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Reflection on children's literature
Reflection on children's literature
Reflection on children's literature
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That particular day, I left my den to go on a nice hike through the woods. Then I met her. Little Red Riding Hood came wandering up the path. She told me she wanted to go to her grandmother’s house, which was just down the path, but she was lost, so I, being the kind wolf I am, gave her directions. She thanked me and skipped off happily.
Later on, I began to worry if she reached the house safely. After all, she had seemed apt to getting lost. So I went to go check the grandmother’s house to see if she had arrived yet. When I knocked on the door, nobody answered. The grandmother wasn’t there. “Probably went to one of those tea parties again” I thought. “But I can’t disappoint the little girl.” Because of the thought of poor Little Red Riding Hood finding out her grandmother wasn’t there and being miserable, I decided to pose as the grandmother for the little girl so she wouldn’t be crushed. So, I got into the old lady’s clothes and got in the bed and waited.
A few minutes later, there was a knock on the door. I croaked, “Come in,” in an old lady voice. Little Red Riding Hood came in...
With these two divergent personas that define the grandmother, I believe the ultimate success of this story relies greatly upon specific devices that O’Connor incorporates throughout the story; both irony and foreshadowing ultimately lead to a tale that results in an ironic twist of fate and also play heavily on the character development of the grandmother. The first sense of foreshadowing occurs when the grandmother states “[y]es and what would you do if this fellow, The Misfit, Caught you” (1042). A sense of gloom and an unavoidable meeting with the miscreant The Misfit seem all but inevitable. I am certain that O’Connor had true intent behind th...
...etends to be a young boy to lure Connie in, the wolf pretends to be a familiar presence to the girl to trick her into coming to him. What else is interesting is that neither of these characters were acting malicious to just anyone. Both of them had planned out exactly who their prey was going to be and set out to do harm to them. Although these stories parallel each other very well there are a few differences between them. Perhaps the biggest difference between them is the fact that one of the characters overcomes the evil presence in her life and the other does not (Theriot). Connie was not able to overcome the force of evil in the form of Arnold Friend, but Little Red Riding Hood was able to foil the wolf’s plans to lure her in. Either way both of these girls would have been better off if they had just followed that age old childhood rule; never talk to strangers.
Although this story is told in the third person, the reader’s eyes are strictly controlled by the meddling, ever-involved grandmother. She is never given a name; she is just a generic grandmother; she could belong to anyone. O’Connor portrays her as simply annoying, a thorn in her son’s side. As the little girl June Star rudely puts it, “She has to go everywhere we go. She wouldn’t stay at home to be queen for a day” (117-118). As June Star demonstrates, the family treats the grandmother with great reproach. Even as she is driving them all crazy with her constant comments and old-fashioned attitude, the reader is made to feel sorry for her. It is this constant stream of confliction that keeps the story boiling, and eventually overflows into the shocking conclusion. Of course the grandmother meant no harm, but who can help but to blame her? O’Connor puts her readers into a fit of rage as “the horrible thought” comes to the grandmother, “that the house she had remembered so vividly was not in Georgia but in Tennessee” (125).
Susie’s mother opened the door to let Molly, Susie’s babysitter, inside. Ten-month old Susie seemed happy to see Molly. Susie then observed her mother put her jacket on and Susie’s face turned from smiling to sad as she realized that her mother was going out. Molly had sat for Susie many times in the past month, and Susie had never reacted like this before. When Susie’s mother returned home, the sitter told her that Susie had cried until she knew that her mother had left and then they had a nice time playing with toys until she heard her mother’s key in the door. Then Susie began crying once again.
Folktales are a way to represent situations analyzing different prospects about gender, through the stories that contribute with the reality of the culture in which they develop while these provide ideas about the behavior and roles of a specific sex building a culture of womanhood, manhood and childhood. This is what the stories of Little Red Riding Hood of Charles Perrault (1697) and Little Red-Cap of the Grimm Brothers (1812) show. This essay will describe some ideas about gender in different ways. First, the use of symbolic characters allows getting general ideas about the environment in the society rather than individuals. Second, it is possible to identify ideas about gender from the plot from the applied vocabulary providing a better understanding of the actions. Finally, the narrative perspective of the tales analyzes deeply the status of the characters referring to the thoughts among the society.
There is a teenager named little red riding hoodlum. If this girl sounds familiar, you guessed it right. She was formerly known as Little Red Riding Hood, until she turned to the life of crime. Right now she is paying for the trauma the wolf caused her. She is now in Utah State Youth Rehabilitation Center. I’ll tell you the part of the story they left out at the end that made it a fairy tale.
The fairytale Little Red Riding Hood by Charles Perrault is a story that recounts the adventure of the protagonist Little Red Riding Hood as she fulfills her mother’s wishes to bring a package to her ill grandmother. Perrault’s short story conveys influential life themes on the idea of male predation on adolescent women who fall victim to male deception. Perrault successfully portrays these themes through his use of rhetorical devices such as personifying the actions of the antagonist Wolf predator as he preys on the protagonist Little Red. Perrault illuminates the central theme of upholding sexual purity and being aware of eminent threats in society in his work. Roald Dahl’s poem, Little Red Riding Hood and the Wolf, is an adaptation to
Throughout time, mankind has forged stories and legends to explain the unknown. As years went along the stories and tall tales were passed down to each generation. Each recount of the inherited stories are always told differently, how the story was told usually depended on the person and their particular region of habitance. Thus leading to hundreds of different versions of a single story told throughout the world, written and told by different people. Not only are these stories told as pure entertainment, they serve as wise life lessons and set examples for children when they were eventually introduced to society. These stories are so prominent in human history that even to this day the same stories that were told to children centuries ago
Growing up I heard many versions of the tale of Little Red Riding hood, however it wasn’t until college that I was aware of the references regarding this tale. In reading both Charles Perrault’s “Little Red Riding Hood” and Brothers Grimm’s “Little Red-Cap,” I can see what it is that makes these works of literature a common and ongoing tale that adults continue to tell their children. I can also see how children would be attracted and captivated by this fairytale. While some may suggest that the story of Little Red Riding Hood is appealing to children, others would suggest that it is inappropriate. While the moral of the story may vary if both versions, it is a tale from which all can gather meaning from.
Being young and uninformed about the ways of the world, she thinks it is perfectly normal to talk to a big, scary wolf. “The poor child did not know how dangerous it is to chatter away to wolves.” (Stories, pg. 1066). The. Since the little girl is young and impressionable, she jumps on her impulses to talk to any stranger she comes across.
This may seem like it would go along with the moral of the story, but it’s not the moral of this version. Little Red Riding as having just come into puberty with, “Her breast just begun to swell” (687), and “…she has just started her woman’s bleeding…” (687). She also describes her as “…the invisible pentacle of her own virginity” (687), basically saying she is the image of purity and the embodiment of innocent. Carter says she is so innocent, “…she does not know how to shiver” (687), she doesn’t know that there is anything to fear in the world because she has been keep as a child for so long. As the classic fairytale goes she goes off into the woods to take her elderly grandmother some groceries on a cold winters day. This is where the story takes a turn. While Little Red Riding Hood is walking, she meets, “… a fully clothed one [man], a very handsome young one, in the green coat and wideawake hat of a hunter, laden with carcasses of game birds” (688), this in great contrast to the wolf or the naked man she was told to be wary of, therefore she trusts him. This goes back to the
The genre of fairytales is arguably one of the most commonly known genres in literature today. These tales are known by people of all ages and although there are many variations and version, they remain within the same parameters when it comes to structure and content. Fairytales are simple and entertaining and most commonly told to young children for various reasons; whether it is to entertain them before bedtime or to teach them a valuable lesson through a fun and creative way, most children would be familiar with this tales. The story of Little Red Riding Hood is presumably one of the most famous stories told to children today, and it had been around for a very long time. Different versions of this story are circulating the world today, including one of the most popular one, told by Charles Perrault. Titled “Little Red Riding Hood” Perrault tells
There is a danger that accompanies innocence that Philip Pullman, in the work “Little Red Riding Hood”, and Angela Carter, in “The Company of Wolves”, portray through their different takes on the same classic, Little Red Riding Hood.
“Don’t ever take candy from a stranger or get into his car” this line has been drilled into our young little brains from teachers to parents. We have grown up being told never to trust a stranger because “stranger danger” one of my favorite lines as a child. Not only was this directed to us with our parents and teachers, but the classic folktale, “Little Red Riding Hood” has been taught to young children for many years. The stories moral is not to trust strangers and do not associate with them for any reason. While reading Perrault’s version of the classic folk tale, his moral is that children, especially young girl’s, can be eaten by wolves by just talking and trusting a stranger. He points out that women are more
A Comparison of Little Red Riding Hood by Charles Perrault and Little Red Cap by the Brothers Grimm