Now That We've Read A Few Examples Of Little Red Riding Hood

Now That Weve Read A Few Examples Of Little Red Riding Hood In The Eu

Now that we've read a few examples of Little Red Riding Hood in the European tradition, let's take a look at a tale from Mozambique. The story of Motikatika may be one that you are not familiar with, but you'll likely find elements of various folktales and fables that you know and love. Researcher Alan Boyle has suggested that the story of Motikatika is part of the Little Red Riding Hood genealogy. What do you think? Read (or listen to) the story of "Motikatika and the Ogre" (Mozambique), available here: NOTE: The story is divided into 2 parts -- make sure to go to the next page for part 2. Consider the following as you read/listen: Can you guess on what basis Boyle would suggest that Motikatika is a Red Riding Hood story? Is it similar in terms of motifs or morphology (plot)? Do you think it makes sense to consider this story as a variant of Little Red Riding Hood? Why or why not? If we read this in conversation with Little Red Riding Hood, would it change the way we interpret the story? This story features a male protagonist, rather than the little girl at the center of the Red Riding Hood variants. How might this impact the way we view the story and what it communicates? How do you feel about the mother's complicity in the ogre's plot? Why do you think she does what she does? How do you feel about what happens to the parents at the end? Does their fate seem justified within the story? What do you think is the moral of the story of Motikatika? How does it compare to the moral of Red Riding Hood? Write a paragraph responding to one of the questions above, supporting your points with details from the story.

Paper For Above instruction

The story of Motikatika from Mozambique presents a fascinating variant of the Little Red Riding Hood tale, introducing unique elements that invite comparison and analysis. Alan Boyle's suggestion that Motikatika is part of the Red Riding Hood genealogy hinges on motif and plot similarities that align with the traditional European story. In the Mozambique tale, the protagonist is a male, which significantly shifts the narrative perspective and the story's underlying messages compared to the classic Red Riding Hood, typically featuring a young girl. This gender switch affects how audiences interpret the protagonist's innocence, vulnerability, and agency within the story, potentially broadening the moral implications to include gender roles and societal expectations.

One of the key aspects that bolster Boyle's argument is the motif of deception and danger posed by the ogre, analogous to the wolf in the European variants. In Motikatika, the mother’s complicity and the manipulation by the ogre mirror the predator-prey dynamic seen in the original tales. However, instead of a passive victim, Motikatika actively engages with the dangers, often displaying ingenuity that aligns with the plot structures of traditional folktales. The mother's role, which involves deliberate or negligent cooperation with the ogre, raises questions about the moral responsibility and societal dynamics in storytelling, especially considering cultural contexts where family loyalty and community ties are paramount.

The ending of the story, involving the fate of the parents, is often viewed as justified within the narrative's moral universe—serving as consequences for their choices or negligence. This outcome emphasizes accountability and the importance of wisdom in safeguarding oneself and loved ones. The moral of Motikatika diverges from the cautionary tale of Red Riding Hood, which warns against talking to strangers; instead, it explores themes of trust, deception, and resilience. The story suggests that cleverness and bravery can overcome danger, and that even with adult complicity, children can navigate peril through resourcefulness. Viewing Motikatika in dialogue with Red Riding Hood broadens our understanding of folklore, highlighting how narratives adapt across cultures to reflect different societal values and fears, thus enriching the global tapestry of storytelling.

References

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