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Different constructions of childhood
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Throughout this semester we have dissected the meaning of childhood in children’s literature. Neil Gaiman does the same in his novel The Ocean at the End of the Lane. I feel that there are universal truths about childhood, and that childhood is different than adulthood. Neil Gaiman is a unique writer, and in his novel are passages that support my idea on childhood. One of my favorite passages in Gaiman’s novel is: “I was a normal child. Which is to say, I was selfish and I was not entirely convinced of the existence of things that were not me, and I was certain, rock-solid, unshakeably certain, that I was the most important thing in creation. There was nothing that was more important to me than I was.”(156) This is a universal truth about childhood that children are egocentric. They cannot think about a situation from another person’s point of view. All children no matter the background assume that others see, feel, and hear the same thing they do. I can remember as a kid being truly confused when another kid didn’t like the same thing as me. It is ironic because at this egocentric stage of their …show more content…
Children explore. Adults are content to walk the same way, hundreds of times, or thousands; perhaps it never occurs to adults to step off the paths, to creep beneath rhododendrons, to find the spaces between fences. I was a child, which meant that I knew a dozen different ways of getting out of our property and into the lane, ways that would not involve walking down our drive.” This brilliant passage shows us how different children and adults are at the core. Children possess so much creativity at their young age. This creativity seems to go away in a lot of people as they get older. Adults tend to conform when they hit adulthood. They think and act very much alike. Older people don’t want to steer off the direction that others are going. Children are adventurers at the core while adults are conservatives at the
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.
In John Connolly’s novel, The Book of Lost Things, he writes, “for in every adult there dwells the child that was, and in every child there lies the adult that will be”. Does one’s childhood truly have an effect on the person one someday becomes? In Jeannette Walls’ memoir The Glass Castle and Khaled Hosseini’s novel The Kite Runner, this question is tackled through the recounting of Jeannette and Amir’s childhoods from the perspectives of their older, more developed selves. In the novels, an emphasis is placed on the dynamics of the relationships Jeannette and Amir have with their fathers while growing up, and the effects that these relations have on the people they each become. The environment to which they are both exposed as children is also described, and proves to have an influence on the characteristics of Jeannette and Amir’s adult personalities. Finally, through the journeys of other people in Jeannette and Amir’s lives, it is demonstrated that the sustainment of traumatic experiences as a child also has a large influence on the development of one’s character while become an adult. Therefore, through the analysis of the effects of these factors on various characters’ development, it is proven that the experiences and realities that one endures as a child ultimately shape one’s identity in the future.
His demonstrated the childhood of a kid who replicates similar characteristics as myself. We were both energetic creative adolescents; our minds would soar to heights beyond the average ten-year-old. With that being said, our childhoods did in fact contrast through what we each experienced. While I had an adamant parental involvement during my life, Timmy had little to none. I was giving the opportunity to stay home alone, Timmy was forced with an evil babysitter. Nonetheless, what I did find interesting was that having our childhood experiences be orchestrated differently, profoundly embellished our analogous personalities. It was Timmy's neglection from his parents that made him this vigorous imaginative kid. It was the affection from my parents that triggered this spirited visionary of a child I
Maybin, J. &Woodhead, M. (2003). Childhoods in context. Southern Gate, Chichester: John Wiley & Sons Ltd
According to the Oxford Student’s Dictionary, adulthood is associated with being “grown to full size or strength, mature” (Seuss.14). Then why is it presented in underlying ways, in works that are considered to be children’s texts? The assumption is that children’s texts are supposedly “childish” which means “ unsuitable for a grown person, silly and immature” (pg.172). However, while studying Dr. Seuss’ The Cat In The Hat, Lewis Carroll’s Alice in Wonderland, “The Story of Grandmother”, Charles Perrault’s “Little Red Riding Hood” and Brothers Grimm “Little Red Cap” and “Snow White”, it was evident that adulthood was both reinforced and subverted through the use of literary and narrative techniques.
...ts set for them. Children are constantly aware of adults’ choices, and they begin to formulate their own understanding of general values at a young age. When adults are hypocritical of their pre-set standards, it sends children into a state of discombobulation. Staying true to one’s values as an example for children will be beneficial to them as they travel along the highway of childhood and come upon the exit necessary to reach the interstate of adulthood.
The adult world is a cold and terrifying place. There are robberies, shootings, murders, suicides, and much more. If you were to be a small child, perhaps age 5, and you were to look in at this world, you would never know how bad it actually was, just from a single glance. Children have a small slice of ignorant bliss, which helps to keep them away from the harsh of reality. It isn’t until later, when they encounter something that opens their eyes and shows them, that they truly start to understand the world we live it. Harper Lee’s To Kill A Mockingbird shows the many differences between the simplicity of being a kid and the tough decisions and problems that adults must face every day.
... (eds), Children’s Literature Classic Text and Contemporary Trends, Basingstoke, Palgrave Macmillan in association with Open University
In Kenneth Grahame’s The Wind in the Willows and Frances Hodgson Burnett’s The Secret Garden nature and its fantastical elements are crucial in making their novels the iconic children literary tales they are presently. However due to these fantastical elements both authors criticized for their romanticized view of nature and idealized depictions of childhood within nature. Scholarly critics Jacqueline Rose and Humphrey Carpenter argue that in creating idealistic narrative worlds both authors lose their ability to represent childhood in a realistic way and instead let their works become escape outlets rather than true depictions of childhood. In doing so these books are no longer true children’s literature, but simply ideals born out of an authors
In a typical family, there are parents that expected to hear things when their teenager is rebelling against them: slamming the door, shouting at each other, and protests on what they could do or what they should not do. Their little baby is growing up, testing their wings of adulthood; they are not the small child that wanted their mommy to read a book to them or to kiss their hurts away and most probably, they are thinking that anything that their parents told them are certainly could not be right. The poem talks about a conflict between the author and her son when he was in his adolescence. In the first stanza, a misunderstanding about a math problem turns into a family argument that shows the classic rift between the generation of the parent and the teenager. Despite the misunderstandings between the parent and child, there is a loving bond between them. The imagery, contrasting tones, connotative diction, and symbolism in the poem reflect these two sides of the relationship.
...imes, the juveniles of the nation do not know where to turn. They lose all faith in humanity and themselves. The point of young adult literature is to provide hope for that life in distress, to give them something to escape to when everything crumbles around them. The youth of America have been given the freedom to do what they please, and each generation has defined that freedom. The true American experience will never be set in stone, because it changes all the time. At the end of his narrative, Pudge says: “Thomas Edison’s last words were ‘it’s very beautiful over there’. I don’t know where there is, but I believe it’s somewhere, and I hope it’s beautiful.” That belief and that hope is the one thing future generations should never lose, for that hope is what fostered the nation that we constantly redefine.
There are proponents of the debate that childhood is disappearing which will be discussed in this section which include Postman (1983), Elkind (1981) and Palmer (2006). In considering these points of view which are mostly American, one must firstly set in context what is meant by the disappearance or erosion of childhood. This key debate centres on Postman (1983) who wrote “The disappearance of childhood” which is a contentious book about how childhood as a social category which is separate from adulthood is eroding. He defines a point where childhood came into existence, which was treated as a special phase in the middle ages based on the work of Aries in his book “Centuries of childhood” (1962, cited in Postman 1983). According to Postman, a major influence on how childhood was perceived differently to adulthood was the invention of the printing press and literacy in the mid sixteenth century. That is to say children had to learn to read before the secrets of adulthood in particular sex and violence was available...
Childhood, a time of adventure; a time when the world is large and mysterious, and there is always more explore; a time when there is no wrong that could not be righted by a mother's kiss. This is the childhood described by Robert Frost. He describes this through a portrayal of the child's game of riding birches; a careful climb, a well timed jump, and an exhilarating swing. Then he describes the loss when one ages. How one by one this boy subdues the trees until there are none left to swing from. Frost then finishes off by showing his longing to return to those days.
In the eyes of a child, there is joy, there is laughter. But as time ages us, as soon as we flowered and became grown-ups the child inside us all fades that we forget that once, we were a child.
At its fundamental level, adulthood is simply the end of childhood, and the two stages are, by all accounts, drastically different. In the major works of poetry by William Blake and William Wordsworth, the dynamic between these two phases of life is analyzed and articulated. In both Blake’s Songs of Innocence and of Experience and many of Wordsworth’s works, childhood is portrayed as a superior state of mental capacity and freedom. The two poets echo one another in asserting that the individual’s progression into adulthood diminishes this childhood voice. In essence, both poets demonstrate an adoration for the vision possessed by a child, and an aversion to the mental state of adulthood. Although both Blake and Wordsworth show childhood as a state of greater innocence and spiritual vision, their view of its relationship with adulthood differs - Blake believes that childhood is crushed by adulthood, whereas Wordsworth sees childhood living on within the adult.