This study examines the use of the fairy tale intertext in contemporary Canadian womens fiction. In using specific fairy tale plots, themes, motifs, and/or characters within their works of fiction, women writers of the twentieth and twenty-first centuries purposefully express their goal for the revival and continuity of the female narrative voice and sense of agency. To explore the fairy tale-fiction relationship, Margaret Atwoods Alias Grace and Anne Hberts Kamouraska are approached from what fairy tale scholar Jack Zipes has constructed as the theory of contamination of the fairy tale genre. The fairy tale genres integration into contemporary fiction represents an important development where fairy tale narratives are critically reread so as to bring out deeper meanings for the contemporary audience. / Comparative Literature

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The author turns to the genre of the domestic film fairy tale, since it is the genre that becomes the leader of Russian box office in the 20s of the 21st century, which actualizes the study of this modern phenomenon. The author proceeds from the thesis that despite all the colorfulness, tricks and computer graphics of the film spectacle, the bright images of the heroes and the thorny path they have passed to victory, to the triumph of good and justice leave a special emotional impact on the mass viewer. The focus of the study is the dramaturgy of the modern domestic film fairy tale on the examples of the films "The Last Knight" (2017), "The Little Humpbacked Horse" (2021) and "By the Pike's Command" (2023), as a basic component of the film's success. Using the method of determining similar elements of the dramatic film structure of the stated fairy tales and relying on the works of V. Propp, as well as the universal structure of plot construction of the film by Blake Snyder, the author attempts to identify the most effective dramatic techniques for creating a modern version of the Russian film fairy tale. The results of the dissertation work are tested in creating the author's synopsis of the film adaptation of the folk tale "The Frog Princess". / Автор обращается к жанру отечественной киносказки, поскольку именно он становится лидером российского проката в 20-х годах 21 века, что актуализирует изучение этого современного феномена. Автор исходит из тезиса, что несмотря на всю красочность, трюки и компьютерную графику кинозрелища, особое эмоциональное воздействие на массового зрителя оставляют яркие образы героев и пройденный ими тернистый путь к победе, к торжеству добра и справедливости. В фокусе внимания исследования – драматургия современной отечественной киносказки на примерах фильмов «Последний богатырь» (2017), «Конек-Горбунок» (2021) и «По щучьему велению» (2023), как базовый компонент успеха фильма. Используя метод определения схожих элементов драматургической киноструктуры заявленных сказок и опираясь на работы В. Проппа, а также универсальную структуру построения сюжетов фильма Блейка Снайдера, автор предпринимает попытку выделить наиболее эффективные драматургические приемы создания современной версии российской киносказки. Полученные результаты диссертационной работы апробируются при создании авторского синопсиса экранизации народной сказки «Царевна-лягушка».

Ce mémoire propose une analyse sémio-narrative d’un corpus de dix-neuf contes merveilleux recueillis auprès des conteurs canadiens-français et canadiens-hurons par l’anthropologue Charles-Marius Barbeau, au début du XXe siècle. Après avoir passé en revue les principales théories dans l’approche sémiotique du conte à partir de Vladimir Propp jusqu’à nos jours, nous avons procédé à une étude narrative du corpus selon la méthode du grand folkloriste russe : cela nous a permis d’en montrer la valeur exceptionnelle mais aussi les limites. Nous avons constaté ainsi que le travail sur un corpus inédit peut mener à l’identification de nouveaux éléments dans la structure du conte merveilleux. En poursuivant nos recherches sur les dix-neuf contes recueillis par Barbeau, nous sommes passée du schéma linéaire, syntagmatique de Propp aux modèles logiques de ses continuateurs, particulièrement celui élaboré par Guy Laflèche. Nos analyses ont mis en évidence non seulement le fait que la structure en miroir est un modèle valide auquel une partie des contes merveilleux se plie parfaitement (d’emblée l’exclusivité du schéma de Propp est mise en question, sinon infirmée), mais aussi que tout conte merveilleux est exceptionnellement organisé, structuré (ce qui confirme la théorie de Claude Bremond conformément à laquelle le récit narratif est une alternance de dégradations et d’améliorations). Enfin, la dernière partie du mémoire est une analyse sémio-discursive de notre corpus qui, au lieu d’être une simple accumulation de listes de mots, d’expressions et de figures, tente d’aborder la structure idéologique, grâce à une étude en parallèle d’un conte du corpus et de deux versions littéraires. / This memoir proposes a semio-narrative analysis of a nineteen-fairy tales corpus collected among French-Canadian and Huron-Canadian storytellers by the anthropologist Charles-Marius Barbeau at the beginning of the XXth century. Firstly, we present the major theories used in the semiotic approach of a fairy tale, starting with Vladimir Propp’s up to the present-day ones; then, by following the method of the great Russian folklorist, we carried out a narrative study of the corpus, which allows us to see both its exceptional value and its limits. Thus, the analysis of a different corpus may lead us to identify new elements in the structure of the fairy tale. Pursuing our research into the nineteen fairy tales of Barbeau’s corpus, we move from the linear, syntagmatic of Propp’s pattern to the logical models of his followers, especially the one developed by Guy Laflèche. Our analyses prove the validity of the mirror-image model that some fairy tales perfectly comply to; thus, the hegemony of Propp’s method is questioned, maybe even invalidated. Furthermore, they prove that every fairy tale is exceptionally well organized, structured (confirming Claude Bremond’s theory according to which a narrative is an alternation of deteriorations and improvements). Finally, the last part of the memoir is a semio-discursive analysis of our corpus that, instead of being a simple accumulation of lists of words, expressions and figures, it tries to tackle the ideological structure through a parallel study of an oral fairy tale and two literary versions.

Master thesis deals with changes of elements, that constitute a fairy tale of the Cinderella in different times, cultural and media contexts. Therefore, thesis analyzes and compares different literal and film renderings of the story based upon morfological composition of the fairy tale and motives and gender stereotypes present in it. Individual features of tales are then processed and divided on archetypal and changeable. Main character, the Cinderella , is also considered, and her common characteristic is documented within gender analysis for every version of the story. Thesis also deals with fairy tale in general, with its definition, characteristic and theory of origin. Fairy tale is then interpreted as a part of folklore creation and as a literary work.

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This diploma thesis deals with the question of how fairy tales affect preschool children. The theoretical part of the work presents the definition, history, development, types and forms of fairy tales, its function and meaning. It also presents the archetypes in fairy tales, the meaning of fairy tales in kindergarten, or the process of reading. Other chapters of the theoretical part of the work characterize the individual developmental periods of the child according to developmental psychology and importance is given mainly to the period of preschool age. The work also deals with the influence of fairy tales on the development of children's thinking, fantasy, attention, memory or communication. The empirical part is processed in the form of qualitative research, the output of which is a project week focused on the importance of fairy tales in a particular kindergarten and interviews with teachers.

The relationship between ballet and fairy tale is by no means a new or unique discovery—to either dance history or literary studies. However, aside from relatively brief mentions of ballets as examples of fairy-tale adaptation, ballet's relevance to fairy-tale studies has been somewhat undervalued. While scholars often relegate ballet to a smaller part in fairy tale's influence through the performing arts, fairy-tale ballet deserves to have its own, independent academic conversation because ballet contributes uniquely to both fairy-tale history and canon. Ballet can be credited with both giving new life to an old tale and creating a brand new one through an amalgamation of formalistic fairy-tale motifs and figures—particularly when it comes to female figures. Through an analysis of nineteenth-century Romanticism, fairy-tale form, and the narratives created by three of the most famous fairy bride ballets--La Sylphide, Giselle, and Swan Lake--we can distinguish how Romantic ballet affects fairy-tale studies because of the special conditions this "feminized" art placed on narrative and character. The pervasion of the fairy bride character and motif in ballet indicates a potentially unique tale type, and these three fairy brides together reveal a different dimension to our view of female fairy-tale characters by actively shaping their own stories according to Romantic values that place them outside of traditional fairy-tale roles. Thus, fairy-tale ballets significantly substantiate Romantic imagination beyond the bounds of literary form, and therefore both emphasize and nuance the fairy-tale female paradigm by making unique contributions to the fairy-tale canon.

The master's thesis identifies markers of national culture in film fairy tales produced in the USA and Russia. The research is devoted to the study of the peculiarities of American and Russian cultures, the identification of the markers of national culture, represented in the film adaptations of fairy tales, as well as the history of the formation of the genre of the fairy tale in the two countries under consideration. The author summarises information from scholarly sources and analyses six film fairy tales screened in the USA and Russia in 2022–2024. The result of the work was a comparative analysis of the identified markers of American and Russian cultures in film fairy tales, which had not previously been the object of interest to researchers. / В магистерской диссертации выявляются маркеры национальной культуры в киносказках производства США и России. Исследование посвящено изучению особенностей американской и русской культур, выявлению маркеров национальной культуры, репрезентуемой в экранизациях киносказок, а также истории становления жанра киносказки в двух рассматриваемых странах. Автор обобщает информацию, полученную из научных источников, проводит анализ шести киносказок, экранизированных в США и России в 2022–2024 гг. Результатом работы стал сравнительный анализ выявленных маркеров американской и русской культур в киносказках, которые прежде не являлись объектом интереса исследователей.

Much like oft-repeated quotes or catchy movie soundtrack tunes, famous illustrations often outweigh and outlast their original contexts and establish themselves as iconic cultural reference points for generations to come. Over the last 100 years in Sweden, John Bauer’s fairy tale illustrations have maintained a strong grip on that nation’s popular imaginary through over thirty reprint editions, museum exhibits, stamp collections, and, of course, stylistic imitations. While their century-old narrative contexts remain relatively unknown and uninteresting to contemporary audiences, his beautifully blonde children, enchantingly ugly trolls, and stark, Swedish landscapes continue to be bought, sold, and validated as embodying a typically Swedish relationship to nature. Why John Bauer’s work has remained so influential over time while the publication they appeared in has faded is a question that many of his biographers have attempted to answer. Harald Schiller, the most thorough of these, claims that “when one sees [his] images in black and white or color, they capture one’s interest to such a degree that there is none left for the text” (152). This essay uses Schiller’s comment as a starting point to pose one answer to this question. By exploring the dynamic potential of the relationship between Bauer’s images and their early twentieth-century contexts, it locates the artist’s appeal over against his narrative guidelines and the historical movements of his time. To this end, its comparative analysis of the textual and visual narratives in the illustrated Swedish fairy tale annual, Bland tomtar och troll (Amongst Gnomes and Trolls) explores how the interplay between the historical pregnancy of its fairy tale stories and the Swedophilic affects of John Bauer’s illustrations contributes to the project of imagining and proliferating a new Swedish national identity at the beginning of the twentieth century. / text