Elevated inceptions and popular outcomes: the contes of Marie-Catherine D'Aulnoy and Charles Perrault

Os primeiros contos de fadas de Perrault, versificados — “Les Souhaits Ridicules” e “Peau d’Âne” — deviam tanto à mitologia grega e eram tão elaboradamente barrocos como os de Mme d’Aulnoy. Nos seus contos em prosa, contudo, Perrault substituiu as fadas por deuses e deusas e simplificou tanto o vocabulário como o enredo (movendo-se, por conseguinte, na direcção da narrativa popular existente então na Bibliothèque Bleue), enquanto Mme d’Aulnoy manteve a estrutura complexa e sintaxe elaborada durante toda a sua carreira de escritora. Em termos de moral, as personagens de Mme d’Aulnoy negoceiam pragmaticamente um percurso tortuoso num mundo frequentemente amoral, enquanto que os enredos de Perrault se aproximam mais da moralidade das suas conclusões. A fonte de ambos são os contos de Straparola. (Desde a redacção deste artigo, a autora descobriu elos estruturais e linguísticos inegáveis entre o “Maitre Chat” de perrault e a tradução francesa do séc. XVI do “Constantino Fortunato” de Straparola). Os dois autores diferem um do outro sobretudo no tratamento dos elementos mágicos. Mme d’Aulnoy empregou-os deliberadamente, enquanto Perrault assumiu uma atitude de ingénua aceitação da magia. Em suma, os contos de Perrault eram adequados à sua adopção no mercado popular

A Career That Wasn´t.

1 archivo PDF (8 páginas)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 children’s literature in the 1960’s. 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, análisis de los cuentos de los hermanos Grimm (diferencias de género). 1960’s women careers in children’s literature, children’s science books, Bibles for children, folktales, Grimm’s tales analysis (gender differences). tyvlxl

Una carrera que no lo fue

1 archivo PDF (9 páginas)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 children’s literature in the 1960’s. 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, análisis de los cuentos de los hermanos Grimm (diferencias de género). 1960’s women careers in children’s literature, children’s science books, Bibles for children, folktales, Grimm’s tales analysis (gender differences). tyvlxl

Les contes médiévaux et les contes de fées modernes

Les contes médiévaux diffèrent fondamentalement des contes de fées qui sont apparus pour la première fois dans les années 1550 dans les Facétieuses Nuits de Giovan Francesco Straparola. Certains motifs qui existent dans les contes de fées modernes (tels que la chaussure ou la sorcière) peuvent se trouver aussi dans les contes anciens ou médiévaux, mais les contes de fées traitant d’une pauvre fille ou d’un pauvre garçon recevant une aide magique pour faire un mariage royal n’existaient pas à l’époque ancienne ou médiévale. L’article suivant fait la distinction entre les motifs familiers du conte de fées et les motivations narratives, avance l’hypothèse que la dissémination littéraire a précédé la transmission orale, et offre la preuve que les origines pré-modernes de ce genre de contes de fées 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 Straparola’s 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 Grimms’ Fairy Tales

What do bodies mean in fairy tales? Donald Haase’s engagement with the Grimms’ 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 Haase’s work and encouragement, I created a database that lists every mention or description of a body in the Grimms’ 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 d’Aulnoy’s “White Cat” and Hannā Diyāb’s “Prince Ahmed and Pari Banou”: Influences and Legacies

Madame d’Aulnoy’s 1698 “White Cat,” an early modern conte de fées 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 Hannā Diyāb’s 1709 “Prince Ahmed and Pari Banou,” which was later incorporated into Antoine Galland’s 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 Junior’s 1323–30 Scala coeli and suggests that d’Aulnoy’s “White Cat” may have been a source for Hannā Diyāb’s 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