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The dream element in Alice in Wonderland

In the previous post I talked a little bit of the dream and what Sigmund Freud was a topic that I also analyzed in the thesis of the state, and I had connected the 'argument with the story of Alice in Wonderland. So today I decided to analyze the history, seeing it from the perspective of the dream.

Alice in Wonderland takes place in a dream, but it starts and ends in reality consists of the dream dimension dela protagonist. In the book, expanded sense of time and space is the interior, characteristic of the dream. The story of Alice is the story of a fantastic journey, all doubt ceases when the child wakes up and realizes that it was an invention. The output from the dream of Alice occurs when the protagonist says "You're only a pack of cards!" , the sentence which contains everything in its place and its role, re-establishing the division between animate and inanimate, a phrase that dissolves and destroys the Wonderland. A good part of the logic is not in accordance take too literally the statements, or too little, there is thus an implicit link between mental health and language skills, which makes explicit the Cheshire Cat when the claim of Alice "I do not want to go among mad people!" responds "You can not avoid it because we are all mad. You're mad, too, otherwise there would come" . Madness is a constant that is found in many characters in which Alice encounters, and Carroll (the author) believed that one of its manifestations was not able to distinguish the dream from reality. In the book the two are separated at the end Alice wakes up and discovers he had dreamed the dream and tells the sister.

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What is the dream through Freud's theory

In previous post I spoke of dreams, their interpretation and Freud, so I wanted to learn more. Sigmund Freud is the greatest scholar of the dream dimension, and he believes that the dream is the privileged way of access to the unconscious. According to him the dream work is the fulfillment of unfulfilled desires, which calls you want removed. He says that the dream is the result of intense mental activity: the dream process, thanks to this work on the lining of the symbolic dreams, deepest desires of a person to express themselves freely. All this occurs because the dream occurs at a superficial and obvious, but it has a hidden meaning that must be ricosctruire. Freud discovered the existence of two levels in a dream, a manifest and a latent (hidden). The manifest level is given by the scenes of the film that represent mental activity during dreams, and we ricodriamo to wake up. The latent content, however, contains what hides the manifest content and that interpretation must unravel. This is why the dream should be interpreted.

removed but because the needs emerging during sleep? emerge during sleep because, in this state, the surveillance by the right is reduced and, consequently, the feelings of the past can resurface with greater ease.

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6. The group dimension Atelier-tale

The account belongs to a social group. Talk to the infant child and adult. The story is read and heard in a group, acted as a group, the design is drawn in a group. The psychodrama or role-playing game created by Atelier-tale enables the child to use the structure of the story to talk about him, associate group, use the mirror function of the group and welcoming, containing and detoxifying the adults in the group (if are trained in these techniques). For some children who come from disadvantaged environments is less constrictive of individual therapy, because it is in the realm of fantasy, not the true and the beautiful game and is less guilt for parents, "because the story, you know," they often say. will arise, depending on the experience of practitioners, some theoretical questions: closed group, open group, groups, interlocking, complementary groups, groups of parents in parallel to cause a work of inter-phantasy between two groups? The story is perfect in its potential imperfect in its realization is said to be a broker then open to all creatives. It requires a mental work between the narrator and listeners, and vice versa. This work group is, for the GP and leads to a trans-generational work on the absence or presence of traditional tales in the paternal and maternal lineage, according to regional or sometimes ethnic origins of the participants. Those who use it say that its narrative is a mediator in the laboratory full of potential anti-depressant and a stimulant for the GP dealing with these patients who produce empty, distress and chaos in the thoughts of those who are next.

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5. The secondary processing and the folk tale in the care

The work performed by the system to dominate the psychological tension of the instinctual conflict is called by Charcot, psychological development. The mental preparation induces representations of scripts that prevent short-circuits in the sensory-motor system, and the symptom of the crisis which he described at the hysterical. Freud, Charcot's student, noted that if you want to tell a dream to a real person and if you want to understand him, you are obligated to turn it into an oral history that needs to work on developing a psychic. Hysteria that "somatization," there would be no psychic elaboration. The secondary processing (defined by Freud in speaking of the dream Narcissism: An Introduction, 1914), is a type of overhaul is intended to present the dream, (often odd) in the form of a relatively coherent story to be transmitted and understood the other which is transmitted. The secondary elaboration necessarily choose, he adds, complaint for better intelligibility of the receiver. For the GP is interesting to know the parameters that affect the environment consciously or unconsciously on small changes that the narrator is allowed to do on the basic structure and it is interesting to know the secondary elaborations of children or adults who are invited to get together and create, timely complementary therapeutic of this type of work (play, drawing, word etc. ..). Contamination, the additions, especially infiltration and associations that emerge are essential. We must know how to accept and work, knowing the family background, trauma, real or associated imaginary, by the group or child. The invasion-contamination of television pictures or video games, need a "savoir-faire" that must be differentiated from censorship educational environment. My experience of the narrative in-studio and studio-tale role-playing game is identical to that of educators. (Adam: The Acting, édition PUF, 1984). Children less than six years may not develop a well-structured story with the initial situation, progress, final state and taking into account the emotional impact on those who listen. Psychotics we can never late or a few, so they tend to slice into the washer without apparent connection narratives that can produce quite confused at times in their inner world, always very chaotic and distressing. You can talk about the function of organizing this kind of folk tale because, with a well established technique, based on reception of "controlled drift association" and is achieved through the practice of the traditional story (seminars and adjustments), appeared to me that with small children, autistic and psychotic children confused, but also children without reassuring familiar figures in their environment, our techniques for marking sequences representability of the collective unconscious conflicts in the diachrony of sessions worked as a real incentive to organize "Remember-screen" positive, that is an advantage on the thinking and to remove up to that time unknown by the patient. We see these kids play so gradually interested representations of scripts and use attractive for their clarity and their poetry. These life experiences in the group fantasy adult / child perspective enabling them positive anticipation about real or imagined injuries are impossible to remove or empty representations expressed so far. With the use of this mediator is possible to arrive at a particularly interesting: the work that makes the group for its ability to recycle, reuse the experience of confrontation with the archaic anxieties chosen from the story. The wonderful story is a good "plug" to represent and think about the conflicts of orality (The Wolf and the Orc are interesting archetypes) of the analyte and to a lower level of the genitalia, which belongs rather to the field of burlesque tales . As in the institutional group, to propose additional laboratories (Laboratory stories, writing workshop, puppet workshop, laboratory or moraine psychoanalytic psychodrama, workshops of musical expression, dance, etc.) to facilitate the re-use, recycling, internalization of conflict that the story developed? How many sessions of individual psychotherapy difficult, with connections to the setting, should be managed by therapists capable of content and information on the representation by analogy destructive projective identification in the seat and in the stories? The development of meaning in a story already worked in a group can help the child in the use of a category as possible to think and play: the make-believe or expression of violence "for fake" certain sequences of folk tales, could facilitate the acceptance and metabolism of these difficult moments of impulsive acting out, unlike what happens when you end the session. In these extreme cases, the allusion to a story has a value of interpretation and is more easily accepted by the child "out of him" with respect analysis of transference to continue to think together. See "containers of thoughts" in a situation of distress is more useful instead of the vacuum representation of the short passage or all'attoimpulsivo

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4. The representability of great pictures the story

Freud had already shown the way by a ' Comparative analysis of the quality of the dream and the story. In both cases, there is displacement, condensation, censorship, and representability of large images and so on. What we are interested in the care, is the great representability in the images of folk tale (now at the bottom are the images that mark the daily lives of children and Adult: advertising, images, videos, television.) The story has always inspired the illustrators, and children, before being able to read, mark the sequence with a finger pointing interesting illustrations that speak to them. In the laboratory, the three houses of the T 124, (The Three Little Pigs), is an interesting illustration of the concept of 'i-skin Anzieu . The game and children's drawings, which on this issue and protective, are a mine of information to help those who can not make good enclosures that protect the erogenous zones makes them metaphorized in containers of thought-communication group. Finally, this has led certain artistic productions representability such as dance, film, music, theater to spread in the media and entertainment world. Walt Disney before the Second World War was a major promoter of the renewal of the story. The image as the design and dramatization in the laboratory can serve as a symbolic mark if you want to work on the hypothesis of the return of the Freudian concept of "memory and screen 'technique in our laboratory narrative therapy.

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3. The family group in the folktale

is not the royal family but, according to the beautiful expression of Kaes, the "family of the interior of the factory" (Conte et divan, Dunod).. We the initial situation of Tom Thumb and Hans and Gretel: Children lost in the forest. Psychotics to which these two tales are told often say, "We're telling the same story." At first, we thought, "I'm psychotic, so confused, so confused." Absolutely not. Going to see the international classification, the initial situation in these two stories is that they had found common: the specter of being abandoned, the reality of having to unravel, become automatons of the stories in this forest where he lost and where it meets systematically 'aggressor. The words "once upon a time" offers a category, that of the fictional story that supports the notion of a mental space for the ghost, which is different from that of reality or delusion. Surrealism said that the story was a wonderful guard for delirium. Petit Poucet deviendra grand, Petite Bibliothèque Payot 2002, is the essence of the theory and practice of this method of treatment. None of the psychotic children who have benefited from these workshops , (but also taken other medications associated), has developed delusions that would have prevented the socializing, often protected, allowing them their encysted psychosis. These traditional tales deal with the fantasy life and are well assimilated by the normal child as "not true, good to think" why are stories that are not realized in the life everyday: losing your child in the forest, (Tom Thumb), send your child (Little Red Riding Hood) in the same forest where there is a wolf that could attack, shows that these situations early folk tales of everyday life situations would be reported the court. The parents, in the stories in question, parents are imaginary, always unjust, destructive, abusive or absent. The images of parental projections of these fantastic tales paradoxically facilitate access to treatment by parents, followed by order of the court. In fact often say: "These stories are much worse than what happens to us" and this facilitates their ability to talk about it. In the story represented the extremes, the binary oppositions. The good mother is always dead or has been replaced by a fairy, the wicked mother is jealous stepmother, the witch or persecutor, devourer of children, punished more severely in the final situation. Kaes (Conte et divan) has described the story perfectly content with his potential, as "Prêt-à-porter" possible to think about. The family to which you are working with the child in the game, the drawing is "the family of interiority," which is constructed to identify the hero. The hero is the way, but on his way he meets the aggressor. The binary opposition attacker / attacked is easy to find the confused child. The father wrong, old, submissive, and the absent king, old, outdated, let all projections around the image of the oedipal father and the post-oedipal neurotic child. The story of the parents is just containing the sibling rivalry of attainment, etc. ... The references that suggests they are good to know, their representations easy to find and confirm, in particular, in the pictures, when they are attractive and quality.

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2. The structure of the narrative in the stories of the oral tradition

In his morphological analysis of Russian stories, (The morphology of the story) Vladimir Propp has shown that these stories, and probably those of all nations are to take place within 31 functions. Logical necessity and aesthetics, each function follows from the above. A large number of features are collected for couples (prohibition / transgression, query / information, fight / win, night / day, attacker / attacked, etc.).. The dependence of the protagonists, which are subject to the constraints of their function, form a chain of invariants to which the narrator can not derogate from: the aggressor attacks, the hero wins, the villain is punished. At least everything is clear and free of confusion for drivers, psychotics and children without restraint from the environment. These invariants and these constraints diachronic organization, starting from an initial situation (lack), followed by a course of events that dramatized script close enough to the basic conflicts of family therapy and ending in a final situation, in general a lack of repair or a return to equilibrium state. The fortunes of this work of Propp is unknown. Levi-Strauss has drawn the idea of \u200b\u200bstructuralism. Much research on the semiotics of the stories (Greimas, Courtes, Belmond in France), are generated by the accounts of the oral tradition. It is interesting to compare "normal" children in their development, with autistic and psychotic children, often very confused in how they communicate, when they have the pleasure to know this "tack" of the story, (the word is in Belmond). Children without disease have already internalized, depending on their age, metaphorical unconscious movements that contain the stories of the oral tradition. This gives the psychotic that, classically, have a disturbance in the process of "removal," an unexpected access to a model encoded representations with its own rhythms, invariant chains, references to which to cling to, when they lost in the mists of confusion psychotic thinking . This model is not an educational or behavioral. It is a canonical structure that acts as the trigger of the possibility of representing thinking and perhaps internalize the archaisms and the anxieties of aging with acceptable solutions for the group concerned. For example, Little Red Riding Hood, the structure of the story is fixed and is pending in the same way that the child listens to: the little girl meets a wolf in the forest, talking to him but does not recognize him as the aggressor if not inside the house where he was lying disguised as a grandmother who has devoured. You can not edit this diachrony that follows by a description of the story chosen. If the wolf eats the girl, now met in the forest, that's another story that we can wish or desire, but the story is not provided in the statement. The coercive force of this type of story is reassuring and organizer for the child without references. He found, on a repetitive basis, then what will help him in his difficulties and internalization of the links at the end of a certain time of practice, may take possession of a possible association unknown until then.

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1. The archaisms in the oral histories

The oral histories are full of archaic forms, which are present in the collective unconscious of so-called primitive societies, gained from pre-history: stories are very structured, they are available for topics in International Classification (Aarne-Thomson) and, therefore, are comparable in the production of peoples geographically far away. What is narrated in these stories is aimed at adults as to children in their existential problems. These stories are easily stored and transmitted to the representability of great images and the fascinating power of poetry. Three times have become classics in our practice: telling, role playing, drawing, or group of words, for older children. Thus, the workshop trained with GP-tale becomes a "mother in maternal reverie" in the sense of Bion . Accepts the elements of the engine, the self aspects of archaic and bizarre violence and destruction associated with the maturation of the erogenous zones and their representations consciously or unconsciously. The work of the GP with this mediator is to welcome the archaisms, select it, metabolize, give them the possible limits, categories of emotions recognized and shared in an acceptable conduct for the life of the group.
use in the treatment of the story is also a good exercise counter-depressant for treating, and this is important at a time when the equipment is reduced and where there is a return to treatment reducing chemical pulse pathological . In our experience of parental support, this indication causes less drag than other psychotherapeutic techniques or re - education proposals normally. The parallel event with parents is an important tool to work with the entire family-fantasmizzazione, revealed through these stories that parents have more or less "live" before, in parts of healthy children.
Folk tales are stories that were transmitted orally in the mists of time. Served as the myths and religions, to give meaning to the existential questions facing human beings. Freud has put the hypothesis of the analogy between individual development and that of humanity, this idea is found in others as Propp (Historical roots of the fairy tale). This would suggest that the archaic thought, devouring / being devoured, being left alone, lost in the Forest, being attacked by evil beasts, to confront the destructive maternal images (witches) or too Kindergartens (do), present in the stories, do better than echo the hidden anxieties of children and adults who listen to them. We can therefore identify these anxieties, anticipate, identify symbolically the organizers of sense (for example, the binary oppositions outside / inside, open / closed, attacker / attacked) and significantly over effects.
The technique of "branding" symbolic representations of certain sequences of organizing space and thought can create situations - node, which act like real "memory screen-positive" (Freud, 1899, Neurosis, Psychosis and Perversion), very useful for diseases characterized by confusion and inability to understand and secondary processing facility in groups simply neurotic. You must use the three classical times of 'studio-tale (story, role play, drawing and word) to accommodate the projections and make the strangest imaginable in a dramatization of the area of \u200b\u200bchild / adult that works in harmony with the proposal Bion's (making the bizarre elements, beta elements into alpha thinkable and organized into a story that is "already there" in the story told orally to all human societies). The selection of stories can identify representations of conflict, you want to board in the group and that cover every experience of aging. This requires a corpus base for the maturation and a good knowledge of traditional stories, to accompany groups of children produced from these accounts, whatever the technique used: drawings, puppets, clay, role play , music, comics and, for adolescents and adults, including psychodrama (Moreno or psychoanalytic), video-drama, writing workshop, etc ...

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L'atelier-tale treatment. Experience the traditional narration of tales

Browsing the Internet I found some news about Pierre Lafforgue, French psychoanalyst, who has held convegli on the fairy tale. This who said it seemed iportante, so I decided to bring back some pieces ...

"The contribution of psychoanalytic theory and practice has allowed a new understanding of historical events outside of his field-born doctor. If you know of psychoanalytic interpretations of historical facts, social facts, works of art , religions of the novel and the popular fairy tale.
Following the pioneering work of Freud ( the Wolf Man, The disturbing estranietà ) and the famous metapsychological study of Bettelheim (The Uses of Enchantment , use, importation and psychoanalytic meaning of fairy tales), it seems that this mediator has been often used in the therapeutic setting with its capacity, the remarkable fact, to encourage secondary processing predictable and drawn into what might be called the collective unconscious in Jungian sense rather than group.
I would like to talk about my experience with this mediator within the therapeutic workshops that I have practiced for decades in the day hospital, children with autistic and psychotic and neurotic disorders clinic with children.
The folktale is not in itself curative, but the way in which the GP live, work it and use it to receive and digest the normal and pathological anxiety of children, makes it an instrument that has become unusual for those who treat serious condition. Why
the tale of the oral tradition in the treatment? "

This is only the presentation ... the article I will propose to pieces because it is long, so I thought it was better to do it bet ...

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Children should sleep with the thought of a better tomorrow

This week, reading a newspaper, I found a very interesting article: they did an interview with the child psychiatrist Pajno Franco Ferrara. Kuijt response to his friend, I decided to bring the interview, because, the university professor, advises methods to protect children from the dramatic news events and severe psychological trauma. According to Professor Ferrara Pajno children under the media bombardment that insistently tells the dramatic events of the news, runs a destabilizing effect because these facts are not in the line of continuous positive existence, ie, falling asleep with the thought of a better tomorrow. According to him, parents can explore on television and on the news published by newspapers to make sure that certain things do not go so cruel to directly affect the most vulnerable, children and the role of the adult toward the child is the exercise of protection. Serenity is not an option for the child so to speak, but a duty. Explore what is usually the parents do, or should do, on many aspects of the lives of their children. Well they must do so even when captain dramatic episodes, and if you abolish this duty also means that parents no longer have any role. This is a way of saying that too many parents take to download the burden of education on the school. It can not be just so, all delegate, and waive the rules more difficult. An example is the expectation, because many fathers and mothers have refused to teach children the joy of waiting. It 's a shame because the effort, expectation and commitment are a decisive factor in the satisfaction of our desires. But this should teach it, communicate it. Instead many shove the shortcut; which is much easier because the child is happy. This is not the case with only children, but they do with themselves first, then they do with children who are the gifts before Christmas, the gifts before the promotion and all good things before the birthday, before the party. The result is that the gift, or rather the prize is more valuable because it becomes a habit. Pajno Ferrara, then, does not want to criminalize the television, which could play an important and valuable, but can be devastating if used incorrectly, as all means of mass dissemination. Therefore, parents must commit to read, explain, interpret and decode the message. Do not read, do interpret, assimilate it directly from their children, so wrong. The professorre then says he does not understand why everyone runs if they see a child in the street alone and no one does anything except a little spent the afternoon in front of the TV or Internet, in blissful solitude. It also feels that the repetition of violent images can "normalize" the tragedy, it can feel like that and somehow cause or at least acts giusificare emulation; repeat trivializes the crime. Permit to emulate him because the fact is no longer exceptional, but it becomes normal. It is known that certain facts can not be hidden because everybody talks about it, but parents must take responsibility for their interpretation with their children. They can not get home dead tired and stand in front of the TV to watch the sequences of the crime with the children who stuff themselves with chips, like a movie, like a soap opera. If the thought of a good child goes off, start the anxieties and illnesses. Positive thinking about the future, even if sometimes breaks up, it must be restored as soon as you would mend a rip in the fabric of existence. Of this, parents have to worry about first of all, before the teacher, because the thought of an emotional child is not the teacher, are the mother and father. Eventually, Franco Ferrara Pajno, recommends that teach children the feelings of warmth and understanding. This need not applies only to children but also for adults and lasts for a lifetime. There will be a peaceful and positive adult first if there was a child with the same characteristics, that is, a creature that could run the first steps of his life on the green lawn of fiduacia in tomorrow.

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Harry Potter: the importance of the tale

Much has been written for sp iegare the Harry Potter phenomenon of children and the rediscovery of the book. His stories seem to have made a long-awaited magic: shifting the focus increasingly significant to the media based on a language of images (television, video games) to the written message. Because this series of books and not others? There are many children's books, whole collections, as this frail and bespectacled boy has been able to attract the interest of the kids? A first indication is the plot: it follows the universal themes of folk tales. The protagonist is a normal character, a bit too early 'depreciated (the youngest son of many fairy tales), who almost against his will is involved in a series of events. Addressing the various adventures as the protagonist discovers that his personal and moral resources, its capabilities. It is these internal resources, the first little known and largely devalued, to allow him to follow his path and overcome ostacoli.Chi is the protagonist? A boy of eleven, just on the threshold of puberty, he finds himself in strange powers (magic) that at the disturbing, are the outsiders and they do feel different and "foreign" to himself and to world around them. Powers are also difficult to control and manage, they are almost beginning to handle the boy manifested regardless of the conscious will. In this period of life the instinctual drives, mostly silent in latency, re-emerge from the depths with renewed vigor, this brings the boy or girl to live it as the bearer of something different, disturbing, alien. These forces are not dominant but often break in action and thought. They develop patterns which have their origin in unconscious fantasies of sexual-aggressive nature, the boy also lives such as disturbing and strange, and frequently manageable, little boy feels at the mercy of them more than capable of control and modulation . The journey of Harry Potter is a path of growth, mental growth implemented through the recognition and acceptance of this "being different", no longer a child. Painful journey, with thoughts, doubts, anxieties, but, gradually, this allows the player to manage his new capacity, even sometimes wrong, letting go at full speed, because this is part of the process of crescita.Un big help is the friendship from peers, peer group becomes, what happens to kids of this age, an increasingly independent world, with different values \u200b\u200bthan the adult world. The adult world acquires a new dimension: discredited and rejected authoritarian adults, is discovered and enhanced the authority of the adult, becomes a strong urge toward authority figures identificatory and capable. The pre-adolescence and early adolescence are characterized by the massive resurgence of oedipal and preoedipal fantasies and desires. In Harry Potter preconscious processing of these ghosts is a space. Many minor details that peppered the plot symbolically seem to recall these desires and fantasies, allowing a loosening joke here is the appearance of the Chocolate, the kindly indulge in describing meals of candy and other sweets (operation without punishment, the desires of Hansel and Gretel). Some minor episodes have focused on the use of magic bombs, the kids eat candy thousand flavors + 1 (including the taste of vomit). This is all part of the universe preteen, it lingers in the books on these small pleasures oral and anal, treating them without condemnation. U n'acuta description in the form of metaphor, the internal world and its conflicts in pre-adolescence and adolescence, is not only welcome the boy but also provides some tools: identifying with the protagonist feels less alone and different, soothes her anxieties (the path is difficult but not impossible), it makes you smile, sometimes, its difficulties, playing down the fears and giving relief to guilt that accompany the onset of oral and anal fantasies and impulses. It 'been paragonana the Harry Potter series to a long tale, Bruno Bettelheim in his introduction to his book "The Uses of Enchantment," he says, "Why a story really succeeds in capturing the attention of the child should amuse and arouse his curiosity. But in order to enrich his life, should stimulate his imagination, help to stimulate his intellect and to clarify his emotions, harmonize with its anxieties and aspirations, to fully recognize its difficulties, and at the same time suggesting solutions to the problems that troubled him. In short, it must simultaneously touch all aspects of his personality, and this without diminishing the seriousness of the difficulties facing the child, even fully acknowledge, and yet needs to enhance its self-confidence and in the future. "Perhaps the kids have found in this new tale a story that on one hand allows the event to conduct long-repressed and other support for the ego. An important feature of the story is in fact that, through the language of metaphor, to suggest not to block the instinctual impulses but to accept them into channeling mode of satisfaction in accordance with the demands of the ego and superego. The tales, in their universal symbolic language, provide several examples of how the resolution of psychic conflict can pass through the sublimation of aggressive impulses-sexual, thus helping to reinforce the reality principle. The drive is not inhibited or blocked, but channeled towards satisfaction in tune with the Self and reality.

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A lot of books to choose from?

After having presented what is the way to choose the most suitable book to read to children, today I want to clarify that are needed in these books, according to different age groups.

From 6 months simple picture books that help children in the activation of the recognition process and facilitate the connection between image and real object, the characteristics of these books are:
- Books of cardboard that can "resist" the child
- books in accordance with his hands
- books with bright colors but not excessive number of images per page
- books with pictures of children, faces, familiar objects, with simple pictures
- books with no more than one or two words per page to help parents to baste a micro
From 12 months series of images of objects with a link to each other in facilitating capacity-building association logical connection between the various elements depicted in Based on contextual factors and functional characteristics of these books are:
- even cardboard books with short stories resistant
- books with few words per page
- figures of children who do things every day: play, sleep , eat, go to kindergarten
- books of animals known to the child to do simple things (eating, running, sleeping)
- bedtime books to go
to read - books with simple rhymes or text easy to understand

18 months recognition of an object and its function: books that show successive transformations of an object or an object first and then isolated in a context. Early History: The same element or character is presented in a succession of similar situations. There is a beginning and an end: a child gets ready for kindergarten, we must, meet friends, play, go home.

From 24 months short stories: here are the same person who performs different actions, but with episodes begin to occur much larger magnitude, the characteristics of these books are:
- by two years, many children can handle paper pages
- brilliant figures of children, pets, familiar objects
- stories of family, food, animals, cars , bicycles
- stories about brothers and sisters, on making friends, about going to school
- stories that repeat words and contain guessed, rhythms and rhymes, books that can store
- silly stories, jokes, comic figures

From 30 months complex stories: characterized by texts with many sequences and many characters, are also addressed issues related to the emotions of child, his feelings, his fantasies

From 4 years beautiful stories about children who look like and live like him, or in exotic environments, the characteristics of these books are:

- funny stories and simple
- books with numbers and the alphabet
books-books on friends and school
-
books with information about the world - and, again, good stories, beautiful illustrations

Criteria The selection of books for children

- Accuracy of layout and, in the case of books for young children, use of materials pleasing to the touch, non-toxic, washable and free of potentially hazardous elements. Clear statement (on the cover and not on any envelope that encloses it) of compliance with security policies. Books from glossy cover and hard that can be cleaned with a damp cloth is a good investment against the sticky little hands and destructive sympathy for the child demonstrates his first books.

- High readability of the image, excluding stereotypical elements, must be able to stimulate in children and adults that the "law" with him, the ability to construct and report a story. The items shown may be noticed more clearly if they stand out distinctly from the background.

- High quality of language. When the image is combined with the verbal language, it must be simple but precise, never boring, never generic or abstract. Should include terms of use is unusual in children to stimulate the desire to repeat new words derive meaning from the context. The use of stylistic features typical of poetic language (rhymes, alliteration, assonance, repetition, etc.). Increases the allure of reading aloud.

- Quality of the story. Even with elements minimum is possible to construct stories contained "strong" stories they know and are able to shine a clear and sufficient to establish relationship with the experience of the listener.

- Adequacy of material proposed language and iconography, and the themes suggested by history, at different developmental stages of the child. Note however that the criterion of "adequacy" is strongly linked to the experience of listening and reading that the child has.

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Children and books: How to choose?

Each age group is different, and this is especially noticeable in children. The development of children characterizes many things, including these fairy tales ... in fact, they may be useful to follow and understand child development and its approach to books and reading, it is important not to treat them in a rigid manner, bearing in mind that each child has the personal characteristics different from any other of its peers.

At 1 month and even before the child like lullabies, all going well, you can use those of family or even those in dialect. Not bad if the lullaby is the same before sleep because the kids love rituals .

At 2 months can show him drawings or photographs of human faces, the latter must posivionare at a distance up to 30 cm from his face. Figures should be of large size: about 24 x 17 cm. The pictures can be glued to a cardboard thickness of a few millimeters so that in the months ahead to take over .

At 6 months is drawn from photos and pictures of the book that seeks to take and "eat." Try to move the book from hand to hand. The books at this age and at least up to 12 months must be resistant, non-toxic, with large pages, with color bright, familiar objects or pictures of children. Please note: the figures should not be stylized to be understood, and not very bulky books. You must let them see into the books in her arms. Are preferable to real books, large cardboard, books and toys or books to the bathroom.
At 9 months is always drawn from photos and pictures of the book that seeks to take and "eat." Change easily the book, if it is not bulky, from hand to hand, indicate pages with one or more fingers. Try to turn the pages by hand full if he has seen done by parents. The books you see are holding in her arms. Or you can lie on a carpet with the child, looking at the book together.
At 12 months holds the book in hand, if helped, and turning several pages at a time, always a hand full. Give the book to the adult. Books should always be robust and manageable. May now be even larger. The figures relate to favorite family activities (eating, sleeping, playing) and small animals, while the lyrics are always the favorite nursery rhymes. Better try to avoid images of things that the child still does not know. He begins to realize inverted images of faces.
15 months turn the big pages using two fingers. Where a book contains a face, it understands that it is upside down. Sometimes he turns his face to match that of the book. He likes books with short sentences and simple, they can learn to anticipate.
18 months and anticipates complete sentences in the book. He likes books about animals (you can read funny verses, like those of animals), children, things of every day, with short sentences and simple. He began to direct the book.
At 24 months page runs fine. Drag the books around the house and "reads" to dolls or cat stories inventing himself as he wished. Turn on only one page in the right direction if it contains a face upside down. It can correct the error of the reader. He likes stories that give the opportunity to identify with the characters, telling challenges to overcome, that makes people laugh. When you walk with the boy can read the lettering, signs and signals.
30 months can "read" a book that has been read many times. He likes stories about children of his age telling moments of ordinary life (school or the doctor), friendship, brothers or sisters, but also great books, adventurous. The text should be simple. The traditional fairy tales (and especially "why" with talking animals that explain things) also help to project the fears and emotions that the child has within himself. Like the child choose the story and he also likes to have it read many times.

With this you can see that for children, even the simplest daily activities like reading a fairy tale, are full of meaning ... nothing is taken for granted!

"The fairy tale has a type of conduct that conforms

the way
a child thinks and perceives the world;

for this tale is the way to convince him "

How Long Can A Allergic Appear By

''Every child has the right to be protected not only from disease and violence but also by the lack of adequate opportunity for emotional and cognitive development. This is the heart of Born to Read . Since 1999, the project aims to promote reading aloud to children aged 6 months to 6 years. Recent scientific studies show that the read aloud, with a certain continuity, children in preschool has a positive influence from both points of view (it's an opportunity for relationship between child and parents), and cognitive (developed earlier and better understanding of language and reading skills), what's more the baby grows in 'habit of reading that lasts, then, in later life thanks early imprinting related to the report.
Reading aloud, in its apparent simplicity, it contains many valenze related to positive patterns of communication and emotional life that have a significant influence on the child's emotional development. It is considered the most important activity for the acquisition of skills required for success in reading. Reading is an ideal tool for the child to hold an adult with them in the way he liked most, that with dedication, full participation and without distractions. The presence of the adult is comforting, and provides protection and security. When the child asks for a repetition of the reading is not necessarily interested in history but perhaps wants to extend that feeling of pleasure and continue to have the mother (father, aunt or teacher) next. By reading the child's mother tongue takes over slowly, his words of its form and structure. This helps him to build their own mental structures to understand the relationship (me and the other, me and things) space-time and distance.
emerging skills in the acquisition of reading skills (emergent literacy) skills and knowledge associated with the future ability to decode words can be summarized schematically as in:
- oral language development (increasing the size of the vocabulary)
- phonological (first through the syllables, then the mixing of the rhymes and phonemes which occurs only when you start to read). This expertise is closely linked to success in reading.
-
knowledge of written language - an understanding of the conventions of writing: correspondence between spoken and written language, reading left right and from top to bottom, alphabet that represents the sounds of language, knowledge of the functions of writing, the text tells a story, informs, instructs, knowledge of the alphabet, knowledge of letters and a letter from the association of and his name and in a letter and its sound
The development of emerging skills in each child varies and is influenced by several factors:
-
innate ability - the quality and quantity of language heard in
family - the child's desire to learn
and self-esteem - child's exposure to literary activities.
There are marked differences in the ability to acquire social competence phonological, resulting from the quantity and quality of verbal interactions in which the child is exposed.
Reading is also a means to strengthen the outcome of a secure attachment early in life that is essential for the growth of the child's skills in all areas, because it affects the maturation of the brain, the neurological connections and thought processes. In secure attachment relationships with the child is distracted and rarely learn more.
Reading aloud is considered preventive action against school leavers and behavior problems. It determines the learning experience of reading itself, which marks the destiny child's school career.
Children can enjoy reading the daily and constant exposure over time come to first grade with higher skills and basic knowledge for future decoding of words, it will help them learn to read and write with greater ease. Numerous studies have shown that the level of reading ability found at the end of the first year of primary school years is strongly correlated with a greater ability to read texts.
E 'so obvious as to be linked, in childhood, development of language skills, confidence to the reading, language property of the child's ability to maintain attention and concentration and self-esteem and security.''

Bachlor Partys In The Dells

What is the importance of reading the tale?

In recent work I have spoken quietly ... but I realized not to have well- explained what a fairy tale, although I can imagine that many of you already have an idea.

Alice in Mervaiglie, Little Red Riding Hood, Pinocchio, Beauty and the Beast, and many other stories within the genre of the tale, which is part of the collective culture, traditions and origins peoples. Fairy tales have been passed down orally from generation to generation for centuries, and who handed down often modified by adding or removing parts, to ensure that best describes the life of the poor. There were people, however, who have collected and transcribed: to remember are Collodi, infector of "Pinocchio," James Matthew Barrie, author of "Peter Pan", Hans Christian Andersen, the Brothers Grimm.

Nowadays the literary fairy tale was addressed only the child, previously, however, was an entertainment for adults and had great importance for the life of the community as broadcasting values.

features that can be encounter are similar in all fairy tales: the characters, places and times are referred to generically and are not discussed, because there are phrases like "Once upon a time ..."," In a country far away ... " but does not say where or when, in addition, the facts that appear in the account are made impossible, and the characters unbelievable. Moreover, the world is mostly represented divided into two: the characters are either good or bad, or stupid or smart, or beautiful or ugly, there is no way of means. The story always ends with a happy ending and a moral, which teaches many values, leaving also the reader with every decision. The language used in the tale is typical of popular novelists.

"In the manifesto the stories have little to teach us about the specific conditions of life in modern mass society, these stories were created long before his arrival. [..] Through centuries during which, with subsequent revisions, became increasingly sophisticated, the stories came to be transmitted at the same time, overt and veiled meanings. [...] Applying the psychoanalytic model of personality 'human, fairy tales carry important messages to the conscious mind , preconscious and subconscious, at whatever level each is functioning at that time. These stories deal with problems universal human, especially those that preoccupy the mind of the child. "