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Journal articles on the topic 'Brother Grimm'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

Wenno, Eldaa Crystle, Henderika Serpara, and Samuel Jusuf Litualy. "ACTANTIAL SCHEMA AND FUNCTIONAL STRUCTURE OF THE FAIRY TALE "DIE GÄNSEMAGD" (THE GOOSE GIRL) OF THE BROTHERS GRIMM FAIRY TALE COLLECTION (ANALYSIS OF A. J. GREIMAS THEORY)." JURNAL TAHURI 18, no. 1 (February 5, 2021): 1–12. http://dx.doi.org/10.30598/tahurivol18issue1page1-12.

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This study aims to describe the actantial schema and functional structure of the German fairy tale "Die Gänsemagd". The method used in this research is a qualitative descriptive method. This method is used to determine the structure of actantial and functional models in the German fairy tale "Die Gänsemagd (The Goose Girl)" based on A. J. Greimas's theory. The data source in this study is a collection of German fairy tales by Brother Grimm (Deutsche Märchen von den Brüdern Grimm, Hauff, Beschstein und anderen) published by Artia Verlag, Prague in 1986. This study's data covered the unit of fairy tales that materialize in paragraphs, dialogues, and narratives of characters that show various conflicts following the research's objectives. The data were collected using documentation study techniques. Data analysis started by identifying the story's actantial and functional structure by reading the entire story content. After that, the actantial structure is determined by analyzing the characters' actions in the story to find their roles. The actantial structures that are determined are subject, object, opponent, assistant, and receiver. The analysis is continued by compiling a functional model by analyzing the story movement, which is divided into three parts; initial situation, transformation, and final situation. Based on the results of Greimas' narrative analysis of the German fairy tale "Die Gänsemagd," it can be concluded that there are two actantial schemas whose characters have several functions and roles in each schema. The first actantial schema consists of a subject, object, sender, receiver, assistant, with no opponent. Meanwhile, the second actantial schema consists of all the actants, namely, subject, object, sender, receiver, assistant, and opponent. The functional structure found in the story is the initial situation, the transformation (proficiency test stage, the main stage, and the glorious stage), and the final situation.

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2

Kalkaeva, Anna. "LITTLE MEN IN FAIRY TALES FROM THE BROTHERS GRIMM COLLECTION «KINDERUND HAUSMäRCHEN»: ATTRIBUTES AND FUNCTIONS." Herald of Culturology, no. 3 (2020): 119–38. http://dx.doi.org/10.31249/hoc/2020.03.08.

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The article is devoted to functions and attributes of little people which appear in plots of «Children's and Household Tales» by the brothers Grimm. The author compares tales from Grimms’ collection with texts from collections of demonology folklore, collected by German re-searchers of XX century.

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3

Kalkaeva, Anna. "Witches in fairy tales from the brothers Grimm collection «Kinderund Hausmärchen»: attributes and functions." Herald of Culturology, no. 2 (2021): 32–51. http://dx.doi.org/10.31249/hoc/2021.02.02.

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The article is devoted to functions and attributes of witches appearing in fairytale plots of «fairytales» from «Children's and Household Tales» by Jacob and Wilhelm Grimm. Author compares tales from Grimms’ collection with texts from collections of German demonology folklore, made by researchers of XX century.

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4

Dollerup, Cay. "The Grimm Tales in 19th Century Denmark1." Target. International Journal of Translation Studies 5, no. 2 (January 1, 1993): 191–214. http://dx.doi.org/10.1075/target.5.2.05dol.

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Abstract In most countries, the Tales of the brothers Grimm become known by degrees, beginning with one or two stories or a small selection. The situation in Denmark is not typical for a variety of reasons: the Grimms had close personal contacts with prominent Danes. Culturally their Tales belonged to a distant pangermanic tradition common to Danes and Germans. Therefore the first volume of tales (1812) was soon translated into Danish. The initial high esteem is felt to this day as a strong tradition of 'respectable and faithful translations'. Yet changes in market forces and reading audiences have created two more strata in the translational heritage of the Grimm Tales in Danish. The Grimm tradition has also responded to changes in Danish middle-class perception of Germany.

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5

Zipes, Jack. "The Enchanted Forest of the Brothers Grimm: New Modes of Approaching the Grimms' Fairy Tales." Germanic Review: Literature, Culture, Theory 62, no. 2 (April 1987): 66–74. http://dx.doi.org/10.1080/00168890.1987.9934193.

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6

Tokofsky, Peter, James M. McGlathery, Larry W. Danielson, Ruth E. Lorbe, Selma K. Richardson, and Jack Zipes. "The Brothers Grimm and Folktale." Western Folklore 50, no. 4 (October 1991): 435. http://dx.doi.org/10.2307/1499679.

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7

Veeder, Mary Harris, James M. McGlathery, and Ruth B. Bottigheimer. "The Brothers Grimm and Folktale." History of Education Quarterly 29, no. 4 (1989): 641. http://dx.doi.org/10.2307/369071.

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8

Huff, Steven R., James M. McGlathery, Larry W. Danielson, Ruth E. Lorbe, and Selma K. Richardson. "The Brothers Grimm and Folktale." German Studies Review 13, no. 2 (May 1990): 326. http://dx.doi.org/10.2307/1430725.

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9

Stein, Mary Beth, James M. McGlathery, Larry Danielson, Ruth E. Lorbe, and Selma K. Richardson. "The Brothers Grimm and Folktale." Journal of American Folklore 103, no. 408 (April 1990): 227. http://dx.doi.org/10.2307/541864.

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10

Panttaja, Elisabeth, James M. McGlathery, Larry Danielson, Ruth E. Lorbe, and Selma K. Richardson. "The Brothers Grimm and Folktale." Journal of American Folklore 106, no. 422 (1993): 489. http://dx.doi.org/10.2307/541914.

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11

Winters, Mary. "One Line from the Brothers Grimm." College English 57, no. 2 (February 1995): 200. http://dx.doi.org/10.2307/378814.

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12

Széll, Anita-Andreea, and Romina-Elena Donțu. "Die Entwicklung substantivischer Komposita in den deutschsprachigen Märchentiteln der Gebrüder Grimm und in Ihren rumänischen Übersetzungen." Studia Universitatis Babeș-Bolyai Philologia 66, no. 3 (September 20, 2021): 159–78. http://dx.doi.org/10.24193/subbphilo.2021.3.11.

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"The Evolution of the Compound Nouns in German Titles of Some of the Tales by the Brothers Grimm and in Their Romanian Translations. The titles of the tales written by the Brothers Grimm have suffered a number of changes throughout the years. The evolution of these titles shows the fact that there was a growing need for understanding them, the Brothers Grimm thus introducing compound nouns in many of their titles. This phenomenon can be seen even in Romanian translations; the titles have been translated differently because of these compound nouns, which are atypical for the Romanian language. The difficulty of translating these titles has led to the use of two distinct translation methods, the adaptive one and the transfer one. The current article will explore these modifications in the case of selected titles with the purpose of establishing the most explicit title in German and also the best translation of a title in Romanian. Keywords: Brothers Grimm, the evolution of titles, compound nouns, history, translation methods "

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13

Tchaparian, Vicky. "Traditional Fairy Tales and Shrek." Armenian Folia Anglistika 14, no. 1-2 (18) (October 15, 2018): 116–25. http://dx.doi.org/10.46991/afa/2018.14.1-2.116.

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Although Brothers Grimm collection of fairy tales have somehow the same cliché of plot, setting, and characters, in the fairy tale of Shrek the protagonist doesn’t follow this cliché. Shrek the protagonist is not a classical fairy tale of the handsome prince in quest of a beautiful princess; instead, he is an ogre. Grimm brothers wrote on text that they collected from the words of mouth giving the traditional tales a special structure and characters. However, compared to Grimm Brothers’ tales, Shrek the film, has a completely different structure and characters. In this paper I try to disclose the fact that Grimm folk tales which reveal the mentality of the 19th century as well as that of the earlier ages that belong to specific cultures (especially to the European culture and their mentality) are completely different than that of Shrek the film.

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14

Koekkoek, B. J., and Elmer H. Antonsen. "The Grimm Brothers and the Germanic past." Language 67, no. 4 (December 1991): 863. http://dx.doi.org/10.2307/415090.

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15

Jeong, Miok. "Gender Ideology in Grimm Brothers’ Fairy Tales." Journal of Humanities and Social sciences 21 11, no. 1 (February 28, 2020): 1607–18. http://dx.doi.org/10.22143/hss21.11.1.117.

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16

Birkmann, Thomas. "The Grimm Brothers and the Germanic Past." AMSTERDAMER BEITRÄGE ZUR ÄLTEREN GERMANISTIK 34, no. 1 (November 18, 1991): 159–62. http://dx.doi.org/10.1163/18756719-034-01-90000016.

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17

REESE, K. M. "The Grimm brothers and their scholarly works." Chemical & Engineering News 64, no. 31 (August 4, 1986): 40. http://dx.doi.org/10.1021/cen-v064n031.p040.

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18

Nickisch, Craig W., and Elmer H. Antonsen. "The Grimm Brothers and the Germanic past." German Studies Review 14, no. 2 (May 1991): 398. http://dx.doi.org/10.2307/1430592.

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19

Bockwoldt, Gerd. "Das Bild des Juden in den Märchen der Brüder Grimm." Zeitschrift für Religions- und Geistesgeschichte 63, no. 3 (2011): 234–49. http://dx.doi.org/10.1163/157007311796534001.

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AbstractThis article analyzes whether anti-Judaism, which was widespread during the German Romantic period and which was evident in organizations such as the "Christlich deutsche Tischgesellschaft" (a German Christian Society), and here especially in Achim von Arnim, also included the Brothers Grimm. One could conclude so when considering mainly the publishing history of their collection of fairy tales, which since its third edition (1837) has been appended. The same was already true for the previously published selection of tales for children (1825). However, a closer look reveals the stylistic nature of these appendixes, which provided a linguistic characterization for the tales' character types (Jew, farmer, soldier, etc.). The actual problem that the Brothers Grimm – especially Wilhelm Grimm – did not recognize and/or ignored is evident in the breaches of law as depicted in the fairy tales "Der gute Handel" and "Der Jude im Dorn." Thus, while one cannot accuse the Brothers Grimm of clear-cut anti-Judaism, one can fault them for their careless handling of problematic texts, which still causes irritation today.

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20

Bottigheimer, Ruth B., and Jack Zipes. "The Complete Fairy Tales of the Brothers Grimm." Journal of American Folklore 102, no. 403 (January 1989): 100. http://dx.doi.org/10.2307/540090.

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21

Riechel, Donald C., and Jack Zipes. "The Complete Fairy Tales of the Brothers Grimm." Modern Language Journal 72, no. 3 (1988): 363. http://dx.doi.org/10.2307/327545.

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22

Haase, Donald, and Jack Zipes. "The Complete Fairy Tales of the Brothers Grimm." German Quarterly 62, no. 2 (1989): 277. http://dx.doi.org/10.2307/407405.

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23

Zhang. "Rediscovering the Brothers Grimm of China: Lin Lan." Journal of American Folklore 133, no. 529 (2020): 285. http://dx.doi.org/10.5406/jamerfolk.133.529.0285.

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24

Janechek, Miriam. "Brothers Grimm: German Popular Stories by Edgar Taylor." Children's Literature Association Quarterly 39, no. 2 (2014): 304–7. http://dx.doi.org/10.1353/chq.2014.0034.

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25

Hearne, Betsy. "Booking the brothers Grimm: Art, adaptations, and economics." Book Research Quarterly 2, no. 4 (December 1986): 18–32. http://dx.doi.org/10.1007/bf02683680.

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26

Fomin, Dmitriy. "Brothers Grimm’ fairy tales in illustrations by russian artists." Children's Readings: Studies in Children's Literature 19, no. 1 (2021): 235–67. http://dx.doi.org/10.31860/2304-5817-2021-1-19-235-267.

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The article provides a brief overview of the most interesting illustrative cycles of brothers Grimm’ fairy tales, created by Russian artists in the XX and early XXI centuries, and examines different approaches to visual interpretation of German folklore. Although some successful graphic interpretations of Grimm’ subjects began to appear early in post-revolutionary years, for a number of reasons this valuable literary material long remained outside of attention sphere of the most significant artists of children’s books. The period of the second half of the 1970s-1980s became the happiest and most fruitful in the publishing fate of fairy tales, when such remarkable masters as N. I. Zeitlin, E. G. Monin, M. S. Mayofis, G. A. V. Traugot, N. G. Golts, B. A. Diodorov, etc. took up the illustration. The second part of the article compares graphic interpretations of the most famous fairy tales of brothers Grimm: “The pot of porridge”, “The gingerbread house”, “The Bremen town musicians”, “The brave little tailor”. The author traces how the interpretations of textbook subjects change and become more complex over time, and what artistic means prove their relevance.

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27

Susina, Jan. "Grimm Legacies: The Magic Spell of the Grimms’ Folk and Fairy Tales by Jack Zipes, and: The Complete First Edition: The Original Folk & Fairy Tales of the Brothers Grimm by Jacob and Wilhelm Grimm." Children's Literature 44, no. 1 (2016): 238–43. http://dx.doi.org/10.1353/chl.2016.0004.

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28

Sokolova, Galina Aleksandrovna. "The symbolic meaning of the forest in the German fairy-tale." Development of education, no. 2 (2) (December 11, 2018): 53–55. http://dx.doi.org/10.31483/r-21844.

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This article attempts to show how the perception of the forest in the German language space was built and how it changed. It especially focuses on the symbolic interpretation of the forest, explains what some tress symbolize and shows the connection of the forest with the symbolism of the feminine. The article also deals with the perception of the forest in the works by romantic writers and provides examples from some romantic fairy-tales by the Brothers Grimm where the action takes place in the forest. It is worth mentioning that the titles of some fairy-tales by the Brothers Grimm are connected with the tree or with the forest.

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29

Kurokhtina, Antonina. "The concept MENSCH in the Grimm brothers’ fairy tales." Nova fìlologìâ, no. 75 (2019): 40–44. http://dx.doi.org/10.26661/2414-1135/2019-75-08.

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30

BERNSTEIN, ANNE C. "Reconstructing the Brothers Grimm: New Tales for Stepfamily Life." Family Process 38, no. 4 (December 1999): 415–29. http://dx.doi.org/10.1111/j.1545-5300.1999.00415.x.

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31

Stevenson, Deborah. "The Bearskinner: A Tale of the Brothers Grimm (review)." Bulletin of the Center for Children's Books 61, no. 4 (2007): 187. http://dx.doi.org/10.1353/bcc.2007.0831.

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32

Lassan, Eleonora. "On the Imperishable Reasons of Fairy-Tale Plots: The Case of “Tom Thumb”." Respectus Philologicus 24, no. 29 (October 25, 2013): 194–202. http://dx.doi.org/10.15388/respectus.2013.24.29.16.

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This article focuses on one of the most popular plots in fairy tale culture (the plot involving the protagonist Tom Thumb), and tries to explain this popularity through the cultural archetypes that are expressed in the fairy tale. The author analyzes fairy tales of different nations involving this particular character and draws a boundary between the literary fairy tale, which is a transformation of old French fairy tales written by Charles Perrault, and different variations of literary fairy tale written by the brothers Grimm. The research shows that it is impossible to apply Propp’s method, which allows the plot to be analyzed in regard to functions and character types, to the analysis of this fairy tale. The author assumes that the fairy tale about Tom Thumb may not be regarded as magic for various reasons. On the other hand, it may be treated as an animal tale, which in Propp’s approach is assumed to have a different structure from a magic fairy tale. The researcher draws a conclusion about the different archetypes that serve as the basis for Perrault’s literary fairy tales, and the numerous variations of the plot which we may relatively denominate as “Grimms’ plot.” Furthermore, in folk tales having Grimms’ plot, Tom Thumb simultaneously performs the role of cultural hero and the role of a trickster. This is absent from Perrault’s fairy tale, because the propaganda of moral values and a distinct didactic character are traditional features of French fairy tales.

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33

Kropej, Monika. "The Cooperation of Grimm Brothers, Jernej Kopitar and Vuk KaradžićSodelovanje bratov Grimm, Jerneja Kopitarja in Vuka Karadžića." Studia mythologica Slavica 16 (October 14, 2013): 215. http://dx.doi.org/10.3986/sms.v16i0.1554.

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34

Bricker, Mary A., and Anne Winston-Allen. "Orality and Textuality: The Alexius Legend and the Brothers Grimm." Neophilologus 103, no. 1 (November 15, 2018): 99–114. http://dx.doi.org/10.1007/s11061-018-9584-6.

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35

McGlathery, James M., and Jack Zipes. "The Brothers Grimm: From Enchanted Forests to the Modern World." German Studies Review 12, no. 2 (May 1989): 368. http://dx.doi.org/10.2307/1430114.

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36

Morrissey, Thomas J. "The Brothers Grimm and the Picture-Language of the Soul." Children's Literature Association Quarterly 15, no. 3 (1990): 150–52. http://dx.doi.org/10.1353/chq.0.0760.

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37

McGlathery, James M., and Frederik Ohles. "Germany's Rude Awakening: Censorship in the Land of the Brothers Grimm." German Quarterly 67, no. 2 (1994): 267. http://dx.doi.org/10.2307/408421.

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38

Bottigheimer, Ruth B., John M. Ellis, Jack Zipes, and Hans Ritz. "One Fairy Story Too Many: The Brothers Grimm and Their Tales." German Quarterly 58, no. 1 (1985): 144. http://dx.doi.org/10.2307/406074.

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39

Lee, Loyd E., and Frederik Ohles. "Germany's Rude Awakening: Censorship in the Land of the Brothers Grimm." American Historical Review 98, no. 4 (October 1993): 1273. http://dx.doi.org/10.2307/2166715.

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40

R, Manikannan. "Folktales of Tamil Nadu and the Grimm brothers’ folktales - A comparison." International Research Journal of Tamil 2, no. 4 (September 30, 2020): 43–54. http://dx.doi.org/10.34256/irjt2046.

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Efforts to assess tamil culture on a global scale have been made through classical literature. More new information and results will be revealed when we evaluate the original oral works on the global platform than the classical classics that have the elements of verbal literature. Although tamil comparative studies have been carried out in a wide range of different types and versatile languages, the fields of comparative research in ancient languages like Tamil are emerging. The stories in the Tamil nadu folk lore published by Dr. Ramanathan and the folklore of The German and Ireland published by the Grim brothers have been comparatively studied.

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41

Aaslestad, Katherine B., and Frederik Ohles. "Germany's Rude Awakening: Censorship in the Land of the Brothers Grimm." German Studies Review 17, no. 1 (February 1994): 169. http://dx.doi.org/10.2307/1431319.

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42

Anderson, Celia Catlett. "Spindle, shuttle, and scissors: Ambiguous power in the Grimm brothers' tales." Children's Literature in Education 17, no. 4 (December 1986): 226–32. http://dx.doi.org/10.1007/bf01131446.

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43

Classen, Albrecht. "The Fairy Tales by the Brothers Grimm and their Medieval Background." German Quarterly 94, no. 2 (April 2021): 165–75. http://dx.doi.org/10.1111/gequ.12173.

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44

Alcantud Díaz, María. "Violence in the Brothers Grimm's fairy tales: a corpus-based approach." Revista Alicantina de Estudios Ingleses, no. 23 (December 15, 2010): 173. http://dx.doi.org/10.14198/raei.2010.23.10.

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The purpose of this article is to carry out a corpus-based study on the presence of violence in a selection of eight tales by the Grimm's Brothers by looking at the terms which can be said to relate to the semantic field of violence. More specifically, this study will analyse a selection of eight tales in which the frequency of the words cut, dead and blood will be studied in detail. These words have been chosen due to their possible connection to violence after carrying out a quantitative analysis of the frequency of the whole main corpus. My initial hypothesis is that the corpus-based study of those eight tales would support my intuition regarding the high percentage of violence in the Brothers Grimm collection as opposed to the content of violence in a wider variety of texts. The study initially involved the analysis of frequencies of the lexical units in the Brothers' Grimm corpus and, secondly, a comparison of the results obtained in the frequency test to two reference corpora: the British National Corpus and the Cobuild Concordancer. The comparison and its results seem to indicate that there was a higher than average percentage of the use of words related directly or indirectly to violence.

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45

Haase, Donald, and Christa Kamenetsky. "The Brothers Grimm and Their Critics: Folktales and the Quest for Meaning." German Quarterly 67, no. 3 (1994): 414. http://dx.doi.org/10.2307/408638.

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46

Tokofsky, Peter, and Christa Kamenetsky. "The Brothers Grimm and Their Critics: Folktales and the Quest for Meaning." German Studies Review 16, no. 3 (October 1993): 542. http://dx.doi.org/10.2307/1432157.

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47

Morrison, Hope. "Hans My Hedgehog: A Tale From the Brothers Grimm (review)." Bulletin of the Center for Children's Books 65, no. 5 (2012): 249. http://dx.doi.org/10.1353/bcc.2012.0052.

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48

Barden, Thomas E., and Christa Kamenetsky. "The Brothers Grimm and Their Critics: Folktales and the Quest for Meaning." Journal of American Folklore 106, no. 421 (1993): 362. http://dx.doi.org/10.2307/541436.

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49

Sousa, Denise Dias de Carvalho. "Chapeuzinho Vermelho: caminhos percorridos." Navegações 10, no. 1 (September 5, 2017): 59. http://dx.doi.org/10.15448/1983-4276.2017.1.23442.

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Este ensaio tem o objetivo de analisar a estrutura do conto de fadas com base no caminho percorrido por Chapeuzinho Vermelho em três versões: a de Perrault, a dos irmãos Grimm e a de Chico Buarque, tendo como focos principais as ações de Chapeuzinho e a presença do lobo. As versões serão retomadas numa perspectiva intertextual, levando em consideração a “ordem” e a “partida” associada a uma “busca”, elementos dos contos maravilhosos, classificados por Propp (2006) como invariantes. Além disso, servirão como ponto de partida para a discussão o contexto histórico-social no qual os autores estavam inseridos quando publicaram sua versão e possíveis motivos que os levaram a decidir por inclusão ou exclusão de personagens, elementos, ações e desfechos.********************************************************************Little Red Riding Hood: paths takenAbstract: This paper aims to analyze the structure of the fairy tale based on the path taken by Little Red Riding Hood in three versions: the Perrault, the Grimm brothers and Chico Buarque, the main focus of the actions and Hood the presence of the wolf. The versions will be taken over in a intertextual perspective, taking into account the “order” and “start” associated with “search”, elements of the wonderful tales, ranked by Propp (2006) as invariant. In addition, they serve as a starting point for discussion the historical and social context in which the authors were entered when published its version and possible reasons that led them to decide for inclusion or exclusion of characters, elements, actions and outcomes.Keywords: Fairy Tale; Little Red Riding Hood; Perrault; Brothers Grimm; Chico Buarque

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50

Li, LI. "The afterlife of the Brothers Grimm’s fairy tales in China." Babel. Revue internationale de la traduction / International Journal of Translation 59, no. 4 (December 31, 2013): 460–72. http://dx.doi.org/10.1075/babel.59.4.05li.

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The Brothers Grimm’s fairy tales are among the most widely read children’s stories in China. This paper first briefly outlines the journey of these German stories in the Chinese land from three stages represented respectively by early attempts starting with 1902, the first complete version by Wei Yixin published in 1934 and the most authoritative complete version by Yang Wuneng published in 1993. Focus is specially laid on Yang’s version and some specific characteristics of his translations are discussed. This is followed by a brief discussion on the historic influences of Grimms’ tales upon the Chinese Folklore Movement and the early Chinese writers for children. The paper finally shows the current reception of Grimms’ tales in China from such two aspects as the general public and the scholarly community.

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