This thesis analyzes the relationship between German fairy tales and Ecocriticism by examining the similarities and differences in depictions of nature in the tales published by the Brothers Grimm in 1857 and tales written by political activists during Germany's Weimar Republic. "Frau Holle" and "Die drei Schlangenblätter" by the Brothers Grimm present nature as a means to support their bourgeois utopian ideals. On the other hand, the Weimar writers Carl Ewald and Edwin Hörnle's tales "Ein Märchen von Gott und den Königen" and "Der kleine König und die Sonne" (respectively) employ the traditional form of the fairy tale to espouse free-thinking and criticize the weaknesses of the Grimms' utopian ideal. My ecocritical analysis is based on a synthesis of environmental sciences and sociocultural influences.

Orientador: Karin Volobuef / Banca: Maria Celeste Tommasello Ramos / Banca: Paulo Sérgio Villela Marques / Resumo: O presente trabalho visava, inicialmente, a investigar a realimentação da história pelo mito, e deste pela realidade, por meio da análise comparativa entre textos diversos, a partir do conto de fadas A montanha de vidro, traduzido do alemão para o inglês por Andrew Lang. Todavia, a partir do levantamento e seleção de textos que tomou em consideração um conjunto de elementos do conto-base relacionados com a expressão "montanha e mulher", acreditamos estar diante de dados de natureza simbólica anteriores ao mundo pagão politeísta androcêntrico. Constatamos, das derivações do uso desses símbolos, que a figura feminina gradualmente perdia poder até desaparecer por completo, restando da ligação desses símbolos com o universo feminino apenas resquícios. Portanto, embora não se tenham deixado de lado ferramentas pertinentes ao campo da psicanálise e da história, privilegiaram-se conceitos antropológicos para a análise comparativa desses símbolos, em mitologias e narrativas de culturas diversas, na medida em que foram apropriados do feminino, primeiramente pelo universo masculino, tanto divino quanto humano, e do mundo pagão pelo cristianismo. / Abstract: The present work aimed, initially, to investigate the feedback of the history by the myth, and of the myth by the reality, through the comparative analysis between diverse texts, from the fairy tale The Glass Mountain, translated from German into English by Andrew Lang. However, from the collection and selection of texts that took into account a set of tale-base elements related to the expression "mountain and woman", we believe that we are faced with symbolic data that predate the pagan androcentric polytheistic world. We have seen from the derivations of the use of these symbols that the female figure gradually lost power until it disappears completely, leaving only the remnants of the connection of these symbols with the female universe. Therefore, although relevant tools in the field of psychoanalysis and history have not been overlooked, anthropological concepts for the comparative analysis of these symbols were favored in mythologies and narratives of diverse cultures, inasmuch as they were first expropriated of the feminine, by the male universe, both divine and human, and only then were they expropriated from the pagan world by Christianity. / Mestre

Chan, Hin Sin Cindy. / Thesis (M.F.A.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese.

The five short fiction stories in this collection vary in styles from Realism, Fairy Tale, to Magical Realism, and all relate in some degrees, to the world of food. "The Food Ghost," told between two parallel perspectives, is the story of a young girl whose apartment is haunted by the ghost of a woman cooking through her last days on earth. "Fig," is a fairytale about a little girl who won't eat, and how her slightly over-bearing parents deal with her refusal. "Drive," tells what happens when a woman tries to hitchhike away from a sour relationship. "How Not To Cook An Emu Egg," tells the story of a small town woman who brings an emu egg with her to a big city. "A Certain Kind Of Hunger," follows a young woman with a disease that causes her to transform into a pink monster when she becomes hungry. After each story is a recipe relevant to the narrative, told from one character's perspective in each piece.

Undergraduate honors paper--Mount Holyoke College, 2006. Dept. of English. / Includes bibliographical references (leaves 109-111).

Univ., Diss.--Augsburg.

Inaug.-diss.--Greifswald. / Lebenslauf. At head of title: Deutsche philologie. "Die deutschen märchensammler des 19. jahrhunderts" (bibliographical notices of 45 collectors): p. [15]-87. "Sammlungen": p. [ix]-xi; "Literatur": p.xi-xii.

Proefschrift-Leyden. / Includes bibliographical references.

Thesis--Cologne. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 7-11).

The purpose of the paper is to clarify and elaborate on the theories and presentation of the performance of the General Prologue of the Canterbury Tales I gave on April 9th, 2015. Live performance is a valuable method of conveying Chaucer’s work to an audience as it allows an actor to present the many voices of Chaucer in a more liberated manner. I present my case in four sections. First, I discuss the theoretical concepts behind the performance, which includes the value of live performance over silent reading and oral recitation and how the performance should be viewed in an experimental context. I conclude that while oral recitation and silent reading are valuable, neither allows for the freedom to explore Chaucer’s many voices the way live performance does. At the same time, performance cannot replace research and thus performances like ours should be seen as experiments. Second, I discuss the historical context of the performance and how it was forged into a structural foundation. As well, I examine the manner in which the audience was involved. By using the date June 6th, 1389, we were able to create an interactive, visual means for the audience to engage with the voices. Third, I look at Chaucer’s meter, his spelling and the Middle English language in general and how these factors impacted both my rehearsal and final delivery. Ultimately, by committing to the language and Chaucer’s meter as faithfully as possible, I was able to provide a respectful and communicative relationship with the audience. Fourth, I look at three characters (Chaucer the Performer, Knight and Summoner) and how they were performed. I reveal how our performance demonstrates that each character uses many voices, not just one. Finally, I conclude by elaborating on the future of this project and how our performance has been valuable as a teaching tool as well as a means of presenting the work. Chaucer has many voices in the prologue, not just one, and true conveyance of them is most successfully achieved through live performance.