Stories from Pentamerone
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Once Upon a Time There Was a Puss in Boots: Hanna Januszewska’S Polish Translation and Adaptation of Charles Perrault’S Fairy Tales
Przekładaniec. A Journal of Literary Translation 22–23 (2009/2010): 33–55 doi:10.4467/16891864ePC.13.002.0856 Monika Woźniak ONCE UPON A TIME THERE WAS A PUSS IN BOOTS: Hanna Januszewska’s POLISH TRANSLATION AND ADAPTATION OF CHARLES Perrault’s FAIRY TALES Abstract: This article opens with an overview of the Polish reception of fairy tales, Perrault’s in particular, since 1700. The introductory section investigates the long- established preference for adaptation rather than translation of this genre in Poland and provides the framework for an in-depth comparative analysis of the first Polish translation of Mother Goose Tales by Hanna Januszewska, published in 1961, as well as her adaptation of Perrault’s tales ten years later. The examination focuses on two questions: first, the cultural distance between the original French text and Polish fairy- tales, which causes objective translation difficulties; second, the cultural, stylistic and linguistic shifts introduced by Januszewska in the process of transforming her earlier translation into a free adaptation of Perrault’s work. These questions lead not only to comparing the originality or literary value of Januszewska’s two proposals, but also to examining the reasons for the enormous popularity of the adapted version. The faithful translation, by all means a good text in itself, did not gain wide recognition and, if not exactly a failure, it was nevertheless an unsuccessful attempt to introduce Polish readers to the original spirit of Mother Goose Tales. Keywords: translation, adaptation, fairy tale, Perrault, Januszewska The suggestion that Charles Perrault and his fairy tales are unknown in Poland may at first seem absurd, since it would be rather difficult to im- agine anyone who has not heard of Cinderella, Puss in Boots or Sleeping Beauty. -
Masquerade and Mischief in Boccaccio's World
Travestimento/Travestitismo: Masquerade and Mischief in Boccaccio’s World Scott Antonio Failla Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2015 © 2015 Scott Antonio Failla All rights reserved ABSTRACT Travestimento/travestitismo: Masquerade and Mischief in Boccaccio’s World Scott Antonio Failla Travestimento/travestitismo: Masquerade and Mischief in Boccaccio’s World examines Boccaccio’s use of masquerade to parody social conventions and invert the cultural themes characterizing fourteenth-century Italy. Its aim is to demonstrate the myriad ways in which the medieval author masks and unmasks characters—often using gender as performance—to gain access to either sublimated sexuality or forbidden power, and ultimately to reveal rather than conceal human nature. This study offers a close reading of the Ninfale fiesolano and five novellas (2.3, 2.9, 3.1, 3.2, and 4.2) of the Decameron, focusing on characters that go beyond their usual identity and/or the limits of their biological sex to occupy transgendered spaces. Today, our understanding of gender studies encompasses a far more inclusive understanding of the term “gender.” This dissertation begins with the concept that gender is fluid and performative, and that though the body may be fixed, its gender is not confined to restrictions imposed on it by society. Some of Boccaccio’s characters, accordingly, occupy multiple gendered spaces while assuming the identity of another sex, in particular Zinevra/Sicurano, the abbot/princess, and Africo (Chapters Two, Three, and Four). Although far from the transformations found in the mythological world of Ovid’s Metamorphoses, Boccaccio’s tales offer the “metamorphosis” of the masquerade, that is, a false outward show, a pretense, or façade that oftentimes is achieved through disguise or costume. -
Political Fairy Tales of Édouard Laboulaye
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Contents Acknowledgments vii Introduction 1 TALES Smack- Bam, or The Art of Governing Men / Pif Paf, ou L’art de gouverner les hommes, 1862–63 31 Zerbino the Bumpkin / Zerbin le Farouche, 1863–64, Neapolitan tale 81 Poucinet / Poucinet, 1864, Finnish tale 117 The Young Woman Who Was Wiser than the Emperor / De la demoiselle qui était plus avisée que l’empereur, 1866–67 142 Briam the Fool / L’histoire de Briam le Fou, 1866–67, Icelandic tale 148 The Little Gray Man / Le petit homme gris, 1866–67, Icelandic tale 161 The Lazy Spinner / La paresseuse, 1868 177 The Language of Animals / Le langage des animaux, 1868 180 v For general queries, contact [email protected] Laboulaye.indb 5 5/29/2018 10:37:39 AM © Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. The Prudent Farmer / Le fermier prudent, 1868 186 The Story about the Tailor and His Daughter / L’histoire du tailleur, 1868 191 The Eve of St. Mark / La nuit de Saint- Marc, 1869–70 195 Fragolette / Fragolette, 1881 222 The Fairy Crawfish / L’écre v isse, 1883, Estonian tale 238 The Three Wishes / Les trois voeux, 1884 258 Falsehood and Truth / Le Mensonge et la Verité, 1884, Spanish tale 261 The Sun’s Daughter / La fille du soleil, 1884 265 Bibliography 271 vi For general queries, contact [email protected] Laboulaye.indb 6 5/29/2018 10:37:39 AM © Copyright, Princeton University Press. -
Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films Through Grotesque Aesthetics
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 9-10-2015 12:00 AM Who's the Fairest of Them All? Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films through Grotesque Aesthetics Leah Persaud The University of Western Ontario Supervisor Dr. Angela Borchert The University of Western Ontario Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Leah Persaud 2015 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Comparative Literature Commons Recommended Citation Persaud, Leah, "Who's the Fairest of Them All? Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films through Grotesque Aesthetics" (2015). Electronic Thesis and Dissertation Repository. 3244. https://ir.lib.uwo.ca/etd/3244 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. WHO’S THE FAIREST OF THEM ALL? DEFINING AND SUBVERTING THE FEMALE BEAUTY IDEAL IN FAIRY TALE NARRATIVES AND FILMS THROUGH GROTESQUE AESTHETICS (Thesis format: Monograph) by Leah Persaud Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Leah Persaud 2015 Abstract This thesis seeks to explore the ways in which women and beauty are depicted in the fairy tales of Giambattista Basile, the Grimm Brothers, and 21st century fairy tale films. -
“Sleeping Beauty”: Metamorphosis of a Literary and Cultural Trope in European Fairy Tales and Medicine, C
Lili Sarnyai Figuring “Sleeping Beauty”: Metamorphosis of a Literary and Cultural Trope in European Fairy Tales and Medicine, c. 1350-1700 A thesis submitted for the degree of Doctor of Philosophy 2016 Birkbeck, University of London 1 This is to certify that all the work presented in this thesis is my own. 2 Abstract This thesis takes an interdisciplinary approach to a recurrent cultural trope: the figure of the sleeping beauty. Sleeping beauties are young women—paradigms of femininity, paragons of virtue and physical perfection—who lose consciousness and become comatose and catatonic, for prolonged periods. In this unnatural state, these female bodies remain intact: materially incorrupt, aesthetically unblemished. Thus can the body of the sleeping beauty be defined as an enigma and a paradox: a nexus of competing and unanswered questions, uniquely worthy of investigation. This thesis examines the metamorphoses of the figure of the sleeping beauty in literature and medicine between c.1350 and 1700 in order to interrogate the enduring aesthetic and epistemological fascination that she exercises in different contexts: her potency to entrance, her capacity to charm, in both literary and philosophical realms. The widespread presence of the sleeping beauty in literature and art, as well as in the broader social sphere, over the centuries, indicates the figure’s important and ongoing cultural role. Central to this role is the figure’s dual nature and functionality. On the one hand, conceptualized as allegories, sleeping beauties act as receptacles for a complex matrix of patriarchal fears, desires and beliefs about the female body in general, and the virgin and maternal bodies in particular. -
Universidade Federal De Santa Catarina Centro De Comunicação E Expressão Curso De Pós-Graduação Em Estudos Da Tradução
UNIVERSIDADE FEDERAL DE SANTA CATARINA CENTRO DE COMUNICAÇÃO E EXPRESSÃO CURSO DE PÓS-GRADUAÇÃO EM ESTUDOS DA TRADUÇÃO ROZALIR BURIGO COAN OS PARATEXTOS NAS (RE)TRADUÇÕES DE LO CUNTO DE LI CUNTI DE GIAMBATTISTA BASILE AO ITALIANO: PREFÁCIOS E POSFÁCIOS Florianópolis 2015 ROZALIR BURIGO COAN OS PARATEXTOS NAS (RE)TRADUÇÕES DE LO CUNTO DE LI CUNTI DE GIAMBATTISTA BASILE AO ITALIANO: PREFÁCIOS E POSFÁCIOS Tese apresentada ao Programa de Pós Graduação em Estudos da Tradução do Centro de Comunicação e Expressão da Universidade Federal de Santa Catarina como requisito para a obtenção do grau de doutorado em Estudos da Tradução. Orientadora: Profª. Drª. Andréia Guerini Florianópolis 2015 À Michelli e Luiz Fernando AGRADECIMENTOS Ainda que um projeto de Doutorado seja, pela sua finalidade acadêmica, um trabalho individual, há contribuições de natureza diversa que não podem e nem devem deixar de ser realçados. Por esse motivo, desejo expressar o meu mais profundo agradecimento, primeiro àquele que me deu a vida, e a todos aqueles que tornaram possível a realização deste trabalho. Agradeço à Professora Doutora Andréia Guerini, minha orientadora, pelo acompanhamento do trabalho, pela disponibilidade demonstrada em todas as fases que levaram à concretização deste trabalho, assim como pelas críticas, correções e sugestões relevantes feitas durante a orientação. Gostaria ainda de agradecer a todos os meus professores da Graduação, do Mestrado e Doutorado, pela extrema competência científica e pelo apoio demonstrado durante todo o curso. A todos os colegas que, nesse tempo acadêmico, se interessaram por este trabalho, me apoiaram e me incentivaram à sua concretização, de modo particular à Professora Doutora Karine Simone e à Professora Doutora Tânia Mara Moysés pelo carinho e pela valiosa ajuda em apoio bibliográfico. -
A Retold Fairy Tale
Mayer 1 Anna Mayer BFA Dance - Studio Concert April 4, 2011 Rose… a Retold Fairy Tale "When a fairy tale 'works,' it works itself into our bloodstream and never leaves." - Jack Zipes (Brothers & Beasts 184-5) Preface Rose, a modern dance piece, is a retold fairy tale created for my Bachelor of Fine Arts senior concert. During the nine-month process, I conceived, designed, and directed the piece in preparation for our final performance (Irey Theatre, March 11-13, 2011). A digital video record- ing of the performance is available in the University of Colorado archives. This paper is an ex- ploration of my intentions and influences during the process, as well as a retrospective analysis of the piece’s unforeseen impact. Archetype and Queer Feminism The dance piece, Rose, came to my mind nearly fully-formed – though hazy and frag- mented - in the way that the remnants of a dream resurface after waking. I already had the in- formation, the fairy tales; they had worked themselves into my bloodstream and never left, from my childhood viewing of Disney's Beauty and the Beast to my readings (and re-readings) of con- temporary retellings such as Francesca Lia Block's Rose and the Beast. I already knew the char- Mayer 2 acters, deep down - they were inside me, in the way that archetypes reside within us across cen- turies. My job was to cultivate the most potent stories, to foster the characters (both within the performers and myself), and to shape the hazy fragments of my imagination into a story worth telling. -
Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales
University of Kentucky UKnowledge Folklore Anthropology 7-5-2002 Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales Jack Zipes Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Zipes, Jack, "Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales" (2002). Folklore. 15. https://uknowledge.uky.edu/upk_folklore/15 Breaking the Magic Spell Publication of this volume was made possible in part by a grant from the National Endowment for the Humanities. Copyright O 1979 by Jack Zipes Published 2002 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. - Editorial and Sales Ofices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Library of Congress Cataloging-in-Publication Data Zipes, Jack Breaking the magic spell. 1. Tales, European-History and criticism. 2. Literature and society. I. Title ISBN-10: 0-8131-9030-4 (paper) ISBN-13: 978-0-8131-9030-3 This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials. -
Melting Pot Rapunzel by Jay Voorhies a Thesis Presented to the Honors
Melting Pot Rapunzel by Jay Voorhies A Thesis presented to the Honors College of Middle Tennessee State University in partial fulfillment of the requirements for graduation from the University Honors College April 2015 TABLE OF CONTENTS Page Signature Page……………………………………………………………………….……..………i Acknowledgements…………………………………………………………………..........……….ii Abstract……………………………………………………………………………..........……......iii Table of Contents………………………………………………………………………...……......iv List of Figures……………………………………………………………………………………...v Part I – Research Component Chapter 1 – Organismic Rapunzel………………………………………...…………..…..1 Chapter 2 – The Maiden-in-a-Tower Tale…………………………………….………..…3 Chapter 3 – “Rapunzel”…………………………………………………..…………….....4 Chapter 4 –“Petrosinella”……………………………………………………….……..….9 Chapter 5 – Mediterranean Variants…………………………………………………......13 Chapter 6 – “Persinette”……………………………………………………………….....16 Chapter 7 – French Variants……………………….………………………….………....21 Chapter 8 – “Louliyya Daughter of Morgan”………………………………………..…..24 Chapter 9 – The Legend of Saint Barbara…………………………………………..…...28 Chapter 10 – “Zal and Rudabeh”…………………………………………………….......30 Chapter 11 –“Mother and Daughter”…………………………………………….........…31 Chapter 12 – Sugar Cane: A Caribbean Rapunzel………………………………………33 Chapter 13 – Tangled………………………………………………………….……...….36 Conclusion…………………………………………………………………………...…..40 Part II – Creative Component “Yamaima”…………………………………………………………………..………..…42 Works Cited…………………………………………………………………..………….60 LIST OF FIGURES Figure I: “Yamaima in her Tower” Figure II: “Yamamba’s -
The Tale of Charles Perrault and Puss in Boots Morna Daniels
The Tale of Charles Perrault and Puss in Boots Morna Daniels In 1697 Charles Perrault published a small volume Histoires ou contes du temps passé, which became the source for a huge progeny of children’s books,pantomimes, ballets and folklore.1 The frontispiece of the first French edition shows an old lady telling stories by the fire-side, and a plaque above her reads Contes de ma mere LOye.2 In the first English edition, there is a similar picture, and the plaque is translated as Mother Goose’s Tales.This was the first time the French term appeared in an English book. In France it indicated that the story was a traditional one, told by old women who minded geese, or who cackled like geese; but in England it became applied to Perrault’s tales, which were often published without mentioning his name. Mother Goose entered the world of pantomime, often in association with Perrault’s characters. The stories were widely diffused, then re-collected by later folklore researchers, so that the Brothers Grimm collected German versions, believing them to be folk traditions. Not all of Perrault’s stories became equally popular.The eight stories in his collection were La belle au bois dormant, Le petit chaperon rouge, La barbe bleue, Le maître chat, ou le chat botté; Les fées,Cendrillon, ou la petite pantoufle de verre; Riquet à la houppe and Le petit Poucet.These are usually translated as ‘Sleeping Beauty’, ‘Little Red Riding Hood’, ‘Bluebeard’, ‘Puss in Boots’, ‘The fairies’ (or ‘The fairy’),‘Cinderella’,‘Riquet with the tuft’, and ‘Hop o’ my thumb’. -
Straparola: the Revolution That Was Not Dan Ben-Amos University of Pennsylvania, [email protected]
University of Pennsylvania ScholarlyCommons Department of Near Eastern Languages and Departmental Papers (NELC) Civilizations (NELC) 2010 Straparola: The Revolution That Was Not Dan Ben-Amos University of Pennsylvania, [email protected] Follow this and additional works at: http://repository.upenn.edu/nelc_papers Part of the Cultural History Commons, European History Commons, European Languages and Societies Commons, Folklore Commons, Near and Middle Eastern Studies Commons, and the Oral History Commons Recommended Citation Ben-Amos, D. (2010). Straparola: The Revolution That Was Not. The Journal of American Folklore, 123 (490), 426-446. http://dx.doi.org/10.5406/jamerfolk.123.490.0426 This paper is posted at ScholarlyCommons. http://repository.upenn.edu/nelc_papers/90 For more information, please contact [email protected]. Straparola: The Revolution That Was Not Abstract Inspired by Ruth Bottigheimer's 2002 book, Fairy Godfather: Straparola, Venice, and the Fairy Tale Tradition, this article examines her proposition that the sixteenth-century Italian author Giovanni Francesco Straparola invented the "rise tale," in which a lowly hero or heroine climbs the socioeconomic ladder with the help of a magical benefactor. It investigates Bottigheimer's evidence for this claim as well as her argument that Straparola's literary invention was a projection of the emerging Italian middles class in the sixteenth century. Contrary to Bottigheimer's proposition, it is found that tales with similar form were told in classical Greece and in -
"Fathers and Daughters"
"Fathers and Daughters" Critic: James M. McGlathery Source: Fairy Tale Romance: The Grimms, Basile, and Perrault, pp. 87-112. Urbana: University of Illinois Press, 1991. [(essay date 1991) In the following essay, McGlathery explores the erotic implications of the father-daughter relationship in the romantic folktales of the Brothers Grimm, Giambattista Basile, and Charles Perrault, highlighting common plot scenarios.] As the stories discussed thus far show, emotional involvement between parents and children is a frequent object of portrayal in folktales. That this is especially true of the romantic tale should come as no surprise, for in love plots generally the requisite hindrance to the fulfillment of young desire often takes the form of parental objection or intervention. There are surprises to be found here, however. In particular, the romantic folktale offers the possibility of hinting, with seeming innocence, at erotically tinged undercurrents in the relationship between parent and child that do not lend themselves to tasteful direct portrayal. Fairy tale romance often depicts the child's first experience of leaving home and venturing out on its own, usually in connection with choosing a mate. In the stories of the brother and sister type, resistance to the taking of this step is reflected in a desire to return to the bosom of the family or, failing that, to retain the devoted company of one's siblings. Thus, we have seen how Hansel and Gretel, while prepared to survive together in the forest if need be are overjoyed at being able to live with their father, and how the sister in "The Seven Ravens" succeeds in restoring her brothers to human form and bringing them home with her.