This study examines the use of the fairy tale intertext in contemporary Canadian womens fiction. In using specific fairy tale plots, themes, motifs, and/or characters within their works of fiction, women writers of the twentieth and twenty-first centuries purposefully express their goal for the revival and continuity of the female narrative voice and sense of agency. To explore the fairy tale-fiction relationship, Margaret Atwoods Alias Grace and Anne Hberts Kamouraska are approached from what fairy tale scholar Jack Zipes has constructed as the theory of contamination of the fairy tale genre. The fairy tale genres integration into contemporary fiction represents an important development where fairy tale narratives are critically reread so as to bring out deeper meanings for the contemporary audience. / Comparative Literature

In mehreren psychoanalytischen Behandlungen während meiner Weiterbildung stieß ich auf die Tatsache, dass Patienten in ihrer eigenen Entwicklung unter anderem deswegen gehemmt waren, weil sie – in der Regel nicht ohne Grund – unbewusst den Neid eines Elternteils (zumeist des gleichgeschlechtlichen) oder sogar beider Eltern fürchteten. Auch den Eltern war ihr Neid nicht bewusst, was an Hand der bei uns herrschenden Vorstellungen, wie Eltern zu sein haben, durchaus erklärbar ist: Eltern haben in der deutschen Familie für ihre Kinder nur Gutes im Sinn und wollen nur deren „Bestes“. Neidgefühle im Sinne von „jemandem etwas nicht gönnen“ wären geradezu konträr zu unserem landläufigen Verständnis von Elternsein und etwas, wofür man sich als Vater oder Mutter schämen müsste, nicht zuletzt vor sich selbst. Etliche Gespräche mit Weiterbildungskollegen und Freunden haben mir gezeigt, dass gerade die Eltern meiner Generation (der Nachkriegskinder, ich bin Jahrgang 1951) in dieser Hinsicht sicher hart mit sich selbst zu kämpfen hatten. Denn als wir geboren wurden, hatten unsere Eltern (sofern sie als Paare überhaupt einander erhalten geblieben waren) eine Spätadoleszenz mit Krieg und Flucht, das heißt, Todesangst, Überlebenskampf, Hunger, jahrelangen Entbehrungen und schweren Verlusten, unter Umständen auch Traumatisierungen hinter sich und obendrein das beklemmende Gefühl, als Jugendliche verblendet und missbraucht worden und letztlich an allem „selber schuld“ zu sein. Was es für die Generation dieser Eltern bedeutet haben mag, zu sehen, wie ihre eigenen, in Frieden und relativem Wohlstand aufgewachsenen Kinder ihre Jugend damit verbrachten, sich nie gekannte Freiheiten herauszunehmen und obendrein die Eltern gründlich vor den Kopf zu stoßen (was sie sich nie hatten herausnehmen dürfen) und anzuklagen, lässt sich schwer ermessen. Zunächst skizziere ich einige Fälle, die sich mir aus dem klinischen Alltag eingeprägt haben und beschäftige mich dann mit dem Elternneid in populärpsychologischer Literatur, in der Belletristik und im Märchen. Im Anschluss gebe ich eine Zusammenfassung meiner eigenen psychoanalytischen Sichtweise von Neid an sich. Danach beschäftige ich mit einigen Arbeiten, in denen ich in der Tat den Elternneid beachtet fand. Der vorletzte Abschnitt referiert den „etwas anderen“ Blick auf den Ödipus-Mythos und das ödipale Krise in der kindlichen Entwicklung. Der letzte Abschnitt behandelt einen neueren Beitrag zu einer für unsere Berufsgruppe wichtige Variante: Der Neid des Therapeuten auf den sich entwickelnden oder in irgendeiner Hinsicht ohnehin bevorzugten Patienten.

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Diplominiame darbe nagrinėjama pasaka, kaip meninis/socialinis reiškinys. Keliamas tikslas – remiantis pasakų prasmės analize, parodyti kaip transformuojamas pasakų pasaulis iš žodinio į vaizdinį, bei sukurti animuotą pasaką. Šio tikslo siekiama aiškinantis pasakų reikšmę ir prasmę, bei aptariant absurdo pasakos žanrą, pasirinktą kūrybiniam projektui.Kūrybinėje darbo dalyje sukurtas mišrių technologijų animacinis filmas pagal Gabrieliaus Mackevičiaus absurdo pasaką „Senelis“. Filmas sukurtas koliažo technologijos principu, remiantis popartu, bei absurdo teatrui būdingais lėliškais – mechaniškais judesiais. / In this bachelor’s work fairy-tale is studying, like artistic/social phenomenon. Raising a goal – with reference fairy-tale’s meaning analysis, to show how fairy-tale’s world it is transformed from verbal to visual, and to create animated fairy-tale. This goal is reaching by explaining fairy-tales meaning and sense, and discussing absurdity tale genre, taken for creative project. In the creative part of this project mixed technology animated cartoon was made by Gabrielius Mackevičius absurdity fairy-tale „Senelis“. Animated cartoon was created using collage technology, in accordance with pop art and Absurdity Theater typical puppet – mechanical movements.

Baigiamajame magistro darbe apžvelgiami pasakos „Eglė žalčių karalienė“ mitologiniai ir tautosakiniais niuansai, šią pasaką vertina kaip viena svarbiausių lietuvių ir daugelio kitų šalių mitą, kuris apima visą Dievų panteoną, pasakoja žmogaus, vandens ir žemės pradžios istoriją. Šis mitas glaudžiai susijęs su žalčio, kaip šeimos saugotojo ir globėjo kultu, todėl aptinkama daug skirtingų šios pasakos variantų ir tęsinių įvairių kultūrų mitologijoje. Remiamasi tik lietuvių autorių atlikta šios pasakos analize. Pagrindinė pasakos analizė skirta šios pasakos atsiradimo ir dominavimo įvairiose pasaulio kultūrose ir variantų gausumo problemai. Apsistojama ties mitologiniu „Eglė žalčių karalienė“ kontekstu, lyginant ją su kūrybiniam darbui pasirinkta pasaka „Dvylika brolių juodvarniais lakstančių“, nagrinėjant šios pasakos interpretaciją teatre remiamasi Vitalijaus Mazūro spektakliu „Eglė žalčių karalienė“ (2007). / The myth overlooks entire Gods pantheon, talks about mankind’s, water’s and earth’s origin stories. This folk tale is valued as one of the most important Lithuanian myths which is as much valued in other countries, so the final paper of masters degree overlooks folk tale „Eglė the queen of serpents“ mythological and folk shadings. In mythological culture many other versions of this tale can be seen, that is because this myth is closely associated with serpents, as a family guardian cult. Only Lithuanian author’s analyses of the folk tale are used in this final paper. The main analyses of the folk tale are dedicated to analyze the folk tales origins and domination in many cultures of the world. Vitalijus Mazuras play “Eglė the queen of serpents” (2007) is used in other to analyze folk tales interpretation in theatre, while mythological context of the folk tale “Eglė the queen of serpents” is used in other to compare it with the tale “The Twelve Brothers, Twelve Black Ravens”.

The present study is a reading of the folkloric fairy-tale poem The Swain (Mólodets) (1924) by the Russian Modernist poet Marina Tsvetaeva (1892-1941). The poem represents a high point in Tsvetaeva’s experiments with Russian folk art, and it is thoroughly folkloric in its theme, forms of writing and poetic language. At the same time, the poem can be linked to the attraction to folk art as a locus of the Sublime in literary tradition, which originates in German Romanticism, and finds its echoes in Russian Modernism. This study seeks to show that Tsvetaeva’s exploration of folk art in the poem was inspired by a quandary linked to the Sublime; namely the paradoxical question how to present in art what is too great to be represented. The poem is read as an image and an illustration of the poet’s understanding of the means of presenting the unrepresentable. Tsvetaeva renders the tale as an uncanny story about a horrifying elemental force. She seeks to avoid representation by bringing out the story in a poetic performance, which has the character of a lyrical drama, where the voices of the characters speak and sing in a direct manner. Within the canvas of the folkloric performance, the poet explores poetic language to render the Sublime. She experiments with secondary meanings in order to bring out a language, which at the same time is “secret” and “literal”, and where the element can be made present in its sublimity.

瑪格莉特•愛特伍《使女的故事》可視為是對童話故事的改寫，其採用了童話故事的結構及特色，並且印證了女性透過改寫可展現的顛覆力量。自從1970年代起，女性主義評論家對於傳統童話故事的批評主要可分為兩派，相對於早期評論家總是對童話故事中性別刻板印象的描述多所責難，後期的評論家漸漸傾向將童話故事視為是可提供重新詮釋或改寫的場域。對於小說作者愛特伍而言，童話故事中隱含了許多潛在的矛盾及反動的因素，而這些因素就構成了可供改寫並加以顛覆的空間。透過小說互涉的技巧，愛特伍不只是探究隱含在童話故事中的性別政治議題，同時也將其中的反動因子加以放大，並且加以改寫顛覆。 本文將探討《使女的故事》這本小說對於童話故事以及聖經的改寫以及顛覆。第一章介紹愛特伍、此小說及其與童話故事的關聯性。第二章著重在兩派理論家對於傳統童話故事的爭論（是與父權主義共謀抑或是可提供重新詮釋或改寫的場域），第三章則指出這本小說包含了哪些童話故事的特色，並且探究同時存在於基列政權與童話中的性別議題，也就是父權體制對女性的宰制與壓迫。而第四章分析愛特伍如何藉由突顯出隱含在童話故事中的反動因子，對童話故事以及聖經故事加以解構。最後一章以愛特伍對童話故事的修訂印證了女性重新詮釋或改寫所具有的顛覆力量。 / As a revision of the fairy tale, Margaret Atwood’s The Handmaid’s Tale not only reveals its adoption of the structure and components of fairy tales but also demonstrates the subversive potential for feminist revision of the fairy tale. While classical fairy tales have long rebuked by early feminist critics as conservative and as reinforcing the gender stereotypes, there has been a critical tendency since the 1970s that the genre of fairy tale can be seen as a site of contestation, which offers the opportunities of reinterpretation and revision. Acknowledging that the fairy tale cannot be interpreted one-dimensionally, Atwood unearthes the underlying disturbing elements within classical fairy tales, which constitute the space for feminist reappropriation and subversion. Through the techniques of metafictional writing, Atwood not only explores the sexual politics in fairy tales but also highlights the subversive elements, exaggerates them, and revises the tales. This thesis will discuss The Handmaid’s Tale in terms of its revision of fairy tales and the biblical texts. The first chapter introduces Atwood, the novel, and its relevance to the genre of fairy tale. The second chapter will provide a survey of critical depute on classical fairy tales, such as Perrault’s and the Grimms’, as colluding with patriarchy or as a site of contestation. Chapter Three will point out that this novel can be viewed as a modern fairy tale or a revision of fairy tale in terms of some fairy-tale characteristics and that it explores patriarchal domination and oppression of women not only present in Gilead but also inherent in the fairy tales. Chapter Four will analyze that Atwood explores a subtext that she has found in the tale and deconstructs the dominant discourse of the fairy tale and the Bible. The final chapter will conclude that Atwood’s revision of the fairy tales reveals the subversive potential of feminist reappropriation.

The Girl without Hands: From Folktale and Fairy Tale to Contemporary Novel By Melissa Jane Ashley Abstract The major component of the thesis is an extract from the manuscript, The Girl without Hands, a novelised interpretation of the folktale and fairy tale, The Maiden without Hands. The novel is composed of three books, with point of view structured as shifting third person; most of the story is narrated by the central character, Marina Fischer. The manuscript deploys a variety of fairy tale and folktale related literary techniques, including magic realism, intertextuality, framing, and fantasy. Events span a period of eight years, the action set in rural and urban parts of Queensland and Victoria. On an unsupervised picnic with friends, fourteen year old Marina Fischer’s twin sister Sonia suffers a fatal head injury. Grief-stricken and self-blaming, Marina reacts to the trauma by losing all feeling and movement in her hands. Six months following the accident, Marina seems on the verge of recovery; she attends regular therapy and is protected by her loyal friends, siblings Amelia and Sammy Jones. However, the patina of stability begins to crack when Marina is confronted at the year ten formal by Sonia’s former associates, Kylie Bates and Jody Cutter, also present at her death. Distraught and upset, Marina flees the dance in Jody’s older brother’s car. Seven years later Marina meets Matt Soverign, a gifted hypnotist, who tries to help her regain movement in her hands. They sleep together and Marina unexpectedly falls pregnant. Their son Tristram is born while Matt attends an interstate conference. Thinking a child would help her hands to heal, Marina becomes depressed when she continues to suffer from paralysis. She begins to dwell on memories of her sexual assault the night of the school dance, slowly losing touch with reality. But a phone call from her estranged friend, Amelia Jones, shakes Marina out of her stasis. Her close mate Sammy, who now lives in Melbourne, has fallen dangerously ill. With her relationship in pieces, Marina purchases train tickets for herself and Tristram and embarks upon a spontaneous—though much delayed—journey to reconcile the past. The critical component of the thesis is an essay entitled “The Maiden without Hands: From Folktale and Fairy Tale to Contemporary Novel”. Chapter one, “The Tale is Not Beautiful if Nothing is Added to It,” is a literary survey of cross-cultural folktale and fairy tale variants of the 1200 year old narrative, The Maiden without Hands. I explore academic debate regarding the literary fairy tale’s indebtedness to the oral folktale, discussing Susan Stewart’s notion of the ‘distressed text’ and Lewis Seifert’s theory of ‘nostalgic recuperation.’ Chapter two, “Then the Devil Will Take Me Away,” undertakes a close reading of the Grimm Brothers’ influential but controversial 1857 re-write of The Maiden without Hands narrative. I suggest that Wilhelm Grimm’s suppression of the ‘unnatural father’ episode, found in the traditional folktale, aided the story’s survival in and beyond the nineteenth century, when such themes became taboo. I explore how the Grimms’ aesthetic revisions of folk material—to make them appeal to a middle class audience, including children—helped proliferate stereotyped representations of females and femininity in classic fairy tales. These depictions, I argue, often cause ambivalence in contemporary female readers, however they also instigate creative revisionary projects (such as my own), which seek to explore the residual energy contained in fairy tale texts, while at the same time destabilising their sexual stereotyping. In the last chapter, “The Only Thing She Doesn’t Have is Arms,” I discuss how extensive research into the many incarnations of The Maiden without Hands altered my understanding of the narrative’s symbols, tropes and metaphors, leading to significant changes to the plot of my novel. Citing examples from my text, The Girl without Hands, and comparing and contrasting them with excerpts from variants of the folktale and fairy tale, I analyse my creative interpretation of The Maiden without Hands’ major themes: loss and lack; sexual assault and violation; creativity and writing; and, finally, healing and wholeness.

The Girl without Hands: From Folktale and Fairy Tale to Contemporary Novel By Melissa Jane Ashley Abstract The major component of the thesis is an extract from the manuscript, The Girl without Hands, a novelised interpretation of the folktale and fairy tale, The Maiden without Hands. The novel is composed of three books, with point of view structured as shifting third person; most of the story is narrated by the central character, Marina Fischer. The manuscript deploys a variety of fairy tale and folktale related literary techniques, including magic realism, intertextuality, framing, and fantasy. Events span a period of eight years, the action set in rural and urban parts of Queensland and Victoria. On an unsupervised picnic with friends, fourteen year old Marina Fischer’s twin sister Sonia suffers a fatal head injury. Grief-stricken and self-blaming, Marina reacts to the trauma by losing all feeling and movement in her hands. Six months following the accident, Marina seems on the verge of recovery; she attends regular therapy and is protected by her loyal friends, siblings Amelia and Sammy Jones. However, the patina of stability begins to crack when Marina is confronted at the year ten formal by Sonia’s former associates, Kylie Bates and Jody Cutter, also present at her death. Distraught and upset, Marina flees the dance in Jody’s older brother’s car. Seven years later Marina meets Matt Soverign, a gifted hypnotist, who tries to help her regain movement in her hands. They sleep together and Marina unexpectedly falls pregnant. Their son Tristram is born while Matt attends an interstate conference. Thinking a child would help her hands to heal, Marina becomes depressed when she continues to suffer from paralysis. She begins to dwell on memories of her sexual assault the night of the school dance, slowly losing touch with reality. But a phone call from her estranged friend, Amelia Jones, shakes Marina out of her stasis. Her close mate Sammy, who now lives in Melbourne, has fallen dangerously ill. With her relationship in pieces, Marina purchases train tickets for herself and Tristram and embarks upon a spontaneous—though much delayed—journey to reconcile the past. The critical component of the thesis is an essay entitled “The Maiden without Hands: From Folktale and Fairy Tale to Contemporary Novel”. Chapter one, “The Tale is Not Beautiful if Nothing is Added to It,” is a literary survey of cross-cultural folktale and fairy tale variants of the 1200 year old narrative, The Maiden without Hands. I explore academic debate regarding the literary fairy tale’s indebtedness to the oral folktale, discussing Susan Stewart’s notion of the ‘distressed text’ and Lewis Seifert’s theory of ‘nostalgic recuperation.’ Chapter two, “Then the Devil Will Take Me Away,” undertakes a close reading of the Grimm Brothers’ influential but controversial 1857 re-write of The Maiden without Hands narrative. I suggest that Wilhelm Grimm’s suppression of the ‘unnatural father’ episode, found in the traditional folktale, aided the story’s survival in and beyond the nineteenth century, when such themes became taboo. I explore how the Grimms’ aesthetic revisions of folk material—to make them appeal to a middle class audience, including children—helped proliferate stereotyped representations of females and femininity in classic fairy tales. These depictions, I argue, often cause ambivalence in contemporary female readers, however they also instigate creative revisionary projects (such as my own), which seek to explore the residual energy contained in fairy tale texts, while at the same time destabilising their sexual stereotyping. In the last chapter, “The Only Thing She Doesn’t Have is Arms,” I discuss how extensive research into the many incarnations of The Maiden without Hands altered my understanding of the narrative’s symbols, tropes and metaphors, leading to significant changes to the plot of my novel. Citing examples from my text, The Girl without Hands, and comparing and contrasting them with excerpts from variants of the folktale and fairy tale, I analyse my creative interpretation of The Maiden without Hands’ major themes: loss and lack; sexual assault and violation; creativity and writing; and, finally, healing and wholeness.

The Girl without Hands: From Folktale and Fairy Tale to Contemporary Novel By Melissa Jane Ashley Abstract The major component of the thesis is an extract from the manuscript, The Girl without Hands, a novelised interpretation of the folktale and fairy tale, The Maiden without Hands. The novel is composed of three books, with point of view structured as shifting third person; most of the story is narrated by the central character, Marina Fischer. The manuscript deploys a variety of fairy tale and folktale related literary techniques, including magic realism, intertextuality, framing, and fantasy. Events span a period of eight years, the action set in rural and urban parts of Queensland and Victoria. On an unsupervised picnic with friends, fourteen year old Marina Fischer’s twin sister Sonia suffers a fatal head injury. Grief-stricken and self-blaming, Marina reacts to the trauma by losing all feeling and movement in her hands. Six months following the accident, Marina seems on the verge of recovery; she attends regular therapy and is protected by her loyal friends, siblings Amelia and Sammy Jones. However, the patina of stability begins to crack when Marina is confronted at the year ten formal by Sonia’s former associates, Kylie Bates and Jody Cutter, also present at her death. Distraught and upset, Marina flees the dance in Jody’s older brother’s car. Seven years later Marina meets Matt Soverign, a gifted hypnotist, who tries to help her regain movement in her hands. They sleep together and Marina unexpectedly falls pregnant. Their son Tristram is born while Matt attends an interstate conference. Thinking a child would help her hands to heal, Marina becomes depressed when she continues to suffer from paralysis. She begins to dwell on memories of her sexual assault the night of the school dance, slowly losing touch with reality. But a phone call from her estranged friend, Amelia Jones, shakes Marina out of her stasis. Her close mate Sammy, who now lives in Melbourne, has fallen dangerously ill. With her relationship in pieces, Marina purchases train tickets for herself and Tristram and embarks upon a spontaneous—though much delayed—journey to reconcile the past. The critical component of the thesis is an essay entitled “The Maiden without Hands: From Folktale and Fairy Tale to Contemporary Novel”. Chapter one, “The Tale is Not Beautiful if Nothing is Added to It,” is a literary survey of cross-cultural folktale and fairy tale variants of the 1200 year old narrative, The Maiden without Hands. I explore academic debate regarding the literary fairy tale’s indebtedness to the oral folktale, discussing Susan Stewart’s notion of the ‘distressed text’ and Lewis Seifert’s theory of ‘nostalgic recuperation.’ Chapter two, “Then the Devil Will Take Me Away,” undertakes a close reading of the Grimm Brothers’ influential but controversial 1857 re-write of The Maiden without Hands narrative. I suggest that Wilhelm Grimm’s suppression of the ‘unnatural father’ episode, found in the traditional folktale, aided the story’s survival in and beyond the nineteenth century, when such themes became taboo. I explore how the Grimms’ aesthetic revisions of folk material—to make them appeal to a middle class audience, including children—helped proliferate stereotyped representations of females and femininity in classic fairy tales. These depictions, I argue, often cause ambivalence in contemporary female readers, however they also instigate creative revisionary projects (such as my own), which seek to explore the residual energy contained in fairy tale texts, while at the same time destabilising their sexual stereotyping. In the last chapter, “The Only Thing She Doesn’t Have is Arms,” I discuss how extensive research into the many incarnations of The Maiden without Hands altered my understanding of the narrative’s symbols, tropes and metaphors, leading to significant changes to the plot of my novel. Citing examples from my text, The Girl without Hands, and comparing and contrasting them with excerpts from variants of the folktale and fairy tale, I analyse my creative interpretation of The Maiden without Hands’ major themes: loss and lack; sexual assault and violation; creativity and writing; and, finally, healing and wholeness.