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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.