Selected Grimms' Tales 1 CONTENTS the Golden Bird
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Who's Afraid of the Brothers Grimm?: Socialization and Politization Through Fairy Tales
Who's Afraid of the Brothers Grimm?: Socialization and Politization through Fairy Tales Jack Zipes The Lion and the Unicorn, Volume 3, Number 2, Winter 1979-80, pp. 4-41 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/uni.0.0373 For additional information about this article https://muse.jhu.edu/article/247386 Access provided by University of Mary Washington & (Viva) (19 Sep 2017 17:43 GMT) Who's Afraid of the Brothers Grimm? Socialization and Politization through Fairy Tales Jack Zipes Over 170 years ago the Brothers Grimm began collecting original folk tales in Germany and stylized them into potent literary fairy tales. Since then these tales have exercised a pro- found influence on children and adults alike throughout the western world. Indeed, whatever form fairy tales in general have taken since the original publication of the Grimms' nar- ratives in 1812, the Brothers Grimm have been continually looking over our shoulders and making their presence felt. For most people this has not been so disturbing. However, during the last 15 years there has been a growing radical trend to over- throw the Grimms' benevolent rule in fairy-tale land by writers who believe that the Grimms' stories contribute to the creation of a false consciousness and reinforce an authoritarian sociali- zation process. This trend has appropriately been set by writers in the very homeland of the Grimms where literary revolutions have always been more common than real political ones.1 West German writers2 and critics have come to -
Iron Hans Jacob and Wilhelm Grimm
Page 1 of 7 136 Iron Hans Jacob and Wilhelm Grimm Once upon a time there was a king who had a great forest near his castle, full of all kinds of wild animals. One day he sent out a huntsman to shoot a deer, but the huntsman did not come back again. "Perhaps he has had an accident," said the king, and the following day he sent out two other huntsmen who were to search for him, but they did not return either. Then on the third day, he summoned all his huntsmen, and said, "Search through the whole forest, and do not give up until you have found all three." But none of these came home again either, nor were any of the hounds from the pack that they had taken with them ever seen again. From that time on, no one dared to go into these woods, and they lay there in deep quiet and solitude, and all that one saw from there was an occasional eagle or hawk flying overhead. This lasted for many years, when an unknown huntsman presented himself to the king seeking a position, and he volunteered to go into the dangerous woods. The king, however, did not want to give his permission, and said, "It is haunted in there. I am afraid that you will do no better than did the others, and that you will never come out again." The huntsman answered, "Sir, I will proceed at my own risk. I know nothing of fear." The huntsman therefore set forth with his dog into the woods. -
Grimm's Household Tales
NY PUBLIC LIBRARY THE BRANCH LIBRARIES 3 3333 08575 3347 .-. G i U LILY AND 'GRIMMB * HOUSEHOLD eDlTeD'5c*PARTl*Y WITH'.IliUSTRATJOWS ->** < Preface. THERE is no need of many words in introducing the old familiar friends of fairy-land, who never fail of a welcome from those, not yet too old to feel the power of their fascination. The following collection of tales has been made in the assurance that, among the younger readers are for whom they intended, the genuine fairy tale is still without a as a source of interest and amusement rival, ; as a source of instruction alsc, might with truth be added, for, apart from the homely wisdom which underlies most fairy tales, there is in severa- of them a touch of the fable, which, of all forms, is the most acceptable and convincing for the transmittance of moral teaching. The tales from " " the Gammer Grethel series, are given in the " " version, published in the Bohn Library from the admirable translation by Mr Edgar Taylor, which has, vii Vlll PREFACE for its readers the tales many years past, delighted ; " from the "Kinder und Hans-M'archen have been newly translated. As much variety as possible has been put into the choice of tales, selection for the most part falling on those which are known to be universally acknowledged as favourites and as it is the of the ; such, hope Editor, they may continue, under the new garb in which he now presents them to his young friends. EDITOR. Contents PAGE The Golden Goose .... I The Wishing Table, The Gold Ass, and The Cudgel .... -
Introduction: Fairy Tale Films, Old Tales with a New Spin
Notes Introduction: Fairy Tale Films, Old Tales with a New Spin 1. In terms of terminology, ‘folk tales’ are the orally distributed narratives disseminated in ‘premodern’ times, and ‘fairy tales’ their literary equiva- lent, which often utilise related themes, albeit frequently altered. The term ‘ wonder tale’ was favoured by Vladimir Propp and used to encompass both forms. The general absence of any fairies has created something of a mis- nomer yet ‘fairy tale’ is so commonly used it is unlikely to be replaced. An element of magic is often involved, although not guaranteed, particularly in many cinematic treatments, as we shall see. 2. Each show explores fairy tale features from a contemporary perspective. In Grimm a modern-day detective attempts to solve crimes based on tales from the brothers Grimm (initially) while additionally exploring his mythical ancestry. Once Upon a Time follows another detective (a female bounty hunter in this case) who takes up residence in Storybrooke, a town populated with fairy tale characters and ruled by an evil Queen called Regina. The heroine seeks to reclaim her son from Regina and break the curse that prevents resi- dents realising who they truly are. Sleepy Hollow pushes the detective prem- ise to an absurd limit in resurrecting Ichabod Crane and having him work alongside a modern-day detective investigating cult activity in the area. (Its creators, Roberto Orci and Alex Kurtzman, made a name for themselves with Hercules – which treats mythical figures with similar irreverence – and also worked on Lost, which the series references). Beauty and the Beast is based on another cult series (Ron Koslow’s 1980s CBS series of the same name) in which a male/female duo work together to solve crimes, combining procedural fea- tures with mythical elements. -
Sunday Morning Grid 5/1/16 Latimes.Com/Tv Times
SUNDAY MORNING GRID 5/1/16 LATIMES.COM/TV TIMES 7 am 7:30 8 am 8:30 9 am 9:30 10 am 10:30 11 am 11:30 12 pm 12:30 2 CBS CBS News Sunday Face the Nation (N) Paid Program Boss Paid Program PGA Tour Golf 4 NBC News (N) Å Meet the Press (N) Å News Rescue Red Bull Signature Series (Taped) Å Hockey: Blues at Stars 5 CW News (N) Å News (N) Å In Touch Paid Program 7 ABC News (N) Å This Week News (N) NBA Basketball First Round: Teams TBA. (N) Basketball 9 KCAL News (N) Joel Osteen Schuller Pastor Mike Woodlands Amazing Paid Program 11 FOX In Touch Paid Fox News Sunday Midday Prerace NASCAR Racing Sprint Cup Series: GEICO 500. (N) 13 MyNet Paid Program A History of Violence (R) 18 KSCI Paid Hormones Church Faith Paid Program 22 KWHY Local Local Local Local Local Local Local Local Local Local Local Local 24 KVCR Landscapes Painting Joy of Paint Wyland’s Paint This Painting Kitchen Mexico Martha Pépin Baking Simply Ming 28 KCET Wunderkind 1001 Nights Bug Bites Space Edisons Biz Kid$ Celtic Thunder Legacy (TVG) Å Soulful Symphony 30 ION Jeremiah Youssef In Touch Leverage Å Leverage Å Leverage Å Leverage Å 34 KMEX Conexión En contacto Paid Program Fútbol Central (N) Fútbol Mexicano Primera División: Toluca vs Azul República Deportiva (N) 40 KTBN Walk in the Win Walk Prince Carpenter Schuller In Touch PowerPoint It Is Written Pathway Super Kelinda Jesse 46 KFTR Paid Program Formula One Racing Russian Grand Prix. -
INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin Text, Study Aids with Vocabulary, and Commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119
INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119 Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary Ingo Gildenhard https://www.openbookpublishers.com © 2018 Ingo Gildenhard The text of 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 author(s), but not in any way that suggests that they endorse you or your use of the work. Attribution should include the following information: Ingo Gildenhard, Cicero, Philippic 2, 44–50, 78–92, 100–119. Latin Text, Study Aids with Vocabulary, and Commentary. Cambridge, UK: Open Book Publishers, 2018. https://doi. org/10.11647/OBP.0156 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. In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/product/845#copyright Further details about CC BY licenses are available at http://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 Digital material and resources associated with this volume are available at https://www. -
Course of Study of the Kindergarten and First Eight Grades 1910
Western Michigan University ScholarWorks at WMU Western Michigan University Course Catalogs (1904-present) Western Michigan University 1910 V6 n1: Course of Study of the Kindergarten and First Eight Grades 1910 Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/course_catalogs Part of the Higher Education Commons WMU ScholarWorks Citation Western Michigan University, "V6 n1: Course of Study of the Kindergarten and First Eight Grades 1910" (1910). Western Michigan University Course Catalogs (1904-present). 276. https://scholarworks.wmich.edu/course_catalogs/276 This Catalog is brought to you for free and open access by the Western Michigan University at ScholarWorks at WMU. It has been accepted for inclusion in Western Michigan University Course Catalogs (1904-present) by an authorized administrator of ScholarWorks at WMU. For more information, please contact wmu- [email protected]. Western State Normal School ANNOUNCEMENTS FOR 1910-11 1910 WINTER TERM Tuesday, January 4.................................... Winter Term Begins Tuesday, February 22 ............................... Washington's Birthday Friday, March 25 ......................................Winter Term Closes SPRING TERM Tuesday, April 5 ....................................... Spring Term Begins Sunday, June 19..................................... Baccalaureate Address Monday, June 20................................................ Class Day Tuesday, June 21..................................... COMMENCEMENT SUMMER TERM Monday -
Red Fairy Book,The
THE RED FAIRY BOOK Edited by ANDREW LANG TO MASTER BILLY TREMAYNE MILES A PROFOUND STUDENT YET AN AMIABLE CRITIC PREFACE IN a second gleaning of the fields of Fairy Land we cannot expect to find a second Perrault. But there are good stories enough left, and it is hoped that some in the Red Fairy Book may have the attraction of being less familiar than many of the old friends. The tales have been translated, or, in the case of those from Madame d'Aulnoy's long stories, adapted, by Mrs. Hunt from the Norse, by Miss Minnie Wright from Madame d'Aulnoy, by Mrs. Lang and Miss Bruce from other French sources, by Miss May Sellar, Miss Farquharson, and Miss Blackley from the German, while the story of `Sigurd' is condensed by the Editor from Mr. William Morris's prose version of the `Volsunga Saga.' The Editor has to thank his friend, M. Charles Marelles, for permission to reproduce his versions of the `Pied Piper,' of `Drakestail,' and of `Little Golden Hood' from the French, and M. Henri Carnoy for the same privilege in regard to `The Six Sillies' from La Tradition. Lady Frances Balfour has kindly copied an old version of `Jack and the Beanstalk,' and Messrs. Smith and Elder have permitted the publication of two of Mr. Ralston's versions from the Russian. A. L. CONTENTS The Twelve Dancing Princesses The Princess Mayblossom Soria Moria Castle The Death of Koschei the Deathless The Black Thief and Knight of the Glen The Master Thief Brother and Sister Princess Rosette The Enchanted Pig The Norka The Wonderful Birch Jack and the Beanstalk The Little -
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. -
PRINCESS Books 11/2018
PRINCESS Books 11/2018 PICTURE BOOKS: Princess Palooza jj Allen, J The Very Fairy Princess jj Andrews, J The Very Fairy Princess: Here Comes the Flower Girl! Jj Andrews, J The Very Fairy Princess Takes the Stage jj Andrews, J The Princess and the Pizza jj Auch, M Snoring Beauty jj Bardhan-Quallen, S The Princess and the Pony jj Beaton, K Marisol McDonald Doesn’t Match = Marisol McDonald No Combina jj Brown, Monica Babar and Zephir jj Brunhoff, J Princess Peepers Picks a Pet jj Calvert, P Puss in Boots jj Cauley, L The Frog Princess jj Cecil, L The Princess and the Pea in Miniature: After the Fairy Tale by Hans Christian Andersen jj Child, L Princess Smartypants jj Cole, B Do Princesses Scrape Their Knees? Jj Coyle, C A Hero’s Quest jj DiCamillo, K The Mouse and the Princess jj DiCamillo, K A Friend for Merida jj Disney The Prince Won’t Go to Bed! Jj Dodds, D A Gold Star for Zog jj Donaldson, J Zog and the Flying Doctors jj Donaldson, J Dora Saves the Snow Princess jj Dora How to Become a Perfect Princess In Five Days jj Dube, P Olivia and the Fairy Princesses jj Falconer, I Olivia: The Princess jj Falconer, I The Most Wonderful Thing in the World jj French, V The Princess Knight jj Funke, C The Snow Rabbit jj Garoche, C Spells jj Gravett, E Fitchburg Public Library 610 Main St, Fitchburg, MA 01420 978-829-1789 www.fitchburgpubliclibrary.org Princesses Save the World jj Guthrie, S Princesses Wear Pants jj Guthrie, S Snoring Beauty jj Hale, B Princess Academy jj Hale, S PA1 Princess Hyacinth: (The Surprising Tale of a Girl Who Floated) -
El Llegat Dels Germans Grimm En El Segle Xxi: Del Paper a La Pantalla Emili Samper Prunera Universitat Rovira I Virgili [email protected]
El llegat dels germans Grimm en el segle xxi: del paper a la pantalla Emili Samper Prunera Universitat Rovira i Virgili [email protected] Resum Les rondalles que els germans Grimm van recollir als Kinder- und Hausmärchen han traspassat la frontera del paper amb nombroses adaptacions literàries, cinema- togràfiques o televisives. La pel·lícula The brothers Grimm (2005), de Terry Gilli- am, i la primera temporada de la sèrie Grimm (2011-2012), de la cadena NBC, són dos mostres recents d’obres audiovisuals que han agafat les rondalles dels Grimm com a base per elaborar la seva ficció. En aquest article s’analitza el tractament de les rondalles que apareixen en totes dues obres (tenint en compte un precedent de 1962, The wonderful world of the Brothers Grimm), així com el rol que adopten els mateixos germans Grimm, que passen de creadors a convertir-se ells mateixos en personatges de ficció. Es recorre, d’aquesta manera, el camí invers al que han realitzat els responsables d’aquestes adaptacions: de la pantalla (gran o petita) es torna al paper, mostrant quines són les rondalles dels Grimm que s’han adaptat i de quina manera s’ha dut a terme aquesta adaptació. Paraules clau Grimm, Kinder- und Hausmärchen, The brothers Grimm, Terry Gilliam, rondalla Summary The tales that the Grimm brothers collected in their Kinder- und Hausmärchen have gone beyond the confines of paper with numerous literary, cinematographic and TV adaptations. The film The Brothers Grimm (2005), by Terry Gilliam, and the first season of the series Grimm (2011–2012), produced by the NBC network, are two recent examples of audiovisual productions that have taken the Grimm brothers’ tales as a base on which to create their fiction. -
Queering the Grimms. Detroit, MI: Wayne State University Press, 2012
139 REVIEWS Turner, Kay and Pauline Greenhill, eds. Transgressive Tales: Queering the Grimms. Detroit, MI: Wayne State University Press, 2012. Notes, Bibliography, Index, 358 pp. $29.95 (paper). ISBN 978-0-8143-3481-2. Transgressive Tales collects thirteen diverse studies applying queer theory to the Grimm brothers’ collections and associated topics. Originating in Kay Turner’s 1998 University of Winnipeg course in feminist and queer theory in folklore, this compilation has had a long gestation, as reflected in the formidable review of contemporary scholarship that the contributors present. There is good work throughout, though the breadth of analysis may be disconcerting to readers with tight preconceptions of what queer studies should encompass. Turner and Greenhill’s introduction gives a good accounting of how “queer” is defined for this volume’s purposes. At its broadest, queer theory discusses and problematizes “any non-normative expression of gender, including those connected with straightness” as well as questions about “marginalization, oddity, and not fitting into society generally.”(11) This scope allows for a wide spectrum of perspectives, including analyses that would have been considered feminist in other contexts (all the protagonists here are female except those in the last chapter), as well as creative interpretations of the body and desire in the Grimms’ tales and their successive reinterpretations. Transgressive Tales’ first section, “Faux Femininities,” addresses subversion in heteronormative stories through the expansion and transformation of female-gendered protagonists’ roles, bodies, and relationships. Christina Bacchilega’s chapter contrasts two similarly-titled tales, “Clever Gretel” and “Clever Else,” where the two characters, one conventionally shrewd and the other ironically dense, play trickster in reconstituting the power dynamics of their marriages.