Editor's Notes Morse, Donald E
Hungarian journal of English and American studies,
10/2020, Letnik:
26, Številka:
2
Journal Article
Recenzirano
King Leopold of Belgium was especially notorious for his merciless treatment of the Congolese, who were pressed into service on the rubber plantations. Lanters's discussion places the play within ...this historical and artistic setting with the European and American treatment of the Blacks as less than human including exhibiting some of them as freaks, natural oddities, and sub-humans or creatures on an evolutionary ladder leading to White perfection, while enslaving native populations to extract natural resources to fuel the "home" country's prosperity. The contemporary clinical psychologist Kay Redfield Jamison demonstrated the truth in Dryden's observation in important books using her clinical experience to evaluate several artists, poets, and musicians, including Touched with Tire (1993), An Unquiet Mind (1995), Night Tails Tast (1999), and most recently Robert Lowell: Setting the River on Tire (2017). Lowell being fully conscious "of its relevance . . . made it a creative force in his writing . . . as the duality of mania and discipline, insanity and sanity was the major organizing force of his life."
Rewriting History Lanters, José
Hungarian journal of English and American studies,
10/2020, Letnik:
26, Številka:
2
Journal Article
Recenzirano
Martin McDonagh’s A Very Very Very Dark Matter (2018) explores how the stories of exploited people have been written out of history. The play includes several storytellers, and it both replicates and ...deviates from the details of numerous existing narratives, including McDonagh’s own plays. Set in 1857, the play imagines that Hans Christian Andersen’s fairy tales were written by a pygmy woman from the Belgian Congo who has traveled back in time; Hans calls her Marjory and keeps her in a box in his attic. Eventually Marjory writes herself out of the box and departs for Africa to prevent the colonization of her people. Dark Matter compels us to question the narratives about the past that have become embedded in our culture and to uncover the facts that official accounts have altered or suppressed; rewriting history is acceptable only in imaginative storytelling, as an act of poetic justice. (JL)
The entremés, never represented in 1615, became a classic text and at the same time an object of revision, eventually turning into a hypotext for numerous authors who, at different times, turned ...their gaze to the cervantine text to provide their own version. In this paper, we will focus on analyzing the repercussion that El retablo de las maravillas had in Rafael Dieste and Lauro Olmo, two playwrights who recreated new and marvelous retablos from the cervantine piece and established an extremely interesting and fruitful network of intertextualities from multiple perspectives. The rewriting and updating of a classic text such as Cervantes' entremés also offers a great potential for the teaching of literature, aspect to which we devote a brief final reflection. En este caso, Fantasioso y Mónica les hacen ver un espectáculo en el que se conjugan ciertos elementos rescatados del retablo cervantino, como el toro o los ratones -el propio Fantasioso advierte que «vamos a ser fieles al antiguo modelo que celebró Cervantes»28-, con otros que claramente obedecen a las pretensiones políticas antifascistas que subyacen a la composición diesteana, pues en ese espectáculo creado por la palabra y refrendado por la sugestión aparecen sucesivamente dos ejércitos, primero uno conformado por soldados alemanes, que hace las delicias de los espectadores, y luego otro de milicianos rojos, que provoca el pánico entre el público y obliga incluso al general a pedir refuerzos al Estado Mayor «llevando un auricular invisible a la oreja»29.
The purpose of this article is to show that Hans Christian Andersen's tale The Little Mermaid and Grimms' tale The Nix of the Mill-pond are probably derived from the same source, have been created ...out of the same material. However, the results of the creative process are completely different because the writers -- Andersen and Wilhelm Grimm -- had quite divergent conceptions of authorship. / Gezeigt werden soll, wie Hans Christian Andersens Kunstmarchen Die kleine Meerjungfrau und das Grimm-Marchen Die Nixe im Teich vermutlich aus den gleichen Quellen geschopft werden konnten, aus demselben Stoff geformt wurden und doch ganzlich andere Ergebnisse brachten, weil die Verfasser -- Andersen und Wilhelm Grimm -- vollig andere Vorstellungen von Autorschaft hatten. / Cet article se propose de montrer que les deux contes La petite sirene de Hans Christian Andersen et L'ondine dans son etang des freres Grimm ont probablement ete puises de la meme source, crees a partir de la meme matiere. Cependant, les resultats de ces procedes creatifs sont tout a fait differents a cause des conceptions divergeantes qu'avaient les deux ecrivains, Andersen et Wilhelm Grimm. web URL: http://www.degruyter.com/view/j/fabl.2015.56.issue-3-4/fabula-2015-3-403/fabula-2015-3-403.xml?format=INT
...illustrations have mostly been treated as complementary and ancillary to the tales themselves, and Zipes's promise of a new integrative analytic approach is as welcome as it is long overdue. The ...consequence of such an ineffectively substantiated conflation results in consistently incorrect and incomplete citations: an image of Hansel and Gretel misidentified as "1907, American" is an image by August Splitgerber 1844–1918, the card issued by Münchener Kunst, nr. 2008/99 (47); cards based on W.W. Denslow's Wizard of Oz images misidentified as "1986, American" (180); and the image of "White Bear King Valemon" misidentified as "1999, American" (189), when it is in fact a reproduction of Theodor Kittelsen's 1912 watercolor, one of the most famous Norwegian fairy-tale images today. Reading them literally reinforces the ideological operations of identity construction (see also Zipes's interpretation of photographic images of African Americans as signifying how "storytelling was very important to African Americans, who brought their tales with them from Africa" 2 without ever acknowledging that these images were part of well-established racialized system of representing Blacks as crude and backwards). ...through erasure, diminishment, or by presenting women as conduits of tales, which therefore implicitly have lives of their own, Zipes effectively strips women of agency in the tales' production and dissemination. ...despite claims that these postcards and fairy tales are global phenomena, there is scant evidence for this claim.
In Cervantes’s El retablo de las maravillas, which is based on the international folk tale known as The Emperor’s New Clothes, the women spectators jump on top of chairs and wrap their skirts tightly ...around their ankles when the narrator describes a great number of mice that supposedly appear on stage. A Portuguese folk story that I recorded in 1975 from an old lady from Madeira in San Diego, California, confirms that the women are so terrified because mice were seen as being phallic. A second tale, a border joke recorded in 1974 from an immigrant from Trás-os-Montes in Toronto, which tells how a Spaniard and a Portuguese try to inflate an ass in order to sell it for a better price, shows that Cervantes was inspired by a similar story in order to chastise Avellaneda for daring to write a continuation of Part I of Don Quijote. These two stories, of course, help to confirm the importance of the relationship between folklore and literature.
The Snow Queen (1845), by Hans Christian Andersen, and Snow White (1812) by the Brothers Grimm. ...we will focus on the relation of Pizarnik's work with its explicit hypotext, Valentine Penrose's La ...comtesse sanglante, considering the aforementioned, that is, the way fairy tales operate as a matrix in this transfer. Freud, en cierta medida, desestima la importancia de los factores apuntados por Ernst Jentsch, para quien el caso por excelencia de lo siniestro es "'la duda de que un ser aparentemente animado sea en efecto viviente; y a la inversa: de que un objeto sin vida esté en alguna forma animado', aduciendo con tal fin la impresión que despiertan las figuras de cera, las muñecas sabias y los 'autómatas'" (2488). Por otra parte, con respecto a la asociación entre sexualidad y violencia que percibimos en "La Reina de las Nieves", cuando ocurre el pasaje a la adolescencia del personaje masculino, cabe señalar que esto coincide con el planteo de LCS: "Si el acto sexual implica una suerte de muerte, Erzébet Báthory necesitaba de la muerte visible, elemental, grosera, para poder, a su vez, morir de esa muerte figurada que viene a ser el orgasmo" (Pizarnik 287). "The Snow Queen".
Pr., 2015) xiii + 227 $24.95 Laurence Talairach-Vielmas, Fairy Tales, Natural History and Victorian Culture and Melanie Keene, Science in Wonderland: The Scientific Fairy Tales of Victorian Britain ...join join a well-established body of scholarship on the Victorian fascination with folklore, fairy belief and various forms of fairy narrative - from Richard Dorson's landmark book The British Folklorists: A History (1968) to Molly Clark Hillard's recent Spellbound: The Fairy Tale and the Victorians (2014). In Fairy Tales, Natural History and Victorian Culture, she turns to canonical works of children's literature (such as Charles Kingsley's The Water Babies, Mary Louisa Molesworth's Christmas-Tree Land, and Edith Nesbit's Five Children and It); periodicals for adults (The Strand) and for children (primarily Aunt Judy's Magazine, Boy's Own Magazine and John Newbery's Lilliputian Magazine); classic fairy tales (by Charles Perrault, the Borthers Grimm, and Hans Christian Andersen) - as well as lesser-known science education texts that draw with surprising frequency on discourses associated with magic, fantasy, and fairy. In some cases, popular science texts suggest that works of natural history could well replace traditional fairy tales as the favored reading material of early childhood, as is the case in the 1863 English edition of Louis Figuier's World Before the Deluge (51).
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