Au début du XIXe siècle s’amorce, en réponse à l’instabilité du monde, une crise de la représentation. Elle se traduit, dans les milieux romantiques, par une écriture de l’ambiguïté que l’on a coutume de désigner sous le nom de fantastique. En marge des visions grotesques ou dissonantes qui caractérisent de nombreux textes hoffmanniens, les récits de Charles Nodier, Joseph von Eichendorff, mais également, en partie du premier Gautier ou de Tieck, mettent en place un fantastique onirique, tirant sur le merveilleux. Touchant à l’intime et révélant les désirs cachés du sujet, cette modalité du fantastique sera appréhendée, à rebours d’une tradition critique qui privilégie l’étude de l’événement, sous l’angle du personnage. L’analyse comparée d’un corpus synchronique composé de contes et nouvelles de l’époque romantique se propose ainsi de contribuer à une poétique du fantastique et d’éclairer la relation qu’entretiennent les romantismes français et allemands .Ce travail fait tout d’abord ressortir la présence de rôles récurrents et de modalités de construction communes. Le récit est centré sur la relation unissant une figure fantastique et un sujet, autour duquel gravitent deux types, l’un donnant corps à l’interprétation surnaturelle, l’autre la rejetant. Le fantastique ne naît cependant pas uniquement de caractéristiques ontologiques, mais résulte d’une manipulation, qui joue sur l’évolution des interactions entre les personnages et sur les liens qui se tissent entre les différents niveaux narratifs. Cette manipulation sert un discours anthropologique et esthétique, qui révèle des points de convergence entre les romantismes français et allemands, esthétiques notamment, mais aussi des divergences profondes, quant à l’évaluation du rêve et de la folie ou des rapports entre littérature et religion. / At the beginning of the 19th century, the instability of the world lead to a crisis of representation and to the development of what Todorv called the fantastic genre. Unlike Hoffmann's grotesque or discordant visions, Charles Nodier's and Joseph von Eichendorff's stories are characterised by a dreamlike fantastic that is close to the supernatural.This kind of fantastic is connected with the intimate life of the subject and reveals their hidden desires. Contrary to traditional criticism, it will not be analysed through the prism of the event, but through the prism of the characters and their relations. By analysing romantic short stories, we aim to contribute to a general fantastic poetry and to shed a new light on the relations between French and German romanticisms. The first part of the study brings out the presence of typical roles and recurrent modalities of character construction: their names, their physical and psychological traits, their idiosyncraties. The fantastic story focuses on the relationship between a fantastic figure and a subject. Two stereotypes evolve around the latter: a character that defends a supernatural interpretation of the facts and a character that questions their reality. The fantastic effect not only results from ontological characteristics, but also from the interactions between the characters and between the various diegetic levels. The study of these interactions reveals a form of manipulation which serves an anthropological and esthetic aim. This is how, it reveals similarities but also differences between French and German romanticisms concerning the relation between literature and religion or the consideration of dreams or madness.

(in English): The diploma thesis deals with the specific conception of body and corporeality in fairy tales, especially with morbid elements which are often reflected as non-fairy tale. The fairy tales of Karel Jaromír Erben, Hans Christian Andersen and Oscar Wilde are the main focus. The thesis also introduces the theory of the Swiss scholar Max Lüthi formulated in The European Folktale: Form and Nature into the Czech context. The thesis is divided into a theoretical and a practical part. The theoretical section provides a complex explication of Max Lüthi's theory of the fairy tale. It examines the main terms that Luthi defined for the fairy tale: One-dimensionality, Depthlessness, Abstract Style, Isolation and Universal Interconnection, Sublimation and All-Inclusiveness. Then the frame of this theory is extended into the field of the authorial fairy tale. The diploma thesis then sums up the differences and the points of contact between those two subgenres using The Story of the Eldest Princess as an example. The practical part focuses on relevant strategies of handling the body and corporeality in fairy tales. The last chapter deals with techniques of breaking the surface of the fairy tale characters' bodies, with internal destruction of the body and with the elements in between. All is...

This thesis focuses on the comparison of two short stories by Angela Carter with the fairy tale on which they are based. It attempts to discern to what extent the author preserved the structure of the fairy tale, as viewed from a linguistic point of view, in her short stories. The thesis also suggests an interpretation of the motivation and effect of the divergences of the structure of the short stories from that of the fairy tale. The three texts are analysed from three points of view: thematic progressions, discourse subjects and cohesive chains, and cohesive ties. Attention is payed first to the description of the individual texts, and then to the comparison of the three texts. The comparison puts emphasis on the distinction between the shorts stories on one hand and the fairy tale on the other hand. The comparison shows that the structure of the fairy tale is to a large extent retained in the short stories, as they share characteristics on all the three levels of analysis. The short stories were found to differ from the fairy tale in two main respects, connected to each other, which influence the differences in their structure: the age of the intended reader, and the context and setting of the story.

The Master's thesis deals with the topic of aggression in children. It focusses on the different kinds of aggression, specifics of aggression in children in their developmental stages, developmental trajectories of aggression, gender differences in aggression, determinants of aggression, theories of origin of gender differences, and international comparisons of aggression. The objectives of the research was to examine specifics of aggression in a Czech sample group, compare Czech results with the results of other countries (Greece, France, Germany, Italy, Turkey, China, India, Venezuela, Colombia, Mexico and Peru), and examine the effect of age, gender, and sibling birth order on aggression. The mean of factors of aggression in the Czech sample was among the smallest of the countries mentioned above. We didn't find any significant difference among groups based on age, gender, or sibling birth order. Keywords: Relational aggression, physical aggression, developmental trajectories of aggression, The Fairy Tale Test

Il était une fois les réécritures de contes, une production particulièrement vivante dans le monde de l’édition aujourd’hui. L’actualisation y est fréquente : petits chaperons rouges et chats bottés se promènent aujourd’hui dans les rues de la ville où ils rencontrent des loups en voiture ou des ogres de l’industrie. La parodie a bien sûr une fonction ludique, mais pas seulement, car en croisant le conte et la ville, ce sont deux univers de références qui se font face et qui se jaugent : les schémas hérités des contes classiques sont revus et corrigés au nom de nouvelles valeurs tandis que le pays des merveilles interroge celui de la réalité, avec son béton, sa circulation et sa logique toute capitaliste, si bien que c’est la ville qui sort finalement révélée de ce passage en féérie. Mais le phénomène est surtout à replacer dans l’histoire du genre. Grâce aux récents travaux de chercheurs re-contextualisant l’émergence du conte de fées sur la scène européenne, l’on s’aperçoit qu’il ne s’agit pas d’une pratique propre à l’époque contemporaine, mais au contraire de ce qui pourrait bien apparaître comme un trait du genre. Perrault déjà, par la scénographie de la vieille conteuse, offrait à son public de citadins des récits pseudo-naïfs l’invitant à dépasser l’illusion d’une parole décrochée pour trouver la « Morale trés-sensée ». Ainsi, par leur caractère polyphonique, les contes entrent moins dans une logique de transmission que de dialogue entre les générations, et pourraient pour cela être considérés comme les mythes de la modernité. / Once upon a time there were rewritten fairy tales, a very dynamic product in today’s publishing world. Updated fairy tales are the most common type: many Little Red Riding Hoods or Pusses in Boots are now walking through cities, meeting wolves who drive cars or ogres running industrial empires. Though parodies may be amusing, fun is not their only function. Intercrossing the urban imaginary with the fairy-tale means putting two referential universes face to face, each one gauging the other: traditional plots, inherited from classic tales, are twisted and corrected to fit new ideologies, and meanwhile the wonderland judges reality, with its concrete, its traffic, and its capitalist logic, so that in the end, it is the city which is reborn of the fairy tale experience. But the phenomenon should be replaced within the history of the genre. Thanks to recent academic studies, we can re-contextualize the emergence of the fairy tale in the European literary stage, and we have to note that updating fairy tales is not a contemporary practice, but could indeed be a generic characteristic. Perrault, already, by the scenography of the old maid telling tales to young kids, offered his urban public falsely naive stories, inviting them to look above the illusion of fiction, in order to find the “Morale trés-sensée”, the very wise moral. Therefore, because of their intrinsically polyphonic nature, fairy tales exist less within a logic of transmission than within a logic of conversation between generations, and for that they should be considered myths of modernity.

This paper closely examines fairy tale films with road movie components, in particular those films featuring female protagonists. The study’s objective is twofold: first, to further develop existing research on the road movie by exploring one of the lesser known constituents of this broad genre and, second, to address gaps in scholarly literature on road movies when it comes to themes in female-led trips and the characterization of travelling females. Through a detailed analysis of the journeys of female characters in recent voyage-oriented fairy tale films—Peter Pan (P.J. Hogan, 2003), Alice in Wonderland (Tim Burton, 2010) and Tangled (Byron Howard and Nathan Greno, 2010)—the investigation shows that these new heroines significantly differ from those of old. Their travels are portrayed as being less difficult, and the traits that they exhibit while on the road, namely fearlessness, rationality and an undying optimism, are rather favourable when compared to those exhibited by former road heroines. Although these protagonists still face characters who wish to impede their movement away from a domestic setting, it is demonstrated that the protagonists are ultimately successful in not only acquiring power in the surroundings that they find themselves in, but also in carrying over their goals and dreams to their own worlds upon their return, privileges that most former road heroines did not have. Ultimately, the study shows that females can be as efficient travellers as males, and in some cases are portrayed as even more competent than their male counterparts.

Este trabalho tem como objetivo acompanhar a trajetória de uma professora de inglês em um projeto em uma escola de Ensino Fundamental da rede municipal de uma cidade do Vale do Paraíba, no estado de São Paulo, na condução de uma unidade didática por ela elaborada para o ensino da língua inglesa a partir de narrativas infantis, neste caso `Os Três Porquinhos. Nesse processo, as narrativas escritas pelos alunos constituem objeto de reflexão e análise pela professora, que os avalia à luz das oportunidades de aprendizagem construídas para os alunos em sala de aula. Participaram do projeto crianças entre 9 e 11 anos, que escreveram suas próprias versões de Os Três Porquinhos, em dois momentos distintos: uma primeira versão em português escrita na primeira aula e uma segunda versão em português e inglês escrita na penúltima aula. Essas produções, bem como a narrativa (em inglês) utilizada nas aulas, foram analisadas pelos preceitos da Gramática Sistêmico-Funcional, à luz de Halliday (1985/1994 e seguidores), principalmente Christie (2005) e Gouveia (2008 e 2009). Os critérios para a análise de histórias envolvem as seguintes categorias: as referências (endofórica); o tema e a progressão temática; a densidade lexical; o uso de terceira pessoa, o conhecimento sistemático da língua na produção de narrativa, significados experienciais que envolvem os processos: os mentais, materiais, comportamentais, existenciais, verbais e relacionais, e as etapas de organização da narrativa. Os resultados revelam como as narrativas analisadas apresentam as características sistêmicas identificadas e discutidas na literatura e a maioria dos estágios e elementos fundamentais para sua organização textual. Conhecer essas características pode embasar a decisão do professor de língua estrangeira com referência não somente quanto ao o quê ensinar, mas também, e, sobretudo, quanto ao como ensinar os conteúdos dos diversos programas de ensino de línguas estrangeiras, a fim de colaborar no aperfeiçoamento da produção escrita dos aprendizes. / This study aims at following the trajectory of an English teacher in a project in a state elementary school in a city of Vale do Paraíba, São Paulo, in conducting a teaching unit based on a fairy tale, in this case, `The Three Little Pigs. In this process the stories written by the students constitute the object of reflection and analysis for the teacher, who evaluates them in the light of learning opportunities built for students in the classroom. Participated in the project children aged 9 to 11, who wrote their own versions of The Three Little Pigs, in two different moments: the first version written in Portuguese in the first class, and a second version written in Portuguese and English in the 6th class (one before the last). These productions, as well as the story (in English) used in class, were analysed in the light of Systemic-Functional Grammar, as discussed by Halliday (1985/1994 and his followers), mainly by Christie (2005) and Gouveia (2008, 2009). The criteria for analysing stories involve the following categories: references (endophoric), theme and thematic progression, lexical density, the use of third person, systematic knowledge of the language in the production of narrative, experiential meanings involving the processes: mental, material, behavioral, existential, verbal, relational, and organizational stages of the narrative. The results reveal how the systemic features were identified and discussed in the literature in the stories analysed, and most of its fundamental stages and key elements for the text organization. Knowing these characteristics can help the decision of the foreign language teacher with reference not only as to what to teach, but also, and especially as to how to teach the content of the various programs of foreign language teaching in order to collaborate in developing learners written production.

When Peter Jackson sought to adapt J.R.R. Tolkien’s The Lord of the Rings to film, many fans worried about the changes that could be made to such a beloved story. Though the response to the films was generally positive, all three movies did have their detractors. Many of the complaints centered on his badly adapting the source material, specifically the characters. When Jackson released The Two Towers, fans were outraged further by how Jackson had handled Faramir. However, these interpretations of The Lord of the Rings and Faramir are a narrow evaluation of the larger problem facing fan and scholarly communities, that being, the devaluation of Escapism and what Tolkien calls, “escapist texts,” in today’s society. Tolkien claims that the main purpose of escapist texts is that they allow audiences to recover previous experiences that gave them feelings of happiness or joy. Despite criticism of Escapism, escapists texts don’t urge people to abandon their lives and seek something else. Rather, escapist texts encourage audiences to identify with and empathize with the characters represented in these texts, in order to return to their lives and accept responsibility for and connection with other people. When audiences see The Lord of the Rings and Faramir (whether in book form or in film form), they identify and connect with these stories and characters and seek responsibility in their own lives, which brings them, and those around them, hope.

Diplomová práce se zabývá proměnou hodnot v dětské literatuře od obrození k dnešku. Na začátku práce se pojednává o problematice hodnot a o významu dětské literatury pro rozvoj morálního vědomí žáků. Dále se práce zabývá proměnou hodnotové orientace ve společnosti v průběhu sledovaného období. V rámci interpretace děl dětské literatury, která byla dobově nejvýznamnější či nejčtenější, je ukázáno, jak se měnil pohled na morální normy a hodnoty v literatuře pro děti a mládež. V závěru práce jsou porovnány hodnotové rámce napříč zmíněnými tituly s přihlédnutím k subjektivnímu pohledu autora i hodnotové orientaci společnosti. Z výsledků práce jsou pak vyvozeny didaktické závěry, které mohou posloužit jako pomůcka učitelům při výuce občanské výchovy. Abstract The diploma thesis deals with the change of values in children's literature. At the beginning of the thesis the values and the importace of children's literature for pupil's moral development are being discussed. Further on the study is aimed to discuss the change of the oreintation of social values throughout the examined peroids. Within the interpretation of different works of Children's literature (which were the bestsellers or the most frequently read books) is demonstrated how the view of moral codes and values in children's literature has...

This essay highlights The Happy Prince’s advantageous use of conventions of the fairy tale genre to stress critical issues of the Victorian period: the challenge of the established Christian socio-moral order, the rising of the bourgeois industrial society, and the advent of aestheticism as a response. Using the close reading technique supported by the Victorian socio-historical background, the analysis establishes that the criticism proceeds by double associations. Firstly, the clear structure of the tale, enriched by a plethora of aesthetical features and suitable narrative processes, is propitious for children’s access to a message calling for more human generosity. Meanwhile, subtle analogies to the Christian imagery appear blurred by paradoxical elements. This prevents a definite religious interpretation from adults to which those messages are intended. Secondly, in connection with aestheticism, a social and moral criticism takes the form of a satire of the utilitarian vision of the bourgeoisie and a questioning of the common Victorian beliefs: the link between beauty and moral integrity, as well as the moral code of femininity. Finally, the utilitarian discourse and the disapproval of the research for pleasure from beauty merging with a hedonist vision, advocate an “art for art’s sake” free of these respective considerations.