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“Archive” comes from the Ancient Greek ἀρχεῖον, “house of the ruler”: inside, we find what corresponds to the normative framework; outside, everything that dissents and is not conform. This occurs for the heteropatriarchal archive of intimate partner violence, as it is explored by Carmen Maria Machado in In the Dream House (2019), and for the archive of folklore, ruled by each (re-)teller’s framework. What if we regain the oral dimension of the tale tradition in a diffractive perspective? What if the reader entangles with the text, co-creating a new meaning? In this paper, I propose to shed a light on the possibilities of diffracting the folkloric archive, to shift the archival-ruled narratives in the direction of self-representation and empoderamiento for the subjectivities expelled from the archival narratives. Two are the paths proposed: firstly, situated literary retellings, with a focus on Machado’s memoir; and secondly, wild pedagogy and slow scholarship methodologies and practices, enabling the experience of the reader to entangle with and diffract the tales’ narratives.

In the present article, we regard mediated translations of fairy tales as unique recreations, making the afterlife of the original text and contributing to its variability. Our attention has been focused not so much on the equivalence of the mediated translation to the original as on the nature and main characteristics of the mediated translation as a text. The goal of this study has been to rethink the very status of indirect translations involving intralingual and intersemiotic readings of the original in our research. The survey results have demonstrated the fascinating potential of the source text to modify and transform.

Children's fairy tales are the first steps of learning through entertainment. Storytelling stimulates morality, creativity, and early awareness. Then comes the role of illustrations to raise the value of the story, and refer it to visual worlds, and helping the reader to imagine events and coexist with their heroes. However with the change of the elements of the modern era, and children’s tendency towards technology, and their great dependence on it as a source of learning and enjoyment, the need increased to search for new methods to reduce the gap between the child and reading, and to emphasize the role of the artist in imagining the story through the artworks accompanying the text. This research revolves around the art of illustrations, that has developed in recent years, and the emergence of new artistic trends, styles and techniques in addition to the classic style of presenting children's stories, some of which were associated with conceptual arts and postmodern arts. Artists who are passionate about children's fairy tales have been interested in re-presenting new visions for these two-dimensional and three-dimensional stories, we can see these works in exhibitions and public and specialized children's art museums. This research presents an analytical study in the development of telling children’s fairy tales as a creative stimulus for the works of contemporary artists through the development of art movement, to reach the features of renewal in the field of visual storytelling, and the cultural role of art museums in the communication between children and contemporary conceptual works of storytelling.

In the book Symbolism of the Summer Solstice: Comparative Readings, Iosefina Blazsani-Batto approaches, through a comparative perspective, a theme with wide resonances in Romanian folkloric mythology, but also in the universal one, taken up by many historians of religions, exegetes and, last but not least, writers. The wide area of research reflects the author's desire to document as well as possible the scholarly approach to the theme and to give secondary importance to field sources, as well as to imaginative elaborations of them. The research, especially through its various hermeneutic possibilities, is a meritorious achievement which, complemented by the author's constant preoccupation with this field, offers a textually illustrated field of analysis of the subject, both in terms of theory (ethnography) and folklore and literature.

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What does put Little Red Riding Hood in her basket when she arrived in Georgia? What was the name of that demonic antagonist who met Little Thumb? An overview of archival sources gives an account of characteristics of Georgian folkloric adaptations of Charles Perrault's fairy tales. The paper deals with transmissions between the categories of "oral" and "literary", and relations between translated print products and oral narratives. The comparison of literary and folkloric versions of fairy tales shows certain features that are universal and serve as a medium between the literature and oral narrative traditions.

Historically speaking, fairy tales have been powerful instruments in the education of children and in the transmission of moral standards from one generation to the next, from the dominant class to less powerful groups. As they make certain ways of life or ideals appear attractive and others repellent, fairy tales also contribute to form normative identities in their young readers. A normative identity combines a descriptive account of who one is with a normative account of what one ought to do. Such identities can be empowering or disempowering. Fairy tales can be seen as using a technique of narrative persuasion to impose normative identities on their audiences, making certain ideals and ways of life appear natural and self-evident. To deconstruct a disempowering normative identity imposed by a fairy tale involves separating its descriptive and normative components and making vivid the problematic aspects of the norms, values, and ideals involved. In this article, we analyse Angela Carter’s deconstruction of a disempowering normative identity imposed on women by the Ashputtle fairy tale, as told by the Grimm brothers. In our analysis, based on close reading and philosophical criticism, we reveal how Carter herself makes use of the fairy-tale technique of narrative persuasion in her deconstructive work, vividly bringing out certain appalling consequences of the ideals of submission and self-sacrifice implied by the Grimm version of the Ashputtle story, thereby also subverting that version.

The article discusses some aspects of the reception of Oscar Wilde’s fairy tale The Selfish Giant by the Russian symbolist poet and translator Ellis (L.L. Kobylinsky; 1879–1947) as reflected in archival sources and memoirs of his contemporaries. Particularly, Ellis’ participation in theatre performances for children and his interest in the forms of juvenile literature are considered within the framework of his overall poetical activities. Among these plays, a piece entitled The Garden of the Giant which is based on Wilde’s tale The Selfish Giant is to be mentioned first and foremost, since Ellis himself attributed great importance to this work making several attempts to publish it separately and even trying to convince a Moscow modernist publishing house Musaget to implement his rather extraordinary plans. The article also attempts to demonstrate that Ellis’ passion for Wilde’s literary heritage can be traced in his own subsequent work as his second collection of verse Argo (1914) proves it. As, I argue, its first section entitled Snuffbox with Music has been developed under the influence of Ellis’ previous work on juvenile performances, which manifests itself in dedications, the texts of the section borrowed from the juvenile plays as well as through the motivic structure of this cycle.

In Among Others, Jo Walton’s fairy story about a science-fiction fan, science fiction as a genre and archive serves as an adoptive parent for Morwenna Markova as much as the extended family who provide the more conventional parenting in the absence of the father who deserted her as an infant and the presence of the mother whose unacknowledged psychiatric condition prevented appropriate caregiving. Laden with allusions to science fictional texts of the nineteen-seventies and earlier, this epistolary novel defines and redefines both family and community, challenging the groups in which we live through the fairies who taught Mor about magic and the texts which offer speculations on alternative mores. This article argues that Mor’s approach to the magical world she inhabits is productively informed and futuristically oriented by her reading in science fiction. Among Others demonstrates a restorative power of agency in the formation of all social and familial groupings, engaging in what Donna J. Haraway has described as a transformation into a Chthulucene period which supports the continuation of kin-communities through a transformation of the outcast. In Among Others, the free play between fantasy and science fiction makes kin-formation an ordinary process thereby radically transforming the social possibilities for orphans and others.

The article is based on the results of the expedition research in 2018. It examines oral prose records of Chinese Buryats. The most impressive volume of these records includes the texts of fairy tales performed by Sebeenei Nordoboy Erdeni who is a local historian, an enthusiast for collecting oral creative art of Buryats. Twenty-nine fullfledged fairy tales have been recorded from him. The essay systematizes and groups into tentative blocks tales with a developed plot and detailed structural elements. The main principle of the fairy tales classification is the function of main character. Based on this principle, I classify the available material as the following six categories: heroic fairy tales, magic-fiction fairy tales, short stories, domestic fairy tales, cumulative fairy tales, and fairy tales containing mythological elements. Recorded from a talented shenekhen performer, this story-themed fund of fairy tales has variety and contains complete texts with artistic merits. The analysis made it possible to draw a conclusion: recorded in 2018, the oral prose of the Buryats of Inner Mongolia of the PRC, mainly represented by fairy tales, goes back to the traditional folklore of the Buryat ethnic group. The original performance of fairy tales and their main plot basis have not undergone any significant transformation. This instance was facilitated by several objective factors. One of them is that the Chinese Buryats, who found themselves isolated from the mother ethnic group, consciously, or perhaps unconsciously, chose to keep a traditional way of life in a closed ethnic circle.

The main aim of this study is to explore if, and if so, how Rabih Alameddine, Kim Addonizio, and Kellie Wells have managed to sustain, replicate, disregard, or redefine the patriarchal ideology customarily associated to gender issues within the fairy-tale tradition. What is really striking is that, several decades after the revisionist project undertaken by the "Angela Carter generation", these new voices experimenting with the field of fairy tales still feel the need to revisit the same mythemes and fight against the same ideology and values that pervaded twentieth century retellings of fairy tales. The subversive potential of the fairy tale retellings seems to have been surpassed by the powerful agenda of a patriarchal social system, which, despite the social, psychological and political changes, still retains its status quo.

Cadı Avı Çağı denilince on beşinci yüzyılın sonlarında başlayan ve on dokuzuncu yüzyılın başlarında biten dönem akla gelir. Yaklaşık üç yüzyıl süren bu dönemde elli bin kadar insan yargılanıp, genelde yakılarak idam edilmiştir. Bu dönemin toplum hafızasına bıraktığı izleri ise aynı toplumun sözlü anlatılarında bulunabilir. Bu sözlü anlatımları masallar yoluyla on dokuzuncu yüzyılın başlarında toplayan Grimm Kardeşler de bu zamanın korkularını, duygularını ve izlerini, diğer bir deyişle o zamanın ruhunu ortaya koyar. Bu çalışmada cadı kavramı ve Cadı Avı’nın Grimm Kardeşler’in ‘Çocuk ve Ev Masalları’ndaki izlerini doküman taraması yoluyla araştırılarak tarihsel verilerle ilişkisi kurulmaya çalışılmıştır. Toplamda yirmi Grimm masalında cadı ve büyücülerle karşılaşılmış ve bunların yarısından çoğunda bu cadı ve büyücülerin öldüğü ortaya çıkmıştır. En çok karşılaşılan ölüm şekli ise o dönemin cadı olarak suçlu bulunanlara da uygulanan yakılma olduğu ortaya çıkmıştır. Ayrıca Grimm masallarından cadı imajının en belirgin olduğu Hansel ile Gretel, Pamuk Prenses ve Altı Kuğu adlı üç masaldaki cadı imajı incelenmiştir. Bu masallarda Cadı Avı’nın kıtlık, kötü ürünler, hastalık, savaşlar ve olumsuz hava koşullarıyla direk bağlantısı tarihsel verilerle kurulmuştur. Buna göre bütün bu olumsuzluklar için aranan günah keçisi söz konusu cadılar olmuşlardır. Bütün bu üç yüzyıllık dönemde ortaya çıkan cadı imajı birikimi ve toplumsal hafıza da incelenen masallardaki cadı imajıyla örtüşmektedir.

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L'Enchanteur by Charlotte-Rose Caumont de La Force (1654-1724) stands out against other French fairy tales written at the end of the 17th century both because of its treatment of eroticism, and because of its inspiration having been identified as "a gothic book Perceval" by the author herself. The aim of this paper is to provide a comparative analysis of L'Enchanteur and its medieval source in the context of women's writing in 17th-century France. By adapting the tale of Carados that appears in the first continuation to Chrétien de Troyes's Perceval, La Force makes use of the attractive archaic language and setting, while at the same providing a streamlined, woman-centred retelling, in which Carados's mother and lover both seek (and find) love and pleasure. [ABSTRACT FROM AUTHOR]

Вилка Л. Радужный храм детства: жизнь и творчество Зирки Мензатюк. В статье анализируется творческое наследие известной украинской детской писательницы Зирки Мензатюк. Мы хронологически рассматриваем рост ее как автора, анализируем лучшие ее творческие достижения, рассматриваем тематику и основные мотивы ее текстов. Писательница интересна тем, что ее произведения для детей носят дидактический характер и призваны развивать юное поколение не только духовно, но и умственно. Ключевые слова: детская литература, приключенческая повесть, сказки, легенды, история Украины в сказках, развитие ребенка. Vylka L. The Merry Temple of Childhood: the Life and the Works of Zirka Menzatiuk. Children’s literature is that spe- cial seed from which the field of every soul will depend on in the future. If a good and high-quality seed is planted, then the harvest will be rich and bountiful; filled with erudition, a mode of thinking, a level of abstraction and tastes. We have taken upon ourselves the small challenge of introducing the literary circles with the wellknown writers of Bukovyna. This time we want to bring to your attention a talented multipotentialite, a publicist, a prosaist, and a devoted writer for the young and teenage audience – Zirka Menzatiuk. The aim of this work is: to analyse the literary heritage of this famous Ukrainian writer, to immerse into the beginnings of the creative talent of Zirka Menzatiuk, to feel the power of her artistic word and the mightiness of yet unaccomplished plans, to examine the life of the author, to seize the theme of her works and the impact of folklore on them. Taking into consideration the author’s style, content and target audience, we can say with confidence that the original creative mission of Z. Menzatiuk is not only to submerge her reader into the imaginary kingdom of unordinary images of childhood, but to bring in a light, interactive writing style, a mountain of knowledge, historic facts and life lessons. The main task of her work is didactic learning, which according to the author is fulfilled through a good book that develops the child. The article examines the writer’s biography, her best-known books, their main ideas, characters and images. A lot is said about the didactic character of Z. Menzatiuk’s writings, her aspirations for making the little ones and the youth more opened to learning, to interest them into learning the many facts of history and the presentday Ukraine. We diachronicly considered the most important life and crea- tive events of the writer-fairy-tales, whose roots and amazing color in the images, flooded with proverbs and proverbs, language, stretched out their solid creative veins from our Bukovina, rich in talents of the earth. Key words: children’s literature, adventure story, fairy tales, legends, the history of Ukraine in fairy tales, the development of the child.

Copyright of Thélème is the property of Universidad Complutense de Madrid 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 fairy tales with their literary form, given by Charles Perrault in 17th century, have become with the passing of time a part of collective patrimony. No wonder many writers have been making use of this source in order to create their versions of Perrault’s stories. The most interesting fairy tales seem to be those which rewrite Bluebeard. One of them is Amélie Nothomb’s novel, published in 2012 and supporting the same title, in which readers can find a realisation of the phenomenon called by G. Genette a “pragmatic transposition” (“transposition pragmatique”).

Gender at root is a system of inequality that is founded on cultural beliefs about status differences between men and women. Women usually became the one who are disadvantaged in a relatively similar-situated men. This paper discusses the gender inequality upon women that can be found in Japanese fairy tales that have female main character entitled Kaguyahime and Tsuru no Ongaeshi. Fairy tales chosen as the object of this study because as a traditional story that is told from generation to generation, fairy tales are able to absorb aspects of life found in the supporting community groups, both in the form of social problems, ethics, and others. The results of feminist literary criticism on the object f this study are that both of the fairy tales has four forms of the gender inequality acts toward women, which are marginalization, subordination, stereotyping, and gender-related violence; and none of them has the double workload form. This could be due to the fact that when this fairy tale made, there were none of any women’s activities are performed in the public sphere, as well as being a housewife in their domestic sphere.

Fairy tales are special stories, developed from hundreds of years of storytelling. Through the years details added by individual storytellers disappear and concise stories, dealing with universal themes, remain. The images or metaphors portrayed in fairy tales are still relevant in 2003. Research has shown that fairy tales appeal to the child's concept of fantasy, and help the child to develop an understanding of life and of his/her emotions. Vom Kalderkönig (The Calf King) is an unknown fairy tale. The short introduction emphasizes that fairy tales are quality literature and an art form. This fairy tale is freely translated from the German into Afrikaans. As in the case with other art forms the meaning of the fairy tale depends on the imagination and age of the reader. Following the translation into Afrikaans of Vom Kalderkönig a general interpretation is given and annotations are made.

This article first discusses the history and ideology of fairy tales. As Walter Benjamin said in his essay “The Storyteller”, rumors and information were spread verbally, from person to person. So were fairy tales. Through storytelling, the history and experience is spread from generation to generation. So that audience, especially children, gather to listen to the folks and stories about things “long long ago”, sharing the memories and experience of the storytellers. Based on this idea, the article further analyses the utopian function of fairy tales, which depict the feasibility of utopian alternatives by means of fantastic images. Because in the name of fairy tales, anything is possible. Apart from hope and wish, there was dissatisfaction in fairy tales. Ernst Bloch placed special emphasis on dissatisfaction as a condition which ignites the utopian drive, so that it remains a powerful cultural force among the audience, urges them to resist, to change the unreasonable things in the world. At last, it comes to the ethical use of fairy tales with children. Many scholars, like Bruno Bettelheim and Julius E. Heuscher, have done some psychiatric and psychological research on the meaning and usefulness of fairy tales. Different from those, this article mainly talks about the literary education in fairy tales, how the words, characters and plots play a role in education.

This article seeks to explore the way fantasy TV series Charmed incorporates and recycles fairy tales within its diegetic universe. Studying a range of episodes, we argue that Charmed maintains a close relationship with fairy tales. From its characters to its imagery and spaces, the series meets the main characteristics of the literary genre to which it pays homage in numerous episodes. True, this undertaking of pastiching and subverting the original tales participates in the overall postmodern dimension of Charmed, still it is coupled with feminist aspirations. In fact, the reversal of traditional gender roles aiming to reinstate the feminine heroine becomes the means through which subverting the literary genre is made possible. Nonetheless, we need to question the very term “feminism”: as far as Charmed is concerned, are we looking at second-wave feminism, the social movement that rose in the 1960s, or rather post-feminism, the contemporary form of feminism?

Mme d’Aulnoy is mainly famous for her fairy tales. Indeed, in 1697and 1698, at the same time as Charles Perrault, she published two collections of fairy tales, much in fashion towards the end of the 17th century, and intended for well-read and cultured adults, the “Mondains” who lived in the orbit of the court. But this writer is also famous among her contemporaries for her novels and her travel narratives ; among others she published in 1690 a novel which was the best seller in the age of Louis XIV, namely L’Histoire d’Hypolite, comte de Douglas. She also wrote in 1691 the Relation du voyage d’Espagne, a work which had a big success and which influenced, for a long time, the view French had on that country. But what we know less is that as early as her first collection of tales, Mme d’Aulnoy used two narrative frameworks which are Spanish novels into which the tales fit perfectly with episodic and mirror effects on the level of writing techniques. It concerns Don Ponce de Leon and Don Fernand de Tolède. Yet, Don Fernand de Tolède is a genuine travel narrative, a journey which takes place in Andalusia and around the Mediterranean. After evoking the link between Mme d’Aulnoy’s biography and the Relation du voyage d’Espagne, this article tries to give its right place in literature to Don Fernand de Tolède, identifying the links between a travel narrative, fairy tales, a baroque or precious novel, to reach the conclusion that there is a phenomenon of osmosis between these literary genres and a form of subversive writing.

Anna Kavan’s last novel Ice (1967) stages the obsessive quest of a man looking for an albino woman he can never reach. He constantly sees then loses this female character who is simply called “the girl”. This article analyses the place of her body in the novel, in particular its construction which appears to be a projection of the man’s own mind. Beyond its meaning within the boundaries of the narrative, the girl’s body becomes the place of inscription of other texts, among which Alfred Hitchcock’s Vertigo but also myths and fairy tales, in a layering of intertextual and archetypal rewritings of the female body.

After having been blacklisted for decades, fairy tales unexpectedly came back into favour in Great Britain during the Victorian period, being staunchly supported by authors like Ruskin, Dickens or MacDonald. Visual arts too drew inspiration from fairy literature and lore, appropriating their themes, motifs and characters. In this context, illustrated Victorian fairy tales became vehicles of resistance against the banishment of imaginary supernatural literature and the rejection of illustration as art. But the vocation of fairy tales being, according to Jack Zipes, to interact with society, they also conveyed social resistance (against rising capitalism, growing materialism or stifling gender roles) as De Morgan’s or Housman’s tales testify. The Victorian period was a phase of triumph for fairy literature before its fighting spirit was smothered by a tendency to conform to middle-class normative ideology and an increasingly infantilized content.

Typical nineteenth‐century German images of elderly female storytellers capture them in the act of relating Märchen to young children. When these images reached a mass public, they reinforced the idea of a timeless female oral tradition. As researchers of oral tales hardly ever recorded any actual female storytellers, the images belonged for the most part to a romantic myth of Germanyʹs past. Towards the end of the century, artists started to produce more realistic paintings of female storytellers. This coincided with the growing popularity of fairy‐tale books which were indeed mostly read to children by women.

The current study concerns a phenomenological approach based on the meaning-making processes that accompany time socialisation, or how hurry, time pressure and busyness are passed down in early childhood by implicit learning involved in fairy tales. Face-to-face, in-depth interviews were carried out with a total of 61 kindergarten participants from nuclear, dual-earner families of Bucharest suburbs enrolled in state education. The narrative ethno-theoretical approach highlights how time use styles based on busyness, hurriedness, acceleration and time squeeze are constructed subjectively by young children, who reinterpret fairy tale assumptions and time use practices that they observe. Results suggest that time perspectives related to tangible time and polychronicity can be inferred by means of verbal cues and streams of meaning that circulate by means of fairy tales as socio-linguistic vehicles. Time socialisation mechanisms are deciphered using the language (partly shared, partly incongruent) of children’s expectations and fairy tales (more subtle or more evident) time implications. The study opens up to a prospect of plausible landmarks for the emerging conceptual model of time use lifestyle and early time socialisation, by stressing the impact of early childhood settings focused on fairy tales read through a time-oriented paradigm. The study questions latent messages which fairy tales launch, sometimes unintendedly, most often as peripheral cue, yet powerful twist that children resonate to regarding time conceptions. Children’s sensitiveness to pedagogical messages elicited indirectly by fairytales means that they tend to build discursive time identities based on temporal coordinates configured by storytelling, in a subtle interplay of sensification and lived experiences.

Adèle is a rewriting of the story of Jane Eyre published 150 years before. Emma Tennant, who is a specialist in the field of « revisions » puts Adèle, Jane’s young pupil in the Ur-text, in the limelight by giving her a « story of her own », as if she were taking her revenge on the original text which had given her so insignificant a part.

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Este artigo refere-se a um estudo inicial dos processos discursivos da língua brasileira de sinais (LIBRAS), no gênero contos de fadas, à luz da teoria enunciativa de Bakhtin. As análises realizadas, embora iniciais, apontaram alguns aspectos discursivos relevantes sobre a LIBRAS, principalmente no que se refere à dinâmica interdiscursiva que a constitui, ou seja, à compreensão de como as diferentes vozes presentes nos textos são construídas, como elas se diferenciam quanto aos aspectos composicionais, como assimilam o discurso do outro e como se inter-relacionam entre si e com o todo textual para o tratamento do tema.This article refers to an initial study of the discoursive processes of the Brazilian Sign Language (LIBRAS) in the fairy tales genre under the light of the enunciative theory of Bakhtin. Current analysis data, although in its early stages, pointed out some relevant discoursive aspects about LIBRAS, mainly those related to the constitution of its interdiscursive dynamic. It refers to the understanding of how the different voices present in the text are built, how they differ in their compositional aspects, how they assimilate the discourse of other, and how they interrelate to each other and to the full context regarding the approach of the theme.

The story of King Herla (ATU 470) is characterized by three major narrative sequences: the journey to the beyond; the opposition between the subjective perception of time and its objective reality; and, finally, the violation of the prohibition with the return of the hero. This tale underwent multiple reappropriations in France and Great Britain, particularly in Wales, from the Middle Ages to the present. Reinvested by literary or folklore movements, the tale allows for a nationalist and political reading that is all the more resilient given its formal plasticity and its dreamlike richness, which guaranteed its wide European dissemination and a remarkable resistance to the test of time. [ABSTRACT FROM AUTHOR]

The article reviews volume I of the journal "Fééries" titled “Études sur le conte merveilleux (XVIIe-XIXe siècle)," edited by Jean-François Perrin.