The Tale of Rumplestiltskin
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The Intersection of Animalism and Gender in European Fairy Tales
Connecticut College Digital Commons @ Connecticut College English Honors Papers English Department 2016 Beasts, Brides, and Brutality: The nI tersection of Animalism and Gender in European Fairy Tales Rachel Matson Connecticut College, [email protected] Follow this and additional works at: http://digitalcommons.conncoll.edu/enghp Part of the Children's and Young Adult Literature Commons, Feminist, Gender, and Sexuality Studies Commons, French and Francophone Language and Literature Commons, and the German Language and Literature Commons Recommended Citation Matson, Rachel, "Beasts, Brides, and Brutality: The nI tersection of Animalism and Gender in European Fairy Tales" (2016). English Honors Papers. 25. http://digitalcommons.conncoll.edu/enghp/25 This Honors Paper is brought to you for free and open access by the English Department at Digital Commons @ Connecticut College. It has been accepted for inclusion in English Honors Papers by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. Beasts, Brides, and Brutality: The Intersection of Animalism and Gender in European Fairy Tales An Honors Thesis presented by Rachel Elizabeth Matson to the Department of English in partial fulfillment of the requirements for Honors in the Major Field Connecticut College New London, Connecticut May 2016 Acknowledgments -First- To my readers, Courtney Baker and Michelle Neely: for their wisdom and support, and to the English Department: for being my home. -Then- To Debra and to David: for reading since the beginning, and listening until the end. -Finally- To my advisor, Jeff Strabone: for helping me realize all the things I have been waiting to say. -
Gender Stereotypes in Cinderella (Atu 510A) And
GENDER STEREOTYPES IN CINDERELLA (AT U 510A) A N D THE PRINCESS ON THE GLASS MOUNTAIN (AT U 530) KÄRRI TOOMEOS-ORGLAAN Project Assistant, PhD Student Department of Estonian and Comparative Folklore Institute for Cultural Research and Fine Arts University of Tartu Ülikooli 18, 50090 Tartu, Estonia e-mail: [email protected] ABSTRACT One of the best-known role-based stereotypes in European fairy tales is that of an active male and a passive female. Awareness of such a stereotype is connected with the feminist approach that criticises the domination of the male point of view in fairy tales and the depiction of women from the position of men. The article focuses on analysing if and how the stereotype is realised in the context of two fairy tale types – Cinderella (ATU 510A) and The Princess on the Glass Mountain (ATU 530). According to Bengt Holbek, fairy tales as symbolic texts are closely connected to the real world as they refer to the latter through fantastic phenomena and events. Holbek is interested in the meaning of magical elements in the living tradition: according to him the world of fairy tales does not reflect the real world directly, but reveals the storytellers’ and their audiences’ ideas of what the latter should be like. What emerges as an important question is whose vision is trans- mitted by such fairy tale interpretations; whether researchers are able to interpret the meanings the tales might have had for the storytellers, or whether it is just the viewpoint of the researcher that is reflected. KEYWORDS: fairy tale • interpretation -
If You Like Fairy Tales the Last Unicorn by Peter S. Beagle (Original) the Amaranth Enchantment by Julie Berry (Original) Serend
If You Like Fairy Tales The Last Unicorn by Peter S. Beagle (original) The Amaranth Enchantment by Julie Berry (original) Serendipity Market by Penny Blubaugh (mix of several fairy tales) Sisters Grimm series by Michael Buckley (mix of several fairy tales) A Curse Dark as Gold by Elizabeth C. Bunce (Rumplestiltskin) Further Tales series by P.W. Catanese (several fairy tales) Runaway Princess and Runaway Dragon by Kate Coombs (original) Entwined by Heather Dixon (Twelve Dancing Princesses) Into the Wild and Out of the Wild by Sarah Beth Durst (mix of several fairy tales) Fortune’s Folly by Deva Fagan (mix of several fairy tales) Once Upon a Marigold and Twice Upon a Marigold by Jean Ferris (original) Shadow Spinner by Susan Fletcher (Arabian Nights) Reckless by Cornelia Funke (mix of several Grimm fairy tales) Stardust by Neil Gaiman (original) Into the Woods and Out of the Woods by Lyn Gardner (mix of several fairy tales) Princess of the Midnight Ball and Princess of Glass by Jessica Day George (Twelve Dancing Princesses and Cinderella) Sun and Moon, Ice and Snow by Jessica Day George (East of the Sun, West of the Moon) Book of a Thousand Days by Shannon Hale (Maid Maleen) Rapunzel’s Revenge and Calamity Jack by Shannon and Dean Hale (Rapunzel and Jack and the Beanstalk) – graphic novel Goose Girl by Shannon Hale (Goose Girl) Princess Curse by Merrie Haskell (Twelve Dancing Princesses/Beauty and the Beast) Goose Chase by Patrice Kindl (Goose Girl) Keturah and Lord Death by Martine Leavitt Cinder and Ella by Melissa Lemon (Cinderella) -
Roberts, Nora
Marillier, Juliet Showalter, Gena TEENS Wildwood Dancing White Rabbit Chronicles (Twelve Dancing Princesses) (Alice in Wonderland) If You Enjoyed Five sisters who live with their merchant father To avenge the death of her parents and sister in Transylvania use a hidden portal in their Ali must learn to fight the undead, and to Reading home to cross over into a magical world, the survive she must learn to trust the baddest of Wildwood. the bad boys, Cole Holland. But Cole has his own secrets, which might just prove to be more McKinley, Robin dangerous than the zombies. Beauty (Beauty and the Best) A classic retelling of Beauty and the Beast. Stanley, Diane Bella at Midnight (Cinderella) Meyer, Marissa Raised by peasants, Bella discovers that she is Lunar Chronicles (series) actually the daughter of a knight and finds (Cinderella, Little Red Riding Hood, Rapunzel) herself caught up in a plot that will change her A futuristic retelling of classic fairy tales forever. involving a cyborg and an evil queen. Wrede, Patricia Napoli, Donna Jo Dealing with Dragons Bound (Cinderella) (available to download) In a novel based on Chinese Cinderella tales, (Miscellaneous Fairy Tales) fourteen-year-old stepchild Xing-Xing endures A princess goes off to live with a group of a life of neglect and servitude, as her dragons and soon becomes involved with stepmother cruelly mutilates her own child's fighting against wizards who want to steal the feet so that she alone might marry well. dragons' kingdom. Pearce, Jackson Wrede, Patricia Alice in Zombieland by Gena Showalter Sisters Red (Little Red Riding Hood) Snow White and Rose Red Cinder by Marissa Meyer (Snow White and the Seven Dwarves) After a werewolf kills their grandmother, sisters Scarlett and Rosie March devote themselves to Elizabethan English tricksters John Dee and killing the beasts that prey on teenaged girls. -
NATIONALISTIC ASPECTS of the GRIMM BROTHERS' FAIRY TALES* Department Oj History, College of the City of New York
The Journal of Social Psychology, 1951, 33, 209-223. NATIONALISTIC ASPECTS OF THE GRIMM BROTHERS' FAIRY TALES* Department oj History, College of the City of New York LOUIS L. SNYDER A. INTRODUCTION "Not a narrow nationalism but the philosophic romanticism of Schelling, Gories, Cruezer and Kanne, the view that the mythos glimpsed more of truth than reason, impelled the brothers Grimm to make such great collec- tions of folk poetry as the Kinder- und Hausmdrchen" (30, p 173). And again: "The brothers Grimm had no thought of breeding an overweening nationalism, but rather of paving the way for a profounder comprehension of German character, a national self-knowledge" (30, p. 174). These two conclusions, reached in 1937 by Rudolf Stadelmann, then of the University of Freiburg i. Br., tend to relieve the famed German philologists, founders of scientific Germanistics, of the onus of "narrow" and "overweening" na- tionalism that has caused an enormous amount of trouble in recent years. Since nationalism has become for the European of our age "the most im- portant thing in the world, more important than civilization, humanity, de- cency, kindness, pity, more important than life itself" (Sir Norman Angell), and since nationalism, far from weakening, is growing even more stronger as nations everywhere grow more national in thought and in deed, an examination of nationalistic aspects of the work of the two gifted brothers would seem to be in order. Did nationalism, whether narrow or wide, play a vital role in the lives and works of the brothers -
Politically Correct Bedtime Stories
Politically Correct Bedtime Stories Modern Tales for Our Life and Times James Finn Garner POLITICALLY CORRECT BEDTIME STORIES To the Theatre of the Bizarre, including Pepe, Armando, Egon, Ted, Matteo, Nick and Julietta; James Ghelkins, Jr., and Willie, Smitty, and Jocko of the Teamsters Children’s Puppet Theatre; and Others too numerous to mention. To Carol, for help and encouragement, and to Lies, for everything. - 1 - POLITICALLY CORRECT BEDTIME STORIES CONTENTS INTRODUCTION LITTLE RED RIDING HOOD THE EMPEROR’S NEW CLOTHES THE THREE LITTLE PIGS RUMPELSTILTSKIN THE THREE CODEPENDENT GOATS GRUFF RAPUNZEL CINDERELLA GOLDILOCKS SNOW WHITE CHICKEN LITTLE THE FROG PRINCE JACK AND THE BEANSTALK THE PIED PIPER OF HAMELIN - 2 - POLITICALLY CORRECT BEDTIME STORIES INTRODUCTION When they were first written, the stories on which the following tales are based certainly served their purpose – to entrench the patriarchy, to estrange people from their own natural impulses, to demonize “evil” and to “reward” an “objective” “good”. However much we might like to, we cannot blame the Brothers Grimm for their insensitivity to womyn’s issues, minority cultures, and the environment. Likewise, in the self-righteous Copenhagen of Hans Christian Anderson, the inalienable rights of mermaids were hardly given a second thought. Today, we have the opportunity – and the obligation – to rethink these “classic” stories so they reflect more enlightened times. To that effort I submit this humble book. While its original title, Fairy Stories For a Modern World, was abandoned for obvious reasons (kudos to my editor for pointing out my heterosexualist bias), I think the collection stands on its own. -
Title:Cultural Nationalism: the Grimm Brothers' Fairy Tales Author(S): Louis L
Page 1 of 17 Title:Cultural Nationalism: The Grimm Brothers' Fairy Tales Author(s): Louis L. Snyder Publication Details: Roots of German Nationalism. Indiana University Press, 1978. p35-54. Source:Nineteenth-Century Literature Criticism. Ed. Suzanne Dewsbury. Vol. 77. Detroit: Gale Group, 1999. From Literature Resource Center. Document Type:Critical essay Full Text: COPYRIGHT 1999 Gale Group, COPYRIGHT 2007 Gale, Cengage Learning Full Text: [(essay date 1978) In the following essay, Snyder discusses the Fairy Tales in relation to German nationalism and the Romantic movement, focusing on how the tales present positive, praiseworthy traits common to the German people while at the same time promoting the idea of fear of the outsider, personified in the character of the Jew.] All my works relate to the Fatherland, from whose soil they derive their strength. Jakob Grimm For generations the Grimm Fairy Tales have enjoyed international popularity. Children all over the world have been and are still fascinated by the stories of Cinderella, and Hansel and Gretel. Yet, paradoxically, the scholars who collected and refined these tales worked within the framework of that romanticism which became an important element of German nationalism. The Grimms regarded all their work, including the fairy tales, as deriving its strength from the soil of the Fatherland. When this theme was presented originally, it turned out to be most controversial. It was denounced by defenders of childhood on the ground that no taint of nationalism could possibly exist in stories so popular among the world's children. Among the most vociferous critics were German scholars who had been obliged to leave Hitler's Germany as refugees: to them the idea was exaggerated and unfair. -
The Brothers Grimm As Fictional Representations Donald Haase Wayne State University
Narrative Culture Volume 1 | Issue 2 Article 4 11-1-2014 "We Are What We Are Supposed to Be": The Brothers Grimm as Fictional Representations Donald Haase Wayne State University Follow this and additional works at: http://digitalcommons.wayne.edu/narrative Recommended Citation Haase, Donald (2014) ""We Are What We Are Supposed to Be": The rB others Grimm as Fictional Representations," Narrative Culture: Vol. 1: Iss. 2, Article 4. Available at: http://digitalcommons.wayne.edu/narrative/vol1/iss2/4 article Donald Haase “We Are What We Are Supposed to Be” The Brothers Grimm as Fictional Representations n 1985, in a catalog of contemporary art inspired by the Brothers Grimm and their tales, W. P. Fahrenberg presented the unpublished manuscript of a deceased Grimm scholar identified only by the initial L. In that rare piece of research, L. Imakes an astounding claim: You know the Brothers Grimm as men who brightened your childhood, as pio- neers of dream, as men of political integrity, as outstanding Germanists, as highly celebrated “great German intellects.” All this is true. And yet I would like to add to these celebratory assessments one more theory that, while afffirming these declarations, at the same time also makes them pale in comparison. Brace yourself: The Brothers Grimm were extraterrestrials whose explicit goal and mission were to subjugate humanity and thus to prepare it for that day in the future when the world as we know it will be turned topsy-turvy.1 It should be clear to readers of that catalog, Der Grimm auf Märchen2—as it should be to readers of this article—that L. -
Things Are Looking Grimm, Jill
Things are Looking Grimm, Jill Dan Bar-el 1-55143-400-8 $7.95 cdn • $5.95 us, paperback 5 x 7.5, 144 pages ages 8-11 To order this book or for a current catalogue: Orca Book Publishers Orca Book Publishers Teachers’ Guide phone 1-800-210-5277 fax: 1-877-408-1551 www.orcabook.com Things are Looking Grimm, Jill Teachers’ Guide—page 2 Consider the following question as you read Things are Looking Grimm, Jill: How can a sense of humor be a useful tool? Story When Jill sets off to rescue the women of Grimm, she meets a lot of very odd people and discovers the value of listening to her mother! Author When not hitching a ride on a broomstick with a passing witch or teaching marmots to play guitar, Dan Bar-el is an early childhood educator, a writer, a storyteller, and a very funny guy. Things are Looking up, Jack, his first book about hapless King Jack and reckless Princess Jill, was published by Orca in 2003. His picturebook, Alphabetter, is due out from Orca in Fall 2006. Dan lives in Vancouver, British Columbia. Curricular Integration For more ideas, check out the teacher guide for Things are Looking up, Jack found on the Orca Book Publishers’ site. Language Arts • Prior to reading Things are Looking Grimm, Jill, the teacher might want to familiarize the students with the characters and stories of Charles Perrault and the Brothers Grimm, as they are integral to the storyline. • Choose a favorite Mother Goose rhyme to memorize and recite aloud in pairs or small groups. -
Hansel and Gretel
“HANSEL AND GRETEL” IN HOLOCAUST LITERATURE THE USE OF GRIMM'S “HANSEL AND GRETEL” AS A METAPHOR FOR THE HOLOCAUST IN YOUNG ADULT FICTION BY LOUISE MURPHY, JANE YOLEN, AND ELIZA GRANVILLE Word count: 27,406 Chloé Van Overmeiren Student number: 01509379 Supervisor: Prof. Dr. Joost Krijnen A dissertation submitted to Ghent University in partial fulfilment of the requirements for the degree of “Master in de Taal- en Letterkunde: Engels” Academic year: 2018-2019 Acknowledgment I became interested in Holocaust literature after I had read Primo Levi’s If this is Man and Edith Eger’s The Choice. When I found out that research has been done on the use of fairy tales in Holocaust novels, I was eager to know more about this and make a contribution to this field of research. First and foremost, I would like to thank my supervisor, Prof. Dr. Joost Krijnen, who always provided me with elaborate and useful feedback, answered to my questions, and helped me set up a clear plan so that I would finish everything in time. I want to thank my parents, for giving me the chance to attend university in the first place, but most of all for always being there for me and supporting me in everything I do. I want to thank my sister, for believing in me when I did not, and for endlessly listening to my ideas and theories about the books I discuss in this dissertation. Of course, I also want to thank my friends. Our numerous writing sessions — and coffee breaks — gave me the motivation I needed. -
Twisted Fairy Tales
Twisted Fairytales The Thirteenth Princess (Based on 12 Dancing Princesses) After Zita’s mother died in childbirth, her father banished his thirteenth daughter to the servants. But working in the kitchen has its advantages: while her sisters remain captive in the molding castle, red-haired Zita is free to roam the woods with the stable boy, Breckin. Zita tells her story chronologically, beginning with her childhood feelings of abandonment and her joyful reconnection with her older siblings. After her father threatens to fire the old nurse who cares for them, the princesses begin to waste away. Thanks to magic learned from a good witch living in the woods, Zita follows them to a dream palace where they must dance all night. With the help of Breckin-and later, Breckins handsome soldier brother-she discovers the source of their enchantment. Curse of the Thirteenth Fey (Based on Sleeping Beauty) In this imaginative retelling, the jealous, overlooked fairy who curses Sleeping Beauty is recast as a sickly, bookish teenage. Thirteen-year-old Gorse belongs to the Shouting Fey, a clan of mischievous fairies with powerful voices. In a subversive departure from the original tale in which benevolent fairies bestow gifts at the infant’s christening, Yolen portrays the relationship between the royal family and the Shouting Fey as downright feudal. Tied to their land by an ancient oath, the Fey are compelled to perform spells at the whim of the capricious monarchs. On the day of the christening, Gorse rushes to the palace only to fall down a hole into a cave where she discovers two fey princes who have been banished for years, as well as revelations about her family’s past. -
Freudian Melancholy and Bodily Mutilation in “Little Snow White” and “The Sleeping Beauty in the Wood”
Montclair State University Montclair State University Digital Commons Theses, Dissertations and Culminating Projects 5-2021 Freudian Melancholy and Bodily Mutilation in “Little Snow White” and “The Sleeping Beauty in the Wood” Valmira Kaba Follow this and additional works at: https://digitalcommons.montclair.edu/etd Part of the English Language and Literature Commons Kaba 1 Abstract What is left to say about fairy tales that has not already been said before? In this essay, I answer this question by approaching two famous fairy tales, The Grimm Brothers’ “Little Snow White” (1812) and Charles Perrault’s “The Sleeping Beauty in the Wood” (1897) with two theoretical frameworks in mind: Freudian psychoanalysis and disability studies. Both Freudian psychology and disability studies are mainstays in critical discourse of fairy tales, but neither Freud nor contemporary critics have combined the two in a way that addresses the pathological condition known as melancholia and its relationship to the perception of disabilities. My analysis of these two tales hinges on the behaviors and fates of the three elderly women in these tales— the queen in “Snow White,” and the fairy and ogress in “Sleeping Beauty”—and specifically how their internal struggles with melancholia manifest themselves into disturbing and inappropriate behavior that cannot be dismissed simply as older women resenting their younger, and prettier, female counterparts. My thesis traces how their violent behaviors stem from a loss of status that they experience—a loss that occurs on a subconscious level that then dictates their conscious actions. This loss is what triggers their melancholia, a type of mourning characterized by a significant loss in self-esteem.