Quality Learning Development for Childrens

Perhaps this is best exemplified by tiddlerren's belief in the struggle between technical and evil, and their fast(a) conviction that good will inevitably triumph in the end (Goldwaithe 24). Stories aimed at a child readership ar hence commensurate to take on almost mythic proportions without the writer needing to do a great deal of work convince his audience of the reality of the situation (Norton 15).

Dahl's The magnetisees plays to the belief in good vs. evil beautifully, as the cashier and his grandmother are able to foil the Grand High Witch's plan to turn whole the children in England into mice. Indeed, much of Dahl's storytelling in The Witches is dependent upon the fact that a child readership will accept the idea of witches as an organize force of evil within the world. He begins his story with "A Note roughly Witches," which contains a list of extraordinarily undimmed details about the appearance and behavior of witches that is sure to take into custody the attention of Dahl's targeted audience. In fact, he tells his readers:

In fairy-tales, witches always take on silly black hats and black cloaks, and they ride on broomsticks.

entirely this is not a fairy-tale. This is about REAL WITCHES.

The most great thing you should know about REAL WITCHES is this. Listen precise carefully. Never forget what is coming next (Dahl 7).

While this submission is sure to start an impression on a child readership, Dahl could not neces

Hunt, asshole & Sheila Ray. Eds. International Companion Encyclopedia of Children's Literature. pertly York: Routledge, 1996.

Dahl, Roald. The Witches. New York: Farrar, Straus & Giroux, 1983.

Frey, Charles & antic Griffith. The Literary Heritage of Children: An Appraisal of Children's Classics in the Western Tradition. New York: Greenwood, 1987.

In Pippi Longstocking, Lindgren opens the story with Pippi essentially alone in the world. Her receive was a sea captain who was seemingly lost at sea, and readers are informed that:

In Pippi Longstocking, Lindgren examines a similar intuition of adult authority figures, but in Pippi's case, adults seem to government agency more as a nuisance than as an real(a) threat.

At the story's opening, Lindgren tells readers that Pippi "ahad no mother and no father, and that was of course very nice because there was no one to tell her to go to bed just when she was having the most fun, and no one who could make her take cold liver oil when she much preferred caramel candy" (11). Indeed, Pippi lives alone in a jumbo house, and is able to keep a monkey as a pet. She lives the kind of livelihood that any child would envy, full of independence and amusement. When the adults of the town discover Pippi's situation, they immediately attempt to control the girl's life by placing her in a children's home. As is the case when the narrator and his grandmother succeed in destroying the Grand High Witch in The Witches, when Pippi manages to avoid following the wishes of the adults and remain alone in her own home, there is a sense that justice has prevailed. Because they are writing solely for a child readership, Lindgren and Dahl are able to address these types of complex themes in a simple, unambiguous manner that still manages to have great impact upon their readers. Indeed, twain Pippi Longstocking and The Witches convey the idea that there is nothing childish about the problems that children experience.

Naturally she had had a mo
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