Czech Artists and their Fairy Tale Illustrations between 1990 and 2010 This diploma thesis focuses on Czech artists and their illustrations of Fairy tales between 1990 and 2010. The introduction outlines goal of my thesis, methodological procedures and structure. At the beginning we deal with literary fairy-tale - with its origin, foundation, construction, implications and evidence of its existence in Czech Republic and abroad. The following chapters relate to illustrations generally. It dedicates to the history of illustrating books for children and young people in the 20 century. The main part of my thesis is focused on mapping cultural history traditions and innovation in fairy tales' illustrations between 1990 and 2010. The author finds that the period between 1990 and 1999 was linked primarily to the previous tradition. There were issued primarily selections of generally known fairy tales illustrated by affirmed artists. In contrast, according to the author in the period 2000-2010, the situation has changed. The main interest switched to a modern fairy tales, often authoring books, which were illustrated by young artists of new generation. In that time photographs were used as an illustration and other non-traditional techniques have begun to be very popular.

Retellings of classic fairy tales have become increasingly popular in the past decade, but little research has been done on the novelizations written for a young adult (YA) audience. Critical multicultural analysis determining the effect of race, gender, disability, and more has been completed for both original fairy tale retellings and fairy tale retellings for children, but scholars have neglected popular YA novelizations. This study aims to determine how traditional masculinity and femininity affect agency in both male and female characters in YA novelizations of Cinderella. To examine the role of traditional masculinity and femininity in young adult novelizations of Cinderella, a qualitative study was designed to look at the five main archetypal characters of Cinderella, the prince, the stepmother and stepsisters, and the fairy godmother. The study used critical multicultural analysis as defined by Botelho & Rudman (2009) to examine uses of agency and other utilization of power from the characters, and the Bem Sex Role Inventory (1974) was employed to determine traditionally masculine and feminine traits exhibited by characters. Each novel was analyzed on an individual level to determine how traditional masculinity and femininity affected the agency of the characters, after the books were examined on a broader level to establish themes found across the selection. The general trend seemed to indicate that traditionally feminine traits hinder the agency of female characters while affecting male characters less or not at all. The analysis is followed by a discussion about the implications for both educators and readers of young adult literature.

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Sagor är en av flera texttyper elever ska få ta del av under sin skolgång och sagan kan användas på flera sätt samt för olika syften. Denna kvalitativa studie syftar till att bidra med kunskap om sagans didaktiska potential i svenskundervisningen i förskoleklass och årskurs 3. Studiens syfte avses besvaras med tre frågeställningar: Hur beskriver lärare i förskoleklass och årskurs 3 att de använder sagor i svenskundervisningen? På vilka sätt upplever lärare att elever utvecklas genom att ta del av sagor i svenskundervisningen? Vad finns det för likheter och skillnader mellan hur lärarna förklarar sagans användning i svenskundervisningen? Studiens frågeställningar besvaras genom semistrukturerade kvalitativa intervjuer som transkriberades och analyserades genom en tematisk analys. Den teoretiska utgångspunkt som studien utgår från är sociokulturellt perspektiv på lärande. Resultatet för studien visar att lärare använder sagor för flera olika syften, men högläsning, skrivande och samtalande är det lärarna förklarar att de använder sagan för främst. Genom detta kan elever utveckla läsförståelsen, sitt sagoskrivande och lärarna upplever också att elever kan utveckla sina kompisrelationer när sagan används för att diskutera värdegrundsfrågor. I diskussionen diskuteras de metoder som används för studien. Även det resultat som framkommit i studien diskuteras och kopplas till tidigare forskning. Slutligen skrivs förslag på vidare forskning fram. / Fairy tales are one of several text types pupils should be exposed to during their schooling and the fairy tale can be used in several ways and for different purposes. This qualitative study aims to contribute knowledge about the didactic potential of fairy tales in Swedish teaching in preschool class and year 3. The purpose of the study is intended to be answered with three questions: How do teachers in preschool class and year 3 describe that they use fairy tales in Swedish teaching? In what ways do teachers feel that students develop by taking part in fairy tales in Swedish teaching? What are the similarities and differences between how teachers explain the use of fairy tales in Swedish teaching? The study's questions are answered through semi-structured qualitative interviews that were transcribed and analyzed through a thematic analysis. The theoretical starting point from which the study is based is socio-cultural perspective on learning. The results of the study show that teachers use fairy tales for several different purposes, but reading, writing and talking aloud are what the teachers explain that they use the fairy tale for primarily.  Through this, students can develop reading comprehension, their story writing and the teachers also experience that students can develop their friendships when the fairy tale is used to discuss basic values. The discussion discusses the methods used for the study. The results of the study are also discussed and linked to previous research. Finally, proposals for further research are presented.

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Thirteen assorted fairy tales by early 20th century Japanese poet/author Miyazawa Kenji, collected and translated with an analytical introduction by the translator. The introduction explores the presence of "the agent of the outside" in the majority of the author's work and how this literary concept serves to encourage the reader to escape subjective viewpoints.

Although many feminist fairy-tale scholars have theorized how the tales shape the lives of their readers, few have explicitly examined what readers themselves have to say about how fairy tales impacted their choices and expectation. This article turns to fanfiction written by fans of ABC's Once Upon a Time television series to discover how these fans challenge or reify fairy-tale expectations, particularly in terms of gender. After outlining the brief history of fairy-tale reception studies concerned with gender, the article then turns to a close reading of three OUAT fanfiction retellings of Beauty and the Beast that show the couple in contemporary settings dealing with ordinary and magic-less problems, such as a loveless marriage, sexual violence, and the stillbirth of a child. The close reading of these stories reveal that even as they challenge the passive princess ideal seen in many early Disney retellings, they also challenge the ideal of the handsome prince who can ensure a happily ever after. Instead of saving the heroine from impending trauma, the hero must support her as she copes after trauma has already struck. In each of these stories, the couples must empathetically relate to each other's pain, support rather than force the recovery process, and redefine happily ever after as dynamic, peaceful moments rather than an absolute, static ending. The analysis of fanfiction writer and reader interactions reveals that these stories are also used as models for the readers' and writers' own experiences in supporting friends who have gone through trauma, emphasizing that fairy tales are still relevant to their readers' lives.

A Floating World is a collection of short stories inspired by fairy tales. Often set in worlds where the mundane and the fantastic come together, these stories explore moments of strangeness that slip beyond the bounds of realist fiction. Fantastical events intrude into mundane reality as characters attempt to reconcile the known with the unknowable.

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