Hansel and Gretel
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Queering Kinship in 'The Maiden Who Seeks Her Brothers'
Butler University Digital Commons @ Butler University Scholarship and Professional Work - LAS College of Liberal Arts & Sciences 2012 Queering Kinship in ‘The aideM n Who Seeks Her Brothers' Jeana Jorgensen Butler University, [email protected] Follow this and additional works at: http://digitalcommons.butler.edu/facsch_papers Part of the Critical and Cultural Studies Commons, Folklore Commons, and the Women's Studies Commons Recommended Citation Jorgensen, Jeana, "Queering Kinship in ‘The aideM n Who Seeks Her Brothers'" Transgressive Tales: Queering the Brothers Grimm / (2012): 69-89. Available at http://digitalcommons.butler.edu/facsch_papers/698 This Book Chapter is brought to you for free and open access by the College of Liberal Arts & Sciences at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - LAS by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. 3 Queeting KinJtlip in ''Ttle Maiden Wtlo See~J Het BtottletJ_,_, JEANA JORGENSEN Fantasy is not the opposite of reality; it is what reality forecloses, and, as a result, it defines the limits of reality, constituting it as its constitutive outside. The critical promise of fantasy, when and where it exists, is to challenge the contingent limits of >vhat >vill and will not be called reality. Fa ntasy is what allows us to imagine ourselves and others otherwise; it establishes the possible in excess of the real; it points elsewhere, and when it is embodied, it brings the elsewhere home. -Judith Butler, Undoing Gender The fairy tales in the Kinder- und Hausmiirchen, or Children's and Household Tales, compiled by Jacob and Wilhelm Grimm are among the world's most popular, yet they have also provoked discussion and debate regarding their authenticity, violent imagery, and restrictive gender roles. -
Grimm's Fairy Stories
Grimm's Fairy Stories Jacob Grimm and Wilhelm Grimm The Project Gutenberg eBook, Grimm's Fairy Stories, by Jacob Grimm and Wilhelm Grimm, Illustrated by John B Gruelle and R. Emmett Owen This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Grimm's Fairy Stories Author: Jacob Grimm and Wilhelm Grimm Release Date: February 10, 2004 [eBook #11027] Language: English Character set encoding: US-ASCII ***START OF THE PROJECT GUTENBERG EBOOK GRIMM'S FAIRY STORIES*** E-text prepared by Internet Archive, University of Florida, Children, and the Project Gutenberg Online Distributed Proofreading Team Note: Project Gutenberg also has an HTML version of this file which includes the original illustrations. See 11027-h.htm or 11027-h.zip: (http://www.ibiblio.org/gutenberg/1/1/0/2/11027/11027-h/11027-h.htm) or (http://www.ibiblio.org/gutenberg/1/1/0/2/11027/11027-h.zip) GRIMM'S FAIRY STORIES Colored Illustrations by JOHN B. GRUELLE Pen and Ink Sketches by R. EMMETT OWEN 1922 CONTENTS THE GOOSE-GIRL THE LITTLE BROTHER AND SISTER HANSEL AND GRETHEL OH, IF I COULD BUT SHIVER! DUMMLING AND THE THREE FEATHERS LITTLE SNOW-WHITE CATHERINE AND FREDERICK THE VALIANT LITTLE TAILOR LITTLE RED-CAP THE GOLDEN GOOSE BEARSKIN CINDERELLA FAITHFUL JOHN THE WATER OF LIFE THUMBLING BRIAR ROSE THE SIX SWANS RAPUNZEL MOTHER HOLLE THE FROG PRINCE THE TRAVELS OF TOM THUMB SNOW-WHITE AND ROSE-RED THE THREE LITTLE MEN IN THE WOOD RUMPELSTILTSKIN LITTLE ONE-EYE, TWO-EYES AND THREE-EYES [Illustration: Grimm's Fairy Stories] THE GOOSE-GIRL An old queen, whose husband had been dead some years, had a beautiful daughter. -
Archetypes Episode: Group 2 Notes Casey Garrigan, Alex Home, Bailey
Archetypes Episode: Group 2 Notes Casey Garrigan, Alex Home, Bailey Robertson, Imani Al Khachi English 104 Ms. Courtney Floyd April 18th 2018 1. This story first appeared around the mid 17th century and was originally written down as the tale of Ninnillo and Nennella.The story has since been circulated around european countries changing names but keeping the story line consistent. 2. The folktale of Little Brother and Little Sister has been confused with Hansel and Gretel due to storytellers in the past calling the story of Hansel and Gretel by the name of Little Brother and Little Sister. Despite this, the Grimms chose to keep Hansel and Gretel by that name and keep Little Brother and Little Sister as that title. Even so, there are still some publications that use the name Little Brother and Little Sister for the Hansel and Gretel tale, causing confusion for the readers. 3. The authors of this folktale, Wilhelm and Jakob Grimm, were considered to be part of the romantic movement. 4. The Grimm Brothers viewed folklore as insight to the German culture and found that folklore had ancient mythologies and beliefs of past German cultures that should be integrated into new folktales. However, over time, the brothers wanted to reincorporate religious ideals in Germany, different dialects, and language of the original tales in their editions of their tales. 5. This folktale, as recited by the Grimms, was first published in 1812 as an original part of Children’s and Household tales, in which it was later featured in all editions with several new additions by 1819. -
WAGNER and the VOLSUNGS None of Wagner’S Works Is More Closely Linked with Old Norse, and More Especially Old Icelandic, Culture
WAGNER AND THE VOLSUNGS None of Wagner’s works is more closely linked with Old Norse, and more especially Old Icelandic, culture. It would be carrying coals to Newcastle if I tried to go further into the significance of the incom- parable eddic poems. I will just mention that on my first visit to Iceland I was allowed to gaze on the actual manuscript, even to leaf through it . It is worth noting that Richard Wagner possessed in his library the same Icelandic–German dictionary that is still used today. His copy bears clear signs of use. This also bears witness to his search for the meaning and essence of the genuinely mythical, its very foundation. Wolfgang Wagner Introduction to the program of the production of the Ring in Reykjavik, 1994 Selma Gu›mundsdóttir, president of Richard-Wagner-Félagi› á Íslandi, pre- senting Wolfgang Wagner with a facsimile edition of the Codex Regius of the Poetic Edda on his eightieth birthday in Bayreuth, August 1999. Árni Björnsson Wagner and the Volsungs Icelandic Sources of Der Ring des Nibelungen Viking Society for Northern Research University College London 2003 © Árni Björnsson ISBN 978 0 903521 55 0 The cover illustration is of the eruption of Krafla, January 1981 (Photograph: Ómar Ragnarsson), and Wagner in 1871 (after an oil painting by Franz von Lenbach; cf. p. 51). Cover design by Augl‡singastofa Skaparans, Reykjavík. Printed by Short Run Press Limited, Exeter CONTENTS PREFACE ............................................................................................ 6 INTRODUCTION ............................................................................... 7 BRIEF BIOGRAPHY OF RICHARD WAGNER ............................ 17 CHRONOLOGY ............................................................................... 64 DEVELOPMENT OF GERMAN NATIONAL CONSCIOUSNESS ..68 ICELANDIC STUDIES IN GERMANY ......................................... -
Change, Or Revolution (Cowley, 1996 : 52-57)
Chapter 4 Analytical Approaches to the Selected Fairy Tales Critics and scholars of various fields have been attracted to fairy tales. Thus, approaches have been used for fairy tale analysis with different objectives. Some are interested in aesthetic points of literary matters. However, psychologists have paid attention to the meanings which can be interpreted as clues to the human mind while enhancing our understanding and appreciation of the tales like other literary works. At the same time, anthropologists and sociologists who consider fairy tales a rich source of earlier social behavior have shed valuable light on the interpretation. The above mentioned perspectives will, therefore, be eclectically used in the analysis of the selected tales, with a special focus on the sibling relationship. As the fairy tale is a narrative genre, the analysis will be based on the literary elements of fiction. However relevant key concepts used in the folklorists’ approaches to the tales such as functions or motifs will be applied to amplify the notable points, resulting in three main topics of the analysis of the tales: form, theme and motif, and characterization. Form of the Tales Two closely related words need to be clarified in the discussion of the form of the narrative: structure and plot. The structure is defined as a pattern of actions that is systematically shaped in a story; the structure is “the story at rest, while the plot is the story in motion” (DiYanni, 1990 : 28). Birkerts (1993 : 39) mentions two types of plot: the progressive and the episodic. The progressive form of the traditional plot consists of five sequences: exposition, rising action, climax, falling action and resolution. -
The Black and the White Bride: Dualism, Gender, and Bodies in European Fairy Tales
Jeana Jorgensen: The Black and the White Bride: Dualism, Gender, and Bodies in European Fairy Tales The Black and the White Bride: Dualism, Gender, and Bodies in European Fairy Tales Jeana Jorgensen Butler University* Fairy tales are one of the most important folklore genres in Western culture, spanning literary and oral cultures, folk and elite cultures, and print and mass media forms. As Jack Zipes observes: ‘The cultural evolution of the fairy tale is closely bound historically to all kinds of storytelling and different civilizing processes that have undergirded the formation of nation-states.’143 Studying fairy tales thus opens a window onto European history and cultures, ideologies, and aesthetics. My goal here is to examine how fairy-tale characters embody dualistic traits, in regard both to gender roles and to other dualisms, such as the divide between the mind and body, and the body’s interior and exterior (as characterized by the skin). These and other dualisms have been theorized from many quarters. As Elizabeth Grosz states: ‘Feminists and philosophers seem to share a common view of the human subject as a being made up of two dichotomously opposed characteristics: mind and body, thought and extension, reason and passion, psychology and biology.’144 Further, ‘Dichotomous thinking necessarily hierarchizes and ranks the two polarized terms so that one becomes the privileged term and the other its suppressed, subordinated, negative counterpart.’145 Thus, any discussion of dualisms is automatically also a discussion of power relations. This article begins by summarizing the trajectory of dualism in Western intellectual history and culture, including how dualism fits within folkloristic and feminist scholarship. -
Beauties Vs Beasts by Tatar.Pdf
Page 1 of 6 Title: Beauties vs. Beasts in the Grimms' Nursery and Household Tales Author(s): Maria M. Tatar Publication Details: The Brothers Grimm and Folktale. Urbana: University of Illinois Press, 1988. Source: Short Story Criticism. Ed. Rachelle Mucha and Thomas J. Schoenberg. Vol. 88. Detroit: Gale, 2006. From Literature Resource Center. Document Type: Critical essay Full Text: COPYRIGHT 2006 Gale, COPYRIGHT 2007 Gale, Cengage Learning [(essay date 1988) In the following essay, Tatar examines the textual history of the Bluebeard folktale in Nursery and Household Tales, contrasting narrative elements of "Mary's Child" and "Fowler's Fowl."] Fairy-tale beauties may all be very much alike, but there are two quite different types of beasts in the Grimms' Nursery and Household Tales. First, there are the animal-grooms who make life unpleasant for many a female protagonist: these are the frogs, bears, hedgehogs, and other creatures that press themselves on attractive young girls. But these beasts invariably turn out to be handsome young princes in disguise and generally prove to be perfect gentlemen. The real fairy-tale beasts, even if they are beasts in only the figurative rather than the literal sense of the term, turn out to be murderers masquerading as civilized men: Bluebeard, the Robber Bridegroom (in the tale of that title), and the wizard in "Fowler's Fowl" ("Fitchers Vogel") are the most prominent examples in the Nursery and Household Tales. Bluebeard, the most infamous of this entire lot of beasts, entered the pages of the Grimms' collection, but only in its first edition. For the second, revised edition of 1819, the Grimms eliminated the tale, evidently because it was too close in both substance and verbal realization to its French source. -
GERMAN LITERARY FAIRY TALES, 1795-1848 by CLAUDIA MAREIKE
ROMANTICISM, ORIENTALISM, AND NATIONAL IDENTITY: GERMAN LITERARY FAIRY TALES, 1795-1848 By CLAUDIA MAREIKE KATRIN SCHWABE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2012 1 © 2012 Claudia Mareike Katrin Schwabe 2 To my beloved parents Dr. Roman and Cornelia Schwabe 3 ACKNOWLEDGMENTS First and foremost, I would like to thank my supervisory committee chair, Dr. Barbara Mennel, who supported this project with great encouragement, enthusiasm, guidance, solidarity, and outstanding academic scholarship. I am particularly grateful for her dedication and tireless efforts in editing my chapters during the various phases of this dissertation. I could not have asked for a better, more genuine mentor. I also want to express my gratitude to the other committee members, Dr. Will Hasty, Dr. Franz Futterknecht, and Dr. John Cech, for their thoughtful comments and suggestions, invaluable feedback, and for offering me new perspectives. Furthermore, I would like to acknowledge the abundant support and inspiration of my friends and colleagues Anna Rutz, Tim Fangmeyer, and Dr. Keith Bullivant. My heartfelt gratitude goes to my family, particularly my parents, Dr. Roman and Cornelia Schwabe, as well as to my brother Marius and his wife Marina Schwabe. Many thanks also to my dear friends for all their love and their emotional support throughout the years: Silke Noll, Alice Mantey, Lea Hüllen, and Tina Dolge. In addition, Paul and Deborah Watford deserve special mentioning who so graciously and welcomingly invited me into their home and family. Final thanks go to Stephen Geist and his parents who believed in me from the very start. -
The Grimm Brothers As Editors
Illinois Wesleyan University Digital Commons @ IWU Outstanding Gateway Papers Writing Program 2011 The Grimm Brothers as Editors Blair Wright '15 Illinois Wesleyan University, [email protected] Follow this and additional works at: https://digitalcommons.iwu.edu/gateway Part of the English Language and Literature Commons, and the Rhetoric and Composition Commons Recommended Citation Wright, Blair '15, "The Grimm Brothers as Editors" (2011). Outstanding Gateway Papers. 4. https://digitalcommons.iwu.edu/gateway/4 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. 1220 Blair Wright Instructor: Holly Hughey The Grimm Brothers as Editors In almost all circumstances, copying the work of others has a strongly negative connotation. In fact, from a very early age, children begin to understand the consequences of mimicking others’ original ideas. It is not uncommon for a little girl to sneak across the street with a neighbor to pick flowers even though her parents had specifically instructed her to stay in their own yard. -
Study Guide: Student Edition
Tacoma Opera presents Hansel and Gretel Study Materials - Student’s Edition June, 2021 Contents From Folk Tale to Opera The origins of Hansel and Gretel From folktale to opera - The origins of Hansel and Gretel Folktales Folktales Grimm’s Fairy Tales Hansel and Gretel, the opera Folktales are stories that are passed from person to person. Because they are generally not written down, the same story might exist in many different versions. These stories were especially popular before most people were educated in how to read and write. But we still have different kinds of About the creators folktales today, such as “urban legends.” The Brothers Grimm In time, many folktales were written down. Some of the earliest collections were made in France and Adelheid Wette gave these stories the familiar name of fairy tales, because of the frequent presence of magical Engelbert Humperdinck beings in the stories. These stories were not originally told or written down for children. They contained violence and descriptions of horrible people and their actions. But many of the authors changed some of the traditional elements to make them more suitable for children. Synopsis of the Opera Folktales were often built around individual story elements or events that could be pieced together to make a new story. The original story of Hansel and Gretel probably started in the Medieval Ages Additional Resources during a great famine, and various traditional elements were used to create the story. For example, in the familiar Grimm version, Hansel and Gretel were able to find their way home by leaving a trail of stones. -
German/Interdisciplinary (GRIN) 1
German/Interdisciplinary (GRIN) 1 GERMAN/INTERDISCIPLINARY (GRIN) GRIN 226 Fairy Tales from Grimm to Disney (3 credits) Prerequisite(s): WRIT 105 or HONP 100 or GERM 112. This course examines the oral roots and multimedia afterlife of German fairy tales documented by the Brothers Grimm in the late eighteenth and early nineteenth centuries. Depending on the instructor’s background, folk tales from different national traditions can be added to the curriculum. Core fairy tale themes and motifs will be discussed, as will later treatments of the narrative material, and theoretical approaches to understanding fairy tales from structuralist, psychoanalytical, feminist, and poststructuralist perspectives. After in-depth analysis of the Grimm fairy tales, the course explores Romantic literary fairy tales by Ludwig Tieck and E.T.A. Hoffmann, as well as twentieth-century appropriations of the fairy tales. Concluding discussions will engage with the pressing question of how contemporary individuals can mobilize these multiform cultural tales to help establish new social roles and identities. Taught in English. Students registering for GERM 226 will do assignments in German; for students in GRIN 226, all assignments are in English. Meets Gen Ed - Great Works and their Influences. Mutually Exclusive with GERM 226. GRIN 250 Special Topics in German Literature and Culture (3 credits) Exploration of a timely topic or significant area of German literature or culture. The specific topic will be announced at the appropriate time before registration begins. May be repeated twice for a maximum of 9 credits. GRIN 295 German Expressionism (3 credits) Prerequisite(s): HUMN 115 or HUMN 151 or WRIT 105 or HONP 100. -
7. Goethe, the Brothers Grimm and Academic Freedom1
https://www.openbookpublishers.com © 2021 Roger Paulin This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Roger Paulin, From Goethe to Gundolf: Essays on German Literature and Culture. Cambridge, UK: Open Book Publishers, 2021, https://doi.org/10.11647/OBP.0258 Copyright and permissions for the reuse of many of the images included in this publication differ from the above. Copyright and permissions information for images is provided separately in the List of Illustrations. In order to access detailed and updated information on the license, please visit, https://doi.org/10.11647/OBP.0258#copyright Further details about CC-BY licenses are available at, https://creativecommons.org/ licenses/by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Updated digital material and resources associated with this volume are available at https://doi.org/10.11647/OBP.0258#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. ISBN Paperback: 9781800642126 ISBN Hardback: 9781800642133 ISBN Digital (PDF): 9781800642140 ISBN Digital ebook (epub): 9781800642157 ISBN Digital ebook (mobi): 9781800642164 ISBN Digital (XML): 9781800642171 DOI: 10.11647/OBP.0258 Cover photo and design by Andrew Corbett, CC-BY 4.0.