Dress You Up in Scarlet Fine is a collection of poetry which seeks to bring together the diverse elements of landscape and geography, myth and fairy tale, the artistic and the natural, and to reimagine them through the lens of mytho-feminist revision. Through these poems, the speaker unearths the submerged voices of marginalized/outsider characters – wicked witches, ugly stepsisters, small children, and scorned women – and lends a tongue even to the landscapes themselves. What weaves these different threads together is the common language of poetry – imagery, rhythm, story, metaphor, and musicality – and an obedience to what Jose Luis Borges called the "two obligations of poetry: to communicate a precise instance and to touch us physically, as the presence of the sea does¹." / Graduation date: 2012 / Access permanently restricted to the OSU Community at author's request

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.

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.

This diploma thesis focuses on Werich?s fairy tales. The first section deals with fairy tales which are influenced by their authors against the background of folkloric fairy tale. The second section monitors the development of this type of fairy tale from 1870?s to 1960?s by reason of Fimfárum?s first publication. The third part deals with interpretations of single fairy tales from Fimfárum. On the basis of these interpretations the genre constants and author innovations are studied. The fourth section handles with film version of these fairy tales. The last section introduces Deoduši. This book has been recently published and contains less known texts from Werich which were not collectively published by this time.

5 Abstract This thesis deals with fairy tale and its meaning and using in a modern family. The theoretical part focuses on definition of terms fairy tale and family and points on their characteristic signs and functions, briefly mentions development of fairy tale and family throughout history, points at fairy tale in a context of children's thinking and feeling and offers a psychological characteristics of four selected fairy tales. The empirical part applies both quantitative and qualitative methods of processing the data, which were obtained from a questionnaire that was answered by 135 people. Its purpose is to find out the most frequent form of contact of a child with fairy tales, to learn which person reads or tells fairy tales to a child the most often and to show which versions of fairy tales are most common among children. This thesis also analyses opinions of parents on meaning of fairy tales in a life of a child and family and defines the reasons which parents have for reading or nonreading of fairy tales. Using statistics methods, there were shown some significant differences between audiovisual and read/told form of a contact of children with fairy tales, differences were also shown between the groups of mothers and fathers in a frequencies of reading fairy tales to their children and it was...

This essay examines gender normative and patriarchal elements of the popular fairy            tale Sleeping Beauty in order to expose how patriarchal ideals are upheld. The reason for this is that children may internalize the values taught in these stories, which may lead to them perpetuating patriarchal ideals and gender normative behavior. The popular version of this fairy tale, made by Disney, follows many of the typical patriarchal ideals with a strong male hero, a wicked female witch and a weak and submissive young female, close to nature. This is contrasted by a modern retelling by Cameron Dokey that is, in many ways, gender subversive and challenges the traditional gender roles and attributes. This essay finds that the version made by Disney is a product of its time, and portrays ideals from that period that could affect children of today into internalizing archaic patriarchal ideals. Dokey’s version is better adapted to the current socio-cultural environment and succeeds in aligning the story with modern values and provides a better option to teach children the actual values and gender roles of our society. / Denna uppsats undersöker könsnormativa och patriarkala element i den populära sagan Törnrosa, för att blottlägga hur patriarkala ideal upprätthålls. Anledningen till detta är att barn kan internalisera de värderingar som lärs ut i dessa sagor, vilket kan leda till att de upprätthåller patriarkala ideal och könsnormativa beteenden. Disneys populära version av sagan följer många av de typiska patriarkala idealen, med en stark manlig hjälte, en ond kvinnlig häxa och en svag och undergiven ung kvinna, som är nära kopplad till naturen. Denna version kontrasteras av en modern återberättelse av sagan skriven av Cameron Dokey som på många sätt utmanar traditionella patriarkala könsnormer och sttribut. Disneys version är en produkt av sin tid, och porträtterar ideal från den tiden som kan påverka dagens barn att internalisera ålderdomliga könsideal. Dokeys version är bättre anpassad till den nuvarande socio-kulturella miljön och lyckas med att justera historian till att bättre passa moderna värderingar, och framstår som ett bättre alternativ för att lära barn vårat samhälles könsroller och värderingar.

The development of creativity of primary school pupils by fairy-tales.

This summary shows that the positive improvements of creativity are obtained by broadening and deepening the knowledge of fairy tales of primary school pupils in the theoretical and practical level, and by realization of potentialities rendered by teaching means of Lithuanian language for the develpment of divergent thinking and imagination of pupils and nurturance of sense of humour, emotionality and empathy purposefully employing additional educational activities.

Do the Czech movie fairy tales shot before or after the Velvet revolution contain stereotypes concerning the Arab and therefore the Islamic world? After more than a year of research, it is possible to answer this question simply: yes, they do. A total of 172 Czech movie fairy tales had been studied with the help of a thematic analysis (it is more than 250 hours of audiovisual material). Even though such stereotypes are found in both periods of the Czech history, i.e. in the time of a communist non-freedom and a democratic freedom, its type being represented and causes of occurrence differ. Although the opening up of the Czech borders after 1989 brings a partial decrease in the number of stereotypes found within the fairy tales being produced after that point, the frequency of negative connotations linked to the individual characters is on the increase. Key words: fairy tale, Islam, orient, stereotyp

Šiame darbe buvo analizuojami literatūriniai sapnai, remiantis analitiniu, interpretaciniu, naratologiniu, kino teorijos, V. Proppo „Pasakos morfologijos, C. G. Jungo archetipų teorijos interpretaciniais tyrinėjimo metodais. Tyrinėjimo šaltiniai – šiuolaikiniai romanai: norvegės H. Wassmo bei lietuvio L. Gutausko „Septintas susitikimas“ ir „Vilko dantų karoliai“. Šių autorių veikalai pasirinkti dėl juose sutinkamų sapnų parankumo šio darbo tyrinėjimo analizei. Darbe siekta remiantis Prince’o ir Jungo pasiūlytomis technikomis analizuoti literatūrinius sapnus, juos siejant, taikant jiems kinui būdingas sąvokas, sampratas, teorijas siejant sapnus su mitais bei pasakomis. Šiam tikslui pasiekti darbe buvo atliekami tokie uždaviniai: teoriškai formuluota sapno kaip naratyvo samprata, ieškota kino naratyvo principų sapne. Taip pat bandyta atpažinti sapne pasireiškiančius pasakos ar sakmės siužetus ir motyvus, rasti sąsajas tarp mito ir sapno, ieškota archetipinių vaizdinių sapnuose. Toks darbo objektas pasirinktas ne atsitiktinai: svarbus aspektas, kuris skatina rašytojus integruoti sapnus į kūrinio meninę realybę – tai troškimas artikuliuoti komplikuotas šiuolaikinio subjekto patirtis, susijusias su „tiesos“ pažinimu ir jos perteikimu. Įterpti į tekstą sapnai veikia kaip intertekstas, perkoduojantis siunčiamą pranešimą kita „kalba“. Atkodavus sapną, jo reikšmė gali būti vartojama kūrinio prasmės įtaigai stiprinti. Pats literatūrinis sapnas, jį ypač mėgstančių rašytojų kūryboje... [toliau žr. visą tekstą] / In this work in nonintegration way the literary dreams were analyzed, according to analytical, interpretational, narathological, theoretical instruments, offered by Russian formalism, C. G. Jung’s theory of archetypes. The sources of research – 8 literary dreams of Herbjørg Wassmo‘s novel „Septintasis susitikimas“ and Leonardas Gutauskas‘ first part of „Vilko dantų karoliai“. The literary dream itself in the creation of its admirers or when it becomes a basis of the composition structure of creation, constantly attracts the attention of people in literature. So the choice of such an object also determines its topicality in the contemporary scientific world. The works of these authors are chosen due to handiness of dreams for the research analysis of this work. In this work it was tryed, according to technics, offered by Prince and Jung, to analyse the literary dreams, by relating it, applying cinematic concepts, conceptions, theories, relating dreams with myths and fairy-tales. To archieve this goal there were formulated such tasks: to theoreticaly formulate the conception of dream, as narrative, to look for the principles of cinematic narrative in the dream, to recognize the plots and motives of fairy-tale and saga, which come through it, to find the relations between the myth and dream, to look for an archetypical visuals in the dreams. Such an object of work was chosen nonaccidentally: the important aspect, which encourages writers to integrate dreams in artistical reality... [to full text]