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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
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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
Universitat de Valncia
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El lenguaje de los cuentos: los hermanos Grimm
Mara Alcantud Daz
Universitat de Valncia
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.
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The language of tales: the brothers Grimm
Mara Alcantud Daz
Universitat de Valncia
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
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