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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Thesis (MPhil (Sustainable Development Planning and Management))--University of Stellenbosch, 2009. / This research explores spaces for enchantment and the unknown, exploring our relationship to fairy-tales and alternative ways of dreaming that break from a modern worldview, using complexity thinking as lens. I conducted extra-mural group work with two groups of adolescents from disadvantaged backgrounds. I considered the world young people receive at a metaphysical level; the world they dream of, connect to and enact. My thesis is based on the premise that we must act towards a ‘sustainable unknown development’ that goes beyond modern deadly homogenisation. The research objectives were as follows: Firstly, to explore the relationship between dreams (about the future) and a sustainable future. Secondly, to reflect, based on the group’s holding-space, on our relationship to dreams. Thirdly, to reflect on possible alternative ways of approaching the unknown and enacting enchantment to create change. Fourthly, to explore the importance of imagination and creativity with regards to the above. I review literature pertaining to the affects of the modern paradigm, specifically in its fairy tale blueprinting form, on our world. I argue that this paradigm is currently dangerous to the earth as a living system; causing the oppression and abandonment of nature, the feminine, children and our imagination. Alternative ways such as states of ‘interbeing’, polycentric thinking, and the experience of thresholds and heterotopian spaces where differences meet, are considered. The importance of personal experience and imagination in building resilience and meaning in the unknown are emphasised. My research uses a practical design of ‘enchantment methodology’. Methodologically it tries to tackle some ontological questions, considering different approaches in which negotiation is possible at a metaphysical level. My findings were that although alternative approaches do exist they cannot be generalised in a modern thinking way. Beyond the modern numbness and the tantrums of breaking away from its devastating divides, is the potential of inner wisdom found in our own hearts. Recommendations are that more holding spaces are created to promote an alternative relationship to the unknown to nurture a sense of enchantment.

Ženské pohádkové postavy a jejich role v artefiletice ANNOTATION Author: BRZÁKOVÁ Šárka, Ing. Institution: Cathedra of psychology FF UK in Prague Name of the thesis: Female Fairy Tale Figures and Their Role in Artephiletic Approach Supervisor: MUDr. Mgr. Radvan Bahbouh, Ph.D. Consultant: PhDr. Mariana Bažantová, Ph.D. Number of pages: 321 (including annexes) Number of annexes: 3 Key words: artephiletic approach art therapy self cognition psychological interpretation of fairy tales female fairy tale figures The thesis is dealing with the area of female fairy tale characters and the possibilities of their utilization in the art therapy and the artephiletic approach. The thesis consists of the theoretical and the empirical part. The theoretical part is divided to three ranges - the artephiletic approach, the psychological interpretation of female fairy tale characters and the utilization of fairy tale figures in the art therapy and the artephiletic approach. The problem of female fairy tale characters is processed by qualitative research approach within the empirical part. The research was lead in two lines. The first line rests in the analysis of 16 individual interviews with experts who professionally deal with the art therapy or the artephiletic approach. The second research line resides in the analysis of...

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.

[Truncated abstract] I have evaluated the effects of different types of ephemeral pools on the evolutionary dynamics of two large branchiopods in Australia, the clam shrimp Lynceus and the fairy shrimp Branchinella longirostris. Both shrimps are passive dispersers, relying on their sexually produced resting eggs for continuity of populations in time and space, although their actual dispersal ability remains speculative. The two currently recognised species of the genus Lynceus (L. tatei and L. macleyanus) are widespread across Australia, and they occupy a wide range of ephemeral fresh water habitats, while the fairy shrimp Branchinella longirostris is endemic to rock pools on granite outcrops in south-western Australia. Samples of populations were collected from a total of 96 ephemeral pools at 80 locations in New South Wales, Northern Territory, Queensland, South Australia and Western Australia . . . This highlighted the contrast between the two species and their microhabitats, and implied that these microhabitats offered different opportunities for dispersal. These were identified as frequent disturbances of the clam shrimp’s egg-banks due to ‘wash-out’ effects during heavy rains and animal and human vectors attracted by the water stored in the deep pools. My comparative study shows that the difference in evolutionary dynamics observed between the two species was a consequence of their environmental interactions rather than of the microhabitats themselves. Similar to patterns detected in other passive dispersers with disjunct population distribution, evolutionary dynamics in Lynceus and B. longirostris seem to be a result of complex interactions among gene flow, population histories and ecology of their habitat. The results contribute to the emerging evidence that branchiopod crustaceans are poor dispersers and highlight the importance of local context in determining evolutionary processes within species.

Orientador: Álvaro Luiz Hattnher / Banca: Karin Volobuef / Banca: Orlando Nunes de Amorim / Resumo: Este trabalho propõe-se a rediscutir o conceito corrente de conto de fadas, tal como proposto por autores como Jolles (1976) e Propp (1983), a partir de um contraponto dessas teorias com as formulações de J. R. R. Tolkien em seu ensaio "Sobre histórias de fadas" (2006). Partindo dessa revisão, pretende-se demonstrar como As crônicas de Nárnia, de C. S. Lewis, pode ser lida como o que Tolkien denomina "história de fadas", pois a presença da oposição entre o "mundo real", com tempo e espaço histórico bem definidos, e o mundo maravilhoso ou "outro mundo" parece ser um fator decisivo para diferenciar um conto de fadas de uma história de fadas / Abstract: This research proposes to revisit the current concept of fairy tale as proposed by authors such as Jolles (1976) and Propp (1983), counterpointing those theories with the formulations of J.R.R. Tolkien in his essay "On Fairy-Stories" (2006). The aim is to demonstrate how The Chronicles of Narnia, by C. S. Lewis, can be read as a "fairy story" according to Tolkien, since the presence of an opposition between the "real world", with well defined time and historical space, and the wonderful world or "other world" seems to be a decisive factor to differentiate a fairy tale from a fairy story / Mestre

L’étude du conte de fées de 1690 à 1789, période de la mode du genre en France, montre que la matière merveilleuse s’est constituée dès ses débuts avec des éléments de pratiques lettrées transposés du réel mais aussi et surtout transformés de manière fantaisiste. Les premiers conteurs (1690-1704) érigent en effet le genre selon une poétique complexe mariant l’oralité des temps naïfs et l’écrit, signe d’une pratique sociale et culturelle du conte. Les conteurs suivants en apportent des infléchissements plus parodiques, des imitations et des variations notamment orientalisantes. L’ensemble des auteurs est concerné mais à des degrés divers, Perrault, Choisy et Fénelon étant moins prolixes en la matière que Madame d’Aulnoy, Pétis de la Croix ou le chevalier de Mailly.Le pays merveilleux dévoile ses arcanes, son secret de fabrication métatextuelle à travers des scènes plus ou moins fugaces de lecture, d’écriture et d’évocations de bibliothèques féériques. / The study of the fairy tale over the years 1690-1789, when the genre was in fashion in France, shows that, from its inception, the subject matter grew up with elements of realistic literary practice which were largely reshaped by imagination. The first storytellers (1690-1704) set up the literary genre according to a complex poetics allying the orality of naive times with literacy, which is the mark of a social and cultural practice of the story. The contributions of the forthcoming storytellers are imitations, parodies or are tinged with Orientalism. All the writers are affected, but to varying degrees: Perrault, Choisy and Fénelon are less inventive in this respect than Madame d’Aulnoy, Pétis de la Croix or the Chevalier de Mailly. The wonderland reveals its mysteries and the secret of its metatextual layout through more or less fleeting scenes of book reading or writing conjuring up a magical library.