Wow, this truly has been an adventure. I never imagined I could engage and respond to fairy tales. This class has shown me many things about how I read tales I once believed to be innocent and simple.

    First, fairy tales are meant to entertain adults just as much as they are for children. By reading the tales back to the original format, I can see that there are so many levels to many of them. The stories are so much more than just a plot with a beginning, a middle, and an end. The complexity brought through the characters adds enjoyment for all ages but especially adults. Second, many of the tales do not always portray children in the most positive way. Yes, the tales had a major youthful audience, but many times the heroine disobeyed whatever instructions had been given.  Lastly, these stories illustrate emotions that are still rampant today. Jealousy, rage, revenge--these human emotions, although they are faults, still relate to audiences.

    As a high school English teacher, this class has given me a fresh aspect on stories  I have not read in years. I have found ways to incorporate some of the tales within the class and ever stifling curriculum. My students, along with me, enjoyed being reintroduced to tales they read as children.

Credit: http://1ceeps2015.global2.vic.edu.au/files/2015/08/Happily_Ever_After-sfgftg.png. 5 Fairy Tales ...

The Evolution of Red

            With over fifty versions of her tale, Little Red Riding Hood’s rich story dates back to the 11^th century poem detailing a young girl in a red baptismal cloak. All versions of the tale remain consistent with the heroine encountering a dangerous beast (wolf) while on the way to visit her grandmother. As the intended audience changes from the educated elite to the young children, the suggestive implications of the tale also change. Charles Perrault offers the tale of an innocent girl eaten by the dangerous wolf. Jacob and Wilhelm Grimm recount Red Riding Hood’s attack by a wolf, but she finds safety through a huntsman. Going against the trend, Roal Dahl introduces the reader to a more contemporary Red Riding Hood who refuses to be devoured by the wolf and reacts with violence. Although many details change, the various versions of “Little Red Riding Hood” show the timeless tale of a young girl stalked by a predator.

            Different variations of Little Red Riding Hood develop all over the world. Many believe the tale has East Asian origins, but Rachel Shae used the scientific method to find the tale originated in an 11^th century poem recorded by a Belgium priest. The tale recounts a young girl who wears a “red baptismal tunic” and encounters a dangerous wolf (Shae). With all the different versions, the main details stay the same—the color red, the innocent girl, the wolf.  

            Credited with originally writing down the fairy tale, Charles Perrault published “Le Petit Chaperon Rouge” in 1697. Scholars have tried to connect elements of the tale to Greek mythology, but all attempts come up short. Perrault published his tale in Paris following the fashionable trend brought on by the court of Louis XIV. Nancy Mavrogenes found “two levels of the tale: the literal one for the children and the symbolic for adults, wherein the wolf in bed seduces the girl.” The moral presented at the end of the tale reinforces the implied audience and offers a warning to young ladies. Perrault warns his audience to “beware of wolves, especially the gentle ones who deceive with sweet words” (Rholetter). Even though most of the modern interpretation derive from Perrault’s printed version of Red Riding Hood’s tale, he does not receive credit inventing it.

This scene was inspired from “Little Red Riding Hood” by Charles Perrault and published by El Mundo Ilustrado in Barcelona, Circa 1880. Red is presented as an innocent young girl unaware of the vicious predator she has encountered.

More than one hundred years later, Jacob and Wilhelm Grimm published their own version of “Little Red Riding Hood”. While following the same plot, the Grimms breakaway from Perrault by giving Red Riding Hood (and in some versions, her grandmother) a happy ending. The brothers published Rotkäppchenin 1812, and the ending’s inspiration comes from German folklore (Mavrogene). Typical within the realm of German folklore, the female protagonist is rewarded for being good, and the villain is reprimanded for being bad. Even though Red does go off the recommended path, she does maintain innocence throughout her story. The Grimm version loses any sexual undertones and presents a more for a much younger audience: obey your mother and follow the correct path (Rholetter). Although the wolf previously symbolized the predatory man seeking a young woman, the wolf became the symbol of fear following the Thirty Years War in Germany.  The frightening predator offers the tale a mystical element enjoyable for a younger audience. Zhohar Shavit disagrees with Rholetter and found the original intended audience to be the literary elite but had to change aspects of the tale to enable children to read them. Also, the Grimm Brothers alter the ending allowing a hunter to save Little Red Cap and attempt to give a happier ending. The Grimm Brothers’ tale show the societal view that women need a man’s protection.  

            While keeping with the traditions of the Grimm Brothers and Perrault, Roald Dahl published “Little Red Riding Hood and the Wolf” in his 1982 collection Revolting Rhymes. Following the push of the Freudian interpretation which equates the tale as a metaphor for rape, critics believe the hunter represents the father figure (Rholetter). The tale began to take on new variants. Roald Dahl changes the weak protagonist—fitting with the social empowerment of women in literature—to a liberated heroine. Rholetter explains that “Little Red Riding Hood not only disposes of the wolf with a gun, but she also exchanges her red garment for a new coat made from the wolf’s pelt.” Dahl shows how contemporary society no longer views women as weak and unable to overpower their predator. He puts the modern spin of the tale by having Red use the gun—modern technology—to overpower the villain. Dahl keeps with the Grimm’s “happy ending” but allows Red to take control. Although Dahl intended his spin on the popular fairy tales to be a parody, the heroine’s fight back shows the audience the change that continued to be relevant and modern adaptations of the tale. Dahl’s version of the tale introduces the idea that women no longer require protection by men any longer because they can handle their own situation.

            Fairy tales remain a relevant form of entertainment for adults and children alike. “Little Red Riding Hood” continues to captivate audiences with few changes. Many of the contemporary versions we are familiar with now are directly tied to Perrault’s version. Little Red Riding Hood continues to evolve and meet the needs and expectations of society.

                                                                                                                          

                                                                                                                          

Works Cited

Mavrogenes, Nancy A. and Joan S. Cummins. What Ever Happened to Little Red Riding Hood?             A Study of a Nursery Tale and Its Language. 01 Jan. 1976. EBSCOhost,           ezproxy.latech.edu:2048/login?url=http://search.ebscohost.com/login.aspx?direct=true&d    b=eric&AN=ED132576&site=eds-live&scope=site.

Rholetter, Wylene, PhD. "Little Red Riding Hood." Salem Press Encyclopedia, January.             EBSCOhost,ezproxy.latech.edu:2048/login?url=http://search.ebscohost.com/login.aspx?d            irect=true&db=ers&AN=94895779&site=eds-live&scope=site.

"Scene from Little Red Riding Hood by Charles Perrault. From El Mundo Ilustrado, Published    Barcelona, Circa 1880." Bridgeman Images, edited by Bridgeman Images, 2014. Credo        Reference, http://ezproxy.latech.edu:2048/login?qurl=http%3A%2F%2Fliterati.           credoreference.com%2Fcontent%2Fentry%2Fbridgemanwel%2Fscene_from_little_red_r            iding_hood_by_charles_perrault_from_el_mundo_ilustrado_published_barcelona_circa_  1880%2F0%3FinstitutionId%3D3454. Accessed 17 Apr 2017.

Shavit, Zohar. “The Concept of Childhood and Children’s Folktales.” The Classic Fairy Tales,      edited by Maria Tatar, 1st ed., W.W. Norton and Company, 1999, pp. 317-332.

Shea, Rachael Hartigan. “What Wide Origins You Have, Little Red Riding Hood!”National         Geographic, National Geographic Society, 14 Apr. 2017, news.nationalgeographic.com/news/2013/11/131129-little-red-riding-hood-folktale- tehrani-anthropology-science/. Accessed 16 Apr. 2017.

Tatar, Maria ed. The Classic Fairy Tales. New York., W.W. Norton., 1999.

My first attempt at a Prezi:

https://prezi.com/y2t7c0cnygrs/cinderella/

Sex Sells--this sentiment was not entirely true during the time of the Grimm brothers. Jacob and Wilhelm Grimm introduced a tale about a cat assisting a young boy to show that even a "simpleton" can become wealthy. The absence of sex in the tale supports Tatar's claim that the brothers wrote for their audience. She explains that they came under "heavy fire" for having crude and inappropriate content.  Wilhelm revised and added "fluff" to many of the tales which, I believe, takes away from the original forms. The Grimm Brothers give a lighter tale to enjoy without much direct sexual implication.

  Angela Carter introduces a tale of a fierce, confident cat who, along with his master, lie and cheat their way through life.  The master and the cat end up finding their own happiness through dishonest means. Although there Puss and his master are amusing characters, there are no real heroes throughout the tale. The sexual undertones would appeal to an older audience while the trickery would appeal to younger children. 

  Bettelheim implies that we are hindering the development of children's unconscious. By watering down so many fairy tales for children, we are not allowing their minds to determine morality/appropriate behavior in various situations. He suggests we have to allow students to feel and actually think. Society seems to avoid many topics with young children in order to keep their minds innocent--even though life will inevitably throw complex problems at you.

  I believe Angela Carter, more than the Grimm Brothers, brings the fairy tale closer to the original form. I'm still not sure I would want to read it to my five-year-old niece, but the tale does give a more realistic view of human nature. 

The Many Versions of Snow White
 What do we learn by looking at the tale in relationship to its other (historical) versions? 

"The fairest one of all."

 Why, over a hundred years after the Grimm Brothers published it, do we still have an interest with the plight of Snow White? Jealousy--this destructive feeling, along with vanity, still causes self-destructive behavior. Readers relate to the young,innocent heroine or the older, jealous antagonist. 
  
  The introduction to the various versions of Snow White show us the "staying power" of these tense emotions. The protagonist, Snow White, appears innocent (with exception to the doll episode in "The Young Slave"), and unjustly finds herself at the mercy of the antagonistic mother figure in her life. The writers of each version seem to want the heroine to deserve her happy ending. Gilbert and Gubar point out that "There is, after all, no female mode for her in this tale except the 'good' (dead) mother and her living avatar the 'bad' mother" (296). This implies that Snow White will inevitably suffer from the same self-destructive fate of her step mother. I understand why Disney and the Brothers Grimm leave this potential ending. No one wants to see the the downfall of their hero. 


  The absence of the father figure in most versions was an element I had not noted. Disney films usually make a point to present absent parents. The idea that the voice in the mirror as the father brings an interesting point. The "Evil" Queen's jealousy almost seems understandable because she stays in constant battle to win the full affection of her husband. The continuous fight against the memory of the "good" dead mother and the beautiful daughter drive the "Evil" Queen toward her murderous acts. The queen jealousy is rooted in her fear of losing her youth and beauty. 

  With so many modern spins on fairy tales, we like to think, "Maybe the villain was just misunderstood." The threat of a younger, prettier version is something to which many women can relate. The stepmother's fear of no longer being "the fairest" connects women in any time period. Her battle and inevitable defeat allow the tale to remain current even today. 

Tatar, Maria ed. The Classic Fairy Tales. New York., W.W. Norton., 1999.

KCL

With this week's reading, I have constantly been singing "Lil Red Riding Hood" by Sam the Sham & the Pharaohs. If you have not had the chance to listen, I suggest finding it on YouTube.
  I must admit, I was unfamiliar with many of the versions of this tale. The plot of "Little Red Riding Hood" never much appealed to me; therefore, the readings were put off for the first few days of the week. I will admit I found the various versions of the tale engaging.
   In  "The Concept of Childhood and Children's Folktales: Test Case - "Little Red Riding Hood"", Shavit explains the lack of children's stories did not exist because the concept of childhood did not exist (317). Perrault's version has a harsh ending (unlike the the Grimms) , but also entertains while instilling fear to young children. The implication of "young girls, pretty, well-bred, and genteel" being targeted would also appeal to an older audience. Younger children are less likely to comprehend the true "wolves" preying on the young girls. 
 In "The Werewolf" by Carter, she immediately opens with the somber cold environment with various supernatural beings. After establishing the harsh atmosphere, the child is given instructions to "go and visit grandmother, who has been sick" (138). This opening completely breaks away from Perrault's where the emotional bond between grandmother and granddaughter is explained. The lack of relationship combined with the child effortlessly slashing off the paw of the wolf further the development of the harsh environment. Applying Shavit's model,  Carter's tale appears to be geared toward an older child. While the child does show emotion when she cries out at the sight of her grandmother, she still joins in on the stoning of the grandmother. Carter's moral seems more implicit than Perrault.
  I don't find that "The Werewolf" describes a typical "fairy tale" ending, but the child does prosper. Carter published The Bloody Chamber in 1979, and the role women dramatically changed during the 1970s. The child in this adaption of "Little Red Riding Hood" dramatically changes. Perhaps Carter creates an ending that is different from the other versions to emphasize the change of that time period.

KCL

Carter, Angela. “The Werewolf.” The Bloody Chamber: and Other Stories, Penguin Books, New York, 2015, pp. 137-139.

Tatar, Maria ed. The Classic Fairy Tales. New York., W.W. Norton., 1999.