Tales Final

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Contenido

Prlogo .......................................................................................................................................... 4

Descripcin del proyecto............................................................................................................... 6

El lenguaje de los cuentos: los hermanos Grimm ....................................................................... 13

Alfonso Coxias, Beatriz: Los sueos pueden hacerse realidad / Dreams can be true ................ 27

Calvo Martnez, Elena: La bruja blanca / The White Witch ......................................................... 30

Campos Garca, Mara del Carmen: La nia burbuja / The Bubble Little Girl ............................. 34

Castillo Caracuel, Sara Mara: La habitacin azul / The Blue Room ............................................ 38

Corbn Garca, Emma: El enigma de la moneda de oro / The Gold Coins Mystery.................... 42

Cristbal Borillo, Pablo: Cachorrita y su nuevo amigo / Foxie and her new friend .................... 46

Cutanda Belenguer, Cristina: Las zapatillas de deporte / The goblins trainers ......................... 50

De Len Bretons, Borja: Chico travieso / A naughty child .......................................................... 54

Fernndez Prez, Rosa: Sarah y David / Sarah & David .............................................................. 58

Gil Fernndez, Manuel: El chico que saba dnde estaba / The Boy who knew ..................... 60

Gimnez Martnez, Raquel: Brian y las tormentas / Brian and the storms................................. 64

Gomez Gajate, Paula: Los hermanos traviesos / The Naughty Siblings ...................................... 68

Gonzlez Bisbal Isabel: Juguetes de pasta / Pastry Toys ............................................................ 70

Guillem Royo, Ana Mara: El orgen de la msica / The Origins of Music ................................... 74

Juan Jordn Gema Nadia: Las dos pequeas princesas / The Two Little Princesses ............ 76

Lasala Daz, Beatriz: Tom y el lobo / Tom and the Wolf.............................................................. 78

Llinares Serra, Alberto: El cuento del pequeo Jimmy / Little Jimmys Tale .............................. 81

Lorbek, Tjasa: Dimpy & Dumpy, Dos hormigas fuertes / Dimpy & Dumpy, Two Strong Ants .... 87

Martnez Barjola, Juan: Petunia, voz de la naturaleza / Petunia, the Voice of Nature ........ 91

Martinez Clemente, Lourdes: Fetty el joven papel / Fetty, the Young Paper ............................. 95

Martinez Fernndez, Rubn: El Maravilloso Sueo / The Wonderful Dream ...................... 99

Mayol Solano, Cristina Carlota: Bruce y el viento / Bruce and the breeze ............................... 103


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Miln Inarejos, Nerea: Trail of Snails / Trail of Snails ................................................................ 107

Montero Candela, Ana Raquel: Brian y Zarpis / Brian and Graspy ........................................... 109

Moreno Belln, Paula: La pequea bruja y el nio hada / The Little Witch .......................... 113

Mulet Pedro, Gema: El escarabajo, la serpiente y la palmera / The Beetle .......................... 117

Oliver Fresneda, Silvia Cristina: Billy botas grandes / Billy Big Boots........................................ 121

Page Martinez, Maria: El pequeo duende / The little elf ........................................................ 125

Prez Jord, Mara Jess: Tom y su amigo, el conejo / Tom and his friend, the rabbit ............ 127

Peris Carrascosa,Sara: Cambio de papeles / Change of Roles .................................................. 131

Pitarch, Gloria: The Strawberry Book / El libro de fresa ........................................................... 135

Pleguezuelos Nieto, Eduardo: Derek y el tiburn / Derek & the shark ..................................... 138

Primo Pacheco, Joaqun: Sus manos / Her hands ..................................................................... 140

Quintana Morn, Natalia: Katie / Katie ..................................................................................... 142

Rabasa Alcaiz, Elena: Go and help Santa / Vamos, ayudemos a Santa ................................... 144

Rodrigo Gandia, Ana Mara: Marieta y su poderosa voz / Marieta and her powerful voice .... 146

Sanchis Ferrandiz, Julia: El murcilago miedoso / The Fearful Little Bat .................................. 150

Serra Dominguez, Juan Jos: Tres amigos en el castillo de Lord Piro / Three friends ........... 154

Soriano Ruiz, Cristina: El sueo nevado de David / David's Snow Dream................................. 157

Taboada, Miriam: Mi pesadilla / My Nightmare ....................................................................... 161

Tarrazona, Mara: Pau sin pilas / Bertie without battery .......................................................... 163


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Para t, Nuria

y para tu pap ngel Luis


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Prlogo

Este libro naci como resultado de la unin de varios factores: en primer lugar del uso

de las nuevas tecnologas de la informacin y la comunicacin (TIC) en el aula utilizando como

soporte el aula virtual, plataforma virtual de aprendizaje y gestin de la docencia de la

Universitat de Valncia; en segundo lugar de la aplicacin de las mencionadas TICS a la

metodologa de trabajo en proyectos (Project work), por la que lo estudiantes aprenden

mientras llevan a cabo el trabajo y, finalmente, del entusiasmo, motivacin y duro trabajo de

un grupo de estudiantes de estilstica del ingls, asignatura que se imparte en la Facultad de

Filologa, Traduccin y Comunicacin de la Universidad de Valencia, Espaa.

Mi especial agradecimiento a la Dra. Carmen Gregori Signes por estar ah siempre, por

brindarme su amistad y por entusiasmarme y motivarme para aplicar nuevas tecnologas a la

docencia universitaria. Tambin un agradecimiento especial para el Dr. Barry Pennock, por

permitirme formar parte del grupo TIC ([email protected]) que l dirige en el Departament de

Filologia Anglesa i Alemanya . Dicho grupo, estuvo formado en su primera etapa por el Dr.

Miguel Fuster, la Dra. Begoa Clavel, la Dra. Gora Zaragoza, la profesora Beatriu Cardona, la

Dra. Anna Brigido, el profesor Garikoitz Knrr de Santiago, los ya mencionados, Dra. Carmen

Gregori, Dr. Barry Pennock y yo misma, Mara Alcantud. El primer proyecto en el que se trabaj

se denomin: Diseo y Creacin de Materiales Multimedia y Profundizacin en la Enseanza

Semipresencial a travs de la Plataforma Aula Virtual (curso 2007/2008). El segundo

proyecto cont con la incorporacin de los Drs. Sergio Maruenda, Patricia Bou, Rosana Doln,

Eusebio Llcer, Jos Santaemilia, Francisca Suau y se denomin: Diseo y Creacin de

Materiales Multimedia y Profundizacin en la Enseanza Semipresencial a travs de la

Plataforma Aula virtual e internet. Este grupo ha trabajado durante dos aos dentro del

programa Projecte TIC de Convergncia Europea i Qualitat de lEnsenyament de la Universitat

de Valncia

Tambin gracias a todos los alumnos que se han implicado en este proyecto, sobre

todo a Manuel Gil, por la maquetacin, a Miriam Taboada y especialmente a su hermano

Francisco Javier Taboada por el regalo de la portada, a Gema Juan y a Raquel Gimnez por

buscar presupuestos de editoriales y a Mara del Carmen Campos y a Rosa Fernndez Prez

por la ilustraciones. Sin todos ellos, los 105 alumnos matriculados en la asignatura, este

proyecto no habra sido posible.


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Prologue

This book was born as a result of several factors: Firstly, the use of new information and

communication technologies (TICs) in the classroom, using as a support our Aula Virtual, a

virtual platform which deals with virtual learning and management of teaching which belongs

to the University of Valencia. Secondly, the application of the above mentioned TICs to the

methodology of project work in which students are learning by doing. Finally to the

enthusiasm, motivation and hard work of a group of students of stylistics of English, a subject

offered in the faculty of Philology, Translation and Communication at the University of

Valencia, Spain.

I would like to give my special acknowledgements to Dr. Carmen Gregori Signes, for

being always there, for giving me her friendship and for motivating me and making me

enthusiastic about applying new technologies to teaching. I would also like to show my

gratitude to Dr. Barry Pennock, for allowing me to become part of the TIC ([email protected])

group which he heads in the Departament de Filologia Anglesa i Alemanya. This group was

made up by Dr. Miguel Fuster, Dr. Begoa Clavel, Dr. Anna Brigido, Professor Beatriu Cardona,

Professor Garikoitz Knrr de Santiago the above mentioned Dr. Carmen Gregori, Dr. BarryPennock and me, Professor Mara Alcantud. The first project we carried out was called Diseo

y Creacin de Materiales Multimedia y Profundizacin en la Enseanza Semipresencial a travs

de la PlataformaAula Virtual, (2007/2008) and the second one, with the incorporation of Drs.

Sergio Maruenda, Patricia Bou, Rosana Doln, Eusebio Llcer, Jos Santaemilia, and Francisca

Suau was called Diseo y Creacin de Materiales Multimedia y Profundizacin en la

Enseanza Semipresencial a travs de la Plataforma Aula virtual e internet (2008/2009). This

group has been working for two years within the program Projecte TIC de Convergncia

Europea i Qualitat de lEnsenyament de la Universitat de Valncia

Thank you so much to all the students who have been involved in this project,

especially to Manuel Gil, for editing it, to Miriam Taboada and her brother Francisco Javier

Taboada for giving us the title page as a present, to Gema Juan and Raquel Gimnez for

looking for budgets to publish this book and to Mara del Carmen Campos and to Rosa

Fernndez Prez for their illustrations. Without all of them, the 105 students registered in this

subject, this project could not have been carried out.


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Descripcin del proyecto

Estilstica del ingls es una asignatura que se puede estudiar dentro de un programa

especial de innovacin (PIE: Programa de innovacin educativa) que la Universidad de Valencia

ofrece a sus estudiantes. Este programa consiste en la incorporacin de NTICS (nuevas

tecnologas de la informacin y la comunicacin) al aula y una mayor participacin por parte

de nuestros estudiantes, que tienen que poner especial nfasis en trabajar durante ms

tiempo por s mismos, investigar, trabajar en grupos, etc. Ms concretamente, esta asignatura

les ofreci la posibilidad adquirir una mayor participacin en la enseanza, como principal

elemento de un aprendizaje mixto, que incluye: tests on line por medio de nuestra plataformade aprendizaje virtual, (Aula Virtual), portafolios electrnicos elaborados por medio del trabajo

en proyectos y relatos digitales. Adems de esto, el programa que estilstica del ingls

desarroll, estaba incluido como parte de las actividades metodolgicas llevadas a cabo por el

grupo de investigacin TIC, dirigido por Dr. Barry Pennock-Speck y compuesto por miembros

del departamento de ingls y alemn, grupo al que la profesora Mara Alcantud pertenece y

que se ha descrito convenientemente en el prlogo de la presente edicin.

Este libro est enfocado en los resultados obtenidos en uno de los proyectos-

pertenecientes a su portafolio electrnico- llevado a cabo por este grupo de estudiantes.

Antes de dar paso a la descripcin del proyecto reflejado en esta edicin, me gustara

describir la distribucin de asignacin de tareas que en esta asignatura se ha llevado a cabo,

todas ellas a travs del Aula Virtual (AV). En primer lugar los alumnos han tenido que realizar

cinco cuestionarios on-line, cargados y editados en el AV, apartado de administracin de

cuestionarios, y que los alumnos realizaron por medio del apartado de actividades. Las notas

obtenidas de estos cuestionarios proporcionaban el 40% de la nota final de la asignatura.

En segundo lugar, se ha trabajado con relatos digitales, que fueron introducidos en el

aula por medio de un taller instruccional en el que se les ense cmo usar los programas

necesarios (Photo story 3, Movie maker y otros) para realizar esta tarea, se les ensearon

muestras y se les dio informacin de pginas web de ayuda. Todos los programas utilizados

han sido obtenidos gratuitamente, para que cualquier alumno tuviera acceso a ellos. Tanto el

guin del relato digital, como la storypoard como el propio relato tuvieron que ser subidos al

AV, al apartado de actividades. La nota obtenida con esta tarea era el 15%.


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Finalmente, el portafolio electrnico proporcionaba el 40% de la nota final (el 5%

restante se obtena por participacin y asistencia). Esta actividad se describir con detalle a

continuacin.

Como introduccin, puedo decir que hay una gran variedad de formatos de portafolios

electrnicos, dentro de la comunidad educativa, pero el nuestro tiene algo diferente. Se ha

diseado con la forma de una revista electrnica compuesta por ocho proyectos de escritura

creativa, cada uno de ellos relacionado con un gnero diferente.

La metodologa ha sido la siguiente: Se estudi la estilstica de cada gnero en clase

por medio de power points, videos, actividades on-line; diferentes lecturas de diferentes

autores, sugiriendo lecturas posteriores y realizando actividades relacionadas con el gnero en

clase. Despus de eso, mis estudiantes tuvieron que realizar sus propios proyectos poniendo

en prctica las convenciones de los gneros siguiendo las instrucciones que se les haban

indicado previamente. Este proyecto no solo pretenda que conocieras dichos gneros, sino

experimentar lo mismo que haban experimentado los autores de los mismos, en otras

palabras, aprender haciendo. Los ocho proyectos que se les propusieron fueron:

1. El lenguaje periodstico. Haz la portada de tu revista, inventa un nombre y escribe tu

primera noticia. Para hacerlo sigue estas instrucciones: Escritura creative con lenguaje

periodstica: toma una fotografa divertida, poco usual o interesante (tomada por t, no de

ninguna revista o peridico), despus escribe una historia sobre lo que pas antes, durante

y despus de que la foto fuera tomada. Las historias tienen que ser originales y nuevas.

MUY IMPORTANTE: Usa las convenciones dadas en el ejercicio sobre lenguaje periodstico

hecho en clase.

2. El lenguaje de las reseas. Tu revista debe tener una seccin de cultura que hable de

libros. Haz una resea sobre un libro inventado escrito por un autor imaginario y cuyo

ttulo debe empezar por if Este proyecto debe tener todos los ingredientes vistos en

clase.

3. El lenguaje de la publicidad. Una de las secciones de vuestra revista es para publicidad.

Debes disear algunos anuncios, inventados, por supuesto. En las leyendas de los mismos

deben apararecer recursos tales como parodies, foregrounding, deviation and parallelism.

4. Shakespeare y los sonetos. Escribe un soneto. Elige un tema de tu inters y haz una lista

de palabras e ideas (en ingls, por supuesto), que tengan relacin con dicho tema Despus,

usa el diccionario para encontrar nuevas palabras y sinnimos. Usa algunas figuras


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literarias: Aliteracin, hiprbole, metfora, Oximoron, personificacin, smil y otras.

Tambin podeis usar preguntas retricas.

5. Cmo escribir un dilogo. Emma de Jane Austen. Your magazine should have an opinion

section: think of a question to ask people in the street about any topic. Write theresponses of (some) different people. Use characterization through dialogue to build up

your interviewed characters.

6. Creating atmosphere like Edgar Allan Poe: You should use the five senses to create

atmosphere like Poe used to do. You do not have to write a story, but the previous-to-

action atmosphere. Metaphors and similes following Charles Dickens technique should be

used.

7. The language of tales. The brothers Grimm. A tale in two minutes. Write a story aimed at

children, following the genre conventions. It should take just one page.

8. Film review. Lexical repetition in Jean Rhys wide Sargasso Sea. Use lexical repetition for

this section. Try to prove with your essay that you have watched the film (details,

expressions from the film, etc). Highlight the words used for lexical repetition.

La mecnica de todos y cada uno de los proyectos fue la siguiente:

1. Los alumnos realizaban sus proyectos en un documento de Word o Power Point.

2. Lo suben al aula virtual, apartado de actividades (que previamente haba sido

configurado con ocho apartados, llamados Project 1, Project 2 y as sucesivamente)

3. El segundo proyecto lo realizan en el mismo documento en el que ya haban realizadoel primero, a continuacin, y lo vuelven a subir a actividades AV, al apartado Project 2.

4. Todos los proyectos se realizan de la misma manera, elaborndose as una revista,pgina por pgina.

5. El ltimo proyecto contiene la revista completa y es la que ser calificada, puesto quese les permite ir mejorando, corrigiendo y modificando los proyectos anteriores,

conforme van realizando entregas

Este libro muestra los cuentos finales que pertenecen al proyecto nmero 7: a tale in

two minutes. Mis estudiantes escribieron el cuento en ingls, como toda la revista,

pero despus escribieron la versin en castellano, por decisin de ellos, para que

pudieran ser publicados en ambos idiomas. He incluido en estas pginas tambin la


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revisin de literatura para nios, de los hermanos Grimm y la estructura de los cuento

segn Nodelman (2003), ya que ste fue el paso previo a llevar a cabo los proyectos.

Mara Alcantud Daz

Universitat de Valncia

[email protected]


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Description of the project

Stylistics of English is a subject which is being studied within a special innovation

program (PIE: Educational Innovation Program) which this University provides to its students.

This program consists of the incorporation of NTICS to the classroom and a higher participation

on behalf of our students, who have to put special emphasis on working longer on their own,

researching, working in groups and so on. More concretely, this subject offered them the

possibility of participating as a main element of a blended learning framework which includes:

on line tests through our virtual learning platform (Aula Virtual), electronic portfolios

elaborated by means of project work and digital storytelling. In addition to this, the syllabus

which stylistics of English developed was included as part of the methodological activities

carried out by a TIC group directed by Dr. Barry Pennock-Speck and composed by members of

the English and German studies department among which Professor Mara Alcantud, is

included.

This book focuses on the results achieved in one of the projects belonging to their

electronic portfolio- carried out by this group of students.

Before introducing the description of the project which has been showed in this

edition, I would like to describe the distribution of the tasks which has been carried out in this

subject, all of them through Aula Virtual (AV).

Firstly, my students had to make five tests on line, uploaded and edited in the AV

administration of tests- and which students had to carry out through the activities section. The

marks achieved were the 40% of the subject.

Secondly, we have been working with digital storytelling, which were introduced in the

class by means of a workshop provided for that aim. In that workshop students were taught

the software needed for the task (Photo story 3, movie maker and some others). Besides, they

were shown some digital storytelling samples and they were given information about some

web pages which could help them.

The script, as well as the storyboard and the digital story had to be uploaded to AV, to

the activities section. The marks achieved were the 15% of the final one.


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Finally, the electronic portfolio provided 40% of the final mark (the 5% remaining was

obtained with attendance and participation to the class). This activity will be described in

detail next.

As an introductory topic, I can say that there is a wide range of electronic portfolios

within the educational community, but ours have something different. They have been shaped

as electronic magazines composed by eight projects on creative writing, each one of them

related to a different genre. The methodology was as follows: the stylistics of each genre was

revised in class by using power points, activities on line; different readings on different

authors; suggesting further readings and doing some related activities in the classroom. After

that, my students had to carry out their own project putting into practice the genres

conventions following the instructions given. This was not just about studying the genres, but

to experience the same as being one of the authors of those genres, in other words, learning

by doing.

The eight projects proposed were:

1.- The language of newspaper reporting. Make your magazine front page, invent a

name and write your first piece of news. To do so follow these instructions: Creative writing

with newspaper reporting: take an interesting, funny or unusual photo (taken by yourself, not

from any magazine or newspaper...) then write a story about what happened before, during

and after the photo was taken. Stories have to be original and new. VERY IMPORTANT: Use

the prompts given in the exercise about newspaper reporting done in class.

2.- The language of blurbs. Your magazine should have a culture section talking about

books. Make a blurb on an invented book by an invented author and whose title should start:

If . It should have all the ingredients seen today in class

3.- The language of advertising. One of the sections in your magazine is for advertising.

You should make some advertisements (invented, of course). Parodies, foregrounding,

deviation and parallelism have to be included in your advertisement slogans.

4.- Shakespeare and sonnets. Write a sonnet. Choose a topic of your interest and make

a list of words or ideas (in English, of course) which have something to do with that topic.

Then, use the dictionary to find new words and synonyms. Use some literary figures:

Alliteration, Hyperbole, Metaphor, Oxymoron, Personification, SimileRhetoric questions can

be used too.

5.- How to write a dialogue. Emma, by Jane Austen. Your magazine should have an

opinion section: think of a question to ask people in the street about any topic. Write the


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responses of different people. Use characterization through dialogue to build up your

interviewed characters.

6.- Creating atmosphere like Edgar Allan Poe: You should use the five senses to create

atmosphere like Poe used to do. You do not have to write a story, but the previous-to-action

atmosphere. Metaphors and similes following Charles Dickens technique should be used.

7.- The language of tales. The brothers Grimm. A tale in two minutes. Write a story

aimed at children, following the genre conventions. It should take just one page.

8.- Film review. Lexical repetition in Jean Rhys wide Sargasso Sea. Use lexical

repetition for this section. Try to prove with your essay that you have watched the film

(details, expressions from the film, etc). Highlight the words used for lexical repetition.

The working of each and every one of these projects is described as follows:

1. Students had to write their projects in a Word or Power Point file.

2. They uploaded it to AV, to the activity section (which had been previously shaped witheight sections, named Project 1, Project 2 and so on).

3. The second Project had to be written in the same file as the previous one, in anotherpage and then they uploaded it again to the AV, but this time to Project 2.

4.

All the projects were carried out in the same way, so as to make a digital magazine,page after page.

5. The last Project had the whole magazine which will be the one to be marked, as theyare allowed to improve, correct and modify all projects but the last one.

This book shows the final tales concerning project number seven: a tale in two

minutes. My students wrote the tale in English and then they decided to write a version in

Spanish in order to be published. I have included in these pages the revision on literature for

children, the brothers Grimm and the layout of a tale according Nodelman (2003) as it was theprevious stage to carry out their projects.

Mara Alcantud Daz


[email protected]


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El lenguaje de los cuentos: los hermanos Grimm

Mara Alcantud Daz


El objetivo principal de este captulo es introducir el concepto de la literatura dirigida a

los nios, una breve resea de su historia y de algunos de sus representantes ms populares,

los hermanos Grimm. Las convenciones necesarias para realizar el proyecto relacionado con

este gnero, segn Nodelman (2003), se resumen al final del presente captulo, a fin de

proporcionar a mis alumnos una gua rpida para llevar a cabo su proyecto: A tale in twominutes.

1. Primeros libros dirigidos a los nios

Apenas hay alguna referencia a los libros dirigidos a los nios antes de 1740 y la razn

es muy simple: antes del siglo XVIII, los nios eran vistos como adultos en miniatura, no se les

trataba como los nios son tratados hoy en da. En este sentido, hay algunos hechos referentes

a la condicin de los nios en ese momento que podran parecer anecdticos para nosotros,

debido a la forma en que los nios son tratados hoy en da. Por ejemplo, los nios no usaban

ropa diseada especialmente para ellos, sino una versin en miniatura de la ropa de los

adultos. Adems, no haba literatura destinada a ellos, o leyes especiales para ellos referidas a

la escolarizacin o los delitos cometidos por o contra los nios. Su muerte, en la mayora de los

casos, no tena el tratamiento que tiene hoy en da, porque incluso sus tumbas no eran

marcadas (vase Postman, 1999). Adems, es sabido que en la Europa medieval, tan pronto

como el nio no tena que vivir con la permanente atencin de sus madres, comenzaba a

pertenecer a la sociedad adulta. Los nios no necesitan una literatura especial, ya que no

tenan necesidades especiales porque tenan el mismo status que los adultos (Nodelman

2003:82).

Segn Kinnell (1996: 141), hay slo unos pocos ejemplos aislados de libros destinados

a los nios publicados en el siglo XVI y, como en los siglos XVII y principios del XVIII, no haba

diferencias entre las edades apropiadas de los lectores de la literatura popular en esos aos.

Los libros ledos en esa poca eran una especie de libros religiosos, escolares, y libros de

cortesa, adems de canciones infantiles, que ms tarde se coinvertiran en la base de la

literatura infantil. Tenemos que tener en cuenta que, en ese momento, slo alrededor del 30


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por ciento de los hombres y, por supuesto, menos mujeres, podan leer con fluidez, porque los

nios eran retirados de la escuela tan pronto como podan trabajar y ganar algo de dinero para

sus familias. Este hecho estaba directamente relacionado con el desarrollo de la literatura

dirigida a los nios ya que estaba vinculada a factores sociales, educativos y econmicos (Ray,

1996: 654). Algunos ejemplos de los libros impresos en el siglo XVII eran, de acuerdo con Ray

(1996: 655): Sensualium Orbis, impreso por primera vez en latn y alemn. El autor, John Amos

Comenius, naci en Bohemia y es el padre reconocido de los libros de imgenes para nios y

cuentos de hadas escrito por el francs Charles Perrault y publicado en Pars en 1697.

Los libros que podran considerarse como los primeros reconocidos como literatura

infantil, de acuerdo con Nodelman (2003:83) fueron publicados en Inglaterra por John

Newbery en 1740 y tenan ttulos tales como Little pretty pocket book, dedicados a la

instruccin y Amusement of little Master Tommy and Pretty Miss Polly y algunos otros.

2. Cuando el siglo XVIII lleg

El aumento de la poblacin de los nios proporcionalmente trajo un aumento en el

inters comercial en la publicacin de libros para ellos. De esta forma, los libros destinados a

los nios se convirtieron en "ms orientados a los nios en el tono, el lenguaje y la materia"

(Kinnel, 1996: 145). No se trataba slo de que estaban aumentando las oportunidades de

educacin y de que los avances tecnolgicos hacan que los libros estuvieran disponibles a

precios razonables, debido al abaratamiento de papel y del proceso de impresin, sino de que

la infancia, una invencin de esa poca, se convirti en un fenmeno mercantil cuya

paternidad, adems de la contribucin de Rousseau y Locke, podra atribuirse a la clase media,

un grupo de personas cuyo "xito y el prestigio no dependa de los antecedentes familiares o la

pureza espiritual, sino en la capacidad de hacer dinero" (Nodelman 2003:84). Al mismo

tiempo, durante este siglo, hubo un movimiento general en toda Europa en favor de la

educacin universal que, junto con una clase media emergente "contribuy a crear un pblicolector con un mercado viable para los libros para nios" (Ray, 1996: 655 ). La conjuncin de

todos estos hechos, sembr la semilla de un nuevo tipo de literatura, la literatura dirigida a los

nios, cuya base fue la tradicin oral y los cuentos de hadas.


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3. La tradicin oral y cuentos de hadas

Propp (1977:18) sostiene que una clasificacin justa de los cuentos, como punto de

partida, podra ser: cuentos de hadas, cuentos populares y cuentos de animales. Me gustara

centrarme en los cuentos populares, ya que el presente proyecto estar relacionado con los

cuentos de los hermanos Grimm, una coleccin que, al menos en sus primeras etapas, naci

como un proyecto filolgico cuyo objetivo principal era recoger cuentos de tradicin oral

alemana a fin de mantener la pureza de las voces alemanas. Por ese motivo, me gustara

presentar a la tradicin oral con una cita de Civallero (2007) que explica de un modo muy

descriptivo las bases de la tradicin oral:

El padre le cuenta a su hija sus aventuras de juventud, historias mnimas que no

aparecen escritas en ningn sitio pero que sern parte de la historia personal de la

muchacha. La abuela le confa a su nieto la receta exacta de ese postre que sus

antepasados inmigrantes haban trado de allende los mares, y que a l tanto le

gusta. El anciano sentado en el parque cuenta -a quin quiera escucharlo- su propia

versin de la historia revolucionaria en la que particip de joven, una historia que

los textos oficiales narran de acuerdo a su conveniencia, no siempre apegada a la

realidad de los hechos. El curandero le transmite a su aprendiz la combinacin

exacta de corteza y hojas medicinales necesarias para elaborar un remedio, una

frmula transmitida a travs de las generaciones y que no est anotada en ninguna

parte. Son diminutos fragmentos de una tradicin que se (re)produce a lo largo y

ancho de todo el mundo, entre campesinos indgenas y entre docentes

universitarios, entre amas de casa y dirigentes polticos: la tradicin oral, la

transmisin de saberes a travs de la palabra hablada, la primera -y a veces la nica-

forma que tenemos para manejar nuestro idioma y para poder expresar y recibir,

por ende, ideas y conocimiento..

Todas las culturas tienen sus propias historias tradicionales. Mitos desarrollados a fin

de explicar todo tipo de fenmenos naturales. Hroes de Leyenda que crecieron alrededor de

personajes carismticos. Las fbulas eran una forma de ensear consejos tiles. Los cuentos

tradicionales y de hadas "proporcionaron satisfaccin psicolgica a travs de su sistema

simplificado de recompensa y castigo, o una forma de poner de manifiesto las relaciones y los

temores con seguridad" (Ray, 1996: 654). La popularidad de este tipo de historias los llev aconvertirse en literatura infantil durante el siglo XIX. Este hecho sent las bases para la


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escritura de historias de fantasa modernas (Ray, 1996: 654). Es ms, el contenido de los

cuentos de hadas que fueron compuestos originalmente por y para adultos a menudo pasaron

a formar parte de dominio de las lecturas de los nios.

4. Los hermanos Grimm y su recopilacin

Jacob Ludwig Carl Grimm naci el 4 de enero de 1785, en Hanau, una ciudad comercial

situada en una de las pequeas partidos que conformaban lo que hoy es Alemania. Era hijo de

Felipe Guillermo Grimm (un abogado y oficial de la corte) y su esposa Dorothea Grimm. Un ao

despus, naci su hermano Wilhelm Carl Grimm (24 de febrero de 1786). Tuvieron seis

hermanos y una hermana: Georg Friedrich Hermann (1783-1784), Carl Friedrich (1787-1852),

Fernando Felipe (1788-1844), Emil Ludwig (1790), Charlotte (Lotte) Amalie Hassenpflug, (1793

-- 1833), Friedrich (1791-1792), y (1794-1795 Eduard Georg). El padre de los hermanos Grimm

muri en 1796, dejando a la familia en dificultades financieras por lo que su madre tuvo que

trabajar muy duro para pagar la educacin de los nios. Jacob y Wilhelm se trasladaron a

Kassel en 1798, ciudad natal de su madre. Los nios, de 13 y 14 aos vivan con su ta, que

pag por ellos para que asistieran a una prestigiosa escuela de Kassel. Jacob comenz sus

estudios de Derecho en la Universidad de Marburgo en 1802 y tambin lo hizo su hermano, un

ao ms tarde, en 1803.

Jacob y Wilhelm, influenciados por la coleccin de poesa de Clemens Brentano y

Achim von Arnim, Des Knaben Wunderhorn, comenzaron a recopilar cuentos populares

(Mrchen) en 1806, pero dos aos ms tarde, 27 de mayo de 1808, Dorothea Grimm, su

madre, muri a la edad de 52, de modo Jacob tuvo que trabajar como bibliotecario en Kassel,

en el fin de mantener a sus hermanos y hermana menores. Ambos hermanos comenzaron a

recoger cuentos en su tiempo libre para ayudar a un amigo escritor, que espera publicar una

coleccin de cuentos tradicionales. Ellos trabajaban como un equipo, Wilhelm, que era el ms

imaginativo y literario de los dos, seleccionaba y ordenaba los cuentos mientras que Jacob eraresponsable del trabajo de investigacin centrado en los estudios lingsticos.

La coleccin de los hermanos Grimm "estaba compuesta por ms de doscientos

cuentos recogidos de amigos, conocidos, informadores, almanaques infantiles y viejos libros"

(Bottigheimer, 1996: 154). Uno de los ms importantes informadores fue Marie Hassenpflug,

de 20 aos amiga de su hermana, Charlotte, dque provena de una familia de buena educacin

y de habla francesa. Las historias de Marie eran una mezcla de tradicin oral y los cuentos de

Perrault Mother Goose (1697). Las historias incluan magia, comunicacin entre los animales ylos hombres, valores morales, la enseanza delo que socialmente est bien y mal, idioma,


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religin, cuentos sin sentido, cuentos populares, etiologas, parodias y otros. Ambos hermanos

sostenan que los cuentos deban ser registrados y presentados lo ms parecidos posible a la

forma original. Esto significaba que en algunas de las historias figuran detalles desagradables.

La coleccin de cuentos de los hermanos Grimm est entre las primeras las primeras

de su tipo que naci con fines cientficos (Lang, 1884: 3). La primera intencin de estos dos

estudiosos, al recoger cuentos populares alemanes, era un proyecto acadmico que

preservara las tradiciones de cuentos, amenazados por la industrializacin y la urbanizacin,

con el fin de mantener su propia identidad nacional. "Lo que queran era captar la" pura "voz

del pueblo alemn y de conservar sus oracular Naturpoesie antes de morir " (Tatar 2004: xxxii).

Como la figura de los nios se estaba poniendo de relieve como un cliente y lector potencial,

los escritores romnticos alemanes, incluidos los hermanos Grimm, pensaron que no haba

necesidad de crear nuevas historias para los nios, porque la verdadera literatura ya estaba en

el folclore tradicional. As que decidieron dar a esta literatura popular a los nios.

Despus de este breve paseo por la historia, necesitamos una serie de convenciones

relacionadas con el gnero definido como cuento, que podra mejorar las habilidades de

escritura de mis estudiantes, con relacin a su proyecto. Con este fin, (el libro de Nodelman

the pleasures of childrens literature (2003) me pareci una buena opcin. Por esa razn el

siguiente paso en esta introduccin ser un resumen de las principales caractersticas descritas

por este autor de tal manera que mis estudiantes de estilstica del Ingls puedan aplicarlos a

su proyecto.

5. Caractersticas del gnero.

1. Las descripciones que aparece deberan ser mnimas.

2. La informacin debe ser concreta y no abstracta: debe incluir detalles sobre la forma,

sonido y color para que los lectores puedan imaginar mundos especficos: por ejemplo,

"sus codos temblaban y su mandbula estaba tan apretada que los dientes delanteros

estaban clavndose en el labio inferior.

3. Los textos para nios deben tener lugar en entornos que los nios suelen ocupar:

hogares y escuelas, playas, campings... pero tambin en entornos de fantasa

imaginaria tambin.

4. Los personajes principales: son la mayora de las veces los nios o criaturas infantiles.

5. La inexperiencia de la infancia tiende a ser una ignorancia peligrosa en algunos textos yuna inocencia encantadora que en otros: Harry Potter, Winnie the Pooh ...


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6. A veces, se centran en los animales y su naturaleza. (por ejemplo los relacionados a la

alimentacin). como, Little Red Riding Hood.

7. La reduccin del tamao o dar vida a objetos en miniatura es otra tcnica utilizada por

los escritores de cuentos.

8. El impulso principal de los cuentos es siempre didctico.

9. La repeticin de una tarea ayuda a los estudiantes a aprender. Por esta razn, la

repeticin es un recurso muy usado en este gnero.

10. Podemos encontrar lo que se llama historia acumulativa: en la que todos los eventos

anteriores se repiten despus de la introduccin de cada nuevo evento.

11. Presencia de variacin: trmino tomado de la msica, donde las piezas se construyen

con frecuencia como variaciones de los temas recurrentes y donde los compositores

suelen producir conjuntos de variaciones. Por ejemplo, Anne of Green Gables: novela

episdica en la que cada captulo cuenta una historia similar.

Adems de la adopcin de las convenciones se mencionadas anteriormente, se les

sugiri a los alumnos en sus cuentos lo que, despus de investigar sobre el gnero,

consideraba las principales caractersticas de la literatura dirigida a los nios: los cuentos

deben ser cortos, positivos y constructivos. Adems de esto, potencialmente deberan invitar a

desarrollar la imaginacin de los nios por medio de diferentes gneros como la fantasa o laaventura. Por ltimo, deberan usar un tipo de vocabulario que sea fcilmente comprendido y

utilizado por los nios y no relacionados con la violencia o cualquier otro tema que pueda

molestar la sensibilidad de los nios


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References

Baraz, D. (2003). Medieval Cruelty: Changing perceptions, late antiquity to the Early Modern

Period. Cornwell University.

Bottigheimer, Ruth B.(1996). Fairy tales and Folk- tales. In Hunt (1996) InternationalCompanion encyclopaedia of Childrens literature. London: Routledge.

Ewers Hans-Heino.(1996) German childrens literature from the eighteenth to the twentieth

century. In Hunt (1996) International Companion encyclopaedia of Childrens literature. Pp

735-743. London: Routledge.

Grimm, Jacob. & Wilhelm (2009). The complete fairy tales, the Brothers Grimm. Ware,

Hertfordshire. Wordsworth Editions Limited.

Grimm, Jacob & Wilhelm (translator Margaret Hunt)(1884).Household tales with the authorsnotes, translated by Margaret Hunt. http://www.surlalunefairytales.com/authors/grimms.html

Gianoutsos, Jamie. (2006). Locke and Rousseau: early childhood education. The

Undergraduate Journal of Baylor University Vol 4 N 1 the Pulse.

Hunt Peter.(1996). International Companion encyclopaedia of Childrens literature. London.

Routledge.

Kinnell, Margaret. (1996) Early texts used by children. In Hunt (1996) International

Companion encyclopaedia of Childrens literature. Pp 141-151. London: Routledge.

Lesnik-Oberstein Karin.(1996) Defining childrens literature and childhood In Hunt (1996) pp

17-31. London: Routledge.

Medlicott, Mary(1996) Story-telling. In Hunt (1996) International Companion encyclopaedia

of Childrens literature. Pp 539-545. London: Routledge.

Nodelman,Perry (2003) The pleasures of childrens literature. Boston: Pearson Education. Inc

Propp. Vladimir (1977).La morfologa del cuento. Madrid: Editorial Fundamentos.

Postman, Neil. (1999). Building a bridge to the 18th century: how the past can improve our

future. New York: Alfred A. Knopf, a division of Random House, Inc.

Renck Jalongo, Mary. (2002). Editorial: On behalf of children. Early childhood Education

Journal. Vol 30, N 1, Fall 2002.

Tatar, Maria.(1987). The hard facts of the Grimms Fairy tales. Princeton: Princeton University

Press.

Tatar, Maria (2004). The annotated Brothers Grimm. New York: W.W. Norton & Company, Inc.

Tatar, Mara (1992). Off with your heads. Princeton: Princeton University Press.
http://www.surlalunefairytales.com/authors/grimms.htmlhttp://www.surlalunefairytales.com/authors/grimms.html


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The language of tales: the brothers Grimm

Mara Alcantud Daz


The main aim of this chapter is to introduce the concept of literature aimed at

children, a brief review of its history and of some of its most popular representatives, the

brothers Grimm. The conventions needed to start writing text related to this genre that of folk

or fairy tales according to Nodelman (2003) will be summarized at the end of the present

chapter, in order to provide my students a quick guide to carry out their projects related to the

present genre.

1. First books aimed at children

There is almost no reference to books aimed at children before 1740 and the reason

for this is very simple: before the XVIII century, children were seen as miniature adults, theywere not treated like children are nowadays. In this sense, there are some facts referring to

childrens status at that time which could seem to us anecdotic according to the way children

are treated nowadays. For instance, children did not wear clothes especially designed for

them, but small versions of adults clothes. Besides, there was no literature aimed at them, or

special laws for them referring to schooling or crimes committed by or to children. Their death,

in most cases, has not got the treatment which it has today because even their graves were

unmarked (cf. Postman, 1999). Besides, it is widely known that in medieval Europe, as soon as

a child did not have to live with the permanent attention of their mothers, they started to

belong to the adult society. They did not need special literature because they did not have

special needs; they reached the same status as adults (Nodelman 2003:82).

As argued by Kinnell (1996: 141), there are only a few isolated examples of books

aimed at children published in the XVI century and, like in the XVII and beginning of XVIII

centuries, there were no differences between the readership ages in popular literature which

could be read in those years. The books read at that time were some kind of religious, school

and courtesy books, apart from nursery rhymes, which later became the base for the so called


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literature aimed at children. We have to take into account that, at that time, just around 30

per cent of men and, of course, fewer women, could read fluently, because children were

removed from school as soon as they could work and earn some money for their families. This

fact is directly related to the development of literature aimed at children as it is linked to

social, educational and economic factors (Ray, 1996: 654). Some examples of books printed in

the XVII century were, according to Ray (1996: 655): Orbis sensualium, first printed in Latin and

High German. The author, John Amos Comenius, was born in Bohemia and is the recognized

father of the childrens picture books and French fairy tales written by Charles Perrault and

published in Paris in 1697.

The books which could be considered to be the first recognized as aimed at children,

according to Nodelman (2003:83) were published in England by John Newbery in 1740 and

whose names were such as A little pretty pocket book, Intended for the instruction and

Amusement of little Master Tommy and Pretty Miss Polly and some others.

2. When the XVIII century arrived...

The raising in childrens population proportionally brought a raise in the commercial

interest in publishing books for them. Thus, books aimed at children became more child-

oriented in the tone, the language and the subject matter (Kinnel, 1996: 145). It was not only

that educational opportunities were increasing and technological developments made books

available at reasonable prices due to cheaper paper and printing process, but that childhood,

an invention of that age, was found to be a mercantile phenomenon whose fatherhood, apart

from contribution on behalf of Rousseau and Locke, could be attributed to the Middle class, a

group of people whose success and prestige depends not on family background or spiritual

purity but on the ability to make money (Nodelman 2003:84).. At the same time, during this

century, there was a general move all over Europe in favour of universal education together

with a raising middle class which helped to create a reading public with a viable market for

childrens books (Ray, 1996: 655). The conjunction of all these facts sowed the seeds for a

new kind of literature, literature aimed at children, whose basis was probed to be the oral

tradition and the fairy tales.


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3. Oral tradition and fairy tales

Propp (1977:18) claims that a fair classification of tales, as a starting point, might be:

fairy tales, folk tales and animal tales. I would like to focus on folk tales, as the present project

will be related to the brother Grimms tales, a collection which, at least in its first stages, was

born as a philological project whose main aim was to collect tales from German oral tradition

in order to keep the purity of German voices. For that reason, I would like to introduce the oral

tradition with a quote by Civallero (2007) who explains in a very descriptive way the

foundations of oral tradition.

El padre le cuenta a su hija sus aventuras de juventud, historias mnimas que no

aparecen escritas en ningn sitio pero que sern parte de la historia personal de la muchacha.

La abuela le confa a su nieto la receta exacta de ese postre que sus antepasados inmigrantes

haban trado de allende los mares, y que a l tanto le gusta. El anciano sentado en el parque

cuenta -a quin quiera escucharlo- su propia versin de la historia revolucionaria en la que

particip de joven, una historia que los textos oficiales narran de acuerdo a su conveniencia,

no siempre apegada a la realidad de los hechos. El curandero le transmite a su aprendiz la

combinacin exacta de corteza y hojas medicinales necesarias para elaborar un remedio, una

frmula transmitida a travs de las generaciones y que no est anotada en ninguna parte. Son

diminutos fragmentos de una tradicin que se (re)produce a lo largo y ancho de todo el

mundo, entre campesinos indgenas y entre docentes universitarios, entre amas de casa y

dirigentes polticos: la tradicin oral, la transmisin de saberes a travs de la palabra hablada,

la primera -y a veces la nica- forma que tenemos para manejar nuestro idioma y para poder

expresar y recibir, por ende, ideas y conocimiento. 1

1 Civallero Eduardo (2007)El relato oral

My translation: The father tells his daughter the adventures of his youth, minimal stories which appear

nowhere in written formbut that will be part of the girls personal stories. The grandmother entrusts her

grandson the exact recipe of that desert that her immigrant ancestors had brought overseas, and that he likes

so much. The old man sat in the park tells -to whomever would like to listen-his own version of the

revolutionary story in which he took part when he was young, a story which the official texts relate according

to convenience, and are not always faithful to reality. The folk healer passes on tohis trainee the right

combination of the medicinal bark and leaves needed to make a remedy, a formula passed on through

generations and which is not documented anywhere. They are tiny fragments of a tradition which takes place

all over the world, among native peasants and university teachers, among house wives and politic leaders:

Oral tradition, the transmission of knowledge through the spoken word, the firstand sometimes the only-

way which we have to deal with our language and to be able to express ourselves and get ideas andknowledge.


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All cultures have their own traditional stories. Myths developed in order to explain all

kinds of natural phenomena. Hero legends grew up around charismatic characters. Fables

were a way of teaching useful advice. Folk and fairy tales provided psychological satisfaction

through their simplified system of reward and punishment, or as a way of working out

relationships and fears in safety (Ray, 1996: 654). The popularity of this kind of story led them

to become childrens literature during the nineteenth century. This fact set the basis for the

writing of modern fantasy stories (Ray, 1996: 654). What is more, the content of fairy tales

that were originally composed by and for adults often passed into the domain of childrens

readings.

4. The brothers Grimm and their collection

Jacob Ludwig Carl Grimm was born in January 4, 1785, in Hanau, a market town in one

of the small polities that made up what is now Germany. He was son of Philipp Wilhelm Grimm

(a lawyer and court official) and his wife Dorothea Grimm, ne Zimmer. One year later, his

brother Wilhelm Carl Grimm was born (February 24, 1786). They had six more brothers and

one sister: Friedrich Hermann Georg (1783-1784), Carl Friedrich (1787-1852), Ferdinand Philipp

(1788-1844), Ludwig Emil (1790), Charlotte (Lotte) Amalie Hassenpflug, (1793-1833), Friedrich

(1791-1792), and Georg Eduard (1794-1795). The Grimms father died in 1796, leaving the

family in financial distress so their mother had to work very hard to pay for the education of

the children. Jacob and Wilhelm then moved to Kassel in 1798 which was their mother's home

city. The 13 and 14 year old boys lived with their aunt who paid for them to attend a

prestigious school in Kassel. Jacob began his study of law at the University of Marburg in 1802

and so did his brother, one year later, in 1803.

Jacob and Wilhelm, influenced by the folk poetry collection of Clemens Brentano and

Achim von Arnim, Des Knaben Wunderhorn, began to collect folktales (Mrchen) in 1806 but

two years later, May 27 1808, Dorothea Grimm, their mother, died at the age of 52 so Jacob

took a position as a librarian in Kassel in order to support his younger brothers and sister. Both

brothers began collecting tales in their free time to help a writer friend, who hoped to publish

a folklore collection. They worked as a team; Wilhelm, who was the more imaginative and

literary of the two, selected and arranged the stories while Jacob was responsible for the

scholarly work concentrating on linguistic studies.

The Grimms collection was composed by over two hundred tales collected from

friends, acquaintances, country informants, childrens almanacs and old books (Bottigheimer,1996: 154). One of the most important informants was Marie Hassenpflug, a 20-year-old friend


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of their sister, Charlotte, from a well-bred, French-speaking family. Maries stories blended

motifs from the oral tradition and Perraults Tales of Mother Goose (1697). The stories

included magic, communication between animals and men, moral values, teaching of social

right and wrong, language, religion, nonsense tales, folktales, aetiologies, burlesques and so

on. Both brothers argued that folktales should be recorded and presented in print as close as

possible to the original mode. This meant that some of the stories contained unpleasant

details.

The brothers Grimms fairy tale collection is among the earliest of its kind which was

born with scientific purposes (Lang, 1884: 3). These two scholars first intention, when they

compiled German folktales, was a scholarly project that would preserve storytelling traditions

threatened by industrialization and urbanization in order to keep their own national identity.

What they wanted was to capture the pure voice of the German people and to conserve

their oracular Naturpoesie before it died away (Tatar 2004: xxxii). As the figure of children

was being highlighted as a potential customer and reader, German Romantic writers, including

the brothers Grimm, thought that there was no need to create new stories for children,

because the true literature was already in traditional folklore. Thus they decided to give this

folk literature to children.

After this brief walk through the history, what it is needed now is a series of

conventions related to the genre defined as tale, which could improve my students writing

skills in reference to their project. For this purpose, Nodelmans (2003) the pleasures of

childrens literature seemed to me a good choice. For that reason my next step in this

introduction will be a summary of the main characteristics described by this author in such a

way that my students of stylistics of English were able to apply them to their tasks.

5. Characteristics of the genre.

1. The descriptions presented should be characteristically minimal.

2. The information given should be concrete rather than abstract: It ought to include

details about shape, sound, and colour to allow readers to imagine specific worlds: i.e.

Her elbows were shaking and her jaw was so tight her front teeth were denting her

lower lip

3. Texts for children take place in settings that children typically occupy: homes and

schools, beaches, campgrounds but in imaginary fantasy settings too.

4. Main characters: are most of the times children or childlike creatures.


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5. Childhood inexperience tends to be a dangerous ignorance in some texts and a

charming innocence in others: Harry Potter, Winnie-the-Pooh

6. Sometimes, they are focused on animals and their nature. (for example related to

food). i.e. Little Red Riding Hood.

7. Reducing the size or bringing miniature objects to life is another technique used by

tales writers.

8. The primary impulse of tales is always didactic.

9. Repeating a task helps students to learn it. For this reason repetition is a very

extended resource very extended in this genre.

10. We can find what is called cumulative tale: in which all previous events are repeated

after the introduction of each new event.

11. Presence of variation: Term borrowed from music, where pieces are frequently

constructed as variations of recurring themes and where composers often produce

sets of variations. i.e. Anne of Green Gables: episodic novel in which each chapter tells

a similar story.

Apart from adopting the conventions mentioned above, my students were suggested

to include in their tales what, after researching on the genre, I considered the main

characteristics of literature aimed at children: the tales have to be short, positive, and

constructive. In addition to this, they should potentially invite to develop childrens

imagination by means of different genres like fantasy or adventure. Finally, they should use a

kind of vocabulary that is easy to be understood and used by children and not related to

violence or any other topic which could bother childrens sensibility2.

2 See references in the previous chapter


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Tales in two minutes


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Los sueos pueden hacerse realidad

Alfonso Coxias, Beatriz

Era el da antes de Navidad y Sally iba a pasar esa noche con John, su pap, ya que sus

padres estaban separados. Ella no estaba feliz porque prefera pasar la noche con su madre

porque su padre siempre estaba ajetreado con el trabajo.

Los dos empezaron a preparar la cena, pero John no tena ni idea de preparar cenas ya

que no sola cenar nunca en casa. Al final decidieron ir a un restaurante para cenar

decentemente en Noche Buena. Una vez terminado de cenar, partieron rumbo a casa para

acostarse temprano ya que Pap Noel venia esa noche. John le cont a Sally un cuento de

Navidad antes de dormir para que Sally durmiera a gusto. Durante la noche, Sally se levant

porque oy un extrao ruido y fue corriendo a la habitacin de su padre para contarle lo que

haba odo. El ruido vena de fuera de la casa as que salieron fuera y vieron a una persona

intentando trepar por el tejado porque se haba resbalado y entrar por la chimenea. John grit

a esa persona y el hombre que haba en el tejado se asust y se cay al suelo. Rpidamente fue

a ayudar al hombre y cuando lo vio de cerca se dio cuenta de que estaba disfrazado de Pap

Noel. Sally cogi del bolsillo del disfraz una tarjeta y se la ense a su padre. John ley la

tarjeta y ah pona que era el verdadero Santa. l no poda creer lo que estaba leyendo y

cuando se dio cuenta el cuerpo del hombre desapareci dejando slo y nicamente el disfraz.

John segu pensando que era simplemente un sueo navideo, pero Sally le dijo que ahora

deban de hacer ellos de Pap Noel y terminar de repartir todos los regalos por el mundo

porque si no algunos nios se quedaran sin ellos. Finalmente John hizo lo que le dijo su hija y

empezaron a repartir los regalos por todo el mundo durante toda la noche. Una vez terminada

la faena, el carro de los renos les llev directamente a casa, al Polo Norte, donde vive el

verdadero Santa. John estaba anonadado y segua pensando que estaban soando; pero era

Sally la que le deca que no, que era todo completamente de verdad. Para Sally las cosas

estaban cambiando mucho respecto a la opinin que tena de pasar el tiempo con su padre y

empez a querer estar ms tiempo con l. Al da siguiente, Sally volvi con su madre y el novio

de su madre a casa y, como una nia pequea que era, le cont todo lo sucedido. Su madre

estaba confundida por lo que Sally le cont sobre aquella noche, ya que pensaba que eran

cosas estpidas que le haba metido su padre en la cabeza. John tambin lo negaba todoporque segua creyendo que era todo un simple sueo. Pero la cosa iba cambiando porque a


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John le empez a crecer la barba y a crecerle tambin la barriga. Le empezaron a llegar por

correo o por arte de magia las tareas que Santa Claus deba de hacer durante el ao para

preparar las cosas antes de la noche en la que viaja durante todo el mundo repartiendo

regalos. Para que su madre no sospechara y dejara a su hija pasar ms tiempo con su padre,

decidieron llevarlo todo en secreto para siempre. Y as, Sally le ayud ao tras ao a su padre a

preparar todo para que todo el mundo fuera feliz3.

3 Imagen http://www.plusesmas.com/fotos/Papa_Noel_en_chimenea_1_g.gif


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Dreams can be true

Alfonso Coxias, Beatriz

It was the day before Christmas and Sally had to spend the night with John, her dad,

because her parents were divorced. She was not happy about that because her father was

always busy with his work.

Both started to prepare dinner but John did not know anything about cooking. So, he

decided to go off to a restaurant to have dinner with Sally. Then, they went home and John

tried to read a Christmas story to Sally before falling sleep. During the night Sally woke up

because she heard a strange noise. Quickly, she went to his dads bedroom and woke him up.

They went outside and noticed that there was someone on the roof. John scared that person

and he fell down. When he tried to help this man, he realized that he was a man dressed up as

Santa. Sally picked a card up from Santas pocket and gave it to her dad. John read the card

and he found out that that man was the real Santa and he had to be Santa now because Santa

disappeared and left his costume there. John did not believe what was happening and he

thought he was dreaming. Sally told him that he had to deliver all the presents around the

world as Santa. Finally they spent all night delivering the presents to the children. Then, when

they finished with this task, they went to the North Pole where Santa lived. They thought that

they were dreaming the whole time, but fortunately for Sally this was completely real. She had

such a great time with her dad and she decided to spend more time with him. Sally went back

to her mother and told her everything she and her dad did the night before. Her mum was so

confused and thought that Sally had a problem because anything that she said could be

possible. Apart from that, in his house, John realized that he was Santa now because he

remembered everything that they did the night before and he was getting fatter and fatter.The father and daughter decided to have their own secret forever and Sally spent the following

year helping John make everything to prepare for the next Christmas.


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La bruja blanca

Calvo Martnez, Elena

rase una vez tres amigas que se llamaban Esther, Raquel y Daisy. Vivan en un

pueblecito cerca de las montaas. Esther tena el pelo de color dorado, el de Raquel era como

el de la cebada mientras que el de Daisy era de color crema.

Era el da cinco de diciembre, haca fro pero el sol brillaba en el cielo. Ese da, era el

cumpleaos de Daisy, as que pusieron unas botellas de agua y unos sndwiches en sus

mochilas y se fueron de excursin.

Llevaban un rato caminando cuando algo extrao sucedi. El sol desapareci y todo se

volvi oscuro. De repente, brot un bosque. Qu estaba pasando?

El bosque era muy denso, las jvenes apenas podan ver nada, pero Daisy encontr

una pequea cabaa. Estaba empezando a llover as que abrieron la puerta y entraron

corriendo a la casita. Dentro haba una cama y una mesa. Sobre la mesa se vean una botella

de leche, frutas y flores recin cogidas. Esther pens que en aquella casa deba vivir alguien,

pero aunque esperaron mucho rato, nadie apareci. Raquel tena mucha sed y tras echar una

ojeada por la habitacin encontr un armario grande en una esquina.

Sobre el armario haba unas bolitas de colores brillantes pero cuando Raquel intent

alcanzarlas, cayeron y rodando, rodando fueron a parar tras la chimenea. Se acerc a la

chimenea para conseguir las relucientes bolitas y all, encontr una puerta secreta. Lanz un

grit y Esther lleg rpidamente para ver qu ocurra. Las jvenes queran saber si haba

alguien y por eso abrieron la puerta. ! Vaya sorpresa! Detrs de la puerta, encontraron una

pequea cueva. Dentro de la cueva, una nia, muy, muy pequea dorma. Intentaron

despertarla pero no pudieron. Acariciaron su carita, estaba un poco fra. Sin embargo, cuando

se acercaron, vieron que respiraba. ! Estaba viva!

Queran despertarla pero no saban cmo podran hacerlo. De repente, recordaron la

historia del anciano mago Zinger. En esta historia, el mago entonaba una cancin muy bella y

danzaba alrededor de la nia embrujada para despertarla. Esther y Raquel decidieron

intentarlo y comenzaron a cantar y bailar alrededor de la nia. Pero, no conocan la cancin ni

tampoco el baile mgico. Por ello, aunque bailaron y bailaron, la nia no despert. De pronto,se acordaron de Daisy. Quiz ella pudiera ayudarlas a despertar a la chica.


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Cuando Esther y Raquel le contaron a Daisy el problema, sta inmediatamente se

transform. Se puso sus gafas de detective y empez a investigar. No era un caso fcil de

resolver. La bella nia durmiendo estaba y la cancin de las jvenes no la despertaba.

Daisy su libro de magia consult. En l un hechizo mgico encontr. Tenan que

intentar la solucin. Las chicas ayudaron a Daisy a prepararlo todo. Pusieron las bolas

brillantes alrededor de la cama de la nia y Daisy empez a cantar. Entonces, a la bella nia se

acerc, el dedo meique le lami y un ojito abri. Un grito de las chicas se escuch y despus

de que Daisy lamiera el pulgar una radiante sonrisa la nia mostr.

Y as fue como las tres amigas Daisy, Raquel y Esther conocieron una nueva amiga,

Zandarel, la bella durmiente en la cabaa de un mundo misterioso.


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The White Witch

Calvo Martnez, Elena

Once upon a time there were three friends. Their names were Esther, Rachel and

Daisy. They lived in a small village near the mountains. Esther had golden hair, Rachels hair

was like barley and Daisys hair was cream coloured.

It was the fifth of December, it was cold but the sun was shining in the sky. Today was

Daisys birthday and so they put some water and sandwiches in their satchels and went for a

picnic together.

They had been walking for a while when something strange happened. The sun

disappeared and everything grew dark. Suddenly a forest sprang up. What was happening?

The forest was very dense, the girls could hardly see, but Daisy found a small cottage.

It was beginning to rain so they opened the door and entered quickly in the cottage. Inside,

there was a bed and a table. On the table there was a bottle of milk, some fruit and fresh

flowers. Esther thought that someone lived in this house, but even though they waited for a

long time, nobody came. It was raining cats and dogs and so they decided to stay inside the

cottage for a while. Rachel was very thirsty and after having a look at the room discovered a

big cupboard in a corner.

On top of this cupboard, there were a few little balls of gliding colours but when Rachel

tried to catch them, they fell down and went rolling behind the chimney. She went closer the

chimney to get the shining balls and there, she found a secret door. She cried out and Esther

came quickly to see what was happening. The girls wanted to know if there was somebody

inside and so they opened the door. What a surprise! Behind the door, they found a small

cave. Inside the cave, a little, little girl was sleeping. They tried to wake her up but they could

not. They touched her face, she was a bit cold. However, when they came nearer her, they saw

she was breathing. She was alive!

They wanted to wake her up but did not know how. Suddenly, they remembered the

story of the old magician Zinger. In this story, the magician sang a very nice song and danced

around the haunted girl to wake her up. Esther and Rachel decided to give it a try and began to

sing and dance around the girl. But, they did not know the magic song or the magic dance. But,


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even though they danced and danced, the girl did not wake up. Suddenly they remembered

Daisy. Maybe she could help them to wake the girl up.

When Esther and Rachel explained the problem to Daisy, she immediately transformed

herself. She put on her detective glasses and began to investigate. It was not an easy case to

solve. The beautiful child was still sleeping and the girls song has not worked.

Daisy consulted her magic book. In it, she found a magic spell. They had to try it. The

girls helped Daisy to prepare everything. They put the gliding balls around the childs bed and

Daisy began to sing. Then, coming closer to the beautiful girl, she licked her little finger and a

little eye opened up. The girls gave a cry and after Daisy licked the thumb a sunny smile

appeared at once.

And this was the way in which the three friends Daisy, Raquel and Esther got a new

friend, Zandarel, the sleeping girl in the little cottage of a mysterious world4.

4ImagenRosa Fernndez Prez


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La nia burbuja

Campos Garca, Mara del Carmen

En la maana de septiembre ms soleada y radiante de 1986, naci en Sidney la nia

con la piel ms destellante y sorprendente nunca jams vista antes. Toda su familia estaba

preocupada por ella y su extraa situacin Porqu no era como los dems bebes? Bueno,

todos menos su madre quien estaba segura de que su bebe era especial, la nia mas especial y

nica en el mundo. Adems, ella tambin se senta la mama ms afortunada de todas. Desde

aquella maana supo que algn da algo increble le sucedera a su nia.Cuando la niita cumpli los cinco aos, los mdicos se dieron cuenta de que el brillo

de su piel se iba apagando poco a poco, porque all donde iba la gente no paraba de mirarla, y

la mejor solucin fue ponerle una burbuja protectora. As fue como metieron a la nia ms

bonita y brillante dentro de una burbuja!

Antes de todo esto su vida era ms o menos normal, pero despus se hizo ms famosa

y se convirti en la nia ms bonita nunca jams vista. No era lo normal ver a una nia con esa

piel y dentro de una burbuja era imposible dejar de mirarla! Los aos pasaron y su vidacontino; era una buena estudiante, tena muchos amigos, iba al colegio como los otros nios

y adems tena una maravillosa familia que cuidaba de ella a todas horas. Pero, un da su

madre la not de mal humor y vio que su brillo haba disminuido! Le pregunto qu era lo que

le pasaba y la nia le cont que le gustaba un chico de clase pero l no quera ser su amigo

porque viva en una burbuja y era rara. Despus de eso unos nios de la escuela se metieron

con ella dicindole que nunca tendra un amigo as por culpa de su burbuja. No cario!

exclam su madre. Ella era una mujer tan dulce que no soportaba ver a su hija sufriendo de

esa manera. As que esa noche le dijo a su pequea: si te propones de verdad que puedes

conseguir cualquier cosa y crees en ello, lo lograras. Desde aquel da su madre le repeta lo

mismo con el beso de buenas noches. La nia creci creyendo en las palabras de su madre y la

burbuja no fue nunca ms un obstculo. Lo nico que no saba era que su gran da estaba por

llegar

Una noche mientras dorma vio una luz en su cuarto que no era la de su piel. Era una

preciosa hada! El hada dulcemente le cont que en algn lugar exista alguien igual que ella y


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que por alguna razn seria su alma gemela. As pues, la espolvoreo con polvo de hada mgico y

se march. La nia estuvo soando con aquello durante los siguientes seis aos

Un da de lo ms deslumbrante, a los 16 aos, sali al parque y de repente su burbuja

empez a flotar ms de lo normal y de la nada divis otra burbuja como la suya con un chico

guapsimo dentro de ella. Pronto se dio cuenta de que flotaba hacia ella. Cinco minutos

despus las burbujas se acercaron tanto que chocaron y se convirtieron en una sola burbuja!

De esta manera la nia brillante conoci por fin a su alma gemela y vivieron

brillantemente juntos por siempre felices!


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The Bubble Little Girl

Campos Garca, Mara del Carmen

On the sunniest and shiniest morning of September 1986 a little girl was born in

Sydney with the most spectacular bright skin that you have never seen before. All of her family

was worried about what was wrong with her, why wasnt she a normal baby? But her mum

was really sure that this was a sign that her baby was special, the most special and unique girl

on earth. Besides, she felt like the luckiest mum in the world. That morning she knew that

someday, something unbelievable was going to happen to her little girl.

At the age of 5, the doctors realised that her skin was turning less shiny because

everywhere she went, people could not stop looking at her. Because of this, they decided that

she must wear a bubble to protect her skin. So, there we have the most beautiful glowing girl

living inside a bubble!

Before that, her life was more or less normal, but after that, she became more popular

and the most beautiful girl ever, as it was so unusual to see a girl walking along the street

trapped inside a bubble with that skin that it was impossible not to look at her!

Time passed and everything in her life was normal; she was a good student, she had a

lot of friends, she could go to school as a normal child and she had the best family in the world

that took care of her all day.

One day, her mum noticed her in a bad mood and saw something wrong with her

glow. She asked her and the little girl told her mum that she was in love with a boy from the

school but he didnt want to be her friend because she was inside a bubble, that she was

weird. A few boys told her that she would never have a boyfriend because of her bubbleOh,

no, babe! -exclaimed her mum. She was such a sweet woman that she could not see her

daughter suffering like that. The next night, she told her little girl: whatever you want to do,

believe you can do it and you will. Since that very moment her mum told her the same thing

every time she kissed her good night.

That girl grew up, and she was convinced that her mum was still right; the bubble was

not anymore of an obstacle for her. What she didnt know was that the best day of her life was

still to be discovered...


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One day, while she was sleeping, she saw another incredible light that was not her

skin. It was such a beautiful fairy! The fairy told her that in another world there was a creature

exactly like her that was her soul mate for one reason. Then, she sprinkled her with magic dust

and went away. The girl dreamt of that for the following 6 years...

At the age of 16, one shiny day, she went to the park and suddenly her bubble started

to float more and more, like a real bubble, and out of nowhere she could make out another

bubble with a handsome boy inside, floating and coming towards her. Five minutes later, they

were so close that they crashed and it became one single bubble! Thats the way the shiny girl

met her soul mate and they got together, brilliantly, and forever happy!


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La habitacin azul

Castillo Caracuel, Sara Mara

Todos los padres son hroes, pero el mo es an mejor. Todo empez cuando Mandali

me dijo que pap no era ms que un soador que se distraa con historietas de un tal Crusoe,

no saba lo que se perda quedndose con mam! Aunque estaba muy oscuro y empezaba a no

sentir la puntita de la nariz, reconozco que fue el mejor regalo de cumpleaos de mi vida.

Jams haba visto una barca tan grande. All cabamos pap, yo y cien personas ms por lo

menos! Todas sentadas en silencio, muy apretadas, con sus mejores ropas, pero sin maletas,

porque donde bamos no nos haran falta, o eso dijo mam. Todos esperbamos impacientes a

que el capitn diese las rdenes. Todos a la derecha, Todos a la izquierda, gritaba su

contramaestre y todos los piratas obedecamos sin dudar ni un segundo como si nuestras vidas

estuviesen en juego. Ms de una vez rozamos las espaldas con el agua fue emocionante!

Como en las aventuras de los libros de pap, en nuestra travesa tambin nos sorprendi la

tempestad. Un fuerte viento nos sacudi y pap me agarr tan fuerte que mis amigos del cole

todava se asustan cuando ven la cicatriz. Ninguno tiene nada parecido!

La aventura slo acababa de empezar cuando desembarcamos en una playa remota y

llegamos a esa ciudad de casas gigantes puestas unas encima de otras. Las historias de Crusoe

no eran suficiente para pap, as que jugamos al escondite por toda la ciudad durante todo el

da, y aunque mi estmago no dejaba de rugir, la meta vala la pena. Fue entonces cuando

supe que ramos los mejores. Conseguimos la habitacin con colchn y una pared azul, una

pared azul! Increble eh? Tena la ventana ms grande y luminosa que jams haba visto, pero

pap nunca quera abrirla por si nos descubran. En verdad, yo siempre supe que aunque pap

era un valiente, tena tanto miedo a que los vecinos envidiosos nos quisieran quitar la mejorhabitacin, que tan solo ver la luz del da asomarse por la ventana le haca temblar de pnico.

Mandali no estaba pero yo tena cientos de hermanos, la casa siempre estaba repleta de

gente, y aunque la mayora de veces no les entenda muy bien cuando me hablaban, me

dejaban ducharme el primero, y eso me haca sentirme especial.

Aquello era divertidsimo, aunque tambin un poco agotador. Todas las maanas, pap

y nuestro compaero de pasillo, Jarrah, con sus dos hijos, completamente a oscuras nosmetan an dormidos en una furgoneta blanca que nos esperaba en el callejn de detrs de


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nuestro palacio. Pero el sueo nos duraba poco, la furgoneta era lo ms parecido a uno de

esos parques de atracciones de la tele saltbamos hasta tocar el techo con la cabeza! Incluso,

una vez fuimos los que ms horas pasamos escondidos de los detectives bajo los asientos.

Los mayores decan que haba cientos de ellos por todas partes y si te rendas no te dejaban

volver a subir nunca ms! Cuando llegbamos a el campo, como Jarrah lo llamaba, empezaba

la diversin para Hanas, Rayid y yo, que corramos entre los naranjos sin que los dems nos

vieran. Buscbamos la naranja ms gorda y jugbamos a lanzrnosla con fuerza para enfadar a

los mayores. El que ms encontrase, era el primero en elegir la naranja de la merienda de

entre todas las cajas de la furgoneta. Rayid siempre se enfadaba cuando le tocaba una

podrida!

Pronto ca enfermo y pap dej de levantarse para ir a el campo. Aunque Jarrah se

negaba a llevarnos por miedo a que nos descubrieran, finalmente tuvimos que ir a un sitio

donde la gente se viste de blanco y te dan palos de helado para curar la tos. Pap pareca muy

triste cuando me dijo que los detectives nos haban descubierto, nos obligaban a abandonar la

aventura en esa ciudad y tenamos que volver a nuestro pas.

Pero, de repente supe que la aventura no haba acabado todava. Lo que pap me

haba preparado para la vuelta a casa era an mejor que aquella vieja barca! Estaba tan

nervioso por tener que volver, que llor abrazado a m durante un buen rato. Nunca haba

visto una furgoneta blanca con alas tan grande, que nos llevara volando por el cielo azul

directos a casa5.

5

http://1.bp.blogspot.com/_F6wncIsoTMA/SaSMRa31VAI/AAAAAAAAADg/fs-K9d0ti0Y/s400/Patera+abandonada.jpg


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The Blue Room

Castillo Caracuel, Sara Mara

All fathers are heroes, but mine is even better. My adventure started when Mandali

said that Dad was just a dreamer who enjoyed reading stories from someone called Crusoe,

but he clearly did not know what he would lose staying at home with Mum! Although it was

dark and I could not see past the end of my nose, I admit it was the best birthday present I

have ever had in my life. I had never seen such a huge boat. There was room for Dad, me and

more than a million people. All of us sat in silence, very cramped, wearing our most expensive

clothes, but without bringing luggage as if where we were going to, we would not need it, or at

least that was what Mum said. We were all anxious to hear the captains orders: Everyone

moving to the right, Everyone moving to the left, he shouted and all the pirates on the boat

obeyed as if our lives were based on those commands. More than once we reached to wet our

backs, it was terrific! As Dad used to describe in his books, in our crossing, we were surprised

by a tempest. An icy wind violently shook us, and Dad grabbed me in such a strong way that

the scar he made still makes my school mates jump every time I show them it. Many people

did not survive, but we finally landed on a lonely beach.

The adventure had just begun when we arrived to a city with plenty of big houses,

placed one next to another. Crusoes stories were not enough for Dad, so we played hide and

seek all over the city, and despite being rumbling?, it was actually worth it. By then, I knew we

were the best: The room with a mattress and a blue wall was ours! We got the one with the

blue wall! Can you imagine? There was the most wonderful and lightest window I had ever

seen, but Dad never let me open it so as not to be discovered by outsiders. Actually, although I

always knew Dad was brave, he was so frightened of our jealous neighbours trying to steal thebest bedroom of the flat that the simple act of the sun shining daylight through the window

made him panic. Mandali was not there but I had hundreds of brothers who lived in the flat,

which was always crammed with people. I did not understand most of them when they were

talking but they always let me have the shower first and it made me feel special.

It was very funny, but also a bit exhausting. Every single morning Dad and our corridor

mate, called Jarrah, with his two children, got us to sleep at dawn in a big white van which was

waiting at the alley. But our sleep did not last very long because the van was really similar to

those amusement parks we watched on TV. One day, we even got to touch the ceiling with our


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heads! We spent hours being hidden under the seats from the detectives. The adults said

there were many of them looking around and controlling the game; if you gave up they would

never let you get in again. When we arrived to the field, as Jarrah called it, Hanas, Rayid and

me started to enjoy it, as we ran between the orange trees trying not to be seen by anyone.

We looked for the biggest orange and played by throwing it between us to make the adults

angry. The one who picked up more fruit could choose his afternoon snack between all the

orange boxes harvested. Rayid always got annoyed when he got the rotten one!

A few days later, I started to come down with the flu and Dad had to leave his work at

the field. Although Jarrah thought people would discover us, we finally went to a place

where everyone dresses in white and they give you an ice lolly stick to stop coughing. Daddy

seemed very sad telling me we had been caught by the detectives, so we were forced to give

up our adventure in this city and we were required to go back to our country. But, suddenly, I

noticed the adventure was not over yet, and what my dad had prepared for us to go back

home was even better than the old boat that took us there. I hugged him and dad was so

nervous that he cried when he saw how huge the white van with wings was, which would take

both of us straight home flying through the blue sky.


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El enigma de la moneda de oro

Corbn Garca, Emma

Hace muchos, muchos aos, naci Prais, hija de una de las ms ilustres familias de la

Gran Bretaa. Los aos pasaban y pasaban, y la nia iba creciendo. Con ella tambin iba

creciendo su belleza y hermosura. Era alta, de cabellos largos y rubios como el oro, de ojos

azules, que bien podan compararse con las aguas cristalinas del mar. Prais era una hermosa

muchacha a la que ningn joven haca burla, sino todo lo contrario, todos la piropeaban y

galanteaban. Pero ella no poda elegir a su amado, sino que eran sus padres quienes decidan

con quien deba casarse su hija. Los padres de la bella Prais, unos nobles de alto linaje, no

podan casar a su hija con cualquiera. Por eso propusieron una pequea prueba a todos los

jvenes del reino que quisieran participar en ella, para ver cul era el ms cualificado de todos

y as, casarse con Prais. La familia de nobles viva en un gran castillo situado al norte de Gales.

En una fuente del castillo se realizara dicha prueba. Los padres de la joven dieron

Tales Final

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