), as the story is read aloud their receptive skills hear those more difficult words, when paired with a visual cue such as a picture in the book the child understands better and thus they are able to gain a better understanding of how to speak these difficult words. A better understanding of pragmatics can also be gained from storybooks as they understand how people communicate in society such as greetings and asking for things (Fellows and Oakley,
When the word “fairytale” is mentioned, nearly everyone thinks of light-hearted stories with friendly characters and happy endings. However, these are not the ideas that classic fairytales originally sparked. In fact, numerous modern Disney movies were based off stories that were not so sugar coated. In the 19th century, the Brothers Grimm were responsible for multiple of these popular children’s tales. The Disney remakes of classic fairytales such as Cinderella, Tangled, and Snow White exclude the dark, twisted themes that are significant in the Brothers Grimm fairytales, because society tendencies continue to evolve toward sheltering and overprotecting young children.
We all grew up hoping that we were the princesses who met the dreamy prince and lived ‘happily ever after’ like in a fairytale.People debate over whether or not Disney fairytales are beneficial for children. Like Melissa Taylor the author of the piece ‘10 reasons why kids need to read non disney fairy tales’, I am against disneyfied fairy tales. In this essay I will argue on why kids should not only watch disney fairytales but also the real versions.
It is around this clearly defined three-part structure of the plot, that invisible layers of meaning exist – often very different for each reader. Between the clever design of the plot – which allows several stories to surface within a seeming individual tale – and multiple layers underneath the literal action, exists a limitless journey of personal exploration. A fairy tale such as Rapunzel has many possible functions in a child’s life and development – explaining the desire for the tale to be read time and time again by the eager young mind.
..., Maria. “An Introduction to Fairy Tales.” Writing and Reading Across the Curriculum. Ed. Laurence Behrens, Leonard J. Rosen. Toronto: Longman, 2013. 230-235. Print.
Over the years, fairytales have been distorted in order to make them more family friendly. Once these changes occur, the moral and purpose of the stories begin to disappear. The tales featured in the many Disney movies - beloved by so many - have much more malignant and meaningful origins that often served to scare children into obeying their parents or learning valuable life lessons.
Zipes, Jack. Why Fairy Tales Stick: The Evolution and Relevance of a Genre. New York: Routledge, 2006. Print.