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.

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 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.

The Scientific Significance of the Search and Publication of Kazakh Fairy Tales Preserved in Manuscripts

2021 ◽  
pp. 7-15
Author(s):  
B Abzhet
Keyword(s):  
19Th Century ◽  
Fairy Tales ◽  
Folk Art ◽  
Regional Level ◽  
Folk Tales ◽  
The People ◽  
Scientific Significance ◽  
The Russian Empire ◽  
First Editions ◽  
The 19Th Century

The process of collecting and publishing Kazakh fairy tales dates back to the second half of the 19th century. During the period of the colonization of the Kazakh steppe by the Russian Empire, people of different professions who came here for different purposes and worked in the civil service began to pay attention not only to the registration of land wealth, but also to the study of samples of oral folk art. On the pages of the first editions “Turkistan ualayatynyn gazeti”, “Dala ualayatynyn gazeti”, published in the second half of the 19th century in the Kazakh language and spreading in the Kazakh steppe, numerous folk tales were published, taken from oral folk art. Along with Russian scientists, representatives of the Kazakh intelligentsia and educators were also engaged in the study of fairy tales. Kazakh fairy tales were published several times at the beginning of the twentieth century and after the establishment of Soviet power. After gaining independence of Kazakhstan, numerous fairy tales were published in whole volumes. At the same time, some publications were found and re-published fairy tales that had not been previously published. We know that Kazakh fairy tales, collected in manuscript centers and library funds, have a rich heritage. Finding and republishing unpublished tales is an urgent need today. In the article, the author notes the importance of searching for fairy tales in the archives of the regional level, as well as among the manuscripts collected in manuscript funds and written in Cyrillic, Arabic or Latin letters, and the publication of these fairy tales, especially previously unknown ones. He also draws attention to the spiritual heritage of the people and the significance of fairy tales in modern folklore.

scholarly journals Reluctant Romantics – On the fairy tale poetics of the Brothers Grimm and their relationship to German Romanticism

Literator ◽  
2014 ◽  
Vol 35 (1) ◽  
Author(s):  
Isabel Dos Santos
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Careful Study ◽  
German Romanticism ◽  
Folk Tales ◽  
Brothers Grimm ◽  
Folk Traditions ◽  
The Many ◽  
The Cost ◽  
Life Work

The legacy of the Brothers Grimm continues to fascinate readers and researchers alike. The 200-year anniversary of the first publication of their fairy tales sparked a renewed interest in the life, work and times of the brothers. Fascinated by the past, by the political present and by the literary future of Romanticism, the Brothers Grimm stayed together in an unusual working union. They established what was to become German philology and published many invaluable works on language and history, myths and folk tales. This article will focus on the brothers’ place in German Romanticism through their contribution of fairy tales. The period was marked by political and philosophical thought that emphasised authentic experienced and the spiritual unity of art, science and philosophy. There was a strong call for national emancipation. Literature was required to embody this unity through an established national literature founded on German folk traditions. The Grimms seemed to have heeded that call. But a careful study reveals that their intentions were motivated less by the literary movement than by their own strong convictions which they upheld even at the cost of compromising the authenticity they claimed to uphold in their poetics. The many controversies regarding the origins, collection and editing of the fairy tales is inextricably linked to the brothers’ difficult relationship with the Romantic Movement. Two hundred years later, this article seeks to give an appraisal of the Brothers’ motivation for their poetics and of the research conducted thus far.

scholarly journals Features of Russian fairy-tale drama of the first half of the 19th century: articulation of the issue

2021 ◽  
Vol 61 ◽  
pp. 151-165
Author(s):  
Darya A. Zaveljskaya
Keyword(s):  
19Th Century ◽  
Fairy Tales ◽  
Fairy Tale ◽  
General Context ◽  
Comic Opera ◽  
Russian Literary ◽  
Characteristic Features ◽  
Children's Drama ◽  
The 19Th Century ◽  
Good And Evil

The paper deals with the issue of forming of fairy tales artistic model in Russian drama. Currently, one considers dramatic fairy tale mainly in a general context of development of the author's literary fairy tale, although it has its own specifics. The study reviews some questions on the style and genesis of the Russian literary fairy tale for children in relation to the development of author's literary fairy tale as such. The author analyzes the influence of poetics of romanticism on the specifics of dramatic fairy tale, as well as the features of dramatic works by V. F. Odoevsky, who significantly influenced children's literature. His play “The Tsar-Maiden,” intended for children, is considered in comparison with a play by E.-T.-A. Hoffmann “Princess Blandina,” with similarities found in the system of characters, motif of matchmaking and some plot features associated with this motif. The fairy-tale play for adults “Segeliel or Don Quixote of the 19th century” analyzes the motifs of personified confrontation of good and evil and the interpenetration of magic and the ordinary, which was characteristic of romanticism in general and embodied both in other works of Odoyevsky and in later, mainly children's fairy-tale drama. The author suggests the possibility of influence of Odoevsky's plays on the development of children's drama. In both plays, we see the conventionality of artistic reality, resonating with humorous or ironic author's intonation. The paper also addresses I. A. Krylov's magical comic opera “Ilya Bogatyr,” revealing many characteristic features of Odoevsky's plays. At the same time, a distinction is made between Krylov's work and romantic direction, since the tradition of classicism is more clearly manifested in it. One may consider a reduction in pathos owing to humorous playing of heroic and mystical motifs as a feature of the comic opera. The analysis of these works allows us to formulate some characteristics of artistic model of the fairy-tale play, including conventionality of a fictional world, unexpected turns, personification of good and evil, unsteadiness of boundaries between the miracle and the ordinary, as well as humor and irony.

The Scientific Significance of the Search and Publication of Kazakh Fairy Tales Preserved in Manuscripts

2021 ◽  
Vol 3 (121) ◽  
pp. 7-15
Author(s):  
B Abzhet
Keyword(s):  
Twentieth Century ◽  
19Th Century ◽  
Fairy Tales ◽  
Regional Level ◽  
Soviet Power ◽  
Folk Tales ◽  
The People ◽  
Scientific Significance ◽  
First Editions ◽  
The 19Th Century

The process of collecting and publishing Kazakh fairy tales dates back to thesecond half of the 19th century. During the period of the colonization of the Kazakh steppe by theRussian Empire, people of different professions who came here for different purposes and workedin the civil service began to pay attention not only to the registration of land wealth, but also to thestudy of samples of oral folk art. On the pages of the first editions “Turkistan ualayatynyn gazeti”,“Dala ualayatynyn gazeti”, published in the second half of the 19th century in the Kazakh languageand spreading in the Kazakh steppe, numerous folk tales were published, taken from oral folk art.Along with Russian scientists, representatives of the Kazakh intelligentsia and educators were alsoengaged in the study of fairy tales. Kazakh fairy tales were published several times at the beginningof the twentieth century and after the establishment of Soviet power. After gaining independence ofKazakhstan, numerous fairy tales were published in whole volumes. At the same time, somepublications were found and re-published fairy tales that had not been previously published. Weknow that Kazakh fairy tales, collected in manuscript centers and library funds, have a rich heritage.Finding and republishing unpublished tales is an urgent need today. In the article, the author notesthe importance of searching for fairy tales in the archives of the regional level, as well as among themanuscripts collected in manuscript funds and written in Cyrillic, Arabic or Latin letters, and thepublication of these fairy tales, especially previously unknown ones. He also draws attention to thespiritual heritage of the people and the significance of fairy tales in modern folklore.

Witch as Fairy/Fairy as Witch: Unfathomable Baba Yagas

2012 ◽  
Author(s):  
Jack Zipes
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Western Europe ◽  
The United States ◽  
Deep Roots ◽  
Folk Tales ◽  
Brothers Grimm ◽  
Literary Traditions ◽  
Greco Roman ◽  
The Relationship

This chapter attempts to clarify the importance of the connections between witches and fairies coupled with their deep roots in pagan and Greco-Roman beliefs by moving away from western Europe to look at the great witch Baba Yaga of Slavic countries. It cites three reasons for concentrating on Baba Yaga and Slavic fairy tales. The first one regards neglect. For the most part, the focus of folklore and fairy-tale studies in the United States and western Europe has been on the works of the Brothers Grimm and other notable western European writers and folklorist. The second is to understand the relationship between goddesses, witches, and fairies. The third reason is that a brief analysis of Baba Yaga tales with a focus on the neglected work Russian Folk Tales (1873), translated and edited by W.R.S. Ralston (1828–89), might assist us in grasping how oral and literary traditions work together to reinforce the memetic replication of fairy tales.

Pinocchio e l’evoluzione

Revue Romane ◽  
2011 ◽  
Vol 46 (2) ◽  
pp. 282-293
Author(s):  
Margareth Hagen
Keyword(s):  
19Th Century ◽  
Fairy Tales ◽  
Public Debate ◽  
The Novel ◽  
The Public ◽  
Continuous Evolution ◽  
Narrative Interpretation ◽  
Theories Of Evolution ◽  
The 19Th Century ◽  
Pedagogical Literature

The first chapters of Carlo Collodi’s Pinocchio were printed in 1881, the same year as the publication of the novel I Malavoglia, Giovanni Verga’s masterpiece of verismo. While every critical reader of Verga’s realism has pointed out his particular narrative interpretation of evolution, Collodi’s has novel very seldom been connected to the theories of evolution, even if Darwin’s ideas were highly present in the public debate in Florence during the last decades of the 19th century. The reasons for this silence are primarily to be found in the genre of Pinocchio, in the fact that it is children literature, and therefore primarily related to the narrative mechanisms of the fairy tales and pedagogical literature. Focusing on Pinocchio, the article discusses to which degree Darwinism can be traced in Collodi’s literature for children, and questions if the continuous metamorphoses of Pinocchio can be read also in connection with the naturalist conception of the literary characters as unstable, in continuous evolution, and not only as part of the mechanisms of fairy tales and mythological narratives.

scholarly journals THE IMAGE OF THE CROW IN THE GERMAN AND UZBEK PEOPLES

2021 ◽  
Vol 5 (1) ◽  
pp. 90-100
Author(s):  
Akmal Akhmatovich Jumayev ◽  
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Folk Tales ◽  
Negative Images ◽  
The World ◽  
Personal Qualities

Background. The article focuses on specific similarities of the peoples of the world in their views on the crow. Also in myths, in German and Uzbek fairy tales, the portrayal of the crow in positive and negative images was analysed comparatively. All folk tales lead to good. The same lesson is also reflected in the article on the educational significance of the two folk tales. Methods. Particular attention is paid to the fact that the peoples of the world have certain similarities in their views on the crow. The image of the Crow also moved to fairy tales based on Legends. Results. In the fairy tale, it is not explained why the hero became a crow. It is known that in fairy tales the evolution of children to different birds (often owl or crow) is described either because of some side work of their father, or because of his own senselessness. Discussions. In German fairy tales Interesting is that in “Die sieben Raben“ “The seven ravens”, “Die Rabe“ ‘The raven” fairy tales, a crow is not just an ordinary bird, but a symbol of children. In Uzbek fairy tales, the image of birds is focused on fostering such positive personal qualities as industriousness, honesty and friendliness.

scholarly journals THE PROBLEM OF FINITENESS OF HUMAN EXISTENCE IN UKRAINIAN FOLKLORE

2020 ◽  
pp. 100-104
Author(s):  
Volodymyr Yatchenko, Oksana Oliinyk Volodymyr Yatchenko, Oksana Oliinyk ◽  
Volodymyr Yatchenko, Oksana Oliinyk Volodymyr Yatchenko, Oksana Oliinyk
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Human Existence ◽  
Folk Tales ◽  
Philosophy And Literature ◽  
Spiritual World ◽  
European Philosophy ◽  
The One ◽  
The Individual ◽  
Painful Feeling

The article analyzes the existential problems of life, death and immortality in Ukrainian folklore (based on Ukrainian fairy tales). In the corpus of Ukrainian folk tales there are widely used topics, which in European philosophy and literature are called "tragic foundations of human existence" - awareness of the inevitability of death in the earthly existence of man, the search for forms of individual immortality. In Ukrainian fairy tales there is a dual attitude of the individual to the inevitability of his own death. On the one hand, there is the motive of reconciliation with the fate of human destiny, and in order to relieve the painful feeling of one's own finitude, the instruction on the higher meaning of the existence of death is forced. Death is justified because it appears as the prevention of the absurdity of infinite human existence or as an obstacle to the debauchery of the whims and dangerous wishes of the individual, or ultimately as the punishment of people for violating the commandments of the Supreme Spiritual Creature. In other words, death appears in a number of fairy tales as the expression of the highest world justice. At the same time, death mostly appears in fairy tales as an objectified pagan idea of Death as a concrete living creature with its whims, sympathies and weaknesses. The problem of finding ways to achieve immortality is traced in Ukrainian fairy tales in two ways. Most often, this search unfolds in the plane of the victory of the hero of the fairy tale over death, or through the imprisonment of death, or through the marriage of the hero to a divine being. This is a very common motive in the tales around the world. Less common is the motive of achieving immortality through the moral self-improvement of the hero, his compliance to the moral commandments of God. This is already a reflection in fairy tales of the influence of Christianity on the spiritual world of the ancestors of modern Ukrainians.

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