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Importance of literature to culture
How literature shapes culture
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In the same way that great grown-up writing, great youngsters' writing – as it is characterized here – speaks to an investigation of life, affirming, lighting up, or augmenting background or a few parts of the human condition (Vandergrift, 1990), thus its acculturating quality. One normal subject in kids' writing is creating and administering associations with others. Great samples of this are Eric Carle's The Bad-Tempered Ladybird (The Grouchy Ladybug in its American release) and Arnold Label's Frog and Toad arrangement for the preschool and easier elementary school kids. Moderate or propelled learners matured 10-12 will delight in short section books, for example, Patricia Maclauchlan's Sarah, Plain and Tall and The Hundred Dresses by Eleanor Estes. An alternate continuous subject is overcoming reasons for alarm, which is delightfully portrayed in Dick Gackenbach's Harry and the Terrible Whatzit and Mercer Mayer's there’s a Nightmare in My Cupboard (There's a Nightmare in My Closet in the American release). Verifiably, both likewise uncover that our biases lessen when we get to know 'the other.' Both books are proper for propelled novices matured 6-8, present a lot of people past strained verbs in an acceptable connection, and welcome dramatis movement by youngsters. In The Hundred Dresses more established youngsters can investigate segregation and tormenting, while the capability to adapt to upsetting circumstances is tended to in Judith Vorst's Alexander books. The recent are rich in redundant structures and are proper for 10-12-year-old propelled tenderfoots and middle level learners. Munro Leaf's The Story of Ferdinand characteristics the topic of tolerating and remaining correct to oneself even against desires of the stand...
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...rovement of compassion (Pinsent, 1997).
Youngsters' writing is rich in sympathy stirring stories. The prominence of the Grimms' Cinderella and Hans Christian Andersen's exemplary The Ugly Duckling is undoubtedly the aftereffect of each youngster having the capacity to relate to the principle characters' circumstance and along these lines sympathize with them. Contemporary variants of these children's stories of differing trouble levels are accessible. Being laid open to the compassion stirring background over and over (youngsters need to hear or read stories genuine to them at a given time again and again), understudies get to be more responsive to compassionate reactions. John Steptoe's Mufaros' Beautiful Daughters, The Rough-Face Girl by Rafe Martin and David Shannon and Taro Yashima's grant winning Crow Boy are great illustrations of compassion exciting stories.
...ia J. Campbell. New York: Twayne Publishers, 1996. 39-65. Rpt. in Children's Literature Review. Ed. Scot Peacock. Vol. 82. Detroit: Gale, 2003. Literature Resources from Gale. Web. 14 Jan. 2014.
Are adults overprotective of their children? To what point do we protect children? Where should the line be drawn? Along with those questions is how easily children can be influenced by these same adults. Two poets, Richard Wilbur and Billy Collins, express the ideas of how easily children can be manipulated and how sometimes adults think they are protecting their innocent children, when in reality they are not. Wilbur and Collins express these ideas in their poems through numerous literary devices. The literary devices used by Wilbur and Collins expose different meanings and two extremely different end results. Among the various literary devices used, Wilbur uses imagery, a simple rhyme scheme and meter, juxtaposition of the rational and irrational, and a humorous tone to represent the narrator’s attempt to “domesticate” irrational fears. Conversely Collins uses symbols, historical interpretations, imagery, diction and other literary devices to depict the history teacher’s effort to shield his students from reality. In the poems, “A Barred Owl,” by Richard Wilbur, and “The History Teacher,” by Billy Collins, both poets convey how adults protect and calm children from their biggest, darkest fears and curiosities.
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
He has endured and overcame many fears and struggles, but during this section, we truly acquire an insight of what the little boy is actually like – his thoughts, his opinions, his personality. Contrary to his surroundings, the little boy is vibrant and almost the only lively thing around. I love him! He is awfully appalled by the “bad guys” and shockingly sympathetic toward dead people. For example, when the father raided a house and found food, the little boy suggested that they should thank them because even though they’re dead or gone, without them, the little boy and father would starve. My heart goes out to him because he is enduring things little boys should never go through, even if this novel is just a fictional
Some short stories are designed to teach lessons to the people who read them. They teach lessons about life, love, and growing up. People can learn lessons by reading short stories where the main characters discover something about life and about themselves. Also, the Characters and the way they use actions, words, or thoughts carry throughout the story can relate to many realistic personas as in Toni Cade Bambara 's short story “The Lesson.” Bambara’s narrative diversifies any reading list with some authors, who are not so familiar, where she presents a lesson to be learned with the story of young children growing up in
The Catcher in the Rye is not all horror of this sort. There is a wry humor in this sixteen-year-old's trying to live up to his height, to drink with men, to understand mature sex and why he is still a virgin at his age. His affection for children is spontaneous and delightful. There are few little girls in modern fiction as charming and lovable as his little sister, Phoebe. Altogether this is a book to be read thoughtfully and more than once. It is about an unusually sensitive and intelligent boy; but, then, are not all boys unusual and worthy of understanding? If they are bewildered at the complexity of modern life, unsure of themselves, shocked by the spectacle of perversity and evil around them - are not adults equally shocked by the knowledge that even children cannot escape this contact and awareness?
Nilsen, Helge Normann. "Naturalism in Edith Wharton's Ethan Frome." Performances in American Literature and Culture: Essays in Honor of Professor Orm Øverland on His 60th Birthday. Ed. Vidar Pedersen and Eljka Svrljuga. Bergen, Norway: University of Bergen, 1995. 179-188. Rpt. in Children's Literature Review. Ed. Tom Burns. Vol. 136. Detroit: Gale, 2008. Literature Resource Center. Web. 14 Feb. 2014.
Senick, Gerard J., and Hedblad, Alan. Children’s Literature Review: Excerpts from Reviews, and Commentary on Books for Children and Young People (Volumes 14, 34, 35). Detroit, Michigan: Gale Research, 1995..
Though the evils of the world may discourage us from reaching our full potential, fairytales such as Little Snow-White by Jacob and Wilhelm Grimm teach us that good will always triumph over evil. As many tales of its kind, Little Snow-White uses a number of literary devices to attract a younger audience and communicate to them a lesson or moral that will remain with them throughout their lives. Since children have such an abstract stream of thought, it is vital to use language and devices that will appeal to them as to keep them interested in the story.
My thesis statement is that children’s innocence enables them to cope in difficult situations. Children generally have a tendency to lighten the mood in sad situations because of their innocent nature. They turn even the saddest situations to mild, innocent situations. This is evident when Marjane says “these stories had given me new ideas for games”, (Satrapi, 55). By saying this she refers to her uncle’s stories of how he and other prisoners were tortured in prison. Stories of torture have never been easy to hear even for adults but Marjane so innocentl...
... (eds), Children’s Literature Classic Text and Contemporary Trends, Basingstoke, Palgrave Macmillan in association with Open University
‘Some idea of a child or childhood motivates writers and determines both the form and content of what they write.’ -- Hunt The above statement is incomplete, as Hunt not only states that the writer has an idea of a child but in the concluding part, he states that the reader also has their own assumptions and perceptions of a child and childhood. Therefore, in order to consider Hunt’s statement, this essay will look at the different ideologies surrounding the concept of a child and childhood, the form and content in which writers inform the reader about their ideas of childhood concluding with what the selected set books state about childhood in particular gender. The set books used are Voices In The Park by Browne, Mortal Engines by Reeve and Little Women by Alcott to illustrate different formats, authorial craft and concepts about childhood. For clarity, the page numbers used in Voices In The Park are ordinal (1-30) starting at Voice 1.
Perrault, Charles. “Cinderella.” Writing and Reading Across the Curriculum. Ed. Laurence Behrens, Leonard J. Rosen. Toronto: Longman, 2013. 236-240. Print.
What kid hasn’t heard of Dr. Seuss? From “One fish, two fish, red fish, blue fish” to “A person’s a person, no matter how small” to “From there to here, from here to there, funny things are everywhere”, Dr. Seuss has filled the lives of children with whimsical stories and ideas. (8) Using casual dialect and everyday objects, he was able to spark the imagination of others. All the while, he instilled lessons into his writings. It is not a surprise that Dr. Seuss received an award for a “Lifetime of Contribution to Children’s Literature”. His work will be read and enjoyed for decades to come. All in all, no matter which Dr. Seuss story that the reader might select, his or her imagination will be sparked, and the reader will surely be entertained.
Literature has been part of society since pen met paper. It has recorded history, retold fables, and entertained adults for centuries. Literature intended for children, however, is a recent development. Though children’s literature is young, the texts can be separated into two categories by age. The exact splitting point is debatable, but as technology revolutionized in the mid-twentieth century is the dividing point between classic and contemporary. Today’s children’s literature is extraordinarily different from the classics that it evolved from, but yet as classic was transformed into modern, the literature kept many common features.