scholarly journals A Group Interview about Publishing with Professor Jack Zipes

2016 ◽  
Vol 4 (1) ◽  
pp. 29-44
Author(s):  
Emma Louise Parfitt ◽  
Emine Erdoğan ◽  
Heidi Fritz ◽  
Peter M. Ward ◽  
Emma Parfitt ◽  
...  
Keyword(s):  
Social History ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Early Career ◽  
Group Interview ◽  
University Of Minnesota ◽  
Postgraduate Students ◽  
Brothers Grimm ◽  
History Of ◽  
Conversation Piece

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).

Grimm Legacies

2014 ◽  
Author(s):  
Jack Zipes
Keyword(s):  
Fairy Tales ◽  
Oral Tradition ◽  
Fairy Tale ◽  
Folk Tales ◽  
Brothers Grimm ◽  
Folk Tale ◽  
The World ◽  
History Of ◽  
High Standards ◽  
Wilhelm Grimm

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.

scholarly journals Peculiarities of national cultural adaptation of Grimm's Fairy Tales when translated into Russian

Litera ◽  
2020 ◽  
pp. 111-120
Author(s):  
Lola Bobodzhanova
Keyword(s):  
Cultural Identity ◽  
Fairy Tales ◽  
Cultural Adaptation ◽  
Fairy Tale ◽  
Brothers Grimm ◽  
The People ◽  
History Of ◽  
Cultural Traits ◽  
History Of Literature ◽  
Different Cultures

This article is dedicated to the analysis of fairy tales as a special genre of children's fiction literature with unique features and a long history. In the course of this work, the author gives definitions to the key concepts; examines correlation between the literary fairly tale and folk fairy tale, evolution of fairy tale genre, namely the works of Brothers Grimm. The article the stages of establishment of fairy tales as an independent genre in the history of literature. An attempt is made to determine the genre similarities that make fairy tales comprehensible within the framework of other linguocultures. Special attention is turned to the specificities of national cultural adaptation in translation of fairy tales from German into Russia, taking into account the peculiarities of translation transformations. The conducted analysis allows concluding that children’s fairy tale literature is a reflection of the national linguistic worldview, and largely depends on the existing in the society national cultural traits, mentality and perception of the world. These facts indicate that translation and adaptation of fairy tale literature requires the translator to understand the uniqueness of worldview of the people affiliating to different cultures, as well as convey the national cultural identity and specificities of foreign perception and mentality of the representatives of various linguocultures.

Tradition and Innovation in Cataloguing Medieval Manuscripts

2021 ◽  
Vol 139 (1) ◽  
pp. 32-58
Author(s):  
Orietta Da Rold
Keyword(s):  
New Technologies ◽  
New Technology ◽  
Early Career ◽  
Digital Environment ◽  
Digital Form ◽  
Postgraduate Students ◽  
Medieval Manuscripts ◽  
Early Career Researchers ◽  
History Of ◽  
And Training

Abstract In this essay, I offer a brief history of manuscript cataloguing and some observations on the innovations this practice introduced especially in the digital form. This history reveals that as the cataloguing of medieval manuscripts developed over time, so did the research needs it served. What was often considered traditional cataloguing practices had to be mediated to accommodate new scholarly advance, posing interesting questions, for example, on what new technologies can bring to this discussion. In the digital age, in particular, how do digital catalogues interact with their analogue counterparts? What skills and training are required of scholars interacting with this new technology? To this end, I will consider the importance of the digital environment to enable a more flexible approach to cataloguing. I will also discuss new insights into digital projects, especially the experience accrued by the The Production and Use of English Manuscripts 1060 to 1220 Project, and then propose that in the future cataloguing should be adaptable and shareable, and make full use of the different approaches to manuscripts generated by collaboration between scholars and librarians or the work of postgraduate students and early career researchers.

scholarly journals ‘Once Upon a Time in Marseille’: Displacement and the Fairy Tale in Anna Seghers’ Transit

Humanities ◽  
2019 ◽  
Vol 8 (4) ◽  
pp. 173
Author(s):  
Rebekah Slodounik
Keyword(s):  
World War Ii ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Forced Migration ◽  
The United States ◽  
Mistaken Identity ◽  
Anna Seghers ◽  
Time Period ◽  
Formal Level ◽  
History Of

Written in 1941, while she was living in exile in Mexico, and published in 1944 in Mexico and the United States, Anna Seghers’ novel Transit replicates on a formal level an experience of displacement, statelessness, and exile. In the following analysis, I examine Transit as a text of forced migration. Several features of the novel attempt to produce an experience of displacement: the narrative situation, the incorporation of descriptions that place the events of World War II into a longer history of forced migration, and the use of references to the genre of the fairy tale. The descriptions that engage with past forced migration and displacement attempt to universalize the historical specificities of the time period, whereas the references to fairy tales generate a sense of timelessness associated with this genre. Through these strategies, Seghers’ novel itself attempts to displace time. Seghers situates Transit within a long history of forced migration and exile, in which the categories that are often used to define and divide populations—such as nationality, ethnicity, and religion—are in flux. By emphasizing the role of mistaken identity, Seghers destabilizes the concept of immutable identities in a period of upheaval and transition.

The Chronology of Galen's Early Career

1973 ◽  
Vol 23 (1) ◽  
pp. 158-171 ◽  
Author(s):  
Vivian Nutton
Keyword(s):  
Seventeenth Century ◽  
Social History ◽  
Early Career ◽  
Chronological Order ◽  
Scientific Thought ◽  
The Social ◽  
History Of ◽  
The Many ◽  
Psychology And Medicine

The last decade has witnessed a widespread resurgence of interest in Galen of Pergamum that is without parallel since the early seventeenth century. New studies of Galen's concepts of psychology and medicine have examined afresh his position in the development of scientific thought, and historians have begun to realize the wealth of material for the social history of the Antonine Age that he provides. But, despite the earlier labours of Ilberg and Bardong to restore a chronological order to the many tracts that flowed readily from his pen, many of the events of his life still lack the precise dates that would enable even more valuable information to be extracted, especially upon the careers of his friends.

scholarly journals On the question of the interaction of Komi and Russian fairy tales (CIP 706 «The Maiden without Hand»)

2019 ◽  
pp. 101-112
Author(s):  
Надежда Степановна Коровина
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Cultural Traditions ◽  
Class Time ◽  
Long Time ◽  
History Of ◽  
Life Habits ◽  
The Individual ◽  
The Comparative Study ◽  
The Impact

В данной статье предпринята попытка на основе конкретного сказочного сюжета о Безручке (СУС 706) исследовать особенности взаимодействия фольклорных произведений народов, не родственных этнически, но тесно общаюшихся на протяжении длительного времени и имеющих близкие культурные традиции. При рассмотрении данного вопроса использовалась методика сравнительного анализа, позволяющая установить, каким образом международный сказочный сюжет становится культурным достоянием народа коми, т. е. прояснить историю национального сказочного репертуара. В процессе анализа коми сказок о Безручке выявлено сходство с русскими вариантами в области содержания, в типах героев и способах их создания, развитии действия и последовательности эпизодов. В результате автор приходит к выводу о том, что сюжет о Безручке (СУС 706) заимствован у русских. Одновременно в статье отмечен тот факт, что рассмотренные варианты коми сказок имеют свою специфику и не создают впечатления однообразия. Это происходит за счет того, что постоянные элементы, представляющие композиционный стержень сюжета, во-первых, обрастают своеобразными деталями, которые придают повествованию национальный колорит. Именно в них отражается быт, привычки, обычаи народа коми. Во-вторых, своеобразие каждого варианта во многом зависят от индивидуального стиля, степени исполнительского мастерства, творческой манеры, отношения к данному сюжету того или другого исполнителя. В-третьих, именно в отдельных его вариантах сказываются социальные, временные различия, в совокупности своей отражающие исторические изменения сказки In this article an attempt is made on the basis of a specific fairy-tale story about «The Maiden without Hand» (CIP 706) to explore the features of the interaction of folk works of peoples who are not related ethnically, but who closely communicated for a long time and have close cultural traditions. When regarding this issue, we consider it appropriate to use the methodology of comparative analysis, since it is the comparative study of Russian and Komi variants of the fairy-tale plot that allows us to establish how the international fairy-tale plot becomes the cultural heritage of the Komi people, to clarify the history of the national fairy-tale repertoire. In all analyzed Komi tales about the Maiden without hand there is a similarity with the Russian variants in the development of the action, the sequence of episodes, the type of characters, their characteristics, the common ideological content. The structural and typological analysis allows us to conclude that the plot about «The Maiden without hand» (CIP 706) was borrowed from the Russians. However, the considered variants of Komi fairy tales do not create the impression of monotony because the constant elements that represent the compositional core, firstly, acquire peculiar details that give the narrative a national flavor. They reflect the life, habits and customs of the Komi people. Secondly, the originality of each option depends largely on the individual style, the degree of performing skills, creative manner, attitude to the story of a particular artist. Thirdly, it is in its individual options where the impact of class, time differences manifest themselves reflecting the historical changes of the tale.

scholarly journals Genesis and some issues of genre self of the Chechen literary tale

2021 ◽  
pp. 121-124
Author(s):  
Ovkhad A. Dzhambekov ◽  
◽  
Vakha S. Rasumov ◽  
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Structural Similarity ◽  
Literary Genre ◽  
History Of ◽  
Characteristic Features

In the article reveals the characteristic features of the Chechen literary tale. There is considered the question of the legality of distinguishing a fairy tale as a literary genre. Analyzing the history of the formation of the Chechen literary fairy tale, the authors note the structural similarity between folk and literary fairy tales, as well as the nature of the use of folklore motives by writers, which expand the genre palette of literary fairy tales.

Fairy-Tale Films

2018 ◽  
Author(s):  
Pauline Greenhill
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
English Language ◽  
Movie Theaters ◽  
History Of ◽  
Historical Times ◽  
English Speaking ◽  
Digital Formats ◽  
English Speaking World ◽  
Vladimir Propp

Films incorporating fairy-tale narratives, characters, titles, images, plots, motifs, and themes date from the earliest history of the cinema, beginning with director Georges Méliès’s Le manoir du diable made in 1896, the year after Auguste and Louis Lumière’s first public showing of their “cinematograph” in Paris in 1895. Fairy tales can be oral (told by people in different geographical locations and at various historical times up to the present) and/or literary (created by known authors) in origin, but they manifest in numerous media, including film. While the Disney formula of innocent persecuted heroines, handsome princes, and happy-ever-afters has dominated popular understandings of such narratives (at least in the English-speaking world), fairy tales need not contain these elements. They concern the fantastic, the magical, the dark, the dreamy, the wishful, and the wonderful. Short and feature length, animated and live action, produced in film stock, video, and digital formats, fairy-tale films have appeared in movie theaters and more recently on television and computer screens. Using Kevin Paul Smith’s classification for literary fairy tales, fairy-tale filmic intertexts can include explicit reference in the title—for example, Duane Journey’s Hansel & Gretel Get Baked (2013); implicit reference in the title—for example, Tarsem Singh Dhandwar’s Mirror Mirror (2012); explicit incorporation into the text—as when Micheline Lanctôt’s Le piège d’Issoudun (2003) includes a play of “The Juniper Tree”; implicit incorporation into the text—as when Steven Spielberg’s A.I.: Artificial Intelligence (2001) has the mechanical child David’s human mother abandon him in the woods, as do Hansel and Gretel’s parents; discussing fairy tales, as in the “Once Upon a Crime” episode of the American television show Castle (2009–2016), when the writer and police talk about what fairy tales really mean; and invoking fairy-tale chronotopes (settings and/or environments)—as in the portions of Guillermo del Toro’s Pan’s Labyrinth (2006) set in the heroine Ofelia’s father’s magical kingdom. Alternatively, filmmakers may re-vision a story, sometimes with new spin, as when Matthew Bright’s Freeway 2 (1999) relocates “Hansel and Gretel” to 1990s America, with two delinquent teen girls fleeing to Mexico, or may create an entirely new tale—like Pan’s Labyrinth, not based on any specific previous literary or traditional fairy tale. This article focuses on the cinema—movies made for theatrical and/or video release—but draws on television and Internet films when they offer telling illustrations. Most examples are from English-language media. Although classic works like director Jean Cocteau’s La belle et la bête (1946) have received considerable attention from cinema studies and the fairy-tale structural analysis of Vladimir Propp (1968) has greatly influenced film analysis, only since the beginning of the 21st century has fairy-tale scholarship merged with film scholarship. Scholars of fairy-tale film often consider adaptation and intermediality in cinematic versions of tales. This article uses the example of director Tarsem Singh Dhandwar’s The Fall (2007), which draws on and references fairy-tale magic to collapse, expand, and generally fictionalize time and space to invoke the postmodern and postcolonial as well as the transnational and transcultural.

THE FIRST WORK BY E.M. MELETINSKY CONCERNING THE HERO OF FAIRY TALE

2020 ◽  
Vol 3 (1) ◽  
pp. 144-151
Author(s):  
Natalia Yu. Kostenko ◽  
Keyword(s):  
Graduate Student ◽  
Fairy Tales ◽  
Fairy Tale ◽  
The Third ◽  
Unpublished Work ◽  
Folklore Studies ◽  
Central Asian ◽  
Post Graduate Student ◽  
National University ◽  
History Of

The article considers the history of creation of a previously unpublished work by E.M. Meletinsky, preceding the first draft of his doctorate thesis and monograph “The hero of fairy tale”. A typewritten copy of it was preserved among the documents seized during the scholar’s second arrest in 1949 and later donated to the library of Petrozavodsk University. During his time as a post-graduate student in the Central Asian University (then-name of National University of Uzbekistan) Meletinsky was already interested in historical poetics and folklore studies. That resulted in the “Fairytale plots in question about their everyday meaning” article. The fact that it was the first ever Meletinsky’s work on fairy tales is obvious not only from the documents and memoirs of Meletinsky himself, but from the very structure of the article: in the first chapters the author, taking a problem posed by A.N. Veselovsky in “The poetics of plots” – “to check Russian data about the third sibling, the little fool, the cinderwench against other people’s fairy tales” – as a basis, dwells extensively the motif of the youngest sibling in world fairy tales and the history of studying it, but in the last chapter he moves to the analysis of another motif – the tales about a “poor orphan”. Namely that motif, being in stadia way older, takes centre stage not only in the 1948 thesis, but in all of Meletinsky’s works on fairy tales prior to the second arrest, both published and unpublished.

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