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The Night Pieces (Nachtstücke) by E.T.A. Hoffmann have been read under many, different interpretative lenses. The most relevant is probably the freudian-psychoanalytic interpretation, but other readers, such as Luca Crescenzi, insist on the historical and political undertext of the tales: according to Crescenzi, the Pieces deal with the crisis of the relationship between man and technology in modern age, a man haunted by demiurgical ambitions. Neither of the two interpretations, however, reaches the deep meanings at the roots of the literary text, which are indeed of mythological nature: Crescenzi is right about the crisis of the demiurge, represented by the antagonist characters of the Pieces, but his anti-technicist critic doesn't show the myths that seem to be Hoffmann's obsession in the writing process of the Nachtstücke. The following article therefore means to investigate the myth of the 'bad demiurge' - the devil as a smith, a well known mytheme that often occurs in fairytales and legends - upon which the Night Pieces are apparently based on. More importantly, the devil depicted by Hoffmann doesn't correspond to the 'titanist' (as in Titanism, the aesthetics of the romantic hero) characterization of Satan, but is 'titanic' (as in Titan, like Prometheus, trickster of the Olympian Gods)and therefore faithful to the original mythology. [ABSTRACT FROM AUTHOR]

There are numerous female characters in fairy tales who do not smile. In their stories we can recognize variations of the myth of Demeter, in which laughter and obscenity are productive of life and fertility. [ABSTRACT FROM AUTHOR]

The article aims to examine the fairytail Weihnachtsmärchen - that is the Fiaba per il Natale, in Italian translation -, written in 1907 by Lou Andreas von Salomé, one of the most effervescent and libertarian intellectual figures in late Nineteenth and early Twentieth century in Europe. Through the codes of the imaginary and the fantastic typical of the fairy tale, Salomé constitutes an ontology and a poetics of childhood in which delicacy, enchantment and wonder preserve the mystery of life, which, in the metaphor of Christmas remembered in the story, sustains the existence of the child in his thoughtful walk in the world. [ABSTRACT FROM AUTHOR]

The fairy of Charlotte-Rose de Caumont La Force's fairy tale Persinette (Rapunzel) is a complex and ambiguous figure that does not fit into a simple binary of victims and aggressors. I argue that La Force's adaptation of the fairy tale of the girl in the tower gives the fairy prominent status as one of the main characters instead of being relegated to the usual secondary role. Of the different versions of this fairy tale, La Force's is the only one with a powerful multidimensional female figure in the fairy role where she is in fact the most dynamic and fascinating character. La Force thereby gives an exceptionally positive view of a powerful female figure. [ABSTRACT FROM AUTHOR]

The bond between fairies and nature is as old as the world. Based on this assumption, this study aims to re" ect on the relationship between fairy faith and respect for nature through the work of the Irish storyteller and activist Eddie Lenihan. After a brief introduction to the art of storytelling in the Emerald Isle, the first part of the article will revolve around the seanchaí and his commitment to preserving the Irish cultural heritage. The second part will then centre on Meeting the Other Crowd: The Fairy Stories of Hidden Ireland (2003), an anthology of what I call "(ever)green" stories collected by Lenihan since the 1970s in southwest Ireland. Specifically, I will focus on some fairy tales emblematic of the close connection between the natural world and the Good People of Éire, in particular on stories that function as a warning to those who intend to interfere with nature in order to pursue their interests often in the name of a supposed technological progress. [ABSTRACT FROM AUTHOR]

This article focuses on Russian children’s literature in Italy in the last 30 years. The first part provides a brief historical overview of Russian children’s literature in Italy starting from the 20th century. The aim is to identify the best-known authors and the first research dedicated to them in the field of Slavistics and pedagogy. The second part focuses on the presence of Russian children’s literature in Italy since the 1990s. The article accounts for both the critical studies on Russian children’s literature and the corpus of texts that have arrived in Italy in the form of translation, adaptation, or rewriting. Some constants are identified, but also important novelties are underlined: the short-lived fortune of certain genres, such as science fiction, and the appearance on the market of authors who are in between adult and children’s literature. [ABSTRACT FROM AUTHOR]

In a story entitled “Le chevalier double” and published in 1840, Théophile Gautier stages the duel between a medieval knight and his double, who represents a part of himself, a diabolical part whose origin lies in a mysterious adultery. Hovering between the fairy tale and the fantastic, this story is contemporary to Poe’s “William Wilson”, and echoes some earlier works, by E.T.A. Hoffmann and Washington Irving in particular, but also draws on a more distant tradition which dates back to seventeenth-century Spain. Poe and Gautier gave different results and meanings to the duels of their characters: this paper proposes a reflection on this difference, and more generally on the theme of the duel with the double. [ABSTRACT FROM AUTHOR]

Copyright of Italica Wratislaviensia is the property of Wydawnictwo Adam Marszalek and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The world of Hoffmann's fairy tale, The Strange Child, is divided into the spheres of everyday life and the Supernatural. Whereas the names of the first sphere are well-chosen, normal ones, supernatural beings either have no names at all or have names which are in some way uncanny. According to Freud 'the uncanny' is related to strangeness. In this paper I analyze first the names of the everyday world and subsequently those of the supernatural sphere. I show that the most uncanny name of this tale, Pepser, fits in with Freud's theory that the uncanny is that class of the terrifying which at first glance looks like something long known to us, something familiar. Another aspect of the uncanny is that it is a quality of something that ought to have remained hidden and secret and yet comes to light. This quality too can be identified in the name Pepser. [ABSTRACT FROM AUTHOR]

The transition from orality to writing and from analogue to digital has had deep consequences on the traditional oral heritage. Even though fairy tales have suffered from this impact much more than other genres, they have shown a high degree of adaptability to the most diverse media. This work aims to verify the repercussions digital and virtual systems have had on fairy tales in order to explore possible future scenarios. [ABSTRACT FROM AUTHOR]

The article focuses on first collections of fairy tales and legends Trentino. It mentions interest in popular literature definitively established itself in the former decades of the nineteenth century in the Germanic world thanks to the Romantic movement and struggle against the Napoleonic domination. It also mentions popular life and its poetic expressions spread then throughout Europe and two Tyrolean writers Christian Schneller and Ludwig von Hörmann.

Copyright of Orientamenti Pedagogici is the property of Pontificio Ateneo Salesiano (Facoltà di Scienze dell'Educazione dell'Università Pontificia Salesian) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this paper is to underline the rule of imaginary in the contemporary fables, analyzing the 'dialectic of imagination' which moves from 'symbolic' to 'Real' and viceversa. Firstly, this work will focus on evolution of Disney's cinematic universe whose narrations became more 'real' in the last movies through the psychoanalytic introspection of each character - expecially the evil-ones. Secondly, the difference between hero's role in mythology and in classical fables will be compared, pointing out the psychoanalytic rapresentation, which is function and fondation of the freudian Super-Ego in fairytales. [ABSTRACT FROM AUTHOR]

Si le droit m'était conté by François Ost is addressed to younger students who approach law. It consists of eight stories that are designed to introduce the readers to what law represents in society, in its essence, in its being an instrument of regulation of relationships. This is the result of weighting and temperance that consolidates the trust underpinning citizenship pact. Eight stories, each designed to eight different genres of narrative: epic, journalistic, fantastic, dystopian, philosophical, diaristic, even including an animal-rights fairy tale and a legal story set in the not too distant future. This book is a useful tool for the new law teaching courses. [ABSTRACT FROM AUTHOR]

The terms "fairytale" and "fabulous" can be associated with Calvino's work from the very beginning and the aspect that brings him closer to the fairytale than any other is that of having as the task of his own narration/narration, humanity, personal identity: many fairytales in fact have as their protagonist a young man, or even a child, and it is precisely from a child, from the Pin from Il sentiero dei nidi di ragno, the entire calvinian narration will start. Moreover, the writer highlights the educational peculiarity of the fairy tale, which cannot be found in its content, or rather, not only in the fact of hearing and telling them. The fairytale is perhaps the genre that remains dominant, even within the different genres traversed by Calvino: it arouses his interest both for the correspondence with his fantastic vein that is evident from the Sentiero, and for the studies of structuralists, Propp and Greimas in particular. The article thus aims to reread the figure of Calvino through these two components, fabulous on the one hand and structuralism on the other, trying to highlight how the immersion in the territories of the fabulous, with the publication of Fiabe italiane, have somehow "contaminated" his subsequent writing, feeding that fantastic vein that has always characterized it, up to those works markedly linked to the participation to structuralism and semiology. [ABSTRACT FROM AUTHOR]

A fairy tale is a koinè. It is a common memory in which everyone can find his roots and many reasons of his existence. The origin of the fairy tale is very ancient. It travels through history to the present day. It also lived in the horrible experience of Auschwitz. [ABSTRACT FROM AUTHOR]

Taking back to the cultural context of the German Neuhumanismus the work realized by the brothers Jacob and Wilhelm Grimm in the search and arrangement of fairy tales coming from the tradition of Germanic popular poetry, the article focuses in particular on the fairy tale Hänsel und Gretel, considering its narrative structure and the pedagogical meanings enclosed, aimed at both the world of children and adults. [ABSTRACT FROM AUTHOR]

The paper intends to offer an in-depth analysis of Antonio Gramsci's contribution to the reflection on children's literature, whose non existence, in the years in which the intellectual writes the Quaderni from the fascist prison, leads to a "nexus of problems" concerning the lack of a national popular Italian literature. There are many suggestions that rose through the interest shown by Gramsci, on various fronts, towards children's literature: from the 'public' Gramsci of the Quaderni to the 'private' Gramsci of the Lettere, from the affirmation of the need for literary enjoyment of the people to the exemplary exercise of a 'living paternity', we not only grasp an example of method, but also a militant pedagogical commitment to the people/childhood world expressed with extraordinary clarity, rigor, sensitivity, yet to be investigated to rediscover its richness and actuality. [ABSTRACT FROM AUTHOR]

Cristina Campo's essays, dispersed among the writings for magazines and the heteronym articles, are now collected in two volumes (Gli imperdonabili and Sotto falso nome). As in a collection of icons, each piece of this prose work arranges the mental and expressive existence of the other ones. This paper aims at investigating the link between the recurring poles of Campo critical discourse and the liturgical measure of her style through the analysis of the texts dedicated to the writer's main subjects. [ABSTRACT FROM AUTHOR]

The article investigates the history of reception of Russian children's literature in Italy from 1900 until 2017. It includes a large corpus of volumes that represents a starting point for further research in this field. The analysis of the books, including their paratextual elements - such as book covers and frontispieces - gives the chance to put forward some considerations: first, Russian children's literature has continuously been translated in Italy throughout the XX and the beginning of XXI century, though it has been less relevant than other foreign children's literatures; indeed, a significant number of important Russian authors and works is still missing on the Italian bookshelves. Second, the two genres that have been mostly translated into Italian are: the fairy tales and the texts of classics - such as Pushkin, Chekhov or Tolstoy. Third, the Bibliography has shown that, despite the tight connection and the influence of Soviet Union on Italy during the post-war period until 1990s, no relevant ideological marks have been left on the selection of the texts to be translated. [ABSTRACT FROM AUTHOR]

Copyright of Impossibilia: Revista Internacional de Estudios Literarios is the property of Impossibilia: Revista Internacional de Estudios Literarios and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the history of families, including family resemblances, physical aspects of the family, and relationships between brothers and sisters in Italy during the 17th and 18th centuries. Topics discussed include the relative silence on this subject found in family letters of the period, corporeal references to family resemblances between brothers and sisters in sources including portraits and fairy tales of this time, and references to children's health in family letters.

In Der Mond, a work staged in 1939, Carl Orff set to music a fairy tale from the Grimms' collection and tried to pinpoint appropriate stage solutions as he was to do again, few years later, in his fairy opera, Die Kluge, also from the Grimms. This essay takes up Werner Thomas' research (1994) and shows how Orff put together this miniature Baroque theatrum mundi by emphasizing archaic mythic elements the original tale left in the background. Two elements are vital for the stage production to be effective: (1) the narrator, who makes the work resemble an oratorio or a Brecht Lehrstuck; (2) Part II introduction by Petrus, the Heaven Watcher - a parable on the meaning and fate of humankind. A thorough analysis of the plot must take into account such folk-tale laws as the law of cyclical time structure, described by the noted theorist, Mikhail Bakhtin. His work is often cited here, to point out the typical folksy time structures the stolen moon tale displays. [ABSTRACT FROM AUTHOR]