The Board then made suggestions about possible contributors....the year has been celebrated at the USBBY conference as well as with the launch of the Bookbird Facebook page....I had the privilege to ...meet and interview some of the key players of the early Bookbird-years....I had a serendipitous meeting with Dušan Roll, President of IBBY (1986-90) in connection with the 2017 Biennial of Illustrations Bratislava (BIB).
Endüstri Devrimi sonucu giderek makineleşen ve doğa ile özlerinden ayrı düştüklerine inanan insanlar,
her şeyin daha basit olduğu bir dünyaya sığınma eğiliminde olmuşlardır. Bu nedenle, XIX. yüzyıl ...Britanya’sında
geçmişe özlem ve egzotik olana ilgi artmıştır. Aynı dönemde, ekonomik kaygılarla yozlaştığına
inanılan toplumda, ahlaki değerlerin çocuklara aktarımı sırasında, dünyanın çeşitli yerlerinden toplanan ve egzotik
olduğu düşünülen halk hikâyeleri ve peri masalları Viktorya Dönemi çocuk edebiyatında oldukça popüler
olmuştur. Halk hikâyeleri ve peri masallarına gösterilen ilgide Giovanni Francesco Straparola, Charles Perrault,
Jacob ve Wilhelm Grimm ile Hans Christian Andersen gibi Avrupalı folklor araştırmacıları ve çocuk hikâyeleri
yazarlarının önemi yadsınamaz. Bu isimlere ek olarak, İskoç şair, yazar, halkbilimci ve eleştirmen Andrew Lang
(1844-1912), 1899 ve 1910 yılları arasında yayımlanan ve renklerden esinlenerek adlandırdığı, dünyanın değişik
yerlerinden derlediği on iki kitaptan oluşan halk hikâyeleri ve peri masalları koleksiyonuyla folklor ve antropoloji
alanlarına önemli katkılar yaparak söz konusu yazarlarla benzer bir konuma gelir. Bir dönem Londra’da
kurulan Folk-Lore (Halk Bilim) Derneği’nin Başkalığını da yürüten Andrew Lang, ilk kitabının gördüğü yoğun
ilgi üzerine sürdürdüğü bu projeyle dünyanın en uzak köşelerindeki hikâyeleri derleyerek anavatanına getirip
meraklı okuyucularının bilinmeyen yerler hakkında bilgi sahibi olmalarına katkıda bulunmuştur. Böylece, eleştirmenlerce,
her gün toprakları genişleyen imparatorluğun halkbilimcisi olarak adlandırılan Lang’in koleksiyonu,
sömürgecilik söylemlerini, sömürgeci ve sömürülen açısından incelemeye oldukça elverişlidir. Anavatanlarından
koparılıp Lang’in koleksiyonunun bir parçası hâline gelen hikâyeler, Britanyalı çocukların evlerinden
dışarı adım dahi atmadan, satın alma yoluyla, tüketimine sunulmuştur. Bu şekilde beyaz Anglo-Sakson
Protestanların beğeneceği şekilde yeniden yazılan hikâyelerin orijinal kültürleri, yeniden yerleştirildikleri bağlama
göre, ikincil kalmıştır. Sondan bir önce yazdığı The Olive Fairy Book’a (1907) Lang, hedef okur kitlesinin
yaşlarını ve psikososyal gelişimlerini göz önüne alarak, üç tane Türk hikâyesini dâhil eder. Lang kitabın önsözünde
Türk masallarını Macar araştırmacı Dr. Ignác Kúnos’un 1905 yılı tarihli Türkische Volksmärchen aus
Stambul (İstanbul’dan Türk Masalları) adlı kitabından aldığını belirtir. Hikâyeleri olduğu gibi çevirmek yerine
ise kendi okur kitlesine uygun biçimde uyarlar. Hikâyeler toplu olarak ele alındığında, Kúnos’un Türk kültürüne
olabildiğince sadık kalmaya çalışırken Lang’in Britanyalı çocukların anlayamayacağını düşündüğü şeyleri İngiliz
kültürüne uyarlayıp peri diyarını sömürgeleştirdiği görülür. Bu çalışmanın amacı, “Madschun” (“Macun”),
“The Boy Who Found Fear at Last” (“Sonunda Korkuyu Bulan Çocuk”) ve “The Silent Princess” (“Suskun
Prenses”) adlı hikâyelerde, Andrew Lang’in Türk hikâyelerini uyarlamalarında, bugüne kadar yapıldığı gibi
yerleşik “doğuculuk” (Edward Said’in Oryantalizm adlı kitabındaki tutumuna koşut bir biçimde) söylemine
uygun bir biçimde egzotik ve oryantal beklentileri karşılarken nasıl güncellediği, ayrıca özgün hikâyeleri dilsel
(dolayısıyla biçimsel) ve içeriksel (izleksel) olarak nasıl dönüştürerek yeniden yazdığı üzerinde durmaktır.
“Fairy Tales and the Transmission of Prejudice” is a unit in a lecture course on fairy tales that draws on research on anti‐Semitism in 18th‐ and 19th‐century German literature and culture, mapping ...questions raised in 18th‐ and 19th‐century tales onto contemporary issues: The unit traces a trajectory from the Enlightenment to the present, and from Germany to the United States, analyzing a variety of texts, including Lessing's drama Nathan the Wise (1779), the three Grimms’ tales about Jews – “The Clear Sun Will Bring it to Light” (1815), “The Jew in Thorns” (1815), and “The Good Bargain” (1819) –, Spiegelman's graphic Holocaust narrative Maus (1980), and Sendak's illustrations for Wilhelm Grimm's Dear Mili (Grimm & Sendak, 1988). This article outlines the course, its background, and how the texts and their contexts are implemented in class. Throughout the course unit, the discussion of anti‐Semitism in the fairy tales is broadened to one of prejudice in general. The article concludes with a brief discussion of student reactions to this unit.
Fairy tales have often been controversial, and today much of the controversy appears to revolve around gender issues. With a focus on gendered appearances and relationships, this article examines ...Hans Christian Andersen’s ‘Tommelise’ and ‘The Snow-Queen’ as well as Adventures in Fairyland (1853), a book of fairy tales written by one of Andersen’s admirers and promoters in nineteenth-century USA, Richard Henry Stoddard. Depictions of female characters in these tales are varied, with protagonists not always adhering to the feminine beauty ideal. The portrayal of both girls and boys are sometimes influenced by the notion of the Romantic child, which seems to tone down gender differences in descriptions of characters. Some of Stoddard’s fairy tales have a masculinist bias, but on the other hand his tales often go beyond the happily-ever-after ending. Indeed, a few of his fairy tales are remarkably explicit about adult erotic love, physical attraction, and sexual desire. So, when viewed through the lens of gender, both Andersen’s and Stoddard’s nineteenth-century literary fairy tales offer a twenty-first-century reader quite a few surprises and much food for thought and discussion.
...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.
Chatting about Fairy Tales Yan, Ho Fuk
Chinese literature today,
01/2019, Letnik:
8, Številka:
1
Journal Article
Recenzirano
Introduction This is a series of conversations on literature, ranging from Xi Xi's own fiction and poetry, to a discussion of reading and writing in general, and her views on this and that. Because I ...felt that our exchange was rather interesting, I picked up my pen to write down what Xi Xi had to say about her writings, as well as some other topics. Sometimes it was a dialogue, although I did not say much; sometimes it was like her monologue, and I was merely listening. Because the conversation was very long (it started in March 1982), continuing on and off, and the topics covered were quite broad, I ended up writing, reading, and thinking at the same time. Because they trust the foot samples, and not the feet. ...what is fictionlike style? HFY: ...let's return to "The Frying Pan" and "The Bowl."
Born in Tokyo, Japan, on January 1, 1935, Eiko Kadono is one of the most respected and well-known authors of children's literature in Japan. Her books have been deeply influential for several ...generations of Japanese children. She has won numerous national and international awards—including the 1985 Noma Prize for Children's Literature, the 1985 Shogakukan Children's Publication Culture Award, the 1986 IBBY Honor List, the 2016 Sankei Children's Publishing Culture Award, and finally the 2018 Hans Christian Andersen Award. Majo no Takkyuubin (Kiki's Delivery Service, 1985) is perhaps her most famous book, having been adapted into an internationally acclaimed animated film by Studio Ghibli. Her work includes over two hundred picturebooks, novels, and translations. Many of her stories are contemporary and modern fantasy books. Her books tend to feature characters as witches, spirits, and shadow creatures, as well as socially neglected groups such as the elderly, children, and, women.
How are emotions are expressed in Italian and in Norwegian? What are the reasons that cause people to consider Italian a more emotive language compared to the Germanic languages? To answer these ...questions, two translations of Hans Christian Andersen’s fairy tales are analyzed: “The Emperor’s New Clothes” (Il vestito nuovo dell’Imperatore / Keiserens nye klær) and “The Ugly Duckling” (Il brutto anitroccolo / Den stygge andungen). The analysis focuses on interjections and verbs of speech. In the Italian translations, more interjections are used and the verbs of speech are more expressive (in particular, esclamare ‘to exclaim’). In the Norwegian translations, interjections are rare, sometimes different constructions are used instead, and the verbs are often more neutral (in particular, å si ‘to say’).
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