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Masquerade and Mischief in Boccaccio's World
Travestimento/Travestitismo: Masquerade and Mischief in Boccaccio’s World Scott Antonio Failla Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2015 © 2015 Scott Antonio Failla All rights reserved ABSTRACT Travestimento/travestitismo: Masquerade and Mischief in Boccaccio’s World Scott Antonio Failla Travestimento/travestitismo: Masquerade and Mischief in Boccaccio’s World examines Boccaccio’s use of masquerade to parody social conventions and invert the cultural themes characterizing fourteenth-century Italy. Its aim is to demonstrate the myriad ways in which the medieval author masks and unmasks characters—often using gender as performance—to gain access to either sublimated sexuality or forbidden power, and ultimately to reveal rather than conceal human nature. This study offers a close reading of the Ninfale fiesolano and five novellas (2.3, 2.9, 3.1, 3.2, and 4.2) of the Decameron, focusing on characters that go beyond their usual identity and/or the limits of their biological sex to occupy transgendered spaces. Today, our understanding of gender studies encompasses a far more inclusive understanding of the term “gender.” This dissertation begins with the concept that gender is fluid and performative, and that though the body may be fixed, its gender is not confined to restrictions imposed on it by society. Some of Boccaccio’s characters, accordingly, occupy multiple gendered spaces while assuming the identity of another sex, in particular Zinevra/Sicurano, the abbot/princess, and Africo (Chapters Two, Three, and Four). Although far from the transformations found in the mythological world of Ovid’s Metamorphoses, Boccaccio’s tales offer the “metamorphosis” of the masquerade, that is, a false outward show, a pretense, or façade that oftentimes is achieved through disguise or costume. -
Maybe It's Your Hormones
TRAVEL By Vanessa Orr German Fairy Tale Route Makes for a Magical Trip I’ve always wanted to have a fairy-tale vacation, and when I woke up in rose- entwined tower room in the Sleeping Beauty castle in Sababurg, Germany, The Snow White House Americans as Snow White and the Seven Dwarfs, Mother I knew that it had finally happened. I Hulda and Sleeping Beauty, among others. wasn’t as surprised as you might think, Homage is paid to all of these literary characters along though, as I had been following in the the drive, which encompasses numerous towns including Marburg, where the Brothers Grimm studied from 1802-06, to footsteps of the Brothers Grimm along Bergfreiheit, Bad Wildungen, Hessisch Lichtenau, Sababurg and Kassel. While I was not able to complete the full route on the German Fairy Tale Route. my trip, time spent in each of these areas helped me see just how the landscape influenced the brothers’ work—and many The route, which runs about 372 miles (including numerous children’s nighttime fantasies. turn-offs) from Hanau to Bremerhaven, is full of picturesque landscapes, spectacular castles, narrow alleys and charming, Marburg is a charming university town that includes the Grimm timber-framed houses. It is also home to the legends that Path, a winding, hilly walk up to Landgrave Castle, which inspired the Grimm Brothers’ famous book, Children and now serves as a museum of cultural history after numerous Household Tales—tales that might be more familiar to incantations as a fortified castle, residence, garrison, prison Too often, women going through menopause are told to “just deal with it” or that “it’s part of getting older.” That’s fine, unless you’re the one going through menopause. -
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. -
A Retold Fairy Tale
Mayer 1 Anna Mayer BFA Dance - Studio Concert April 4, 2011 Rose… a Retold Fairy Tale "When a fairy tale 'works,' it works itself into our bloodstream and never leaves." - Jack Zipes (Brothers & Beasts 184-5) Preface Rose, a modern dance piece, is a retold fairy tale created for my Bachelor of Fine Arts senior concert. During the nine-month process, I conceived, designed, and directed the piece in preparation for our final performance (Irey Theatre, March 11-13, 2011). A digital video record- ing of the performance is available in the University of Colorado archives. This paper is an ex- ploration of my intentions and influences during the process, as well as a retrospective analysis of the piece’s unforeseen impact. Archetype and Queer Feminism The dance piece, Rose, came to my mind nearly fully-formed – though hazy and frag- mented - in the way that the remnants of a dream resurface after waking. I already had the in- formation, the fairy tales; they had worked themselves into my bloodstream and never left, from my childhood viewing of Disney's Beauty and the Beast to my readings (and re-readings) of con- temporary retellings such as Francesca Lia Block's Rose and the Beast. I already knew the char- Mayer 2 acters, deep down - they were inside me, in the way that archetypes reside within us across cen- turies. My job was to cultivate the most potent stories, to foster the characters (both within the performers and myself), and to shape the hazy fragments of my imagination into a story worth telling. -
Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales
University of Kentucky UKnowledge Folklore Anthropology 7-5-2002 Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales Jack Zipes Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Zipes, Jack, "Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales" (2002). Folklore. 15. https://uknowledge.uky.edu/upk_folklore/15 Breaking the Magic Spell Publication of this volume was made possible in part by a grant from the National Endowment for the Humanities. Copyright O 1979 by Jack Zipes Published 2002 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. - Editorial and Sales Ofices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Library of Congress Cataloging-in-Publication Data Zipes, Jack Breaking the magic spell. 1. Tales, European-History and criticism. 2. Literature and society. I. Title ISBN-10: 0-8131-9030-4 (paper) ISBN-13: 978-0-8131-9030-3 This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials. -
Melting Pot Rapunzel by Jay Voorhies a Thesis Presented to the Honors
Melting Pot Rapunzel by Jay Voorhies A Thesis presented to the Honors College of Middle Tennessee State University in partial fulfillment of the requirements for graduation from the University Honors College April 2015 TABLE OF CONTENTS Page Signature Page……………………………………………………………………….……..………i Acknowledgements…………………………………………………………………..........……….ii Abstract……………………………………………………………………………..........……......iii Table of Contents………………………………………………………………………...……......iv List of Figures……………………………………………………………………………………...v Part I – Research Component Chapter 1 – Organismic Rapunzel………………………………………...…………..…..1 Chapter 2 – The Maiden-in-a-Tower Tale…………………………………….………..…3 Chapter 3 – “Rapunzel”…………………………………………………..…………….....4 Chapter 4 –“Petrosinella”……………………………………………………….……..….9 Chapter 5 – Mediterranean Variants…………………………………………………......13 Chapter 6 – “Persinette”……………………………………………………………….....16 Chapter 7 – French Variants……………………….………………………….………....21 Chapter 8 – “Louliyya Daughter of Morgan”………………………………………..…..24 Chapter 9 – The Legend of Saint Barbara…………………………………………..…...28 Chapter 10 – “Zal and Rudabeh”…………………………………………………….......30 Chapter 11 –“Mother and Daughter”…………………………………………….........…31 Chapter 12 – Sugar Cane: A Caribbean Rapunzel………………………………………33 Chapter 13 – Tangled………………………………………………………….……...….36 Conclusion…………………………………………………………………………...…..40 Part II – Creative Component “Yamaima”…………………………………………………………………..………..…42 Works Cited…………………………………………………………………..………….60 LIST OF FIGURES Figure I: “Yamaima in her Tower” Figure II: “Yamamba’s -
Weiblichkeit Zwischen Hausarbeit Und Initiation
LYDIA MÜHLBACH WEIBLICHKEIT ZWISCHEN HAUSARBEIT UND INITIATION Das Grimm’sche S(ch)neewittchen und ausgewählte Adaptionen 1. Arbeit im Märchen: Aspekte von Gender und Genre Die von Jacob und Wilhelm Grimm gesammelten und mehrfach bearbeiteten Kin- der- und Hausmärchen waren der Beginn romantischer Kinder- und Jugendliteratur in Deutschland und sind noch heute ein bedeutendes Dokument deutscher Kul- turgeschichte.1 Die Herausgabe war von bürgerlichen Moralvorstellungen des an- gehenden 19. Jahrhunderts beeinflusst;2 als didaktisch ausgerichtete ‚Volkspoesie‘ wirken die Märchen bis heute auf gesellschaftliche Werte und Normen zurück. Die Sammlung bildet ein signifikantes Zeitzeugnis bürgerlicher Kultur, in dem auch der Arbeitsdiskurs und die Geschlechterbilder entsprechenden Vorstellungen un- terliegen und beispielsweise regelmäßige Arbeit und das spezifische Familienideal als bürgerliche Norm vorgeführt werden.3 Dass in den bekannteren Volksmärchen der Kleinen Ausgabe (1825) vorrangig weibliche Hauptfiguren und ihre Handlungen beschrieben werden, wurde bereits häufig festgestellt.4 Dabei tendiert die Grimm’sche Sammlung zum Stereotyp der bürgerlichen Frau.5 Durch die „weiblich dominierte Traditions- und Erzählsphäre“ 6 vieler Märchen sowie durch den daraus resultierenden vorrangig weiblichen Adres- satenkreis (rollenspezifische Erziehung) und Erwartungshorizont7 werden in ihnen 1 Im Folgenden durch KHM abgekürzt. Die Sammlung erschien in sieben Auflagen (1812/1815, 1819, 1837, 1840, 1843, 1850 und 1857). Zudem publizierten die Grimms eine Kleine Ausgabe mit 50 Texten aus der Sammlung, die von 1825 bis 1858 in zehn Aufla- gen herausgegeben wurde. 2 Sowohl die Grimms als auch die meisten ihrer Quellen waren im bürgerlichen Milieu situ- iert. 3 Zur bürgerlichen Kultur, ihrem Verbreitungsanspruch bei gleichzeitiger Abgrenzung zu Adel und nicht-bürgerlicher Unterschicht vgl. Gebhardt: Handbuch der deutschen Ge- schichte (Jürgen Kocka: Das lange 19. -
The Tale of Charles Perrault and Puss in Boots Morna Daniels
The Tale of Charles Perrault and Puss in Boots Morna Daniels In 1697 Charles Perrault published a small volume Histoires ou contes du temps passé, which became the source for a huge progeny of children’s books,pantomimes, ballets and folklore.1 The frontispiece of the first French edition shows an old lady telling stories by the fire-side, and a plaque above her reads Contes de ma mere LOye.2 In the first English edition, there is a similar picture, and the plaque is translated as Mother Goose’s Tales.This was the first time the French term appeared in an English book. In France it indicated that the story was a traditional one, told by old women who minded geese, or who cackled like geese; but in England it became applied to Perrault’s tales, which were often published without mentioning his name. Mother Goose entered the world of pantomime, often in association with Perrault’s characters. The stories were widely diffused, then re-collected by later folklore researchers, so that the Brothers Grimm collected German versions, believing them to be folk traditions. Not all of Perrault’s stories became equally popular.The eight stories in his collection were La belle au bois dormant, Le petit chaperon rouge, La barbe bleue, Le maître chat, ou le chat botté; Les fées,Cendrillon, ou la petite pantoufle de verre; Riquet à la houppe and Le petit Poucet.These are usually translated as ‘Sleeping Beauty’, ‘Little Red Riding Hood’, ‘Bluebeard’, ‘Puss in Boots’, ‘The fairies’ (or ‘The fairy’),‘Cinderella’,‘Riquet with the tuft’, and ‘Hop o’ my thumb’. -
The Fictional World of the Renaissance and Baroque Fairy Tale
COLUMBIA UNIVERSITY – ITALIAN ACADEMY FOR ADVANCED STUDIES IN AMERICA PROJECT TITLE: PATHOS FORMULAS AND ABSTRACTION IN G.F. STRAPAROLA AND G.B. BASILE FAIRY TALES EZIO PUGLIA **BACKGROUND PAPER**PLEASE DO NOT CIRCULATE** Emerging interiorities: the fictional world of the Renaissance and Baroque fairy tale When you know that there is no design, you know also that there is no chance: for it is only where there is a world of design that the word “chance” has a meaning. Nietzsche This paper and the accompanying talk are concerned with very diverse problems that I have been studying in the last couple of years. I will spare you most of the theoretical and textual details of my research, but it is necessary to introduce here a certain number of essential concepts and historical notions (please be patient). First of all, though, I have to assert plainly why fairy tales deserve our attention. This is due to a simple reason: since the beginning of the 19th century they have been used as a powerful medium for social reproduction in Western societies. A medium that was shaped, of course, to be affecting children in particular. Maybe not all of you know that fairy tales had to be deeply reworked both to convey moral values and to conform to the modern image of childhood, whose most prominent feature is the thorough separation from adulthood. Especially 19th- and early 20th-century pedagogy recognized fairy tales as strategic and influential means by which an array of ethical principles, ITALIAN ACADEMY FOR ADVANCED STUDIES IN AMERICA - SPRING 2018 – FELLOWS SEMINAR desires, social roles and behaviors could be transmitted to the generations to come1. -
The Legend of Frau Holle
HA VE GERMAN WILL TRA VEL Sagen DEUTSCHE SAGEN UND LEGENDEN FRAU HOLLE Frau Holle di, Witwe, -n: eine Frau, deren Mann gestorben ist - die Stieftochter, I!.: hier: die Tochter des Mannes aus erster Ehe - beide: die zwei - die Sp:tle, -n: ein Gerät zum Aufwickeln von Garn, Faden usw. - das Garn, -e: ein gesponnener Faden - tüchtig: ordentlich, gut - das Heimweh : die Sehnsucht nach der .Heimat - eben falls: auch, genauso - sich Mühe geben: aufmerksam arbeiten - faulenz.en: faul sein - einem den Dienst kündigen: einen aus der Arbeit entlassen - das Pe.h: ein klebriger Stoff aus Harz· und Teer (vgl. idiomatisch: er hat Pech - er hat Unglück) - auJ/eeren: hier: ausgießen The Legend of Frau Holle • The Grimms' original version of tbis tale, as published in their first edition ( I 8 I 2), was told to them by Henriette Dorotbea (Dortchen) Wild. (Wilhelm Grimm married Dortchen Wild in 1825.) In the second edition (1819) they added some details, most prominently the rooster's greetings, provided by a correspondent Georg August Friedrich Goldmann from Hannover. ' • Frau Holle, known in different regions as Holla, Holda, Perchta, Berchta, Berta, or Bertha -- to give the most common variants of her name -- is one of Germany's most durable female legendary figures and one who without doubt represents a pre-Christian heathen diety who survived in popular belief and in the memory of common people well into the nineteenth century. lnterestingly, Frau Holle is mentioned in the story of , as compiled by the Grimm brothers. In this In some Scandinavian context -- that of a Germanic Cinderella-type traditions. -
Feminist Redemption of the Witch: Grimm and Michelet As Nineteenth-Century Models Qinna Shen Bryn Mawr College, [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Scholarship; Research; and Creative Work at Bryn Mawr College Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College German Faculty Research and Scholarship German 2008 Feminist Redemption of the Witch: Grimm and Michelet as Nineteenth-Century Models Qinna Shen Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/german_pubs Part of the German Language and Literature Commons Custom Citation Shen, Qinna 2008. Feminist Redemption of the Witch: Grimm and Michelet as Nineteenth-Century Models. Focus on German Studies. Vol. 15: 19-33. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/german_pubs/11 For more information, please contact [email protected]. FOCUS ON GERMAN STUDIES 15 19 Feminist Redemption of the Witch: Grimm and Michelet as Nineteenth- Century Models QINNA SHEN t is well-known that the witch was a cultural icon and an figure with which Western feminists identified during the second wave I women’s movement that started in the late 1960s. Activist feminist Witch Covens mushroomed in the United States after Robin Morgan and others founded the Women’s International Terrorist Conspiracy from Hell (WITCH) on Halloween 1968. Literary theorization of the witch as the innocent victim of the Christian church and the patriarchal state, and reassertion of the witch as a woman with knowledge and power were the contention, for example, in the American suffragist Matilda Gage’s Woman, Church, and State, Mary Daly’s Gyn/Ecology: The Metaethics of Radical Feminism, as well as in the French journal Sorcières: Les Femmes Vivent and the West German feminist magazine Emma. -
Grimms Bunte Märchen
Jacob und Wilhelm Grimm Grimms Märchen mit Bildern von Christa Unzner Überarbeitung, Korrekturen und Umschlaggestaltung: Null Papier Verlag Published by Null Papier Verlag, Deutschland Copyright © 2012 by Null Papier Verlag 1. Auflage, ISBN 978-3-95418-132-2 www.null-papier.de/grimm Christa Unzner Christa Unzner, geboren 1958 in Berlin, studierte Gebrauchs- grafik. Seit 1982 hat sie als freiberufliche Illustratorin über 100 Bücher illustriert. Nach vielen Jahren im Ausland lebt und arbeitet sie heute in Berlin und Südfrankreich. www.christa-unzner.de 3 Inhaltsverzeichnis Christa Unzner.............................................................................................3 Allerleirauh....................................................................................................6 Aschenputtel...............................................................................................15 Brüderchen und Schwesterchen..............................................................28 Die kluge Gretel.........................................................................................39 Das Meerhäschen.......................................................................................44 Das Waldhaus.............................................................................................50 Der Froschkönig oder der eiserne Heinrich..........................................59 Die kluge Else.............................................................................................66 Der Meisterdieb.........................................................................................72