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However, her own review of various studies on boys and superhero play suggests that teachers may be over-reporting the occurrences and nature of super-hero play, leading to an inflated estimate of this behavior among boys. For example, children and teachers may have different views on what is play-fighting or aggression vs. Parsons and Howe research the play dyads of preschool boys in various play sessions and compared superhero play and non-superhero play and found that boys were more not less aggressive and physically active in non-superhero play.

In fact, Parsons and Howe suggest that superhero play is highly imaginative and that boys displayed more collaborative activity and language use than boys not using superhero play. A total immersion into the princess or superhero world limits meaningful connections with a larger, more gender-ambiguous world. Classroom books and displays need to be sensitive to gender exclusivity and focus on the shared intellectual world of knowledge where a fuller exploration of learning and development can flourish.

The female characters are in relation to a male figure who has the power to save them in some critical way. Her beauty is his reward for his courage and strength. The See Jane organization, a media watch program, was founded in Stacy Smith has explored G-rated G for General — family viewing movies and the portrayal of female and male characters in films that are marketed specifically to children. Smith and her team explored top-grossing family-rated films released from through to , analyzing a total of speaking characters in the movies, including both animated and live action films.

For all of us, but especially for young children, images and stories help influence the important developmental task of understanding what is means to be human, whether we are male or female. According to Smith, in the Kaiser Family Foundation found that half of all American children from birth to age 6 watch at least one DVD movie per day. That children also tend to watch the same movie over and over only amplifies the effect of the highly gendered images. If both boys and girls see more female characters of all types of roles, we may experience a fuller awareness of the possible ways to be human.

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Many stories and movies for children have nothing to do with charming a prince or wearing expensive, fancy clothes, such as: Chicken Run, Castle in the Sky, Lilo and Stitch, Alice in Wonderland and Monsters, Inc. It has since sold over three million copies worldwide. The story begins in a traditional enough way: Prince Ronald plans to marry the lovely Elizabeth. It falls to the plucky Elizabeth to rescue her prince.

She does this by tricking the dragon to fly around the world two times. This challenge exhausts him and he falls asleep. Elizabeth calls off the wedding. The story reverses the expected princess and dragon stereotypes.

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Using such stories in the primary classroom presents both girls and boys a more human, less simplified stereotypic view of being a person. Using such stories, teachers can invite discussion with children and explore their perceptions and expectations of others. How teachers interact with such stories can be key interruptions in the highly-gendered world of young children. The story stars a princess who is confused by the fairy tale messages that say she must marry a prince before she can live happily ever after.

With help from her fairy godmother, Ms. Bubble discovers that living happily ever after is not about finding a prince. Both boys and girls need interaction with a variety of stories and there are a variety of characters on which to build their own sense of self. The chief problem with such metaphors is that they often rehearse children into a narrowing set of gender values, like femininity aligning with looks rather than with who they are or what choices they make.

The princess metaphor is all about being special, about being the one who gets all the attention, and about getting the prince. When children focus on such narrow and superficial storylines regarding themselves and others, they are prevented from considering the many other ways to play and other ways to be more authentic. The multi-million dollar princess industry may be convincing girls and their parents and teachers that they must be pretty, special and magical to be worthwhile or valuable as female characters in their own lives.

My life changed so completely by just putting on a shoe. Teacher response to superhero play: To ban or not to ban? Childhood Education, Davies, B. Frogs and snails and feminist tales: Preschool children and gender. Creskill, NJ: Hampton Press.

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Disney Corporation. Every girl can be a princess. Disney Princesses. Dyson, A. Writing superheroes: Contemporary childhood, popular culture and classroom literacy. New York: Teachers College Press. Hayes, S. Am I too fat to be a princess? British Journal of Developmental Psychology. Johnson, S. Munsch, R.

The paper bag princess. Toronto: Annick Press. Orr, L. Difference that is actually sameness mass-reproduced: Barbie joins the princess convergence. Jeunesse: Young People, Texts and Cultures. Orenstein, P. New York Times. Paley, V. Boys and girls: Superheroes in the doll corner. Chicago: University of Chicago Press. Parsons, A. Smith, S. Program Brief, See Jane. Retrieved October 10, from www. The narcissism epidemic: Living in the age of entitlement.

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