3 Aralık 2010 Cuma
11 Kasım 2010 Perşembe
3 Kasım 2010 Çarşamba
21 Ekim 2010 Perşembe
The Story with Pictures
Little Red Riding Hood from Naissance on Vimeo.
The classic folk tale as depicted through a series of photographs. Shot in the Sierra Nevada region of California by Lexie Findarle.
Especially, the ending is worth to see!
16 Ekim 2010 Cumartesi
13 Ekim 2010 Çarşamba
Art Work inspired by the Red Riding Hood
http://www.rj-studio.com/jessica/source/vertemejor.htm
Video close-up of my eyes in a static single shot, where I apply black mascara continuously for one-hour.In the name of beauty most women will put on makeup, do their hair, nails, depilate, diet, fix their noses and breasts. Although few women will reach society’s beauty ideals, they will sculpt their bodies as needed. In this video I play along with women’s beauty rituals, performing them in exaggerated ways to reflect the pressures imposed by today’s society. The camera focuses on the part of the body where the action takes place: With repetitive gestures I apply mascara continuously for one hour, questioning our attraction to makeup and its power of seduction.
Its title was inspired by the Red Riding Hood tale.
3 Ekim 2010 Pazar
29 Eylül 2010 Çarşamba
My Bed-Tracy Emin- Grandmother's Bed?
A consummate storyteller, Tracey Emin engages the viewer with her candid exploration of universal emotions. Well-known for her confessional art, Tracey Emin reveals intimate details from her life to engage the viewer with her expressions of universal emotions. Her ability to integrate her work and personal life enables Emin to establish an intimacy with the viewer.
Tracey shows us her own bed, in all its embarrassing glory. Empty booze bottles, fag butts, stained sheets, worn panties: the bloody aftermath of a nervous breakdown. By presenting her bed as art, Tracey Emin shares her most personal space, revealing she’s as insecure and imperfect as the rest of the world.
Tracy Emin's Dark Bed
It looks like an old-fashioned comfy four-poster bed, the sort grandmother might sleep in. Except to judge from the rumpled covers, the big bad wolf has already struck.
Closer inspection of the bed, in a Manhattan gallery, also reveals disturbing messages: "Please don't do this" is embroidered on the curtains above the pillows, plus the message "weird sex".
It is the latest work by British artist Tracey Emin, a return to the medium that made her both infamous and a household name. An earlier work, My Bed, was created from a badly stained mattress and sheets surrounded by dirty knickers, vodka bottles and used condoms.
Her latest bed hints at a dark side of her life. In interviews, Emin has spoken of being raped at 13 and being a promiscuous teenager. The new work, called To Meet My Past, carries a clear message - and a threat - to the rapist, whose identity she has never revealed. "I'm going to get you," she has embroidered on one of the sheets. "And when I do, the whole f***ing worlds [sic] going to know that you destroyed my childhood.''
On show in the Lehmann Maupin Gallery, a converted warehouse in the trendy Chelsea district, it has an antique, black cast-iron frame, hand painted with flowers. The heavy red cover is embroidered with the words: "I am not afraid." Other Emin pieces include a collection of potted plants. There are a number of puddles on the floor but this is thought to be a problem with the gallery's roof.
Despite Emin's notoriety the exhibition is sparsely attended. An elderly man, looking at the bed, simply shakes his head. His wife can only say: "Oh my goodness.''
Emin's first bed, shown at the Tate Gallery in 1999, was said to represent four days she spent under the covers contemplating suicide. It was jumped on by two naked Chinese performance artists and doused in pre-wash by Swansea housewife Chris De Ville, who said if her children made a mess like that she would make them clean it up.
There is no price on To Meet My Past - but My Bed was sold to Charles Saatchi for £150,000. New Yorkers who want a copy of the new Emin bed can find similar frames with mattresses for around £1,000. Bed linen is extra - but there's a good sale on at Bloomingdales.
28 Eylül 2010 Salı
21 Eylül 2010 Salı
Little Red Riding Hood by Gustave Dore Illustration
Little Red Riding Hood
by Gustave Dore
Illustration
Virgin Megastore: Little Red Riding Hood
Audio books for kids now available at Virgin Megastore.
Advertising Agency: JWT, Dubai, UAE
Executive Creative Director: Chafic Haddad
Creative Director / Copywriter: Elias Haddad
Art Director: Rayyan Aoun
Photographer: Jeremy Wong, Nemesis Pictures
Illustrators: Baiju Natarajan, Tarek Samaan
Wonderbra: Little Red Riding Hood
Advertising Agency: Publicis, Frankfurt am Main, Germany
Executive Creative Director: Stephan Ganser
Art Director: Hendrik Frey
Copywriter: Konstantinos Manikas
Illustrator: Lesja Chernisch
Lil' Red Riding Hood - A Poem from Wolf Point of View
OWOOOOOOOOOOOOOOOOO!
Who's that I see walking in these woods?
Why it's Little Red Riding Hood.
Hey there Little Red Riding Hood.
You sure are lookin' good,
You're everything a big bad wolf could want.
Listen to me!
Little Red Riding Hood,
I don't think little big girls should.
Go walking' in these spooky old woods alone.
What big eyes you have,
The kind of eyes that drive wolves mad.
So just to see that you don't get chased,
I think I ought to walk with you for a way.
What full lips you have.
They're sure to lure someone bad.
So until you get to Gramma's place,
I think you ought to walk with me and be safe.
I'm gonna keep my sheep suit on,
'Til I'm sure you've been shown,
That I cam be trusted walkin' with you alone
Little Red Riding Hood,
I'd like to hold you if I could.
But you might think I'm a big bad wolf, so I won't.
What a big heart I have,
The Better to love you with.
Little Red Riding Hood,
Even big bad wolves can be good.
I'll try to keep satisfied,
Just to walk by you're side.
Maybe you'll see things my way,
Before we get to Gramma's place.
Hey there Little Red Riding Hood.
You sure are lookin' good,
You're everything a big bad wolf could want.
Little Red Riding Hood.
You sure are lookin' good,
You're everything a big bad wolf could want.
Little Red Riding Hood
19 Eylül 2010 Pazar
17 Eylül 2010 Cuma
The Hard Facts of the Grimms' Fairy Tales- a Book
In fairy tales, nearly every character-from the most hardened criminal to the Virgin Mary is capable of cruel behavior. -6
The Grimms only Occasionally took advantage of opportunities to tone down descriptions of brutal punishments visited on villains or to eliminate pain and suffering from their tales. When they did, it was often at the behest of a friend or colleague rather than of their own volition. More often, the Grimms made a point of adding or intensifying violent episodes.
and for the rest.. read the book:)
Little Red Riding Hood in the Fairy Tale Forest
http://en.wikipedia.org/wiki/Fairy_Tale_ForestThe scene was designed by Anton Pieck. Little Red Riding Hood and the wolf entered Efteling in 1953, made of wood, as an outdoor scene. Little Red Riding Hood knelt in the midst of flowers while the wolf watched her from behind a tree. In 1960, the scene was replaced by Granny’s house, with the wolf lying in bed and Red Riding Hood at the front door, ringing the bell. The wooden Little Red Riding Hood would later return to the Fairy Tale Forest as a road-sign. One can look through the window and listen to the story, told by Wieteke van Dort.
On August 15, 1998, the figure of Little Red Riding Hood was stolen; but was found the next day at the Dominicus Church in Tiel. During its brief absence, an actress played Little Red Riding Hood in the Fairy Tale Forest. On October 4, 2006, it was stolen again and found at a retirement home in Kaatsheuvel.
Fairy Tale Forest
http://en.wikipedia.org/wiki/Fairy_Tale_Forest
The Fairy Tale Forest is a 15-acre wooded section of the amusement parkEfteling in the Netherlands, where a number of well-known fairy tales and fairy tale figures are depicted by animated statues and buildings. Most of the figures are inspired by the brothers Grimm, Hans Christian Andersen and Charles Perrault.
16 Eylül 2010 Perşembe
Big Bad Wolves- A Short Film about the Tale
http://www.bbwolves.com/story.html
Big Bad Wolves is an award winning 13 minute short film directed by Rajneel Singh and produced by Craig Parkes of Awfully Grimm Productions Limited in association with Afterglow Films.
A dark comedy exploring the meaning of Little Red Riding Hood through the eyes of chauvinistic gangsters, Big Bad Wolves has been rated R16, it contains violence, offensive language and sexual themes. It's not your grandmother's fairytale, it is not work safe and is not suitable for those under 16 years of age, the easily offended or those lacking a sense of humour, you've been warned.
"Do you guys know what Little Red Riding Hood is about?"
Short Synopsis:Chain smoking gangsters discuss the true meaning behind the classic fairy tale Little Red Riding Hood.
A mash-up between Tarantino and the Brother's Grimm; this dark comedy tells a cautionary tale of lost innocence via the language of chauvinistic bravado. By the end fairy tales will never seem the same again...
BIG BAD WOLVES from Rajneel Singh on Vimeo.
A multi-award-winning and darkly hilarious Tarantino-meets-brothers-Grimm-style short film about how the age-old fairy tale is actually all about sex ed.
Five mobsters sit in a diner and pass the time between jobs by talking about the ways of the world. One of them suddenly suggests that the story of "Little Red Riding Hood" is actually a morality tale about sex-education. When the others don't believe him, he retells the story as it was meant to be told.
This movie has been voluntarily rated R-16 for foul language and horror-violence.
By Rajneel Singh
Psychoanalysis of the Scarlet and the Forest
the image: http://snugglemuffin.vox.com/library/posts/tags/ink/
text: http://www.exampleessays.com/viewpaper/63551.html
Nathaniel Hawthorne's literature can easily be used as a prime study for psychoanalysis. Freud's ideas and assumptions can be perfectly linked in a psychoanalysis of The Scarlet Letter. In fact, Freud himself has studied Hawthorne's characters in order to develop his postulations about the unconscious. His ideas about the id, the ego, and the superego are extremely significant when taking a look at characters in The Scarlet Letter. Hawthorne displays the unending war between social expediency and moral righteousness in the mind of the main character, Hester. Regardless of Hester's conscious morality, she is playing out her subconscious desires, which is distinctly Freudian. Hawthorne and Freud ironically have harmonizing views on people's actions and state of mind. Freud's ideas suggest that people are ruled to a large degree by their subconscious. Nevertheless, people are judged by their actions and not by their subconscious yearnings and agendas. In result, Hester is branded as an adulteress for her actions, but unlike her weak lover, Dimmesdale, she took her ostracism very seriously and wore her 'A' proudly. In that way, she rebelled against the community and its unconscious neurotic values.
Hawthorne effectively portrays the subconscious mind, using the forest and how it is mysterious and forbidden, just like the portion of the mind called the id. The lack of guilt that Hester experiences and the tremendous remorse that Dimmesdale feels, displays the ideas of the conscience that Freud came up with and how it is the contradiction between the subconscious ego and the superego. In the novel, Heather is used as a reflection of the subconscious thoughts of the Puritan men and woman, while Dimmesdale represents their conscious mind and actions. Freud’s theories are especially interesting when applying them to The Scarlet Letter and their characters because it proves that everyone has subconscious yearnings that sometimes do not agree with their own superego, a completely different portion of their mind.
Dimmesdale, however, is tormented with shame and guilt for his sin and no act of contrition can redeem the purity in his mind.
The forest in this case, is a really good symbol for the obscurity and mysterious nature of the subconscious. Just like the forest, the subconscious mind is dark, secretive, and extremely private. The thoughts of the subconscious mind, the id, are forbidden to the Puritan’s moral standards just as the things that go on in the forest are forbidden as well. However, the forest to Hester is like a lolly-pop to small child’s eyes.
Here in the forest, Hester is no longer tripping over one commandment or another, and she lets her subconscious mind control her. She feels that the burden of all the laws and religion have done no good for her anyway. Being a social outcast, she finds no invitation to repentance in the law that crushes her. She does not feel that what she is doing is completely immoral, but that she is simply rejecting the laws of her religion. Freud says that guilt and shame come from the contradiction between one's subconscious ego and one's superego, which is the conscience. Hester doesn't seem to have that contradiction in her mind; therefore she feels neither shame nor guilt for committing adultery. Hester while not particularly carrying a lot of shame morally, is still playing out the subconscious desires of the whole community.
“It straggled onward into the mystery of the primeval forest. This hemmed it in so narrowly, and stood so black and dense....
and for the rest of the essay, we should pay.
Little Red Cap Online Computer Games
14 Eylül 2010 Salı
A Performance- The Wolf and the Kids
http://www.vest.si/2007/10/06/jaz-ti-ne-ono/
A performance inspired by Brothers Grimm’s tale The Wolf and the Seven Young Kids.
The Grimms may have borrowed the ending from a different folk tale, The Wolf and the Kids. There is the link to the tale:
http://russian-crafts.com/tales/wolf_kids.html
Little Red Riding Hood Uncloaked! -A Book
"... She is every Girl Next Door, every Damsel in Distress. She debuted in Walt Disney’s first animated cartoon in 1922, six years before Mickey Mouse. She was Charles Dickens’s first love. “I felt that if I could have married Little Red Riding Hood,” he declared, “I should have known perfect bliss.” “Little Red Riding Hood” is told on every continent, in every major language. But most of people don’t know the tale as well as they think.
Once upon a time, hundreds of years ago, “Little Red Riding Hood” was a bawdy morality tale for adults, quite different from the story we know today. New stories have been made out of the old, and its original meanings are now buried. Only recently has it become a children’s tale. Now the tale is rife with symbols and glaring peculiarities left over from its colourful past lives, but most of us overlook them. We pass it down from one generation to the next, unaware of its history and power.
Her basket of wine and cakes, it’s said, represents Christian Communion; her red cape stands for menstrual blood. Some see the tale in Freudian terms as the Ego overcome by the Id; others see it as symbolic of the relationship between Man and Woman. Tellers have consciously and subconsciously manipulated the plot to portray a seduction by a temptress, the rape of a virgin of the passage of a young girl into womanhood. From a structural perspective, the plot is powerfully simple. Opposites collide- good and evil, beast and human, male and female.
In the earliest written version of the tale, the girl strips off her clothes, joins the beast under the covers- and dies. A rhyming moral at the end warns women to watch out, because man can be a “wolf”, popularizing the use of that term, still common today, to mean a seducer. In later versions of the story a hunter or woodsman comes to the rescue, imparting the revised moral that a good man-father, or perhaps a husband –can save a woman from her folly. With his knife, or sometimes scissors, he cuts her free, lifting her out from the belly of the beast as if from a bad dream and giving her a second chance to walk the straight path through life. In modern versions of the story, which echo themes of the earliest known oral folktale, the girl escapes on her own. Teaching that women can save themselves. She carries her own pair of scissors, or tricks the wolf with a clever ruse, or sometimes fights."
and for the rest... read the book:)
12 Eylül 2010 Pazar
Fairy Tales and Childhood Development
http://www.usq.edu.au/artsworx/schoolresources/zac/talesndevelop
Folk lore, fairy tales and mythology are essential for children. Besides providing entertainment at a young age, these tales "hide a wealth of insights just below the surface" (Young, 1997) which are discovered as the stories are remembered as the child grows, they also provide children with a sense of imagination. Denying children of imagination and creativity can be dangerous. It is believed that "creativity and play engage the childlike energies that can leave us in a state of depression if they depart" (Young, 1997). Young children are obviously dependent on their parents. When a child uses his or her imagination to play, it‘s how they learn, not only using their skills of creativity, but their observation. They know how to cook in the kitchen during play time from observing their parents, or learn that if they try, they can cross the enchanted pond.
As children grow, the stories they were told or saw at a young age are understood on deeper levels, they begin to relate to or understand characters from their favourite stories. An interesting belief is that a lot of us unknowingly follow these journeys or ones very similar in our own lives. The hero's journey reflects the journey of life, the growth and experiences we all face as we take our place in society and accept our responsibilities. In our lifetime however, we face more than one journey, every challenge or change we face in life is in itself a journey, even young children, either at primary school or before even, take these journeys, from new friendships formed to a change of school or city. An easier way to understand and recognise these journeys is when something new enters our lives and we are forced to take a different view on the situation, adapt a different opinion or face our fears. So we now begin to see the importance of fairy tales for children, they expose children to learning through creativity and imagination, how these stories grow and unravel as the children themselves grow and somewhat prepare them for the challenges ahead.
Tips against Child Abduction
http://www.fbi.gov/kids/k5th/safety4.htm
http://www.childfind.ca/safety.php
10 Eylül 2010 Cuma
Forest as a Symbol in Fairy Tales
Forests have traditionally had a strong association with the unconsciousness and serve as places for many fairy tale stories and romance legends of the world such as those about King Arthur and the Knights of the Round Table. Forests have a special magic power and magical people live in them whether they are Snow White, Goldilocks, Robin Hood or the characters from T.H. White's The Once And Future King.
Although forest symbolism is complex, J.E. Cirlot notes that it is connected "at all levels with the symbolism of the female principle or of the Great Mother." He says:
"The forest is the place where vegetable life thrives and luxuriates, free from any control or cultivation. And since its foilage obscures the light of the sun, it is therefore regarded as opposed to the sun's power and as a symbol of the earth... Since the female principle is identified with the unconsciousness in Man, it follows that the forest is also a symbol of the unconsciousness. It is for this reason that Jung maintains that the sylvan terrors that figure so prominently in children's tales symbolize the perilous aspects of the unconsciousness, that is, its tendency to devour or obscure reason."
Significantly, forests were among the first places in nature to be dedicated to the cult of the gods and places where offerings were suspended from trees.
The forest is the realm of the psyche and a place of testing and initiation, of unknown perils and darkness. J.C. Cooper in An Illustrated Encyclopaedia Of Traditional Symbols notes that:
"Entering the Dark Forest or the Enchanted Forest is a threshold symbol; the soul entering the perils of the unknown; the realm of death; the secrets of nature, or the spiritual world which man must penetrate to find the meaning."
Cooper observes that "Retreat into the forest is symbolic death before initiatory rebirth."
In the book The Uses Of Enchantment: The Meaning And Importance of Fairy Tales, Bruno Bettelheim emphasizes the importance of the forest in fairy tales. He notes the Brothers Grimm's tale "The Two Brothers" where two brothers went into the forest, took counsel with each other and came to an agreement. The forest where they go, notes Bettelheim, "symbolizes the place in which inner darkness is confronted and worked through; where uncertainty is resolved about who one is; and where one begins to understand who one wants to be." Bettelheim elaborates on this noting:
"Since ancient times the near impenetrable forest in which we get lost has symbolized the dark, hidden, near-impenetrable world of our unconscious. If we have lost the framework which gave structure to our past life and must now find our way to become ourselves, and have entered this wilderness with an as yet undeveloped personality, when we succeed in finding our way out we shall emerge with a much more highly developed humanity."
It is this ancient image, Bettelheim notes, that Dante evokes at the beginning of The Divine Comedy when he says "In the middle of the journey of our life I found myself in a dark wood where the straight way was lost." It is in this dark wood that he also finds a "magic" helper, Virgil, who offers guidance on the trip which leads first through hell, then purgatory and then into heaven.He remarks that forest symbolism has represented "an outlying realm of opacity which has allowed that civilization to estrange itself, enchant itself, terrify itself...in short to project into the forests shadows its secrets and innermost anxieties." This projection of Western civilization's innermost anxieties was the subject of the oldest literary work in history, the ancient epic of Gilgamesh. The story concerns the battle between the hero Gilgamesh and a forest. The first antagonist of Gilgamesh is the forest. The hero's major exploit figures as his long journey from Uruk to the Cedar Mountain to stay the forest's guardian Huwawa.
The darkness of forests have stood in opposition to the light of religious divinity which comes from above. One of the more far-ranging speculations of Harrison concerns this point. He notes that "Where divinity has been identified with the sky, or with the eternal geometry of the stars, or with the cosmic infinity, or with 'heaven,' the forests became monstrous, for they hide the prospect of god."
9 Eylül 2010 Perşembe
A Psychoanalysis by Iakov Levi
http://psychohistory2001.com/littleredridinghood.html
The Dwarf A penis among his "flowers"
What Wolf Symbolizes
The wolf symbolizes free will, the ability to escape.Wolves symbolize unity and toughness. Since Wolves are also related to dogs, they will also represent loyalty and friendship. Wolves are usually leaders, and run in groups called packs. A wolf that hunts, and lives on its own has no pack, and therefor is called a lone wolf.
and the image is from http://www.graphic-design.com/design/negative-space-book
Wolf Symbolism
Wolves are knowen as the teachers.They have been long considered by the First Nations people as teachers or pathfinders.
The wolf is held in very high esteem, as they are used as totems and representative of clans. In the stars, Wolf is represented by the Dog, Sirius in the Pleadies ,thought by many abroginal tribes to be the home of the "Ancients." Also Barbra Marciniak who channels the Pliadians says that this is where many of us originated .It seems to be through this connection that Wolf has come to be associated with ancient teachings. ,
The Wolf: Evil or Spiritual
http://www.sandplay.org/symbols/wolf.htm
During the past few years the wolf in many forms has appeared in sandtrays, primarily from female clients, a few from children. My personal early experiences with wolves came from the Walt Disney cartoon, the three little pigs singing "Who's afraid of the big bad wolf", and fairy tales such as Little Red Riding Hood. The wolf was depicted as evil, out to kill unsuspecting and innocent people and animals. Was the wolf representing the evil shadow side of my clients? However, my clients interpreted their use of the wolf as a helpful creature, a guide, or companion. I was confused. I decided to do some research and find out the meaning of the wolf as symbol.
Natural History
First, I turned to the literature of natural history. I found that the wolf, as we know it today, evolved from carnivores and roamed the earth over one million years ago. During those early years of man and womankind wolves were always competitors with humans for the same prey species. They were always rivals, and sometimes enemies, perhaps because they were close to humans in many ways (Branderburg, 1993; Mech, 1991).
Wolves have a strong social nature. Through gestures and body movement, they communicate their feelings. The "wolf" talk conducted by the Alpha or dominate male and female pair keep the pack together and working as a group. Wolves like to howl as a pack for several reasons. It may be to encourage their closeness, to celebrate a successful hunt, and to tell other packs to keep away. The lone wolf, a younger male, is usually in search of his own territory and a mate. He will skirt the territories of others but rarely howl. Leaving the pack allows for young males to differentiate from their families or pack and begin the cycle of life by finding a mate, and beginning their own family (Fox, 1980; Resnick, 1995).
People from many cultures and traditions have interpreted the wolf as an instinctive creature. At some point in psychological development, most people struggle with integrating the spiritual and physical aspects of their being. The image of the wolf has been used to represent both aspects. The Chinese saw the wolf as a guardian of the heavenly palace. In Japan the wolf was admired for its ferocity, tenacity and swift attack. Also, they considered the wolf to be from heaven and to be venerated. Early Biblical sources represented the wolf as destructive and associated with the evening (Jeremiah 5:6, and dishonest gain, bloodshed and destruction (Ezekiel 22:27, The Holy Bible). However, when the wolf and lamb were depicted lying down even though they were considered traditional enemies, together they represented peace and the coming Messianic rule (Isaiah 65:25 The Holy Bible).
Totem Wolf Symbols
Wolf Meaning and Totem Symbolism of the Wolf
To understand totem wolf symbols, one must first understand the heart of the Wolf. This takes time because the Wolf has had to endure many false stereotypes, misconceptions and misunderstandings.
Not at all the picture of ferocity or terror, the Wolf is a creature with a high sense of loyalty and strength. Another misconception is that of the “lone wolf.” To the contrary, the Wolf is actually a social creature, friendly, and gregarious with its counterparts.
The Wolf is an incredible communicator. By using touch, body movements, eye contact as well as many complex vocal expressions – the wolf makes his point understood. Those with totem wolf symbols are of the same inclination – they are expressive both vocally and physically. Those who have the wolf as their totem animal are naturally eloquent in speech, and also have knack for creative writing.
A quick-list of totem wolf symbolic attributes include:
- Intelligence
- Cunning
- Communication
- Friendliness
- Loyalty
- Generosity
- Compassionate
Totem wolf symbols belong to those who truly understand the depth of passion that belong to this noble creature. The Wolf is a representative of deep faith, and profound understanding.Further, the Wolf possess a high intellect, and have been observed using strategies about hunting, habitat and migration.In history, the totem Wolf symbol appears with the founders of Rome, Romulus and Remus. Legend has it that the two founding brothers were raised and suckled by a she-wolf.In Norse mythology, the Wolf is a symbol for victory when ridden by Odin and the Valkyries upon the battlefield.
As a Celtic symbol, the Wolf was a source of lunar power. Celtic lore states that the Wolf would hunt down the sun and devour it at each dusk so as to allow the power of the moon to come forth.
In Asia, the wolf guards the doors that allow entrance to heavenly, celestial realms. The Wolf is also said to be among the ancestry of Genghis Khan.
When this gracious creature appears to us, and serves as a totem in our lives, the Wolf beckons us to ask these questions:
- Are you thinking about a different form of education?
- Are you being a true friend, and are your friends being true to you?
- Are you communicating yourself clearly to others?
- Are you being loyal to yourself?
- Are you incorporating strategies and planning to achieve your goals?
- Are you spending enough quality time with yourself, friends and family?
6 Eylül 2010 Pazartesi
A Turkish Website about the Tale and its Roots
Anthropological Research on Little Red Cap
Dr Jamie Tehrani, a cultural anthropologist at Durham University, studied 35 versions of Little Red Riding Hood from around the world.
"Fairy tales have ancient origin"
Popular fairy tales and folk stories are more ancient than was previously thought, according research by biologists.
They have been told as bedtime stories by generations of parents, but fairy tales such as Little Red Riding Hood may be even older than was previously thought.
A study by anthropologists has explored the origins of folk tales and traced the relationship between varients of the stories recounted by cultures around the world.
The researchers adopted techniques used by biologists to create the taxonomic tree of life, which shows how every species comes from a common ancestor.
Dr Jamie Tehrani, a cultural anthropologist at Durham University, studied 35 versions of Little Red Riding Hood from around the world.
Whilst the European version tells the story of a little girl who is tricked by a wolf masquerading as her grandmother, in the Chinese version a tiger replaces the wolf.
In Iran, where it would be considered odd for a young girl to roam alone, the story features a little boy.
Contrary to the view that the tale originated in France shortly before Charles Perrault produced the first written version in the 17th century, Dr Tehrani found that the varients shared a common ancestor dating back more than 2,600 years.
He said: “Over time these folk tales have been subtly changed and have evolved just like an biological organism. Because many of them were not written down until much later, they have been misremembered or reinvented through hundreds of generations.
“By looking at how these folk tales have spread and changed it tells us something about human psychology and what sort of things we find memorable.
“The oldest tale we found was an Aesopic fable that dated from about the sixth century BC, so the last common ancestor of all these tales certainly predated this. We are looking at a very ancient tale that evolved over time.”
Dr Tehrani, who will present his work on Tuesday at the British Science Festival in Guildford, Surrey, identified 70 variables in plot and characters between different versions of Little Red Riding Hood.
He found that the stories could be grouped into distinct families according to how they evolved over time.
The original ancestor is thought to be similar to another tale, The Wolf and the Kids, in which a wolf pretends to be a nanny goat to gain entry to a house full of young goats.
Stories in Africa are closely related to this original tale, whilst stories from Japan, Korea, China and Burma form a sister group. Tales told in Iran and Nigeria were the closest relations of the modern European version.
Perrault’s French version was retold by the Brothers Grimm in the 19th century. Dr Tehrani said: “We don’t know very much about the processes of transmission of these stories from culture to culture, but it is possible that they may being passed along trade routes or with the movement of people.”
Professor Jack Zipes, a retired professor of German at the University of Minnesota who is an expert on fairy tales and their origins, described the work as “exciting”. He believes folk tales may have helped people to pass on tips for survival to new generations.
He said: “Little Red Riding Hood is about violation or rape, and I suspect that humans were just as violent in 600BC as they are today, so they will have exchanged tales about all types of violent acts.
“I have tried to show that tales relevant to our adaptation to the environment and survival are stored in our brains and we consistently use them for all kinds of reference points.”
"The Color Red is the Best Choice When You Want Attention"
The color red is one of three primary colors and is thought to be the color to provoke the most reponse among humans.This intense color is also known to induce emotions from passion to violence. Experiments have shown that rooms painted red will encourage workers to work faster. Along with the faster work came more mistakes, making red not the best option for wall paint in a work environment. Red used on walls has been found to be a great benefit in restaraunts, causing an increase in appetite. Red is a symbol of high energy and aggression. It's often used in warning or danger signs. This is because the color red stands out against backgrounds of white or black. Many traffic signs use the color red because it's the most visible color in daylight. Red and it's many shades of color are also used as a symbol of love. Hot reds to pale pinks can be found in many romantic greeting cards and are used in the symbol of the heart.
Red has been found to have such a huge impact on people, it can even cause the heart to beat faster. A study has shown that when two sports teams are equally matched, the team dressed in red is more likely to win. Since red seems to bring up confrontation, it's best not to wear red when in negotiations at your place of employment. Thecolor red is often used to draw attention making items appear stronger, brighter and heavier.
RED in wikipedia
http://en.wikipedia.org/wiki/Red
Red is any of a number of similar colors evoked by light consisting predominantly of the longest wavelengths of light discernible by the human eye, in the wavelength range of roughly 630–740 nm.[2] Longer wavelengths than this are called infrared (below red), and cannot be seen by the naked human eye. Red is used as one of the additive primary colors of light, complementary to cyan, in RGB color systems. Red is also one of the subtractive primary colors of RYB color space but not CMYK color space.
Symbolism
Sin, guilt, pain, passion, blood, and anger
Red is used as a symbol of guilt, sin and anger, often as connected with blood or sex.[20] A Biblical example is found in Isaiah: "Though your sins be as scarlet, they shall be white as snow."[21] Also, The Scarlet Letter, an 1850 American novel by Nathaniel Hawthorne, features a woman in a Puritan New England community who is punished for adultery with ostracism, her sin represented by a red letter 'A' sewn into her clothes.[22] This all comes from a general Hebrew view inherited by Christianity which associates red with the blood of murder,[23] as well as with guilt in general. Often, things will be in red to scare.[24] Another popular example of this is in the phrase "caught red-handed", meaning either caught in an act of crime or caught with the blood of murder still on one's hands.[25] At one point, red was associated with prostitutes, or now, with brothels (red-light districts).[26][27] In Roman Catholicism, red represents wrath, one of the Seven Deadly Sins. In Christianity, Satan is usually depicted as colored red and/or wearing a red costume in both iconography and popular culture.[28] Statistics have shown that red cars are more likely to be involved in accidents.[29]
The color red is associated with lust, passion, love, and beauty as well. The association with love and beauty is possibly related to the use of red roses as a love symbol.[30] Both the Greeks and the Hebrews considered red a symbol of love, as well as sacrifice.[31] Psychological research has shown that men find women who are wearing red more attractive.[32]
Courage and sacrifice
Red is used as a symbol of courage and sacrifice, as in blood spilt in sacrifice or courage in the face of lethal danger.[33] Examples of this are found in the flags of many nations including the United States, as well as in the novel The Red Badge of Courage, in which a soldier in the American Civil War discovers the meaning of courage.[34] In Christianity, red is the liturgical color for the feast of martyrs, representing the blood of those who suffered death for their faith. It is sometimes used as the liturgical color for Holy Week including Palm Sunday and Good Friday, although this is a modern (20th century) development. In Roman mythology red is associated with the god of war, Mars.[33] A Roman general receiving a triumph had his entire body painted red in honor of his achievement.[35] The phrase "red-blooded" describes someone who is audacious, robust, or virile.[25] In English heraldry, red (called gules) denoted ardent affection or love, while crimson (blood-color) stood for boldness, enthusiasm, or impetuosity.[36] In Edward de Bono's book Six Thinking Hats a red hat represents feelings and emotions.[37]
Warning
Red catches people's attention, and can be used either in a negative way to indicate danger and emergency, or in a positive way in advertising to gain more viewers, or in nature, as a ripe fruit announces its readiness with its red color.[38] Several studies have indicated that red carries the strongest reaction of all the colors, with the level of reaction decreasing gradually with orange, yellow, and white, respectively.[39] Because of this, red is often used to catch people's attention in a variety of situations (see: penalty card).[40]The port, or left, side of a sea-going vessel carries a red navigation light, to warn other vessels approaching from that side to change course to avoid a collision.[41]
On flags
Red is one of the most common colors used on national flags. The use of red has similar connotations from country to country: the blood, sacrifice, and courage of those who defended their country; the sun and the hope and warmth it brings; and the sacrifice of Christ's blood (in some historically Christian nations) are a few examples.
Red, gold, green and black are the colors of Pan-Africanism. Several African countries thus use the color on their flags, including South Africa, Ghana, Senegal, Mali, Ethiopia, Togo, Guinea, Benin, and Zimbabwe. The Pan-African colors are borrowed from the flag of Ethiopia, one of the oldest independent African countries.[57][58] Rwanda, notably, removed red from its flag after the Rwandan Genocide, because Pan-Africanism was so strongly associated with the event and because of red's association with blood.[59]