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Fairy tales influence children
How does fairy tales affect kids psychologically
How does fairy tales affect kids psychologically
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Grimm's Fairytales - The Most Gruesome Tales Every Told
Afterwards as they came back, the elder was at the left, and the younger at the right, and then the pigeons pecked out the other eye from each."
"'Cut the toe off; when thou art Queen thou wilt have no more need to go on foot.'"
"'Kill her, and bring me back her heart as a token.'"
The Grimm's fairytales were, and have remained, some of the most violent and gruesome tales told. Although the tales were originated with the purpose of adult entertainment, they have been reiterated to children for centuries. This horrific style is one that has been questioned, regarding its audience, for as long as the Grimm's stories have been around.
There have been many critics of the Grimms' work over the years. Maria Tatar, author of The Hard Facts of the Grimm’s Fairy Tales, holds an extremely critical view of the tales told, and the content in them. She states, "Even those who know that Snow White's stepmother arranges the murder of her stepdaughter, that doves peck out the eyes of Cinderella's stepsisters, that Briar Rose'...
Haskins, James. "Geoffrey Holder and Carmen De Lavallade." Black Dance in America. N.p.: n.p., 1990. 130-37. Print.
Alvin was born during the Great Depression to two working class parents in Rogers, Texas. His father abandoned the family when Alvin was a mere six months old, leaving him and his mother with the struggle of fending for themselves. The inability for Alvin’s mother to find work led to their move to California in 1942, where Alvin was introduced by a classmate to the most influential person that would be the foundation for his future successful career in modern dance, Lester Horton (DeFrantz 1). Alvin was captivated by Lester’s work, which focuses on building a strong body, and made the executive decision to start his dance training in 1949 when he was eighteen years old. Because Lester Horton’s dance company embraced diversity, and accepted dancers of all ethnicities and backgrounds, Alvin was given the opportunity to do something great with his
Steve Paxton: Speaking of Dance – Conversations with Contemporary Masters of American Modern Dance. Academic Internet Video. Directed by Douglas Rosenberg. Oregon: Alexander Street Press, 1996.
Throughout the years, America has pursued the performing arts in a large variety of ways. Theatre plays a dramatic and major role in the arts of our society today, and it takes great effort in all aspects. Musical Theatre, specifically, involves a concentration and strength in dance, acting, and singing. This is the base that Musical Theatre is built upon. For my Senior Project, I helped choreograph multiple scenes in a community musical “Thoroughly Modern Millie”. Choreography is a way of expressing oneself, but it has not always been thought of for that purpose. Agnes de Mille’s expressive talent has drastically affected how people see choreography today. Agnes de Mille’s influence in the world of dance has left a lasting impact in the Performing Arts Department, and her revolutionary works are still known today for their wit, lyricism, emotion, and charm.
Throughout this analytical essay I will discuss, analyse and conclude the work of two contemporary modern dance pioneers, Alvin Ailey and Katherine Dunham. I will pay particular attention to the era 1935-1980 and focus on socio elements of this time period, using relevant literature to support my findings.
The Island of Alcatraz started construction in the 1850’s and in 1861 the first unlucky prisoners stepped onto the island. The island was now a fully functional high security prison. In 1868 the prison was designated for military convicts and soon the worst offenders were sentenced to life on the island. The island was surrounded by frigid waters and sharks in the bay helped prevent ideas of escape. Some escape plans were put into motion but none fully succeeded. Many convicts found that Alcatraz ended their career in crime, while some found that Alcatraz was the end of their lives. Although the prison was the most secure and safest place to keep these convicts, the prison was shut down in 1963, after over 100 years of service, due to high maintenance costs of bringing materials and sustaining human life on the island. Ever since the prison opened, unexplained occurrences have been reported and no explanation has ever been confirmed.
The telling of fairy tales has changed tremendously as they have been around for a great amount of time. As a child, fairy tails are read by someone who is older, that understands the deeper meaning of the tale. The Brothers Grimm tales were not meant to be for children because of the content that they contained. In Zohar Shavit criticism, he made the point that as time went on, fairy tales were transformed into ones that were more appropriate for children that did not contain all of the violence, sex, and dark meanings. They wanted children to look at the world in a different way than how it was intended for adults (Shavit 327). Literary critic, Robert Sale, once
The notion of cultural authenticity, in seeking to solidify cultural form, authenticate some forms over others. Yet the contemporary ballet dance as an art form is remarkably dynamic and constantly interacting with other art forms in the globalizing world. The objectification of the contemporary ballet as authentically American will lead to the condemnation of innovation in the aesthetics of the dance style, and the suppress of artistic creativity in the name of a well-intentioned yet misplaced cultural authentication. To prevent the ossification of the contemporary ballet, Kevin McKenzie, the current artistic director of the American Ballet Theatre, once said in an interview, “The great art forms will always adapt and absorb whatever cultural influences are around it, and ballet is no exception. It absorbs influences from all other forms, without losing its own language and identity.” His words are strongly proved in the evolution of the contemporary ballet dance performances in American, in which not only the dancing movements absorbs a large number of new constituents from different cultures such as the lion and dragon dance from China, but the stage settings and costumes are changing significantly during the past decades. For example, the Alonzo King 's LINES Ballet Company in San Francisco performed a contemporary ballet dance show utilizing the ancient Egyptian pictographs as its background scenario last year, which wouldn’t have come true if the notion of cultural authenticity is legitimatized. That authentication process freezes the dynamism of culture denotes the high degree of illegitimacy of pursuing cultural
We all know that prisoners lived on Alcatraz Island, but where did the guards and their families live? Since Alcatraz is not very big, guard families lived in building number sixty-four. There were three apartment buildings, one large duplex, and four wooden houses for senior officers. The Warden lived in a large home adjacent to the cell houses. He used inmates that had been reported to have good behavior to clean and cook for him. The Captain and the Associate Warden lived in the one duplex. A...
Fairytales, the short stories that most children heard as they went to bed, are actually folktales from previous decades. The fairytales today are primarily adaptations of older versions recreated by Disney— the pioneers of this generation. With that said, the modern versions consistently display good triumphing over evil, a prince charming that constantly came to the rescue, and a happily ever after ending. However, the original folktale version didn’t always come with fortunate events, but often were more violent and gruesome. With the fairytale Cinderella, Disney maintains a similar theme as its Grimm version; however, the conflicts, events, and characters that support this idea are rather different.
For their second edition of fairy tales, the Grimms and their publisher deemed their original version of “Rapunzel” to be inappropriate for children for “what proper mother or nanny could tell the fairy tale about Rapunzel to an innocent daughter without blushing?” (Tatar 18). The Grimms, in fact, changed details of “Rapunzel,” ridding the story of even t...
The Grimm’s stories have strict criteria for good and evil. Good women are not the hero, they do not plan, nor do they get themselves out of bad situations; they are obtuse and wait until a Prince saves them. These qualities doom the female protagonists (and readers) to pursue the only destiny women have, and that is to be a wife and mother (Rowe, 1978). Cinderella is the heroine and the ideal good girl. She is unambiguously beautiful, kind, and compassionate. She does not complain or get angry. This is foreseen early in the Grimm’s Cinderella story:
Ballet has been an art form since the late fifteenth century, but society did not truly see the impact of ballet until the nineteenth century. Modern day thinkers possess the idea that ballet began with tutus and pointe shoes, but it wasn’t until the nineteenth century that this opinion was observed. Ballet has come a long way. It has survived the turmoil of many wars and has changed itself by accepting new ideas and impressing the audience with its unique stylistic views.
One similarity between fairy tales is the presence of violence most notably in Sleeping Beauty, Little Red Riding Hood, and the Grimm’s version of Cinderella. Sleeping beauty shows a dragon being decapitated, Little Red Riding Hood sees a wolf eating humans then getting his insides ripped open, and Cinderella shows the stepsisters getting their eyes plucked out. The majority of fairy tales are heartwarming and provide a powerful message, so it is very odd to see violence included within them as well. It is worth noting that the violence is, for the most part, ignored by the readers. This is probably ignored because the reader is distracted by a number of others things with the story elements and plot. For example, in the Grimm’s version of
Most modern fairytales are expected to have happy endings and be appropriate for children, nonetheless, in past centuries most were gruesome. Consequently, fairytales have been modified throughout time. The stories “Beauty and the Beast” by Jeanne-Marie LePrince de Beaumont and “The Summer and Winter Garden” by Jacob and Wilherm Grimm share similarities and differences. The two stories are distinct because of the peculiar year they have been written in. LePrince de Beaumont’s story is written in London of 1783 and Grimm’s in Germany of 1812. At the time, wealthy people in London, were educated and had nannies who would read to their children; whereas, in Germany, the Grimm brothers created their own interpretation into a short story. Because many high class parents in 18th century London would not be able to spend time with their children, nannies would read “Beauty and the Beast” to them since they were intended for children and considered appropriate. In “The Summer and Winter Garden,” the Grimm’s’ story was mostly based to entertain misbehaved children and teach them the valuable lesson that everyone should be treated with kindness. The Grimm brothers’ goal in rewriting this short story is to better children’s behavior which worked quite well. Since these stories have been re-written for children, it would be safe to say the reason why parents expose the two stories to their children is because they both portray the same moral: good things happen to good people. The two interpretations of “Beauty and the Beast,” although written in separate countries, share important similarities and differences even though the authors have different interpretations and came from different cultures.