The poetics of space is a very interesting field, which has been so far marginalized from the theoretic point of view in comparison with other types of the poetics of literary work. Fragmentary information devoted to this theme has often been hidden in theoretic works that applied the poetics of space to some specific literary works. To be able to start focusing myself on the poetics of space in fairy tales, I had to lay the basis for the poetics of space in the first part of my thesis. The basis is built by the chapters in which I was concerned with the poetics of literary work and where I collected, organized and made transparent actual theoretic information about the poetics of space and its parts, space and place. I used these chapters for the specification of the terms used in my thesis. That specification enabled me to focus on the poetics of space in the fairy tales in the second part of thesis. As my research material I chose Grimms' fairy tales and eight Erben's fairy tales. I used this material to verify the relevance of particular hypotheses. In terms of my research I concerned on topics such as the poetics of space from the wider and the closer point of view, the boundaries of the fairy tales' space, the description and the layout of the space, the main and the side character in the...

I argue that Guillermo Del Toro is a modern day storyteller, writing his film script as Ovid, The Grimms, or even Baum would pen their tales. I expand the idea of intertextuality to include not only conversations, thoughts, architecture, emotions, bodily activity, sounds, and innumerable other signifiers, but also analyzing the film "inter-imagically." By considering the film in this way it encourages a world conversation that can influence socio-political transformations in our world. I use the stories and images in myth, fairy tale and children's literature to support the importance of agency, agency in regard to finding your own voice, determining your own path and taking action by making choices that can ultimately result in transformations that are not only personal, but political ramifications in the world. In Echo and Narcissus, I explore issues surrounding the self-realization and loss of agency through Ofelia's refusal to follow someone else's path, allowing others to silence her voice or her potential. Using Little Red Riding Hood, I assert that Ofelia is the modern Little Red, refusing to take the path of her mother, defining her own way. Using The Wizard of Oz, I highlight the labyrinth of choice and the determination to return, restore or transform Ofelia's world. I further proclaim Del Toro is a master storyteller along the lines of Ovid, Grimm and Baum and that through his film, he inspires adults to get back in touch with the childhood disobedience and questioning in order to spark a world conversation that just may transform the world around us.

This diploma thesis deals with a comparison of works of German and Czech fairy tale authors. The two cultures are represented by the Brothers Grimm and by K. J. Erben. Fairy tales of these authors are analysed from an intercultural point of view. Since each culture has different features, fairy tales of these cultures are written in a different form, as well. The theoretical part of the thesis is based on expert literature on intercultural communication and on the topic of fairy tales. Further sources include literature on the Brothers Grimm and on K. J. Erben. In the practical part, five fairy tales of the Brothers Grimm and five fairy tales of K. J. Erben are analysed and compared. This analysis and comparison represent the core of this thesis, with four different fairy tales chosen of each author and one fairy tale describing the same story.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-02T15:56:18Z No. of bitstreams: 2 Dissertação - Guilherme Weber Gomes de Almeida - 2017.pdf: 3097764 bytes, checksum: 718ad3dde019f4ff71258249cbc7d879 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-02T15:56:39Z (GMT) No. of bitstreams: 2 Dissertação - Guilherme Weber Gomes de Almeida - 2017.pdf: 3097764 bytes, checksum: 718ad3dde019f4ff71258249cbc7d879 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-05-02T15:56:39Z (GMT). No. of bitstreams: 2 Dissertação - Guilherme Weber Gomes de Almeida - 2017.pdf: 3097764 bytes, checksum: 718ad3dde019f4ff71258249cbc7d879 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-04-11 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / The Brothers Jacob and Wilhelm Grimm made a deep research of the culture and folklore from Germany in the XIX century, which is focused on the popular oral tales. The following work focuses on analyzing the construction process of the moral of the Brothers Grimm tales regarding the relation between pagan symbolism and Christian values. In sum, four Brothers Grimm’s tales were analyzed “Snow White” (“Schbeewittchen”), “The Water of Life” (“Das Wasser des Lebens”) e “Rumpelstiltskin” (“Rumpelstilzchen”) (originally published on Kinderund Hausmärchen, from 1812) e “The Pied Piper of Hamelin” (“Die Kinderzu Hameln”) (from DeustscheSagen, published in 1816). The literary analysis considered several important things such as space, time, characters, narrative structure, themes and conflicts. A deep research was necessary to understand the historical evolution of each tale. The literary analysis was done from the Portuguese translation of Kinder- und Hausmärchen, Contosmaravilhososinfantis e domésticos 1812-1815 (2012), translated by Christine Röhring, published by Cosac Naify. The Pied Piper of Hamelin was analyzed from the version translated by American scholar D. L. Ashliman from 2013, which is available in his personal academic web page. The theory base comes from several important scholars, such as Nelly Novaes Coelho (1998), Jack Zipes (2002), Maria Tatar (2004), Karin Volobuef (2011), D. L. Ashliman (2013), among others. / No século XIX, os irmãos Jacob e Wilhelm Grimm realizaram um amplo mapeamento cultural do folclore alemão com ênfase nos contos de tradição oral popular. O trabalho a seguir tem como objetivo analisar o processo de construção da moral dos contos dos irmãos Grimm, tendo em vista a relação entre o simbolismo pagão e os dogmas cristãos. Foram analisados 4 contos dos irmãos Grimm: “Branca de Neve” (“Schbeewittchen”), “A água da vida” (“Das WasserdesLebens”) e “Rumpelstiltskin” (“Rumpelstilzchen”) (publicados originalmente na coletânea Kinder- und Hausmärchen de 1812) e “O Flautista de Hamelin” (“Die KinderzuHameln”) (que consta na obra DeustscheSagen, publicada em 1816). Os contos foram analisados a partir de alguns pontos considerados como relevantes para a construção da moralidade literária: espaço, tempo, personagens, estrutura da narrativa, temática e conflitos. Foi realizada também uma profunda pesquisa de informações importantes para melhor compreender a evolução histórica de cada peça literária em questão. Os contos serão analisados a partir da primeira edição de Contos maravilhosos infantis e domésticos 1812- 1815 (2012), traduzido por Christine Röhrig, publicado pela editora Cosac Naify. O conto “O Flautista de Hamelin” foi analisado a partir das versões traduzidas pelo pesquisador americano D. L Ashliman de 2013 que constam em sua página acadêmica. A fundamentação teórica foi realizada a partir de importantes pesquisadores literários tais como Nelly Novaes Coelho (1998), Jack Zipes (2002), Maria Tatar (2004), Karin Volobuef (2011), D. L. Ashliman (2013), entre outros.

The creative work, Black-Winged Angels, is a collection of nine re-written fairytales. The collection is divided into three sections: Maiden, Mother, Crone and the three stories in each section explore various aspects of these traditional periods in a woman's life. The tales are re-written, or 're-loaded', to offer alternative views of the tales of childhood, to examine other forces that may be at work inside the stories themselves, and the possible consequences of 'living' those tales differently. The exegesis examines the colonisation and reclamation of a range of fairy tales. It traces the historical shift from oral to literary fairy tale traditions, and the ensuing patriarchal rewriting of those fairytales. The exegesis then considers the writing of Angela Carter and Emma Donoghue (specifically The Bloody Chamber and Kissing the Witch, respectively), in terms of how their work in the fairytale genre has both succeeded in, and failed to, avoid a simple inversion of gender with their revisions of the colonised literary fairytales. The exegetical work has grown, in large part, out of the process of critical reflexivity to which I have subjected my creative work. I chose Angela Carter's and Emma Donoghue's works of revisionist fairytales to act as 'bookends' for my own work; Carter as a starting point for fairytale reclamation and Donoghue as a more recent incarnation of the fairytale revisionist. In reflecting on my own work, I often looked back at what these two authors had done, to guide me in the eternal writers' struggle of what to leave in, what to leave out, and where to take the tale.

Partindo-se do pressuposto de que o foco da presente tese, o livro ilustrado de conto de fadas, consiste em um objeto artístico multissemiótico estruturado a partir de três sistemas de linguagem, a saber, a palavra, a imagem e o design, procura-se, aqui, compreender como esses três sistemas se articulam entre si com vistas à geração de sentidos. Por esse motivo, parte-se da semiótica peirciana como fundamentação teórica para perquirir essa questão, com o auxílio de semióticas específicas voltadas à análise da imagem. Assim, procura-se investigar as propriedades semióticas e fenomenológicas dos principais tipos de signos encontrados no seio dessas obras. Entre os objetivos específicos, encontram-se a investigação dos termos da conjugação livro ilustrado/conto de fadas, a construção verbovisual das personagens e ambientes nas obras principais do corpus (Grimm-Janssen e Grimm-Pacovská) e a comparação entre essas obras e as chamadas ilustrações de tradição, integrantes de livros com ilustrações de contos de fadas. Para realizar a leitura das textualidades presentes no corpus principal e expandido, procura-se verificar como cada semiose funciona, de acordo com o eixo ao qual pertence, e como se integra aos signos dos demais códigos, proporcionando uma direção de sentido geral. Parte-se do princípio de que cada interpretação de signos, principalmente aqueles mais ambíguos e com formas mais obscurecidas, consiste em um interpretante dinâmico que ruma em direção a um interpretante final ideal, porém, na realidade, inatingível. A análise das obras nos leva a concluir que as propostas contemporâneas, ao gerarem potencialmente maior estranhamento e suscitarem questionamentos e dúvidas junto ao leitor-visualizador, representam um desafio perceptivo/sensorial e intelectual maior que aquele representado pela ilustração/arte de tradição, gerando potencialmente maior carga de sensação, pensamento e choque. / Based on the assumption that the focus of the present thesis, the fairy-tale picturebook, consists of a multisemiotic artistic object structured upon three language systems, namely word, image and design, the goal of this work is to understand how these three systems articulate with each other by generating meanings. For this reason, the work is based on Peircean semiotics as a theoretical basis to investigate this question, with the help of specific semiotics aimed at image analysis. Thus, it is sought to investigate the semiotic and phenomenological properties of the main types of signs found within these works. Among the specific objectives are the investigation of the terms of the relationship picturebook / fairy tale, the verbal construction of the characters and environments in the main works of the corpus (Grimm-Janssen and Grimm- Pacovská) and the comparison between these works and the so-called traditional illustrations, parts of illustrated fairy tale books. In order to read and understand the textualities present in the main and expanded corpus, we try to verify how each semiosis works, according to the axis to which it belongs, and how it integrates with the signs of the other codes, providing a general direction of meaning. It is assumed that each interpretation of signs, especially those of more ambiguous and more obscured forms, consists of a dynamic interpretant that heads towards an ideal final interpretant that is, in reality, unattainable. The analysis of the works leads us to conclude that contemporary proposals, by generating potentially greater strangeness and raising questions and doubts for the reader-viewer, represent a perceptual / sensorial and intellectual challenge greater than that represented by traditional illustration / art, potentially generating a greater burden of sensation, thought and shock.

This essay seeks to explore the relation between Crimson Bound and the fairy tale from which it derives from. Today, it is common to use fairy tales as a base for new literature, movies and tv-series and therefore it is interesting to study these new additions to our media. By applying Vladimir Propps extensive study of fairy tales to Rosamund Hodges Crimson Bound and the Brothers Grimms Little Red Cap I hope to come to an understanding of the differences and similarities that these two holds. Through this analysis I conclude that Hodges utilizes the functions that Propp states are specific to the fairy tale genre. I also conclude that, although Hodges closely follow the initial structure of Little Red Cap, she deviates from the fairy tale towards the ending. Besides the interesting similarities and the effect of the differences, the roles of the protagonist and the antagonist stands out. Therefore, a portion of this essay delves deeper into how the adaption to the fantasy genre affect these roles as well as how the relationship between then protagonist and antagonist alters due to this.

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

Ce travail de recherche aborde les stratégies épistolaires et communicationnelles de Bettina von Arnim (1785-1859), femme de lettres allemande, pour prendre part aux débats politiques et sociaux pendant la période du Vormärz. Transgressant les frontières sociales, idéologiques, rhétoriques et celles des genres littéraires, Bettina von Arnim a tenté d’influer sur le roi de Prusse, Frédéric Guillaume IV, au moyen de ses correspondances, de ses ouvrages et de son réseau. Bettina von Arnim a élaboré des stratégies de communication et de persuasion pour secouer un système ministériel rigide et réactionnaire, obtenir des réformes politiques et sociales et modeler le souverain selon son idéal du Volkskönig. Cette étude va s’attacher à montrer les mécanismes employés par Bettina von Arnim pour s’immiscer dans un domaine exclusivement masculin, la politique. / This research project explores the activities and works of Bettina von Arnim (1785-1859), a German literary scholar, taking part in the political and social debates of the period ‘Vormarz’. Covering all social boundaries, ideologies, rhetoric and literary styles, Bettina attempted to influence the King of Prussia, Frederick William IV, with her letters, writings and network. Bettina von Arnim fabricated a persuasive communication strategy to disrupt a rigid ministerial system, get political and social reforms, and influence the Sovereign according to her model of the ‘Volkskönig’. This study attempts to show the tactics employed by Bettina von Arnim to infiltrate an exclusively male political structure. / Diese Dissertation beschäftigt sich mit den Brief- und Kommunikationsstrategien von Bettina von Arnim (1785-1859), die vor allem durch ihre Korrespondenz an den politischen und sozialen Debatten im Vormärz teilgenommen hatte. Unter häufiger Missachtung der sozialen, ideologischen und rhetorischen Gewohnheiten sowie der traditionellen Literaturgattungen war Bettina von Arnim bestrebt, dem preußischen König Friedrich Wilhelm IV. Ratschläge zu erteilen. Bettina von Arnim hat Überzeugungsstrategien entworfen, um einen starren und reaktionären Beamtenapparat zu umgehen und wachzurütteln, politische und soziale Reformen zu erzielen sowie das Staatsoberhaupt in Richtung auf ihr Ideal eines Volkskönigs zu beeinflussen. In dieser Arbeit sollen die von Bettina von Arnim verwendeten Mechanismen untersucht werden, wodurch sie sich in die Politik, eine den Männern vorbehaltene Domäne, einzumischen versuchte.

This dissertation has two main aims. The first is to describe or specify the poetics of "own" and "foreign" space in literary work in general and in the fairy tales of K. J. Erben, the Grimm brothers, B. Němcová or L. Bechstein; the second is to analyse and compare the poetics in three spatial pairs the "own" and "foreign" spaces in relation to the main character of the above-mentioned fairy tales representing, namely in the spaces of home and journey, the living and the dead or welfare and poverty. The first part of the thesis is mostly theoretical and is primarily focused on the first set goal, i. e. the description and specification of the poetics of "own" and "foreign" spaces as well as on related phenomena, such as the definition of concepts "space", "own", "foreign", "own and foreign space", "place", "character", "subject of own and foreign space", analysis of the character's relationships to space, evolution of humans relationship to space and their perspective on it in history and literature with a special focus on spatial turn etc. The second, predominantly analytical-comparative part of the thesis, connected mainly with the second set goal of the dissertation, focuses with the help of secondary literature in the field of humanities and specifically selected fairy-tale aspects on the...