The Owl, the Raven, and the Dove: The Religious Meaning of the Grimms' Magic Fairy Tales (review)

2004 ◽  
Vol 117 (464) ◽  
pp. 235-236
Author(s):  
Evelyn M. Perry
2003 ◽  
Vol 26 (1) ◽  
pp. 151
Author(s):  
Albrecht Classen ◽  
G. Ronald Murphy

2001 ◽  
pp. 78-84
Author(s):  
V. Yatchenko
Keyword(s):  

If we approach the analysis of fairy tales from the point of view of revealing in them a metaphysical dimension of human intentions, then in their subjects one can identify several paradigms. The most important of these should include, in particular, the following: the combination of man with the deity (God); the loss of God's person as a result of her violation of some conditions for coexistence with God; the search for the lost man of God and the rejoining of him. These through-world ideological paradigms, embodied in specific themes (plots), may be adjoined in the same tale, and may exist separately, encompassing all of its plot. All the above applies to Ukrainian fairy tales.


Author(s):  
G Syzdykova ◽  
◽  
A Sholakova ◽  
Keyword(s):  

2015 ◽  
Vol 8 (2) ◽  
pp. 169-184
Author(s):  
Željka Flegar

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.


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