#Scarlet hood and the wicked wood sex free

Adults are as caught up in this discourse as children, engaging dialogically with it (writing/reading it), just as children themselves engage with many ‘adult’ discourses.

Hence, Rudd (1992) concludes that the genre, by nature, remains a contested one:Ĭhildren’s literature consists of texts that consciously or unconsciously address particular constructions of the child, or metaphorical equivalents in terms of character or situation (for example, animals, puppets, undersized or underprivileged grown-ups), the commonality being that such texts display an awareness of children’s disempowered status (whether containing or controlling it, questioning or overturning it). In addition, writers targeting adults might incorporate into their works content or elements suitable for children or young adults.

Moreover, readers can validate certain texts as belonging to this canon of children’s literature in form or content. And although it is ideally about children and written for children, one can read, interpret, classify, and comment on the value of this literature. This literature is often written by male or female adults and is “a product of adult fantasies about what childhood is or should be” (Mason: 2012 Ikoma: 2017 Wisker: 2018). Nevertheless, the phrase itself, although fascinating, is somewhat loose and misleading.

#Scarlet hood and the wicked wood sex free

In the words of Hunt (2005b), children’s books still generally elicit our critical engagement while being “blissfully free of the ‘oughts’: what we ought to think and say about them” (1). Moreover, its adaptations in adult literature have not been adequately researched. Palabras clave: Angela Carter, Feminismo y género, ficción corta, literatura infantil, valores patriarcales.Ĭompared with conventional literature, children’s literature remains culturally, critically, and intellectually underplayed. La victimización sexual y la complicidad en la opresión de uno pueden ser perjudiciales, parece argumentar Carter, pero igualmente perjudicial es la inclinación sexual subyacente de los populares cuentos de hadas contados / enseñados a los niños e inculcando valores patriarcales. Sus historias no solo revierten el patriarcado, sino que lo subvierten desde adentro. El resultado es que la ficción se basa en algunos patrones de literatura infantil, pero con un matiz feminista que cuestiona los fundamentos del patriarcado. Keywords: Angela Carter, children’s literature, feminism and gender, patriarchal values, short fiction.Įste artículo argumenta la importancia de los cuentos de Angela Carter en el campo de la literatura infantil y sus adaptaciones actuales. Sexual victimization and complicity in one’s oppression might be harmful, Carter seems to argue, but equally harmful is the underlying sexual slant of the popular fairy tales told/taught to children and instilling patriarchal values. Her stories do not simply reverse patriarchy but subvert it from within. The result is fiction building on some patterns of children’s literature yet with a feminist tinge that questions the foundations of patriarchy. This article argues the importance of the short stories of Angela Carter to the field of children’s literature and its current adaptations.