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The adaptation of fairy tales allows stories to be kept alive over time. Nowadays, it can also be a tool of Japanization by allowing elements of Japanese culture to be introduced into originally Western stories. This research explores that use of fairy tale adaptation through an analysis of the anime Belle, based on the classic story Beauty and the Beast. Through a comparative analysis with Disney's popular animated version, the most relevant divergences between the two works have been identified. Thus, it has been shown how Belle introduces specific concepts and ideas that allow us to approach a specific imaginary about Japan and its culture. [ABSTRACT FROM AUTHOR]

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Deirdre Sullivan is an award-winning Irish YA writer who has been praised by several writers and folklore academics, such as Jack Zipes, for her fairy-tale revisions and her rewriting of the Irish legend “The Children of Lir”. Following the steps of contemporary feminist writers like Angela Carter or Emma Donoghue, Sullivan gives voice to minorities and deals with silenced topics such as sexual harassment. This interview focuses on her subversions of fairy tales and Irish mythology, especially in her collection Tangleweed and Brine (2017) and her revision of “The Children of Lir” in Savage Her Reply (2020). In this interview, Deirdre Sullivan talks about her interest in fairy tales and Irish folklore and how she became a writer. [ABSTRACT FROM AUTHOR]

En este artículo se explora el uso que J.K. Rowling hace de algunos elementos constitutivos del cuento de hadas en cuanto género literario a lo largo de las siete novelas que integran la saga de Harry Potter, así como en The Tales of Beedle the Bard (2008) y en particular el cuento de los tres hermanos. Dentro de la saga de Harry Potter, la autora se vale de una mitología propia para explicar la cosmogonía por medio de la cual los personajes conocen e interpretan su mundo y las tareas que deben acometer en él. Dicha cosmogonía posee una abundante serie de referencias a los cuentos de hadas tradicionales, y parte fundamental de la misma se encuentra codificada en la colección que recibe el nombre de The Tales of Beedle the Bard. Mediante una estrategia metaliteraria, Rowling reescribe ciertos cuentos de hadas clásicos, tales como “Cenicienta” y otros más conocidos, pero el que resulta fundamental para la trama de la séptima novela (Harry Potter and the Deathly Hallows), es el cuento de los tres hermanos. Retomando la tradición folclórica de los cuentos de hermanos de sangre y utilizando tropos pertenecientes al género (tales como la estructura de los tercios y el enfrentamiento/regateo con la muerte), Rowling entreteje una fábula que sirve para explicar el origen del personaje principal y a su vez otorga la clave narrativa para que resulte triunfador en su enfrentamiento con el villano de la historia, conocido como Lord Voldemort. De esta manera, Rowling rinde un homenaje a la tradición oral y, al mismo tiempo, dota de legitimidad a las aspiraciones de su protagonista.

El presente trabajo constituye un acercamiento inédito al relato ʻPiel de asno' de Giovanna Rivero (Tierra fresca de su tumba [2021]). A partir del vínculo hipertextual con el homónimo cuento de hadas de Charles Perrault, se escudriñan las semejanzas y las transgresiones, y las consecuente transvalorización, que el texto pone en escena. El relato se considerará, además, como un archivo de cuentos de hadas y se examinará la cadena de travestismos que resemantiza el mecanismo constitutivo del cuento y desemboca, finalmente, en el vínculo entre la construcción de la protagonista y la representación del ámbito animal. [ABSTRACT FROM AUTHOR]

Con base en el concepto nómada de Gilles Deleuze y Félix Guattari, una figura propia de su teoría sobre el espacio liso, en este artículo estudio las caminatas de Vivian Lawlor, protagonista de la novela Eggshells (2014) de Caitriona Lally. Mientras que Dublín funge como la contraposición del espacio liso ¾el espacio estriado¾, Vivian, por su manera de estar y relacionarse con el espacio (Deleuze y Guattari), encarna a la nómada al reterritorializar la ciudad. En el nivel diegético, esta protagonista ¾mujer, desempleada, que vive de la seguridad social, sin hijos y que no cuida su apariencia¾ resignifica la capital de Irlanda a partir de su creencia de que es un changeling, un hada de la tradición folclórica de la nación, y de que la recorre a pie para encontrar portales que la transporten a su supuesto lugar originario. Esta certeza surge de las violencias físicas y emocionales que se ejercieron sobre ella durante la infancia por el rechazo de sus padres. Al mismo tiempo, el caminar de Vivian resulta en un posicionamiento frente a su identidad como Otra, lo cual tiene un impacto en el nivel extradiegético. De esta forma, los desplazamientos de la protagonista no sólo son literales, sino metafóricos: sus andanzas se vuelven una confrontación de estándares de feminidad que, en este caso, son representativos del espacio estriado. Para demostrar que estas caminatas ocurren en los niveles ya referidos, analizo la manera de Lally de apropiarse de las características del cuento de hadas como aquello que funda la condición nómada de Vivian.

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

La admiración que suscita Gilbert Keith Chesterton dentro de nuestras fronteras justifica un estudio de su obra desde una perspectiva filosófico-educativa. Para ello, a través de una metodología hermenéutica que presta especial atención a las implicaciones educativas de las ideas, se analiza lo que el apologeta inglés entendía por una teoría de la infancia, de los cuentos de hadas y de la familia, así como la concepción que tenía de la educación y la universidad. A la vista de los datos estudiados se puede aventurar que estos aspectos del pensamiento educativo de Chesterton aportan argumentos muy interesantes para comprender la apología de la educación católica que realizó.

In Denmark, teaching the famous fairy tales of Hans Christian Andersen poses a challenge in primary education because cultural heritage status and oversimplified readings make it difficult to engage students in authentic readings. One strategy might be to use philosophical dialogues from the traditions of philosophy for children, because they offer student-centred approaches to teaching where students explore questions and ideas together, and where the teacher assumes the role not as authority, but as facilitator of the dialogue. This kind of dialogic teaching has been encouraged as especially suitable for literary education where teachers aim to engage students in reading the literature with an open mind. However, this article presents a comparative case study of P4C pioneer Per Jespersen's materials for philosophical dialogues and Hans Christian Andersen's fairy tales, and our study gives reason for caution. We analysed the question design in the fairy tale manuals and compared them to the manuals for Jespersen's own stories, and found that the questioning design in the manuals for his own stories are generally much more focused and accessible, building on conceptually open questions. We argue that this indicates that despite its dialogic ideals, the design of the fairy tale manuals collapses under the weight of the cultural and historical impact of Hans Christian Andersen and his work in Denmark. [ABSTRACT FROM AUTHOR]

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

In The Sea (2005) and The Gathering (2007), John Banville and Anne Enright incorporate modernist and postmodernist intertextuality into accounts of bereavement. While the shattered existence of the protagonists is seemingly devoid of religious belief, they mobilize the palimpsestic immemorial past of mythological and fairy-tale intertexts to make sense of broken realities. The narrators' self-portraits and invocations of lost people and places, oscillating between reminiscence and mythification, underscore postmodernism's play with canonical stories. Both authors use mythological syncretism to express their characters' quest for meaning: while Greek, Egyptian and Norse gods invade The Sea's modern-day "Atlantis" (132), The Gathering is peopled with subverted Christian and Irish figures. However, rather than restoring coherence, myth and fairy-tale tropes are suffused with desperate irony, and the magic spell woven by mythological counterpoints turns out to be a post-traumatic, grimacing reflection of the characters' troubled psyches, or an obfuscating screen. By interweaving and debunking seminal myths and tales, Banville and Enright give life to personal myths that bespeak the characters' deep-seated sense of loss and disenchantment. The reader is thus left wondering if, by filling the gaps of post-traumatic memory with mythological rewritings, these defamiliarizing narratives of bereavement convey potential solace or reinforce their protagonists' post-traumatic loss of landmarks. [ABSTRACT FROM AUTHOR]

Este ensayo analiza brevemente tres estrategias de denuncia de abuso sexual a través de la práctica artística contemporánea. El texto se enfoca en el el Proyecto Red Hood de Isabel Llaguno desarrollado entre 2017 y 2018, esta investigación artística estudia la naturalización de la violencia sexual en el popular cuento infantil la “Caperucita Roja

La obra maestra de Miguel de Cervantes, Don Quijote de la Mancha (1605, 1615) es una presencia recurrente en la literatura infantil desde el siglo XVIII hasta nuestros días. Además de ediciones adaptadas de la novela, es posible encontrar obras que reescriben el mito quijotesco de manera menos obvia. Es el caso de la obra de teatro El príncipe que todo lo aprendió en los libros (1909) escrita por Jacinto Benavente y estrenada en “El teatro de los niños” que él mismo había fundado. Este artículo propone que la reescritura del mito quijotesco que hace Benavente tiene como objetivo realizar una defensa de la imaginación de los niños. En concreto, explora cómo la afición a la lectura del príncipe no es corregida, sino alabada, y cómo el autor incorpora una plétora de referencias a cuentos populares para reivindicar el papel de la lectura de ficción en la formación de los niños. La obra de Benavente se perfila así como una historia para niños y adultos sobre el poder de la literatura y su efecto sobre los valores del público lector.

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.

Cuando nos referimos a los clásicos Disney es muy común asociarlos con los cuentos de hadas y la presencia de canciones. Sin embargo, no todas las producciones de Disney son adaptaciones de cuentos, pero el estudio de animación toma elementos de este tipo de relatos y los traslada a muchas de sus películas. De esta manera, y con la ayuda de las canciones, Disney crea un modelo propio de cuentos de hadas. Además, en su historia, la compañía Disney ha incorporado convenciones propias, como dar más importancia a las tramas románticas o la inclusión del tema del sueño americano. La cuestión que se plantea este artículo es dilucidar hasta qué punto dichas convenciones son influyentes, tanto en el campo de la animación, como en la adaptación de cuentos de hadas en películas de acción real.

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

This article analyzes two contemporary tales in order to problematize the prescription of femininities produced by the traditional fairy tales and by the reactionary discourse. We argue, based on the concept of gender performativity thought by Judith Butler, that on one hand the anti-gender offensive prescribes that women need to be princesses and it spreads a reactionary discourse that produces authorized ways of performing femininities according to the traditional fairy tales. On the other hand, some contemporary fairy tales resist and re-exist to the reactionary discourse and gender norms and use the multicultural discourse to produce princesses that perform in different ways. Based on the cultural studies, we understand that the curriculum is cultural and it is a discourse that produces, authorizes and creates knowledge. It unfolds itself into different pedagogies. In this sense, the narratives of the fairy tales that commonly take place in the curriculum addressed to children compose a certain script regarding the learning of gender norms. They teach norms to girls and boys, prescribing normal femininities and masculinities. However, they can also problematize those norms. In the analyzed stories it was possible to observe other gender performative scripts (BUTLER, 2019). The research methodology was constructed with elements of the discourse analysis based on Foucault and the results showed that the narratives produce other ways of presenting the princess' behavior and plurality on the characterization of the characters' bodies. [ABSTRACT FROM AUTHOR]

This article proposes a reading of Nueva historia de la princesa y el dragón (1989), by Carmen Resino. Framed in the new drama written by women in the scene of Spain in the 80s, we will analyze how the play uses the intertext of the traditional fairy tale in order to parody, destroy and replace it. In this piece, the universal referent of the fairy tale is the vehicle to analyze and problematize the complexities and paradoxes of the feminine identity process, underlines the conflict between cultural expectations and personal needs, and the conflictive relationship between women and power, which makes the conclusive ending «and they lived happily ever after» impossible.

Il bacio della Medusa, opera prima de la escritora italiana Melania Mazzucco (Roma, 1966), narra el amor erótico entre dos mujeres a comienzos del siglo XX. En este artículo estudiaremos las representaciones de la infancia (un tema recurrente en distintas obras de la autora), a partir del análisis de la intertextualidad con el cuento de hadas. Los procedimientos de reescritura, citación e inversión transmiten una visión desencantada de la niñez.

Situada en relación a la problematización posmoderna del conocimiento histórico, la prosa memorialística, aunque transformada en arte, ha sido descrita en relación a la memoria más que en relación a la historia. Basado en un criticismo biográfico y histórico, este artículo pretende discutir la presencia de los cuentos de hadas en los escritos de Pedro Nava sobre sus recuerdos de infancia en Baú de ossos (Baúl de huesos, 1972) y exponer cómo esos relatos son estructurados por los discursos autobiográfico y ficcional.

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.

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The digital animation film Shrek (2001), directed by Andrew Adamson and Vicky Jenson was very innovative in the industry of animation. There is no doubt that its success is due to the fact that the plot revolves around the typical fairytale structure in order to subvert and take apart a whole series of clichés generating a parodic vision of this universe. Nevertheless, the main subversion is found in the character who ends up being the hero of the movie: Shrek, a hermit ogre who defines himself as monster because it is what society thinks of him. But the truth is quite the contrary because the ogre lives peacefully in his swamp without hurting anyone and just makes use of his role of monster for having fun and defending himself from intruders. This character is forced to take over the most opposite role against his nature: the role of knight-prince who has to undertake a mission in order to rescue a princess. As a result, the supposed monster will be assuming his new role as hero progressively, to the point of achieving success where no prince has. [ABSTRACT FROM AUTHOR]

Sexuality is constructed through patterns of behavior and customs of mankind throughout the history, and various factors and results in you release or suppression. Fairy tales originated from orality and recounted over the centuries put the women constantly inferior to the men, naturalizing female vulnerability. In this view, this article of bibliographic nature sought to meet, describe and discuss what the scientific studies say about the use of short stories in high school, trying to analyze its use as a pedagogical strategy to mitigate the stereotypes of female inferiority and other prejudices. So, confirmed the assertiveness of this approach, since it can transmit values, strengthen or criticize paradigms and gender issues. [ABSTRACT FROM AUTHOR]

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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.

Afinal, o que quer uma mulher? Esse artigo não se propõe a responder a essa pergunta, mas a refletir sobre as motivações que a tornam tão popular dentro e fora do campo psicanalítico. Para tanto, acompanha o percurso da noção de feminilidade esboçada por Freud ao longo de sua obra, tanto em seu aspecto conservador da moral patriarcal quanto em seu ineditismo ao localizá-la como origem do psiquismo em sua condição humana de desamparo. A imagem da menina dos contos de fada perdida na floresta é evocada para amparar e alargar a reflexão.

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

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En este artículo se abordará una serie de novelas de la narrativa producida recientemente en el ámbito del Cono Sur (Argentina y Chile), que tienen en común la recreación de un universo infantil, inspirada en los cuentos de hadas tradicionales. Lo notable en todos los casos es que dicha aproximación se caracteriza por resaltar los aspectos ominosos del imaginario de la infancia, mediante la configuración de una mirada que se aproxima a ese universo a partir de lo monstruoso.

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Resumen: En este trabajo presentamos un análisis de las principales colecciones de cuentos populares de Portugal y España y de las características de los movimientos de recolección, clasificación y estudio de las producciones. Presentamos igualmente los antecedentes teóricos que sustentan las actividades de los folcloristas hispanolusos agrupados en las Sociedades del Folklore de finales del siglo XIX, cuyos objetivos y metodología se consideran junto a sus contribuciones fundamentales. También se muestra el grado de fidelidad etnográfica en las versiones de los distintos recolectores de cuentos, así como las características generales de las colecciones. Nos ocupamos asimismo de ofrecer algunas versiones de cuentos de amplia difusión en la península ibérica y procedemos al trabajo comparativo de los cuentos de Portugal y España. Finalmente, y dada nuestra pertenencia a un Departamento de Didáctica de la Lengua y la Literatura, reflexionamos sobre las posibilidades que ofrecen los cuentos populares hispanolusos para ser utilizados en los contextos educativos.Abstract: The current essay shows an analysis of the main fairy tales’ collections from Portugal and Spain, as well as it analyses the characteristics of the movements of collection, classification and study of the literary works. We also show the theoretical backgrounds that maintain the activities of the Spanish-portuguese folklorists assembled in the Folklore Societies of the end of the nineteenth century, whose objectives and methodology are analysed together with their main contributions. It is also shown the ethnographical fidelity degree in the several tales collectors’ versions, as well as the collections’ main features. We also deal with providing several tales’ versions of a wide spreading in the Iberian Peninsula and we go through the comparison between the tales from Portugal and Spain. Finally, and due to our belonging to the Department of Didactics of Language and Literature, there is a reflection on the possibilities that the Spanish-portuguese fairy tales have concerning their use in the educational situations.

El laberinto del fauno (2006) de Guillermo del Toro es una película con dos planos que se entrecruzan constantemente: el real, que se corresponde con la España de posguerra de 1944, en el que unos militares capitaneados por Vidal persiguen sin piedad a los maquis de la zona, y el imaginario, ideado por Ofelia en paralelo como evasión ante los acontecimientos negativos que vive o que la rodean. Cuando la maldad circundante es extrema, huir a un mundo de fantasía se convierte en una salida para sobrevivir, pero sólo es una solución parcial, porque la realidad negativa irrumpirá con mayor o menor medida en ese mundo imaginario y no siempre se podrá evitar. Guillermo del Toro plantea una ficción que tiene su origen en la maldad, pero adquiere una forma mucho más cercana a lo contrario, un cuento de hadas, sin embargo, no todo va a ser bondad en ese mundo inicialmente idílico.

El objetivo principal de este trabajo es presentar cómo el "miedo" contribuye a la construcción de engaño a través de los correos spam. Vamos a tener en cuenta no sólo los elementos lingüísticos y psicológicos utilizados para provocar miedos reales en sus destinatarios, sino también el miedo que sus remitentes pueden tener, añadiendo ejemplos textuales. Vamos a prestar especial atención a la influencia de los estereotipos de género en ciertas narraciones donde la falsa identidad de género de los remitentes se relaciona con los cuentos de hadas y los correos de spam. El objetivo de este trabajo es conocer la relación entre los correos spam, cuentos de hadas y los estereotipos de género en relación con el miedo. Nuestro análisis sugiere un paralelismo entre la re-producción de estereotipos de género en las nuevas herramientas de comunicación y los mismos estereotipos que se encuentran en los cuentos de hadas tradicionales. Nos centraremos en cómo el miedo conecta spam y cuentos de hadas, y cómo este paralelismo y los estereotipos de género que se encuentran en ambos tipos de textos pueden participar en los mecanismos lingüísticos utilizados por los spammers para hacer que sus historias sean creíbles.

This paper interprets the fairytale Snow White (Bruder Grimm 1857) in terms of the realization of absolute beauty. Jung's understanding that 'in myths and fairytales, as in dreams, the soul speaks about itself' (Jung 1945, para. 400), underpins such an approach. From this perspective a fantasy image is not about us, not about our unconsciousness, but is essentially about itself. The idea of absolute beauty first arises in the Queen's mind as a wish. Despite the Queen's strong desire to be named as the most beautiful person in the world, her mirror reflects that it is actually her daughter Snow White who is the fairest. Snow White might be regarded in the language of Giegerich as her internal other. Effectively they are separated into the Real that conceives the idea of absolute beauty and the Ideal that embodies it. The exchange that takes place between the two - mediated by mirror and window - generates the corpse of surpassing beauty that never decays but lies inaccessible behind the glass coffin. However the loving and penetrating gaze of the Prince, representing masculinity, succeeds in reanimating Snow White. Thus the Prince as the Other that is completely external and unknown to both the Queen and Snow White, specifically to their femininity, facilitates the realization of absolute beauty as the Ideal in the Real. [ABSTRACT FROM AUTHOR]

This paper presents a research which aimed to investigate written language and appropriation of literate culture in Child Education, based on fairy-tales. In order to do so, an intervention was carried out with 3 and 4 year-olds enrolled at a public Child Education Center in Tubarão town (SC). The instruments used for data collection comprised written (field journal) and photographic records. Regarding data analysis, theoretical frameworks put forward by Baptista (2010, 2012), Machado (2002), Mello (2010), and Soares (2003), among others, were adopted. that the fidings point to the fairy tales enable literacy practices that expand the literary repertoire of the small child. [ABSTRACT FROM AUTHOR]