Fairytales in the German Tradition
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Queering Kinship in 'The Maiden Who Seeks Her Brothers'
Butler University Digital Commons @ Butler University Scholarship and Professional Work - LAS College of Liberal Arts & Sciences 2012 Queering Kinship in ‘The aideM n Who Seeks Her Brothers' Jeana Jorgensen Butler University, [email protected] Follow this and additional works at: http://digitalcommons.butler.edu/facsch_papers Part of the Critical and Cultural Studies Commons, Folklore Commons, and the Women's Studies Commons Recommended Citation Jorgensen, Jeana, "Queering Kinship in ‘The aideM n Who Seeks Her Brothers'" Transgressive Tales: Queering the Brothers Grimm / (2012): 69-89. Available at http://digitalcommons.butler.edu/facsch_papers/698 This Book Chapter is brought to you for free and open access by the College of Liberal Arts & Sciences at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - LAS by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. 3 Queeting KinJtlip in ''Ttle Maiden Wtlo See~J Het BtottletJ_,_, JEANA JORGENSEN Fantasy is not the opposite of reality; it is what reality forecloses, and, as a result, it defines the limits of reality, constituting it as its constitutive outside. The critical promise of fantasy, when and where it exists, is to challenge the contingent limits of >vhat >vill and will not be called reality. Fa ntasy is what allows us to imagine ourselves and others otherwise; it establishes the possible in excess of the real; it points elsewhere, and when it is embodied, it brings the elsewhere home. -Judith Butler, Undoing Gender The fairy tales in the Kinder- und Hausmiirchen, or Children's and Household Tales, compiled by Jacob and Wilhelm Grimm are among the world's most popular, yet they have also provoked discussion and debate regarding their authenticity, violent imagery, and restrictive gender roles. -
Grimm's Fairy Stories
Grimm's Fairy Stories Jacob Grimm and Wilhelm Grimm The Project Gutenberg eBook, Grimm's Fairy Stories, by Jacob Grimm and Wilhelm Grimm, Illustrated by John B Gruelle and R. Emmett Owen This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Grimm's Fairy Stories Author: Jacob Grimm and Wilhelm Grimm Release Date: February 10, 2004 [eBook #11027] Language: English Character set encoding: US-ASCII ***START OF THE PROJECT GUTENBERG EBOOK GRIMM'S FAIRY STORIES*** E-text prepared by Internet Archive, University of Florida, Children, and the Project Gutenberg Online Distributed Proofreading Team Note: Project Gutenberg also has an HTML version of this file which includes the original illustrations. See 11027-h.htm or 11027-h.zip: (http://www.ibiblio.org/gutenberg/1/1/0/2/11027/11027-h/11027-h.htm) or (http://www.ibiblio.org/gutenberg/1/1/0/2/11027/11027-h.zip) GRIMM'S FAIRY STORIES Colored Illustrations by JOHN B. GRUELLE Pen and Ink Sketches by R. EMMETT OWEN 1922 CONTENTS THE GOOSE-GIRL THE LITTLE BROTHER AND SISTER HANSEL AND GRETHEL OH, IF I COULD BUT SHIVER! DUMMLING AND THE THREE FEATHERS LITTLE SNOW-WHITE CATHERINE AND FREDERICK THE VALIANT LITTLE TAILOR LITTLE RED-CAP THE GOLDEN GOOSE BEARSKIN CINDERELLA FAITHFUL JOHN THE WATER OF LIFE THUMBLING BRIAR ROSE THE SIX SWANS RAPUNZEL MOTHER HOLLE THE FROG PRINCE THE TRAVELS OF TOM THUMB SNOW-WHITE AND ROSE-RED THE THREE LITTLE MEN IN THE WOOD RUMPELSTILTSKIN LITTLE ONE-EYE, TWO-EYES AND THREE-EYES [Illustration: Grimm's Fairy Stories] THE GOOSE-GIRL An old queen, whose husband had been dead some years, had a beautiful daughter. -
Searching for Moral Lessons in "Rapunzel"
University of Hawai‘i at Hilo HOHONU 2015 Vol. 13 Searching for Moral Lessons of “'the seven deadly sins of childhood'” (ix). He claims, “Every major fairy tale is unique in that it addresses a in “Rapunzel” specific failing or unhealthy predisposition in the self” Kara Nelson (Cashdan 13). He also believes in the rewards of teachers English 345 and parents “subtly” having children see a fairy tale's Summer 2014 “underlying sin” (Cashdan 15). In Cashdan's theory, the witch in these stories dies to “ensure that bad parts of the The Grimms' fairy tale “Rapunzel” does not self are eradicated and that good parts of the self prevail” portray the stereotypical evil stepmother, perfect prince, (35). Finally, Cashdan believes adult ties to fairy tales or immediate fairytale wedding. Hence, when adapted result from childhood experiences with them, since “it into various mediums, such as the movies Tangled and is in childhood that the seeds of virtue are sown” (20). Barbie as Rapunzel or the graphic novel Rapunzel's In order to understand certain complex tales such as Revenge, the story is often misinterpreted and reinvented “Rapunzel,” it is believed that a symbolic, historical, or since the world no longer values the tale's implied psychoanalytic analysis is not enough—these tales must morality and coming-of-age issues. While Bettelheim's also be viewed from a didactic or moral viewpoint. Freudian approach to fairy tales has been widely Indeed, “Rapunzel” addresses many moral criticized, he and many others, especially Sheldon issues. Zipes claims “Rapunzel” is not meant to be Cashdan, illustrate that fairy tales can hold deeper “didactic,” but that it has “the initiation of a virgin, who moral lessons. -
Deconstruction and Reconstruction of Puss in Boots
DECONSTRUCTION AND RECONSTRUCTION OF PUSS IN BOOTS AND HUMPTY DUMPTY CHARACTERS IN ANIMATED FILM PUSS IN BOOTS A Thesis Submitted to Letters and Humanities Faculty In partial Fulfillment of the Requirements for the degree of Strata One By: ADE DWI SEPTIAN 1111026000077 ENGLISH LETTERS DEPARTMENT LETTERS AND HUMANITIES FACULTY STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH JAKARTA 2016 ABSTRACT Ade Dwi Septian, NIM. 1111026000077, Deconstruction and Reconstruction of Puss In Boots and Humpty Dumpty Characters in Animated Film Puss In Boots. Thesis: English Letters Department, Letters and Humanities Faculty, State Islamic University of Syarif Hidayatullah, Jakarta, 2015. This thesis analyzes the animated film entitled Puss In Boots. The film is directed by Chris Miller was released in 2011. The problem in this film is located in the main characters, Puss In Boots and Humpty Alexandre Dumpty. The film is considered deconstructs the characteristics of the two main characters. In this case, Puss In Boots, fairy tale by Charles Perrault and Humpty Dumpty character in the novel Through The Looking-Glass by Lewis Carroll are the benchmark. This research uses the deconstruction theory by Jacques Derrida. The method that is used in this research is descriptive qualitative. Puss In Boots is animated film that tells the story of the greatness of two buddies, Puss In Boots and Humpty Alexandre Dumpty, that become hero in a town called San Ricardo. However, the presence of Puss and Humpty as main characters in the film is contrary to the characteristics of Puss and Humpty in the fairy tale earlier. Generally, Puss and Humpty in this film shows a form of deconstruction related to the characteristics of Puss and Humpty in the fairy tale. -
Into the Woods Character Descriptions
Into The Woods Character Descriptions Narrator/Mysterious Man: This role has been cast. Cinderella: Female, age 20 to 30. Vocal range top: G5. Vocal range bottom: G3. A young, earnest maiden who is constantly mistreated by her stepmother and stepsisters. Jack: Male, age 20 to 30. Vocal range top: G4. Vocal range bottom: B2. The feckless giant killer who is ‘almost a man.’ He is adventurous, naive, energetic, and bright-eyed. Jack’s Mother: Female, age 50 to 65. Vocal range top: Gb5. Vocal range bottom: Bb3. Browbeating and weary, Jack’s protective mother who is independent, bold, and strong-willed. The Baker: Male, age 35 to 45. Vocal range top: G4. Vocal range bottom: Ab2. A harried and insecure baker who is simple and loving, yet protective of his family. He wants his wife to be happy and is willing to do anything to ensure her happiness but refuses to let others fight his battles. The Baker’s Wife: Female, age: 35 to 45. Vocal range top: G5. Vocal range bottom: F3. Determined and bright woman who wishes to be a mother. She leads a simple yet satisfying life and is very low-maintenance yet proactive in her endeavors. Cinderella’s Stepmother: Female, age 40 to 50. Vocal range top: F#5. Vocal range bottom: A3. The mean-spirited, demanding stepmother of Cinderella. Florinda And Lucinda: Female, 25 to 35. Vocal range top: Ab5. Vocal range bottom: C4. Cinderella’s stepsisters who are black of heart. They follow in their mother’s footsteps of abusing Cinderella. Little Red Riding Hood: Female, age 18 to 20. -
Red Fairy Book,The
THE RED FAIRY BOOK Edited by ANDREW LANG TO MASTER BILLY TREMAYNE MILES A PROFOUND STUDENT YET AN AMIABLE CRITIC PREFACE IN a second gleaning of the fields of Fairy Land we cannot expect to find a second Perrault. But there are good stories enough left, and it is hoped that some in the Red Fairy Book may have the attraction of being less familiar than many of the old friends. The tales have been translated, or, in the case of those from Madame d'Aulnoy's long stories, adapted, by Mrs. Hunt from the Norse, by Miss Minnie Wright from Madame d'Aulnoy, by Mrs. Lang and Miss Bruce from other French sources, by Miss May Sellar, Miss Farquharson, and Miss Blackley from the German, while the story of `Sigurd' is condensed by the Editor from Mr. William Morris's prose version of the `Volsunga Saga.' The Editor has to thank his friend, M. Charles Marelles, for permission to reproduce his versions of the `Pied Piper,' of `Drakestail,' and of `Little Golden Hood' from the French, and M. Henri Carnoy for the same privilege in regard to `The Six Sillies' from La Tradition. Lady Frances Balfour has kindly copied an old version of `Jack and the Beanstalk,' and Messrs. Smith and Elder have permitted the publication of two of Mr. Ralston's versions from the Russian. A. L. CONTENTS The Twelve Dancing Princesses The Princess Mayblossom Soria Moria Castle The Death of Koschei the Deathless The Black Thief and Knight of the Glen The Master Thief Brother and Sister Princess Rosette The Enchanted Pig The Norka The Wonderful Birch Jack and the Beanstalk The Little -
Beauties Vs Beasts by Tatar.Pdf
Page 1 of 6 Title: Beauties vs. Beasts in the Grimms' Nursery and Household Tales Author(s): Maria M. Tatar Publication Details: The Brothers Grimm and Folktale. Urbana: University of Illinois Press, 1988. Source: Short Story Criticism. Ed. Rachelle Mucha and Thomas J. Schoenberg. Vol. 88. Detroit: Gale, 2006. From Literature Resource Center. Document Type: Critical essay Full Text: COPYRIGHT 2006 Gale, COPYRIGHT 2007 Gale, Cengage Learning [(essay date 1988) In the following essay, Tatar examines the textual history of the Bluebeard folktale in Nursery and Household Tales, contrasting narrative elements of "Mary's Child" and "Fowler's Fowl."] Fairy-tale beauties may all be very much alike, but there are two quite different types of beasts in the Grimms' Nursery and Household Tales. First, there are the animal-grooms who make life unpleasant for many a female protagonist: these are the frogs, bears, hedgehogs, and other creatures that press themselves on attractive young girls. But these beasts invariably turn out to be handsome young princes in disguise and generally prove to be perfect gentlemen. The real fairy-tale beasts, even if they are beasts in only the figurative rather than the literal sense of the term, turn out to be murderers masquerading as civilized men: Bluebeard, the Robber Bridegroom (in the tale of that title), and the wizard in "Fowler's Fowl" ("Fitchers Vogel") are the most prominent examples in the Nursery and Household Tales. Bluebeard, the most infamous of this entire lot of beasts, entered the pages of the Grimms' collection, but only in its first edition. For the second, revised edition of 1819, the Grimms eliminated the tale, evidently because it was too close in both substance and verbal realization to its French source. -
The Junior Classics, Volume 1
The Junior Classics, Volume 1 Willam Patten The Junior Classics, Volume 1 Table of Contents The Junior Classics, Volume 1.................................................................................................................................1 Willam Patten.................................................................................................................................................2 INTRODUCTION.........................................................................................................................................5 PREFACE......................................................................................................................................................7 MANABOZHO, THE MISCHIEF−MAKER................................................................................................9 WHY THE WOODPECKER HAS RED HEAD FEATHERS...................................................................12 WHY THE DIVER DUCK HAS SO FEW TAIL FEATHERS..................................................................14 MANAIBOZHO IS CHANGED INTO A WOLF......................................................................................15 MANABOZHO IS ROBBED BY THE WOLVES.....................................................................................17 MANABOZHO AND THE WOODPECKERS..........................................................................................18 THE BOY AND THE WOLVES................................................................................................................20 -
Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films Through Grotesque Aesthetics
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 9-10-2015 12:00 AM Who's the Fairest of Them All? Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films through Grotesque Aesthetics Leah Persaud The University of Western Ontario Supervisor Dr. Angela Borchert The University of Western Ontario Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Leah Persaud 2015 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Comparative Literature Commons Recommended Citation Persaud, Leah, "Who's the Fairest of Them All? Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films through Grotesque Aesthetics" (2015). Electronic Thesis and Dissertation Repository. 3244. https://ir.lib.uwo.ca/etd/3244 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. WHO’S THE FAIREST OF THEM ALL? DEFINING AND SUBVERTING THE FEMALE BEAUTY IDEAL IN FAIRY TALE NARRATIVES AND FILMS THROUGH GROTESQUE AESTHETICS (Thesis format: Monograph) by Leah Persaud Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Leah Persaud 2015 Abstract This thesis seeks to explore the ways in which women and beauty are depicted in the fairy tales of Giambattista Basile, the Grimm Brothers, and 21st century fairy tale films. -
KIN S FUR.Indd
allerleirauh cinderella ALL KINDS OF FUR Erasure Poems & New Translation of a tale from the Brothers Grimm Margaret Yocom deerbrook editions published by Deerbrook Editions P.O. Box 542 Cumberland, ME 04021 www.deerbrookeditions.com first edition © 2018 by Margaret Yocom All rights reserved. ISBN: 978-0-9991062-5-9 Author photograph by Jamie Lynn Photography. Cover art: Bear Girl by Anne Siems. www.annesiems.com Book Design by Jeffrey Haste. For John A note on the text: Poems in black font are erasures of the Author’s translation of Jakob and Wilhelm Grimms’ 1857 tale “Allerleirauh” (“All Kinds Of Fur”), a version of “Cinderella” that opens with incest. Contents Once there was a king 1 O golden hair and ashes 2 For a long time, the king could not 3 For a long time, I could not 4 Now the king had a daughter 5 daughter mother such golden hair 6 Then he spoke to his councillors 7 I a daughter a dead wife 8 The daughter was even more frightened 9 T he night herder’s maw 10 But she thought 11 turn 12 The king did not give up 13 his dun deer nears 14 Finally 15 all is red 16 In the night 17 go go 18 She walked the entire night 19 walk nigh hecate 20 Now it just so happened 21 so begin 22 When the hunters touched 23 touch 24 There 25 here 26 T hen 27 wood fire ashes 28 Now, one day 29 one so castled 30 to sweep up 31 the ashes tell 32 Everyone stepped aside 33 one step one 34 He thought in his heart 35 His eyes never behold 36 She, however 37 Swiftly Kind Fur 38 Now, when she came into the kitchen 39 Now, resume 40 And when the soup was ready -
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ABSTRACT New Zealand author Juliet Marillier’s 1999 debut novel Daughter of the Forest elaborates on the framework of the Brothers Grimm short stories “The Six Swans,” “The Seven Ravens,” and “The Twelve Brothers,” which appear in the Grimms’ collection Kinder- und Hausmärchen, first published in 1821. These three short stories fit into the Aarne-Thompson categorization system in Tale Type 451, often called “Brothers Turned into Birds” or “Sister Seeks Her Brothers.” In using the scaffolding of the old stories, Marillier gives vivid life to the tale by changing a few aspects, such as introducing additional important characters, and more importantly by subtly asserting a feminist slant through several ideas by discussing feminine silence, women treated as property, use of first-person voice and narration, reversal of marriage roles, and, most importantly, sexual assault and its position within the tale. By exploring the intricacies of Tale Type 451 in Chapter 1, the reader gains a working knowledge of how the tale functions. Chapter 2 focuses on the differences between Marillier’s version of the Type 451 tale compared to the Grimms’ tales. Chapter 3 explores the feminist additions and interpretations that Marillier incorporates into Tale Type 451, and it investigates the implications of how Marillier has re-written the tale. Her use of the main character’s voice narrating the entire story, the addition of a graphic rape scene, exploration of silence, and her interpretation of roles in marriage assert Marillier’s voice as a contemporary fantasy fiction writer whose approach incorporates feminist ideals. i Claire Elizabeth Hall, M.A. -
Rapunzel Is Not Just a Princess in Fairy Tale
Rapunzel Is Not just a Princess in a Fairy Tale Column ideas sometimes arrive by chance, and from the strangest, offhand comments. Last week, my friend Terri said, “I want to ask you about an herb. I was reading nursery stories, and did you know that Rapunzel was named after an herb? Her mother ate so many of them while she was pregnant that she decided to name her baby daughter after the plant. The herbs were stolen from a witch’s garden, so she placed a curse on the baby.” It had been many years since I read “Rapunzel,” and I didn’t recall the reference to raiding the witch’s garden. I love researching odd stories and occurrences, and an unusual reference to the plant origin of the heroine’s name in a fairy tale piqued my interest. Terri is correct about the origin of Princess Rapunzel’s name. When the Brothers Grimm published “”Rapunzel” in 1812, rapunzel, or Campanula rapunculus, was commonly grown in herb and vegetable gardens. The plant name would have been familiar to readers of that period. Campanula rapunculus is a member of the Campanulaceae or bellflower family, of which there are 500 species. Campanula species are native to North Africa, Europe, and Western Asia. Other common names are bluebell and harebell. The Latin name “Campanula” translates as little bell and “rapunculus” is derived from the Latin word “rapa,” meaning small turnip, in reference to the parsnip or radish-like roots. An English-language common name of C. rapunculus is rampion, not to be confused with ramp or Allium tricoccum, a strongly flavored spring onion, native to the eastern United States and Canada, and the focus of spring festivals in Virginia, West Virginia, North Carolina, and Tennessee.