The story fairy tale , , fairy tale , magic story , or Archenemy is a folklore genre that takes the form of a short story featuring entities like dwarves, dragons, fairies, fairies, giants, gnomes, goblins, griffins, mermaids, talking animals, trolls, unicorns, or magicians, and usually magic or charm. Tales can be distinguished from other folklore such as legends (which generally involve beliefs in the truth of the events described) and explicit moral tales, including fairy tales of animals. The term is primarily used for stories with origins in European traditions and, at least in the last few centuries, is largely related to children's literature.
In a less technical context, the term is also used to describe something blessed with unusual happiness, such as in the "end of fairy tale" (happy ending) or "fairy tale". Everyday language, "fairy tale" or "fairy tale" can also mean a story that is far-fetched or tall tall; This is used primarily from stories that are not only incorrect, but can not be true. Legend is considered as real; fairy tales can merge into legends, where narratives are considered good by tellers and listeners as based on historical truth. However, unlike legends and epics, they usually contain no more than superficial references to religion and real places, people, and events; they happen at a time rather than in the real time.
The tale is found in oral and literary forms; the name "fairy tale" was first given to them by Madame d'Aulnoy at the end of the 17th century. Many of today's tales have evolved from centuries of stories that have emerged, with variety, in cultures around the world. The history of fairy tales is very difficult to trace because only a literary form can survive. However, according to researchers at universities in Durham and Lisbon, such stories may have existed for thousands of years, some up to the Bronze Age more than 6,000 years ago. Tales, and works of fairy tales, are still written today.
Folklorists have classified fairy tales in various ways. The Aarne-Thompson classification system and Vladimir Propp's morphological analysis are among the most prominent. Other folklorists have interpreted the significance of fairy tales, but no school is definitively set for the meaning of fairy tales.
Video Fairy tale
Terminology
Some folklorists prefer to use the German term MÃÆ'¤rchen or "fairy tales" to refer to the genre above fairy tale, the exercise given weights by the definition of Thompson in his book. 1977 [1946] The Folktale edition: "a tale of some length involving a succession of motives or episodes It moves in an unreal world without a definite locality or a certain being and is filled with extraordinary. the land that never dies, the humble hero killed the enemy, succeeded in the kingdom and married the princess. "The characters and motifs are simple and archetypal tales: princesses and geese; the youngest son and the prince of dashing; ogres, giants, dragons, and trolls; an evil stepmother and a false hero; fairy godmother and other magical helpers, often talking about horses, or foxes, or birds; mountain glass; and prohibitions and violating the prohibition.
A fairy tale with a tragic and rather unhappy ending is called an anti-tale story.
Maps Fairy tale
Definitions
Although fairy tales are a distinct genre in a large category of folklore, the definition that marks the work as a fairy tale is a source of considerable disagreement. The term itself comes from the translation of Madame D'Aulnoy's Conte de fÃÆ' Â © es , first used in his collection in 1697.) The general term configures fairy tales with animal fairy tales and other folk tales, and different scholars on the extent to which the existence of fairy and/or similar mythical creatures (eg, elves, goblins, trolls, giants, big monsters) should be regarded as differentiators. Vladimir Propp, in his book Morphology of Folktale , criticized the general difference between "fairy tales" and "animal stories" on the grounds that many stories contain fantastic elements and animals. Nevertheless, to select the work for his analysis, Propp uses all Russian folklore classified as the Aarne-Thompson 300-749 folklore - in a cataloging system that makes such a difference - to get a clear set of stories. The analysis itself identifies the fairy tale by their plot elements, but itself has been criticized, because the analysis does not easily facilitate stories that do not involve searching, and furthermore, the same plot elements are found in non-fairy tales. work.
Did I ask, what is the fairy tale? I have to answer, Read Undine: it is a fairy tale... of all the fairy tales that I know, I think the most beautiful Undine.
As Stith Thompson points out, the animal that speaks and the presence of magic seem more common to fairy tales than the fairies themselves. However, only the presence of talking animals does not make fairy tales, especially when the animal is clearly a mask on a human face, as in a fairy tale.
In his essay "On Fairy-Stories", J.Ã, R.Ã, R.Ã, Tolkien agrees to rule out the "fairies" of definitions, defines fairy tales as stories of human adventures in FaÃÆ'Â rie , fairy land, fairy princes and princesses, dwarves, elves, and not just other magical species, but many other miracles. However, the same essay does not include stories that are often considered fairy tales, citing as examples of The Monkey's Heart , which Andrew Lang belongs to The Lilac Fairy Book .
Steven Swann Jones identifies the existence of magic as a feature by which tales can be distinguished from other types of folklore. Davidson and Chaudri identify "transformation" as a key feature of this genre. From a psychological point of view, Jean Chiriac argues the necessity of being fantastic in this narrative.
In terms of aesthetic values, Italo Calvino cites fairy tales as a prime example of "speed" in literature, because of the economy and the conclusions of the story.
Genre history
Initially, the story that is considered a fairy tale is not marked as a separate genre. The German term "MÃÆ'¤rchen" is derived from the ancient German word "MÃÆ'¤r", meaning story or story. The word "MÃÆ'¤rchen" is the little word "MÃÆ'¤r", because it means "little story". Together with the common beginning "once time" it means fairy tale or mÃÆ'¤rchen originally was a small story from the past when the world was still magical. (Indeed, one less regular German opening is "In the past when expectations were still effective.")
The English term "fairy tale" comes from the fact that French contes often includes fairies.
The roots of the genre come from different oral stories which are inherited in European culture. The genre was first characterized by Renaissance writers, such as Giovanni Francesco Straparola and Giambattista Basile, and stabilized through later collector works such as Charles Perrault and Brothers Grimm. In this evolution, the name was created when prÃÆ' Â © cieuses took a literary writing; Madame d'Aulnoy invented the term Conte de fÃÆ' Â © e , or a fairy tale, at the end of the 17th century.
Before the definition of the fantasy genre, many works that would now be classified as fantasy are called "fairy tales", including Tolkien Folk and literature
The tale, which is spoken orally, is a sub-class of folklore. Many authors have written in the form of fairy tales. This is a literary tale, or KunstmÃÆ'¤rchen . The oldest form, from Panchatantra to Pentamerone , shows many reworks of oral form. The Grimm Brothers are among the first to try to preserve the fairy tale features. However, the stories printed under the name Grimm have been reworked to fit the written form.
Literary tales and oral tales freely exchange plots, motifs, and elements with each other and with stories about foreign lands. The literary tale became fashionable during the 17th century, developed by aristocratic women as a living room game. This, in turn, helps maintain oral traditions. According to Jack Zipes, "The subject of the conversation consists of literature, customs, tastes, and etiquette, in which the speakers all attempt to describe the ideal situation in the most effective oratory style that will gradually have a major influence on the literary form. Many folklorists of the 18th century sought to restore "pure" folklore, which was not contaminated by the literary version. But while oral tales may exist for thousands of years before literary forms, no pure folklore, and any literary tales use folk traditions, if only in parodies. This makes it impossible to trace the forms of fairytale transmission. The lecture narratives have been known to read literary tales to improve story stock and their own care.
History
The oral tradition of fairy tales comes long before the page is written. Stories are told or applied dramatically, rather than written down, and passed down from generation to generation. Therefore, their developmental history is certainly not clear and vague. The tale appears, now and again, in literature written throughout the literate culture, as in The Golden Ass , which includes Cupid and Psyche (Rome, 100-200 AD), or The Panchatantra (3rd century BC India), but it is not known to what extent these reflect true folklore even at their own time. The style evidence shows that this, and many later collections, reproduced folklore into literary forms. What they do shows that the fairy tale has ancient roots, older than the Arabian Nights collection of magical tales (compiled around <1500), like Vikram and the Vampire , and Bel and the Dragon . In addition to individual collections and fairy tales, in China, Taoist philosophers such as Liezi and Zhuangzi tell stories in their philosophical works. In the broader definition of the genre, the first famous Western fairy tale was from Aesop (6th century BC) in ancient Greece.
Jack Zipes writes in When Dreams Came True , "There is a fairy tale element in Chaucer The Canterbury Tales , Edmund Spenser The Faerie Queene , and. in many of William Shakespeare's plays. " King Lear can be considered a literary variant of fairy tales like Water and Salt and Cap O 'Rushes . The story itself reappears in Western literature in the 16th and 17th centuries, with The Facetious Nights of Straparola by Giovanni Francesco Straparola (Italy, 1550 and 1553), which contains many tales in its inset story, and the Neapolitan story Giambattista Basile (Naples, 1634-6), all of which are fairy tales. Carlo Gozzi made use of many fairy tales between his Commedia dell'Arte scenario, including those based on The Love For Three Orange (1761). At the same time, Pu Songling, in China, included many fairy tales in his collection, Weird Stories from Chinese Studio (published posthumously, 1766). The tale itself became popular among French upper class French (1690-1710), and among the stories told at that time were those of La Fontaine and Salon Era
In the mid-seventeenth century, a trend for magical stories emerged among the intellectuals who frequented the salons in Paris. These salons are regular meetings organized by prominent aristocratic women, where women and men can come together to discuss the issues of the day.
In the 1630s, aristocratic women began to gather in their own living room, salon, to discuss the topic of their choice: art and letters, politics, and social issues of direct concern to women in their classes: marriage, love, financial independence and physical, and access to education. This is the time when women are barred from receiving formal education. Some of the most gifted women writers of the time came out of these early salons (such as Madeleine de ScudÃÆ' Â © ry and Madame de Lafayette), which encouraged women's independence and pushed against the gender barriers that defined their lives. SalonniÃÆ'¨res argues primarily for love and intellectual compatibility between the two sexes, against the matchmaking system.
Sometimes in the mid-17th century, the passion for a conversation parlor game based on an old folklore plot sweeps the salon. Every salonniÃÆ'¨re is called to retell an old tale or rework the old theme, spinning new, intelligent stories that not only show off verbal agility and imagination but also cunningly comment on aristocratic living conditions. Great emphasis is placed on natural and spontaneous delivery modes. Decorative language of fairy tales serves an important function: disguising the rebellious subtext of the story and shifting it through court censorship. The criticism of the court life (and even the king) is embedded in a fabulous tale and in the dark, dystopian sharp. Not surprisingly, the stories by women often feature young (but clever) aristocratic girls whose lives are controlled by the arbitrary desires of father, king, and evil fairies, as well as stories where the wise fairies (ie, intelligent, independent). women) stepped in and put all the rights.
Salon stories as originally written and published have been preserved in monumental works called Le Cabinet des FÃÆ' Â © es , a large collection of stories from the 17th and 18th centuries.
Later working
The first collectors who tried to defend not only the plots and characters of the fairy tales, but also the style in which they were told, were Brothers Grimm, collect German tales; Ironically, this means that even though their first edition (1812 & amp; 1815) remains a treasure for folklorists, they rewrite stories in subsequent editions to make them more welcome, ensuring their sales and the popularity of their work later.
Such literary forms are not only interesting from folklore, but also influenced by folk tales in turn. The Grimm brothers rejected some of the tales for their collection, although they were verbally told them by the Germans, because the tales came from Perrault, and they concluded they were French and not German; the oral version of Bluebeard was rejected, and the story of Little Briar Rose, obviously related to Perrault's Sleeping Beauty, was inserted only because Jacob Grimm assured his brother that the figure of Brynhildr , from previous Norse mythology, proves that the daughter asleep is a genuine German folklore.
The consideration of whether to keep Sleeping Beauty reflects the common belief among 19th century folklorists: that folk traditions preserve fairy tales in prehistoric forms except when "contaminated" by such literary forms , leading people to tell stories that are not authentic. The rural, illiterate, and uneducated peasants, if isolated accordingly, are the people and will tell the pure tales of the people . Sometimes they consider fairy tales as a fossilized form, the remnants of a very perfect story. However, further research has concluded that tales have never had a fixed form, and regardless of the influence of literature, the tellers are constantly changing them for their own purposes.
The Grimm Brothers' work is influenced by other collectors, both of whom inspire them to collect fairy tales and lead them to believe, in the spirit of romantic nationalism, that a country's tales specifically represent it, to the neglect of cross-cultures. influence. Among those affected were Alexander Afanasyev of Russia (first published in 1866), Norway Peter Christen AsbjÃÆ'¸rnsen and JÃÆ'¸rgen Moe (first published in 1845), Romanian Petre Ispirescu (first published in 1874), English Joseph Jacobs (first published in 1890), and Jeremiah Curtin, an American who collected Irish stories (first published in 1890). Ethnographers gather stories around the world, find similar stories in Africa, America and Australia; Andrew Lang was able to draw not only stories written about Europe and Asia, but which were collected by ethnographers, to fill his "color" series of books. They also encouraged other collectors of fairy tales, such as when Yei Theodora Ozaki made the collection, The Japanese Tale (1908), after the encouragement of Lang. At the same time, authors such as Hans Christian Andersen and George MacDonald continue the tradition of literary tales. Andersen's work sometimes draws old stories, but uses more motives and fairy plots in new fairy tales. MacDonald includes fairy tale motifs in new literary tales, such as The Light Princess , and in works of genre that will be fantasy, as in The Princess and the Goblin or Lilith .
Cross-cultural transmission
Two theories of origin have attempted to explain the common elements in fairy tales that are found scattered throughout the continent. One is that one point of origin that produces a certain story, which then spread over the centuries; the other is that such tales are derived from ordinary human experience and can therefore appear separately in many different origins.
Fairy tales with plots, characters, and similar motifs are found scattered in many different cultures. Many researchers think this is caused by the spread of such tales, when people repeat stories they have heard in foreign lands, although the oral nature makes it impossible to trace the route except by conclusion. Folklorists have sought to determine origin with internal evidence, which is not always clear; Joseph Jacobs, comparing the Scottish story of The Ridere of Riddles with the version collected by Brothers Grimm
Folklorists from the "Finnish" (or history-geographical) school attempt to put a fairy tale to their origin, with inconclusive results. Sometimes influences, especially in limited areas and times, are more obvious, as when considering the influence of the Perrault story on stories collected by the Brothers Grimm. Little Briar-Rose appears to be from Perrault's The Sleeping Beauty, because the Grimms story seems to be the only independent German variant. Similarly, the close agreement between the opening of the Little Red Riding Hood and the Perrault story shows an influence, even though the Grimms version adds a different ending (probably from the The Wolves and the Seven Young Children ).
Tales tend to take the color of their location, through the choice of motifs, the style in which they are notified, and the depiction of local characters and colors.
The Brothers Grimm believes that the European tale derives from the cultural history possessed by all Indo-Europeans and is therefore ancient, much older than the written record. This view is supported by research by anthropologist Jamie Tehrani and folklorist Sara Graca Da Silva using phylogenetic analysis, a technique developed by evolutionary biologists to track the interrelationship of living and fossil species. Among the stories analyzed are Jack and the Beanstalk , traced to the time of the separation of Eastern and Western Indo-Europe, over 5000 years ago. Both Beauty and the Beast and Rumpelstiltskin appear to have been created about 4000 years ago. The story of The Smith and the Devil (Deal with the Devil) seems to have come from the Bronze Age, some 6,000 years ago.
Association with children
Initially, adults are the audience of fairy tales as often as children. Literary literature appears in works devoted to adults, but in the 19th and 20th centuries the tales became associated with children's literature.
The prÃÆ'  © cieuses , including Madame d'Aulnoy, intended their work for adults, but regarded their source as a story that a waiter, or another woman of the lower class, would say to the children. Indeed, the novel of that time, which depicted the offer of a boss who wanted to tell such a tale, made the countess exclaim that he loves fairy tales as though he were a child. Among the prà © cieuses, Jeanne-Marie Le Prince de Beaumont re-made the version of Beauty and the Beast for children, and it is her best known story today. The Brothers Grimm entitled their collection of Children and Household Stories and rewrote their stories after complaints that they were not suitable for children.
In the modern era, tales are changed so that children can read. The Brothers Grimm is concentrated on sexual references; Rapunzel, in the first edition, reveals the prince's visit by asking why his clothes have grown tighter, allowing the witch to conclude that she is pregnant, but in later editions indiscriminately reveals that it is easier to attract princes than magicians. On the other hand, in many ways, violence? -? Especially when punishing criminals? -? Rising. Other, then, revisions cut the violence; J. Ã, R. R. Tolkien notes that The Juniper Tree often cuts its cannibal meat. in a version intended for children. Moral tensions in the Victorian era changed the classic tales to teach lessons, such as when George Cruikshank rewrote Cinderella in 1854 to include the theme of simplicity. His acquaintance Charles Dickens protested, "At utilitarian age, of all other times, it is a very important matter that fairy tales must be respected."
Psychoanalysts such as Bruno Bettelheim, who regarded the older fairy tale as an indication of psychological conflict, strongly criticize the expulsion, for weakening its usefulness for children and adults as a means of solving problems symbolically. The tale teaches children how to deal with difficult times. Quoting Rebecca Walters (2017, p.Ã, 56) "Fairy tales and folklore are part of cultural preservation that can be used to overcome the fears of children.... and give them some role training in approaches that respect the child tolerance window ". These tales teach children how to handle certain social situations and help them find their place in society. The tale teaches other important lessons as well. For example, Tsitsani et al conducted a study on children to determine the benefits of fairy tales. Parents of the children who participated in the study found that the fairy tales, especially the colors in them, triggered the imagination of their children as their reading. Japanese analyst and fairy tale expert Marie Louise Von Franz interpreted a fairy tale based on Jung's view of fairy tale as a spontaneous and naive soul product, which can only express what soul it is. That means, he sees the fairy tale as a picture of the various phases experiencing the reality of the soul. They are "the purest and simplest expressions of the collective unconscious psychic process" and "they represent the archetypes in the simplest, simplest and most concise form" because they are less coated with matter conscious than myths and legends. "In this pure form, the archetypal image gives us the best clue to understanding the processes that occur in the collective psyche." "The tale itself is the best explanation of its own, that is, its meaning is contained in the totality of its motives connected by the plot. [...] Every tale is a relatively closed system that incorporates an important psychological meaning expressed in a series of symbolic images and events and can be found in this ". "I have come to the conclusion that all fairy tales attempt to portray the same psychic facts and facts, but a fact that is so complex and far-reaching and so difficult to realize in all its different aspects that hundreds of tales and thousands of repetitions with variations of musicians are needed until this unknown fact is conveyed to consciousness, and even then the theme is not exhausted.The unknown fact is what Jung calls himself, which is the psychic reality of the collective unconscious. [...] Every archetype in essence is but one aspect of the collective unconscious as well as always representing all the collective unconscious.
Other famous people commented on the importance of fairy tales, especially for children. For example, Albert Einstein once pointed out how important he believed the fairy tales for children's intelligence in the quote "If you want your kids to be smart, read those tales, if you want them to be smarter, read more fairy tales."
The adaptation of fairy tales for children continues. Influential Walt Disney Snow White and the Seven Dwarfs are mostly (though certainly not solely) aimed at the children's market. The anime Magical Princess Minky Momo refers to the fairy tale Momotar? . Jack Zipes has spent years working to make older traditional stories accessible to modern readers and their children.
Contemporary stories
Literature
In contemporary literature, many authors have used fairy tales for various reasons, such as examining the human condition from a simple framework provided fairy tales. Some authors seek to recreate a fantastic feeling in contemporary discourse. Some authors use fairy tales for modern issues; this may include using the psychological drama implicit in the story, as when Robin McKinley recounted Donkeyskin as a Deer deer novel, with an emphasis on the father's abusive treatment of the story being handled by his daughter. Sometimes, especially in children's literature, fairy tales are retold with a twist just for comic effects, such as The Stinky Cheese Man by Jon Scieszka and The Fairy Tales ASBO by Chris Pilbeam. A common comic motif is the world in which all fairy tales occur, and their characters are aware of their role in the story, as in the Shrek series.
Other authors may have special motives, such as multicultural or feminist reevaluation dominated by European-masculine-dominated tales, implying criticism of older narratives. The figure of the girl in trouble has been greatly attacked by many feminist critics. Examples of narrative reversals reject this figure include The Paperbag Princess by Robert Munsch, a picture book intended for children where a princess rescued a prince, and Angela Carter The Bloody Chamber , which retells some fairy tales from a women's point of view.
There are also many contemporary fairy tale erasions, which explicitly harness the original spirit of fairy tales, and specifically for adults. The modern reading focuses on exploring the story through the use of erotic, explicit sexuality, dark and/or comic themes, female empowerment, fetish and BDSM, multicultural, and heterosexual characters. Cleis Press has released some fairytale-themed erotic anthologies, including Fairy Tale Lust, Lustfully Ever After, and A Princess Bound.
It may be difficult to establish a rule between fairy tales and fantasies that use fairy tales, or even whole plots, but the differences are usually made, even in the work of a single author: George MacDonald's Lilith and Phantastes > is considered a fantasy, while "The Light Princess", "The Golden Key", and "The Wise Woman" are usually called fairy tales. The most notable difference is fantasy fairy tales, like other fantasies, utilizing the conventions of prose novelist writing, characterization, or arrangement.
Movies
The tale has been applied dramatically; records are on commedia dell'arte, and then in pantomime. The advent of cinema means that such stories can be presented in a more sensible way, with the use of special effects and animations. The Walt Disney Company has a significant impact on the evolution of fairy tales. Some of the early silent short films from the Disney studio are based on fairy tales, and some fairy tales are adapted into shorts in the musical comedy series "Silly Symphonies", such as Three Little Pigs . Walt Disney's first full-length film Snow White and the Seven Dwarfs, released in 1937, is a groundbreaking film for fairy tales and, indeed, fantasy in general. Disney and his creative successors have returned to traditional tales and literature many times with films like Cinderella (1950), Sleeping Beauty (1959) and Beauty and the Beast (1991). Disney's influence helped set the genre of fairy tale as a genre for children, and has been accused by some who discriminate against naturalism - and sometimes an unhappy end - of many folk tales. However, others noted that the softening of fairy tales occurred long before Disney, some of which were even done by Grimm's own siblings.
Many of the filmed tales have been made especially for children, from Disney's later work on Aleksandr Rou's retreat on Vasilissa the Beautiful, the first Soviet film to use Russian folklore in a large budget feature. Others have used the fairy tale conventions to create new stories with sentiments more relevant to contemporary life, such as at Labyrinth , My Neighbor Totoro , Happily N'Ever After , and Michel Ocelot's movies.
Other works have recounted known tales in darker, more sinister or psychological variants aimed primarily at adults. Notable examples are Jean Cocteau's Beauty and the Beast and The Company of Wolves, based on Angela Carter's re-breaking of Little Red Riding Hood. Likewise, Mononoke Princess , Labyrinth Pan , Suspiria , and Spike create new stories in this genre from fairy tales and motif folklore.
In comics and animated TV series, The Sandman, Utena Revolutionary Girl Princess Tutu, Fables and MÃÆ' â € žR all utilize standard fairy tale elements to various levels but more accurately categorized as fairytale fantasy because of the exact location and character that require longer narratives.
A more modern cinematic tale is Luchino Visconti Le Notti Bianche , starring Marcello Mastroianni before he becomes a superstar. It involved many romantic fairy tales, but happened in post-World War II Italy, and it ended realistically.
Motive
Each fairytale comparison quickly finds that many fairy tales have similar features to each other. The two most influential classifications are the classification of Antti Aarne, as revised by Stith Thompson into the Aarne-Thompson classification system, and Vladimir Propp Morphology of Folk Story .
Aarne-Thompson
This system classifies fairy tales and folklore according to the whole plot. Common and identifying features are selected to determine which stories are grouped together. Because of that much depends on what features are considered as determinants.
For example, a fairy tale like Cinderella - where a persecuted female heroine, with the help of a fairy godmother or such a miracle helper, attends an event (or three) in which she won the love of a prince and identified as her original bride? -? classified as type 510, persecuted female heroine. Some such stories are The Wonderful Birch ; Aschenputtel ; Katie Woodencloak ; Tam and Cam Story ; Ye Xian ; Cap O 'Rushes ; Catskin ; Fair, Brown and Trembling ; Finet Cendron ; Allerleirauh .
Further analysis of the story shows that in Cinderella , The Wonderful Birch , Tam and Cam Story , Ye Xian , and Aschenputtel , the heroine was persecuted by her stepmother and refused permission to go to a ball or other event, and at Fair, Brown and Trembling and Finette Cendron > by his sisters and other female characters, and these are grouped as 510A; while in Cap O 'Rushes , Catskin and Allerleirauh , the heroine was pushed from home by her father's persecution, and had to work in the kitchen elsewhere , and these are grouped as 510B. But at Katie Woodencloak, she was kicked out of the house by her stepmother's persecution and had to take service in the kitchen elsewhere, and at Tattercoats she refused permission to go to the dance. by his grandfather. Given these features common to both types of 510, Katie Woodencloak is classified as 510A because the villain is a stepmother, and Tattercoats as 510B because grandfather fills the father role.
This system has a weakness in difficulty because it has no way to classify the subposition of a fairy tale as a motive. Rapunzel is a type 310 (The Maiden in the Tower), but it is open with a child charged in exchange for stolen food, as does Puddocky; but Puddocky is not the girl in the Tower story, while The Canary Prince , which opens with a jealous stepmother, is.
It is also suitable for emphasis on common elements, as far as the Black Bull of Norroway's folkloris as the same story as Beauty and the Beast . This can be useful as an abbreviation, but it can also remove color and detail details.
Morphology
Vladimir Propp specifically studied the collection of Russian fairy tales, but his analysis has been found useful for stories of other countries. After criticizing the analysis of the type Aarne-Thompson for ignoring what motives do in the story, and because the motives used are not clearly different, he analyzes the story for the function each character and action meets and concludes that a story consists of thirty-one elements ('function') and seven characters or 'scope of action' ('the princess and father' is one ball). While those elements are not all necessary for all fairy tales, when they appear they do so in an invariant order - except that each individual element may be omitted twice, so that it will appear three times, as when, in
One such element is a donor that provides magical help to the hero, often after testing it. In the Golden Bird, a fox speaking spoke heroine by warning him against entering the inn and, after he succeeded, helped him find his search object; in The Boy Who Drew Cats , the pastor advises the hero to stay in a small place at night, which protects him from evil spirits; at Cinderella, the godmother gave Cinderella the dress she needed to attend the ball, as did her mother in Red Onion and Beautiful Birch >; at The Fox Sister , a Buddhist monk gives a magic bottle to protect the fox spirit. Roles can be more complicated. In The Red Ettin , role is divided into mother? -? Who offers heroes the whole cake trip with his curse or half with his blessing? -? And when he takes half, the fairy gives him advice; at Mr. SimigdÃÆ'¡li , the sun, the moon, and the stars all give the hero a magical gift. Characters that can not always act like donors donor. In Kallo and the Goblins , goblin criminals also give heroine presents, because they are fooled; at Schippeitaro , the evil cats betray their secrets to the heroes, giving him the means to defeat them. Other tales, such as Youth Stories Who Want To Know What That Fear is, do not show donors.
Analogy has been drawn between this and mythical analysis into the journey of Heroes.
Interpretation
Many fairy tales have been interpreted for their meaning (acknowledged). One mythological interpretation sees many fairy tales, including Hansel and Gretel , Sleeping Beauty , and The Frog King , as the myth of the sun; this way of interpretation then becomes somewhat less popular. Freudian, Jungian, and other psychological analyzes have also revealed many fairy tales, but no interpretive mode has established itself definitively.
Special analysis is often criticized because it lends great importance to motives that, in fact, are inseparable from the story; this often comes from treating one example of fairy tale as a definitive text, in which the story has been told and retold in many variations. In the Bluebeard variant, the curiosity of the wife is betrayed by the blood-stained keys, by the broken egg, or by the song of roses she wears, without affecting the fairy tales, but the interpretation of certain variants has claimed that the right object is an integral part of the story the.
Other folklorists have interpreted the story as a historical document. Many German folkloris, who believe in stories to retain details from ancient times, have used Grimm's stories to explain ancient customs.
One approach sees the topography of the European MÃÆ'¤rchen as echoing the period immediately after the last Ice Age. Another folklorist has described the evil stepmother in the historical/sociological context: many women die in childbirth, their husbands marry again, and new stepmothers compete with children from the first marriage to resources.
In a lecture in 2012, Jack Zipes read a fairy tale as an example of what he calls "childism". He suggests that there are terrible aspects to these tales, which (among other things) have conditioned children to accept ill-treatment and even abuse.
Folklore in music
The tale has inspired music, the opera, such as the French Opà © ra fà © © and the German MÃÆ'¤rchenoper. French examples include Gretry's ZÃÆ'  © mire et Azor , and Auber's Le cheval de bronze , the German Opera is Mozart Die ZauberflÃÆ'¶te , Humperdinck HÃÆ'¤nsel und Gretel , Siegfried Wagner's An allem ist HÃÆ'¼tchen schuld! , based on many fairy tales, and Carl Orff's Die Kluge . Even contemporary fairy tales have been written for inspirational purposes in the music world. "Raven Girl" by Audrey Niffenegger was written to inspire a new dance for the Royal Ballet in London.
Compilation
Authors and works:
- Mixed Up Fairy Tales
- Alan Garner's Book of English Tales (English, 1984) by Alan Garner
- Fairy Tales (United States, 1965) by E. E. Cummings
- Fairytale, Now Collected First: The Enhanced Two Dissertations: 1. In the Pygmi People. 2. On Fairies (English, 1831) by Joseph Ritson
- Giovanni Francesco Straparola (Italy, 16th century)
- Fairy Grimms (German, 1812-1857)
- Hans Christian Andersen (Denmark, 1805-1875)
- Italian Folktales (Italian, 1956) by Italo Calvino
- Joseph Jacobs (1854-1916)
- Legende sau basmele romÃÆ' Â ¢ nilor (Romanian, 1874) by Petre Ispirescu
- Madame d'Aulnoy (France, 1650-1705)
- Norwegian Folktales (Norway, 1845-1870) by Peter Christen AsbjÃÆ'¸rnsen and JÃÆ'¸rgen Moe
- Narodnye russkie skazki (Russia, 1855-1863) by Alexander Afanasyev
- Pentamerone (Italian, 1634-1636) by Giambattista Basile
- Charles Perrault (France, 1628-1703)
- Panchatantra (India, 3rd century BC)
- The Popular Story of the Western Highlands (Scotland, 1862) by John Francis Campbell
- Ruth Manning-Sanders (Wales, 1886-1988)
- Franz Xaver von SchÃÆ'¶nwerth (Germany, 1810-1886)
- Kunio Yanagita (Japan, 1875-1962)
- World Tales (United Kingdom, 1979) by Idries Shah
- Kaloghlan (Turkey, 1923) by Ziya GÃÆ'¶kalp
- "Classic Annotate Tales" (United States, 2002) by Maria Tatar
See also
- the Aarne-Thompson classification system
- List of fairy tales
- List of Disney animated movies based on fairy tales
- Rite of nursery
References
Quote
Bibliography
Further reading
- Heidi Anne Heiner, "The Quest for the Fairy Fairy Tales: Tracing the Early Version of European Tales with Comments on Translations of English"
- Heidi Anne Heiner, "Fairy Tale Timeline"
- Vito Carrassi, "Il fairy tale nella tradizione narrativa irlandia: Un itinerario storico e culturale", Adda, Bari 2008; English edition, "The Irish Fairy Tale: A Medieval Tradition from the Middle Ages to Yeats and Stephens", John Cabot University/University of Delaware Press, Rome-Lanham 2012.
- Antti Aarne and Stith Thompson: Types of Folklore: Classification and Bibliography (Helsinki, 1961)
- Stith Thompson, The Folktale .
External links
- Once Upon a Time - How Fairy Tales Shape Our Lives, by Jonathan Young, Ph.D.
- Once upon a Time: History and Illustration Tales. Special Collection, University of Colorado Boulder
Source of the article : Wikipedia
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