Making Connections Through the Use of Fairy Tales
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Snow White’’ Tells How a Parent—The Queen—Gets Destroyed by Jealousy of Her Child Who, in Growing Up, Surpasses Her
WARNING Concerning Copyright Restrictions The copyright law of the United States (Title 1.7, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or reproduction. One of three specified conditions is that the photocopy or reproduction is not to be used for any purpose other than private study, scholarship or research. If electronic transmission of reserve material is used for purposes in excess of what constitutes “fair use”, that user may be liable for copyright infringement. This policy is in effect for the following document: Fear of Fantasy 117 people. They do not realize that fairy tales do not try to describe the external world and “reality.” Nor do they recognize that no sane child ever believes that these tales describe the world realistically. Some parents fear that by telling their children about the fantastic events found in fairy tales, they are “lying” to them. Their concern is fed by the child’s asking, “Is it true?” Many fairy tales offer an answer even before the question can be asked—namely, at the very beginning of the story. For example, “Ali Baba and the Forty Thieves” starts: “In days of yore and times and tides long gone. .” The Brothers Grimm’s story “The Frog King, or Iron Henry” opens: “In olden times when wishing still helped one. .” Such beginnings make it amply clear that the stories take place on a very different level from everyday “reality.” Some fairy tales do begin quite realistically: “There once was a man and a woman who had long in vain wished for a child.” But the child who is familiar with fairy stories always extends the times of yore in his mind to mean the same as “In fantasy land . -
"Little Red Riding Hood" Exists in Many Its Anxiety-Producing E Different Versions
Bettelheim, Bruno. The Uses of Enchantment. New York: Alfred A. Knopf, 1989. THE USES OF ENCHANTMENT 166 "Little Red Riding H bined efforts. These stories direct the child toward transcending his But the literary h immature dependence on his parents and reaching the next higher his title, "Little Re stage of development: cherishing also the support of age mates. Coop- English, though the erating with them in meeting life's tasks will eventually have to re- Red Cap," is more ; place the child's single-minded reliance on his parents only. The child most erudite and a of school age often cannot yet believe that he ever will be able to meet variants of "Little I the world without his parents; that is why he wishes to hold on to them cluded his, we migk beyond the necessary point. He needs to learn to trust that someday been its fate if the B he will master the dangers of the world, even in the exaggerated form of the most popula: in which his fears depict them, and be enriched by it. starts with Perrauli The child views existential dangers not objectively, but fantastically first. exaggerated in line with his immature dread-for example, per- Perrault's story 1: sonified as a child-devouring witch. "Hansel and Gretel" encourages how the grandmoth the child to explore on his own even the figments of his anxious hood (or cap), whicl imagination, because such fairy tales give him confidence that he can day her mother ser master not only the real dangers which his parents told him about, but grandmother, who even those vastly exaggerated ones which he fears exist. -
The Changing Function of the Fairy Tale
The Changing Function of the Fairy Tale Jack Zipes The Lion and the Unicorn, Volume 12, Number 2, December 1988, pp. 7-31 (Article) Published by The Johns Hopkins University Press DOI: 10.1353/uni.0.0236 For additional information about this article http://muse.jhu.edu/journals/uni/summary/v012/12.2.zipes.html Access provided by Wayne State University (5 Jan 2014 16:45 GMT) The Changing Function of the Fairy Tale by Jack Zipes It is nearly impossible to define the fairy tale as a literary genre because it has become more of a cultural institution than anything else. Not only are there thousands of literary fairy tales produced for children and adults each year throughout the world, but there are also fairy-tale films, plays, ballets, operas, tapes, records, calendars, illustrations, and advertise- ments. Furthermore, hundreds of thousands of folk tales continue to be told and come and go as easily as the wind whisks leaves into the air, lets them flutter, and eventually disperses them on the ground until they settle and die. But the best of our tales do not die. Tales are marks that leave traces of the human struggle for immortality. Tales are human marks invested with desire. They are formed like musical compositions except that the letters constitute words and are chosen in- dividually to enunciate the speaker/writer's position in the world, in- cluding his or her dreams, needs, wishes, and experience. The speaker/ writer posits the self against language to establish identity and to test the self with and against language, and each word marks a way toward a future different from what may have already been decreed, certainly different from what is being experienced in the present: the words that are selected in the process of creating the tale allow the speaker/writer freedom to play with options that no one has ever glimpsed. -
01 Syllabus Fairy Tales S2015
Fairy Tales – Then and Now (3 credits) Spring 2015 01:470:225:01, crosslisted 01:195:246:01 MW 3:20pm – 4:40pm, Rutgers Cinema 1 Professor Nicola Behrmann German Department 172 College Ave, Room 206 [email protected] Office hours: Wednesdays 12-2pm Course Description: This course analyzes the structure, meaning, and function of fairy tales and their enduring influence on literature and popular culture. While we will concentrate on the German context, and in particular the works of the Brothers Grimm, but will also consider fairy tales drawn from a number of different national traditions and historical periods, including contemporary American pop culture. Various strategies for interpreting fairy tales will be examined, including methodologies derived from structuralism, folklore studies, gender studies, and psychoanalysis. We will explore pedagogical and political uses and abuses of fairy tales. We will investigate the evolution of specific tale types and trace their transformations in various media from oral storytelling through print to film, television, and the stage. Finally, we will consider potential strategies for the reinterpretation and rewriting of fairy tales. Taught in English. No prerequisites. Satisfies SAS Core Curriculum Requirements AHp and WCd with the specific Core learning goals p, p, s-1, t, and v. Arts and Humanities Goal p: Student is able to analyze arts and/or literature in themselves and in relation to specific histories, values, languages, cultures, and/or technologies. Writing and Communication Goal d: Student is able to communicate effectively in modes appropriate to a discipline or area of inquiry. Required readings: The following texts are available for purchases at the Rutgers bookstore: • The Complete Fairy Tales of the Brothers Grimm, tr. -
Behavioral Prescriptions in Early American Translations of Perrault’S Classic Fairy Tales
FORMULAS FOR CULTURAL SUCCESS: BEHAVIORAL PRESCRIPTIONS IN EARLY AMERICAN TRANSLATIONS OF PERRAULT’S CLASSIC FAIRY TALES Megan Cross A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2014 Committee: Ruth Herndon, Advisor Thomas Barden © 2014 Megan Cross All Rights Reserved iii ABSTRACT Ruth Herndon, Advisor In 1697, Charles Perrault published a volume of seven fairy tales, which continue to be widely read in the present day: “Little Red Riding Hood,” “Cinderella, or the Glass Slipper” “Puss in Boots,” “Bluebeard,” “Riquet and the Tuft,” “The Fairy,” and “The Little Thumbling.” What did early Americans make of these fairy tales? Beginning in the late eighteenth century, American presses began publishing American editions of these fairy tales, indicating their cross-cultural appeal. I argue that by publishing these tales without changes, Americans accepted and endorsed European cultural norms and assumptions. This suggests that, despite political rhetoric about the United States creating itself anew, many American agreed with the formulas for cultural success as expressed in Charles Perrault’s original French fairy tales. Further, the cultural binaries not only were adopted by Americans without change, but these values clearly illuminate characteristics of American exceptionalism that was so important to early Americans during the revolutionary era. Historical scholarship has largely ignored the significance of using fairy tales to analyze culture. Scholars of early modern literature focus primarily on the psychological interpretations of each tale. While a number of scholars have compared French and German fairy tales, none have compared French fairy tales to their American versions, and none have studied these seven tales in their comparative historical contexts. -
A Polish History of the Grimm Fairy Tales
Przekładaniec. A Journal of Literary Translation 22–23 (2009/2010): 57–75 doi:10.4467/16891864ePC.13.003.0857 Eliza PiEciul-karMińska A POLISH HISTORY OF THE GRIMM FAIRY TALES Abstract: This article discusses difficulties with translating the Grimm fairy tales into Polish. The first part describes the specific features of the original text and presents Bruno Bettelheim’s conclusions about “the meaning and importance of fairy tales.” The second part reviews the existing Polish translations. The third part discusses the main goals of a new Polish translation. The conclusion stresses that the new Polish translation should be addressed to a double audience (both children and adults), as is the case with the original Kinder- und Hausmärchen. Keywords: translation series, adaptation, Grimm genre The fairy tales collected by Jacob and Wilhelm Grimm are, next to the Luther Bible, the best-known masterpiece of German literature, translated so far into 160 languages. In June 2005 they were listed on UNESCO’s Memory of the World Register, which formally confirmed their place in the world literature canon. So far, there has been one translation of the “Large Edition”1 (1989) into Polish, as well as numerous translations and adapta- tions of individual tales. In November 2009, the Media-Rodzina publishing house issued a volume of fifty tales, a Polish translation of the so-called 1 The first edition of the German original was published before Christmas 1812. Be- cause both the publishing house and the readers demanded that the tales be transformed into a children’s book, Wilhelm Grimm deleted expressions unsuitable for children, and made the tales more “fairy-like” in style. -
Ethical Literary Criticism on Fairy Tales
INTERLITT ERA RIA 2017, 22/1: 273–281 273 How Fairy Tales Educate and Civilize Us: Ethical Literary Criticism on Fairy Tales How Fairy Tales Educate and Civilize Us: Ethical Literary Criticism on Fairy Tales LI XIAOYI Abstract. This article first discusses the history and ideology of fairy tales. As Walter Benjamin said in his essay “The Storyteller”, rumors and information were spread verbally, from person to person. So were fairy tales. Through storytelling, the history and experience is spread from generation to generation. So that audience, especially children, gather to listen to the folks and stories about things “long long ago”, sharing the memories and experience of the storytellers. Based on this idea, the article further analyses the utopian function of fairy tales, which depict the feasibility of utopian alternatives by means of fantastic images. Because in the name of fairy tales, anything is possible. Apart from hope and wish, there was dissatisfaction in fairy tales. Ernst Bloch placed special emphasis on dissatisfaction as a condition which ignites the utopian drive, so that it remains a powerful cultural force among the audience, urges them to resist, to change the unreasonable things in the world. At last, it comes to the ethical use of fairy tales with children. Many scholars, like Bruno Bettelheim and Julius E. Heuscher, have done some psychiatric and psychological research on the meaning and usefulness of fairy tales. Different from those, this article mainly talks about the literary education in fairy tales, how the words, characters and plots play a role in education. Keywords: fairy tales; storyteller; utopia; education When we talk about fairy tales, we may think of images which are related to magic or enchantments such as dwarves, giants and fairies. -
Bettelheim Among the Folklorists
University of Pennsylvania ScholarlyCommons Department of Near Eastern Languages and Departmental Papers (NELC) Civilizations (NELC) 1994 Bettelheim Among the Folklorists Dan Ben-Amos University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/nelc_papers Part of the Folklore Commons, Near and Middle Eastern Studies Commons, and the Psychoanalysis and Psychotherapy Commons Recommended Citation Ben-Amos, D. (1994). Bettelheim Among the Folklorists. The Psychoanalytic Review, 81 (3), 509-536. Retrieved from https://repository.upenn.edu/nelc_papers/57 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/nelc_papers/57 For more information, please contact [email protected]. Bettelheim Among the Folklorists Abstract Psychoanalysis and folklore have been uneasy bedfellows. Any psychoanalytic interpretation of folktales makes folklorists twist and turn. Their reactions have ranged from ambivalent acceptance to unequivocal rejection. Psychoanalysts, on the other hand, are ever too ready to consider such a reaction as denial, or at least avoidance of the "true" meaning of fairy tales. As a psychoanalyst, Bruno Bettelheim could have bridged between the two disciplines with his book The Uses of Enchantment (1976). His valuation of orality, his erudite familiarity with the classical sources of European folktales, and his sheer love for the fairy tale, qualified him for mediating the two disciplines. Surely, Bettelheim did not conceive of himself as a broker between two intellectual fields. However, by writing such a book this role was inevitably thrust upon him. The assessment of his success or failure requires, first, the examination of the theoretical, methodological, and attitudinal conflicts between folklore and psychoanalysis. -
Introduction: the Struggle for Meaning
Bettelheim, Bruno. The Uses of Enchantment. New York: Alfred A. Knopf, 1989. INTRODUCTION: THE STRUGGLE FOR MEANING If we hope to live not just from moment to moment, but in true consciousness of our existence, then our greatest need and most diffi- cult achievement is to find meaning in our lives. It is well known how many have lost the will to live, and have stopped trying, because such meaning has evaded them. An understanding of the meaning of one's life is not suddenly acquired at a particular age, not even when one has reached chronological maturity. On the contrary, gaining a secure understanding of what the meaning of one's life may or ought to be -this is what constitutes having attained psychological maturity. And this achievement is the end result of a long development: at each age we seek, and must be able to find, some modicum of meaning congru- ent with how our minds and understanding have already developed. Contrary to the ancient myth, wisdom does not burst forth fully developed like Athena out of Zeus's head; it is built up, small step by small step, from most irrational beginnings. Only in adulthood can an intelligent understanding of the meaning of one's existence in this world be gained from one's experiences in it. Unfortunately, too many parents want their children's minds to function as their own do-as if mature understanding of ourselves and the world, and our ideas about the meaning of life, did not have to develop as slowly as our bodies and minds. -
Cinderella Debora Petschek
Cinderella Debora Petschek What is it about “Cinderella” stories that allows the motif to live in so many cultures? What universal archetypes does the story work with that have found resonance all around the globe? While working on a marionette performance of that their content portrays soul experiences, cosmic the story of “Yeh-Shen,” the “Chinese Cinderella,” truths, the process of the individual’s development, I recalled several other versions of this story the elemental world, folk wisdom and apocalyptic that I had read. I began to wonder about the imaginations. These ‘reports,’ however, are not origins and meaning of the Cinderella story couched in conceptual language, but in imaginative pictures. A whole world of spiritual scientific and how it migrated across the globe. What is it knowledge is contained in them” (p.7). about this story, more than any other that I am Wilkinson summarizes very succinctly what I aware of, that speaks across all cultures? Are the learned about the meaning of fairy tales in the course archetypes so strong that versions of the story of my research. Fairy tales are part of every culture’s arose simultaneously around the globe? To my oral tradition. They originated in a time when knowledge, this is the only fairy tale that has humans were more connected to the spiritual world versions in virtually every corner of the planet. and could “see” and “hear” its realities. These tales My research found that there are anywhere speak directly to a person’s heart and soul, bypassing from 350 to 1000 different Cinderella stories. -
By Angela Carter
texts in context Beauty and the Beast by Walter Crane (1845–1915) Introduction Social and historical contexts The Bloody Chamber is a collection of ten short stories, Feminism and re-examining the Marquis de Sade first published in 1979. It opens with the title story, the longest and most complex, which introduces many of Angela Carter wrote The Bloody Chamber as an active participant the key themes and concerns of the rest: love, marriage, in what is often called ‘second wave feminism’. In the 1970s women gender roles, sexuality and violence. The title story is set began to disagree over the direction and desired outcomes of the in Brittany in northern France, introducing a European feminist movement. One key area of debate was pornography: some flavour that becomes central to the stories, some of which radical feminists believed that pornography led to violence against are set in colder northern European countries, while others women and campaigned for censorship, while others, including take place in warmer southern climates. Each story is Carter, felt that pornography required investigation into its depiction related to a fairy tale or folk tale, and familiar names and of gender roles and politics. character types populate the stories — Beauty, the Beast, She was commissioned by the feminist publisher Virago to write Puss in Boots, the virgin bride — alongside less familiar a critical analysis of the work of the Marquis de Sade, which she characters. described as ‘the text on sexuality and power’. (De Sade was an eighteenth-century French nobleman infamous for his violent pornographic writings. The word ‘sadist’, meaning someone who achieves sexual pleasure from inflicting pain, is derived from his name.) The Sadeian Woman (1979) was highly controversial within the feminist movement. -
"Little Red Riding Hood" Exists in Many Its Anxiety-Producing E Different Versions
Bettelheim, Bruno. The Uses of Enchantment. New York: Alfred A. Knopf, 1989. THE USES OF ENCHANTMENT 166 "Little Red Riding H bined efforts. These stories direct the child toward transcending his But the literary h immature dependence on his parents and reaching the next higher his title, "Little Re stage of development: cherishing also the support of age mates. Coop- English, though the erating with them in meeting life's tasks will eventually have to re- Red Cap," is more ; place the child's single-minded reliance on his parents only. The child most erudite and a of school age often cannot yet believe that he ever will be able to meet variants of "Little I the world without his parents; that is why he wishes to hold on to them cluded his, we migk beyond the necessary point. He needs to learn to trust that someday been its fate if the B he will master the dangers of the world, even in the exaggerated form of the most popula: in which his fears depict them, and be enriched by it. starts with Perrauli The child views existential dangers not objectively, but fantastically first. exaggerated in line with his immature dread-for example, per- Perrault's story 1: sonified as a child-devouring witch. "Hansel and Gretel" encourages how the grandmoth the child to explore on his own even the figments of his anxious hood (or cap), whicl imagination, because such fairy tales give him confidence that he can day her mother ser master not only the real dangers which his parents told him about, but grandmother, who even those vastly exaggerated ones which he fears exist.