Ted's job has become somewhat of an enigma. In the Curious George movies and the PBS animated series , he is shown to work at Bloomsbury Museum first as a worker and then as a director. In the episodes, he helps Professor Wiseman, but we never see him earning money from it. Ted is also seen riding the subway to work.
Scrutiny about what Ted actually does for a living is as varied as the versions of the story. One Reddit user claims that Ted's museum work is a side job, since he completes random tasks, has an odd schedule, and unusual behavior —the use seems to be insinuating that The Man With The Yellow Hat is some type of clandestine government official, especially since George goes to space and rides rockets!
The story of how Ted ended up with this signature wide-brimmed yellow hat has different versions. Based on the movie, he got it from an explorer's shop. But in the television series, he makes references to the fact that he's had the hat since childhood, and that it is extremely valuable to him. George is warned not to touch it we all know what that means , and Ted's yellow hat suffers some misfortunes that cause him to pace back and forth anxiously while he waits for his hat to be mended or laundered in several episodes.
Ted cannot be without his yellow hat. He only takes it off to sleep. The Man With The Yellow Hat seems to have a fondness for the color yellow: his necktie, long-sleeved shirt, pants, and pajamas are yellow. The convertible Volkswagen car he drives around 'the city' is also yellow. Easel Activities. Pre-made digital activities. Add highlights, virtual manipulatives, and more.
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Products For TpT Sellers. School Counseling. School Psychology. Special Education. Speech Therapy. In not only using an image that characterizes George through his breaking of societal constructions and punishment, but altering his facial expression as well, the Reys introduce a very specific and targeted conception of George, one that is not so dissimilar from common depiction of black individuals, particularly black youth, in America. Throughout the s and early s, the urban youth, especially that of the predominately black community in Harlem, was commonly portrayed as dangerous and delinquent-ridden Finley George, like the black youth of the s and 40s, is similarly framed through his disobedience and accidental criminal behavior.
Additionally, in literature and entertainment during this time period, black people were often depicted as monkeys and ape-like characters, harkening back to social Darwinism and the perception of blacks as inferior, animalistic, and in need of control.
Without even beginning the story, a very definitive and direct implication about the nature and treatment of George and the types of individuals he represents forms. The Man proceeds to place the hat on the ground and lure George towards it. Already stripped of the choice to not like the zoo, George accepts this as true, never questioning the Man or the situation. In constructing the interaction between the two in such a way, the beholder immediately associates their relationship with that of a son and father.
The book continues to glorify the slave trade as George accidentally falls off the boat and into the ocean, as if mocking the suicides of slaves who threw themselves off the ships on their journey to be sold into slavery.
George adopts all of these characteristics, requiring the Man as a leading force in dealing with his inability to comprehend the societal constructs of the human world. In ignoring the dehumanizing nature of the slave trade and slavery itself and instead celebrating their prevalent existence in American history by employing stereotypes and negative racial depictions, the book proves disturbingly problematic, especially given its wide-reception and popularity nearly seventy-five years later.
In fact, the film he produces begins with the capture of a smiling George, whose abduction is a form of amusement and pleasure for the audience. In not only employing these tactics, but promoting them as normal, the books reinforce the ideals of inferiority that accompany racism and white supremacy and standardize them as acceptable parts of society.
The parent-child relationship between Curious George and The Man with the Yellow Hat additionally homogenizes homogenizing these ideals of racial superiority, embodying the paternalistic aspects of white supremacy and racism and the way in which childhood innocence is racialized.
In this conception of the innocent child, the role of the parental figure involves protecting the ideological pure child from contamination by their surrounding environment. He is sheltered to the point that his innocence finds further expression in his inability to communicate through speech—he is not even permitted to voice his opinions.
The relationship presented in Curious George is inherently harmful because it relies on a racialized history of the concept of childhood innocence and readings of this book perpetuates these hierarchies and affirms these power dynamics. While issues regarding racial power dynamics shift into the subtitles of childhood innocence in the second and third series of the books, the established father-son relationship and associated levels of authority between The Man with the Yellow Hat and George persist in enforcing the subordination of children.
This important distinction in transforming George from a victim to an instigator acknowledges the controversial nature of the original storyline.
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