scholarly journals Assimilating Gender Subversion into Counter Hegemony: A Journey from Personal to Societal Disruption in a Fairy Tale

2019 ◽  
Vol IV (I) ◽  
pp. 88-94
Author(s):  
Faria Saeed Khan ◽  
Zainab Mazhar ◽  
Fouzia Rehman Khan
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Judith Butler ◽  
Theoretical Frameworks ◽  
The Social ◽  
Personal Level ◽  
Societal Level ◽  
Individual Potential ◽  
Gender Categories ◽  
Gender Subversion

The fairy tales depict dissatisfied characters, whose individual potential and capabilities are limited under specific gender categories and societal hegemony. Thus, the characters, thus, rebel against the conventions, through gender subversion, and countering the hegemony forces. Thus, the paper is built on the theoretical frameworks of gender subversion, by Judith Butler (1990) and counter-hegemony by Antonio Gramsci (1971). The qualitative research thematically analyzed the character of Alex Bailey from, The Enchantress Returns by Chris Colfer (2013). The findings revealed that subverting gender gives confidence at the personal level, to counter-hegemonic forms at the social level. The findings also revealed that Alex was criticized, tormented, and discouraged for the subversion of the gender rules and norms, but, she encountered the prevailing hegemony and transformed at the societal level. The transformations are not necessarily massive, but, are sufficient enough to affect Alex and her actions.

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.

Africa in a Capitalist World

1973 ◽  
Vol 3 (3) ◽  
pp. 1-11
Author(s):  
Immanuel Wallerstein
Keyword(s):  
Social Control ◽  
Fairy Tales ◽  
Fairy Tale ◽  
African Studies ◽  
Field Of Study ◽  
Holy Grail ◽  
The Past ◽  
The Social ◽  
Capitalist World ◽  
Present Tense

African studies has gone through three well-known phases as a field of study. Up until 1950 or thereabouts, those studying Africa — they were not yet called Africanists — tended to concentrate almost exclusively on the capturing (or recapturing) of a description of Africa eternal: Launcelot the ethnographer in search of a holy grail of the past that was written in the present tense and was undefiled by contact and uncorrupted by civilization. What was once a myth is now a fairy tale and it would be silly to waste time tellling each other the obvious truth that fairy tales are modes of the social control and the education of children.

Outsiders, fairy tales and rainbowism in South African comedies: Soweto Green: This is a ‘Tree’ Story (Lister, 1995) and Fanie Fourie’s Lobola (Pretorius, 2013)

2019 ◽  
Vol 11 (1) ◽  
pp. 11-29
Author(s):  
Norita Mdege
Keyword(s):  
South African ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Social Perceptions ◽  
African Society ◽  
Hybrid Identities ◽  
South African Society ◽  
Broad Category ◽  
Sociological Approach ◽  
The Social

This article uses a sociological approach to analyse David Lister’s Soweto Green: This is a ‘Tree’ Story (1995) and Henk Pretorius’ Fanie Fourie’s Lobola (2013). Although both films, made nearly twenty years apart, fall under the broad category of ‘rainbow nation’ comedies, they indicate a shift in the representations and understanding of South African identities from the highly politicized identities of the 1990s to the emergence of hybrid identities. This shift provides insights into the ways in which post-apartheid South African society has evolved, while at the same time maintaining some continuities. Analysing comedies is particularly useful because the success of comedy depends highly on the social perceptions and world-views of the audience. Thus, comedies can provide great insights into the economic and sociopolitical conditions of the societies within which they emerge. The article will also explore the ideological implications of embedding rainbowism within fairy-tale romances.

scholarly journals Rabih Alameddine, Kim Addonizio, and Kellie Wells: Fairy-Tales in the 21st Century

2021 ◽  
pp. 259-273
Author(s):  
Elena Ortells Montón
Keyword(s):  
Twentieth Century ◽  
21St Century ◽  
Fairy Tales ◽  
Social System ◽  
Fairy Tale ◽  
Gender Issues ◽  
Status Quo ◽  
Social Psychological ◽  
Patriarchal Ideology ◽  
The Social

The main aim of this study is to explore if, and if so, how Rabih Alameddine, Kim Addonizio, and Kellie Wells have managed to sustain, replicate, disregard, or redefine the patriarchal ideology customarily associated to gender issues within the fairy-tale tradition. What is really striking is that, several decades after the revisionist project undertaken by the "Angela Carter generation", these new voices experimenting with the field of fairy tales still feel the need to revisit the same mythemes and fight against the same ideology and values that pervaded twentieth century retellings of fairy tales. The subversive potential of the fairy tale retellings seems to have been surpassed by the powerful agenda of a patriarchal social system, which, despite the social, psychological and political changes, still retains its status quo.

Africa in a Capitalist World

1980 ◽  
Vol 10 (1-2) ◽  
pp. 21-31
Author(s):  
Immanuel Wallerstein
Keyword(s):  
Social Control ◽  
Fairy Tales ◽  
Fairy Tale ◽  
African Studies ◽  
Field Of Study ◽  
Holy Grail ◽  
The Past ◽  
The Social ◽  
Capitalist World ◽  
Present Tense

African studies has gone through three well-known phases as a field of study. Up until 1950 or thereabouts, those studying Africa — they were not yet called Africanists — tended to concentrate almost exclusively on the capturing (or recapturing) of a description of Africa eternal: Launcelot the ethnographer in search of a holy grail of the past that was written in the present tense and was undefiled by contact and uncorrupted by civilization. What was once a myth is now a fairy tale and it would be silly to waste time tellling each other the obvious truth that fairy tales are modes of the social control and the education of children.

“In the Darkest Zones”

2016 ◽  
Author(s):  
Jessica R. McCort
Keyword(s):  
Identity Development ◽  
Personal Identity ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Sense Of Self ◽  
Self Awareness ◽  
Women Authors ◽  
Young Readers ◽  
The Social ◽  
Social Importance

This essay focuses specifically on the recent fairy-tale novels Coraline and A Tale Dark and Grimm as examples of gruesome, morally impactful modern fairy tales. Jessica R. McCort situates these particular books in relation to twentieth-century women authors’ dark fairy-tale revisions that emphasize identity development and the current cultural moment, a time in which mainstream American culture is obsessed with the darker side of fairy tales and the resurgence and rehabilitation of the fairy tale. Both Coraline and A Tale Dark and Grimm, filled with violence, gore, and horror, hearken back to the literary fairy tales that precede them and concentrate on the idea that children must learn to conquer their demons in order to achieve self-awareness. As McCort argues, these novels illustrate that children can gain, through textual encounters with the horrific, an enhanced sense of self and the power of bravery. In the end, this essay argues that these books are excellent examples of the social importance of maintaining terror as part of the texture of modern fairy tales for young readers, especially those in which the pursuit of personal identity is at the apple’s core.

scholarly journals An anthropological analysis of Bamana fairy tales

2020 ◽  
Vol 1 (4) ◽  
pp. 43-54
Author(s):  
Olga Zavyalova
Keyword(s):  
Social Norms ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Main Function ◽  
Wild Animals ◽  
The Social ◽  
Patterns Of Behavior

This article is devoted to the analysis of two fairy tales of the Bamana people. Since the main function of a fairy tale is learning, the basic norms of the culture are always hidden in it; they can be presented by positive or negative patterns of behavior. Two fairy tales that were selected for the analysis represent negative patterns of behavior and tell about the interaction of “one’s own” and “somebody else’s” worlds. Thus, they mainly talk about violations of the social norms and the norms of interaction with “somebody else’s” world. It was these norms that I tried to determine. The analyzed fairy tales were “Hyena ate the chief’s daughter” and “Tale about a hunter and wild animals”.

scholarly journals CULTURAL AND SOCIAL ENVIRONMENT OF KAZAKH TALES

2020 ◽  
pp. 473-478
Author(s):  
T. Nurgaziyev ◽  
Keyword(s):  
Fairy Tales ◽  
Social Life ◽  
Fairy Tale ◽  
Social Problems ◽  
The People ◽  
Special Character ◽  
The Social ◽  
The Family ◽  
Social Features ◽  
Good And Evil

Tales are historical artifacts that show the growth and prosperity of not only one nation, but all of humanity. In any fairy tale there are such questions as good and evil, wealth and poverty, communication with relatives and the protection of the family and homeland. In addition, fairy tales have a special character that clearly describes the social life of people. Rich / poor, good / bad, educated / uneducated, king / slave, smart / mean. In addition, fairy tales reflect such social problems as infertility, mother’s anxiety about family and children, social features of the child’s consciousness structure, geographical features of social life, in short, a fairy tale reflects the social life of a certain people. The article analyzes social features and provides examples from Kazakh tales. In addition, the article focuses on the storyteller of fairy tales, as he reflects his social problems in the fairy tale. The article examined five tales about Aldar Kos - as a hero-protector of the people i.e. social dreams of the people, geographical features of the image of Alash Khan - urban and nomadic type of khan, the problem of infertility in the fairy tale “Yer Tostik”. The narrator’s social problems were analyzed based on the tale “Who is Strong”.

scholarly journals The Oedipus Tale Type in Azerbaijani: Folklore and its Socio-Psychological Semantics

2021 ◽  
Vol 16 (1) ◽  
Author(s):  
Safa Garayev
Keyword(s):  
Social Relations ◽  
Family Environment ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Point Of View ◽  
Oedipus Complex ◽  
Incest Taboo ◽  
The Social ◽  
The Family ◽  
Common Character

In this article, I analyze tales collected from Azerbaijani territories from a psycho-semantic perspective, specifically pertaining to the Oedipus tale type (AT: 931, 933). The incest taboo, a common theme in Azerbaijani society, is discouraged in these tales through symbolic behaviors. In these tales, which were collected in different Azerbaijani territories at different times, the transgression of the taboo of incest firstly happens between sisters and brothers, later between mothers and sons. When we approach the fairy tale plots presented in the context of the Oedipus complex, it becomes clear that these fairy tales are also organized on the basis of the son’s point of view. This is evident in the tales because of their descriptions of the father—a common character in the Oedipus tale type—as the culprit of all anti-social and unethical problems. In the texts I present, the heroes of the tales generally derive from the disruption of the incest taboo between the sister and the brother, who has been left to die. I argue that the baby born as a result of dismantling the incest taboo—being removed from the chain (or from the family environment) of the social relations by the parents to be left to die and later living and not recognizing his mother—is portrayed as the main fact in the explanation of the events’ semantics.

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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