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伍紅玉. / Submitted: November 2007. / Thesis (doctoral)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (p. 197-204). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Wu Hongyu.

The thesis focuses on the investigation of selected world fairy-tale analyzing the topics of psychology and cultural anthropology. The subject of the thesis is literarily-theoretical meta-analysis of narrative structures and their relative comparison. Theoretical part of the thesis includes four major chapters, in which there are more specific descriptions of fairy-tale dilemmas and also the analysis of several European fairy-tales. The practical part then specifically analyses Australian, Japanese, Chinese, Gypsy, and Indian fairy-tales.

Le présent mémoire de recherche-création a pour objet les réécritures théâtrales des contes. Si le conte merveilleux et le théâtre sont a priori deux genres littéraires distincts de par leur origine, leur nature et leur mode d’expression, ils présentent néanmoins des points communs qui facilitent la transgression des frontières génériques. Aussi les dramaturges se sont-ils parfois risqués à proposer des adaptations de contes merveilleux pour le théâtre. C’est par exemple le cas de Joël Pommerat, qui a récemment proposé des transpositions scéniques de trois contes traditionnels, revisitant et actualisant thèmes et personnages. Dans cet essai, je m’intéresse tout d’abord aux éléments qui favorisent la réécriture théâtrale des contes. Je m’interroge ensuite sur la manière dont Pommerat, qui fonde sa réflexion sur les apports de la philosophie, de la sociologie et de la psychanalyse, prépare ses spectacles ; ce que j’illustre en mettant en lumière la méditation menée par l’auteur sur le travail du deuil dans son spectacle Cendrillon. À l’instar de Pommerat, je présente enfin une étude psychanalytique des personnages du conte Blanche-Neige des frères Grimm. La création que je propose consiste en une transposition théâtrale du conte Blanche-Neige des frères Grimm, qui déplace situations et personnages dans le monde contemporain de l’entreprise. / The purpose of this research-creation master thesis is to rewrite the theatrical aspects of the fairy tales. While storytelling and theatre are a priori two literary genres distinct in origin, nature and mode of expression, they nevertheless share common qualities that facilitate the transgression of generic boundaries. So playwrights have sometimes ventured to offer adaptations of fairy tales for the theatre. This is the case, for example, of Joël Pommerat, who recently proposed scenic transpositions of three traditional fairy tales, revisiting and updating themes and characters. In this essay, I am first interested in the elements that promote the theatrical rewriting of fairy tales. I then ask myself how Pommerat, who bases his reflection on the contributions of philosophy, sociology and psychoanalysis, prepares his shows ; what I illustrate by highlighting the author's reflections on the work of mourning in his play Cinderella. Like Pommerat, I finally present a psychoanalytical study of the characters in the Grimm brothers' Snow White tale. The creation I propose consists of a theatrical transposition of the Grimm brothers' Snow White tale, which moves situations and characters into the contemporary world of business.

This thesis aims to cover basic typological similarities and differences in the work of Karel Čapek and Jiří Mahen, specifically in their fairy-tales. First, we present the characteristics of fairy tales viewed from different perspectives - in terms of theories about its origin, in terms of shaping during the history, from the position of terminology and definition of the genre as a complex. We also create a summary of specifics for both types of fairy-tale - literary and oral, because we want to find and define the similarities in which is literary fairy-tale close to oral ones, while using Propp´s Morphofology of fairy-tales. In the next chapter we will try to reconstruct the concurrent resonance of both works. In the end we will create a summary of all achieved knowledge and their comparison.

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.

The Fairy Tale Test (FTT) is a projective personality test designed for children aged 6 to 12 years. FTT is based on the association between fairy tales and unconscious processes. Its goal is to assess the child's personality profile and to offer information not only about single personality traits but also their interrelations. It is possible it effectively employed as a method to assess eventual personality changes over time or as a tool in clinical or cross-cultural research as well. The Fairy Tale Test was standardized in five countries of the world Greece, Russia, China, India and Turkey, at the present time we effort to set up standard specification also in the Czech Republic. This diploma paper should also contribute to the standardization with administrating FTT and its evaluation to the selected sample of six and seven-years old children. Key words Fairy tales, interpretation of the fairy tales, projective tests, the Fairy Tale Test, younger school age.

in English Usage and Application of Fairy Tale Test in Czech Republic (for the boys from capital city 6-12 years old) This graduate work deals with the Fairy Tale Test and its application in the Czech Republic. The theoretical part presents characteristics of children in preschool, early school and middle school age. This section is concerned with importance of the fairy tales for children and emphasis is especially laid on fairy tales that uses the Fairy Tale Test. It presents the problems with children's diagnosis and introduces the Fairy Tale Test. The empirical part deals with the practical use of the Fairy Tale Test in the Czech Republic. Test was used in 60 boys aged 6-12 years from the capital city. The obtained data of children 6-7 years old was compared with data of another region. The data of 8-12 years old was compared with the CPQ and Questionnaire style education using correlation analysis. The data show that the Fairy Tale test is a good diagnostic tool with broad application also in the Czech Republic. Hopefully it will be soon standardized for the Czech Republic. KEY WORDS: preschool age, school age, fairy tales, interpretation of fairy tales, psychodiagnostics, the Fairy Tale Test.

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.

Fairy tales as a form of social acculturation can subvert and/or perpetuate potentially harmful social norms. In this essay, Chris Anne Wolfe’s lesbian romance novel Bitter Thorns (1994) and the film Shrek (2001) are analysed as adaptations of the fairy tale Beauty and the Beast, with a focus on the extent to which they challenge and/or reinforce three fairy tale norms: women as tradeable objects, heteronormativity and idealised beauty. Both these texts can be seen as subversive, Bitter Thorns in how it challenges heteronormativity and Shrek in how it challenges the norm of idealised beauty. This subversion, however, is limited, as both texts do more to perpetuate fairy tale norms than to challenge them. They both reinforce the idea of women as objects for trade, Bitter Thorns perpetuates the norm of idealised beauty, and Shrek advocates heteronormative relationships and the dominance of heterosexual masculinity.