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Journal articles on the topic 'Cinderella (Tale)'
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Mardani, Puri Bestari, and Maria Febiana Christanti. "Cinderella: The Feminist Tale (A Discourse Analysis of the Story’s Adaptation through Podcast)." EKSPRESI DAN PERSEPSI : JURNAL ILMU KOMUNIKASI 7, no. 2 (May 31, 2024): 354–66. http://dx.doi.org/10.33822/jep.v7i2.7691.
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Cinderella’s character and feminist ideology are contradictory. The phrase “Cinderella Complex Syndrome,” which refers to women’s dread of independence, supports this idea. Fairy tales are full of beautiful, passive, submissive princesses, as well as bold, independent female constrained by archaic gender stereotypes. They uphold conventional norms about gender roles and value. Fairy tale adaptation is not a new phenomenon; for centuries, people have used it to further their objectives, uphold their cultural standards, and further their ideologies. The construction of feminism in Cinderella rhyme via podcast is the main focus of this study. This rendition carries the feminist ideals while representing an unexpected tale. This study uses discourse analysis methodology, relying on the ideas of liberal feminism and Linda Hutcheon’s theory of adaptation. According to this theory, adaptation encompasses both the process and the final output. It is evident from Cinderella’s podcast that retelling of the narrative is dependent on the story teller’s perception and incorporates a new ideology – liberal feminism, which is associated with the second wave of feminism. This study shows how the liberal feminism ideology in Cinderella’s rhyme is constructed through modifications in the storyline and characterization. This Cinderella portrayal gives more depth that doesn’t match the image of a traditional princess and shows that she can accomplish anything she sets her mind to. This Cinderella adaptation tale shows Cinderella active role that frees herself from her oppressor as the development of liberal feminism in her character. Cinderella’s assertive voice in voicing her demands and desires also supports the liberal feminism idea.
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Shi, Danqing. "Cinderella Lunar Mission: Everyone Has a Chance to Set Foot on the Moon." Leonardo 43, no. 3 (June 2010): 218–22. http://dx.doi.org/10.1162/leon.2010.43.3.218.
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The author compares the original story of Cinderella with the modern fairy tale created by the news media in covering the Apollo Program. This comparison builds the basis for the design of Cinderella Lunar Mission, a pseudo-lunar mission consisting, variously, of an installation, fake news reports, a lunar mission network game and real-world action 〈 www.cinderellalunarmission.com 〉. Inspired by Cinderella's glass slipper, the exclusive sign of her identity, Cinderella Lunar Mission examines the idea of shifting identity and ways of fabricating new fairy tales using such digital technologies as programmatic text, network games and barcode identification.
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S. Vanya Ides Ramadhani. "Characterization Analysis: Cinderella in Grimm's Fairy Tales (Jacob & Wilhelm Grimm) and Cinderella (Grimm's Fairy Tales 2003)." Khatulistiwa: Jurnal Pendidikan dan Sosial Humaniora 3, no. 3 (July 13, 2023): 242–53. http://dx.doi.org/10.55606/khatulistiwa.v3i3.1954.
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The present article aims to identify the characterization of Cinderella in two different versions of the fairy tale: "Cinderella Fairy Tales" (Grimm's Fairy Tales Version) by Jacob & Wilhelm Grimm and "Cinderella" (Grimm's Fairy Tales 2003) Selected & Edited by Edna Henry Lee Turpin. By applying a formalist approach, the article focuses solely on identifying the differences in the characterization of the main character between the two fairy tales.Through a close reading method to collect data from both versions, the present paper elaborates on Cinderella's characterization, highlighting her traits such as being good and pious, grateful, resilient, strong and agile, beautiful, dirty, and even a liar. The differences lie in how the authors describe these traits. The characterization of "liar" suggests that Cinderella is not merely an innocent child; she is also capable of engaging in negative behavior.
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Mirskaya, Liudmila A., and Victor O. Pigulevskiy. "Archetypal analysis of “Cinderella”." SHS Web of Conferences 122 (2021): 06006. http://dx.doi.org/10.1051/shsconf/202112206006.
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Psychologists often use the name of the protagonist of the fairy tale “Cinderella”, which is famous thanks to the brothers Grimm and Charles Perrault, for a sacrificial girl prone to dissociation, illusions, and waiting for a prince. This is typical for psychoanalysis. However, such an idea of Cinderella’s character does not fully reflect the essence of the matter. Moreover, it is generally not true. From the perspective of C.G. Jung’s analytical psychology, Cinderella is not a victim or an infantile dreamer and is not a real girl at all. Any tale represents an archetypal process of individuation. This is a collective natural constant of the psyche that excludes individual problems. Cinderella cultivated in herself what the ancient Greeks called “paideia” – the integrity of the personality and inner strength, influence on others. The purpose of the article is to describe the process of Cinderella’s individualization from the position of C.G. Jung’s archetypal approach based on the amplification method. The most relevant sources of recent years on the archetypal analysis of fairy tales are the works by M.-L. von Franz, H. Dieckmann, and C.P. Estés. The novelty of the study consists in the description and analysis of the archetypal images of the collective unconscious, which underlie the process of Cinderella’s individuation and determine her life path. These archetypal images are Persona, Self, Shadow, Anima/Animus, and the symbolic levels of the individuation process can be represented by such alchemical terms as “separation”, “multiplication”, “calcination”, “initiation”, “transformation”, “conjunction”, “solidification”. The levels testify to the character’s inner transformation and, as a result, lead to a happy woman’s destiny. The result of understanding the deep essence of the tale is a psychologist’s analytical work with modern young women, which will lead to positive changes in thinking and behavior.
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King, Sally. "Identifying the socio-economics of pantomime through Cinderella’s footwear in 2017–18 adaptations of the tale." Studies in Costume & Performance 4, no. 1 (June 1, 2019): 43–64. http://dx.doi.org/10.1386/scp.4.1.43_1.
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Footwear plays a significant role in the fairy tale Cinderella and in different versions of the tale the eponymous character’s slipper has taken many different forms. Meanwhile, pantomime producers have for centuries been turning to the Cinderella tale for their stage adaptations, during which time the pantomimic slipper has regularly been described as a glass slipper, drawing on Charles Perrault’s 1697 French version of the tale. The glass slipper has also become the most popular form in literature, film and other media, particularly under the influence of Disney. This said, the description does not accurately reflect the physical form of Cinderella’s footwear in modern pantomime performances, which tends to be silver, sparkling, high-heeled shoes. Yet despite this general uniformity in the colour, style, size and material of Cinderella’s slipper presented in pantomimes, each theatre and production company shade their depiction with different nuances. This distinction is achieved through the handling of the slipper in the performance proper, through scripting and mise-en-scène, and through the framing of the slipper in paratextual material, such as programmes, flyers, posters, promotional videos, publicity shots, reviews and exhibitions. Research into this material through document analysis and live spectatorship suggests that the depiction of the slipper is intertwined with identity, specifically the socio-economic identity of each theatre and production. Based on a sample of six Cinderella pantomime productions from the 2017–18 season, it appears that Cinderella’s slipper works to prime and satisfy audiences attending different types of pantomimes. In this way, footwear bolsters each theatre’s self-identification and distinction from others whether they be small or large, recently founded or long-established, locally oriented or inflected by mass-media popular culture, in-house or commercially produced. Financial limitations or extravagance are encoded in the shoes, even when they appear almost identical upon cursory glance.
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Altashina, Veronika D., and Lathsadaphone Phanavanh. "Nearest Metempsychosis in the Cinderella Fairy-Tale." Proceedings of Southern Federal University. Philology 25, no. 3 (September 30, 2021): 87–101. http://dx.doi.org/10.18522/1995-0640-2021-3-87-101.
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The article describes functional mechanism of heroine’s metempsychosis in the Oriental and Occidental Cinderella fairy-tale. According to the classification of Aarne - Thompson, these tales belong to the type 510 A “persecution of the heroine”, which is associated with a complex of other plots (510 B, 511, 511 A). We limit our research only to those tales in which the identification of the heroine occurs by the shoe. The origins of this literature phenomenon are disclosed in terms of religious conception and traditional believes of the representatives of the thai-kadai language group (IX-XIX centuries). For analysis the Zhuang, Thai and Lao versions of Cinderella fairy-tale were taken, the ritual and mythological aspect of fairytale narrative is disclosed on the material base. The article also describes functions of ancestors’ cult and discusses totemic attitude of the people of the East and South-East Asia in the functioning system of the oriental fairytale which all together form the metempsychosis conception. On the ground of the ethnographic data the author substantiates the choice of animal and plants (namely, a bird/parakeet, bamboo, quince tree, hazel, palm tree, dove) which were used for the sequence of character’s incarnations in the tales. If in oriental tales the heroine’s soul is transmigrated into animals and plants, in Western European fairy tales the heroine is transformed thanks to the help of a plant or bird - the reincarnations of her mother. Only Ch. Perrault, following the rationalistic spirit of the times, does not use metempsychosis directly, but his tale also contains transformations of the inanimate into the animate: plants and animals turn into coachmen and lackeys. The metempsychosis’ final aims of the magic fairy-tales are formulated. An appeal to the European tradition (Basile “The Cat Cinderella”, 1634; Perrault “Cinderella”, 1697; the Brothers Grimm “Cinderella”, 1812), in which metempsychosis is partially preserved, confirms the eastern origin of the tale and allows a deeper understanding of its folkloric origins.
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Acorn, Annalise. "Should the Injustice Done to Her be the Law’s Concern? The Case of Cinderella." Canadian Journal of Law & Jurisprudence 30, no. 2 (August 2017): 237–58. http://dx.doi.org/10.1017/cjlj.2017.12.
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In this paper I draw on the fairy tale Cinderella to examine the distinction articulated in analytical jurisprudence between harm and injustice. I argue that the wrong done to Cinderella is an injustice, not a harm. While law is increasingly concerned with harms to children, it is persistently unconcerned with the injustices they suffer. This, I argue, is a mistake informed by a deeply gendered understanding of the distinction between the public and private realms. From Cinderella’s case, I turn to the US Supreme Court decision in Brown v. Board of Education and the settlement of the residential schools claims of Indigenous children in Canada to argue that the law ought not to take the view that injustice to children is not legally cognizable unless and until it can be conceptually transposed into harm. Injustice to children ought particularly to engage the law’s concern where (as in both school segregation in the US and the residential schools in Canada) state action is directly responsible for the injustice in question.
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Werth, Romina. "The Fleece of the Ram." European Journal of Scandinavian Studies 53, no. 1 (April 1, 2023): 61–79. http://dx.doi.org/10.1515/ejss-2023-2002.
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Abstract The fairy tale tradition of Cinderella in folklore (ATU 510) and the medieval Breton fabliau of a magic chastity-testing cloak, known as Le Mantel mautaillié (The Ill-fitting Cloak), and its various analogues, do not seem to have much in common at first. However, both the tale type and the medieval narrative contain an intriguing episode about an item of clothing – a delicate slipper, or a magic cloak – which perfectly fits only one particular woman. This article will show that Icelandic medieval literature and modern fairy tales sharing the image of a colourful fleeced ram are at the crossroads of Cinderella and the mantle tradition, and will help bring them into mutual illumination.
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Daly, Martin, and Margo Wilson. "The ‘Cinderella effect’ is no fairy tale." Trends in Cognitive Sciences 9, no. 11 (November 2005): 507–8. http://dx.doi.org/10.1016/j.tics.2005.09.007.
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Baylen, Danilo M. "Notable Trade Book Lesson Plan Glass Slipper, Gold Sandal: A Worldwide Cinderella Written by Paul Fleischman and Illustrated by J. Paschkis." Social Studies Research and Practice 5, no. 2 (July 1, 2010): 92–102. http://dx.doi.org/10.1108/ssrp-02-2010-b0009.
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Glass Slipper, Gold Sandal: A Worldwide Cinderella draws from a variety of folk traditions, including images and texts, to put together a version of a Cinderella story. The writing blends various elements from Cinderella stories from twenty countries and places to create a tale full of culture-specific images and perspectives. The book illustrates the diversity in people’s lives, which is continuously connected through our similarities and differences. The book is appropriate to use as a hook supporting delivery of a social studies curriculum, and to introduce social studies concepts in third and fourth grade classrooms.
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Ignacio, Lourdes D. "It’s All Because of the Classics: Yesterday’s Today’s Inspiration Cinderella Wore A Modern Dress." International Journal of Multidisciplinary: Applied Business and Education Research 4, no. 2 (February 17, 2023): 554–70. http://dx.doi.org/10.11594/ijmaber.04.02.21.
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The Classics remain to be an inspiration for modern works of art. One typical example is the Classic fairy tale Cinderella which has been retold and reimagined in various ways but has maintained its Classic flavor that blends well with its modern recipes. In our highly digitized world, the Classics are depicted in a modern format called the visual novel. This study tackled Victor Shklovsky’s defamiliarization to show the familiar and unfamiliar in a modern recommunicated version of Cinderella known as Cinders, a visual novel digital platform demonstrating how this contemporary work of art is inspired by the Classics. Likewise, this paper is hinged on Stephen Jay Greenblatt’s New Historicism framework to investigate the historical developments of a Classic tale like Cinderella evolving into its eponym Cinders who wears the modern dress of a visual novel in conformity with the Millennial fashion of digitized fairy tale writing’s format, platform, and presentation. The use of Karl Marx’s and Friedrich Engel’s Cultural Materialism in this study proves how perspectives about material wealth are being differently viewed by key characters as they vigorously pursue their personal goals. Melding with these literary frameworks is the researcher’s improvisation of three (3) guiding stars as the compass that helped uncover Cinders’s Classic spark, Classic vestiges, and Millennial or Contemporary Differences from its Classic inspirer Cinderella. Finally, this undertaking discussed the contrasts between book reading of a Classic work including the digital reading and playing of a Classic reincarnated version to cap this researcher’s scholarly journey.
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Golubeva, E. V., and E. V. Morozova. "MODIFICATION OF THE CINDERELLA TALE IN VARIOUS COUNTRIES." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 22, no. 72 (2020): 87–90. http://dx.doi.org/10.37313/2413-9645-2020-22-72-87-90.
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Oparnica, Slobodanka. "JEZIČKO-STILSKE OSOBENOSTI DRAMSKE BAJKE „PEPELjUGAˮ ALEKSANDRA POPOVIĆA." Узданица XX, no. 1 (2023): 149–69. http://dx.doi.org/10.46793/uzdanica20.1.149o.
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The originality of Aleksandar Popović’s modern fairy tale theatrical play “Cinderellaˮ is manifested from the very beginning, from its subtitle: fairy tale to be presented in three parts, the subheadings given to the scenes of the play, as well as the didascalia and the characters’ speech and singing. The speech of Popović’s characters is polarized to the extent in which their personalities are polarized: dark intentions of the villains are shaped by a lowbrow language imbued with crude lexis, nonsense and an ironic tone, whereas the language of Popović’s romantic heroes is elevated and truly poetic. It is characterized by long sentences in which epithets, personifications, metaphors and similes are the most common figures of speech. For this reason, the first part of the analysis is focused on linguistic and stylistic means by which the author makes a step towards the so-called ironic fairy tale. The second part of the paper is dedicated to the specific use of linguistic and stylistic devices by which the author shaped the romantic essence of his fairy tale play about Cinderella. With the innovative use of linguistic and stylistic means, Alek- sandar Popović diverged from the dramatic literature for children of the time and created an inspiring dramatic fairy tale for children.
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Ávila, Myriam. "Catarse e final feliz." Aletria: Revista de Estudos de Literatura 8 (March 2, 2018): 127–32. http://dx.doi.org/10.17851/2317-2096.8..127-132.
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Resumo: É a certeza de que nada mais – ou nada importante – pode acontecer após o final de um conto que permite o acontecimento da catarse. Se na maioria das narrativas existe algum tipo de dénouement, em algumas delas isso acontece de maneira especialmente satisfatória e afirmativa. O conto de fadas é uma dessas formas narrativas onde o efeito catártico é extremo e preenche objetivos específicos, de acordo com Bruno Bettelheim. Hollywood mimetizou essa forma como estratégia de sedução, iniciando a tradição do final feliz no cinema. A partir do conto de fadas Cinderela, em diferentes versões, juntamente com a animação homônima da Disney e ainda duas versões do filme Sabrina, será traçada aqui uma relação entre a catarse e o final feliz nos contos de fada, bem como seu uso pela indústria cultural.Palavras-chave: catarse; contos de fada; Hollywood.Abstract: It is the certainty that nothing else – or nothing important – can happen after the closing of a tale that allows catharsis to take place. If in most narratives there is a kind of dénouement, in some forms it will be specially satisfactory and reassuring. The fairy tale is one of those forms in which the cathartic effect is uppermost and fulfills specific aims, according to Bruno Bettelheim. The Hollywood movie mimetized its form as strategy of seduction, starting the tradition of the happy end in film. Taking as a model the fairy tale “Cinderella” in different versions, along with Disney’s homonimous animation and two versions of the film “Sabrina”, a relation will be traced here between catharsis and happy end in fairy tales and its use in the cultural industry.Keywords: catharsis; fairy tales; Hollywood.
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Marić, Nastasija, and Zorica Cvetanović. "Methodic model for interpretation of the Serbian national fairy tale "Cinderella" in fourth grade of primary school." Metodicka praksa 18, no. 2 (2018): 7–20. http://dx.doi.org/10.5937/metpra1801007m.
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The teaching hours in which the fairy tale are interpreted have their own peculiarities. In the interpretation of each literary work, it is necessary to start from its individuality, analyze the text - and then make methodical guidelines. The folk fairy tale school class interpretations are modeled based on the analysis and methodical orientation. In the fourth grade of elementary school, fairy tale interpretation involves more theoretical and methodical elements. The aim of this paper is to present the methodical requirements and models for the interpretation of fairy tales in the fourth grade of the elementary school, as well as the proposal of a methodical model of the school class of the folk fairy tale "Cinderella".
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Barinova, Ekaterina V. "Fairy-Tale Plots and their Transformations in Sylvia Plath’s Early Poems." World Literature in the Context of Culture, no. 15 (21) (2022): 96–102. http://dx.doi.org/10.17072/2304-909x-2022-15-96-102.
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In her work, Sylvia Plath repeatedly refers to mythological and fairy-tale images. The characters associated with fairy tales and folk culture in general are not so numerous and arise mainly in the early work of the poetess. But even stories about Cinderella, Bluebeard or a princess descending into the goblins’ kingdom acquire mythological associations, turning into a kind of allegory of life. Through fairy-tale images, the poetess tries to overcome the existential fear of death and the psychological trauma received in childhood after the death of her father.
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DOROKHINA, T. Y., M. V. ANTONOVA, L. V. ALEOSHINA, and V. P. IZOTOV. "NEW CINDERELLAS” BY TATIANA USTINOVA." Scientific Notes of Orel State University 98, no. 1 (March 26, 2023): 104–7. http://dx.doi.org/10.33979/1998-2720-2023-98-1-104-107.
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This work is devoted to the consideration of the narrative model of “Cinderella”, characteristic of Tatiana Ustinova’s women’s novels. The artistic world of the writer’s novels has pronounced signs of a fairy-tale world: distance from the real, isolation, repeatability, which generates a text of a special type, which we could conditionally call a modern detective tale.
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Budidarma, Diana, Irwan Sumarsono, Fithriyah Inda Nur Abida, and Adolfina M. S. Moybeka. "Gender Representation in Classic Fairy Tales: A Comparative Study of Snow White and the Seven Dwarfs, Cinderella and Beauty and the Beast." World Journal of English Language 13, no. 6 (May 12, 2023): 11. http://dx.doi.org/10.5430/wjel.v13n6p11.
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Grimm’s Snow White and the Seven Dwarfs, Cinderella, and De Beaumont’s Beauty and the Beast are three examples of classic fairy tales that have been commonly told to children. The writers focused the study on the portrayal of gender representation reflected in these fairy tales. The writers used the descriptive qualitative method and feminist theory to analyze how these fairy tales portray gender representation. This study was expected that it could contribute to gender role discussion in children's literature and introduce children to equal gender roles to make them able to treat different gender equally. Unlike previous studies, this research focuses on traditional fairy tales and employs a qualitative methodology that involves close reading and content analysis. The writers found out that Grimms’ Snow White and the Seven Dwarfs and Cinderella portray traditional gender stereotypes. Snow White and Cinderella support the domination of masculinity and submissive femininity, while Beauty and the Beast does not portray the traditional gender roles because the tale makes its female protagonist free to determine her life. The writers used a feminist point of view to analyze gender representation in the selected tales. It is expected that this study highlights the importance of critically analyzing gender roles in children's literature and the need for more diverse and complex representations of gender in fairy tales and other literary works.
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이신혜. "The Cinderella Cycle of 『The Tale of Matsukage-Chunagon』." Journal of Japanese Language and Literature 73, no. 2 (May 2010): 121–35. http://dx.doi.org/10.17003/jllak.2010.73.2.121.
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ALIDOU, O. "A "Cinderella" Tale in the Hausa Muslim Women's Imagination." Comparative Literature 54, no. 3 (January 1, 2002): 242–55. http://dx.doi.org/10.1215/-54-3-242.
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Robbins, Alexandra. "The Fairy-Tale Facade: Cinderella 's Anti-grotesque Dream." Journal of Popular Culture 32, no. 3 (December 1998): 101–15. http://dx.doi.org/10.1111/j.0022-3840.1998.3203_101.x.
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Bondžić, Jovana. "Elements of the old Serbian religion in the national fairy "Pepeljuga"." Metodicka praksa 17, no. 2 (2017): 265–74. http://dx.doi.org/10.5937/metpra1702265b.
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National fairy tales and their particular motifs most often come from the distant past. In their sights, they preserved some of the ancient forms of the then convictions, social organization, institutions and rituals. The paper offers an interpretation of the folk fairy tale "Cinderella" which relies on the old, prehistoric religion, and from this point of view, the motives that were preserved in the fairy tale were analysed. Comparative analysis of the methodical apparatus in the readers of various publishers approved by the Ministry of Education will provide an insight into the extent to which such access to fairy tales is fostered through textbooks. The aim of the paper is to suggest a fairy tale interpretation that includes an old religion, pointing to the importance of knowing and understanding its phenomena in order to interpret the fairy tale adequately and to draw attention to the important material that the fairy tales preserved, which can serve to acquire and expand knowledge of one's own people.
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Bernheimer, Kate, Samantha Sweeting, and Catriona McAra. "Nightgown parties." Studies in Costume & Performance 7, no. 2 (December 1, 2022): 253–64. http://dx.doi.org/10.1386/scp_00078_3.
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‘Nightgown parties’ is an experimental visual essay featuring a new fairy tale and previously unpublished images, a three-way collaborative ‘party’ between an artist, writer and curator. The curator, Catriona McAra, begins with a compact, comparative preface for the imaginative practices of the artist and writer which intersect at the lost moment of fairy-tale costume. Writer Kate Bernheimer has prepared a new story, ‘The Crown of Stars’ about a found photograph from artist Samantha Sweeting’s childhood, Golden Crown, in which the 4-year-old artist wears fancy dress and appears to be dancing with abandon. McAra argues that, for both, the fairy-tale costume functions as primary matter, with close reference to well-known tales that feature articles of clothing such as Charles Perrault’s ‘Peau d’Âne’ (‘Donkeyskin’), ‘Cinderella’, and ‘Little Red Riding Hood’. McAra’s context for this new tale and image brings together fairy-tale scholarship and costume studies.
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Tosi, Laura, and Alessandro Cabiati. "Introduction: Fairy Tales and Other Horrors." Literature 4, no. 1 (December 25, 2023): 22–30. http://dx.doi.org/10.3390/literature4010002.
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In a Christmas 2017 interview with the British magazine Fortean Times, the celebrated Mexican filmmaker Guillermo del Toro described ‘Hansel and Gretel’, ‘the original Cinderella’, and ‘Little Red Riding Hood’ as ‘a horror story’, before affirming that ‘horror and the fairy tale walk hand in hand’ (del Toro 2017, p [...]
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Kopházi-Molnár, Erzsébet. "Fairy tales or fairy fakes?" Gyermeknevelés 10, no. 2–3 (May 7, 2022): 289–307. http://dx.doi.org/10.31074/gyntf.2022.2.289.307.
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When adults (or children) want to find really good fairy tale books, doing so is not as simple as it seems. Although bookstores are full of children’s books, only some are worth reading. As a result, potential readers are often helpless since they cannot decide which book to choose or what qualities a good fairy tale should contain. Many rewritten versions of tales show some similarities based on the ways they have been adapted. Naturally, the modern versions are not of the same quality and range from quite good versions to absolutely bad ones. This paper will analyse how one particular type of rewritten tale is constructed through the well-know story of Cinderella. In this paper, the tales that have been created on the basis of an original are viewed as ‘redundant’, because they seem to be a kind of extension of the tale, one containing subsequent stories added to the basis. These books are sold as tales, although we will see that they do not meet the requirements of tales at all.
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Retzlaff, Steffen. "Drei Haselnüsse für Aschenbrödel." Zeitschrift für Slawistik 63, no. 2 (June 1, 2018): 301–29. http://dx.doi.org/10.1515/slaw-2018-0021.
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Summary‚Three Wishes for Cinderella‘ (Tři oříšky pro Popelku / Drei Haselnüsse für Aschenbrödel) is one of the most successful fairy tale films in Czech and German TV. Produced in 1973, it is shown up to now regularly around Christmas in both countries. Every year around the same time, at Moritzburg Castle near Dresden, which has been chosen as place of the ball in the movie, one can see a special Cinderella exhibition. In his paper the author investigates the question of the success of this film. He presents the conditions of the Czech-German joint production during the time of the so called normalisation after the Prague Spring. He compares the story and figures with its literary models (Božena Němcová, Brothers Grimm), and discusses some theories about the modernity of characters, especially of Cinderella as a modern emancipated woman. The core of the paper is the analysis of the narrative structure itself, which may be considered as the secret to the success of the movie.
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Shchebrova, Svetlana Ya. "The tale of Cinderella: to ban or not to ban?" Journal of Integrative Cultural Studies 1, no. 1 (2019): 28–39. http://dx.doi.org/10.33910/2687-1262-2019-1-1-28-39.
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Wenas Sheiyal Yaber Al-Badri, Ass Lect. "The Fairy Tales and Anne Sexton’s Transformation with Reference to Female Protagonists in Cinderella." لارك 2, no. 50 (June 30, 2023): 715–695. http://dx.doi.org/10.31185/lark.vol2.iss50.3144.
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Literature encompasses a wide range of genres, and fairy tales hold a significant position, particularly in children's literature, as they serve as an important avenue for children to explore and familiarize themselves with the English language and culture. Anne Sexton, a renowned writer known for her introspective style, has been a subject of both acclaim and controversy. However, Sexton's poetry is deeply influenced by European culture, especially the realm of fairy tales, where she undertakes the task of reimagining well-known tales with a specific emphasis on female protagonists. This article employs a methodological approach to examine Sexton's reinterpretation of these canonical narratives, providing valuable insights into the genre itself. Sexton's collection, "Transformations," serves as a valuable resource for understanding the fairy tale genre. According to Jack Zipes, a prominent scholar in fairy tale studies, fairy tales are fictional narratives that convey moral lessons and aid in language acquisition among children. It is essential to adapt fairy tales to suit the needs of children, as they contribute to enhancing their communication skills. However, when poetry, character development, and reality intersect, a captivating juxtaposition emerges. Sexton's pessimistic perspective alters the emotional landscape of the tales, thereby transforming the moral messages conveyed in her poems. Consequently, this adaptation brings to the forefront the clash between traditional, male-centric beliefs and feminism. To provide a comprehensive assessment of the issues under scrutiny, this study thoroughly examines and analyzes the recurring tales, their archetypal elements, specific structures employed in the poems, the portrayal of fictional characters, references to folklore, and characteristic attributes present in Sexton's works. By delving into these aspects, we gain a deeper understanding of the thematic and stylistic choices made by Sexton and their implications in the context of the fairy tale genre.
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Rana, Poonam RL. "The Classical Tale from the Markandeya Purana (Ritudwaj and Madalasha)." Nepalese Culture 17, no. 1 (May 7, 2024): 1–11. http://dx.doi.org/10.3126/nc.v17i1.64393.
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This paper sheds light on the intriguing ancient love story of Ritudwaj and Maladsha that is recounted in the Markandeya Purana, this paper investigates the classical account of the Purana. The Eastern world today is more familiar with Western classical love stories like Romeo and Juliet, Pride and Prejudice, Sense and Sensibility, Wuthering Heights, and Gone with the Wind, But Eastern readers have forgotten their classical legends. Ritudwaj and Madalasha's profound love is depicted in this undersea fantasy tale that delves into the classic love tale. This Pauranic tale is lovelier than Snow White or Cinderella. The researcher wishes to draw attention to the fact that our Puranas and other religious texts contain such beautiful love stories lost within the pages of such texts. This research aims to a) Highlight the ancient classical tale from Markandeya Purana. b) To open a venue for further research on such tales. The methodology used is exploratory based on the qualitative approach. This research is based on content study.
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Kaliszewska-Henczel, Magdalena. "Fairy Tale Protagonists in the Early Childhood Education Field in the Perspective of Children." Yearbook of Pedagogy 43, no. 1 (December 1, 2020): 137–52. http://dx.doi.org/10.2478/rp-2020-0008.
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Summary The paper explores the nature of fairy tales’ protagonists in a traditional literary fairy tale and in the modern one from the perspective of pupils who are from seven to ten years old. The fairy tales are often being used in the early childhood education field as the starting point for school plays, as play themes or as a ‘background’for language, science or mathematics activity. Children’s symbolic perception of the fairy tales’ characters and their relationships reveals that there is a way of pupils’ reception of texts in which those texts are treated (and analysed) as a work of literary art. The article presents the results of research, in which – through the application of a non-verbal method – children indicated the interactions between Cinderella from the traditional literary fairy tale and a daisy from Hans Christian Andersen’s story (The Daisy).
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Koshy, Minu Susan. "“Little Glass Slippers” on the American Silver Screen: An Inquiry into Hollywood Adaptations of Charles Perrault’s “Cinderella”." Education, Society and Human Studies 1, no. 1 (May 7, 2020): p20. http://dx.doi.org/10.22158/eshs.v1n1p20.
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Considered as a form of translation, adaptations involve intersemiotic transfers of stories, novels and poems into the symbolic system of the cinema. This process could be construed as an attempt on the part of the “translators” to “consume and erase the memory of the adapted text or to call it into question” as also “pay tribute by copying” (Hutcheon, p. 7). Adaptations of folktales present a particularly challenging and at the same time, interesting task in that unlike novels or short stories, which are mostly in the written form and hence possess a fixed plot, folktales are mostly in the oral tradition and thus present regional and chronological variations. This accounts for the multiple adaptations of “Cinderella” or “The Little Glass Slipper”, one of the most popular tales by Charles Perrault, across and more importantly, within cultures, during different historical periods. In this paper, I attempt a diachronic comparative study of multiple adaptations of “Cinderella”, focusing on different ‘versions’ of the tale embodied in films produced in the USA, from the early 20th century to the contemporary times. The study would take into account the issues of race, gender, class as also the varying themes, keeping in mind the historical conditions under which the films were produced.
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Primono, Galang Yugo, and Sulasih Nurhayati. "Female Stereotypes in Cinderella’s Reconstructed Stories." JSSH (Jurnal Sains Sosial dan Humaniora) 6, no. 1 (March 21, 2022): 23. http://dx.doi.org/10.30595/jssh.v6i1.12995.
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This study aims to find out female stereotypes depicted in the reconstructed stories of Cinderella in the children's storybook entitled Ketika Rapunzel Menjadi Rapinem (KRMP). These stories are mainly inspired by the classic fairy tale of Cinderella, which is then reconstructed through the archetype process. It is essential to study the stories due to the prevalent issue of female stereotypes. Women’s conditions in such reconstructed works certainly bring a perspective, especially the depiction of women, as existing social reflections. The study uses a qualitative descriptive method to support the goal. The data collection uses a purposive sampling technique by conducting in-depth readings on the reconstruction of Cinderella stories, representing women's stereotypes. The data is analysed using the feminism theory. As a result, the stories clearly and consistently define the stereotypes of women from their physical appearances, personality traits, domestic roles, and occupations. In this case, women's portrayal in the reconstructed versions openly continues to glorify physical beauty as a standard for women's appearance; on the other hand, they should also maintain femininity and do domestic works as housewives or caregivers.
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Berlianti, Anisa Dyah. "The stereotypical representation of women in the classic fairy tales Snow White, Cinderella, and Sleeping Beauty." Indonesian Journal of Social Sciences 13, no. 1 (June 15, 2021): 21. http://dx.doi.org/10.20473/ijss.v13i1.26352.
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The stereotype that emerges from some classic fairy tales is a princess who has a beautiful face and an angelic heart, a prince on a white horse who is handsome and charming, and a happy ending forever. These three sweet things are generally always the main menu served in bedtime fairy tales, including the classic fairy tales Snow White, Cinderella, and Sleeping Beauty. Besides sounding beautiful, the plot and characterization presented in the classic fairy tale represent a woman through feminine standards packaged through stereotypes. This research uses qualitative research methods and narrative analysis. The research results found details of the seven functional characters of the characters in the fairy tale. It can then be seen that various stereotypical representations aimed at women in the three tales, ranging from the obsession with natural beauty, misconceptions about the meaning of ambition, and marriage, are the solution for all the problems of a woman.
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Ten, Van. "CHINESE CINDERELLAAND HER RUSSIAN “SISTERS” (COMPARATIVE ANALYSIS OF FAIRYTALES TYPE ATU 510A)." Philological Studies 19, no. 1 (2021): 144–63. http://dx.doi.org/10.17072/1857-6060-2021-19-1-144-163.
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The articlecompares the Chinese and Russian versions of fairy tales related to the plot type of ATU 510A “Cinderella”. The Chinese history of “Ye Xian”is known as part of a literary monument of the IX century; Russian texts having a folklore nature appeared much later, in the XIX century. Their comparison allows us toidentify common plot elements and culturally determined differences. In addition, the inclusion of a literary monument with oral origins in the corresponding typological series of folklore works reveals the range of “narrative perspectives”of the plot: the set of possible variations of narrative elements and their semantic possibilities becomes more obvious. The Chinese version of “Cinderella”has obvious genre features of a fairy tale: its main character is an orphan girl who is rewarded inthe end by marriage with the ruler, who found her by the shoe shelost.The plot of “Ye Xian”is a contamination with another plot type: in the first part of the fairy tale, the main character receives help from thebones of a magic animal (a large fish, which she tookcare of). At the same time, the narrative frame models the fairy tale as the life story of a particular girl who belonged to the Dong people. A peculiar violation of the narrative laws of a folk tale can be seen in the fact that after the wedding, the life of the main character is pushed to the periphery of the plot, and the events associated with her husband, the ruler of the island, are in the center. The Chinese version is also interesting because itincludes signs of a different genre –an etiological legend: the story of Ye Xian becomes an explanation of the local toponym and the revered object named by it (the legendary grave of a stepmother and her daughter, where people came to ask for a good bride).The appendix to the article includes the author'stranslation of the fairy tale “Ye Xian”from Chinese into Russian.
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Nanda, Ega Setia, and Yenni Hayati. "Struktur dan Nilai Sosial dalam Dongeng Cinderella dan Cerita Putri Arabella : Kajian Sastra Bandingan." Lingua Susastra 1, no. 1 (September 10, 2020): 10–19. http://dx.doi.org/10.24036/ls.v1i1.2.
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Children literature have long been believed to contain values that contribute to shaping the character of the young reader. The children fiction from many countries always offer noble values that can influence the character formation. This study discusses social values in the Cinderella fairy tale (Indonesian version) and the story of Putri Arabella (the Malaysian version). This study used a comparative literature approach to obtain a comprehensive comparison between the fairy tales of Cinderella and Putri Arabela. The data were analyzed using the content analysis method to obtain a sharper and deeper meaning behind the qualitative data in the form of words, phrases, dialogues and narratives. The results of the data analysis found that the two stories both contained social values, the value of compassion, advice to help others, and a sense of responsibility. Besides having similarities, these two stories also contain differences. The differences were found in the characterization and setting of the story. This is because this story originates from two different countries which contain different social conditions.
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Kowalczyk, Kamila. "Transformacje wzorców baśniowych w literaturze dziecięcej obecnej na współczesnym rynku wydawniczym." Literatura i Kultura Popularna 23 (May 31, 2018): 135–51. http://dx.doi.org/10.19195/0867-7441.23.9.10.
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Transformation of fairy tales patterns in children’s literature available on the contemporary publishing marketWhat the contemporary publishing market offers the youngest readers are texts that make various forms of fairy tale characters — a strongly representative group among them consists of texts that are transformations of fairy tale patterns that are deeply rooted in the mass imaginations including children’s imagination, which promote a new version of a well-known story: fairy tale renarrations. Such texts not only constitute evidence of changes in the fairy tale genre, but also prove the continuous updates on fairy tales. The aim of the article is to present and discuss how the authors modify specific characteristics of the fairy tale and play with its tradition. The examples of recognizable fairy tale patterns that are deeply rooted in the culture Little Red Riding Hood, Snow White, Hansel and Gretel, Sleeping Beauty, Cinderella were used to present the primary mechanisms of use and modification of fairy tales in children’s literature on the post-2000 Polish publishing market.The description of intertextual relationships between the fairy tale patterns and their renarrations renarration mechanisms has been supplemented with an analysis of influence of popular culture on children’s literature interpenetrating of cultural and literary circulations and the fashion for fairy tales. The studied works include those that have been written with gender education in mind, promotion of knowledge on rights of a child or the environment and those primary aim of which is to entertain the young audience through reading. The article is also an encouragement to reflection on the genealogy of contemporary fairy tales and the shape, in which the “children’s fabulous fairy-tale-sphere” functions, and the factors that influence it.
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Taufik, Nafisa Zafira, and Eva Leiliyanti. "SEXUALITY CONSTRUCTION IN CINDERELLA STORY: ASH NOVEL." BAHTERA : Jurnal Pendidikan Bahasa dan Sastra 19, no. 2 (July 20, 2020): 235–50. http://dx.doi.org/10.21009/bahtera.192.04.
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ABSTRACT
Recently, there has been a huge increase of sexuality construction studies in literature field including in Young Adult genre. Ash novel is one of young adult genre retelling the classic fairy tale story of Cinderella with the gendering plot twist of the main female character. Instead of construct the main characters to heterosexual, Malinda Lo deconstructs her gender and sexual identity. The aim of this research will focuses on investigating the relationship between the elements of psychosexual development and sexuality construction in the narratives that change the main character’s gender and sexual identity. This research are using 5 stages of development theory by Sigmund Freud and performativity theory by Judith Butler. To analyze the narratives, this research is using deconstruction theory by Jaques Derrida as methodology approach. The gendering process and sexuality construction to lesbian appears in several events that bring the main character questioning the masculine role and construct her identity by the dominant stepmother.
Keywords: Sexuality Construction; Cinderella; Young - Adult Literature; Lesbian; Psychosexual Development; Performativity, Deconstruction.
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Amor Barros-del Rio, Maria. "Emma Dononghue’s and James Finn Garner’s Rebellious Cinderellas: Feminism and Satire for Empowerment in Contemporary Fairy Tales." International Journal of Applied Linguistics and English Literature 7, no. 5 (September 1, 2018): 239. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.5p.239.
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The end of the 20th century witnessed a rewriting of traditional tales for children in English. In 1997, Irish writer Emma Donoghue published Kissing the Witch: Old Tales in New Skins, a sequence of re-imagined fairy tales that was shortlisted for the James L. Tiptree Award. In 1994, American writer James Finn Garner had also re-written many well-known stories for children and had them compiled in a single volume: Politically Correct Bedtime Stories. These new versions of Cinderella incorporate formal, structural and ideological alterations that subvert the traditional fairy tale genre. Using intersectionality as a theoretical research framework, the analysis of these works demonstrates that when the matrix of social power is dissected, the existing networks of oppression are exposed. While both versions are centred around gender, Donoghue and Garner employ different strategies, namely queer alliances and parodic scenes respectively, with the aim of overcoming the same structural obstacles. The resulting characters are rebellious and successful women who challenge tradition and open new horizons for female empowerment through the reinvention of the fairy tale genre.
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Sadun, Nuran. "Juggling Symbolism in Deconstructing the Contemporary Fairy Tale: The Case of “Cinderella”." مجلة البحث العلمی فی الآداب 2, no. 5 (August 1, 2017): 1–23. http://dx.doi.org/10.21608/jssa.2017.11200.
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Anjirbag, Michelle Anya, and Vanessa Joosen. "“You Have to Set the Story You Know Aside”: Constructions of Youth, Adulthood and Senescence in Cinderella Is Dead." Humanities 11, no. 1 (February 10, 2022): 25. http://dx.doi.org/10.3390/h11010025.
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As with other twenty-first-century rewritings of fairytales, Cinderella is Dead by Kalynn Bayron complicates the classic ‘Cinderella’ fairytale narrative popularized by Charles Perrault and the Brothers Grimm for new audiences, queering and race-bending the tale in its decidedly feminist revision of the story. However, as we argue here, the novel also provides an interesting intervention in the construction of age as related to gender for its female protagonists. Drawing on Sylvia Henneberg’s examination of ageist stereotypes in fairytale classics and Susan Pickard’s construction of the figure of the hag, we explore the dialogic between the fairytale revision, traditional fairytale age ideology and the intersection of age and gender in this reinvention of the classic narrative. By focusing on constructions of age, particularly senescence, we demonstrate how complex constructions of older characters might aid in overall depictions of intergenerational relationships, and how these intergenerational relationships in turn reflect historical and cultural impetuses of retelling fairytale narratives.
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Skowera, Maciej. "Model baśni filmowej w złotym wieku wytwórni Walta Disneya (wraz z późniejszymi modyfikacjami)." Wielogłos, no. 1 (47) (July 2021): 151–81. http://dx.doi.org/10.4467/2084395xwi.21.007.13582.
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[Model of a Film Fairy Tale in the Disney Golden Age (with Later Modifications)] The article attempts to determine the constitutive elements of a model film fairy tale in the so-called Disney Golden Age and to examine how it was used in later works, both these created by the studio and those by unrelated creators. After preliminary remarks, the author analyses three feature-length animated films: Snow White and the Seven Dwarfs (1937), Cinderella (1950), and Sleeping Beauty (1959). In these works, as he notes, one can notice a set of features that make up the classic Disney model of a film fairy tale. Next, the author discusses modifications applied to the pattern during the Disney Renaissance and Revival. Finally, he cites examples of cultural texts polemical to this paradigm which point to the cultural vitality and heterogeneity of the studio’s films.
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Vitanova-Ringaceva, Ana, Dragana Kuzmanovska, Vesna Koceva, Snezana Kirova, and Bijlana Ivanova. "PHRASEOLOGISMS AND THEIR FUNCTION IN THE BUILDING OF THE MOTIVE "INNOCENTLY PROSECUTED HEROINES" IN THE GRIMM BROTHERS’ FAIRY TALES." KNOWLEDGE - International Journal 54, no. 5 (September 30, 2022): 779–85. http://dx.doi.org/10.35120/kij5405779v.
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The original corpus of the linguistic material for this paper are the Grimm Brothers’ tales, in original inGerman and translated into Macedonian, English and Italian. The indicated phraseologisms are widely used today inboth languages, which only proves their fluency in modern language trends. The basic criterion for classificationrefers to the phraseologisms that are related to the main character in the fairy tale, i.e., the hero who goes through hisown initiation journey. In this paper the focus shifts to the two heroines in the fairy tales "Snow White" and"Cinderella" who have the common status of "innocently persecuted heroines". The tales "Snow White" and"Cinderella" are the two most famous tales by the Brothers Grimm. Jakob and Wilhelm Grimm's interest in Germanfairy tales began in 1812 with the publication of Kinder - und Hausmärchen ("Children's and Household Tales").The fairy tales "Snow White" (Schneewittchen) and "Cinderella" (Achenputtel) were then published. Although thereare many variants of these stories in the world and with different titles, we would still dwell on their integral text.The aim of this scientific research paper is to present the similarities and differences in the phraseological units thatare used in the same context, but in completely different language systems: German, English, Italian andMacedonian. The linguistic approach initiates the conclusion that phraseological units function at the morphological,syntactic and semantic level of the text, which means that they have a wide range of meanings. Phraseologisms arespecific linguistic expressions composed of two or more words that form linguistic units recognizable for thelinguistic environment of the speaker. The linguistic-cultural richness of the indicated languages, Macedonian andGerman and English and Italian is recognized by using phraseologisms as a tool for presenting the external andinternal description of the character, but also the description of his/her socio-economic status in the community. Thephraseologisms referring to the heroines in both tales are characterized by imagery, which gives the text a richcolorful structure. The imagery is achieved through the use of the comparative approach, i.e., through phraseologicalunits that are built on the basis of comparison; the text is also enriched at reception and each reader creates his/herown individual image. The phraseological material in the fairy tales is quite rich, especially in the fairy tale "SnowWhite". These two most widespread tales of the Brothers Grimm are analyzed in science from various aspects. Forus, the target group were students who, in the process of education, acquired knowledge about the meaning ofphraseological units and are able to recognize them in a given text. The work fuses the knowledge from the field offolklore and from the field of language, in correlation with the teaching process, through which students acquirenecessary knowledge from both fields of interest. However, this paper aims to detect the comparativephraseologisms used to describe the characters of the two heroines with a similar character structure. Both fairy talesare in the subgenre of tales of "innocently persecuted heroines", a fairy tale motif with a long history and deepantiquity. We will look into comparative phraseologisms through five different prisms:1. physical attributes of the character: handsome, ugly, thin, fat, short, tall2. character traits: good, bad, clever, stupid, brave, timid, proud3. emotional state of the character: love, hate, fear, anger, revenge4. socio-economic status of the character: poor, rich, learned, simple5. attitude towards others in the environment: understanding, tolerance, helping, misunderstanding
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Farrar, Aileen Miyuki. "Gothic Fairy-Tale Feminism: The Rise of Eyre/‘Error’." Literature 3, no. 4 (October 31, 2023): 430–45. http://dx.doi.org/10.3390/literature3040029.
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The ways Gothic fairy tales and fairy-tale feminism interact are not always clear. An undercurrent of feminist studies of fairy tales is fueled by the 1970s Lurie-Lieberman debate, which focused on the question of whether fairy tales liberate or repress women. Meanwhile, critics such as Lorna Piatti-Farnell and Lucie Armitt have offered studies of the interplay between Gothic horror and fairy tales. However, these studies have limits, often emphasizing the violence, self-mutilation, and cannibalism of women, like those in Jacob and Wilhelm Grimm’s versions of “Cinderella” and “Snow White”. This paper argues that “Rapunzel” (1812) is key for understanding the Gothic and feminist discourses of Charlotte Brontë’s Jane Eyre (1847). Firstly, this paper argues that a self-reflexive and self-productive relationship between subjectivity and desire shapes and disrupts the Gothic, fairy-tale, and feminist discourses of Jane Eyre, resulting in a specular feminine-I that has inspired pluralistic readings of the text. Secondly, an analysis of the Rapunzelian metaphors of ‘wicked’ hunger and ideological towers unmasks the double consciousness that not only fetters feminine subjectivity but delimits the domestic structures of marriage and home. Multiplying the ways nineteenth-century Gothicism, fairy tales, and feminism may interact, Brontë’s specular study of feminine desire makes way for a productive and agential feminine speaking-I.
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Jorgensen, Jeana. "Cinderella’s Body. A Quantitative Approach to Gender, Embodiment, and Folktale Plots." Fabula 64, no. 1-2 (July 1, 2023): 31–43. http://dx.doi.org/10.1515/fabula-2023-0003.
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Abstract This study utilizes quantitative methods to investigate feminist claims about beauty in a series of ATU 510A Cinderella texts. Youth and beauty are found to be linked, and structurally, the protagonist’s encounter with the donor figure does not further beautify her but rather gives her the tools for social advancement. Articulating links between gender, beauty, and success matters in both tale worlds and the real world given not only the pressure of social norms but also the continued issue of gender-based violence due to masculine entitlement to beautiful women’s bodies.
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Seliverstova, Oksana Aleksandrovna. "COGNITIVE STRUCTURE OF FAIRY-TALE ALLUSION WITH THE COMPONENT “ЗОЛУШКА / CINDERELLA”: COMPARATIVE ANALYSIS ON THE BASIS OF CORPUS APPROACH." Philological Sciences. Issues of Theory and Practice, no. 5 (May 2019): 240–44. http://dx.doi.org/10.30853/filnauki.2019.5.51.
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Shikhavtsova, Paula. "Gender Regimes in Animation Movies or About What Modern Cinderella Should Be." Inter 12, no. 21 (2020): 65–80. http://dx.doi.org/10.19181/inter.2020.21.4.
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A good story is always in demand. But today the fairy tale is not only told in the mode of verbal translation in the family circle, it becomes the subject of repeated media transformations form, printed illustrated text, comic, film, TV series, cartoon, video game, etc. With the spread and development of media researchers began to pay more attention to the structure of the narrative, “worlds of history”, are still in demand, the various media platforms (transmedial), which combine a popular medium with a popular archetypical history. This is especially true of cartoons, as they are one of the most popular genres among children. Evidence suggests that children tend to imitate not only their parents and inner family circle behavior, but also cartoon characters, including their gender-specific behavior. Since most modern cartoons continue to borrow stories from classic fairy tales, they inevitably reproduce the gender-stereotypical behavior of the main characters of ancient times. Or, in response to social requests, the plot and character are repaired. In the article we describe the main findings of the study, where we studied folk stories, as well as the plots of modern cartoons. For the study we used a database of folk tales by Stith Thompson, as well as narrative functions in the concept of Vladimir Propp, adapting them to the aspect of female gender. The aim of the study is to reveal how gender socialization is constructed and mediated by media in popular fairy tales. For this purpose, in the study we use critical discourse analysis of modern cartoons.
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Larkin Koushki, Alison. "Engaging English Learners Through Literature, Fairy Tales, and Drama." International Journal of Applied Linguistics and English Literature 8, no. 2 (March 31, 2019): 138. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.2p.138.
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Use of literature in the English language classroom deepens student engagement, and fairy tales add magic to the mix. This article details the benefits of engaging English learners in literature and fairy tales, and explores how drama can be enlisted to further mine their riches. An educator’s case studies of language teaching through literature and drama projects are described, and the research question driving them highlighted: What is the impact of dramatizing literature on students’ engagement in novels and second language acquisition? Research on the effects of literature, drama, and the fairy tale genre on second language education is reviewed. Reading and acting out literature and fairy tales hones all four language skills while also enhancing the Seven Cs life skills: communication, creativity, critical thinking, collaboration, commitment, compromise, and confidence. Adding the frame of project-based learning to the instructional strengths of literature and drama forms a strong pedagogical triangle for second language learning. Fairy tales are easily enacted. English educators and learners can download free fairy tale scripts and spice them with creative twists of their own creation or adapted from film and cartoon versions. Providing maximum student engagement, tales can be portrayed with minimum preparation. Using a few simple props and a short script, English learners can dramatize The Three Bears, Little Red Riding Hood, Cinderella, or Snow White in class with little practice. Engagement increases when teams act out tales on stage for an audience of family, friends, classmates, and educators. In fairy tale enactment projects, whether in class or on stage, students apply their multiple intelligences when choosing team roles: script-writing, acting, backstage, costumes, make-up, sound and lights, reporter, advertising, usher, writer’s corner, or stage managing. The article concludes with a list of engaging language activities for use with fairy tales, and a summary of the benefits of fairy tale enactments for English learners.
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Meyer, Ole. "The First Oral Folk Tale Ever?" Fabula 61, no. 3-4 (November 25, 2020): 316–34. http://dx.doi.org/10.1515/fabula-2020-0017.
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AbstractMs. Uppsala E.8 contains an incomplete version of the wonder tale ATU 510B, Donkey-Skin, taken down from oral performance in 1612. Though briefly mentioned in reference works it is largely ignored and has not been translated before. Other than being the first known version of the tale and of the motif Three Magical Dresses known from the Cinderella cycle it is probably the first record anywhere of a folktale taken down from an oral source, as demonstrated by its form. It also appears to be the only folktale manifestation of the motif Three Animal Opponents, known prominently from Dante’s Commedia. Complete versions of the tale come from Scandinavian nineteenth-century folk tradition in Sweden, Denmark and Norway. Some of these have the incest motif (The Unnatural Father) common to ATU 510 B, while others, including the 1612 fragment, do not: these tell of a farmer or similar who wants to give his daughter to a man she does not want, not of a widowed king pretending a marriage with his own child. In both cases the heroine escapes from home, assisted by a magical Animal Helper. An early fourteenth-century version as a non-magical novella is found in the Florentine collection Il Pecorone; there is also a loose connection to Straparola’s novella Tebaldo – the latter with, the former without the incest motif. Furthermore, the existence of the tale is one of several obstacles to Ruth B. Bottigheimer’s controversial theory that wonder tales were a sixteenth-century urban creation in print rather than a European oral tradition.
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Filipczak, Dorota. "Made to Connive: Revisioning Cinderella in a Music Video. From Disney to Arthur Pirozkhov: A Case Study." Text Matters, no. 10 (November 24, 2020): 67–78. http://dx.doi.org/10.18778/2083-2931.10.04.
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The article focuses on the way in which music videos can subvert and refigure the message of literature and film. The author sets out to demonstrate how a music video entitled “Зацепила” by Arthur Pirozkhov (Aleksandr Revva) enters a dialogue with the recent Disney version of Cinderella by Kenneth Branagh (2015), which, in turn, is an attempt to do justice to Perrault’s famous fairy tale. Starting out with Michèle Le Dœuff’s comment on the limitations imposed upon women’s intellectual freedom throughout the centuries, Filipczak applies the French philosopher’s concept of “regulatory myth” to illustrate the impact of fairy tales and their Disney versions on the contemporary construction of femininity. In her analysis of Branagh’s film Filipczak contends that its female protagonist is haunted by the spectre of the Victorian angel in the house which has come back with a vengeance in contemporary times despite Virginia Woolf’s and her followers’ attempts to annihilate it. Paradoxically, the music video, which is still marginalized in academia on account of its popular status, often offers a liberating deconstruction of regulatory myths. In the case in question, it allows the viewers to realize how their intellectual horizon is limited by the very stereotypes that inform the structure of Perrault’s Cinderella. This makes viewers see popular culture in a different light and appreciate the explosive power of music videos which can combine an artistic message with a perceptive commentary on stereotypes masked by seductive glamour.
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Welp, Anamaria Kurtz de Souza, Álvaro Rutkoski Didio, and Bibiana Finkler. "Questões contemporâneas no cinema e na literatura: o desenho de uma sequência didática para o ensino de inglês como língua adicional." BELT - Brazilian English Language Teaching Journal 10, no. 2 (December 31, 2019): 35861. http://dx.doi.org/10.15448/2178-3640.2019.2.35861.
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This article presents the design process of a task sequence produced for an English course of the Languages and Arts Program of the Federal University of Rio Grande do Sul. Having as its theme contemporary issues in cinema and literature, the sequence was developed around movie adaptations from the Cinderella tale. The tasks were designed from authentic texts with the final production proposed being a synopsis of a movie adaptation from a literary work. The produced tasks seek to create opportunities for both meaningful language use and broadening of students’ transit in social practices that happen in the target language.