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Penistone Crags in Wuthering Heights (1847) has long and, I argue, correctly been identified with Ponden Kirk on Haworth Moor. This article compares the folklore of Ponden Kirk with the fictional folklore associated with Penistone Crags, looking at the real-world and literary traditions in relation to beliefs surrounding the South Pennines. It suggests that some details of fairylore in Wuthering Heights—both the fairies in the 'Fairy Cave' and Catherine's elf-bolts—are based on early to mid-nineteenth-century Haworth folklore. The article finishes with an appendix on the Gytrash (a legendary being familiar from Jane Eyre). [ABSTRACT FROM AUTHOR]

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

This article traces the history of scholarly analysis of the South Slavic vila. By asking a simple question, 'where does the vila live?', I return to that scholarship to weed out problematic older theories and clarify historical conjecture. I offer a refinement of the analysis of origin by returning to the art and assertions of nineteenth- and twentieth-century peasant storytellers, singers, and other tradition-bearers. [ABSTRACT FROM AUTHOR]

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

Little has been written on the figure of the Jew in traditional European fairy tales. Andrew Lang's The Blue Fairy Book (1889) opens with a little-known fairy tale, "The Bronze Ring," which features a wicked, sorcerous Jew as an antagonist. This essay examines the publication history of this tale and places the figure of the wicked Jewish magician in the context of traditional European Christian antisemitism as well as that of the British reaction to the waves of Ashkenazic Jewish immigration to England in the late nineteenth century. I conclude with a consideration of the role this story plays in the imperialist project of the colored fairy books. [ABSTRACT FROM AUTHOR]

The selected fairy tale novels, „Goldröschen” (2021) by Jenny Voölker and „So finster, so kalt” (2014) by Diana Menschig, use a variety of magical motifs from classical fairy tales, especially from the well-known tales by the Brothers Grimm. This article analyzes two different motif categories based on the Stith Thompson register. Present in both chosen fairy tale novels, the first category includes beings such as fairies, spirits, or elves, while the second category includes magical objects such as musical instruments, food, drinks, or utensils. The aim of the article is to highlight the extent to which the authors have transformed the meaning of the motifs to bring magical elements into the reality-like context of the fairy tale novels. The theory of adaptation, the motif-index of folk-literature, studies on the origin and meaning of the motifs, and a qualitative literature analysis are used as methodological support. [ABSTRACT FROM AUTHOR]

The Arts and Humanities Research Council-funded project 'Modern Fairies and Loathly Ladies' investigated what happened when a number of artists (musicians, writers, filmmakers) were asked to respond to and re-mediate a curated selection of traditional stories about fairies and loathly ladies. The artists came to the project with a spectrum of different views about fairies, ranging from belief in their existence to absolute scepticism about the supernatural. The works-in-progress they created were performed in a series of experimental shows at The Sage Gateshead theatre in 2019. The artists took up certain themes such as the otherworld, time slippage, fairies, and children, but were not attracted by others. Fairy material was reconfigured to reflect contemporary concerns about the natural world and to explore ways in which magical human–animal transformation spoke to women's experience. [ABSTRACT FROM AUTHOR]

Copyright of Cahiers de la Nouvelle: Journal of the Short Story in English is the property of Presses Universitaires de Rennes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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

In keeping with feminist critiques of the representation of women as evil, together with a growing tendency to humanize villains and give them psychological complexity, some recent adaptations of fairy tales--both literary and cinematic--retell the stories from the point of view of the female villain. The reworking of this fairy-tale character is most patent in the case of 'Sleeping Beauty', whose villainess has evolved from nameless character in Charles Perrault's 'Sleeping Beauty in the Woods' (1697) to title character in Walt Disney's 2014 film Maleficent. The purpose of this chapter is to examine Disney's characterization of the evil fairy in both the 1959 and the 2014 adaptations, as well as the ideological shift between both versions. We examine how, in an attempt to satisfy the expectations of modern audiences who demand more complex and positive female characters, in Maleficent Disney revises its own previous adaptation of 'Sleeping Beauty', which polarized women into virtuous but passive, and active but evil. On the other hand, we also argue that this new revision of the evil fairy is not without its problems, for it seems to be part of a trend that might be leading us towards undesirable justifications of villainy in fiction for the young. [ABSTRACT FROM AUTHOR]

Life in the nineteenth-century Irish countryside was not easy. Irish peasants lived in abject poverty and struggled to make ends meet. They consumed almost only potatoes and famines occurred regularly. Peasants often blamed their hardships on fairies, whose various races were supposed to inhabit Ireland. Tales about fairies were very popular among travelers who visited Ireland in the nineteenth century and subsequently published books about their travels there. They often highlighted the role of magic in daily activities of the Irish. The aim of this paper is to discuss the role of fairies in the lives of Irish peasants and argue that by underlining the attachment of the Irish to magical creatures, travelers underscored the backwardness of Irish peasants and propagated negative stereotypes about the inhabitants of the Emerald Isle. [ABSTRACT FROM AUTHOR]

The main focus of the present paper is the so-called "intertextual revision", explored as one of the most recent and innovative strategies employed while reviving the legacy of the Danish fairy-tale classic Hans Christian Andersen. In order to illustrate this practice, I discuss a short story entitled Travels with the Snow Queen (2001), by an American writer Kelly Link, which is a reworking of Andersen's worldfamous fairy tale The Snow Queen (1844). Link's take on Andersen's tale represents one of the leading directions within revisionary fairy-tale fiction, inspired by feminism and gender criticism. The analysis is centered around the narrative strategies employed by the author in order to challenge the gender logic incorporated into Andersen's account, as well as the broader fairy-tale tradition it belongs to. [ABSTRACT FROM AUTHOR]

This article discusses a collection of fairy tales and folktales from southern Oman to explain how some of the physical and cultural markers described in the texts are still extant today. The tales, most of which were recorded in the 1970s, were originally spoken in Gibali (also known as Jibbali or Shahri), a non-written, Modern South Arabian language and are published in Aaron Rubin's The Jibbali Language of Oman: Grammar and Texts (2014). This paper does not place these texts within established codices; rather, the exegesis turns inward, examining how these stories, recorded at the beginning of modernization in the Dhofar region, reflect many traditional elements of Gibali cultures. Further, the article compares the texts to other Dhofari/Omani fairy tales and folktales from Al Thahab's Stories of My Grandmother: Folk Tales from Dhofar (2012), Al Taie and Pickersgill's Omani Folk Tales (2008), and Todino-Gonguet's Halimah and the Snake and other Omani Folk Tales (2008). It does so to highlight how the John-stone/Al Mahri/Rubin texts show Dhofari beliefs about oath-taking, djinn, and the importance of teaching morality in written, but not oral, texts. The author has researched aspects of Dhofari and Gibali cultures for over ten years. [ABSTRACT FROM AUTHOR]

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

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

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

The paper seeks to provide a thematological analysis of folk tale types 461 and 930 ("protected by fate") and to identify their thematic and motivic intersections of intercultural validity in terms of existential semiotics within the comparative frame of European and Asian literary traditions. The invariant semanteme of all mentioned myths, fairy tales or legends resides in the unsuccessful endeavour of a high-ranking, powerful man to kill a person predestined to become his successor. In many cases, the storyline of this thousand year-old motif also includes well-known biblical motifs, such as, massacre of the innocents, a heavenly sign and fulfilment of the prophecy. [ABSTRACT FROM AUTHOR]

A dramatic fairy tale is the expression of a specific historical moment. At the turn of the 19th and 20th century original forms of dialogue with tradition and new ways of developing literature were searched at the same time. It seems that the dramatic tale -- absent in most compendiums devoted to the literature of modernism -- is one of the best examples of unstable forms that reflect in their structure the dilemmas accompanying the writing at the turn of the 19th and 20th century. What matters here is a specific type of folklore and links with the fairy-tale play and commedia dell' arte. [ABSTRACT FROM AUTHOR]

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

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

The Czech hiker movement (trampské hnutí) is largely based on various forms of interaction with the land that the hikers (trampové) visit and live on. This close relationship between hikers and the natural environment is, among other things, reGected in hiker legends and works of literature. Here, at the intersection of belles-lettres and folklore, we 8nd numerous instances in which writers have taken various beings of superstition or fairy tales, and placed them in new contexts. This has led to the rediscovery and adaptation of traditional characters, like Fabian (the Krakonoš, or Rübezahl, of the Brdy mountains), or more generally de8ned supernatural forest beings like dwarfs, fairies and wild men. This also includes the creation of characters that are entirely new and plots that set traditional elements into different contexts. The article takes a folklore-literary perspective to analyse the way these motifs have been used in hiker 8ction since the early twentieth century, the ways it differs from oral and historical literary representations, and what these nonhiker characters and distinctive atmospheres reveal about hikers' perceptions of the natural environment. The source material for this article consists of hiker 8ction of the twentieth and early twenty-8rst centuries, and also considers the topics generally in the development of the composition of the motifs of hiker literature, which may be inGuenced by 'mainstream' mass culture. [ABSTRACT FROM AUTHOR]

A literary review of the book Lo cunto de li cunti, ovvere lo trattenemiento de peccerille or The Tale of Tales by Giambattista Basile. It refers to the book the first collection of stories in the history of Western literature consisting of fairy tales. It analyzes the misfortunes of Princess Zoza of Valle Pelosa recounted in the frame tale of Cunto.

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The article examines the Irish fairylore in the early-mid nineteenth century. It explores how fairies were seriously taken in large parts of the island, but when fairies began to extensively feature in records during the nineteenth century. It highlights scholars who look at Irish fairylore through superstitions and tales collected by Irish antiquarians or comb through the extraordinary folklore archives of Ireland.

The article presents traditional narratives of strange creatures and fairies. Katharine Briggs' "Dictionary of British Folk-Tale" describes a taboo on hunting who came across the strangest creature on Elsdon Moore near Newcastle in 1641. Ernest Baughman's "Type and Motif Index of the Folktales of England and North America" lists three variants of fairy in the sack of the poacher or the thief.

The expulsion of the Germans from the Riesengebirge effected the tradition of the Rübezahl legend. In the Czech context the tradition of the pre-war period lived on, in which Rübezahl served as a symbol of the region, on the one hand strengthening the regional identity, on the other hand used as a generally understandable brand. Therefore some monuments of German-Bohemian culture could be incorporated into the Czech context. It was not until the 1970s, under the influence of mass media, that the prototypical representation of Rübezahl became a fairy tale hero. The image of the mountain ghost in the remembrance of expellees tended to be stereotyped, too, and to use the ancient, legendary tradition of the moody demon. Both identity-forming stereotypes conflicted with each other, which was gradually overcome only after the “Wende”. Rübezahl plays a central role in tourist marketing, and the broad range of representational possibilities leads to varied amalgamations. [ABSTRACT FROM AUTHOR]

The title, An Oddly Modern Fairy Tale, is a reference to the series edited by Jack Zipes for Princeton University Press, which includes retellings, translations and rediscoveries of fairy tales. To these various forms of engagement with tales of wonder, the author of this article has added what she describes as an 'anti-fairy tale' of three wealthy Sicilian siblings who recused themselves in differing ways from the twentieth century. The youngest, Lucio, was a lyric poet whose work was admired by both Lampedusa and Montale. His older brother, Casimiro, was a photographer and painter of unsettling watercolours of pop-eyed gnomes and sprites. These he claimed to have witnessed going about their otherworldly lives among the exotic plants that their sister, Agata Giovanna, bought for the extensive gardens whose borders she rarely left. The story ends with Lucio's attempt - both farcical and tragic - to secure a future for the family through the birth of an heir, which resembles similar attempts by Tancredi in Lampedusa's masterpiece The Leopard. [ABSTRACT FROM AUTHOR]

In this essay I try to argue a broader and deeper notion of fairy tale, beginning from an overview of some of the key terminologies and classifications devised and employed by folk-narrative research, passing through an etymological and semantic scrutiny of the word 'fairy', and developing, eventually, a structural analysis purposely framed within the historical-cultural context of the Irish tradition. What I attempt to let emerge -- challenging to some extent the established concepts and theories -- is a more comprehensive narrative category, characterised by a specific epistemological and ontological value, through which a sort of intermediate, neutral space is modelled, where boundaries are crossed and elements more or less heterogeneous are connected. Thus, the fairy tale can express a multi-dimensional worldview and the potential for a more complex idea of reality. [ABSTRACT FROM AUTHOR]

In folklore, many stories and narratives give life to the legendary fairy and make her an inseparable part of everyday life. Parig (which means fairy) appears in Zoroastrian texts as one of Ahrimans allies. Accordingly, researchers presume that, due to a change in religious attitudes, the fairy who was the goddess of fertility in pre-Zoroastrian times was recreated in Zoroastrian mythology as a negative figure. However, what is astonishing is the role of the fairy in the views and beliefs of common people, who still think favourably of this ancient goddess. A fairy is a mysterious figure and therefore cannot be judged as totally good or bad. She is a beautiful woman and brings fertility; she is also, on the other hand, an enticing woman sworn to delude men. In short, a fairy's contradictory nature of being both good and bad and her eternal presence in believers' minds indicate the importance and status of this ancient goddess. The fairy is more popular in the coastal regions of the Persian Gulf than in the other parts of Iran. Associated with qanats (tunnels dug to carry water) and springs in central Iran, she is a mermaid in the regions near the Persian Gulf. What is notable in the folklore of Booshehr is the natives'firm belief in the presence of various fairies in their everyday lives. This article sets out to study the different types of fairies in the folklore of Booshehr and to examine their differences and similarities by classifying them. It will also deal briefly with the concept of fairies in Iranian culture. [ABSTRACT FROM AUTHOR]

The article examines the story "Fairy Tale" by Horace Walpole. Topics discussed include Walpole's sentiment, French fairy tales and the inspiration for the plot. Also mentioned are the political context of the tale, the bisexual character of the Fairy and other mid-nineteenth century queer British fairy narratives.

The article offers information on the reformed evaluation of writer J. R. R. Tolkien theory of fantasy. Topics discussed include he was invited to the University of St. Andrews for a lecture on fairies, Tolkien addresses questions of the nature, origin, and function of fairy stories, and relationship between God's creative act and humankind's creativity.

Carter's engagement with "Orientalist" perspectives in the context specifically of her interest in fairy stories is discussed. As with her versions of traditional fairy tales in The Bloody Chamber, Carter explores in "Overture and Incidental Music" the energies of patriarchy. But what makes "Overture and Incidental Music" especially important is that Carter's inquiry into the gender dispositions of A Midsummer Night's Dream involves at the same time an exposure of what she identifies as an incipient Orientalism, an early imperialist bias, in the fairy story that lies at the heart of Shakespeare's play. Examining the negative potentialities embedded within Shakespeare's fairy world, in "Overture and Incidental Music" Carter dramatizes the dark foundations of the imperialist imagination. [ABSTRACT FROM AUTHOR]

Fairy tales are a distinct narrative genre that is especially popular with children and adults who have still retained the capacity for delight in the imaginative. The tales have evolved an individual discourse over time. The typical fairy tale discourse exploits diverse linguistic devices and grammatical categories to create the special effects that are a hallmark of the genre. This paper examines the role of colour adjectives in Oscar Wilde's fairy tales. The paper begins by describing the special fairy tale discourse world and proceeds to examine the use of colour adjectives and their implication for the action of the narrative in four fairy tales by Oscar Wilde. [ABSTRACT FROM AUTHOR]

Engaging Dickens's essay "Frauds on the Fairies" (1853), which attacked George Cruik-shank's didactic moral retellings, this article interrogates the liberating potential of feminist rewritings. Can feminist revisions commit a fraud on the fairies by transforming tales into didactic narratives? What exactly makes an effective revision and for what audience? We examine three contemporary authors who take on this challenge. Barbara Walker duplicates classical tales by adding women into the standard, formal structure of the tale, thus reinforcing limited notions of gender. By doing so, she may destroy the integrity of the tales and commit the very fraud on the fairies that Dickens argued against. Still, there may be audience pleasures in these formulaic tales that cannot be dismissed entirely . We then examine retellings by Francesca Lia Block and Emma Donoghue to suggest how feminist and aesthetic concerns concomitantly transform fairy tales into liberatory ones. [ABSTRACT FROM AUTHOR]

Be-spectacled and be-whiskered, with his ruddy moustache and mutton-chops cascading down to his chest, storyteller Edmund (Eddie) Lenihan looks very much like he may have stepped directly out from the sidhe, those earthen mounds that dot the landscape of Ireland and are said to be inhabited by the fairy folk. The suggestion is appropriate, since Lenihan is the foremost tradition bearer of Irish fairy lore today. Indeed, one of the great pleasures of hearing Lenihan tell the fairy stories he has collected over three decades is that listeners may feel a direct contact through him to that numinous Otherworld. His work as a collector and teller of Irish folklore, particularly fairy lore, has led to the publication of his numerous books on the subject, most notably Meeting the Other Crowd: The Fairy Stories of Hidden Ireland, as well his own activism to preserve sites associated with the lore. This interview, which focuses on his development as a storyteller of Irish fairy lore, took place on the afternoon of March 13, 2008, on the stage of the Stillwell Theatre where Lenihan was scheduled to perform later that evening as part of his residency for StoryFest, a festival of storytelling workshops and concerts sponsored by the Department of Theatre and Performance Studies in the College of the Arts at Kennesaw State University. [ABSTRACT FROM AUTHOR]