scholarly journals The symbolic meaning of the forest in the German fairy-tale

2018 ◽  
pp. 53-55
Author(s):  
Galina Aleksandrovna Sokolova
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Symbolic Meaning ◽  
German Language ◽  
Brothers Grimm ◽  
The Feminine ◽  
Symbolic Interpretation

This article attempts to show how the perception of the forest in the German language space was built and how it changed. It especially focuses on the symbolic interpretation of the forest, explains what some tress symbolize and shows the connection of the forest with the symbolism of the feminine. The article also deals with the perception of the forest in the works by romantic writers and provides examples from some romantic fairy-tales by the Brothers Grimm where the action takes place in the forest. It is worth mentioning that the titles of some fairy-tales by the Brothers Grimm are connected with the tree or with the forest.

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 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).

scholarly journals Fairy tale images as a component of cultural programming: gender aspect

2020 ◽  
Vol 11 (2) ◽  
pp. 145-153
Author(s):  
Maria Tomskaya
Keyword(s):  
Gender Stereotypes ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Male Behavior ◽  
Female Images ◽  
Male Characters ◽  
The Feminine ◽  
The Gift ◽  
Cultural Programming ◽  
Gender Aspect

The paper considers male and female images in the Yakut fairy tales as a component of cultural programming of gender behavior in a tribal society. The analysis of the Yakut fairy tales reveals that the main male characters whole being integral are represented as a rule by three types – in the image of heroes, hunters and poor men. Female images are more diverse, among them there are girls of the Upper World and udagans (shaman women), endowed with magical powers and the gift of transformation; girls of the Middle World, who can be both passive and active characters; the third group of female images is represented by old women, who are often embodied in the collective image of the old woman Simekhsin. The results of the analysis suggest that the masculine images correspond to the stereotypical male behavior patterns in the patriarchate society, while the feminine images may deviate from the accepted gender stereotypes for various reasons.

scholarly journals Traditional Fairy Tales and Shrek

2018 ◽  
Vol 14 (1-2 (18)) ◽  
pp. 116-125
Author(s):  
Vicky Tchaparian
Keyword(s):  
19Th Century ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Special Structure ◽  
Folk Tales ◽  
Brothers Grimm ◽  
European Culture ◽  
The 19Th Century

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.

scholarly journals Archetypal analysis of “Cinderella”

2021 ◽  
Vol 122 ◽  
pp. 06006
Author(s):  
Liudmila A. Mirskaya ◽  
Victor O. Pigulevskiy
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Archetypal Analysis ◽  
Brothers Grimm ◽  
Amplification Method ◽  
Individuation Process ◽  
Analytical Work ◽  
Life Path ◽  
And Behavior ◽  
Archetypal Images

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.

scholarly journals PECULIARITIES OF A READING OUT-OF-SCHOOL HOURS LESSON OF «READER’S DIARY DEFENSE» IN THE PRIMARY SCHOOL /ON THE BASIS OF FAIRY-TALES

2021 ◽  
Vol 1 (194) ◽  
pp. 172-176
Author(s):  
Svitlana Fedotova ◽  
Keyword(s):  
Primary School ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Real Life ◽  
Creative Imagination ◽  
School Students ◽  
The Real ◽  
Brothers Grimm ◽  
Efficient Type ◽  
Out Of School

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.

scholarly journals Hört zu!

2021 ◽  
pp. 113-126
Author(s):  
Petra Josting
Keyword(s):  
Fairy Tales ◽  
Weimar Republic ◽  
National Socialism ◽  
Fairy Tale ◽  
Second World War ◽  
German Language ◽  
Sources Of Information ◽  
World War ◽  
The Media ◽  
Second World

Artikelbeginn:[English title and abstract below] Die Mediengeschichte zeigt, dass mit dem Aufkommen neuer Medien immer auch literarische Stoffe von ihnen aufgegriffen wurden, sei es in Form von traditionellen, neu erschienenen oder eigens für sie geschriebenen Texten. In Deutschland trifft diese Feststellung auch auf den Rundfunk zu, der flächendeckend ab 1923 in Form von dezentralen Rundfunkgesellschaften aufgebaut wurde (vgl. Halefeldt 1997), die ab 1924 ein Programm für Kinder und Jugendliche anboten. Hört zu! lautete der an sie gerichtete Aufruf. Listen!Children's and Youth Literature on the Radio during the Weimar Republic and the Era of National Socialism This article presents some results from a research project on German-language children‘s and young people‘s literature in the media network from 1900 to 1945, focussing on radio programmes, from 1924 on, that engaged with this literature. The sources of information about the programmes were radio magazines, which were only published until 1941 due to the constraints of the Second World War. In the initial phase, readings of fairy tales and legends dominated; from the early 1930s on, more and more fairy tale radio plays were produced. Punch and Judy radio plays by Liesel Simon, for instance, were broadcast regularly from 1926. Book recommendations aimed at parents and young people also played an important role as did readings by contemporary authors such as Felix Salten, Lisa Tetzner, Erich Kästner, Irmgard von Faber du Faur and Will Vesper. While the new political and social start with the Weimar Republic in 1918/1919 did not result in a caesura in the market for children’s literature, because authors who had been successful up to that point continued to be published, it did introduce several innovations, for which there was little room after Hitler came to power in 1933.

scholarly journals On the Imperishable Reasons of Fairy-Tale Plots: The Case of “Tom Thumb”

2013 ◽  
Vol 24 (29) ◽  
pp. 194-202
Author(s):  
Eleonora Lassan
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Old French ◽  
Moral Values ◽  
The Other ◽  
Folk Tales ◽  
Brothers Grimm ◽  
Other Hand ◽  
Cultural Hero

This article focuses on one of the most popular plots in fairy tale culture (the plot involving the protagonist Tom Thumb), and tries to explain this popularity through the cultural archetypes that are expressed in the fairy tale. The author analyzes fairy tales of different nations involving this particular character and draws a boundary between the literary fairy tale, which is a transformation of old French fairy tales written by Charles Perrault, and different variations of literary fairy tale written by the brothers Grimm. The research shows that it is impossible to apply Propp’s method, which allows the plot to be analyzed in regard to functions and character types, to the analysis of this fairy tale. The author assumes that the fairy tale about Tom Thumb may not be regarded as magic for various reasons. On the other hand, it may be treated as an animal tale, which in Propp’s approach is assumed to have a different structure from a magic fairy tale. The researcher draws a conclusion about the different archetypes that serve as the basis for Perrault’s literary fairy tales, and the numerous variations of the plot which we may relatively denominate as “Grimms’ plot.” Furthermore, in folk tales having Grimms’ plot, Tom Thumb simultaneously performs the role of cultural hero and the role of a trickster. This is absent from Perrault’s fairy tale, because the propaganda of moral values and a distinct didactic character are traditional features of French fairy tales.

scholarly journals Sleeping Beauty

2019 ◽  
Vol 67 (2) ◽  
pp. 142-161
Author(s):  
Margreet Boomkamp
Keyword(s):  
Nineteenth Century ◽  
The Netherlands ◽  
Fairy Tales ◽  
Fairy Tale ◽  
High Standard ◽  
Sleeping Beauty ◽  
Brothers Grimm ◽  
Considerable Success ◽  
Precise Moment ◽  
Very High

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.

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