Since the late 1960s and early 1970s, critical scholarship concerning the fairy tale genre has done much to address the social, historical, cultural, and national motivations behind transformations of the fairy tale from a European starting point. However, the fairy tale’s development in the United States, including both its media-based adaptations and literary extensions, has been given limited attention. While the significance of Walt Disney’s animated films to the American fairy tale tradition has been addressed (by literary and film scholars alike), an interdisciplinary study drawing together Disney’s European and early twentieth century precursors (from literature, stage, and film); his own influential, modern debut; respondent literary and animated work of his immediate successors; and postmodern and twenty-first century adaptations has not been done. By examining the trajectory of a single tale, Snow White (or for Disney, Snow White and the Seven Dwarfs), this dissertation aims to acknowledge the scholarly attention given to Disney’s animated films, while further examining attributes which I suggest have enabled Disney to have a “folkloric impact” on the fairy tale genre in the United States. Disney’s work stands upon the bedrock of not only European but American Snow White variations and makes these “new” through an innovative deployment and unification of word or language, sound, and image, unimagined prior to the debut of Snow White and the Seven Dwarfs (1937). The effects of Disney’s influence, as a master storyteller, on both the fairy tale genre and commercial market were so profound that this particular version of the tale refuses to be forgotten, its shadow haunting successors who aimed to counter or redefine its understanding of fairy tale in light of shifting American values and culture. Therefore, even as the fairy tale is frequently understood to have moved beyond its folkloric “origins” (I use this term loosely, as the origins of fairy tale are surrounded by controversy), using the critical framework of folklorists Steven Swann Jones and Linda Dégh, as well as filmic folklorists, Sharon R. Sherman and Juwen Zhang, I explore how Disney’s patchwork of tradition, new technology, and media generated an easily recognizable and communicable tale, one that would be recalled, repeated, and reformed through adaptation by generations of audiences. These subsequent storytellers, in turn, extend American fairy tale tradition and lore still further. / English

TITLE: About definition of the folk fairy-tale genre and about elaboration of the Snow-white theme in collections of chosen german authors (J. K. A. Musäus, A. L. Grimm and J. and W. Grimm) SUMMARY: This diploma thesis is concerned with the fairy-tale genre, which is defined as the folk fairy-tale, Snow-white theme and elaborations of this theme in collections of J. K. A. Musäus, A. L. Grimm and the Brothers Grimm. In context of the historico-literary period and in connection with the folk fairy-tale genre all processing are analysed and compared with each other. Märchen (1971) of Max Lüthi and Deutsche Märchen vor Grimm (1942) of Albert Wesselski are the fundamental publikations for this thesis. The main result is that the caption »Sneewittchen« of the Brothers Grimm correspondes closest to the folk fairy-tale genre, while »Richilde« of J. K. A. Musäus and »Schneewittchen« of A. L. Grimm as author's fairy-tale should be called. KEYWORDS: Fairy-tale genre, folk fairy-tale, collections of german authors, Snow-white theme, Johann Karl August Musäus, Albert Ludwig Grimm, Brothers Grimm

Made available in DSpace on 2016-04-26T18:17:12Z (GMT). No. of bitstreams: 1 Vania Dangelo Dohme.pdf: 984176 bytes, checksum: 71106b97f6f8df109d742ec3c3fca745 (MD5) Previous issue date: 2008-05-09 / The storytelling practice involves a whole system of sign and codes used in a similar way throughout the centuries, as the same meanings that are adequate to each period. This dissertation verses about the fairy tales and their tellers as mediators in the communication process among adults and children. It explores the several elements which compound this process and the influence that each one of them expresses to their quality, searching for means of potentials to the communication, optimizing the relationship and regarding the XXI century demanding. The research was of a bibliographic theoretical form aiming to create theoretical charts of references from several aspects of the studied questions in a profound manner and, subsequently, interconnected to provide a wider amplitude of the work object, putting down old paradigms and re-meaning some aspects. The first part was concerned with the story sender, understanding him as its author, seeking for revealing his communication intention considering authors as Bruno Bettelheim to pass through the stories as an existential and cognitive contribution to the children and Umberto Eco to understand them as a solution to the competence difference among the receiver, the child, and the sender, the author or the teller. The authors Baittelo and Flusser to characterize this communication as an attachment among its participants. Huizinga and Bystrina to pass through the reality occupied in the stories telling and Jung and Morin to analyze the arqueptical functions present in the stories. In order to understand a fairy tale structure it refers to Vladiir Propp and Greimas. The second chapter verses about the storytelling instrumentation, suggesting the necessary cautions for it to keep the cleanness of its message based on Jean Marie Gillig and in Stanislavski drama theories and of the primary media taught by Harry Pross. Chapter three reports the child as the process receptor making a Piaget s symbolical game with a cloth, the second reality of Bystrina and Huizinga s entertainment bubble to consider the stories beyond the oral transmission mean of a culture, a pedagogical mean of teaching and living. The fourth chapter studies Delors and Morin works ordered by Unesco to the XXI century education. We got to the conclusion that, since the stories refer to basic values for being and living in harmony, they continue being appropriate instruments for facing the complexity of the current days and future ones / A pratica de contar histórias envolve todo um sistema de signos e códigos usados de forma semelhante através dos séculos, como os mesmos significados que se adequam a cada época. A tese versa sobre as histórias de fadas e seus contadores como mediadores do processo de comunicação entre adultos e crianças. Explora os diversos elementos que compõem esse processo e a influência que cada um deles imprime à sua qualidade, buscando formas de potencializar a comunicação, otimizando o relacionamento e dando conta das exigências do século XXI. A pesquisa foi de cunho teórico bibliográfico visando criar quadros teóricos de referências de diversos aspectos da questão estudados de forma profunda e, posteriormente, interligados para dar uma maior amplitude ao objeto de trabalho, derrubando velhos paradigmas e resignificando alguns aspectos. A primeira parte se ocupou do emissor da história, entendendo este como o seu autor, procurando desvendar a sua intenção comunicacional valendose de autores como Bruno Bettelheim para discorrer as histórias como subsídio existencial e cognitivo para as crianças e Umberto Eco para entendê-las como uma solução para a diferença de competência entre o destinatário, a criança, e o destinador, o autor ou o contador, Os autores Baittelo e Flusser para caracterizar esta comunicação como um vínculo entre seus participantes. Huizinga e Bystrina para discorrer sobre a realidade ocupada na contação de histórias e Jung e Morin para analisar as funções arquetipicas presentes nas histórias. Para entender a estrutura de uma história de fada recorre-se à Vladiir Propp e Greimas. O capítulo segundo versa sobre a instrumentalização da contação de história, sugerindo os cuidados necessários para que ela mantenha a limpidez de sua mensagem esteados em Jean Marie Gillig e nas teorias da dramartugia de Stanislavski e da mídia primaria ensinada por Harry Pross. O capítulo três reportá-se à criança como receptora do processo fazendo um tecido com o jogo simbólico de Piaget, a segunda realidade de Bystrina e a bolha lúdica de Huizinga para considerar as histórias além de meio de transmissão oral de uma cultura, meio pedagógico de ensinar a viver. O quarto capítulo estuda as obras de Delors e Morin encomendadas pela Unesco para a educação do século XXI. Chegou-se à conclusão de que, por as histórias tratarem de valores básicos para o ser e o conviver em harmonia, elas continuando sendo instrumentos apropriados para enfrentamento da complexidade dos dias atuais e vindouros

This thesis aims to cover basic typological similarities and differences in the work of Karel Čapek and Jiří Mahen, specifically in their fairy-tales. First, we present the characteristics of fairy tales viewed from different perspectives - in terms of theories about its origin, in terms of shaping during the history, from the position of terminology and definition of the genre as a complex. We also create a summary of specifics for both types of fairy-tale - literary and oral, because we want to find and define the similarities in which is literary fairy-tale close to oral ones, while using Propp´s Morphofology of fairy-tales. In the next chapter we will try to reconstruct the concurrent resonance of both works. In the end we will create a summary of all achieved knowledge and their comparison.

Annotation The theme of this diploma thesis is Czech author fairy-tale from 1989 onwards. The first three chapters deal with general information on author fairy-tale, its reader and its history. In the fourth chapter we reflect on original Czech children's books published after 1989 and attempt to describe the current state and developing trends. We selected several representative fairy-tale books and divided them into three principle types of the contemporary Czech author fairy- tale. The imitative-innovative type is closest to the folklore tradition, the nonsense-parodical type is based on parody or negation of the folk fairy-tale, and the imaginative type is based on symbol, metaphor and allegory. We identified another type of modern fairy-tale and called it the fairy-tale mixed into a real story. It comes out of the nonsense-parodical type and sits on the edge between fairy-tale and real prose. The aim of this diploma thesis is to describe the main trends in contemporary Czech author fairy-tale and to apply them to the selected children's books.

Fairy-tale in the works of Václav Tille-Říha thesis is based on an analysis and an interpretation of Tille's fairy-tale writings and symbolist stories considering the means of developing symbolist poetics on an outline of a folklore fairy-tale. The target of this thesis is to grasp the function of fairy-tale features in Václav Tille's works which emerged from the intersection of literary adaptation of traditional folklore subjects with symbolist creation. The opening chapter deals with the historical context of Tille's works and its folklorist and literary aspects. The work aim, through the works of Václav Tille, to express a wider framework within the context of symbolist writing and Art Noveau fine arts.

The aim of this thesis is to present the specific notion of feminism and mythopoetics in the selected works of Angela Carter and demonstrate them on two selected works of Carter's, namely on the collection of re-visited traditional fairy tales The Bloody Chamber and Other Stories and the novel Nights at the Circus. The thesis also deals with chosen features of postmodernism these two works contain. In the first, theoretical part the author and her oeuvre is introduced, followed by the concept of postmodernism and its selected features. The second, practical part is focused on both books' analysis which attempts to establish whether and how the selected works show the features of postmodernism and to which extent it is possible to trace the notions of Carter's feminism and mythopoetics in them.

A presente dissertação atém-se, ao fazer uso do método de abordagem comparativista, à experiência da cumplicidade entre os irmãos protagonistas do conto de fadas João e Maria (versão de Jacob e Wilhelm Grimm) e do filme iraniano Filhos do paraíso (direção de Majid Majidí [1998]). Apesar de estarem situados em diferentes contextos histórico-político-culturais, os casais de irmãos apresentados no conto e no longa-metragem superam a situação de extrema pobreza material em que vivem, bem como as adversidades a eles impostas pelos adultos. Para a realização da pesquisa, realizou-se um estudo acerca da poética e do alcance de trabalho dos irmãos Grimm e de Majid Majidí. As narrativas literária e cinematográfica ganham ora análises isoladas ora conjugadas, a fim de se observar, nesta correlação, as especificidades e as similaridades no tocante aos vínculos construídos pelos protagonistas das duas obras. Inúmeras são as adaptações literárias, em língua portuguesa, para \"João e Maria\", as quais atestam a relevância do clássico na perene formação do imaginário da criança, ao mesmo tempo em que abarcam o tema conflituoso da separação e do abandono no seio familiar; as produções de Majidí e demais cineastas iranianos que retrataram o lugar cultural das crianças no Oriente Médio manifestam, em meio à severa censura do regime político, a restrição econômica em consórcio com a inocência e os prematuros compromissos na fase da infância. Dentre os pressupostos teóricos e aportes críticos evocados no curso da dissertação, estão os de Vladimir Propp, Nelly Novaes Coelho e Maria Tatar, na área de literatura, e os de Jacques Aumont, Alessandra Meleiro e Marcel Martin na área do cinema. / The present dissertation aims at comparing the experience of complicity between the protagonists siblings of the fairy tale John and Mary (Jacob and Wilhelm Grimm version) and the Iranian film Children of Heaven(directed by Majid Majidí [1998]). In spite of being situated in different historical-political-cultural contexts, both sibling couples , in the story and in the film, are able to overcome the situation of extreme material poverty in which they live, as well as the adversities imposed on them by adults. In order to carry out this research, a study was conducted on the poetic resourges and the scope of work of the brothers Grimm and Majid Majidí. The literary and cinematographic narratives gain either isolated analyses or a conjugated one, in order to observe, in this correlation, the specific details and the similarities regarding the bonds created by the protagonists of the two pieces of work. There are countless literary adaptations in Portuguese language for \"John and Mary,\" which show the relevance of the classic in the perennial formation of the imagination in children, at the same time it tackles the conflicting issue of separation and abandonment of the family; the productions of Majidí and other Iranian filmmakers who portrayed the cultural place of children in the Middle East manifest, the economic restriction together with the innocence and the premature commitments in chidhood at the time of severe censorhip of the political regime. Among the theoretical assumptions and critical contributions evoked in the course of the dissertation are those of Vladimir Propp, Nelly Novaes Coelho and Maria Tatar, in the area of literature, and those of Jacques Aumont, Alessandra Meleiro and Marcel Martin in the film area.

Cette thèse, qui recense plus de mille contes de fées composés entre 1808 et 1920, s’intéresse au renouveau du merveilleux, un registre vieillissant faisant face au désenchantement. Ce travail montre comment le conte, en juxtaposant la modernité et l’imaginaire, bascule dans le comique (parodie des auteurs du Grand Siècle, désacralisation des héros, sapement des valeurs chevaleresques). En même temps, les figures masculines chutent de leur piédestal en engendrant une modification des représentations du féminin.Dans la première moitié du XIXe siècle, les fées et les princesses sont réduites aux stéréotypes de genre : elles sont seulement belles, riches et bienfaisantes. Puis l’esprit fin-de-siècle impose de nouveaux canons, attribuant aux héroïnes les vices de leurs contemporains. Notre thèse dissèque cette vision misogyne afin de montrer comment la crainte de l’extinction de la « race » est née : les pouvoirs magiques des fées et la considération qu’on leur porte diminuent ; les princesses constatent que l’heureux dénouement promis n’est plus. Désormais, ces femmes au cœur de glace deviennent la source des souffrances masculines.Notre travail engage également une réflexion sur les perversions au XIXe siècle et démontre comment les auteurs de contes décadents se servent de motifs propres au merveilleux (manducation, servage des héroïnes) afin d’esthétiser la souffrance et la transformer en plaisir. Enfin, les réécritures de « La Belle au bois dormant » sont emblématiques de la fin-de-siècle. Cette princesse endormie incarne à la fois l’intouchable virginité et la pire des perversités. Sa passivité illustre les violences physiques et psychiques que la société lui impose et justifie ; son éveil revendique les droits des citoyennes et annonce le féminisme. / This thesis, taking an inventory of more than one thousand fairies tales written between 1808 and 1920, examines the marvellous’ renewal, an outmoded register facing disenchantment. This study shows how the fairy tale, placing modernity next to imagination, turns to comic (parody of the authors of the XVIIe century, deconsecration of heroes, destruction of chivalrous values). At the same time, male characters fall from their pedestal, making an alteration of the female’s representations.In the first half of the XIXe century, fairies and princesses are reduced to gender stereotypes : they are only beautiful, wealthy and benevolent. But the fin-de-siècle’s mind imposes new models, assigning to heroines the contemporaries’ vices. Our thesis reviews this misogynous representation to show how the fear the “race’s extinction” was born : the fairies’ magic power and the esteem for them decrease; the princesses notice that the promised happy end is not anymore. Henceforth, these ice-hearted women become the origin of male sufferings.Our work develops a thought about perversions in the XIXe century and shows how the decadent authors of tales use marvellous subjects (erotic devouring, serfdom of the heroines), in order to anesthetize suffering and transform it into pleasure. Finally, rewritings of “Sleeping Beauty” are emblematic to the fin-de-siècle. This sleeping princess personifies the untouchable virginity and the worst of the perversities both. Her passivity illustrates the physical and mental violence that society imposes her and justifies; her awakening claims female citizens’ rights and announces feminism.

The goal of this Diploma Thesis was to find out how parents are using the fairy tales stories and folklore traditions, especially in form of using the spooky supernatural beings. By using the available sources, we explored the actual psychological knowledge about the origin and meanings of fairy tales, the processes of their change during the time and anticipations about their usage nowadays. The psychoanalytic theory happens to be very useful in explaining the symbology and meaning of fairy tale. Freud's ideas were also applicable for explication of fear of supernatural beings. Empirical data, obtained by interviewing the families, brought the answers regarding the process of reading the fairy tales and haunting, a parental motivation to these activities, measure of parental understanding of fairy tales and explanations about the children perception of fairy tales and spooky entities too. Key words : meanings of the fairy tales, using of fairy tale, using of spooks as a parenting method