A literatura infantil contribui para a formação psíquica da criança, por isso proporcionar o encontro dos pequenos e das pequenas com o objeto livro literário torna-se direito fundamental da ...infância. Na atualidade temos à disposição uma diversidade de obras produzidas por diferentes autores e autoras. Muitas dessas são exemplos de textos intertextuais produzidos a partir de narrativas clássicas. É interessante observar as transformações sociais ocorridas nessas histórias que são contadas ao longo do tempo, nos mais distintos lugares e por diferentes escritores e escritoras. É isso que ocorre no livro ilustrado Uma Chapeuzinho Vermelho escrito e ilustrado pela francesa Marlonaine Leray. Conhecer essa narrativa nos levou a produzir o presente artigo, cujo objetivo é analisar a representação feminina na obra Uma Chapeuzinho Vermelho. Analisamos tanto os elementos verbais quanto não verbais da obra e os resultados apontam uma transformação no modo de representar a figura feminina. Se antes, nas versões clássicas, tínhamos uma menina frágil e necessitada da proteção masculina, agora invertem-se os papéis e Leray nos apresenta uma personagem decidida, forte, corajosa e astuta, capaz de superar por si só os seus problemas.
Little Red Riding Hood is arguably one of the most famous fairy tales in the world. The tale has traditionally been interpreted as a Freudian learning experience (Bettelheim, 1976), and this popular ...character as well as its narrative simplicity allowed the renowned scholar Umberto Eco to use it as a parable on the limits of interpretation (Eco, 1994). This article will examine the recycling process that the tale has undergone from Charles Perrault to the present day, spanning various mediums such as comics, movies, anime, or songs from the late 20th to early 21st centuries. The strategies employed to retell and recycle the tale, especially in pop culture (whether from a structural standpoint or under a new conceptual framework), will be studied, along with their implications from the perspective of feminist empowerment.
Caperucita Roja es posiblemente uno de los cuentos de hadas más famosos del mundo. El cuento se ha interpretado tradicionalmente como una experiencia de aprendizaje freudiano (Bettelheim, 1976) y tanto su carácter popular como su simpleza narrativa permitieron que el célebre Umberto Eco lo utilizara como parábola de los límites de la interpretación (Eco, 1994). Este artículo examinará el proceso de reciclaje que ha sufrido el cuento desde Charles Perrault hasta nuestros días, pasando por diferentes medios como el cómic, películas, animes o canciones de finales del siglo XX a comienzos del XXI. Se estudiarán las estrategias que tienen lugar para volver a contar el cuento y reciclarlo sobre todo en la cultura pop (ya sea desde un punto de vista estructural o bajo un nuevo marco conceptual) y sus implicaciones desde la perspectiva de empoderamiento feminista.
This vignette reflects upon the activities students participated in for a Story Exploration of Red Ridin' in the Hood, a Little Red Riding Hood variant. Activities focused on either STEM related ...tasks or arts and literature related tasks to encourage students to interact with the narrative in a variety of ways.
In a number of popular adaptations of 'Little Red Riding Hood', the wolf is anthropomorphised and portrayed as a bad man in animal drag, rather than as a wild animal. However, this enduring fairy ...tale revolving around a human-wildlife encounter in the woods can also be interpreted as a story of multispecies entanglement. By examining how modern picturebook adaptations of 'Little Red Riding Hood' from different cultures use various visual strategies to foreground different species' voices and worldviews embedded in the tale, this essay argues that fairy-tale enchantment can serve as a means of what Kari Weil calls 'critical anthropomorphism', inviting both children and adults to imagine the needs, pleasures and pains of other-than-human species without erasing their differences, and to reconfigure human-animal relations in the real world.
Cengiz Aytmatov’s story Selvi Boylum Al Yazmalım, translated from Russian into Turkish, and the film adaptation of the same name, directed by Atıf Yılmaz and with the screenplay by Ali Özgentürk, ...have both formal and intertextual relations with the Grimm Brothers variant of the fairy tale “Little Red Riding Hood”. I will try to argue that it assumes a similar social and moral function in the context of controlling and limiting the female body and sexuality within the patriarchal family structure. In the review, I will deal with the three texts in order, in terms of plot, signs that make intertextual ties visible, and the formation of characters on the axis of individual-society conflict. The example story presented with a metaphorical expression in “Little Red Riding Hood” is directly expressed in the aforementioned novel and film; The tension between the woman’s effort to exist as a subject who desires and travels outside the home in pursuit of her desires, and the tension between being desired and kept inside the home by the man results in the latter. At the center of the conflict between her social duties, the young girl crosses the threshold of puberty by suppressing her desires and accepting her passive role and maternal identity within the boundaries of the male-dominated holy family. While revealing the links between these three texts, Jack Zipes’s observations on “Little Red Riding Hood” variants and adaptations, as well as Vladimir Propp’s conceptualization on the functions of characters in extraordinary fairy tales, some observations on intertextuality, and determinations on the history of modernity and sexuality were used.
Aunque conocemos la historia de Caperucita Roja a través de versiones literarias (principalmente las de Perrault y los hermanos Grimm), la fortuna de este cuento sobre otros y la concurrencia en él ...de numerosos mitemas permite emparentarlo con el mito en tanto que explicación no racional sobre alguna cuestión concerniente a la existencia humana. La ficción contemporánea ofrece numerosas versiones y revisiones de la historia. El microrrelato en lengua española es uno de los géneros en que más ejemplos podemos encontrar, y, en las últimas décadas, Internet se ha convertido en el espacio donde la fecundidad es más acusada. En el artículo analizaremos varios ejemplos de ficción hiperbreve (en las formas exocanónicas de viñetas y memes) que revelan la vigencia del mito, más allá de la ficción, para canalizar las preocupaciones de una comunidad —preocupaciones que hoy, en buena medida, son políticas—.
El objetivo de este artículo es preguntarnos por el sentido de la recreación insólita delos cuentos de hadas en la narrativa actual escrita en español a partir del ejemplo de«Caperucita Roja». Para ...ello, me apoyo en Linda Hutcheon (2000), para quien la parodiase caracteriza por repetir algo anterior (un hipotexto, un género, una convención,etc.) a la vez que introduce la diferencia o un comentario crítico sobre el objeto parodiado.Además de los trabajos clásicos de Jack Zipes (1986, 1993 1983, 2012 1983,2014 2012), así como la abundante bibliografía generada en torno a las versiones deCharles Perrault y los hermanos Grimm, el trabajo tiene especialmente en cuenta lasreflexiones de Catherine Orenstein (2003 2002) sobre los sentidos de «Caperucitaroja» y su adaptabilidad a patrones culturales diversos. Desde los estudios feministasy de lo fantástico, se analizan algunas reescrituras recientes de Ana María Shua, EmaWolf, Pilar Quintana, Kathy Serrano, Patricia Esteban Erlés, Cristina Rivera Garza,Giovanna Rivero, Cristina Fernández Cubas y Ana Martínez Castillo.
This article illustrates how Little Red Riding Hood has been used in a workshop conducted in prison aimed at a mixed audience of students participating in a Social Work Degree Course and detainees. ...First of all, it presents concepts at the core of the didactic part of the workshop. Second, the methodological path that has characterized the experiential side of the seminar is illustrated. Finally, one of the results is discussed: a version of Little Red Riding Hood written in a participatory manner by inmates and students together.
Many cultures have tales in which the main character wears a particular item of clothing or is invariably portrayed with a specific accessory. This character then embarks on an adventure-packed ...journey during which he or she must face a ferocious and sometimes deadly foe. Little Red Riding Hood is perhaps the fairytale that is the most deeply woven into the history of Western imagination, which is probably why it is still capable of inspiring continual and original rewritings and adaptations. Italy’s lively telling of this tale is epitomised in the visual re-writings of the classic version by the Brothers Grimm. This paper analyses the relationship between clothing and fashion in fairytales. A selection of the visual re-writings of the Grimms’ Little Red Riding Hood published in Italy over the last 20 years will be compared, focusing on the clothing and accessories created by illustrators to dress and distinguish the tale’s characters. Capes, hoods, earmuffs, cloaks, rucksacks, skirts, dresses, blouses, collars, shoes, boots, ribbons and yarns are just some of the items that comprise Little Red Riding Hood’s garb. By adopting this perspective, my essay posits answers to the following research questions: is there an established standard for dressing Little Red Riding Hood in Italian visual retellings of the Grimms’ tale? And what about the relationship between dressing the “little girl in red” and the developments of the tale?
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