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Making Fairy Tales Part of Your Ever After

Barbara Mraz

The Academic Setting 

            This unit is designed for a sixth grade Social Studies class.  I teach sixth grade Social Studies and U.S. History at Jefferson Middle School, a well-established school centrally located, near the University of New Mexico.  Jefferson Middle School is in the Albuquerque High School Cluster and it is one of the most ethnically diverse middle schools in Albuquerque with a student body that includes thirty different home languages. 

Students come from various areas of Albuquerque and often choose to attend Jefferson because of its many enrichment opportunities.  Jefferson Middle School values students’ participation in before and after school programs, which  correlates with high academic performance, lower dropout rates, and general student well being.  The school offers thirty after school programs during the school year.   

Jefferson’s school population of nearly eight hundred students performs well on standardized tests, and is ranked among the top middle schools in APS.  Jefferson Middle school is proud of its high expectations and student performance on standardized tests.  

            The sixth grade Social Studies classes enrollment averages twenty-five students.  The inclusion model at Jefferson Middle School utilizes varying degrees of student learning capabilities at all grade levels.  Inclusion is an instructional model that promotes regular education and special education students to work together in classrooms.  Special education students include gifted students, as well as students with learning issues.

 The educational goal in Social Studies is to examine various cultures and societies in the ancient time periods to the present.  Studying history helps the students to examine cultural values, beliefs, and attitudes have been influenced by western civilizations from Europe and Asia.  As part of our cultural heritage, fairy tales continue to be popular.  Students will benefit by learning a greater understanding of the history of the stories and view what life was like for children growing up during the time periods in which they were first written.  The goal is to explore the genre and development of five fairy tales and compare the original versions to modern versions of these tales.  This unit will engage students in reading and writing activities, including classroom presentations using the original versions of five fairy tales and comparing them to modern versions. 

Context and Background 

Beware!  This unit has princesses, palaces, wolves, wishes, and magic spells everywhere!  What is the magic that makes fairy tales?  We grew up with fairy tales and are familiar with the names “Cinderella,” “Snow White,”  “Jack and the Beanstalk,” and “Puss and Boots.”  Everyone can retell the story of “Little Red Riding Hood,” but have we ever stopped to think of the origins of these tales or of those who were first to write them down in their familiar forms?  What have the lessons taught us, and how do they continue to teach and influence the children who learn them today?  This curriculum unit will instruct sixth grade Social Studies students about historical, social and cultural background of five classic fairy tales. With these five fairy tales, this unit will trace the evolution of their messages, and look at gender roles, during the time periods in which they were published.  It also aims to investigate what it may have been like to be a child growing up during the time period in which the fairy tales were first published.  The goal is to create in the classroom a storytelling community by learning more about these five favorite fairy tales, using them to participate in activities, and researching their histories. 

               As literary forms, fairy tales evolved from folktales.  Everyone in our culture has heard the classic stories from childhood.  We know the classical versions as told by The Brothers Grimm in Germany, Charles Perralt in France, and Joseph Jacobs in England.  The students may not know these famous editors and authors, but they do know a variety of versions of the “classics.”  As in, Perrault’s “Cinderella,” for example, the story most of us are familiar with has been adapted from folklore to fairy tale and has been learned by countless groups of children through books and film. 

               Fairy tales originally were used to create and maintain a sense of community.  As a literary form, the fairy tale developed out of the folktale tradition, surviving the transformation from oral to written form.  The audience was adults.  These tales had many versions, and were part of the oral story-telling tradition.  The basic function of these tales was to entertain and to educate. 

                What is a folktale?  A folktale is a narrative that is not located in either time or space, and it may contain element of fantasy or wonder.  These stories attempt to explain the world in which we live.  Folktale characters may be members of royalty or common folk but also include animals that speak and act like people.  Like myths, folktales explain the wonders and powers of nature and often-dramatic conflicts between forces of good and evil.  Folktales also serve to bring news from one village to another, and that reveals a lot about the people who invent the tales.  Although initially not meant for children, folk tales eventually evolved into fairy tales, which later became educational tools of the middle class.  Storytellers helped build a sense of community where all villagers were the audience.   Parents would use folktales to teach their children and grandchildren, who in time told them to their own children.  These stories helped to create a community and the customs of their village (Zipes Art of  7). 

                 Royalty, peasants, animals, and supernatural creatures inhabit the world of folktales.  They rarely include members of the bourgeoisie or the church.  Also not included are machines and industrialization.  Living in a town is not important, but living in feudal society is included.   There is special focus on class struggle, also competition for power among the aristocrats themselves, and between the peasantry and aristocracy.  The central theme of folktales is “might makes right.”  “He who has power can exercise their will, right wrongs, become ennobled, amass money and land, win women as prizes and social prestige” (Zipes, Art of  8) At the root of the folk tales are the problems of everyday life such as starvation of children, rape, corporeal punishment, and ruthless exploitation (Zipes Art of  8). 

               In his book, Don’t Bet on the Prince, Jack Zipes argues that fairy tales help children discover their place in the world and test hypotheses about the world.  Bruno Bettelheim believes that fairy tales are very meaningful to children in that they help them cope with the psychological problems of growing up and integrating their personalities.  Fairy tales not only delight and entertain children, but also enlighten them and their development.   They come in many versions, each unique to the written version.   

               Fairy tales are unique in that they are an art form, which is always different to the reader, but also, the meaning will be different for the same person at various moments in life.  Tales vary by author, editors, and collective efforts.  Countless forms of fairy tales can be found in books, illustrations, theater, and film.   They vary in content from one culture to another.  With any given tale you may hear someone say “But in the version I know”…What is the staying power for these universal countless tales (Zipes Don’t Bet vii)? 

               According to Jack Zipes, beginning in the 15th to 17th centuries the literary fairy tale evolved in Italy, England, Germany, and France.  The literary fairy tale evolved from the oral folk tale.  France led the way in establishing a fairy tale tradition.  The educated aristocratic women of Paris, at this time, would gather in their homes in order to engage in discussions about topics such as art and literature.  Subjects also discussed were topics relevant to women, such as love, marriage and freedom.  The  “literary fairy tale” becomes the subject of parlor games for aristocratic women in salons of French upper class society at the end of the 17^th century.  The game was to practice a telling or a retelling of a fairy tale to show off their ability of intellect and language.  It was so successful that many were written down and published.  These women were unable to attend universities, so they tried to improve their education, which they hoped would cause them to be treated more seriously as intellectuals.  The fairy tales were cultivated to assure that young people would be properly groomed for their social functions.   

             Charles Perrault (1628-1703) was one of several authors to publish these court tales.  He, along with other friends and associates, were responsible for a veritable deluge of literary fairy tales.   By 1690, writing and circulating literary fairy tales for children and adults was in vogue  (Zipes, Art of  14).  

              In the 19^th century, the Brothers Grimm began collecting original folk tales in Germany and stylized them into potent literary tales.  These tales have had a profound influence on children and adults throughout the western world.  The Brothers Grimm gathered their tales primarily from the petit bourgeois or the middle class.  They wanted the rich cultural tradition of the common people to be used and accepted by the rising middle classes (Zipes, Art of  45-7).     

History of the development of childhood  

Perrault was writing at a time when the concept of “childhood” was markedly different from that which we embrace today.  In fact, the whole concept of the child as an entity, distinct and unique, and not just   miniature men or women was just beginning to take form.  How were children educated?  There obviously could be no “children’s literature” until there were “children.”   As we examine fairy tales it is very important to look at the concept of childhood in the 17th century.  To help us understand the tales at the time it is important to look at what it was like for a child growing up at this time period.  (Hopefully, by looking at children at this time of history, our students will be able to make connections to children in other times--through 16th and 17th century fairy tales.)  (Shavit 317-18). 

             For one thing, children were not viewed as having any special needs.   Hence, there was no established educational system for children, and there were no books written specifically for them.  Children’s literature, as prolific as it is today, is taken for granted.  But it is only two hundred years old.  Books written for children were virtually unknown until the 18th century.  The children’s book industry did not begin to flourish until the second half of the 19th century, only after adult literature had already been established for one hundred years (Shavit 317). 

            Why the delay?  Why wasn’t there a concept of “child” and “childhood?”  Some of the reasons were economic, some physiological and some a question of simple survival.  The Middle Ages and ensuing periods meant poor chances of survival for children.  There was high mortality.  All children married at a young age.  Poor children entered the work force early and were sent out to be apprentices.  Upper-class children entered the world of adults at a young age, between ten and thirteen years old.  Upper class children took an active part in society from an extremely young age, between that of ten to thirteen years.  “Consequently, children who successfully survived the dangerous years of life could not remain children for long, and were quickly forced to enter the adult world and to become part of it”  (Shavit 318-9).    

            This began to change around the end of the 16th century, initially through religious painting of that era.  Children began to represent the infant Jesus, so the child had a religious purpose.  Jesus and angels were depicted for the first time as sweet, angelic, and innocent.  Gradually, pictures of children acquired their own legitimacy.  This led to more portraits of children  (Shavit 320). 

            Beginning in the 17th century, children began to be seen as the source of entertainment for adults.  Children were invited to the parlor so they might amuse those adults; the attitude towards children greatly resembled that assumed for cherished pet animals.  The poor children, essentially, were made to amuse the adults much like a little dog or monkey. 

            During the Enlightenment Period, there was a stress on discipline and obedience on the part of the child.  The church, pedagogues and moralists viewed the child as closer to God than adults.  They believed children needed education and discipline.  School systems began to emerge and replace the apprenticeship system.  The child was now perceived as a delicate creature that had to be protected, educated, and molded in accordance with the current educational beliefs and goals  (Shavit 321).

            This was the frame of reference in which the first books were written specifically for children.  From then on children’s books were written based on an understanding of the child as the audience and of his needs, which were different from those of adults  (Shavit 326-7).  Fairy tales and children’s literature was written with the purpose of socializing children to meet expectations at home and in the public.  This means the fairy tale expressed the level of consciousness related to the standard mode of socialization at that time (Zipes, Art of  9). 

            A hundred years after Charles Perrault, the child had come to be regarded in a quite different focus.  The ‘amusement’ perception of the child had been replaced by the Grimm Brothers’ day by the ‘educational’ perception, which now gave primary importance to concept of educating the child (Shavit 327). 

            Joseph Jacobs, Brothers Grimm, and Charles Perrault have had an important influence on fairy tales.  Everyone knows their telling and retelling of the five fairy tales focused in this unit.  It would be beneficial for the students to know more about their lives and their contributions with their versions of their fairy tales that are the focus in our unit.   

Charles Perrault 

Charles Perrault lived from 1628 to 1703.  Perrault was a French attorney who turned poet, writer, and anthropologist.  In 1697, he published Histories ou contes du temps passe.   These seven prose fairy tales that are based on gender provide patterns and models for children.  Perrault’s fairy tales were created at a point in history when composing for children as a separate entity was a major shift in social norms.  Perrault wrote these tales primarily to entertain and amuse high society, although his work also reflected publishing for children, as his intended audience, which he hoped, would lead to acceptance by high society.  He was sincere in his intentions to improve the minds and manners of young.    

            Students will find his stories of 300 years ago very familiar.  It is important, in their research, to understand the impact he had on the fairy tale texts we know.  In this unit, the students will use Perrault’s original versions of “Little Red Riding Hood,” “Cinderella,” and “Puss and Boots.” 

The Brothers Grimm 

Jacob Grimm, born in 1785, was the great scholar.  Wilhelm Grimm, born in 1786, was the great writer.  Together they spent most of their lives researching folklore material.  They collected over 200 stories in their native Germany over one hundred and fifty years ago.  In their lifetime, 17 editions of fairy tales were published.  Seven of these are called Large Editions, and ten others are referred to as Small Editions suitable for children.  

            Many of the Grimm tales published by the brothers came from France.  One storyteller visited by the brothers to share her stories was Katherine Viehman.  Another storyteller was well educated French Huguenot woman named Jeanette Hassenpflug, who probably knew Perrault’s versions of the fairy tales.  The Brothers Grimm did not intend their texts for children at first, but rather for adult members of the middle class.  The audience broadened to include the children of the upper class who could read.  The purpose of fairy tales changed to instruct society’s morals of the time.  To appeal to children, the Brothers Grimm revised fairy tales according to a child’s level of understanding.  In their second edition, (1812-15) they included an introduction in which they outlined the principles that guided them in their endeavor to render the texts.  The Brothers Grimm restored the happy ending, which was true to folktales.   They did not always write down exact words of an oral storyteller.  They spent their lives conducting research on myths, customs, and the language of the German people, in their efforts to tie these myths, customs and language to the fostering of the development of a national bourgeoisie (Zipes, Fairy Tales and Art, 47).  

            The students will be familiar with the Brothers Grimm when we start our unit.   It is hoped with the study of their versions of “Cinderella” and “Snow White” incorporated with a few facts about their background, that the students will grow into a deeper appreciation of them. 

            The author of “Jack and the Beanstalk” is Joseph Jacobs.  Jacobs was born in Australia and moved to England.  This author is remembered for his contributions to children’s literature.  In a1890, he published a collection called English Fairy Tales.  In his story of “Jack and the Beanstalk” the hero Jack must save his mother ( Heiner 2). 

“Little Red Riding Hood” 

Everyone knows a version of the famous tale “Little Red Riding Hood,” but what do we know about the first author of the literary version?  Charles Perrault was the first author of the literary version of   “Little Red Riding Hood.”  While Perrault’s “Little Red Riding Hood” may be based on an original fairy tale, his ending is dramatic.  Perrault refined and polished this fairy tale according to his own taste and the conventions of French high society in King Louis XIV’s time.  This version was published in a collection of fairy tales in 1697 ( Zipes, Don’t Be 228).    

 “Scholars are still undecided on the question of whether or not Perrault’s text is based on an existing folktale, mainly because of the atypical tragic ending of his text, a phenomenon unheard of in folktales” (Shavit 323).  Those scholars who believe that his text was based on an original folktale agree that he changed the ending to make it more sophisticated.  His intended audience was both adults and children, so the text includes words, which belonged exclusively to the language of children.  Scholars who see the text as meant primarily for children agree that at least part of it is aimed at adults.  In this time period children were looked upon to be the source of amusement for adults.   He was successful in using writing based on the assumption their stories were meant for children ( Shavit 326). 

Perrault did not hesitate to deviate from formulas of the folktale even at key points, such as the addition of a tragic ending, in “Little Red Riding Hood,” or in typical structures, such as the repetitions of words that are always a common element.  In this case, he created a text that cannot be considered a folktale or a literary tale but being one ambiguous in nature.  Perrault’s female characters are beautiful, industrious, obedient, and silent.  His ideal female of upper class society is also polite, graceful, and properly groomed.  The “heroine” wears a red hat, like witches or fairies of the day wore (Shavit 323-4). 
 

            This particular story belongs to a genre of warning tales.  This peasant girl finds herself in a dangerous situation.   Perrault’s “heroine” is spoiled and naïve and lacks intelligence.  She is punished for failing to stick to the correct moral path.  This warning tale provides a model of behavior for girls.   “Perrault’s fairy tales which   ‘elevate’ heroines reveal that he had a distinctly limited view of women”  (Zipes, Fairy Tales and Art 25). 

            The heroine must control herself at all times.  Perrault tells us that young girls, who are pretty, well bred, and courteous, should never talk to strangers or let themselves go.  If she fails the obedience test, she is punished.  When Perrault’s heroine leaves the path and gets distracted, she causes the death of her grandmother and herself.  In the end the wolf swallows her.  Moral: Stay on the path and don’t talk to wolves  (Zipes, Fairy Tales and Art, 24). 

            In 1812, the Grimm Brothers delivered the second classic version of “Little Red Riding Hood.”  “Rotkappchen”  (Red Cap) was based on Perrault’s narrative, which was already well known through printed editions and oral transmission by people of different social classes.  The Brothers Grimm version of “Little Red Riding Hood” is a story known around the world.  In their version, the child is not afraid of the wolf and keeps her wits about her.  Another difference in the Grimm’s version from Perrault’s is the interfamilial relations and the child’s honesty.  They felt children also need to be guided and instructed.  Her mother plays a more significant role by warning “Little Red Riding Hood” to stay on the path.  The wolf entices her to pick flowers and enjoy nature.  The Grimm’s write that only a strong male figure can rescue a girl from herself and her irresponsible acts.  Instead of the grandmother and the girl being killed by the wolf, a male hunter saves both.   The Perrault and the Grimm versions then became the classical stories of “Little Red Riding Hood” and serve as models throughout the world ( Zipes, Don’t Bet   230). 

“Snow White” 

“Snow White” is also a well-known tale known in many cultures throughout the world.  “Snow White” is a tale dramatizing the relationship between “the angel” mother and “the monster woman” stepmother who comes into her life.  In the Brothers Grimm version the “good” biological mother dies in childhood and the “evil” queen stepmother persecutes her stepdaughter.  In the Disney version,  “Snow White” is an apprentice for domesticated work, but the Grimms see her in a much different light.  To the Grimmes she will gain her prince through her beauty and hard work.  They make a contract with her to clean for them in exchange for everything they need, but Grimms' dwarves seem to be very tidy.  Disney changed the drudgery of housework to fun and less work with the help of the woodland creatures (Tatar 78). 

“Cinderella” 

Cinderella is one of the best-loved and most well-known stories around the world.  The themes from the story appear in folklore in many countries of the world.  It is thought that more than 3,000 stories that folklorists identify as “Cinderella” tales exist world wide in almost every culture and nation.  The tale of Cinderella has been told in countless picture books, musicals, cartoons and novels.  

            The earliest version of the tale comes from China.  It was written down by Tuan Ch’eng-shih in the middle of the ninth century A.D. (850-60 Common Era).  The heroine, Yeh-shen, is helped by a magical fish.  A golden shoe will help the prince, who wants to marry her, to identify her  (Heiner 1).

            Charles Perrault’s version includes a fairy godmother, the pumpkin carriage, the animal servants, and the glass slippers.  Perrault’s version has lasted almost 300 hundred years.  It teaches that a proper young woman can attract nobility because she will do whatever is wanted of her.  In Perrault’s “Cinderella” the female character triumphs, thanks to the help of fairy magic.  The female in his other tales may triumph due to help from a strong man, or as a reward for exhibiting the ideals of female virtues since her personal character is inadequate to change her situation.  The Fairy Godmother magically will provide money for clothes, carriage, and servants.  These are all changes, which are things over which a proper female has no access or control (Heiner 2).  

           Many scholars believe that the issue of the glass slippers may have come about through a simple confusion between the word for “glass” in French (“verre”) and that for “ermine,” (“vair”) Both words sound exactly the same in French, and many believe that the original story referred to Cinderella’s footwear as ermine and not glass--which would been made more sense, as people in that time-period often wore animals pelts for footwear.  “Some scholars think Perrault confused ‘vair’  (French for ‘ermine’ of ‘fur’) with ‘verre’ (French for ‘glass’) to account for Cinderella’s admittedly uncomfortable footwear.  Mukluks or fur slippers would not be elegant to wear with gold spun cloth” (Heiner 1).  

            In Perrault’s version of  “Cinderella,” persecution of the adolescent stems directly from the father’s remarriage and the new stepmothers jealousies.  The stepmother could not bear Cinderella’s beauty and good qualities because it made her own daughters hated and despised.  “Cinderella’s stepmother employs her to complete the worst work in the house.  Cinderella’s deceased mother represents the source of the daughter’s goodness.  The fairy godmother becomes her substitute and helps release the heroine from the stepmother’s bondage.  Emancipated from enslavement as a cinderlass, Cinderella, blossoms fully into a marriageable young princess at the ball”  (Zipes, Don’t Bet   212-14). 

            Perrault’s version has a more forgiving ending because Cinderella finds husbands for her sisters.  In Perrault’s version of “Cinderella,” she is described as the most beautiful woman in the world.   Cinderella is weak and is carried along by her fate, her beauty, and the help of enchantment to her ultimate fate, and which is a perfect marriage to the prince.  

            Marriage is an important role in the writing for women at this time.   Perrault treats marriage as a reward for good behavior from the heroine.  Marriage to a wealthy aristocrat, preferably of royal blood, is the ultimate goal of all females.  The prince recognizes the excellent qualities and wants to marry her.  She must be passive until the right man recognizes her virtue and marries her.  “She lives only through the male and for marriage”  (Zipes, Fairy Tales and Art 25). 

            The Grimm Brothers’ German version, known as “Aschenputtel”or “Ash Girl” does not include a fairy godmother.  The heroine plants a tree on her mother’s grave and the white doves, the magical help, peck the stepsisters eyes to punish them for their cruelty  (Tatar 101-2).  

“Jack and the Beanstalk” 

In the fairy tale “Jack the Giant Killer,” or “Jack and the Beanstalk,” the widowed mother is at the mercy of her immature, good-for-nothing son.  The danger is starvation.  The male protagonist leaves home to reconstitute home.  Important elements of this fairy tale appear in many stories all over the world.  Jack makes a   exchange for magic power;   “ Along the way the male hero learns to be active, competitive, handsome, industrious, cunning, acquisitive” (Zipes, Art of  57).  Jack’s goal is not different than other male heroes in that money, power, and a woman are the ultimate rewards.  The boy must quickly fend for himself or perish.  The idea of a boy being adventurous and a born hero is simply an idea that does not prevail during this time period (Zipes, Art of  57).

“Puss and Boots” 

In Perrault’s version of “Puss and Boots” the hero of the story is Puss.  Perrault, the best known creator of fairy tales, writes this tale for the court reflecting on upper class manners, norms, and mores.  He needs boots and a pouch to serve his master.  The cat symbolizes an educated bourgeois secretary who is devoted to his master.  His well-mannered behavior and wit impress the king.  Perrault is stressing two morals.  One is to be hard working and worldliness is valuable.  The other would be to have a great appearance, be well dressed and youthful as an external value and to win the princess  (Zipes, Art of   26). 

Implementation 

Lesson Plans for the fairy tale unit 

This plan includes reading and writing activities, and discussions centered on the basic principals and strategies of decision making.  The students will use a collection of popular fairy tales published by Charles Perrault, The Brothers Grimm, and Joseph Jacob.  We will also explore more modern versions of the same tales such as: “Little Red Riding Hood,” “Snow White and the Seven Dwarves,” “Cinderella,” and “Jack and the Bean Stalk,” adopted by Roald Dahl,  “Cinderella” adapted by James Thurber, and “The Paper Bag Princess,” written by Robert Munsch.  The adaptation of Disney’s film “Snow White” will be presented.  It will be beneficial for students to both learn the traditional tales and learn some modern variants of some common tales.  The order of activities is up to the teacher’s discretion.  I listed the activities that could be presented in a three-week plan.  Depending on class size, extra days may have to be assigned for student presentations. 

            The first week of our unit explores the role of women as the main characters in three well-known tales.  “Little Red Riding Hood,” “Cinderella,” and “Snow White” will be our focus.  Class discussion about female characters as the heroine will tie in with the role women had growing up during the time period in which these tales were first published.   

            The second week of study, the class will focus on two tales in which males are the lead characters.  Class discussion will focus on how the male fairy tale hero in many stories leaves home on a mission in order to seek his reward.  Activities will focus on the story of “Puss and Boots” and “Jack the Giant Killer.”  

            To complete our unit students present their own fairy tale story, incorporating common fairy tale elements.  This activity is assigned early in the first week of our unit so the students had two weeks to perfect their story to present to the class.  For final activity, students will create commercials featuring a variety of fairy tale characters of their choice, selling any product, real or make-believe. 

Assessment 

There are six written activities that will be scored on a scale of 100 points each to total 1000 points for the completion of the unit.  Grading scale: (total 1000 points): 900-1000 = A; 800-899 points = B; 700-799 points = C; 600-699 points = D; 599 points and below = F Assessment:   

            The teacher will record a daily chart of points earned for participation in classroom activities and discussions.  A single grade in points will be given for narrative essays, illustrations, stories, and commercials.  The entire unit is 1000 points possible.                      

This unit will seek to address content standards for the New Mexico State Content Standards for Middle School Social Studies.  The following Content Standards and benchmarks are appropriate for our unit.  They will be referred to at the end of each lesson.  Some lessons will address more than one content standard, so I will refer to them by A, B, C, and D.  

A.        Content Standard 1: Students will use knowledge and cultural understanding to explain how the world’s people cope with ever-changing conditions, examine issues from multiple perspectives, and respond to individual and cultural diversity.   

Benchmark: Students will recognize that the world is made up of many people, and their histories have similarities and differences from the students’ own. 

B.        Content Standard 3: Students will know, understand and apply the language, tools and skills of social studies.  

Benchmark:   Students will interpret and report social studies information from diverse sources such as interviews, media, technology, computers, and libraries.  (Media systems)  

C.  Content Standard 4: Students will know and understand the ways in which human beings view themselves and others over time.   

Benchmark: Students will identify and understand varying perspectives in historical writing; and develop critical sensitivities, such as empathy regarding attitudes, values, and behavior of people in a variety of historical contents. 

D.     Content Standard 11: Students will know and understand the diverse, dynamic, and ever-changing nature of culture.   

Benchmark: Students will demonstrate how languages, stories, folktales, media and other artistic creations and performances serve as expressions of culture and demonstrate an appreciation and respect for cultural diversity. 

Lesson plans 

Lesson one: Favorite Fairy Tale Survey 

The goal is to introduce the unit.  Students will complete a survey on their current reading habits, television viewing, movie habits and favorite commercials that involve fairy tales.  

Student survey: What do you know about fairy tales?

(Sample questions to discuss in class.  Add some questions of your own.) 

1.      What do you remember as the first fairy tale you listened to and read in your childhood?

2.      Who do you remember was the first person in your life to tell you or read to you a fairy tale?  What age were you?

3.      Was there any tale that left you frightened the first time you heard it?

4.      Do you think there is too much violence in fairy tales?  List the tales for examples you want to share with the class.

5.      If you could be any character in a fairy tale, which character would you be?

6.      What movies have you seen that you consider are fairy tales?

7.      Do you think fairy tales are important to today’s children? 

8.      Which fairy tales do you feel should be taught today and why?

9.      Who are the heroes for today’s children?  Where are their stories being taught?

10.  Do you have any cherished item saved from your childhood that you can share, which reflects any fairy tale character?  (“Cinderella” Music Box, Disney Story Book, or stuffed animal etc.) 

          Through class discussion, students will contribute knowledge of how much they understand about the beginning history of fairy tales and chart examples in which characters and fairy tale themes are obvious in today’s media.  This will give an introduction to our three-week unit on the beginnings of fairy tales and an awareness of their beginnings.  Students will be using social studies standards A and D.          

          All students are encouraged to bring to our class for display and discussion as many books, illustrations and memorabilia of fairy tales to be displayed and explored at the beginning of each class period during our unit.  This display will change daily as more books, pictures, and memorabilia in the collection are added.  A copy of the Jolly Postman will be on display.  This is a book of examples of mail that is delivered to fairy tale characters.   

Lesson 2: My Life in a Fairy Tale, written by yours truly!  

Write your life magically into a fairy tale with a happy ending: Using elements from fairy tales the students will write their own fairy tale using elements from their own life.  Students will add an element of magic and a happy ending.  This will give the opportunity for students to write their story by using their imagination and to write their own future.  The classroom survey of fairy tales from lesson 1 may be a guide for students to use to incorporate as many tales as possible in their stories.  A “Top Ten” list of common elements found in most fairy tales will be distributed and discussed.       

          This list may include elements that are easily recognized in most tales.

The top ten lists of common elements in popular fairy tales, using Vladimer Propp’s list in The Classic Fairy Tales (386) as a guide, might use some of the following basic elements:  

     1) The hero must leave home.
     2) The villain receives information about his victim.                            
     3) The villain could cause harm or injury to a member of a family.
     4) The villain attempts to deceive his victim in order to take possession of him or        his belongings.                           
    5) One member of a family lacks something or desires to have something.      
    6) The hero acquires the use of a magical agent.  
    7) The hero is transferred, delivered, or led to the whereabouts of an object of           search.   
    8) The hero and the villain join in direct combat or struggle.    
    9) A difficult task is proposed to the hero.    
    10) The hero is transformed, the villain is punished, and everyone is rewarded and          lives happily ever after.  

         All students will be given one week to work one homework to develop a finished story.  This assignment will be 100 points possible for written story and 100 points possible for class presentation.  Students will be using social studies standards A, B, C, and D. 

Lesson three: What is the “True Hollywood Story” of “Little Red Riding Hood?”  

The goal for this activity is to bring a completed version of  “Little Red Riding Hood” written by the student as they remember the story.  Upon completion of the story students can compare their version to the four stories to be read in lesson 4.   All students will be assigned to draw an illustration of their version of the wolf to be included as the stories’ cover.   Volunteers will read their story and all covers and stories will be displayed on the bulletin boards.  This activity is 200 points possible for both story and cover.   Students will be using social studies standards A and D. 

Lesson four: A Detailed Look at “Little Red Riding Hood” or “Little Red Cap”  

The goal is for students to experience the versions of “Little Red Riding Hood” including thise by Charles Perrault, The Brothers Grimm, James Thurber, and Roald Dahl.  Copies may be found on the Internet, local bookstores, and in libraries.  After hearing all four versions students will discuss any similar elements in their tale to the four read in class. 

The students will be assigned groups and will brainstorm how to act out their assigned version of one of the four stories read in class.  A narrator will retell the story as the students act out their well-prepared story.  A list of suggestions on how to tell a creative story will be discussed in class such as: stay in character, practice, speak clearly, and work as a team.  All students will receive a participation grade for their part.  Their skit is 100 points possible.  The teacher will grade on how well the group prepared by understanding their material and how well they performed.  Students will be using social studies standards A, B, C, and D. 

Lesson five: Snow White and the Mighty Seven Dwarves: 

The goal is for students to read and discuss the original version of “Snow White” by Charles Perrault.   Students will compare select scenes of Disney’s 1939 version of the Snow White film.   It will take eighty-four minutes to view.   This will be split into two class periods.   This video is available at any movie rental.   Students will take notes, especially about the characters and will be able to share their views about the villain and heroine.  Students will be using social studies standards A, B, and D. 

Lesson six: Will the “real” “Cinderella” stand up?  

The goal of this activity is to research as many versions of this favorite tale as possible.  We have discussed in class there are many versions.  Students will participate in a web search in our library computer lab to read and collect information on one version for a one-page report to be presented to the class.  The one page report must be accompanied by a picture drawn by the student or photocopied from the Internet, which will help support their version of the story.  The report will be completed for homework and a date for the story to be presented will be planned.  This report will be 100 points possible for short story summary and illustration.  Students will use social studies standards Band D. 

Lesson seven: “Puss and Boots,” may I try on a size five? 

The goal is for this activity is to read and discuss “Puss and Boots,” by Perrault.  After reading this tale in class the students will conduct a web search of common fairy tales that have elements of  “three.”  This tale follows closely the concept of three common elements in many stories.  In many tales, three may be three sons.  It is usually the youngest that is weakest and has the most to prove.   The students will work in-groups of two or three to compile a list of as many tales as they can research on the web or in our book collection on display in our classroom that may fall into the category where three is relevant to the story.  Are there three daughters, three sons, or three tasks that the main character must solve?  Examples may include common folk tales and fairy tales that incorporate three elements such as: “Katrina and the Three Bears,” “The Three Billy Goats Gruff,” and  “The Three Little Pigs.”  Each group will share their list with a short description of each tale.  Students will receive 100 points for effort and participation in this web search.  The students will be encouraged to list a minimum of at least five stories for their list.  Students will be using social studies standards B, C, and D. 

Lesson eight: Jack and the Giant Killer or Jack and the Beanstalk, with beans please! 

The goal is to read the original text written by Joseph Jacob and compare it to Roald Dahl's version of  “Jack and the Beanstalk.”  Students will write a paragraph essay how the stories are different and how they are alike paying attention to the different mother figures in both versions.  Essays may be completed for homework.  This assignment is 100 points possible.  Students will use social studies standards A, B, and C. 

 Lesson nine: Commercials Just Try One!  

The goal is to discuss common propaganda techniques of persuasion used in virtually every piece of media and create one of their own.  A list of ten common terms used in commercials will be distributed and discussed.   The list is included in this plan.  Students will create a commercial using the techniques and incorporating favorite fairy tale characters and or events from fairy tales to sell a product that is commonly used today.  Ads with fashion, music, and food items popular today will be encouraged.  Students will create a storyboard or present a demonstration of a commercial to the class (Examples: Snow White Mattresses, Jack’s Frozen Vegetables, Cinderella Footwear, Rapunzel Hair Products, etc.)                       

Students will prepare a commercial using common propaganda techniques to market a real or fictitious product or a service.  It will give students the opportunity to incorporate their artwork with colorful drawing and a wide variety of lettering styles with their commercial.  Using empty cereal boxes, as examples, are an easy way of showing colors and a variety of lettering commonly used today in products.  Primary colors are always popular choices so students should incorporate them and make their entire storyboard as colorful as possible.   

A one-page storyboard will be presented and displayed in the classroom.  Dressed up fake containers are a hit with the students but create a huge trash problem.  This is why I choose to just have the students stick to a legal size piece of paper for their storyboard. 

Students will have one week to work on their commercials.  These presentations of our commercials will close our unit on fairy tales.  Encourage them to look for characters not mentioned in the unit that will expand our knowledge of fairy tales and surprise the class. 

Students will film the commercials.  It is a great opportunity to let the students organize the background and control the timing.  Filming all the commercials is a great way to share the students work.  Students volunteer to help with the production work and only the students who want to be on tape are filmed.  The storyboard is 100 points possible and the presentation is also possible 100 points.  Students will be using social studies A, B, C, and D. 

Ten propaganda techniques commonly used in today’s commercials: (add more to the list if you choose) 

1. Repetition- Repeat, repeat, and again repeat.  (Are you sick of the name yet?)

2. Nostalgia-Forget the bad parts of the past; only remember the good by using lots of emotional words to make us miss the past.

3. Beautiful people- Using good-looking models in ads to suggest we'll look like the models if we buy that product.

4. Bandwagon - Everybody is doing it!  You want to be “cool” too don’t you?  So buy it.

5. Scientific Evidence-Uses the paraphernalia of science (charts, graphs, etc…) to “prove” something that's often bogus.  Also uses fake medical professionals.

6. Maybe- Exaggerated or outrageous claims are commonly preceded by “maybe,” “might,” or “could.”

7. Symbols- designs, places, ideas, music, etc., symbolizing tradition, nationalism, power, religion, sex, family, or any concept with emotional content.

8. Testimonials- Use famous people to sell a product.  Voiceovers are currently very popular especially, if it’s you favorite actor.

9. Humor- Make them laugh to persuade.  This always gets attention.

10.  Name calling- direct or indirect, audiences love it. 

Documentation 

Bibliography 

Bettelheim, Bruno.  The Uses of Enchantment: The Meaning & Importance of Fairy Tales. New York:  Alfred A. Knopf 1976.   

Dr. Bettleheim opens to the real content of fairy tales. 

Hallett,   Martin, and Barbara Karasek. Folk and Fairy Tales.  Orchard Park, NY:  Broadview    Press Ltd., 1998.   

This book is an anthology and analysis of fairy tales. 

Heiner,   Heidi Anne.  “History of Cinderella.”  Part of the Surlalune Fairy Tales Pages.  January 2, 2002.   <www.surlalunefairytales.com>   

            This site details numerous versions of “Cinderella.” 

Shavit, Zohar. The Concept of Childhood and Children’s Folktales.  Test case “Little Red Riding Hood.”  Ed. Tatar, Maria. The Classic Fairy Tales. Norton and Company.NY 1999.  

            Criticism on the topic of childhood and “Little Red Riding Hood.” 

Tatar, Maria, ed. The Classic Fairy Tales.  New York: Norton and Company. NY 1999.  

This book is a collection of fairy tale text criticism. 

Zipes, Jack.  Creative Storytelling. New York: Routledge, 1995. 

This book is a great classroom source for storytelling.  

Zipes, Jack.  Don’t Bet on the Prince.  New York: Routledge, Chapman and Hall, Inc., 1989.   

This books focus is contemporary feminist fairy tales in America and England. 

Zipes, Jack.  Fairy Tales and the Art of Subversion.  New York: Routledge, Chapman & Hall Inc., 1991.   

This book deals with genre in fairy tales and classical writers in Europe and America. 

Internet Web Sites for Teachers and Students: 

Brothers Grimm : http://www.belinus.co.uk/fairytales/Files3/GrimmIntro.htm

            This site discusses the Brothers Grimm and gives examples of their texts. 

The Brothers Grimm and their fairy tales http://www.scils.rutgers.edu/~kvander/swteach.html . 

    This site gives examples of Brothers Grimm texts.    

Fractured Fairy Tales: http://www.ucalgary.ca/~dkbrown/fft.html

            This site provides book list appropriate for middle school students. 

“Snow White” Text Page and lessons by Kay E. Vandergrift.        
            http://www.pitt.edu/~dash/type0709.html    
            This site combines 36 versions of  “Snow White.”  

Collection of 209 tales from the Brothers Grimm http://www.cs.cmu.edu/~spok/grimmtmp.     

            The Master Cat or Puss in Boots

http://www.belinus.co.uk/fairytales/Files6/LangPussinBoots.htm

            This site is Charles Perrault’s text. 

Book List for students: 

Ahlbert, Janet and Allen.  The Jolly Postman. Boston: Little, Brown & Company, 1996.

            Fairy tale characters get mail.

 

Dahl, Roald.Dahl’s Revolting Rhymes.  Puffin Books, 1995, originally Jonathan Cape Books,             1982. 

           This book is a favorite of middle school students. 

Munsch, Robert.  The Paper Bag Princess.  Toronto: Annick Press, 1982. 

           This book is a new twist-the princess saves the prince.