Partindo-se do pressuposto de que o foco da presente tese, o livro ilustrado de conto de fadas, consiste em um objeto artístico multissemiótico estruturado a partir de três sistemas de linguagem, a saber, a palavra, a imagem e o design, procura-se, aqui, compreender como esses três sistemas se articulam entre si com vistas à geração de sentidos. Por esse motivo, parte-se da semiótica peirciana como fundamentação teórica para perquirir essa questão, com o auxílio de semióticas específicas voltadas à análise da imagem. Assim, procura-se investigar as propriedades semióticas e fenomenológicas dos principais tipos de signos encontrados no seio dessas obras. Entre os objetivos específicos, encontram-se a investigação dos termos da conjugação livro ilustrado/conto de fadas, a construção verbovisual das personagens e ambientes nas obras principais do corpus (Grimm-Janssen e Grimm-Pacovská) e a comparação entre essas obras e as chamadas ilustrações de tradição, integrantes de livros com ilustrações de contos de fadas. Para realizar a leitura das textualidades presentes no corpus principal e expandido, procura-se verificar como cada semiose funciona, de acordo com o eixo ao qual pertence, e como se integra aos signos dos demais códigos, proporcionando uma direção de sentido geral. Parte-se do princípio de que cada interpretação de signos, principalmente aqueles mais ambíguos e com formas mais obscurecidas, consiste em um interpretante dinâmico que ruma em direção a um interpretante final ideal, porém, na realidade, inatingível. A análise das obras nos leva a concluir que as propostas contemporâneas, ao gerarem potencialmente maior estranhamento e suscitarem questionamentos e dúvidas junto ao leitor-visualizador, representam um desafio perceptivo/sensorial e intelectual maior que aquele representado pela ilustração/arte de tradição, gerando potencialmente maior carga de sensação, pensamento e choque. / Based on the assumption that the focus of the present thesis, the fairy-tale picturebook, consists of a multisemiotic artistic object structured upon three language systems, namely word, image and design, the goal of this work is to understand how these three systems articulate with each other by generating meanings. For this reason, the work is based on Peircean semiotics as a theoretical basis to investigate this question, with the help of specific semiotics aimed at image analysis. Thus, it is sought to investigate the semiotic and phenomenological properties of the main types of signs found within these works. Among the specific objectives are the investigation of the terms of the relationship picturebook / fairy tale, the verbal construction of the characters and environments in the main works of the corpus (Grimm-Janssen and Grimm- Pacovská) and the comparison between these works and the so-called traditional illustrations, parts of illustrated fairy tale books. In order to read and understand the textualities present in the main and expanded corpus, we try to verify how each semiosis works, according to the axis to which it belongs, and how it integrates with the signs of the other codes, providing a general direction of meaning. It is assumed that each interpretation of signs, especially those of more ambiguous and more obscured forms, consists of a dynamic interpretant that heads towards an ideal final interpretant that is, in reality, unattainable. The analysis of the works leads us to conclude that contemporary proposals, by generating potentially greater strangeness and raising questions and doubts for the reader-viewer, represent a perceptual / sensorial and intellectual challenge greater than that represented by traditional illustration / art, potentially generating a greater burden of sensation, thought and shock.

Habilitationsschrift : Philosophische Fakultät : Bonn, Rheinische Friedrich-Wilhelms-Universität : 1985.

Thesis (M.A. (Hons.))--University of Wollongong, 2006. / Typescript. Includes bibliographical references: leaf 159-171.

Cette étude a pour objet d'analyser les liens entre conte et science-fiction. Nous analyserons un corpus de trois ensembles narratifs particulièrement représentatifs d'un imaginaire contemporain en pleine mutation, en Allemagne (avec les contes des frères Grimm), en Nouvelle-Angleterre (avec les nouvelles de Lovecraft) et en France (avec les récits de Gustave Le Rouge). Nos recherches valoriseront les approches littéraires et les héritages esthétiques qui s’opèrent entre la fin du XVIIIe siècle et le début du XXe siècle, accompagnant la transformation complète du statut de merveilleux dans une civilisation européenne en train de s’industrialiser. Dans cette optique, nous retournerons aux origines des contes et nous nous interrogerons sur la théorie littéraire, plus précisément sur la théorie des genres de la fiction narrative en prose, en diachronie historique. En les prenant pour hypothèses en vue d'analyser les liens entre littérature, influences et aspirations, voilà qui nous amènera à mettre l'accent sur les dispositifs de la mise en forme littéraire du texte de science-fiction, de ses thèmes et de son processus de légitimité littéraire / This study analyzes the links between storytelling and science fiction. We will analyze a corpus of three narrative sets that are particularly representative of a contemporary imagination undergoing radical change: in Germany with the Grimm brothers' tales, in New England with Lovecraft's tales, and in France with Le Rouge Gustave's stories. Our research focuses on the aesthetic legacies and the transformation of the wonder that take place between the end of the 18th century and the beginning of the 20th century

Although Magdeburg cantor Heinrich Grimm was frequently listed among prominent musical figures of the early seventeenth century such as Heinrich Schütz, Johann Hermann Schein, and Michael Praetorius in music lexica through the nineteenth century, he has almost disappeared from modern scholarship. However, a resurgence in Grimm studies has begun in recent years, especially in the areas of biographical study and compositional output. In this study, I examine the yet unexplored music-analytic perspective by investigating the stylistic characteristics of Grimm's 1631 motet, Unser Leben wehret siebenzig Jahr'. Furthermore, I compare his compositional technique to that of his contemporaries and predecessors with the goal of examining the work from both Renaissance and Baroque perspectives.

This essay seeks to explore the relation between Crimson Bound and the fairy tale from which it derives from. Today, it is common to use fairy tales as a base for new literature, movies and tv-series and therefore it is interesting to study these new additions to our media. By applying Vladimir Propps extensive study of fairy tales to Rosamund Hodges Crimson Bound and the Brothers Grimms Little Red Cap I hope to come to an understanding of the differences and similarities that these two holds. Through this analysis I conclude that Hodges utilizes the functions that Propp states are specific to the fairy tale genre. I also conclude that, although Hodges closely follow the initial structure of Little Red Cap, she deviates from the fairy tale towards the ending. Besides the interesting similarities and the effect of the differences, the roles of the protagonist and the antagonist stands out. Therefore, a portion of this essay delves deeper into how the adaption to the fantasy genre affect these roles as well as how the relationship between then protagonist and antagonist alters due to this.

Abstract: Das Bedeutungsfeld der Zeit im literarischen Genre der zur Kurz-Epik hinzugehörenden Volksmärchen und Kunstmärchen wird in dieser literaturwissenschaftlichen Untersuchung in den Mittelpunkt gerückt. Ausgegangen vom aristotelischen Zeitbegriff, der Bewegung und Veränderung als unabdingliche Merkmale der Zeit postuliert, wird nach dem Unterschied des den Märchen der Brüder Grimm und H.C. Andersen jeweils zugrunde liegenden Zeitbegriffs der zeitlich aufeinanderfolgenden Autoren gefragt. Daraus ergibt sich eine durch die close reading Methode gestützte Untersuchung, wie sie die Zeit anhand eines Beispiels aus ihren Werken thematisch, stilistisch und narratologisch organisiert haben. Der strukturalistische Literaturtheorieansatz Gérard Genettes hilft dabei die Komposition aus erzählter Welt und Erzählwelt der Märchen zu begreifen und die Zeitorganisation der vorliegenden Werke nach Ordnung, Dauer und Frequenz zu unterscheiden. Der aus dem erkenntnistheoretischen Ansatz Käte Hamburgers entwickelte Begriff des Epischen Präteritums lenkt das Bewusstsein auch auf  die zugrunde liegenden Rahmenbedingungen der epischen Fiktion in der Dichtkunst und verhelfen die zeitliche Ansprache an die Leser in die Untersuchung mit einzubinden. In der Untersuchung wird auch der Rhythmus als ein Wechselspiel der Zeit entdeckt und ihn als eine ihr dazugehörende Qualität erkannt und miteinbezogen. Als Beispiele wird das Volksmärchen „Die Sterntaler“ und Andersens „Das kleine Mädchen mit den Schwefelhölzern“ nach einem zwischen Form und Inhalt möglich kongruenten Zeitbegriff untersucht. Ein in dieser literarischen Auseinandersetzung entstehendes Begriffsnetz der sich gegenübergestellten Werke unterstützt die Annahme des kulturgeschichtlichen Wandels der Einstellung zur Zeit bei H.C. Andersen gegenüber der der Brüder Grimm und mag zur Diskussion und fortlaufenden Forschung der Literaturgeschichte im Detail beitragen. / <p>Jag skickar det nu en gång till, hoppas det är rätt och kommer fram</p>

Fairy Tales have been an important part of peoples' cultural heritage since time immemorial. From a very early age on, children hear stories about witches, giants, dwarf's, and magicians which make up their first entry into the literary world. Only recently have scholars begun to research just how much influence these stories have on children and how they might have a different impact on girls than on boys. This thesis will investigate the world of fairy tales in relation to their historical context and their differing relevance for male and female readers. I will examine the fairy tales of the brothers Grimm and of Ludwig Bechstein because these three scholars count among the most important fairy tale narrators in the German-speaking region. I will limit my examination to the witch in fairy tales because of all the figures she seems to have the most impact on the audience.

This paper is a study of female liminal developments in a selection of Grimm's fairy tales using van Gennep’s and Lincoln’s theoretical bases. An inductive technique has been used to analyze the results according to the theoretical agendas. To my help I have used Swedish translations of the Grimms’ fairy tales from 1883, 1946, 2003 and 2007. The study shows that the fairy tales of the Brothers Grimm fairy tales display the transition rituals identified by Van Gennep and Lincoln. Assumptions that the female characters in Grimm's fairy tales are representative of women in reality are treated in the paper as well as an analysis of the stories’ contents.

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