Search

Mainly targeted to children and written with the aim of reiterating dominant social patterns and codes, fairy tales play a significant role on conditioning individuals to perform the idealized gender roles they are expected to play in society. Thus, they have been frequently studied on from various perspectives in terms of gender, essentially focusing on the construction and subordination of feminine identity. However, the construction of masculine identity and its relation to, and dependence upon femininity, has been thus avoided. This thesis utilizes critical discourse analysis (CDA) to interrogate hegemonic masculinity as product of a dominant sociocultural discourse exposed through the selected European fairy tales; Hansel and Gretel, Fortunio and the Siren, The Pig Prince, The Wild Boar, and Little Snow White. The aim is to reveal that these pan-European fairy tales are sociocultural devices playing a significant part in reproduction and maintenance of a common androcentric gender discourse which normalizes masculine domination and legitimizes the objectification, devaluation, and repression of femininity in regional and global levels. This examination demonstrates that hegemonic norms of masculinity imposed in the selected fairy tales are contradictory since in order to exist they require the perpetuation of the same androcentric discourse and thus the representation of women. As might be expected, when the infrastructure of this androcentric discourse is interrogated and decentered, the hegemonic masculinity also falls into an existential crisis. The “masculinity crisis” noised around in Western societies today, is due to this preexisting ontological insecurity for it is no longer possible to discursively limit women into androcentric representation of woman. Esas olarak çocukları hedef alan baskın sosyal kalıpları ve kodları yinelemek amacıyla yazılan masallar, bireyleri toplumda oynamaları beklenen, idealize edilmiş cinsiyet rollerini yerine getirmeye koşullandırmada önemli bir rol oynamaktadır. Bu nedenle masallar toplumsal cinsiyet açısından, ağırlıklı olarak kadın kimliğinin inşası ve ikincil duruma itilmesine odaklanan çeşitli perspektiflerden sık sık incelenmiştir. Bununla birlikte eril kimliğin inşası ve bunun kadınlıkla ilişkisi ve ona bağlılığı göz ardı edilmiştir. Bu tez, seçilmiş Avrupa masalları; Hansel ve Gretel, Fortunio ve Siren, Domuz Prens, Yaban Domuzu ve Küçük Pamuk Prenses aracılığıyla sergilenen baskın bir sosyokültürel söylemin ürünü olarak hegemonik erkekliği sorgulamak için eleştirel söylem analizinden (CDA) yararlanmıştır. Amaç Avrupa’ya özgü bu masalların, bölgesel ve küresel düzeyde erkek egemenliğini normalleştiren ve kadınlığın nesneleştirilmesini, değersizleştirilmesini ve baskı altına alınmasını meşrulaştıran ortak bir erkek egemen cinsiyet söyleminin yeniden üretilmesinde ve sürdürülmesinde önemli rol oynayan sosyokültürel araçlar olduğunu ortaya çıkarmaktır. Bu çalışma, seçilen peri masallarında empoze edilen hegemonik erkeklik normlarının var olabilmek için, aynı erkek egemen söylemin ve kadının bu söylem içerisindeki temsilinin sürdürülmesine ihtiyaç duyduğunu ve bu bakımdan çelişkili olduğunu ortaya koyar. Tahmin edilebileceği gibi bu erkek egemen söylemin altyapısı sorgulanıp merkezsizleştirildiğinde hegemonik erkeklik de varoluşsal bir krize girer. Bugün Batı toplumlarında dillendirilen "erkeklik krizi", öteden beri var olan ontolojik güvensizlikten kaynaklanmaktadır. Çünkü söylemsel olarak kadınları, kadınların erkek egemen temsiliyle sınırlamak artık mümkün değildir.

The article is devoted to the peculiarities of communication on the Russian-speaking segment of the social net Instagram. The aim of the article makes the analysis of diminutives - the words with diminutive-hypocoristic suffixes. In course of the study, over 250 users pages of Instagram were analyzed, and the most high-frequency lexemes were chosen. The derivational analysis was carried out to sort out the groups of relevant suffixes, and such a phenomenon as the synonymy was revealed. As is proved, despite different formal expression, all suffixes of diminutives bear diminutive-hypocoristic (or just hypocoristic) meaning which helps express subjective positive evaluation in respect to the environment, and demonstrate emotions (also positive) in course of communication. As is marked, the use of diminutives on the social net is not an occasional occurrence, its one of the significant exponents of the world view of the Russian-speaking people. The demand of language bearers for the diminutives witnesses of their high linguistic potential allowing the forms to create aesthetical communication over the Internet virtual space.

Resumen Este artículo se propone explorar la relación entre las versiones de las óperas La Cenerentola (1817), de Gioachino Rossini (1792-1868), y Cendrillon (1894/5), de Jules Massenet. A su vez, dichas obras musicales se analizarán con relación a las fuentes literarias más relevantes del cuento popular: La Cenicienta de Charles Perrault y de los hermanos Grimm. Dadas la distancia temporal y geográfica entre los textos que integran el corpus de este trabajo y la diferencia en cuanto a géneros -relato maravilloso y ópera- se adopta una perspectiva metodológica comparada que posibilita analizar los sentidos literarios que construyen cada una de las piezas musicales y los vínculos que pueden establecerse entre ellas sin desatender a las variables contextuales y estilísticas. El estudio de estas relaciones permite proponer como hipótesis de lectura que, mientras Cendrillon se construye como expresión acabada de una burguesía conservadora en clave musical, La Cenerentola, en cambio, revela, mediante procedimientos artísticos, su dimensión ilustrada. Abstract 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), andCendrillon(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: whereasCendrillonemerges as a musical expression of the conservative bourgeoisie,La Cenerentola reveals its enlightened dimension through artistic devices.

En 2013, aventurándose en el sendero del cuento tradicional «Hansel y Gretel» de los hermanos Grimm, Manuel Darriba publica en gallego y en castellano la novela breve El bosque es grande y profundo. En ese momento, España sigue presa de una realidad económica, social y política, muy sombría. Por eso, Darriba se inscribe en la tradición del cuento maravilloso, pero no puede sino transformarlo. De hecho, en el contexto descrito, lo maravilloso ya no puede existir. En un universo ucrónico postapocalíptico van deambulando Hans y Gretel, dos hermanos separados por la «guerra final», que representan el conflicto entre la civilización y la barbarie, entre los poderosos y los sometidos. Estas dicotomías tienen su eco en la «Ciudad» y el bosque, donde reina la ley del más fuerte y donde la niebla nos deja entrever el proceso en marcha de la deshumanización por el capitalismo. En 2013, récupérant le conte traditionnel « Hansel et Gretel » des frères Grimm, Manuel Darriba publie en galicien et en castillan le roman bref El bosque es grande y profundo. À ce moment-là, l’Espagne est encore aux prises avec une réalité économique, sociale et politique, bien sombre. Dans ce contexte de crise, Darriba s’inscrit dans les pas du conte traditionnel mais ne peut que le transformer. De fait, dans le contexte décrit, le merveilleux ne peut plus être. Dans un univers dystopique et postapocalyptique déambulent Hans et Gretel, frère et sœur séparés par la « guerre ultime », qui rejouent le conflit entre civilisation et barbarie, entre les puissants et les soumis. Ces dichotomies trouvent un écho dans celle de la « Ville » et la forêt, où règne la loi du plus fort et où le brouillard nous laisse entrevoir le processus de déshumanisation en marche provoqué par le capitalisme. In 2013, rewriting the traditional tale “Hansel and Gretel” by the Brothers Grimm, Manuel Darriba published in Galician and Castilian the short novel El bosque es grande y profundo. At that time, Spain was still grappling with a dark economic, social and political reality. In this context of crisis, Darriba follows in the tradition of fairy tales but cannot but transform it. In fact, in this context, the marvelous cannot exist anymore. A brother and sister separated by the “ultimate war”, Hans and Gretel stroll through a post-apocalyptic universe in an alternative history and embody the conflict between civilization and barbarism, between the powerful and the submissive. These dichotomies find an echo in the dichotomy between the “City” and the forest, where the law of the strongest prevails and where the fog lets us glimpse the ongoing process of dehumanization provoked by capitalism.

This paper asks why so few works of Hungarian children’s literature have made it to publication in English-speaking countries. It finds that few translated children’s books make it onto the English-language market and those translations that are successful mainly appear in major European languages. Representation at the Bologna Children’s Book Fair has been dogged by a lack of financial resources and polish while Hungarian State funding has lacked continuity. Nearly all the English translations of Hungarian children’s books available today have been published in Hungary, although a book will occasionally find its way to foreign publishers by informal means. This paper also follows the development of Hungarian children’s literature from the late nineteenth century to the present day, noting changes in terms of character, subject matter and attitudes to diversity and use of the fairy-tale tradition. It outlines one recent controversy surrounding the publication of Meseország mindenkié [’Storyland for Everybody’], a book which aims, in contrast to the current regime’s ideology, to represent the marginalized in Hungarian society. It also details recent clashes sparked by the new Hungarian National School Curriculum and one writer’s feminist critique of a classic text.

Feminist perspectives have strongly influenced the fairy-tale rewritings of the past decades, but the intersection of gender with other identity markers deserves more attention. This article applies the conclusions of Sylvia Henneberg’s critical examination of age and gender in fairy tales to Gillian Cross’s Wolf (1990), an award-winning rewriting of “Red Riding Hood.” While Wolf presents Nan, the counterpart of Red Riding Hood’s grandmother, as a determined and cunning older woman at first, in the course of the novel, the narrative lapses into the ageist stereotypes of the ineffectual crone and the wise old mentor.

Purpose of the paper is a comparative literary analysis of the fairy-tale type of animal groom/bride, which in the international fairy-tale index of H. J. Üther. Fairytale type is widespread types with subtypes. It is ATU number from 400 -459. The fairy tale type is known from ancient literature, from Apuleius's Fairy Tale of Amor and Psyche (2nd c. AD). The purpose of the article is to make the public aware of the intertextual connection of selected Polish fairytales with European fairy tales. The results of the comparative analysis show that the Polish variants of fairy tales, at the level of motifs, blind motives and structure, are similar to Apuleius's Fairy Tale of Amor and Psyche and at the same time different. Paper analysis the four Polish fairytales in the two-hundred-year-old tradition, from ancient literature to the present, have evolved and changed, e.g., Polish names (Jashek and Marusya).

Fairy tales are often accompanied by illustrations that extend and complicate the messages of the text, and adapt it to the specific characteristics of different political and cultural situations. This article focuses on the images of one of the best-known fairy tales recorded by Charles Perrault and the Brothers Grimm, “Cinderella,” and looks for an answer to the question of how, in the second half of the 20th century, when the world was divided by the Iron Curtain, the socialist ideology attempted to make a “visual translation” of the story, which had been known for centuries, thus sending new aesthetic and political messages to adolescents. The emphasis is placed not only on the opposition of the roles of woman in socialist and capitalist societies but also on making the differences in appearance, behavior, and upbringing stand out.

This article was created on the basis of the study of the life and work of the Slovene writer Alma Karlin (1889–1950), who spent a large part of her life abroad, during her trips around the world. She mainly published in German, during the period between World War I and World War II. Some of her works are open in the manner of crosswriting, including the analyzed fairy tale The Youngest Granddaughter of the Honorable I Chao which was originally published in 1948 in German and in 2016 in Slovene. With this fairy tale, the writer intertextually related to the model of the folk fairy tale, the European fairy tale, and the ATU514 and ATU884 international fairytale type. The detailed analysis and application of the theory of Slavo jŽižek, entitled From Antigone to Joan of Arc, confirms the hypothesis that Alma’s fairytale belongs to the literary tradition from Antigone to the present, that the fairy tale contains the features of subjectivization of a literary heroine, which is a universal element (fairytale type or motif), and Alma also added to the text the typical characteristics of Chinese culture.Keywords: Alma Karlin, fairy tales, ATU 514, ATU 884, M. Lüthi, H. J. Uther, Slavoj Žižek.

Les contes de fées de l’âge classique constituent un matériau privilégié de l’imaginaire merveilleux occidental, délivrant à la fois figures, scénarios et motifs. Les adaptations cinématographiques des contes de fées, parce qu’ils sont plastiques et modulables, sont nombreuses et variées, mais elles s’inscrivent toutes dans une dynamique sérielle qui définit différents rapports de réécriture et d’interprétation. Cette étude prend pour objet les effets de transformation et de variance qui découlent de l’adaptation cinématographique, et porte plus spécifiquement sur deux reprises filmiques de La Belle au bois dormant de Charles Perrault : La Belle endormie (2011) de Catherine Breillat et Belle dormant (2017) d’Adolpho Arrietta. Chez Breillat, la dominante est accordée à l’exploration onirique de l’enfance, en investissant de symboles l’un des points aveugles du conte de Perrault : le sommeil de la Belle. Chez Arrietta, la modernisation de La Belle au bois dormant repose sur la prolifération des médias employés comme supports narratifs (musique, objets magiques, photographie), permettant ainsi d’interroger les pouvoirs des récits et les fonctions de l’imaginaire. Enfin, les films de Breillat et d’Arrietta proposent, en marge des enjeux de reprise, une réflexion sur le dispositif cinématographique lui-même. Fairy tales of the classical age are central in the Western imagination, as they offer figures, scenarios and motifs that are immediately and universally understood. The cinematographic adaptations of fairy tales, because they are plastic and modular, are rich and varied, but they are all part of a serial dynamic that defines different relationships of rewriting and interpretation. This study takes as its main object the effects of transformation and variance in cinematographic adaptations of fairy tales. More specifically, this article is about two recent filmic remakes of La Belle au bois dormant by Charles Perrault : La Belle endormie (2011) by Catherine Breillat and Belle dormant (2017) by Adolpho Arrietta. In Breillat’s work, the dominant is given to the dreamlike exploration of childhood, by examining one of the blind spots of Perrault’s tale: the long sleep of the Sleeping Beauty. In Arrietta’s work, the modernization of Sleeping Beauty is based on the proliferation of the media used as narrative supports (music, magic objects, photography), making it possible to question the powers of stories and the functions of the imaginary. Finally, the films of Breillat and Arrietta are a reflection on the cinematographic medium itself.

Polifemo, um dos mais assustadores e perigosos monstros da mitologia grega, é um dos principais personagens do drama satírico Ciclope, de Eurípides. Muitos elementos de sua caracterização, inspirada em parte pelo livro 9 da Odisseia de Homero, despontam em outros sombrios personagens de alguns dramas de Eurípides. O sofisticado Polifemo euripidiano também influenciou obras literárias e artísticas a partir do século IV aC e, em nossos dias, alguns traços desse ciclope podem ser encontradas nos malignos ogros de contos de fadas do século XVII. Polyphemus, one of the scariest and most dangerous monsters in Greek mythology, is a main character in Euripides’ satyr play Cyclops. Many elements of his characterization by Euripides are partially inspired by Book 9 of Homer’s Odyssey and resurface in other dark characters of Euripidean drama. Characteristics and influences from Euripides’ sophisticated Polyphemus might be found in literary and artistic works from 4th century BCE onwards. In our days, traces of Euripides’ cyclops may be recognized in some of the evil ogres of 17th century fairy tales.

L. Frank Baum’s The Wonderful Wizard of Oz (1900) and Victor Fleming’s film The Wizard of Oz (1939) play an important intertextual role in Margaret Atwood’s critical and fictional writings. Atwood has often been inspired by both versions of this modern fairy tale and has drawn attention to the main issues it raises (e.g. the transformative power of words, gendered power relationships, the connection between illusion and reality, the perception of the artist as a magician, and different notions of home). She has creatively explored and exploited themes, settings, visual motifs, allegorical content and characters (Dorothy, her three companions, the Wizard and the witches, especially Glinda the Good and the Wicked Witch of the West), subversively adapting her literary borrowings with a parodic twist and satirical intent. Parts of Life Before Man (1979) may be interpreted as a rewrite of a story defined by Atwood as “the great American witchcraft classic”.

The results of this research are first, the early childhood book Tales Collection: Privilege of Animal presents five reinforcement of character education, namely religious, nationalist, independent, mutual cooperation, and integrity characters. Each of these characters is presented in fairy tales in the book, represented by animal figures which are be the main characters in storytelling. The five strengthening of this character education is presented in interesting fairy tales from the aspects of narration, content, and illustrations which the impact makes children love with the fairy tales of this book. This feeling of love that makes the process of strengthening character education happen. Second, the strengthening of character education is formed through the love of early childhood with the tales in this book, so that young children are enthusiastic when reading this fairytale book. This enthusiasm makes early childhood love stories in the fairy tales. This fondness then makes young children understand the contents of fairy tales, which then conditions young children to reflect, that is connecting the contents of the story and the value of characters in fairy tales with the daily life of children. From this the children then strengthened the character education of religious, nationalist, independent, mutual cooperation, and integrity in children. From here, the process of strengthening character education is formed and takes place with the media of early childhood Fairytale Book Collection: Privilege of Animals., Hasil pelitiannya adalah pertama, buku Kumpulan Dongeng PAUD: Keisitimewaan Binatang menghadrikan lima penguatan pendidikan karakter, yaitu karakter religius, karakter nasionalis, karakter mandiri, karakter gotong-royong, dan karakter integritas. Setiap karakter ini disajikan dalam dongeng-dongeng yang ada dibuku dengan direpresentasikan oleh tokoh-tokoh binatang yang menjadi tokoh utama penceritaan dalam dongeng. Kelima penguatan pendidikan karekter ini disajikan dalam cerita dongeng-dongeng yang menarik dari aspek narasi, isi-materi, dan ilustrasi yang dampaknya membuat anak-anak suka dengan dongeng-dongeng buku ini. Rasa suka inilah yang membuat proses penguatam pendidikan karakter terjadi. Kedua, penguatan pendidikan karakternya terbentuk melalui rasa suka anak-anak usia dini dengan dongeng-dongeng dalam buku ini, sehingga anak-anak usia dini antusias saat dibacakan buku dongeng ini. Sikap antusias ini membuat anak-anak usia dini suka dengan cerita dalam dongeng. Rasa suka ini kemudian membuat anak-anak usia dini paham dengan isi dongeng, yang kemudian mengkondisikan anak-anak usia dini untuk melakukan refleksi, yaitu menghubungan isi cerita dan nilai karakter dalam dongeng dengan kehidupan sehari-hari anak. Dari sinilah anak-anak kemudian melakukan penguatan pendidikan karakter religius, nasionalis, mandiri, gotong-royong, dan integritas dalam diri anak-anak. Dari sinilah, proses penguatan pendidikan karakter terbentuk dan terjadi dengan media buku Kumpulan Dongeng PAUD: Keistimewaan Binatang.

espanolLa produccion literaria de la escritora chilena Lina Meruane se interna en el valle de los monstruos e indaga en todos aquellos rincones donde pueden acechar. Este articulo analiza las diferentes representaciones del monstruo en la obra de la joven narradora de la mano de sus personajes: ninas y adolescentes, desobedientes y en busca de una identidad que pugna por no ser categorizada. Martires ficcionales de un mundo real, las protagonistas de Las infantas (1998) y Fruta podrida (2007) claman por revertir las normas de un mundo que va perdiendo su humanidad a favor de la tecnologia. Convertirse en aquel super ciborg, propuesto por Donna Haraway en Simians, cyborgs and women (1991), que usaba la tecnologia para erradicar la desigualdad, no parece posible en una ficcion en la que la realidad dictatorial todavia hace estragos en la memoria. Los personajes sucumben ante su destino. Pero su mensaje todavia existe y resiste, y la monstruosa obra de Meruane advierte, recordando la identidad original del monstruo y sus habilidades videntes. EnglishChilean writer Lina Meruane’s literary production penetrates the valley of monsters and searches every corner from where they could stalk. Aided by her characters, girls and adolescents, disobedient and in search of an identity which struggles not to be categorized, this essay analyses the representations of monsters in the work of the young writer. Fictional martyrs of a real world, the protagonists of Las infantas (1998) y Fruta podrida (2007) clamor for an inversion of the norms in a world which is losing its humanity in favor of technology. Becoming a cyborg, a creature who would use technology to eradicate inequality, as proposed by Donna Haraway in Simians, cyborgs and women (1991), does not seem possible in a fiction where the dictatorial reality still wreaks havoc with their memory. Characters succumb before their destiny. But their message still exists and resists, and Meruane’s monstrous work still warns, recalling the monster’s original identity and its psychic abilities.

In this presentation, I would like to share some of the results of the research on Ihanzu language (F31B, spoken in Central Tanzania), in particular of the linguistic analysis of songs found in traditional fairy tales. The analysis encompasses lexical, structural and functional features of songs., Note: This talk has not gone through a process of peer review, and findings should therefore be treated as preliminary and subject to change. Acknowledgement and citation: Beletskiy, Stanislav. 2021. Songs in Ihanzu folk tales.Talk given at the Rift Valley Network Webinar Series. 15/12/2021.

Stories shape the human experience. Fairy tales, fables, and historical stories from many peoples influence contemporary culture and science. The Little Prince is an excellent example of a short tale that highlights the relative importance of living with ecology and connectedness. It also clearly illuminates the absurdity that can emerge when one becomes isolated from even the simple processes associated with the functioning of other natural systems or from ecological interactions. This is one of many excellent stories that can be used in teaching science to frame theory for learners into different and larger novel contexts. This fairy tale provides morals for daily living too--tend to your garden, watch sunsets, and use nature to tame your absurd life and connect to others. We use humour, stories, and current cultural memes from television and movies in many publications and/or their titles and in classroom lessons. Looking more broadly for tales and stories from different cultures and times promotes justice and openness.

Pesquisa sem auxílio de agências de fomento Os contos de fadas se configuram como construções mágicas do mundo que permeiam os séculos. Na contemporaneidade, há um movimento intertextual de releitura dessas narrativas maravilhosas que retoma o passado sob o conceito de “re-visão”, proposto por Adrienne Rich (1985), apostando na necessidade de desconstruir, reorganizar e transformar os contos de fadas, tendo por base a tradição. Nesse sentido, o revisionismo contemporâneo, dialogando com a pós-modernidade, lança luz para perspectivas que estão fora do sistema homogeneizante, demonstrando que essas histórias não precisam ser como sempre foram e seus significados não necessitam ser únicos, imutáveis ou cristalizados. Como metáforas de uma época, por muito tempo, os contos de fadas estabeleceram os lugares para as personagens femininas. Com a institucionalização dos contos de fadas enquanto gênero literário, a madrasta passa a ocupar o polo feminino negativo, sendo o contraponto que valida o ideal materno de bondade e lutando, dentro de um novo casamento, contra a enteada. Madrasta e enteada são caracterizadas como personagens que constroem uma relação de poder, sendo influências mútuas para o desenrolar da narrativa. Mas por que a madrasta é vilipendiada e cabe a ela, na tradição, apenas o papel de antagonista? Esse questionamento inicial nos levou ao desenvolvimento dessa tese, que tenta negociar a narrativa da madrasta, a partir de releituras do tradicional conto de Branca de Neve. Refletindo a necessidade contemporânea de trazer explicações em relação ao passado da madrasta a fim de justificar sua vilania, analisamos “The Snow Child”, de Angela Carter, “Snow Night”, de Barbara G. Walker, “The dead Queen”, de Robert Coover, Garotas de Neve e Vidro, de Melissa Bashardoust, A Mais Bela de Todas - A História da Rainha Má, de Serena Valentino; e o seriado ficcional Once upon a time, de Adam Horowitz e Edward Kitsis. Por meio dessas narrativas, defendemos a hipótese de que a busca da origem do mal da madrasta é uma ficção que não empobrece o enigma, que nasce e se consolida no fato de nunca dizer tudo, e elaboramos o conceito de “memória-origem”, associando-o à transformação da personagem madrasta de vilã para uma anti-heroína pós-moderna. Fairy tales are configured as magical constructions of the world that permeate the centuries. In contemporary times, there is an intertextual movement to re-read these narratives that retakes the past under the concept of “re-vision”, proposed by Adrienne Rich (1985), betting on the need to deconstruct, reorganize and transform fairy tales, based on tradition. In this sense, contemporary revisionism, dialoguing with postmodernity, sheds light on perspectives that are outside the homogenizing system, demonstrating that these stories do not need to be as they always were and their meanings do not need to be unique, immutable or crystallized. As metaphors of an era, for a long time, these narratives established places for female characters. With the institutionalization of fairy tales as a literary genre, the stepmother started to occupy the negative feminine pole, being the counterpoint that validates the maternal ideal of kindness and fighting, within a new marriage, against her stepdaughter. Stepmother and stepdaughter are characters that build a relationship of power, being mutual influences for the development of the narrative. But why is the stepmother vilified and why does she have only the antagonist role in tradition? These initial questions led us to the development of this thesis, which tries to negotiate the narrative of the stepmother, based on reinterpretations of the traditional tale of Snow White. Reflecting the contemporary need to bring explanations about the stepmother's past in order to justify her villainy, we analyzed “The Snow Child”, by Angela Carter, “Snow Night”, by Barbara G. Walker, “The dead Queen”, by Robert Coover, Girls made of Snow and Glass, by Melissa Bashardoust, Fairest of All: A Tale of the Wicked Queen, by Serena Valentino; and Once upon a time, by Adam Horowitz and Edward Kitsis. Through these narratives, we defend the hypothesis that the search for the origin of the stepmother's evil is a fiction that does not impoverish the enigma, that is born and is consolidated in the fact of never saying everything, and we elaborated the concept of “origin-memory”, associating it with the transformation of the villainous stepmother into a postmodern anti-heroine. Tese (Doutorado)

As the objective of EFL teaching is to help students to communicate fluently in the target language, teachers should provide authentic models of language use for every level and age. To hit the target we should focus not only on linguistic, but also on literary and cultural elements. Since fairy tales offer these elements, they are highly beneficial to use in EFL teaching programs, especially for young learners.It should be taken into consideration that the selection of fairy tales should be done in reference to the course objective, the learners’ age and the story content. Since every teaching situation is unique, the use of every single piece of fairy tale varies from class to class and from teacher to teacher. But, anyhow, using fairy tales in Elementary English courses as literary works tends to improve communicative competence and provide a springboard for the development of critical thinking and aesthetic appreciation. It is advantageous for many benefits, like cultural enrichment, language advancement, higher-order thinking, and many more. To accomplish the following purpose, there is a great significance given to the methodology and strategies to teaching English through Fairy Tales.

Assuming that many times advertising operates as a resonance box of classical discourses of fairy tales, notably in respect to women’s discourse or discourse about women, I propose this present study with the objective of giving visibility to effects of sense and female identity through analytical descriptions of our advertising materials which circulate in the big Brazilian printed media. To do so, I make use of the theoretical-methodological framework of Discourse Analysis (DA) with French assumptions regarding the necessary and inescapable relation among sense, subject and memory. Thus, confronting the complex material of selected pieces and the memory arisen, I noticed that the (re)formulations, more than reciting a set of images and sayings originated in the wonderful world of fairy tales, ensured sense effects that contributed with subjectivation of the female in contemporaneity from time immemorial., Partindo do princípio de que a publicidade opera, muitas vezes, comouma caixa de ressonância dos discursos dos clássicos contos de fadas,notadamente quanto fala da/sobre a mulher, proponho o presente estudocom o objetivo de refletir criticamente e de dar visibilidade a efeitos desentidos e de identidades do feminino, mediante descrições analíticas depeças publicitárias impressas que circularam em revistas da grande mídiaimpressa brasileira. Para tanto, aciono do quadro teórico-metodológico daAnálise do Discurso (AD) de filiação francesa pressupostos que tratam darelação necessária e inescapável entre sentido, sujeito e memória. Assim,confrontada com a materialidade complexa das peças selecionadas e com oespaço de memória ali convocado, constato que as (re)formulações, mais doque recitarem um conjunto de imagens e dizeres advindos do maravilhosomundo dos contos de fadas, asseguram, na contemporaneidade, efeitosde sentidos que contribuíram com os modos de subjetivação do femininodesde tempos quase imemoriais.

Angela Carter and Ghazaleh Alizadeh as the prophetesses of postmodern fairy tales in British and Persian literature re-narrativize these tales as a loophole from socio-political stagnation and cultural paralysis. Evading direct contact with the political jargons of their eras, they seek gender generativity via the fairy tale machine. Alizadeh finds refuge in modernizing Persian fairy tales. Carter chants her frustration at Thatcherism through gender subversion. Carter’s and Alizadeh’s revulsion at the politics of gender in their eras can be read via the duet between the abject and the chora in Kristeva’s thought. It is through the encounter with the external abject that the internal abject is activated culminating in the efflorescence of the chora. The liminality of the chora becomes the battleground on which poetics of gender beats off politics of logos through subversion and syncretism. While Carter obtains abjection through overt sexualization of fairy tales, Alizadeh resorts to indirection due to the political climate of her time. Unlike Carter who is quite outspoken about her fairy tale project, Alizadeh is reticent, allusive, and somber trying to remind her readers of the gloomy reality that being a woman in the Middle Eastern countries is always already punctuated with docility.

Los cortocuentos son unos relatos muy breves creados por el guionista Borja Crespo y el dibujante Chema García y reunidos en un libro de ese título, a los que se añadieron, en un segundo volumen, los realizados con otros dibujantes. Este estudio se propone analizar el proyecto de colaboración del que surgieron, sus formas, los recursos que emplean y aquellos de los que prescinden, y el modo como tratan los motivos fantásticos o maravillosos que incorporan, entre el lirismo y la ironía., Cortocuentos is a series of short stories by writer Borja Crespo and artist Chema García collected into a book under this title. Another series was created in collaboration with other cartoonists and collected in a second volume. This study aims to analyze the collaborative project that was created by them, their forms, the resources employed and discarded by them, and how they treat the fantastic or marvelous topics by implementing lyricism and irony.

Fairy tales date from centuries back. Despite appearing to bring simple stories to readers and listeners, they are reflections of a time and certain locations and, contrary to the genre timelessness, they transmit and perpetuate meanings as social constructions, that in this contemporary context have been questioned. Even today we continue to narrate fairy tales and, among their manifestations, we are interested in re-reading the classics of children‟s literature from contemporary writers confronting meanings crystallized by tradition, considering unusual prospects until then. These writers claim to rethink sexist and dominant attitudes, demonstrating the marginalization of women‟s role in the magical narratives and pointing changes to the behavior of men and women and their social and hierarchical relationships. The purpose of this dissertation is to evaluate the manner and extent of the break/subversion of crystallized meanings by the traditional narrative of Snow White , in the revisionist perspectives achieved by Angela Carter, in The Snow Child (1979), and Barbara G. Walker, in Snow Night (1996). The study considers, among other things, the concept of revision and the course of revisionism, as defined by Adrienne Rich (1985); intertextuality and revisionist strategies such as parody (HUTCHEON, 1989), feminist metafiction (GREENE, 1991), narrative displacement and delegitimization of the known story (DUPLESSIS, 1985) and the fictional revisionism levels presented by Maria Cristina Martins (2005) in her research on contemporary retellings of fairy tales. In relation to the transgression/subversive level, we consider the concept of carnivalization outlined by Mikhail Bakhtin (1981; 1987). We hope to show that the fairy tales, even though they are magical framing of the world that permeate the centuries, do not need to be as they are and their meanings do not need to be unique, unchangeable or crystallized. Contos de fadas datam de séculos atrás. Apesar de parecerem trazer aos leitores e ouvintes simples histórias, são reflexos de uma época e de determinados locais e, contrariando a atemporalidade do gênero, seus significados transmitidos e perpetuados são construções sociais que, nesse contexto contemporâneo, vêm sendo questionadas. Ainda hoje continuamos a narrar contos de fadas e, dentre suas manifestações, interessa-nos a releitura dos clássicos da literatura infantil a partir de escritoras contemporâneas que confrontam significados cristalizados pela tradição, considerando perspectivas até então inusitadas. Essas escritoras pretendem repensar atitudes sexistas e dominantes, demonstrando a marginalização do papel feminino nas narrativas mágicas e apontando mudanças para o comportamento de homens e mulheres e suas relações sociais e hierárquicas. O objetivo dessa dissertação é avaliar o modo e a extensão da ruptura/subversão dos significados cristalizados pela narrativa tradicional de Branca de Neve , nas perspectivas revisionistas alcançadas por Angela Carter, em The Snow Child , de 1979, e por Barbara G. Walker, em Snow Night , de 1996. O estudo considera, entre outras questões, o conceito de revisão e o percurso do revisionismo, conforme definidos por Adrienne Rich (1985); a intertextualidade e as estratégias revisionistas, como a paródia (HUTCHEON, 1989), a metaficção feminista (GREENE, 1991), o deslocamento narrativo e a deslegitimação da história conhecida (DUPLESSIS, 1985) e os níveis de revisionismo ficcional apresentados por Maria Cristina Martins (2005) em sua pesquisa sobre releituras contemporâneas de contos de fadas. Em relação ao nível transgressor/subversivo, consideramos o conceito de carnavalização delineado por Mikhail Bakhtin (1981; 1987). Esperamos evidenciar que os contos de fadas, apesar de se configurarem construções mágicas do mundo que permeiam os séculos, não precisam ser como são e seus significados não necessitam ser únicos, imutáveis ou cristalizados. Mestre em Teoria Literária

Guillermo del Toro’s filmography uses recurrently old formulas such as archetypal folk and fairy- tale motifs and characters, adapting them to contemporary culture and society. The fantastic acts as a parallel universe to our logical world. His films describe a supernatural reality that intertwines with the ordinary world, using the archetypes of these narrations in the real world. Del Toro claims the figure of the monster as one of his outstanding characters, showing that the classical monsters are usually represented as vulnerable creatures subjected to the brutality of the human being. His films have a utopian spirit, mixed with fairy tales exclusively for adults, morality, goodness or the capacity of sacrifice of his protagonists, the overcoming of obstacles and the deepening of a state of knowledge and virtue. Fantasy serves the director as a vehicle to introduce political and social issues through a series of metaphors, which are appreciable in films such as Pan’s Labyrinth, Crimson Peak or The Shape of Water. 2019-20

espanolCharles Perrault escribe sus cuentos dentro del preciosismo, movimiento de reivindicacion femenina que nace y se desarrolla en los salones de Paris en la segunda mitad del siglo XVII. Las preciosas, que primero cuentan y despues escriben cuentos de hadas en los salones, haran que el cuento se consolide como genero literario y pase de la forma oral a la escrita. El interes que en los ultimos anos ha suscitado el estudio de la masculinidad en numerosas disciplinas cientificas, refleja la necesidad social de que se instaure en la realidad cotidiana de hombres y mujeres una nueva masculinidad. El analisis de lo masculino en los cuentos de Perrault, de todos conocidos, pone de manifiesto que estos contribuyen a la formacion de una identidad de genero masculina la cual no se corresponde con las necesidades de nuestra realidad actual. Se impone la deconstruccion del concepto de masculinidad que presentan tales cuentos para implantar, desde la infancia, nuevas masculinidades. EnglishCharles Perrault writes his tales within the preciosity, a movement of female assertion born and developed in Parisian salons during the second half of the 17th century. Precieuses, who first tell and then write fairy tales in salons, will consolidate fairy tales as a literary genre as well as their transition from the oral to the written form. The interest elicited by the study of masculinity in many scientific disciplines in recent years reflects the social need that a new masculinity be established in the everyday reality of men and women. An analysis of the masculine in the tales by Perrault, known to all, reveals that they contribute to creating a male gender identity that does not match the needs of our current reality. Deconstructing the concept of masculinity presented by such tales becomes thus essential in order to establish new masculinities since childhood.

espanolCon frecuencia se afirma que la literatura del Holocausto produce disrupcion y extranamiento. Dado que el Holocausto desafia formas tradicionales de expresion, las escritoras y escritores han explorado tecnicas alternativas, a veces combinando distintos (meta)generos y registros. Este es el caso de obras que tratan sobre el Holocausto a partir de la reescritura de cuentos populares. Se genera asi un efecto de extranamiento o desfamiliarizacion de dichas fuentes que tiene que ver con la busqueda de nuevas posibilidades de representacion. El articulo se centra en examinar el modo en que tres obras de este tipo—de Lisa Goldstein, Louise Murphy y Rachel Seiffert—formulan alternativas al metarrelato tradicional del Holocausto, que se caracteriza por centrarse en las victimas y facilitar la empatia del lector o lectora por los personajes. En las obras aqui analizadas, por el contrario, la linea que separa victimas y perpetradores se desdibuja, de forma que la relacion del lector o lectora con los personajes participa del efecto de extranamiento anteriormente mencionado. El articulo considera tambien el papel que juegan los secretos en las tres obras, al contribuir estos al extranamiento de los personajes con respecto de la lectora o lector. Este hecho complica el proceso de identificacion e invita a profundizar en el debate sobre las limitaciones de las categorias convencionales y de binarios tales como los basados en las dicotomias victima/ victimizador y secreto/publico. EnglishHolocaust literature has often been described as producing disruption and estrangement. As the Holocaust challenges traditional forms of expression, writers have used alternative techniques, sometimes blurring genres and registers. This is the case with Holocaust narratives that rewrite fairy tales or use fairy-tale motifs and structures: they produce an estrangement effect in that their intertexts are defamiliarised as a strategy for opening up the possibilities of representation. This article focuses on three works of this kind, by authors Lisa Goldstein, Louise Murphy and Rachel Seiffert. Specifically, it considers how they constitute an alternative to the sanctioned metanarrative of the Holocaust, which is victim centred and facilitates the reader’s empathy. Indeed, the works discussed here complicate the categories of victim and perpetrator, thus problematising our engagement with the characters in a way that furthers the abovementioned estrangement effect. Attention is paid to the role played by secrecy in each narrative, as I contend that it is the secret and its effects in the diegesis that keep the characters at a distance, “estranged” from the reader. This distance precludes easy identification and invites critical discussion on the limitations of familiar categories and binaries, such as the victim/victimiser opposition and the public/secret dichotomy.

Starting from the stories told from words of mouth by old female storytellers, until the blossoming of imprinted tales back in the 18th and 19th centuries, the genre of fairy tales has been highly influenced by different historical periods and social conventions. Canonical writers such as Charles Perrault or the Grimm Brothers sought to create original stories and reformulate previous tales to impose their own ideology about politics or gender. That rewriting strategy characterises the genre and it opens the path for its continuous reassessment. For that, along the 20th century, part of the Postmodern and feminist movements focus on revising the form and content of fairy tales. Following the postmodern key points about reviewing and revisiting all previous knowledge and the feminist approach to gender and female questions, Angela Carter’s The Bloody Chamber and Other Stories (1979) and Emma Donoghue’s Kissing the Witch: Old Tales in New Skins (1997) aim at reshaping the image of the female self and challenging patriarchal values embedded in classic tales. Meanwhile, fairy tales witnessed another radical renewal: in 1937, Walt Disney released its first animated fairy tale film, Snow White and the Seven Dwarfs, which laid the first stone for the prestigious name it has today. Other adaptations such as Sleeping Beauty (1945) or Beauty and the Beast (1991) are some of Disney’s landmarks in the memory of many children and young adults. However, does Disney reconsider any ideology or traditional value in these adaptations as Carter and Donoghue do in their collections? Bearing this question in mind and following feminist postulates, the present dissertation delves into nine different works divided in three groups: Disney’s Snow White and the Seven Dwarfs (1937), Sleeping Beauty and Beauty and the Beast (1991); Angela Carter’s “The Snow Child”, “The Lady of the House of Love” and “The Tiger’s Bride”; and Emma Donoghue’s “The Tale of the Apple”, “The Tale of the Needle” and “The Tale of the Rose”. It intends to compare and analyse the representation of traditional values and social assumptions regarding women, female objectification, passivity and female rivalry. Such analysis will allow to underscore Carter and Donoghue’s feminist subversion in their collections and to expose Disney’s patriarchal and old-fashioned values within their productions and how this has affected their main audiences: children., Desde las voces de las antiguas cuentacuentos, hasta el auge de los cuentos escritos durante los siglos XVIII y XIX, los diferentes momentos históricos y las convenciones sociales han causado un gran impacto en el género de los cuentos de hadas. Escritores canónicos como Charles Perrault o los Hermanos Grimm trataron de reformular antiguos cuentos y crear nuevas historias en las que reflejar su propia ideología política o de género. Esta estrategia de reescritura es característica del género y, además, abre paso a continuas revisiones del mismo. Por ello, durante el siglo XX parte de los movimientos postmodernistas y feministas replantean la forma y el contenido de los cuentos de hadas. Partiendo de los elementos clave del postmodernismo –reformular y replantear todos los conocimientos previos–, y de las teorías feministas sobre cuestiones de género, las obras The Bloody Chamber and Other Stories (1979) de Angela Carter y Kissing the Witch: Old Tales in New Skins de Emma Donoghue tratan de remodelar la imagen de la mujer y cuestionar los valores patriarcales normalizados en los cuentos. Al mismo tiempo, los cuentos han sido testigos de otros cambios radicales: en 1937 Walt Disney estrena su primera adaptación de un cuento en dibujos animados, Snow White and the Seven Dwarfs, lo que supuso el principio del imperio Disney. Sleeping Beauty (1945) o Beauty and the Beast (1991) son otros ejemplos icónicos de Disney que han marcado la infancia de muchas generaciones. Sin embargo, ¿ha reconsiderado Disney algún aspecto ideológico o valor tradicional en estas adaptaciones como hacen Carter o Donoghue en sus reescrituras? Teniendo en cuenta las cuestiones anteriores y los postulados feministas, esta investigación analiza nueve obras diferentes divididas en tres grupos: las películas de Disney Snow White and the Seven Dwarfs (1937), Sleeping Beauty y Beauty and the Beast (1991), los cuentos “The Snow Child”, “The Lady of the House of Love” y “The Tiger’s Bride” de Angela Carter y los de Emma Donoghue, “The Tale of the Apple”, “The Tale of the Needle” y “The Tale of the Rose”. Con ello se pretende comparar y analizar la representación de los valores tradicionales y las consideraciones sociales sobre la mujer, la cosificación femenina, la pasividad y la rivalidad entre estas. Dicho análisis permitirá tanto destacar la subversión feminista de las escritoras Donoghue y Carter, como revelar los valores patriarcales y anticuados que muestran las producciones de Disney y, así, demostrar cómo ello ha afectado a su principal audiencia: los niños., Máster Universitario en Investigación en Literaturas Anglófonas e Hispánicas Contemporáneas (M181)

The article is devoted to the issue of pedagogical value of folklore in intellectual and moral education of future teachers at the foreign language lessons. The authors of the article analyze why is folklore a valuable source in training teachers. In the article it was researched folklore genres which can be successfully used with educational purpose. It was also researched the works of well – known foreign and Russian scientists who made a big contribution to the theoretical and practical research of folklore. The authors of the article researched the works of pedagogues who used Russian folklore genres in kindergartens, elementary and secondary schools. The aim of the study is to demonstrate the pedagogical value of folklore prosaic genres in intellectual and moral education of future teachers at the foreign language lessons. Before analyzing the pedagogical value of folklore genres in intellectual and moral education of future teachers the authors held an opinion poll at the university. It was surveyed 200 students of the first and the second courses at the institute of psychology and education. There were some questions about folklore of the native language: if they knew some cradle songs or if they remembered tongue twisters which their parents had used to improve their pronunciation skills or if they remembered some fairy tales from their childhood, if they remembered counting out rhymes. 47 % of the future primary teachers couldn’t remember cradle songs. 33 % students responded that they knew some cradle songs but they couldn’t sing the whole songs. 20% of students didn’t hear cradle songs from their parents. Students who took part in questionnaire and in polling showed better results in retelling fairy tales of the native languages (Russian and Tatar). 88% of future infant school teachers could remember the content of fairy tales. They told that they heard them from parents and read them at primary schools. Just 5 % students could remember local legends and fables. 60 students (2 groups) of primary school teachers and English language teachers were taken to the experimental groups where the authors of the article evaluated the results of the experiment using folklore genres of the native and second languages in teaching foreign language. At the end of the experimental year students replied to some questionnaires. 100 % of students liked to learn foreign language by means of folklore as native so foreign one. They said that they would use them in their future work. 99% students underlined educational value of folklore in bringing up children, in intellectual and moral education of younger generation. 100 % students who learned foreign language by means of folklore genres highlighted that their acquired knowledge, competence, and skills would be very useful in their future work with children at primary schools.

Fairy tales have always been captivating for young readers. Since most of the fairy tales have their source in oral folktales, they highlight traditional gender roles and create stereotypes. As Maria Nikolajeva (2003) states, fairy tales reflect its own time and society. Evolution in readership has led to a change in these reflections. “Rapunzel” is one of the most iconic fairy tale characters and she is known for her long golden hair. Hair carries symbolic implications and is often associated with femininity, and exhibits how societal control influences how she/he wears their hair. By the transformation of her hair in the adaptations, the authors depict a change in the traditional gender roles. Rapunzel’s Revenge by Shannon and Dean Hale will be read as a counter-narrative to Grimm‟s “Rapunzel” to investigate the changes in the fairy tale genre and enable a reading of the changing hair symbolism in order to understand the change in gender roles and identity.

Resumo: Neste artigo, investigamos a tradição e a inovação na obra A Bela e a Adormecida por meio da análise da construção da narrativa, considerando o importante papel do projeto gráfico e das ilustrações. Dessa forma, abordamos as colaborações entre dois importantes autores britânicos: o escritor Neil Gaiman e o ilustrador Chris Riddell. Como referencial teórico priorizamos os estudos sobre ilustração e projeto gráfico de livros infantis - Nikolajeva e Scott, Moraes, Linden, Ramos -, dialogando com estudos sobre contos de fadas - Betelheim, Coelho, Corso e Corso. Pudemos observar que mesmo não se tratando de um livro ilustrado, de acordo com a concepção inglesa de picturebook, a narrativa é contada não apenas pelo texto escrito, mas também pelas ilustrações e pelo projeto gráfico. O diálogo entre escritor e ilustrador e a liberdade que este teve para apresentar seu ponto de vista foram fundamentais para o sucesso da obra. Abstract: We investigate in this article tradition and innovation in the book The Sleeper and the Spindle through the analysis of the narrative construction. We also look upon the important role played by the graphic project and illustrations in this book. Thus, we address in our analysis the collaboration between two important British authors: the writer Neil Gaiman and the illustrator Chris Riddell. We prioritize as theoretical reference for this study the research made on illustration and graphical project of children books by Nikolajeva e Scott, Moraes, Linden, Ramos. We also employ the studies of fairy tales by Betelheim, Coelho, Corso e Corso. Taking into consideration that the book cannot be categorized as a picturebook as defined by the British concept, the narrative is not only told by its texts, but also by its illustrations and graphic project, as highlighted in this essay. The dialogue between writer and illustrator and the freedom that the latter had to present his point of view were the milestone for the success of this book.

[Resumen] En este artículo se lleva a cabo un análisis de la obra de Madame d’Aulnoy, la primera escritora europea de literatura infantil y la verdadera precursora de los cuentos de hadas. Para ello, se parte del imprescindible papel que ejerce la crítica literaria feminista antes de pasar a una revisión bibliográfica sobre Madame d’Aulnoy y al posterior análisis de dos de sus cuentos más significativos. Con todo ello se pretende recuperar la figura de la primera mujer que escribió cuentos de hadas en una sociedad patriarcal que ha invisibilizado a las escritoras de toda una generación [Abstract] This article presents an analysis of the work of Madame d’Aulnoy, the first European writer of children’s literature and the true forerunner of fairy tales. In order to do so, this article has as its starting point the indispensable role of the feminist literary criticism, before moving on to a literature review on Madame d’Aulnoy and the subsequent analysis of two of her most significant stories. With all this, it’s intended to regain the figure of the first woman who wrote fairy tales in a patriarchal society that has invisibilized the women writers of a generation

This article presents the notion of identity as perceived in Tanith Lee’s awardwinning novel Death’s Master. It focuses on the four main relations between identity and other concepts found in the novel, often resulting in identity conflict. It also addresses the traditional and non-traditional perceptions of the given phenomena, e.g. rejection of motherhood, gender fluidity, collective identity and the identity of abstract notions personified, such as death. Our goal is to examine the different concepts of “self” as related to social standing, sexuality, gender or nature. The overall aim of the article is to present how the author reworks the concepts of traditional identity in relation to stereotypical representations of the characters.

The article provides an overview of the methodological foundations, methods and tools for the formation of interest in cognition in preschool-aged children.

Juan Valera, one of the most distinguished authors of Spanish literature in 19th century translated and published two Japanese tales in 1887. They are Pescadorcito Urashima (浦島太郎) and El espejo de Matsuyama (松山鏡), both of them are of common knowledge in Japan. While Urashima Tarō has its first record in Nihonshoki, Matsuyama kagami has Buddhist origin and was transmitted to Japan converted into a popular tale rooted in Echigo region (present day Niigata Prefecture). This tale has versions in the noh theatre, kyōgen and rakugo. On the other hand, the tale of Little Mouse Pérez, of which no Spanish child would be ignorant, was published in 1911 in Spain and was translated into Japanese in 1953 by Iwanami Shoten. The temporal distance between these two publications signals various historical factors that both nations went through during this lapse of time. Although it deals with a field not well acknowledged until now, we must admit the fact that the communication power of children’s literature is highly significant when we talk about the early cognition of the world images. This work will deal with the elements that inspired Valera for creating the translation of these two tales into Spanish as well as the case of the Spanish tale within Japan. At the same time, we will observe the reception and the assessment of these tales in both countries. Juan Valera, uno de los escritores más destacados de la literatura española del siglo XIX, tradujo y publicó dos cuentos japoneses en 1887: El Pescadorcito Urashima (浦島太郎) y El espejo de Matsuyama (松山鏡), dos cuentos sobradamente conocidos en Japón. Si Urashima Tarō tiene su antecedente ya en Nihonshoki, Matsuyama kagami es de origen budista y pasó a Japón convirtiéndose en un cuento popular de la región de Echigo (actual prefectura de Niigata). Del último, existen versiones en el teatro noh, kyōgen, y rakugo. Por otro lado, el cuento del Ratón Pérez del que ningún niño español podría ser ignorante, se publicó en 1911 en España y se tradujo al japonés en 1953 por la editorial Iwanami. El desfase temporal que separa estas publicaciones indica varios factores históricos que atravesaron los dos países durante este período. Aunque se trata de un campo poco reconocido hasta ahora, hemos de admitir el hecho de que el poder de comunicación de la literatura infantil es altamente significativo cuando hablamos de la cognición temprana de imágenes del mundo. Este trabajo estudiará los elementos que han inspirado a Valera para realizar la traducción de dichos cuentos al español al igual que el caso del cuento español en el terreno japonés. Al mismo tiempo observaremos la recepción y la valoración de estas publicaciones en ambos países.

The purpose of this study is to explore the narrative strategies used to communicate the horror genre in the scripts of Laika studios and to investigate both the extent to which they contribute to imbuing the genre with a unique character in aesthetic and dramatic terms within mainstream animation cinema and the role they fulfil within the framework of their thematic approaches. To this end, a textual analysis of the studio’s productions was conducted for Coraline (Henry Selick, 2009), ParaNorman (Chris Butler & Sam Fell, 2012), The Boxtrolls (Graham Annable & Anthony Stacchi, 2014) and Kubo and the Two Strings (Travis Knight, 2016). The analysis was based on the knowledge categories proposed by Jule Selbo’s (2010) study on the creation of a mental space for the genre. The categories are divided into schematic, specific, and relevant knowledge. Finally, this study demonstrates how the tactics of the horror genre used in these films have enabled a different view of common themes in family-oriented Hollywood animation by communicating a stark image of the family and growing up. Although this image is not transgressive, it is certainly innovative by virtue of its thematic content, in which warnings against romanticising reality abound. El presente trabajo tiene por objeto explorar las estrategias narrativas que se refieren a la comunicación del género de terror en los guiones del estudio Laika, indagando en qué medida contribuyen a darle un carácter singular en términos estéticos y dramáticos dentro del cine de animación mainstream, así como cuál es el papel que estas cumplen en el marco de sus planteamientos temáticos. Para ello se realiza un análisis textual de sus producciones Coraline (Henry Selick, 2009), Paranorman (Chris Butler & San Fell, 2012); The Boxtrolls (Graham Annable & Anthony Stacchi, 2014) y Kubo and the Two String (Travis Knight, 2016), a partir del estudio de las categorías propuestas por Jule Selbo (2010) para la creación de un espacio mental del género: el conocimiento esquemático, el conocimiento específico y el conocimiento relevante. Por último, se logra evidenciar cómo las tácticas del género de terror en estas obras han facilitado el tratamiento de temas frecuentes en el cine familiar de animación hollywoodense con un prisma distinto, comunicando una visión descarnada de la familia y del crecer, que si bien no es transgresora sí es innovadora en virtud del contenido de sus propuestas temáticas, en la que prima una advertencia sobre la no idealización de la realidad.

Throughout history, the classic fairy tales have given rise to a series of mythified characters representing gender archetypes which perpetuate obsolete behaviour patterns and should therefore be questioned in the contemporary sociocultural context. Nowadays, these models referred to female characters, have been studied from the perspectives of a wide variety of disciplines. This paper inquires into the concept of fairy tale and in its origins, and shows some of the revisions that, mostly from feminist positions, have been carried out in recent decades in two creative areas: literature and visual arts. In these two areas we can see the interest and transformation experienced by genre since the last decades of the twentieth century. In some cases, they take the classic fairy tales as their starting point, although they always end up transforming the original sense of those tales by their adaptation for an adult audience. A lo largo de la historia, los cuentos de hadas clásicos han dado lugar a una serie de mitificados personajes que representan arquetipos de género. Cabría cuestionarse su influencia en el contexto sociocultural contemporáneo, en el sentido de que perpetúan una serie de patrones de conducta obsoletos. Hoy en día, estos modelos referidos a los personajes femeninos han sido estudiados desde una amplia variedad de disciplinas. Este artículo indaga en el concepto de cuento de hadas y en sus orígenes, y muestra algunas de las revisiones, fundamentalmente desde perspectivas feministas, llevadas a cabo durante las últimas décadas en dos espacios de creación: la literatura y las artes plásticas. En estos dos ámbitos se constata el interés y la transformación experimentada por el género desde las últimas décadas del pasado siglo. En algunos casos tienen como punto de partida los cuentos de hadas clásicos, aunque siempre se acaba transformando el sentido original de los mismos en su adaptación para un público adulto.

Chilean writer Lina Meruane’s literary production penetrates the valley of monsters and searches every corner from where they could stalk. Aided by her characters, girls and adolescents, disobedient and in search of an identity which struggles not to be categorized, this essay analyses the representations of monsters in the work of the young writer. Fictional martyrs of a real world, the protagonists of Las infantas (1998) y Fruta podrida (2007) clamor for an inversion of the norms in a world which is losing its humanity in favor of technology. Becoming a cyborg, a creature who would use technology to eradicate inequality, as proposed by Donna Haraway in Simians, cyborgs and women (1991), does not seem possible in a fiction where the dictatorial reality still wreaks havoc with their memory. Characters succumb before their destiny. But their message still exists and resists, and Meruane’s monstrous work still warns, recalling the monster’s original identity and its psychic abilities. La producción literaria de la escritora chilena Lina Meruane se interna en el valle de los monstruos e indaga en todos aquellos rincones donde pueden acechar. Este artículo analiza las diferentes representaciones del monstruo en la obra de la joven narradora de la mano de sus personajes: niñas y adolescentes, desobedientes y en busca de una identidad que pugna por no ser categorizada. Mártires ficcionales de un mundo real, las protagonistas de Las infantas (1998) y Fruta podrida (2007) claman por revertir las normas de un mundo que va perdiendo su humanidad a favor de la tecnología. Convertirse en aquel súper cíborg, propuesto por Donna Haraway en Simians, cyborgs and women (1991), que usaba la tecnología para erradicar la desigualdad, no parece posible en una ficción en la que la realidad dictatorial todavía hace estragos en la memoria. Los personajes sucumben ante su destino. Pero su mensaje todavía existe y resiste, y la monstruosa obra de Meruane advierte, recordando la identidad original del monstruo y sus habilidades videntes.

Le titre même du roman de Wieland intitulé Le triomphe de la nature sur la rêverie ou les aventures de Don Sylvio de Rosalva indique le conflit fondamental de l’imagination et de la réalité objective. Il présente un héros qui transpose en imagination ses perceptions du réel et interprète le monde suivant les contes de fées dont il est friand lecteur. Pour le désenchanter ses amis lui racontent un conte merveilleux, le conte de Biribinker, dont l’extravagance est destinée à le ramener à la saine réalité. Le jeu de l’illusion et de ses ruptures, la critique de la superstition, les rapports du perçu et de l’imaginé posent de manière moderne le rapport des mondes possibles et du réel. The very title of Wieland's novel, The Triumph of Nature on Reverie or the Adventures of Don Sylvio de Rosalva, indicates the fundamental conflict of imagination and objective reality. The author presents a hero, who transposes his perceptions of the real into imagination and interprets the world according to the fairy tales of which he is a fond reader. To disillusion him, his friends recount a wonderful tale, the tale of Biribinker, whose extravagance is intended to healthily bring him back to reality. The play of illusion and its breaks, the criticism of superstition, the relations between the perceived and the imagined establish a modern relation between possible worlds and reality.

Este ensayo indaga en la aportación peninsular a la renovación del cuento de hadas literario en el siglo XXI y a su debate crítico a partir del análisis de la antología lésbica Cuentos y Fábulas de Lola Van Guardia (2008) de Isabel Franc. Esta revisión se presta a una interesante lectura metanarrativa sobre el potencial liberador de la reescritura y del (lesbo)erotismo femenino como armas para desestabilizar el orden patriarcal. This essay examines the Spanish cultural contribution to the renovation of the literary fairy tale in the 21st century and the critical debate around this topic through the analysis of the lesbian anthology Cuentos y fábulas de Lola Van Guardia by Isabel Franc. This feminist revision can be read as a meta-fairy tale that stresses the liberating power of rewriting and lesboerotism against the patriarchal system.

La metafora della “Bella Addormentata”, archetipo del femminile che si risveglia solo con “il bacio del vero amore”, inteso come bisogno imprescindibile della figura maschile per la realizzazione del proprio sé, va mutando attraverso il rapido evolversi delle trasformazioni sociali e culturali. I film Maleficent e La belle endormie ribadiscono il valore del femminile all’interno delle narrazioni simboliche. The metaphor of “Sleeping Beauty”, the archetypal female that only wakes up with “love’s true kiss”, understood as essential of the male figure needed for the realization of one’s self, it is changing through the rapidly changing social and cultural transforma-tions. The movie Maleficent and La belle endormie reaffirm the value of the feminine within the symbolic narratives.

This article deals with an analysis of Galician oral tradition fairy tales and their reading as narratives of feminine resistance within the patriarchal and misogynist society. Like well-known literature, popular tradition tends to reproduce gender prejudice present in society. Based on the background of the work of Silvia Federici in the 15th and 18th centuries, the genre of fairy tales has in its subtext a record of the transformations created by primitive accumulation that enphasized the difference between men and women, especially those that concern the division of labor by gender, the devaluation of domestic work performed by women and the control of the state over bodies and female reproduction. In addition to this, tales of enchantment present in some of their narratives a discourse that questions misogynist common sense, thus being a model of female subversion and resistance. El presente artículo trata de un análisis de los cuentos de hadas de tradición oral gallegos y su lectura como narrativas de resistencia femenina dentro de la sociedad patriarcal y misógina. Así como la literatura erudita, la tradición popular tiende a reproducir preconceptos de género presentes en la sociedad. Teniendo como base para comprender la situación de las mujeres en Europa entre los siglos XV y XVIII la obra de Silvia Federici, se percibe como dentro de la literatura de tradición popular, el género de los cuentos de hadas guarda en su subtexto el registro de las transformaciones creadas por la acumulación primitiva que acentuó la diferencia entre hombres y mujeres, principalmente aquellas que se refieren a la división del trabajo por género, la desvalorización del trabajo doméstico realizado por mujeres y el control del Estado sobre los cuerpos y la reproducción femenina. Sumado a ello, los cuentos de encantamiento presentan en algunas de sus narrativas un discurso que cuestiona el sentido común misógino, siendo de este modo un modelo de subversión y resistencia femenina. O presente artigo trata de uma análise dos contos de fadas de tradição oral galegos e sua leitura como narrativas de resistência feminina dentro da sociedade patriarcal e misógina. Assim como a literatura erudita, a tradição popular tende a reproduzir preconceitos de gênero presentes na sociedade. Tendo como embasamento para compreender a situação das mulheres na Europa entre os séculos XV e XVIII a obra de Silvia Federici, percebe-se como dentro da literatura de tradição popular, o gênero dos contos de fadas guarda em seu subtexto o registro das transformações criadas pela acumulação primitiva que acentuaram a diferença entre homens e mulheres, principalmente aquelas que dizem respeito à divisão do trabalho por gênero, a desvalorização do trabalho doméstico realizado por mulheres e o controle do Estado sobre os corpos e a reprodução feminina. Somado a isso, os contos de encantamento apresentam em algumas de suas narrativas um discurso que questiona o senso comum misógino, sendo, deste modo um modelo de subversão e resistência feminina.

The story as an educational resource can be a very useful tool. This article proposes creative writing with traditional tales and it offers a reflection about polemic feminist approaches to this tra­dition, with the goal to promote equality education with popular tales. It presents a didactic proposal that begins with the research of ancient versions of two of the best-known fairy tales: Cinderella and Sleeping Beauty. The results from this research include teaching strategies that actively engage students in the learning process through 2.0 creative writing from traditional tales. El cuento como recurso educativo puede ser una herramienta muy útil. En estas páginas se busca una revitalización del juego con los cuentos tradicionales en las aulas a través de la escritura creativa y se reflexiona sobre las polémicas feministas en torno a dicha tradición, con el objetivo de favorecer una educación en igualdad sin prescindir de los cuentos. Se presenta una propuesta didáctica que empieza con la revisión de las versiones más antiguas de dos de los cuentos tradicionales más conocidos: Cenicienta y La Bella Durmiente. Los resultados de la investigación incluyen estrategias didácticas que implican a los estudiantes de una forma activa en el proceso de aprendizaje a través de la escritura creativa 2.0 a partir de cuentos tradicionales. L’histoire traditionnelle en tant que ressource éducative peut être très utile. Ces pages cher­chent à revitaliser le jeu avec des histoires traditionnelles et d’écrits créatifs en classe et à réfléchir aux controverses féministes entourant cette tradition, dans le but de promouvoir une éducation à l’égalité sans renoncer aux comptes. Une proposition didactique est présentée qui commence par la révision des versions les plus anciennes de deux des histoires traditionnelles les plus connues: Cendrillon et La Belle au bois dormant. Les résultats de la recherche incluent des stratégies didactiques qui impliquent les élèves de manière active dans le processus d’apprentissage par le biais de l’écriture créative 2.0 à partir d’histoires traditionnelles.

El presente artículo trata de un análisis de los cuentos de hadas de tradición oral gallegos y su lectura como narrativas de resistencia femenina dentro de la sociedad patriarcal y misógina. Así como la literatura erudita, la tradición popular tiende a reproducir preconceptos de género presentes en la sociedad. Teniendo como base para comprender la situación de las mujeres en Europa entre los siglos XV y XVIII la obra de Silvia Federici, se percibe como dentro de la literatura de tradición popular, el género de los cuentos de hadas guarda en su subtexto el registro de las transformaciones creadas por la acumulación primitiva que acentuó la diferencia entre hombres y mujeres, principalmente aquellas que se refieren a la división del trabajo por género, la desvalorización del trabajo doméstico realizado por mujeres y el control del Estado sobre los cuerpos y la reproducción femenina. Sumado a ello, los cuentos de encantamiento presentan en algunas de sus narrativas un discurso que cuestiona el sentido común misógino, siendo de este modo un modelo de subversión y resistencia femenina. O presente artigo trata de uma análise dos contos de fadas de tradição oral galegos e sua leitura como narrativas de resistência feminina dentro da sociedade patriarcal e misógina. Assim como a literatura erudita, a tradição popular tende a reproduzir preconceitos de gênero presentes na sociedade. Tendo como embasamento para compreender a situação das mulheres na Europa entre os séculos XV e XVIII a obra de Silvia Federici, percebe-se como dentro da literatura de tradição popular, o gênero dos contos de fadas guarda em seu subtexto o registro das transformações criadas pela acumulação primitiva que acentuaram a diferença entre homens e mulheres, principalmente aquelas que dizem respeito à divisão do trabalho por gênero, a desvalorização do trabalho doméstico realizado por mulheres e o controle do Estado sobre os corpos e a reprodução feminina. Somado a isso, os contos de encantamento apresentam em algumas de suas narrativas um discurso que questiona o senso comum misógino, sendo, deste modo um modelo de subversão e resistência feminina. This article deals with an analysis of Galician oral tradition fairy tales and their reading as narratives of feminine resistance within the patriarchal and misogynist society. Like well-known literature, popular tradition tends to reproduce gender prejudice present in society. Based on the background of the work of Silvia Federici in the 15th and 18th centuries, the genre of fairy tales has in its subtext a record of the transformations created by primitive accumulation that enphasized the difference between men and women, especially those that concern the division of labor by gender, the devaluation of domestic work performed by women and the control of the state over bodies and female reproduction. In addition to this, tales of enchantment present in some of their narratives a discourse that questions misogynist common sense, thus being a model of female subversion and resistance.

This portfolio reflects the perspectives that the author believes are effective in second language teaching. The first section comprises the author���s teaching philosophy which includes creating a favorable classroom environment, facilitating learning through a communicative approach, and applying activities with appropriate and specific objectives. Following the teaching philosophy are three research papers: the use of fairy tales to promote a communicative approach together with other academic skills in second language teaching, the importance of teaching pragmatics, and the significance of helping Hispanic students develop confidence through Dual Language Immersion. The last section of this portfolio contains three annotated bibliographies about specific methodologies that support language acquisition: dialogue journals, collaborative writing in a second language using wikis, and teaching language through content-based instruction.

Esta investigación ofrecerá una reflexión sobre el uso de los cuentos de hadas como fuente para el historiador, mostrando de esa forma la aproximación que tiene el cuento de la Bella y la Bestia, con los conceptos de la belleza/fealdad y la civilización/barbarie. Así, el análisis se basará, en la relación que tienen las adaptaciones cinematográficas con dicho cuento; también, podemos observar aquella dicotomía con el lenguaje cinematográfico, donde Bella un personaje civilizador, intenta domar a aquel monstruo (La Bestia). No obstante, se tomará como base el cuento escrito por Jeanne- Marie LePrince de Beaumont, para mirar cuáles son las características de estas dos dualidades antes mencionadas y, de esa manera, analizar en las adaptaciones cinematográficas que se realizaron en Estados Unidos entre 1960 hasta el 1991, las transformaciones que ha tenido esta historia, para comprender la forma en que la sociedad destaca, en las representaciones de los personajes, las virtudes o los defectos. This research offers a reflection on the use of fairy tales as a source for historians, showing thus the approach to the tale of Beauty and the Beast with the concepts of beauty/ugliness and civilization/barbarism. Thus, the analysis is based on the relation between the cinematographic adaptations and the original tale. It also presents the cinematographic language dichotomy in which Beauty, a civilized character, tries to tame the monster (Beast). The study is based on the tale written by Jeanne-Marie Leprince de Beaumont and it is focused on identifying the characteristics of the aforementioned dualities. After identifying the characteristics, the article presents an analysis of the transformations suffered by the story in the cinematographic adaptations produced in the United States between 1960 and 1991 in order to understand the way in which the society highlights the virtues or the defects in the representations of the characters. This research offers a reflection on the use of fairy tales as a source for historians, showing thus the approach to the tale of Beauty and the Beast with the concepts of beauty/ugliness and civilization/barbarism. Thus, the analysis is based on the relation between the cinematographic adaptations and the original tale. It also presents the cinematographic language dichotomy in which Beauty, a civilized character, tries to tame the monster (Beast). The study is based on the tale written by Jeanne-Marie Leprince de Beaumont and it is focused on identifying the characteristics of the aforementioned dualities. After identifying the characteristics, the article presents an analysis of the transformations suffered by the story in the cinematographic adaptations produced in the United States between 1960 and 1991 in order to understand the way in which the society highlights the virtues or the defects in the representations of the characters.

Secure the Shadow is a collection of short-shorts and flash fiction, which draws heavily on the conventions of fables, parables and fairy tales to consider modern themes, desires and cruelties. The collection is linked by a meta-fictional fascination with the act of storytelling -- the liminal psychological space between the real and unreal, fantasy and delusion, seen and unseen, predator and prey. The collection also maps the topography of loss -- it explores what it means, and how it feels, to lose and to be lost. MFA

The author, inspired by philosophical aesthetic reflection, presents one of the aesthetic qualities: ugliness. Based on the assumption that “Grimms’ Fairy Tales” directly reach the realm of the unconscious, utilising towards that end not only symbolic meaning, but also a wide range of operations through imagined sensory perception, she identifies in the texts such fragments of the stories which relate to specific sensations caused in the real world using physical stimuli. The analysis constitutes only a case-based introductory study of the issue of senses in literary texts. She does not focus on the tale as an independent existential creation, which carries a multitude of interpretative references and meanings, only the possibilities offered by the analysis of a work, which consists of a transfer of a literary description to the imagination of the sensory experience occurring (hypothetically) in the receiver’s imagination.

Treball acadèmic que estudia les múltiples maneres com diferents artistes d'arreu del món, inspirats en una mateixa font, són capaços de crear obres tan diverses, així com també les seves raons i objectius durant aquest procés de creació. Trabajo académico que estudia las múltiples maneras cómo diferentes artistas de todo el mundo, inspirados en una misma fuente, son capaces de crear obras tan diversas, así como también sus razones y objetivos durante el proceso creativo. Academic study that explores the multiple ways different artists from around the world, inspired by the same source, are able to create such diverse works, as well as their motivations and goals during this creative process.

Literature is one of the most important sources of inspiration for pre-Raphaelite painters, who, apart from mythological stories and medieval legends, also felt attracted by Children’s Literature. In fact, artists as prominent as Edward Burne-Jones or John Everett Millais, to name just two, portrayed in their canvases the protagonists of Cinderella, Snow White and Sleeping Beauty, among others. The iconographic keys present in these pictures are analyzed with a double didactic purpose: on the one hand, to use them as visual resources for teaching / learning different versions of fairy tales; on the other, and from a more hermeneutic perspective, to unravel the omnipresence of female representation in these fabrics, which have important connections with the current revision of implicit messages in children’s stories. La Literatura constituye una de las fuentes de inspiración más importantes para los pintores prerrafaelitas, quienes, aparte de los relatos mitológicos y leyendas medievales, se sintieron también atraídos por la Literatura Infantil. De hecho, artistas de la talla de Edward Burne-Jones o John Everett Millais, por citar tan solo dos, plasmaron en sus lienzos a las protagonistas de Cenicienta, Blancanieves y La bella durmiente, entre otras. Se analizan las claves iconográficas presentes en estos cuadros con una doble finalidad didáctica: de un lado, utilizarlas como recurso visual para la enseñanza/aprendizaje de las distintas versiones de los cuentos de hadas; de otro, y desde una perspectiva más hermenéutica, desentrañar la omnipresencia de la representación femenina en dichas telas, de lo que se derivan importantes conexiones con la actual revisión de los mensajes implícitos en los relatos infantiles. La littérature est l’une des sources les plus importantes d’inspiration pour les peintres préraphaélites, qui, en dehors des légendes médiévales et des histoires mythologiques, se sentait attiré par la littérature d’enfance et de jeunesse. En fait, artistes de premier plan comme Edward Burne-Jones ou John Everett Millais, pour ne citer que deux, ont interprété dans leurs toiles les protagonistes de Cendrillon, Blanche-Neige et La belle au bois dormant, entre autres. Les clés iconographiques présent dans ces tableaux sont analysés avec un objectif à double didactique: d’une part, de les utiliser comme ressources visuelles pour l’enseignement / apprentissage des différentes versions de contes de fées; de l’autre, et dans une perspective plus herméneutique, de démêler l’omniprésence de la représentation féminine dans ces tableaux, qui ont des liens importants avec l’examen actuel des messages implicites dans les contes pour enfants.