scholarly journals When Modern Little Red Riding Hoods Cross Borders… or Don’t…

2003 ◽  
Vol 48 (1-2) ◽  
pp. 15-30 ◽  
Author(s):  
Sandra L. Beckett
Keyword(s):  
Fairy Tales ◽  
International Borders ◽  
Award Winning ◽  
Little Red Riding Hood ◽  
Anglophone World

Abstract Many contemporary retellings of Little Red Riding Hood, the best-known of all fairy tales, are by major, award-winning authors and illustrators, but all too often they remain completely unknown in the anglophone world. This paper examines retellings from numerous countries to show why or why not they cross international borders.

Staging Theatrical Child-Centric Violence

2021 ◽  
pp. 50-72
Author(s):  
Matthew Hodge
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Leadership Teams ◽  
National Theatre ◽  
Award Winning ◽  
Martin Mcdonagh

Prolific and controversial British-Irish playwright Martin McDonagh has built a prominent career on genre-bending works that combine irreverent humor and aggressive violence. His award-winning black comedy play The Pillowman, which premiered in 2003 at London's renowned National Theatre, is one of the playwright's most well-known and divisive pieces of theatre. Arguably, the play's most memorable moments involve segments reenacting original twisted fairy tale-esque stories. The majority of McDonagh's dark tales center on children characters enduring acts of violence and cruelty, ultimately concluding with disturbing endings. The Pillowman script offers few instructions in its storytelling scenes, allowing—even demanding—artistic ownership of each production's unique aesthetic approach to the unsettling material. This chapter discusses the divisiveness of McDonagh's work, his inspiration from violence in historical fairy tales, and the sensitive considerations and controversies theatre leadership teams must ponder when staging fictionalized child-centric violence.

On Analyzing Fairy Tales: "Little Red Riding Hood" Revisited

1987 ◽  
Vol 46 (2) ◽  
pp. 97 ◽  
Author(s):  
Steven Swann Jones
Keyword(s):  
Fairy Tales ◽  
Little Red Riding Hood

scholarly journals The Greedy Hippo and Red Riding Hood: The grotesque in fairy tales

Literator ◽  
2012 ◽  
Vol 33 (1) ◽  
Author(s):  
Dineke Van der Walt
Keyword(s):  
Fairy Tales ◽  
The Other ◽  
Warning Messages ◽  
Little Red Riding Hood ◽  
Human Flesh ◽  
Children's Stories ◽  
The Voice ◽  
Gain Access ◽  
The Grotesque

This article presents a comparative reading of two folktales that are also characterised as children’s stories (one from Venda folklore and the other a popular European narrative) in order to explore a number of similarities between these stories. These similarities include the grotesque activity of eating human flesh, the way that overly trusting people are tricked by means of a masquerade and other ‘unethical’ and ‘immoral’ activities that occur in both narratives. In The Greedy Hippo (Hippopotamus throws his weight around), the monster for instance mimics the voice of a little boy in order to trick his sister and gain access to the children’s hut, whilst in Little Red Riding Hood the wolf tricks the grandmother in the same way to gain access to her house, in order to later trick Red Riding Hood. Furthermore, in both stories, the little girls (as well as the grandmother in Little Red Riding Hood) are swallowed by vicious wild animals (either a hippopotamus or a wolf). As is often the case in fairy tales; however, the victims are saved or escape and live happily ever after. In this article, I argue that, although it seems absurd for children’s stories to deal with the grotesque, the presence of the grotesque actually serves an elevating purpose. I conclude that, because of the shock value of the grotesque, these stories not only intrigue children emotionally, but that the shocking quality of the grotesque also serves as a source of fascination for them. Therefore, the warning messages contained in the stories are more persuasively communicated and better remembered by the child audience.

scholarly journals Os contos de Charles Perrault em tradução

2018 ◽  
Vol 71 (1) ◽  
pp. 169-180
Author(s):  
Anna Olga Prudente de Oliveira ◽  
Eliana Bueno-Ribeiro
Keyword(s):  
Nineteenth Century ◽  
Short Stories ◽  
Fairy Tales ◽  
Children’S Literature ◽  
Sleeping Beauty ◽  
Xvii Century ◽  
French Writer ◽  
Charles Perrault ◽  
Little Red Riding Hood ◽  
Complete Translation

Translated and adapted to the Brazilian reader public from the end of the nineteenth century to the present day, the tales Sleeping Beauty in the Forest, Little Red Riding Hood, Blue Beard, The Boots Cat, The Fairies, Cinderella, Riquet of the Topete and The Little Thumb have recently won a new Brazilian edition that presents a complete translation of the work that became the canon of children's literature: Histories or Tales from the Time Past with Morals (Histoires or Contes du temps passé avec des Moralités) by Charles Perrault. In this interview with the translator, he seeks to know his work, his understanding of the work and the process of translation, and his proposals and strategies, especially in relation to these short stories, elaborated by the French writer of the XVII century with a characteristic that distinguishes them from others fairy tales: morality in verse at the end of the story told in prose.

Red Hoods, Dark Woods

2017 ◽  
pp. 45-60
Author(s):  
James Gracey
Keyword(s):  
Popular Culture ◽  
Fairy Tales ◽  
Social Values ◽  
Little Red Riding Hood

This chapter talks about the tale of Little Red Riding Hood as one of the most enduring and provocative of all the fairy tales ever told. It discusses the plight of the red-hooded girl who encounters a ravenous wolf as she wanders cautiously through the deep, dark woods on an errand to her Granny's cottage, which has haunted popular culture for centuries. It also reviews how Red Riding Hood has been told and re-told for centuries with its meaning interpreted and reinterpreted to reflect changing social values and attitudes. The chapter explores the scene of Rosaleen's encounter with the lycanthropic huntsman in the woods in Neil Jordan's The Company of Wolves, which essentially provides an elaborate preparation for the central story. It analyses how folk and fairy tales were used to civilise listeners and readers in the ways of their communities and convey to them an understanding of acceptable conduct and behaviour.

The Three Age System as Predator: Copenhagen and Lund 1836–1850

2007 ◽  
Author(s):  
Peter Rowley-Conwy
Keyword(s):  
Fairy Tales ◽  
Direct Result ◽  
Historical Account ◽  
Ancient History ◽  
Hunter Gatherers ◽  
Second Development ◽  
Literary Sources ◽  
The Status ◽  
Anglophone World ◽  
Material Record

We saw in the last chapter how Thomsen’s Three Age System was establishing itself as the ancient historical chronology started to fail in the 1830s. The years immediately following its publication in 1836 saw two major developments that Thomsen could never have foreseen. The first development was that three entirely separate chronologies came to maturity, and were grafted by their makers onto Thomsen’s stone–bronze–iron sequence. These chronologies were Sven Nilsson’s economic scheme of hunter-gatherers preceding farmers; Japetus Steenstrup’s environmental scheme of successive forest types; and the craniological scheme of racial replacement devised by Daniel Eschricht and Anders Retzius, and championed by Sven Nilsson. None could easily be linked to the ancient historical chronology; but since all three were based on material remains rather than literary sources, they were easier to link with Thomsen’s artefactual scheme, so they naturally gravitated towards it. Only Steenstrup’s environmental scheme provided any hint of absolute chronology—and the hint it gave was so revolutionary that Steenstrup initially lacked the confidence to make much of it. But as it became more secure, it gradually became evident that the human time depth revealed by the broadened Three Age System dwarfed the conception of ancient history. The First part of this chapter examines how these chronologies developed and then attached themselves to Thomsen’s. The second development was that, having attracted to itself these other chronologies, the Three Age System (in the hands of J. J. A. Worsaae) went over to the attack against ancient history. The second part of this chapter examines how Worsaae used archaeological excavation and data to wrest large parts of the material record from the ancient historians, by demonstrating that their use of it had been substantially inept. As a direct result, much of the ancient historical account lost its historical force and reverted to the status of literature and legend, leaving archaeology as the dominant voice speaking for the ancient past. In the later 1840s nationalist agendas were sharpening in various parts of Europe, and Worsaae used the archaeological voice to refute an aggressive historical claim by a German whose name is well-known in the Anglophone world— none other than Jacob Grimm, one of the brothers responsible for the fairy tales that are still so associated with their name.

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