If there is one genre that has captured the imagination of people in all walks of life throughout the world, it is the fairy tale. Yet we still have great difficulty understanding how it originated, ...evolved, and spread--or why so many people cannot resist its appeal, no matter how it changes or what form it takes. In this book, renowned fairy-tale expert Jack Zipes presents a provocative new theory about why fairy tales were created and retold--and why they became such an indelible and infinitely adaptable part of cultures around the world.
Drawing on cognitive science, evolutionary theory, anthropology, psychology, literary theory, and other fields, Zipes presents a nuanced argument about how fairy tales originated in ancient oral cultures, how they evolved through the rise of literary culture and print, and how, in our own time, they continue to change through their adaptation in an ever-growing variety of media. In making his case, Zipes considers a wide range of fascinating examples, including fairy tales told, collected, and written by women in the nineteenth century; Catherine Breillat's film adaptation of Perrault's "Bluebeard"; and contemporary fairy-tale drawings, paintings, sculptures, and photographs that critique canonical print versions.
While we may never be able to fully explain fairy tales,The Irresistible Fairy Taleprovides a powerful theory of how and why they evolved--and why we still use them to make meaning of our lives.
Contemporary Fairy-Tale Magic studies the impact of fairy tales on contemporary cultures from an interdisciplinary perspective, with special emphasis on how literature and film are retelling classic ...fairy tales for modern audiences.
Children into swans Beveridge, Jan
Children into swans,
2014, 20141001, 2014, 2014-10-31, 2014-10-01
eBook
Fairy tales are alive with the supernatural - elves, dwarfs, fairies, giants, and trolls, as well as witches with magic wands and sorcerers who cast spells and enchantments. Children into Swans ...examines these motifs in a range of ancient stories. Moving from the rich period of nineteenth-century fairy tales back as far as the earliest folk literature of northern Europe, Jan Beveridge shows how long these supernatural features have been a part of storytelling, with ancient tales, many from Celtic and Norse mythology, that offer glimpses into a remote era and a pre-Christian sensibility. The earliest stories often show significant differences from what we might expect. Elves mingle with Norse gods, dwarfs belong to a proud clan of magician-smiths, and fairies are shape-shifters emerging from the hills and the sea mist. In story traditions with roots in a pre-Christian imagination, an invisible other world exists alongside our own. From the lost cultures of a thousand years ago, Children into Swans opens the door on some of the most extraordinary worlds ever portrayed in literature - worlds that are both starkly beautiful and full of horrors.
Fairy-tale adaptations are ubiquitous in modern popular culture, but readers and scholars alike may take for granted the many voices and traditions folded into today's tales. In Fairy Tales ...Transformed?: Twenty-First-Century Adaptations and the Politics of Wonder , accomplished fairy-tale scholar Cristina Bacchilega traces what she terms a fairy-tale web of multivocal influences in modern adaptations, asking how tales have been changed by and for the early twenty-first century . Dealing mainly with literary and cinematic adaptations for adults and young adults, Bacchilega investigates the linked and yet divergent social projects these fairy tales imagine, their participation and competition in multiple genre and media systems, and their relation to a politics of wonder that contests a naturalized hierarchy of Euro-American literary fairy tale over folktale and other wonder genres.
Bacchilega begins by assessing changes in contemporary understandings and adaptations of the Euro-American fairy tale since the 1970s, and introduces the fairy-tale web as a network of reading and writing practices with a long history shaped by forces of gender politics, capitalism, and colonialism. In the chapters that follow, Bacchilega considers a range of texts, from high profile films like Disney's Enchanted, Guillermo del Toro's Pan's Labyrinth, and Catherine Breillat's Bluebeard to literary adaptations like Nalo Hopkinson's Skin Folk , Emma Donoghue's Kissing the Witch, and Bill Willingham's popular comics series, Fables . She looks at the fairy-tale web from a number of approaches, including adaptation as activist response in Chapter 1, as remediation within convergence culture in Chapter 2, and a space of genre mixing in Chapter 3. Chapter 4 connects adaptation with issues of translation and stereotyping to discuss mainstream North American adaptations of The Arabian Nights as media text in post-9/11 globalized culture.
Bacchilega's epilogue invites scholars to intensify their attention to multimedia fairy-tale traditions and the relationship of folk and fairy tales with other cultures' wonder genres. Scholars of fairy-tale studies will enjoy Bacchilega's significant new study of contemporary adaptations.
Опираясь на сюжет известной русской народной сказки о Морозе (Морозко) в двух его вариантах, помещенных в сборнике А.Н. Афанасьева № 95 и № 96, автор анализирует и выводит признаки действующих в ней ...персонажей - старухи (мачехи), старика, падчерицы и старухиных дочерей (родной дочери во втором варианте). Выведенные признаки формируются в роли - доминирующей преследовательницы и распорядительницы для мачехи, покорного исполнителя ее воли для старика, преследуемой и обрекаемой к смерти для падчерицы, избалованных мачехиных дочерей. Позволяет это перейти ко всему дальнейшему - выведению и характеристике определяющих мотивов Мороза. По тексту сказки в обоих ее вариантах таковыми мотивами становятся: пограничное и чужое пространство (бор, лес, глушь, чисто поле); характерное для героя появление-приближение (сверху, по елкам или же подходя); моторика слышимых, но не обязательно видимых движений (потрескивание, пощелкивание, поскакивание, подпрыгивание); троекратное усиление морозящего воздействия на объект; богатство и вследствие этого способность одаривать; формы вежливого обращения, приветствие, «умные речи»; смерть в результате окостенения; брачный мотив; пение песенок на морозе (при неумирании) и т.п. Полученные результаты сопоставляются с темами и мотивами, характерными для национальной культуры, что находит свое отражение в пословицах, поговорках, обычаях, обрядовой практике, а также в народных и не только народных, авторских песнях. В завершение проделанного анализа выводится общая схема сюжета.
Of the many figures who make their presence felt in the fairy tale, the witch, is the most compelling. Según Zipes, en un principio, los cuentos de hadas fueron considerados peligrosos porque podían ...ser leídos a tan distintos niveles que "social behavior could not be totally dictated, prescribed, and controlled through the fairy tale, as there were subversive features in language and theme" (Zipes 14).1 La novela Temporada de huracanes tiene muchas caretas o máscaras que encubren su verdadero significado. Si bien la autora ha señalado que su novela no se puede clasificar y la bautiza como un "Rancho drama" (Melchor, entrevista televisiva), logra poner en evidencia cómo la Bruja, el personaje central, es un ser parchado, inconexo, desmembrado, especular a los elementos discursivos que no llegan a integrarse y que representa la ciudad de Veracruz: un lugar que parece un espacio de entretenimiento caribeño con aguas turquesas (como suelen fotografiarlo en las postales), pero que durante la última década, se fue convirtiendo en un escenario de desaparecidos, descuartizados y puerto de ingreso de las drogas a México.2 Así, Temporada de huracanes juega de una manera original con el fondo y la forma: pone en primer plano cómo la Bruja y los géneros literarios, son un constructo a la manera en que lo explica Hayden White en The Content of the Form, donde cada personaje ve al otro como quiere, porque a lo único que accedemos es a los diversos discursos y por otro, recalca la importancia de los roles masculinos tradicionales en la narración que son una fachada para mostrar lo que en verdad sucede con los jóvenes y la represión que padecen por no cumplir con dichos roles. La novela posee numerosas referencias concretas a los cuentos de hadas -"ya estaba grande para andar creyendo que la vida era como la tele, como los cuentos de hadas, y más tarde que temprano él solito agarraría el pedo de que ese trabajo en la Compañía Petrolera era pura chaqueta mental suya" (Temporada 77)-* En otro pasaje de la novela, Norma antes de tomarse el brebaje abortivo de la Bruja piensa que "todavía aún más terrible, que de la oscuridad surgiría uno de esos seres malignos que habitaban los bosques de los cuentos, un chaneque de rostro arrugado y ralos cabellos que les lanzaría un conjuro para enloquecerlas" (Temporada 148-149). Bruno Bettelheim realiza también un esfuerzo analítico por distinguir los cuentos de hadas de los mitos pese a que ambos relatos nos hablen "in the language of symbols representing unconscious content" (Bettelheim 36).
