瑪格莉特•愛特伍《使女的故事》可視為是對童話故事的改寫，其採用了童話故事的結構及特色，並且印證了女性透過改寫可展現的顛覆力量。自從1970年代起，女性主義評論家對於傳統童話故事的批評主要可分為兩派，相對於早期評論家總是對童話故事中性別刻板印象的描述多所責難，後期的評論家漸漸傾向將童話故事視為是可提供重新詮釋或改寫的場域。對於小說作者愛特伍而言，童話故事中隱含了許多潛在的矛盾及反動的因素，而這些因素就構成了可供改寫並加以顛覆的空間。透過小說互涉的技巧，愛特伍不只是探究隱含在童話故事中的性別政治議題，同時也將其中的反動因子加以放大，並且加以改寫顛覆。 本文將探討《使女的故事》這本小說對於童話故事以及聖經的改寫以及顛覆。第一章介紹愛特伍、此小說及其與童話故事的關聯性。第二章著重在兩派理論家對於傳統童話故事的爭論（是與父權主義共謀抑或是可提供重新詮釋或改寫的場域），第三章則指出這本小說包含了哪些童話故事的特色，並且探究同時存在於基列政權與童話中的性別議題，也就是父權體制對女性的宰制與壓迫。而第四章分析愛特伍如何藉由突顯出隱含在童話故事中的反動因子，對童話故事以及聖經故事加以解構。最後一章以愛特伍對童話故事的修訂印證了女性重新詮釋或改寫所具有的顛覆力量。 / As a revision of the fairy tale, Margaret Atwood’s The Handmaid’s Tale not only reveals its adoption of the structure and components of fairy tales but also demonstrates the subversive potential for feminist revision of the fairy tale. While classical fairy tales have long rebuked by early feminist critics as conservative and as reinforcing the gender stereotypes, there has been a critical tendency since the 1970s that the genre of fairy tale can be seen as a site of contestation, which offers the opportunities of reinterpretation and revision. Acknowledging that the fairy tale cannot be interpreted one-dimensionally, Atwood unearthes the underlying disturbing elements within classical fairy tales, which constitute the space for feminist reappropriation and subversion. Through the techniques of metafictional writing, Atwood not only explores the sexual politics in fairy tales but also highlights the subversive elements, exaggerates them, and revises the tales. This thesis will discuss The Handmaid’s Tale in terms of its revision of fairy tales and the biblical texts. The first chapter introduces Atwood, the novel, and its relevance to the genre of fairy tale. The second chapter will provide a survey of critical depute on classical fairy tales, such as Perrault’s and the Grimms’, as colluding with patriarchy or as a site of contestation. Chapter Three will point out that this novel can be viewed as a modern fairy tale or a revision of fairy tale in terms of some fairy-tale characteristics and that it explores patriarchal domination and oppression of women not only present in Gilead but also inherent in the fairy tales. Chapter Four will analyze that Atwood explores a subtext that she has found in the tale and deconstructs the dominant discourse of the fairy tale and the Bible. The final chapter will conclude that Atwood’s revision of the fairy tales reveals the subversive potential of feminist reappropriation.

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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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Summery This thesis deals with the issue of translation Milos Macourek's fairy tales into Polish. The starting point for the analysis is a comparison of two versions of a translation of selected texts. The author of the first one is Marie Erhardtowa, the second version is translated by Herman Grzeszczyk and Andrzej Kulikowski. The first part of the thesis is a theoretical preparation which explains the basic questions of literary translation. The main goal of the practical part of this thesis is to determine the target groups of readers, followed by an analysis of the particular translation issues.The conclusion contains a summary of findings and an assessment of individual translation in terms of adequacy.

Understanding transmedial storytelling is particularly important to fairy-tale studies. Monomedial views have long been unable to account for all of fairy tale tradition. Although the form originated in oral culture, it has long been a liminal, hybrid form that retains aspects of orality even while its principal mode of transference for some time has been something other than face-to-face communication. Transformations and adaptations across different media and contexts has resulted in a system of fairy-tale tradition that is massively intertextual and transmedial. No one medium can claim primary control over the fairy-tale tradition. Throughout time, oral tellings have inspired literary adaptations; literary renditions have influenced oral and theater performances; oral, print, and theater performances have spawned any number of retellings and adaptations within audiovisual media. This case study, investigates one example of adaptation to social media and integration across media: Tim Manley's satirical blog Fairy Tales for Twenty-somethings and his book Alice in Tumblr-land. In Manley's fairy tale creations, we see an instance of what Henry Jenkins calls convergence culture. This convergence should be of particular interest to folklorists because corporate and mass-media systems continue to influence and integrate with existing forms of interaction. Manley's overall narrative approach integrates two media, which permits him to use fairy tales to express a broader range of narrative impulses than would a project tied to only one medium. Media integration is an important concept to recognize and investigate because so many individuals see different media as inherently combative rather than mutually beneficial systems. Just as intertextuality has become a foundational concept in many humanistic studies, intermediality needs to enter the folklorist's discussions as well. With only some media under consideration, we only get some of the message.

Le présent mémoire analysera la version orale d’Il faut prendre le taureau par les contes ! de Fred Pellerin sous forme auditive et son adaptation en conte littéraire. L’étude des deux actualisations médiatiques se fera en trois temps qui correspondent aux moments significatifs de la performance du conte tels que définis par la théoricienne Jeanne Demers. Le premier moment est la formation du cercle du conte et représente un espace instauré hors du réel qui offre aux spectateurs ou aux lecteurs la possibilité d’adhérer sans retenue aux événements exposés dans le récit grâce à l’ouverture, la fermeture et le maintien du cercle. Le deuxième moment du conte se produit quand le conteur crée et consolide un lien de connivence avec son public, ce qui capte son attention en le liant au contenu. Pour ce faire, Pellerin cherche à répondre aux attentes de son public, à jouer avec la frontière entre vérité et fiction et à provoquer des réactions. Le troisième et dernier moment du conte, c’est le showing, qui rapproche d’abord l’auditoire ou le lecteur de l’action et l’action de ceux-ci, et ensuite qui permet au conte de se matérialiser grâce à leur imagination. À ce moment-là, le but du conte est atteint, car le plaisir de l’auditoire ou du lecteur est indéniable. Cette recherche tente de voir le corpus comme un tout malgré les différents moyens mis en œuvre : la mise à l’écrit fait bénéficier le spectacle originel de nouvelles significations et permet, à ceux qui en profitent, de vivre une expérience différente, mais tout aussi réussie. / This dissertation will analyse the oral tale of Il faut prendre le taureau par les contes ! by Fred Pellerin and the written tale adaptation. The study of both versions will be demonstrated using three instances that correspond to significant moments of the tale’s performance according to theoretician Jeanne Demers. The first moment is the formation of the "circle of the tale" which represents a space established beyond reality that allows the audience or the reader to adhere without restraint to the events exposed in the story due to the opening, the closing and the conservation of the circle. The second moment of the tale occurs when the storyteller creates and consolidates a complicit link with his audience which attracts and holds their attention by linking them to the story. To achieve this effect, Pellerin tries to answer his public’s expectations, manipulates the border between fiction and reality and provokes reactions. The third and final moment of the tale is the "showing", which initially helps to bring the audience or the reader closer to the action and the action closer to them, then to allow the tale to materialize with the aid of their imagination. At which point, the tale reaches its ultimate goal, as the pleasure of the audience or the reader is infallible. This research aims to see Pellerin’s work as a whole despite the different means: putting the oral tale in writing benefits the original show as it brings forth, to those who experience it, new meaning and offers a different perspective, which is every bit as successful.

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.