Search Results Heading

MBRLSearchResults

mbrl.module.common.modules.added.book.to.shelf
Title added to your shelf!
View what I already have on My Shelf.
Oops! Something went wrong.
Oops! Something went wrong.
While trying to add the title to your shelf something went wrong :( Kindly try again later!
Are you sure you want to remove the book from the shelf?
Oops! Something went wrong.
Oops! Something went wrong.
While trying to remove the title from your shelf something went wrong :( Kindly try again later!
    Done
    Filters
    Reset
  • Discipline
      Discipline
      Clear All
      Discipline
  • Is Peer Reviewed
      Is Peer Reviewed
      Clear All
      Is Peer Reviewed
  • Series Title
      Series Title
      Clear All
      Series Title
  • Reading Level
      Reading Level
      Clear All
      Reading Level
  • Year
      Year
      Clear All
      From:
      -
      To:
  • More Filters
      More Filters
      Clear All
      More Filters
      Content Type
    • Item Type
    • Is Full-Text Available
    • Subject
    • Country Of Publication
    • Publisher
    • Source
    • Target Audience
    • Donor
    • Language
    • Place of Publication
    • Contributors
    • Location
39 result(s) for "Candy Folklore."
Sort by:
Hansel and Gretel
Hansel and Gretel were siblings and great friends who love adventures--and sweets--just as much as any kid you know. So, when they stumbled upon a scrumptious-looking house in the woods, they listened to their tummies rather than their smart minds. The witch who made the house knew that little children love sweets--but she'd forgotten that lost children can be very clever and very brave.
CANDY BOYS AND CHOCOLATE FACTORIES
This essay reconsiders the racial dynamics of Roald Dahl's Charlie and the Chocolate Factory (1964). The Oompa-Loompas, African pygmies in the novel's first drafts, reflect its racism, their cuteness justifying coerced labor and white supremacy. An early manuscript version, \"Charlie's Chocolate Boy,\" features a black protagonist trapped in a chocolate mold. Dahl thus connects industrial food production with racialization. In the final version of the novel, the chocolate factory recolors and transforms the bodies of white children, now marked and vulnerable. This ethical lesson complicates the seeming endorsement of white privilege in Charlie's ascent in the Great Glass Elevator.
Inventing Portal Fantasies: E. T. A. Hoffmann's The Nutcracker and the Mouse King
E. T. A. Hoffmann's The Nutcracker and Mouse King is rarely brought into the orbit of children's literature, in large part because it has become part of the world of ballet and Christmas confections. In many ways, however, it is a foundational work of children's literature, for it establishes a secondary world that sets the stage for later works like Alice's Adventures in Wonderland, Peter Pan, and The Chronicles of Narnia. I propose to look at how aesthetic enchantments are recruited to create other worlds that draw children in. The frenzied language of nonsense that marks the transition from ordinary reality to the surreal will come under investigation, as well as the ontological uncertainty that is the price for entering other worlds.
Following Pebbles by Moonlight: Elementary Students Shed Light on Power, Peace, and Violence in Response to the Classic Tale Hansel and Gretel
This paper, drawing from a multi-site qualitative study in New York City elementary classrooms, considers student ideas about power, peace and violence in response to shared reading and discussion of the classic folk tale, Hansel and Gretel. From a critical literacy perspective, the construction of agency and subjectivity within this context in relation to such ideas via engagement with literature and in literacy practice is explored.
Objects of Desire: Shopping for Identity and the Meaning of Africa at the Harlem Market
Come inside and look, '!here is much more inside. Besides the djembe drums, hand-carved utensils, leather neck pouches, and other trinkets to attract shoppers strolling through the Market, the real prizes (generally higher priced) are inside (Figs. 7-8, cover).