Relevant bibliographies by topics / Fairy tale adaptation

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Fairy tale adaptation'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Fairy tale adaptation.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Fairy tale adaptation"

1

Bobodzhanova, Lola. "Peculiarities of national cultural adaptation of Grimm's Fairy Tales when translated into Russian." Litera, no. 9 (September 2020): 111–20. http://dx.doi.org/10.25136/2409-8698.2020.9.33627.

Full text
Abstract:
This article is dedicated to the analysis of fairy tales as a special genre of children's fiction literature with unique features and a long history. In the course of this work, the author gives definitions to the key concepts; examines correlation between the literary fairly tale and folk fairy tale, evolution of fairy tale genre, namely the works of Brothers Grimm. The article the stages of establishment of fairy tales as an independent genre in the history of literature. An attempt is made to determine the genre similarities that make fairy tales comprehensible within the framework of other linguocultures. Special attention is turned to the specificities of national cultural adaptation in translation of fairy tales from German into Russia, taking into account the peculiarities of translation transformations. The conducted analysis allows concluding that children’s fairy tale literature is a reflection of the national linguistic worldview, and largely depends on the existing in the society national cultural traits, mentality and perception of the world. These facts indicate that translation and adaptation of fairy tale literature requires the translator to understand the uniqueness of worldview of the people affiliating to different cultures, as well as convey the national cultural identity and specificities of foreign perception and mentality of the representatives of various linguocultures.
APA, Harvard, Vancouver, ISO, and other styles
2

Shchurik, Natalia V., and Vera E. Gorshkova. "Magic Folk Tales in Intersemiotic Translation." Russian Journal of Linguistics 23, no. 2 (2019): 415–34. http://dx.doi.org/10.22363/2312-9182-2019-23-2-415-434.

Full text
Abstract:
The present paper examines intersemiotic translation of magic folk tales. Research objective is to show the structural identity of the surface structure which can be described as a sequence of plot elements (“functions”) of fairy-tale characters; in semiotic terms it is explained by the existence of a universal matrix defining the law of genre. The authors go on to the cognitive-culturological aspect of fairy tales in terms of N. Chomsky. This research paper has clearly shown that “functions” of the surface structures correspond to plans, scenarios and frames of the deep structures, which differ in British and Russian magic fairy folk tales (wonder folk tales). Numbers and proper names are the main permanent elements of fairy tale narrative: on the level of the surface structures they connect the universal matrix of a fairy tale discourse organizing space and rhythm and at the level of the deep structures - they help to understand the main features of the national character. The study is based on 13 fairy-tale film corpus, under the common theme “Beauty and the Beast”, film adaptations of the fairy tales “La Belle et la Bête” by J.-M. Leprens de Beaumont (1757) and “The Scarlet Flower” by S.T. Aksakov (1858). Hence, the analysis of the latter based on the works of R. Jacobson and W. Eco and understood by the authors as a kind of intersemiotic translation / interpretation that, on the one hand, proves universality of the proposed algorithm for studying fairy discourse in synchrony and diachrony. On the other hand, it plays the most important role in intersemiotic translation of diachronic aspect because it deals with changing the “integral model of reality”, which is reflected, in particular, in changing the on-screen presentation / interpretation of certain aspects of the fairy-tale narrative. Finally, it is worth pointing out that the conclusions can be used to study plurality of film adaptation as a form of intersemiotic translation.
APA, Harvard, Vancouver, ISO, and other styles
3

Lykissas, Alexandra. "Popular culture’s enduring influence on childhood: Fairy tale collaboration in the young adult series The Lunar Chronicles." Global Studies of Childhood 8, no. 3 (2018): 304–15. http://dx.doi.org/10.1177/2043610618798932.

Full text
Abstract:
Fairy tales have a long history of providing educational morals for young women, particularly children. The lessons from older fairy tales have long influenced the metanarratives regarding how women should act in our culture and contemporary versions are no different. Contemporary adaptations of these fairy tales, however, have moved the genre beyond restrictive metanarratives and are now offering new solutions to 21st-century problems like authoritarian rulers. In Marissa Meyers’ Lunar Chronicle series (2012–2015), the characters interact and work together to overcome the villain. This collaborative fairy tale is a new type of fairy tale adaptation in which the characters work together instead of focusing on their individual happily-ever-afters. My article uses postmodern and feminist literary theories along with close-reading literary analysis to examine how this young adult series shows how young adult literature has become political and is able to address adult problems in ways that are easier to process for younger readers. I focus on how the series uses the character of Levana to examine how authoritarian rulers maintain control over the populace, in order to show how the characters then work together to overthrow Levana to free the people from her oppression. This series uses collaboration to show the reader how to resolve possible problems within their own lives. Working in community then becomes as a solution for young adults who may feel disenfranchised or lonely in our increasingly divisive world. Cooperation also becomes a transgressive move against the tendency to become segregated from those around us.
APA, Harvard, Vancouver, ISO, and other styles
4

Chertousova, S. V. "ADAPTATION OF THE NATIONAL WORLD PICTURE IN RUSSIAN TRANSLATIONS OF HORACIO QUIROGA’S TALES." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 142–49. http://dx.doi.org/10.35634/2500-0748-2020-12-142-149.

Full text
Abstract:
The present research reveals the specifics of translations of Horacio Quiroga’s tales into Russian from the point of view of cultural linguistics. The relevance of the problem discussed is due to the growing interest in the discourse of fairy tales in modern linguistics and numerous attempts to translate and adapt classical fairy tale stories to different cultures. The choice of the analyzed material is determined by the presence of various types of vocabulary with national and cultural components in the tales of Horacio Quiroga that reflect the national world picture of the peoples of South America and constitute the aesthetic value of a literary work, which must be adequately conveyed in the translation. The introduction clarifies the notion of the national world picture and defines its components in a literary tale. The specific features of construction and linguistic content of Horacio Quiroga’s texts are highlighted. The purpose of the study was to identify the optimal strategy for conveying the national and cultural background in the translation of literary tales into Russian. The main difficulties in conveying the onomastic component of a tale and the employed figures of speech in translations from Spanish into Russian are analyzed. Special attention is given to the methods of compliance with the genre and style norms of translation, including the neutralization of elements of cruelty and naturalism in modern fairy tales for children. As a result, a conclusion is made that the domestication strategy makes it possible to adapt the text for the recipient who does not have an extensive background knowledge about the culture of the original text, which is especially important when translating children’s literature. The inevitable loss of information does not affect in any way the adequate transfer of the national world picture to a different culture and the reflection of the main moral values laid down by the author in the literary work.
APA, Harvard, Vancouver, ISO, and other styles
5

Chertousova, S. V. "ADAPTATION OF THE NATIONAL WORLD PICTURE IN RUSSIAN TRANSLATIONS OF HORACIO QUIROGA’S TALES." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 142–49. http://dx.doi.org/10.35634/2500-0748-2020-12-142-149.

Full text
Abstract:
The present research reveals the specifics of translations of Horacio Quiroga’s tales into Russian from the point of view of cultural linguistics. The relevance of the problem discussed is due to the growing interest in the discourse of fairy tales in modern linguistics and numerous attempts to translate and adapt classical fairy tale stories to different cultures. The choice of the analyzed material is determined by the presence of various types of vocabulary with national and cultural components in the tales of Horacio Quiroga that reflect the national world picture of the peoples of South America and constitute the aesthetic value of a literary work, which must be adequately conveyed in the translation. The introduction clarifies the notion of the national world picture and defines its components in a literary tale. The specific features of construction and linguistic content of Horacio Quiroga’s texts are highlighted. The purpose of the study was to identify the optimal strategy for conveying the national and cultural background in the translation of literary tales into Russian. The main difficulties in conveying the onomastic component of a tale and the employed figures of speech in translations from Spanish into Russian are analyzed. Special attention is given to the methods of compliance with the genre and style norms of translation, including the neutralization of elements of cruelty and naturalism in modern fairy tales for children. As a result, a conclusion is made that the domestication strategy makes it possible to adapt the text for the recipient who does not have an extensive background knowledge about the culture of the original text, which is especially important when translating children’s literature. The inevitable loss of information does not affect in any way the adequate transfer of the national world picture to a different culture and the reflection of the main moral values laid down by the author in the literary work.
APA, Harvard, Vancouver, ISO, and other styles
6

Fritzsche, Sonja. "“Keep the Home Fires Burning“: Fairy Tale Heroes and Heroines in an East German Heimat." German Politics and Society 30, no. 4 (2012): 45–72. http://dx.doi.org/10.3167/gps.2012.300403.

Full text
Abstract:
The article argues that the films Das kalte Herz (The Cold Heart, 1950) and Der Teufel von Mühlenberg (The Devil of Mill Mountain, 1955) functioned in two ways-as fairy tales and also as new Heimat or “homeland“ tale. Besides Wolfgang Staudte's The Story of Little Mook, these two films were the only two live action fairy tale films that appeared before East Germany's DEFA made its first Grimm feature adaptation in 1956, The Brave Little Tailor. Yet, unlike the Grimm-based films that take place in a generic “forest,“ these first two films take place explicitly in the Black Forest and the Harz Mountains, two locations synonymous with the beauty and timeless nature of past notions of German Heimat. The two films also engaged with the growing monetary and symbolic success of the West's postwar Heimatfilme or homeland films. The article focuses on how The Cold Heart and Mill Mountain contributed to the rearticulation of the emerging Heimat discourse in the early German Democratic Republic, with a particular focus on gender.
APA, Harvard, Vancouver, ISO, and other styles
7

Llompart, Auba, and Lydia Brugué. "The Snow Queer? Female Characterization in Walt Disney’s Frozen." Adaptation 13, no. 1 (2019): 98–112. http://dx.doi.org/10.1093/adaptation/apz019.

Full text
Abstract:
Abstract Hans Christian Andersen’s fairy tale ‘The Snow Queen’ (1845) and its film adaptations have been examined from multiple perspectives by previous scholarly criticism. Recently, Gender and Queer theories have placed particular emphasis on the presence of non-normative romantic relationships between characters, namely, attraction between a young boy and an older woman (Kay and the Snow Queen), homoeroticism (Gerda and the Robber Girl), and even incestuous desire (Kay and Gerda), among others. In this paper, we will concentrate on how the original fairy-tale female characters and their interrelationships have been reworked in Walt Disney’s Frozen (Chris Buck and Jennifer Lee, 2013), and we will analyse how the film’s representations of love, desire, and femininity simultaneously resemble and differ from its literary source. Firstly, we will explore how Andersen’s alluringly dangerous Snow Queen has been turned into a sympathetic character, Queen Elsa. Secondly, we argue that Gerda and Kay’s friendship has been transformed into sisterly love between the two female protagonists in the film, Elsa and Anna, whereas romantic heterosexual love, on the other hand, seems to have been relegated to a secondary narrative arc or done away with altogether, as the absence of a romantic partner for Elsa shows. Interestingly, having a Disney queen whose quest does not involve finding a husband has led some Frozen fans to speculate that Elsa could be the first lesbian Disney princess. Thus, we will also analyse Elsa’s character in connection with the different definitions of ‘queerness’. In light of all this, we discuss that Frozen is an example of the recent Disney trend to redefine true love and prioritize female bonding and empowerment. However, if we compare it to its literary precedent, the Disney adaptation seems to be less daring when it comes to portraying non-normative manifestations of love and femininity than Andersen’s original.
APA, Harvard, Vancouver, ISO, and other styles
8

Abdullah Rashed, Atoof, and Laila M. Al-Sharqi. "Roses in Amber: Gendered Discourse in Disney’s 2017 Adaptation of Villeneuve’s Fairytale Beauty and the Beast." Arab World English Journal For Translation and Literary Studies 5, no. 1 (2021): 126–43. http://dx.doi.org/10.24093/awejtls/vol5no1.9.

Full text
Abstract:
This study considers the dialogic relationship between the 2017 Disney live-action film Beauty and the Beast with Gabrielle-Suzanne de Villeneuve’s fairy tale and Disney’s 1991 animated version. Drawing on cultural and feminist discourse, the study seeks to examine Disney’s live-action film for incidents of cultural appropriation of gender representation compared to Villeneuve’s fairy tale and Disney’s 1991 animated version. The Study argues that the 2017 film adaptation reverses the traditional patriarchal notions and embraces a transgressive feminist discourse/approach as part of Disney’s strategy of diversity and inclusion of gender, race, class, and sexual orientation as constantly evolving cultural categories. This study finds significant alterations made to the physical and psychological attributes of the 2017 film’s three characters: Beauty/Belle, the Beast, and the Enchantress, changes that align with the film’s gendered discourse. By reversing the characteristic privileging of the male and the empowerment of the female, the live-action succeeds in addressing the contemporary audience demands of diversity and inclusion. The study concludes that the changes made in the 2017 film adaptation displace the oppressive patriarchal notions and stereotypical modes of representing the male and female as they have been perceived in the original fairy tale, for they are no longer compatible with contemporary cultures’ assumptions on gender.
APA, Harvard, Vancouver, ISO, and other styles
9

Catalina, Andreea-Nicoleta, and Monica Bottez. "Retrieving Rightfulness – The White Moor Fairy Tale Comic Strip And The Acnowledgment By Postmodernist Readers Of An Emerging Genre." Romanian Journal of English Studies 12, no. 1 (2015): 1–9. http://dx.doi.org/10.1515/rjes-2015-0001.

Full text
Abstract:
Abstract The paper presents the impact of the Romanian The White Moor fairy tale adaptation into comic strip format on its various readers. The results of a well-developed questionnaire, randomly sent to some of the graphic version readers, are interpreted and unforeseen results thereafter highlight the weightiness of comics, despite steady disesteem and recurrent association with low-culture.
APA, Harvard, Vancouver, ISO, and other styles
10

Kostecka and Mínguez-López. "Once Upon a Time in Japan: Adaptation Strategies in Grimm's Fairy Tale Classics Series." Marvels & Tales 35, no. 1 (2021): 109. http://dx.doi.org/10.13110/marvelstales.35.1.0109.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic "Fairy tale adaptation"

1

Grobben, Karen Ann. "Retelling Grimm girlhood : representations of girlhood in the contemporary fairy tale film adaptation cycle." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/24306.

Full text
Abstract:
Working within the filmic fairy tale adaptation cycle that emerged between 2005 and 2015, this thesis investigates how girlhood is cinematically constructed through the lens of fantasy, in relation to gendered representation in media. The relationship between femininity and fairy tales is well-established. By reading contemporary filmic adaptations of the tales, the thesis deconstructs gendered myth-making and reveals the extent to which fairy tale imagery and plot continue to inform cultural constructions of girlhood. It argues that by centring upon young female protagonists and often targeting a young female audience, this cycle constitutes a newly emerging young woman’s cinema. In doing so, the thesis relates the contemporary fairy tale adaptation cycle back to gendered histories of media and genres traditionally associated with female audiences (such as the Female Gothic, the Melodrama, the Costume Drama and so on). The thesis analyses their similar narrative strategies of using iconographical objects, haunted spaces and evocative settings. The cycle’s cultural denigration is critiqued for its association with mainstream and primarily female audiences. The act of adapting fairy tales to construct girlhood through fantasy thus necessitates exploring the ideological implications of gendered genres, their narrative strategies as well as complex processes of adaptation, from tale to screen. How these films, by centralising girlhood, explore female fantasies and desires, trauma, gendered violence and coming of age, is explored throughout. The thesis argues that a highly specific mode of girlhood comes to the fore in this cycle, within particular cultural (social, racial and narrative) parameters. This mode of fairy tale girlhood is imperilled, spectacular and exclusionary, generating disturbing implications of how young women are represented and addressed in popular media. As in women’s films of previous eras in film history, however, the fairy tale adaptation cycle both reinforces and challenges the rigid parameters in which girlhood is cinematically imagined.
APA, Harvard, Vancouver, ISO, and other styles
2

Hayton, Natalie. "'Little Red Riding Hood' in the 21st Century : adaptation, archetypes, and the appropriation of a fairy tale." Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/11077.

Full text
Abstract:
This interdisciplinary, archetypal study considers the numerous adaptation processes and techniques involved in the transposition of the fairy tale from one medium to another, exploring post-2000 adult adaptations and appropriations of ‘Little Red Riding Hood’ across a variety of high-art and popular media, such as advertising, video gaming, and fine art, with a focus on literature and film. As well as examining explicit re-tellings of the tale such as Catherine Hardwicke’s 'Red Riding Hood' (2011), more implicit and intertextual references are discussed, with the intention of acknowledging the pervasive, and at times, unconscious nature of the adaptation process. This can be seen in films like 'The Village' (2004), 'Hard Candy' (2005) and the television series 'Merlin' (2008 - ). As a means of analysing the material I adopt a feminist-Jungian theoretical model which enables the consideration of the mythological and ideological concepts inherent to the works. Specifically, this establishes how Red Riding Hood can be understood as a shifting archetype when compared to her fairy tale sisters such as Snow White, Cinderella, Sleeping Beauty et al, thus allowing for so many diverse portrayals of her character: as the child, the innocent victim, the femme-fatale, and the monstrous feminine. The rationale behind the thesis is threefold; firstly, ‘Little Red Riding Hood’ is typically understood as a cautionary tale, rather than a female quest narrative, therefore, I will explore how the tale is often used as a vehicle for post/feminist issues and/or gender anxieties, providing a commentary on the construction and perception of girls’ and women’s roles in contemporary Western society. Secondly, the work creates a space for the acknowledgement and discussion of unconscious appropriation which has so far remained on the margins of adaptation studies. And thirdly, to establish fairy tales, using ‘Little Red Riding Hood’ as an example, as the ultimate intertext(s), demonstrating how characters, themes and plots are continually (re)appropriated.
APA, Harvard, Vancouver, ISO, and other styles
3

Radujkovic, Tatiana. "The Better To Eat You With: Examining The Importance of Feminism and Matrilineal Relationships for Young Girls Across YA Adaptations of Little Red Riding Hood and "Wolfskinned"." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors155594390271163.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Myers, Megan Kathryn. "Becoming Faramir: Escapism as Responsibility and Hope through Adaptation and J.R.R. Tolkien’s The Lord of the Rings." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8492.

Full text
Abstract:
When Peter Jackson sought to adapt J.R.R. Tolkien’s The Lord of the Rings to film, many fans worried about the changes that could be made to such a beloved story. Though the response to the films was generally positive, all three movies did have their detractors. Many of the complaints centered on his badly adapting the source material, specifically the characters. When Jackson released The Two Towers, fans were outraged further by how Jackson had handled Faramir. However, these interpretations of The Lord of the Rings and Faramir are a narrow evaluation of the larger problem facing fan and scholarly communities, that being, the devaluation of Escapism and what Tolkien calls, “escapist texts,” in today’s society. Tolkien claims that the main purpose of escapist texts is that they allow audiences to recover previous experiences that gave them feelings of happiness or joy. Despite criticism of Escapism, escapists texts don’t urge people to abandon their lives and seek something else. Rather, escapist texts encourage audiences to identify with and empathize with the characters represented in these texts, in order to return to their lives and accept responsibility for and connection with other people. When audiences see The Lord of the Rings and Faramir (whether in book form or in film form), they identify and connect with these stories and characters and seek responsibility in their own lives, which brings them, and those around them, hope.
APA, Harvard, Vancouver, ISO, and other styles
5

Kim, Christine. "Munui (문의): Modern Adaptations of Korean Folk and Fairy Tales". Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1911.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Whitehurst, Katherine F. "Adapting Snow White : tracing female maturation and ageing across film, television and the comic book." Thesis, University of Stirling, 2016. http://hdl.handle.net/1893/24054.

Full text
Abstract:
This thesis analyses 21st century filmic, televisual and comic “Snow White” adaptations. The research is interdisciplinary, bringing together scholarship on gender, childhood, ageing, adaptation, media and fairy tales. The first half of the thesis contextualises the broader historical and sociocultural conversation “Snow White” tellings are immersed in by nature of their shared culture and history. It also identifies the tale’s core and traces the tale’s formation as a tale type from the seventeenth to the twenty–first century. The second half of this thesis moves to an analysis of two films (Mirror Mirror, 2012; Snow White and the Huntsman, 2012), a television series (Once Upon a Time, 2011–present) and a comic book series (Fables, 2002–2015). It considers the kinds of stories about female growth and ageing different media adaptations of “Snow White” enable, and contemplates how issues of time and temporality and growth and ageing play out in these four versions. In analysing the relationship between form and content, this thesis illustrates how a study of different media adaptations of “Snow White” can enrich fairy–tale scholarship and the fairy–tale canon. It also details the imaginative space different media adaptations of “Snow White” provide when engaging with dominant discourses around female growth and ageing in the West. Using “Snow White” as a case study, this thesis centrally facilitates a dialogue between ageing, childhood, fairy–tale and adaptation studies.
APA, Harvard, Vancouver, ISO, and other styles
7

Lewis, Alicen M. "Fish Out of Water: A Transmedia Adaptation of The Little Mermaid." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/601.

Full text
Abstract:
Fish Out of Water: A Transmedia Adaptation of The Little Mermaid is a critical examination of how by using transmedia approaches to storytelling we are able to make characters with less common background more relatable. In this project the story of Maria, a first generation student, is told through the mediums of vlogs, blog posts, tumblr, and twitter.
APA, Harvard, Vancouver, ISO, and other styles
8

Sebree, Adrien E. "Living Fairy Tales: Science Fiction and Fantasy's Visionary Retellings of "Beauty and the Beast"." Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cmc_theses/204.

Full text
Abstract:
This thesis explores how science fiction and fantasy retellings of the fairy tale "Beauty and the Beast" bring visionary insights to the fairy tale. Stories such as Tanith Lee's science fiction novella "Beauty" and Mercedes Lackey's fantasy novel The Fire Rose constitute living and developing incarnations of "Beauty and the Beast." To better explore the visionary leaps made by these stories, they are placed in contrast with one of the original recordings of the story by Madame Marie Le Prince de Beaumont and the 1991 Disney film version, Beauty and the Beast.
APA, Harvard, Vancouver, ISO, and other styles
9

Drewett, Anne. "Curses, Ogres and Lesbians : An Examination of the Subversion and Perpetuation of Fairy Tale Norms in Two Adaptations of Beauty and The Beast." Thesis, Umeå universitet, Institutionen för språkstudier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-117268.

Full text
Abstract:
Fairy tales as a form of social acculturation can subvert and/or perpetuate potentially harmful social norms. In this essay, Chris Anne Wolfe’s lesbian romance novel Bitter Thorns (1994) and the film Shrek (2001) are analysed as adaptations of the fairy tale Beauty and the Beast, with a focus on the extent to which they challenge and/or reinforce three fairy tale norms: women as tradeable objects, heteronormativity and idealised beauty. Both these texts can be seen as subversive, Bitter Thorns in how it challenges heteronormativity and Shrek in how it challenges the norm of idealised beauty. This subversion, however, is limited, as both texts do more to perpetuate fairy tale norms than to challenge them. They both reinforce the idea of women as objects for trade, Bitter Thorns perpetuates the norm of idealised beauty, and Shrek advocates heteronormative relationships and the dominance of heterosexual masculinity.
APA, Harvard, Vancouver, ISO, and other styles
10

Brière-Haquet, Alice. "Il était une fois la ville : les réécritures des contes de Perrault dans l’espace urbain." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040194.

Full text
Abstract:
Il était une fois les réécritures de contes, une production particulièrement vivante dans le monde de l’édition aujourd’hui. L’actualisation y est fréquente : petits chaperons rouges et chats bottés se promènent aujourd’hui dans les rues de la ville où ils rencontrent des loups en voiture ou des ogres de l’industrie. La parodie a bien sûr une fonction ludique, mais pas seulement, car en croisant le conte et la ville, ce sont deux univers de références qui se font face et qui se jaugent : les schémas hérités des contes classiques sont revus et corrigés au nom de nouvelles valeurs tandis que le pays des merveilles interroge celui de la réalité, avec son béton, sa circulation et sa logique toute capitaliste, si bien que c’est la ville qui sort finalement révélée de ce passage en féérie. Mais le phénomène est surtout à replacer dans l’histoire du genre. Grâce aux récents travaux de chercheurs re-contextualisant l’émergence du conte de fées sur la scène européenne, l’on s’aperçoit qu’il ne s’agit pas d’une pratique propre à l’époque contemporaine, mais au contraire de ce qui pourrait bien apparaître comme un trait du genre. Perrault déjà, par la scénographie de la vieille conteuse, offrait à son public de citadins des récits pseudo-naïfs l’invitant à dépasser l’illusion d’une parole décrochée pour trouver la « Morale trés-sensée ». Ainsi, par leur caractère polyphonique, les contes entrent moins dans une logique de transmission que de dialogue entre les générations, et pourraient pour cela être considérés comme les mythes de la modernité<br>Once upon a time there were rewritten fairy tales, a very dynamic product in today’s publishing world. Updated fairy tales are the most common type: many Little Red Riding Hoods or Pusses in Boots are now walking through cities, meeting wolves who drive cars or ogres running industrial empires. Though parodies may be amusing, fun is not their only function. Intercrossing the urban imaginary with the fairy-tale means putting two referential universes face to face, each one gauging the other: traditional plots, inherited from classic tales, are twisted and corrected to fit new ideologies, and meanwhile the wonderland judges reality, with its concrete, its traffic, and its capitalist logic, so that in the end, it is the city which is reborn of the fairy tale experience. But the phenomenon should be replaced within the history of the genre. Thanks to recent academic studies, we can re-contextualize the emergence of the fairy tale in the European literary stage, and we have to note that updating fairy tales is not a contemporary practice, but could indeed be a generic characteristic. Perrault, already, by the scenography of the old maid telling tales to young kids, offered his urban public falsely naive stories, inviting them to look above the illusion of fiction, in order to find the “Morale trés-sensée”, the very wise moral. Therefore, because of their intrinsically polyphonic nature, fairy tales exist less within a logic of transmission than within a logic of conversation between generations, and for that they should be considered myths of modernity
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Fairy tale adaptation"

1

Andersen, H. C. (Hans Christian), 1805-1875, ed. The little mermaid: A pop-up adaptation of the classic fairy tale. Little Simon, an imprint of Simon & Schuster Children's Publishing Division, 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Carter, David A. The nutcracker: A pop-up adaptation of E.T.A. Hoffmann's original tale. Little Simon, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Smiley, Ben. Tangled. Golden Books, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

The animals' lawsuit against humanity: A modern adaptation of an ancient animal rights tale. Fons Vitae, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Barrie, J. M. Peter Pan: A pop-up adaptation of J.M. Barrie's original tale. Little Simon, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Crawford, David Wright. Fairy tale theatre. Players Press, Inc., 2014.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Clayton, James Lee. Fairly fractured fairy tales for discerning adults and precocious children. Puttrow Books, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

New world fairy tales. Salt Pub., 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Grace, Viola. Sci-fi fairy tales. eXtasy Books, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Fairy tale films: Visions of ambiguity. Utah State University Press, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles

Book chapters on the topic "Fairy tale adaptation"

1

Lester, Neal A. "African–American Adaptations of Fairy Tales." In The Fairy Tale World. Routledge, 2019. http://dx.doi.org/10.4324/9781315108407-20.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Joosen, Vanessa. "Picturebooks as adaptations of fairy tales." In The Routledge Companion to Picturebooks. Routledge, 2017. http://dx.doi.org/10.4324/9781315722986-46.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Kato, Daniela. "Chapter 22. Plant/woman encounters in contemporary fairy-tale adaptations." In FILLM Studies in Languages and Literatures. John Benjamins Publishing Company, 2019. http://dx.doi.org/10.1075/fillm.12.22kat.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

"‘Other versions’ of fairy tale and folklore." In Adaptation and Appropriation. Routledge, 2007. http://dx.doi.org/10.4324/9780203087633-14.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

"Rodents in Children’s Literature and Audiovisual Fairy Tales: a Book-to-Film Adaptation Approach." In Contemporary Fairy-Tale Magic. Brill | Rodopi, 2019. http://dx.doi.org/10.1163/9789004418998_024.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Bacchilega, Cristina. "Adaptation and the Fairy-Tale Web." In The Routledge Companion to Media and Fairy-Tale Cultures. Routledge, 2018. http://dx.doi.org/10.4324/9781315670997-16.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

"Un-Training the Imagination through Adaptation: an Exploration of Gender through Neil Gaiman’s The Sleeper and the Spindle." In Contemporary Fairy-Tale Magic. Brill | Rodopi, 2019. http://dx.doi.org/10.1163/9789004418998_006.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

"Filmic Adaptation and Appropriation of the Fairy Tale." In The Enchanted Screen. Routledge, 2011. http://dx.doi.org/10.4324/9780203927496-9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Forni, Dalila. "LGBTQIA Fairy Tales: Queering Cinderella in Lo’s Ash and Donoghue’s “The Tale of the Shoe”." In Adaptation in Young Adult Novels. Bloomsbury Academic, 2020. http://dx.doi.org/10.5040/9781501361807.ch-004.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Conterio, Martyn. "Influences & Adaptation." In Black Sunday. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733834.003.0005.

Full text
Abstract:
This chapter describes Mario Bava's Black Sunday as a fairy tale with an occasional emphasis on the grim that is rife with both literary and cinematic references. It discusses Bava's use of visual quotations of American horror films that is quite remarkable because of the ban until the early 1950s. It cites how Bava was knowledgeable in art history that shows up in his debut. The chapter talks about torch-bearing peasants who appear in the film's opening and closing scenes of James Whale's Frankenstein in 1931 a one of the noticeable citations of the Universal horror-esque. It mentions Jean Cocteau's adaptation of La Belle et la Bête in 1946 from the story by Jeanne Marie Leprince de Beaumont as the strongest stylistic influence on Bava.
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Fairy tale adaptation"

1

Li, Yingying. "The Utopian Function of Fairy Tales' Adaptations in Hollywood." In 2017 International Seminar on Social Science and Humanities Research (SSHR 2017). Atlantis Press, 2018. http://dx.doi.org/10.2991/sshr-17.2018.84.

Full text
APA, Harvard, Vancouver, ISO, and other styles
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography