Angela Sprigby
Introduction and Rationale
This unit focuses on how propaganda can play a part in what is considered monstrous, shaping and distorting perceived reality. The first question I asked myself was, on the topic of Monsters, what would my students be most interested in and be able to interact with independently for project-based learning? I wanted to be able to give direct instruction in literary elements as well as encourage fluency and a love for independent reading. While my students are all middle schoolers, academically, they are at an early elementary level. Finding content that is age appropriate in interest yet available on lower reading levels can be challenging. After talking with my students, I have realized that many of them lack exposure to the fairy tales that I grew up reading. They also tend to believe what they see, hear and read.
The unit will begin by looking at real life examples of propaganda and how propaganda is used to create feelings in the viewer. We will discuss how propaganda is used in writing through words and illustrations to create monsters and how it can be used to determine who the actual monster in a story is. We will then move into the monsters of Fairy Tales which will be familiar to the students and easy for them to relate to, while also connecting the idea of monsters being fictitious creations. Fairy tales are written on a variety of reading levels, so finding examples that are accessible for all my students will be an easy task. This unit will focus specifically on the well-loved story of Little Red Riding Hood. Students will read and analyze various versions of Little Red Riding Hood. They will explore point of view and determine who the monster in each version is. They will be able to verbalize the message of the story and what the monster represents.
The unit will end with students moving on to the stories of Goldilocks and the Three Bears. They will research different versions available in the library and online and create a presentation or retelling of the story which highlights who the monster in this classic tale is. They will present a visual depiction using propaganda techniques to persuade their audience that their point of view is correct, either villainizing the monster or painting it in a more sympathetic light.
By comparing these stories, students develop a deeper understanding of character development, point of view, and the ways in which stories can shape our perceptions of good and evil. They can also learn to think critically about the messages conveyed in different versions of the same story. They can analyze the stories from the perspective of the author and determine which propaganda techniques were used to help to push the author’s agenda and beliefs.
Demographics
I teach Special Education English Language Arts and Reading at Rogers College Middle School in Tulsa Public Schools. Rogers is considered a magnet school, and students must apply in order to be accepted. There are no criteria for attending other than applying. Students who attend the neighboring elementary schools of Sequoyah and Kendall Whittier are given first preference and the remaining spots are filled by lottery. Our student body is comprised of 69.7% Hispanic, 11.8% Caucasian, 8.3% African American, 6.3% Multi Race and 3.6% American Indian with 95.8% being economically disadvantaged. 68.3% of our students are English Language Learners. 14.5% of our student population have disabilities and are on an IEP. According to Reading testing data from 2024 0% scored advanced, 18% proficient, 23% basic and 59% scored below basic.
My students are all low performers, the majority scoring 1% on the District MAP reading test. They struggle with basic reading, which has caused them to enter middle school with a personal grudge against all things having to do with Reading and Language Arts. This year I am teaching English Language Arts to two 6th grade classes and one 7th grade class. Despite having test scores which indicate that they are non-readers, or reading below a 1st grade level, fluency levels range from Pre-K to an academic instructional level of 5th grade. None of them can produce written work above a 2nd grade level and none have mastered the 4th grade standards of writing mechanics. I also teach two sections of Reading Intervention where I work with the students who began the year on a Pre-K level in Phonic and Phonological skills. These students are also in my ELA class. This unit will be written for my ELA classes specifically.
Unit Content
The Oxford English Dictionary defines monster as a mythical creature which is part animal and part human, or combines elements of two or more animal forms, and is frequently of great size and ferocious appearance. Later, more generally: any imaginary creature that is large, ugly, and frightening.[1] When I ask my students, “What is a monster”? most of them would give me some version of the above statement. Monsters aren’t real. Monsters are dangerous. Monsters hide under the bed. But HOW are monsters created? Is it the wild imagination of a scared human or something different? Do monsters ever have their own side of the story? Can something that YOU consider to be a monster really just be… misunderstood? Directly teaching students about the types and techniques of propaganda will assist them in analyzing what they read enabling them to come to informed conclusions on the validity of the content.
I envision the following information to be a slide presentation with specific examples of each type or technique. Students will use a note catcher to summarize each type and technique and list or draw examples of each. A visual teacher-created summary will also need to be created for students to refer back to when they are reading and discussing the different versions of “Little Red Riding Hood” and when they create their own analysis of “Goldilocks and the Three Bears.”
Types of Propaganda and Persuasion
For students to analyze the use of propaganda in the monsters of fairy tales, they will need an understanding of what propaganda is and be able to spot it, analyze it, and functionally use it themselves to create a desired response. Through this understanding they will become more informed consumers of all media. Mind Over Media: Propaganda Education for A Digital Age, by Renee Hobbs, offers some excellent lesson plans for teaching propaganda types and techniques to students.
Have you ever had a dramatic change of heart or a strong emotional response after looking at something as simple as a billboard or a commercial? If so, you may have been looking at propaganda. It is everywhere you turn, from the newspaper to the Internet to your favorite sitcom. In fact, we are so inundated with propaganda that much of what we see and hear inevitably affects us, informing everything from the brand of shampoo we buy to our ideologies and world views.[2] Propaganda creates a strong emotional response to what you see. It is manipulative. It takes control of your thoughts and your actions. It is important for students to be able to see it for its persuasive function, its sizable target audience. They need to be able to understand it represents someone else’s agenda and uses faulty reasoning or emotional appeal. While there are varying names for the different types of propaganda, they can be broken down into 7 basic categories.
Assertion: Assertation consists of “simply stating a debatable idea as a fact, with no qualification or explanation. [3] It depends on the notion that people believe what they are told. This will be presented to students as: Just Saying it Loudly. Assertation means stating something as if it’s absolutely true, without any proof. It’s like saying, “Everyone knows this is true!” even if they don’t. Examples from fairy tales would be the witch in Hansel and Gretel saying, “I am the kindest old woman in the forest!” even though she is not.
Bandwagon: The bandwagon technique “exploits what is sometimes referred to as “the herding instinct.” [4] People like to belong to the majority group and dislike being left out. The bandwagon technique manipulates people by appealing to these instincts. This will be presented to students as Jumping on the Bandwagon. Bandwagon means making it seem like everyone is doing something, so you should too. It’s like saying, “All the cool kids are doing it.” An example from a fairytale would be the citizens of OZ all believing that the wicked witch is evil.
Card stacking: Card stacking is a technique where “the propagandist gives an unfair advantage to one point of view, while wakening another.”[5] The opposite side of the facts may be included but are perhaps small and unnoticeable in comparison. The arguments used may even be honest. This could be presented to students as Picking the Best Cards! Card stacking means only showing the positive side of something and hiding the negative. It’s like only showing the good parts of a story and leaving out the bad. The wolf in Little Red Riding Hood might only talk about how nice the grandmother is, how she would love it if Little Red picked some flowers for her but fails to mention his sharp teeth.
Plain Folk: This type uses “normal” people to promote the cause. People that are “just like you and me”. Again, appealing to the basic human need of belonging. This is “a trick in which the propagandist demonstrates they are like the rest of us or just plain folk.” [6] Plain folk means trying to look like an ordinary, relatable person. It is like a king pretending to be a farmer to gain trust. A perfect example of this is the story “The Wolf in Sheep’s Clothing.” This Aesop fable emphasizes that appearances can be deceiving, and that one should look beyond outward appearances to judge someone’s true nature.
Testimonial: Using someone respected or famous to promote an idea or object. If THEY like it, so should I. “This trick involves getting not only good, plain, solid citizens, but also social and business leaders to endorse the party or the candidate.”[7] This could be presented to students as; Trust me, I’m famous! Testimonial means having a famous or respected person say they like something; like a hero saying, “This magic sword is the best!” In a fairy tale, if the brave night says, “The witch is evil.” Everyone will believe it.
Glittering generalities: This type uses vague sweeping statements that sound good with no real merit as to their truthfulness. It is “an attempt to sway emotions through the use of shining ideals or virtues, such as freedom, justice, truth, education, democracy in a large, general way.” [8] This could be presented to students as Shiny, Happy Words! Glittering generalities means using words that sound good but don’t mean much. It’s like saying something is magical or wonderful without explaining why. In a fairy tale, a character might say, “This potion will bring you everlasting love.” Without telling the truth as to what it will actually do.
Name Calling: Name calling is a “trick to make us accept a conclusion without full consideration of essential facts in the case.”[9] Name calling is negative speech; bad names or terms used to create fear and dislike for a people, idea or institution. I will present this to students as Sticks and Stones…. And Names! Name calling means using bad names or saying bad things about a person to make them look bad. It is like calling someone a dangerous monster, or a wicked witch. I would have the students think about various Disney films, such as How to Train Your Dragon where the villagers fear dragons, without actually knowing why, and use this as a justifiable reason to attack them.
Flag Waving (transfer): Flag waving is “A trick in which the propagandist holds up a symbol, such a flag, that we recognized and respect.” [10] Flag waving uses symbols that are easily recognizable to promote strong emotional feelings. In relation to fairytales, I would present this as For the Kingdom. Flag waving means connecting an idea to patriotism or national pride. It’s like saying, “If you love our kingdom, you will agree with me!”. In a tale, a villain might say, “Only a traitor would disagree with the king!” to silence the opposition.
Recognizing the Techniques of Propaganda
Activating Strong Emotions: Propaganda has a goal. It plays on human emotions; fear, hope, anger, sympathy, frustration, to reach this goal. It exploits fears and prejudices. It is in essence, a mind game.
The audience of propaganda is often targeted. Propaganda will be created to appeal to a specific group, a family, your racial, ethnic or gender identity, your hobbies, beliefs, values, and your hopes and dreams. This is even easier now with social media and algorithms that know you on a personal digital level. Messages may be personally relevant to you to grab your attention and sway your ideas and beliefs.
Propaganda may use factual information. It may use half-truths, opinions or lies. It tells a simple story with repetition so that the story is trusted. The more someone hears it, the more they believe it. People are drawn to reduced simplicity.
Attacking opponents promotes an us vs. them mentality. This suppresses the need to investigate something deeper than a surface level. Propaganda can serve as a form of political and social warfare to vilify opponents. Since people are naturally attracted to conflict this is a great way to grab attention and create bias. [11]
Monster Theory
Jeffery Cohen’s Monster Theory proposes that we can learn and understand culture through the monsters that they create. He proposes that there are 7 monster theses. Through these theses you can come to understand how monsters are born and what they may reflect about history at the time of their creation. While I don’t feel it is essential for my 6th graders to be able to fully understand Cohen’s Theories, I do want them to understand where monsters come from and why they have been created. Following is a breakdown of Jeffery Cohen’s theories and how I feel these would be best presented to students so that they can understand the deeper messages in the fairy tales that they will be reading and analyzing. These will be compiled into a student friendly slide presentation. The students will take notes, as well as be provided with a teacher-created summary of the theories to use when analyzing books.
Thesis I: The Monster’s Body is a Cultural Body
The monster is an embodiment of our fears, desires, anxieties and fantasies. Cohen explains, “The monster’s body quite literally incorporates fear, desire, anxiety, and fantasy, giving them life and an uncanny independence. The monstrous body is pure culture.”[12] Monsters are a mirror of our culture at the time that they were created. To understand the monster, you must look beyond physical appearance to determine what is truly represented. Take for instance Mary Shelley’s Frankenstein. Frankenstein is created from various body parts and brought to life by science. This represents the fears of unchecked scientific progress, and of the rise of the industrial age. Frankenstein is the embodiment of fears regarding technology, machinery, and possible dehumanization. He reflects social anxieties centered around division, isolation, and the fear of not belonging. This will be presented to the students as: Monsters reflect our fears! Monsters show us what a society fears. What scares people in one story might be different in another. In fairy tales, monsters often represent things people worried about long ago, like the unknown forest, or being poor and hungry. The wolf in ‘Little Red Riding Hood’ might represent the fear of being lost or tricked in the forest.
Thesis II: The Monster Always Escapes
Think about the Vampire. We begin with Dracula, the trademarked evil blood sucker who carries disease and leaves devastation in his wake. Current Vampires, think Edward from Twilight, are sexy, mysterious, and possibly something that you might want to consider becoming. The old school vampire, as we know, didn’t die, but transformed with the times. He went from being a feared icon of disease and death to a romantic figure, a heartthrob even. The modern-day vampire represents fears about mortality, social inclusion, and sexuality. The monster adapts. The monster also tends to return, such as in sequels. “Regardless of how many times Sigourney Weaver’s beleaguered Ripley utterly destroys the ambiguous Alien that stalks her, its monstrous progeny return, ready to stalk again in another bigger-than-ever sequel.”[13] This will be presented to students as: Monsters Keep Coming Back! Even when a monster seems defeated, it often comes back in another form, or in another story. Fears don’t just disappear. In fairy tales, even when a witch is defeated, another evil character might appear in the next story. Even though the witch in ‘Hansel and Gretel’ is defeated, other witches and evil beings appear in other fairy tales.
Thesis III: The Monster is the Harbinger of Category Crisis
This monster represents a fear of things that cannot be classified. It combines things that should be two separate elements into one. It is the hybrid monsters of fantasy, like the griffin and the centaur. The Werewolf is a monstrous example of this thesis: a human with a dark side that is released with each full moon. The Werewolf represents the difference between civilized and savage. In a broader sense, these monsters can represent fears of sexuality, natural order, what is possible, gender roles, control over nature, and even control over our own dark urges. Cohen writes, “Because of its ontological liminality, the monster notoriously appears at times of crisis as a kind of third term that problematizes the clash of extremes.”[14] In other words, if given the choice between being human or being “other”, what would you choose? This will be presented to students as: Monsters Mix Things Up! Monsters often blur the lines between things, like animals and humans, or good and evil. In fairy tales, a werewolf is part human, part wolf. This confuses what we think is normal. A centaur, which is part human and part horse, mixes categories. In the Little Mermaid, Ariel is able to change between mermaid and human, human or … other.
Thesis IV: The Monster Dwells at the Gates of Difference
“The monster is difference made flesh, come to dwell among us.” [15] Difference is to be feared, like sexuality, race, religion, gender, physical difference, even just the way someone acts. These monsters are born out of fear of what is not inherently YOU. Think again of the Werewolf. Same (human) during the day, yet monstrous when the moon rises full. This is a way of encouraging societal sameness. If you are not “normal”, you are evil. Do not lose control, do not give into your dark impulses. The werewolf is typically portrayed as out of control, beyond control. Werewolves often have large fangs, matted fur and an insatiable need for killing. They emphasize the importance of maintaining control and not giving into dark impulses. The Werewolf encourages us to fear and avoid things that are perceived as deviant. For higher level students, you could facilitate a continued conversation about how humans make those we fear or hate into monsters which limits their own control and influence over society. This will be presented to students as: Monsters Show Us What Is ‘Different’. Monsters often live on the edges of our world, showing us what we think is ‘outside’ or ‘different’. In fairy tales, monsters often live in dark forests, faraway castles, or under bridges, places that are ‘different’ from our homes. In Hansel and Gretel, the witch lives in a secluded dark wood yet lives in a very tasty looking house. She shows herself to Hansel and Gretel as being a nice older woman. How would the story be different if this illusion hadn’t been there?
Thesis V: The Monster Polices the Borders of the Possible
The monster acts as a boundary. It is the warning to avoid the unknown, to stay within the bounds of what is acceptable to society. The monster highlights what is not acceptable by focusing on what happens when you cross that barrier. Frankenstein challenges the concept of life and death. The Werewolf the concept of human and animal urges. The monster represents a warning against exploration of things that might end poorly. Monsters are born to create fear and manipulate the actions of humans. Cohen created a hypothesis based on the research of Keeryung Hong of Harvard University and writes, “It is possible, for example, that medieval merchants intentionally disseminated maps depicting sea serpents like Leviathan at the edges of their trade routes in order to discourage further exploration and to establish monopolies.” [16] This will be presented to students as: Monsters Tell Us What’s Possible and Not Possible. Monsters help define what we think is impossible or forbidden. They remind us of the rules. In fairy tales, monsters might do magic or have powers that humans don’t, showing us what’s ‘not possible’ in our world. In Little Red Riding Hood, fear of the wolf keeps children out of the forest. In Sleeping Beauty, taking the apple is a great example of what happens when you take candy from strangers.
Thesis VI: Fear of the Monster is Really a Kind of Desire
Why do people find such immense enjoyment in the monsters of Horror? Cohen suggests that “The monster awakens one to the pleasures of the body, to the simple fleeting joys of being frightened or frightening, to the experience of mortality and corporality.”[17] Clasen goes on to say “that horror provides an imaginative context in which people can play with fear.” [18] Some humans are drawn to worst case scenarios. Through horror, they can play out and explore their fears and create plans on how to handle them should the worst ever actually happen. Monsters are brought to life by repressed negative emotions and are acted out through imagination. This will be presented to students as: Scary Things Can Be Interesting! Sometimes, we’re scared of monsters, but we’re also interested in them. We want to know more. In fairy tales, we might fear a monster, but we also want to know its secrets or see how it’s defeated. We might fear a dragon’s hoard, but we’re also curious about what treasures it holds. In Jack and the Beanstalk, Jack surely felt fear when climbing high up into the sky, yet his curiosity pushed him to keep climbing.
Thesis VII: The Monster Stands at the Threshold of Becoming
Cohen suggests that by examining what we fear and define as monstrous we can learn about our own values, anxieties and social structures. Monsters don’t simply exist; they are created by us. While many cultures have the same monsters, the monster may vary in appearance or threat. How each of us defines what a monster means to ourselves, gives insight into our own fears and sense of self. Monsters often force us to re-evaluate our understanding of ourselves and the world around us. “They ask us to reevaluate our cultural assumptions about race, gender, sexuality, our perception of difference, our tolerance toward its expression.” Many monsters teeter on the edge of potential. They have an inner struggle between good and evil. This will be presented to students as: Monsters Show Change! Monsters can show us big changes, like growing up or facing new challenges. In fairy tales, a monster might represent a challenge a character has to overcome to become stronger or wiser. The beast in ‘Beauty and the Beast’ changes from a monster into a prince. In ‘The Frog Prince’, the frog also becomes a prince.
Monsters and Propaganda
Having an understanding that Monsters are in fact created, and represent varying cultures, fears and anxieties provides us with a great opportunity to look at monsters through various lenses. Can the same monster, using propaganda, be painted in a sympathetic view as something to be understood, pitied, even loved? Cohen’s 7 theories, while not explicitly about propaganda, do lay a foundation of understanding how monsters are used to communicate and reinforce ideas, create norms and establish boundaries, which are closely related to propaganda’s function. Monsters are created through language and can be used to demonize groups or ideas, turning them into monsters. Fairy Tales, which often feature monsters, can be used to instill certain values and beliefs. These stories can reflect and reinforce the ideology of society, creating “monsters” that represent those that stray from the norm. Others. This can be seen as subtle propaganda.
The Monster in Little Red Riding Hood
Once students have a basic understanding of how monsters are made and that many times the purpose of the monster is to deliver a message, they will read and compare various versions of “Little Red Riding Hood.” I selected stories from a selection of books available in our school library or from the county library.
“Lies Knives and Girls in Red Dresses”, by Ron Koertge. Chapter entitled Red Riding Hood, Home at Last, Tells Her Mother What Happened, pages 73 – 75. There is one illustration, a silhouette. A man in the woods standing over a wolf. The man is holding scissors and both the scissors, and the wolf are dripping blood.[19] This short modern take on the theme is written from the first-person viewpoint of Little Red as she writes to her mother. In this narrative, Little Red shows no fear of the wolf. She retells her experience of ending up in the Wolf’s stomach with her grandmother where they talk until, they are cut out of him by the Woodsman. A notable example of the propaganda technique of bandwagon is when Little Red says, “what? No, as a matter of fact, if everybody at my school got swallowed whole, I wouldn’t want to. It’s lame if everybody does it.”[20] Assertation is also present, as little red says, “with the wolf and all, I’m into danger.”[21] The assumption being that the wolf, perhaps all wolves are inherently dangerous. Another story from this same book is Wolf. Page 87. This narrative is from the Wolf’s point of view and the Wolf explains that the woodsman himself is the real villain. “This is our forest. Perfect before you came. Perfect again when all your kind is dead.” [22] From the Wolf’s perspective, the woodsman, men in general, deserve the bad things that happen to them because “our enemy is man with his arrogance and greed. The woodsman in particular. Destroyer of trees. Clearer of land. Owner of fire.” [23] This chapter illustrates assertion, as he is stating a debatable idea as fact. It shows glittering generalities, as he implies that all woodsmen are so deviant that they should all deserve to die. Name calling by calling the woodsman a destroyer, clearer and owner. Both stories in the book are modified versions told from very specific points of view. While I feel that they are appropriate for my middle school students, I do not know that I would use these versions with a younger audience.
“Red Riding Hood”, retold and illustrated by James Marshall, is a classic retelling of Little Red Riding Hood. The illustrations are simple, the wolf is grey and presented as the larges character in the book. He has long sharp teeth. The woods have a black background to indicate danger. They are also described as “deep, dark woods”.[24] This version of the story emphasizes that children should not interact with strangers. Little Red is instructed by her mother to “go straight to Granny’s, do not tarry, do not speak to any strangers.” [25] When the wolf first approaches her, she says, “Mama said not to speak to any strangers.” [26] She does, of course, speak to him. He then proceeds to beat her to granny’s house, gobble up the grandmother and wait in bed pretending to be Granny until Little Red arrives and he is able to swallow her up as well. In the end, the Hunter comes and cuts them both out. The wolf is assumed to be dead. Students can search this story for examples of assertations, glittering generalities, name calling and plain folk, as Granny and Little Red are fairly normal and relatable.
“Little Red Riding Hood”, retold and illustrated by Trina Schart Hyman, is another traditional retelling. At first glance, this book has a more sinister appeal. The drawings are slightly more realistic, the Red on the cover looks scared and cautious, and the evil wolf can be seen staring at her from behind a tree. The front jacket cover is the first example of propaganda, “Everybody loves the little girl who wears a red-hooded cloak.” [27] This could be discussed as an example of card stacking. We enter into the story being told that the girl is good. The wolf must be “bad.” This story, unlike the last, does not focus on the element of not talking to strangers. In this story, Red is instructed “Promise me that you won’t daydream and stray off the path.”[28] Little Red is instructed on using good manners and coming straight home after she delivers bread, butter and a bottle of wine to her grandmother. In the illustrations, the wolf is larger than red but on first meeting, he looks innocent and Little Red is not at all frightened of him. She uses her best manners. The narrations though, “sly and hungry old wolf. She had no idea what a wicked animal he was,”[29] let the reader know that the wolf is not as friendly as he may appear. The wolf distracts Red by having her pick flowers while he races ahead, eats up Grandmother and takes her place in bed. When Red gets there, she feels frightened, but does not know why. She is, of course, swallowed up by the wolf and the wolf is later discovered by a hunter. He is cut open and Grandmother and Red are rescued. The story ends with Red having the realization of, “I will never wander off the forest path again, as long as I live.”[30] Students can annotate this text for the propaganda techniques of assertation, bandwagon messages within the morals of the story, plain folk, glittering generalities, and name calling.
“Little Red Riding Hood a Newfangled Prairie Tale” by Lisa Campbell Ernst changes up the setting of the story. Instead of Red walking through dark woods, she is on her bicycle traveling through fields to get to her grandmother’s house. The illustrations are simple and bright, and the wolf, while presented as a sly trickster, lacks the typical wolf characteristics from the other stories which indicate that he wants to eat them both up. Instead, he seems to be after the secret recipe to the muffins that Red has in her basket. When the Wolf finally encounters the grandmother, she is in the field on a tractor. She quickly turns things to her own advantage and “grabbed him by his fancy suspenders.” [31] In this version, the Wolf is the one that remarks on what big hands Grandma has, to which he replies, “All the better to crush you like a bug.” [32] This is a fun version to have the students interact with. It is not a version that I had encountered yet and opens up the possibility of the grandmother being a villain. By changing the Wolf’s motive from the beginning, it draws into question his own evil nature. This version of the story could spark some interesting conversations on other possible rewrites that could highlight other characters or introduce different monsters into the story. This version does not end in anything but muffins getting eaten. At the end, the wolf is the one to send Red off on an errand with the instructions of “Don’t talk to strangers!” [33]
“Little Red “by Behan Woollvin. This is a shorter version of the story and would be a good choice for students that are reading on a primary level. The illustrations are simple silhouettes and everything is black, white and red. In this version, Little Red is a sassy little girl with no fear. The words “Which might have scared some little girls. But not this little girl.”[34] are repeated often. Illustrations are often used instead of text. The Wolf finds grandmother’s house and lets himself in, “which was unlucky for Grandma.”[35] The illustration on this page is of a reptilian-looking wolf with a grandmother hanging from his teeth. Little Red knows right away that the wolf has replaced her grandmother “which might have scared some little girls… but not this little girl.” [36] The last illustration is of Little Red Riding Hood wearing a black Wolf suit instead of her red coat. Grandmother is seen in the door of her house waving goodbye. Students can annotate this story for propaganda techniques and debate whether Red herself is perhaps the monster in this story, having killed and skinned the wolf.
“Honestly, Red Riding Hood was Rotten!” by Trisha Speed Shaskan tells the story from the Wolf’s perspective. This is a short picture book with bright illustrations. Told from the Wolf’s point of view he tries to paint himself in a sympathetic light. He was starving. He hadn’t eaten in weeks. He WAS in fact, a vegetarian, “That’s right; I don’t eat meat. Well, I try not to. I LOVE apples.”[37] Little red, in her red cape, looked like a tasty red… Apple. When the Wolf arrives at Granny’s house, Granny wears a green nightcap on her head. and since he was starving, and she reminded him of a Granny Delicious, he couldn’t help himself and ate her up. In this story, both Red and Granny are presented as vain and distracted by their own beauty to the point that they have no concept of the danger that they might be in. There is implied assertation as to the personalities of Red and Granny. The cards are stacked against them.
In all the versions of “Little Red Riding Hood” that I have read, I think that students could discuss that they all use the technique of Plain Folk. The characters are relatable to children, and the main character is a young child. All the books present the opportunity to discuss the propaganda type of testimonial. Most of the stories have a moral message, listen to your parents. Don’t talk to strangers and don’t stray off the path. While it is not a famous movie star that is delivering this message, Little Red Riding Hood is famous herself. Most people are aware of who she is and the moral message that she teaches.
Teaching Strategies
My classroom is made up of a diverse group of learners. In my English Language Arts classes, which is where I will be teaching my unit, all my students are participating in Special Education. Most of these students have either a reading disability, ADHD or both. I also have many ELL students. Differentiation during my instruction is essential. The overarching strategies I will be using during this unit are:
Activating Prior Knowledge: Determining what students already know about a subject. Reviewing basic concepts and vocabulary to form a base on which to start instruction.
Collaborative Learning: Have students work together in pairs or small groups to complete tasks, share ideas, and learn from each other. This can be done through activities like peer editing, group projects, or even just by having students discuss concepts in small groups before sharing with the whole class.
Jigsaw: This technique takes a task and breaks it down into smaller chunks. Individual students or small groups can be assigned a piece to do the work and present their findings to the class. This is a way to actively engage students in their learning and then enable them to share with the class. Students learn from their peers rather than doing the entire assignment themselves.
Technology Integration: Use technology to enhance learning and make it more engaging for students. This can include things like using online resources, creating digital presentations, or even just using technology to facilitate class discussions.
Scaffolding: Break down complex tasks into smaller, manageable parts. Provide clear instructions, model expected outcomes, and offer support through visuals, graphic organizers, and realia. Gradually release responsibility as students gain confidence.
Classroom Activities
Fairy Tale Jigsaw and Presentations
As I stated before, many of my students are unfamiliar with the fairy tales that I grew up with and assume that everyone knows. The introduction to this unit should begin with assessing which stories the students are familiar with and which stories they have not encountered yet. Students will work in small groups to list as many fairy tales as they can. Student groups will then be assigned one fairy tale to research and create a short poster presentation on. They will use their Chromebooks to find videos or e-books, and then summarize the fairy tale, making sure to cover characters, setting, and plot. I will also have a classroom library set up containing books on each tale that they might be researching. Students will then present their tale to the class and their posters will be displayed for the duration of the lesson.
Slide Presentation Over Propaganda and Cohen’s Monster Theories
I will present information on propaganda and Cohen’s Monster Theories through slide presentations. Students will have access to these presentations to refer back to. As we cover the information students will use a note-catcher to capture the important concepts, using print or by drawing pictures to spark their memory. I will create slide shows using the student friendly wording located in the content section. I will also include visuals to support propaganda techniques and the monster theories as they relate to the fairy tales discussed.
“My Monster is the Best Monster”
After teaching monster theory and propaganda techniques I will have students apply these concepts to a monster of their choice and create propaganda posters either for or against their monster. This could be in the form of a “wanted poster” or presented as a trading card or gaming card. Students will select their favorite monster or a monster that they are interested in. They will be given one class period to research their monster online. They will decide if they want to present their monster as being evil, or as being misunderstood. Students will determine what kind of poster they want to create and will spend a class period designing and creating their poster. They will use visual elements of propaganda, and their poster will need to define the character traits of their chosen monster which help persuade the viewers opinion. Students will present these posters to the class in a three minute or less presentation. As students listen to their classmates’ presentations they will take notes on a note catcher. In the end, students will rank the monsters in terms of monstrosity based on what their classmates presented.
Little Red Riding Hood: Textual Analysis
Once the Monster poster presentations are finished, we will read and analyze several versions of the fairy tale Little Red Riding Hood. We will use a graphic organizer to take notes on propaganda techniques as well as what monster theory is represented in each telling. Students will compare the different versions. These will be read as a whole group, and the analyzing will be structured and modeled for students. As we progress through the different versions students will gradually be given more responsibility as support is phased out. The first book presentation would include a lot of modeling of thought process as I think out loud about what we are reading. The questions I ask would be structured and guided in a way to encourage the students to expand their thinking and understanding. By the last book, my hope is that they would be able to work in small groups to independently analyze the story and complete the graphic organizer then return as a class to discuss their observations.
Focus on character motivation: Why do the characters act the way they do?
Examine the use of language: How does the author describe the “monster”? Are the words loaded with negative connotations?
Consider the point of view: Whose story is being told? How does the perspective influence the portrayal of the “monster”?
Discuss themes: What messages are the stories trying to convey about good and evil, appearance, and judging others?
Optional Final Project Extension
Observations on student success will determine the continuation into an optional extension project. My hope is that students can interact independently, either individually or in small groups with the last book of “Little Red Riding Hood.” This would give us a solid base on which to start some independent research and practice. Students will independently read and research Goldilocks and the Three Bears. They will identify the characters in the story and explain the traits that they possess that make them present as good or as evil. They will identify text or illustrations that support these claims. They will use the same graphic organizers that we used for “Little Red Riding Hood.” They will then create a “wanted” poster, highlighting who their version of the monster is and why. They will use propaganda to create their posters and also give a short oral presentation over why it is important that their wanted character be found and brought to justice.
I have chosen “Goldilocks and the Three Bears” because it is a fun fairy tale to see through the perspective of Goldilocks, but also from the bears point of view. I think this would create an opportunity for students to independently come up with the idea of changing the perspective from Goldilocks, which is the traditional telling, to the bears point of view.
Not knowing for sure the levels and abilities of the students I will have next school year; this activity will need to remain flexible. It can easily be modified so that students who are ready for independent work can move forward, and I could guide the remaining students through the assignment in a small group setting. This would still give them extended practice while structuring it in a way that they will be successful.
There is also the possibility that I will have students in my class that excel and need even more of a challenge. I would love to encourage those students to select a fairytale other than Goldilocks, or even to rewrite a story from a different perspective. This would also be a good adaptation if you are working with higher level students than what my class consists of.
Resources
Bibliography
Cohen, Jeffrey Jerome. “Monster Culture (Seven Theses).” In Monster Theory: Reading Culture, edited by Jeffrey Jerome Cohen, 3-25. Minneapolis: University of Minnesota Press, 1996
Daisie Blog. “Understanding Propaganda: Definition, Types, and Techniques,” August 21, 2023. https://blog.daisie.com/understanding-propaganda-definition-types-and-techniques/.
Ernst, Lisa Cambell. Little Red Riding Hood: A NewFangled Prairie Tale. Aladdin Paperbacks, 1998.
“For Teachers | Mind Over Media.” Accessed April 8, 2025. https://propaganda.mediaeducationlab.com/teachers/.
Hobbs, Renee, and Sandra McGee. “Teaching about Propaganda: An Examination of the Historical Roots of Media Literacy.” Journal of Media Literacy Education, April 1, 2025.
Hyman, Trina Schart. Little Red Riding Hood. Holiday House, 1983.
Koertge, Ron. Lies, Knives and Girls in Red Dresses. Candlewick Press, n.d.
Marshall, James. Red Riding Hood. Puffin Books, 1991.
“Monster Culture.” Accessed April 8, 2025. https://www.buffalo.edu/home/feature_story/monster-culture.html.
“Monster, n., Adv., & Adj. Meanings, Etymology and More | Oxford English Dictionary.” Accessed April 8, 2025. https://www.oed.com/dictionary/monster_n?tl=true.
“On the Psychology of Horror Movies | Psychology Today.” Accessed April 8, 2025. https://www.psychologytoday.com/us/blog/why-we-love-horror/202110/the-psychology-horror-movies.
Raphael. “Fairy Tale Fanboy: Fairy Tales and Social/Political Issues.” Fairy Tale Fanboy (blog), November 8, 2016. https://fairytalefanboy.blogspot.com/2016/11/fairy-tales-and-socialpolitical-issues.html.
Shabo, Magedah. Techniques of Propaganda and Persuasion. Prestwick House Inc, 2008.
Shaskan, Trisha Speed. Honestly, Red Riding Hood Was Rotten! The Story of Little Red Riding Hood. Picture Window Books, 1973.
What Is Propaganda and How Can You Spot It? | CBC Kids News, 2024. https://www.youtube.com/watch?v=GtpHX3nr7uE.
Woollvin, Bethan. Little Red. Peachtree, 2016.
Student Reading List
Ernst, Lisa Campbell. Little Red Riding Hood: A Newfangled Prairie Tale, Simon and Schuster, 1998.
Koertge, Ronald. Lies, Knives and Girls in Red Dresses, Candlewick, 2012.
Higgins, Nadia. Little Red Riding Hood, Child’s World Storytime Tales, 2025.
Hyman, Trina Schart. Little Red Riding Hood, Holiday House, 1983.
Marshall, James. Red Riding Hood, Picture Puffins Books, 1991.
Meyer, Marissa. Scarlet, Square Fish, 2014.
Shaskan, Trisha Speed. Honestly, Red Riding Hood was Rotten, Picture Window Books, 2011.
Woollvin, Bethan. Little Red, Peachtree, 2016.
Appendix on Implementing District Standards
Oklahoma Academic Standards for English Language Arts Grade 6
6.1.S.2 Students will engage in collaborative discussions about what they are reading and writing, expressing their own ideas clearly while building on the ideas of others in pairs, diverse groups, and whole-class settings.
6.1.S.3 Students will give formal and informal presentations in a group or individually, organizing information and determining the purpose, content, and form to suit the audience.
6.3.R.1 Students will compare, and contrast stated or implied purposes of authors writing on the same topic from a variety of historical, cultural, ethnic, and global perspectives. 6.3.R.2 Students will evaluate how perspective (e.g., historical, cultural, ethnic, and global) affects a variety of literary and informational texts.
6.3.R.3 Students will analyze how literary elements contribute to the meaning of a literary text: ● setting ● plot ● characters (i.e., protagonist, antagonist) ● characterization ● conflict (i.e., internal, external) ● point of view (i.e., third person limited and omniscient)
6.3.R.6 Students will categorize facts included in an argument as for or against an issue.
6.4.W.2 Students will select language in writing to create a specific effect according to purpose
6.6.R.1 Students will use their own viable research questions to gather information about a topic.
6.6.R.2 Students will record and organize information from various primary and secondary sources. 6.6.R.3 Students will determine the relevance and reliability of the information gathered.
6.6.W.2 Students will develop a clear, concise thesis statement.
6.7.W Students will create multimodal content (i.e., alphabetic, aural, visual, gestural and/or spatial) that effectively communicates ideas for an intended audience.
6.8.W Students will write independently using print, cursive, and/or typing for various lengths of time, choosing modes and genres to suit their audience and purpose
Notes
[1] “Monster, n., Adv., & Adj. Meanings, Etymology and More | Oxford English Dictionary.”
[2] Shabo, Techniques of Propaganda and Persuasion.
[3] Shabo.
[4] Shabo.
[5] Shabo.
[6] Shabo.
[7] Hobbs, Renee, and Sandra McGee, “Teaching about Propaganda: An Examination of the Historical Roots of Media Literacy.”
[8] Hobbs, Renee, and Sandra McGee.
[9] Hobbs, Renee, and Sandra McGee.
[10] Hobbs, Renee, and Sandra McGee.
[11] “For Teachers | Mind Over Media.”
[12] Cohen, Jeffrey Jerome, “Monster Culture (Seven Theses) In Monnster Theory: Reading Culture,” 4.
[13] Cohen, Jeffrey Jerome, 4.
[14] Cohen, Jeffrey Jerome, 5.
[15] Cohen, Jeffrey Jerome, 6.
[16] Cohen, Jeffrey Jerome, 12.
[17] Cohen, Jeffrey Jerome, 16.
[18] “On the Psychology of Horror Movies | Psychology Today.”
[19] Koertge, Lies, Knives and Girls in Red Dresses, 74.
[20] Koertge, 73.
[21] Koertge, 73.
[22] Koertge, 87.
[23] Koertge, 87.
[24] Marshall, Red Riding Hood.
[25] Marshall.
[26] Marshall.
[27] Hyman, Little Red Riding Hood.
[28] Hyman.
[29] Hyman.
[30] Hyman.
[31] Ernst, Little Red Riding Hood: A NewFangled Prairie Tale.
[32] Ernst.
[33] Ernst.
[34] Woollvin, Little Red.
[35] Woollvin.
[36] Woollvin.
[37] Shaskan, Honestly, Red Riding Hood Was Rotten! The Story of Little Red Riding Hood.