How the Sun Came To Be: a Traditional Aboriginal Legend as a Mirror of Teenage Reality

Open publication - Free publishing - More adolescence

Adolescent’s Approach to Texts: A Look into the Young’s relationship with Reading

Open publication - Free publishing - More education

Dead like me: A tool to reflect upon the influence of social pressure on identity development

Students: M.A. and Camila Chaves

To what extent are adolescents willing to renounce to their own essence in order to belong to a certain group of peers? How much of their identity is lost when nurturing that sense of belonging?

Dead Like Me is a zombies’ story by Adam-Troy Castro, in which the main character loses his own human identity pretending to be a Living Dead. This allows him to belong to the group of zombies which have taken the city where he lives in order not to be literally devoured by them. In this way, the story explores how social pressure makes people lose their own identity in order to fit in a particular social group. Thus, the aim of this paper is to prove that Dead Like Me constitutes a good narrative source for teachers to discuss with teenage students how peer pressure influences their identity.

During adolescence, human beings experience a series of physical, cognitive and social changes which lead to what Erik Erikson called identity crisis (Erikson: 1994). He defined this crisis as a turning point in adolescents’ sense of self, and considered identity formation as the “developmental task” of adolescence. This developmental task is shaped by the choices that adolescents make during their identity crises and among these there is one that is crucial: that is the selection of peers that teenagers make. Since during the teen years people spend more time with their peers than with their family, it is during this period that teens are more susceptible to be influenced by their friends. This external influence can lead them to adopt the norms and standards of the group at the expense of their own, causing the loss of their sense of self (Erikson cited by Saul McLeod: 1998).

It follows that this denial of one’s self does not only take place in the world of adolescents but also in the fictional world of zombies described in Dead Like Me. In the story, the main character adopts the zombies’ norms and customs, renouncing to his Living identity. This is shown through some of the narrator’s descriptions of his zombie-like behaviour:

Now find a supermarket that still has stuff on the shelves. You can if you look hard enough; the Dead arrived too quickly for the Living to loot everything there was. Pick three or four cans off the shelves, cut them open, and eat whatever you find inside. Don't care whether they're soup, meat, vegetables, or dog food. Eat robotically, tasting nothing, registering nothing but the moment when you're full.

This change in behaviour allows the main character to be “accepted” by the zombies that surround him and, in that way, to belong to their group. The same applies to teenagers. Most frequently, adolescents are victims of peer pressure. This means that in order to fit in a social group, they are profoundly influenced by their peers and they are forced to restrict their own identity development. Thus, this restriction they imposed on themselves is intended to belong to a certain group of people, and in that way, to feel they are part of it.  “The sense of belonging is the most salient aspect that pushes adolescents to conform to a group and share thoughts and believes that sometimes harm the youths’ identity” (Haynie, 2002).

All in all, this paper makes it possible to draw inevitable connections between the peer pressure phenomenon and a specific piece of writing, Dead Like Me. Besides, this essay helps us to see literature as a tool to be used in the classroom. It is important to bear in mind that literature, and more precisely storytelling, promote the identification of readers with the characters or with the situations described, and that “...Conflicting values and roles can be explored through stories, because storytelling is a problem-solving activity” (Gall de Vos: 2003).

Therefore, Dead Like Me can be a valuable tool for teachers to debate with students about the role of social pressure in the construction of their identity. This can be done by establishing a comparison between the loss of identity of the main character in a zombies’ world, and the adolescent’s loss of identity in their own social context. In the same way the main character in Dead like me adopts a fake zombie-like behaviour and renounces his human identity, adolescents often adopt the behavioural patterns of a group, putting at risk their own identity.   Research has shown that adolescents often engage in false self behaviour (acting in ways that are not the true self), particularly when among classmates and in romantic relationships. (Harter et al 1996 cited by Steinberg and Morris: 2001). Dead Like Me can be used in the classroom to reflect upon identity concerns and, in that way, to help adolescents withstand the peer pressure they may be victims of.

REFERENCES

• Brown, B. Bradford; Lohr, Mary J. (1987) Peer-group affiliation and adolescent self-esteem: An integration of ego-identity and symbolic-interaction theories. Journal of Personality and Social Psychology. http://psycnet.apa.org/index.cfm?fa=buy.optionToBuy&id=1987-15208-001 Accessed 09/07/12
• de Vos, G. (2003) Storytelling for Young Adults: A Guide to Tales for Teens. Westport, CT Libraries Unlimited.
• Erikson, E. (1994) Identity: Youth and Crisis. New York, W.W. Norton & Company.
• Haynie, D. (2002) The Relative Nature of Peer Delinquency. Quantitative Criminology. http://cooley.libarts.wsu.edu/soc3611/Documents/Haynie_network.pdf Accessed 09/07/12
• McLeod, Saul (2008) Erik Erikson. Simply Psychology http://www.simplypsychology.org/Erik-Erikson.html Accessed 11/07/12
• Steinberg, L; Morris, A. (2001) Adolescent Development. http://www.colorado.edu/ibs/jessor/psych7536-805/readings/steinberg_morris-2001_83-110.pdf Accessed 09/07/12

A case of the stubborns: an unquestionable case of YAL

by M.A.

To distinguish what is art from what is not is not a simple task. It involves not only a high level of knowledge on the subject matter but also a high level of subjectivity. Since literature is art, subjectivity also plays an important role when it comes to determine which written texts can be considered to be literature. The aforementioned difficulty and subjectivity also applies when it comes to define what texts can be considered to be examples of Young Adult Literature (YAL). Still, there are certain elements that according to Small, dean at Radford University, should be present in most of YAL and therefore help us decide if a certain piece of writing is addressed to teenagers or not. “A case of the stubborns”, a short story by Robert Bloch, about a teenager whose grandfather is a zombie who does not realize that he is dead, unquestionably includes most of them. Therefore, “A case of the stubborns” constitutes a clear instance of YAL.

To begin with, when adolescents approach literature, they expect to find entertainment. Therefore, the mixture of adventure and horror that is present in “A case of the stubborns” is highly appealing for them. Besides, Jody Tolliver, the main character of the story, tells the whole story himself. This helps young readers to feel identified with him, not only because of a matter of age similarity with the character, but also because the first person narration “presents an adolescent’s interpretation of events and people” (Small, cited by Herz and Gallo:1996). In this way, teenagers may feel that their own point of view is reflected throughout the story.  It follows that this type of narration allows readers to “see” and understand events in the story from the main character’s perspective. This makes this story much easier to follow than other kinds of narration, such as the third person.

Among the different characteristics that Small proposes to be present in YAL we find that “the teenage main character is usually perceptive, sensitive, intelligent, mature and independent” and that “their actions and decisions are major factors in the outcome of the conflict.” Definitely these elements are included in “A case of the stubborns”. Jody Tolliver is depicted as a thoughtful, mature teen who is intelligent enough to find the solution for the striking problem that affects his grandpa in an independent way. In fact it is him the only person in his family, and in town, capable of making the right decision that will lead to the resolution of  the conflict.

Besides, “A case of the stubborns” is a short story of no more than eleven pages. Hence, its lenght is also appealing for teenagers who, according to Small, prefer not to engage themselves with long stories which demand a lot of reading  time.

Thus, although it is not precisely easy to determine whether a text is addressed to teenagers or not, there are some texts that present most of the elements that, according to Small, teenagers expect to find in a good work of literature. That is the case of “A case of the stubborns”, which unquestionably includes most of them. From its very topic, comprising zombies’ adventures, terror, and humour, to the style and lenght of the story, “A case of the stubborns” is undeniably an excellent example of YAL.

Jugate conmigo - revival (TV show proposal)

Mr Yankelevich:

We are writing this letter as a response to your advertisement looking for new ideas for a teenagers T.V show.

Taking into account the characteristics and interests of teenagers nowadays, we are pleased to present you our idea about the revival of one of the most famous entertaining  T.V programme of the nineties in Argentina: “Jugate Conmigo”

This show, which will be broadcast weekly, will include different sections in which participants, arranged in two teams, will have to demonstrate their abilities in singing, dancing, acting and playing games. The winner will get a Prize: a trip to Brazil.

As regards singing and dancing, participants will have to recreate a video clips from pop artists chosen by the opposite team.

As for acting, a few members from each team will pick a card where they will find the explanation of the situation they will act out.

Each of the previously mentioned performances will be judged by four celebrities, all of whom have great knowledge about acting, dancing and singing.

Concerning the game section, it will include some ball games, such as “Football Tennis”, general knowledge games such as quizzes, action games such as paintball wars.

We look forward to hearing from you in the near future.

We can be contacted at the above address.

“Old hat, new hat”: the epitome of anti-consumerist literature for children

by M.A.

Need: to require sth/sb because they are essential or very important, not just because you would like to have them. (Oxford Advanced Learner’s dictionary)

Before reading this paper, please have a look at all the things you have around you. Ready? Now, how many of them are really “essential”? Of course, the meaning of the word “essential” may be very subjective, but it is no coincidence that the spectrum of what is essential has widened significantly during the last decades. Undoubtedly, we owe this widening to capitalism and its emphasis on consumerism, which makes us consider indispensable certain products that, in fact, are not. At the same time, the concept of “need”, not only as a verb, but also as a noun, has also been affected by it. What is actually needed? What is a need? The answer seems to be simple: what the market makes you believe it is. The problem is that not only adults are victims of this monstruous system of economy called capitalism, but also children. Fortunately, there are still some minds which strive against it, and also against consumerism. But, what is remarkable about that, is that their artistic productions in literature, music, and the like try to pass on children a message that utterly opposes it. This is the case of the children’s story “Old hat, new hat” by Stan and Jan Berenstain.

Children are perfect targets of consumerism. They are constantly bombarded with TV ads, which encouarge them to ask their parents to buy new things for them all the time. “Old hat, new hat” perfectly portrays the kind of bombardment customers suffer at shops. The story is set at a hat’s shop, where the main character of the story, a little bear, is assisted by a shop assistant, who offers him a huge variety of hats to try on. It does not matter whether the little bear likes the hats or not; what the shop assistant wants him to do is buy. In fact, pictures play an important role in the story. They show that as the customer enters the shop, the shop assistant is well disposed to him. But problems arise when the customer does not make a choice easily. At that moment, the shop assistant’s attitude towards him changes completely. He gets angry and forces him to choose one hat. This is one of the reasons why we may consider this story a useful tool to raise awareness in children of the pressures that market exerts on people, and encourage them to reject capitalist bombardment.

On the other hand, the end of the story, in which the little mouse realises that the best choice was his own old hat, conveys an important message: needs in capitalist world are created. Eventually, the little mouse grasps that he does not really need a new hat, and that is the moment in which he values his own. This is another instance of the anti-consumerist message that the tale conveys.

Eric Hoffer, a well-known American social writer, once said that people can never get enough of what they don’t need to make them happy. This phrase must sound familiar to all of us, since it portrays the feelings that are abundant in consumerist minds. What we must endeavour to do is to discourage the development of these feelings from children. And I am sure that stories such as “Old hat, new hat” can really help. In fact, I believe that they are the epitome of what children born in the capitalist era urgently need.

Sid, the Science Kid

Julián M. Riobó & Marina Amartino

“Science is the desire to know causes” (William Hazlitt, English essayist)

This quote describes with simplicity what science is about: the desire to know causes. Now, is it necessary to be a professional scientist to wonder about the world in which we live? Undoubtedly, it is not. Children constitute the embodiment of that desire to know causes. In fact, this has been a relevant topic for psychological research throughout history. According to Erikson, a famous German developmental psychologist and psychoanalist, children during preschool years experience a sense of initiative that makes them explore the world around them. At the same time, it fosters the development of basic educational skills and learning competence. This appears to have been perfectly understood by the creators of “Sid, the science kid”. Combining good content about science and great songs, this TV programme is an appealing approach for young children to have their first encounter with science.  

In each episode of “Sid the science kid”, Sid, the main character, deals with a particular scientific concept, such as what vaccination is about, why the water boils or even how it is that trees are so essential in the cycle of life. Naturally, the list goes on. As mentioned before, in one of the episodes the “science kid” explains why vaccination is not a bad thing in a very simple way. “You get one shot, it hurts just a little bit, you create anti-bodies and stay healthy for a long time”.

The use of catchy songs, whose lyrics are linked entirely to the subject in question, makes the episode more pleasant and engrossing when it comes to children. After putting forward all the reasons why vaccination does not have to be something to be afraid of, Sid wraps up this episode by conveying a message with a concise phrase that goes: “Don’t forget! When you think like a scientist, getting a vaccination is a really good thing. And I think like a scientist because I’m Sid, the science kid!”  

On the other hand, Sid asks questions aiming at finding out explanations for everything that goes on around him. One of the most exciting areas for Sid to dispel his doubts is the “super laboratory”, the   place where he and his little chums investigate and explore, and above all, the place where they have fun and learn at the same time.  The comprehensibility with which scientific facts are explained make children find this TV programme a very interesting way of clarifying their own queries and have a closer contact with science from a very early age.   

Sir Cyril Herman Hinshelwood, English chemist Nobel Prize 1956, once said that science is an imaginative adventure of the mind seeking truth in a world of mystery. “Sid, the Science Kid” shows that “investigation, exploration and discovery” are the necessary steps to seek some truth and to shed light in the world of mystery that surrounds children. What is more, it also demonstrates that learning about science may perfectly go hand in hand with amusement and adventure.

The Great, Big, Enormous Turnip (review by M.A.)

Alexei Tolstoy, Helen Oxenbury (Illustrations)

Mammoth; New edition edition (Sep 18 1998)

Paperback: 28 pp $ 10,43

The Great, Big, Enormous Turnip is a lovely old story for children by Alexei Tolstoy, one of the most famous Russian writers of all times. This story shows that through cooperation and sustained effort, big problems can be solved and difficult aims can be achieved.

“Grow, grow little turnip, grow sweet. Grow, grow little turnip, grow strong”. These are the words that the old man, one of the main characters of the book, utters at the beginning of the story when he plants a little turnip. What he doesn’t imagine is that the vegetable will not only grow sweet and strong but also big, great and enormous! The impressive size of the vegetable makes it impossible for the old man to pull it up on his own, and consequently, he needs to look for help. This is the point from which the whole story develops, through a repetitive sequence of actions in which different characters, ranging from an old woman to a little mouse, help the old man with the onerous task of trying to pull the enormous turnip up. The simplicity of the vocabulary used by Tolstoy, and the predictability of the sequence of events make this story suitable and engaging for children of all ages, but especially for younger ones.

On the other hand, Helen Oxenbury’s humorous and fresh illustrations vividly portray the huge effort that all the characters make in order to pull the great turnip up. This makes the story wildly funny and fascinating for children.

Undoubtedly, in The Great, Big, Enormous Turnip, Tolstoy and Oxenbury show that it is not necessary to create a big, enormous story to engage children with reading, but that simplicity and humour can be the best combination to make a story absolutely charming and delightful for them.

Little Red Marxist

Once upon a time, there was an ant nest in an old-grow forest.

Its inhabitants, the red ants, were preparing themselves to stock up with enough supplies to face the harsh winter. Disagreements arose when the supplies took up most of the space destined to spend the winter.

Little Red Ant proposed to donate the extra supplies to another ant community in order to make some place. “Are you mad? Donating the extra supplies after a whole summer work?” said Big Red Ant. “What’s wrong with that?” said L

ittle Red Ant. “It makes room for new people and at the same time we will be helping others”. The other ants considered that the last book that Little Red Ant had read, The Capital, had influenced him too much.

Eventually, his socialist views were the cause of long clashes a

mong the ants. Consequently, Little Red Ant was exiled from his community. He was accused of being ‘too red’ for such a Capitalist society.

Flash fiction

Teacher: You’ll have a zero. Student: Pity you won’t be able to write it.

A priest in need is a kid in danger.

Rastafarian Airlines: take a trip to paradise.

People getting married. Lawyers delivering pamphlets.
(M. A., Natalia Brucciamonti, Camila Chaves, Cintia López, Julián Riobó, Gonzalo Viola)

Growing inside me after such desperate wait.
(Valeria Niell, Nadina González, Gisela Méndez)

Come back. You forgot your life.
(Gisela Méndez)

-“You take it. I’m totally lost!... I can’t read it” –“It’s upside-down”
(Valeria Niell)

Five minutes to evacuate… Get your ticket ready. No ticket, no life.

Can I live in your bubble? Mine is leaking air.

Be clear when you order. Mine was delivered with blue eyes.
(Julieta Acevedo, Gabriela Belitzky, Marisa Gallardo, Betina Ricchezza)

Son: Don’t cry, I’ll be your angel.
(Nadina González)