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Aschenputtels Facetten Und Dornröschens Spiegelungen Mag.art. Karina Thier 9406877 Aschenputtels Facetten und Dornröschens Spiegelungen Eine Untersuchung zur Entwicklung und Transformation des Aschenputtel- und Dornröschen Märchens im Kontext seiner Zeit mit Hauptaugenmerk auf zeitgenössische Bearbeitungen in Bezugnahme des Frauenbilds der Brüder Grimm Schriftlicher Teil der künstlerischen Abschlussarbeit Betreuerin: ao. Univ.-Prof. Dr.phil. Renate Vergeiner Angestrebter Akademischer Titel: Mag.art. Studienrichtung: Kunst und Kommunikative Praxis Lehramt für Bildnerische Erziehung und Textiles Gestalten Institut für Kunstwissenschaften, Kunstpädagogik und Kunstvermittlung Wintersemester 2018/19 Wien im April 2019 Abstract Die vorliegende Arbeit beschäftigt sich mit der Frage wie das beliebte Aschenputtel- und Dornröschen Märchen der Brüder Grimm ursprünglich ausgesehen hat, beziehungsweise mit der Veränderung und Transformation der typischen Motive der beiden Märchen. Weiter setzt sich die Untersuchung mit der Typologie der beiden Märchenheldinnen, dem Grimm´schen Weiblichkeitsentwurf und den gesellschaftlichen Erwartungen an die Frau im Kontext der jeweiligen Zeit auseinander. Das Bild der Frau in den beiden Märchen ist vor allem in der kritischen Literatur dem beständigen Vorwurf der Passivität und Unterordnung ausgesetzt. Die konträre Position vertritt den Ansatz, dass die Frauen in den Grimm´schen Märchen sehr wohl autonom und emanzipiert agieren. In dieser Arbeit wird versucht zu zeigen, dass die Grimm´sche Heldin als Frau ihrer Zeit keineswegs dem Bild der bürgerlichen Puppenfrau des 19. Jahrhunderts entspricht, sondern die bestmögliche Lösung für ihre Situation anstrebt. Im Zuge dessen werden die beiden ausgesuchten Märchen mit Vorläuferversionen der Grimm´schen Redaktionen, Bearbeitungen im 20. Jahrhundert und zeitgenössischen Adaptionen verglichen. The present paper deals with the question how the popular Cinderella- and Sleeping Beauty fairytale by the Brothers Grimm originally looked, respectively with the change and transformation of the typical themes of the fairytales. Furthermore, the investigation deals with the typology of the two fairy tale heroines and the expectations of women in context of the particular time. The drawn picture of women in the fairy tales is, primarily in critical literature, under the constant reproach of passivity and submission. The contrary position represents the approach that women in the fairy tales of the brothers Grimm are acting autonomously and emancipated. This paper tries to show, that the heroin in the fairytales does not come up to the expectations of the bourgeois doll woman and rather tries to find the best solution for her situation. In the course of this, the two selected fairy tales are compared to previous versions of Grimm's editorial offices, twentieth-century arrangements and contemporary adaptations. 2 Danksagung Zuallererst gebührt mein Dank Frau Univ.-Prof. Dr.phil. Renate Vergeiner, für ihre herzliche und engagierte Betreuung meiner Diplomarbeit und ihrer Unterstützung durch konstruktive Kritik und inspirierende Anregungen, die mir geholfen haben meinen Blickwinkel zu erweitern. Danken möchte ich ebenfalls Herrn Univ.-Prof. Mag.art. Josef Kaiser, Herrn Kurt Wallner und Frau Sandra Reiss, die mir bei Fragen bezüglich meines Abschlusses immer weitergeholfen haben. Besonderer Dank gebührt meinen wunderbaren Töchtern Lara und Zoi, die mir während der Fertigstellung meiner Arbeit geduldig und hilfreich zur Seite standen und mich mit Korrekturlesen und Layoutgestaltung unterstützt haben. Abschließend möchte ich meinen Eltern, meinen beiden Brüdern Michael und Maximilian und insbesondere meiner Schwester Anna, die mich immer wieder motiviert hat, danken. 3 Inhaltsverzeichnis Abstract ...................................................................................................................................... 2 1 Einleitung ................................................................................................................................. 7 2 Das Aschenputtel-Märchen ................................................................................................... 10 2.1 Bestseller „Aschenputtel“ ............................................................................................... 10 2.1.1 Die Genese der Aschenputtel-Thematik .................................................................. 11 2.1.3 Cinderella Enzyklopädie (1893) nach Marian Roalfe Cox ........................................ 12 2.1.4 Zum Namen „Aschenputtel“ .................................................................................... 13 2.2 Früheste Aschenputtel-Referenzen ................................................................................ 14 2.2.1 Odyssee von Homer (7.-8. Jhd. v. Chr.) ................................................................. 14 2.2.2 Das Amor und Psyche Märchen von Apuleius (2. Jhd. n. Chr.) ................................ 15 2.2.3.Aspasia von Phokaia (1.-2.Jhd. n. Chr.) .................................................................... 16 2.2.4.Joseph und Aseneth (~2.-3-Jhd.v.Chr.) .................................................................... 19 2.3 Die ersten Belege des Schuhproben-Motivs .................................................................. 20 2.3.1 Rhodopis (425 v. Chr) ............................................................................................... 20 2.3.2 nach Strabo (63 – 26 n. Chr.) .................................................................................. 21 2.3.3 nach Claudius Aelianus (170-235 n. Chr.) ................................................................ 21 2.3.4 Analogien zum Aschenputtel-Märchen .................................................................. 21 2.4 Die Eschengrüdel-Legenden ........................................................................................... 21 2.4.1 Legenda Aurea (1263) .............................................................................................. 22 2.4.2 Die Törichte im Kloster Tabennese (um 420) ........................................................... 22 2.4.3 „Am XVII. Sonntag Nach Pfingste“ (1517) ................................................................ 23 2.4.4 Die verweltlichte Darstellung ................................................................................... 25 2.4.5 Ausblick auf die direkten Vorläufer des Aschenputtel-Märchens ........................... 25 2.4.6 Ye Xian – Aschenputtels asiatische Schwester (850n.Chr.) ..................................... 25 2.5 Direkte Vorgänger des Aschenputtels der Brüder Grimm ............................................. 28 2.5.1 La Gatta Cenerentola- Die Aschenkatze (1632-34) .................................................. 28 2.5.2 Cendrillon ou La petite pantoufle de verre (1695) .................................................. 33 2.5.3 Finette Cendron - Finette Aschenbrödel (1697) ..................................................... 36 2.5.4 Das Frauenbild bei Perrault und d´Aulnoy ............................................................... 39 2.5.5 Die unterschiedliche Darstellung der Küchenarbeit des Eschengrüdels , der Lukretia und Cendrillons ................................................................................................... 40 2.5.6 Cendrillon und Finette Cendron als Ratgeber(Innen)literatur für junge Mädchen . 41 2.6 Aschenputtel in den Kinder- und Hausmärchen der Gebrüder Grimm ......................... 43 2.6.1 Aschenputtel (1812)- Erstdruck .............................................................................. 43 2.6.2 Aschenputtel (1819) ................................................................................................. 46 4 2.6.3 Aschenputtel (1837) ................................................................................................. 48 2.6.4 Aschenputtel (1857) ................................................................................................. 48 2.6.5 Charakter und Genese der Heldin von 1812-1857 .................................................. 49 2.7 Der Aschenputtel-Stoff im 20. und 21. Jahrhundert ...................................................... 51 2.7.1 Das Aschenputtel in Oper, Ballett und Dramaturgie ............................................... 52 2.7.2 Das Aschenputtel in der filmischen Bearbeitung im 20. Jahrhundert ..................... 52 2.7.3 Walt Disney´s Cinderella (1950) ............................................................................... 53 2.7.4 Das Aschenputtel in den 1980er Jahren .................................................................. 57 2.7.5 Aschenputtel in Literatur und Film im 21. Jahrhundert - Shades of Grey (Trilogie, 2011-2017) ........................................................................................................................ 61 2.7.6 Weitere Aspekte zum Aschenputtel-Märchen ........................................................ 65 3 Das Dornröschen - Märchen ................................................................................................. 66 3.1 Die Geschichte des Dornröschen-Stoffes ...................................................................... 66 3.1.1 Das Zentralmotiv der Zeitlosigkeit in Legende, Sage und Märchen ....................... 67 3.2 Erste Dornröschen Referenzen ....................................................................................... 67 3.2.1 Geschichte von Troylus und Zellandine (um 1330-40) ............................................. 68
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