Transcript Why did the Problem Novel Become Popular in the 1960s?

Lecture Four: Coraline and
Models of Childhood
9/16/13
Fantasy Definitions
 A work of fantasy is one in which at least one
element of the story does not conform to natural
laws.
 When discussing fantasy, we distinguish between the
primary world and the secondary world. The
primary world refers to the world we live in, where
natural laws are observed. The secondary world
refers to another place, where one or more of the
natural laws have been suspended.
 A portal is the physical link between the primary
and secondary worlds.
Primary v. Secondary World
 In some works of fantasy, characters only know a
primary world, but it is a world in which something
happens that does not conform to natural laws. For
instance, most of the Harry Potter series takes place
in the primary world, as witches and wizards live
alongside Muggles in modern day Britain.
Sometimes they are able to shroud their actions from
Muggles by hiding Hogwarts in a mist or placing the
Ministry of Magic underground in London or having
a separate train platform – however, there is not a
separate magic world.
Muggles and Wizards Live in the Same World
Primary v. Secondary World
 In other works of fantasy,
characters begin in the
primary world, but find
some way to enter the
secondary world. In the
C.S. Lewis Narnia series,
for instance, the
characters find a portal
to a secondary world
through a disused
wardrobe.
Primary v. Secondary World
 Finally, there are fantasy
texts in which the
characters live in a
secondary world
throughout the novel. A
good example of this sort
of text would be Lois
Lowry’s The Giver,
which takes place in an
entirely fictional society.
Coraline and Models of Childhood
Model
Summary
The Romantic Child
The child “as superior to adults in some ways
and as aligned with nature, beauty or
spirituality.”
The Sinful Child
The child as inherently evil and in need of
control and/or correction.
The Working Child
The child as competent and resilient.
The Sacred Child
The child as “precious and fragile” and in need
of protection
The Child as Radically Other
The idea that childhood is a distinctive and
separate time from childhood.
The Developing Child
The idea that childhood is on a continuum with
adulthood.
The Child as Miniature Adult
The child is just an adult in miniature, capable
of possessing an adult view of the world.
Coraline as the Developing Child?
 How would you describe Coraline BEFORE she
enters the portal?
From the graphic novel…
Coraline Before Entering the Portal
 BORED!
 “What should I do?” asked Coraline (6).
 Coraline had watched all the videos. She was bored with her
toys, and she’d read all her books (6).
 “What shall I do?” asked Coraline (17).
 “I’m bored,” she said… “Why don’t you play me?” she asked
(19).
 Unwilling to try complicated “adult” foods
 Coraline was disgusted. “Daddy,” she said, “you’ve made a
recipe again” (9).
 “If you tried it, maybe you’d like it,” said Coraline’s father, but
she shook her head (10).
Growing Up Means…
 Growing up involves the child distinguishing herself
from her parents; a child goes from being an
extension of her parents to becoming her own
person.
 The development of subjectivity – of becoming an
independent being with its own thoughts and ideas –
is not an easy one, and it can be complicated for both
the child and for the parents.
 Coraline’s boredom signals that she is still looking to
her parents to set her desires, but there are also hints
that Coraline is using her boredom to develop her
own desires.
Coraline’s Desires Slowly Emerge
 Coraline saw some Day-Glo green gloves she liked a
lot. Her mother refused to buy them for her,
preferring instead to buy white socks, navy blue
school underpants, four gray blouses, and a dark
gray skirt.
“But Mum, everybody at school’s got gray blouses
and everything. Nobody’s got green gloves. I could be
the only one” (23).
Coraline Demonstrates That She is on the Verge…
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…Miss Spink and Miss Forcible made a point of telling
Coraline how dangerous the well was, and they warned her to
be sure she kept away from it. So Coraline set off to explore for
it, so that she knew where it was, to keep away from it properly
(5)
In danger? thought Coraline to herself. It sounded exciting. It
didn’t sound like a bad thing. Not really (21).
She knew she was doing something wrong, and she was trying
to listen for her mother coming back, but she heard nothing.
Then Coraline put her hand on the doorknob and turned it;
and, finally, she opened the door (26).
Why Does Coraline See the Portal?
 Coraline’s mother is the
one to show her the door
and to show her the key,
but Coraline only sees
the portal when she is
alone. It’s as if her
mother has given her the
opportunity to grow, but
it is up to Coraline to
explore her desires and,
ultimately, to stand up
for what she really wants.
Why Does Coraline See the Portal?
 “One of the most important things parents [can] do
for children is to educate them in the way of desire,
not by fulfilling their desires but by showing how
desire may be pursued as a project, not by distracting
them out of their boredom by by allowing boredom
as an opportunity to explore their own possible
desires. When Coraline and her mother view the
opened door together, it is blocked by a brick wall;
this is not the space of shared desire, but one that
Coraline must pursue on her own” (Coats, “Between
Horror, Humor and Hope” 79).
Wish Fulfillment?
 “We’re here,” said her
other mother, in a voice
so close to her real
mother’s that Coraline
could scarcely tell them
apart. “We’re here. We’re
ready to love you and
play with you and feed
you and make your life
interesting.”
Coraline pulled back, and
the other mother let her
go with reluctance (60).
Coraline’s “Progress”
Looking to her
Parents to Define
Her Desires
Seemingly
Fulfilled because
the OM Directs
Her Desires
Recognizes the
Need to Define
Her Own Desires
Apart from Her
Parents
Coraline’s Epiphany
 “You really don’t understand, do you?” she said. “I
don’t want whatever I want. Nobody does. Not
really. What kind of fun would it be if I just got
everything I ever wanted? Just like that, and it didn’t
mean anything. What then?”
Comparing the Film to the Novel
 Obviously, film adaptations must differ from the
texts upon which they are based because of time and
point-of-view constraints.
 However, authors of children’s literature often
assume one sort of audience, whereas directors of
major film productions that need to justify their huge
budgets may assume a broader audience.
 The reason I would like you to compare these two
versions of Gaiman’s novel is that the film departs
significantly in a way that enables us to understand
how girls and women are portrayed in mass media.
Homework
 Although we are spending the next class period
ONLY watching Coraline, you will have homework
due on September 25th. I will place the homework
assignment on the blog tonight. It is based upon
Chapter 2 of Hintz and Tribunella’s Reading
Children’s Literature.