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Home , Black Bull of Norroway, Hans My Hedgehog, Sweetheart Roland, The Frog Prince, The Owl (fairy tale), The Shroud (fairy tale)

Dr. Sandra Ballif Straubhaar TAs: Nick Bestor Chrysta Naron

THE EUROPEAN FOLKTALE UGS 303 Fall 2018 Writing Flag; Global Cultures Flag Unique Numbers 63935, 63940, 63945, 63950

Course Description: Folktales recur in retellings across national borders and time periods in Europe and beyond, from prehistory and antiquity through today’s popular culture; it can be argued that “the ability to tell a story” is one of the hallmarks of the human species. This class will focus mostly on collected folktales, but also on their literary retellings and adaptations, in printable story form (mostly prose, but occasionally in song) as well as in film (including TV) and illustration. We will examine both a wide selection of collected Indo-European folktales as well as numerous perspectives for understanding, interpreting and applying these tales. We will look at the aesthetic, ethical, social, historical and psychological values that (it can be argued that) the tales reflect in themselves. In addition, we will read and discuss significant theoretical and methodological paradigms applicable to the folktales under study, including such perspectives as formalist / structuralist (Aarne & Thompson, Propp), nationalist / aesthetic (, Lang, Tolkien), mythic / archetypal (Jung, Campbell, Tolkien, Bly, Pinkola-Estés), socio-historical (Darnton, Warner, Rowe, Zipes, Tatar, Shavit), psychoanalytical / therapeutic (Bettelheim, Pinkola-Estés, Haase), and feminist / gender studies approaches (Warner, Gilbert & Gubar, Rowe, Pinkola-Estés, Bly). Throughout the course, we will be simultaneously exploring the enduring presence of folktale-derived narrative in current popular and high culture. (NOTE: If, at any time during this course, you “recognize” a story that you are more familiar with from a different, or more modern venue, tell us! This is a fun bonus.) Upon completion of this course, the student should be familiar with a variety of Indo-European folktales, be able to discuss several approaches to studying them, be able to identify the most important motifs of these tales, be familiar with some of the most influential folklorists, writers and editors of the tales, and be able to assess the significance of folktales for contemporary Western culture. The class presupposes no prior work in folklore or the folktale; it is intended to introduce students to a fascinating, multicultural set of texts, and to ask questions about folk culture, oral tradition, and story-telling that continue to interest anthropologists, literary scholars, linguists and the general public. Note: This course owes great debts to D. L. Ashliman and to John Lyon, both of the University of Pittsburgh, who pioneered its prototype Way Back in the Day™.

About the Flags: Global Cultures This course carries the Global Cultures flag. Global Cultures courses are designed to increase your familiarity with cultural groups outside the United States. You should therefore expect a substantial portion of your grade to come from assignments covering the practices, beliefs, and histories of at least one non-U.S. cultural group, past or present. Writing This course carries the Writing Flag. Writing Flag courses are designed to give students experience with writing in an academic discipline. In this class, you can expect to write regularly during the semester, complete substantial writing projects, and receive feedback from your instructor to help you improve your writing. You will also have the opportunity to revise one or more assignments, and you may be asked to read and discuss your peers’ work. You should therefore expect a substantial portion of your grade to come from your written work. Writing Flag classes meet the Core Communications objectives of Critical Thinking, Communication, Teamwork, and Personal Responsibility, established by the Texas Higher Education Coordinating Board.

The Single Most F.A.Q.: So. . .what counts as a Folk Tale? Answer: That depends on whom you’re talking to.

One of the authors we’re learning about in the class, Vladimir Propp, has a very narrow definition. He counts only the traditionally preserved coming-of-age stories where the hero/heroine leaves home to seek his/her fortune, is helped by magical beings, successfully quests for a magical object and returns home with a spouse. (“The Firebird” or “The Flying Ship” or “East of the Sun and West of the Moon” are excellent examples of this.) The cool thing about a Proppian tale is that it follows an easily plottable scheme or template – which is also nicely compatible with Joseph Campbell’s template for the Hero-Journey, which we will also be looking at.

Other authors we’ll be reading, such as J. R. R. Tolkien, are also interested in narrowing down the field – which tales do we “allow in” to our material for study? – but may or may not draw the same categorical boundaries as Propp does.

Still other authors, such as D. L. Ashliman (the author of our anthology, Voices from the Past) would like to broaden the definition of what constitutes a folktale. Ashliman, for instance, includes some of the types below:

n the above stories (Proppian tales / mini-hero-journeys) n other traditional tales – animal tales; legends associated with a specific geographical place (such as the Loch Ness Monster or the Lorelei); funny stories of quarreling couples; tales about tricksters (such as Loki or Till Eulenspiegel); tall tales; mythological stories; ghost stories; tales of folk heroes (such as Wilhelm Tell or Paul Bunyan or Pecos Bill); shaggy-dog stories ("It's a long way to tip a Rary"); miracles of saints; workplace folklore; among other things. . . n illustrative stories from antiquity, such as the fables of Æsop (The Tortoise and the Hare, Androcles and the Lion) or the parables of Jesus (The Prodigal Son, The Good Samaritan) n as well as non-traditional stories composed by known authors from the last few centuries, deliberately constructed using a traditional-tale style or one similar to it – authors such as Ludwig Tieck, E. T. A. Hoffmann, H. C. Andersen, George MacDonald, Oscar Wilde, Rudyard Kipling, Karen Blixen, J. R. R. Tolkien, Ursula K. LeGuin, Angela Carter, Maurice Sendak, Jane Yolen, Tanith Lee, Ellen Kushner, Charles deLint, Jessica Day George, Diana Wynne Jones, J. K. Rowling, Cornelia Funke, Neil Gaiman, Robin McKinley and many, many others.

We’ll touch a little bit on most of the above types of tales. We’ll stick mostly to prose (and retellings of prose narratives, including film). Many of these tales have been retold in poetry ( or epics), or in prose narratives that are too lengthy to be called tales (such as Thomas Malory’s Morte d’Arthur) but we won’t visit these forms as much.

TEXTS: to be obtained in any way you find easiest; at Jenn’s Copy on the Drag; temporarily uploaded to Canvas: 1. at Jenn’s Copy. Buy it ASAP! The Packet includes lots of independent readings (see Schedule below for when they are required) plus the main text for the course, D. L. Ashliman’s Voices from the Past anthology, which is out of print; we have permission to reprint it. (Abbreviated as “VfP” in the Schedule below.) 2. , indicated under most days in the Schedule below. Look at them or view them BEFORE coming to class each day. (Except for Day 1, of course.) 3. , Maria (ed.). The Classic Fairy Tales. Book. ISBN 03939 72771 4. , Iona & Peter (eds.). The Classic Fairy Tales. Book. ISBN 01952 02198 If you opt to get a used one, it may be an earlier edition, and the pagination may be just a little different. Many students have used these earlier editions without difficulty, though. 5. 's classic essay, “On Fairy-Stories.” This was originally given as an Andrew Lang Memorial Lecture at the University of St. Andrews in 1938. It will be uploaded as a PDF to Canvas sometime before the reading of it is due. (It will then disappear, for reasons of copyright. Lawyers for the Tolkien Estate can be fierce. So. . .Warning: Read it on time.)

GRADING

This Writing Course will derive 60% of your final grade from writing assignments. Writing assignments for this course will be as follows:

1. Each student will produce five three-page essays (Double-spaced, 12 point Times New Roman font), each addressing some element from one of five different chosen content categories from Ashliman's folk tale anthology. (Examples: Rules for Living; Children at Risk; Coming of Age; Masters and Servants; Old Age; Death.) Two of these may incorporate an analysis of a contemporary or near-contemporary film (e.g., : Witch Hunters [2013]) on a related theme. All but the last of these may be revised for a better grade; revision is required for three out of the five. These are due (depending on your section) on Sept. 6 or 7; Sept. 20 or 21; Oct. 4 or 5; Oct. 18 or 19; and Nov. 1 or 2. They must be submitted on paper, already printed out for ease of grading. (20%) 2. Students will work in groups of 3 or 4, a) to create an “original folktale” relating to one of the life-cycle themes in Dee Ashliman’s anthology; b) to devise a mode of presentation to their discussion group; and c) to demonstrate its relevance to contemporary life. Finished text of the tale is due Nov. 15 or 16, depending on your section. (20%) 3. Each student must enter at least ten reaction posts (minimum 50 words each) under Canvas Discussions (online in a text box), reacting to discussion prompts drawn from the topics and readings covered each week. (Discussions on these topics will also occur, of course, in the large-group sessions and in the TA-led breakout sessions.) These are each due ONE WEEK after the prompts go online. Prompts will go online on Days 6, 10, 13, 17, 20, 24, 30, 32, 36 and 40 – that’s Sept. 12, Sept. 20-21, Sept. 27-28, Oct. 8, Oct. 15, Oct. 24, Nov. 7, Nov. 12, Nov. 26, and Dec. 5. (20%)

The rest of your grade will be derived from the following:

Class Attendance and Participation (30%) Relates to large-group sessions and to the TA-led breakout sessions as well. Grade will be based on attendance + participation. Attendance Sheets for you to initial will be passed around at approximately the ten-minute mark at each of these meetings.

1. University Lecture and 2. Gems of the University (10% together). REQUIRED. Each student will post a short 50-word reaction to each of these experiences in a text box on Canvas, reacting to 1) your attending (or watching online) one of the University Lectures™and 2) your going on the “Gems” field trip with your section on Day 16 (October 4-5; see below). These can be entered at any time up to just after Thanksgiving, i.e., do it by Fri., Nov. 30 (earlier than that would be smarter).

FYI:

Policy on Academic Dishonesty: Students who violate University rules on scholastic dishonesty are subject to disciplinary penalties, including the possibility of failure in the course and/or dismissal from the University. Since such dishonesty harms the individual, all students, and the integrity of the University, policies on academic dishonesty will be strictly enforced. For further information, please visit the Student Judicial Services web site at http://deanofstudents.utexas.edu/sjs.

FURTHER HIGHLY RECOMMENDED RESOURCES:

Antti Aarne and Stith Thompson. The Types of the Folktale: A Classification and Bibliography. Helsinki: Suomalainen Tiedeakatemia, 1961. GR 1 F55 NO.184 1961 PCL Stacks Note: Don’t check this out. Leave it on the shelf so that everybody can use it. Stith Thompson. Motif-Index of Folk Literature. Indiana UP, 1936. GR 67 T 52 1958 PCL Stacks Note: Don’t check these out. Leave them on the shelf so that everybody can use them. Any good edition of Jakob and ’s Kinder- und Hausmärchen, in German or English. Note: These are online in several different locations. Any good edition of Asbjørnsen & Moe’s Norwegian folk tales, usually called East of the Sun and West of the Moon in English. Note: Some of these are online. Any good edition of Afanasiev’s Russian tales in English, including “The Firebird,” “The Flying Ship,” “The Enormous Turnip,” &c. Note: Many of these are on the Web with exquisite traditional illustrations. Robert Bly. : A Book About Men. Addison-Wesley, 1990. Excerpted in Packet. Bruno Bettelheim. : The Meaning and Importance of Fairy Tales. Knopf, 1977. Excerpted in Packet. Joseph Campbell. The Hero With a Thousand Faces. Princeton UP, 1973. Joseph Campbell and Bill Moyers, ed. Betty Sue Flowers. The Power of Myth. Anchor Books, 1991. Angela Carter. The Bloody Chamber. Penguin, 1993. Robert Darnton. The Great Cat Massacre, and Other Episodes in French Cultural History. Vintage Books, 1985. Excerpted in Tatar. Clarissa Pinkola Estés. Women Who Run With the Wolves: Myths and Stories of the Wild Woman Archetype. Ballantine, 1992. Excerpted in Packet. Martin Hallett and Barbara Karasek. Folk and Fairy Tales. Broadview Press, 2002. Carl Gustav Jung. Man and His Symbols. Laureleaf, 1997. Vladimir Propp. The Morphology of the Folktale. University of Texas Press, 1998. Excerpted in Tatar. Christopher Vogler. The Writer's Journey: Mythic Structure for Storytellers and Screenwriters. Michael Wiese, 1998. Marina Warner. From the Beast to the Blonde: On Fairy Tales and Their Tellers. Farrar, Straus and Giroux, 1994. Excerpted in Packet. Jack Zipes, ed. The Great Tradition: From Straparola and Basile to the . Norton, 2001. Jack Zipes. The Irresistible Fairy Tale. Princeton University Press, 2012.

Also recommended: Many Web sites, but especially: http://www.pitt.edu/~dash/folklinks.html (Recognize the guy who built this site? The database echoes [but does not exactly duplicate] the Ashliman book in your Packet.) TV Tropes: All the motifs! All the stories! Crowd-sourced! http://tvtropes.org/ Bud Plant’s online bios of the great illustrators, at http://www.bpib.com/illustra.htm. The Illustration Gallery at SurLaLune Fairy Tales, at http://www.surlalunefairytales.com/illustrations/index.html.

SEMESTER SCHEDULE: WHAT HAPPENS EACH DAY

Short Versions of Book Titles (as used in schedule, below): VfP: Voices from the Past (in Packet) Tatar Opie

Dates: When VfP and Packet readings, Web videos/readings, and writing assignments are due (Readings and videos: Read and/or watch before class, unless otherwise specified)

NOTE: Films and film clips listed below for viewing in class won’t always be used, depending on time factors, availability of the DVD, and/or potentially faulty equipment in the room. (Mostly things work out fine.)

1: W 29 Aug.: First Day of Class / Introduction and Read-Through of Syllabus in class. VfP 1-24 (Origins [Giants in Denmark, The Stone, Druidical Circles and Monoliths, Bomere Pool, The Origin of Tis Lake, The Origin of the Wrekin], Miracles [Moses and El Khudr, Mar Jiryis and the Dragon, As Many Children As There Are Days in the Year, The Woman Who Had No Shadow, The Flourishing Staff, The Testimony of the Dead, The Story of the Grateful Dead, The Golem, Friday, Frau Holle and the Distaff, Frau Holla and the Peasant, Frau Holle]). Web: St. George & Sten Sture. Web: http://en.wikipedia.org/wiki/Battle_of_Brunkeberg The Giant and the Cobbler. Web: http://www.bbc.co.uk/shropshire/content/articles/2007/02/13/the_wrekin_feature.shtml And http://www.mythstories.com/giantA.html The Golem movie still. Web: http://en.wikipedia.org/wiki/The_Golem:_How_He_Came_into_the_World And http://www.unexplainedstuff.com/images/geuu_03_img0530.jpg Avram Davidson, The Golem (1955). Web: http://elderofziyon.blogspot.com/2012/06/short-story-for-weekend-golem- by-avram.html PowerPoint: Supplementary Information for Origins and Miracles tales.

2. Th / F 30-31 Aug.: Discussion Section with TAs. Listen in Class: Eric Kimmel, The Golem's Latkes (2011) and/or David Wisniewski, Golem (2007). Watch in Class: Film clips: The Golem (1920).

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M 3 Sep.: Labor Day holiday

3: W 5 Sep.: VfP 25-45 (Fairies [Prilling and Pralling is Dead, Mally Dixon], Demons [The Demon in the Tree, Water Demons, Wod the Wild Huntsman, The Night Huntsman at the Udarser Mill, Two Eyes Too Many], Witches/Warlocks/Werewolves [The Witch of Treva, The Girl Who Transformed Herself Into a Hare, Ridden By a Witch, The Werewolf of Jarnitz], Vampires & Ghosts [, The Coffin Lid, The Two Corpses, The Dog and the Corpse, The Soldier and the Vampire, The Specter Bridegroom, Give Me My Teeth]). Web: Mark Twain, How to Tell a Story (1897). Warning: The framing of Twain’s argument will strike many of today’s readers as offensive (because it is). He was a product of his time. We’re looking at an element of his essay that is independent from its framing. (Make a guess as to “what we’re looking at” on our own! This is part of Learning to Think Like a Folklorist™.) https://www.gutenberg.org/files/3250/3250-h/3250-h.htm Web: Boggarts. http://en.wikipedia.org/wiki/Boggart Fun In-Class Activity: Bring a ghost story to tell! VfP 46-64 (Roots: Family [The Girl With White Hands, The Eagle and , The Mother the Child and the Wolf, Solomon and the Two Women, The Future Buddha as Judge, The King’s Son, Thumbthick, The Old Man Who Had a Large Family], Home & Nation [The Tortoise That Refused to Leave Home, The Dog That Went Abroad, The Town Mouse and the Country Mouse, The Town Mouse and the Field Mouse, The Dog and the Wolf, The Bat the Birds and the Beasts, The Man Who Became Rich Through a Dream, The Peddler of Swaffham, The Two Travelers and the Farmer]).

4: Th/F 6-7 Sep.: Discussion Section with TAs. FIRST ASHLIMAN ESSAY DUE. Listen in Class: Hershel and the Hanukkah Goblins by Eric Kimmel (1989). Possibly other “Hershel of Ostropol” stories as well. Listen in Class: “The Beginning of the Armadillos” (Rudyard Kipling, 1902).

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5: M 10 Sep.: VfP 65-84 (Rules for Living [The Greedy Monkey, The Dog and the Reflection, The Fox and the Crow, The Fox and the Grapes, The Jackal and the Fleas, The Fox and the Fleas, The Lion and the Mouse, The Story of the Three Little Pigs, Androcles and the Lion, Of the Remembrance of Benefits, The King, the Falcon and the Drinking Cup, The Talkative Tortoise, The Tortoise and the Hare, The Shepherd Who Called “Wolf!”, The Frogs Desiring a King, The Frog and the Farrier, The Frog and the Ox, The Gold-Giving Snake, Of Good Advice, The Miserly Muslim Priest and His Wife, Hans Dumb]).

6: W 12 Sep.: Introduction to the History of Folktale Scholarship; Schools of Folktale Scholarship. Packet: Collectors and Storytellers: An Historical Overview. John Yorke, The Atlantic (1/1/2016), “All Stories Are the Same.” Tatar: 373-387 (Aarne & Thompson; Propp). Discussion will incorporate the above material as well as some nods to Joseph Campbell (The Hero With a Thousand Faces, 1973) and Carl Jung (1875-1961). If there’s time, we’ll have some fun with TV Tropes, which (as a project) certainly stands on the shoulders of Aarne, Thompson and Propp. https://tvtropes.org/ PowerPoint: AT & Propp. Canvas Discussion Prompt #1 will be posted online today.

7: Th/F 13-14 Sep.: Discussion Section with TAs. Read in Class: Excerpt from Salman Rushdie, Haroun and the Sea of Stories (1990).

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8: M 17 Sep.: VfP 85-107 (Children at Risk, partial [Jephthah and His Daughter, The Children of Hameln, King Aistulf, The Abandoned Child, The Snow Child, Hänsel and Gretel, Little Thumb,, Little Snow-White]). Opie: 36-57 [Tom Thumb], 167-178 [Hop o’ my Thumb]. Web: Cheesy Men (T. H. White, The Sword in the Stone, 1938). http://epubbookonline.com/b/1270/t-h-white/the-once-and-future-king/12 (Scroll down to "The Oldest Ones of All were gluttons. Probably it was because they seldom had enough to eat.") Web: Grimms, The King of the Golden Mountain. http://www.authorama.com/grimms-fairy-tales-53.html Web: The Vision of Mac Conglinne. http://en.wikipedia.org/wiki/Aislinge_Meic_Con_Glinne Web: “ Shirley Collins (Child 20)”. http://www.youtube.com/watch?v=GIogY_j4uqE Listen in Class: “Móðir mín í kví kví” (Iceland) and Child #20 “Fine Flowers in the Valley/Cruel Mother” (Corrie Folk Trio and Paddie Bell, 1960s and/or Ian and Sylvia, 1960s and/or Mirk, 1970s).

9: W 19 Sep.: VfP 107-149 (Children at Risk, partial [The Magic Fiddle, , Binnorie, The King and His Daughters, Brewery of Eggshells, Changeling is Beaten With a Switch, The Young Giant, The Hairy Boy, The Blue Belt, The Wicked Stepmother, (2), Conkiajgharuna, Pepelyouga, The Baba Yaga]). Packet: Swedish “Two Sisters” ballad (cf. Child #10). Packet: “The Nature of Cinderella,” by Marie Rutkowski. The Los Angeles Review of Books, July 9, 2012. Web: “Binnorie” sung by “Dana Mc57”, Nov. 2012: “'Two Sisters' very old ballad”. http://www.youtube.com/watch?v=DiGz07cORk8 Web: “Gillian Welch & David Rawlings - Wind and Rain”, May 2012. https://www.youtube.com/watch?v=gNNqSnVtDiM Web: “Two Sisters – Andrew Bird”, May 2010. https://www.youtube.com/watch?v=6n9-KAKzpyM Web: “Emily Portman – Two Sisters”, August 2013. https://www.youtube.com/watch?v=CljGmmd3Zrc Opie 152-166 [Cinderella], 227-237 [], 308-319 [Hänsel and Gretel]. In Class: Grettir the Strong, Cú Chulainn. Listen in Class to various versions of “The Two Sisters” ballad (Anglophone and Nordic). Watch in Class: Buddy Hackett & Terry-Thomas in “The Singing Bone,“ from The Wonderful World of the Brothers Grimm (1962). ( http://www.youtube.com/watch?v=YfUTUHmkmBU ).

10: Th/F 20-21 Sep.: Discussion Section with TAs. SECOND ASHLIMAN ESSAY DUE. Discussion: Why are tales of threats to children (starvation, abduction from parents, murder) told in every culture? What function do they serve? Canvas Discussion Prompt #2 will be posted online today.

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11: M 24 Sep.: VfP 150-173 (Sexual and Physical Abuse cont’d. [Kora and His Sister, The She-Bear, All-Kinds-of- Fur, Fair Maria Wood, The Story of Catskin, The Girl Without Hands] ). Packet: Ashliman’s essay on incest in folktales (no longer on Web).

12: W 26 Sep.: Tatar 269-280 (Bettelheim). Packet: Bettelheim Excerpt: Fear of Fantasy. Web: Biographical information on Bruno Bettelheim (1903-1990). http://en.wikipedia.org/wiki/Bruno_Bettelheim In Class: PowerPoint, “Freud & Jung”.

VfP 174-199 (Coming of Age: Girls Become Women [, The False Grandmother, , Little Red Cap, Sun Moon and Talia, Little Briar-Rose, , Habitrot, The Three Spinning Women, The Princess and the Pea, Tatterhood, The Shoes That Were Danced to Pieces]). Tatar: 235-241 (Andersen: Pigen, som trådte på Brødet [1859]). In Class: PowerPoint, “Lurvehette [Tatterhood] & Inger”.

13: Th/F 27-28 Sep.: Discussion Section with TAs. In Class: Film: Jim Henson’s “Sapsorrow” (1988). Canvas Discussion Prompt #3 will be posted online today.

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14: M 1 Oct.: Tatar: 280-291 (Darnton). Opie: 83-101 [The Yellow Dwarf]; 119-125 [Little Red Ridinghood]; 245-252 [The Twelve Dancing Princesses]; 253-259 [Rumpelstilstkin].

15: W 3 Oct.: VfP 199-226 (Coming of Age: Boys Become Men [Iron Hans, The Wild Man and the Prince, The Blood Brothers, Jack and the Beanstalk, The Master Cat, The Flying Ship, The Rabbit Herd, The Swineherd Who Married a Princess, The Blue Light]). Opie: 270-282 [The Tinder Box]. Packet: The Round Tower in Copenhagen. Stills from Fyrtøjet (Svend Methling, 1946). In Class: Power Point: Tinder Box & Blue Light (“stineclass”).

16: Th/F 4-5 Oct.: THIRD ASHLIMAN ESSAY DUE. REQUIRED: “Gems of the University” field trip, either to the Ransom Center (Andrew Lang collection) or to the Blanton Museum of Art (Grimm-related illustrations), to be announced.

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17: M 8 Oct.: Opie: 58-82 [Jack the Giant Killer]; 142-151 []; 211-226 [Jack and the Beanstalk]. Packet: Hymiskviða and text for Martin Carthy’s “Jack Rowland”. Web: Childe Rowland, a chante-fable (Joseph Jacobs’ version, from 1890). http://www.authorama.com/english-fairy-tales-24.html Listen in Class: Martin Carthy sings “Jack Rowland”. In Class: Film: Jim Henson’s “The Heartless Giant” (1988) – if there’s time. Canvas Discussion Prompt #4 will be posted online today.

18: W 10 Oct.: Tatar: 291-297 (Gilbert & Gubar). Packet: Bly Excerpts (Iron John, 1990). Sarah Maria Griffin, “Girls Explain Star Wars to You,” Scannain: Irish for Movies (12/30/2015) Web: “gyzym” blog: "Just Shut Up" (December 2012). http://gyzym.tumblr.com/post/39004853136/just-shut-up

19: Th/F 11-12 Oct.: Discussion Section with TAs. In Class: Film, The Fool of the World and the Flying Ship (Cosgrove Hall, 1990).

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20: M 15 Oct.: VfP 226-269 (Courtship and Marriage [The Frog’s Skin, The Swan Maidens, Wife, The Frog King, , Hans-My-Hedgehog, The Little Donkey, Cupid and Psyche, East o’ the Sun and West o’ the Moon, The Clinking Clanking Lowesleaf, Beauty and the Beast]). Opie: 179-195 [Beauty and the Beast], 238-244 [The Frog Prince]. Packet: Pictures from, and summary of, the “Mélusine” chapbook (1474). Packet: Funke/ review. (Sidekick, animal helper or – lover/spouse?) Packet: “The Most Romantic Story Ever Told,” Aimee Bender. Los Angeles Review of Books, October 12, 2012. Web: Marie de France (fl. 1175): “Bisclavret”. Web link to pdf: www.clas.ufl.edu/users/jshoaf/Marie/bisclavret.pdf (Google for "Bisclavret English") Web: Theodor Kittelsen (1912): White Bear King Valemon. https://no.wikipedia.org/wiki/Kvitebj%C3%B8rn_kong_Valemon Canvas Discussion Prompt #5 will be posted online today.

21: W 17 Oct.: More Spouses. Packet: Roan Inish film; Völundarkviða [swan maidens]; Glossary (nautical terms) and text for “Peter Kagan and the Wind” by Gordon Bok (CD 1995, from an earlier recording [1971]). “Selshamurinn”: Icelandic silkie story, collected by Jón Árnason in the 1860s. In Class: Listen to Bok; listen to Selshamurinn; discuss Völundarkviða, as time permits. Watch Film Clips: The Secret of Roan Inish (1994). Tatar: 297-308 (Rowe). Packet: Marina Warner Excerpt, “Reluctant Brides” (1994).

22: Th/F 18-19 Oct.: Discussion Section with TAs. FOURTH ASHLIMAN ESSAY DUE. In Class: Watch Film Clips: Jim Henson (1988), “;” Ele, o boto (The Dolphin; Brazil, 1987). River Amazon folklore: Dolphin-men come ashore to seduce village girls and impregnate them. You can spot them because they never take their hats off – they’re covering the blowhole on the top of their head. Setting: St. John (Midsummer) festival in rural Brazil. https://www.youtube.com/watch?v=U66uFZ4KpO0 34:11 (spot the dolphin in the water as people come into town by boat for the festival; the Boto [dolphin] tries to seduce the girls at the dance; townsfolk chase the wrong guy with a hat on) to 41:20.

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23: M 22 Oct.: VfP 269-311 (Courtship & Marriage cont’d. [Zelinda and the Monster, The Enchanted Brahman’s Son, The Silk Spinster, The Girl and the Snake, King Lindorm, The Water Snake, Bearskin, The Enchanted Head, The Twelve Huntsmen, , The Mastermaid]; The Powerful & the Weak [Good and Evil, The Scorpion and the Tortoise, Dharmabuddhi and Pâpabuddhi, The Gentile and the Jew, True and Untrue]). Packet: Two Magicians, a ballad (Child #44). Watch in Class: Steeleye Span, “Two Magicians” (1974). http://www.youtube.com/watch?v=NNgvzxRCyQU In Class: Variable Uses of the Same Motif: “Identity and Agency in Traditional Tales”. Discussion: Comparing two versions of AT 592 (Asbjørnsen & Moe’s “Little Freddie and His Fiddle” and the Grimms’ “The Jew in the Thorns”).

24: W 24 Oct.: VfP 311-324 (Resignation [Cat and Mouse in Partnership, The Lion’s Share, The Lion, the Fox and the Donkey, The Wolf and the Lamb]; Masters & Servants [The Elephant and His Keeper, How The Man Taught the Tiger to Fly, The Cruel Merchant, Till Eulenspiegel, , The Good Husband and the Bad Wife, ’s Cunning Wife]). Web: Till Eulenspiegel. http://en.wikipedia.org/wiki/Till_Eulenspiegel PowerPoint: “Ulenspiegel”. In Class: Film Clip: Coyote and Inktomi, from Dreamkeeper (2003). Tatar: 309-317 (Warner). In Class: PowerPoint, “Law & Chaos”; PowerPoint, “Folk Tale Theory How (Warner)”. Canvas Discussion Prompt #6 will be posted online today.

25: Th/F 25-26 Oct.: Discussion Section with TAs. Workplace Folklore: Why are/were the Till Eulenspiegel stories cathartic for oppressed employees? Children’s Classic: Read in Class: Amelia Bedelia (Peggy Parish, 1963). Amelia’s Eulenspiegel-esque Behavior: Does it function in the traditional way this time?

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26: M 29 Oct.: VfP 323-352 (More Tricksters [The Monkey’s Heart, The Lion and the Hare, The Cat and the Mice, The Wolf in Sheep’s Clothing, The Reward of Good Deeds, The Camel Driver and the Adder, Of Nature and the Returns of Ingratitude, The Hedgehog and the Hare, The Mongoose Boy, Big Peter and Little Peter, The Countryman and the Merchant, Miracle UponMiracle, The Merchant and His Iron, Crab, Harisarman]). Packet: Snorra Edda (13th century; excerpt, “Loki & Sif’s Hair”) and Þrymskviða. In Class: PowerPoint, “Thor, Loki and Sif”.

27: W 31 Oct.: VfP 353-372 (Fools [The Seven Wise Men of Buneyr, The Baneyrwal and the Thief, The Baneyr Man and the Mill, The Twelve Men of Gotham, The Foolish German, Russian Soldiers, An East Frisian Wedding Custom, Lawyer and Doctor, The Man the Boy and the Donkey, The Two Weavers and the Grasshoppers, The Broken Pot, The Poor Man and the Flask of Oil, The Barber’s Tale of His Fifth Brother, The Milkmaid and Her Pail, The Mosquito and the Carpenter,The Gardener and the Bear, The King’s New Turban, The Emperor’s New Clothes, Peter Ox, The Fool’s Good Fortune, The Traveler and the Farmer]). Packet: Different translations of Æsop’s “Milkmaid” story; Æsop’s Phrases. Bring in one ethnic joke or one Aggie joke, written up ahead of time (for potential censoring*). *You needn’t censor your entry – folklorist collectors don’t -- but it won’t be read from the podium if it’s offensive. Packet: Joan Acocella, “Once Upon a Time,” from The New Yorker 7/23/2012; Stephen Evans, “Are Grimm’s Fairy Tales Too Twisted for Children?” from BBC Culture Online 8/1/2103. Web: Cornelia Funke on the Reckless series (note especially the section in the middle, on the “grimness” of the ) 0:56 to circa 2:40 https://www.facebook.com/video.php?v=10150699908725118&set=vb.12777921063578 9&type=2&theater Read/Look at in Class: Maurice Sendak's illustrations for Segal & Jarrell's Grimm translations (2003)

28: Th/F 1-2 Nov.: Discussion Section with TAs. FIFTH ASHLIMAN ESSAY DUE. Tatar: 364-373 (Tatar: “Sex and Violence: The Hard Core of Fairy Tales”). Discuss: How the Grimm tales were changed as they went through several editions. What changed, and why?

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29: M 5 Nov.: VfP 373-384 (Wife Beaters [The Bull the Donkey and the Husbandman, The Language of Beasts, The Lark and the Taming of Women, Two in a Sack, The Wife Who Would Not Be Beaten]). Packet: “The Devil and the Feathery Wife”; “The Wee Cooper* o’ Fife”. (Child # 277). *What's a cooper? A barrel-maker. Early modern high-tech. Watch in Class: Bil Baird’s Marionettes & Burl Ives, “The Wee Cooper o' Fife”, 1950s. Punch and Judy (London 2010). http://www.youtube.com/watch?v=hZ-2a_yhpQs (Wee Cooper) https://www.youtube.com/watch?v=K6LmZ0A1s9U (Punch) Listen in Class: Martin Carthy sings “The Devil and the Feathery Wife”; Jean Redpath sings “The Wee Cooper o' Fife”.

30: W 7 Nov.: VfP 385-404 (Bluebeards [Sulasa and Sattuka, The Brahman Girl That Married a Tiger, The Tiger’s Bride, Your Hen Is In the Mountain, Fitcher’s Bird, How the Devil Married Three Sisters, Blue Beard, Mr. Fox]). Opie: 133-141 [Bluebeard]. Tatar: 50-66 (Angela Carter). Packet: Pinkola-Estés excerpts (1996). In Class: PowerPoint, “Bluebeard Illustrations”. (How we draw Bluebeard depends on who “we” are, and the national/ethnic histories we subscribe to.) Canvas Discussion Prompt #7 will be posted online today.

31: Th/F 8-9 Nov.: Discussion Section with TAs. Tatar: 353-364 (Haase). Packet: Words to Disney Songs. Listen/Read in Class: Robert Muntsch’s The Paper Bag Princess (1980); Jane Yolen’s Sleeping Ugly (1997); “Stay Awake” CD (1990): Tom Waits, Sinéad O’Connor.

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32: M 12 Nov.: VfP 405-426 (Shrewish Wives [Haakon Grizzlebeard]; Women Who Rule Their Husbands [The Man and His Two Wives, The Too Particular Wife, The Two-Headed Weaver, The Three Wishes, The Sausage, The Bullock’s Balls, The Fisherman and His Wife, The Queen’s Whim, The Black Mare Is a Better Horse, The Baneyrwal and His Drowned Wife, Scissors, The Merry Wives]). Opie: 196-201 [The Three Wishes]. Packet: “The Farmer’s Curst Wife”. Web: Grimm Tale: . http://www.pitt.edu/~dash/grimm052.html In Class: Listen to “The Farmer’s Curst Wife” (Niles, Ritchie or Texas Gladden). Read in class: “The Woman Against the Stream” (Asbjørnsen & Moe). Canvas Discussion Prompt #8 will be posted online today.

33: W 14 Nov.: Tatar: 317-332 (Shavit [note typo / mistransliteration: “the paintings of Putt” – not Shavit’s fault! Supposed to be putti]). In Class: PowerPoint: A Bouquet of Putti, just in case you don't know what they look like.

34: Th/F 15-16 Nov.: Discussion Section with TAs. ORIGINAL FOLKTALE GROUP PROJECT DUE. Discuss: Which of the “assertive wives” tales praise her, and which punish her? Which of them make her purely a figure of fun? What factors might determine the differences?

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35: M 19 Nov.: Tolkien excerpts, uploaded to Canvas (“On Fairy-Stories,” 1939-1947). Packet: “The Key to ‘On Fairy-Stories’” and “Literary References in the Essay.” Web: “The Black Bull of Norroway”. http://etc.usf.edu/lit2go/141/the-blue-fairy-book/3960/the-black-bull-of-norroway/ (Download PDF and/or listen to it; Scots dialect)

Wed. Nov. 21-Sun. Nov. 25 THANKSGIVING

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36: M 26 Nov.: VfP 427-446 (Talkative Wives [The Telltale Wife, How a Fish Swam in the Air and a Hare in the Water, The Treasure, Of Women Who Lie Fearfully], Foolish Wives [Admann and His Wife, A Visitor from Paradise, The Good Wife and the Bad Husband, The Serb from the Other World, Christmas, Stone Soup], Division of Labor [The Farmer His Wife and the Open Door, The Wager, The Husband Who Was to Mind the House, The Mouse the Bird and the Sausage]). Packet: Child Ballad # 275A, “”. “Dicky Wigbun,” an Appalachian chante-fable. Web: “Threelegsoman” sings “The Barrin' O' The Door”, 2009. http://www.youtube.com/watch?v=YBe_vH04ffk In Class: Listen to: Get Up and Bar the Door (Child # 275) sung by June Tabor & Maddy Prior. Canvas Discussion Prompt #9 will be posted online today.

37: W 28 Nov.: Tatar 332-352 (Zipes). Packet: Max Ross' review of Jack Zipes' book The Irresistible Fairy Tale (Open Letters Monthly, 2012)

38: Th/F 29-30 Nov.: Discussion Section with TAs. UNIVERSITY LECTURE REACTION DUE. (Advice: Do it before now.) In class: Film Clips: Neverwhere (Neil Gaiman, 1996), first episode.

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39: M 3 Dec.: Packet: Philoctetes: “How Fairy Tales Cast Their Spell”, with Zipes & Tatar (2007). Video version of the discussion is here: https://www.youtube.com/watch?v=1m8T-ZWRehw VfP 468-482 (Old Age [Man and His Years, The Bremen Town Musicians, The Story of the White Pet, The Old Husband and His Young Wife, The Partridge and Her Young, The Old Widow and Her Ungrateful Son, How the Wicked Sons Were Duped, The Ungrateful Son, The Stingy Daughter, The Old Grandfather and His Grandson, A Wendish Legend, Why People Today Die Their Own Death]). Web: Bremen Town Musicians sculpture. http://en.wikipedia.org/wiki/Town_Musicians_of_Bremen Web: Geoffrey of Monmouth, History of King Lear (ca. 1136). http://en.wikipedia.org/wiki/Leir_of_Britain (Google for "Monmouth Lear") Read in Class: J. K. Rowling, “The Tale of the Three Brothers” (2007); Chaucer’s Pardoner’s Tale.

40: W 5 Dec.: VfP 483-495 (Death & Epilogue [The Death of the Little Hen, Straw Coal and Bean Go Traveling, The Pancake, , The Rose, God’s Food, , The Burial Shirt, The Parable of the Mustard Seed (India), The Sick Lion, The Old Man and Death, The Place Where There Were No Graves, , Death’s Messengers, The Stolen Corpse, The Golden Key]). Web: “Granny on the Roof Rack” / “My Mother the Cargo”. http://www.snopes.com/horrors/gruesome/deadgranny.asp Web: The Tale of Norna-Gest, who lived 300 years until his birth-candle finally burned down. http://en.wikipedia.org/wiki/Norna-Gests_%C3%BE%C3%A1ttr Read in Class: Asbjørnsen & Moe, “Skrinet med det rare i” (“The Box with Something Amazing In It”); http://minvei.no/read/a80d2706-74cb-4072-8e23- b60109fe15fb ; also “Family Cliff” in Gautreks saga (if there’s time). Canvas Discussion Prompt #10 will be posted online today.

41: Th/F 6-7 Dec.: Watch in Class: Film, Jim Henson’s “The Soldier and Death” (1988).

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42: M 10 Dec.: The Great Illustrators. Packet: Fairy Tales in Advertising; Modern & Postmodern Pop Culture; Three Articles on Fairy Tales (New Yorker, Smithsonian, Fox News, all 2012). Web: http://en.wikipedia.org/wiki/John_Bauer_%28illustrator%29 Web: http://rackham.artpassions.net/ Web: http://maxfieldparrishonline.com/ Web: http://www.brainpickings.org/index.php/2012/08/27/kay-nielsen-east-of-the-sun- and-west-of-the-moon/ Web: http://alan-and-john.tumblr.com/tagged/Alan-Lee%27s-art Also check out Bud Plant’s Great Illustrators website and the SurLaLune Illustrators’ Gallery. In Class: Power Point Slide Show of The Great Illustrators.

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