This dissertation examines the representation of Africa and Africans in Andrew Lang's Fairy Books (1889-1910) considered to be the first global anthologies of fairy tales. Published at the heyday of the British Empire, they presented Africa and Europe alongside each other to the Victorian-era British audience of the time. As an appraisal of Lang's role as curator/editor, the study interrogates the books as containing representations of Africa from outside of Africa. While the inclusion of tales originating in Africa makes steps towards acknowledging an African story tradition independent of Europe, the editing process shaped the tales through European tale traditions and coloured by colonial perceptions of Africa. Lang's collaborative team of predominantly female translators/adaptors, as both Victorians and women, shaped the texts through their own sensitivities. The images, also created through one pictorial lens by Henry Justice Ford, were informed by imagination rather than fact, and the images were embraced for artistic merit rather than accuracy. The dissertation explores how the representation interplay and slippage between the image and text in this colonial project of ‘fairy tale' created a complex and contradictory single narrative of Africa and Africans. From this new assessment of Andrew Lang's Fairy Books (1889-1910), the dissertation formulates the argument of the cartographic imagination as fairy tale by comparing both the visual and textual components of fairy stories and maps, in addition to how they operate, how they are assembled, and their roles as agents of socialisation. These visual and textual components of fairy stories and maps were two forms of representation that were both used in the 19th century to socialise African people into being ‘productive' colonised citizens. This study models new approaches – cartographic imagination as fairy tale and the image-text relationship – to reinvestigate Victorian representations of Africa and bring a more nuanced understanding and fresh perspective to this area of scholarship.

M.A. / The success of a child's development from egocentricity to a broader socialization largely depends on the experiences of early childhood. The potential formative value of children's literature has repeatedly been proven by research. Being a cornerstone of children's literary heritage, the fairy tale has led to research being done from various perspectives. The tendency towards contemporary versions of traditional fairy tales has brought a new dimension to this genre and offers a field of research which up to now has been unexplored in South Africa. Apart from keeping them commercially viable, the various techniques used in contemporary versions can also transform them into podiums from which ideologies and viewpoints, feminism included, can be conveyed to children. With this in mind the study was undertaken by means of a literature survey. It concentrates on the different aspects concerning typical characteristics and the possible influence of fairy tales on children. Examples of contemporary versions readily available ill South Africa are discussed. The research has shown concern within feminist circles about possible sexist stereotypes which are brought across in children's literature, including traditional fairy tales, and the possible dangers it holds for the socialization of children. The feminist pursuit of a balanced portrayal of women in children's literature has led to the appearance of many contemporary versions of fairy tales in which the image of the traditional passive heroine is transformed, either subtly or radically. Research concerning the impact of these non-sexist versions on children and their acceptance or rejection of it, is limited and the results are inconclusive. The research has also touched upon the polemic surrounding the rewriting of traditional fairy tales in order to accommodate modern viewpoints. The possible danger involving biased interpretation of a diverse traditional literary genre has also been highlighted.

This thesis focuses on a traditional form of fairy tale and its updates as an instrument of Nazi propaganda. The main object of this analysis is a fairy tale as a literary and didactic genre. The diploma thesis consists of a theoretical part and a practical part. The theoretical part introduces general signs of fairy tale genre and main principals of propaganda manipulation in modern history. The practical part focuses on a comparison of selected Grimm brothers 'fairy tales and movie processing of Nazi propaganda. Furthermore, the analysis focuses on didactic intensions, literary and film language and forms of manipulation in a movie as an instrument of propaganda.

Abstract not available

Thesis (Ph.D.)--University of Western Australia, 2007.

Thesis (Ph. D.)--University of Chicago, 1930. / "Reprinted from Folklore fellows communications, no. 90, 1930." Bibliography: p. [11]-27.

M.A. / Hermann Hesse is one of the most widely read and translated German authors of our time. The potential problems for the translator posed by the time gap between the original publication of the source text and a contemporary Afrikaans translation is illustrated by means of an analysis and periodisation of some of his fairy tales. Hesse's fairytales were mainly written during the first quarter of the twentieth century and are in many ways representative of the spirit of the times. The radical changes and developments in a modern age touched all aspects of society and its influence on the corresponding German literary movement of the time, the expressionism, is best summarised by the motto: "Change, renewal and intensification" (Best, 1978:11). The diverse literary styles of this movement can be attributed to the different ways writers responded to these changes. Whereas some writers wanted to bring about change by means of ecstatic destruction, others like Hesse had a more moderate view that change could be brought about by means of an inner process. Alienation was another popular expressionist theme. Hesse did not restrict its use to theme only, but applied it as an alienation technique by using historical romanticism in a modern context. Knowledge of genre, hermeneutics, structuralism, formalism and stylistics is a useful tool for the analysis of the fairytales. An analysis of the potential post modern Afrikaans target reader's philosophy of life will further aid the translator in bridging the gap between source and target cultures. In response to the language crisis at the beginning of the twentieth century, Hesse applied a number of non-verbal style techniques. The musical nature of his prose can be seen as an expressive way of dealing with this problem. His narrative style shows influences of modernism in the way he experiments with perspective and focus in order to distinguish between inner and outer world. Change of focus and perspective often goes hand in hand with a change in register. Hesse's use of archetypes and symbols reflects expressionist bias towards abstraction as does his use of irony as an alienation technique. André Lefevere's emphasis on the importance of the ideology, poetics, frame of reference and language (in this sequence) of the target audience, is illustrated and discussed by means of a comparison of selected source text examples with English and Afrikaans translations. These methods of analysis for the fairytales are then applied to the Afrikaans translation of "Piktors Verwandlungen" and "Der Europäer".

This dissertation critically investigates how German culture is transculturated in Japan and in South Korea and then reproduced in a new form of manga/manhwa. These visual representations are evidence of a long history of German literary transculturation amid Japanese and Korean reading culture. Beginning with moral education materials in the 1880s, I trace the widespread reception of Grimms' fairy tales in East Asia and argue that the success of the translations of the tales was due to the particularly successful fusion of Confucian values with the Western story form. German literature first entered the Japanese reading culture through the Grimms' fairytales as a moral education tool. The reading reception shifted from educational space to private space and Japanese reader began to enjoy the Grimms' fairytales outside of the classroom, which contributed to the spread of German literature. This led to a veritable Grimm boom at the end of the twentieth century, including a corpus of critical analysis by Asian scholars and fairy tale retellings from feminist perspectives that creatively fuse ideas of East and West. The globalization of manga, in turn, contributed to the scholarly discourse in the West, which nourished a rethinking and redeployment of complex borrowing practices between Asian and German literatures. From the impact of Grimms' fairy tales, I trace the reception of the German literature in the Japanese pop literature medium manga and analyze Grimms Manga by the Japanese manga artist Kei Isiyama. Grimms' fairy tales paved the way for the entry of German literature and I investigate Yoko Tawada's works, who writes in Japanese and in German and incorporates fairy tale tropes and the legacy of German romanticism in the age of transnational globalization through her visual descriptive writing. I examine the Japanese author Kouhei Kadono, whose works, I claim, display the romantic themes of the German Romantics and Richard Wagner's nationalistic ideological views of societal changes. I then shift from German literature' influence in Japan to South Korea and I juxtapose the manhwa The Tarot Café with Goethe's Faust to investigate gender roles. After displaying German transculturation in the selected works, I argue that manga contributes to the German classroom as part of a multiliteracies framework in a collegiate language classroom.

No description available.

The Primary objectives of this creative project were the exploration of well-known fairy tales (such as Snow White), and the process of creating interactive jewelry based on my own personal interpretation of these stories. I designed and constructed seven jewelry pieces using traditional metal working techniques along with innovative contemporary surface treatments such as etching, sandblasting and colored pencil decoration. Each piece contained a "surprise" interactive element - some pieces contain moving parts, while others contain small pieces of fabric tape on which sentences are written. These tapes are mechanized to wind up into the ring or pendant.This body of work required a variety of metalsmithing techniques including complex constructions, copper forming, casting, lathe turning, and stone setting. / Department of Art