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To Whom the Shoe Fits: Cinderella As a Cultural Phenomenon in the Czech and Norwegian Context

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To Whom the Shoe Fits: Cinderella As a Cultural Phenomenon in the Czech and Norwegian Context Masaryk University Faculty of Arts Department of Germanic, Nordic and Dutch Studies To Whom the Shoe Fits: Cinderella as a Cultural Phenomenon in the Czech and Norwegian Context 2020 Mgr. Adéla Ficová Masaryk University Faculty of Arts Department of Germanic, Nordic and Dutch Studies Norwegian Language and Literature Mgr. Adéla Ficová To Whom the Shoe Fits: Cinderella as a Cultural Phenomenon in the Czech and Norwegian Context M.A. Thesis Supervisor: Mgr. Karolína Stehlíková, Ph.D. 2020 2 Statutory Declaration I hereby declare that I have written the submitted Master Thesis To Whom the Shoe Fits: Cinderella as a Cultural Phenomenon in the Czech and Norwegian Context independently. All the sources used for the purpose of finishing this thesis have been adequately referenced and are listed in the Bibliography. In Brno, 12 May 2020 ....................................... Mgr. Adéla Ficová 3 Acknowledgements I would like to express my sincere gratitude to my supervisor Mgr. Karolína Stehlíková, Ph.D., for her helpful guidance and valuable advices and shared enthusiasm for the topic. I also thank my parents and my friends for their encouragement and support. 4 Table of contents 1 Introduction ..................................................................................................................................... 6 1.1 Literature review ..................................................................................................................... 8 2 Historical genesis of the Cinderella fairy tale ................................................................................. 9 2.1 Theory ..................................................................................................................................... 9 2.1.1 The Aarne-Thompson-Uther classification system ....................................................... 10 2.1.2 Morphology of the folktale by Vladimir Propp ............................................................ 11 2.1.3 Sources of the analysis .................................................................................................. 14 2.2 The Czech tradition ............................................................................................................... 15 2.2.1 Božena Němcová: O Popelce (Cinderella) ................................................................... 16 2.2.2 Němcová: O třech sestrách (The Three Sisters) ............................................................ 18 2.2.3 Němcová: O Popelušce (Cinderella) ............................................................................. 20 2.2.4 Pavol Dobšinský: Popeluša ........................................................................................... 23 2.3 The Norwegian tradition ....................................................................................................... 25 2.3.1 Asbjørnsen: Kari Trestakk ............................................................................................ 26 2.3.2 Other Norwegian Cinderella variants............................................................................ 29 2.3.3 Norwegian Cinderella hero tales ................................................................................... 31 3 Analysis of the film Three Wishes for Cinderella ........................................................................ 32 3.1 The theory of film adaptation................................................................................................ 32 3.2 Film analysis ......................................................................................................................... 34 3.2.1 Historical background ................................................................................................... 34 3.2.2 Analysis of Three Wishes for Cinderella ...................................................................... 35 3.2.3 Comparison to the published screenplay....................................................................... 42 3.3 Application of ATU motifs and Propp’s functions ............................................................... 44 3.4 Comparison of the film and the Czech and Norwegian tradition .......................................... 48 4 Analysis of the Norwegian version of Three Wishes for Cinderella ............................................ 51 4.1 Historical background ........................................................................................................... 51 4.1.1 The question of the Norwegian translation ................................................................... 52 4.2 Voiceover .............................................................................................................................. 55 4.3 Comparison of the Czech and Norwegian version of the film .............................................. 58 5 A timeless phenomenon? .............................................................................................................. 62 5.1 Three Wishes for Popelka as a cultural phenomenon in Czechia ......................................... 62 5.2 Three Wishes for Askepott as a cultural phenomenon in Norway ........................................ 64 6 Conclusion .................................................................................................................................... 67 7 Bibliography ................................................................................................................................. 70 8 Czech and Norwegian Summary ................................................................................................... 74 5 1 Introduction The story of Cinderella is probably one of the best-known fairy tales. Yet, it has so many variants that the story is a bit different for people around the world. This master thesis is concerned with the Cinderella fairy tale in the Norwegian and Czech context. Moreover, a special focus is placed on one variant of the story – the Czechoslovak/East German film Three Wishes for Cinderella from 1973 which has become a part of Christmas traditions in both the countries1. The film is an interesting point of intersection where the Norwegian and Czech culture traditions meet. This connection between the countries is astonishing and deserves to be explored more. The topic may be therefore remarkable not only for students of Norwegian language and literature in general or, for example, folklore and film, but also for general public. A lot has been written about the Cinderella phenomenon, including academic works and popular literature. Nevertheless, the subject remains unexplored in such a narrow rendition (for more details, see chapter Literature review). The purpose of the thesis is to explore the historical literary roots of the Cinderella fairy tale in Norway and the Czech lands and to compare them. The assumption is that if the historical genesis of the fairy tale is similar in the countries, it might explain the popularity and acceptance of the film in Norwegian and Czech society. Furthermore, the goal is to analyse the film itself and compare it to its Norwegian version. Finally, the cult film is already more than 40 years old, therefore, the author will also pay attention to its current status in the Norwegian and Czech society. In line with the goals of the thesis, I define the structure of the thesis and its research questions as follows: 1. From what kind of origin does the Cinderella fairy tale stem in the Czech and in the Norwegian context? The whole Chapter 2 is devoted to this question. I am going to classify the Cinderella fairy tale in general, investigate the literary origins of the tales in Norway and the Czech lands, describe their variants and compare the national traditions. In this way, I will be able to determine whether the tradition is similar. 1 The thesis does not deal with the German context as the script is based on thea Czech variant of the Cinderella tale. 6 2. Does the Czech film Three Wishes for Cinderella deviate from the Czech and Norwegian tradition of the Cinderella tale? 2.a. If so, which aspects are different? Chapter 3 is an analysis of the film Three Wishes for Cinderella. As the script is written by Czech script writer František Pavlíček and is based on a story by Božena Němcová, a Czech National Revival movement writer, we can expect that the story will be in line with the Czech tradition. Nevertheless, the aim is to define what changes the story has undergone in the Czech tradition and if the film storyline is (dis)similar to the Norwegian tradition. 3. How are the Norwegian and the Czech version of the film Three Wishes for Cinderella different? The following chapter 4 is concerned with the Norwegian version of the film. The Norwegian version is specific because it uses a voiceover with the broadly known voice of Knut Risan. The Norwegian script is not a direct translation; most importantly, some parts of the dialogues are removed. The purpose of the chapter is therefore to ascertain what changes were made in the Norwegian version and if these changes could have an impact on the viewer’s general impression. For example, features of some of the characters may be changed in this way. This chapter is one of the pivot parts of the thesis and the research itself because it is not to my knowledge that such an analysis has been conducted. 4. How do the fairy tale of Cinderella and the film Three Wishes for Cinderella stand in the Czech and Norwegian context these days? This question will be answered in the final
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