Thesis (Honors)--College of William and Mary, 2009. / Includes bibliographical references (leaves 112-119). Also available via the World Wide Web.

Thesis (doctoral)--Stockholms universitet, 2002. / Added t.p. with thesis statement inserted. Includes bibliographical references (p. 189-196) and index.

Made available in DSpace on 2014-12-17T14:36:43Z (GMT). No. of bitstreams: 1 LiviaCCLM_DISSERT.pdf: 525383 bytes, checksum: a121722089d270d767e9344bad3ff199 (MD5) Previous issue date: 2012-03-29 / This study investigates how the reading of fairy tales can be an instrument for reflection on the bullying phenomenon in the live of students. Its relevance is present the work with literature as an alternative to facilitate the understanding of children and young people about this violence practice, on the basis of the discussion moments, mediated in the classroom. Methodologically based in the principles of qualitative investigation, setting itself as a bibliographic research, and linked to the content analysis in order to make inferences and construct interpretations from the study of tales that encourage discussion and reflection about the bullying theme. In this work were selected the following stories: Cinderella 1812) and a One-eye, Two-eyes, Three-eyes (1812) of Grimm Brothers; John-Slapstick (1837), The Storks (1838), and The Ugly Duckling (1844) of Andersen, to make possible a more explicit interface between literature and the bullying theme, providing fertile material for moments of debate. Was taken as the theoretical reference studies of Eco (2003), Jouve (2002), Zilberman (2003, 2004), Lajolo (2001), Rabbit (2008), Bettelheim (2007), Amarilha (2004), Held (1980), Beaudoin and Taylor (2006), Fante and Stone (2008), Middelton-Moz and Zawadski (2007), Olweus (2006), Jares (2002, 2006), Beane (2010), La Taille (2006, 2009) and Piaget (1994). The analysis demonstrated that the characteristics inherent in the literature allow the realization of readings in which the bullying theme can be discussed among students, to contribute positively in the education of children and young people and reflect about violence. This is possible way, especially because of the involvement promoted by the reading of literary texts, allowing that students see, in fiction, possibilities of change / Este estudo investiga como a leitura de contos de fada pode se constituir um meio para a reflex?o sobre o fen?meno bullying presente na vida de escolares. Sua relev?ncia consiste em apresentar o trabalho com a Literatura como alternativa para favorecer o entendimento, de crian?as e jovens, a respeito dessa pr?tica de viol?ncia, a partir de momentos de discuss?o, mediados em sala de aula. Respalda-se, metodologicamente, nos princ?pios da abordagem qualitativa, configurando-se como uma pesquisa bibliogr?fica, sendo vinculada ? an?lise de conte?do, no intuito de realizar infer?ncias e construir interpreta??es a partir do estudo de contos que favore?a a discuss?o e a reflex?o em torno do tema bullying. Para compor este trabalho foram selecionados os seguintes contos: A Gata Borralheira (1812) e Um-olhinho, Dois-olhinhos, Tr?s-olhinhos (1812), dos irm?os Grimm; Jo?o-Trapalh?o (1837), As Cegonhas (1838) e O Patinho Feio (1844), de Andersen, por possibilitarem uma interface, mais expl?cita, entre a Literatura e o bullying e por serem hist?rias inquietantes e desafiadoras, que proporcionam material fecundo para momentos de debate. Tomou-se como referencial te?rico os estudos de Eco (2003), Jouve (2002), Zilberman (2003, 2004), Lajolo (2001), Coelho (2008), Bettelheim (2007), Amarilha (2004), Held (1980), Beaudoin e Taylor (2006), Fante e Pedra (2008), Middelton-Moz e Zawadski (2007), Olweus (2006), Jares (2002, 2006), Beane (2010), La Taille (2006, 2009) e Piaget (1994). As an?lises mostraram que as caracter?sticas inerentes ? Literatura permitem a realiza??o de leituras em que o tema bullying possa ser discutido entre os alunos, de modo a contribuir na forma??o de crian?as e jovens capazes de refletir sobre a viol?ncia entre pares. Essa alternativa ? poss?vel, especialmente pelo envolvimento promovido pela leitura de textos liter?rios, de maneira a permitir que os alunos enxerguem, a partir da fic??o, possibilidades de mudan?a

J.R.R. Tolkien uses specific linguistic narrative techniques in Smith of Wootton Major to make the world of Wootton Major and the nearby land of Faery come to life for his readers. In this thesis, I examine how Tolkien accomplishes this feat by presenting a linguistic analysis of some parts of the story. My analysis is also informed by Tolkien's own ideas of fairy-stories, and as such, it uniquely shows the symbiotic relationship between Tolkien's theories and his narrative art.

Dissertation (Ph.D.)--The University of North Carolina at Greensboro, 2009. / Directed by Mary Ellis Gibson; submitted to the Dept. of English. Title from PDF t.p. (viewed May 5, 2010). Includes bibliographical references (p. 194-207).

This dissertation investigates the phenomenon of the reworking of children's narrative, generally termed "fairy tales," within the framework of Spanish post-Civil War fiction. It is focused on selected novels by four contemporary women writers whose works are representative of the phenomenon under study. They are: Carmen Laforet (Nada 1944), Ana Maria Matute (Primera memoria 1959), Esther Tusquets ( El mismo mar de todos los veranos 1979) and Carmen Martin Gaite (Caperucita en Manhattan 1990 and La reina de las nieves 1994). / The first three chapters examine generic issues as a preliminary step towards the explanation of the significance of fairy tales to novelists today. To this end, the first chapter tackles the ambiguities surrounding current definitions of the fairy-tale genre to establish dearly the nature of the narrative substructure of the novels of the study. It proposes an alternative approach which lends a chronological dimension to present definitions that are based on stylistic and structural analysis alone. This is followed by a second chapter which explains the recurrence of fairy tales and fairy-tale motifs in the novels by underlining the structural and conceptual similarities between the two genres. The third chapter is devoted to a comparative analysis of the genres under study as a means of isolating minimal recurrent units of the children's narratives and explaining their transformation in the novels. / The last three chapters, based primarily on the findings of the comparative analysis of the fairy tales and their novelistic versions, focus on two important fairy-tale motifs that appear to hold the key to the importance of fairy tales in the novels: The marginalization of the fairy-tale hero and the ambiguous image of the mother-figure as at once evil and benevolent. The fourth chapter therefore concentrates on the various conventions of marginality in the novels and the fifth is dedicated to a study of the structure of the contemporary novel against the backdrop of its transformation of the basic fairy-tale paradigm that traces the development of the hero from a marginalized position to his/her integration into society. The sixth chapter concludes the question of transformations by analyzing the image of the woman in the contemporary novel on the basis of the reworking of the evil stepmother/fairy godmother motif.

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Text in Afrikaans / In die verhandeling word die vergestalting van die sprokiemotief in die tekste, Griet skryf 'n sprokie deur Marita van der Vyver (1992) en Weerkaatsings - 'n sprokie deur Eleanor Baker (1984) nagegaan. Die doel is om vas te stel op watter wyse hierdie "kindgerigte" genre op die literere vlak van die volwasse leser omvorm word. Om hierdie doel te bereik word eerstens 'n begripsverkenning van die sprokie as epiese genre gedoen. In die verkenning van die genre val die soeklig nie net op die Westerse sprokie nie, maar daar word ook gefokus op die inheemse SuidAfrikaanse sprokie. Tweedens word aan die hand van hierdie teoretiese raamwerk 'n noukeurige analise gemaak van die vergestalting van die sprokiemotief binne die twee primere tekste. Die sprokieselemente in Griet skryf 'n sprokie en Weerkaatsings - 'n sprokie word uitgelig en die hantering daarvan vergelykend ondersoek / In the dissertation the manifestation of the fairytale motif in the texts, Griet skryf 'n sprokie by Marita van der Vyver (1992), and Weerkaatsings 'n sprokie by Eleanor Baker (1984) is investigated. The purpose is to ascertain the manner in which this "child-centred" genre is transformed on the literary level of the adult reader. To achieve this goal, a conceptualization of the fairytale as an epic genre is firstly undertaken. In the exploration of the genre, the search light does not only focus on the Western but also on the indigenous South African fairytale. Secondly, by means of this theoretical framework, a detailed analysis is made of the manifestation of the fairytale motif in the two primary texts. The elements of the fairytale in Griet skryf 'n sprokie and Weerkaatsings - 'n sprokie are highlighted and the handling thereof comparatively investigated / Afrikaans & Theory of Literature / M.A. (Afrikaans)

Text in Afrikaans / In die verhandeling word die vergestalting van die sprokiemotief in die tekste, Griet skryf 'n sprokie deur Marita van der Vyver (1992) en Weerkaatsings - 'n sprokie deur Eleanor Baker (1984) nagegaan. Die doel is om vas te stel op watter wyse hierdie "kindgerigte" genre op die literere vlak van die volwasse leser omvorm word. Om hierdie doel te bereik word eerstens 'n begripsverkenning van die sprokie as epiese genre gedoen. In die verkenning van die genre val die soeklig nie net op die Westerse sprokie nie, maar daar word ook gefokus op die inheemse SuidAfrikaanse sprokie. Tweedens word aan die hand van hierdie teoretiese raamwerk 'n noukeurige analise gemaak van die vergestalting van die sprokiemotief binne die twee primere tekste. Die sprokieselemente in Griet skryf 'n sprokie en Weerkaatsings - 'n sprokie word uitgelig en die hantering daarvan vergelykend ondersoek / In the dissertation the manifestation of the fairytale motif in the texts, Griet skryf 'n sprokie by Marita van der Vyver (1992), and Weerkaatsings 'n sprokie by Eleanor Baker (1984) is investigated. The purpose is to ascertain the manner in which this "child-centred" genre is transformed on the literary level of the adult reader. To achieve this goal, a conceptualization of the fairytale as an epic genre is firstly undertaken. In the exploration of the genre, the search light does not only focus on the Western but also on the indigenous South African fairytale. Secondly, by means of this theoretical framework, a detailed analysis is made of the manifestation of the fairytale motif in the two primary texts. The elements of the fairytale in Griet skryf 'n sprokie and Weerkaatsings - 'n sprokie are highlighted and the handling thereof comparatively investigated / Afrikaans and Theory of Literature / M.A. (Afrikaans)

Includes bibliographical references (leaves 119-131) / Text in English with summaries in English and Afrikaans / There are certain influences from the eighteenth and nineteenth century English and German romantic Zeitgeist that can be discerned in Hans Christian Andersen’s fairy tales. The role of the imagination stands out as a particularly dominant notion of the romantic period as opposed to the emphasis on reason during the Enlightenment. It is this romantic influence that Andersen’s tales especially exemplify. For him the imagination is transcendent – one can overcome the mystery and hardship of an earthly existence by recasting situations imaginatively and one can even be elevated to a higher, spiritual realm by its power. The transcendent power of the imagination is best understood by viewing it through the lens of negative capability, a concept put forward by romantic poet, John Keats. The concept implies an “imaginative openness” to what is, which allows one to tolerate life’s uncertainties and the inexplicable suffering that forms part of one’s earthly existence by using the imagination to open up new potential within trying circumstances. In selected fairy tales, Andersen’s child protagonists transcend their circumstances by the power of their imagination. In other tales, nature is instrumental in this imaginative transcendence. The natural world conveys spiritual truths and has a moralising influence on the characters, bringing them closer to the Ultimate Creator. This follows the philosophy of German Naturphilosophie, as well as that of English romantics like Coleridge and Wordsworth, for whom nature functions as a portal to the spiritual world. The concept of the “sublime” underpins this philosophy. If nature is viewed through an imaginative, instead of an empirical lens, it becomes the means by which the temporal world can be transcended. It is a message of hope and as such is in keeping with Andersen’s self professed calling as visionary who uses his art to uplift mankind. In this he is the ultimate romantic hero or outsider who, while standing on the periphery of society, observes its shortcomings and feels called upon to show the way to a better world. / Sekere invloede van agtiende- en negentiende eeuse Engelse en Duitse romantisisme kan in Hans Christian Andersen se feëverhale bespeur word. Veral die rol van die verbeelding staan uit as ‘n dominante invloed van romantisisme, in teenstelling met die laat sewentien- en vroeë agtiende eeuse fokus op rasionaliteit. Dit is hierdie romantiese invloed wat Andersen se verhale veral versinnebeeld. Vir hom is die verbeelding transendentaal – ‘n mens kan die misterie en swaarkry van jou aardse bestaan oorkom deur situasies deur die oog van die verbeelding te bejeën en kan selfs deur die mag van die verbeelding opgehef word na ‘n hoër, meer spirituele vlak. Die transendentale mag van die verbeelding kan beter begryp word wanneer dit deur die lens van “negative capability” gesien word. Hierdie konsep is deur die romantiese digter, John Keats, voorgestel. Die konsep impliseer ‘n verbeeldingryke openheid in die aangesig van aardse onsekerheid en swaarkry, wat die mens uiteindelik in staat stel om nuwe potensiaal in moeilike omstandighede raak te sien. In uitgekose feëverhale, oorkom Andersen se kinderprotagoniste hul moeilike omstandighede deur die mag van die verbeelding. In ander verhale is die natuur deurslaggewend in dié transendentale verbeeldingsreis. Nie net dra die natuur geestelike waarhede oor nie, maar dit het ook ‘n moraliserende invloed op die karakters, wat hulle nader aan ‘n Opperwese bring. Dit herinner aan die Duitse Naturphilosophie, asook die sienswyse van Engelse romantikusse soos Coleridge en Wordsworth, vir wie die natuur ‘n deurgangsroete na die geestelike wêreld is. Die idee van die “sublime” is onderliggend aan hierdie filosofie. As die natuur deur middel van die verbeeldingslens, in plaas van deur ‘n empiriese lens bejeën word, kan dit ‘n manier word om die aardse te oorkom. Dit is dus ‘n boodskap van hoop wat in lyn is met Andersen se selfopgelegde taak as profeet wat sy kuns gebruik om die mensdom op te hef. In hierdie opsig is hy die absolute romantiese held of buitestaander, wat, ofskoon hy aan die buitewyke van die samelewing staan, tóg tekortkominge raaksien en geroepe voel om die weg na ‘n beter wêreld te wys. / English Studies / M.A. (English)