jueves, 15 de octubre de 2009

StOrYtEllInG
FAIRY TALES HAVE REMAINDED POPULAR AMONG CHILDREN FOR AGES WITHOUT BEING LOST AND FORGOTTEN THANKS TO PARENTS WHO WERE THE FIRST ONES AND THE MAIN SOURCES FOR CHILDREN TO ENTER THE MARVELLOUS ENCHANTED WORLD OF FAIRY TALES. EVEN BEFORE DIFFERENT WRITERS COLLECTED THESE STORIES THROUGH OUT THEIR COUNTRIES, PARENTS HAD BECOME STORYTELLERS AND MANAGED TO INTRODUCE YOUNG CHILDREN IN A NEW ART OF NARRATIVE.
TRADITIONALLY, FOLK STORIES DEPENDED ON HUMAN’S MEMORY AND THEN PASSED FROM GENERATION TO GENERATION IN ORDER TO BE SHARED IN EVERY CULTURE AS A WAY OT PRESERVING IT AND AS A MEANS OF ENTERTAINMENT, COMMUNICATION, EDUCATION AND TRANSMIT VALUES. NATURALLY, WHILE BEING RE TOLD ONCE AND ONCE AGAIN, THESE STORIES SUFFER A LOT OF CHANGES AND ADAPTATIONS. WITH THE INVENTION OF THE PRINTING PRESS THAT HELPED LITERATURE TO DEVELOP, MORE PEOPLE HAD ACCESS TO BOOKS AND CHILDREN WERE ABLE TO READ THOSE STORIES THAT THEY HAD LISTENED FOR AGES. FROM THAT MOMENT ONWARDS, THERE WAS A NEW PERCEPTION OF FOLK TALES THEMSELVES, SINCE THEY STARTED TO BE CONSIDERED INDIVIDUAL PRODUCTS BECAUSE OF EACH OF THE KNOWN AUTHORS THAT COLLECTED THEM, RATHER THAN A COLLECTIVE WORK.

THERE ARE KEY ELEMENTS CONNECTED TO STORYTELLING THAT INCLUDE THE ESSENTIAL IDEA OF NARRATIVE STRUCTURE, SUCH AS PLOT, CHARACTERS, NARRATIVE POINT OF VIEW, TEMPORARITY AND RESOLUSION. ONE PECULAR FEATURE OF FAIRY TALES IS THE CLASSIC OPENING WORDS ‘ONCE UPON A TIME’ AND THE INEVITABLE HAPPY ENDINGS, AND THE EXPOSITION-DEVELOPMENT-CLIMAX-RESOLUTION-DENOUEMENT, IN BETWEEN.
THE EARLY FORMS OF STORYTELLING WHICH WERE ORAL MAINLY, COMBINED GESTURES AND EXPRESSIONS, AS WELL, AND LATER ON, DRAWINGS, MUSIC AND ART . STORYTELLING WAS A COMMON PAST TIME AND A STORYTELLER WAS INVALUABLE FOR THE COMMUNITY. IT WAS HIM THE ONE IN CHARGED OF PASSING DOWN VALUES AND ENCOURAGE PEOPLE’S IMAGINATION, ESPECIALLY CHILDREN’S ONE AS THEY HAVE ALWAYS BEEN THEIR MAIN PURPOSE. KNOWING IN ADVANDE THAT CHILDREN ARE ENTHUSIASTICALLY ENGAGED BY STORIES, IT IS A GREAT DECISION TO USE THE POWER OR THE STORY FORM ITSELF AND EMPLOY THAT POWER IN TEACHING.
FOR THIS REASON STORYTELLING BASED ON CLASSIC FAIRY TALES IS A GENUINE WAY TO ENGAGE, STIMULATE AND DEVELOP CHILDREN’S IMAGINATION AND COPE WITH THE CONNECTION BETWEEN THE LATTER, LEARNING AND EMOTION, TWO ESSENTIAL TOOLS THAT CHILDREN OWN AND MAY CONTRIBUTE TO PROMOTE CREATIVITY IN THE CLASSROOM. IN ADDITION, STORYTELLING IS A NURTURING WAY TEACHERS CAN USE TO ENCOURAGE CHILDREN TO READ, WRITE, CREATE, THINK AND IMAGINE WITHOUT RESTRICTIONS AS WELL AS TO BUILD THEIR SELF-ESTEEM FOR THEY GET TO REALISE HOW POWERFUL THEIR WORDS AND THOUGHTS ARE AND THEY FEEL SAFE AND CONFIDENT TO TALK ABOUT THEMSELVES. BESIDES, IT IS A WAY TO REMIND CHILDREN THAT BOTH LISTENING AND SPEAKING ARE IMPORTANT AND THAT CLEAR COMMUNICATION BETWEEN PEOPLE IS CRUCIAL. ON TOP OF THAT, STORYTELLING CAN HELP STUDENTS TO SOLVE INTERPERSONAL CONFLICT NON VIOLENTLY. BEING ABLE TO EXPRESS THEIR OWN FEELINGS AND THOUGHTS IS INDISPENSABLE FOR THEIR SAFETY AND A WAY OF DEALING WITH NEGOCIATION AND DISCUSSION AS PEACEMAKING SKILLS.
TRADITIONAL EDUCATION USUALLY PREVENTS STUDENTS FROM GENERATING IMAGES FROM WORDS WHICH IS RELEVANT FOR THEIR IMAGINATIVE DEVELOPMENT, BY PROVIDING KIDS WITH STEREOTYPICAL FEATURES AND IMAGES ALL THE TIME INTERRUPTING THEIR FANTASY. STUDENTS ARE USUALLY FORCE TO MEMORIZE LARGE AMOUNTS OF FACTS INSTEAD OF LETTING THEM USE THEIR FANTASY AND IMAGINATION. NOWADAYS WE KNOW THAT STORYTELLING IS ACCESSIBLE TO EVERYBODY, PEOPLE OF ALL AGES AND ABILITIES MAY BECOME STORYTELLERS. NO SPECIAL EQUIPMENT BUT IMAGINATION, CREATIVITY AND THE SKILLS TO LISTEN TO AND SPEAK ARE NEEDED TO CREATE IMAGES. CONSEQUENTLY, IT IS CRUCIAL FOR TEACHERS AND PARENTS TO WORK WITH IT.
IN CONCLUSION, FAIRY TALES OFFER A WINDOW INTO A WORLD OF IMAGINATION AND FANTASY AND PROVIDE A BRIDGE TO BE LINKED TO PAST AND FUTURE GENERATIONS. ALL THE SAME, THEY TALK ABOUT CULTURES AND DIFFERENT ENVIRONMENTS AND GENERATE CURIOSITY TO LEARN MORE ABOUT OTHER PEOPLES. AND THE BEST WAY TO GET TO KNOW THESE TIMELESS STORIES IS THROUGH STORYTELLING.

jueves, 17 de septiembre de 2009

Cinderella: analysed using Vladimir Propp taxonomy:

1- Absentation: Cinderella’s mother dies leaving her alone.
2- Prohibition: On one hand, Cinderella’s mother doesn’t allow her to attend to the royal festival. On the other hand, this beautiful girl is warmed to come back before midnight by her fairy godmother since the magic spell could disappear.
3- Transgression: Cinderella spends a magical evening at the ball, she dances with the prince all night long and she forgets about the fairy godmother’s warming. So when she realizes what time it is she hurries and loses her golden shoe on the stairs of the royal palace.
4-Reconnaissan
ce: After Cinderella’s mother dies, her father marries another woman with her own daughter. This is the first time Cinderella meets them. Her wicked stepmother has a strong power over the heroine’s father, so that she can control him easily.
5- Trickery: In the Brothers Grimm’s version the stepmother promises Cinderella to go to the party if she is able to pick up a dish of lentils she had emptied into the ashes for her, in two hours. Cinderella manages to do so with the help of the birds, but when she asks her to go the stepsisters tells she can’t since she doesn’t have anything to wear and everybody would laugh at her. Again the evil woman promises her to attend after doing another difficult task. The heroine trusts her, but one more time it is just a trick and she doesn’t allow her to go because she can’t even dance.
6- Complicity: Cinderella acts in a way that the evil stepmother and the wicked and ugly stepsisters take advantage of her shyness and force her to work hard, do difficult tasks and also lie to the prince when he gets their house to find the owner of the golden slipper.
7- Villain and lack: The stepmother dominate Cinderella’s father and he never protects her or defends her against his wife. She also causes harm over Cinderella because she suffers a lot.
8- Mediation: Cinderella realizes how things really are. She is conscious of her wicked stepsisters and stepmother’s performance.
9- Counter action: Although Cinderella’s stepsisters try to make the prince think they are the only two young women in the house and the golden shoe belongs to them, the heroine appears, puts on the shoe and the slipper fits her perfectly well, then she shows the prince the other slipper.
10- Departure: The heroine leaves the festival before midnight because she is afraid the magic spell can disappear.
11- Test: The fairy godmother (donor) prepares Cinderella to receive her help, not only does she provides her a beautiful dress and glass shoes, but also she gives her a carriage to go to the festival by turning a pumpkin into a coach, a rat into a coachman, lizards into footmen and mice into horses. Besides, she warms her to come back before midnight.
12- Reaction of the hero: Cinderella promises to come back at the right time though she fails and forgets about it so she has to rush.
13- Gift: Cinderella is given a pair of glass shoes which will help her to be recognized by the prince.
14- Trip: There is not a real trip in the story, but Cinderella is sent away when the prince goes to her house to look for his future wife. Her stepmother and stepsisters don’t want him to meet the heroine.
15- Struggle: In this story there is not such a struggle for Cinderella is not strong enough to face her stepmother and she has a strong power over her.
16- Brand: The heroine suffers a lot because of her evil stepmother an d stepsisters who make her sleep in the ashes, work hard all day long and stay at home during the royal festival.
17- Victory: Finally, Cinderella defeats her stepmother and stepsisters since she gets married to the prince and goes away with him. In Basile’s version, both stepsisters die of envy. Cinderella forgives them in the version written by Perrault and the stepsisters marry two lords. On the contrary, in the Brothers Grimm’s story the pigeons peck out the stepsister’s eyes and they become blind.
18- Amendment: But for the fairy godmother’s/the wishing hazelnut tree’s help, misfortune is solved and Cinderella manages to attend to the royal festival, meets the prince and marries him.
19- Return: The heroine comes back home after the ball and nobody suspects about her performance. All the same, she comes back to the ball for it lasts two days in Perrault’s version and three in the Brothers Grimm’s story.
20- Persecution: Nobody tries to kill Cinderella, but her stepmother and stepsisters know how to make her feel really bad. They mistreat her and she suffers a lot, she feels everybody hates her and that she extremely alone in this word.
21- Help: Cinderella is given a beautiful dress and glass shoes to go to the royal festival. Moreover, in the Brothers Grimm’s version the pigeons and the doves (which represent her dead mother) also help the prince to realize that the stepsisters cheat him with the glass slipper.
22- Unrecognized: When Cinderella arrives at the festival nobody is able to recognize her for she looks amazingly beautiful in her delightful dress matching her golden shoes.
23- False hero: Both Cinderella’s stepsisters try to cheat the prince claiming they are the owners of the glass shoe. In the Brothers Grimm’s story they want to trick the prince twice: the first time, one or the sisters, by cutting of her big toe and the second time, the other sister, by cutting off her heel.
24- Deffault task: When Cinderella asks her stepmother to go to the festival, the woman says she will go only if she is able to pick up a dish of lentils into the ashes for her in two hours.
Cinderella goes to the garden and asks the birds to help her with that difficult task and in less than one hour the kitchen is clean and bright. Later the girl takes the dish to her stepmother, but she tells Cinderella that she can’t go because she doesn’t have anything to wear and everybody will laugh at her. The poor girl starts to cry so the woman empties two dishes of lentils amongst the ashes again and tells her to pick them up if she really wants her stepmother to help her with the clothes, sure the girl won’t be able to do that again.
While weeping Cinderella begs the pigeons, the doves and the birds to help her and half an hour later everything look fine. Now Cinderella hopes to go to the festival with her stepsisters. However her stepmother does not allow her go to for she can’t even dance.
25- Compliance: Although the stepmother gives her such a difficult task, Cinderella manages to solve it with the help of the birds and the pigeons.
26- Recognition: Cinderella tries the glass shoe on and it fits her like a glove, when she looks into the king’s son’s eyes and he looks at her face, he recognizes her and says that she is the right bride. He takes Cinderella on his horse and leaves with her.
27- Unmasking: Both stepsisters are exposed and reported by the pigeons and the doves. The prince realizes about the trick, he comes back to the house and finally meets Cinderella.
28- Transfiguration: Cinderella changes her look when attending to the royal festival, so that nobody is able to recognize her, ever her stepmother and stepsisters get astonished because of her beauty but they never consider Cinderella is that pretty woman.
29- Punishment: In Basile’s version both stepsisters die of envy (because of their rivalry). In Perrault’s story, Cinderella forgives them. On the contrary, in the Brothers Grimm’s version both women become blind because of the pigeons’ action, so for them, blindness is their punishment.
30- Wedding triumphant: The prince manages to meet Cinderella again, says she is her right bride, takes her on his horse and leaves with her. Finally they get married and Cinderella is given the throne.

Vladimir Propp also explains there are seven kinds of characters in fairy tales:
1- The villain: The wicked stepmother who mistreats Cinderella all the time, forces her to work hard, sleep in the ashes and doesn’t let her attend to the royal ball.

2- The donor: In Perrault’s version, the fairy godmother who gives Cinderella the dress to go to the ball, the golden shoes, as well as the carriage to get to the palace. In The Brothers Grimm’s version, the donor is represented by the wishing hazelnut tree that grows on the grave of her dead mother.
3- The magical helper: In Perrault’s version, the fairy godmother who appears whenever Cinderella needs her. In the Brothers Grimm’s version, the pigeons and the doves help Cinderella in the quest. Moreover, they are the ones that warm the prince about the stepsisters’ trick.

4- The princess and her father: In this story, Cinderella is the one who marries the prince.

5- The dispatcher: Cinderella’s stepmother lies the prince when he goes to their house looking for the golden shoe’s owner. First, she says that the shoe belongs to her daughters and then she denies that there is another girl in her house to try the shoe on.
6- The hero or victim/seeker hero: Finally, Cinderella weds the prince.
7- False hero: Cinderella’s stepsisters take advantage from the prince’s visit to their house while looking for the golden shoe’s owner. They tell them that their shoe belong to them and try to marry the prince.

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    jueves, 10 de septiembre de 2009

    INCREDIBLE, AMAZING AND SURPRISING...
    Everything is at hand... You just need to choose what you wish to learn.
    To find the CLASSIC FAIRY TALES, just click on this site.
    You can also find different versions of Literature for Children on these sites:
    Andersen's fairy tales

    If you still want to go on surfing the net you can try the following websites:
    Poems about fairy tales:

    ***Fairy Tales: poems and fun for kids
    ***Little Red Reiding Hood: Amazingly funny!
    more about Little Red Riding Hood
    *0* Beauty and The Beast Poem
    *0* Red Riding Hood had a pretty great time with the wolf
    *0* A Cuban Cinderella
    *0* Little Cinder
    *0* Conversation with the Stepmother, at the Wedding
    *0* The Pea Princess
    *0* The Princess and The Pea
    *0* Gretel in Berkeley
    *0* Beauty and The Beast: an Anniversary

    *0* Cinderella Poetry
    *0* And more and more poems...
    *0* More Fairytale poetry

    SONGS: THE THREE LITTLE PIGS (TRADITIONAL SONGS)

    INTERACTIVE ACTIVITIES: games, songs and stories.
    On this site you will find funny versions of LITTLE RED RIDING HOOD. GOLDILOCKS, JACK AND THE BEANSTALK AND THE GREAT RACE:

    ALICE’S ADVENTURE IN WONDERLAND: (audio in English)

    THE BROTHERS GRIMM’S FAIRY TALES: (audio version)
    Selected Fairy Tales from the Brothers Grimm in RealAudio

    ###The Frog PrinceLista con viñetas

    ### King Grizzly Beard
    ### Tom Thumb

    ### Queen Bee
    ###
    THE WONDERFUL WIZARD OF OZ (AUDIO)
    ###
    THE UGLY DUCKLING (ONLINE VERSION)
    ###
    JACK AND THE BEANSTALK: One story, different versions.

    ### LITTLE RED RIDING HOOD: One story, different versions.

    domingo, 6 de septiembre de 2009

    lllll ONE STORY: DIFFERENT VERSIONS lllll


    jueves, 27 de agosto de 2009

    WIERD VERSIONS OF CINDERELLA
    Classical versions, the stereotype’s construction:
    The story is told in many cultures, which points out the universality of the themes found in the tale. In modern times the meaning of the story has focused on romantic love. All the same, in class societies the prince recognizing Cinderella’s beauty would have implication of social position.
    Bibliography:
    1634-1636 Basile, "Cendrillon"G. In Dundes 1988.
    1696-1697 Madame D’Aulnoy “Finita Cenicienta”. In Aulnoy 1991.
    1697 Perrault, C. “Cinderella, or The Glass Slipper” In Dundes 1988.
    1812 Grimm, J y W. “Ash Girl”. In Dundes 1988.
    1817 Rossini, G. “La Cenerentola”. In Rossini 1971.
    1884 Gregor, W. “The Red Calf” (« Rashin Coatie »). In Philip 1995.
    1950 Disney, Walt, “Cinderella”. In Disney 1950.
    This very famous tale is one of the most popular, and it is considered the best-known story as well as one of the oldest in times.
    Cinderella, the young woman oppressed and mistreated by the rivalry of her ugly stepmother and evil stepsisters who have a negative power over her, but at the end of the story she manages to be happy by getting married to the charming prince, has a large number of variations according to the social and cultural backgrounds where they take place, throughout the five continents and different time.
    Certain groups have been identified in those versions:
    • The protagonist of the story is the suffering heroine, though at the end she is recognized through a shoe and there is a turning point in her life.
    • Incest also appeared in the story: the father wishes to marry her daughter and leads her to run away and be trapped in such a dreadful situation.
    • King Lear’s theme: the daughter is exiled by her father because he considers her love insufficient.
    • Male characters star in some versions.
    Cinderella may have originated in classical antiquity:
    In the 1st Century BC the Greek historian Strabo recorded what is considered the oldest well- known version of the story: the tale of a Greco-Egyptian girl called Rhodopis: One day her fellow servants left Rhodopis washing clothes in a stream while they all went to a function sponsored by the Pharaoh Amasis. An eagle took the girl's rose-gilded sandal and dropped it at the feet of the Pharaoh in the city of Memphis. Then he asked the women of the kingdom to try that sandal on in order to see which one fitted. Rhodopis succeded and the Pharaoh fell in love with her and they finally got married.
    The story later appeared again showing that Cinderella theme remainded popular throughout time. perhaps the origin of the fairy tale figure can be traced back as far as the 6th Century B.C. (Ancient story-teller Aesop).
    During the Middle Ages, another version of the story appeared, about in 890 in the famous “One Thousand and One Nights”: stories which dealt with the theme of a younger sibling hated by two jealous elders. In some tales the characters are female and in others they are males. One of the stories has a tragic ending since the younger brother dies after having been poisoned by his elder brothers.
    There is another version originated in Japan, which tells the story of a girl who escapes from her evil stepmother with the help of Buddhist nuns and joins their convent.
    The earliest European tale “The Cat Cinderella” (“La Gatta Cenerontola”) appeared in the book by the Italian collector Giambattista Basile. in 1635. The story laid the foundations for the future versions published by Perrault and the Brothers Grimm.
    In 1697 the most popular version of Cinderella was written by the French Charles Perrault: “Cinderella” or “The Little Glass Slipper”. Although the author added many elements to the original story, like a fairy godmother, a pumpkin, mice and a glass slipper, it became popular everywhere. It is thought that in Perrault’s original version Cinderella wore a pair of fur (pantoufle en vair), but when the story was translated into English vair was mistaken for verre (glass) resulting in glass slipper and the story has remained like that ever since.
    Whenever the girl finished the housework , she sat in the cinders which caused her to be called Cinderella.
    In 1812 another version of the story was written by the German Brothers Grimm. It was called “Ash Girl”, though this time there is not a fairy godmother but a hazelnut tree that grows on her mother’s grave and granted Cinderella’s wishes.
    Apart from that, there is also a Chinese version, “Ye Xian”, in which the fairy Godmother is personified by a fish (instead of the pigeons of the Brothers Grimm story). The fish is the reincarnation of the dead mother who had been killed by the stepmother. In this culture people feel admiration towards little feet.
    In the Scottish Celtic myth, there is a story about Gean , Donn and Critheanach. The first ones are the stepsisters and Critheanach is Cinderella.
    The following is a brief revision of the patriarchal versions written by Basile, Perrault and Brothers Grimm.
    lll“The Cat Cinderella” by G. Basile.
    This is the story of a young woman called Zenolla who kills her wicked stepmother following the instructions given by her nursemaid, Carmosine and gets her father gets married to this woman. After reaching her objective Carmosine becomes as an evil woman as her predecessor. That is the moment when she introduces her own daughters who catch all her love and attention. Up to this time the protagonist is called Cat Cinderella. One day her father goes on a trip and asks his daughters what they want him to bring them . The girls ask for expensive and luxury presents, except for Cat Cinderella who wants him to pray the fairies’ dove to send her something special that she does not name. However he forgets so and it is the captain of the ship who reminds him her daughter’s wish. When coming back he meets the fairies and they give him a date for her to be planted and taken care by the girl. T hat is what she does and after four days it has the size of a woman. A fairy appears from the tree and teaches Cat Cinderella a poem to be said whenever she feels sad bur warms her to do so without been discovered by her stepsisters.
    A few days later a ball is organized in the kingdom. Cat Cinderella’s stepsisters get ready to go though they don’t allow her to attend there, so that she asks the fairies to help her. When she arrives at the palace the king fell in surrender at her feet. One of the servants wants to know who that gorgeous woman is, so she drops some coins and runs away. The following night something similar happens, she prevents the servant from making questions to her by throwing jewels and precious stones at him. The third night she leaves a slipper on the stairs. The king organizes a new ball where all women attending the party have to try it on. This shoe-test allows the king to meet Zenolla again. They get married and her stepsisters die of envy.
    In this version the narrator insists on the protagonist’s beauty which causes passion in the king but envy in her stepsisters.

    lll“Cinderella, or the Little Glass Slipper” by C. Perrault.
    There was a widower who had a beautiful and sweet tempered daughter . After some time he married a vain and naughty woman who also had two evil daughters. These girls and her mother forced the pretty girl to work hard all day long. While doing the housework she sat on the cinders which caused her to be called Cinderella. She suffered her stepmother and stepsisters’ jealousness and envy, but she couldn’t tell anything to his father about such a cruel situation because the woman had entire control over her husband.
    One day the Prince organized a ball at his kingdom and invited all the young ladies so that he could choose his future wife. When the two stepsisters got the invitation they immediately made Cinderella to prepare them. The poor girl also dreamt of going to the party but her wicked stepsisters told her that a servant never attended a ball.
    When everybody left to the royal palace Cinderella started to cry desperately in the kitchen. A fairy Godmother appeared and decided to help her by turning a pumpkin into a coach, a rat into a coachman, lizard into footmen and mice into horses. Though the most important thing was the change she caused on the girl for she turned her rags into a unbelievably beautiful dress which matched with a pair of glass slippers. The Godmother told Cinderella to have fun but she warmed her to come back before midnight since the spell would disappear.
    At the ball, the complete audience were fascinated at Cinderella’s beauty, especially the prince who kept by her side during the whole night, even her sisters were not able to recognize her at all. Before the clock stroke twelve, she left the ball and came back home. There she thanked her Godmother for her help.
    The next evening there was another ball and Cinderella again managed to go because of her fairy Godmother’s help. When the prince saw him he became even more interested in her. That night she did not take into account her godmother’s advice for she left the palace at the final stroke of midnight. While running she lost one of her glass slippers on the stairs. Outside the palace, the prince asked his guards about that woman, they answered they had only seen a simple country girl passing by. The prince picked up the slipper and kept it but he promised to find the owner of that glass shoe and marry her. In the meantime Cinderella hid the other slipped which remained in a perfect way even after the spell had gone.
    The prince himself tried the shoe on all the young women in the land. When he arrived at Cinderella’s her stepsisters tried it on in vain. Then the beautiful girl asked if she could also try, and in spite of her stepsisters taunted her, she did that and of course, it fitted her perfectly well. After that, Cinderella decided to show them the other slipper.
    Her stepmother and stepsisters begged Cinderella to forgive them for all their cruelties and this noble woman did so. She got married to the prince and her stepsisters married two lords. They all lived happily ever after.
    key elements:
    As in Basile’s story, marriage is the most valuable aim for women.
    There is a moral and physical contrast between Cinderella and her stepsisters. Beauty is a treasure but goodness is priceless and without this value nothing is possible.
    lll"Ash Girl” by the Brothers Grimm.
    The story also starts with the suffering heroine whose father had to go on a trip and asked his daughters to choose a present. The stepsisters wanted dresses, pearls and jewels, but Cinderella only asked for something his father touched with his hat when coming back home. That object was a branch of a hazelnut tree. Cinderella thanked her father, planted it on her mother’s grave and watered it with her own tears. After a few days it became a tall tree. Every day Cinderella sat under the hazel nut tree , wept and prayed. There was a little bird which always came there, too and sat on the tallest branches. Whenever the girl expressed a wish the bird threw down to her.
    One day the king organized a festival and invited all the beautiful young women to it, he wanted his son to choose a bride. As soon as the stepsisters learned about it they made Cinderella to help them to get dressed and comb their hair. Cinderella did so but she asked her stepmother if she could also attend to the ball. The wicked woman told the suffering girl that she would let her go only if she was able to pick up a dish of lentils she had emptied into the ashes for her in two hours.
    Cinderella went to the garden and asked the pigeon and all the birds and doves to help her with that difficult task and in less than one hour the kitchen was clean and bright and the birds disappeared. Later the girl took the dish to her stepmother, but she told Cinderella that she couldn’t go because she didn’t have anything to wear and everybody would laugh at her. The poor girl started to cry so the woman emptied two dishes of lentils amongst the ashes again and told her to pick them up if she really wanted her stepmother to help her with the clothes. The evil woman was sure the girl couldn’t do that again.
    While weeping Cinderella begged the pigeons, the doves and the birds to help her and hardly had half an hour passed before they had finished and all flew out. Now Cinderella hoped to go to the festival with her stepsisters. However her
    stepmother did not allow her go to for she couldn’t even dance. After that the stepsisters and the stepmother left proudly to the ball.
    Alone Cinderella went to her mother’s grave and began to weep under the hazel tree, and prayed for a gold and silver dress. Immediately the bird came to her and gave her a gold and silver dress matching with a pair of slippers. She put on the dress and hurried to the festival.
    When she arrived there nobody recognized her and everybody thought she was a foreign princess. The prince walked to her, took her hand and danced with her all night long.
    Late in the evening she wanted to go home but the prince said he would go with her. The beautiful girl escaped from him and sprang into the pigeon-house. When the prince told his father what had happened, the king decided to hew the pigeon-house into pieces with an axe, but there was no one inside it. When they went home they found Cinderella sitting in the ashes since one more time the bird had helped her.
    The next day when everybody had left home to attend to the festival again, Cinderella came back to the tree and repeated her wish. The bird threw down and gave her a more beautiful dress than on the previous day, and when she appeared in the royal palace everybody was even more astonished at her beauty and the prince took her hand and spent the whole evening dancing with her.
    When she got ready to leave the prince told her he wanted to go with her, but again she managed to escaped by climbing a tree from which magnificent pears hung. The prince tried to follow her but he couldn’t. He told his father that he thought she had climbed up the pear-tree and the king thought of Cinderella, took an axe and cut down the tree, though nobody was there. When they got into the house the girl lay among the ashes wearing her grey dress as usual.
    On the third day Cinderella was able to go to the ball again after being given a more splendid dress and golden slippers. And again the people at the festival was amazed at her unequalled beauty. The prince danced with no one else but her. When it was time to leave Cinderella escaped so quickly that the prince couldn’t follow her, but this time he had smeared the stairs with pitch so when she ran down one of her shoe got stuck on the steps. The king’s son picked it up and the following day both the king and the prince decided to knock at all the young women’s houses to find the owner of the golden slipper.
    One of the two stepsisters wanted to try it on but her toe was so big that she couldn’t put it on. Her stepmother gave her a knife and told her to cut the toe off. She did so and forced her foot into the shoe and came back to the prince who took her as his bride and went away with her. On their way to the kingdom they had to pass the grave and they found two pigeons sitting on the branches of the hazelnut tree. They told the prince that there was blood falling from the shoe, since it was too small to belong to that woman, and that the true bride was still waiting for him. The prince looked at her foot and saw the blood so he decided to come back to the house.
    He said that was not the right girl and there should be her sister. Now the second stepsister appeared but as her heel was too large her mother gave her a knife and made her to cut a bit off her heel, the girl obeyed her, put on the shoe swallowing the pain and went to the prince. He took her on his horse as a bride and rode away with her. When they passed by the hazelnut tree they saw the two pigeons crying and saying that there was blood running out of the shoe because it was too small for her, and that the right bride was still waiting for him.
    The prince took the false woman home again and asked the father if she had another daughter, but he denied it. Then he added that he had another daughter but it was impossible that she had been to the festival. The prince asked the man to call her and although his wife said she was too dirty to be shown, the king’s son insisted on and Cinderella was called.
    The prince gave her the slipper to try it on and it fitted like a glove. When she look into the king’s son’s eyes and he looked at her face, he recognized her and said that she was the right bride. He took Cinderella on his horse and left with her. The stepmother and the stepsisters were horrified with hatred.
    When they passed by the tree, the two pigeons flew down and placed on Cinderella’s shoulders.
    On the wedding day the stepsisters went to see Cinderella, but the pigeons pecked out their eyes from each so they became blind as a punishment for their behaviour.
    Highlighted elements:
    Suffering heroine.
    Father’s trip and presents: Greed in contrast with unselfishness. Beauty in contrast with ugliness.
    Simplicity compensated with the hazel branch.
    Heroine tested twice.
    Bride-show: different hiding places: the pigeon-tree, the pear-tree and the loss of the golden slipper during the third evening.
    Shoe-test : Self mutilation. Heroine’s natural beauty.
    Wedding day: punished stepsisters: blood and self mutilation. The pigeons symbolize Cinderella’s mother. The birds’ revenge stresses women rivalry. There is no reconciliation in this tale.

    jueves, 20 de agosto de 2009

    Cinderella analysed by Bruno Bettelheim


    Cinderella has been considered the one of the simplest but most interesting and complete fairy tales of all times. The Austrian philosopher, Bruno Bettelheim, considers this known story has a deep meaning to bare in mind.
    In his book The Uses of Enchantment, Bettelheim offers an extended Freudian's analysis of the characters, themes and different objects readers can find in the tale.
    The key conflict of the story is sibling rivalry which is one of the humanity oldest problems, involves hostility between brothers and sisters and may turn itself into situations of different stages ranging from simple and common children's fights to a continuous hatred between adult siblings. Bettelheim uses Cain and Able from the Bible to support this idea of rivalry.
    Cinderella's stepmother and stepsisters make her work hard all the time while they just rest and see her working and go on demanding her more things to do: cleaning, sweeping, sewing, any homework they want. Consequently, she also has to deal with the oppression from who have power over her and do not appreciate her effort at all. On top of that, her stepsisters make fun of her when she wants to go to the ball. Bruno Bettelheim connects this issue to jealously, a form of sibling rivalry: he explains that a child's mind may cope with this when feeling jealous of his more talent brother or sister and especially because of his lack of confidence in himself and low self-esteem.
    Bettelheim also mentions how devastated a child can be by these human miseries. For this author, Cinderella is a way children use to be able to face conscious and unconscious unpleasant feelings towards the members of their families. Cinderella helps them to deal with these issues and gives them the opportunity of splitting the two parts of a parent's role into a nurturing person, like the dead mother and a frightening evil person, the respurceful stepmother. Moreover, kids find hope in this tale for one day they will be rescued from their sad background as it happens to Cinderella. However, he claims that children reject those versions of the story in which the stepsisters are forgiven after all, as it offends children's sense of justice.
    It is important to highlight that Bettelheim also points out different elements that have a special connotation:
    * Ashes are considered as a trope in German folklore, the insecurities and aggessions between siblings, a child's masochistic desires to be treated like Cinderella and his dreadful feelings of worthlessness. The nest of ashes where Cinderella sits also embodies human misery and hopeless: she is a suffering young woman who serves cruel and wicked mistresses. Apart from this, ashes involve other negative symbols: pain, dirtyness and pollution. One of the central themes in the tale is bereavement, and this is evident in the symbolism of ashes since they reflect loss, death and grieving. Besides, Bettelheim also finds a positive meaning for the same element: purification: grey substance without is impurity. Cinderella gets her name from her role of hearth-keeper: while taking care of the fireplace, gets soots and cinders over her.
    * Cinderella sitting by the fire is related to Vestal Virgins' duties who took care of the Holly fire serving godness Hera.
    * The branch is a symbol of motherhood and godness. Oedipal conflict to be overcome, and it also counts as a falic symbol.
    * Hard tasks are obstacles and previous steps necessary to reach happiness.
    * Her escaping from the ball represents the young woman's desire not to be appreciated only by her physic appearance. Besides, it is sexually ambivalent: it shows her fear to lose virginity and it is also a way to protect herself. In spite of that, her going to the ball several times before giving herself to the prince reflects her desires to commit herself personally and sexually.
    * Cinderella's father destroying her hides embodies a sexual attack: he does not want the prince to take her daughter. On the contrary, it also has a positive meaning: there are no more hides for her, from now on she has to face adult sexuality.
    * The trap on the stairs has the aim to rob her virginity.
    * The slipper and the foot are both fetishistic elements: the former is a symbol of the vagina, while the latter symbolizes the penis. He also finds echoes of menstruation in toes and heels cut off, and purity in the slipper.
    * The mutilation of the stepsisters' feet involves forms of castration. Furthermore, their blindness made them think autocastration would bring them sexual happiness.
    * The ball lasting three days is connected to a Christian number: three days passed before Christ's resuscitation.
    * The fairy godmother in Pierrot's version is the sustitute mother, she appears to compensate the mothering absence.

    jueves, 13 de agosto de 2009

    Once upon a time in a far away kingdom... if you want to go on reading these marvellous fairy tales, just choose one and click:





    * Little Red Riding Hood.
    * Cinderella or The Little Glass Slipper

    * Sleeping Beauty
    * The Master Cat or Puss in Boots.


    * Little Tom Thumb.

    * The Fairies

    * Ricky of he Tuft.

    * Bluebeard.


    Maria Tatar is a Professor of Germanic Languages and Literatures. She teaches Literature for children, Folklore and German Studies at Harward University where she also chairs the Program in Folklore and Mythodology. In her books, including The Hard Facts of the Grimm's Fairy Tales (1987), Off With Their Heads! Fairy Tales and the Culture of Childhood (1992) , The Artificial-Silk Girl (2002), The Classic Fairy Tales (1999), she analyses fairy tales from a sociological point of view for she explores their historical and social origins and the different forms these tales have had over time, their evolution, especially in Anglo-European popular culture, as well as she questions about their psychological dynamics with issues of national identity and gender.
    The author of The Annotated Classic Fairy Tales (2002), Secrets Beyond the Door: "Bluebeard" in Folklore, Fiction and Film (2006), The Annotated Brothers Grimm (2004) and The Annotated Hans Christian Andersen (published in 2007), also takes into account the harsher aspects of these stories originally written for adults: incest, murder, infanticide, cannibalism and multilation, and that had been removed or excised after their authors noticed that parents were reading those books to their children.
    Furthermore, this leading expert in the field of Literature for Children and Folklore takes examples from some of the best-known fairy tales archetypes and compares them to similar tales from around the world pointing out common topics and themes. In addition, Maria Tatar has analysed skillfully the different versions of a same story at different historical moments and geographical places, and highlighted how the characters have evolutionated according to the different cultures, different societies and eras. On top of that, she has presented unknown versions of the tales from a feminist point of view.
    Maria Tatar argues that telling frightening stories with hostiles characters and dark aspects (like death, loss of one parent, anxiety, kids dying at the end of the tales, cruelty and fears) to young children is a way adults use to mistreat and discipline them. She claims that is time to stop casting children as villans, but to help them to understand how to live in a world ruled by adults. For this reason, she explains classics should play a key role in the lives of young readers who definitely love stimulation and visuals and really enjoy fairy tales.




    domingo, 26 de julio de 2009

    Kieran Egan was born in Ireland in 1942, but educated in England. He is an educational philosopher who has written about Education and Child's development. He is the director of the Imaginative Educational Research Group and currently works at Simon Fraser University. He graduated at the University of London in 1966, worked in secondary schools for two years and during a year at the Institute for Comparative Studies in Kingston-upon-Thames. After that he moved to the USA where he started his career of Philosophy of Education at Stanford University. In 1991 he was granted the Grawemeyer Award in Education and two years later was elected as the first person in Education to the Royal Society of Canada. From that moment onwards he received many other prizes because of his work.
    He wrote more than twenty books including: Imagination in Teaching and Learning and Children's Minds, Talking Rabbits and clockwork Oranges. In 1997 he published his major work, The Educated Mind: How Cognitive tools shape our understanding; Getting It Wrong from the Beginning: our progressivist inheritance from Herbert Spencer, John Dewey and Jean Piaget (2002) and Teaching literacy: engaging the imagination of new readers and writers (2006).
    Kieran Egan created the Imaginative Pedagogy, an extremely new approach about education in which he points out the importance of imagination and fantansy as two essential elements to make learning meanful.

    He tries to change the traditional focus on education according to which children learn if they undergo from the concret thinking to the abstract one. It is assumed that children's thinking is concrete, simple and engaged with their local experience, and that children's learning starts from what is known by them. He wonders how if that is so and children's minds are restricted to the everyday details of their social lives, why they are plenty of talking animanls, monsters and emotions. For this reason, Egan explains it cannot be justified that children are not taught History on their first forms at school because they lack the necessary abstract knowledge to understand it. All the contrary, this author indicates that children own the tools they need to give sense to History, learn about the past, understand the struggle for freedom and that they may use those concepts to learn about aspects of the world and experience.


    For Egan, the traditional educational theory does not take into account the most valuable tools young learners have and use to give meaning to their experience and to the new information they are exposed to: these tools are imagination and fantasy.

    He claims educational institutions should be less political and pay more attention to children's emotions. Consequently, he insists on the development of knowledge according to the level of comprehension of the world every child has.

    The author of Teaching as Story Telling describes three stages of cognitive development: oral language, literacy tools and abstract thinking. The first one includes cognitive tools like tales, rhythm, jokes, plays, humour, fears, passions, metaphors, mystery and hopes. The second stage involves a sense of wonder and reality, idealism, revolt and leterate eye; and finally, a search for authority and truth, a sense of abstract reality and a sense of agency form part of the theoretical thinking. The acquisition of these tools leads students to their educational development.

    Moreover, his theory promotes creativity in the classroom. His main purpose is to engage, stimulate and develope children's imagination and cope with the connection between the latter, emotion and learning. To get this goal he encourages teachers to use different strategies to activate students' fantasy and emotions.

    Egan is convinced that children's imagination may become the basis for a successful learning and drive them to increase creativity and flexibility. However, this issue is a difficult stuff to deal with. According to him, generating images from words is relevant to imaginative development. In spite of that, traditional education almost prevents students from doing that by providing them with stereotypical features and images all the time interrupting their fantansy.

    He draws on the curriculum content as a whole emphasising that the different areas of the curriculum (language, social studies, maths, science, art) should be shaped to help achieve this aim and supply what he notices as lacking: an educational theory that stresses imagination. He says it is necessary to incorporate learning activities which outline prominent characteristics of students'creativity in order to awaken imagination and intelligence in the classroom.

    His approach puts meaning-centre stage. He focuses on children's fantasy stories: Egan considers crucial to know how to use the power of the story form (that is cultural universal) to teach any content in a meanful and clear way. Kieran Egan explains that story reflects an elemental and mightful form through which people make sense of the world and experience. Knowing that children are enthusiastically engaged by stories he has designed a model that highlights the power of the story form itself and employs that power in teaching. In his studies he describes some elements of stories like the binary opposites (good/bad; brave/cowardy; truth/lie; peace/violence) which are present in nearly all fairy tales and are powerful tools for acquiring, organizing and categorizing complex forms of knowledge. He considers these elements vital since they allow kids understand fairy tales in which animals and innanimate beings talk although through their experience they know that is not real, as well as to prove the significant power those tales have on children very early in life in all cultures with no time.






    domingo, 12 de julio de 2009

    VLADIMIR PROPP
    This Russian linguistic was born on 17 April, 1895, in St. Petersburg.
    Between 1914 and 1918 Propp studied Russian and German philology at St. Petersburg State University and was a faculty member of the Department of Russian Literature until his death in 1970.
    After collecting hundred of stories from oral tradition in his country, Propp analysed the deep structure of those tales and identified certain patterns and recurrig roles that represented the imagination of the popular culture. In addition, he found out a series of functions which appeared in the construction of the characters and settings of the narratives.
    He published those findings in 1928 in his Morphology of the Folk Tales where he extended the Russian Formalist apprach to the study of the the basic components of Russian folk stories.
    Propp argued that folk tales were born of popular imagination and developed over generations in different communities.
    He also wrote The Historical Roots of Fairy Tales (1946), Russian Heroic Epics (1958) and Russian Agrarian Feast-days (1963).
    He was recognized as one of the inventors of structuralism. His successors, Roland Barthes, Claude Levi-Strauss and A.J. Greimas, spred Propp's taxonomy to look for the narrative elements in the whole contemporary culture.
    Propp identified different types of characters and kinds of actions in a hundred traditional Russian folk tales and was able to arrive at the conclusion that there were thirty-one generic functions and seven sorts of heroes who appeared like archetypes common for all fairy tales. Although these constant elements were not present in every story, he discovered that all the narratives he analysed, displayed the functions in a unvarying sequence. He highlighted five categories of elements that define the tale as a whole:
    • Functions as dramatis personae (character roles of the fairy tale)
    • Conjunctive elements (announcement of misfortune).
    • Motivations (reasons and aims)
    • Forms of appearance of the dramatis personae.
    • Attributive elements or accessories.

    The thirty-one elements Vladimir Propp pointed out are the following :

    1. ABSENTATION: a member of the family abandons the home environment for some reason.
    2. PROHIBITION: the hero is warmed against something.
    3. TRANSGRESSION: the prohibition is violated because the hero ignores the interdiction and goes ahead.
    4. RECONNAISSANCE: the hero and the villain come into contact for first time. The villain makes an attempt at searching for something valuable or trying to catch someone.
    5. DELIVERY: the villain receives information about the victim.
    6. TRICKERY: the villain tries to gain confidence of his victim.
    7. COMPLICITY: the hero acts in a way that helps the villain without knowing it.
    8. VILLIANY and LACK: the villain causes some harm to one member of the family or a member lacks something.
    9. MEDIATION: misfortune is made known by the hero who also discovers the villain's performance.
    10. COUNTER-ACTION: the hero makes the most important decision to provoke a turning point in the story.
    11. DEPARTURE: the hero leaves home.
    12. TEST: the donor tests the hero to prepare him for the reception of magic support.
    13. REACTION OF THE HERO: he fails the test.
    14. GIFT: the hero is given a magical object.
    15. TRIP: the hero is transferred to another kingdom to search for an object.
    16. STRUGGLE: the hero and the villain face off in direct combat.
    17. BRAND: the hero is wounded.
    18. VICTORY: the hero defeats the villain or the latter is killed while sleeping/in combat or banished.
    19. AMENDMENT: misfortune is resolved.
    20. RETURN: the hero comes back home.
    21. PERSECUTION: the hero is pursued or someone tries to kill him.
    22. HELP: the hero is rescued and saved from pursuit.
    23. UNRECOGNIZED hero arrives home.
    24. FALSE HERO presents and claims achievements that are not founded.
    25. DEFFAULT TASK: a difficult and complex mission is given to the hero.
    26. COMPLIANCE: the hero successes when carrying out the difficult mission.
    27. RECOGNITION: the hero is recognized as such.
    28. UNMASKING: the false hero is exposed.
    29. TRANSFIGURATION: the hero changes his look.
    30. PUNISHMENT: the villain is punished.
    31. WEDDING TRIUMPHANT: the hero rescues the princess, marries her and is given the throne.

    viernes, 10 de julio de 2009

    BRUNO BETTELHEIM


    BRUNO BETTELHEIM ( a Jewish philosopher who was born in Vienna, Austria in 1930).
    Between 1938 and 1939 he was in two concentration camps in Austria and he was released before the Second World War took place. After that, he immigrated as a refugee to the United States in 1939. Some months later he became an American citizen.
    After his days in the concentration camps, he published an article in which he described the dynamics there. Despite the fact that many people knew about the cruelty suffered by the prisoners in such places, up to that moment nobody had ever talked about that so openly. When the Second World War finished and Auschwitz became famous for the large number of Jewish killed there, everybody got to know that his words hadn’t been in vain.
    As a Director of the University of Chicago
    's Orthogenic School, a home that treated emotionally disturbed children, Bettelheim became known especially for his work with autistic children. He made changes and set up an appropriate caring environment for a new therapy, in which children could form strong attachments with adults .
    In The Empty Fortress: Infantile Autism and the Birth of the Self, Bettelheim supported the “refrigerator mother” theory of autism in which, he said that this illness had an emotional origin rather than a neurological condition. He claimed that autism was caused by the emotional frigidity of the children’s mothers who were cold and distant, and the lack of stimuli during the first years of life, when language and motor skills developed. Consequently, many mothers of these children suffered from blame and guilt because of the belief that autism resulted from their inadequate parenting. In contrast, Bettelheim assured that a child would internalize the care and love experienced during his childhood only if he was treated with loving care. This attitude of the parents would help a child build up his self-esteem, and the child, in turn, would wish to care and protect himself and his own body.
    Most of his work was influenced by his dreadful experience in the concentration camps and he also related autistic children to conditions in those camps. Bettelheim used the poem Togesfuge (the English version, Death fugue)written by Paul Celan (1) about the death camps, with its famous description of "black milk", and compared his terrible experience there with the carelessness of a mother towards her child and her unconscious desire of death. He said that when one was forced to drink black milk from sunrise to sunset, whether in the camps of Nazi Germany or while lying in a luxury cradle, if there was a deep unconscious death wish, in either situation, a living soul had death for a master.
    In his writings in which he covered a wide range of topics, he insisted on the idea of feeling guilty because he managed to survive in the concentration camps.
    In The Uses of Enchantment (1976) Bettelheim analysed fairy tales in terms of Freudian pychology: he believed that traditional fairy tales, with the darkeness of abandonment, rivalry, witches and death, allowed a child to wrestle with his fears. If he could read and interpret these stories in his own way, Bettleheim suggested, he would have a greater sense of meaning. This author thought that if a child managed to developed a strong ego when very young, he would be able to face difficult situations more easily when grown up by engaging with these socially evolved stories. In addition, he would be better prepared for his future experiences.
    On top of that, this psychologist described how the child's imagination was served by romantic stories, especially the ones that foster the child's developing mind. As well as, Bettelheim highlighted the important collaboration of parent and child in sharing fairy tales to improve the child's developing sensibilities.
    Not only did a kid need those skills, but also a moral education communicated and taught through fairy tales.
    He also discussed the emotional and symbolic importance of fairy tales for children, including the ones considered too dark, such as those collected and published by the Brothers Grimm.
    Bettelheim suffered from depression and in 1990 he committed suicide.


    References:
    Bruno Bettelheim From Wikipedia, the free encyclopedia available at
    http://en.wikipedia.org/wiki/Bruno_Bettelheim
    Bruno Bettelheim. Autism World available at www.autism-world.com/index.php/2007/03/20/bruno-bettelheim/
    In the Case of Bruno Bettelheim available at www.leaderu.com/ftissues/ft9706/articles/finn.html -
    (1) Paul Celan Romanian poet (1920-1970) who was also a Jewish prisoner in a concentration camp in Poland and committed suicide after being liberated.

    Retrieve:
    May 25th

    May 27th

    jueves, 2 de julio de 2009

    IMPORTANT NAMES IN LITERATURE FOR CHILDREN

    Hans Christian Andersen
    The Ugly Duckling, The Steadfast Tin Soldier, The Little Mermaid are some of the most famous tales created by the Danish writer and poet Hans Christian Andersen, who was born on 2nd April,1805, in the slums of Odense, Denmark. Son of a shoemaker and a washerwoman, as a child he received little education and suffered all kinds of humiliations because of his tallness and effeminate interests. When he was fourteen he moved to Copenhagen where he began a career as an actor, singer and dancer at the Royal Theatre.
    In 1822 he published his first story The Ghost at Palnatoke's Grave.
    He loved travelling and he managed to do so throughout Europe. The result was a number of successful travel books he wrote while meeting different cultures, including: A Walking Tour from the Holmen Canal to the Eastern Point of the Amager (1829); Shadow Pictures (1831); Life in Denmark (1836) and Pictures of Sweden (1851). During his journeys he met Honore de Balzac, Victor Hugo, Alexandre Dumas and Charles Dickens, to whom he dedicated A Poet's Day Dreams (1853).
    In 1827 his poem The Dying Child was published in the Copenhagen Post. The Mulatto and Love at St. Nicholas'Tower were some of Andersen's plays performed at the Royal Theatre.
    In 1835 his first novel The Improvisatore appeared; it was autobiographical and used Italy as the setting. Two years later other novels were published: O.T. and Only a Fiddler.
    Since 1835 onwards his Fairy Tales and Stories placed Andersen at the top of Literature for Children. He wrote more than one hundred and fifty stories of this type, written in colloquial style. At the beginning he retold those ones he had learnt as a child, but later on he created his own tales, which in fact have been addressed for both, children and adults, passed through generations and are still being told and adapted by other writers, dramatists and artists. Actually only twelve of his 152 stories drew on folktales. Thumbelina, The Snow Queen, The Emperor's New Clothes, The Princess and the Pea, The Red Shoes, Little Claus and Big Claus, among others appeared in Tales Told for Children, a collection of books published in every Chritsmas during those years.
    In 1846 Andersen wrote The True Story of My Life and the same year he was given the Knighthood of the Red Eagle by the King of Prussia and in 1867 he was made an Honorary Citizen of Odense.
    In 1855 the author of The Ugly Duckling wrote his memoirs in The Fairy Tales of My Life. On the 4th August, 1875 Andersen died in Copenhagen at the age of seventy, and his stories still live on.

























    The Brothers Grimm

    If it were not for these two German writers, Jacob and Wilhelm Grimm, best- known as the Brothers Grimm, many of us wouldn’t have been able to enjoy the classic fairy tales, since they would have been lost in time.
    Jacob (1785-1863) and Wilhelm (1786-1859) were born in Hanau, in the city of Hessen, near Frankfurt. They belonged to a working family and spent their early childhood in the countryside, and between 1790 and 1796 they lived near the magistrates’ house, since their father, Philip Wilhelm, a lawyer and court official, worked for Prince of Hessen.
    They had one sister and six more brothers, three of whom died very young. Their father also died in 1797, so that the Grimm Family had to move into an urban residence and lived there during two years.
    When in 1808, their mother, Dorothea Grimm, died at the age of fifty-two, Jacob began working as a librarian and Wilhelm as a secretary.
    They both attended classes at the University of Marburg to become lawyers. While studying, these two writers started to research and collect folk tales originated centuries before and that had only been passed down by word of mouth. Their main aim was to preserve such material as a valuable part of German culture and history.
    In their resource they included a collection of some of the most famous fairy tales like Hansel and Gretel, Rapunzel, Cinderella, Snow white and the Seven Drawfs and Rumpelstiltskin. In 1812 Jacob and Wilhelm published their first book called Children’s and Household Tales, which included more than eighty stories. On top of that, in the following volume of Grimm’s Fairy Tales, seventy more folktales, and continued up to reach six more editions with two hundred stories.
    In 1825 Wilhelm Grimm married Henriette Dorothea, but throughout their lives the two brothers were very closed to each other and they went on living together.
    Both brothers worked in the University of Gottingen, but in 1837 they were dismissed because they protested against a constitutional violation of the King Ernest August I of Hannover. However, they were offered to take a new position as professors at the University of Berlin where they worked from 1842 to 1852. In the meantime, Jacob became member of the Parliament of Frankfurt. After that time, they decided to abandon their work there and dedicated fully to their studies and writings.
    They became specialized in the German language and also wrote German Mythology, Old German Tales and The History of the German Language. Apart from their books, they also published a German historical dictionary, the Deutsches Worterbook, which was finally completed by other authors in 1954.
    In 1859 Wilhelm died at the age of seventy-three and four years later his brother Jacob also died when he was seventy-eight.
    Many of their fairy tales have become popular among children all over the world and most of us still enjoy those stories full of imagination and have been translated into more than one-hundred and fifty languages.