scholarly journals The Thorns of Trauma: Torture, Aftermath, and Healing in Contemporary Fairy-Tale Literature

Humanities ◽  
2021 ◽  
Vol 10 (1) ◽  
pp. 47
Author(s):  
Jeana Jorgensen
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Primary Case ◽  
Accurate Representation ◽  
The Real ◽  
Beauty And The Beast ◽  
Horror Genre ◽  
Global Pandemic

While classical fairy tales do not portray much depth of suffering, many contemporary fairy-tale retellings explore trauma and its aftermath in great detail. This article analyzes depictions of trauma in fairy tales, utilizing as a primary case study the “Beauty and the Beast” retelling A Court of Thorns and Roses by Sarah J. Maas, arguing that this text provides a scientifically accurate representation of trauma and its aftermath, thereby articulating the real in fairy tales. Further, this article classifies that work as not simply a “dark” fairy tale (a contentious term that invites rethinking) but rather as fairy-tale torture porn, in a nod to the horror genre that foregrounds torture, surveillance, and the disruption of bodily boundaries and safety. However, the text’s optimistic account of healing is uniquely relevant in a time of widespread trauma due to a global pandemic, thereby demonstrating that fairy tales remain germane in contemporary contexts.

scholarly journals Intensely Original

2021 ◽  
Vol 5 (1) ◽  
pp. 67-84
Author(s):  
LAURA DAVIS
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Parent Material ◽  
Beauty And The Beast ◽  
Original Parent ◽  
Essay Tests ◽  
Horizon Of Expectations

  The story of Beauty and her beast is truly a tale as old as time: a beautiful girl falls in love with a beast and her love transforms him into a prince. This project is framed by Joosen’s (2011) argument regarding fairy tale retellings disrupting Jauss and Benzinger’s (1970) claim that fairy tales and retellings align with the horizon of expectations. Using Kemmerer’s A Curse so Dark and Lonely (2019), a “Beauty and the Beast” retelling, this essay tests Joosen’s (2011) theory to determine if the retelling remains true to or diverges from the original parent material. 

scholarly journals Poetics of the Fairy Tale Princess: Products, Problems, & Possibilities / Poésie de la princesse des contes de fées : produits, problèmes et possibilités

2019 ◽  
Vol 46 (2) ◽  
pp. 17-32
Author(s):  
Courtney Lee Weida ◽  
Carlee Bradbury ◽  
Jaime Chris Weida
Keyword(s):  
Media Studies ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Focal Point ◽  
Interdisciplinary Collaboration ◽  
English Literature ◽  
Sleeping Beauty ◽  
Art Educator ◽  
Creative Interventions

Abstract: In the following paper, the authors analyze the prevalence of princess culture in the literature, film, and visual culture of young people. An art educator, art historian, and professor of English literature, the authors propose creative interventions through alternative resources and readings. Focusing on foundations of media studies and literature of Fairy-Tale Studies and girlhood studies, this interdisciplinary collaboration investigates complex creative predicaments of girlhood and princess media. Utilizing Princess Aurora and Sleeping Beauty as a case study and focal point, the authors discuss their collaborative arts research intended to explore problems and possibilities of princess culture. Keywords: Art Education; Arts Research; Fairy Tales; Media Studies, Princesses.Résumé : Les auteurs analysent la prévalence de la culture des princesses dans la littérature, les films et la culture visuelle des jeunes. Les auteures, une éducatrice artistique, une historienne et une professeure de littérature anglaise, proposent des actions créatives par le biais de ressources et lectures alternatives. Axée sur les fondements de l’étude des médias et sur la littérature liée à l’étude des contes de fées et de la jeunesse féminine, cette collaboration interdisciplinaire se penche sur les difficultés créatrices complexes des histoires de jeunesse féminine et de princesses. À partir d’une étude de cas de la princesse Aurora et de la Belle au bois dormant, les auteurs utilisent leur recherche artistique concertée pour analyser les problèmes et les possibilités de cette culture des princesses.Mots-clés : éducation artistique ; recherche artistique ; contes de fées ; étude des médias, princesses.

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 Beauty and the Beast: The Value of Teaching Fairy Tales to University Students in the 21st Century

2021 ◽  
Vol 5 (1) ◽  
pp. 1
Author(s):  
Jane Beal
Keyword(s):  
21St Century ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Human Person ◽  
Lessons Learned ◽  
Brothers Grimm ◽  
Beauty And The Beast ◽  
Reader Responses ◽  
Madame D'aulnoy ◽  
Bruno Bettelheim

In this essay, I suggest that fairy tales have particular value for students studying at the university level. Assigning fairy tales allows students to read familiar stories from their childhood and reconsider them from critical perspectives. When teaching a college course on fairy tales, my students and I utilize three essential frameworks for understanding fairy tales, focusing on the psycho-social development and sexual maturation of the human person, feminist critique and the need for gender equality in a patriarchal world, and audience reception and reader responses leading to emotional progress and even spiritual enlightenment. Students primarily familiar with Disney film versions of fairy tales enlarge their understanding of multiple versions of tales, both early modern and contemporary. They become familiar with classic fairy tale writers and collectors, such as Charles Perrault, Madame d’Aulnoy, the Brothers Grimm, Hans Christian Anderson, Oscar Wilde, Andrew Lang, J.R.R. Tolkien, C.S. Lewis, Anne Sexton, Angela Carter, and J.K. Rowling as well as fairy tale scholars like Bruno Bettelheim, Maria Tartar, and Jack Zipes. Their study not only results in a firm grasp of the key aspects of story in general, but in the ability to see connections between the real-world problems of the 21st century – such as poverty, starvation, disease, inequality, child abuse, human trafficking, and abuses of political power, among others – and lessons learned from fairy tales. This essay analyzes “Beauty and the Beast” as a key example of the genre and identifies pedagogical strategies for teaching it.

scholarly journals Challenging Hegemonic Gender Norms in Emma Donoghue’s “The Tale of the Rose” and Disney’s Beauty and the Beast

2021 ◽  
Vol 84 ◽  
pp. 77-96
Author(s):  
Priyanka Banerjee ◽  
◽  
Rajni Singh ◽  
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
First Century ◽  
Media Culture ◽  
Cultural Discourses ◽  
Beauty And The Beast ◽  
Sexuality And Gender ◽  
Close Proximity ◽  
And Gender ◽  
The Rose

While heteronormativity remained at the core of the classic fairy tale, a queer subtext existed in the form of subtle symbolic codes. By reflecting the changing socio- cultural discourses about sexuality and gender in time, the representation of queer sexuality in fairy tales has also developed. This paper attempts a queer reading of the revisioning of Madame Beaumont’s “Beauty and the Beast” in Emma Donoghue’s “The Tale of the Rose” and the 2017 Disney version. This paper demonstrates how Emma Donoghue’s adaptation deconstructs the heteronormativity of Beaumont’s tale by dismantling the binaries of Beauty/Beast and man/woman and represents queer sexuality and desire through multi-layered language. This paper also examines how in the Disney version the story takes a new dimension in close proximity to twenty-first century media culture and lends itself to queer interpretation.

scholarly journals Magic Folk Tales in Intersemiotic Translation

2019 ◽  
Vol 23 (2) ◽  
pp. 415-434
Author(s):  
Natalia V Shchurik ◽  
Vera E Gorshkova
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Surface Structures ◽  
Film Adaptation ◽  
Integral Model ◽  
Folk Tales ◽  
Beauty And The Beast ◽  
Structural Identity ◽  
The Common ◽  
The One

The present paper examines intersemiotic translation of magic folk tales. Research objective is to show the structural identity of the surface structure which can be described as a sequence of plot elements (“functions”) of fairy-tale characters; in semiotic terms it is explained by the existence of a universal matrix defining the law of genre. The authors go on to the cognitive-culturological aspect of fairy tales in terms of N. Chomsky. This research paper has clearly shown that “functions” of the surface structures correspond to plans, scenarios and frames of the deep structures, which differ in British and Russian magic fairy folk tales (wonder folk tales). Numbers and proper names are the main permanent elements of fairy tale narrative: on the level of the surface structures they connect the universal matrix of a fairy tale discourse organizing space and rhythm and at the level of the deep structures - they help to understand the main features of the national character. The study is based on 13 fairy-tale film corpus, under the common theme “Beauty and the Beast”, film adaptations of the fairy tales “La Belle et la Bête” by J.-M. Leprens de Beaumont (1757) and “The Scarlet Flower” by S.T. Aksakov (1858). Hence, the analysis of the latter based on the works of R. Jacobson and W. Eco and understood by the authors as a kind of intersemiotic translation / interpretation that, on the one hand, proves universality of the proposed algorithm for studying fairy discourse in synchrony and diachrony. On the other hand, it plays the most important role in intersemiotic translation of diachronic aspect because it deals with changing the “integral model of reality”, which is reflected, in particular, in changing the on-screen presentation / interpretation of certain aspects of the fairy-tale narrative. Finally, it is worth pointing out that the conclusions can be used to study plurality of film adaptation as a form of intersemiotic translation.

The Effects of Disney Movie Content - A Case Study Analysis of Disney’s Beauty and the Beast

2015 ◽  
Vol 8 (2) ◽  
Author(s):  
Kanika Nevatia
Keyword(s):  
Fairy Tales ◽  
Country Of Origin ◽  
Research Paper ◽  
Study Analysis ◽  
Beauty And The Beast ◽  
Case Study Analysis ◽  
Walt Disney ◽  
Snow White ◽  
Movie Content

Animated fantasy films, also called fairy tales have ruled the hearts of children from the very beginning. Be it Cinderella, Snow White, Belle or Rapunzel every little girl, irrespective of her country of origin is familiar with all these characters among many more. When we talk about these characters or stories the first name to appear in our minds is Walt Disney. Walt Disney has from its inception presented children, especially girls with fairy tales attached with many dreams and aspiration. This research paper was an attempt at looking into the meanings that can be derived from the content of Walt Disney movies, with the analysis of one Disney Princess story, Beauty and the Beast.

scholarly journals Words which are ‘very much her own’ – a corpus stylistic analysis of The bloody chamber by A. Carter

2015 ◽  
Vol 3 ◽  
pp. 7-18
Author(s):  
Anna Pasolini
Keyword(s):  
Fairy Tales ◽  
Corpus Linguistics ◽  
Fairy Tale ◽  
Literary Text ◽  
Stylistic Analysis ◽  
Future Research ◽  
Computer Assisted ◽  
Power Relationships ◽  
Main Research ◽  
Beauty And The Beast

This paper endeavours to carry out a corpus stylistic analysis of the discursive construction of female identity in some fairy tales collected in The bloody chamber and other stories by Angela Carter (1979) with a twofold purpose. More generally, it aims at providing a further example of the application of corpus linguistics methods to the analysis of a literary text. It also purports to emphasise that corpus stylistics can assist the examination of the poetics as well as the politics of a literary text. In particular, corpus linguistics methods will be shown to enable an analysis of the way in which the linguistic configuration of the text can be seen to map power relationships. This investigation addresses two main research questions stemming from corpus-based comparative enquiries, which analyse some keywords as triggers of ideological meanings: • if the fairy tale ‘The bloody chamber’ is computationally compared to what is deemed to be its main source, Pearrult’s ‘Blue beard’, is it possible to show that Carter succeeds in challenging and amending the gender politics underlying Perrault’s text through the use of language? • can the intuitive insight that Carter manages to criticise women’s compliance with patriarchy in their subordination, and to offer empowering alternatives through intertextual and intratextual references be proved with corpus linguistics methods? The first question will be tackled through the computational comparison between the tales ‘The bloody chamber and an English translation of ‘La barbe bleue’ by Charles Perrault; the second through the comparative analysis of the two versions of ‘Beauty and the Beast’ re-written by Carter and included in the same collection – ‘The courtship of Mr Lyon’ and ‘The tiger’s bride’. As regards methodology, three main techniques will be deployed: the study and comparison of the wordlists of the tales through some purposely-generated concordance lines, the analysis of collocations, and – to a lesser extent – that of keywords. The software used for the analyses is WordSmith Tools, which generates statistical data on a text or corpus through three main functions: wordlist, concord, and keywords. Even though it will not be possible to draw general conclusions about Carter’s style or about the ways in which the fairy tale as a genre changes thanks to her revolutionary manipulations (which will hopefully be the focus of future research), sample-examples will be offered of the ways in which a computer-assisted analysis could support, validate, and even enrich an intuitive one performed through the methodological and critical tools offered by cultural and literary studies. In both cases, indeed, intuitive insight will be proved through computer-generated textual evidence and new knowledge will hopefully be gained as well.

scholarly journals Made to Connive: Revisioning Cinderella in a Music Video. From Disney to Arthur Pirozkhov: A Case Study

Text Matters ◽  
2020 ◽  
pp. 67-78
Author(s):  
Dorota Filipczak
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Music Videos ◽  
Intellectual Freedom ◽  
Music Video ◽  
Explosive Power ◽  
Kenneth Branagh ◽  
The Impact ◽  
Literature And Film

The article focuses on the way in which music videos can subvert and refigure the message of literature and film. The author sets out to demonstrate how a music video entitled “Зацепила” by Arthur Pirozkhov (Aleksandr Revva) enters a dialogue with the recent Disney version of Cinderella by Kenneth Branagh (2015), which, in turn, is an attempt to do justice to Perrault’s famous fairy tale. Starting out with Michèle Le Dœuff’s comment on the limitations imposed upon women’s intellectual freedom throughout the centuries, Filipczak applies the French philosopher’s concept of “regulatory myth” to illustrate the impact of fairy tales and their Disney versions on the contemporary construction of femininity. In her analysis of Branagh’s film Filipczak contends that its female protagonist is haunted by the spectre of the Victorian angel in the house which has come back with a vengeance in contemporary times despite Virginia Woolf’s and her followers’ attempts to annihilate it. Paradoxically, the music video, which is still marginalized in academia on account of its popular status, often offers a liberating deconstruction of regulatory myths. In the case in question, it allows the viewers to realize how their intellectual horizon is limited by the very stereotypes that inform the structure of Perrault’s Cinderella. This makes viewers see popular culture in a different light and appreciate the explosive power of music videos which can combine an artistic message with a perceptive commentary on stereotypes masked by seductive glamour.

scholarly journals Motywacja metamorfozy a potworność cielesna i duchowa w wybranych realizacjach wątku „Pięknej i Bestii”

2021 ◽  
Vol 27 ◽  
pp. 21-37
Author(s):  
Barbara Kaczyńska
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
18Th Century ◽  
The Other ◽  
Beauty And The Beast ◽  
Innocent Victim ◽  
Modern Novel ◽  
Other Hand ◽  
Internal Change ◽  
Moral Fault

The article discusses the motivations of the monstrous metamorphosis in some Beauty and the Beast retellings, chiefly those by Gabrielle-Suzanne de Villeneuve (1740), Jeanne-Marie Leprince de Beaumont (1756), Alex Flinn (2007), and Małgorzata Musierowicz (1996). Other versions are mentioned as a broader context. The aim of the article is to observe a correlation between transmotivation and a retelling’s structure and message. While folk versions usually omit the motivation altogether, literary and film retellings often provide in-depth explanations of the transformation. In the 18th-century fairy tales, the metamorphosis is a villainy inflicted on an innocent victim, and Beauty has to see through the monstrous appearance in order to realize the true, internal beauty of the Beast. Retellings from the 20th and 21st centuries, on the other hand, often present the metamorphosis as a comeuppance for some emotional and moral fault. Physical deformity reflects spiritual monstrosity, and the Beast’s struggle with the latter helps him become free of the former. As a consequence, transmotivation implies a shift in the narrative from Beauty’s experience to the Beast’s internal change. This may be due to the didactic tradition of the fairy tale for children, in which the hero is tested and disciplined, as well as the influence of the modern novel, focused on individual characters’ psychology

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