DOCSLIB.ORG

Edel Curran 20140806140419.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Edel Curran 20140806140419.Pdf Maynooth Library 00324577 00324577 sr»a NUI MAYNOOTH Qiiacsll na ti£ira«nn WA Mead The French-language Reception of Grimms’ ‘Rotkappchen’ 1868-1948 A Ph.D. thesis presented by Edel Curran B.A. (Hons.) Under the supervision of Dr. Jeffrey Morrison For the Department of German Faculty of Arts October 2004 ABSTRACT In 1697 Charles Perrault’s Contes immortalised ‘Little Red Riding Hood’ (‘Le Petit Chaperon rouge’), a fairy tale which was later recounted by the Grimm Brothers as ‘Rotkäppchen’ in their collection of 1812/1815. Scholarly research has already shown the extent to which Perrault’s earlier collection influenced the Grimms’ Kinder- und Hausmärchen. But how might the French reaction to the Grimm ‘version’ be reflected in subsequent French translations, and especially during periods of Franco-German conflict? This is the pivotal question addressed in the four chapters of this thesis. The first chapter focuses on the theoretical. It situates the Grimm Brothers and their influences within the context of German Romanticism and a complex form of nationalism which lies at the root of this literary movement. The development of the field of folklore studies from the Grimms to the present day is also outlined, with particular emphasis on Jack Zipes’ socio-political reading of the versions and adaptations of this tale from Europe and America; a reading which is adapted and developed for this analysis. The second chapter introduces the textual analysis of the selected adaptations and translations and focuses on the years between 1868 and 1933; when the first Grimm-inspired adaptation and translation were published. The third chapter focuses on the fortunes of ‘Rotkäppchen’ during 1942, the height of the Occupation. The fourth and final chapter concentrates on the years between 1944 and 1948, in an attempt to establish how the French versions of the Grimm tale were affected by liberation from German Nazi oppression and the subsequent ending of the Second World War. Such a detailed comparative study proves revealing not only for the French reception of a fairy tale common to the French and German literary traditions for a given period, but also for Franco-German relations and translation theory in general. CONTENTS LIST OF ILLUSTRATIONS..................................................................... vi ACKNOWLEDGEMENTS....................................................................... ix ABBREVIATIONS AND GLOSSARY ................................................. x INTRODUCTION ......................................................................................... 1 CHAPTER ONE: Historical, Theoretical and Political B ackground..................................................................................................... 6 1.1 The Grimms and German Literary History........................ 7 1.2 An Overview of Shifts in Folklore Studies........................ 14 1.3 An Overview of Studies on ‘Little Red Riding Hood’ 26 1.4 Zipes’ Socio-historical Approach............................................ 32 1.5 Translation Theory.................................................................... 36 CHAPTER TWO: Grimms’ ‘Rotkäppchen’ versus Perrault’s ‘Petit Chaperon Rouge’ — 1868-1936 .................................................................. 48 2.1 Introduction........................................................................... 48 2.2 ‘Rotkäppchen’ in French Adaptation before 1870 .................. 51 2.3 ‘Rotkäppchen’ in French Adaptation after 1870 ..................... 64 2.4 The Fate of ‘Rotkäppchen’ after World War I ........................ 72 2.5 ‘Rotkäppchen’ in French Adaptation before World War I I ... 76 2.6 Conclusion.................................................................. 93 CHAPTER THREE: The Fate of ‘Rotkäppchen’ in French Translation: The Vichy Y ears ............................................................................................ 95 3.1 Introduction............................................................................... 95 3.2 Grimms’ ‘Rotkäppchen’ and Politics........................................ 96 3.3 The Socio-Political Climate during the Occupation................. 99 3.4 ‘Little Red Riding Hood’ as Nazi Propaganda......................... 107 3.5 A Second 1942 French Adaptation o f ‘Little Red Riding Hood’ 122 3.6 An Analysis of the Second French Translation of ‘Rotkäppchen’ ... 132 3.7 Conclusion.................................................................................. 152 CONTENTS CHAPTER FOUR: ‘Rotkäppchen’ in French Translation and Adaptation — 1944-1948 .......................................................................................... 154 4.1 Introduction................................................................................ 154 4.2 René Meurant’s 1944 Translation: Background....................... 155 4.3 Textual Analysis of Meurant’s Translation.................. 161 4.4 A Synopsis of the S.E.P.E’s Wartime Publications.................... 180 4.5 Textual Analysis of the S.E.P.E. Translation............................. 184 4.6 ‘Rotkäppchen’ in French Adaptation post 1945........................... 191 4.7 Conclusion................................................................................... 204 CONCLUSION................................................................................. 207 APPENDICES..................................................................................... 211 A.1 French Translations o f‘Rotkäppchen’ ..................................... 212 A.2 Versions o f‘Little Red Riding Hood’ ...................................... 253 A.3 French Adaptations of ‘Little Red Riding Hood’ ..................... 265 BIBLIOGRAPHY 329 LIST OF ILLUSTRATIONS Portrait of Little Red Riding Hood............................... Frontispiece Trois Contes: Le Petit Chaperon Rouge, Les Trois Ours, Le Chat Botté, illustrated by E.O. Jones (Paris: Editions des Deux Coqs d’Or, 1959). CHAPTER ONE (i) Illustration from a Chinese version of ‘Little Red Riding Hood’ 6 Le Petit Chaperon rouge, version chinoise sans rouge ni chaperon: Fables Traduites par Jacques Pimpaneau, illustrées de papiers découpés par un artiste de Chine populaire (Courbevoie: Théâtre Typographique, 1986). CHAPTER TWO (ii) Nineteenth century French politicisationof ‘Little Red Riding Hood’.. 63 Le Petit Journal: Supplément illustré, no. 418, dimanche 20 novembre 1898. (iii) Little Red Riding Hood meets the w olf............................................. 61 Le Petit Chaperon Rouge (Paris: Librairie de Théodore Lefèvre et C e, 1905). Illustrator unknown. (iv) A Little Red Riding Hood doll from 1916 by Berthe Noufflard .......................................................................................................................... 70 Paris, musée des Arts décoratifs, département du Jouet. (v) A 1916 illustration by Edgar Tijtgat.................................................... 71 Le Petit Chaperon rouge: Un conte de Perrault dessiné et gravé par Edgar Tijtgat, 4th edn (Brussels: C. Van Oest, 1921). (vi) Le loup dévore Le Petit Chaperon des yeux.......................................... 75 Le Petit Chaperon rouge: Illustré par Félix Lorioux (Paris: Librairie Hachette, 1920). (vii) Le Petit Chaperon rouge rencontre Compère le Loup.......................... 87 Les Contes de Perrault: Illustré par René de la Nézière (Tours: Maison Marne, 1920). (viii) Albert Uriet’s depiction of Grimms’ ‘resurrection’ scene.................... 91 Contes de Grimm, trans. by A. Canaux, illustrations by Albert Uriet (Tours: Maison Marne, 1933). LIST OF ILLUSTRATIONS CHAPTER THREE (ix) Cover page of the infamous Liste O tto............................................ 100 Howard C. Rice, France 1940-1942: A Collection of Documents and Bibliography (Cambridge, Mass: 1942). (x) A reprint of a page from the Liste Otto............................................ 101 Rice, France 1940-1942. (xi) Trust the German sodier!.................................................................. 108 Rice. Illustrator unknown. (xii) A reprint of first three pages of 1942 fascist version..................... 110 Le Dossier juif: France 1940-1945, 1st edn, vol. 3 (Paris: Éditions SNRA, 1979). Illustrator unknown. (xiii) L’antijudaïsme à l’école................................................................. 118 Le Dossier ju if Illustrator unknown. (xiv) The wolf as a vicious caricature of the Jew ..................................... 119 Le Dossier juif. Illustrator unknown. (xv) An example of French outrage at German anti-Semitism............... 121 Le Dossier juif. Illustrator unknown. (xvi) Cover page of 1942 Bias edition.......................................................... 123 Le Petit Chaperon rouge (Paris: Éditions Bias, 1942). Illustrator unknown. (xvii) The little girl and her ‘grandmother’ ................................................... 125 Le Petit Chaperon rouge (Paris: Éditions Bias, 1942). Illustrator unknown. (xviii) Pro-fascist propaganda....................................................................... 136 Ramon Gual and Jean Larrieu, Vichy, l ’occupation nazie et la Résistance Catalane: Documents, photos, presse ...(Perpignan: Revista Terra Nostra, 1996). Illustrator unknown. CHAPTERFOUR (xix) A militant civil servant......................................................................... 182 La Semaine héroïque: 19-25 août 1944 (Paris: S.E.P.E., 1944). (xx) Cover page of 1948 adaptation.............................................................
Load more

Recommended publications
  • Little Red Cap
    Get hundreds more LitCharts at www.litcharts.com Little Red Cap filled with enticing books. She is filled with intense pleasure and SUMMARY excitement upon seeing all these books, her response to reading so many words described in terms resembling an As the speaker leaves behind the metaphorical neighborhood orgasm. of her childhood, there are fewer and fewer houses around, and the landscape eventually gives way to athletic fields, a local Time passes, however, and the speaker reflects on what ten factory, and garden plots, tended to by married men with the years together with the wolf has taught her. She compares the same submissive care they might show a mistress. The speaker oppressive nature of their relationship to a mushroom growing passes an abandoned railroad track and the temporary home of from, and thus figuratively choking, the mouth of a dead body. a recluse, before finally reaching the border between her She has learned that birds—implied to be representative of neighborhood and the woods. This is where she first notices poetry or art in general—and the thoughts spoken aloud by someone she calls "the wolf." trees (meaning, perhaps, that art comes only from experience). And she has also realized that she has become disenchanted He is easy to spot, standing in a clearing in the woods and with the wolf, both sexually and artistically, since he and his art proudly reading his own poetry out loud in a confident oice.v have grown old, repetitious, and uninspiring. The speaker notes the wolf's literary expertise, masculinity, and maturity—suggested by the book he holds in his large hands The speaker picks up an axe and attacks a willow tree and a fish, and by his thick beard stained with red wine.
    [Show full text]
  • Anguish Languish About:Reader?Url=
    Anguish Languish about:reader?url=https://www.crockford.com/anguish.html crockford.com Anguish Languish Douglas Crockford 38-48 minutes 2019-03-16 by Howard L. Chace Here further verse thyme in book firm is the extraordinary version of LITTLE RED RIDING HOOD that Arthur Godfrey read aloud on his program — and made famous. And with it are more FURRY TELLS, NOISER RAMS, FEY MOUSE TELLS, and THONGS, especially transcended by Prof. H. L. Chace, the originator of ANGUISH LANGUISH, for you, your friends, and your family to half pun wit. PRENTICE-HALL, INC. ENGLEWOOD CLIFFS, N. J. Copyright 1956 by Prentice-Hall, Inc. Englewood Cliffs, N. J. All rights reserved, including the right to reproduce this book, or any portions thereof, in any form except for the in- clusion of brief quotations in a review. 1 of 37 10/2/20, 6:31 PM Anguish Languish about:reader?url=https://www.crockford.com/anguish.html LIBRARY OF CONGRESS CATALOG CARD NUMBER 56-8160 Introduction 1 Furry Tells Ladle Rat Rotten Hut Guilty Looks Enter Tree Beers Center Alley 2 Noisier Rams Marry Hatter Ladle Limb Sinker Sucker Socks Pants Effervescent Oiled Murder Harbored Pitter Paper 3 Fey-Mouse Tells Casing Adder Bet Violate Huskings, ore Ornery Aboard Inner Gelded Ketch 4 Lath Thing Thumb Thongs 2 of 37 10/2/20, 6:31 PM Anguish Languish about:reader?url=https://www.crockford.com/anguish.html Fryer Jerker Alley Wetter Door Oil Gory Mayor Dare Ashy Turban Inner Torn Fur Hazy Jelly Gut Furlough Hive Ban Walking Honor Roil Rut Hurl, Hurl, Door Gong's Oil Hair Hormone Derange The Anguish Languish English words are astonishingly versatile and could readily be made to serve a new and extraordinary purpose, but nobody seems to care about this except SPAL (Society for the Promotion of the Anguish Languish).* *The members of SPAL are the persons who have written to the author concerning the Anguish Languish, especially the thousands who wrote to request copies of Ladle Rat Rotten Hut after Arthur Godfrey's inimitable reading of it, on his television show.
    [Show full text]
  • Introduction
    Title: Daring Missions of World War II Author: William B. Breuer ISBN: 0-471-40419-5 Introduction World war ii, the mightiest endeavor that history has known, was fought in many arenas other than by direct confrontation between opposing forces. One of the most significant of these extra dimensions was a secret war-within-a-war that raged behind enemy lines, a term that refers to actions taken a short dis- tance to the rear of an adversary’s battlefield positions or as far removed as a foe’s capital or major headquarters. Relentlessly, both sides sought to penetrate each other’s domain to dig out intelligence, plant rumors, gain a tactical advantage, spread propaganda, create confusion, or inflict mayhem. Many ingenious techniques were employed to infiltrate an antagonist’s territory, including a platoon of German troops dressed as women refugees and pushing baby carriages filled with weapons to spearhead the invasion of Belgium. Germans also wore Dutch uniforms to invade Holland. The Nazi attack against Poland was preceded by German soldiers dressed as civilians and by others wearing Polish uniforms. In North Africa, British sol- diers masqueraded as Germans to strike at enemy airfields, and both sides dressed as Arabs on occasion. One British officer in Italy disguised himself as an Italian colonel to get inside a major German headquarters and steal vital information. In the Pacific, an American sergeant of Japanese descent put on a Japan- ese officer’s uniform, sneaked behind opposing lines, and brought back thir- teen enemy soldiers who had obeyed his order to lay down their weapons.
    [Show full text]
  • Developing Language Proficiency, Empathy, and Visual Literacy Through Art Gisela Hoecherl-Alden, Boston University Kathy Fegely, Antietam High School, Reading, PA
    Picturing Another Culture: Developing Language Proficiency, Empathy, and Visual Literacy through Art Gisela Hoecherl-Alden, Boston University Kathy Fegely, Antietam High School, Reading, PA Abstract Integrating art (paintings, sculptures, photography, and other types of images) into second language (L2) instruction¸ can have a positive effect on language acquisition and developing intercultural understanding. As the instructor provides visual scaffolding, learners at all proficiency levels have the opportunity to engage more deeply with L2 course materials. Not only can students learn to interpret imagery and create their own effective combinations of visuals and texts, they also develop some familiarity with seminal artwork from the target culture. This article outlines how spiraling art through a language curriculum can aid vocabulary retention, illustrate poetic language, and raise awareness of diversity and In our experience, inclusion. As a result, learners investigate and interact with learning a second the products, practices, and perspectives of the L2 culture language (L2) while simultaneously developing visual analysis skills—the through art can latter essential in an age in which both authentic and digitally help learners manipulated imagery dominate the media and social discourse. visualize and retain language. In our experience, learning a second language (L2) It also appeals to emotions and through art can help learners visualize and retain language. engages the It also appeals to emotions and engages the senses. Apart senses. Gisela Hoecherl-Alden (PhD, University of Wisconsin-Madison) is Director of Language Instruction, Professor of the Practice, and Assistant Dean at Boston University. She works with language faculty in four departments on curriculum design and teaches all levels of German.
    [Show full text]
  • THE HANDBOOK for STORYTELLERS and the Handbook for Storytime Programs) Stands on Its Own, Each Complements and Buttresses the Other
    THE HANDBOOK FOR JUDY FREEMAN and CAROLINE FELLER BAUER An imprint of the American Library Association CHICAGO 2015 www.alastore.ala.org Caroline Feller Bauer (1935–2013) was a public librarian, professor of children’s literature, radio personality, international speaker and performer, author of nineteen children’s books and professional books about children’s literature for adults, and tireless cheerleader for literacy and storytelling. Judy Freeman (www.judyreadsbooks.com) is a former school librarian; an adjunct professor at Pratt Institute in New York City, teaching courses in children’s literature and storytelling; an international speaker and performer for children, teachers, librarians, and parents; a children’s book reviewer; and the author of more than a dozen professional books about children’s literature and storytelling. She continues to work closely with librarians, teachers, and hundreds of students at several elementary schools to test out new books, ideas, and ways to incorporate literature into children’s lives. Both have developed and performed thousands of programs and workshops incorporating children’s literature, storytelling, music, poetry, and drama to tens of thousands of children and adults across the United States and abroad. © 2015 by Judy Freeman and Caroline Feller Bauer Printed in the United States of America 19 18 17 16 15 5 4 3 2 1 Extensive effort has gone into ensuring the reliability of the information in this book; however, the publisher makes no warranty, express or implied, with respect to the mate- rial contained herein. All reasonable efforts have been made to identify and contact copyright holders, but in some cases these could not be traced.
    [Show full text]
  • The Liberation of the Heroine in Red Riding Hood : a Study on Feminist and Postfeminist Discourses
    Lingnan University Digital Commons @ Lingnan University Theses & Dissertations Department of English 2-11-2015 The liberation of the heroine in Red Riding Hood : a study on feminist and postfeminist discourses Hiu Yan CHENG Follow this and additional works at: https://commons.ln.edu.hk/eng_etd Part of the English Language and Literature Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Cheng, H. Y. (2015). The liberation of the heroine in Red Riding Hood: A study on feminist and postfeminist discourses (Master's thesis, Lingnan University, Hong Kong). Retrieved from http://commons.ln.edu.hk/eng_etd/10 This Thesis is brought to you for free and open access by the Department of English at Digital Commons @ Lingnan University. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of Digital Commons @ Lingnan University. Terms of Use The copyright of this thesis is owned by its author. Any reproduction, adaptation, distribution or dissemination of this thesis without express authorization is strictly prohibited. All rights reserved. THE LIBERATION OF THE HEROINE IN RED RIDING HOOD: A STUDY ON FEMINIST AND POSTFEMINIST DISCOURSES CHENG Hiu Yan MPHIL Lingnan University 2015 THE LIBERATION OF THE HEROINE IN RED RIDING HOOD: A STUDY ON FEMINIST AND POSTFEMINIST DISCOURSES by CHENG Hiu Yan A thesis submitted in partial fulfillment of the requirements for the Degree of Master of Philosophy in English Lingnan University 2015 ABSTRACT The Liberation of the Heroine in Red Riding Hood: a Study on Feminist and Postfeminist Discourses by CHENG Hiu Yan Master of Philosophy Fairy tales’ magic is powerful because it has the potential to enter different cultures at different times.
    [Show full text]
  • Ever Since Humans Gained the Ability of Higher Thought People Have Been Creating and Telling Stories
    English 12 Final Essay Choice 1 Ever since humans gained the ability of higher thought people have been creating and telling stories. These stories are passed on from one generation to the next and at some point become more than stories; they become tradition, culture, and history. Long after the original writers or creators of the stories are dead and all but forgotten, the stories remain and become a legacy. With each year that passes by the stories grow, they are modified or retold a different way, and as they grow those stories become more rooted in the cultures of those who share them. Fairytales are some of the most widespread and evident stories in cultures; they manage to catch the interest of almost all readers, and have grown far more than the average story. One such beloved fairytale is “Little Red Riding Hood,” which has seen many different authors and titles throughout its existence. The story of Little Red Riding Hood began as tales told to children, passed on through word of mouth alone. The first written version, which has come to represent the oldest and original story, was “Little Red Riding Hood” by Charles Perrault. The tale followed the characteristics of all fairytales; a handful of characters, a simple and short storyline, and a lesson to be learned. The characters were: a young and pretty girl known only as Little Red Riding Hood, a wolf that had the ability to speak, and an old and sickly grandmother of Red. The tale mentioned Red’s mother and woodsmen briefly, but their only purpose was to guide the story, they did not significantly interact within the story.
    [Show full text]
  • TEACHER RESOURCE PACK for Teachers Working with Pupils in Years 4 - 6 PHILIP PULLMAN’S GRIMM TALES
    PHILIP PUllMAn’S gRiMM TAlES TEACHER RESOURCE PACK FOR teachers wORKing wiTH pupilS in YEARS 4 - 6 PHILIP PUllMAn’S gRiMM TAlES Adapted for the stage by Philip Wilson Directed by Kirsty Housley from 13 nOv 2018 - 6 jAn 2019 FOR PUPILS IN SCHOOl years 4 - 6 OnCE upon A christmas... A most delicious selection of Philip Pullman’s favourite fairytales by the Brothers Grimm, re-told and re-worked for this Christmas. Enter a world of powerful witches, enchanted forest creatures, careless parents and fearless children as they embark on adventures full of magic, gore, friendship, and bravery. But beware, these gleefully dark and much-loved tales won’t be quite what you expect… Duration: Approx 2 hrs 10 mins (incl. interval) Grimm Tales For Young and Old Copyright © 2012, Phillip Pullman. All rights reserved. First published by Penguin Classics in 2012. Page 2 TEACHER RESOURCES COnTEnTS introdUCTiOn TO the pack p. 4 AbOUT the Play p. 6 MAKing the Play: interviEw wiTH director Kirsty HOUSlEY p. 8 dRAMA activiTiES - OverviEw p. 11 SEQUEnCE OnE - “OnCE UPOn A TiME” TO “HAPPILY EvER AFTER” p. 12 sequenCE TwO - the bEginning OF the story p. 15 sequenCE THREE - RAPUnZEl STORY wHOOSH p. 22 sequenCE FOUR - RAPUnZEl’S dREAM p. 24 sequenCE FivE - THE WITCH’S PROMiSES: wRiTING IN ROlE p. 26 RESOURCES FOR ACTiviTiES p. 29 Page 3 TEACHER RESOURCES INTROdUCTiOn This is the primary school pack for the Unicorn’s production of Philip Pullman’s Grimm Tales in Autumn 2018. The Unicorn production is an adaptation by Philip Wilson of Philip Pullman’s retelling of the classic fairytales collected in 19th century Germany by Jacob and Wilhelm Grimm.
    [Show full text]
  • STATE of OHIO DEPARTMENT of TRANSPORTATION SUPPLEMENTAL SPECIFICATION 919 RAILROAD PREEMPTION INTERFACE January 17, 2014 919.01
    STATE OF OHIO DEPARTMENT OF TRANSPORTATION SUPPLEMENTAL SPECIFICATION 919 RAILROAD PREEMPTION INTERFACE January 17, 2014 919.01 Traffic Signal Cabinet and Controller Unit General Requirements 919.02 Approved Controllers 919.03 Nomenclature and Terminals 919.04 Harness 919.05 Preemption Input Test Switch Panel 919.06 Indicator Panel 919.07 Railroad Interface 919.08 Interconnect Cable 919.09 Controller Functionality 919.01 Traffic Signal Cabinet and Controller Unit General Requirements The interface consists of six twisted-pair circuits and associated equipment. Five circuits shall communicate from the railroad crossing enclosure to the traffic signal cabinet and one from the traffic signal cabinet to the railroad enclosure and shall function as follows: 1. Advance Preemption. This circuit will notify the traffic signal controller of an approaching train prior to the operation of the active warning devices. Two relays or both channels of an isolator card are required. The railroad will return a normally open and a normally closed circuit. Preemption will be initiated when the normally closed circuit opens. The normally open circuit closes when preemption is initiated indicating the proper functioning of the supervision circuit. 2. Simultaneous Preemption. This circuit will notify the traffic signal controller of an approaching train at the point the active warning devices begin their operation. One relay or one channel of a DC isolator card is required. The railroad will return a normally closed circuit which opens when the railroad warning devices begin to operate. 3. Island Occupied. This circuit will notify the traffic signal controller of the arrival of the train at the island circuit.
    [Show full text]
  • Notrump Interference
    NoTrump Interference Don't you just hate it when the bidding goes P – 1N – P – P; P and the opponents end up with a good result? We learned about Balancing as a measure to keep opponents out of cheap contracts. Granted the 1N bid does show a bit stronger hand than a simple 1-of-a-suit Opener; but still the Openers Partner Passed so where are the other 25-33 HCP? Perhaps the majority of them are with your side and you might have a long-suit advantage from the fact that the power hand is balanced in shape. This latter fact forms the basis of Bids designed to keep opponents from playing easy 1N contracts. There have been many Conventions designed to this end but by far the two most popular which we will show here are Cappeletti, named after its proponent Mike C. and D.O.N.T another Marty Bergen invention where the Initials stand for Disturb Opponents No Trump. D.O.N.T Because of the list's length it may seem intimidating at first, but it really is quite simple. The opponent opens 1N and if you have a one or two suited hand you show that information to your partner. The single suited hand contains a 6+ Card suit: you use the ubiquitous X = Double to let partner know you have a long suit. If you have a two suited hand i.e. you have two suits most commonly 5-4 but could be 5-5 or even 6-5, you bid the lower ranking of the two suits, It makes no difference which is the stronger or longer – you bid the lower ranking suit to show the two suited hand.
    [Show full text]
  • Wolf Folklore Cartoon Animals Are a Good Example of Anthropomorphism; They Look Like Ani- Popular European Folk Tales Were Mals, but They Act Like People
    KIDS The wolf thanked her warmly and was turning away when she cried, “What about that fee of mine?” “Well, what about it?” snapped the wolf, baring his teeth as he spoke. “You can go about boasting that you once put your head into a wolf’s mouth and didn’t get it bitten off. What more do you want?” European Fairy Tales and the Brothers Grimm Wolf Folklore Cartoon animals are a good example of anthropomorphism; they look like ani- Popular European folk tales were mals, but they act like people. written down during the 19th century. By Connor Hager Over time, most people and cultures In 1812, a number of them were pub- have changed their attitudes toward lished by two brothers with the last name wolves because of human activities like of Grimm, under a title still familiar to Folklore, Folk Tales, agriculture (farming), wildlife man- many young readers: Grimm’s Fairy Tales. Legends and Myths agement and environmental studies. The brothers Grimm were lawyers olklore is the word for the tradi- Changing attitudes can alter the way who became interested in folklore as a tions, customs and beliefs found wolves are depicted by humans—and way to study the German culture and within a culture. Folklore is passed that can affect human tolerance for system of laws. They collected these sto- F ries from people they knew, friends of on by telling stories, sharing supersti- wolves, depending on whether the depic- tions, creating music and art, and teach- tions are positive or negative. ing by word-of-mouth.
    [Show full text]
  • Towards Emancipation? Women in Modern European History
    s University of North Carolina at Chapel Hill Department of History HIST / WMST / EURO 259: TOWARDS EMANCIPATION? WOMEN IN MODERN EUROPEAN HISTORY Syllabus – Spring 2018 Instructor: Prof. Karen Hagemann TIME OF THE COURSE: TUESDAY & THURSDAY: 11:00 AM - 12:15 PM ROOM: TBA Office Hours: Tuesday: 1:00 - 3:00 PM or by appointment Office: Hamilton Hall 562 Email: [email protected] 17 October 2017 HISTORY / WMST 259: Spring 2018 2 AIMS OF THE COURSE In this course we will study women's lives, work and the history of the women’s movement in modern Europe from the era of the late Enlightenment and the French Revolution to the period of the two World Wars, the Holocaust, and the Cold War. We will explore how the major political, economic, social, and cultural changes affected the lives of women from different social backgrounds and how they responded to these changes. The struggle of the women’s movement that emerged everywhere in Europe during the nineteenth century to improve the working and living conditions of women, achieve eQual civil and political rights for women and increase their social, cultural, and political influence, will thus be one central theme. We will ask how the aims and forms of this struggle for female emancipation varied between different groups and countries and changed over time. We also will examine the ways in which women were involved in wars and revolutions and experienced them. The course is organized chronologically, but as we move through time we will concentrate on the following themes: • Gender images and dominant ideas about the gender order and how they affected women’s lives • Women’s role(s) and experiences in the household, the family, and the workforce • Women’s and men’s role(s) in the ‘public spheres’ of nation, state and civil society • Women’s struggle for eQual rights in the family, society, the workforce and politics.
    [Show full text]