KLASIFICIRANJE PRIPOVIJEDAKA: NAPOMENE O INDEKSIMA I SUSTAVIMA KATALOGIZIRANJA

The paper deals with the historical and recent situation in classifying international folk tales and gives an overview of new developments, for example new catalogs for types and motifs. From the outset up to date, folk narrative researchers have been creating systems for ordering large masses of tale material according to genres, actors and incidents. The concentration on oral traditions, however, has largely neglected the important literary history of many tales. It was necessary to include such information into the new international catalog ATU (Aarne/Thompson/Uther). The concept of tale type and here must be understood to be flexible. It is not a constant unit of measure or a way to refer to lifeless material from the past. Instead, as part of a greater dynamic, it is adaptable, and can be integrated into new thematic compositions and media. Some former catalog makers also had used the system of numbers for expansion beyond number 2400 in order to describe other genres such as legends, riddles, ballads, etiologies, etc. Although a satisfying system for classification of folk narratives has not yet been found the present system has provided scholars with many valuable and practical research instruments, and numerous methodological and theroretical by-products.Rad opisuje povijesno i suvremeno stanje klasificiranja međunarodnih tipova usmenih pripovijedaka i predstavlja nove kataloge. Od početka do danas istraživači usmenih priča su stvarali sustave za razvrstavanje opsežnoga pripovjednog gradiva prema žanrovima, likovima i zbivanjima. Usredotočenost na usmene tradicije većinom je zanemarivala važnu književnu povijest mnogih priča. Bilo je nužno te promjene uključiti u novi međunarodni katalog ATU (Aarne/Thompson/Uther). Pojam tipa pripovijetke treba shvaćati fleksibilno. To nije stalna mjerna jedinica ili način za referiranje beživotnog materijala iz prošlosti. Umjesto toga, dinamičan je, prilagodljiv te se može integrirati u nove tematske cjeline i medije. Neki prijašnji sastavljači kataloga također su širili kataloške brojeve iza broja 2400 da bi opisali druge žanrove poput predaja, zagonetki, balada i etioloških priča. Iako zadovoljavajući sustav za klasificiranje usmenih pripovijedaka još nije pronađen, sadašnji sustav znanstvenicima nudi vrijedne i praktične istraživačke instrumente te brojne metodološke i teorijske nusproizvode

BAJKE KAO PRETHODNICA EUROPSKE DJEČJE KNJIŽEVNOSTI

Due to the Romantic movement there was a growing attention for recording oral tradition. Pedagogues advocating an independent literature for children recognized the importance of folktales especially for the mediation of bourgeois virtues and social norms. Influenced by the stilistic model of the Brother Grimm\u27s Household Tales and as a result of the propagation of national literatures, a broad range of application within the printed and pictorial media developed in European countries. Folktales as a products of the mass culture possess multiple applicability. This paper deals with different spheres of application and outlines the functions of folktales as popular reading material.Zahvaljujući romantičarskom pokretu, koji je potaknuo skupljanje narodnoga stvaralaštva, na početku devetnaestoga stoljeća poraslo je zanimanje za usmenu tradiciju te se usmena književnost počela zapisivati. Pozitivno vrednovanje usmenog stvaralaštva na posljetku je dovelo do izjednačavanja usmene i umjetničke književnosti. Zagovarajući samosvojnost književnosti za djecu, pedagozi su prepoznali važnost bajke kao prenositelja građanskih vrednota i društvenih normi. Pod utjecajem stilskog modela Bajki braće Grimm, ali i kao rezultat razvoja nacionalnih europskih književnosti, došlo je do raznovrsnih aplikacija bajki unutar tiskovnog i slikovnog medija. Dok su na početku u središtu pozornosti bili tekstovi, razvoj tiskarskih tehnika i opadanje troškova proizvodnje pridonijeli su daljnjim tekstovnim ili slikovnim aplikacijama bajki. Ovaj se rad bavi različitim razinama aplikacije te izlaže osnovne funkcije koje bajke preuzimaju unutar popularne književnosti. S obzirom na europski razvoj obrazlaže se: 1) težnja ka uniformiranosti (Disney-stil), 2) težnja ka međunarodnoj suradnji u objavljivanju knjiga i publikacija koje uključuju bajke, 3) metaforičko-simboličke uporabe bajke. Dakle, bajke su kao proizvod masovne kulture višestruko primjenjive. Uvriježenim i popularnim bajkama, tzv. najljepšim bajkama pridaje se iznimna vrijednost. Riječ je o tekstovima koji su očito nositelji normi i ideala suglasnih s potrebama društva, te se stoga bajke mogu smatrati avangardom europske književnosti za djecu i mlade. Ipak, bilo bi neprimjereno tvrditi kako su one jedine. I drugi književni žanrovi, zajedno sa svojim najvažnijim predstavnicima, pridonijeli su kao klasici europskoj književnosti za djecu

Legends: Overview of the current state of the research

Vers 1800 les travaux sur les contes populaires et la conception qu’on en avait d’un point de vue historique provoquèrent, dans les publications littéraires et les milieux scientifiques du domaine public, un débat houleux sur l’intérêt qu’ils présentaient. Les frères Grimm, Jacob et Wilhem, tentèrent pour la première fois d’établir une distinction entre les contes populaires et les légendes. Le principe d’historicité est posé dans la fameuse phrase : Le conte (Märchen) est plus poétique, la légende (Sage) est plus historique. Cependant le terme « historique » se prêtait à une interprétation erronée, conduisant à élever au rang de sources authentiques les descriptions anecdotiques d’évènements et de personnages historiques. Ce que les frères Grimm entendaient alors par « historique » n’était pas tant l’historicité des événements racontés que, à l’instar de leurs contemporains, un passé et des événements relevant de manière générale des «temps anciens ou lointains» incarnés dans l’esprit des gens sous une forme quelque peu fictive. À l’inverse, les termes utilisés pour désigner les légendes dans d’autres langues (par ex. en anglais « legend », en français « légende », en italien « leggenda ») établissent un lien avec la transmission écrite : « Legenda », pluriel de « legendum », c’est ainsi que l’on doit lire les extraits pertinents des Vies de saints. D’autres dénominations, comme par exemple en suédois « Legendsaga » ou en danois « Levnedsagn », désignent des formes mixtes, ou des formes versifiées telles que les poèmes oraux, les chansons populaires ou les ballades. En réalité, les contes populaires — comme les légendes ou d’autres formes narratives appelées littérature populaire, sont caractérisés par une tension persistante entre les formes écrites et orales.***Al voltant de 1800 les obres i la concepció en el panorama històric van provocar un animat debat sobre el valor dels contes populars en revistes literàries i cercles científics de domini públic. Els germans Jakob i Wilhelm Grimm van fer el primer intent de distingir entre conte i llegenda. El principi d’historicitat s’afirma en la coneguda frase «El conte és més poètic, la llegenda és més històrica». No obstant això, «històric» es va prestar a una mala interpretació, amb el resultat que les representacions anecdòtiques dels esdeveniments i personatges històrics es van elevar a l’estat de fonts autèntiques. El que els germans Grimm en realitat entenien per «històric» no era la historicitat dels esdeveniments narrats sinó, igual que els seus contemporanis, un passat generalitzat i successos d’«èpoques anteriors o de fa molt temps» personalitzats en la ment de les persones en una forma que està ficcionalizada en certa manera. Per contra, els termes utilitzats per designar llegendes en altres idiomes (per ex., «Legend» en anglès, «légende» en francès, «leggenda» en italià) estableixen un enllaç amb la transmissió escrita («llegenda», plural de «legendum»: així és com aquesta secció tan rellevant de La vida dels sants s’ha de llegir). Els exemples d’altres designacions inclouen el «Legendsaga» suec o el «Levnedsagn» danès, que denoten formes mixtes o versificades, com poemes populars, cançons populars o balades. En realitat, els contes, com les llegendes, i altres formes narratives anomenades literatura popular, es caracteritzen per una tensió persistent entre les formes escrites i orals.Around the year 1800, the publication of various works and historical overviews sparked a livelydebate in literary journals and scientific circles in the public domain about the value of folktales.The brothers Jakob and Wilhelm Grimm made the first attempt to distinguish between folktalesand legends. The principle of historicity is stated in the well-known sentence: “The folktale is morepoetic, the legend more historical”. However, “historical” lent itself to misinterpretation, with theresult that anecdotal portrayals of historical events and personages were elevated to the status ofauthentic sources. What the Grimm brothers actually meant by “historical” was not the historicityof narrated events so much as, like their contemporaries, a generalized past and happenings from“earlier times or long ago” personalized in the minds of the people in a form that is fictionalized tosome extent. In contrast, the terms used to designate legends in various languages (English “legend”, French “légende”, Italian “leggenda”) establish a link with written transmission (“legenda”, plural of “legendum” - this is how this important section in The Lives of Saints should be read). Examples of other designations include the Swedish “Legendsaga” or the Danish “Levnedsagn” which denote mixed forms, or versified forms such as folk poems, folk songs or ballads. In reality, folktales, like legends, or other narrative forms referred to as folk literature, are characterized by a persistent tension between written and oral forms

KLASIFICIRANJE PRIPOVIJEDAKA: NAPOMENE O INDEKSIMA I SUSTAVIMA KATALOGIZIRANJA

The paper deals with the historical and recent situation in classifying international folk tales and gives an overview of new developments, for example new catalogs for types and motifs. From the outset up to date, folk narrative researchers have been creating systems for ordering large masses of tale material according to genres, actors and incidents. The concentration on oral traditions, however, has largely neglected the important literary history of many tales. It was necessary to include such information into the new international catalog ATU (Aarne/Thompson/Uther). The concept of tale type and here must be understood to be flexible. It is not a constant unit of measure or a way to refer to lifeless material from the past. Instead, as part of a greater dynamic, it is adaptable, and can be integrated into new thematic compositions and media. Some former catalog makers also had used the system of numbers for expansion beyond number 2400 in order to describe other genres such as legends, riddles, ballads, etiologies, etc. Although a satisfying system for classification of folk narratives has not yet been found the present system has provided scholars with many valuable and practical research instruments, and numerous methodological and theroretical by-products.Rad opisuje povijesno i suvremeno stanje klasificiranja međunarodnih tipova usmenih pripovijedaka i predstavlja nove kataloge. Od početka do danas istraživači usmenih priča su stvarali sustave za razvrstavanje opsežnoga pripovjednog gradiva prema žanrovima, likovima i zbivanjima. Usredotočenost na usmene tradicije većinom je zanemarivala važnu književnu povijest mnogih priča. Bilo je nužno te promjene uključiti u novi međunarodni katalog ATU (Aarne/Thompson/Uther). Pojam tipa pripovijetke treba shvaćati fleksibilno. To nije stalna mjerna jedinica ili način za referiranje beživotnog materijala iz prošlosti. Umjesto toga, dinamičan je, prilagodljiv te se može integrirati u nove tematske cjeline i medije. Neki prijašnji sastavljači kataloga također su širili kataloške brojeve iza broja 2400 da bi opisali druge žanrove poput predaja, zagonetki, balada i etioloških priča. Iako zadovoljavajući sustav za klasificiranje usmenih pripovijedaka još nije pronađen, sadašnji sustav znanstvenicima nudi vrijedne i praktične istraživačke instrumente te brojne metodološke i teorijske nusproizvode

200 years of the collection of stories by the Grimm brothers

Am 20. Dezember 1812 erschienen die Kinder- und Hausmärchen von Jacob und Wilhelm Grimm. Die Sammlung enthielt 86 Texte. Drei Jahre später kam ein zweiter Band mit 70 neuen Märchen dazu. Im Laufe der Editionsgeschichte wurden einige wenige Texte noch ausgeschieden, andere hinzugefügt, so daß in der Ausgabe letzter Hand von 1857 211 Märchen vereint waren. Diese Märchen- sammlung erlangte konzeptionell und inhaltlich im deutschsprachigen Gebiet und international eine so große Bedeutung, daß sie neben der Luther-Bibel als das bekannteste und weitverbreitetste Werk der deutschen Kulturgeschichte in der Welt angesehen wird. Es existieren heute mehr als 160 Übersetzungen in andere Sprachen. 2005 wurden die in Kassel befindlichen Handexemplare der Kinder- und Hausmärchen in das Weltdokumentenerbe der UNESCO aufgenommen.Der Vortrag zeichnet die Entstehungsgeschichte der Kinder- und Hausmärchen nach, diskutiert die Frage mündlicher und schriftlicher Überlieferung sowie die Funktion pädagogischer Elemente und vermittelt einen Überblick über den aktuellen Forschungsstand. Angesprochen werden wichtige historische und rezente Entwicklungen, der Einfluß von Bild- und Druckmedien und die Nachwirkung der transkulturellen Nachwirkung.***El 20 de desembre de 1812, els germans Jacob i Wilhelm Grimm van publicar una col·lecció de 86 històries, seguida per un segon volum l’any 1815 amb 70 relats més. La col·lecció, augmentada però també escurçada amb la supressió d’algunes històries al llarg de la seva vida, conté, en la darrera edició, 211 rondalles. La influència d’aquests llibres va ser enorme. La col·lecció de les rondalles dels germans Grimm és, al costat de la Bíblia de Luter, el treball més conegut i més àmpliament difós de la història cultural alemanya a tot el món. Ha estat traduït a 160 llengües de tots els continents. El 2005, aquesta col·lecció es va afegir a la Llista del Patrimoni Mundial de Documents de la UNESCO.Aquest treball ofereix una visió general sobre l’estat actual de la investigació de les rondalles dels germans Grimm i discuteix importants esdeveniments històrics i moderns que els folkloristes han utilitzat per parlar de les rondalles durant gairebé dos-cents anys, el paper dels nous mitjans en la divulgació i recepció de les rondalles dels germans Grimm i el context transcultural en què cada vegada més tot això es duu a terme.En vista d’aquestes tendències, aquest treball resumeix les línies d’investigació i condensa els significats sobre les tradicions orals i literàries i ofereix idees per al futur de les rondalles dels Grimm i de les rondalles en general.On December 20, 1812, the Brothers Jacob and Wilhelm Grimm published a collection with 86 stories, followed by a second volume in 1815 with 70 stories. The collection, later on with added but also with subtracted stories held over their lifetime in the last edition 211 tales. The influence of these books was enormous. The collection of their fairy tales is next to the Luther Bible the best known and most wide-spread literary work of German cultural history in the world. It has been translated into 160 languages in all continents. In 2005, this collection was added to the UNESCO World Document Heritage List. This papers gives an overview about the actual state of research of Grimms’ fairy tales and discusses important historical and modern developments that folklorists have used to talk about fairy tales for nearly two hundred years, the role of new media in the distribution and reception of Grimms’ tales and the increasingly transcultural site in which this all takes place. In light of these tendencies this paper summarizes condenses lines of research and meanings about oral and literal traditions and offers ideas for the future of Grimms’ tales and folktales in general

Studying folktale diffusion needs unbiased dataset

International audienc

Two Hundred Years After Once Upon a Time: The Legacy of the Brothers Grimm and Their Tales in Germany

Because there have been excellent studies about the influence and heritage of the Grimms’ tales up to 1990—I am thinking here of Donald Haase’s edited book The Reception of Grimms’ Fairy Tales—in this essay I focus on the legacy of the Grimms’ tales in the German sociocultural context of the last twenty years. I discuss some of the more recent popular manifestations of their stories in German literature and film and then move on to an analysis of scholarly studies that, in contrast to popular culture, have grounded the legacy of the Grimms in substantial ways. In the conclusion I argue that English-speaking scholars who study the Grimms’ fairy tales should be paying more attention to the inter- relationship between philology and narratology in the Grimms’ collection of folktales