Grimms Fairy Tales

The metafictional nature of the Sleeping Beauty tale has gone largely unappreciated. Underlying the story's obvious themes and motifs-birth, death/sleep, rebirthand complicating its gender dynamic is a preoccupation with orality and telling that gives the story a significant self-reflective dimension. This article examines how the tale reflects on storytelling and the medium of its telling, not only in the classical versions by Perrault and Grimm, but also in the Roman de Perceforest and Disney's animated film.

Los cuentos de Grimm nacieron en el seno de la literatura germánica; los de Andersen, en el de la escandinava. Sin perder de vista su cuna en sus tradiciones respectivas de la Europa Septentrional, desde hace ya bastantes años esos cuentos constituyen gloriosos exponentes de la literatura universal.

A Grimm testvérek világhírű mesegyűjteménye, a Kinder-und Hausmärchen több mint kétszáz esztendővel ezelőtt jelent meg először. A19. századi magyar folklórkutatás, különösen a népmesegyűjtés, -kiadás és -értelmezés története elválaszthatatlanul összeforrt e gyűjteménnyel, e hatás kereti azonban nagyrészt tisztázatlanok. Nem csak mint gyűjtemény vált kiindulóponttá a KHM, hanem az egyes meseszövegek (sokszor a Grimm-névvel össze sem kapcsolva) önállóan is a magyar művelődés fontos elemeivé váltak. Ezt a folyamatot a 19. század első harmadától kezdve mesefeldolgozások és mesefordítások
tucatjai bizonyítják. A dolgozat ebből a szemszögből néhány szempontot szeretne nyújtani a Grimm-mesék magyar fogadtatásának történetéhez.

Zarys treści: Baśnie braci Grimm należą do kanonu literatury światowej, a zainteresowanie nimi nie słabnie. Czytelnik (naukowiec) polski zwykle obcuje z baśniami Grimmów za sprawą przekładu, więc recepcja baśni w Polsce zależy od wierności danego tłumaczenia. Równocześnie wszystkie istniejące polskie przekłady baśni braci Grimm opierają się na ich ostatnim, siódmym wydaniu, pochodzącym z roku 1857, które znacznie różni się od wydania pierwszego z lat 1812 (t. 1) i 1815 (t. 2). W niniej-szym tekście ukazane zostaną powody uzasadniające konieczność przekładu pierwszego wydania baśni oraz zaprezentowane będą wstępne wnioski wynikające z analizy językowej i treściowej wykonanych przeze mnie tłumaczeń baśni pochodzących z pierwszego wydania. Słowa kluczowe: baśnie braci Grimm, przekład baśni

The paper is a case study summarizing a recent translation plagiarism: a Polish translation of The Original Folk and Fairy Tales of the Brothers Grimm: the Complete First Edition by Jack Zipes (2014) presented by the publishing company WasPos as the first Polish translation of the German original Kinder- und Hausmärchen (1812/1815). The paper presents traces of the source American translation by Zipes in the Polish text, but also discusses additions introduced by the Polish publisher which were aimed at increasing the alleged brutality of the German fairy tale collection. Such a strategy reveals the Polish stereotype of cruel, gloomy and bloody Brothers Grimms’ Tales. The presented story of a faked translation illustrates main problems in the Polish reception of this world famous fairy tale collection.

Today’s well-known fairy tales date back to the 19th century. At the beginning, they were both for adults and children but nowadays fairy tales are written for children only. These tales have had an important role in societies; storytelling has helped communities form common moral codes and values. These morals and values were based on traditional gender roles developed under patriarchy which were passed on down generations through fairy tales and other means of social elements. The characters in tales represents these traditional roles and they have shaped people’s understanding of their place in the society. Thus, all fairy tales are problematic in terms of gender relations because they promote patriarchal values from which only cisgender heterosexual males gain benefits. Grimms’ Rapunzel, for instance, is only one of the examples. It is one of the most popular tale parents tell their children. However, from a gender perspective, it is binary, has corrupted power relations, and do not depict genders in any way equal.

Kleine Formen – großes Werk. Die Arbeitsmaterialien im wissenschaftlichen Nachlass der Brüder Grimm

Das Forschungsprojekt nimmt den umfangreichsten, bislang aber am wenigsten erforschten Teil des Nachlasses der Brüder Grimm in den Blick: ihre wissenschaftlichen Arbeitsmaterialien – Notizen auf Zetteln und in Heften, Exzerptsammlungen, Werkmanuskripte und Arbeitsspuren in Büchern. Eng am Material dieser kleinen philologischen Gebrauchsformen lassen sich Methodik, Wissenstopik und Arbeitspraktiken der frühen Germanistik exemplarisch bis ins Detail rekonstruieren.

Il magico mondo della fiaba popolare europea spesso presenta concrete situazioni giuridiche: draghi che ereditano notevoli fortune e sovrani che emanano editti, principesse che sono promesse in sposa e cavalieri che rispondono a bandi, fate che effettuano compravendite e streghe che stipulano contratti, ladri sottoposti a processo e diavoli a cui sono conferite procure alle liti. Tali atti giuridici, compiuti dai personaggi fiabeschi, ricorrono di frequente nella fiaba popolare europea, poiché corrispondenti alle funzioni individuate da Vladimir Jakovlevic Propp nella sua celebre opera Morfologia della fiaba. L'Autore, dopo aver illustrato le strutture semiologiche della fiaba popolare, si propone di saggiare la fecondità concettuale di tale tesi sulla natura giuridica delle funzioni proppiane tramite l'analisi letteraria, storica e giuridica di dodici fiabe europee: Cappuccetto Rosso, La Bella addormentata nel bosco, Cenerentola, Biancaneve, Rapunzel, La regina delle nevi, Il pifferaio di Hameln, La sirenetta, La Bella e la Bestia, Il gatto con gli stivali, Hänsel e Gretel, Pelle d'Asino. Il libro è infine arricchito dal testo integrale del racconto di fate I bambini di Hameln, prima traduzione italiana della versione originale della fiaba Il pifferaio magico trascritta dai fratelli Jacob e Wilhelm Grimm.

A certain strata of the Hungarian folk tales comes from the Grimm brothers’ Kinder und Hausmärchen. Even if the volume of István Nagy entitled Gyermek s házi regék (1861) is considered the first translation of the collection, this volume was preceded by several adaptations, their number being much higher than imagined. The present study investigates the folk tales published before 1861. The collections of folk tales, the primers and popular books published mostly the tales of the Grimm brothers, which up to the beginning of the 20th century had an obvious influence over the Hungarian folk tales in oral tradition.

A magyar népmeséknek van egy olyan hagyományos rétege, amely a Grimm testvérek Kinder- und Hausmärchen című gyűjteményének meseszövegeire vezethető vissza. Az első magyar Grimm-fordításként Nagy István Gyermek s házi regék címen megjelent (1861) gyűjteménye rögzült a folklorisztikai köztudatban, azonban ennél már jóval korábban is jelentek meg magyarul Grimm-mesék. A dolgozat néhány eddig ismeretlen vagy kevésbé reflektált korai (1861 előtti) Grimm-fordítás bemutatásával a magyar nyelvű Grimm-mesepublikációk volumenét szeretné érzékeltetni, mely az eddig elképzeltnél jóval nagyobb arányú lehetett. A mesekönyvek, iskolai olvasókönyvek és ponyvanyomtatványok a Grimm-mesék magyar nyelvű nyomtatott írásbeliségben való elterjedésének és népszerűvé válásának fontos útvonalait jelentették, ezeken keresztül pedig egyre szélesebb rétegekhez jutottak el magyarul is a Grimm-mesék, melyek a 20. század legelejére már kimutatható hatást gyakoroltak a szóbeli meseismeretre

Scrutinizes a short Latin poem written in the first quarter of the eleventh century, and refutes Alan Dundes's dismissal of literary evidence and to underscore the pertinence of studying medieval literature in coming to grips with that beautiful and elusive phenomenon to which English-speakers give the name `fairy tale.' Egbert of Liege's `De puella a lupellis seruata'; The medieval background of `Little Red Riding Hood.'

Fairy tales for the time of crisis: The paper concerns a conference „Grimm2 – The Power of Two Brothers. On the 200th  anniversary of the first edition of Kinder- und Hausmärchen” which was organized in Warsaw on 16-17.03.2012 by Fairy Tale, Children and Youth Literature and Speculative Fiction Society at the Faculty of Polish Studies at the University of Warsaw. In the paper, there is presented the importance of brothers’ Grimm tales for the European and world culture. Later in the text, there are introduced the assumptions made by organizers at the start of the work on this project. The next part of the paper concerns areas of research that were suggested to the speakers. It also presents thematic sections that eventually became the part of the event. Later in the text, there are cited the papers that are the most important to the final conclusions. The first group of papers refers to some contemporary phenomena that may fit in the second wave of the fairy tales trend. Next papers presented in the article refer to some texts of culture that transform brothers’ Grimm tales in a way that intensify the anxiety, the horror, the cruelty and the macabre that are present in these tales. Final conclusions from the conference, presented at the end of the paper, are as follows: we are now at the back of the second wave of the fairy tales trend which embraces all the areas of the culture, using inter alia brothers’ Grimm tales. Nowadays, postmodern texts reffering to these tales transform and they are primarily aimed not at children but at a mature audience. Their popularity seems to be an expression of the postmodern crisis. These fairy tales may be a way to deal with a dissapointing contemporary world.

This thesis investigates acts of 're-telling' in four selected novels by Jeanette Winterson and Alan Warner. Re-telling, as I have defined it, refers to the re-imagining and re-writing of existing narratives from mythology, fairy tale, and folktale, as well as the re-visioning of scientific discourses and historiography. I argue that this re-telling is representative of a contemporary cultural phenomenon, and is evidence of a postmodern genre that some literary theorists have termed re-visionary fiction. Despite the prevalent re-telling of canonical stories throughout literary history, there is much evidence for the emergence of a specifically contemporary trend of re-visionary literature.

Discussing relevant passages in both the Grimms’ original appendix to their collection and Bernhard Heller’s essay contribution to Bolte and Polívka’s “Notes” to the Grimms’ tales, the present essay explores the connections between the Grimms’ Household Tales and the Thousand and One Nights. Since the amount of direct connections is limited, the essay turns to the reasons for this apparent lack by discussing the Grimms’ assumptions as collectors, adaptors, and editors. This approach reminds us of the necessity to assess previous scholarship in the light of its socio-cultural, historical, and political contexts.

Beyond fairy tale illustrations' technical skill and aesthetic success lie all the choices made first by their creators and later by their publishers. The latter include publishers' and editors' views of market forces, public acceptance, and private preferences for specific images. This article compares the reception and realization of illustrations for a Grimm tale, "The Goose Girl," first in Germany and ultimately, in Japan.

Kormoska, the Beautiful Princess. A Chapbook Tale as a Source for a Folktale of Sámuel Szabó.
Sámuel Szabó was one of the classics of Hungarian folk poetry collectors in Transylvania in the 19th century. Rediscovering of his work, collecting and publishing of his legacy was done by Katalin Olosz. Szabó conducted folktale-collecting with his students as a teacher at the Reformed College in Cluj-Napoca in the 1880s. The school booklet of one of his students named Dezső Vízi from 1882/1883 preserved a fairy tale under the title 'Kormoska', located at Háromszék County (Trei Scaune County, South-eastern Transylvania). This handwritten fairy tale text recorded from orality is a combination of two tales of the Brothers Grimms (Cinderella, KHM 21 and All-Kinds-of Fur, KHM 65), which has been published a few years earlier in a Hungarian chapbook of Alajos Bucsánszky at Budapest (The Story of Kormoska, the Beautiful Princess, or: The Sun Dress, the Moon Dress and the Star Dress, 1877). The study presents the whole text of the chapbook tale, which served as a direct source for the narrator of Szabó’s student. Reading this tale one can get a glimpse into the process of tale text formation, as a result of which a Grimm-tale based chapbook tale became a Transylvanian folk tale in a few years in the last third of the 19th century.

This is an investigation into the idea of a link between literature and nation-building, proposed by Benedict Anderson, Timothy Brennan,  Salman Rushdie, and Salman Rushdie. This paper utilizes their ideas to interpret well-known Grimms' Fairy Tales in light of emergin German Nationalism

Though primarily a form of folk narrative, fairy tales (Zaubermärchen) have a varied history, not just in oral tradition, but also in literature, drama, material culture, and popular culture such as film, TV, and comic books. Fairy tales have often been used as subversive narratives – tales retold to comment on injustice and to undermine authority. But just as often, they have been used to reinforce social norms, to establish and reestablish the values of the ruling class. Though frequently told by adults for children, fairy tales have also been told by adults for other adults, dealing with distinctly adult themes. Fairy tales are able to function in these ways because they are fundamental to the landscapes of our narrative imagination. And the goal of this course is to examine some of the ways that they pervade our lives.

To this end, this course will consist of a detailed examination of the history and form of the fairy tale as an oral narrative genre, as a literary construction, and as popular culture. We will consider classic and contemporary stories from across the globe, including Europe, the Americas, India, Asia, and Africa. We will deal with the history of the genre as an object of entertainment and as an object of study; and we will deal with a constellation of criticism by which scholars have tried to make sense of the genre over the past century, including the genre’s relationship to geography, gender, disability, power, science, and desire.

Through the readings, through our discussions, and through your assignments for the course, you will begin to get a sense of the fairy tale in a variety of different guises. You will see where it exists, how to make sense of it, and how it is relevant in all our lives.

The goals of this course are: 1) To understand key concepts in fairy-tale studies. 2) To contextualize specific fairy tales in their sociocultural moment and map the evolution of these tales through a variety of media. 3) To learn about major fairy-tale theories, including tale type analysis, structuralism, socio-historical analysis, feminism and gender theory, queer theory, disability studies, reception theory, and translation theory.

Een definitie van het genre vooraf is eigenlijk niet nodig, want wie kent de Europese volkssprookjes, de bekende canon uit de verzameling van de gebroeders Grimm: Hans en Grietje, Doornroosje, Sneeuwwitje, Roodkapje niet? Alle culturen van de wereld kennen sprookjes (net als mythen): het Nabije Oosten heeft de sprookjescyclus Duizenden-een nacht met verhalen als Aladdin en de wonderlamp, Ali Baba en de 40 rovers en Sindbad de zeeman. Ook India bezit een rijk repertoire van sprookjesverhalen, maar die worden anders gerecipieerd als 'historiën'. In het oude Europa waren het vooral de Kelten die sprookjes vertelden over feeën, heksen, reuzen, dwergen, elfen en draken. Deze wereld van 'fantasy', waarin niet bestaande dieren en wezens voorkomen, leeft voort in J.J.R. Tolkiens Lord of the Rings (1954) en in J.K. Rowling's Harry Potter (1997)(1998)(1999)(2000)(2001)(2002)(2003)(2004)(2005)(2006)(2007).

The purpose of this study is to inspect how the Brothers Grimm’s “Snow White” has tied the concept of beauty for girls with fairness of skin and how –as a result—modern adaptations of this fairy tale (cartoon, like Warner Bros.’s 1943 animated short Coal Black and de Sebben Dwarfs and literary, like Helen Oyeyemi’s 2014 novel Boy, Snow, Bird) have reacted to this issue (however different the purpose and methods are) by featuring primarily dark-skinned characters as the protagonists (“So White” in Coal Black and “Bird” in Boy, Snow, Bird) in stark contrast to the original tale.
It also covers the effects of the fairytale “Snow White” on equating beauty with light skin amongst young girls, as well as the response it caused as revealed in its two adaptations Coal Black and de Sebben Dwarfs, a short animated feature and Boy, Snow, Bird, a novel.

This article discusses the presence of Grimm’s Fairy Tales in Polish schools. The first part outlines the main features of the so-called “Gattung Grimm” (Grimm’s genre), knowledge of which is necessary to assess the quality and potential changes in the translations. The second part analyses existing Polish translations and their strategies, which result in modifications leading to a different sort of text. The third part presents the new Polish translation, made by the author, of the complete collection of 200 Grimm’s’ Fairy Tales (Baśnie dla dzieci i dla domu, Poznań 2010) as a version whose aim was to render all mentioned features of the “Gattung Grimm.”

Zarys treści: Baśń Von dem Fischer un syner Fru ma szczególną pozycję w zbiorze baśni braci Grimm Kinder-und Hausmärchen. Autorzy zbioru traktowali tę baśń jak wzorzec stylistyczny i treściowy oraz ucieleśnienie autentycznej baśni ludowej (Volksmärchen). Tymczasem baśń ta za sprawą zabiegów Philippa Ottona Rungego, który jako pierwszy sporządził jej zapis, charakteryzuje się przemyślaną kompozycją ujawniającą cechy baśni literackiej (Kunstmärchen). Wszystkie te elementy każą zapytać o kształt tego tekstu w przekładach na język polski. Analizie translatorskiej, która uwzględnia najważniejsze cechy stylistyczne i treściowe baśni, zostały poddane dwa istniejące przekłady. Wnioski wynikające z tej analizy wiele mówią o dotychczasowej recepcji baśni braci Grimm w Polsce. Aneks do artykułu zawiera krótką charakterystykę trzeciego przekładu baśni, wykonanego poprzez język trzeci -rosyjski. Słowa kluczowe: baśnie braci Grimm, przekład baśni, seria translatorska 1. Baśń Von dem Fischer un syner Fru jako wzorzec dla zbioru Kinderund Hausmärchen braci Grimm Z apisana w całości dialektem platt baśń pt. Von dem Fischer un syner Fru (O rybaku i jego żonie) nie jest tylko jedną z dwustu baśni pomieszczonych w słynnym zbiorze Jakuba i Wilhelma Grimmów Kinder-und Hausmärchen. Jej dzieje dowodzą, że baśń ta miała szczególne znaczenie dla autorów zbioru Rocznik przekladoznawczy 12.indb 293 01.12.2017 09:13:31 ELIZA PIECUL-KARMIŃSKA 294

People read literature because they want to understand their own experience and the experience of others. Literature contains much violence because violence reveals the underlying conflicts in all social relationships. Evolutionary psychology offers the best explanatory framework for understanding social conflicts, but evolutionary psychology is still in the process of formulating theories about the way core motives interact with specific cultural constructs. To explain the significance of violence in particular works of literature, critics must analyze the interactions between human life history, specific cultural values, individual differences in authorial vision, and relations between the minds of authors and readers in response to characters. This chapter offers examples of that kind of analysis for three works of literature:  Grimms’ “Little Red Riding Hood,” Angela Carter’s “The Werewolf,” and Shakespeare’s King Lear. The analysis of “Little Red Riding Hood” identifies fear of predation and fear of strangers as core concerns in the story and examines the way symbolic images affect the emotions of child readers. The analysis of “The Werewolf” contrasts the author’s relations with characters and audience in that story with the authors’ relations with characters and audience in the other two works. The analysis of King Lear contrasts the emotional effects of tragedy with the emotional effects of action movies, identifies normative human universals as the basis for audience response, examines the way characters in the play and critics of the play seek meaning through religious ideas, contrasts religious ideas with Shakespeare’s naturalistic world view, and argues that intuitive insights into human life history form the moral core of the play.

The present announcement is part of the postgraduate dissertation "Narration and Fairy Tales: The Contribution of Theater/ Drama in Education on the Revision of the Grimm Brothers’ Tales" which is part of the Postgraduate Degree in Theatrical Studies (School of Humanities and Social Studies, Open University of Cyprus) focusing on some of the stereotypes found in the Grimm Brothers’ fairy tales. In this context, it presents the revisionist approach to these stereotypes proposed by contemporary scholars. While the dissertation captures and analyzes all the stereotypical features in these tales, this presentation focuses on the subject of gender as it is one of the dominant stereotypical motifs of their work and has been repeatedly approached by later scholars of the Grimms’ work. Despite the violent references and the stereotypical nature of the Grimms’ fairy tales, they remain highly popular even today.

An Observation by dAvE@whenthenewsstops

A story this week piqued my interest;  a group of researchers at Durham and Lisbon Universities, using techniques normally applied by biologists, found that links between stories from around the world have what are considered 'prehistoric' roots. ...

http://www.whenthenewsstops.org/2016/01/fairytales-and-memory.html

Grimm tales in 19th-century Hungarian chapbooks.
Review of a forthcoming source collection. The paper and the accompanying extract present a collection of texts bearing the working title Grimm Tales in Hungarian Chapbooks (1860–1900). The forthcoming source
collection provides a selection of texts at the intersection of two almost completel unexplored 19th-century source groups: Hungarian-language Grimm editions and chapbook tales. The aim of this publication is to draw attention to the specific and multilayered textual tradition of Hungarian-language Grimm tales, as well as to provide data and perspectives for the research of chapbooks containing fairy tales and for the Hungarian reception and folklorization of Grimm tales.

Dolgozatom középpontjában az 1860-as években Vachott Sándorné Csapó Mária által különböző kiadványokban elszórtan közölt Grimm- és Andersen mesefordítások állnak. A történeti folklorisztika szempontjából a meseszövegek fordítás- és kiadástörténetének vizsgálata a folklorizáció, a „népivé válás” jelenségéhez nyújtanak hatékony értelmezési keretet. Emellett úgy vélem, hogy e mesefordításokat szövegfordításokat nem elszigetelten kell szemlélni, hanem érdemes az éppen születőben lévő gyerekirodalom valamint a nőnevelés kontextusában megvizsgálni. a jelenséget. Ennek érdekében e  meseközléseket Vachottné gyerekirodalmi elképzeléseinek és e mentén megvalósított vállalkozásainak tükrében értékelem. A Vachottné által közreadott mesefordítások hátterében Eötvös József művelődéspolitikai elképzelései álltak, mindezek szervesen illeszkedtek a magyar nyelvű gyermekirodalom megteremtését célzó törekvésekbe.. Vachottné irodalmi munkásságában programszerűen jelentkezett a női szerepkör anyasággal és gyerekneveléssel összefüggő feladatainak meghatározása. Szerzői és szerkesztői életművében e kötelezettségek teljesítéséhez nyújtott hatékony segítséget: a maga számára is elérendő célnak tekintette a női olvasók és női közvetítésen keresztül a gyermekek, különösen a lánygyermekek megfelelő, nemzeti jellegű olvasmányanyaggal való ellátását. Ebben az összefüggésben az ismert meseszövegek magyar nyelvű fordításai jó választásnak bizonyultak, ugyanis azok nem csak pedagógiai, hanem irodalmi célokat is szolgáltak, melyek az eredeti, magyar gyermekirodalom kialakulásában jelentettek fontos lépcsőfokot. Emellett a történeti folklorisztika számára a meseszövegek fordítás- és kiadástörténetének vizsgálata a folklorizáció, a „népivé válás” jelenségéhez nyújthat termékeny értelmezési keretet.

Fairy tales and folk tales alike were popularized in the seventeenth century as a means of educating children on the prominence of moral nobility and discipline through the embodiment of fantasy and magical enchantment. Presently, literary scholars are attempting to understand if the moral underlying's and lessons of fairy tales are still relevant and valuable to children born in the new millennium. Little Red Cap (1812) by Jacob and Wilhelm Grimm, and Bluebeard (1697) by Charles Perrault are both quintessential tales of the early seventeenth to mid-eighteenth century. By examining these particular tales through a feminist lens, one can conclude that the some of the earliest children's literature remains significant to the modern era, as the tales can be interpreted as illustrations of the quintessential issue of violence against women.

Three Tales by the Grimm Brothers from the Original Edition of Kinder- und Hausmärchen (1812-1815): The First Polish Translation in the Context of the Research on the Informers’ Biographies and Their Contribution to the Formation of the Collection
Abstract: The author of the article presents three tales by the Grimm brothers – Herr Fix und Fertig [Herr Fix-It-Up], Die lange Nase [The Long Nose], and Die wunderliche Gasterei [The Strange Feast] – from the original edition of the collection Kinder- und Hausmärchen [Children’s and Household Tales] (1812–1815), which were removed from the following editions and thus were not translated into Polish yet. The texts of the tales, translated by the author of the paper, are each time preceded by an introduction that considers the biographies and characteristics of the storytellers. This is in accordance with the trend in the research on the Grimms’ informers, summarized in the article’s introduction.

This is the second edition of the 3-volume "Greenwood Encyclopedia of Folktales and Fairy Tales." Revised and expanded, "Folktales and Fairy Tales" has over 100 additional, new entries and a 4th volume that is an anthology of fairy-tale texts and related genres selected from around the world and a broad historical range. This second edition is co-edited with Anne E. Duggan.

Der Blick auf zwei Begriffe, d.h. Gerechtigkeit und Märchen, erzeugt eine andere Art von Wirkung auf die Betrachter, weil Gerechtigkeit als zentrales Thema der moralischen und politischen Philosophie etwas Objektives zu sein scheint, obwohl bekannt ist, dass es sich um einen subjektiven Begriff handelt, der zweifellos die objektiven Realitäten im Einzelnen beeinflusst.

Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Mitarbeit bei den Korrekturen: Julia Eichhorn, Laura Rudowski, Neville Williamson Umschlagabbildung: Titelblatt zu den Kinder-und Hausmärchen der Brüder Grimm.

Classic fairy tales, such as the ones told by Jacob and Wilhelm Grimm, were stories that shed light on the uncomfortable truths of the world. Their horrific origins often involved scenes of rape, incest, torture, cannibalism, and other revolting occurrences that are teeming with brutal moralities. These tales were meant to emulate truth, and as children would grow older the idea was that they could subconsciously recall the messages from these tales as they cope with the injustices and contradictions of life...

That is the opening lines of this essay which seeks to explore how modern young adult literature utilizes fairy tales to reclaim a genre that has long since been "disnyfied." That is to say, fairy tales have become censored in such as way that many of the original morals have been all but stripped away. However, by exploring modern literature that sheds light on how horrible the world can be, we may actually be preparing our students with a better understanding of how the world works. In this world, there may not always be a happily ever after. It is our job to prepare students for hardships so that they can, not only endure, but feel free in the classroom to come to us and be open out their problems. This paper demonstrates just that as it looks at Patrick Ness's A Monster Calls, Ransom Riggs Miss Peregrines Home for Peculiar Children, and Christine Heppermann's Poisoned Apples.

"Jan M. Ziolkowski not only provides a comprehensive overview of the theoretical debates about fairy tale origins but includes an extensive discussion of the relationship of the fairy tale to both the written and oral sources. Ziolkowski offers interpretation of a sampling of the tales in order to sketch the complex connections that existed in the Middle Ages between oral folktales and their written equivalents, the variety of uses to which the writers applied the stories, and the diverse relationships between the medieval texts and the expressions of the same tales in the "classic" fairy tale collections of the nineteenth century."

https://www.press.umich.edu/1204480/fairy_tales_from_before_fairy_tales

Includes a review published in Marvels & Tales: Journals of Fairy-Tale Studies, 22.2, 2008.

Dieser Artikel verfolgt die These, dass Armut nicht nur ein allgegenwärtiges Geschichtenmotiv darstellt, sondern – als greifbare Manifestation von Mangel – sogar als Konstruktionsprinzip bzw. als Grundbedingung fürs Erzählen funktionalisiert wird und dabei hilft, eine stabile Erzählung von Männlichkeit zu produzieren. Letzteres ist gemäß der in der Literaturwissenschaft akzeptierten These von der narrativen Struktur von Gender an sich eine Grundbedingung dafür, eine kohärente Geschlechtererzählung zu produzieren, wie nicht nur Walter Erhart argumentiert.  Dieser Mechanismus wird anhand von zwei augenscheinlich äußerst divergenten Textsorten erörtert: einerseits dem Märchen (wo Armut häufig vom ersten Satz an eine zentrale Rolle spielt und die Geschichte in Gang setzt), andererseits dem zumeist in nicht-fiktionalen Kontexten verbreiteten Narrativ von der männlichen Krise, das v.a. im zeitgenössischen Magazinjournalismus immer wieder aufgegriffen wird.

1. Delle 32 favole di origine fedriana confluite nell'Epitome di Niccolò Perotti, in quella che si è soliti definire Appendix Perottina 1 , almeno otto sono state direttamente conosciute dai favolisti mediolatini, oitanici e italiani dei primi secoli, che ne hanno proposto rielaborazioni, adattamenti e rimaneggiamenti di vario genere. Si tratta di app. 1 (Simius et vulpes), 11 (Iuno, Venus et gallina), 12 (Paterfamilias et Aesopus), 15 (Mulier vidua et miles), 19 (Scrofa parturiens et lupus), 26 (Cornix et ovis), 28 (Lepus et bubulcus) e 29 (Meretrix et iuvenis) 2 .

This article is a modified version of an item published in 1983: Analysis of ATU 306, “The Danced-out Shoes,” reveals that Irish versions of the folktale drew from translations of the Brothers Grimm, and these include two instances of plagiarism. This raises questions about other rarely expressed narratives identified in The Types of the Irish Folktale (1968), by Seán Ó Súlleabháin and Reidar Th. Christiansen. Research finds no evidence that several tale types (ATU 51***, ATU 577, ATU 840B*, and ATU 870), represented exclusively in the Irish Schools’ Collection, were ever part of the oral tradition of Ireland. These supposedly Irish folktales nevertheless found their way into Irish and international indexes.

The Argentinean writer Luisa Valenzuela in her section on ‘The Tales of Hades’ (Symmetries 1993) revised six classical fairy tales, Little Red Riding Hood, The Princess and the Pea, Sleeping Beauty, The Frog King, Cinderella, Snow White and Bluebeard–giving them an unquestionable feminist approach. Specifically, in the short story ‘If this is Life, I am Little Red Riding Hood,’ Valenzuela rewrites Little Red Riding Hood’s symbolic journey through the forest to grandma’s house as her journey from childhood to adolescence and a maturity characterized by her embracing her own desires as embodied in her conversion into the wolf.

Eighteen years later, in 2011, Once Upon a Time an American fantasy-drama television series created by Edward Kitsis and Adam Horowitz , also revises classical fairy tales by not only emphasizing the role of women, but, most importantly, expanding on their interpretation. Surprisingly, the character Little Red Riding Hood also has to accept her wolf part (representative of her sexuality, animalistic in nature) in order to be independent and liberated from the patriarchal socio-cultural preconceptions of her environment. As a result, this paper seeks to explore the role of Little Red Riding Hood in becoming a complete human being when the wolf part of her is accepted as an integral part of her personality–that is, to be fully human she must also accept the “monster” within her.