Thesis (M.A.)--Guo li zheng zhi da xue, 1984. / Bibliography: p. 239-250.

The purpose of this study to show that the characters in Howthorne's tales and romances may be divided into various definite types. It also attempted to trace the evolution of these types through their noteworthy representatives and to indicate, the bearing of the notebooks on this process of development.

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This study investigates the responses of contemporary South African, Grade one children to threshold experiences in Grimm fairy tales and African Zulu folk tales. Thresholds involve an exciting or challenging experience, or a transformation in stories. Three stories from each genre were read over six sessions, to ten diverse black and white children, from one school. The children’s enjoyment was assessed, with focus on their backgrounds and previous knowledge, to help find beneficial reading for them. Results suggested that while gender of characters and story origins did not seem important, story length, humour, entertainment and educational ability, as well as personal involvement, were useful. The study supported the notion that stories are generally universal and could help bridge our cultural divide. Reader-Response theory was used and its principles helped to structure questions for the interviews, and to analyse data. Hopefully, the findings will help to select appropriate texts for all children beginning school in present-day South Africa.

The purpose of this thesis is to examine the evolution of tales in Europe, particularly in France, from the late l 7lli through the l 9lli century, specifically George Sand's work, in an effort to research instructional applications for cross-curricular foreign language instruction. Institutional fairy tales originated in Italy. The creation of a new genre of literature inspired many writers in Europe to imitate the Neapolitan and Venetian fairy tales of Gianbattista Basile as well as Giovan Francesco Straparola. In the late 17TH and 18TH centuries, in France, the first fairy tales were published, which have remained well known up to the 2I st century. In the 18TH century, Mme Leprince de Beaumont institutionalized fairy tales for children by omitting irony and unnecessary variants in her stories for children. In the 19th century, the Grimm Brothers adapted French and Italian fairy tales to their own language for a young German audience. Most French tales were also translated into English. From the 17TH to 19th centuries, fairy tales permitted women to reach a certain degree of freedom intellectually by expressing social and political concerns depicting their discarded society in the stories. Since fairy tales were not to be believed and not to be taken seriously, women could express themselves freely without been reprimanded, George Sand, a 19th century French author, contributed to the French Romantic period as well as to social and political sectors with her work. At the end of her life, George Sand wrote Tales of a Grandmother dedicated to her grandchildren. Ten out of thirteen stories are analyzed in this thesis in terms of characters, themes, and moral lessons. In Chapter Four, a curriculum is created based on the ten analyzed tales of Sand's Tales of a Grandmother. The curriculum addresses essential questions and activities to be taught in a French curriculum as well as cross-curricular. Chapter Five expands on the cross-curricular guidelines by providing activities based on Tales of a Grandmothers. In addition, a complete lesson plan on the "The Castle of Pictordu" tale is added in Appendix A. This lesson can be taught not only in French but in an interdisciplinary curriculum.

published_or_final_version / toc / English Studies / Master / Master of Arts

The purpose of this study is to determine whether each of the nine introduced tales in Pickwick Papers was written at the same time as the main narrative of the number in which the tale appears.

This interdisciplinary, archetypal study considers the numerous adaptation processes and techniques involved in the transposition of the fairy tale from one medium to another, exploring post-2000 adult adaptations and appropriations of ‘Little Red Riding Hood’ across a variety of high-art and popular media, such as advertising, video gaming, and fine art, with a focus on literature and film. As well as examining explicit re-tellings of the tale such as Catherine Hardwicke’s 'Red Riding Hood' (2011), more implicit and intertextual references are discussed, with the intention of acknowledging the pervasive, and at times, unconscious nature of the adaptation process. This can be seen in films like 'The Village' (2004), 'Hard Candy' (2005) and the television series 'Merlin' (2008 - ). As a means of analysing the material I adopt a feminist-Jungian theoretical model which enables the consideration of the mythological and ideological concepts inherent to the works. Specifically, this establishes how Red Riding Hood can be understood as a shifting archetype when compared to her fairy tale sisters such as Snow White, Cinderella, Sleeping Beauty et al, thus allowing for so many diverse portrayals of her character: as the child, the innocent victim, the femme-fatale, and the monstrous feminine. The rationale behind the thesis is threefold; firstly, ‘Little Red Riding Hood’ is typically understood as a cautionary tale, rather than a female quest narrative, therefore, I will explore how the tale is often used as a vehicle for post/feminist issues and/or gender anxieties, providing a commentary on the construction and perception of girls’ and women’s roles in contemporary Western society. Secondly, the work creates a space for the acknowledgement and discussion of unconscious appropriation which has so far remained on the margins of adaptation studies. And thirdly, to establish fairy tales, using ‘Little Red Riding Hood’ as an example, as the ultimate intertext(s), demonstrating how characters, themes and plots are continually (re)appropriated.

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