By Alessandra Levorato

A lot study has been performed at the social messages conveyed to young ones analyzing or hearing fairy stories. during this hugely unique examine, the emphasis shifts from content material to linguistic expression. The language and linguistic association of a dozen models, previous and new, of the Little pink using Hood tale are analyzed utilizing numerous theoretical methods, together with serious Discourse research, Conversational research, practical Grammar and important Stylistics, to discover the contribution of fairy stories to the discourse of gender relatives through the years.

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Extra resources for Language and Gender in the Fairy Tale Tradition: A Linguistic Analysis of Old and New Story-Telling

Example text

As to the character’s relationship with the other members of the family, all stories agree on her affection for grandmother: after all, she sends her own daughter into the woods to visit her, although in the Merseyside version it is the father who suggests his daughter take a few gifts to grandmother. On the other hand, only Perrault and Baring Gould highlight her affection for her daughter (she ‘doted’ on her in the former, and ‘loves her well’ in the latter), while Chiang Mi stresses her pride in her.

On the other hand, social actors are often represented as participating in more than one social practice, in which case overdetermination occurs. Overdetermination is important in discourse analysis because social activities are historically and culturally determined, so that the participation of social actors in more than one can generate, for example, inversion in one culture and not in another. For this reason it can be used to legitimate or criticize existing norms and stereotypes (Van Leeuwen, 1995 and 1996) and is especially appropriate when dealing with gendered discourse.

In fact, except for the Merseyside version where she obviously represents a fundamental point of reference for the girl, all the other texts give a rather superficial, stereotyped picture of grandmother. Incidentally, only Storr, Merseyside, and Carter give her a part which involves more than just letting the wolf inside the house thinking it is the girl. Although she is also never properly categorized by means of physical identification, she is sometimes represented in terms of certain physical characteristics which tend to have connotations: her nightclothes in Perrault, Grimm, Baring Gould, and Thurber, a coat, hat, shoes and wellkept hair, suggesting an untimely vanity, in Dahl.

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