„One Day he Will Find me and Save me”. The Dream for Prince Known from the Fairy Tales of Charles Perrault and Brothers Grimm and the Accompanying Illustrations

Magic stories are extremely difficult to analyze, as they have both folklore (oral) and literary (written) existence, they are oriented towards the little ones, but at the same time they send messages to the adults and last but not least – they are almost always accompanied by illustrations, which further complicate and expand the meaning of the written. Artists become "translators" who have to adapt the content to the specific needs of the particular audience and the peculiarities of its time. Millions of children around the world have shaped their understanding of the roles of man and woman and the relationship between gender and behavior based on the well-known stories of ordinary girls rescued by princes, unusually appeared in their lives. This article will analyze the verbal and pictorial representation of the main characters in two of the most famous fairytales – "Cinderella" and "The Sleeping Beauty". The aim is to highlight certain patterns that have an important contribution to the formation of gender stereotypes in children and their dreams of happy and successful life.

The Influence of the Grimm Tales on the Tale Textology of László Arany

László Arany's Eredeti népmesék (Authentic Folktales, 1862) is an iconic collection of folktales. The tales in this publication have been entrenched in the national identity as classic Hungarian folktales, and the narrative style of the tales has been established in the public consciousness as the narrative style of Hungarian folktales. The Arany family's collection of folktales ultimately had a similar function in Hungarian culture as the Kinder- und Hausmärchen of the Brothers Grimm had in Germany, but while the text formation of the Grimm tales had been thoroughly explored by philology, the Arany tales had not been accompanied by folkloristic interpretations or in-depth philological analyses. To László Arany, the fairy tales of the Brothers Grimm were the ideal, which he indicated in his many theoretical writings as well as his role as a collector and editor of tales. To form the individual texts found in Eredeti népmesék, László Arany used the tale manuscripts transcribed by his mother and sister in the 1850s, modifying them considerably, primarily by employing stylistic devices, many of which can also be observed in the work of the Grimms. This essay examines the extent to which László Arany's editorial and text formation practices were determined by the textological practice developed by the Brothers Grimm, and ultimately the extent to which the stylistic ideals of fairy tales developed by the Grimms contributed to the development of the written, literary version of Hungarian folktales.

Die Entwicklung substantivischer Komposita in den deutschsprachigen Märchentiteln der Gebrüder Grimm und in Ihren rumänischen Übersetzungen

"The Evolution of the Compound Nouns in German Titles of Some of the Tales by the Brothers Grimm and in Their Romanian Translations. The titles of the tales written by the Brothers Grimm have suffered a number of changes throughout the years. The evolution of these titles shows the fact that there was a growing need for understanding them, the Brothers Grimm thus introducing compound nouns in many of their titles. This phenomenon can be seen even in Romanian translations; the titles have been translated differently because of these compound nouns, which are atypical for the Romanian language. The difficulty of translating these titles has led to the use of two distinct translation methods, the adaptive one and the transfer one. The current article will explore these modifications in the case of selected titles with the purpose of establishing the most explicit title in German and also the best translation of a title in Romanian. Keywords: Brothers Grimm, the evolution of titles, compound nouns, history, translation methods "

Terry Gilliam

With a directorial career spanning over forty years, Terry Gilliam (b. 1940) remains rooted in the sensibilities of his early work in animation. Born in Minnesota and raised in the Los Angeles area, Gilliam, sometimes classified as a British filmmaker, has lived in England since the 1960s, renouncing his US citizenship in 2006. As the resident animator of Monty Python’s Flying Circus (1969–1974), Gilliam created surreal and absurd vignettes from cutout images that complemented the live sketches. After partnering with fellow Python Terry Jones in directing Monty Python and the Holy Grail (1975), Gilliam struck off on his own with Jabberwocky (1977). Many films followed in which one or more members of Monty Python appeared as actors under his direction. Though Gilliam’s works ostensibly cover diverse subjects—bureaucracy, virus outbreaks, and the gonzo journalist Hunter S. Thompson, to name only a few—all engage with questions of the power and problems of the imagination in the face of an often-grim or oppressive reality. The overall look of a Gilliam film is unmistakable as well, with off-kilter shots meant to disorient the viewer and crowded mises-en-scène. His use of wide-angle lenses is so extensive that the 14-millimeter lens has been nicknamed “the Gilliam.” Deeply involved not only in camerawork but in many other aspects of production such as costuming, set design, and scriptwriting, Gilliam would seem to fit the definition of an auteur. However, in numerous interviews, Gilliam resists that label, stressing his collaborative approach and openness to suggestions. Indeed, the process of making and distributing his films has sometimes garnered as much, if not more, attention than the films themselves. Brazil (1985), The Adventures of Baron Munchausen (1988), The Brothers Grimm (2005), and The Imaginarium of Doctor Parnassus (2014) all faced disruptions and setbacks of various kinds. No production was bedeviled so long and in so many ways as The Man Who Killed Don Quixote (2018), taking nearly thirty years to reach the screen. Frequently identifying with the main characters of his films in progress, Gilliam perhaps most resembles Don Quixote in his unstinting commitment to his vision, whether commercially successful or not, whether brilliant or baffling to critics or audiences.

GAYA BAHASA KIASAN DALAM DONGENG ANAK BERBAHASA INGGRIS (STUDI KASUS KARYA BROTHERS GRIMM)

The purpose of this study is to investigate the use of figurative language in English children's fairy tales by Brothers Grimm with titled Hansel and Gretel, Rapunzel, and Snowdrop. This study specifically addresses the style of figurative language contained in English children's fairy tales. Style of figurative language are examined in this study includes metaphor, personification, simile, and hyperbole, in terms of form, meaning, function, and particularities in English children's fairy tales. Advanced Research is a qualitative research produces descriptive data in the form of the written word. This study did not use statistical data in the form of numbers, but rather to describe the form, meaning, types, functions, and uniqueness of figurative language in English children's fairy tales. The results showed that in the style of figurative language metaphor based on Haley’s hierarchy in nine metaphors, the metaphors in the three fairy tales are being, cosmos, energy, terrestrial, object, animate, and human. Personification in this research are inanimate personification and non-human personification. Simile in this research includes abstract (being), objects, cosmos, terrestrial, plants, and animals. Hyperbole in this research is hyperbole that state a thing and hyperbole that state a situation. Function of figurative language in the fourth type of style are; reveal the beauty in the style of figurative language, declare an abstract in a concrete way to give a clear image, stating things that are not captured by human senses, and cause freshness or emphasis the words, to give emphasis to a statement or situation, to intensify and enhance the impression and impact of the intent to deliberately overstate the thing and circumstances. Uniqueness found in the using of vehicle from the figurative language in the form of terrestrial, cosmos, and animal. Through this study it can be concluded that children in Europe, the reader or the audience of this tale, is expected to know the figurative language style.