39 research outputs found
Elevated inceptions and popular outcomes: the contes of Marie-Catherine D'Aulnoy and Charles Perrault
Os primeiros contos de fadas de Perrault, versificados â âLes Souhaits Ridiculesâ e âPeau dâĂneâ â deviam tanto Ă mitologia grega e eram tĂŁo elaboradamente barrocos como os de Mme dâAulnoy. Nos seus contos em prosa, contudo, Perrault substituiu as fadas por deuses e deusas e simplificou tanto o vocabulĂĄrio como o enredo (movendo-se, por conseguinte, na direcção da narrativa popular existente entĂŁo na BibliothĂšque Bleue), enquanto Mme dâAulnoy manteve a estrutura complexa e sintaxe elaborada durante toda a sua carreira de escritora. Em termos de moral, as personagens de Mme dâAulnoy negoceiam pragmaticamente um percurso tortuoso num mundo frequentemente amoral, enquanto que os enredos de Perrault se aproximam mais da moralidade das suas conclusĂ”es. A fonte de ambos sĂŁo os contos de Straparola. (Desde a redacção deste artigo, a autora descobriu elos estruturais e linguĂsticos inegĂĄveis entre o âMaitre Chatâ de perrault e a tradução francesa do sĂ©c. XVI do âConstantino Fortunatoâ de Straparola). Os dois autores diferem um do outro sobretudo no tratamento dos elementos mĂĄgicos. Mme dâAulnoy empregou-os deliberadamente, enquanto Perrault assumiu uma atitude de ingĂ©nua aceitação da magia. Em suma, os contos de Perrault eram adequados Ă sua adopção no mercado popular
A Career That WasnÂŽt.
1 archivo PDF (8 påginas)Se trata de un testimonio sobre el modo en que esta académica ingresó al mundo de la literatura infantil y juvenil en la década de 1960. Reflexiona sobre las oportunidades casi nulas para las mujeres de ese entonces de ingresar a la academia, pese a su preparación, y demuestra el modo en que fue abriéndose paso dentro de un universo nuevo para ella y las aportaciones que hizo a la literatura infantil y juvenil.
A testimony of a scholar who entered the world of childrenâs literature in the
1960âs. She talks about the limited opportunities for women in those days to
enter academia, despite having earned advanced degrees. She describes the
paths she followed to reach a new world as well as the contributions she made in the field.
Palabra s clave
Carreras de las mujeres en la lij (1960), libros de ciencia para niños, Biblias para niños, cuentos folclóricos, anålisis de los cuentos de los hermanos Grimm (diferencias de género).
1960âs women careers in childrenâs literature, childrenâs science books, Bibles for children, folktales, Grimmâs tales analysis (gender differences). tyvlxl
Una carrera que no lo fue
1 archivo PDF (9 påginas)Se trata de un testimonio sobre el modo en que esta académica ingresó al mundo de la literatura infantil y juvenil en la década de 1960. Reflexiona sobre las oportunidades casi nulas para las mujeres de ese entonces de ingresar a la academia, pese a su preparación, y demuestra el modo en que fue abriéndose paso dentro de un universo nuevo para ella y las aportaciones que hizo a la literatura infantil y juvenil.
A testimony of a scholar who entered the world of childrenâs literature in the
1960âs. She talks about the limited opportunities for women in those days to
enter academia, despite having earned advanced degrees. She describes the
paths she followed to reach a new world as well as the contributions she made in the field.
Palabra s clave
Carreras de las mujeres en la lij (1960), libros de ciencia para niños, Biblias para niños, cuentos folclóricos, anålisis de los cuentos de los hermanos Grimm (diferencias de género).
1960âs women careers in childrenâs literature, childrenâs science books, Bibles for children, folktales, Grimmâs tales analysis (gender differences). tyvlxl
Les contes médiévaux et les contes de fées modernes
Les contes mĂ©diĂ©vaux diffĂšrent fondamentalement des contes de fĂ©es qui sont apparus pour la premiĂšre fois dans les annĂ©es 1550 dans les FacĂ©tieuses Nuits de Giovan Francesco Straparola. Certains motifs qui existent dans les contes de fĂ©es modernes (tels que la chaussure ou la sorciĂšre) peuvent se trouver aussi dans les contes anciens ou mĂ©diĂ©vaux, mais les contes de fĂ©es traitant dâune pauvre fille ou dâun pauvre garçon recevant une aide magique pour faire un mariage royal nâexistaient pas Ă lâĂ©poque ancienne ou mĂ©diĂ©vale. Lâarticle suivant fait la distinction entre les motifs familiers du conte de fĂ©es et les motivations narratives, avance lâhypothĂšse que la dissĂ©mination littĂ©raire a prĂ©cĂ©dĂ© la transmission orale, et offre la preuve que les origines prĂ©-modernes de ce genre de contes de fĂ©es trouvent leurs sources dans les villes et non dans les campagnes chez les paysans.Medieval tales differed fundamentally from fairy tales, which first emerged in the 1550s in Giovan Francesco Straparolaâs Piacevoli Notti. Some motifs that exist in modern fairy tales (shoe, witch) can be found in ancient or medieval tales, but fairy tales about poor girls or boys who are magically assisted to marriage with a royal partner did not exist in the ancient or medieval worlds. The following article distinguishes familiar fairy tale motifs from narrative motivations, suggests that literary dissemination preceded oral transmission, and presents evidence that the early modern origins of this kind of fairy tale lay in cities, and not among peasants in the countryside
Quantifying the Grimm Corpus: Transgressive and Transformative Bodies in the Grimmsâ Fairy Tales
What do bodies mean in fairy tales? Donald Haaseâs engagement with the Grimmsâ fairy tales has offered some hints, ranging from his attention to feminist scholarship on the Grimms to his multifaceted review of recent Grimm scholarship that addresses various meanings of bodies in the language and translation of their tales. Inspired by Haaseâs work and encouragement, I created a database that lists every mention or description of a body in the Grimmsâ tales and in five other European tale collections. I detailed the results of this quantitative investigation in my dissertation, generally treating all the tale collections as part of one large corpus. In this essay, however, to add to the conversation that Haase has generated and curated, I refilter the data to solely examine which body parts (nouns, adjectives, and actions) appear in the Grimm tales. A major thematic focus is transgression and transformation, especially their gendered dimensions
Marie-Catherine dâAulnoyâs âWhite Catâ and HannÄ DiyÄbâs âPrince Ahmed and Pari Banouâ: Influences and Legacies
Madame dâAulnoyâs 1698 âWhite Cat,â an early modern conte de fĂ©es with components characteristic of her oeuvre (metamorphoses, a parallel world, quests, and tasks rooted in European narrative tradition, all narrated with richly descriptive prose within complex plot structure), shares striking similarities with HannÄ DiyÄbâs 1709 âPrince Ahmed and Pari Banou,â which was later incorporated into Antoine Gallandâs final volume (1717) of Mille et une nuits. Close textual and structural analysis demonstrates that both stories participated in a rich narrative tradition launched by an exemplum in Jean Gobi Juniorâs 1323â30 Scala coeli and suggests that dâAulnoyâs âWhite Catâ may have been a source for HannÄ DiyÄbâs Arabian Nights tale
Grimms' bad girl and bold boys: the moral and social vision of the tales
Ruth B. Bottigheir is adjunct assistant profesor of comparative literature at the state university of New york,Stony book