HOW OLD IS LITTLE RED RIDING HOOD?:TALES OVER TIME

Gwen Thurston Joy
INTRODUCTION
There are numerous popular children’s stories that have deeproots in folk traditions. Storytellers have adapted and retold tales,
using both words and illustrations, to entertain and educate bothchildren and adults at different times in many cultures. In thispaper, I will discuss some of the ways in which folk tales changeusing Little Red Riding Hood, The Three Pigs and The Three Bears as
examples. (In this paper the titles of tales will be printed in italics
even when they are a part of a collectionῌ)

DIFFERENT VERSIONS OF FAMILIAR STORIES
There are countless versions of the three tales that could be
explored in this article, so I have selected a few examples of eachtale to demonstrate the dramatic differences among them. I haveincluded some versions because they are personal favorites andothers because they have been of particular interest to students
enrolled in a college course on Western children’s literature I havetaught for a few years in Japan. I will focus on the plots of thesethree tales and the characters that appear in them, as well as a few
modern parodies that are based upon the traditional versions.
The basic plot of any story, especially how it ends, strongly
influences the reader and how he or she might respond to a story.
For example, the moral of Aesop’s The Grasshopper and the Ants

ῌ 1 ῌemphasizes the value of work and planning ahead if the fable ends
with the ants refusing to give any food to the grasshopper, butshows the importance of compassion and cooperation if it ends withthe ants sharing their food with the grasshopper. The same can besaid for the moral of Little Red Riding Hood, which changes depending on whether Red and her grandmother are smarter than the wolf
and avoid being eaten, if they are eaten by him, or if they arerescued by someone. Similarly, people may have a different opinionof the third pig in The Three Pigs if he or she boils up the wolf intoa delicious stew instead allowing him to run away. In looking atdifferent endings of fables and fairy tales almost all the students I
have taught initially say they prefer a “happy ending”. However,class discussions about some of the different versions led somestudents to reconsider and conclude that the more exciting anddramatic endings can make it possible for children to learn a lesson
or moral from a tale, and can even be more appealing.
In addition to the choice of ending, another important way inwhich storytellers make an impression upon their audience isthrough their interpretation of the personalities of the charactersand their relations with each other. The storytellers set the overall
tone of the tales through their choice of words and the style ofillustrations they use to portray the setting and the characters.
Recent research is clearly showing the importance of the impact of illustrations and other aspects of visual literacy (Kress andvan Leeuwen 1996; Styles and Arzpe 2001). For example, a review
of studies found that “because visual literacy comes before print
literacy, two-thirds of the questions and comments from young
children are about illustrations” (Trelease 2001: 69). Picture storybooks can be considered to be a form of interdependent storytellingῌ 2 ῌ

in which the words and pictures may provide augmentation orcontradiction (Agosto 1999). In the tales chosen for this article, thewolves, pigs and bears that are the main characters look and act likeanimals in some books, but are highly anthropomorphized in others.
The range of images of these beasts extends from the terrifying to
the cute. These and other differences in the portrayal of the characters will influence the response of both children and adults.
The three tales chosen for this article, with selected illustrationsin the figures at the end, are intended to show the creativeness ofthe storytellers who have helped keep these traditional tales alive
for many generations.

Little Red Riding Hood
The question in the title, “How old is Little Red Riding Hood?”,is actually two inquiries. The first relates to the age of the tale itself,
which may have roots in Nordic tales that are over 900 years old, as
discussed below. The second relates to the age of the young girl who
encounters a wolf while going to visit her grandmother. Storytellers
rarely mention the age of the young protagonist in words, but
illustrators portray her as being anywhere from about three or four
years of age [Figure 1] (Grimm and Grimm 1993) to her early teens[Figure 2] (Anonymous No date).
A key to determining the age of the tale is deciding what themain components of the story are. In my opinion, one of the key
features of Little Red Riding Hood is the dialogue between Red andthe wolf when he is disguised as her grandmother. Storytellers andchildren alike enjoy the dramatic effect of Red’s exclamation “Oh,grandma what big ears you have” and the wolf’s cunning “Theῌ 3 ῌ

better to hear you with, my dear” and the exchange that continues.
Surprisingly, one version, highly simplified by being restricted toonly 69 words, entirely eliminates this exchange. Instead, Red looks
at the wolf and says, “Oh, how did you get in here? You look likeGrandmother, but you are not Grandmother” (Hillert 1982: 24).
The concept for this dialogue may be based on an old Norse
legend from the 13th century. In the legend, the god Thor pretends tobe a woman named Freyja who has been betrothed to a giant named
Thrym. While the giant and his companions are dining with Thorand his friend Loke, disguised as a serving maid, Thrym becomes
suspicious and asks many questions about his bride-to-be. The
following is one part of the exchange from Norse Stories Retold fromThe Eddas (Maybie 1902: 137):“Why are Freyja’s eyes so sharp?” he [Thrym]calls to Loke. “They burn me like fire.”“Oh” said the cunning serving-maid [Loke], “shehas not slept for a week, so anxious has she been tocome here, and that is why her eyes are so fiery.”
As demonstrated by the example of this dialogue, traditional
folk tales as known today are often combinations of elements fromdifferent tales that are part of oral traditions in various countries.
These tales are adapted by the storyteller to be more acceptable andappealing to the contemporary society. As noted above, the mostdramatic difference among the versions is the fate of Red, her
grandmother and the wolf at the end of the tale. In many of theversions popular today, Red and her grandmother are eaten by thewolf and then rescued by a wood cutter (Broadley 1973; Goldsborough 1964; McPhail 1995), a hunter (Grimm and Grimm 1993;
Warabe 2001), Red’s father (Anonymous No date), or, in one case,ῌ 4 ῌ

Red’s mother (Langley 1998). These stories are based on one of themost commonly reprinted versions collected by the Grimm brothers, Little Red Cap (Grimm and Grimm 1963)ῌ in which a huntsman
saves Red and her grandmother. They place stones in the wolf’s
stomach while he is sleeping. When the wolf awakens and tries towalk, he falls down and dies. Then the huntsman skins the wolf as
his prize, a scene that is often eliminated from modern versions.
This traditional story has some resemblance to other folk tales.
For example, there is the Grimm brothers’ The Wolf and the Seven
Little Goats (Grimm and Grimm 1963) in which a wolf eats six of theseven little goats. The mother goat finds the wolf snoring, cuts open
his stomach, then removes her children and puts in some stones.
The wolf is thirsty when he wakes up, but drowns in the brookwhile trying to get a drink.
There is, however, a less well-known ending to Little Red Cap(Grimm and Grimm 1963) that changes Grandmother from being a
helpless old woman to an ingenious, independent woman. In thisending, either the initial wolf or another wolf tries to trick Little
Red Cap and her grandmother, but the grandmother outsmarts him.
She has Red pour water in which sausages have been boiled into a
trough in front of the house. The greedy wolf then falls off the roof
into the trough and is drowned.
Over 100 years before the Grimm brothers began publishing
their collections of fairy tales in 1812, Charles Perrault’s version of
Little Red Riding Hood and seven other folk stories, based on tales hetold to entertain adults, was published in France (1697). His book,
Histoires ou contes du temps passé, avec des moralitez: contes de mamére l’Oye was translated by Robert Samber into English in 1729 asHistories or Tales of Long Ago with Morals: Tales of Mother Goose.

ῌ 5 ῌ

This version is probably the earliest to have the young protagonist
wear the hooded red cape that is the source of the name she is
known by today. The end of Perrault’s version has Red undressing
and getting into bed with the wolf. He writes “And with thesewords, that wicked wolf leapt upon Little Red Riding Hood and ateher” (Perrault 1993: 33). It concludes with the following moral(Perrault 1993: 34):
Young children, as we clearly see,Pretty girls, especially,
Innocent of all life’s dangers,
Shouldn’t stop and chat with strangers.
If this simple advice beats them,
It’s no surprise if a wolf eats them.

And this warning take, I beg:
Not every wolf runs on four legs.
The smooth tongue of a smooth-skinned creature
May mask a rough and wolfish nature.
These quiet types, for all their charm,
Can be the cause of the worse harm.
Obviously the impact of the moral of the story is reduced and mostof its effectiveness as a cautionary tale for young girls is lost when
Red and her grandmother are rescued, although the level of cruelty
is reduced with the happier endings collected by the Grimm brothers.
However, the traditional tales that existed in France andnearby areas long before either Perrault or the Grimm brothers did
not have the wolf eating the little girl. Instead, she is a smart enoughto devise a way to escape. For example, in The Story of Grandmotherῌ 6 ῌ

(Dundes 1989) the wolf kills the grandmother and then has the little
girl unknowingly drink some of her grandmother’s blood and eat
her flesh. After the dialogue between the girl and the disguised wolf
about the wolf’s hairy arms and big ears, hands and mouth, the little
girl convinces the wolf to let her go outside to relieve herself before
she is eaten. The wolf ties a woollen thread to her foot, but she
removes it and escapes. There are also variations of Little Red
Riding Hood in China and other Asian cultures such as The Story ofGrandaunt Tiger (Dundes 1989) that do not rely on a male to rescue
the women (Langley 1998; Young 1989; Zipes 1987).
To make the story more appropriate for young children in theth

19 and 20th centuries, many elements found in the oral traditions
and earlier written forms have been changed. The general trend has
been to make the story less violent, to give it a happy ending, and to
make all the scenes socially acceptable. For example, modern books
for children do not have the girl drinking blood, discussing the needto relieve herself, or the scene from Perrault’s tale in which Red
undresses herself and crawls into bed with the wolf. Today there are
few illustrations of truly realistic, frightening wolves as Gustave
Doré’s 19th century illustration [Figure 3] (Perrault 1969). This trend
towards non-violent endings and more attractive versions can beseen in modern versions in which the wolf does not eat anyone andescapes unharmed. For example, in one book Grandmother hides ina closet and Red, knowing that many members of the community
are coming to help her, can be seen jumping on top of the bed while
the cowardly wolf cowers below (McPhail 1995). There is also
nothing scary about a highly simplified Japanese language version
that portrays the wolf as such a cute character with tears rolling
down his cheeks, that a reader might feel sorry for him [Figure 4]ῌ 7 ῌ

(Warabe 2001). Nonetheless, there are still modern versions inwhich the wolf is seen to frighten Red, such as Sarah Moon’s black
and white photographs with the menacing shadow of the wolf
projected onto a wall in an urban street setting (Perrault 1983).
Hogrogian’s version of the story has a contradictory ending in thatthe text says the wolf eats Red, yet the picture indicates her safely
escaping [Figure 5] (Hogrogian 1967).
In addition, there are many differences in details in both traditional and modern versions such as who made the famous red riding
hood, what kinds of delicacies are in the basket for Grandmother,and whether or not bees, birds, animals, humans or a fairy areincluded in the words or illustrations. The fate of the wolf also
varies. In some versions the wolf dies by drowning while trying todrink from a well or a stream after having the stones put in his
stomach, or is shot by a huntsman and then skinned as a kind oftrophy. On the other hand, in other versions the wolf escapes
unharmed and unpunished for his behavior. In one delightful variation Grandmother teaches the wolf a lesson by sewing raw onions
into his stomach. When he wakes up he feels terrible and vows, “I’llnever eat another grandma again” (Langley 1998: unpaginated).
William Wegman has put a new twist on the story and supplied
unusual photographs of dogs portraying the characters (Wegman1993). Some of these modern books, in which Red and her grandmother are not weak and innocent victims, seem to be actually moresimilar to the traditional characters and personalities of the womenin oral traditions, which were often maintained and passed on by
women, than those portrayed by Perrault or the Grimm brothers.
The above descriptions are based on only a few of the many
excellent resources about Little Red Riding Hood that are available.

ῌ 8 ῌ

Those interested in reading more tales can find fascinating versionsin Little Red Riding Hood: A Casebook (Dundes 1989), The Trials &Tribulations of Little Red Riding Hood (Zipes 1993), and an on-line
project with excellent illustrations at the University of Southern
Mississippi’s The Little Red Riding Hood Project (Salda 2002). Students and others have found an interesting variety of tales bysimply perusing their local libraries and bookstores to see theextensive range easily available. One parody that maintains theessential elements, redefines the characters and puts a delightful
spin on the dialogue by having Grandmother question the wolf isLittle Red Riding Hood: A Newfangled Prairie Tale (Ernst 1995).
McClements (2002) puts a new twist on the story in Jack Gander
Storyville Detective: The Case of the Greedy Granny by having “Red R.
Hood” ask a detective for help. The short stories in Clever Polly andthe Stupid Wolf (Storr 1955) are humorous tales of trickery in which
the wolf is outsmarted by the young protagonist. The creativity
that different storytellers have used in retelling this tale has helped
to keep it alive over the centuries for the enjoyment of many.
There are also many different perspectives by which to interpret Little Red Riding Hood and the oral traditions it is based upon.
There is a lot of disagreement among theorists, but it has beenthought to be a creation myth, a tale of rape and domination of maleover female, a tale that helps children learn to conquer their fears ofgoing out on their own, and much more, as summarized in The
Classic Fairy Tales (Opie and Opie 1974). Needless to say, the interpretation of the story depends on the version that each critic haschosen to use, so I found it essential to consider what version eachauthor is using as a basis for his or her theories when reading theirideas. Some of the books that provide various theories and usefulῌ 9 ῌ

references include The Uses of Enchantment: The Meaning and Importance of Fairy Tales (Bettelheim 1975), The Fairy Tale: The Magic
Mirror of Imagination (Jones 1995), Don’t Bet on the Prince: Contemporary Feminist Fairy Tales in North America and England (Zipes 1987),
Children’s Books in England: Five Centuries of Social Life (Darton
1982), Off With Their Heads!: Fairy Tales and the Culture of Childhood (Tatar 1992), and Don’t Tell the Grown-ups: Subversive Children’s Literature (Lurie 1990).

The Three Little Pigs
There are two main plots to the tale The Three Pigs, with very
dissimilar endings. These two plots are similar in that three pigs
each build a house of straw, twigs, or bricks. A wolf comes to theirdoors and there is an exchange between each pig and the wolf as
follows (Jacobs 1971: 40):
‘Little pig, little pig, let me come in.’
‘No, no, not by the hair of my chiny chin chin.’‘Then I’ll huff, and I’ll puff, and I’ll blow your housein.’
The wolf successfully blows down the first two houses, but isunable to blow down the house of bricks. At the end of the older
plot, the wolf eats the first two pigs and is eaten by the third pig,
whereas none of the characters is eaten in the newer plot.
In the older folk tales, such as the one collected by J. O. Halliwellin 1853 (Carpenter and Prichard 1984) and printed in Jacob’s English
Fairy Tales in 1890 (Jacobs 1971), the story begins with the motherpig sending her three children out into the world. Each pig asks thefirst person he meets for building material and builds his house. The

ῌ 10 ῌ

wolf eats the first and second pigs and then tries to lure the third pig
out of his house by first telling him about where he can get turnips,
then where apples are ripe, and finally about a local fair. In eachcase, the third pig outsmarts him and remains safe. In the end, thewolf tries to enter the house through the chimney, falls into acauldron of boiling water and is boiled up into a stew and eaten by
the pig.
This traditional plot can be found in currently available books.
For example, a Japanese translation (Seta 1960) includes all of thescenes from the early English tale with illustrations of happy pigs
[Figure 6] (Seta 1960). Jane Chapman also uses this plot, but she
includes female pigs instead of the more traditional three males(Chapman 2002). Barry Moser (2001) has recently retold and illustrated the tale so it will appeal to children and adults by having a
number of adult-level jokes in the illustrations such as the pig’s useof “Wolfe pruf cement” with a “NO WOLF BRICK” and a “Lupus”
ware cauldron.
Books with the newer plot are probably more prevalent andseem to be primarily based on the story used in the Disney “Silly
Symphony” cartoon The Three Little Pigs made in 1933 (The Walt
Disney Company 1933). Frank Churchill’s song, “Who’s Afraid of
the Big Bad Wolf?”, from the movie is still well-known today, andthe melody is recognized by most of the Japanese students I havetaught. The Disney cartoon, with its innovative use of sound, wasalso a big hit because of the way the writers wove in elements fromother children’s rhymes and talesῌ The wolf covers himself with asheepskin to try to deceive the pigs, reminiscent of Aesop’s fable A
Wolf in Sheep’s Clothing. The second pig sings “With a hey-diddlediddle I play on my fiddle”, like the cat in the famous nurseryῌ 11 ῌ

rhyme. The third pig, like the ants in Aesop’s fable The Grasshopper
and the Ants, warns his siblings of the need to work now to be safe
later. The moral of the story is that hard work pays off in the end as
the three pigs are safe in the brick house, and the wolf learns his
lesson by burning his bottom in the cauldron before safely escaping.
The cartoon combines these elements well, and carries on the tradition of storytelling just as Little Red Riding Hood and other tales
have elements drawn from other traditions.
This second plot, with its happy ending, is probably morefamiliar to most of my students because of the popularity of theDisney cartoon and easily available publications. Some Japanese
language picture books for young children (Hirata 1998; Imoto
2000), however, combine both old and new by including the older
scene with the mother sending off her children or adding “Disneyesque” birds and other animals to the illustrations. It is interesting to note that one storyteller reinterpreted the pigs so that they
are lazy, greedy and hardworking (Hirata 1998), thus their choice ofbuilding materials is based on their personalities rather than degrees of knowledge or their luck.
The reader may interpret the meaning of the tale in different
ways depending on the plot chosen and the illustrations used. In theinitial plot, the three pigs may be a metaphor for growth, on a
personal level or for civilization as a whole. It can also show how
one character can be smart enough to remain safe and conquer alarger and more powerful enemy. With the second plot, there arestill possible messages about working hard and choosing well. It canalso be seen as a story of cooperation and the importance of working together to be strong and to live safely. The illustrations alsopresent the animals as cute childlike characters (Hirata 1998) or asῌ 12 ῌ

rather realistic, friendly animal-like characters [Figure 6] (Seta
1960). It is interesting to note that the 2002 winner of the Caldecott
Medal was The Three Pigs by David Wiesner in which he used “arange of artistic styles and thrilling perspectives to play with thestructure and conventions of traditional storytelling, redefining thepicture book” (American Library Association 2002: top page).
Two fascinating spin-offs of this traditional tale are The True
Story of the 3 Little Pigs! (Scieszka 1991 and 1996) and The Three
Little Wolves and the Big Bad Pig (Trivizas 1994 and 1997). Scieszka’s story is told from the perspective of the wolf, who is in jailfor destroying property and eating pigs. He claims to have been
misunderstood and tells a wonderful tale of his own. Trivizas takes
the traditional tale in a new direction, doing more than having themain characters trade roles. Although he begins the story with thethree wolves with their mother and has the little wolves build
houses of different materials, the first house is built of bricks and isdestroyed by the big bad pig. The illustrations by Helen Oxenbury[Figure 7] (Trivizas 1997) are a major part of the appeal of this book.
In addition, this is a delightful book to read aloud because of therhythm of the story and its use of the repetitive phrases based on
the style of the original as the pig huffs and puffs with the additional warning “But the pig wasn’t called big and bad for nothing”(Trivizas 1997: unpaginated). In this way, newer books are maintaining the essential appeal of the original in a new form.

The Three Bears
The three bears and a female, usually a young girl called“Goldilocks” today, are the main and only characters that appear inῌ 13 ῌ

almost all of the versions of The Three Bears I have found, although
there may be earlier versions in which a fox appears instead of ahuman (Carpenter and Prichard 1984). One indication of the popularity of this story over the last two centuries is the fact that the
British Library’s Public Catalogue (2002) alone has 200 books listed,with new versions being published. (Although I had always considered this story to be as popular as Little Red Riding Hood and The
Three Pigs, many of the Japanese students I have taught do notknow the story. For those unfamiliar with the story, a relatively
standard version published in Young Folks Treasury in 1919 can befound online (Antelope-ebooks.com 2002)).
The earliest known manuscript of The Three Bears was written
and illustrated by Eleanor Mure in 1831 as a gift for her four-year
old nephew, Horace Broke (Mure 1967). She does not claim to be theoriginal author of this tale and assumes that “Horbook” (thenephew’s nickname) already knows “the celebrated nursery tale of
the THREE BEARS” (Mure 1967: dedication page). Mure uses metrical verse to tell the tale of an old woman who is angry because thebears have not invited her to their home after they had moved into
the neighborhood. She enters their home, snoops around, drinks
milk from three bowls, sits on three chairs (breaking one) and lies
down on three beds (also breaking one). When the bears return they
follow her trail of destruction and discover her hiding in a closet.
The story ends (Mure 1967: unpaginated, stanza 14):On the fire they throw her, but burn her they
couldn’t;
In the water they put her, but drown there shewouldn’t;
They seize her before all the wondering people,

ῌ 14 ῌ

And chuck her aloft on St Paul’s churchyard steeple;
And if she’s still there, when you earnestly look,
You will see her quite plainly...my dear little Horbook!
The accompanying illustration [Figure 8] (Mure 1967) shows thebears happily dancing in front of St. Paul’s Cathedral.
In 1837 the earliest known published versions appeared, thefirst by Robert Southey the English poet and the second, a metricalversion of Southey’s story, by George Nicol. In their stories the oldwoman jumps out of the window and is never seen again. In theillustrations of these two early printed versions and in Mure’s
manuscript, the bears are three different sizes, but they are notreferred to as a family consisting of the now familiar papa, mamaand baby bear (e.g. Ross 1967), but could be brothers or friends as inGeorge Nicol’s 1837 book (Carpenter and Prichard 1984). A 19th
century edition refers to Mr. and Mrs. Bruin and gives additional
information about them saying, “Goldilocks looked up at the doorplate, but as she could not read Latin she did not know that Ursa
Major meant Great Bear; Ursa Minor, Smaller Bear; and Ursa Minimus, Baby Bear” (Anonymous 1888: unpaginated). Lev Tolstoy(1995) is one of the few authors to give each of the bears in thefamily a name. There are numerous books with creative illustrations that portray various types of bears and their relationships.
One, with a modern interpretation of family duties, has Father Bearmaking porridge, Mother Bear mending Baby Bear’s chair and Baby
Bear making the beds (Langley 1997).
The old woman in Mure’s manuscript and Southey’s book has
no name, but storytellers begin calling her “Silver Hair” in the 19th

ῌ 15 ῌ

century. Storytellers gradually replaced the old woman with ayoung girl who is first called “Golden Hair” and then “Goldilocks”
about the beginning of the 20th century (Carpenter and Prichard1984). Today, the story is frequently entitled Goldilocks and theThree Bears, giving her top billing above the bears (Ross 1997). The
story often ends with Goldilocks running home, feeling happy to besafe again and sometimes having learned a lesson about not intruding.
The conversation among the three bears upon their returnhome is one of the exciting aspects of this tale for storytellers andtheir audience. It is fun for the storyteller to use three different
voices for the three bears, and the rhythm of the repetition of thelines is appealing. For example, an easy-to-read edition very explicitly describes how each bear talks (Chapman 2002: unpaginated):
Daddy Bear looked at his great big bowl. “Who’s
been eating my porridge?” he said in his great big
voice.
Mummy Bear looked at her middle-sized bowl.
“Who’s been eating my porridge?” she said in her
middle-sized voice.
Then Baby Bear looked at his tiny baby bowl.
“Who’s been eating my porridge?” he cried in his
tiny baby voice. “And has EATEN IT ALL UP!”
Writers and illustrators often use different printing techniques tomake this visually appealing by changing the size and style of print(Langley 1997), a device which may have originated in 1837 with
Southey, who is reported to have instructed the printers to have thewords of the three bears printed in different sized type (Carpenterand Prichard 1984).

ῌ 16 ῌ

It is beyond the scope of this article to cover the complete
history of this tale, but it is interesting to note that parts of the plot
and the use of the familiar phrases used by the bears are similar to
the Grimm brothers’ Snow-White in which Snow White drinks brothfrom seven cups and tries out seven beds before falling asleep in one
where she is discovered by the dwarfs on their return home (Grimm
and Grimm 1963). On their return, the dwarfs exclaim, “Who has
been sitting in my little chair?”, “Who has been tasting my porridge?”, and “Some one has been on our beds too!” (Grimm andGrimm 1963: 215).

CONCLUSION
Storytellers revise these three traditional tales in ways that areappropriate by considering the chronological age of the audience,the socio-cultural context, and the medium (including music, film
and other resources). Each of these stories includes lines that are
frequently parodied and adults who have grown up in cultures
where they hear these stories will soon identify the tale when they
hear “What big ears you have”, “I’ll huff, and I’ll puff and I’ll blow
your house down”, or “Somebody’s been sitting in my chair”. Storytellers expertly build upon these phrases and scenes that have madethe tales famous. They add their own interpretations of the characters and the tale to express their ideas and convey, at times, newunderlying morals. I have discovered deeper enjoyment of thesetales from my own childhood by looking at the different versions
created by writers and illustrators, and hope that others will investigate some of their own favorite tales to see how they havechanged over time through the art of storytellers.

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BIBLIOGRAPHY
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American Library Association. 2002. The Caldecott Medal Home
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caldecott.html. Accessed November
1, 2002.

Antelope-ebooks.com. 2002. The Three Bears from Young Folks
Treasury.
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goldilocks.html.

Accessed November 1, 2002.

Anonymous. 1888 The Three Bears. Illustrations by R. André. New
York: McLoughlin Bros.

Anonymous. No date. Red Riding Hood. (No. 429 in a series). Illustrated by Doraine? No publication information, probably the U.S.

Bettelheim, B. 1975. The Uses of Enchantment: The Meaning andImportance of Fairy Tales. New York: Vintage Books.

British Library Public Catalogue. 2002. http:// blpc.bl.uk.
blpc.bl.uk Accessed
November 1, 2002.

Broadley, M. 1973. Little Red Riding Hood. Illustrated by Mary
Smith. New York: Modern Promotions.

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Carpenter, H. and M. Prichard. 1984. The Oxford Companion toChildren’s Literature. Oxford: Oxford University Press.

Carter, A. 1982. Sleeping Beauty & Other Favourite Fairy Tales.
Illustrated by Michael Foreman. London: Victor Gollancz Ltd.

Chapman, J. 2002. The Three Little Pigs and Other Nursery Tales.
Illustrations by Jane Chapman. London: Walker Books.

Darton, F. J. 1982. Children’s Books in England: Five Centuries ofSocial Life (Third edition revised by Brian Alderson). Cambridge:
Cambridge University Press.

Dundes, A. 1991. Interpreting Little Red Riding Hood psychoanalytically. In The Brothers Grimm and Folktale, edited by J. M.
McGlathery with L.W. Danielson, R.E. Lorbe and S.K. Richardson.
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Dundes, A. 1989. Little Red Riding Hood: A Casebook. Madison:
University of Wisconsin Press.

Ernst. L.C. 1995. Little Red Riding Hood: A Newfangled Prairie Tale.
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Goldsborough, J. 1964. Little Red Riding Hood. Illustrated by June
Goldsborough. Racine: Western Publishing Company, Inc.

Grimm, J. and W. Grimm. 1963. Little red cap. In Household Stories

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from the Collection of the Bros. Grimm, by J. Grimm and W. Grimm.
(Unabridged republication of the work first published by Macmillan
and Company in 1886.) Translated by Lucy Crane. Illustrated byWalter Crane. New York: Dover Publications, Inc.

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(Unabridged republication of the work first published by Macmillan
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Crane. Illustrated by Walter Crane. New York: Dover Publications,Inc.

Grimm. J. and W. Grimm. 1983. Gurimu Akazukin [The Grimm’s
Little Red Riding Hood]. Translated from Rotkäppchen by Kayoko
Ikeda. Illustrated by Lisbeth Zwerger. Tokyo: Fuzanbou.

Grimm, J. and W. Grimm. 1986. Akazukin [Little Red Riding Hood].
Translated by Akiko Toyama. Illustrated by Eve Tharlet. Tokyo:
Kaiseisha.

Grimm, J. and W. Grimm. 1993. Little Red-Cap. Translated by
Anthea Bell. Illustrated by Monika Laimgruber. New York: NorthSouth Books.

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Hillert, M. 1982. Little Red Riding Hood. Illustrated by Gwen Connelly. Cleveland: Modern Curriculum Press.

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Company.

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by Yoko Imoto. Tokyo: Iwasaki Shoten.

Jacobs, J. 1971. English Fairy Tales. (Edited and annotated by Haruhiko Sakai). Tokyo: Kenkyusha.

Jones, E. O. 1948. Little Red Riding Hood. Illustrated by Elizabeth
Orton Jones. New York: Simon & Schuster.

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New York: Twayne Publishers.

Kress G. and T. van Leeuwen. 1996. Reading Images: The Grammar of
Visual Design. London: Routledge.

Langley, J. 1997. The Three Bears and Goldilocks. Illustrated by
Jonathan Langley. London: Diamond Books.

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Langley, J. 1998. Little Red Riding Hood. Illustrated by Jonathan
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Illustrated by Gustave Doré. New York: Dover Publications, Inc.

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Perrault, C. 1983. Little Red Riding Hood. Photographs by Sarah
Moon. Mankato: Creative Education Inc.

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Story of the 3 Little Pigs!]. Translated by Sachiko Ikushima. Illustrated by Lane Smith. Tokyo: Iwanami Shoten.

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Lane Smith. New York: Puffin Books.

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Styles, M. and E. Arizpe. 2001. A gorilla with ‘Grandpa’s eyes’: How
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unknown. Tokyo: Hisakata Chairudo.

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Wegman, W. 1993. Little Red Riding Hood. Photographed by William Wegman. New York: Hyperion.

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Figure 1: A young Red Riding Hood

Illustration by Monika Laimgruber (Grimm and Grimm 1993: unpaginated).

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Figure 2: An older Red Riding Hood

Illustrator unknown, possibly Doraine (Anonymous No date: detailfrom the cover).

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Figure 3: A scary wolf in Little Red Riding Hood

Illustration by Gustave Doré (Perrault 1969: 24).

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Figure 4: A wolf who is not scary in Little Red Riding Hood

Illustrator unknown (Warabe 2001: unpaginated).

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Figure 5: An example of a contradiction between the words andpictures in Little Red Riding Hood

The story ends,“And so without further delay or advice, [ the wolf]
Ate Little Red Riding-hood up in a trice.”
Text and illustration by Nonny Hogrogrian (Hogrogian 1967: 11).

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Figure 6: A friendly pig in The Three Little Pigs

Illustration by Saburo Yamada (Seta 1960: 10).

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Figure 7: The big bad pig in The Three Little Wolves and the Big
Bad Pig

Illustration by Helen Oxenbury (Trivizas 1997: unpaginated).

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Figure 8: The three bears and the old woman from The Story of theThree Bears

Illustration by Eleanor Mure (Mure 1967: unpaginated, final illustration).

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