Testun y traethawd hwn yw taith straeon tylwyth teg o'r canon Ewropeaidd i'r Gyrnraeg, gan ganolbwyntio ar waith Charles Perrault, Antoine GalIand, y Brodyr Grimm a Hans Christian Andersen. Mae hwn yn faes yrnchwil cwbl newydd, ac yn bwnc trawsddiwylIiannol sy'n cwmpasu agweddau cymdeithasol, diwylIiannol, testunol a theoretig. Mae'r traethawd yn olrhain sut y cafodd corff canonaidd 0 straeon tylwyth teg ei greu yn y lle cyntaf, yn sefydlu ac yn diffinio corff 0 addasiadau Cymraeg 0 rai o'r straeon hynny, gydag yrndriniaeth destunol ohonynt, ac yn gosod gweithgarwch addaswyr, golygyddion cylchgronau, cyfrolau a chyfresi, cyhoeddwyr ac adolygwyr mewn cyd-destun hanesyddol. Trwy hyn mae'r astudiaeth yn amcanu i ateb pedwar cwestiwn. Y cyntaf yw pa fersiynau sy'n bodoli yn Gymraeg, felly cynhwysir atodiad yn darparu manylion am y corpws yr wyf wedi ei gasglu o'r cyfnod rhwng 1899 a 1991 i ddiben y traethawd hwn. Yr ail yw pwy oedd y cyfranogwyr yn y broses 0 fabwysiadu'r straeon o'r canon, a rhoddir sylw i gyfraniad addaswyr, golygyddion a chyhoeddwyr unigol. Y trydydd yw pam yr aethpwyd ati i ddarparu fersiynau Cymraeg, ac ymdrinnir a gwerth y straeon tylwyth teg, yr angen am lenyddiaeth fyd yn Gymraeg, yr angen am ddeunydd addysgiadol, yr angen i hyrwyddo'r Gymraeg, a'r angen i lenwi bwlch yn y bolysystem lenyddol Gyrnraeg (theori Even-Zohar). Y pedwerydd yw pa strategaethau cyfieithu a ddefnyddir gan yr addaswyr yn eu testunau, a rhoddir sylw i gartrefoli ac estronoli nodweddion (theori Venuti), ac enwau personol cymeriadau (theori Hermans). Mae'r traethawd yn gosod y gweithgarwch a ddisgrifir yng nghyd-destun maes llenyddiaeth plant, llen gwerin, hanes cyhoeddi a datblygiad addysg Gyrnraeg.

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This interdisciplinary, archetypal study considers the numerous adaptation processes and techniques involved in the transposition of the fairy tale from one medium to another, exploring post-2000 adult adaptations and appropriations of ‘Little Red Riding Hood’ across a variety of high-art and popular media, such as advertising, video gaming, and fine art, with a focus on literature and film. As well as examining explicit re-tellings of the tale such as Catherine Hardwicke’s 'Red Riding Hood' (2011), more implicit and intertextual references are discussed, with the intention of acknowledging the pervasive, and at times, unconscious nature of the adaptation process. This can be seen in films like 'The Village' (2004), 'Hard Candy' (2005) and the television series 'Merlin' (2008 - ). As a means of analysing the material I adopt a feminist-Jungian theoretical model which enables the consideration of the mythological and ideological concepts inherent to the works. Specifically, this establishes how Red Riding Hood can be understood as a shifting archetype when compared to her fairy tale sisters such as Snow White, Cinderella, Sleeping Beauty et al, thus allowing for so many diverse portrayals of her character: as the child, the innocent victim, the femme-fatale, and the monstrous feminine. The rationale behind the thesis is threefold; firstly, ‘Little Red Riding Hood’ is typically understood as a cautionary tale, rather than a female quest narrative, therefore, I will explore how the tale is often used as a vehicle for post/feminist issues and/or gender anxieties, providing a commentary on the construction and perception of girls’ and women’s roles in contemporary Western society. Secondly, the work creates a space for the acknowledgement and discussion of unconscious appropriation which has so far remained on the margins of adaptation studies. And thirdly, to establish fairy tales, using ‘Little Red Riding Hood’ as an example, as the ultimate intertext(s), demonstrating how characters, themes and plots are continually (re)appropriated.

Although Rapunzel criticism habitually concerns literary fairytales, this thesis contributes to the field a sustained examination of the feminist and patriarchal uses to which Rapunzel has been put, with close attention to the range of media, forms, and styles into which ‗Rapunzel‘ has been adapted, from 1970 onwards. It argues that each adaptation appropriates ‗Rapunzel‘ to repeat or disturb gender ideologies, and also extends or contracts the scope of the fairytale and its feminism. Underpinned by memetics, selective adaptation and fairytale theories, and Adrienne Rich‘s concept of ‗re-vision‘, individual chapters focus upon redrawing the boundaries of what makes a (feminist) Rapunzel adaptation a (feminist) Rapunzel adaptation. The thesis also examines the difficult question of why Rapunzel motifs or ‗memes‘ have persisted and whether this is due to the power of cultural ideologies or to certain universal human urges to which ‗Rapunzel‘ ostensibly appeals. As what is meant by feminism changes from the 1970s through to the present day, the selected works are considered in terms of terms of second- and third-wave feminism and postfeminism. Chapter 1 (the Introduction) establishes the approach and rationale. Chapter 2 examines the Grimm ‗Rapunzel‘ variants of 1812 and 1857 as a prelude to examining the ideological uses to which Rapunzel is put post-1970. Chapter 3 focuses on how four feminist poets subject the memes and morals of ‗Rapunzel‘ to different feminist revisions, and thereby challenge the patriarchal meanings invested by the Grimms. Chapter 4 extends this work by examining a feminist moral fable, two complex short stories, a psychological novella, and a graphic novel, in order to draw contrasts between celebratory and darker, more disturbing ‗post-fairytale‘ feminist Rapunzels. Demonstrating the many genres and media into which feminist Rapunzels have been translated, several adapters use the tale on behalf of various kinds of individualism and subjectivisation, and suggest a movement toward greater psychological complexity and interiority in their treatment of Rapunzel memes. Chapter 5 focuses on how Rapunzel memes translate to screen in the feminist reworking Rapunzel Let Down Your Hair (1978) and the postfeminist adaptations Barbie as Rapunzel (2002), Shrek the Third (2007), and Disney‘s Tangled (2010) and Into the Woods (2014). Chapter 6, the final chapter, further extends the analysis by examining Rapunzel‘s general prevalence in the cultural imagination, namely in adverts and on television. By assembling and giving fresh analyses of rare and well-known Rapunzel tales, the chapters critique the gender essentialism in fairytales and reinstate Rapunzel as key to fairytale debate. This research has led to the conclusion that post-1970s Rapunzels exemplify how fairytales appropriate or discard memes in accordance with the possibilities of genre and medium, as well as with the changing face of feminism over the last four decades.

Cette thèse a pour objectif de questionner la présence de la figure napoléonienne, près de deux cents ans après la disparition de Napoléon Bonaparte (1769-1821), dans la production culturelle populaire francophone (littérature, bande dessinée, jeux vidéo, publicité) de la fin du XXe siècle et du début du XXIe siècle, sous l’angle de la mythocritique.Dans une démarche diachronique, sont préalablement évoquées les représentations de l’image napoléonienne aux XIXe et XXe siècles, à travers la littérature et la culture populaires (caricatures, chansons, images d’Épinal) afin de mettre en lumière la création du mythe de Napoléon et son évolution à travers les siècles. Nous avons fait le choix de suivre une approche synchronique, tout d'abord, en privilégiant l’étude comparée de romans francophones (uchronies, pastiches…) évoquant le personnage napoléonien. Notre corpus prend aussi en compte l’imagerie contemporaine, par le biais de divers exemples de bandes dessinées et de mangas japonais utilisant la figure de Napoléon Bonaparte, depuis les années 1969 (bicentenaire de sa naissance). Nous nous sommes donnés pour tâche d’illustrer et de documenter, le plus exhaustivement possible, cette présence du mythe afin de l’analyser et de pouvoir en dégager les mythèmes et motifs postmodernes qui la nourrissent.D’autres supports que la littérature populaire sont également convoqués car ils en constituent le vecteur : en effet, nous avons souhaité intégrer à nos travaux l’analyse de publicités ; l’image et la vidéo constituant indéniablement aujourd’hui, une des sources principales des représentations collectives et des mythes de la postmodernité. Dans le but de réaliser des recherches les plus exhaustives possibles, nous avons également souhaité, dans l’ultime chapitre de notre étude, interroger la présence (ou l’absence) de la figure napoléonienne dans les programmes de l’Éducation nationale ou encore les collections et expositions des musées. A travers l’étude approfondie de ce corpus, accompagnée d’un large panorama comprenant notamment l’analyse de la présence de la figure historique de Napoléon Bonaparte dans les jeux vidéo et sa représentation sur de nombreux sites internet, il a été question de mettre au jour les mythèmes-motifs-valeurs contemporains qui émergent aujourd’hui du personnage demeurant mythe, en France, deux cents ans après sa disparition. / The aim of this thesis is to question the presence of Napoleonic figure, nearly two hundred years after the death of Napoleon Bonaparte (1769-1821), in the popular and francophone cultural production (literature, comics, video games, advertising) of the late twentieth century and early twenty-first century, in terms of mythocritique.In a diachronic approach, are previously mentioned representations of Napoleonic image in the nineteenth and twentieth centuries through literature and popular culture (cartoons, songs, images of Epinal) to highlight the creation of the myth of Napoleon and its evolution through the centuries.In a synchronic approach through, first of all, by the comparative study of French novels (uchronies, pastiches...) evoking the figure of Napoleon and then, at the heart of contemporary imagery, through various examples of comics and Japanese manga using the figure of Napoleon Bonaparte, from the years 1969 (bicentenary of his birth), we set ourselves the task of illustrating and documenting as thoroughly as possible the presence of myth in order to analyze and identify the postmodern mythemes that nourish.We are interested not only by popular literature but also other materials which constitute the vector of myth : in fact, we wanted to integrate into our work the advertising analysis; image and video undeniably constitute today a major source of collective representations and myths of postmodernity.In order to make possible the most extensive research, we also wanted in the final chapter of our study, questioning the presence (or absence) of Napoleonic figure in national Education programs or museum collections and exhibitions.Through in-depth study of this corpus, along with a wide panorama including in particular the analysis of the presence of the historical figure of Napoleon Bonaparte in video games and its representation on many websites, the matter was to expose contemporary mythemes and values emerging of the character, which is a myth today, in France, two hundred years after his death.

This thesis examines Andrew Lang’s Fairy Book series (1889-1910) as a material and cultural commodity, thereby re-evaluating neglected or overlooked aspects of its significance as a printed collection of fairy tales. First, it defines the publishing context for fairy-tale collections printed in Britain prior to the publication of The Blue Fairy Book in 1889. As such, Chapter One addresses pervasive claims that Lang’s series systematically revived a waning interest in fairy tales. The chapter first offers context for Lang’s series by providing a bibliographic history of the classic fairy tales – most of which are included in The Blue Fairy Book – in English from 1691 to 1889. It then focuses specifically on the decade of the 1880s to examine types of fairy-tale collections that were available in print prior to the series’ first volume and suggests that the fairy tale as a publishing phenomenon was more prominent in the late nineteenth century than has been assumed. Chapter Two seeks to establish how the diverse literary, cultural, and intellectual course of Lang’s career made him particularly suitable to edit a collection of fairy tales. His academic interests in literature as well as his ongoing study of fairy tales influenced his editorial strategies for The Blue Fairy Book, which then provided a model for the remainder of the series. Chapter Three examines the phenomenon of the “literary series” through an exploration of paratextual elements, such as Longmans’ production, branding, and marketing strategies as well as Henry J. Ford’s book illustrations and designs. The seasonal context in which the books were published provides a further framework for situating Lang’s series within the history of publishing fairy tales in Britain. Chapter Four considers the series’ printings and sales numbers, along with themes that are present throughout the published reception of the series. While Longmans capitalizes on Lang’s name in their branding strategies, in the popular press Lang’s name became synonymous with fairy-tale narratives. Furthermore, the series’ immediate reception challenges more recent scholarly positions regarding the very significant group of translators who contributed towards the series. Finally, Chapter Five recognizes the colonial context of the period and positions interest in fairy tales within the wider nineteenth-century phenomenon of collecting objects and narratives from across the Empire. It further demonstrates how narratives of race and colonialism influenced both text and illustration in the Fairy Books. The conclusion consists of a brief overview of Fairy Book editions that have been produced from 1910 to the present. Not only did the series achieve immediate popularity during its initial publication, but it has also remained in print for over a century. Through an exploration of the series as a material, publishing phenomenon, and by attending closely to presentational devices, this thesis re-examines the cultural significance of Lang’s Fairy Books.

Following the trauma of the Nakba (Catastrophe) of 1948, Palestinians still suffer from constant violations of their rights, land and culture. To fight forgetfulness and denial, some Palestinian folklorists have sought to collect, document, analyse and translate pre-1948 Palestinian folktales. One major example is Speak, Bird, Speak Again (1989), a selection edited by Ibrahim Muhawi and Sharif Kanaana, and its Arabic version Qul Ya Tayer (قول يا طير (2001)). The folktales, told mainly by women, are divided by the compilers into five main groups, following the individual’s life cycle from childhood to old age: Individuals, Family, Society, Environment and Universe. This thesis analyses the folktales in the English and Arabic compilations along with their paratextual elements (introduction, footnotes, afterwords etc) in order to explore the importance of orality and folktales in framing and preserving Palestinian memory and identity. Structured into four chapters, the thesis starts by highlighting the cultural and social roles of storytellers in Palestine, followed by an overview of the religious, social and psychological functions of folktales. It then describes the paratextual elements in the Arabic and English compilations, shedding light on the need to carry out scientifically and academically based documentation of Palestinian folktales. The compilers’ contribution, the thesis argues, reinforces the discourse of cultural resistance and cultural identity affirmation. The thesis takes memory studies as its main theoretical framework. Synthesising various concepts within memory studies, Chapter Two explains relevant ideas for analysing the folktales, such as collective memory, post-memory, cultural/communicative memory and prosthetic memory. The discussion connects memory to a number of generations across time and space, creating a narrative of continuity. This chapter also explores the components of Palestinian collective memory - oral history, language, nationalism and the Nakba; the latter the thesis attempts to situate within the field of memory and trauma studies. The thesis then probes the essential role played by Palestinian women in transmitting and preserving Palestinian memory and cultural identity, and explores their agency both as storytellers and protagonists. Through their roles as mothers, sisters, wives and daughters, and through their narrative skills and humour, women, the thesis argues, engender and gender Palestinian memory and identity. To understand the interconnection between language, cultural and collective identity, Chapter Four highlights the significance of peasantry discourse in the folktales’ pre-1948 setting, creating a site of memory and homeland while triggering nostalgia and collectivity. Folk religion and food culture are important markers of Palestinian cultural identity and memory; hence, religious expressions, folktale characters and food references in the folktales and tellings are also investigated. The thesis highlights the agency of Palestinian women via food culture, and thus their power in promoting long established cultural and social values as well as regenerating cultural memory. This research sheds new light on the role of the Palestinian folklorist, folktales and storytellers, adopting a novel approach that combines memory, trauma, and food studies among others.

L’une des composantes de la littérature orale (chants, contes, proverbes,…) de langue bretonne est la gwerz, chanson traditionnelle à caractère souvent historique et fantastique, se transmettant principalement oralement d’une génération à l’autre.L’étude de la langue utilisée dans ces chants permet de mettre en évidence des niveaux de langues différents : si la marque dialectale du chanteur est généralement bien présente, celle de l’utilisation d’un breton standard, se rapprochant du breton littéraire par ses caractéristiques, l’est tout autant.Quelques personnes en Bretagne, principalement issues de la petite noblesse rurale, se sont adonnées au collectage de sa littérature orale (de langue bretonne), à l’instar des autres pays européens, et ceci dès le début du XIXe siècle. Mme de Saint-Prix (1789 -1869) figure parmi ces précurseurs. Les deux manuscrits inédits qui constituent l’essentiel de sa collection (Manuscrit 1 : 97 folios ; Manuscrit 2 : 45 folios), sont actuellement conservés à la bibliothèque de Landévennec / One of the major forms of oral literature in the Breton language – which includes songs, tales, proverbs and sayings- is the gwerz. This form of traditional song, passing on from one generation to another, most often evidences a historical as well as a fantastic character.Studying the language used in these songs helps highlight the existence of several standards or levels of language; indeed, while the dialectal mark of the interpreter generally makes no doubt, the presence of a form of standard Breton can also be noticed.In the early XIXth century, people in Brittany - similarly to what was taking place throughout Europe - started collecting oral literature in the Breton language. Most of the time they came from the lower rural aristocracy. Mme de Saint-Prix (1789-1869) was among these precursors. The two unpublished manuscripts which make the most part of her collection (MS 1 : 97 folios ; MS 2 : 45 folios) are currently kept in the Landevennec library / Ul lodenn eus al lennegezh dre gomz (kanaouennoù, kontadennoù, lavarennoù,…) brezhonek a zo ar gwerzioù anezhi : da lâret eo kanaouennoù hengounel savet alies a-walc’h diwar fedoù istorel ha burzhudus, ha legadet a-c’henoù a-rummad da rummad.Studiañ ar yezh a gaver implijet er gwerzioù-se a laka war-wel liveoù yezh disheñvel : ma kaver roud eus brezhoneg rannyezhel ar ganerien warni, e weler splann ivez an implij a vez graet gante eus ur yezh all, tostoc’h ouzh ur « standard lennegel ».Ken abred ha deroù an XIXvet kantved, diwar skouer ar broioù europat all, e kroge un nebeut tud e Breizh, o tont peurliesañ eus an noblañs vihan diwar ar maez, da zastum ar pezh a oa da vezañ anvet « lennegezh dre gomz » pelloc’h. En o zouesk e kaver ur plac’h, an Itron de Saint-Prix (1789-1869), a orin eus Kallag, e Kerne-Uhel. An daou dornskrid a ra ar lodennvrasañ eus he dastumadenn (Ds. 1 : 97 f° ; Ds. 2 : 45 f°) a zo miret e levraoueg abati Landevenneg hiziv an deiz