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How literature is important in children's learning
Reflection on children's literature
Reflection on children's literature
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Charlotte Chorpenning once said, “Fairy tales are the voices of long ago and far away, calling to the yearnings of today,” (Maes). All cultures and all countries are rich with stories of magic, mystery, and adventure; Chorpenning took these rich stories and put them on the stage for children. Passionate about children and teaching them, Charlotte Chorpenning served as the voice and writings of the children’s theatre world in the middle twentieth century by writing and adapting countless plays for children. Charlotte Chorpenning’s writings and adaptations of children’s plays have changed the world of children’s theatre by nearly doubling the repertoire for children’s theatre while continually portraying a traditional moral message in her plays.
Chorpenning’s experience with teaching and dealing with children helped form and influence her writings. Before she started to write and adapt children’s plays, Chorpenning was an English teacher in Minnesota, and she taught there until the early twenties. This is where she started to learn about children and find out what they liked and what would entertain them on the stage. She also directed children’s plays before she began writing them. She spent several years directing plays at the Goodman Theatre. This is where she realized that what she really wanted to do was write plays for children. Therefore, when she was sixty years old, she followed her dream and began to write for children.
Before Chorpenning started writing, there were very few children’s plays, which is one of the reasons that she was so interested in writing specifically for children. Before Chorpenning, there were only a handful of plays that catered specifically to children. By the time she died, she had double the...
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...other and father at the conclusion of the play (Martin). Chorpenning was devoted to making sure that people didn’t just watch plays, that they got something out of the experience of seeing them, especially the children. This is what drove her to write and adapt so many plays in her lifetime.
Charlotte Chorpenning impacted the world of children’s theatre by nearly doubling the number of plays that were available to children while always sending them a positive message. Teaching children for most of her life inspired Chorpenning to write plays for children and her plays were overall accepted by critics for their positive message that they convey. Without Charlotte Chorpenning, children’s theatre would not be the same as it is today. Without her contribution to children’s theatre repertoire, and her positive message, who knows where the theatre world would be now.
Senick, Gerard J., and Hedblad, Alan. Children’s Literature Review: Excerpts from Reviews, and Commentary on Books for Children and Young People (Volumes 14, 34, 35). Detroit, Michigan: Gale Research, 1995..
Firstly, in the passage “Wonder Children” The author Carolyn Meyer starts out the introduction paragraph by
Tatar, Maria. Off with Their Heads!: Fairy Tales and the Culture of Childhood. Princeton, NJ: Princeton UP, 1992. Print.
‘Some idea of a child or childhood motivates writers and determines both the form and content of what they write.’ -- Hunt The above statement is incomplete, as Hunt not only states that the writer has an idea of a child but in the concluding part, he states that the reader also has their own assumptions and perceptions of a child and childhood. Therefore, in order to consider Hunt’s statement, this essay will look at the different ideologies surrounding the concept of a child and childhood, the form and content in which writers inform the reader about their ideas of childhood concluding with what the selected set books state about childhood in particular gender. The set books used are Voices In The Park by Browne, Mortal Engines by Reeve and Little Women by Alcott to illustrate different formats, authorial craft and concepts about childhood. For clarity, the page numbers used in Voices In The Park are ordinal (1-30) starting at Voice 1.
Children literature is a term that refers to the texts written for children. The artist uses creative ways to ensure that children are provided with educational books, touching on a variety of themes. This paper will include comparison of two characters from the two texts, “Hana's Suitcase: A True Story,” authored by Karen Levine and “Charlotte’s Web,” written by E.B. White, with the aim of understanding ways in which problems are solvable as indicated by selected characters.
Peter Pan never wanted to grow up, for he always wanted to be a boy and have fun. On the other hand, the general argument made by author, Anne Sexton, in her poem, “The Fury of Overshoes,” is that childhood is most appreciated when a person must be independent. A university student finds that he can relate to the speaker. The high school student, still a child himself, will feel the same as the speaker in her youth. A college student and a high school student reading this poem would conclude this poem with different feelings.
Sipe highlights five different expressive engagements—dramatizing, talking back, inserting, and taking over—that children portray during story book read- alouds. He believes that teachers must encourage these behaviors in children because it shows participation and it inspires children to take over the story. Some of these expressive engagements are reasonable while some serve as a disfavor to children’s learning. On page 482, he gives instruction on how teachers can implement the expressive engagements in their classroom. Sipe claims, “the first type of expressive engagement, dramatizing, can be encouraged through dramatic reenactment” (481). This can be problematic for fairy tales such as “The Juniper Tree”. This story about a stepmother killing her stepson by beheading him then cooking him in a stew, and a little boy turned into a singing bird who then later kills his murderer by “…dropping a millstone on her head and crush[ing] her to death” (252) can be gruesome for children to dramatize. Another expressive engagement that Sipe mentions is “inserting”. Sipe claims that if children are encouraged to insert themselves or other people around them into the story that they are reading, they can exercise their power over the tales. Through this process, Sipe claims “children in process of becoming one with the story, to the extent of assuming their stance as fellow characters with equal agency and presence in the story” (478). The story of the little boy in “The Juniper Tree” suggest a different view about mechanically inserting characters in a story. The little boy must learn about what each of his family members did to contribute to his death. When the little boy died, he did not know anything about the causes of his death and the things that happened after. He had to learn that his “mother, she slew [him]”, his father
Judy Blume is recognized as a world famous children’s book author after selling over 85 million books around the world. It could be said that, “if she writes it, they will come”, since millions of young girls and young adult women pour over her words with fervor. The Pied Piper of Hamelin is a popular legend based on the town of Hamelin in Germany where a colorfully dressed man plays his pipe to lure rats, then later children, to their doom in the river. Blume has in essence captivated her audience for decades with her “pipe”, which is simple, easy to read texts covering topics for which tweens and teens have an insatiable appetite. However, instead of giving thoughtful, moral and entertaining books to impressionable minds, Judy Blume has
Laura Ingalls Wilder may be viewed as one of the greatest children’s authors of the twentieth century. Her works may be directed towards a younger crowd but people of all ages enjoy her literary contributions. The way that Wilder’s books are written guarantees that they have a place among classics of American literature (“So many…” 1). Laura Ingalls Wilder’s form of writing portrays an American family’s interworking in a journey through childhood.
Piaget, J. 1962. Play, dreams and imitation in childhood. New York: Norton White, J., 2002. The child's mind. London: Routledge/Falmer.
Fiction Studies 49.3 (Fall 2003): 443-468. Rpt. in Children's Literature Review. Ed. Jelena Krstovic. Vol. 176. Detroit: Gale, 2013. Literature Resource Center. Web. 11 Mar. 2014.
Vandergrift, Kay E. Vandergrift's Children's Literature Page. 11 Oct 2002. The State University of New Jersey. 1 Nov 2002.
Jones, Marnie. "The Threat to Imagination in Children's Literature." International Journal of the Book 3.2 (2005/2006): 71-76. Print.
Novels of the 1950s such as Crucifixus Exam by Walter M. Miller, Jr. had a very complex style of writing that was almost poetic and often focused on something small with very much detail. On the other hand later writings like James Patterson’s Maximum Ride have almost all child characters who are quite relatable for anyone 10-17 years old. The writing is also very young, straightforward, and direct to the readers for a much more “kid-like” reading experie...
Perrault, Charles. “Cinderella.” Writing and Reading Across the Curriculum. Ed. Laurence Behrens, Leonard J. Rosen. Toronto: Longman, 2013. 236-240. Print.