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In the first quarter of the 20th century, the Czech teacher J. St. Kubín collected far more than 1000 folktales of Czech countrymen, especially in the Giant Mountains. Kubín comprehended the orally passed on folktale as the genuine cultural tradition of ‘unsophisticated’ people. The narrator is the bearer of this tradition, which Kubín defends as autonomous and native against modernism and civic society. Different from Václav Tille, who claimed the literary written origin of folktales, Kubín emphasizes the oral tradition of the folktales. His rich collection shows the internationality of the types of the folktale.

Research problem - This research revolves around the problem: Which characteristic/repetitive pattern formations can be identified in the structure and general content of selected Afrikaans Jakkals en Wolf (Jackal and Wolf) trickster stories. Research aims - Originating from the problem, the primary aim of this research is to identify the structural and content related patterning in the telling of Afrikaans Jackal and Wolf stories in general as well of those particular to the trickster tale/story. The secondary aim of the research is to identify the localisation relating to general content and structure within stories. Research methodology - The structural elements, structural patterns, variation patterns and content were investigated. In order to theorise these patterns, it was necessary to analyse the stories syntagmatically and paradigmatically. For the former, particularly Bremond‟s (1977) action logic was utilised to analyse the action in the stories. The actantial model of Greimas (1966) was used for the paradigmatic analysis of stories and methods of story telling. Existing structural models of the folk tale, oral story, trickster tales and Jakkals en Wolf were also used in the analysis. Examples from the corpus of stories were used to illustrate and substantiate findings. The corpus consists in short out of sound recordings recorded by a project team lead by Du Plessis (1987:8-14), recordings which was done by the researcher in the Murraysburg district in June 2010; Jakkals-en-Wolfstories, told by Dana Niehaus (Niehaus, 2011) as well as stories out of the volumes Die Kaskenades van Jakkals en Wolf (Rousseau, 2011), Die mooiste Afrikaanse sprokies (Grobbelaar en Verster, 2007) and Jakkals en Wolf (Grobbelaar en Verster, 2011). Findings - It was found that unique patterning formations could be identified by the analysis of the corpus Afrikaans oral Jakkals en Wolf trickster tales represent in this study, and that both Bremond‟s action logic and Greimas‟s actantial model add value to describing structure in stories. A consequence of this is that greater appreciation is created in the analyses of stories. / MA (Afrikaans and Dutch), North-West University, Potchefstroom Campus, 2014

Research problem - This research revolves around the problem: Which characteristic/repetitive pattern formations can be identified in the structure and general content of selected Afrikaans Jakkals en Wolf (Jackal and Wolf) trickster stories. Research aims - Originating from the problem, the primary aim of this research is to identify the structural and content related patterning in the telling of Afrikaans Jackal and Wolf stories in general as well of those particular to the trickster tale/story. The secondary aim of the research is to identify the localisation relating to general content and structure within stories. Research methodology - The structural elements, structural patterns, variation patterns and content were investigated. In order to theorise these patterns, it was necessary to analyse the stories syntagmatically and paradigmatically. For the former, particularly Bremond‟s (1977) action logic was utilised to analyse the action in the stories. The actantial model of Greimas (1966) was used for the paradigmatic analysis of stories and methods of story telling. Existing structural models of the folk tale, oral story, trickster tales and Jakkals en Wolf were also used in the analysis. Examples from the corpus of stories were used to illustrate and substantiate findings. The corpus consists in short out of sound recordings recorded by a project team lead by Du Plessis (1987:8-14), recordings which was done by the researcher in the Murraysburg district in June 2010; Jakkals-en-Wolfstories, told by Dana Niehaus (Niehaus, 2011) as well as stories out of the volumes Die Kaskenades van Jakkals en Wolf (Rousseau, 2011), Die mooiste Afrikaanse sprokies (Grobbelaar en Verster, 2007) and Jakkals en Wolf (Grobbelaar en Verster, 2011). Findings - It was found that unique patterning formations could be identified by the analysis of the corpus Afrikaans oral Jakkals en Wolf trickster tales represent in this study, and that both Bremond‟s action logic and Greimas‟s actantial model add value to describing structure in stories. A consequence of this is that greater appreciation is created in the analyses of stories. / MA (Afrikaans and Dutch), North-West University, Potchefstroom Campus, 2014

Le conte provient du fonds culturel universel des peuples et participe à la transmission des savoirs à travers les générations. Comportant d’une façon plus ou moins explicite non seulement des traits culturels mais aussi des traits sociaux et symboliques, le conte populaire a depuis longtemps une place privilégiée dans l’enseignement tant de la langue maternelle que des langues étrangères. Ainsi, de nombreux travaux en didactique des langues s’intéressent à l’emploi du comte pour favoriser la communication et faciliter l’acquisition des structures linguistiques et textuelles de la langue étrangère. Compte tenu de l’importance de certaines formes d’oralité narrative dans la société libanaise, nous supposons que les potentialités culturelles et langagières du conte peuvent judicieusement être mises à profit dans l'enseignement de l'oral en classe de FLE au Liban / The tale is considered as a cultural treasure of peoples and is sometimes a way for the transmission of knowledge. Coming directly from the oral tradition, storytelling is an oral form transmitted from generation to another. Several researchers have studied the importance of storytelling in a favoring of oral communication as a genre that mobilizes the oral structures. We believe that storytelling is an essential teaching aid for teaching of listening in a class of FLE in Lebanon thanks to the specificity of the Lebanese society on the one hand, and the fact that the story retains the characteristics of the oral on the other. With our survey in the FLE class and study of social representations of the tale for Lebanese students, we conclude to the contribution of the valiant tale in learning spoken in a class of FLE in Lebanon

Tim Burtons films are largely thought to be exercises in style over content, and film adaptations in general are largely thought to be lesser than their source works. In this project, I argue that Burtons film <i>Sleepy Hollow</i>, an adaptation of Washington Irvings Legend of Sleepy Hollow, expresses his artistic message, that imagination and the irrational are equally valuable lenses through which to view the world as scientific process and reason are, while simultaneously complicating the thematic concerns of the longstanding myth of the headless horseman, the supernatural versus the natural and the irrational versus the rational, and relating them to his personal anxieties about the parent child relationship. I do so by drawing parallels between the film and its immediate source as well as <i>Sir Gawain and the Green Knight</i>, another chapter in the headless horseman myth, and two horror films from the 1960s. I compare the narrative structure, character relationships, thematic concerns, and cultural anxieties expressed in both the film and <i>Sir Gawain and the Green Knight</i> to demonstrate that the film argues for a worldview allowing the natural and the supernatural and the rational and the irrational to coexist. I also point to the visual references Burton makes to scenes from Roger Cormans <i>The Pit and the Pendulum</i> and Mario Bavas <i>La Maschera del Demonio</i>, illustrating the manner in which they complicate the myths thematic concerns. My argument adds to Hand and McRoys assertion that horror film adaptations are a form of myth-making and to the growing sense that there is more to Burtons art than flashy visuals.

Tim Burtons films are largely thought to be exercises in style over content, and film adaptations in general are largely thought to be lesser than their source works. In this project, I argue that Burtons film <i>Sleepy Hollow</i>, an adaptation of Washington Irvings Legend of Sleepy Hollow, expresses his artistic message, that imagination and the irrational are equally valuable lenses through which to view the world as scientific process and reason are, while simultaneously complicating the thematic concerns of the longstanding myth of the headless horseman, the supernatural versus the natural and the irrational versus the rational, and relating them to his personal anxieties about the parent child relationship. I do so by drawing parallels between the film and its immediate source as well as <i>Sir Gawain and the Green Knight</i>, another chapter in the headless horseman myth, and two horror films from the 1960s. I compare the narrative structure, character relationships, thematic concerns, and cultural anxieties expressed in both the film and <i>Sir Gawain and the Green Knight</i> to demonstrate that the film argues for a worldview allowing the natural and the supernatural and the rational and the irrational to coexist. I also point to the visual references Burton makes to scenes from Roger Cormans <i>The Pit and the Pendulum</i> and Mario Bavas <i>La Maschera del Demonio</i>, illustrating the manner in which they complicate the myths thematic concerns. My argument adds to Hand and McRoys assertion that horror film adaptations are a form of myth-making and to the growing sense that there is more to Burtons art than flashy visuals.

The Girl without Hands: From Folktale and Fairy Tale to Contemporary Novel By Melissa Jane Ashley Abstract The major component of the thesis is an extract from the manuscript, The Girl without Hands, a novelised interpretation of the folktale and fairy tale, The Maiden without Hands. The novel is composed of three books, with point of view structured as shifting third person; most of the story is narrated by the central character, Marina Fischer. The manuscript deploys a variety of fairy tale and folktale related literary techniques, including magic realism, intertextuality, framing, and fantasy. Events span a period of eight years, the action set in rural and urban parts of Queensland and Victoria. On an unsupervised picnic with friends, fourteen year old Marina Fischer’s twin sister Sonia suffers a fatal head injury. Grief-stricken and self-blaming, Marina reacts to the trauma by losing all feeling and movement in her hands. Six months following the accident, Marina seems on the verge of recovery; she attends regular therapy and is protected by her loyal friends, siblings Amelia and Sammy Jones. However, the patina of stability begins to crack when Marina is confronted at the year ten formal by Sonia’s former associates, Kylie Bates and Jody Cutter, also present at her death. Distraught and upset, Marina flees the dance in Jody’s older brother’s car. Seven years later Marina meets Matt Soverign, a gifted hypnotist, who tries to help her regain movement in her hands. They sleep together and Marina unexpectedly falls pregnant. Their son Tristram is born while Matt attends an interstate conference. Thinking a child would help her hands to heal, Marina becomes depressed when she continues to suffer from paralysis. She begins to dwell on memories of her sexual assault the night of the school dance, slowly losing touch with reality. But a phone call from her estranged friend, Amelia Jones, shakes Marina out of her stasis. Her close mate Sammy, who now lives in Melbourne, has fallen dangerously ill. With her relationship in pieces, Marina purchases train tickets for herself and Tristram and embarks upon a spontaneous—though much delayed—journey to reconcile the past. The critical component of the thesis is an essay entitled “The Maiden without Hands: From Folktale and Fairy Tale to Contemporary Novel”. Chapter one, “The Tale is Not Beautiful if Nothing is Added to It,” is a literary survey of cross-cultural folktale and fairy tale variants of the 1200 year old narrative, The Maiden without Hands. I explore academic debate regarding the literary fairy tale’s indebtedness to the oral folktale, discussing Susan Stewart’s notion of the ‘distressed text’ and Lewis Seifert’s theory of ‘nostalgic recuperation.’ Chapter two, “Then the Devil Will Take Me Away,” undertakes a close reading of the Grimm Brothers’ influential but controversial 1857 re-write of The Maiden without Hands narrative. I suggest that Wilhelm Grimm’s suppression of the ‘unnatural father’ episode, found in the traditional folktale, aided the story’s survival in and beyond the nineteenth century, when such themes became taboo. I explore how the Grimms’ aesthetic revisions of folk material—to make them appeal to a middle class audience, including children—helped proliferate stereotyped representations of females and femininity in classic fairy tales. These depictions, I argue, often cause ambivalence in contemporary female readers, however they also instigate creative revisionary projects (such as my own), which seek to explore the residual energy contained in fairy tale texts, while at the same time destabilising their sexual stereotyping. In the last chapter, “The Only Thing She Doesn’t Have is Arms,” I discuss how extensive research into the many incarnations of The Maiden without Hands altered my understanding of the narrative’s symbols, tropes and metaphors, leading to significant changes to the plot of my novel. Citing examples from my text, The Girl without Hands, and comparing and contrasting them with excerpts from variants of the folktale and fairy tale, I analyse my creative interpretation of The Maiden without Hands’ major themes: loss and lack; sexual assault and violation; creativity and writing; and, finally, healing and wholeness.

The Girl without Hands: From Folktale and Fairy Tale to Contemporary Novel By Melissa Jane Ashley Abstract The major component of the thesis is an extract from the manuscript, The Girl without Hands, a novelised interpretation of the folktale and fairy tale, The Maiden without Hands. The novel is composed of three books, with point of view structured as shifting third person; most of the story is narrated by the central character, Marina Fischer. The manuscript deploys a variety of fairy tale and folktale related literary techniques, including magic realism, intertextuality, framing, and fantasy. Events span a period of eight years, the action set in rural and urban parts of Queensland and Victoria. On an unsupervised picnic with friends, fourteen year old Marina Fischer’s twin sister Sonia suffers a fatal head injury. Grief-stricken and self-blaming, Marina reacts to the trauma by losing all feeling and movement in her hands. Six months following the accident, Marina seems on the verge of recovery; she attends regular therapy and is protected by her loyal friends, siblings Amelia and Sammy Jones. However, the patina of stability begins to crack when Marina is confronted at the year ten formal by Sonia’s former associates, Kylie Bates and Jody Cutter, also present at her death. Distraught and upset, Marina flees the dance in Jody’s older brother’s car. Seven years later Marina meets Matt Soverign, a gifted hypnotist, who tries to help her regain movement in her hands. They sleep together and Marina unexpectedly falls pregnant. Their son Tristram is born while Matt attends an interstate conference. Thinking a child would help her hands to heal, Marina becomes depressed when she continues to suffer from paralysis. She begins to dwell on memories of her sexual assault the night of the school dance, slowly losing touch with reality. But a phone call from her estranged friend, Amelia Jones, shakes Marina out of her stasis. Her close mate Sammy, who now lives in Melbourne, has fallen dangerously ill. With her relationship in pieces, Marina purchases train tickets for herself and Tristram and embarks upon a spontaneous—though much delayed—journey to reconcile the past. The critical component of the thesis is an essay entitled “The Maiden without Hands: From Folktale and Fairy Tale to Contemporary Novel”. Chapter one, “The Tale is Not Beautiful if Nothing is Added to It,” is a literary survey of cross-cultural folktale and fairy tale variants of the 1200 year old narrative, The Maiden without Hands. I explore academic debate regarding the literary fairy tale’s indebtedness to the oral folktale, discussing Susan Stewart’s notion of the ‘distressed text’ and Lewis Seifert’s theory of ‘nostalgic recuperation.’ Chapter two, “Then the Devil Will Take Me Away,” undertakes a close reading of the Grimm Brothers’ influential but controversial 1857 re-write of The Maiden without Hands narrative. I suggest that Wilhelm Grimm’s suppression of the ‘unnatural father’ episode, found in the traditional folktale, aided the story’s survival in and beyond the nineteenth century, when such themes became taboo. I explore how the Grimms’ aesthetic revisions of folk material—to make them appeal to a middle class audience, including children—helped proliferate stereotyped representations of females and femininity in classic fairy tales. These depictions, I argue, often cause ambivalence in contemporary female readers, however they also instigate creative revisionary projects (such as my own), which seek to explore the residual energy contained in fairy tale texts, while at the same time destabilising their sexual stereotyping. In the last chapter, “The Only Thing She Doesn’t Have is Arms,” I discuss how extensive research into the many incarnations of The Maiden without Hands altered my understanding of the narrative’s symbols, tropes and metaphors, leading to significant changes to the plot of my novel. Citing examples from my text, The Girl without Hands, and comparing and contrasting them with excerpts from variants of the folktale and fairy tale, I analyse my creative interpretation of The Maiden without Hands’ major themes: loss and lack; sexual assault and violation; creativity and writing; and, finally, healing and wholeness.

The Girl without Hands: From Folktale and Fairy Tale to Contemporary Novel By Melissa Jane Ashley Abstract The major component of the thesis is an extract from the manuscript, The Girl without Hands, a novelised interpretation of the folktale and fairy tale, The Maiden without Hands. The novel is composed of three books, with point of view structured as shifting third person; most of the story is narrated by the central character, Marina Fischer. The manuscript deploys a variety of fairy tale and folktale related literary techniques, including magic realism, intertextuality, framing, and fantasy. Events span a period of eight years, the action set in rural and urban parts of Queensland and Victoria. On an unsupervised picnic with friends, fourteen year old Marina Fischer’s twin sister Sonia suffers a fatal head injury. Grief-stricken and self-blaming, Marina reacts to the trauma by losing all feeling and movement in her hands. Six months following the accident, Marina seems on the verge of recovery; she attends regular therapy and is protected by her loyal friends, siblings Amelia and Sammy Jones. However, the patina of stability begins to crack when Marina is confronted at the year ten formal by Sonia’s former associates, Kylie Bates and Jody Cutter, also present at her death. Distraught and upset, Marina flees the dance in Jody’s older brother’s car. Seven years later Marina meets Matt Soverign, a gifted hypnotist, who tries to help her regain movement in her hands. They sleep together and Marina unexpectedly falls pregnant. Their son Tristram is born while Matt attends an interstate conference. Thinking a child would help her hands to heal, Marina becomes depressed when she continues to suffer from paralysis. She begins to dwell on memories of her sexual assault the night of the school dance, slowly losing touch with reality. But a phone call from her estranged friend, Amelia Jones, shakes Marina out of her stasis. Her close mate Sammy, who now lives in Melbourne, has fallen dangerously ill. With her relationship in pieces, Marina purchases train tickets for herself and Tristram and embarks upon a spontaneous—though much delayed—journey to reconcile the past. The critical component of the thesis is an essay entitled “The Maiden without Hands: From Folktale and Fairy Tale to Contemporary Novel”. Chapter one, “The Tale is Not Beautiful if Nothing is Added to It,” is a literary survey of cross-cultural folktale and fairy tale variants of the 1200 year old narrative, The Maiden without Hands. I explore academic debate regarding the literary fairy tale’s indebtedness to the oral folktale, discussing Susan Stewart’s notion of the ‘distressed text’ and Lewis Seifert’s theory of ‘nostalgic recuperation.’ Chapter two, “Then the Devil Will Take Me Away,” undertakes a close reading of the Grimm Brothers’ influential but controversial 1857 re-write of The Maiden without Hands narrative. I suggest that Wilhelm Grimm’s suppression of the ‘unnatural father’ episode, found in the traditional folktale, aided the story’s survival in and beyond the nineteenth century, when such themes became taboo. I explore how the Grimms’ aesthetic revisions of folk material—to make them appeal to a middle class audience, including children—helped proliferate stereotyped representations of females and femininity in classic fairy tales. These depictions, I argue, often cause ambivalence in contemporary female readers, however they also instigate creative revisionary projects (such as my own), which seek to explore the residual energy contained in fairy tale texts, while at the same time destabilising their sexual stereotyping. In the last chapter, “The Only Thing She Doesn’t Have is Arms,” I discuss how extensive research into the many incarnations of The Maiden without Hands altered my understanding of the narrative’s symbols, tropes and metaphors, leading to significant changes to the plot of my novel. Citing examples from my text, The Girl without Hands, and comparing and contrasting them with excerpts from variants of the folktale and fairy tale, I analyse my creative interpretation of The Maiden without Hands’ major themes: loss and lack; sexual assault and violation; creativity and writing; and, finally, healing and wholeness.