Annals of Language and Literature Volume 4, Issue 3, 2020, PP 09-17 ISSN 2637-5869

Multilingualism and Interculturalism in Fairy Tales - , Laura Gonzenbach and Tina Vajt – ATU 402

Milena Mileva Blažić* University of Ljubljana, Faculty of Education, Kardeljeva ploscad 16 SI 1000 Ljubljana, *Corresponding Author: Milena Mileva Blažić, University of Ljubljana, Faculty of Education, Kardeljeva ploscad 16 SI 1000 Ljubljana, Slovenia

ABSTRACT Dorothea Viehmann was a storyteller (narrator), who told about 36 fairy tales to J. and . . Socio- culturally she was of peasant origin, and her German fairy tales also included French elements. Laura Gonzenbah was a Swiss-German storyteller who wrote down fairy tales. She originated from high middle class, was educated, multilingual, and her Sicilian fairy tales written in German reflect interculturality (Sicilian orientalism). Resian storyteller Tina Wajtava narrated in Resian, i.e. in microlanguage (Slovene dialect), and her fairy tales also reflect multilingualism (Italian, German, Slovene, Resian) and interculturalism, with the influence of German, Romance and Slavic culture. Based on a comparative analysis of the ATU fairytale types, it was found that they have common ATU 402 (animal groom/bride motif) and ATU 425 (searching for a lost husband/wife) motifs. The includes a comparative analysis of the similarities and differences of the ATU 402 (The Animal Bride). Interesting is the comparative analysis of fairy-tale types of the Grimm Brothers’ storytellers, such as Laura Gonzenbach, and Resian and Slovene storytellers who have different socio-cultural backgrounds, as they all share common multilingualism and interculturalism as well as the basic motif of love and looking for a groom/bridesmaid.. Keywords: women writers, women storytellers, women writers, Dorothea Viehmann, Laura Gonzenbach, Tina Wajtava, ATU 402, language, literature, culture

INTRODUCTION the framework story can be found inthe collection of Indian fairy tales entitled Panchatantra (300 The woman storytelling originates in antique BC). In the collection by Don Juan Manuel literature, in Ovid's myth of Philomela (or entitled El Conte Lucanor, the narrators are the Philomene), who after the trauma (she was raped King and faithful Petronio (1335). and her language was cut off - so that she could not talk about it) redefines her story in texture or In the collection of Arabic fairy tales entitled visual text. In Metamorphoses of Apuleius,in the One Thousand and One Nights, which came to famous myth about Eros and Psyche, next to the Europe by way of a translation into French golden donkey Luciusas the main narrator, also a (1702-17), the central narrator is Scheherazade storyteller appears - an old woman (old wives who became the fairytale type in Uther's index, tale).(Ziolkowski 2002: 92) under ATU 875B*. Thus,a wackyand tipsy old woman told stories to 875B* Storytelling Saves a Wife from Death the kidnapped girl (Psyche) and I Lucius, who (Scheherazade). A king who discovers that his stood beside her, was truly sorry for not having a wife is unfaithful has her executed. Then, each table or a pen with me and could not write down night, he takes a new wife and has her killed the such a fascinating fairy tale. (Apulej 1981: 178). following day (after she gives birth) (cf. Type 1426). After three years (one year) the vizier is The beginnings of woman authorship are found unable to find a suitable woman, so the king in the songs of medieval women troubadours condemns him to death. (12th-13th century) and in the theme of the fin amor1 in Occitan. The model of narration within The vizier's daughter volunteers to marry the king (although her father objects). She tells 1Bedenk, Kasilda, Blaţić, Milena Mileva, Slovenske stories to the king (with the help of her sister, or pravljiĉarke in evropski prostor. Ljubljana: Pedagoška a courtier tells the stories) (J1185.1]. The king fakulteta, 2018. (In print) postpones the execution. After a year of

Annals of Language and Literature V4 ● I3 ● 2020 9 Multilingualism and Interculturalism in Fairy Tales - Dorothea Viehmann, Laura Gonzenbach and Tina Vajt – ATU 402 storytelling (after the wife gives birth), the king 2006). Socio-culturally, preciosaswere of noble, realizes that it would be wrong to kill this woman. aristocratic descent and told stories inmansions. (Uther 2004: 499) Nevertheless, the fairy tales of the French preciosas influenced the development of the Women storytellers are also found in Boccacci's fairy tale writing around the world, precisely Decameron, where among ten narrators there are because they redefined the troubadour theme of seven women storytellers (Elissa, Emilia, Fiamme- the fin amore into fairytale themes (e.g.Beauty tta, Filomena, Lauretta, Neifile and Pampinea). and the Beast), as their storytelling in the In The Canterbury Talesby G. Chaucer (1483), palaces was a "salon game" (Seifert xx: ). two women storytellers (a housewife from Bath The first collection of fairy tales for children and a mother superior) can be found amongst 16 was Charles Perrault's Les Contes de ma mere narrators (beggar, priest, gentleman, miller, l'oie(Tales of My Mother Goose) (1697). The seller of indulgences, keeper, sailor, landowner, cover page also depicts a woman narrator who lawyer, merchant, scholar, caretaker, knight, tells children fairy tales. doctor). The Wife of Bath’s Tale is motivated and thematically related to the motive of an The most famous children's collection of fairy animal groom/bride, i.e. Cupid and Psyche. tales is the Kinder- und Hausmärchenby the brothers Jacob and Wilhelm Grim, which was The first collection of fairy tales by Giovanni first published in 1812 (Volume 1) and in 1815 Francesco Straparola, Le piacevoli notti (The (Volume 2) and then sawfurther supplemented Facetious Nights, 1550-1553), was intended for editions. adult readers. The story is situated in a high socio-cultural background on the island of Murano The model of oral creation or narration of fairy near Venice. Women are also addressed in the tales includes another form of "women's fairytale dedication. The main person or the Venetian creation", represented by the storytellers, i.e. 1) Madonna is the noble Signora Lucretia, who narrators and recorders of fairy tales, since they represents the narrative frame of the ten narrators2 were engaged in telling and writing fairy tales, (Arianna, Cateruzza, Brunetta, Eritrea, Fiordiana, and 2) women fairy tale writers. Isabella, Lauretta, Lionora, Lodovica, Vicenza), WRITERS AND NARRATORS OR PHILOMELA two ladies (Mrs. Chiara and Mrs. Veronica) and AND SCHEHEREZADE narrators. The most famous fairy tale is the . In the 1999 monograph The Classic Fairy Tales (edited by Maria Tatar), Karen E. Rowe in the In the second collection of fairy tales for adults chapter "To Spin a Yarn: The Female Voice in enitled Il pentamerone (The Pleasant Nights, Folklore and Fairy Tales" lists two metaphors for 1634, 1636), by Giambattista Basile, now women storytellers, namely, as the first model - known as the first collection of fairy tales for women writers - she cites the antique example of adults and "young people" (The Tale of Tales, or Philomela (Ovid: Metamorphoses), who was Entertainment for Little Ones), all narrators are victimized on the basis of a myth and was literally 3 women, with the central one beingZoza (beside and metaphorically without language, therefore her also Antonia, Diana, Domenica, Francesca, she metaphorically weaved her story into a tapestry Giacoma, Girolama, Giulia, Lucrezia, Vittoria, and sent it to her sister to read. The motive of the Pozia, and Paola). female weaver is also found in the Bible.4 A characteristic of French women fairytale Dorothea Viehmann (1755-1815) writers, called precios as, is that in literary salons, they narrated "text intended for children, Dorothea Viehman (née Katharina Dorothea and the context intended for adults" (Seifert Pierson) (1755-1815) is one of the most important storyteller of Jacob and . She

2The noble Signora Lucretia who presents narrators by contributed about 36 (out of 210) fairy tales which name and attributes that are superlatives: beautiful, were published in the second volume of Kinder- graceful, noble, honest, beautiful, dark-haired, respected, und Hausmarchen (KHM, 1815). Her father, Isaac fair-haired, high-born, etc. Pierson, was an innkeeper, his ancestors moved 3In the collection of fairy tales, Basile replaced the noble to Hessen- due to the prosecution of names with comic ones, such as Antonella, Cecca, Ciulla, Ciommetella, Iacova, Meneca, Paola, Popa, 4http://www.biblija.net/biblija.cgi?m=Prg+31&id13= Tolla, Zeza (the main narrator). 1&pos=0&set=2&l=sl3ef

10 Annals of Language and Literature V4 ● I3 ● 2020 Multilingualism and Interculturalism in Fairy Tales - Dorothea Viehmann, Laura Gonzenbach and Tina Vajt – ATU 402

Huguenots in France. In 1777, Dorothea married Zipes, did the collection gain an important place the tailor Nicholas Viehmann, and in 1787 she in literary history. moved to Niederzwerhren (now part of Kassel), Laura Gonzebach was born in 1842 in a wealthy where she lived until 1815. After her husband's Protestant Swiss-German family in Messina in death, she supported herself and her seven children Sicily. Like her four siblings, she received good with farm work (and as a costermonger). In 1813, education at a private school. When she was five she met and told them fairy years old, her mother died, therefore, she was tales every week. Due to her socio-cultural taken care of by her sister Magdalen, who was an environment - peasant life and work in the inn - extraordinary young woman - a cosmopolitan, her fairy tales include French elements. Brothers educated and with advanced views on the position Grimm were glad that they met the Niederzwehrn’s of women. Already as a child, Laura had spoken storyteller who told them fairy tales in almost the four languages (German, French, Italian and same words even when she had to repeat them. Sicilian). She played numerous musical instruments They visited her from 29 May 1813 to 4 September and knew many ancient poems by heart. At that 1814 (Ehrhardt 2012, p. 17). In September 2012, time, it was not possible for women to study at the University Library in Kassel identified the the university, so the Gonzenbach sisters held a hitherto unknown image as a portrait of Dorothea salon and attended non-formal education in Viehmann, created by Ludwig Emil Grimm, other salons where they discussed art, met artists Jacob’s and Wilhelm's younger brother. One of and discussed the situation of women. At that the fairy tales Dorothea told the Grimm brothers time, storytelling began to develop in the salons. was KHM 106 The Poor Miller's Boy and the Laura married at age 27, had five children and Kitten (Der arme Müllerbursch und das Kätzchen). lived her entire life in Naples. She died young - In this fairy tale, it is conspicuous that the fairy at the age of only 36. tale is based on the French fairy tale The White Cat (La chatte blanche) by Madame d'Aulnoy In her youth, she was influenced by Dr. Otto (Marie-Catherine, Baronne d'Aulnoy, 1650- Hartwig who for five years led the Sunday Mass 1705), as well as the La Fontaine’s (1621- 1695) for the German and Swiss communities in fable The Cat and an Old Rat5 (1694) which is Messina. Hartwig organized the cultural life in thematically associated with Aesop. Messina and began to collect Sicilian fairy tales. He considered Laura to be one of the most Dorothea Viehmann was not the only storyteller talented narrators and suggested that she choose of Brothers Grimm, as fairy tales were also told some of the fairy tales and write them down by other storytellers, including the Hassenpflug because he did not understand the Sicilian sisters (Amalie, Johanna, Marie) and Wild dialect. Laura knew the Sicilian dialect perfectly (especially Dorothea, later Wilhelm's wife). and she wrote down the stories that Sicilian Laura Gonzenbach (1842-1878) women were telling. Gonzebach obviously knew German fairy tales, probably also Grimm's Jack Zipes, one of the leading literary scientists fairy tales, maybe even French. It is interesting dealing with fairy tales and a professor of that she translated the fairytales into German German at the University of Minnesota in the brilliantly, although she never lived in Germany United States, translated a collection of Sicilian or Switzerland. Hartwig and Kohler (publishers fairy tales by Luisa Rubini entitled "Fiabe siciliane" of the fairy tales by Sicilian storytellers) did not (1999) from Italian into English. He first translated change much of her records, they did not Volume 1 (Beautiful Angiola, 2003), followed embellish them, they also left intact violent byVolume2 (The Robber with a Witch's Head), conflicts, as they were told. then both volumes appeared in an integral version (Beautiful Angiola: The Lost Sicilian Folk and Most Sicilian women could leave home only Fairy Tales of Laura Gonzebach, 2005). In 1999, after marriage, so many escaped from home, Luisa Rubini published a complete version in traveled, sought employment as nannies. It was Italian, together with an introduction and important that they took their own destiny into their comments. Unfortunately, her integral publication own hands. On the way, they were confronted by did not awaken a greater interest in Europe. Only many bullies, both in the real and in the figurative with the first, second and complete translation into sense of the word, including sadistic killers (The English, with the preface and remarks by Jack Story of Oh My, The Robber with a Witch's Head). If we compare fairy tales with similar 5http://classes.bnf.fr/livre/grand/382.htm motifs and themes in Grimm's and Gonzebach's

Annals of Language and Literature V4 ● I3 ● 2020 11 Multilingualism and Interculturalism in Fairy Tales - Dorothea Viehmann, Laura Gonzenbach and Tina Vajt – ATU 402 versions, we can conclude that Grimm's women, accident. Already as a girl, she walked with her for example, in All-Kinds-of-Furand , mother from village to village, buying and arepassive victims who are punished when they selling hair, then combs, buttons, thimbles, want to escape or become independent. In the thread, ribbons, etc., thus supporting the family. case of L. Gonzenbach, in the fairy tales of On their routes, they spent nights under the open Beautiful Angiola, Lignu di Scupa, Betta Pilusa, sky, in stables, on farms, etc. Tinamemorised fairy tale personages are powerful, creative and do various fairytales, poems, proverbs, puzzles, not have the role of a victim. The collection of folk customs, habits, memories, adventures, etc. that fairy tales by Laura Gonzenbach could only she heard on these walks, also from her mother. hardly beregarded as feminist or subversive, She was believed to have said that she would go however, it is even more difficult to claim that to Venice on her knees for just one fairytale, and they have no such elements. that she would jump into fire or water for them Sicilian fairy tales were also told to children, not (Matiĉetov 1984: 328). She attended elementary just adults, but they were not cleansedof violent school and completed two or three classes. In scenes and bullies. Their purpose was, as Laura 1921, she married the grinder Ţvan Negro (1898- wrote, to preserve the authenticity of narration, 1953); she gave birth to eight children (four rather than changing and adapting the written daughters and four sons). Unfortunately, four died record. It is interesting that she did not write in early childhood and three died later. Only them in the Sicilian dialect, but rather translated daughter Gelinda (1937) survived childhood and them simultaneously into German, assisted by still lives in Pordenone in . Her life was also her sister Magdalen. In the second issue of Beautiul full of tragic events as her husband died in a car Angiola, Zipes added ATU numbers to all 94 crash at the age of 29. She remained alone with stories and a brief explanation of the types/motifs. two children, so Tina moved to her daughter in In the accompanying text, he placed Laura Pordenone. She also tells stories. Tina has been Gonzebach's life and work, as well as her fairy sickly for the last ten years of her life (1974- tales, into a socio-cultural context. He also listed 1984), but she spent every summer in her birth certain narrators (informers): Gua Lucia, Gua Cicca place of Solbica. She died on 21 February 1984 Crialesi, Gua Nunzia Giuffridi, Bastiana, in Pordenone, where she is also buried. Elisaabetta and Concetta Martinotti, Francesca Rusullo, Peppina Guglielmo, Caterina Certo. The famous folklorist Milko Matiĉetov (1919- 2014), who studied the life and work of Tina Tina Vajtava (1900-1984) Wajtava, wrote down her life motto: "Whyshould Valentia Pielich, née Negro, with the local name one cry, there is already enough bad things in the Tina Wajtova (Vajtova) (hereinafter: Tina), was world!" Matiĉetov was convinced that fairy tales born on May 4, 1900 at Ladina near Solbica (Resia, helped her to endure life tragedies. In 1967, Milko the valley in the in the - Matiĉetov made a documentary film for TV Venezia Giulia region, Italy). The autochthonous Slovenia, entitledPri naših pravljičarjih (Visiting languages in the province of Udine are Friulian, Our Storytellers). Milko Matiĉetov filmed 404 Italian, German and Slovenian. of Tina‘sfairy tales while around 27 of them She was one of four children (two daughters, two were published.6 sons), her father was the grinder Giosue Pielich Vajt

(1861-1904) and her mother was Ţvana Siega 6Matiĉetov, Milko. Tina Vajtova [Videoposnetek]: (1861-1930), with the home name Mucova from Solbica / scenarij Milko Matiĉetov ; kamera Slavko Osojan. The family suffered many tragedies: the Nemec; reţija Emil Riţnar. Pri naših pravljiĉarjih. father tragically froze in the snow, the older brother Ljubljana. Ljubljana: Avdiovizualni laboratorij Inštituta drowned, and the younger was killed in an za slovensko narodopisje ZRC SAZU, [2012], p. 1968.

SOCIO-CULTURAL BACKGROUND Viehmann, Dorothea Gonzebach, Laura (1842-1878) Wajtava, Tina (1900-1984) (1755-1816) father merchant, consul father worker (craftsman) and one of 13 children privat school mother housekeeper, 4 children socio-cultural craftsmen, middle 8 children lowersocial class context class mother’s premature death, sister Magdalen rural class father innkeeper takes over the leading of the family traveller

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Italy German Italy languages and Switzerland (French, Huguenots) Slovenia culture Sicily father’s inn Resia Malta 7 children (husband’s 5 children 8 children (only 1 survived), family death) untimely death (36 years) husband’s death writer (recorder) writers narrator salon (sister Magdalen) narrator and/ornarrators wrote down storiesby peasant women motivation J. in W. Grimm Otto Hartwig Milko Matiĉetov number of 36 < 210 Sizilianische Märchen, 1870 (92) 404 units

FAIRY TALE TYPES and the socio-poetic values of the troubadours (honor, reputation, generosity) (Sankovitch, 2008, Supernatural or Enchanted Wife (Husband) 116). It is about the similarity between the songs of or Other Relatives 400-459 women troubadours and fairytale writers, which are H.J. Uther established certain subcategories in the intertextually related to literary continuity and, in type index of fairy tales, in the category of their own way, the matize fin 'amor.11 Troubadours "supernatural or enchanted wife (husband) or and preciosas belonged to the highest socio-cultural other relatives": ATU 402 The Animal Bride layer (aristocracy, nobility) and lived in mansions. (formerly The Mouse [Cat, Frog, etc.] as Bride), Women troubadours were the first authors who ATU 410 [Dornröschen, La bella thematised female biographies in the theme of addormentata]. In the group of ATU 425-449 fin'amor. Preciosas, who mostly lived and/or (Husband), very famous fairy-tale types are the narrated in literary salons, regarded fairy tales as a following: ATU 425 The Search for the Lost "salon game" that they encoded 1) into magical and Husband with subtypes ATU 425A The Animal 2) for children. Thus, in the language of symbols as Bridegroom, ATU 425C Beauty and the and in a safe context, they thematised topics of Beast, ATU 440 The Frog King or Iron Henry, darkness, love, and especially sexuality. 441 , etc. Also the fairytale type/motif of an animal groom (or Based on the study of "fairytale" motifs from bride) is characteristic of the emotional poetics of troubadours to precios as and fairytale writers, it women narrators and writers. All three storytellers - was found that the central motifs, motif fragments Dorothea, Laura and Tina - have the same fairytale and blind motifs (M. Luthi) are expressed in the type/motif of ATU 402 which contains similarities language of symbols, that love7 (love, trust, loyalty) and differences. Dorothea's fairy tale was created in was love test, symbols (garden, spring, wall) German, Laura’s in Romance and Tina’s in Slavic 8 (Kristeva 1987:). context, while at the same time all three variants The authors, from troubadours to preciosas and exert similarities with the fairytale type of ATU fairy tale writers, express themselves with 402, but also differences. metaphors. Literary parallelism is common - ATU 402 Language, Literature and Culture - externalising the inner landscape (literal and ATU 402Comparative Analysis emotional winter).9 There are similarities and differences between the poems of the troubadours, On the basis of a comparative analysis of the in the psycho-poetic10 values (love, trust, loyalty) fairytales by the three storstellers, it was found that Dorothea Viehmann told J. and W. Grimm 36 fairy 7KRISTEVA, Julija, Tales of Love. New York, Columbia tales in German (Ehrhardt 2012: 148-9).Jack Zipes University Press 1987. translated 94 Sicilian fairy tales that were written in 8Bedenk, Kasilda, Blaţić, Milena Mileva, Slovenske German into English and published them in the pravljiĉarke in evropski prostor. Ljubljana: Pedagoška book titled Beautiful Angiola: The Lost Sicilian fakulteta, 2018. (In print) 9Blaţić, M. M., Trubadurice, precioze, pravljiĉarke. In: science which at the same time relates to the term Bedenk, K., Blaţić, M. M., Slovenske pravljičarke in emotion ekphrasis by Maria Nikolajeva (Nikolajeva, evropski prostor. Ljubljana: Pedagoška fakulteta, 2018. 2015, 101). (In print) 11Bedenk, Kasilda, Blaţić, Milena Mileva, Slovenske 10Psycho-poetic values will be referred to as emotional- pravljiĉarke in evropski prostor. Ljubljana: Pedagoška poetic motives as the context is that of youth literary fakulteta, 2018. (In print)

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Folk and Fairy Tales, 2013.TinaWajtova's fairy valley, Zahre/Sauris, Tischlbong/Timau) and tales are mostly on magnetic tapes; out of 404 fairy Slovenian (the dialects of Nadiţa [It. Natisone], tales, only 27 were published in Italian, Resian, and Rezija [It. Resia], Terska dolina[It. Alta Val Slovene. Torre]and Zilja [Ger. Gail]). Resian language Slovene is indigenous in Slovenia and in the neighbouring countries, in Italy (in Gorizia, Trieste Geneolinguistically, Resianis apart of , while sociolinguistically it is a Slovene ... Resia), (in southern and literary microlanguage (Resian, Venetian Slovene southern Styria), in (in Rába Valley), in and Rába Slovene) (Shekli: 96) which is spoken Croatia (in the part of Istria, Gorski Kotar, outside the borders of Slovenia, in Resia in Italy. Obsotelje, Medţimurje). The Resian dialect of Slovene is similar to the Due to its intriguing character and multilingual and Zilja dialect (German Gailtal, Austria),as well as intercultural affiliation to the Italian, German and to the dialects in Kanal Valley (Val Canale, Italy) Slovene cultures, the language, literature and and in the vicinity of Rateĉe and culture of Resia began to be explored already in the (Slovenia). 19th century. (Jan Baudouin de Courtenay). In the history of the Resia valley, in particular due to its position on the outskirts of the Slovenian linguistic space, the political and administrative separation from the Slovene territory with the state border is typical, as Resia and Veneto were a part of the Patriarchate of Aquileia (1420-1797) until 1420, under the Venetian Republic from 1420 to 1797 and then, except for the short Napoleonic period (1797-1815),under Austria (1815-1866), while from 1866 they form a part of Italy [...]. (Shekel 2015: 207). For Resian language, diglossia (bilingu- alism - the Resian dialect of Slovene) is character- ristic within bilingualism (literary Italian and literary Slovene (foreign language)). (Shekli 2013) Figure1. Region of Friuli - Venezia Giulia in the After 1980, the need for the creation of their own, Republic of Italy provincially or locally limited literary language has Languages, Literature and Cultures in grown in Resia. [...]. The main four regional Contact - Archaism and Modernity speeches are those of the villages of Bila, Njiva, Osojane and Solbica. (Shekel 2015: 2009).12 Based on the comparison of the fairy tales by the three storytellers according to the ATU The autochthonous languages of Friuli-Venezia index, it has been established that the following Giulia in Italy (the provinces of Gorizia, Pordenone, fairy tales are common to all three storytellers.13 Trieste, Udine) are Friulian, Italian, German (Kanal

13 12Šekli, Matej (2015). Rezijanšĉina: geneolingistiĉna in For now, only one of Tina’s fairy tales was transcribed sociolindvistiĉna opredelitev. Poznańskie Studia Slawist- and published, namelyŽabica (ATU 402 - The Animal yczne ISSN: 2084-3011.- No. 8 (2015), pp. 199-213 Bride (The Mouse (Cat, Frog, etc.) as Bride)).

Viehmann, Dorothea Gonzebach, Laura Wajtava, Tina

About Joseph, Who Benjamino ATU 400 The Man on a Der König vom goldenen Set out to Seek His Mož išče izgubljeno ženo Quest for His Lost Wife Berg (92) Fortune (81)14 (AHusband Seeking His Lost Wife) ATU 402 The Animal Die drei Federn, KHM 63 Wastefull Žabica (The Frog Maiden) Bride (The Mouse (Cat, Der arme Müllersbursch Giovannino (82) Frog, etc.) as Bride); und das Kätzchen, KHM 106 ATU 425 The Search for Der Eisen-Ofen 1815 (no. Prince Scursuini Dekle, ki hotela rožico (The Girl the Lost Husband, The 41), from 1837 Der (12), Who Wanted a Flower) Animal as Bridegroom Eisenofen (KHM 127) The Pig King (37) Zelenec(Greenhorn)

14The number of the fairy taleinBeautiful Angiola.

14 Annals of Language and Literature V4 ● I3 ● 2020 Multilingualism and Interculturalism in Fairy Tales - Dorothea Viehmann, Laura Gonzenbach and Tina Vajt – ATU 402

Of the other Grimm’s storytellers, the following a numbskull (KHM 62, 64, 165). The motif of the fairy tales or types are comparable that will be three feathers appears in other fairy tales with subject to further research. Brothers Grimm Brothers Grimm, such as KHM 15 Numbskull included Dorothea's fairy tale in KHM 1819 and (1810), KHM 17 King’s Three Sons, ATU 75 changed it in 1840. Brothers Grimm wrote down Phoenix (1812) certain fairy tales in which the fairy tale character is Grimm’swomen Gonzebach, Laura, 1870 Resian storytellers, 1966 storytellers, 1810 Das Mordschloss (ausgeschie- The Story of My Oh (44), ATU 311 Rescue by Njan je hudić spet (Tina dene Texte) (Anna Christina The Robber with a Witch's the Sister Wajtova) Francisca von Kinsky) Head (52) (621, 311, 302) ATU 410 Sleeping Dornröschen (Marie Beautiful Anna (87), Ta, ki spala sto let (Tina Beauty Hassenpflug) Maruzzedda (63) (709, 410 ) Wajtova) ATU 425 The Search Der Eisenofen 1815 (Nr. 41 ) for the Lost Husband, Prince Scursuini (12), Ta od ribe (Edda Di Lenardo ab 1837 "Der Eisenöfen" The Animal as The Pig King (37) Krukiž), 1968 (127) Bridegroom Ceherentola (Cenerentola) Aschenputtel (Elisabeth Beta Pilusa (8), ATU 510 (Tina Wajtova) Schellenger, (Marburg wifeof Giovanni and Katerina (25) and Peau d'Ane Kožuharica (Tina Wajtova) hospital warden) (510 A, 480) Pele d'asino (Tina Wajtova)

Comparative analysis of the fairy tales Three Gilgamesh) which carries him by way of a magical Feathers, Wastefull Giovannino and The Frog flight to the queen. But the eagle is hungry, so Maiden. All three fairy tales discussed are classified Giovaninno cuts parts of his body to feed it. This as the fairytale type ATU 402 (The Animal Bride) motive is psychoanalytically important because which represents the similarity, but the difference is heneeds to renounce the infantile part of himself, that in the fairy tale of , the i.e. his wastefulness. This is followed by the hero's animal bride is an ugly frog, in the Wasteful trials, as the Queen sends Givoninno 12 shirts and Giovaninnoit is a white sheep and in The Frog embroidery on a silver tray. He uses it as a cleaning Maiden the character of a frog. cloth in the kitchen. Giovaninno and the queen are setting each other additional conditions. In this All three fairytales of the animal bride are related to episode, the fairy tale is reminiscent of King the motif of weaving (Philomena’s motif): the first Thrushbeard, as Giovaninno suggests she should be one presents the finest linen fabric, the second carried in a coffin with a priest, accompanied by twelve shirts of the finest fabric and the third a cloth music, accross the city to his window. At the woven from the finest thread, so that it can go end of the anti-fairy tale (M. Luthi) is a happy through a ring, which represents the similarity ending, i.e. marriage (V. Propp). between Dorothea’s and Tina’s variants. Dorothea’s and Tina’s variants are similar, although The fairytale Wasteful Giovaninno could be an anti- they are slightly different in the conclusion. fairy tale (M. Luthi), because the fairytale figure of Dorothea's version is more of a folk version, while Giovaninno is unwise, falling from happiness to Tina added emotional elements (shame, poor girl, unhappiness, from wealth to poverty. He has a sad, etc.). Although Ben’s brothers were evil toward faithful servant called Peppe, which is thematically him, at the end his father gave some of his and in motif linked with the motif of Don Quixote possessions also to his first and second son, and (and Sancho Pansa), Count Lucanor and loyal Ben left the kingdom. Tina added the thought, "On Petronio (Don Juan Manuel). the one hand, he saved the frog, and on the other All three fairytale heroes,Numbskull, Giovannino hand, the frog saved him, because he himself and Ben, are travelers who leave home: in the first could not achieve anything." (Kropej 2017) The fairytale three times (flax, carpet and beautiful conclusion of her fairy tale is similar to Laura's girl); in the second, the anti-fairy tale, Giovaninno (They lived cheerfully and happily, but we are meets an animal bride - a white sheep, but left without a cent.) (Zipes 2006: 51, 62, 106). because he is under the spell he falls asleep and A typical example of multilingualism and does not perform his tasks in eight days, thus the interculturalism is the fairytale Žabica: fairy tale is more complex. When Giovaninno gets lost, he meets atalking eagle (the blind motive of  Ital. stria -- Resian štrija (witch),

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 Ger. Stoff, der; Ital. stoffa – Slovenecoll. štof  Ben – word with multiple meanings, proper  ženitka – Old and old Slavic – name Ben(jamin), Ital. bene – good wife or wedding.

Figure 3 Laura Gonzebach, Figure1 Dorothea Figure 2 Sizilianische Figure 4 Tina Vajtava, Sizilianische Märchen, ed. Viehmann, Ludwig Grimm, Märchen, I, Johanna 1966, Stefano Ornella, Oto Harwig, 1870, 1815 Jaeger from Messina 2017 depicting Caterina Certo

Findings - Multilingualism and Interculturalism REFERENCES All three storytellers - the narrator Dorothea [1] APULEIUS, Lucius, Metamorfoze ali Zlati Viehmann, the writer Laura Gonzenbach and the osel/Apulej. Prevedel, spremno besedo in opombe narrator Tina Vajtava - had a multilingual and napisal Primoţ Simoniti. Ljubljana: Cankarjeva zaloţba 1981. multicultural socio-cultural background. Dorothea [2] BEDENK, Kasilda, BLAŢIĆ, Milena Mileva. German-French, Laura Swiss-German-Italian- Slovenske pravljiĉarke v evropskem prostoru. Sicilian and Tina Venetian-Italian-Slovenian- Ljubljana: Pedagoška fakulteta, 2018. (In print) Resian. They all spoke several languages and were [3] BOGIN, Magda, The Women Troubadours. New part of the social network: Dorothea (inn guests, York; London; Ontario, Paddington Press1976. Brothers Grimm), Laura (literary salon) and Tina [4] BRUCKNER, Matilda Tomaryn, etc., Songs of the (saleswoman and narrator). Maria Warner named Women Troubadours.Taylor & Francis 2000. the fairytales of Laura Gonzenbah "Sicilian [5] EHRHARDT, Holger: Dorothea Viehmann. Die Märchenerzählerin der Brüder Grimm. Umfangre- orientalism" (Warner 2014: 66). All three originated iche Dokumentation mit Beiträgen von Vera from large families and they themselves also had Leuschner, Heinz Rölleke u. a. 160 Seiten. Euregio large families. Dorothea was of craft-trade origin, Verlag Kassel 2012. her father was an innkeeper, while she herself was a [6] KRISTEVA, Julija, Tales of Love. New York, costermonger; Laura originated from high-middle Columbia University Press 1987. class, she was educated, literate, cultural; Tina was [7] MATIĈETOV, M. & Dapit, R., M., Fiabe resiane – Rezijanske pravljice – Pravice po rozjansko. of peasant origin, a working woman who spent her [premessa, scelta del materiale sonoro e traduzioni, time selling. The historical and geographical spremno besedilo, izbor zvoĉnega gradiva in similarity between their fairy tales is the European prevod Roberto Dapit, Monika Kropej; elabora- space, the difference is in the subjectivization of the zione dei documenti sonori, zvoĉna obdelava Peter authors. Typical of Dorothea is the model of Vendramin]. Ljubljana: Zaloţba ZRC 2014. zz.zrc- sazu.si/Porta…/…/publikacije/Rezijanske_pravljic storytelling from the first half of the 19th century (a e.pdf 2014. [Accessed: 26.02.2017] clear dichotomy between good and bad);for Laura, [8] ŠEKLI, Matej (2015). Rezijanšĉina: geneolingi- the model of writing in the second half of the 19th stiĉna in sociolindvistiĉna opredelitev. Poznańskie century (a more equal position of female and male Studia Slawistyczne ISSN: 2084-3011.- Nr 8 fairy-tale characters) is typical; and for Tina, the (2015), str. 199-213 model of modern storytelling is typical, the [9] ŠEKLI, Matej, Jezikovna identiteta Rezijanov, 2013. introduction of social empathy for the main and [10] UTHER, Hans-Jörg, The Types of International secondary literary persons (both brothers), for Folktales, a Classification and Bibliography, Based men and women (Ben and Frog Maiden/ Princess). on the System of Antti Aarne and Stith Thompson.

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Helsinki Suomalainen Tiedeakatemia /Academia [12] ZIPES, Jack, The Golden Age of Folk and Fairy Scientiarum Fennica 2004, 2011. tales, from the Brothers Grimm to Andrew Lang. [11] WARNER, Marina, Once Upon a Time: A Short Indianopolis/Cambridge, Hackett Publishing History of Fairy Tale, 2014. Oxford: Oxford Company 2013. University Press.

Citation: Milena Mileva Blažić, “Multilingualism and Interculturalism in Fairy Tales - Dorothea Viehmann, Laura Gonzenbach and Tina Vajt – ATU 402”, Annals of Language and Literature, 4(3), 2020, pp 9-17. Copyright: © 2020 Milena Mileva Blažić. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.

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