The Oxford Companion to Fairy Tales: The Western Fairy Tale Tradition from Medieval to Modern, and: Sticks and Stones: The Troublesome Success of Children's Literature from Slovenly Peter to Harry Potter (review)

2002 ◽  
Vol 27 (4) ◽  
pp. 229-232
Author(s):  
Michael Joseph
Keyword(s):  
Children's Literature ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Children’S Literature ◽  
Harry Potter ◽  
Sticks And Stones

The Alluring Nature of Children's Culture: Fairy Tales, the Carnival and the World Wide Web

2015 ◽  
Vol 8 (2) ◽  
pp. 169-184
Author(s):  
Željka Flegar
Keyword(s):  
Children's Literature ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Mikhail Bakhtin ◽  
Children’S Literature ◽  
Social Construct ◽  
Time Out ◽  
The Social ◽  
Children's Culture ◽  
Language And Ideology

This article discusses the implied ‘vulgarity’ and playfulness of children's literature within the broader concept of the carnivalesque as defined by Mikhail Bakhtin in Rabelais and His World (1965) and further contextualised by John Stephens in Language and Ideology in Children's Fiction (1992). Carnivalesque adaptations of fairy tales are examined by situating them within Cristina Bacchilega's contemporary construct of the ‘fairy-tale web’, focusing on the arenas of parody and intertextuality for the purpose of detecting crucial changes in children's culture in relation to the social construct and ideology of adulthood from the Golden Age of children's literature onward. The analysis is primarily concerned with Roald Dahl's Revolting Rhymes (1982) and J. K. Rowling's The Tales of Beedle the Bard (2007/2008) as representative examples of the historically conditioned empowerment of the child consumer. Marked by ambivalent laughter, mockery and the degradation of ‘high culture’, the interrogative, subversive and ‘time out’ nature of the carnivalesque adaptations of fairy tales reveals the striking allure of contemporary children's culture, which not only accommodates children's needs and preferences, but also is evidently desirable to everybody.

scholarly journals Looking for national and genre identity in the modern Russian and Hungarian author fairy tale (on the example of the texts by A. Kabakov, A. Stepanov and A. Mosonyi)

2020 ◽  
pp. 383-398
Author(s):  
Polina V. Korolkova
Keyword(s):  
Children's Literature ◽  
Everyday Life ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Children’S Literature ◽  
Adult Reader ◽  
Modern Russian

The essay deals with the interaction between the genre transformations of the author fairy tale and the national problematics, as well as the question of the modern strategies of genre renewal on the example of the texts by modern Russian and Hungarian writers (“The Moscow fairy tales” by A. Kabakov, “The fairy tales not about people” by A. Stepa-nov, “The Budapest fairy tales” and “The supermarket fairy tales” by A. Mosonyi). Among other questions, I address the so-called “genre me-mory” (M. Lipovetsky’s term), which in the texts by Kabakov, Stepanov, and Mosonyi functions at the level of entire cycles but rarely at the level of separate texts. With regard to the fi eld of children’s literature, the na-tional locus makes the texts appear more modern-looking and therefore appealing to an adult reader who rediscovers the details of everyday life. The opposite strategy is often applied in the philosophical, parable or political fairy tales, when the authors give priority to the nation-specifi c, nuanced and recognizable locus, which at the same time receives the features of the fairy tale or mythological space.

Gothic for Girls

2019 ◽  
pp. 246-263
Author(s):  
Julia Round
Keyword(s):  
Children's Literature ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Personal Responsibility ◽  
Children’S Literature ◽  
Self Control ◽  
Working Definition ◽  
Female Gothic ◽  
Female Protagonist ◽  
Definition Of

This chapter uses the previous analyses to construct the conventions of the ‘Gothic for Girls’ subgenre and reflect on its development and position within children’s literature. It surveys existing work on childhood and Gothic, with a particular focus on the fairy tale and the cautionary tale as subgenres of children’s literature. It argues that Misty combines Female Gothic tropes with fairy tale markers to create stories that bring together adult and child concerns. The chapter concludes by relating Misty to some contemporary dark fairy tales and offering a working definition of Gothic for Girls. Elements include an isolated or trapped female protagonist in an abstracted world that juxtaposes the mundane and supernatural, a narrative awakening to magical potential that is often driven by fear and particularly terror, the use of feminine symbols and fairy tale sins as catalysts, and the weight placed on personal responsibility and self-control or self-acceptance.

scholarly journals Vincent Šikula: a story and fairy-tale narrator

2017 ◽  
Vol 5 (2) ◽  
pp. 138-149
Author(s):  
Eva Vitézová
Keyword(s):  
Children's Literature ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Children’S Literature ◽  
Narrative Strategies ◽  
Story Telling ◽  
The 1960S

Abstract Vincent Šikula entered (also) children’s literature in the 1960s, i.e. during the years when crucial works of Slovak children’s literature were published. His works are interesting for children even nowadays because they are built on story-telling, interesting language, and, very often, quick action. Šikula’s poetics is based on not underestimating children. He did not determine in advance for whom his books are intended, since, in his opinion, they were appropriated by those whom they suited most. The paper discusses Šikula’s stories and fairy-tales with regard to the authorial narrative strategies.

Once upon a Time in an Occupied CountryAll translations from Dutch and German are my own.

2013 ◽  
Vol 47 (2) ◽  
Author(s):  
Vanessa Joosen
Keyword(s):  
Children's Literature ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Children’S Literature ◽  
Second World War ◽  
World War ◽  
Literary Context ◽  
Dutch Literature ◽  
Short Time ◽  
Second World

Abstract“Is it a coincidence, or is it a symptom of the age that, in a relatively short time, so many fairy tales and folktales have appeared?” a Dutch journalist asked in August 1942 (G.H. 1). Indeed, although fairy tales had been popular in Dutch children’s literature for many decades, the Second World War proved to be a particularly fertile period for this genre. Children’s literature, and literature in general, did not suffer as much from the war as one might expect. Although the production of books was gradually and increasingly hampered by paper shortages and limitations set by the Nazi regime, in the first years of the war the literary and cultural market in the Netherlands flourished. The fairy tale took a special position in the new literary climate produced by the Second World War. This article describes how the war and the German occupation influenced the production, translation and reception of fairy tales in Dutch. Drawing on the title of Jack Zipes’ Why Fairy Tales Stick (2006), I explore why the fairy tale “stuck” and even boomed in Dutch literature between 1940 and 1945, and how the tales were transmitted and transformed to fit the new political, pedagogical and literary context. Two figures are of particular interest for the reception of fairy tales in this period: the folklorist Jan de Vries and the children’s author A.D. Hildebrand who translated an entire fairy-tale series during the war. Within the broader discussion, these two figures will receive particular attention because of the elaborate and complex ways in which they dealt with fairy tales.

Children, Death, and Fairy Tales

1995 ◽  
Vol 31 (2) ◽  
pp. 151-167 ◽  
Author(s):  
Elizabeth P. Lamers
Keyword(s):  
Children's Literature ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Children’S Literature ◽  
Death And Dying ◽  
Little Red Riding Hood

This article examines the evolution and transformation of themes relating to death and dying in children's literature, using illuminating parallels from historical demographics of mortality and the development of housing. The classic fairy tale “Little Red Riding Hood” is used to draw these trends together.

scholarly journals Transformacje wzorców baśniowych w literaturze dziecięcej obecnej na współczesnym rynku wydawniczym

2018 ◽  
Vol 23 ◽  
pp. 135-151
Author(s):  
Kamila Kowalczyk
Keyword(s):  
Popular Culture ◽  
Children's Literature ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Children’S Literature ◽  
Sleeping Beauty ◽  
Snow White ◽  
Gender Education ◽  
Little Red Riding Hood

Transformation of fairy tales patterns in children’s literature available on the contemporary publishing marketWhat the contemporary publishing market offers the youngest readers are texts that make various forms of fairy tale characters — a  strongly representative group among them consists of texts that are transformations of fairy tale patterns that are deeply rooted in the mass imaginations including children’s imagination, which promote a  new version of a  well-known story: fairy tale renarrations. Such texts not only constitute evidence of changes in the fairy tale genre, but also prove the continuous updates on fairy tales. The aim of the article is to present and discuss how the authors modify specific characteristics of the fairy tale and play with its tradition. The examples of recognizable fairy tale patterns that are deeply rooted in the culture Little Red Riding Hood, Snow White, Hansel and Gretel, Sleeping Beauty, Cinderella were used to present the primary mechanisms of use and modification of fairy tales in children’s literature on the post-2000 Polish publishing market.The description of intertextual relationships between the fairy tale patterns and their renarrations renarration mechanisms has been supplemented with an analysis of influence of popular culture on children’s literature interpenetrating of cultural and literary circulations and the fashion for fairy tales. The studied works include those that have been written with gender education in mind, promotion of knowledge on rights of a  child or the environment and those primary aim of which is to entertain the young audience through reading. The article is also an encouragement to reflection on the genealogy of contemporary fairy tales and the shape, in which the “children’s fabulous fairy-tale-sphere” functions, and the factors that influence it.

Sign in / Sign up

Export Citation Format

Share Document