Hyping the Grimms’ Fairy Tales

Author(s):  
Jack Zipes

This chapter discusses how the Grimms became involved in hyping their own tales to change their reception at the beginning of the nineteenth century. It first considers some of the theoretical aspects of hyping and the particular role hyping plays in the media paratexts of the culture industry. Hereafter the chapter reviews how the Brothers Grimm changed the format and scope of their tales, primarily under the influence of Taylor's 1823 translation, German Popular Stories, to make their tales more accessible to the general reading public in Germany. Lastly, the chapter examines some recent filmic adaptations of fairy tales and considers whether the hyping of these films detracts from the value of the fairy-tale genre and storytelling in general.

2019 ◽  
Vol 67 (2) ◽  
pp. 142-161
Author(s):  
Margreet Boomkamp

The interest in fairy tales grew strongly over the course of the nineteenth century, particularly in Germany, the birthplace of Frans Stracké (1820-1898). Renowned artists made illustrations for popular publications of fairy tales and in the middleof the century characters from fairy tales also appeared in paintings and sculptures. The sculptor Frans Stracké was inspired by this development and in the eighteen-sixties created a Sleeping Beauty and a Snow White. He may have chosen these designs because the sleeping figure offers greater sculptural possibilities, for example in funeral art. He showed Sleeping Beauty at the precise moment she falls asleep, after she had pricked her finger on a spindle. Stracké followed the fairy tale by the Brothers Grimm from 1812, in which the ill-fated event was predicted during the celebration of Sleeping Beauty’s birth. Sleeping Beauty (also known as Briar Rose) was precisely the sort of subject Stracké preferred: he excelled in making genre-like sculpture of a very high standard. This was little appreciated in the Netherlands, whereas in France and Italy practitioners of this type of sculpture enjoyed considerable success. Stracké is credited with introducing contemporary developments in European sculpture into the Netherlands; Sleeping Beauty is a relatively early and typical example.


Author(s):  
Jack Zipes

This book explores the legacy of the Brothers Grimm in Europe and North America, from the nineteenth century to the present. The book reveals how the Grimms came to play a pivotal and unusual role in the evolution of Western folklore and in the history of the most significant cultural genre in the world—the fairy tale. Folklorists Jacob and Wilhelm Grimm sought to discover and preserve a rich abundance of stories emanating from an oral tradition, and encouraged friends, colleagues, and strangers to gather and share these tales. As a result, hundreds of thousands of wonderful folk and fairy tales poured into books throughout Europe and have kept coming. The book looks at the transformation of the Grimms' tales into children's literature, the Americanization of the tales, the “Grimm” aspects of contemporary tales, and the tales' utopian impulses. It shows that the Grimms were not the first scholars to turn their attention to folk tales, but were vital in expanding readership and setting the high standards for folk-tale collecting that continue through the current era. The book concludes with a look at contemporary adaptations of the tales and raises questions about authenticity, target audience, and consumerism. The book examines the lasting universal influence of two brothers and their collected tales on today's storytelling world.


2016 ◽  
Vol 4 (1) ◽  
pp. 29-44
Author(s):  
Emma Louise Parfitt ◽  
Emine Erdoğan ◽  
Heidi Fritz ◽  
Peter M. Ward ◽  
Emma Parfitt ◽  
...  

The conversation piece is the product of a group interview with Professor Jack Zipes and provides useful insights about publishing for early career researchers across disciplines. Based on his wider experiences as academic and writer, Professor Zipes answered questions from PhD researchers about: writing books, monographs and edited collections; turning a PhD thesis into a monograph; choosing and approaching publishers; and the advantages of editing books and translations. It presents some general advice for writing and publishing aimed at postgraduate students. Professor Zipes is an Emeritus Professor at the University of Minnesota Twin Cities, United States, a world expert on fairy tales and storytelling highlighting the social and historical dimensions of them. Zipes has forty years of experience publishing academic and mass-market books, editing anthologies, and translating work from French, German and Italian. His best known books are Breaking the Magic Spell (1979), Fairy Tales and the Art of Subversion (1983), The Irresistible Fairy Tale: The Cultural and Social History of a Genre (2012), and The Original Folk and Fairy Tales of the Brothers Grimm (2014).


Fabula ◽  
2014 ◽  
Vol 55 (3-4) ◽  
Author(s):  
Anne E. Duggan

AbstractThis study proposes to fill a gap in Grimm and folklore studies by staking out the landscape of the reception of the Brothers Grimm in nineteenthcentury France. While E. T. A. Hoffmann’s tales received high literary acclaim, those by the Grimms seemed to make little impact on French literature of the period. However, among the French scholarly community, the Grimms were celebrated for their erudition, their integrity, and served as models for many scholars, from the historian Jules Michelet, who corresponded with Jacob Grimm in 1829, to the folklorist Emmanuel Cosquin, whose Contes populaires lorrains (1876) were inspired by the Grimms’ Kinder- und Hausmärchen. Through an analysis of prefaces to French tale collections and to translations of Grimm tales, this essay looks at the impact the reception of the Grimms had on French conceptions of regionalist folklore and on the classical French fairy-tale tradition.


Author(s):  
Галина Витальевна Хораськина ◽  
Людмила Александровна Васильева ◽  
Олег Ростиславович Студенцов

Статья посвящена анализу роли детских радиопередач в обучении и воспитании подрастающего поколения с учетом возрастных особенностей аудитории на примере «НТРК Чувашии» («Национальное радио Чувашии» и «Тăван радио»). Материалом исследования послужили медиатексты, прозвучавшие в радиоэфире «НТРК Чувашии». В основу анализа легли методы эмпирического исследования радиопередач с учетом воспитательной функции звучащего материала. Радиожурналистика с момента своего зарождения отличается четкой возрастной ориентацией на аудиторию. В первой части работы дается психологическая характеристика дошкольников (3-7 лет). Анализируются и оцениваются радиопередачи, относящиеся к этой возрастной группе. В этом возрасте детям свойственна любознательность, непосредственность, подражание взрослым, героям кинофильмов и книг. Дошкольному возрасту свойственны сюжетно-ролевые игры, быстрая смена действий, короткий хронометраж, в радиоэфире звучат голоса персонажей известных сказок. Радиопередачи для данной возрастной группы на «НТРК Чувашии» - «Мĕншĕнкке» (Почемучка) и «Уйăхпи юмахĕсем» (Вечерняя сказка). Радиопередачи для младшего школьного возраста (7-12 лет) отличаются присутствием информационной аналитики. Их отличает сложная структура, наличие нескольких рубрик, обсуждение определенной проблемы и поиск путей ее решения. Это такие передачи, как: «Ачалăх урхамахĕ» (Сивка-Бурка), «Пĕрремĕш утăмсем» (Первые шаги), «Бухты-барахты», «Шăпăрлан» (Непоседы). Эти радиопередачи отличаются и жанровым разнообразием, наличием рецензий, комментариев, бесед. Во второй части анализируются радиопередачи для подростков (11-15 лет) и старшеклассников (15-17 лет). Анализ радиоэфира «НТРК Чувашии» доказывает, что современное региональное радио отличается малым количеством передач для подростков (11-15 лет) и старшеклассников (15-17 лет). В этом возрасте усиливается желание выглядеть старше своих лет, возрастает стремление оградить свою жизнь от контроля взрослых. Очень важно в этом возрасте знакомить старшеклассников с людьми, достигшими больших побед благодаря трудолюбию, стараниям и упорству. Данную цель выполняют передачи«Ырăлăх çăл куçĕ» (Родник добра) и «Шурăмпуç» (Заря). Радиоэфир для подростков и старшеклассников становится более разнообразным и с точки зрения тематики, оригинальности подачи материала, жанрового разнообразия, эмоциональности и экспрессивности. The article is devoted to the analysis of the role of children’s radio programs in the education and upbringing of the younger generation, taking into account the age characteristics of the audience as exemplified by “NTVRC of Chuvashia” (“National Radio of Chuvashia” and “Tavan Radio”). The material of the study was the media texts of “NTVRC of Chuvashia”. The analysis is based on the methods of empirical research of radio broadcasts, taking into account the educational function of the material. Since the very beginning, radio journalism has been characterized by a clear age orientation towards the audience. In the first part of the work, the psychological characteristics of preschoolers of 3-7 years old are given. Radio broadcasts related to this age group are analyzed and evaluated. At this age, children are characterized by curiosity, spontaneity, imitation of adults, heroes of movies and books. Preschool age is characterized by plot-role-playing games, a quick change of actions, short timekeeping, the voices of the characters of famous fairy tales. Radio programs for this age group on “NTVRC of Chuvashia”: “Meshenkke” (Whyer) and “Uyakhpi Yumakhesem” (Evening Fairy-tale). Radio programs for primary school age of 7-12 years old are characterized by information analytics in them. They are distinguished by a complex structure, several headings, discussion of a certain problem and the search for ways to solve it. These are such programs as “Achalakh Urhamakhe” (Sivka-Burka), “Pеrremesh Utamsem” (First Steps), “Buchty-barakhty”, “Shaparlan” (Restless). These radio programs are also distinguished by their genre diversity, presence of reviews, comments and conversations. The second part analyzes radio programs for teenagers (11-15 years old) and senior schoolchildren (15-17 years old). The analysis of the radio broadcast of “NTVRC of Chuvashia” proves that modern regional radio is characterized by a small number of programs for teenagers (11-15 years old) and senior schoolchildren (15-17 years old). At this age, the desire to look older than and become independent from adult control increases. It is very important at this age to introduce senior schoolchildren to people who have achieved great victories due to hard work, diligence and perseverance. This goal is fulfilled by the programs “Yralakh shchal Kushche” (Spring of Good) and “Shurampushch” (Dawn). The radio broadcast for teenagers and senior schoolchildren is becoming more diverse in terms of topics, originality of the presentation of material, genre diversity, emotionality and expressiveness.


The Queen and the bat had been talking a good deal that afternoon...' The Victorian fascination with fairyland vivified the literature of the period, and led to some of the most imaginative fairy tales ever written. They offer the shortest path to the age's dreams, desires, and wishes. Authors central to the nineteenth-century canon such as W. M. Thackeray, Oscar Wilde, Ford Madox Ford, and Rudyard Kipling wrote fairy tales, and authors primarily famous for their work in the genre include George MacDonald, Juliana Ewing, Mary De Morgan, and Andrew Lang. This anthology brings together fourteen of the best stories, by these and other outstanding practitioners, to show the vibrancy and variety of the form and its abilities to reflect our deepest concerns. In tales of whimsy and romance, witty satire and uncanny mystery, love, suffering, family and the travails of identity are imaginatively explored. Michael Newton's introduction and notes provide illuminating contextual and biographical information about the authors and the development of the literary fairy tale. A selection of original illustrations is also included.


Author(s):  
Jack Zipes

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. This book 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, the book 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 its case, the book 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, this book provides a powerful theory of how and why they evolved—and why we still use them to make meaning of our lives.


2018 ◽  
Vol 14 (1-2 (18)) ◽  
pp. 116-125
Author(s):  
Vicky Tchaparian

Although Brothers Grimm collection of fairy tales have somehow the same cliché of plot, setting, and characters, in the fairy tale of Shrek the protagonist doesn’t follow this cliché. Shrek the protagonist is not a classical fairy tale of the handsome prince in quest of a beautiful princess; instead, he is an ogre. Grimm brothers wrote on text that they collected from the words of mouth giving the traditional tales a special structure and characters. However, compared to Grimm Brothers’ tales, Shrek the film, has a completely different structure and characters. In this paper I try to disclose the fact that Grimm folk tales which reveal the mentality of the 19th century as well as that of the earlier ages that belong to specific cultures (especially to the European culture and their mentality) are completely different than that of Shrek the film.


2021 ◽  
Vol 122 ◽  
pp. 06006
Author(s):  
Liudmila A. Mirskaya ◽  
Victor O. Pigulevskiy

Psychologists often use the name of the protagonist of the fairy tale “Cinderella”, which is famous thanks to the brothers Grimm and Charles Perrault, for a sacrificial girl prone to dissociation, illusions, and waiting for a prince. This is typical for psychoanalysis. However, such an idea of Cinderella’s character does not fully reflect the essence of the matter. Moreover, it is generally not true. From the perspective of C.G. Jung’s analytical psychology, Cinderella is not a victim or an infantile dreamer and is not a real girl at all. Any tale represents an archetypal process of individuation. This is a collective natural constant of the psyche that excludes individual problems. Cinderella cultivated in herself what the ancient Greeks called “paideia” – the integrity of the personality and inner strength, influence on others. The purpose of the article is to describe the process of Cinderella’s individualization from the position of C.G. Jung’s archetypal approach based on the amplification method. The most relevant sources of recent years on the archetypal analysis of fairy tales are the works by M.-L. von Franz, H. Dieckmann, and C.P. Estés. The novelty of the study consists in the description and analysis of the archetypal images of the collective unconscious, which underlie the process of Cinderella’s individuation and determine her life path. These archetypal images are Persona, Self, Shadow, Anima/Animus, and the symbolic levels of the individuation process can be represented by such alchemical terms as “separation”, “multiplication”, “calcination”, “initiation”, “transformation”, “conjunction”, “solidification”. The levels testify to the character’s inner transformation and, as a result, lead to a happy woman’s destiny. The result of understanding the deep essence of the tale is a psychologist’s analytical work with modern young women, which will lead to positive changes in thinking and behavior.


2021 ◽  
Vol 1 (194) ◽  
pp. 172-176
Author(s):  
Svitlana Fedotova ◽  

The peculiarities of a reading at out-of-school hours «defense of a reader’s diary» lesson in the primary school are being considered in the given article on the material of some folk and literary fairy-tales by Sh. Perrault, brothers Grimm, H. Ch. Andersen. A lesson-defense of a reader’s diary is a lesson, based on the work in small groups. It is constructed by means of a self-questioning method according to the material of the fairy-tales, which have been read, and by means of the assessment of other students’ work. A lesson-defense of the reader’s diary is an extremely interesting and efficient type of work, aimed at the development of critical thinking, children’s creative imagination, forming their independent and conscious reading. In advance (a month earlier) the students are given a task, for example, to read some Ukrainian folk fairy-tales of the fairy-tales by Sh. Perrault, brothers Grimm, H. Ch. Andersen and to fill in independently the following columns of a reader’s diary: 1) a column «Author»; 2) a column «Title of the work {a collection, a fairy-tale}; 3) a column «Characters of the fairy-tale»; 4) a column «Questions to the text»; 5) a column «Tricky» questions. The questions to the text presuppose three levels: The questions of the first level begin with the words: Who? What? Where? When? How? Which? These are the questions, aimed at giving some information about who the main character is, where the action is taking place, when the action is taking place. The questions of the second level are aimed at the causal relationships and that is why they begin with the word: Why? The questions of the third level are aimed at clarification of the meaning of the words and expressions, which are difficult for understanding. Forming «tricky questions» is a creative task for the primary school students. «Tricky» questions are the questions aimed at prognostication of the character’s further fate or the further possible development of the events of the fairy-tale’s plot. The readers can create some interesting and wise «tricky» questions, if they compare the logics of a fairy-tale and the logics of the real life. In the process of work at the reader’s diary and its defense the students can consciously and deeply comprehend the content of a tale, think over the fairy tale’s logics, compare it with the real life logics. That would form their attention and instill love to the magic world and word of a fairy-tale.


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