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Fairy tales are stories that aim to entertain and teach children valuable life lessons. One such fairy tale would be the story of the Pied Piper. Most people know the following version of the story. Once upon a time, rats were plaguing a town. The citizens were at their wits’ end trying to figure out how to get rid of them. Then, one day, a man comes to the town offering them help in exchange for a certain sum of money. The town agrees to the bargain and the man enchants all the rats by playing on his magic pipe thus leading all the rats away. However, when he comes back for his deserved payment, the town dismisses the deal that they had previously made with the Piper. The Piper, now angry, plays on his pipe again and this time, instead of rats, all the town’s children follow him out of the town never to be seen again. The moral of the story is to keep one’s promises, and the tale even inspired an idiomatic phrase “pay the piper.” Rarely does one stop and wonder where the story itself came from or whether there is some truth behind it. This paper will explore how German fairy tale collectors Jacob and Wilhelm Grimm and the Victorian poet Robert Browning depicted the story in order to show how their contemporary worlds inspired their respective versions of the story: one nationalist, the other religious – both in the Christian sense and in the sense of natural worship. This paper will also highlight the, sometimes neglected, profundity of children’s literature.

Lectio praecursoria delivered at the University of Turku on 4 September 2020

Owing to the lack of concrete information provided by the narratives and the genreʼs unspecified setting, narrative space in fairy tales has been largely overlooked or dismissed as an inactive background for the action. Research which has considered this topic typically views it in terms of its symbolic potential, studying space in order to learn about other narrative elements (e.g. characters) or the implied meanings of the texts. This dissertation views narrative space as a concrete, material aspect of the narrative which is significant in itself. The main research question posed in the dissertation is: what do fairy tales tell us about narrative space and what does narrative space tell us about fairy tales? The main aim of the dissertation is therefore twofold: first, it examines how narrative space is structured in fairy tales and how the fairy tale conveys space-related information; second, it asks whether there is anything about the traits and structure of fairy-tale space that can be seen as genre-specific, i.e. that sets the fairy tale apart from other short prose narrative genres. The research is based on a textual analysis of the English translation of Jacob and Wilhelm Grimmʼs collection Kinder- und Hausmärchen (Childrenʼs and Household Tales, 1857). While its primary focus is on fairy tales, the dissertation also considers other genres included in the collection (animal tales, legends, religious tales, etc.). The research combines the knowledge produced within fairy-tale scholarship (folklore and literature studies) with the methodological tools of narratology. By considering narrative space and spatial transference, the dissertation aims to prompt a reconsideration of the fairy-tale genre and its definitions. One of its key findings is therefore a revised definition of the fairy tale as a genre which encompasses two domains – the magical and the non-magical – separated by a firm boundary, which must be crossed in the course of the story. What sets this interdomain boundary apart is the fact that it can be crossed from both sides, but only temporarily and only if certain conditions are met. The examination of genres through the prism of the domain has led to a reconsideration of our initial genre classification and prompted the conclusion that aetiological tales, Schwank tales, and didactic tales, which were initially listed as independent genres, are modes (subgenres) rather than genres. The thesis also shows that fairy-tale space is dynamic and relational, and that the lack of explicit spatial information should not be seen as an indication of the insignificance of space, but rather an expression of the genreʼs stylistic parsimony. Although the findings are based on the study of the Grimmsʼ fairy tales, the dissertation aims to provide an analytical framework that is applicable to other fairy-tale corpora. U doktorskom se radu istražuju pripovjedni prostor i prostorno premještanje u bajkama objavljenim u zbirci Kinder- und Hausmärchen (Djetinje i kućne bajke, 1857.) Jacoba i Wilhelma Grimma. Korpus istraživanja, koji obuhvaća 215 žanrovski raznolikih tekstova, podijeljen je na dva djela: primarni korpus, koji obuhvaća bajke, te sekundarni korpus, koji obuhvaća priče o životinjama, poučne priče, etiološke priče, (usmene) pripovijetke, formulne priče, predaje, legende, vjerske priče i šaljive priče. Sekundarni korpus omogućava poredbenu analizu bajke i drugih kratkih proznih žanrova. Tema pripovjednog prostora u bajkama podzastupljena je u znanstvenoj literaturi, gdje se prostor bajke uglavnom tretira kao pasivna pozadina zbivanja koja ni na koji način ne utječe na njihov razvoj, te postoji naprosto jer se radnja mora negdje odvijati. Ovakav stav donekle je razumljiv s obzirom na dugotrajan manjak interesa za prostorne teme u humanističkim i društvenim znanstvenima (prije tzv. prostornog obrata), kao i slabo definirane prostorne parametre koje nudi sama bajke. Naime, u svom tradicionalnom obliku, bajka kao jezično ekonomičan žanr uglavnom izbjegava sve što izravno ne pridonosi razvoju radnje, poput opisa likova ili okoline. Postojeća istraživanja uglavnom naglašavaju apstraktnu, slabo definiranu prirodu prostora bajke ili su usmjerena na njegova simbolička i metaforička značenja. U središtu zanimanja stoga nije prostor kao takav, već kao izvor informacija o značenju priče ili drugim pripovjednim elementima (npr. likovima). Za razliku od dosadašnjih istraživanja, ovaj doktorski rad pripovjedni prostor bajke razumije kao materijalnu, trodimenzionalnu okolinu te autonoman i nužan pripovjedni element koji je značajan sam po sebi. U središtu istraživanja su struktura prostora bajke, njegova prezentacija (tj. pripovjedne i jezične strategije kojima se prenose informacije o prostoru) i opće odlike. Osim pripovjednim prostorom, doktorski se rad bavi i prostornim premještanjem koje je glavni preduvjet za ostvarivanje kontakta između ljudskog protagonista i čarobnog, što se pak smatra ključnom osobinom žanra bajke. Nadalje, premještanje omogućava povezivanje pojedinih lokaliteta u širu prostornu mrežu. Istraživanje je smješteno unutar teorijskog okvira tzv. istraživanja ili studija o bajkama (fairy-tale studies), te metodološko-analitičkog okvira naratologije. Pritom ne slijedi jedinstveni pravac unutar istraživanja bajke, već sistematizira znanje nastalo unutar različitih teorijskih orijentacija. Od osobite važnosti za ovo istraživanje radovi su Maxa Lüthija i Alfreda Messerlija (istraživanja o bajkama), te Marie-Laure Ryan i Katrin Dennerlein (naratologija). Analiza strukture pripovjednog prostora oslanja se na model koji je ponudila Marie-Laure Ryan, sastavljen od pet prostornih jedinica: prostornog okvira, smjestišta (eng. setting), prostora priče, pripovjednog svijeta i pripovjednog svemira. Primjena ovog modela na analizu bajke otkrila je slojevitost njenog pripovjednog prostora i složenost procesa njegove konstrukcije, koji se odvija kroz kontinuirano pregovaranja između čitatelja i teksta. Kako bi ovaj opći model prilagodilo istraživanju bajke, istraživanje ga je dopunilo novom kategorijom domene, koja obuhvaća prostore u kojima je na snazi određeni sustav prirodnih zakona. Bajka se sastoji od dvije domene: ne-čarobne („realistične“) i čarobne. Samo po sebi, postojanje dvaju kvalitativno oprečnih domena nije jedinstveno bajci, već obilježava i druge kratke prozne žanrove, poput legende i vjerske pripovijetke. U doktorskom se radu stoga tvrdi da osobitost žanra bajke proizlazi iz interakcije među domenama i načinima prelaska granice koja ih dijeli. Točnije, spomenuta se granica može prijeći s obje strane, ali samo privremeno (mobilni lik do kraja priče mora se vratiti u svoju ishodišnu domenu) i pod određenim uvjetima. Iako se uvjeti za prelaženje granice razlikuju za ljudske i čudesne likove, zajednička im je pretpostavka uspostavljanje kontakta s ciljnom domenom, najčešće otjelovljenom u liku čuvara ulaza. Kako bi ušli u čarobnu domenu, ljudski likovi moraju dokazati da posjeduju pozitivne kvalitete poput suosjećanja, hrabrosti ili velikodušnosti, ili da su upoznati s automatskim pravilima priče. U čarobnu se domenu pripuštaju izgubljeni ili zlostavljani likovi. Čarobno može i navabiti ljudske likove uz pomoć predmeta, životinja, te vizualnih ili auditivnih signala kako bi im naštetilo ili zatražilo njihovu pomoć. Zloćudno čarobno u nečarobnu domenu može nasilno prodrijeti ili manipulacijom iznuditi poziv od strane ljudskog lika. Dobroćudno čarobno u ne-čarobnu domenu stupa na poziv ljudskog lika. Taj poziv često je nehotičan, a javlja se u obliku verbalnih (izravan poziv, dopuštenje, vjenčani zavjet, želja, čarolije i druge verbalne formule, poziv u pomoć) i neverbalnih zaziva (plakanje, negativne misli, odustajanje, geste i ponašanje koji odaju očaj). Analiza sekundarnog korpusa istraživanja kroz prizmu prostora potaknula je reviziju njegove početne klasifikacije. Naime, uočeno je da pojedine skupine priča (konkretno, poučne, etiološke i šaljive priče) nemaju stabilnu prostornu strukturu, te da se broj i kvaliteta njihovih domena mijenjaju. Za njih je, stoga, zaključeno da nisu samostalni žanrovi već potkategorije ili modusi drugih žanrova, koje odlikuje stabilan broj domena. Osim toga, rezultati istraživanja potaknuli su i reviziju početne definicije žanra bajke, koji se (uzimajući prostor u obzir), može opisati kao pripovjedni žanr koji prikazuje dvije jasno razdvojene i kvalitativno oprečne domene: ne-čarobnu i čarobnu. U toku priče, te domene moraju stupiti u (privremeni) kontakt, koji je uvjetovan prostornim premještanjem, poglavito prelaženjem granice među domenama. Ta se granica može prijeći s obje strane, ali samo privremeno i pod određenim uvjetima. Istraživanje ovime upućuje na potencijal pripovjednog prostora kao relevantne kategorije klasifikacije žanrova. Istraživanje nadalje pokazuje da manjak eksplicitnih informacija o prostoru u bajkama ne treba tumačiti kao znak njegove nevažnosti, već kao odraz ekonomičnosti žanra. Drugim riječima, činjenica da bajka rijetko izravno i detaljno progovara o prostoru ne znači da njen prostor nije važan, već naprosto da je – zbog jezične ekonomičnosti – razvila alternativne strategije kojima na izravne (imenovanje, izravni opis) i neizravne (opisno pripovijedanje, uputnice na likove, predmete i materijale) načine otkriva detalje vlastitog pripovjednog prostora. Na koncu, istraživanje opisuje prostor bajke kao dinamičan pripovjedni element kreiran kroz brojne odnose između likova, predmeta, događaja i drugih prostora. U tom smislu, prostor nije, kao što sugeriraju starije definicije, tek spremnik za likove i pozadina događanja, već sudionik složenih odnosa kao i važan faktor klasifikacije žanrova.

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.

The thesis deals with a classic fairy tale of the 19th century, in particular with the comparison of chosen categories of motifs (animal motifs, food motifs, power conflicts, generation conflicts, gender motifs) in selected fairy tales written by brothers Grimm, Božena Němcová and Karel Jaromír Erben. The original text is the German one, which is consequently compared to the Czech one. The thesis deals with the fairy tales Die weiße Schlange (compared to Karel Jaromír Erben's fairy tale Zlatovláska) and Frau Holle (compared to the text written by Božena Němcová O dvanácti měsíčkách). The goal of the thesis is to ascertain to what extent the depiction of the chosen motifs differ in German and Czech variants, or to what extent they correspond. The used methods are comparison, analogy and analysis, followed by synthesis of discovered knowledge.

Texte intégral accessible uniquement aux membres de l'Université de Lorraine; aThis study analyzes the links between storytelling and science fiction. We will analyze a corpus of three narrative sets that are particularly representative of a contemporary imagination undergoing radical change: in Germany with the Grimm brothers' tales, in New England with Lovecraft's tales, and in France with Le Rouge Gustave's stories. Our research focuses on the aesthetic legacies and the transformation of the wonder that take place between the end of the 18th century and the beginning of the 20th century; Cette étude a pour objet d'analyser les liens entre conte et science-fiction. Nous analyserons un corpus de trois ensembles narratifs particulièrement représentatifs d'un imaginaire contemporain en pleine mutation, en Allemagne (avec les contes des frères Grimm), en Nouvelle-Angleterre (avec les nouvelles de Lovecraft) et en France (avec les récits de Gustave Le Rouge). Nos recherches valoriseront les approches littéraires et les héritages esthétiques qui s’opèrent entre la fin du XVIIIe siècle et le début du XXe siècle, accompagnant la transformation complète du statut de merveilleux dans une civilisation européenne en train de s’industrialiser. Dans cette optique, nous retournerons aux origines des contes et nous nous interrogerons sur la théorie littéraire, plus précisément sur la théorie des genres de la fiction narrative en prose, en diachronie historique. En les prenant pour hypothèses en vue d'analyser les liens entre littérature, influences et aspirations, voilà qui nous amènera à mettre l'accent sur les dispositifs de la mise en forme littéraire du texte de science-fiction, de ses thèmes et de son processus de légitimité littéraire

aThis study analyzes the links between storytelling and science fiction. We will analyze a corpus of three narrative sets that are particularly representative of a contemporary imagination undergoing radical change: in Germany with the Grimm brothers' tales, in New England with Lovecraft's tales, and in France with Le Rouge Gustave's stories. Our research focuses on the aesthetic legacies and the transformation of the wonder that take place between the end of the 18th century and the beginning of the 20th century, Cette étude a pour objet d'analyser les liens entre conte et science-fiction. Nous analyserons un corpus de trois ensembles narratifs particulièrement représentatifs d'un imaginaire contemporain en pleine mutation, en Allemagne (avec les contes des frères Grimm), en Nouvelle-Angleterre (avec les nouvelles de Lovecraft) et en France (avec les récits de Gustave Le Rouge). Nos recherches valoriseront les approches littéraires et les héritages esthétiques qui s’opèrent entre la fin du XVIIIe siècle et le début du XXe siècle, accompagnant la transformation complète du statut de merveilleux dans une civilisation européenne en train de s’industrialiser. Dans cette optique, nous retournerons aux origines des contes et nous nous interrogerons sur la théorie littéraire, plus précisément sur la théorie des genres de la fiction narrative en prose, en diachronie historique. En les prenant pour hypothèses en vue d'analyser les liens entre littérature, influences et aspirations, voilà qui nous amènera à mettre l'accent sur les dispositifs de la mise en forme littéraire du texte de science-fiction, de ses thèmes et de son processus de légitimité littéraire

The paper proposes to examine the notion of didacticism in Jacob and Wilhelm Grimm’s Kinder- und Hausmärchen (Children’s and household tales, 1812/15–1857), more specifically didactic fairy tales. The broad discussion of some general issues regarding didactic literature is followed by a study of fairy tales containing superimposed didactic insertions and those in which the didactic agenda is supported by the story structure and content. Fairy tales belonging to ATU 480. The Kind and the Unkind Girls have been selected as an illustration of the latter.

The aim of the paper is to provide an alternative view of the Grimms’ Kinder- und Hausmärchen [Children and Household Tales], often erroneously considered to be a collection of fairy tales. Three genres have been selected as concrete case studies: didactic tales, formula tales, and tall tales. By providing both close readings of individual tales, and comparative readings of selected groups of tales, the paper aims to demonstrate how different criteria may be taken into consideration when classifying tales according to genre. A brief discussion of some of the problems concerning genre classification is followed by separate examinations and discussions of didactic tales, formula tales, and tall tales, as well as their respective sub-types. Most of the selected examples from the Grimms’ collection demonstrate a tendency to borrow and mix (genre- specific) narrative elements, which simply goes to show that the notion of ‘pure’ genre is a false one, and that genre classification still requires much scholarly attention.

Le présent article analyse les Contes de l’enfance et du foyer des frères Grimm (Jacob : 1785-1863, Wilhelm : 1786-1859) en comparaison avec les contes de Božena Němcová (1820-1862), auteur emblématique tchèque de la modernité. Le conte romantique est considéré ici comme phénomène culturel, pour lequel les recherches des frères Grimm, selon qui les contes étaient des fragments de l’ancienne poésie nationale de l’époque préchrétienne, ont joué un rôle fondateur. Cet article met notamment l’accent sur la genèse textuelle du conte de fées Princ Bajaja (ATU 314 Goldener), qui est un des contes les plus complexes et les plus exigeants sur le plan artistique de Božena Němcová. En établissant une comparaison entre ce dernier et le conte merveilleux « Jean de fer » (« Eisenhans », KHM 136), cette communication étudie la réception critique jusqu’ici défavorable de l’œuvre de Němcová en mettant en lumière la régularité de la structure du conte, et en soulignant l’originalité de la présentation du héros qui lui est propre. Elle s’interroge également sur les raisons de la popularité persistante de ce conte aux xxe et xxie siècles. This essay examines the Children’s and Household Tales by the Grimm Brothers (Jacob: 1785-1863, Wilhelm: 1786-1859) compared with the fairy tales written by Božena Němcová (1820-1862), the iconic Czech author of modernity. The romantic fairy-tale, rather than representing the actual state of folklore of the 19th century, is here regarded as a cultural phenomenon, whose development was being fundamentally influenced by the Grimm Brothers groundbreaking theory, suggesting that fairy tales are in fact fragments of ancient (national) poetry of pre-Christian times. In particular, the paper focuses on the textual development of one of the most complex and artistically demanding of Němcová’s tales Princ Bajaja (ATU 314 Goldener), in comparison with the Grimms’ tale Nr. 136 Eisenhans (Iron John). By pointing out the clarity of the tale’s composition as well as its originality in depicting a hero’s character, the previous negative critical reception of Princ Bajaja is being questioned and the reasons for the continuing popularity of the tale in the 20th and 21st century are being analyzed. Der Beitrag untersucht die Kinder- und Hausmärchen der Brüder Grimm (Jacob: 1785-1863, Wilhelm: 1786-1859) im Vergleich mit den Märchen der ikonischen tschechischen Autorin der Moderne Božena Němcová (1820-1862). Das romantische Märchen wird hier als ein Kulturphänomen angesehen, für dessen Entwicklung die Untersuchungen der Brüder Grimm, deren zufolge die Märchen Fragmente der alten (nationalen) Poesie der vorchristlichen Zeit seien, wegweisend waren. Speziell konzentriert sich der Beitrag auf die Textgenese eines von Němcovás komplexesten und künstlerisch anspruchsvollsten Märchen „Princ Bajaja“ (ATU 314 Goldener). Im Vergleich mit dem KHM 136 „Eisenhans“ wird die bisherige negative kritische Rezeption von „Princ Bajaja“ problematisiert, indem auf die Planmäßigkeit des Aufbaus des Märchens und die Originalität in der Darstellung der Heldenfigur hingewiesen, sowie nach den Gründe der fortdauernden Popularität des Märchens im 20. und 21. Jahrhundert gefragt wird.

The aim of this paper is to examine the significance and functions of displacement in fairy tales published in the final, seventh edition of Jacob and Wilhelm Grimm’s Kinder- und Hausmärchen (Children’s and Household Tales, 1857). I propose that the displacement of the fairy-tale protagonist is a prerequisite for the encounter between the realistic and the marvellous which is one of the distinguishing features of the genre. In addition, the said dislocation necessarily brings about some kind of transformation of the protagonist, usually manifested as material gains and improvement in social standing. Special attention is given to the correspondence between changes in narrative space and changes of the protagonist’s (social) identity.

Rad se bavi promptnom, intenzivnom, raznorodnom te proturječjima prožetom hrvatskom recepcijom rada i djelovanja Jacoba i Wilhelma Grimma. Nakon prikaza referencija na Grimmove u hrvatskom dnevnom, kulturnom i stručnom tisku ranog devetnaestoga stoljeća, rad se fokusira na ritam i značajke odomaćivanja (na prijevode i obrade) njihovih bajki i priča u hrvatskom kontekstu. U žarištu je nesrazmjer između promptne recepcije Grimmovih u hrvatskoj znanosti, politici i kulturi, s jedne strane, te s druge, kasnih, a tijekom devetnaestoga stoljeća ujedno i Grimmovima neatribuiranih, reprezentacija njihovih bajki i priča u hrvatskoj dječjoj književnosti. Prvi hrvatski monografski izbori iz Dječjih i kućnih bajki, kao i gotovo stotinu prijevoda ili obrada pojedinačnih bajki i priča iz te zbirke, koji su prethodili objavljenim izborima, pritom se interpretiraju iz perspektive povijesno specifičnih shvaćanja dječje i usmene književnosti te složenih odnosa između kultura, književnosti, prijevoda i izvornika, autorstva i anonimnosti., The paper deals with the prompt, intense, diverse, and contradictory Croatian reception of the lives and works of Jacob and Wilhelm Grimm. After a short overview of early nineteenth-century references to the Grimms in Croatian daily newspapers, cultural magazines and professional and academic journals, the paper focuses on the history of Croatian translations and adaptations of their tales. The prompt reception of the brothers’ work in the field of nineteenth-century Croatian scholarship, politics, and culture is juxtaposed to the relatively delayed appearances of the translations and adaptations of their tales, Besides, even when published, the Croatian versions were hardly ever attributed to the Grimms prior to the early twentieth century. During the second half of the nineteenth century, individual tales were translated, adapted and published in Croatian children’s magazines and books of stories almost a hundred times, with virtually no references to the brothers (there is only one exception) or to their original collection. The paper presents the first Croatian appearances of tales that can be traced to the Grimms’ original work, Kinder- und Hausmärchen, i.e. the nineteenth-century Croatian translations or adaptations of individual tales which were mostly not attributed to the Grimms, but rather presented as stories, anonymous tales or vernacular (Croatian, Slavic, etc.) folktales. These adaptations and retellings are considered from the perspective of a complex relationship between cultures, literatures, and translation practices, particularly with reference to the ideas of original work, authorship and anonymity., In diesem Beitrag wird die unterschiedliche und durch Widersprüche gekennzeichnete Rezeption der Werke Jacob und Wilhelm Grimms in Kroatien seit Beginn des neunzehnten Jahrhunderts untersucht. Nach einer einleitenden Darstellung der Auseinandersetzung mit dem Schaffen und Wirken der Gebrüder Grimm in der kroatischen Tages-, Kultur- und Fachpresse des frühen neunzehnten Jahrhunderts widmet sich der Beitrag dem Prozess der anhand der Übersetzungen und Bearbeitungen geleisteten Domestizierung Grimmscher Märchen und Geschichten im kroatischen Kontext. Während die volkskundlichen und sprachhistorischen Schriften der Grimms einen nachhaltigen Einfluss auf den wissenschaftlichen, politischen und kulturellen Diskurs in Kroatien im neunzehnten Jahrhundert ausübten, trifft dies auf die berühmte Märchensammlung nicht zu. Eine Analyse der ca. hundert Übersetzungen bzw. Bearbeitungen von einzelnen Texten der Kinder- und Hausmärchen aus dem neunzehnten Jahrhundert dokumentiert, dass diese ausschließlich anonym veröffentlicht wurden. Die dadurch bedingte Verschleierung der Autorschaft der Brüder Grimm führte dazu, dass ihre Märchen bis ins zwanzigste Jahrhundert hinein als Bestandteil der kroatischen Kinderliteratur angesehen wurden. Im Fokus des Beitrags stehen darüber hinaus der historisch bedingte Wandel des Verhältnisses von Kinderliteratur und mündlich überlieferter Literatur einerseits, sowie die vielschichtigen Beziehungen zwischen Kultur, Literatur, Übersetzung und Original sowie Autorschaft und Anonymität andererseits.

The aim of the paper is to provide an alternative view of the Grimms’ Kinder- und Hausmärchen [Children and Household Tales], often erroneously considered to be a collection of fairy tales. Three genres have been selected as concrete case studies: didactic tales, formula tales, and tall tales. By providing both close readings of individual tales, and comparative readings of selected groups of tales, the paper aims to demonstrate how different criteria may be taken into consideration when classifying tales according to genre. A brief discussion of some of the problems concerning genre classification is followed by separate examinations and discussions of didactic tales, formula tales, and tall tales, as well as their respective sub-types. Most of the selected examples from the Grimms’ collection demonstrate a tendency to borrow and mix (genre-specific) narrative elements, which simply goes to show that the notion of ‘pure’ genre is a false one, and that genre classification still requires much scholarly attention., Cilj je ovoga rada ponuditi alternativni uvid u zbirku braće Grimm Kinder- und Hausmärchen [Dječje i kućne bajke], za koju se uglavnom pogrešno drži da sadrži isključivo bajke. Za konkretna razmatranja i analizu odabrana su tri slabije poznata prozna žanra: poučne priče, formulne priče i lagarije. Pomnim čitanjem relevantnih tekstova iz Grimmove zbirke te komparacijom odabranih žanrovskih skupina, rad nastoji pokazati višestruke mogućnosti žanrovske klasifikacije. Najprije se donosi kraći pregled nekih od problema vezanih uz žanrovsku klasifikaciju, s posebnim naglaskom na svojevrsnoj arbitrarnosti odabira kriterija prema kojima će se pojedini tekstovi svrstavati u žanrovske kategorije. Slijede zasebne rasprave odabranih kategorija i njihovih podvrsta. S obzirom na to da većina primarnih tekstova uključenih u analizu pokazuje sklonost posuđivanju i miješanju narativnih elemenata svojstvenih drugim žanrovima, možemo zaključiti da je ideja ‘čistoga’ žanra isključivo teorijski koncept, te da je sama problematika žanra i književne klasifikacije općenito još uvijek nedovoljno istražena., Im vorliegenden Beitrag wird eine alternative Sicht der Grimmschen Sammlung Kinder- und Hausmärchen dargeboten, die auf die sehr verbreitete und dennoch irreführende Behauptung rekurriert, es handle sich hierbei ausschließlich um eine Märchensammlung. Den Untersuchungsrahmen bilden drei weniger bekannte Prosagenres: didaktische und formelhafte Geschichten sowie Lügengeschichten. Eine Analyse ausgewählter Texte der Grimmschen Sammlung enthüllt, dass diese Eigenschaften mehrerer Genres miteinander verbinden. Einführend wird ein kurzer Überblick über einige Probleme der Genreklassifikation dargeboten, wobei insbesondere die Arbitrarität der Kriterienauswahl angesprochen wird. Im Anschluss werden die ausgewählten Genres mitsamt ihren Unterkategorien detailliert erläutert. Die Beobachtung, dass die Mehrzahl der hier untersuchten Primärtexte zur Entlehnung und Vermischung von narrativen Konstrukten aus anderen Gattungen neigt, legt den Schluss nahe, dass zum einen die Idee der ‚reinen‘ Gattung ein ausschließlich theoretisches Konzept darstellt und zum anderen die Problematik der Bestimmung von Gattungen und ihrer Klassifikation noch immer nicht hinreichend erforscht ist.

Although mostly associated with the fairy-tale genre, the Kinder- und Hausmärchen (KHM) collected and published by the Brothers Grimm contains a large variety of short narrative genres, from fantastic (legends, fairy tales) to realistic ones (folk tales, jests). Despite the generic, thematic, linguistic etc. diversity of their collection, the Brothers nevertheless strove to imbue it with an overall sense of unity. One of the editorial strategies employed with this aim in mind is the introduction of what John Ellis refers to as "stock" motifs, characters and episodes. In this paper, I propose to examine whether or not such standardization is also observable in the case of supernatural places. To do this, I shall focus primarily on the spaces of heaven and hell and examine whether or not, and if so – how, these primarily religious spaces are appropriated by different genres. I propose to take a closer look at the narrative spaces of heaven and hell in various KHM genres (primarily fairy tales and legends): the way they are structured, their narrative role, the characters that inhabit / visit them. Special emphasis shall be placed on the way religious connotations of these spaces are treated by individual genres (possible instances and degrees of profanization).

Varijantnost je od samih početaka istraživanja bajki uživala status privilegirane teme, pri čemu se analitička pozornost najčešće usmjeravala na tekstualnu razinu. U članku se na primjeru bajke “Schneeweißchen und Rosenrot” Wilhelma Grimma i njezina doslovnog hrvatskog prijevoda (“Bielka i Rumenka” Mijata Stojanovića) te njihove prezentacije u najnovijem izdanju znamenitog međunarodnog kataloga pripovijedaka (The Types of International Folktales) istražuju mogućnosti interpretativnog pomaka s teksta na paratekst. Riječ je, naime, o bajci koju je prema književnom predlošku napisao te u trećem, tzv. malom izdanju, Kinder- und Hausmärchen (1833.) objavio Wilhelm Grimm, a koju je zatim u doslovnom prijevodu, ali ne navodeći izvor, Mijat Stojanović uvrstio u Narodne pripo­viedke (1879.), najstariju zbirku tog tipa u hrvatskoj dječjoj književnosti. Osvrtom na paratekstualne strategije i očitovanja Grimmova i Stojanovićeva teksta u članku se iznose ključne odrednice proizvodnje tzv. narodnih bajki i bajki za djecu u 19. stoljeću. Shvaćanja nacije, narodne književnosti, dječje književnosti, autorstva i dr. iščitavaju se iz inicijalnih reprezentacija i reakcija na Grimmov i Stojanovićev tekst, a prezentacija njihovih tekstova u međunarodnom katalogu kao dviju varijanti istoga tipa bajke u zaključku se ne promatra kao tehnička greška, nego kao poticaj za raspravu o ishodištima, mogućnostima, ali u nekim primjerima i gotovo nepremostivim ograničenjima tog tipa folklorističkog znanja., The article discusses the presumptions, interdependences and paradoxes of representations of folktales in 19th century literary collections (Wilhelm and Jacob Grimm Kinder- und Hausmärchen and Mijat Stojanović Narodne pripoviedke) and contemporary scholarly works. The focus is on paratextual and epitextual differences as markers of ideological and epistemological background of Wilhelm Grimm’s “Schneeweißchen und Rosenrot” and its verbatim Croatian translation “Bielka i Rumenka” by Mijat Stojanović. In the conclusion, representation (definition and concordance) of Grimm’s text and its verbatim translation in the latest edition of The Types of International Folktales is discussed regarding the blurring borders between the oral and written, text and research in folk narrative research.

The paper examines the concepts of space and spatial transference, their function and significance in the fairy tales published in Jacob and Wilhelm Grimm´s Kinder- und Hausmärchen, especially in relation to the characters´ social mobility.

Focusing on domino effect of different (scholarly and popular) representations of tale known as Snow White and Rose Red, this paper will try to discuss presumptions, dependences and paradoxes of pronouncedly specific temporal and spatial representation of folk narratives in 19th century literary collections and 20th and 21st scholarly works. The starting point will be the first Croatian collection of folktales aimed directly to the children (Mijat Stojanović, 1879). Although in paratext defined as a collection of folk, namely, Serbian and Croatian, oral narratives, the variant of Snow White and Rose Red included in this collection is in fact very accurate translation of Grimm's tale No. 161. After locating origin of this kind of representation of Grimm's narrative in intersections between notion of authorships in 19th century Croatian children's literature and visions of folk narratives as imprints of national spirit and therefore key vehicles of national integration, the paper will focus on impact of this kind of representation to the subsequent scholarly research of supposedly similar narratives. Classification of this text as a Croatian variant of 426 tale type in the last edition of The Types of International Folktales will be discussed regarding blurring borders between oral and written, text and research, center and margin in folk narrative research.