The English Fabliau

PMLA ◽  
1906 ◽  
Vol 21 (1) ◽  
pp. 200-214 ◽  
Author(s):  
Henry Seidel Canby
Keyword(s):  
Fairy Tales ◽  
Literary Form ◽  
Andrew Lang

One feels inclined, like Bédier in Les Fabliaux, to apologize, at the beginning of this discussion, for dealing heavily with a light subject. Andrew Lang, to be sure, has spun the fabric of primitive imagination out of story threads from our simplest fairy tales. But there are no remnants of primitive thought to be discovered in the fabliaux, and few vestiges of ancient myth discernible in their narratives. One's only justification for approaching these contes à rire with anything but laughter must be a desire to search into the qualities which make “lewed peple loven tales olde,” and especially the nature of the humor which preserves those called fabliaux from age to age. But a brief consideration of the nature and origin of the fabliau must precede an attempt to discover the characteristic quality of the English contribution to this literary form.

scholarly journals At the Crossroads between Literature, Culture, Linguistics, and Cognition: ‘Life is a Journey’ and ‘The Divided-Self’ Metaphors in Fairy Tales

2017 ◽  
Author(s):  
Javier Herrero Ruiz
Keyword(s):  
Fairy Tales ◽  
Conceptual Metaphors ◽  
Cultural Contexts ◽  
Divided Self ◽  
The Uncanny ◽  
Basic Meaning ◽  
Literature Culture ◽  
Online Library ◽  
Andrew Lang

Abstract: This paper resumes the series related to metaphors in fairy tales started by HERRERO in 2005 (cf. HERRERO, 2005, 2006, 2007, 2008). In this case, the study is based on how the conceptual metaphors LIFE IS A JOURNEY and THE DIVIDED-SELF may explain the structure and the basic meaning of more than twenty popular tales, which in turn accounts for some of the uncanny of tales.The tales, which are representative of various cultures, were compiled by the British author Andrew Lang (1844-1912), and have been downloaded from the Project Gutenberg online library. Our research also casts some light on the fact that tales are akin in varying socio-cultural contexts: their solid experiential grounding may not only have contributed to a uniform plot, but also to an easier transmission of the stories in diverse, remote settings.Resumen: Este artículo continúa la serie relacionada con las metáforas en los cuentos tradicionales comenzada por HERRERO en 2005 (véase HERRERO, 2005, 2006, 2007, 2008). En este caso el estudio se centra en cómo a través de las metáforas conceptuales LIFE IS A JOURNEY y THE DIVIDED-SELF se puede explicar la estructura y el significado de más de veinte cuentos populares, lo que a su vez da cuenta de parte de “lo maravilloso” que se da en ellos.Los cuentos, representativos de varias culturas, fueron recopilados por el autor británico Andrew Lang (1844-1912) y han sido extraídos del Proyecto Gutenberg. Nuestra investigación apoya además la idea de que los cuentos son similares en contextos socioculturales diferentes: el hecho de que estén firmemente basados en la experiencia puede haber contribuido tanto a que sus argumentos sean parecidos como a que se hayan transmitido fácilmente en entornos lejanos y diversos.

scholarly journals The Greedy Hippo and Red Riding Hood: The grotesque in fairy tales

Literator ◽  
2012 ◽  
Vol 33 (1) ◽  
Author(s):  
Dineke Van der Walt
Keyword(s):  
Fairy Tales ◽  
The Other ◽  
Warning Messages ◽  
Little Red Riding Hood ◽  
Human Flesh ◽  
Children's Stories ◽  
The Voice ◽  
Gain Access ◽  
The Grotesque

This article presents a comparative reading of two folktales that are also characterised as children’s stories (one from Venda folklore and the other a popular European narrative) in order to explore a number of similarities between these stories. These similarities include the grotesque activity of eating human flesh, the way that overly trusting people are tricked by means of a masquerade and other ‘unethical’ and ‘immoral’ activities that occur in both narratives. In The Greedy Hippo (Hippopotamus throws his weight around), the monster for instance mimics the voice of a little boy in order to trick his sister and gain access to the children’s hut, whilst in Little Red Riding Hood the wolf tricks the grandmother in the same way to gain access to her house, in order to later trick Red Riding Hood. Furthermore, in both stories, the little girls (as well as the grandmother in Little Red Riding Hood) are swallowed by vicious wild animals (either a hippopotamus or a wolf). As is often the case in fairy tales; however, the victims are saved or escape and live happily ever after. In this article, I argue that, although it seems absurd for children’s stories to deal with the grotesque, the presence of the grotesque actually serves an elevating purpose. I conclude that, because of the shock value of the grotesque, these stories not only intrigue children emotionally, but that the shocking quality of the grotesque also serves as a source of fascination for them. Therefore, the warning messages contained in the stories are more persuasively communicated and better remembered by the child audience.

scholarly journals AT THE CROSSROADS BETWEEN LITERATURE, CULTURE, LINGUISTICS, AND COGNITION: PUNISHMENT AND MORAL METAPHORS IN FAIRY TALES

2017 ◽  
Author(s):  
Javier Herrero Ruiz
Keyword(s):  
Fairy Tales ◽  
Conceptual Metaphor ◽  
Moral Issues ◽  
Conceptual Metaphors ◽  
The Uncanny ◽  
Basic Meaning ◽  
Moral Freedom ◽  
Literature Culture ◽  
Online Library ◽  
Andrew Lang

Abstract:This paper studies how several conceptual metaphors (e.g. MORALITY IS LIGHT, MORALITY IS CLEANLINESS, MORAL FREEDOM IS PHYSICAL FREEDOM, DOING IMMORAL DEEDS IS ACCUMULATING DEBT) are able to account for the basic meaning and interpretation of punishments and moral issues in more than twenty popular tales, thus allowing us to explain some of the uncanny elements of tales. The stories, representative of various cultures, have been extracted from the Project Gutenberg online library and belong to the British compiler Andrew Lang (1844-1912). We also suggest that these metaphors, because of their strong experiential grounding, may have contributed to an easier transmission of many fairy tales, and also to make tales alike in different socio-cultural settings.Keywords: Conceptual metaphor, moral and punishment, experiential, uncanny, culture, fairy tales.Resumen:En este artículo tratamos de estudiar cómo varias metáforas conceptuales (p.ej. MORALITY IS LIGHT, MORALITY IS CLEANLINESS, MORAL FREEDOM IS PHYSICAL FREEDOM, DOING IMMORAL DEEDS IS ACCUMULATING DEBT) pueden explicar el significado básico y la interpretación de los castigos y la moralidad en más de veinte cuentos populares, lo que nos permite explicar parte de “lo maravilloso” de los cuentos. Los cuentos, representativos de varias culturas, han sido extraídos de la biblioteca electrónica Project Gutenberg y pertenecen al compilador británico Andrew Lang (1844-1912). También sugerimos que estas metáforas, dado su marcado carácter experiencial, pueden haber contribuido a una transmisión más fácil de muchos cuentos de hadas y a que los cuentos sean similares en diferentes contextos socioculturales.Palabras clave: Metáfora conceptual, moralidad y castigo, experiencial, “lo maravilloso”, cultura, cuentos de hadas.

scholarly journals Literacy In Storytelling Model Teacher With Learning In Primary Circuit City Bandung

2019 ◽  
Vol 3 (1) ◽  
pp. 23
Author(s):  
Cherawati Cherawati ◽  
Bachrudin Musthafa ◽  
Isah Cahyani
Keyword(s):  
Elementary School ◽  
Elementary Schools ◽  
Primary School ◽  
Fairy Tales ◽  
School Teacher ◽  
Primary Circuit ◽  
Elementary Curriculum ◽  
Quality Of Learning ◽  
Qualitative Descriptive

<p class="Abstract">The research was carried out based on the development of literacy in elementary school movement. Entering the 21st century, learning literacy has the main objective to provide an opportunity or an opportunity for students to develop themself as a competent communicator in the context of multiliteracy, multicultural and multimedia through its multi-intelligence empowerment. Learning literacy in the elementary curriculum subjects entered in the Indonesian language and literature. In line with this fact, the initial effort should be done to realize the literacy learning is to improve the quality of teachers. Through improving the quality of teachers, teachers are able to develop the quality of learning they have implemented. Improved quality of learning on improving the quality of graduates. The circuit model of learning is a learning model that maximizes empowering thoughts and feelings with the addition pattern and repetition. This study aims to describe: (1) determine the profile of literacy storytelling teacher in elementary school, (2) determine the design of storytelling teachers with models of circuit learning to cultivate the character of students in elementary schools, (3) determine the structure or system presenting fairy tales that can attract students in elementary schools, (4) evaluate the response of students in literacy storytelling teacher at the elementary school. This study used a qualitative approach with the case study method. This research subject is an elementary school teacher in Bandung. The data source of research is: (1) a written source, (2) oral sources, (3) the documents, and (4) recording. Data collection techniques are observation, interviews, and documentation. The process of data analysis research conducted with a qualitative descriptive technique. The results of the study as follows. (1) primary school teachers who have implemented literacy Bandung storytelling, (2) increasing the effectiveness of teachers using circuit models of learning, and (3) increasing the quality of primary school education in the city of Bandung.</p>

scholarly journals Consuming and Being Consumed

2020 ◽  
Vol 7 (2) ◽  
pp. 35-57
Author(s):  
Carla Scarano D'Antonio
Keyword(s):  
Fairy Tales ◽  
Margaret Atwood ◽  
Human Beings ◽  
Titus Andronicus ◽  
Snow White ◽  
The World ◽  
Romance Plot

The article explores how Margaret Atwood demystifies the romance plot in her first novel The Edible Woman by exposing the world of consumerism as artificial and threatening to the point of cannibalism. This is revealed through references to fairy tales and myths with cannibalistic undertones such as ‘Snow White’, ‘The Robber Bridegroom’ and ‘Goldilocks and the Three Bears’. It is also highlighted in the reference to the theme of the eaten heart in Boccaccio’s Decameron and to Shakespeare’s Titus Andronicus. In the tempting world of advertisements and commercials, women are objectified and traded and their roles are diminished. In this realm, Marian, the protagonist, is in search of her identity but first tries to ‘adjust’ to society’s artificial and delusional narrative. The advertisements dictate a behaviour, objectify her body and force her to comply with preformed roles. She consciously tries to defend herself from this consumerist mentality by allowing her body to ‘speak’ for her. Her body starts to refuse food and she feels it is alive, until it cuts itself off. Therefore, showing how she refuses to ‘adjust’ to the consumerist society. The narrative points out the inherent cannibalistic quality of the consumerist society in which human beings are commodities and their roles are dictated by commercials and the ferocious rules of profit.

Propp Revisited: A Structural Analysis of Vuk Karadžić’s Collection Serbian Folk Fairy Tales

2020 ◽  
Vol 65 (3) ◽  
pp. 335-367
Author(s):  
Dijana Vučković ◽  
Vesna Bratić
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Folk Tales ◽  
The Core ◽  
Proposed Model ◽  
Core Feature ◽  
Vuk Stefanovic Karadzic ◽  
Plot Structure ◽  
Vladimir Propp

SummaryIn the mid-19th century Vuk Stefanović Karadžić collected folk tales in the broader South-Slavic region and published them in a collection titled Serbian Folk Tales. Folk fairy tales make the major part of the collection. In this paper, the authors determine the folk fairy tale structure according to the methodology proposed by Vladimir Propp in the Morphology of the Folktale. The aim of the paper is to investigate, whether these fairy tales can be fully described using Propp’s Morphology. Propp’s model of the meta-folk fairy tale was developed inductively based on a rich, comprehensive, yet limited, corpus of Russian folk fairy tales, which opens up space for further testing of the proposed model.The hypothesis was set that the analyzed folk fairy tales completely conform to the plot structure of the meta-folk fairy tale with a maximum of 31 functions as proposed by Propp. The hypothesis is grounded in: 1. the time when the folktales were collected (mid-19th century, the same time as the Russian collection analyzed by Propp) and 2. the similarity of the South Slavic peoples with the peoples of the Slavic East.However, after categorial and structural analyses of the corpus were performed, it was clear that the hypothesis could not be accepted in its entirety. In the analyzed folk fairy tales, no new functions were found as compared to the 31 functions identified by Propp, but some of these functions were altered as compared to those to be expected in folk tales. This alteration occurred not only regarding the changed order of functions, assimilation and cases of dual morphological meanings of functions, but also in terms of the fantastic category of the marvelous, which is the core feature of the fairy tale genre, whose nature was changed. The study identified the rationalization of some magical motifs, which partially mitigates the quality of the miraculous in the fairy tale and found out that, in some cases, the marvelous was mitigated and “shifted” towards the (merely) fantastic. This was achieved by introducing oniric elements. One of the important conclusions of our study of the fairy tale is that these fairy tales, although labeled as folk tales, feature significant authorial intervention.

scholarly journals <i>Liber chronicarum</i>, <i>Carta marina</i> and other mappae mundi

2019 ◽  
Vol 1 ◽  
pp. 1-1
Author(s):  
Beata Fijołek-Soska
Keyword(s):  
Fairy Tales ◽  
Interpersonal Relations ◽  
Cognitive Level ◽  
Old Maps ◽  
Starting Point ◽  
The World ◽  
Everyday Problems ◽  
Shed Light

<p><strong>Abstract.</strong> Published in 1493, <i>Liber chronicarum</i> by Hartmann Schedel contains one of the most unique maps of that period. It shows a pantheon of monsters who were believed to inhabit the lands at the edge of the world known to people back then. Olaus Magnus, author of <i>Carta marina</i>, which was printed in 1539, adorned the water areas on his map with a variety of sea creatures, from those posing as islands to mythical creatures, such as the unicorn or Charybdis. Both these maps originate in the medieval mappae mundi tradition &amp;ndash; illustrated compendia of the regions they present. A curious reader would perceive that they are heavily influenced by the works of antique and medieval cartographers: Pomponius Mela, Pilny the Elder, Bede the Venerable and Vincent of Beauvais. The phantasmagorical quality of the creatures on these maps is an interesting starting point from which to reflect on the following question: why, on a cognitive level, do these old maps &amp;ndash; just as in fairy tales about the unknown, the mysterious and the dangerous &amp;ndash; give their warnings in the metaphorical form of monsters? The similarity between mappae mundi and fairy tales is no accident. According to Marina Warner’s <i>Once upon a Time</i>, nannies told children fairy tales to familiarise them with everyday problems and dilemmas, to shed light on the complexities of interpersonal relations, and to explain the workings of the world.</p>

scholarly journals BAJKA KAO JEZIČKI PREDLOŽAK U NASTAVI GRAMATIKE U MLAĐIM RAZREDIMA OSNOVNE ŠKOLE

2019 ◽  
pp. 143-156
Author(s):  
Mirjana Stakic
Keyword(s):  
Elementary School ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Language Model ◽  
Fourth Grade ◽  
Literary Form ◽  
Teaching Grammar ◽  
Educational Potential

The paper analyses the functionality and illustrates the possibilities of using fairy tales as a language model for teaching grammar in lower elementary school. The exami­nation of the functionality of fairy tales as a language model is based on a theoreti­cal analysis of their genre characteristics, their influence on the development of student per­sonality and their presence in the junior elementary curricula. The results indicate that this literary form is familiar and interesting to students, as well as that it has a significant aesthetic, cognitive and educational potential, which is why it belongs among prescribed content for the second, third and fourth grade of elementary school. Application possi­bilities described in the paper show that both the folktale and literary fairy tale may be used as a language model to teach grammar throughout lower elementary school. The main advantage of these models lies in the fact that a language phenomenon is placed in a context both familiar and interesting to the student. The results mentioned above sug­gest that fairy tales used as a language model not only enable us to achieve intra-cur­ricular correlation, but to motivate students to adopt grammar content as well.

scholarly journals Transparency and mirroring of literary translations of fairy tales by the English writers

Litera ◽  
2021 ◽  
pp. 1-8
Author(s):  
Anastasiia Valerievna Shmakova
Keyword(s):  
Children's Literature ◽  
Fairy Tales ◽  
Children’S Literature ◽  
Russian Language ◽  
Literary Translation ◽  
Modern Theory ◽  
Alice In Wonderland ◽  
Emotional Component ◽  
Child Reader

The subject of this research is the English-Russian translation of fairy tales from the perspective of transparency and mirroring. The goal of this research is to determine the strategy for literary translation of the Englis fairy tales. Linguostylistic and comparative analysis is conducted on B. Zakhoder's translations of such fairy tales as &ldquo;Alice in Wonderland&rdquo; by L. Carroll, &ldquo;Winnie the Pooh and All, All, All&rdquo; by A. Milne, and &ldquo;Mary Poppins&rdquo; by P. Travers. The modern theory of translation largely focuses on the various aspects of equivalence and adequacy of the original and translated texts; describes the requirements for the quality of translation, including literary translation. Russian and foreign researchers show heightened attention to the concepts of transparency and mirroring in translation, namely literary translation of children's literature substantiated by the specificity of the target audience. The scientific novelty consists in application of the modern postulates of the theory of translation to children's literature, which broadens knowledge in this scientific field. The main conclusion lies in following the theory of translation transparency for the child reader in translation of children's literature. As a result of the analysis of B. Zakhader&rsquo;s translations of fairy tales by L. Carroll, A. Milne, and P. Travers into the Russian language, it is noted that they reflect the general patterns of translation children's fiction, take into account psychological characteristics of the audience, text is adapted to be comprehensible for children, considerable attention is given to the emotional component, expressiveness, and humor. Although B. Zakhoder&rsquo;s translations are not the full interpretation, he follows the theory of transparency. Imaginative interpretation of the text demonstrates the specificity of translator&rsquo;s individual style.

scholarly journals Idiolek van T.T. Cloete

Literator ◽  
1995 ◽  
Vol 16 (3) ◽  
pp. 103-132
Author(s):  
E. Jooste
Keyword(s):  
Literary Form ◽  
Dual Role ◽  
Personal Style ◽  
Visual Elements

Idiolect of T.T. CloeteIdiolect in particular has a prominent poetical component. In this article it is shown that this view can be traced back to earlier as well as concurrent statements by Cloete, the critic. It is established that the views of Cloete on the essence and meaning of verse as a literary form of art are reflected in his poetry. He has, for example, stated that the visual elements incorporated in modem artistic texts contribute in an essential way to their meaning. This view correlates strongly with his personal style as a poet and the thematic preoccupation with ‘the eye’ in Idiolek. Typical aspects of his lexicon are also determined because the repetitive use of certain words is part and parcel of literary idiolect. A resume of the findings of this article is compared with and corroborated by the reception o f Cloete’s first four volumes of verse. It is concluded that Cloete’s dual role as a poet-critic is complemented by the religious base on which he stands and that these components contribute to the essence and quality of his poetry. In him we indeed have a successful union of instinct, intellect and faith.

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