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FAPEMIG - Fundação de Amparo a Pesquisa do Estado de Minas Gerais As fadas fazem parte do imaginário de muitos povos e culturas, diferenciando-se por nomes, formas, cores e poderes e, juntamente com bruxas, magos, gnomos, duendes, entre outros seres dotados de magia, elas estão presentes em inúmeros contos folclóricos. Essa criatura fantástica tem uma estreita relação com a mitologia céltica. Sendo o folclore dos povos celtas em sua essência proveniente da tradição oral, a fada se apresenta nele em constantes metamorfoses, logo, fixar uma única forma física em relação a ela é tarefa complicada. A figura dessa personagem é representada ao longo das histórias de tradição oral e de contos de fadas clássicos de múltiplas formas, cuja natureza se manifesta de maneira ambígua e insólita, porém uma semelhança comum parece unir a maioria delas dentro dessas diversas narrativas: sua representação como personagem de auxílio a algum outro personagem, em geral o protagonista. Há também um atributo essencial que define todas as fadas: a magia. Este trabalho pretende apresentar um estudo sobre a representação das fadas, desde as histórias de matriz celta, passando pelos contos de fadas conhecidos de Perrault, Grimm, Andersen e de autoria feminina, até os personagens da literatura infantil moderna. É pertinente salientar que uma seleção de escolhas de narrativas foi realizada para que essa trajetória pudesse ser feita. No último capítulo deste trabalho, será realizada uma leitura da figura da fada na literatura infantil brasileira, e neste momento, serão analisadas mais especificamente três obras: A fada que tinha ideias (1971), da escritora Fernanda Lopes de Almeida; A casa da madrinha (1978), de Lygia Bojunga; e Onde tem bruxa tem fada… (1979) do escritor Bartolomeu Campos de Queirós. Fairies are part of the imagination of many peoples and cultures, differentiated by names, shapes, colors, powers and, together with witches, wizards, gnomes, goblins, among other beings endowed with magic, they are present in numerous folk tales. This fantastic creature has a close relationship to Celtic mythology. Being the folklore of the Celtic peoples in its essence from the oral tradition, the fairy presents itself in constant metamorphoses, so to fix a single physical form in relation to it is a complicated task. The figure of this character is depicted throughout the stories of oral tradition and classic fairy tales in multiple ways, whose nature manifests itself in an ambiguous and strange, but a common resemblance seems to unite most of them within these various narratives: its representation as a helping character to some other character, usually the protagonist. There is also an essential attribute that defines all fairies: magic. This work intends to present a study about the representation of fairies, from the celtic stories, going through the fairy tales known by Perrault, Grimm, Andersen and of female authorship, to the characters of modern children's literature. It is pertinent to point out that a selection of narrative choices was made so that this trajectory could be made. In the last chapter of this work, a reading of the fairy figure will be performed in Brazilian children's literature, and at this moment, three works will be analyzed more specifically: A fada que tinha ideias (1971), by the writer Fernanda Lopes de Almeida; A casa da madrinha (1978), by Lygia Bojunga; and Onde tem bruxa tem fada (1979) by the writer Bartolomeu Campos de Queirós. Dissertação (Mestrado)

This article examines Yeats’s broad use of Irish folklore between 1888 and 1938, and attempts to find a justification for his contention that his own unique metaphysical system expressed in both editions of A Vision, itself an outgrowth of his three decades of ritual practice as an initiate in the Hermetic Order of the Golden Dawn, could somehow function as both an interpretation and enlargement of “the folk-lore of the villages”. Beyond treating Irish fairy stories as a way for Yeats to establish his own Irishness, capture what remained of “reckless Ireland” in its twilight, or create a political counter-discourse set against English hegemony, the immutability and immortality of the sídhe are considered in light of the assertions of several minor lectures from the Golden Dawn. This connection sheds new light on Yeats’s ideas about Unity of Being, and hypothesizes a possible esoteric path to “escape” from his system of phases so as to resolve the body-soul dilemma evident in his poetry.

Drawing on historical and ethnographic data from Gaelic Scotland and Ireland, as well as data from contemporary Chile, this talk explores the phenomenon of changelings. Changelings are cuckoo-like imposters, left in the place of humans abducted by fairy captors, and identical in almost all aspects to the humans they have displaced. Yet small indices of difference – voracious appetite, rapid ageing, and fear of fire and iron – lead kin to suspect that the people in their midst might not be whom they seem. What intrigues me, however, is that not just difference, but similarity too, comes to index alterity in surprising ways. The question then becomes not just an epistemological one of how we can know others, but an ontological one of what kinds of others do we think we know. This shifting configuration of similarity and difference within the changeling encounter reveal a micropolitics of alterity that I suggest resonates beyond the historical and folkloric record to find parallels in contemporary debates about kinship. In particular, the perpetual presence of alterity within the kinship relation might lead to a reconsideration of Marshall Sahlins’ recent insistence upon ‘mutuality of being’ as the essence of ‘what kinship is.’

The population of the North Sea archipelago of Shetland, UK possesses a distinct sense of ethnic identity, which connects the island’s present-day community to that of its Old Norse/Viking settlers from Scandinavia. This sense of Viking ethnicity, however, is relatively recent, first arising in the 19th Century. This paper argues that Shetland’s cultural identity must be understood in terms of the islands’ historical interconnectedness with trends in literature and scholarship in mainland Scotland, Britain, and Europe as a whole. Part II of this two-part paper looks at how the rise of nationalism and philological research into race and ethnicity in the 1800s both drew upon and contributed to Shetlanders’ understanding of their history and culture. In the 1890s, Edinburgh scholar David MacRitchie promoted a theory to explain European and Asian fairy folklore. This theory was grounded in the history of Orkney and Shetland and eventually made a significant impact in Shetland itself, being used by the author Jessie Saxby to promote a distinctive local identity concept. MacRitchie’s work also contributed to later research connected to the development of neopaganism and racist Nazi ideology. The conclusion concerns the role of isolated island communities within flows of cultural development and exchange.

La reina Mab es una de las primeras figuras míticas que aparecen en la obra de Darío. Mab y el mundo de las hadas presenta un primer modelo de los motivos formales y conceptuales que definen el estilo de Darío. Desde sus primeras apariciones en La copa de las hadas y El velo de la reina Mab, el hada Mab se establece como leitmotiv que pregona el concepto modernista del arte a la vez que revela cómo Darío creó y desarrolló su original poética. Queen Mab is one of the first mythical figures to appear in the works of Dario. Mab and the world of fairies present an early model of formal and conceptual motifs that define Dario’s style. Ever since she first appeared in La copa de las hadas and El velo de la reina Mab, the fairy queen became a leitmotiv that forecasts the modernist concept of art and reveals how Dario created and developed his unique poetics.

The followwing paper examins the possible references concerning the three fairies mentioned at the end of Fernando de Rojas´Tragicomedia de Calisto y Melibea or Celestina We will analyse how the roles of these three mythological sisters were interpreted in the visual imagination at Rojas’ time. And most of all the importance of the third characted, the greek Atropos and the latin Morta, as shown in Petrarca’s theme about the conquest of Chastity and the triumph of Death in Renaissance. La siguiente presentación examina las posibles connotaciones de las tres hadas que se invocan al final de la Tragicomedia de Calisto y Melibea o Celestina de Fernando de Rojas. Veremos cómo se interpretaban los papeles de estas hermanas mitológicas en la imaginación visual de la época de Rojas, y sobre todo la importancia de la tercera figura, conocida como Átropos en griego y Morta en latín, en tratamientos del tema petrarquista de la conquista de la Castidad y el tiunfo de la muerte durante el Renacimiento.

Queen Mab is one of the first mythical figures to appear in the works of Dario. Mab and the world of fairies present an early model of formal and conceptual motifs that define Dario’s style. Ever since she first appeared in La copa de las hadas and El velo de la reina Mab, the fairy queen became a leitmotiv that forecasts the modernist concept of art and reveals how Dario created and developed his unique poetics. La reina Mab es una de las primeras figuras míticas que aparecen en la obra de Darío. Mab y el mundo de las hadas presenta un primer modelo de los motivos formales y conceptuales que definen el estilo de Darío. Desde sus primeras apariciones en La copa de las hadas y El velo de la reina Mab, el hada Mab se establece como leitmotiv que pregona el concepto modernista del arte a la vez que revela cómo Darío creó y desarrolló su original poética.

The Middle English poem Pearl is a mixture of a number of genres. Opening like an elegy, with its initial stanzas heavily indebted to courtly love poetry, it proceeds towards a dream vision that launches into a theological debate concluded by an eschatological vision of the city of New Jerusalem. Pearl is obviously a religious poem, but, as Ad Putter has observed, the kind of religious and dreamscape imagery it contains, based on biblical sources, may also have influenced the writers of medieval romances such as Sir Orfeo or Thomas of Erceldoune in the construction of their secular otherworlds (2007: 237–41). The two romances in question are tales of fairy encounters, and the following article aims to identify major areas of convergence with the genre of fairy romance in Pearl.