scholarly journals MEANS OF REPRESENTING ECCENTRICITY OF THE SWEETS NAMES IN THE FAIRY TALE “CHARLIE AND THE CHOCOLATE FACTORY” BY R. DAHL

2020 ◽  
pp. 88-94
Author(s):  
Svetlana Yu. Kapkova
Keyword(s):  
Fairy Tale ◽  
Chocolate Factory

scholarly journals Cognitive Play Model of Narration “Quest” in Roald Dahl’s Fairy Tale Charlie and the Chocolate Factory

2019 ◽  
Vol 25 (2) ◽  
pp. 11-30
Author(s):  
Larysa Bieliekhova ◽  
Alla Tsapiv
Keyword(s):  
Fairy Tale ◽  
Modern Society ◽  
Narrative Structure ◽  
Point Of View ◽  
Narrative Text ◽  
Tv Watching ◽  
Chocolate Factory ◽  
Child Reader ◽  
Cognitive Play ◽  
Pseudo Values

The article focuses on reconstruction and analysis of the model of narration “Quest” in Roald Dahl’s fairy tale Charlie and the Сhocolate Factory. A narrative text is considered as a unit with semantic and communicative completeness. It is claimed that the elements of the narrative structure are narrator, narratee, the story (which includes the plot and its composition, fiction characters) and the model of narration. It is assumed that model of narration is a cognitive and linguistic construal, inbuilt into the narrative structure of the text. It is believed that play tenet forms the background of the model of narration of the fairy tale Charlie and the Сhocolate Factory. The model of narration determines a definite plot and composition, a certain type of narrator and narratee. The semantics of search is realized in the plot ­– the search of the Golden ticket, the search of the secrets of the chocolate factory, overcoming the obstacles. Characters of the fairy tale are quest participants. Four of them personify simulacrums of modern society (Bodriyar) – greed and gluttony (Augustus Gloop), parent’s permissiveness (Veruca Salt), uncontrolled TV watching (Mike Teavee), vanity (Violet Beauregarde). The fifth quest participant Charlie Bucket embodies modesty and honesty. The narrator of the fairy tale tells the story from the point of view a didactic adult, who criticizes pseudo values of the characters and supports honesty of the main hero Charlie. The narrator as if teaches the implied child reader through the quest-game what is true and what is simulacrum. The winner of the quest becomes Charlie and other participants fail the quest because of their uncontrolled behavior.

The Red Shoes: A fairy tale within a ballet within a film.

2016 ◽  
Vol 33 (Suppl 1) ◽  
pp. S104-S119
Author(s):  
Diana Diamond
Keyword(s):  
Fairy Tale

Transformation and Education in GDR Youth Literature: A Script Theory Approach

2016 ◽  
Vol 9 (1) ◽  
pp. 65-82
Author(s):  
Jean E. Conacher
Keyword(s):  
Fairy Tale ◽  
Democratic Republic ◽  
Socialist Realism ◽  
National Literature ◽  
Close Reading ◽  
Theory Approach ◽  
Conceptual Blending ◽  
Script Theory ◽  
Cultural Policies ◽  
Youth Literature

Youth literature within the German Democratic Republic (GDR) officially enjoyed equal status with adult literature, with authors often writing for both audiences. Such parity of esteem pre-supposed that youth literature would also adopt the cultural–political frameworks designed to nurture the establishment of socialism on German soil. In their quest to forge a legitimate national literature capable of transforming the population, politicians and writers drew repeatedly upon the cultural heritage of Weimar classicism and the Bildungsroman, Humboldtian educational traditions and Soviet-inspired models of socialist realism. Adopting a script theory approach inspired by Jean Matter Mandler, this article explores how directive cultural policies lead to the emergence of multiple scripts which inform the nature and narrative of individual works. Three broad ideological scripts within GDR youth literature are identified which underpin four distinct narrative scripts employed by individual writers to support, challenge and ultimately subvert the primacy of the Bildungsroman genre. A close reading of works by Strittmatter, Pludra, Görlich, Tetzner and Saalmann reveals further how conceptual blending with classical and fairy-tale scripts is exploited to legitimise and at times mask critique of transformation and education inside and outside the classroom and to offer young protagonists a voice often denied their readers.

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.

Bologna, My Love: Il Cinema Ritrovato

2019 ◽  
Vol 73 (2) ◽  
pp. 72-79
Author(s):  
Carla Marcantonio
Keyword(s):  
Social Justice ◽  
Fairy Tale ◽  
Large Scale ◽  
Francis Ford Coppola ◽  
The Social ◽  
Ongoing Project

FQ books editor Carla Marcantonio guides readers through the 33rd edition of Il Cinema Ritrovato Festival held each year in Bologna at the end of June. Highlights of this year's festival included a restoration of one of Vittorio De Sica's hard-to-find and hence lesser-known films, the social justice fairy tale, Miracolo a Milano (Miracle in Milan, 1951). The film was presented by De Sica's daughter, Emi De Sica, and was an example of the ongoing project to restore De Sica's archive, which was given to the Cineteca de Bologna in 2016. Marcantonio also notes her unexpected responses to certain reviewings; Apocalypse Now: Final Cut (2019), presented by Francis Ford Coppola on the large-scale screen of Piazza Maggiore and accompanied by remastered Dolby Atmos sound, struck her as a tour-de-force while a restoration of David Lynch's Blue Velvet (1986) had lost some of its strange allure.

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