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“...so greater king and more beautiful queen have possibly never existed.” The role of women in four folktales from Småland. I denna uppsats studeras fyra småländska sagor med fokus på de kvinnliga karaktärerna. Detta görs genom frågeställningen om hur de kvinnliga karaktärerna bryter mot de traditionella sagokonventionerna. Uppsatsen lutas framför allt på Propps teorier om sagans handlingsfunktioner, detta kopplas sedan till vilka roller karaktärerna får ta. Även Maria Ehrenberg används för att diskutera sagorna som manliga/kvinnliga utifrån teori av Bengt Holbeck. Viktiga teman framhävts i sagorna beroende på om de tar ett manligt eller kvinnligt perspektiv och vilka könet på de aktiva respektive passiva karaktärerna. Satu Apos studier om de kvinnliga karaktärernas roller i sagorna som onda eller goda används också. Folksagornas roll som muntliga diskuteras med hjälp av Walter Ong. Slutligen kopplas sagornas betydelse för barn genom Bruno Bettelheim och Satu Apo. I slutsatsen av uppsatsen belyses hur de kvinnliga karaktärerna i dessa exempel ofta är aktiva och starka, men även alltid i beroendesituation till någon av männen. Detta leder till att sagorna kan ses som förmedlare av förlagda könsroller, samtidigt som de fyra sagor som analyserats inte kommunicerar detta lika tydligt som exempelvis Disney gjort.

Jag har i denna uppsats valt att undersöka om och på vilket sätt dramaoch folksagor kan hjälpa 10-12-åriga barn att utveckla sinåterberättarförmåga. Jag har även försökt att finna ett sätt att med hjälpav gestaltning av folksagor skapa en bättre uppfattning av barnens inreutveckling. En positiv upptäckt under denna studie var att unga redan iförsta stadiet av sin utveckling lätt kan lära sig att personifiera olikaobjekt och utvidga sin fantasi, vilket kan leda till att de i framtidenlättare kan lösa mera komplicerade ting i livet. Ett problem var att jagvar ensam om en sådan undersökning, som skulle krävt minst trepersoner för att man skulle kunna genomföra hela proceduren frånvideoupptagning till observation, intervju och analys. Under dennaundersökning har jag upptäckt att gestaltning av folksagor fungerar bådesom en bra metod i arbetet med utveckling av barnens fantasi och somett sätt att få en bättre uppfattning om andra människor i samhället.

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This essay is dealing with the difficulties of cataloging and classifying anonymi and other kinds of literature without the components which have set the norm for bibliographic cataloging, i.e. a defined author, a standardized title etc. A typical example of this kind of literature is folklore and folktales, which are dealt with thoroughly here. The character of and the society's historical view upon the folk literature, as literature considered, are being described, as is the evolution of rules for cataloging in general. The folk literature is mostly systematized after a different pattern from other literature, since bibliographical facts are often missing. Therefore, this essay looks upon the ”ethnological” classification of tales and folklore, which means the thematic sorting of motifs in the plots of different tales, which is the most common method of organizing folk literature. The main purpose of this ethnological classification becomes in other words more or less the same as the purpose of bibliographical cataloging nowadays, namely a purpose of facilitating the retrieval of a certain literary unit and a certain common motif of several tales respectively. As the most successful attempt in the area of classification of folk literature (mainly ethnological) is mentioned the work by the Finnish researcher Antti Aarne, ”The Types of the Folktale : a Classification and Bibliography” from 1910, revised and enlarged by Stith Thompson in 1961. / Uppsatsnivå: D

<p>The text discusses the folk-tale princess as a good role model for both children and adults, from a feminist debate concerning this issue. Also an iconographic study, it compares women in folk-tale illustrations with women represented in fin-de-Siècle art concentrating on the Great mother goddess and the femme fatale, finding similarities between folk-tale illustrations and other art. Besides that, the text look at the interest for Swedish folk-tales in the 1890´s, the connection between women as illustrators of children’s books and ideas about nature and womanhood that might have had influence on the Swedish artist Elsa Beskow at the time.</p>

The text discusses the folk-tale princess as a good role model for both children and adults, from a feminist debate concerning this issue. Also an iconographic study, it compares women in folk-tale illustrations with women represented in fin-de-Siècle art concentrating on the Great mother goddess and the femme fatale, finding similarities between folk-tale illustrations and other art. Besides that, the text look at the interest for Swedish folk-tales in the 1890´s, the connection between women as illustrators of children’s books and ideas about nature and womanhood that might have had influence on the Swedish artist Elsa Beskow at the time.

Fairy tales are commonly considered to be both timeless and classless. Since the 17th century, when most of the tales we have access to today were first collected and published, the idea that fairy tales are part of an oral tradition, and therefore more or less uninfluenced by academic and literary trends, have been dominant amongst researchers, critics and readers. This idea needs to be revaluated. Even if the tales might have their roots in an oral tradition the history of the fairy tale ”is not primarily a history of oral transmission, but rather a history of print”, as Elizabeth Wanning Harries puts it (Wanning Harries, 2001:4). Well-educated bourgeoisie men, who travelled the countryside to collect and transcribe the fairy tales from storytellers, gave the tales their form. Before they reached the public the fairy tales were rewritten to better suit the reading bourgeoisie consumers. The tales we know today have thus been adapted to a bourgeoisie discourse. In this thesis I analyse how this discourse can be seen in fairy tales collected in Östergötland, Sweden. More precisely I discuss how a dualistic representation of women, where the bourgeoisie ideal woman takes the form of the submissive fairy tale princess and her counterpart is the active, but ugly and dumb peasant woman, leads to the reader’s internalization of certain norms concerning sexuality, the relations between men and women and hegemonic cultural structures in the Western society. My aim is to cast a new light over tales that have had an important impact on European literature and education during the last century.

The aim for this essay was to study the concept of cultural and religious heritage. Background to this essay is a personal interest in Swedish folklore and folk tales but also an interest in cultural and religious heritage as a concept. The theoretical framework is based on the Australian heritage and museum researcher and archaeologist Laurajane Smith. Smith criticize the way western civilizations tends to create and legitimize cultural heritage in a way that some groups’ cultures protects while others risks too fall into oblivion. She discusses the possibilities for the concept of intangible heritage to challenge the heritage creation of today. A major part of the folk tales in Sweden contains several religious themes and motives which originates from Christianity and folklore. Through text analysis, this essay shows the variety of religious themes, motives and subcategories that is the common denominator for the narratives. Discoveries from the text analysis combined with previous research lays the foundation for the discussion. What we consider to be a cultural, or religious heritage today has, according to Smith, been established by a minor elite who has had the interpretive precedence to accept or dismiss certain cultural expressions as a heritage. The folk tales, as an intangible heritage, can become the cultural and religious heritage of, and for the people. In the tales that have been preserved it is not the kings voice, nor the church voice we hear. It is the voice of the worker, the farmer and the crofters. Intangible cultural heritage can provoke the meaning of cultural heritage and who’s heritage we speak of.