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Fairy tales have been an essential ingredient in children's literature. Canonical fairy tales passed down from generation to generation not only enrich children's imagination but connote significant values typical of the community. However, as time passes, contemporary writers often challenge these traditional values when they work on the same topic. This changing face is evidenced by Emma Donoghue's rewriting of classical tales. Based on my teaching of Donoghue's story 'The Tale of the Bird' alongside Andersen's 'Thumbelina' at a university in Hong Kong, this paper discusses the ever-evolving cultural values and the benefit of reading Donoghue via Andersen or vice versa in the literature class and beyond. [ABSTRACT FROM AUTHOR]

The aim of this article is to trace the literary historiography of the Bengali rupkatha or the fairy tale. It is a conscious decision to use the two terms—rupkatha and fairy tale interchangeably in the paper because it has been argued that the genre of the Bengali rupkatha received its shape and form in negotiation with the Western fairy tale in the nineteenth century. This article argues that the rupkatha, despite being claimed as an indigenous generic mode, counters the basic premises of Indian narrative tradition and instead, shows alliance to the European fairy tale tradition. The dominant features of the European fairy tales and also the Indian upakatha, the closest possible allies of the Bengali rupkatha, will be discussed, with important departures made from the received generic conventions of the fairy tale. Because the rupkatha has traditionally been considered a naïve, children's genre, it has consistently received less scholarly attention than any other literary genre. The casual treatment of the rupkatha has mostly expressed itself in the form of a vague romanticization. This romanticism has either used the rhetoric of universality or the rhetoric of cultural nationalism, or both at the same time. There has been little effort in locating the historical roots of the Bengali fairy tale; instead, the ahistoricity of the genre has been celebrated time and again because that is what has lent 'charm', 'mystery' and 'antiquity' to the tales. This article will be questioning these much-coveted ideas of timelessness and universality associated with the idea of the rupkatha as well as historically contextualizing the genre. [ABSTRACT FROM AUTHOR]

In today's world, nature is not sufficiently recognized by children, most of whom live in cities. One of the elements that undertake the task of introducing nature to children who do not have the chance to observe nature closely is books. Children's books are among the means by which the first acquaintance takes place in this process. The subject of nature, which is covered in children's books, which has many purposes such as educating children and providing them with a fun time, contributes to the development of nature consciousness and being sensitive to the environment. A nature problem in the book helps the child to develop problem-solving skills, to love nature and to gain awareness of nature, while also making him aware of what to do when faced with a possible situation. As a result of the literature review, it is seen that the subject of nature and environmental awareness are intensively discussed in different education levels, in children's books and in different disciplines. In this study, from Estonia to Japan; It is aimed to determine whether Summer Tales, translated and brought together by Tarık Demirkan from Finland to Turkey from all over the world, are suitable for the deep ecology approach. In the study, in which the document analysis method was adopted, the data obtained from Summer Tales were evaluated with descriptive analysis. The findings are composed of animals (quailpartridge, cow, bird), plant (flower, vegetable, tree), water, sky (sun, star, cloud), air (rain, wind) and others (season, day and night). collected in six categories. As a result; It has been determined that the Summer Tales examined in the study are designed appropriately for children and are suitable for the deep ecology approach in terms of content. It has been concluded that there are messages in the fairy tales that will enable the child to be conscious of nature and create awareness. In this respect, it would be beneficial for children to read the book. Other books in the series, compiled and translated by Tarık Demirkan and illustrated by Feridun Oral, are also recommended to be evaluated in the context of deep ecology. [ABSTRACT FROM AUTHOR]

In his 1952 essay "On Three Ways of Writing for Children", C. S. Lewis discusses three approaches to writing children's literature and defends "that particular type of children's story which is dearest to my own taste, the fantasy or fairy tale" from the charge that it is "childish". In this paper, I define Christian apologetics as "the art and science of persuasively communicating and advocating Christian spirituality across spiritualties, through the responsible use of rhetoric, as being objectively beautiful, good and true/reasonable" and see how Lewis' advice about the rhetoric of children's stories can be generalized and applied to the discipline of Christian apologetics. In particular, many atheists charge Christian Spirituality with being childish. For example, British atheist Richard Dawkins says that religious people "have their Bronze Age myths, medieval superstitions and childish wishful thinking" (Dawkins, Scientific American). Describing his own childhood, Dawkins says: "I think I did believe it up to the age of eight or nine, when preachers said if you really, really pray for something it can happen. Even moving mountains, I believed it could really happen... I grew up. I put away childish things." (Dawkins, "Claims Fairy Tales Are Harmful To Children") In this paper I explore how the dialectical moves made by Lewis in "On Three Ways of Writing for Children" can shape a rational response to such rhetoric. [ABSTRACT FROM AUTHOR]

Traditional literature (including folk tales, fairy tales, and fables) is valued in academic children's literature collections for its value in both direct use (real or hypothetical) with children and the historical, cultural, and anthropological study of folklore. The "timeless" feel of these works, along with their distinctively liminal place between fiction and nonfiction, can lead them to be perceived as indefinitely useful, even beyond their unusually long standard retention period. Nevertheless, in a non-archival academic children's literature collection, routine assessment of traditional literature is necessary and even valuable. This article situates traditional literature in the context of children's literature and its academic study, then describes how the children's folklore collection in one academic library was bifurcated to improve access, browsing ability, context, and use of shelf space. Considerations, including thoughts on developing assessment and weeding criteria, are spelled out for collections considering a similar undertaking. [ABSTRACT FROM AUTHOR]

People, who believed that after the Industrial Revolution humankind and nature had been separated due to mechanisation, tended to escape to a world where things were a lot simpler. Accordingly, a longing for the past and an interest in the exotic had been on the rise in the 19th century Britain. During the same period, within the society, which was believed to have been corrupted due to economic worries, while transmitting moral values to children, folk and fairy tales that were thought to be exotic and had been collected from around the world had become quite popular. The importance of European folklorists and children's literature authors such as Giovanni Francesco Straparola, Charles Perrault, the Grimms and Hans Christian Andersen cannot be denied while the interest that has been shown to these folk and fairy tales is taken into consideration. In addition to these names, Scottish poet, author, folklorist and critic Andrew Lang (1844-1912), with his collection of folk and fairy tales consisting of twelve books that had been collected from different parts of the world and were named after colours that were published in between 1899 and 1910, and his notable contributions to the fields of folklore and anthropology, raises to a similar status with the aforementioned authors. Having also acted as the President of the Folk-Lore society in England for a while, Andrew Lang, continuing the project upon the great attention his first book received, contributed to his curious readers' knowledge of far-away places by collecting the tales from these lands and introducing them to his homeland. Thus, named by critics as the folklorist of the empire, of which frontiers had been expanding on a daily basis, Lang's collection is fit to explore in relation to colonial discourse from the viewpoint of both the coloniser and the colonised. The tales, which had been torn apart from their homelands and became a part of Lang's collection, were put up for sale in the market for the consumption of the British children, who did not even have to get away from the comfort of their homes. In this sense, re-written to appeal to the taste of the white Anglo-Saxon Protestants, the tales' original culture has been secondary to their newly-placed context. In his The Olive Fairy Book (1907), which is the book before the last, taking the age range and psycho-social development of his target audience into account, Lang includes three Turkish tales as well. In the "Preface," Lang states that he has borrowed the tales from the Hungarian researcher Dr. Ignaác Kúnos's 1905 collection called Türkische Volksmärchen aus Stambul (Turkish Fairy Tales from Istanbul). Instead of writing the tales as they are, Lang adapts them with his target audience in mind. When the tales are analyzed all together, it is noted that while Kuúnos tries to remain as loyal to Turkish culture as possible, Lang modifies the details that he thinks would go amiss with the British children, thus colonising the fairy realm. This study aims to demonstrate how in his adaptation of the Turkish tales, "Madschun," "The Boy Who Found Fear at Last" and "The Silent Princess," Andrew Lang, as had been done so far in line with the established "oriental" discourse, while updating the exotic and oriental expectations also transforms the original tales linguistically (hence formally) and contextually (thematically) by re-writing them. [ABSTRACT FROM AUTHOR]

This article argues the importance of the short stories of Angela Carter to the field of children's literature and its current adaptations. It looks at two of her stories. The result is fiction building on some patterns of children's literature yet with a feminist tinge that questions the foundations of patriarchy. Her stories do not simply reverse patriarchy but subvert it from within. Sexual victimization and complicity in one's oppression might be harmful, Carter seems to argue, but equally harmful is the underlying sexual slant of the popular fairy tales told/taught to children and instilling patriarchal values. [ABSTRACT FROM AUTHOR]

Die philologische Frage danach, welche Gattungen es gibt, welche Merkmale sie auszeichnen und wann sie entstehen, können von unterschiedlichen Perspektiven aus gestellt werden: Analysen textimmanenter Strukturen eröffnen einen Blick, der über einzelne Epochen hinausgeht, oder zeigen, wie sich verschiedene Gattungen verändern, einander annähern oder in Vergessenheit geraten. Hingegen ermöglichen Untersuchungen mit dem Fokus auf poetologische Aussagen, zeitgenössische Gattungsverständnisse zu rekonstruieren. In diesem Sinne konzentriert sich der Artikel auf Vorreden und Rahmenerzählungen romantischer Kindermärchen der 1810er und 1820er Jahre. An der Frage orientiert, wie Vorreden und Rahmenerzählungen von Kindermärchen der deutschsprachigen Romantik Einbildungskraft semantisieren, rekonstruiert der Aufsatz dreierlei: (1) die Bedeutung, die der Einbildungskraft im Kontext der Kinder- und Jugendliteratur in den 1810er und 1820er Jahren beigemessen wird, (2) die Konturen, die die Gattung des Kindermärchens anhand der Reflexionen auf Einbildungskraft annimmt, sowie (3) den Verlust des frühromantischen Absolutheitsanspruchs der Einbildungskraft in poetologischen Aussagen über das romantische Kindermärchen. It is possible to approach the philological question as to what genres there are, what characterises them, and when they arise, from different perspectives: analysis of text adjacent structures provide a view which reaches beyond individual eras or show how different genres change, become similar to one another, or are forgotten. In contrast, research with a focus on poetological propositions can reconstruct the relationships between contemporaneous genres. The current article takes this approach and concentrates on the prefaces and framing narratives in German Romantic fairy tales from the 1810s and 1820s. Focussing on the semantics of the imagination in Romantic fairy tale prefaces and framing narratives, the article reconstructs three aspects: (1) the meaning with which the imagination is imbued in children's and youth literature of the 1810s and 1820s, (2) the forms which the fairy tale as a children's genre takes in reaction to reflections on the imagination, and (3) the loss of the early Romantic claim of an absolute imagination in the Romantic fairy tale's poetics. [ABSTRACT FROM AUTHOR]

Hans Christian Andersen's fairy tales have been popular among Chinese readers since they were introduced to China through translation a century ago. This paper studies the translation of Andersen's fairy tales in China by focusing on prominent Chinese translators of Andersen and their landmark translations. Regarding translation as a social activity, the author attempts to interpret the behaviour of the translator in terms of the historical context in which it occurred, as well as the corresponding ideology of literature. It is argued that the language styles and translating strategies adopted by the translators of different ages have varied according to the translator's understanding of the original works, his purpose of translating, the publishers' interests and the readers' expectations in the target culture, as well as the image of Andersen constructed in the socio-cultural context from which the translation emerged. Therefore, the translation practice, which has contributed to the canonization of Andersen in China, is a process of the translators' negotiations with the fluid Chinese poetics and ideology of the 20th century. [ABSTRACT FROM AUTHOR]

Dieser Artikel versucht, Angela Carters Kurzgeschichte The Werewolf im Lichte der Lacan'schen Psychoanalyse zu interpretieren, und betrachtet die Reise des kleinen Mädchens in dieser Geschichte als einen Übergangsritus, dessen Ende der Imaginäre Orden ist. Die Initiation des Mädchens als Frau/Mutter findet nicht in dem Moment statt, in dem sie in die symbolische Ordnung eintritt, sondern als sie ihrer Großmutter nachfolgt. Der Werwolf hat starke intertextuelle Verbindungen mit Rotkäppchen. Die archetypischen Verweise auf die weibliche Natur in der Kurzgeschichte können als Versuch Carters interpretiert werden, die Grenzen im Märchen zu verschieben, um eine verschlingende Weiblichkeit– in alten Geschichten gezähmte – wiederzubeleben und sie im Werwolfmotiv zu reinkarnieren. Summary: This article attempts to interpret Angela Carter's The Werewolf in light of Lacanian psychoanalysis and considers the journey of the little girl in the story as a rite of passage the final terminal of which is the Imaginary Order. The girl's initiation into womanhood/motherhood occurs not when she enters the Symbolic Order but when she succeeds her grandmother. The Werewolf has strong intertextual connections with Little Red Riding Hood also known as Little Red Cap. The archetypal references to female nature in the short story can be construed as Carter's attempt to push the boundaries of the fairy tales in order to resurrect a devouring femininity – tamed in old tales – and reincarnate her into the werewolf. [ABSTRACT FROM AUTHOR]

Abstract: This department highlights language learning for bi/multilingual students worldwide, from our earliest learners to early adolescent writers. It also highlights exemplary teachers and ways that they include research‐based instruction to develop bi/multilingual learners. [ABSTRACT FROM AUTHOR]

A new model of society in post-Soviet Russia introduced novel family patterns to everyday life as well as to children's literature, with traditional parent and children's functions becoming subject to rethinking. The tendency to reconsider parental functions can be observed in texts from different genres, but it appears most overtly in modern fairy tales which, on the one hand, link modernity with the national folkloric code but, on the other, aim to overcome the code. Unlike many contemporary Russian authors for children, who leave little narrative space for parents, Sergey Sedov makes the mother central to his 'Fairy Tales About Mums.' He describes various situations in which this figure regains the depth and comprehensiveness of a Jungian Great Mother Archetype. The author combines different fairy tales, cultural stereotypes and literary themes to create the image of a new mother who possesses various roles, some of which place her in opposition to the gender stereotype of patriarchal Russian folklore. This article uses structural, typological and motive methods of analysis to trace the transformation of the mother's image from the traditional folktale canon to determine its activity-related and axiological aspects and to analyse various manifestations of the mother in terms of the tales' semantic and aesthetic integrity. [ABSTRACT FROM AUTHOR]

Despite the increasing attention paid to the importance of critical literacy in North American early childhood classrooms, critical literacy has been rarely discussed in East Asian classrooms, particularly in South Korea. The present study delineates ways in which a Korean preschool teacher interacts with her young learners during literacy activities to foster multiple perspectives on children's literature and challenge dominant ideologies inherent in text. Using qualitative data from participant observations, video and audio recordings, teacher interviews, and children's artifacts, the study provides the detailed examples of how young Korean children negotiated and constructed their voices through critical literacy activities. The teacher used problem-posing and multimodal approaches as ways to open up critical literacy spaces to facilitate the children's critical engagement with books. This study suggests examining how young children interpret text from varied perspectives has great potential for researchers and educators alike as teachers can better support young children in their development of questioning, challenging, and evaluating the meanings and purposes of texts from an early age. [ABSTRACT FROM AUTHOR]

The article discusses how classic fairy tales empower children in several ways. It mentions that fairy tales were not intended for children and noted that fairy tales joined the canon of children's literature only in the last two to three centuries. It notes that fairy tales appeal to children because they embody patterns of growth and development.

This paper explores the democratic and scientific heritage of the Enzyklopädie des Märchens in the work of the Brothers Grimm. After analyzing the manifold ways in which the Grimms laid the groundwork for the study of folklore in Germany, I discuss the history of the origins of the Enzyklopädie des Märchens in post World War II Germany and maintain that the Enzyklopädie is a major recuperation of the Grimms' tradition. Without being idealistic or utopian in a simplistic way, an argument can be made for analyzing the entries in the Enzyklopädie as indelible (unabgegolten) traces of relevant cultural articulations that bear witness to the quotidian folklore of past generations of different people mainly throughout Europe but also in other parts of the world. As a democratic gesture, the editors of the Enzyklopädie have made a great effort to include the slightest indication of how storytellers conceived stories to make their lives relevant, whether through oral or printed traditions. [ABSTRACT FROM AUTHOR]

Fascicle by fascicle, volume by volume, over the course of the last forty years, the Enzyklopädie des Märchens ( EM) has significantly changed the landscape of folktale and fairy-tale studies. Accompanying the publication of the EM, parallel developments reflected and complemented its influential agenda to promote historical and comparative folk-narrative research. The history of these developments not only illuminates the vitality and interdisciplinary importance that contemporary folktale and fairy-tale studies have achieved; it also helps to identify and explain the challenges we face as we contemplate current research and imagine the field's future. This paper reviews critical developments of the last forty years and then considers how we might come to grips with the ensuing challenge of sustaining, in a responsible way, the comparative study of folktales and fairy tales in a global context. [ABSTRACT FROM AUTHOR]

The article focuses on the queerness of the L. Frank Baum's fairy tale "Oz." The author argues that "Oz" is a queer place. The author explains that in this fairy tale, Baum depicts the fairyland as inhospitable to heterosexual attraction. It notes that in "Oz," Baum allowed gendered freedoms to flourish and enjoyed a comic freedom to invert traditional social codes.

In Christopher Healy's (2012) children's book, The hero's guide to saving your kingdom, the idea of hegemonic masculinity is subverted in various ways. In this reinvention of four fairy tales - 'Cinderella', 'Sleeping Beauty', 'Snow White' and 'Rapunzel' - the author seems consciously to subvert the prevalent stereotypes surrounding traditional representations of the idealised, yet largely uninterrogated image of 'Prince Charming'. All four of the princes who feature as protagonists in the book express their dissatisfaction at the prescriptive expectations that govern every aspect of their lived realities. Healy explores alternative ways of representing this type of character to modern child readers, in many cases testing the boundaries that dictate which physical characteristics and behavioural patterns are allowable in such characters. This article explores Healy's negotiation of masculinity in the context of its intended 21st century child audience. [ABSTRACT FROM AUTHOR]

This article discusses diversity issues evident in fairy tales and explores the pedagogical implications for adding counter-narratives in the school curriculum. Critical Race Theory is employed. In order to uncover contradictory discourses of race within Black cultures, four Africana (African, African American, and Caribbean) Cinderella tale types are analysed. The conclusion is that although the tales are racially similar and fulfil diversity requirements in a literature-based curriculum, such tales are not necessarily interchangeable. Rather, there are ample differences that warrant further attention. It is important that schoolteachers be aware of this, as they develop criteria that may enable them to make informed decisions about children’s books for their classrooms. [ABSTRACT FROM PUBLISHER]

I analyze how Kurahashi Yumiko (1935-2005) reworks the Grimms' "Snow White" in the fairy-tale collection Otona no tame no zankoku dowa (Cruel Fairy Tales for Adults). Exploring Kurahashi's approach to fairy tales and her controversial relation with postmodernism and gender studies, I focus on how "Shirayuki hime" (Snow White) reproduces and deconstructs the models of femininity conveyed by the Grimms' tale. [ABSTRACT FROM AUTHOR]

The article discusses the entry of the Brothers Grimm's fairy tales in China in three stages with the focus on the authoritative complete version by Yang Wuneng published in 1993. Topics covered include the influence of the fairy tales on the Chinese Folklore Movement and the early Chinese children story authors, and the popular public reception of and academic interest in the fairy tales in China as of 2013. Also mentioned however, is the lagging research on the Grimm's fairy tales.

The article discusses how middle school students use morphemes, or units of meaning within a word, to conclude the meaning of an unknown word and what teaching methods can be used to promote this. The authors note that many students use morphological knowledge, or awareness of a root word's meaning, along with morphological awareness, or the ability to relate a morpheme to a word's meaning, to improve their vocabulary, spelling, and reading comprehension. Particular attention is given to how this learning strategy is used by English language learners (ELs) as well as on a study of effective teaching methods for U.S. middle school students.

The purpose of this study is to investigate how educational use of Rwandan children's literature, mainly fairy tales, can challenge traditional gender roles in Rwandan education. Indeed, researchers in and authors of children's literature argue that the manner in which gender is represented in children's literature impacts children's attitudes and perceptions of gender-appropriate behaviour in society. In this respect, contents with gender stereotypes can offer children a privileged opportunity, given appropriate educational intervention to re-examine their gender belief and assumptions, leading them to adopt more egalitarian attitudes. Children's reflections on gender in a fairy tale of Ndabaga, a female protagonist portrayed in non-traditional gender roles are analysed. The plot and characters were discussed in gendered groups of children (aged 10-12) from one rural and the other from urban primary schools following guiding questions. The findings show that children of both sexes reacted positively to the female character, portrayed in male roles, which has been traditionally unacceptable. All children expressed positive attitudes toward a change of traditional gender roles as the latter obstructs full realisation of females' rights. [ABSTRACT FROM AUTHOR]

The article examines the diversity issues that are embedded in fairy tales and explores socio-political implications for the construction of so-called able-bodiedness. Critical disability theory is discussed, as are studies that provide alternative approaches to reading children's texts that explore disability. In order to expose the discourses of power, four of Hans Christian Andersen's tales that feature non-human characters with disabilities are analyzed. The conclusion is that, though seemingly innocent and thus supposedly pertinent for children's reading, fairy tales are loaded with ableist ideology. [ABSTRACT FROM AUTHOR]

The article discusses the challenge faced by comparative children's literature concerning the globalization and "glocalication" of children's literature. It mentions that the latter involves the logic between worldwide paradox and similarity, and revival of the local. It cites Filipino author Anna Katrina Gutierrez's effort to resolve the issue by exploring the link between glocalization and national identity formation in four Philippine fairy tales from Severino Reyes's Mga Kwento ni Lola Basyang series.

In this article, the author discusses the issue of the appropriate definition of children's literature. It mentions that the author considers defining children's literature as consisting of literature specifically composed for children insufficient as a number of famous children's stories, such as "The Little Prince," "Peter Pan," and "Huckleberry Finn," attempt to draw the attention of mixed reader age brackets. The article also cites the problematic nature of defining children's literature based on authorial intention.

The fairy tale, as it was called in the 19 century, is that tale in which a certain amount of magic is taken for granted (Purves & Monson 1984:23). Fantasy, stereotyping and "happily ever after" are concepts that embody the spirit of the fairy tale. For centuries, both fairy tales and folklore have taught children to cope with things they are afraid of (Friedmeyer 2003). While fairy tales like Cinderella and Snow White and the seven dwarfs shed light on human interaction, they also draw children into worlds filled with stereotypical characters and settings. Simultaneously, it must be noted that fairy tales have their roots in folk tales and, therefore, were not initially intended for the amusement of children, but for communities as a whole (Purves & Monson 1984:24). To the same extent that oral folk tales constantly change in their retellings, literary fairy tales have been embodied in different ways according to particular socio-historical cultural and aesthetic settings (Canton 1994:16). Over the years, not only has Disney stepped in and set the standards for feature-length fairy tale films in the world of cinema, but Disney Studios have been able to retain a market stranglehold on fairy tale films up to the present (Zipes 1997:89). [ABSTRACT FROM AUTHOR]

The paper presents Greimas' actantial pattern applied to Ion Creangă's fairy tale and tries to give a clear image of the hero's evolution, according to some peculiar aspect of this pattern, such as the modalities of the action. [ABSTRACT FROM AUTHOR]

Abstract: While the origins of the absent or dead mother in literary classics have been explored at length, less attention has been paid to the role grandmother figures play once the impact of the mother has been minimized or eliminated. In many of the most influential tales our children read, female elders, unlike the mothers, are granted the right to live but are cast in hopelessly stereotypical terms. The result is a handful of characters with a handful of attributes that perpetuate themselves throughout literary history, crowding out more diverse and multi-dimensional portrayals. Doing away with important female characters reveals a deeply entrenched sexism which is then compounded by a hefty dose ageism when female elders are permitted to appear only to be diminished. Women in children’s classics fare badly, but old women do even worse. [Copyright &y& Elsevier]

Eliseo Diego (1920-1994), one of Cuba's and Latin America's most celebrated poets and short-story writers, had a lifelong interest in fairy tales--as a reader and, professionally, as a translator and the director of the Department of Children's Literature of the National Library of Cuba. His essays on the folktale stress their importance in education, their poetry, and their relation to time. Translations of two of his poems are included. The first, "The Girl in the Forest," retells "Little Red Riding Hood" from the point of view of the wolf. It becomes a story of impossible longing. The second, "Mother Goose," portrays her in a much different manner than we're used to--as an old peasant woman in a dark hovel who has the power to summon for her listeners the moment of creation. [ABSTRACT FROM AUTHOR]

This article draws on a recent research project in New Zealand on teaching literature in the multicultural classroom. Its focus is on how one teacher-researcher used the cultural and linguistic diversity of a junior, secondary English class as a resource in the development of her programme. It details a sequence of activities designed for a unit of work on the critical reading and composition of fairy tales, viewed as a popular genre across all cultures, and the impact of these activities on student participants. A range of pedagogical strategies are identified as successful: viewing cultural and linguistic diversity as a resource, empowering students to contest textual meaning, modeling, task-based inquiry and whole-class activity. [ABSTRACT FROM AUTHOR]

The article discusses the functional approach to folk psychology particularly in telling stories to children without using words. It states that the said approach will identify it with the practice of explaining behavior and propositional attitudes. The article also discusses the evidence of pre-linguistic human children who are engaged in explanatory practices.

The Canadian young adult novel The Maestro by Tim Wynne-Jones foregrounds the relationship between imagination and subjective agency. While Burl uses his imagination at the beginning to protect himself from his abusive father, his fantasies become dress rehearsals for small performances that allow him to try on new identities and exercise autonomy through conscious choice of possible actions. The protagonist’s imagination, nurtured by reading fairy tales, allows him to move out of his lonely private realm into intersubjective relationships with others, particularly with parental figures who support his developing sense of agency. [ABSTRACT FROM AUTHOR]

This paper sees Neil Gaiman’s Coraline as following a darker tradition in children’s literature, most commonly found in the fairy tale. It explores some of the existential issues that concern us all: to do with identity, sex, death, ontology, evil, desire and violence. The article takes a largely psychoanalytical approach, showing how Freud’s concept of the Uncanny is particularly helpful in explaining both the text’s appeal, and its creepy uneasiness. Namely, our fears about existence and identity as separate beings: our worry that we will either not be noticed (being invisible and isolated), or we will be completely consumed by the attention of another. Lacan’s concepts of the Symbolic and the Real provide the theoretical underpinning for this reading, together with Kristeva’s notion of the abject. [ABSTRACT FROM AUTHOR]

The article focuses on the concept and principle of children's literature. It has been believed that the lack of mythodology recall knowledge in adolescents is caused for concern. The cultural norms represented in fairy tales play a vital role in the socialization processes of the child who reads them that contain the shared beliefs about gender roles held by the child's society. Moreover, they affect the way children are treated by peers, environment and adults and influence future behavior expectations.

The article focuses on the significance of fairy tale characters in fantasy books among the U.S. teenagers' literary experience. It is noted that fairy tales are an introduction to the realm of fantasy literature for children. Studies show that children between the ages of five and ten are the primary audience of literary fairy tales. At this stage of development, children enjoy these stories for their magical elements, sense of justice, triumphs of good over evil and themes relatable to their own experiences. Choosing a picture or illustrated conventional retelling tends to reintroduce children to the basic story outline, characters, and overall theme. Experiencing the concept of character analysis and the ability of connecting various texts are positive possibilities through discussions.

This essay explores the physical, emotional, and spiritual manifestations of heterosexism in childhood education. While there is abundant children's literature dealing with gay and lesbian parents of presumably straight children, little exists in this literature that directly addresses a child's developing gay, lesbian, or bisexual orientations. The author argues that rampant heteronormalcy in children's texts must be challenged just as feminists and multiculturalists challenge the moral and social prescriptions of "conventional" master narratives. Sociological and psychological studies substantiate that children's toys, games, cartoons, songs, and books affect children's perceptions of themselves and their world; this essay therefore reminds that "traditional" fairy tales and nursery rhymes are potent cultural markers that substantively impact childhood and by extension adult feelings of self-worth and legitimacy. [ABSTRACT FROM AUTHOR]

This article focuses on Keir Hardie's forgotten fiction and journalism for children, published in his paper The Labour Leader during the 1890s. It argues that Hardie's dialogue with child correspondents was shaped by a socialist periodical culture that redefined reading as a communal, political activity. Relating Hardie's appropriation of fantasy to that of a fellow socialist editor, John Trevor, the article examines the fairy tale as a propaganda tool in the process of ‘making socialists', but also questions the model of child readers as passive consumers, arguing that young readers were both empowered and controlled by Hardie's journalistic strategies. [ABSTRACT FROM AUTHOR]

The article focuses on the development of children's literature in the eighteenth and nineteenth century in Great Britain. The development started from the circulation through oral culture to the combination of French and European traditions that characterize the history of fairy tales. The continuous innovation of fairy tales has emerged from the shadow of criticisms and adapted the demands of children.

This article considers the cultural messages embedded in the patriarchal canon of fairy tales and their implications for the construction of gender-appropriate behavior. The characteristics of feminist re-visions of fairy tales are discussed, and studies that explore the importance of access to alternative discourses in order for children to challenge dominant ideology are reviewed. Finally, four versions of Cinderella are analyzed, considering if and how they provide children with alternative positions to occupy. [ABSTRACT FROM AUTHOR]

The article examines the theme of female independence and power in Louisa May Alcott's novel "Behind a Mask." Since Leona Rostenberg's 1943 discovery of Louisa May Alcott's pseudonym, several critics have discussed the connections and divergences among Alcott's realistic children's fiction, her serious fiction for adults, and her suspenseful tales for popular magazines. In his introduction to Alcott's "Fairy Tales and Fantasy Stories," Daniel Shealy reveals that Alcott's thirty-eight fantasy tales have largely been ignored by both the reading public and literary scholars. As a re-telling of "Beauty and the Beast," via Jane Eyre, "Behind A Mask" reverses many traditional aspects of the tale in an effort to convey a feminist message. In Alcott's story, the "Beauty and the Beast" roles are reversed, and Jean Muir, while posing as Beauty, is simultaneously the Beast in the tale. With this characterization, Alcott challenges nineteenth-century ideas about how women behave, are perceived and treated. Thus, the ending of Alcott's "Behind a Mask" is complex and problematic in its rendering of female independence. On the one hand, Alcott's retelling of Jane Eyre is subversive in emphasizing Jean's ability to attain her goals, as well as in its criticizing of the kind of society she must achieve them in. It cleverly details how the power of the beast is not something that is reserved solely for male characters.

Examines the ways in which dialect phenomena are manipulated in the fairy tales to achieve the goals of children's authors the Brothers Grimm. Efforts of the brothers to give their tales a dictinctively German character; Strategies used by the Grimms that may have played an important role in lending the tales a more authentic, and more oral, cast; Use of verse in their stories.

This article documents my interpretation of The Secret Garden . Re-visioning The Secret Garden as a Sleeping Beauty tale was the key that made it possible for me to recognize the story as Mary's quest tale and as a feminine, subversive text with covert, symbolic messages. To arrive at my interpretation, I explored a series of questions dealing with issues such as sight, speech, power, gender construction, and symbolism. My interpretation reveals the positive and potent ways women subvert the hegemony of patriarchal society and the celebration of the divine feminine within The Garden . [ABSTRACT FROM AUTHOR]

Wilhelm Hauff wrote three collections of fairytales that are still widely read in Germany. One of his most popular tales is Dwarf Nose , available in three English translations since 1960. It tells of a boy who is turned into a squirrel for seven years, then regains human form as a dwarf with a long nose before finally achieving normal adult proportions. The story includes details that suggest a sexual interpretation. [ABSTRACT FROM AUTHOR]