In the book Night, there were three father son relationships. Eliezer and Chlomo, Rabbi Eliahou and his son, and Meir and his father. We know the most about Eliezer and Chlomo, because we have been following them since the beginning of the story, and the other two have just recently been introduced. They are all noticeably different, but also show some similarities. Eliezer and Chlomo and Rabbi Eliahou and his son share some similarities.
In Dodie Smith’s 101 Dalmatians, a common fear of children, kidnapping, is prevalent. The topic of child abduction is a serious topic that is often considered too harsh to be taught directly to children. However, Smith uses anthropomorphic fantasy to “ask the reader to imagine talking animals banding together against the human world” (Hintz and Tribunella 317). Using animals is a kid friendly way of teaching a hard topic by being able to relate it to a child through the use of a pet.
I think the picture is more like Mother to Son, because the woman is giving the tangled ball to the baby. I think the tangled ball represents the world. She gave him the tangled ball so he can untangle hard things in life. I think the poem Mother to Son and (WAK) are more alike than I too, and Harlem. Mother to Son is mostly alike to (WAK) because in the picture it shows the mother and son bonding.
This would also further play into the fear that a child would have due to the mature themes that they would not understand. To conclude, many kids would not understand the material presented in the book and start to have incorrect thoughts in their
The father/son relationship are shown in both poems. Both are adults reflecting on their past. “My Papa’s Waltz” is about how the father would dance daily with the son. Although it was painful when he sometimes missed a step and his “right ear scraped a buckle”, this was a memorable memory for the son (Line 8). The poem has a happy tone of the sons childhood days.
Meghan wrote this article to persuade the audience to side with her belief of getting rid of dark content within young adult literature. Meghan starts off her article by using Energeia where she tells a story of a 46-year-old mother that goes to a local Barnes & Noble to find a book for her 12-year-old daughter as a welcome home gift, only to leave the store empty-handed and feeling thwarted and disheartened (Gurdon). The mother felt this way because after sifting through hundreds of books, all she could find were lurid sinister-like novels not meant for children to read (Gurdon). Meghan includes this story at the beginning of the article to act as some sort of hook that gets the reader’s attention, all while establishing the topic of her argument and using pathos to engage the reader. Meghan then chose to narrow down her audience to parents by asking the reader how dark they thought contemporary fiction was for teenagers and then by answering “Darker than when you were a child, my dear” (Gurdon).
The poem I read was Mother to Son by Langston Hughes. It was about a mother Talking to her son about her life. She talked about how her life wasn't easy but she still succeeded. She tells her son to not turn back and go through the challenge. If he ever gets stuck in a problem his mother is telling him to strive through and succeeded.
The book Where the Sidewalk Ends and the poem “Kidnapped” by Shel Silverstein is inappropriate for children is because of the frightening content and may give children fears for all strangers. The poem describes scenes that are too graphic for young minds, giving them thoughts of being, “Dragged me from the car down to some cold and moldy basement, where they stuck me in a corner” (18-20). This quote gives horrific images of being kept as a prisoner and being kidnapped, which could give children nightmares and terrifying thoughts. Also, children may be uncertain about what strangers are safe and which are not after reading scenes like , “ They stopped me on the sidewalk, and offered me some candy, and when I wouldn't take it they grabbed me
There is not a righteous man on earth who does not possess the proclivity to sin. Given the freedom to do God’s will or his own, man will instinctively choose to pursue his own. “Young Goodman Brown” and “The Prodigal Son” are two such men who soon realize that “The greatest temptations are not those that solicit their consent to obvious sin, but those that offer them great evils masking as the greatest goods” (Merton, Thomas, 1955). Nathaniel Hawthorne and the Apostle Luke reveal the sinful nature and spiritual transformation of their protagonists using conflict, symbolism, and irony. Comparatively, temptation is the root cause of the internal and external conflicts the confronting protagonists in “Young Goodman Brown “and “The Prodigal Son”.
“Little Women” and “Mother to Son” are both fantastic stories, a family gives a poor family Christmas breakfast, and a mother tries to teach her son well. Louisa May Alcott the author of “Little Women” and, Langston Hughes, author of “Mother to Son” have both made wonderful stories. Now what goes wrong and how do the main characters fix it? What causes these things to happen? Main characters in the stories are Meg, Jo, Beth, and Amy from “Little Women” and the mom from “Mother to Son.”
Langston Hughes’ “Mother to Son” is a poem that narrates an African American mother talking to and encouraging her son. Hughes using narration with overcoming problems adds allows “Mother to Son” to be a blues poem. By using the narrative form and the descriptions of her struggling with colloquies, the poem has characteristics of blues music and tradition. The form of “Mother to Son” adds to the blues feeling with it being narrative.
Both Maria Tatar and Vanessa Joosen 's essays argue about the pivotal role of fairy tales in children 's empowerment. On one hand, Tatar claims that "the magical power embedded in language" (Tatar 57) is the key to "grant a form of agency unknown to the child who has not yet fully developed the capacity to learn language" (57). On the other hand, Joosen contends that reading numerous retelling of fairy tales can "make children and adolescents […] aware of issues and possible interpretations in these texts which they had not noticed before. [Thus leading] to a greater alertness and understanding when they read similar stories in the future" (Joosen 131). Therefore, even though both of the essays ' theses aim to explicate a way for children to obtain power, they do so on fundamentally different premises.
Children literature is about the literature what the adults write, but as well as what the children and adult read. Adults are exercising power and children are either influence or oppose treatment. Children’s books are not blameless or simple. If children’s literature fails to present young people ways of thinking about themselves and their own world. They can make a difference and help them create a conversation of their own as political subjects.
In our world today, people happily expose children to fairy tales, but as those kids grow up and discover the hidden messages inside the stories, they are often provoked with different emotions. I recently experienced this when reading Jacob and Wilhelm Grimm’s “Little Red Cap,” and Charles Perrault’s “Little Red Riding Hood.” Due to my new maturity and knowledge, I was able to interpret the author'sauthors’ pieces of work in new ways. Their strategic use of pathos led me to be overcome with a feeling of worry, disappointment, and frustration. Despite the fact that they both induced me to experience similar emotional responses, I found myself responding more strongly to one than the other.
Children love the fear and anxiety when it comes to dangerous situations. They feel as if they are conquering their fears through enjoyment. According to Pauline Dewan, “ This movement away from home stimulates personal growth as characters face new challenges” (28). Fairy tales and fiction stories can prepare a child for when they leave home and take on the real world. When children watch the film Shrek, they learn to never judge a person by their appearance and they become a hero when they do not listen to others.
