fairy tales

For many centuries now, stories have been told. However, Literature books for children are quite more recent. Literature for children only came up during the mid XVIII century, during a reorganization of the bourgeois education. Before that time, the concept of childhood was not close to the one that exists today, neither was Literature for children. As Literature has an important part in developing the intellect of young people, it also exteriorizes feelings such as fear and distress. This project aims to show, therefore, how important Fairy Tales can be to young people during the process of externalizing real consternations and preventing more serious problems like the use of drugs. Through a bibliographical analysis that will describe the making of the first tales, we will also describe the history of Jung’s Psychanalysis and its main ideas. This research aims to show, after all, how useful can Fairy Tales be, not only in terms of Literature itself, but as a mean of helping young learners to read, write and express themselves in a better form.

Bengt Holbek’s magnum opus (literally, 660 pages) definitely deserves the serious discussion that Francisco Vaz da Silva has opened up in his article. A preliminary problem regarding a discussion about Holbek’s book may, due to its vastness, be a lack of agreement as to which of its multiple perspectives might provide the most worthwhile focus for discussion. Da Silva takes up a central problem that certainly deserves careful consideration, i.e., the way Holbek gears the concept of symbol to his analysis of the meaning of texts. He has also paid attention to the important subtitle of the volume, namely “Danish Folklore in European Perspective,” as his frequent references to studies in European folklore attest. I fully agree with da Silva’s criticism of the closed system of symbols that is invoked by Holbek’s application of Freudian projection as the main, indeed the only, key to the interpretation of the marvelous in fairy tales. The same criticism has been voiced by Isabel Cardigos who replaced Holbek’s notion of the symbols of fairy tales as a “code” (Holbek 1987:202) with the term “symbolic language” (Cardigos 1996: 14-5, 43). The methodological implication of the term “code,” as shown in Holbek’s work, is his unequivocal position that the code stands for the projection of the narrating individuals’ postulated feelings. Cardigos’s terminological and theoretical choice of “language” enables a more open literary analysis which avoids reduction to one given sign system. Both Holbek’s and da Silva’s approach to the marvelous could be enriched by consulting Todorov on what he prefers to term the fantastic, the generic epitome of which is in fact the fairy tale (esp. 1975, 1982).

Most compelling evidence uncovered from the analysis showed that the excluded fairy tales shared representations of the supernatural and the summoning of demons. Morbid and thanatological descriptions with mentions of graveyard, corpses, and the mutilation of recently deceased people, the use of the bones through a maceration in which the body goes through a process of deleshing and all internal organs removed. hese are happenings described in Binnorie. So, when a fairy tale presented such themes that conveyed questionable adult behaviour, these would imply signiicant alterations that could lead to changing the meaning of the source text. here is no translation in cases like these. he Victorian Era has a high frequency of representations of death, and according to Jacobs (1981), the EFTs relect that in their plots. he remaining descriptions of corpses and skeletons hereupon managed to continue in some of the TTs (e.g. “Jack the giant killer” and “Mr Fox”) as a means of describing and emphasising the heroic deeds performed by the good guys.

addition to its oral popularity, it has enthralled millions of readers. Thanks to collections such as the Grimms and Andrew Lang and tellers such as the Walt Disney and other movie producers, western fairy tales have been enjoyed by the whole world, which has been stimulating vast studies and researches on them as a genre from various dimensions. Such as Historic-Geographic scholar Walt Anderson’s Kaiser und Abt: Die Geschitchte eines Schwanks; Psychological interpretation of Sigmund Freud whose study, The Occurrence in Dreams of Material from Fairy Tales, connects fairy tales to dreams and unconsciousness; Claude Levis-Strauss’s structural approach and the socio-historical and Feminist study by Jack Zipes, Don’t Bet on the Prince: Contemporary Feminist Fairy Tales in North America and England. Most fairy tales show a dominant male society, either visible or invisible, even though many of their protagonists are female. In the realm of man, those female characters are inclined to become victims or the ones in need of being rescued by a male figure. Even in the ‘liberated’ twentieth century, women fighting for gender equality can be seen in many countries because they are not liberated. However, many modern fairy tale tellers, such as Angela Carter, Jeanne Desy, as well as film producers, revealed a new woman who is untapped, no longer stays silent, trying to create a new era of fairy tale so that her voice can be heard. This dissertation aims to discuss how the feminist self and consciousness comes into being in the rewriting of those tales.

Abstract: This article deals with the possible influences of fairy tales in the construction of children's identity. For this purpose it is based on the findings obtained in an ethnographic study carried out in two early childhood schools in the city of Erechim/RS. As part of the study, two teachers who work in early childhood education with classes aged 3 to 5 years were interviewed, and observations were made regarding the approach they used when working with tales in the classroom, followed by group conversations with the children on the subject. The results of the research indicate that the possibilities that the work with tales poses for the construction of learning by the children, as well as for the formation of their identities, can be broader or more restricted, depending, among other factors, on the way the work with the theme is conducted by the teachers. The view they hold on the role literature plays in the formation of children and the way they translate that view into educational work, making this universe of references reach the children, can generate rich opportunities to foster their reflective and imaginative activities, their skills in dealing with emotions, as well as their cultural repertoire. It is concluded that teachers, when acting as mediators in promoting the encounter of children with tales and other literary modalities, can contribute decisively to their development as social and knowledge subjects.

Assim, muitas vezes as leituras/discursos/textos que tratam do papel da mulher confundem- se com a análise de formação da família, pois a instituição do privado/doméstico como espaço [r]

Por mais que os contos trazem finais felizes, a criança precisa ter em seu repertório de literaturas, textos que a ajude a entender, a se própria e ao outros, a literatur[r]

famtly structure and kinship, he suddenly rcaLzed that fa:ry tales of the sort collected by Portuguese folklorists and others contained a folk reptesentation of the proble[r]

Also important to Holbek’s thesis is the pattern of semantic oppositions characteristic of fairy tales, summarized by him as High-Low, Male-Female, and Young-Adult. These oppositions encapsulate in their various combinations the three conflicts inherent in fairy tales, to wit conflict between the generations, the meeting of the sexes, and social opposition between the “haves” and the “have-nots.” In other words, there are three categories of crises occurring in such tales. The first includes “Those of the young in their parental home: incestuous attraction; the rebellion of the young against the tyranny and abuse of their parents; the desire of the young to obtain independence; or, conversely, their being sent away from home prematurely;” the second category includes “Those associated with the meeting of the sexes: learning to appreciate and love a person of the opposite sex; winning the other person’s love; his/her attachment to the parent of the opposite sex;” and thirdly, “Those associated with establishing a secure basis for the married life of the new couple, which implies the recognition of the low-born partner by the high-born partner’s family and the older generation’s acceptance of the necessity of relinquishing its hold on the “kingdom” to the younger generation” (p. 418).

As we have seen, the emphasis is on the decisive feature of fairy tales, all of them: to raise issues that confront children in their development process and to offer them the level of the symbolic, so that they can deal with these issues. There is the character of initiation rite: the tests to which these beings in development will be submitted in the turning points of their existence, to move to another stage in life, to grow up. Children need to change to overcome something that hinders their development; they have - as the saying goes - “to change what is in their heads.” Not by accident the title character is named by the three authors based on something they carry on their heads: hoods and ribbons; it is the colors that change. In all three cases it is a metonym. We learn in grammar: metonymy is the use of the part for the whole, of the possessor by the thing possessed, etc. The hood comes to name its owner. But both the hood and the ribbon represent, by contiguity, the head and thoughts.

146, I quote from the fine translation of Perrault’s moral by Tatar, Hard Facts, 13. 147. The oral variant chosen as an example of the French oral texts by Delarue, Conte populaire 1, 375–81—translated in Delarue, Borzoi, 230–32, and Delarue, “Story,” 15–16— features a werewolf. Indeed, such creatures are regular denizens of the forest cabin in French fairy tales, see Francisco Vaz da Silva, “Teaching Symbolism in ‘Little Red Riding Hood’,” in New Approaches to Teaching Folk and Fairy Tales, ed. Christa Jones and Claudia Schwabe (Logan: Utah State University Press, 2017), 176. Angela Carter lucidly resurrected the

Ultimately, the point is that fairy-tale exchanges are good to think with. In the old days, people would directly respond to each other’s oral tales, swap stories, and build new variants out of previous threads—that is how tales used to talk to each other in people’s minds. Today, the erstwhile vibrant points and counterpoints of oral storytelling linger in dusty archives and yellowing books. Yet, these old themes are persistently dialogic. As we load them back onto living memory—as we wake them up from their enchanted sleep—fairy tales still work their magic on a pan- European scale. As long as we follow their intertextual exchanges, fairy tales grant us the regional flavours of Europe as well as the metaphorical underpinnings of a shared popular culture.

Of course, the Disney company traditionally has relied on myths and fairy tales for its classic animated features. But another set of myths based on widespread assumptions about the company and its founder seems to protect Disney from critical scrutiny by the general public, as well as by scholars who have studied the company's cultural products. The discussion that follows considers five assumptions that are typically made about Disney: 1. Walt Disney was a creative genius who was responsible for the company's success; 2. The Disney company is somehow special and unique, not like other corporations; 3. Disney is only for kids; 4. Disney's products are harmless, safe and unbiased; and, 5. Everyone adores Disney. The arguments made to question these myths are drawn from a wide range of studies from different disciplines, but rely heavily on the integration of political economy, critical cultural analysis and reception research.

Desde o estudo de George Lyman Kittredge, Chaucer and his poetry (1915), tem se enfatizado a riqueza estilística dos contos de Chaucer em relação à variedade dramática dos seus narradores. Isso significa que cada um dos peregrinos de Chaucer possui uma voz autônoma, peculiar, ricamente estilizada e construída. Tais vozes interagem entre si e quebram o que seria a onipresente voz do seu autor/narrador, como no caso dos contos essencialmente aristocráticos de Decameron. Nos Canterbury Tales, os personagens inter- rompem uns aos outros, acrescentam informações e enriquecem as narrativas, passam uns a frente dos outros no que seria a ordem social primeiramente sugerida, resultando numa diversidade dramática e numa individuação narrativa inéditas em qualquer obra do período medieval, cujos personagens, em sua gritante maioria, são “estáticos e distantes”, diferentes dos de Chaucer, “dinâmicos e vívidos” 10 .

Após a correção, a compreensão do teorema de Tales pelos alunos do 9º ano ficou evidenciada quando notamos que o aluno atinge o nível 4 da teoria de Van Hiele, ao se tornar capaz de entender e realizar as compreensões lógicas formais do teorema, reconhecendo diferentes possibilidades para um mesmo conceito ao adquirir uma compreensão lógica-matemática de um aspecto global do teorema estudado. Por outro lado, o aluno do 8º ano está limitado pelo nível 3 da teoria de Van Hiele, já que consegue reconhecer e realizar inter-relações entre as propriedades a partir do raciocínio intuitivo, entretanto não compreende a necessidade de encadeamento entre as propriedades do teorema de Tales. Logo, podemos destacar duas perguntas que surgiram no momento da correção, que nos permitem realizar as análises supracitadas.

O presente estudo apresenta os resultados de uma investigação acerca de como a História da Matemática e o Teatro podem contribuir para a construção do conhecimento matemático de estudantes do 9º ano do Ensino Fundamental, por meio da vivência, preparação e execução de uma peça teatral, além da apresentação do script. Este traz uma abordagem histórica, definindo tempo e espaço dos acontecimentos, situando o leitor e o espectador a fazerem o percurso na biografia de Tales de Mileto (624-546 a.C), criando situações, que levaram ao estudo e a discussão dos conteúdos relacionados ao possível episódio da medição da altura da pirâmide de Quéops e ao Teorema de Tales. Isto posto, a proposta pedagógica implementada no decorrer deste trabalho, foi fundamentada em pressupostos teóricos e metodológicos da História da Matemática e do Teatro, baseando-nos em autores, tais como Mendes (2006), Miguel (1993), Gutierre (2010), Desgrandes (2011), Cabral (2012). No que concerne aos procedimentos metodológicos, utilizamos a pesquisa qualitativa, porque responde a questões particulares, analisando e interpretando as informações geradas no campo da pesquisa. Como instrumentos metodológicos lançamos mão da observação participante, do questionário aplicado aos estudantes, do diário de campo e dos textos dissertativos produzidos pelos estudantes. O tratamento e análise dos dados colhidos por meio dos questionários foram organizados, classificados e quantificados em tabelas e gráficos para facilitar a visualização, a interpretação, a compreensão e a análise dos dados. A análise dos dados corroborou com nossa hipótese e contribuiu para aperfeiçoar e indicar o uso da peça teatral como uma atividade motivadora nas aulas de Matemática. Assim, consideramos que o script elaborado, ou seja, o produto educacional proposto trará importantes contribuições para o ensino da Matemática na Educação Básica.

Postcopulatory sexual selection is an important force in the evolution of reproductive traits, including sperm morphology. In birds, sperm morphology is known to be highly heritable and largely condition-independent. Theory predicts, and recent comparative work corroborates, that strong selection in such traits reduces intraspecific phenotypic variation. Here we show that some variation can be maintained despite extreme promiscuity, as a result of opposing, copulation-role-specific selection forces. After controlling for known correlates of siring success in the superb fairy-wren (Malurus cyaneus), we found that (a) lifetime extra-pair paternity success was associated with sperm with a shorter flagellum and relatively large head, and (b) males whose sperm had a longer flagellum and a relatively smaller head achieved higher within-pair paternity. In this species extrapair copulations occur in the same morning, but preceding, pair copulations during a female’s fertile period, suggesting that shorter and relatively larger-headed sperm are most successful in securing storage (defense), whereas the opposite phenotype might be better at outcompeting stored sperm (offense). Furthermore, since cuckolding ability is a major contributor to differential male reproductive output, stronger selection on defense sperm competition traits might explain the short sperm of malurids relative to other promiscuous passerines.

As histórias são divididas em arcos (conjuntos de edições que contam uma mesma história), que podem durar em torno de quatro edições e que se renovam a cada f[r]

Para cotejar los datos observados realizamos una entrevista a cada maestra, durante la última semana del curso. Intentamos constatar el estilo docente y el contexto previo del que partí[r]

A presente pesquisa de caráter quali- tativo foi desenvolvida durante as aulas de Matemática, com uma turma de vin- te estudantes de uma oitava série do ensino fundamental de uma escola da rede pública de Tijucas, Santa Catarina, no período de duas semanas. A ideia principal desta pesquisa foi apresentar o teorema de Tales por meio da constru- ção de maquetes, alinhavado a algumas dificuldades de aprendizagem conceitu- al em Geometria que os estudantes apresentavam. Segundo Rogado (2004), a estratégia de maquetes desenvolve a possibilidade para minimizar as incoe- rências conceituais que persistem no ensino. Para Silveira, Nader e Dias (2007), a prática de maquetes quando formalizada no âmbito da escola, per- mite uma função primordial que consis- te na construção de conhecimentos ge- rais que permitam aos estudantes apro- priarem-se dos bens culturais histori- camente produzidos pela sociedade. A experiência foi conduzida pelo profes- sor da turma, autor deste artigo, que organizou em três momentos.