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This article analyses the censorship files that were processed during Franco’s dictatorship of the fairy tale Cinderella. In this way, the reader is offered an overview of the editing and censorship process of this work from 1939 to 1975, with the intention of showing the aspects in which the censors noted the greatest incidences: religion and the female model. This temporal perspective of the monographic analysis of the same story seems to be very useful, as it allows to understand the changes in the censorship process throughout its existence, as well as the transformation of censorship legislation from an initial stage to the enactment of specific regulations on children’s and young people’s literature. [ABSTRACT FROM AUTHOR]

Once upon a time... when tales were not always nice and happy but sometimes full of violence and sexuality. This article tries to understand better these ancient fairy tales, to learn their origins (even before Perrault's and Grimm Brothers' versions) and to use them in Primary and Secondary education, also for teenagers and adults, with digital creative writing. It begins with three of the best-known fairy tales: Little Red Riding Hood, Snow White and The steadfast tin soldier. The results from the research include teaching strategies that actively engage students in the learning process through 2.0 creative writing from traditional tales.. [ABSTRACT FROM AUTHOR]

Copyright of Agora (0211-6642) is the property of Universidad de Santiago de Compostela, Servicio de Publicaciones 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.)

Copyright of Arte y Políticas de Identidad is the property of Servicio de Publicaciones de la Universidad de Murcia 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.)

This essay analyzes the cultural aspects in the animated series Disenchantment, conducted by Matt Groening for Netflix in 2018. The series is carried out based on the cultural model for the millennial generation established by Carolina Delamorclaz in her PhD thesis (Universidad de Castilla-La Mancha, 2020). The theoretical approach to this production allows us perceive the complexity of the contemporary world in terms of otherness, racism, debates about gender, sex and deconstruction of meta-stories such as fairy tales. [ABSTRACT FROM AUTHOR]

Big Breasts and Wide Hips is one of Mo Yan's most acclaimed novels. The author was born and raised in the hinterland of Qingdao, the former German colony of Tsingtau, in NE China. European and foreign influences impacted on this rural territory, which at the onset of the 20th century preserved an ancestral genuineness. Exploiting this background and his own vital development, the Nobel laureate spins a narrative that spans the whole century and offers an alternative historical view of a tumultuous China. The main narrative voice, an ever-immature man, Jintong (the Golden baby), never leaves this tiny spot for his story-telling. But the novel reaches new summits in the Chinese literature through a bold feminist and feminine approach. Chinese fairy tales, South-American magical realism and a personal style combine to create an epic that transcends borders. [ABSTRACT FROM AUTHOR]

Fairy tales have evolved over the centuries, versioning and adapting to the socio-cultural needs of each era. As it arises in oral tradition, no written record is kept of the first version of each tale, which gives the opportunity to change and modify any details. Over time, it may seem that the new versions are far from the original fairy tale story, but really each and every one of them maintains the universal symbology of the first version. Throughout this work, the story of Sleeping Beauty will be studied in its three most famous versions and it will be possible to observe how, despite all the changes introduced in different times and regions, the universal symbols are maintained, with certain novelties to make the most attractive story for readers of the time. These symbols show us that no matter how much the story changes, the essence will remain the same. [ABSTRACT FROM AUTHOR]

The admiration that Gilbert Keith Chesterton arouses in our country justifies a study of his work from a philosophical-educational perspective. To do this, through a hermeneutical methodology that put special attention to the educational implications of ideas, it analyzes what the English apologist understood by a theory of childhood, fairy tales and the family, as well as his conception of education and the University. In view of the data studied, it was possible to venture that these aspects of Chesterton's educational thought provide very interesting arguments to understand the apology for Catholic education that he carried out. [ABSTRACT FROM AUTHOR]

This article sets out to explore the relation between Charles Perrault's and the Grimm brothers' Cinderella and the operas' La Cenerentola (1817), by Gioachino Rossini (1792-1868), and Cendrillon (1894/5), by Jules Massenet. Given the temporal and geographic distance between the texts and their difference in terms of genre -fairytale and opera, this paper adopts a comparative methodology of the study. This methodological approach allows to analyze the literary meanings constructed by each piece and the bonds between them, without ignoring contextual and stylistic aspects. Studying these relations makes it possible to pose the following hypothesis: whereas Cendrillon emerges as a musical expression of the conservative bourgeoisie, La Cenerentola reveals its enlightened dimension through artistic devices. [ABSTRACT FROM AUTHOR]

Copyright of Tradition Oral Literature / Boletín de Literatura Oral is the property of Boletin de Literatura Oral 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.)

Copyright of Ondina - Ondine is the property of Universidad de Zaragoza 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.)

Copyright of Literatura y Lingüística is the property of Universidad Catolica Cardenal Raul Silva Henriquez 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.)

Snow White has been a cultural icon since Brothers Grimm wrote her story in 1812, based on the folk tale of the beautiful princess. Despite the wide variety of Snow White film versions, from Walt Disney's animated classic to the recent reinvention of the fairy tale by Universal Pictures, never before had it been adapted with a sense of eclectic metaphor beyond centuries and nationalities until the arrival of the project of the Spanish director Pablo Berger. Blancanieves (2012) emerges as a melodrama set in southern Spain during the 1920s, with an unusual heroine turned into a bullfighter for the big screen with the dwarfs. The aim of the article is to analyze this movie and its characters as platforms to discern the cultural, social, and folkloric circumstances that act to configure an independent Snow White, who retains connections with her predecessor versions. In methodological terms, the purpose is to study the many references of Pablo Berger's work from different prisms: not just based on the film analysis (for instance, the narrative structure shows a debt with both the German and French silent movies) but also, throughout different literary and historical references. [ABSTRACT FROM AUTHOR]

What is the function of fairy-tales? This is an arduous question. If fairy-tales have reached us through the centuries, they should have fulfilled and still fulfil a particular task. It is not true that they were created or intended for children. The hypothesis to verify is whether fairy-tales could be considered a tool developed and used by communities to remove or overcome that human condition defined "crisis of presence", i.e. "the risk of not being-inhistory" (E. De Martino). The loss of presence - caused by moments of crisis - negates culture and thus humanity. Fairy-tales, just like rituals and myths, may offer cultural protection against such a risk. Namely, fairy-tales contribute to preserve people from the "crisis of presence". We will try to demonstrate our hypothesis, by a key concept borrowed from the Italian ethnologist Ernesto De Martino, even if he has never dealt with fairy-tales and he has never examined fairy-tales through the lens of the "crisis of presence". Aim of this essay is to clarify if and how fairy-tales may be considered instruments to react against the "crisis of presence", starting from the fact that fairy-tales allow individuals to fit into the horizons of a meaning shared by the whole community. [ABSTRACT FROM AUTHOR]

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Copyright of Culture Crossroads is the property of University in Riga, Latvian Academy of Culture 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.)

Copyright of Studies in Oral Folk Literature / Estudis de Literatura Oral Popular is the property of Universitat Rovira I Virgili 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.)

Copyright of Revista de Filologia Romanica 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.)

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Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo 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.)

Once upon a time... when tales were not always nice and happy but sometimes full of violence and sexuality. This article tries to understand better these ancient fairy tales, to learn their origins (even before Perrault's and Grimm Brothers' versions) and to use them in Primary and Secondary education, also for teenagers and adults, with digital creative writing. It begins with three of the best-known fairy tales: Little Red Riding Hood, Snow White and The steadfast tin soldier. The results from the research include teaching strategies that actively engage students in the learning process through 2.0 creative writing from traditional tales.. [ABSTRACT FROM AUTHOR]

This paper examines the Quechua concept of larphay. In the Ch'isikata Quechua language the positions of subject, action, and object are not stable: the subject person can be transformed and for that, the action of larphay is relevant. In this text I will explain the notion of larphay through the narration of tales about the relationship between humans and non-humans. In many tales the non-humans (animals, vegetables, and objects) are transformed into humans in order to seduce and deceive, or to larphay -- to unload his non-human condition into the human. The «larphayed» people have been transmuted into the tian (double) of the non-human. Similarly, humans in certain circumstances can transform into vegetable, animal, mineral entities, or non-human supra-beings. This is possible due to the lack of boundary definition -- chawpi -- which allows for this exchange between beings of diverse conditions (cay). [ABSTRACT FROM AUTHOR]

The fairy tale is key to analyzing Alejandra Pizarnik's writing. Specifically, in the translation/rewriting of Valentine Penrose's La comtesse sanglante (1962) to La Condesa sangrienta (1965), this genre is central because it works as an appropriation matrix. This matrix models Pizarnik's version through revisiting a series of themes and elements specific to the genre, as well as a way to narrate, characterized by the presentation of vignettes or fragments of highly symbolic and visual density, and by a cut with the causality and linearity of a realistic tale. First, we will analyze the intertextualities between Pizarnik's work and a corpus of two classical children's stories: The Snow Queen (1845), by Hans Christian Andersen, and Snow White (1812) by the Brothers Grimm. Second, we will focus on the relation of Pizarnik's work with its explicit hypotext, Valentine Penrose's La comtesse sanglante, considering the aforementioned, that is, the way fairy tales operate as a matrix in this transfer. [ABSTRACT FROM AUTHOR]

When referring to "classic Disney", it is usual to associate these movies with fairy tales and songs. Nevertheless, not all Disney productions are fairy tales adaptations, but the studio takes elements from these tales and puts them in many of its movies. In this way, as well as with the help of songs, Disney creates its own conventions and a new model of fairy tale. Moreover, throughout their history, the Disney company have incorporated their own conventions, as giving more importance to romance plots or the inclusion of the American Dream. Thus, the main point of this paper is clarifying how these conventions are influent, both in animated films and live-action film adaptations of fairy tales. [ABSTRACT FROM AUTHOR]

Copyright of Didáctica. Lengua y Literatura 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.)

Copyright of Agora (0211-6642) is the property of Universidad de Santiago de Compostela, Servicio de Publicaciones 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.)

Copyright of Trípodos is the property of Universitat Ramon Llull, Facultat de Comunicacio Blanquerna 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.)

Copyright of Didáctica. Lengua y Literatura 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.)

Copyright of Itinerarios (1507-7241) is the property of University of Warsaw 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.)

From a reading based on the postulates of feminist fairy tale rewrites, I analysed the novel GOØ y el amor (2012) by Claudia Apablaza, considering it a revisionist writing of the traditional tale of the Sleeping Beauty, in which the use of the intertext is parodied and desacralized, not only to achieve the elimination of gender stereotypes, or claim woman's vindication, but rather to emphasize the internal chaos and delirium of the subjects when certain imaginaries are disarticulated. Thus, it is postulated that the ideological axis of the novel is in the symbolic act of "crossing-out", in their condition of allowing visibility of what wanted to be deleted, in other words, how in the attempt of transgression, gender constructions and disciplined subjectivities are still present. [ABSTRACT FROM AUTHOR]

Copyright of Revista Anagramas is the property of Editorial Universidad de Medellin 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.)