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The Routledge Companion to Media and Fairy-Tale Cultures

Pauline Greenhill, Jill Terry Rudy, Naomi Hamer, Lauren Bosc

Constructing Fairy-Tale Media Forms

Publication details https://www.routledgehandbooks.com/doi/10.4324/9781315670997-3 Vanessa Nunes, Pauline Greenhill Published online on: 05 Apr 2018

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The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Downloaded By: 10.3.98.104 At: 20:30 29 Sep 2021; For: 9781315670997, chapter3, 10.4324/9781315670997-3 A ClassificationandBibliography as addingnew sources, Uther’s system’s updateworked withintheoriginal constraints, but amplifying previous works ( by AnttiAarne UsingATU toidentifydifferent numbers seems wetalewhen know seeit” filmisafairy immediatelythataparticular ( “Just aswe know, almostintuitively, talewhen we narrative read isafairy thataparticular it, it Thompson-Uther (ATU) tale’sto considerfairy performative environments. However, Aarne- we by describing begin oppositions,binary memes, More rarely, orscripts. goesoutsidetheactual content scholarship but alsotheirconnectionsinbroaderandmoreparts encompassingstructures, like functions, tales,ticular elementsthatmake upfairy like motifsandarchetypes; looktodistinctive others narratives, but they taleswithknown have creators. fairy alsobeenappliedtoliterary be, though, haslongbeenachallenge. Mostexplorations ofthoseaspectsare basedontraditional texts,characteristic textures, andcontexts ( Toones like documentaries. Dundes’s borrow fromAlan construction, taleshave fairy some apparently similartextslike (seee.g. fantasies distinctive elements, structures, tales, andcontextsthatproducetraditionalfairy as opposedto they are. Inparticular, andformany years, have scholars soughtthe andfairy-tale folklorists inthebroadestsensetoencompassallaudio,understood visual, andaudiovisual forms—that whatmakes themthekindsoftexts— oftensoughttoclarify forms tales inalltheirmyriad elucidating theirconstituentelements.Buteven well before thattime, thosewhoexaminedfairy place intuitively,Jack Zipes, alongwithanumber ofotherscholars, hasspentconsiderabletime 1). Inthemore thantwenty years mediacantake sincehesuggestedthatrecognizing fairy-tale when referring totraditionalnarratives. when referring Some fairy-tale scholars and folklorists approach the definitional task by describing thepar- approachthedefinitionaltaskby describing andfolklorists scholars Somefairy-tale Vanessa NunesandPauline Greenhill FAIRY-TALE MEDIA Texts, Textures,Contexts CONSTRUCTING Aarne-Thompson-Uther (ATU) Aarne-Thompson-Uther tale types , anindexpublishedin , tothisvolume usethemwhere sincecontributors possible FORMS tale types 1980 1910 Butler 2009 3 20 , 20–32)—specifying exactlywhatthosemight ) andStith refersto 2004 ) or, forthatmatter, arguablydissimilar by Hans-Jörg Uther, revising and Thompson (1928 The TypesThe Folktales: ofInternational Tale Types

, 1961 Zipes 1996 ). Aswell , Downloaded By: 10.3.98.104 At: 20:30 29 Sep 2021; For: 9781315670997, chapter3, 10.4324/9781315670997-3 fairy tales)isby fairy folktaleelements(andthustraditional, Oneofthelesssystematicmodesfordescribing oral national sinequanonamongbonafidefolklorists” asanaidforcomparative analysis(195). identification offolknarratives hasbecomeaninter- throughmotifand/ortaletypenumbers and expansionoftheindex,Dundes notesthateven thoughthissystemisnotperfect,“the tale (see combine ments may notbeclassifiedtogether underthesametaletype. Further, oral tellers’ versions may thatshare motifsandothersignificantele- Onecomplaintisthatstories also beencriticized. same taleandtocompare themhistorically, culturally, andgeographically. Buttheindexhas TheATUvariants. organizationsystemisthusausefultooltolocatedifferent versions ofthe the extantversions ofthatfolktale” ( detail tonooneindividual version but atthesame timeencompassingtosomeextentallof inexactverbatimDundes explains,“ataletypeisacompositeplotsynopsiscorresponding plot indicatingmotifs, settings, characters, As andactions shared ofstories. by asimilargroup and otherfolktales.Broadlyspeaking, a ATU 300–749), numbers but alsoanimaltales, tales, religious realistic tales, anecdotes, jokes, types andnameswhererationalized thenumbers possible. Theindexorganizesabout2,500 in Eight Horror andSuspenseFilms in EightHorror tales(114–197).In Walterexpressed inparticular Rankin’s ofthepsyche”basic patterns (1), she explores archetypes like theshadow, anima, and animus as impulse toward sometypicalaction” ( poeticalimageandfantasy,an elementary emotion, andanelementary andeven anelementary “not onlyan von thought’ FranzexplainedthearchetypeMarie-Louise as‘elementary but also tales’Jungians tosuggestfairy relevance. psychological It hasbeenusedmainlyby For example, emblematic characters, acts, orsituationsoftenpresumed torepresent aspectsofhuman nature. studies, andtraditional. becausethey are striking invoke tales, theideaofmotifsasconstituent elementsoffairy motifsintheir ornoteparticular Nevertheless,behind theindexflawed inconsistent. often scholars anddatedthecategories elucidation ofmotifs, avoids scholarship such practices, fairy-tale current findingthethinking romances, exempla, fabliaux, jestbooks, asearch andlocallegends)would forand comprise While Thompsonassumedthatanalysisoffolktales(but alsoofballads, myths, fables, medieval very different kindsandlevelsmotifs comprise ofactivities andinvolve very diverse personae. ofenemy’s“Destruction J621 weapons,”debts.” concerning “Retorts to Clearly,J1380 to “Association ofcow andtiger:things”J427 tigereatscow assoonsheishungry,” rangefrom category,“J. Thewiseandthefoolish,” like the(clearlyimpressionistic) “some- thosestriking oftradition,character tobecomeapart oralorliterary” ( “worthy ofnotebecausesomethingouttheordinary, somethingofsufficientlystriking ( belly. Thelatterisdistinctive tothestory, but theothertwo tales. recur inmany fairy Hood” (ATU 333), Rankindiscusses cannibalism, theforest path, fromthewolf’s andemerging For example,Demme’sJonathan inlinking 1932–1935; revised 1955 In addition to offering tale-typedescriptions, Inadditiontooffering theindexincludesreferences tosources forits Anothervague term, under different categories, not only fairy tales (the latter identified as tales of magic; underdifferent categories,tales(thelatteridentifiedasofmagic; notonlyfairy Lovelace, Best, andGreenhill forthcoming tale types motif , ormay indeedbeunclassifiablewhilenevertheless beingvery clearlyfairy CONSTRUCTING FAIRY-TALE MEDIAFORMS .StithThompson, whodeveloped the archetype ), characters, saw motifsasrecurring locales, occurrences, andactions ( Constitutive Elements 2007 , whichalsoincludesdifferent levels andforms, comprises 1997 1996 ), thearchetypes canbediscovered onlyby implication. tale type , 196). , 8). Understanding fairy tales as “mirror[ing] the “mirror[ing] , talesas fairy 8).Understanding The SilenceoftheLambs 21 ). Writing in1997,). Writing before Uther’s revisions is a narrative structure presenting a brief isanarrative presenting structure abrief 1955 Grimm Pictures:Grimm Tale Fairy Archetypes , 19).Even withinasingle sub- Motif-Index ofFolk-Literature with “Little RedRiding with tale

Downloaded By: 10.3.98.104 At: 20:30 29 Sep 2021; For: 9781315670997, chapter3, 10.4324/9781315670997-3 of fairy tales,of fairy (see genres appliedandmisappliedacrossvarious andforms Vladimir Propp’s conceptof formalist oral wonder tales, 50–150ofAleksandrAfanasyev’s numbers sequential, axisofthetale)narrative commontoRussiantraditional structure thehorizontal tales( theclassicfairy comprise ofATUto systematizethecharacteristics “Tales 300–749, thetraditionaloral ofMagic” that constant elementsinatale, independentofhow andby whomthey are fulfilled” ( “stable ofnarration” placeinthecourse “particular andare actionswhichhave comprising a “recurrent constants” ofthirty-one series contends thatthesefolktalescontainaparticular analysis, theirambiguousnature would notberelevant isthechainof becausewhatmatters inAfanasyev’s andhelpers only ofvillainsbut alsoofdonors tales.Based onaformalist fairy Consider,from thetales. forexample, thatfigures suchasdragonsorBaba Yaga take rolesnot change fromversion toversion. Theemphasisonfunctions alsolimitsthemeaningtobetaken schema’s obviously gendered prescriptions, can notingforexamplethatthesexofcharacters modifyingordrawingMurphy quiteselectively uponPropp’s system.Somehave the criticized hastaken scholarship otherroutes, American North withresearchers suchas European and andtheythe functionsare donothave notlimitedtothirty-one identicalsequences.Much “much more ofProppmorphology” flexibleinterpretation ( a to filmscreenplays ( actsetup; system(first rudimentary secondactconfrontation; third act resolution) toapply form,outside thefairy-tale forexamplecombiningitwithSydField’s (e.g. functionsandseventions ofthethirty-one personae. Somehave taken up thechallenge, often would tales, applyhissystem tovarious oftheirspecificmanifesta- analyzingtheminterms “The Swan-Geese” of scholars (ATU andfairy-tale 451)andclearlyexpectedthatfolklorists manifestations andcombinationsvaryfromonetoanother. Propphimselfusedtheexample tales, appearinallfairy Not allfunctionsordramatispersonae ofcourse, andtheirspecific combinationofdifferent levels evidenting theinappropriate inthemotifindex. andforms aforementioned fixed sequence. donors, helpers, (sought-forpersons), princesses dispatchers, heroes, heroes—inthe andfalse The functionsare undertaken by personae—villains, seven ofcharacters/dramatis categories claims; difficulttask; solution; recognition; exposure; transfiguration; punishment; andwedding. orlackliquidated;misfortune return; pursuit, chase; rescue; unrecognized arrival; unfounded spatial transference between two kingdoms, guidance; struggle; branding, marking; victory; tion; departure; function; donorfirst hero’s reaction; provision agent; orreceipt ofamagical ery; complicity; villainy orlack; mediation, theconnective incident; counterac- beginning Probablythemost( theconstituentelements modeforunderstanding justifiably) famous Murphy rejects Murphy Propp’s talesfollow typeandargues that view onestructural thatallfairy Thissystemhasobvious advantages inbeingrelatively concrete andevocative whileavoid- Thosefunctionsare absentation; interdiction; violation; reconnaissance; delivery; trick- particular fairytale. fairytale. particular the plotgenotyperepresents orcompositionalschemaofa thefunctionalstructure towhichitbelongs.Byextension, organismisspecializedwithinthegroup particular withinitsgeneticcode; maycarries how theseinstructions beusedtounderstand a Inevolutionary biology, anorganism instructions the genotypereferstoinherited Murphy 2015 Murphy VANESSANUNES ANDPAULINE GREENHILL Uther 2004 b). Terence the offers Murphy Patrick functions , 174–396).Proppderives asyntagmatic(thatis, 22 .His Morphology oftheFolktale Morphology Russian Fairy TalesRussian Fairy 2015 a, 161–162), explaining: plot genotype Bordwell 1988 1994 ( ( 1968 1945 1968 ) much more , 20–21). ). Propp ) sought (2) ), is as Downloaded By: 10.3.98.104 At: 20:30 29 Sep 2021; For: 9781315670997, chapter3, 10.4324/9781315670997-3 interest intheirrelations (called (called Proppianinitsfocusonpersonae them intheirmany mediatedforms. character isalsoaffectsthestory’s perception. events andthecharacterfunctionintale, torecognize anapproachthatfails thatwhothe adigms tothecollectionofEvald Tang oppositions though itwell evokes someoftheirmostrecognizable characteristics. tales, tale) ratherthansyntagmatic. Greimas didnotintendthismodeltoapplyonlyfairy specific sequence, thisstructure, however, canbeseenasparadigmatic(thevertical axisofthe the senderandreceiver thatofknowledge. Sincetheaxes andactantsdonotmanifestinany theaxisofdesire, Thesubjectandobjectform thehelperandopponentthatofpower, and under severe conceptualandpracticalcriticism. Yet have somefolklorists founditcompelling. life anddeath, day andnight, are universal humanways ofconceptualizingtheworld hascome Lévi-Strauss’s ideathatdualistic, divergent contrasts, forexample, between maleandfemale, thought tobesecularandfictional), tales. oppositions tofairy heappliedtheconceptofbinary claims),legends (usuallythoughttobesecularwithquestionedtruth andfolktales(usually aboutdistinctionsbetween mythsthan mostfolklorists (usuallythoughttobesacred andtrue), sidered sequencesunfoldingwithinindividual tales).ThoughLévi-Strausswas lessconcerned tales: infairy forms Though developed fornarratives ingeneral, andaxes arguably thefacets manifestinparticular (theatrical) play to Disney ofScribe’s play films.Thecommonstructure to (theatrical) plays consistsofsix women’s pointsofview. alow statusyoungstatus oldermaleprotagonistmarrying woman, obviates itspresentation of “Bluebeard”definition ofatalelike“masculine,” (ATU 312)as high basedonitsprimary shiftsintellers’historical gendered interests inparticular RistoJärv (2005 tellers,to particular withmenbeingmainlyinterested inmasculine talesandwomen inboth. protagonists, beapplicable on theirprimary thatthesetypes would andhisassertion necessarily controversial isHolbek’s talesasmasculineorfeminineinplotbased identification ofparticular protagonists, and—asalready andmaturity. indicated—aresolution inmatrimony Somewhat of specificmoves, includingleaving home, (illicit)love, sharing ofthe separationand/ortrial progress ofyoung protagonists(femaleormale; low orhighstatus)intoadulthood via aseries offolktales,unlike other forms tales, always Fairy endwithamarriage. forhim, are aboutthe age; low orhighsocialstatus; talesby andmaleorfemale. definition, Holbekarguesthatfairy Systems not necessarily developed talesoftenprove Systemsnotnecessarily specificallyforfairy usefulinanalyzing French anthropologist French anthropologist For example, Bengt anthropologist Inyet anothersystem,“well-made” ZipesappliesAugustinEugène Scribe’s conceptofthe (the witch, thedragon, it. hinders thePrince’s orasuspicionofterror) fatigue the horse, thePrince’s courage) helpstoaccomplishtheaction, while(6)anopponent iswhatbenefitsfromit.Lastly,the Prince) (5)ahelper(forexample, sword, themagic is whatinstigatestheaction, whilethe(4)receiver (forexample, theKing, thePrincess, (2) anobject(therescued Princess, forexample).(3)Thesender(forexample, theKing) (1)Thesubject(forexample, iswhatwants ordoesnotwant thePrince) tobejoined whichapplyacrossdifferent tales(incontrasttoProppandothers’ ideasthatcon- ) points out empirical and ideological issueswiththesedistinctions, andideological ) pointsoutempirical finding CONSTRUCTING FAIRY-TALE MEDIAFORMS Claude Lévi-Strauss(1955 axes ) is Algirdas Julien Greimas’s )isAlgirdas Holbek (1987 Kristensen (1892 Kristensen 23 ) appliesimplicitlyLévi-Straussianpar- ) saw underlyingparadigmsof tale types ) of tales from Denmark:) oftalesfrom youth or . HealsonotesthatHolbek’s actantial model (Hébert) (Hébert) actants ( binary binary 1983 )and ). Downloaded By: 10.3.98.104 At: 20:30 29 Sep 2021; For: 9781315670997, chapter3, 10.4324/9781315670997-3 fairy-tale filmstructure fairy-tale films”“the recipe forauniversal appeal” by finding Disney’s (8). ( prescriptive elementsthathave beenemployed by effective dramatiststomake theirstories peripeteia (suddenreversalperipeteia offortune); and6)miraculousresolution ( 2) songsofwoe andjoy; 3)banishmentandisolation; 4)quest, conflicts, andcomicrelief; 5) elements of “The Three Golden Children”“The ThreeJoss Golden (ATU Whedon’selements of 707)in Sung-Ae unfamiliarity of the fairy-tale sources, ofthe fairy-tale is unfamiliarity ared wearing hoodie.ing aposterofgirl Andyet even more puzzling, given therelative nizing thevalue of thatconnection, usedittomerchandise theproducers film, includ- Riding Hood,” thefilmmakers identifiedlinksonlyafterthemovie was complete. Recog- involvedartists intheproductionandreception process(8). basedonreadings,up changing hearings, viewings, andeven ofallthe childhoodmemories point, asastarting variant when filmmakers are ends takingavery specificfairy-tale thestory Even ofcontentandform. talesappearinmultiple versions interms thatfairy for thefact anything else, aboutinourbrains” somewhat like amemecarried (8).Zipesseekstoaccount as However, asapre-existingbe understood narrative onwhichafilmadaptation, forexample, isbased. inamannerthatisnotofcommentary” hypotextit isgrafted could (5).Thusafairy-tale I shallcallthehypertext) toanearliertextA(Ishall, ofcourse, callitthehypotext), uponwhich Genette(1997 talesandmedia.Inhisstudyoftranstextualrelationships,between fairy oralandliterary Gérard connectsittoZipes’sas shefurther hypotexts. discussionoffairy-tale may alsoblenddifferentwithin alargerpattern”“ascript tales” (208).Leerecognizes that (208) may ofactionsequences[...]orasinglesequence involve Thisscript “a pattern narratives. In onewell-known example,David Slade’s film motifs,recognizable recurring topoi, andconventions” (15). marked“is certainly continually by tale establishesanon-staticsymbolicorder that The fairy taleshavefairy becomememesthathave stuckinpeople’s mindsandreplicated themselves. specific given situationonwhichourlives may depend” (15).Hethusclaimsthatsomeclassical ustopay thatalerts mitted naturallyby attentiontoa ourmindstocommunicate information been canonizedintheWestern world tobetrans- andbecomesomemorable thatitappears tale thathas fairy “to denoteaparticular will store itand replicate it” (15).Zipesusestheterm pictures) and stored initsmemory, capableofbeingcopiedtoanotherindividual’s brainthat suchasbooksor containedinahumanbrain(orartifacts pattern “an information meme is Drawing upon unpacking. Zipes 2016 Equally cross-genre is the idea that fairy tales and fairy-tale mediainvolve talesandfairy-tale Equallycross-genre istheideathatfairy particular Zipes’s useoftheterm Hypotext Zipesseekstoaddress thewayother talessometimesunconsciously structure thatfairy as the suffering and triumph of an innocent persecuted heroine. ofaninnocentpersecuted andtriumph as thesuffering ofcreative logic readers callupontoanticipatetheunfoldingstory works [...]such knowledge abouttheworld [...]comparableto thestereotypic that plotstructures ineveryday Ascript ofaperson’s lifeisastereotyped sequenceofactionsthatispart Lee (2016 , 7–8). Zipes argues that Walt Disney “became the Scribe of animated fairy tale , ofanimatedfairy “became theScribe 7–8).ZipesarguesthatWaltDisney Zipes (2011 andrelated conceptsfromsemioticscanbehelpfulinthinkingaboutthe relation ) explains that “hypertextuality referstoany relationship unitingatextB(which ) explainsthat ) borrowsfromthefieldofcognitive toexplainthat narratology VANESSANUNES ANDPAULINE GREENHILL ) writes about fairy-tale films,“thehypotext ismore anotionthan aboutfairy-tale ) writes consistsinthefollowing: incidents; 1)traumaticandunfortunate Richard Dawkins’sRichard concept(1976 meme to talk about fairy-tale disseminationrequires further totalkaboutfairy-tale Vivian Labrie’s (2014 24 Hard Candy ), Zipes (2006 ) compellingargumentfor “well-made” flexible Zipes 2016 (2005) as “Little Red (2005)as ) explainsthata Serenity (207–208) , 8). (2005), scripts . Downloaded By: 10.3.98.104 At: 20:30 29 Sep 2021; For: 9781315670997, chapter3, 10.4324/9781315670997-3 attribute agencytothem( attribute abstractconceptsand whatsheseesashistendencytoanthropomorphize and shecriticizes B. Zipes’s Bottigheimerconsiders “unreal,” notionoftheviralspread ofmotifsandplotstobe human brains, addressing humanexperience. ascrucially meaning,unlike memetictheorists, seesfairy-tale Labrie ratherthanbeinghardwired into tales,ter andexplore folktalesandfairy atleastinitially, education.However, outsideformal taleseven because mostpeopleencoun- notes thefolkbasisoffairy inthetwenty-first century similarly as poeticmeterandessentiallyrecompose theepicseachtimethey sangthem.Labrie These non-literatebards ofthetalesaswell wouldthemesandstructures orally/aurallylearn ple ofSerbo-Croatianbards, whosanglengthy, complextalesinrhymed verse frommemory. Parry, andmedieval compositionforHomeric epic, proposedoral-formulaic usingtheexam- Lord, thatfosterstorytelling. usecommonstructures transmission wherein narrators following (e.g. Milman Parry did thework ofhistorian imagination. talesactuallyare memes—onlythosewhichhavenot allfairy thepopular really grabbed issues. Labrie’s arguablymemeticperspective fromthatofZipes, differs whounderlinesthat Itistransversal,structures. connectedatdifferent narrative levels, andoftenlinked toreal life Solaris Come True” WhoseWishes Always“The Prince of (ATU 652)inSteven Soderbergh’s of “The FaithlessMother”Caton-Jones’sof (ATU 590)inMichael set of implicit expectations about fairy tales,set ofimplicitexpectationsabout fairy whatever they mightbe. elements oftheform’s symboliclanguage” (xviii).Inthiscase, the reference seemstorely ona setting, tale, ending—forawork thatisnotinitselfafairy afairytale becauseitdependson also And yet Zipesrepeatedly tales” injectsvolition andintentionintomemesfairy (369; see Not beingpersons,people habituallydo. abstractionsare notcapableofvolition andintention. real-world entitybut anabstraction, aresult ofthoughtprocessesbased onobservations ofwhat As Marina As Marina isalsoinoperation even talesare(10). Intertextuality evoked whenfairy inanadjectival sense. indifferent combinations ofacomplexwholeandarranged mightbethoughtofasparts ries “elements,” Smithlabelstheseeightas seekingtoreinforce thatthesecatego- achoiceofterm 8.Architextual/Chronotopic: Metafictional: discussionoffairytales “Fairytale” 7. Fabulation:setting/environment fairytale craftinganoriginal 6. Re-vision: puttinganew spinonanoldtale 5. Allusion: withinthetext Implicitreference toafairytale 4. Incorporation: withinthetext Explicitreference toafairytale 3. Writerly: intitle Implicitreference toafairytale 2. Authorised: inthetitle Explicitreference toafairytale 1. fictions: of toidentifyeightcategories theories Meme theory hasnotbeenentirely well Memetheory received by folkloreFor scholars. example, Ruth Labrie’s focusonwhy lesser-known appearinfilmsconnectsthem, tale-typestructures as AnothersystematicapproachcomesfromKevin Paul Schrempp 2014 (2002).Labrie’s analysisdoesnotrely onbasicplotelementsorcommonsyntagmatic Warner (2014 ). Parry andLord 1954 Parry CONSTRUCTING FAIRY-TALE MEDIAFORMS Jan Vansina (e.g. 1985 ) puts it, “The term “The term ) putsit, ‘fairytale’ isoftenusedasan epithet—a fairytale 2009 , 369).According toBottigheimer,“a ‘culturaltrait’ isnota intertextual use intertextual ) andtheirsuccessors, processesinoral tomemory 25 ) and literary scholars Albert Albert scholars ) andliterary of fairy taleswithinmass-produced offairy Smith (2007 This Boy’s Life ), drawing onGenette’s Lord (1960 (1993), and ) and (10) Downloaded By: 10.3.98.104 At: 20:30 29 Sep 2021; For: 9781315670997, chapter3, 10.4324/9781315670997-3 Scholars have oftheir Scholars talesinterms alsoemployed fairy thenotionofdescribing than internal motivation,”than internal contending: cause andeffect[...]are subordinate totheexpectationsofnarrative shapeandoutcomerather much aslanguage” (6).According to her, tales,“event, intherealm offairy psychology, and instantly recognizable feelorstyle[...]recognizable inthelevel andcontentas ofstructure Tiffin(2009 nates withLabrie’s useof medium ofexpression,” thatmakes filmadaptationeasy(179). centuries, anditsabilityofcontinually reinvent itsvoices, settings, andmessageaswell asits “the extreme adaptabilityshown acrossthe structures bypoint thatitisprecisely fairy-tale andinfilmicnarratives. Tiffinmakes forms the tures areliterary retained in(post)modern andstruc- tales—whatpatterns offairy withmediatedforms Tiffinisultimatelyconcerned is being narrated isa is beingnarrated thatwhateverunderstand contextmay theothercircumstances be, oftheperformance what which combineslevels ofcharacter, function, place, andmovement” ( they grow old,” andmany more ( death wheneverthose whotellthistaleandwhoever causedittobetold/Will notdieaterrible cent,” and consoled,“They remained rich andwe’re just sittinghere andgettingold,”“And be more diverse,“They remained happy andcontent/Whilewe including stilldon’t have a happily ever after”“There was once” toclose. Openingscanbesimply whileclosingstendto “once uponatime”well-recognized“and they lived like framingformulae toopenandlike for theoccasionby thestory” talesinvoke (211).Fairy thepresence oftheTaleworld by using Taleworld in some sense radically other than the Storyrealm. Parallels can be seen in written fairy tales, fairy Parallelsin somesenseradicallyother than theStoryrealm. canbeseeninwritten films),could bethepresent (anditoftenisinfairy-tale but itneednotbe, anditisalways isarguablythehereStoryrealm andnow, isbeingtold.TheTaleworld thetimewhenstory even a conversation. of discursive expectations. Thetimeofthe setsupaseries TheStoryrealm acters, situations, andacts, indicateswhat Young callsa locales would Galloway andimagined beimpossible.magical Katharine themselves andtheroutes they take there. asthey ofcharacters move locationsinwhichtheythe trajectories find throughstories—the linkedcommon topology somehow toeveryday life” ( compares thepresence ofbureaucraticLabrie “share powera inbothfolktalesandfilmsthat The notion of entanglement and rearrangement between constituent parts further reso- between further Thenotionofentanglementandrearrangement constituent parts Butthepresence ofsuchopeningsandclosings, kindsofstructures, andofparticular char- theplaceinwhichitstellingisphysically set, contextsdonotneedtonarrate Fairy-tale or ground formetafictionalplay.ground precisely toprovide thisqualityofidentifiabilitywhichallows sucharich theform andidentifiableeven familiar manipulation, throughliterary intrinsically anditis oftexture,approach. Thisattribute ratherthanlanguageormotif, tale rendersafairy and motif, but alsoincludestyle, voice, andsomeaspectsofcontentmimetic which rely heavily oncleanlines, ofstructure andageometry deliberatepatterning taleby texture, Byidentifyingfairy Iam[...]invoking arangeofcharacteristics “a realm ofevents occasionatallbut notpresent conjured tothestorytelling up ) argues that fairy tales display a distinctive quality “in the sense of a characteristic, “in thesenseofacharacteristic, talesdisplay adistinctive) arguesthatfairy quality VANESSANUNES ANDPAULINE GREENHILL story topological analysis topological —ratherthananothergenre ofspeechlike alecture, asermon, or Zipes 2013 Texture andContext , 75, 238, 511). 26 to describe “a form ofsymbolicinvestigation“a form todescribe 2014 Storyrealm , 153).Labrie’s work literallymaps 1997 .Thatis, thelisteners Young (1987 , 153).Inparticular, texture ) callsthe .Jessica (8) Downloaded By: 10.3.98.104 At: 20:30 29 Sep 2021; For: 9781315670997, chapter3, 10.4324/9781315670997-3 ———. 2014. “ ———.2014. Labrie,“Help! Me, Vivian. 1997. S/he, andtheBoss.” In Hébert, Louis. N.d. “The ActantialModel.”N.d. Hébert, Louis. Kristensen, Evald Tang. 1892. Järv, Tales.” ofEstonianFairy Collectors “The GenderoftheHeroes, Risto.and 2005.Storytellers Holbek, Bengt.1987. Greimas,Julien. 1983. Algirdas Abrahams,“Foreword.” Roger. 1980. In Afanasyev, Aleksandr. 1945. Genette, Gérard. 1997. Field, Syd.1994. Falassi, Alessandro. 1980. “The Motif-IndexandtheTale ———.1997. TypeCritique.” Index: A Dundes, Alan.1980. Dawkins, Richard. 1976. Butler,David. 2009. Bottigheimer,“Why Tales Fairy RuthB. 2009. Stick: TheEvolution andRelevance ofaGenre (Review).” Narrative.” andImPropprieties: Bordwell,ofFilm “ApProppriations ProblemsintheMorphology David. 1988. with eachtelling” ( anotherspace, nowhere.specifically narrate and/orinliteralterms oftenonethatisimaginary Again, Storyrealm). publishing location(akindofliterary tales fairy almostinvariably literary publicationisparatextuallylocatedwithapublisherand tales.Awritten including literary Aarne, Antti.(1910)1971. of theTuscan of environment’s talesdiscussesthe centralityinmakingsenseoffairy they reflect awiderangeofhumanideasandemotions” (133).AlessandroFalassi’s casestudy “reflections ofthesocietiesandindividuals whichcreate andtransmitthem;are consequently, where socialevents taleswere ( suchasfairy performed from likewise employed different methodsandapproachesinthinkingaboutwhatmakes them, taleshavefairy beendefined insomany ways, have thatscholars itshouldbenosurprise Thisisamalleableform, talesintoasingleformulation. after all.Andgivenpass allfairy that known times andspacesare endowed thatcertain withsignificanceby acommunity” (xi). actions andevents” ofcontext, (xi).Byexaminingstructure forinstance,“it hasbecome of time, place, andoccasionofenactmentare broughttobearintheanalysisofsignificant explains, ofcontext,“the structure Falassiemployed inwhichelements amethodthatlooksat a fairy taleis—andthatisanotherequallycomplicatedquestion. a fairy distinctive elementsandways ofoperationseemsastepforward what first from understanding Ioannis Plemmenos, 295–314. Athens: Academy ofAthens,Centre. PublicationsoftheHellenicFolklore Research Time:Space and Transmissions andAdaptations Tale-typeAbout ExtendingtheAarne-Thompson-Uther IdentificationInsighttoMovies.” In by PaulineDianeTye, Greenhill and 151–66.Montreal: McGill-Queen’s UP. Journal ofFolklore Journal Tiedeakatemia. actantial-model.asp. American Folklore American CinemaJournal Context is also important because, Contextisalsoimportant notes,“must bere-created asElliottOring folknarratives Ultimately, there potionstrongenoughtoencom- isno such thingasanauthoritative magic tale types Serenity Screenplay:The FoundationsofScreenwriting veglia 27(3): 5–20. , functions, andarchetypes tomemes, textures, To andStoryrealms. tracetheir 122(485): 367–70. 29: 45–60. Fantasy Cinema:Worlds Impossible onScreen Interpreting Folklore Interpreting 1986 Palimpsests: Literature intheSecondDegree Interpretation of Fairy Tales: ofFairy Interpretation DanishFolkloreinaEuropeanPerspective , “the ritualized evening gathering of family and friends by thefireplace” andfriends evening offamily ,“the ritualized gathering (ATU 707), The SelfishGene Folklore by theFireside:Text Tuscan andContextofthe Veglia CONSTRUCTING FAIRY-TALE MEDIAFORMS The TypesThe oftheFolk-Tale: AClassificationandBibliography References Cited and Further Reading References CitedandFurther Russian Fairy TalesRussian Fairy , tales— 123).Folk thatincludestraditionalfairy narratives—a category Danske sagn, somdeharlydt ifolkemunde Structural Semantics: AnAttemptataMethod This Boy’s Life .Bloomington: IndianaUP. Folklore by theFireside:Text Tuscan andContextofthe Veglia .Oxford: Oxford UP. Signo: Theoretical Semiotics on the WebSigno:Theoretical Semioticsonthe , translated by Norbert Guterman. New York: ,Guterman. Norbert translatedby Pantheon Books. , Polymerou-Kamilaki, editedby Aikaterini Evangelos Karamanes, and (ATU 590), 27 Undisciplined Women:Undisciplined Tradition andCultureinCanada .New York: Dell. .London: Wallflower. .Lincoln:NebraskaP. U Star Wars 1980 .Århus: ÅrhusFolkeblads Bogtrykkeri. Journal ofFolkloreResearch Journal , xviii).AsRoger .Lincoln:NebraskaP. U (Lacourcière 305A), .Austin: UTexas P. .www.signosemio.com/greimas/ . New . York: B. Franklin. performative context .Helsinki: Suomalainen Abrahams (1980 .Austin: UTexas P. Solaris 34(3): 195–202. Folklore: Electronic Narratives Across (ATU 652)? Journal of Journal , edited )

Downloaded By: 10.3.98.104 At: 20:30 29 Sep 2021; For: 9781315670997, chapter3, 10.4324/9781315670997-3 Schrempp, Allen.2014. Gregory Rankin, Walter. 2007. Smith, Kevin Paul. 2007. ———. 2016. “The Great Cultural TsunamiofFairy-Tale Films.”“The Great ———.2016. In ———, ed.2013. ———.2011. ———.2006. “Towards Zipes,Jack. 1996. oftheFairy-Tale aTheory Case of Film: The Lee,“The Fairy-Tale Sung-Ae. FilminKorea.” 2016. In ThisBoy’s Life Solaris TheSilenceoftheLambs Serenity Hard Candy Tiffin,Jessica. 2009. ———.(1932–1935)1955. Propp, Vladimir. (1928)1968. ———.2015b. Murphy, Terence 2015a. Patrick. Lovelace, Martin, AnitaBest, andPauline Greenhill. Forthcoming. Lord, Bates.1960. Albert StudyofMyth.”“The Structural Claude. Lévi-Strauss, 1955. Thompson, Stith.(1928)1961. Young, Galloway. Katharine 1987. Warner, 2014. Marina. von Franz, 1996. Marie-Louise. Vansina,Jan. 1985. Uther, Hans-Jörg.2004. Parry, Milman, B. andAlbert Lord. 1954. Oring, Elliott.1986. State UP. Perspectives Publishing Company. 1–24. Myths, Fables, Mediaeval Romances, Exempla, Jest-Books, Fabliaux, andLocalLegends (FFcommunication) marchentypen TalesMagic ofAliceLannonandPiusPowerSenior Jack Zipes,by Pauline Greenhill, andKendra Magnus-Johnston,New 207–21. York: Routledge. Macmillan. Aarne and Stith Thompson andStith Aarne . 2002. Director Steven .2002. Soderbergh.USA. . 2005. Director Joss Whedon.USA. Director .2005. . 2005. Director DavidDirector Slade. USA. .2005. ,Jack Zipes, editedby Pauline Greenhill, andKendra Magnus-Johnston,New 1–17. York: Routledge. . 1993. Director Michael Caton-Jones. USA. Director Michael .1993. The Enchanted Screen:The Enchanted ofFairy-TaleThe Unknown History Films WhyTales Fairy Stick:The Evolution andRelevance ofaGenre From Fairy TaleFrom Fairy toFilmScreenplay:Working withPlotGenotypes The Golden Age of Folk and Fairy Tales:The GoldenAgeofFolkandFairy toAndrewLang FromtheBrothersGrimm Oral TraditionOral asHistory Folk GroupsandFolkloreGenre: AnIntroduction Marvelous Geometry:Marvelous Tale Fairy Narrative andMetafictioninModern Grimm Pictures:Grimm Tale Fairy andSuspenseFilms inEightHorror Archetypes . Jonathan1991. DirectorDemme. USA. Once Upon a Time:Once Upona Tale ofFairy History AShort The TypesThe Folktales: ofInternational AClassificationandBibliography, basedontheSystemofAntti VANESSANUNES ANDPAULINE GREENHILL The Singer of TalesThe Singerof The Postmodern Fairytale:The Postmodern inContemporary Fiction Intertext Folkloric .3vols. Helsinki: SuomalainenTiedeakatemia, Fennica. AcademiaScientiarum Motif-Index ofFolk-Literature: AClassification ofNarrative ElementsinFolktales, Ballads, Morphology oftheFolktale Morphology The TypesThe oftheFolk-Tale: AClassificationandBibliography: AnttiAarne’s Verzeichnis der The Interpretation of Fairy Tales ofFairy The Interpretation The Fairytale andPlotStructure Science, Bread, andCircuses: Essays Folkloristic onSciencefortheMasses .Hensinki: Suomalainentiedeakatemia, fennica. Academiascientiarum Taleworlds andStoryrealms:The Phenomenology ofNarrative Serbocroatian HeroicSongs .Madison: UWisconsin P. . Cambridge, MA: . Harvard UP. Mediagraphy .Logan: UtahStateUP. , translatedby Laurence Scott.Austin: UTexas P. Fairy-Tale FilmsBeyond Disney: Perspectives International 28 .Boston: Shambhala. Journal of American Folklore ofAmerican Journal . New . York: Palgrave Macmillan. . Cambridge, MA: . Harvard UP. , Logan: editedby ElliottOring. UtahStateUP. ‘ Well’: ofthe Thick The Maidinthe Genderandthe .Oxford: Oxford UP. Fairy-Tale FilmsBeyond Disney: International .New York: Routledge. Pinocchio .New York: Routledge. .Basingstoke: Palgrave Macmillan. .Bloomington: IndianaUP. .” .” . Detroit: . Wayne StateUP. The LionandtheUnicorn 68(270): 428–44. .Jefferson, NC: McFarland. .Dordrecht: Nijhoff. .Basingstoke: Palgrave .Indianapolis: Hackett .Logan: Utah 20(1): , edited Downloaded By: 10.3.98.104 At: 20:30 29 Sep 2021; For: 9781315670997, chapter3, 10.4324/9781315670997-3 APPROACHES ANALYTICAL Part II Downloaded By: 10.3.98.104 At: 20:30 29 Sep 2021; For: 9781315670997, chapter3, 10.4324/9781315670997-3