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As you can tell a story? Brother and Sister

In some post I presented some preceded the analysis of some of the best known fairy tales, but at this time, we want to present what is the way better to tell a story.

Before telling any story, it is important to read the text several times and take the points that have most impressed. Once established these points, it will be let go of the fantasy and imagination: ideas and inventions that will emerge will help to make fun and personal narrative, which can be used not only ways of acting, but also objects.
For example, one could create music moments of intense beauty. Or use a common object could mean so fantastic things and facts of the story: a blanket can be not only covered, but also a mantle, a curtain, a curtain, the blanket can also be magic, covering things, her disappear, a broom can become a horse, a rudder to travel with the imagination, a table, however, can become a hut, a castle or a bridge, a bed can become a ship, a wagon or a stagecoach.

do not need to find so many objects, it need only one. The key is to have the imagination to use it with fantasy and imagination, but try not to stray too far from history.

A fairy tale you can also build yourself: just change the names and places of stories you already know, or inventing new ones, perhaps with the help of some object.

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Another story from Bruno Bettelheim in The Uses of Enchantment is to Brother and Sister.

In this story of the brothers Grimm players are the desperate nature of the id, ego and superego, and the main message is that they must be supplemented because the individual could achieve happiness. Here the evil arts of an "evil spirit" become a brother in an animal, while the other human remains. It 'difficult to imagine a more vivid, concise and immediately convincing our contradictory tendencies. For most of our lives, when we failed to achieve or maintain our inner integrity, these two aspects of our psyche are fighting each other. The finding that a certain thing he sucita in two different feelings at the same time confuses the child. Understanding this duality requires a perception of inner processes that is facilitated fairy tales. These stories begin with a deep-seated lack of Differenciate between the two brothers, they live together and feel the same feelings, are inseparable. But then, at some point in the growth process, one begins to live a life of their animal, and the other not. At the end of the story, the animal takes a human form, and the two brothers are reunited to be parted again. And 'this is the tale of a symbolic way of espreimere the essential elements of the development of human personality: the first time in the child's personality is undifferentiated, and then, from this stage, they develop the id, ego and superego. In a process of maturation, they must be integrated. Being out of the house is the need to become themselves. Self-realization requires the abandonment of the house and its orbit very painful experience that has many psychological dangers. This development process is inevitable, the pain is symbolized by the regret that children feel about being forced to leave home. The psychological risks involved in this process are the dangers that the hero meets on his travels. In this story the brother is of course the danger of a unit essentially inseparable, and sister, as a symbol of maternal care, is the savior. The story leaves no doubt in the mind of the child who must endure the pain and accept the risks because you have conquer their own personal identity, the child who understands and embraces the message of the story, find the true home of his most intimate individuality. Her sister, representing the mental functions exceeded (the ego and the superego), warns her brother, who (dominated by the id) is ready to be carried away by his desire for instant gratification. With the intensification of the pressure of the id, ego and it overpowers the brakes of the superego (the warnings of his sister lose their power to control). But until we have achieved full integration of our personality, our Ex (our instinctual pressures, our animal nature) live together in an uneasy peace with our ego (our rationality). While his brother has passed his test, his sister has not gone through the same experience. The integration of disparate aspects of our personality, it can only be achieved after the removal of those associali, destructive and unjust, and this can not be achieved until we have reached full maturity. The story also suggests two major shocks of life: leaving the parental home and creating their own family. The contrast between the conduct of his brother, who yields to the stimuli of his instinctual desires and the behavior of his sister, reveals a concern and a sense of responsibility towards other people motivated by the ego and the superego, clearly indicates what they consist of the battle for integration and the victory in this struggle.

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Bruno Bettelheim in his book, is different between these stories ... there is Snow White. The way in which the tale is now known is Snow White and the Seven Dwarfs version that brings attention to the dwarf, not growing up to human maturity, are locked permanently to a pre-Oedipal level. In the famous story, the older woman is jealous of Snow White's mother but his stepmother, so the oedipal problems that can be found in other versions, lasica are the imagination of the reader. The years spent with Snow White dwarfs represent its period of adversity, problems to overcome, the period of its development. According to Bettelheim, "there are few stories that help the listener to distinguish between the main stages of child development as well as Snow White" . In Snow White, as in many other stories, see a man who can be seen as an unconscious representation of his father, the hunter who is ordered to kill Snow White but instead saves her life. The Oedipal struggle of the girl is not repressed, but implemented with the mother as a rival. The father of missing hunter take a strong and well-defined, does not his duty to the queen, and not fulfilling its moral obligation to Snow White. Does not kill, but the leaves in the woods, where do you think will be devoured by the beasts. The hunter tries to appease both the stepmother and daughter, hatred and jealousy of woman are the result of the ambivalence of his father. The father is not very weak in Snow White.

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A fairy tale Snow White ... many interpretations

Surfing the internet, I found an article that sees the tale as a bridge between cultures ... argument that I have already proposed ... At the end of this article I found a link that sends me back to a window where he talks about the different ways of interpreting a story, so I decided to treat this subject, because, nowadays, it is useful to see the attitudes of different cultures.

The fairy tale, a genre seemingly simple directness and efficiency, in fact conceals very complex structures that have been classified and interpreted. Bettelheim states that "The meaning of the tale is different for each person and different for the same person at different times of his life. The child draws a different meaning of the same story depending on their interests and needs of the moment. Him when given the chance, he returns to the same story when it is ready to process old meanings, or to replace them with new meaning. "

Several are the approaches and interpretations of the tale, as well as attempts to bring it in fixed patterns.

Reading in key ethnological (Propp)

Propp connects the story to the ancient rites of initiation. The stories would have replaced the ancient rites of initiation and rites of passage of prehistoric civilizations.
According to this interpretation of Little Red Riding Hood is the initiation into adulthood, the forest is a place of passage, the wolf swallowed the symbolic and the actual time spent inside the animal totem, the rebirth and return to the world representing his entry into adulthood.

Reading in a historical-ideological (Dartnton)

The tale reflects the historical events and political boundaries between social classes, and those who support Dartnton historicizing fairy tales and putting them in their historical and political context.
Using this key, Little Red Riding Hood and her grandmother are to be eaten without having done anything wrong, and this does not upset those listeners accustomed to suffer all kinds of abuse of power by local strongmen, who do not receive any explanation nor have the right to ask for it. This interpretation fits all the medieval stories, and may have inspired the author in writing Dallari as Cinderella, Snow White, Puss in the Scarpaccia. The questioning of a passive in front of Cinderella's fate comes from the feminist critique, that the stepsisters and stepmother, desirous of emancipation and mundane choices, are opposed to a tedious and beset by Cinderella cleaning, neurotic but devoted to her duty , which does not question for any reason. These controfiabe have not been very successful because desecrate cultural pillars untouchables for centuries. The attempt to overturn in a few provocative element of the classic fairy tale, and rework it in an ironic way static and dynamism, setting in stone, could not be substantiated. The attitude of rejection by teachers and parents, not about ideology, but the instrument used.

Reading mythological tale

The tale is related to natural phenomena, the alternation of day and night and seasons, the rituals of the ancient myths the conflicts between men and explanation of the origin of the world. According to this reading Little Red Riding Hood in the light of day (the sun red) is swallowed by the night (the belly of the wolf) to be reborn to new life when the hunter free.

Reading in key psychoanalytic (Freud, Bettelheim, Jung, von Franz ...)

According to these authors, the tale is a clear expression of deep psychic structure, to mostly unconscious, of universal value. The fairy tale, slips of the tongue, dreams are valves through which the subconscious communicates and brings to light the problems removed. With the key psychoanalytic
, according to the Freudian school shooting by Bettelheim, Little Red Riding Hood is the meeting of pre-adolescent with adult sexuality. The red cap represents the first period and the recommendation of her mother and bans the dangers of sexuality and transgression Red Riding Hood's attempt to eliminate the mother as a sexual rival, and the wolf the masculine seductive and destructive against the hunter, responsible father figure strong and savior. The swallowing of the girl represents the sexual encounter, and his expulsion by opening the belly, birth and the birth of a new level of maturity reached. Importantly, in this regard, the mending of the wolf, which was filled of stones, to overcome the anguish of birth and death related to it, the child inevitably associated with this step of the tale (as specified in the post about this story). The happy ending of fairy tales allows, in infancy, childhood, and to address the existential problems of sexual identification and emerge unscathed, and landing in an emotional and sexual maturity.
von Franz interprets the stories starting from the current Jungian psychoanalysis, which allows greater freedom of movement because it has already preordained categories and fixed (the libido and sexual development), and let the story speak independently. The archetypes and the collective unconscious are the critical issues of this type of interpretation.

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Bluebeard

last post I have analyzed a well-known fairy tale ... so I decided to go the same way. Today I will tell you briefly the story of Bluebeard, and then continued with morals ...

Bluebeard is a disturbing man very rich, with a huge beard blue. After having married several times, managed to contract a new marriage with a girl waiting for her husband. She, once married, despite the prohibition of Bluebeard to open the cellar door of the building where they live, disobey and manages to uncover a secret: the bodies of her husband's previous wives.

The moral of this tale is that curiosity is a bad habit: a source of trouble, cause of all disasters. A passion silly, useless and trivial, which met, never produces anything, and often costs more than it's worth.

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Origin and interpretation of the fairy tale Little Red Riding Hood

The story of Little Red Riding Hood goes back to the oral traditions of different European regions, and is transcribed sata, among others, by Charles Perrault and the Brothers Grimm. We know that the tale was told as early as the fourteenth century France. "The False Grandmother" is the title of an ancient Italian version of the fable in which Little Red Riding Hood is able to defeat the wolf based solely on their wits. Some argue that this version is closer to the original, and that the character of the wood-cutter was added later to suggest the idea that male-grandmother and grandson could not be saved without the help of a man. Despite being one of the most fairy tales told to children, Little Red Riding Hood contains numerous references rather than explicit sexuality and violence. Perrault's version is more left to the next (and best known) of Grimm. The main difference between the two versions is that the transcription of Perrault there is no happy ending and the fairy tale Hood and ends with his grandmother in his belly, while the version of the Brothers Grimm is inserted into the figure of the hunter, cutting his belly saves the two unfortunate. The story told by Perrault so there is a redemption of Little Red Riding Hood, but there is the purpose of terrorizing the children so they will not deviate from the path that metaphorically are the recommendations of the parents. At the end of the story, Perrault provides an explicit explanation of morality, from which it is difficult to extract the obvious sexual content: From this story one learns that children, especially young girls nice, polite and a good family, do much harm to listen to strangers, and it is not strange then if the wolf gets his dinner, it is quite clear that the wolf represents a seducer that shows the beauty of nature, the child has recently entered puberty. So the girl became a woman matures and faces the problem of sex. The admonition "not to depart from the path" is a clear warning against the dangers of sex and against those losing their virginity. The "Little Red Riding Hood" is a symbol of menstruation, which leads the child into the "dark forest" of womanhood, but in many folk in the woods a young woman is metaphorically associated with prostitution in seventeenth-century France, the red cape was a signal very explicit in this regard. The voracity of the wolf, her craving for meat, the sadistic child associated with the concept of "sexual intercourse", characteristic of the oral, pregenital, also called "cannibal" by Freud himself. In the oral phase of development is manifested by the sex drive nutrition. The wolf in Little Red Riding Hood using the shell a cannibalistic way of relating to her. At this point it seems clear that the wolf represents the man, seen as a cruel and cunning animal, sex and the act is described as an act of cannibalism in which the male eats the femmina.Nella Perrault's version, the tale ends with a regression of the child, trapped in the womb: no initiation occurs in the adult world, but allowed the Brothers Grimm version of the hunter. In the nineteenth century, two German versions of the tale were told by the Brothers Grimm Hassenpflug Jeanette (1791-1860) and Marie Hassenpflug (1788-1856). The Grimm became one of the two versions in the main story, and the second in a sequel. The first, entitled Rotkäppchen, was included in the first edition of their collection Kinder-und Hausmärchen (1812). In this version the girl and her grandmother were saved by a hunter interested in the skin of the wolf. In the second story, Little Red Riding Hood and her grandmother, through its experience with the first wolf, were able to capture and kill another. The Grimm continued to revise the story in later editions, the best known is the final revision of 1857, with the cutter in place of the hunter. Little Red Riding Hood, in its variants, can be linked with other similar fairy tales and myths. The theme of the victims safe and sound extracted from the belly of the wolf, in particular, is almost identical in the Russian tale Peter and the Wolf, and is a variant of an idea at least as old as the Book of Jonah. Another and far more unusual alternative version of the story of "Little Red Riding Hood" is Red Hot Riding Hood, the famous cartoon directed by Tex Avery, who sees the heroine as a female star used as a particularly provocative singer in a nightclub.

The hunter is the good side of man, the father, without which, in a male vision, the woman can not be saved. theme of the victims safe and sound extracted from the belly of the wolf, allows the child to remove the anxiety provoked by the story and confront their fears and their positive and negative aspects, and it works in this way a kind of catharsis.

Among the classic fairy tale, Little Red Riding Hood is one of those that lend themselves more to an analysis of the subtext, or hidden or implicit messages. Even Bruno Bettelheim pointed out how the fairy tale lends itself to a Freudian interpretation. While it is clear the presence of sexual content in the history of the interpretations they disagree fundamentally on what could only be understood as meaning primary.

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as a bridge between cultures

The tale is a universal genre, characterized by a narrative structure constant can be disassembled, modified and rebuilt, and also because it lends itself to many imaginative itineraries and educational tours.

Its structure constant and easily recognizable is reassuring, familiar, and gives stability and security, two important elements in childhood. Every child needs his tale, one that assures him unconsciously, it does grow, helps to address the critical difficulties of life, gives him confidence that can cope in any situation and offers him more control over the inner drives and external events.

Much has been written in recent years, the ability of the tale of binding different cultures and histories. Were also published several educational proposals using the tale as obligatory stage of child development, as can still be affected emotionally and imagination of children to culture, environment, distant stars. It should also emphasize the educational potential of the tale in this capacity, "cosmic". Working with the fairy tale becomes a multi-ethnic then very significant learning experience, especially if we can enrich the value of aggregation and participation with other code word (intentional, mimic, paralinguistic, Chinese ...), if you involve all participants in the entire community, with an intensity that brings the story to its origins, the meeting sapienzale, in our case, with the lands of Africa.

These codes, replacement of the writing, take us back to the value of oral tradition and its vital significance for the African people, because it was, and in part still is, the communicative function par excellence. The tale provides a meeting ground that has no barriers neither time nor ethnic, nor age: the ability to imagine feeds the imagination, it mobilizes the resources of childhood fantasy, "creates space for other things, not useful, like poetry, music, art, things that directly affect the happiness of man and its use in any manufacturing machine, "as Rodari, adding:" I do not think that fantasy is escapism, but an instrument of the mind, able to express and form a personality rich ". The fairy tale, Calvino writes, can "achieve maximum results using very few resources." On the one hand loose and brings into play the dynamics of identification-protective, the other allows the rapid recovery of the exercise of rationality. The tale is a source of pleasure, an important gloss for all ages.

If, within the school or other groups, create reports and meeting places with kids and children of other cultures, the story helps us to build common horizons starting from different histories, it helps us to affirm the values \u200b\u200bof society and tolerance. The foreign child feel really welcomed when you have created with their classmates and the school building a relationship and protective friend. So it's nice to pick up free-wheeling fragments and memories of its roots, its origin or the urge to tell stories of their land, perhaps with the help of their parents ... This allows the image to know that the other door inside, gives the opportunity to express affection, nostalgia, memories, recall past experiences in view of present circumstances and needs. The narrative thus becomes possible to give life to emotions, memories, things near and far.

While much has been written about the oral transmission of fairy tales and fables of cultures close to us, but very little has been made with respect to non-European cultures. The massive wave of immigration has opened up, inevitably and inexorably, even our cultural boundaries and thus were born several collections of fairy tales or stories, with introductions to intercultural education. It is a process recently, driven sometimes by voluntary bodies or reality missionaries who have direct access to the sources, or from groups or projects of immigrant integration.