What I find most interesting about The Vegetational Fatherhood is that the story begins with a young woman being what can only be described as raped by a rose. This seems to represent a role reversal in the relationship between humanity and nature. Human's have long exploited (or raped) nature, greedily using up its resources without care or concern for how nature will be affected. In The Vegetational Fatherhood the rose uses the young woman's womb to link humanity and nature together by creating a hybrid being. This exploitation of the young woman to serve the will of nature is no different that humanity's exploitation of nature to serve its one purposes. It is simply the norm we are used to being turned on its head.
The hybrid being, a beautiful young girl, symbolizes the way in which nature is exploited by humanity. Nature usually regarded as mysterious, graceful, and, most importantly, feminine. Humanity and cultural advancement are usually regarded as powerful, factual, and, most importantly, masculine. The young girl is mute, unable to assert a voice in order to protect herself just as is nature. Dr. Rosenberger is a scientist who intends to bend his young bride to his will. He assumes she is pious but instead of respecting who she is he plans to "break her of this habit." Dr. Rosenberger clearly represents humanity and its demands while his young wife represents the innocence and vulnerability of nature.
Because Dr. Rosenberger is careless and disrespectful of his young wife's wishes he ultimately destroys her. He does so inadvertently, yet this could have been prevented had he respected her. His wife's death results in the destruction of Dr. Rosenberger's own life as well. This can be seen to comment on humanity's disrespect for nature. If humanity continues to drain the world of it natural resources and disrespect nature's right to flourish, nature will eventually be destroyed. And because humanity cannot exist without the support of nature, if humanity destroys nature it is effectively destroying itself.
Wednesday, April 8, 2009
Tuesday, April 7, 2009
The narrative voice
What I find interesting about "The Vegetational Fatherhood" is the dichotomy between Realism and Fantasy, as worlds or even as personal beliefs. The story certainly takes place in a world where magic is NOT expected or normal, as opposed to what is generally the case in fairytales. The mother is not only horrified by her daughter's transformation into a rosebush before bed, but absolutely confused. The condemnation of the mother and doctor to an asylum is the ultimate in realism: not only does this world discount magic as an alibi, but the verdict (or treatment) is so very clinical.
The storyteller, however, knows better. He tells the story as if these poor people simply do not know about magic, that they sadly do not understand that the world is of COURSE full of magic, and implies that the reader ought to know their flaw as well. The tone is coy and knowing, and as a reader, just thinking about any aspect of the story as though the world WERE NOT magical is to feel very stupid indeed. This makes the tale very potently, albeit uniquely, a fairytale.
The storyteller, however, knows better. He tells the story as if these poor people simply do not know about magic, that they sadly do not understand that the world is of COURSE full of magic, and implies that the reader ought to know their flaw as well. The tone is coy and knowing, and as a reader, just thinking about any aspect of the story as though the world WERE NOT magical is to feel very stupid indeed. This makes the tale very potently, albeit uniquely, a fairytale.
Social Critique in "The Vegetational Fatherhood"
Mynona (aka Salomo Friedlaender) wrote in early 20th century Germany during the Dadaist and Expressionist movements. I think "The Vegetational Fatherhood" can be read as containing certain social critiques consistent with these two movements. A certain kind of ironic tone seems to come through the narrator's voice in the story, which could be Friedlaender's method of adding social critique to this tale. For example, at the end the narrator notes, "Dr. Rosenberger is an anatomist. Could he have been so cruel as to have conducted bestial experiments on her before he threw her from the balcony? Will the truth ever be known?" (587). This commentary seems to point out the absurdity of explaining the abnormalities in the daughter's body by blaming Dr. Rosenberger. However, another explanation, that she really was part-rosebush, seems just as absurd. By using a fairy tale form, Friedlaender can use characters whose features cannot be explained away by science and by using such examples, he can highlight the subjective side of life that cannot always to be easily explained.
Generally speaking, both Dadaism and Expressionism were a response to rule of Kaiser Wilhem II.. Many authors at this time focused not only on the subjective, but also on the importance of thinking for one's self. A major problem many intellectuals saw during the Kaiserzeit was the inability of subjects to think for themselves and instead blindly followed whatever the Kaiser prescribed. I think "The Vegetational Fatherhood" can be interpreted as having a similar goal in creating a fairy tale that makes the reader question the relationship between nature and the human world. The tale challenges the reader to see nature in a different light than most people do in order to stimulate the reader's imagination. Additionally, the end of the tale seems to challenge the reader to question the explanation society offers for the incident between Dr. Rosenberger and his wife. Friedlaender seems to be urging people to think critically for themselves while also recognizing that the answer might not always be clear-cut.
Generally speaking, both Dadaism and Expressionism were a response to rule of Kaiser Wilhem II.. Many authors at this time focused not only on the subjective, but also on the importance of thinking for one's self. A major problem many intellectuals saw during the Kaiserzeit was the inability of subjects to think for themselves and instead blindly followed whatever the Kaiser prescribed. I think "The Vegetational Fatherhood" can be interpreted as having a similar goal in creating a fairy tale that makes the reader question the relationship between nature and the human world. The tale challenges the reader to see nature in a different light than most people do in order to stimulate the reader's imagination. Additionally, the end of the tale seems to challenge the reader to question the explanation society offers for the incident between Dr. Rosenberger and his wife. Friedlaender seems to be urging people to think critically for themselves while also recognizing that the answer might not always be clear-cut.
The Vegetational fatherhood represents the ultimate communal with nature, where nature and man are able to become one and reproduce. The romantic movement was very influenced by the beauty and mystery of nature, so it seems natural that a writer would go as far as to want the two entities to breed. It seems that the combination of the roses and the woman has created an even better creature. Unfortunately her demise can show the opposition to the romantic movement. Her husband, a doctor and therefore a man of science throws his bride out the window because she looks like a rose bush. Perhaps the author wanted us to begin thinking about nature as human, that the life of a rosebush has the same value as a human life. When the girl looks like a rose bush the doctor throws her out the window without care, because to him she looks like a worthless plant. In fact it is his lovely bride, and by getting ride of the plant, he kills his wife.
The mother's dream in which the rose bush actually transforms into a man gives the reader the idea that nature and plants have the ability to take on human form. By transforming into man, nature shows us the readers that we two are not that different, that we have the same needs and desires, as well as emotions. The child is devoted to her father, and therefore turns into a rosebush every night. She is the perfect child because she is half way between nature and humanity. She is able to experience both worlds and live in a true Romantic state, able to reach the sublime.
Nature and Humanity - a Dangerous Combination
One of the main things that struck me about The Vegetational Fatherhood, was how Mynona comments on the relationship between nature and humanity. Nature is not just a silent entity that provides for humans, but has some sort of enticing or hypnotizing power over humans. The introduction showcases the example of plants with power over humans, the "man-eating plants" (583). This tinges the tale already towards a more evil, threatening characteristic of the the relationship between plants and humans/animals. Then, the young woman who is held entranced and almost drugged, is basically raped by the rose, and so this sinister nature is fully established. With the eventual death of the daughter of this slightly horrific coupling, the warning is full-fledged by the end of the tale.
I believe Mynona uses this aspect of the tale as a warning to the power of vegetation over the lives of humans, as well as to say that the intertwining of plants and humans is doomed - unnatural - destructive. Also, most evident of all the messages, that humans should respect and be wary of the power of nature.
I believe Mynona uses this aspect of the tale as a warning to the power of vegetation over the lives of humans, as well as to say that the intertwining of plants and humans is doomed - unnatural - destructive. Also, most evident of all the messages, that humans should respect and be wary of the power of nature.
Assignment 10 - 7. April 2009
Hi Brian, Amy-Lee, Caitlin, Lydia and Briana,
For this week, read the tale The Vegetational Fatherhood and try to interpret this tale.
You could talk about the idea behind the story, the characters, the fact that it does/does not fit into the catagory ,,Kunstmärchen", the message it wants to convey/fails to, or about anything other thing that catches your attention...there are no specific expectations...you can work with this tale any way you want.
Looking forward to your posts!
Ann
For this week, read the tale The Vegetational Fatherhood and try to interpret this tale.
You could talk about the idea behind the story, the characters, the fact that it does/does not fit into the catagory ,,Kunstmärchen", the message it wants to convey/fails to, or about anything other thing that catches your attention...there are no specific expectations...you can work with this tale any way you want.
Looking forward to your posts!
Ann
Thursday, April 2, 2009
Kunstmärchen - Wackenroder's A Wondrous Oriental Tale of a Naked Saint
Wackenroder's A Wondrous Oriental Tale of a Naked Saint, unlike many traditional fairy tales, is not perfectly clear on the moral message of the story. One gets the idea that the message is to enjoy life and not dwell upon the aging process, but this is debatable at best. And although the character is described as a Saint, the theme is not overtly Christian, if it even is at all. It emphasizes the significance and power of love. Although the ending is not particularly unhappy, as many Kunstmärchen endings are, it is not particularly happy either. The Naked Saint just moves on with his life, for the first time ever.
In my opinion, the music written on the the page is extremely weak. It evoked little emotion and thus the Naked Saint's strong reaction to it seemed out of sync with the story to me. Poetic language is never as powerful as music, however, when the music must be read rather than heard, poetic language is superior.
In my opinion, the music written on the the page is extremely weak. It evoked little emotion and thus the Naked Saint's strong reaction to it seemed out of sync with the story to me. Poetic language is never as powerful as music, however, when the music must be read rather than heard, poetic language is superior.
Tuesday, March 31, 2009
The Naked Saint and Music
Wackenroder frames his tale at the beginning much like a fairy tale in that the setting involves an indeterminate time and place. He also introduces a sort of magic into the story by describing the naked saints as “the wondrous recipients of a higher genius, who have taken on human form after having drifted from the realm of the firmament and consequently do not know how to act like human beings” (296). However, much like other fairy tales, Wackenroder does not try to explain this phenomenon any further to the reader. The naked saint is also subject to some sort of a curse because “the constant roar of the wheel of time did not allow him to rest and do anything on earth – to act, to effect, to be productive” (298). Much like curses in other fairy tales, the naked saint’s spell was broken through the fulfillment of a longing, which in his case was to hear music. Then after the spell is broken, in the tradition of fairy tales, the naked saint undergoes a transformation through which he becomes a spirit “woven from a soft vapor” (299).
I think that both music and poetic language can be very powerful but in different ways because they appeal to different senses. Music appeals to our sense of hearing in a way that I do not think poetic language can, even if it is read aloud. The fact that music can affect us even without words makes it very powerful in a way different from poetic language. Poetic language can also be very powerful and can display musical qualities in the meter, diction, and so on, yet it can never take the place of music. I think Wackenroder’s attempt to show the transformative power of music in this tale falls short of his intentions. I am not sure that poetic language could ever be successful in demonstrating the power Wackenroder believes music holds. The difference between hearing beautiful music and reading beautiful poetic language is best demonstrated by Wackenroder’s description of the music in the story. He writes, “Sweet horns and countless magical instruments enticed a whirling world of tones to ring forth, and a song arose from the undulating music” (298). This sentence provides an excellent example of beautiful prose and sets the scene nicely, however it cannot create the actual music for the reader and thus remains less powerful than to the music itself. The transformative power of the music for the monk is quite obvious from Wackenroder’s description but with only words to describe it the music cannot have the same effect on the reader as it does for the monk.
I think that both music and poetic language can be very powerful but in different ways because they appeal to different senses. Music appeals to our sense of hearing in a way that I do not think poetic language can, even if it is read aloud. The fact that music can affect us even without words makes it very powerful in a way different from poetic language. Poetic language can also be very powerful and can display musical qualities in the meter, diction, and so on, yet it can never take the place of music. I think Wackenroder’s attempt to show the transformative power of music in this tale falls short of his intentions. I am not sure that poetic language could ever be successful in demonstrating the power Wackenroder believes music holds. The difference between hearing beautiful music and reading beautiful poetic language is best demonstrated by Wackenroder’s description of the music in the story. He writes, “Sweet horns and countless magical instruments enticed a whirling world of tones to ring forth, and a song arose from the undulating music” (298). This sentence provides an excellent example of beautiful prose and sets the scene nicely, however it cannot create the actual music for the reader and thus remains less powerful than to the music itself. The transformative power of the music for the monk is quite obvious from Wackenroder’s description but with only words to describe it the music cannot have the same effect on the reader as it does for the monk.
Kunstmärchen and other umlaut-like things.
Certainly "A Wonderous Oriental Tale of a Naked Saint" is much different than the tales we are used to. Structurally, it breaks many of the rules of the fairytale genre. There are no sets of three, no magical gifts, no distinct "hero" role. However, there is magic. The protagonist does become enlightened by the end of the tale, and certainly the way this comes about is fantastical, as is the premise of the story to begin with. So in the sense that a character set in a fantastical setting (without questioning its whimsy) is changed by magical happenings and does presumably live happily ever after, this is a fairytale.
In regards to music, while the italicized lyrics do a good job of verbalizing music, of representing music as words, it doesn't take the place of music. As a musician and a writer, I can imagine that Wackenroder intends us to imagine a song, and does his best to recreate that in written word as best he can, but the lyrics don't replace the music. They are separate, and it is still music that we are intended to experience, however imaginitively.
In regards to music, while the italicized lyrics do a good job of verbalizing music, of representing music as words, it doesn't take the place of music. As a musician and a writer, I can imagine that Wackenroder intends us to imagine a song, and does his best to recreate that in written word as best he can, but the lyrics don't replace the music. They are separate, and it is still music that we are intended to experience, however imaginitively.
Naked Saint Response
Translated by Jack Zipes, A Wondrous Oriental Tale of a Naked Saint contains many elements characteristic of the fairytale genre. The story has the unreal element of the naked saint who is turning "the powerful rushing wheel" of time (298). The naked saint is also a rather mythical/uncommon character - he did "not know how to act like [a] human being" and is described as being "trapped in the whirlpool of his wild confusion" (296, 297). He has a magic and symbolic task or quest of having to always turn the wheel of time. And although he tries to resist the pull, he cannot until he hears the enlightening element of music. The most strikingly obvious shared characteristic with the fairytale genre is the transformation that overcomes the saint after hearing music for the first time. The tale also addresses cultural and historical aspects of the Orient and their legend of the "naked saint." The Kunstmarchen subset is defined as a more literary and artistic form of the fairytale genre - this is certainly found in A Wondrous Oriental Tale of a Naked Saint where the tale seems like it started from an oral tradition but was embellished upon extensively.
In terms of this tale, the relationship between poetic language and music is intertwined in my opinion. Music does set the naked saint free of his insane turning of the wheel of time, but we don't witness a loss of poetic language in the tale itself. After hearing the lovers music, the naked saint transforms into an ethereal being who dances "up and down in heavenly delight, back and forth upon the white clouds that swam in the airy space" (299). Although the saint does not talk anymore after the music enters the tale, the language of the tale itself is still quite beautiful and poetic. For the saint specifically, I do not think the power of music is also accessible in language, with "his wild garbled speeches" and "wild, loud laughter" (297). But perhaps for the other characters there is that possibility. Especially after them having "watched the nocturnal wonder with astonishment" (299). His transformation might clue them into the power of music in personal enlightenment - moving them away from the rudimentary troubles of worrying about time, to being able to enjoy the heavens of the world they exist in.
In terms of this tale, the relationship between poetic language and music is intertwined in my opinion. Music does set the naked saint free of his insane turning of the wheel of time, but we don't witness a loss of poetic language in the tale itself. After hearing the lovers music, the naked saint transforms into an ethereal being who dances "up and down in heavenly delight, back and forth upon the white clouds that swam in the airy space" (299). Although the saint does not talk anymore after the music enters the tale, the language of the tale itself is still quite beautiful and poetic. For the saint specifically, I do not think the power of music is also accessible in language, with "his wild garbled speeches" and "wild, loud laughter" (297). But perhaps for the other characters there is that possibility. Especially after them having "watched the nocturnal wonder with astonishment" (299). His transformation might clue them into the power of music in personal enlightenment - moving them away from the rudimentary troubles of worrying about time, to being able to enjoy the heavens of the world they exist in.
Assignment 9 - 31. March 2009
Hi Lydia, Brian, Caitlin, Amy-Lee and Briana,
Here is this week's assignment. Please take note of the deadlines.
Read Wackenroder's A Wondrous Oriental Tale of a Naked Saint and do the following:
1. Using elements from this tale, explain how it fits into the Fairy Tale/Kunstmärchen genre.
2. Trace the relationship of music and poetic language. Is the power evoked by music also accessible to language or does language merely point out to music and/or what music does.
Deadline for posts: 10.00 a.m. on Wednesday
Deadline for comments on a minimum of two posts: Midnight on Wednesday
Looking forward to your posts!
Ann
Here is this week's assignment. Please take note of the deadlines.
Read Wackenroder's A Wondrous Oriental Tale of a Naked Saint and do the following:
1. Using elements from this tale, explain how it fits into the Fairy Tale/Kunstmärchen genre.
2. Trace the relationship of music and poetic language. Is the power evoked by music also accessible to language or does language merely point out to music and/or what music does.
Deadline for posts: 10.00 a.m. on Wednesday
Deadline for comments on a minimum of two posts: Midnight on Wednesday
Looking forward to your posts!
Ann
Tuesday, March 24, 2009
The contextually disobedient wife. Don't hit me.
"Rich is the man whose wife is dead and horse alive"
This is an anonymous proverb from Agricultural France, back in the day not long before Bluebeard would begin to be first told. While today, the tale speaks volumes about the man's treachery and blatant criminal record, the society from which this tale comes is one where family and marriage were only just worth the procreation that they enabled. According to sociologist Edward Shorter, in France a husband would likely be publicly humiliated for not having control of his wife by riding an ass backward through town. The death of a child was so common that it hardly caused sorrow, and in fact infanticide or [close to it] the abandonment or giving away of children was not uncommon. Thus, it is unlikely that emotional attachments existed to any great degree like they do today. (Sociology 101 text, by Rodney Stark)
Put in this [breifly described] setting, the crime of Bluebeard's murders and the crime of his wife's disobedience can be met at a much more level plane. Perroult's morals back this as well: while "Curiosity... can bring with it serious regrets," and "women succumb," "You will understand that this tale is one that took place many years ago. No longer are husbands so terrible".
Another proverb from the same time and place to end on -
"The two sweetest days of a fellow in life,
Are the marriage and burial of his wife."
This is an anonymous proverb from Agricultural France, back in the day not long before Bluebeard would begin to be first told. While today, the tale speaks volumes about the man's treachery and blatant criminal record, the society from which this tale comes is one where family and marriage were only just worth the procreation that they enabled. According to sociologist Edward Shorter, in France a husband would likely be publicly humiliated for not having control of his wife by riding an ass backward through town. The death of a child was so common that it hardly caused sorrow, and in fact infanticide or [close to it] the abandonment or giving away of children was not uncommon. Thus, it is unlikely that emotional attachments existed to any great degree like they do today. (Sociology 101 text, by Rodney Stark)
Put in this [breifly described] setting, the crime of Bluebeard's murders and the crime of his wife's disobedience can be met at a much more level plane. Perroult's morals back this as well: while "Curiosity... can bring with it serious regrets," and "women succumb," "You will understand that this tale is one that took place many years ago. No longer are husbands so terrible".
Another proverb from the same time and place to end on -
"The two sweetest days of a fellow in life,
Are the marriage and burial of his wife."
Question 2: Heroine in Fitcher's Bird
This version of Bluebeard seems to only scold curiosity without forethought. The third sister thought to put the egg in a safe place rather than keeping it on her person at all times. She also remained calm enough to reassemble her sister's body parts and bring them back to life. Then she devised a plan for getting them, and eventually herself, safely away from Bluebeard. In addition to protecting herself she even tricks Bluebeard into carrying her two sisters home on his own back. This clearly exemplifies how this heroine took her role beyond a celebration of self-preservation and to a new level of cleverness.
Sally in "Bluebeard's Egg"
Perhaps the most interesting and complex Bluebeard tale we read was Margaret Atwood’s “Bluebeard’s Egg.” This modern interpretation of the Bluebeard tale is interesting in the greater complexity in the character of Sally, Ed’s wife. Possibly because her character is more developed, it seems harder to assign a label to Sally as either a model of self-preservation and cleverness or as a disobedient female. I would argue that she is far from a disobedient female because of the amount she depends on Ed but it is interesting to explore the level of self-preservation and cleverness in her character. The story is told from a third-person point of view that is limited to telling the reader Sally’s thoughts only, which becomes is a very important element of the story because much of Sally’s internal dialogue revolves around her inability to really know what Ed is thinking. The narrator observes, “He’s constantly developing, like a Polaroid print, new colours emerging, but the result remains the same: Ed is a surface, one she has trouble getting beneath.” The reader may therefore be biased somewhat in his opinion of her since he is only provided with Sally’s observations and interpretations. From Sally’s point of view it seems rather obvious that she sees herself as a model of self-preservation and cleverness, especially in contrast to Ed who she views as outright dumb. The narrator notes, “On good days she sees his stupidity as innocence, lamblike, shining with the light of (for instance) green daisied meadows in the sun.” However, Sally’s ability to judge Ed’s intelligence is called into question after she observes him with Marylynn in a moment that might be indicative of an affair between the two. Sally’s inability to predict or even suspect such an affair casts doubt over the truth of her opinions about Ed and her relationship with him.
Sally worries about losing Ed, who had two wives before her, however she tries to reassure herself with observations of his supposed ignorance. Sally wants to know what happened to his first two wives and the narrator explains, “But it’s also a cause for anxiety: for if he doesn’t know what happened with the other two, maybe the same thing could be happening with her and he doesn’t know about that, either.” Worries about losing Ed ignite Sally’s self-preservation instinct and throughout the tale she seems to try to consciously act in a manner that will prevent any such loss. Yet, Sally can hardly be seen as a model of self-preservation because it seems that if she really wanted to survive she should not have attached herself to Ed in a manner that almost seems unhealthy. At one point, the tale points out, “She knows she thinks about Ed too much. She knows she should stop.” If she were really a model of self-preservation, she would do just that – she would stop. Additionally, Sally’s cleverness, which the story seems to explicitly tout through its narration that includes her own self-praising thoughts, is called into question especially after the incident with Ed and Marylynn. Sally’s categorization of Ed as “Ed Egg, blank and pristine and lovely. Stupid, too,” no longer appears applicable. At the end Sally notes, “…the egg is alive, and one day it will hatch.” The moment shared by Ed and Marylynn turns Sally’s whole world upside and makes everything even less certain. This change highlights Sally’s lack of self-preservation and also lowers her self-esteem and opinion of her own intelligence. Thus, it appears that despite her fervent hopes, Sally was delusional in her belief in her ability to preserve herself through her marriage to Ed and through her cleverness.
Sally worries about losing Ed, who had two wives before her, however she tries to reassure herself with observations of his supposed ignorance. Sally wants to know what happened to his first two wives and the narrator explains, “But it’s also a cause for anxiety: for if he doesn’t know what happened with the other two, maybe the same thing could be happening with her and he doesn’t know about that, either.” Worries about losing Ed ignite Sally’s self-preservation instinct and throughout the tale she seems to try to consciously act in a manner that will prevent any such loss. Yet, Sally can hardly be seen as a model of self-preservation because it seems that if she really wanted to survive she should not have attached herself to Ed in a manner that almost seems unhealthy. At one point, the tale points out, “She knows she thinks about Ed too much. She knows she should stop.” If she were really a model of self-preservation, she would do just that – she would stop. Additionally, Sally’s cleverness, which the story seems to explicitly tout through its narration that includes her own self-praising thoughts, is called into question especially after the incident with Ed and Marylynn. Sally’s categorization of Ed as “Ed Egg, blank and pristine and lovely. Stupid, too,” no longer appears applicable. At the end Sally notes, “…the egg is alive, and one day it will hatch.” The moment shared by Ed and Marylynn turns Sally’s whole world upside and makes everything even less certain. This change highlights Sally’s lack of self-preservation and also lowers her self-esteem and opinion of her own intelligence. Thus, it appears that despite her fervent hopes, Sally was delusional in her belief in her ability to preserve herself through her marriage to Ed and through her cleverness.
Question 1: Horror in Bluebeard
In my opinion the most horrific aspect of any of the Bluebeard stories was the first moral at the end of Perrault's version. Somehow this moral manages to turn a fairy tale about a male serial killer into a tool to place social constraints upon women. The Perrault and Grimm versions teach that a women should always obey her husband or else she will receive severe punishment. These stories offer the ultimate form of Victim Blaming. Because the wife disobeyed her husband and entered the forbidden room, she risks her life. The husband's crazed and murderous tendencies is excused while the wife's curiosity is chastised. The inhuman nature of the Bluebeard character is also shocking. The Grimms' versions and then Jacobs version actually goes so far as to describe the brutal murders of women.
Perhaps the best message that a woman could take from these stories is that she should marry for love. All of these stories involved women marring the Blulebeard character due to an arranged marriage; despite a feeling of hesitation. If you take time to get to know your future husband, you probably stand a better chance of avoiding a brutal death at his hands later on.
Perhaps the best message that a woman could take from these stories is that she should marry for love. All of these stories involved women marring the Blulebeard character due to an arranged marriage; despite a feeling of hesitation. If you take time to get to know your future husband, you probably stand a better chance of avoiding a brutal death at his hands later on.
Horror in BlueBeard
The components of horror in the story are clearly the points of interest in the tale. This is evident by the descriptions they get, such as "clotted blood" and "bloody basin filled with dead people who had been chopped to pieces". This is similar to the exaggerated imagery of magic in fairytales. While the fact that blood exists for the purpose of pushing the narrative forward, the detail is there for effect.
Horror in Bluebeard Tales
I think that in most of the Bluebeard stories horror functions as a way to reinforce the image of the husband as evil. In Perrault’s “Bluebeard” and the Grimm’s “Fitcher’s Bird,” the room that the wife is forbidden to enter is described in a manner seemingly designed to shock the reader. Perrault describes the room as covered in blood with dead women hanging on the walls, while the Brothers Grimm story depicts a basin filled with chopped up people. Both stories seem to want to horrify the reader and thus make him reflect on the evil nature of a man who would commit such acts. Similarly the Brothers Grimm story “The Robber Bridegroom” and Jacobs’ “Mr. Fox” describe the gruesome acts of a husband-to-be who cuts up girls, including cutting off their fingers to obtain the ring on it. The horror in these two stories seems essential to the plot in order to validate the woman’s refusal to marry the man in question. After telling the story of atrocities she sees her future husband commit, which she frames as a dream in both tales, she is no longer obligated to marry him and her family takes care the bridegroom for her.
One story that stands out as different from the others in its use of horror is “Bluebeard’s Ghost” by Thackeray. Thackeray seems to use horror as the device to prompt Bluebeard’s widow into making a decision between Mr. Sly and Captain Blackbeard. The horror manifests itself in the visits made by Bluebeard’s “ghost” to his widow during the night. When the widow finds out the real source of these supposedly supernatural visits, she learns the true nature of Mr. Sly and is able to pick Captain Blackbeard without any qualms. In “Bluebeard’s Ghost” the horror provides almost the only action in the story and also propels the most important conflict in the story to its resolution in the widow’s picking of Blackbeard.
One story that stands out as different from the others in its use of horror is “Bluebeard’s Ghost” by Thackeray. Thackeray seems to use horror as the device to prompt Bluebeard’s widow into making a decision between Mr. Sly and Captain Blackbeard. The horror manifests itself in the visits made by Bluebeard’s “ghost” to his widow during the night. When the widow finds out the real source of these supposedly supernatural visits, she learns the true nature of Mr. Sly and is able to pick Captain Blackbeard without any qualms. In “Bluebeard’s Ghost” the horror provides almost the only action in the story and also propels the most important conflict in the story to its resolution in the widow’s picking of Blackbeard.
Clever Bride in "The Robber Bridegroom"
In the "Robber Bridegroom," the female protagonist is portrayed in an intelligent, clever manner. She shows foresight in filling "both her pockets with peas and lentils to mark the way" to the bridegroom's house - thereby listening to the feelings that make her "dreadfully frightened" when she "was supposed to leave." The girl also places her trust rightly in the matronly old woman, who saves her when she tells the robbers to " 'come and eat,'" efficiently distracting them from trying to find the finger that flew into the girl's lap. Even though going through the gruesome ordeal of witnessing a murder, she also does not faint or scream when hiding behind the barrel, and is only said to be "trembling and shaking." The girl then escapes with the old woman and immediately tells "her father about everything that had happened." She has the werewithal to keep the chopped off finger and ring to present as evidence later during the wedding celebration. The girl is never described as overtly curious and she does not disobey anyone's orders. Therefore, I would say that she is depicted as possessing a high level of intelligence and self-preservation.
Elements of Horror Comparison
When comparing the elements of horror used in "The Robber Bridegroom" and "Fitcher's Bird," several differences can be seen. In "The Robber Bridegroom" there are two main instances where horror is used: "when the ungodly crew...tore off [the maiden's] fine clothes, put her on a table, chopped her beautiful body into pieces, and sprinkled them with salt" and when one robber "took an ax and chopped the finger off" to get a "gold ring." The first instance is used to both startle the audience and move the plot along, whereas the second instance mainly functions to move the plot along. The second plot element is used later so that the clever bride can prove that her story is true, and also save herself from her soon-to-be murderous husband.
In "Fitcher's Bird," the two main uses of horror are with the description of the sorcerer's secret chamber with the "large, bloody basin filled with dead people who had been chopped to pieces," and when the first wife is murdered by the sorcerer - "he threw her down, dragged her in by the hair, chopped her head off on the block, and hacked her into pieces so that her blood flowed all over the floor." Both of these elements are used to shock the reader, and to elaborate on the storyline to express the horrifying qualities of the sorcerer. Not only does he kidnap young women, but he also murders them gruesomely.
In "Fitcher's Bird," the two main uses of horror are with the description of the sorcerer's secret chamber with the "large, bloody basin filled with dead people who had been chopped to pieces," and when the first wife is murdered by the sorcerer - "he threw her down, dragged her in by the hair, chopped her head off on the block, and hacked her into pieces so that her blood flowed all over the floor." Both of these elements are used to shock the reader, and to elaborate on the storyline to express the horrifying qualities of the sorcerer. Not only does he kidnap young women, but he also murders them gruesomely.
I believe that certain stories such as the grimm brothers' Fitcher's Bird is a story that celebrates the heroine's ability and cleverness to escape the evil sorcerer/bluebeard rather than a tale of female disobedience. More than half of the story is spent on the third wife's clever deception, rescue and escape from bluebeard. The heroine is a deeper character, dedicated to family and she is rewarded with life, and punishes not only the evil sorcerer, but also his whole "crew". The bride in Fitcher's Bird creates the most complicated lies and seems to be the most intelligent of the bunch, but she is also the only bride not to receive a whole bunch of money in the end. The other brides who were more victims than heroines where rewarded for their pacifically by all of bluebeard's treasure. In Fitcher's Bird the bride is able to destroy more evil, but she is punished for her cleverness by not being monetarily rewarded. So, i think i've changed my mind, and that the story punished female disobedience, even though she did save the day.
Horror in Bluebeard
The two types of horror in he bluebeard stories are the dead severed hand and the floor covered in blood. The hand with the ring is a physical horror because it is lifeless, bloody, and a way for the evil, bloodthirsty bluebeard to find and kill the heroine. The hand is especially frightening because it's existence and place meant in the heroine's lap is her closest brush with death. There is the dramatic suspense when bluebeard is looking for the hand (and the ring), that catches their breath and brings them within an inch of death. The floor covered in clotted blood, reflecting the images of the dead women or chopped-up people is a much more gory and traditionally horrific image. The blood and guts are gross, but i think the suspense linked to the severed hand is much more horrifying. With the hand, the heroine loses control. Her life or death is entirely up to chance, and that is terrifying.
Assignment 8 - 24. March 2009
Hi Brian, Caitlin, Briana, Amy-Lee and Lydia,
For this week, please complete two separate posts.
Question 1: Compare the elements of horror in the various versions of Bluebeard that you read for today. Please name the elements you are comparing and discuss how they function in the story. Do they help move the plot along? Elaborate the story? Startle the audience? etc.
Question 2: Tatar offers two readings of the heroine's character: either as a celebration of self-preservation and cleverness or as a disobedient female. Using a version other than the Perrault, consider how the heroine gets presented. Use quotes to support your reading.
DEADLINE for Posts: Midnight on Tuesday
DEADLINE for Comments on atleast two other posts: Midnight on Wednesday
Again, please post two separate entries!
Ann
For this week, please complete two separate posts.
Question 1: Compare the elements of horror in the various versions of Bluebeard that you read for today. Please name the elements you are comparing and discuss how they function in the story. Do they help move the plot along? Elaborate the story? Startle the audience? etc.
Question 2: Tatar offers two readings of the heroine's character: either as a celebration of self-preservation and cleverness or as a disobedient female. Using a version other than the Perrault, consider how the heroine gets presented. Use quotes to support your reading.
DEADLINE for Posts: Midnight on Tuesday
DEADLINE for Comments on atleast two other posts: Midnight on Wednesday
Again, please post two separate entries!
Ann
Tuesday, March 17, 2009
The DEFA film "The Devil's Three Golden Hairs”
The DEFA film "The Devil's Three Golden Hairs” comments on how the upper class has a tendency to exploit the lower classes. In this sense, the upper class engages in immoral and even criminal behavior and unruly behavior of the lower classes is thus somewhat justified. This would clearly appeal to the middle classes, serving to grant them a sense of importance and empowerment. Also, I should be considered that the film was made at a time when the Nazi regime in Germany would be a not too distant memory. The linking of the monarch with the devil may be a metaphor for Hitler and his ties to evil. Like the Snow White film the DEFA film "The Devil's Three Golden Hairs” utilizes obvious physical humor. This aspect of the film incorporates younger members of their middle class target audience; perhaps hoping to influence them early on.
DEFA Films
There are obvious parallels between The Devil’s Three Golden Hairs and DEFA’s Schneewittchen. The emphasis on work in The Devil’s Three Golden Hairs becomes apparent in the opening scene at the blacksmith’s shop because the scene seems longer and more detailed than necessary. The idolizing of anything “good” or “hardworking” also manifests itself early in the film, as it also does in Schneewittchen with the scene in the kitchen that cinematically values the work done by the kitchen help. Another similarity between the two films lies in the mockery of the monarchy and disparaging of the vices enjoyed by the monarchy, which include food and money. In The Devil’s Three Golden Hairs, the film seems to associate the monarchy with debauchery (the king’s drunkenness in the forest), along with stupidity (the refusal to believe in the existence of robbers). Interestingly, one major difference between The Devil’s Three Golden Hairs and Schneewittchen is the more chaotic and hectic atmosphere in The Devil’s Three Golden Hairs compared to Schneewittchen, in which the chaos seems confined to scenes involving the monarchy.
The target audience for The Devil’s Three Golden Hairs might have been children in East Germany, whom the government hoped to teach important lessons with the film. The slapstick humor seems like it would have appealed most to children, because it appears a bit too juvenile for an older audience. However, some of the lessons embedded in the film might be hard for children to interpret so maybe the film is also meant for the parents watching the film with their children.
The target audience for The Devil’s Three Golden Hairs might have been children in East Germany, whom the government hoped to teach important lessons with the film. The slapstick humor seems like it would have appealed most to children, because it appears a bit too juvenile for an older audience. However, some of the lessons embedded in the film might be hard for children to interpret so maybe the film is also meant for the parents watching the film with their children.
This film is easily spotted as a DEFA production based on its slapstick style. In each that we have seen so far, there was a heavy reliance on physical humor, akin to our American 3 stooges. The audience, therefore, was likely a young adult audience, who could appreciate the adaptation of a simple and probably familiar storyline, as well as enjoy the crude-ish humor of the film. This sort of adaptation would likely only be effective in a visual medium, as opposed to written, and so this filmic rendition serves us well.
Assignment 7 - 17.March 2009
Hi Caitlin, Brian, Amy-Lee, Briana and Lydia,
Here's the assignment for this week. Please note that the deadlines are different from the usual.
After having viewed the DEFA film "The Devil's Three Golden Hairs", do the following:
1. Try to interpret from the movie, who the target audience might be. Keep in mind, that the film was made in 1977 in East Germany.
2. Compare the movie with the DEFA version of Snow White.
3. Explain how the medium 'film' is used to tell the story. You could consider talking about the plot, dialogue, etc.
Do try to touch upon all three points in your blog.
Deadline for posts: 11.00 a.m. on Wednesday
Deadline for comments on at least two posts: Midnight on Wednesday
Looking forward to your posts!
Ann
Here's the assignment for this week. Please note that the deadlines are different from the usual.
After having viewed the DEFA film "The Devil's Three Golden Hairs", do the following:
1. Try to interpret from the movie, who the target audience might be. Keep in mind, that the film was made in 1977 in East Germany.
2. Compare the movie with the DEFA version of Snow White.
3. Explain how the medium 'film' is used to tell the story. You could consider talking about the plot, dialogue, etc.
Do try to touch upon all three points in your blog.
Deadline for posts: 11.00 a.m. on Wednesday
Deadline for comments on at least two posts: Midnight on Wednesday
Looking forward to your posts!
Ann
Wednesday, March 11, 2009
The Ending
I thought that the difference in the endings of the two versions was very interesting. I guess as with all movies, this one somewhat simplified the original story considering the sisters faced no consequences as the did in the book ending. In the De Beaumont version the sisters are turned into stone while in Cocteau's Beauty and the Beast they receive no punishment. Perhaps this was due to an edit for the time however I believe that the fact that the fairy states that the sisters can free themselves if they realize their mistake is very important. This clearly makes their plight their own fault and absolves anyone else of responsibility. Good is offering evil a chance to free itself.
Returning to the Beast
One difference I noted was the reason Belle did not return quickly to the Beast. In the written story, it seemed to imply that she was at fault, that she was too glad to be back to remember her commitment. In the film, however, it was her family that plotted to keep her there so that they could reap the wealth of the Beast. The film therefore keeps the innocence of Belle and keeps the focus on her, rather than on the Beast. Yet another instance of the male character being less deep or important than the girl.
The ending of Cocteau's la belle et la bete has always stuck out to me, especially the image of beauty and the beast flying away. It is a very strange and beautiful image with the billowing fabric is a much more powerful image than returning to the palace. The film cuts our the whole reunion with the family, although it is mentioned that belle will reunite with her father, and her sisters will be demeaned. The lovers fly off in clouds and smoke, embracing and almost dancing, free from their previous restraints; belle's family and the beast's ugliness.
I also particularly like the line that Belle says: c'etais moi le monstre - i was the monster. This places more blame on belle than de beaumont's story. Belle does not apologize for letting his ugliness overweight his kindness. Instead she encourages him to fight for his life and her love, and it becomes a discussion on what a man vs. a beast can do for love- a man can fight, but a beast can only grovel at his love's feet.
There is also the whole added plot line of Avenant, her brother's friend who wants to marry belle, and who belle admits to loving. I have always found it a bit creepy that Avenant and la bete are played by the same actor, but it makes sense that when seen in the plot line that the beast is only turned back into a man when Avenant is kill/transformed. It is interesting that he tells belle that he changed because of a loving look, when the director seems to point to the diana statue shooting Avenant and transferring the curse to another, with the beast taking on Avenant's appearance.
Beauty and the Beast
One part of the Cocteau film that stands out in my memory is after the Beast is transformed back into a man and Belle notes that he bears a strong resemblance to her brother’s friend who proposed to her in the beginning of the film. This exchange struck me as rather odd because it did not seem to fit in with the rest of the scene, and I did not remember this detail from any other version of Beauty and the Beast. In de Beaumont’s version of the tale, for example, there is no mention of a resemblance of the Beast to anyone in Belle’s life. This then led me to wonder what the significance of this detail could be in the film. The conversation between Belle and the Beast about his similarity to her brother’s friend seemed rather stilted and then ended rather abruptly when Belle answered that it did not bother her that there was a resemblance between the two. It seems to me that the addition was most likely made to enhance plot or character development. I remember earlier in the film the Beast becomes very upset when Belle admits that she had been proposed to by another handsome man. Thus, maybe the detail of the Beast’s resemblance to this very man might be supposed to create a sense of fulfillment such that he no longer needs to feel inferior to another man in Belle’s life. It is interesting that in the de Beaumont version, Belle’s only question after the Beast’s transformation is where did the Beast go; she does not seem to have any concerns about his appearance besides the fact that he no longer looks like a beast.
Tuesday, March 10, 2009
Assignment 6 - 10.March 2009
Hi Brian, Briana, Caitlin, Lydia and Amy-Lee,
Here is your assignment for this week, with deadlines different from the usual.
Pick one scene or element from Cocteau's Beauty and the Beast, and compare it or contrast it with de Beaumont's version. You might pick something that interests you, that seems odd, or something that you missed in one version or the other, for example.
For those of you who didn't manage to, you have time to complete the reading and watch the film, which is available on OAK and also on Reserve in the Library.
Deadline for putting up your responses is 09.00 p.m. on Wednesday.
Deadline for comment on at least one post is 10.00 a.m. on Thursday.
Ann
Here is your assignment for this week, with deadlines different from the usual.
Pick one scene or element from Cocteau's Beauty and the Beast, and compare it or contrast it with de Beaumont's version. You might pick something that interests you, that seems odd, or something that you missed in one version or the other, for example.
For those of you who didn't manage to, you have time to complete the reading and watch the film, which is available on OAK and also on Reserve in the Library.
Deadline for putting up your responses is 09.00 p.m. on Wednesday.
Deadline for comment on at least one post is 10.00 a.m. on Thursday.
Ann
Tuesday, February 24, 2009
Cinderella and her Fairy Godmother
This illustration of Cinderella by Margaret Evans Price is from the 1921 book Once Upon a Time: A Book of Old-Time Fairy Tales. One of the more striking elements of this illustration is how young Cinderella appears; she looks younger than the Cinderella portrayed in most of the other illustrations which could be a result of the later date of this publication. Perhaps as the story moved into more modern times Cinderella became younger (similar to what happened with Little Red Riding Hood in illustrations). Another striking element of the illustration is the portrayal of Cinderella's fairy godmother. Compared to earlier illustrations, the fairy godmother looks more like a sweet grandmother than the angel-like representation illustrations in earlier publications of the tale. Additionally, the combination of the fairy godmother's wand and the sort of magical orb above the pumpkin make the godmother's magic seem more fantastic and cartoon-like than in other illustrations. Thus, the magic portrayed appears to be more similar to that of the Perrault version of the tale, than to the sort of natural, pagan magic of the Grimms' version. This depiction of the fairy godmother is also interesting because her pointed hat and clothing would be more typical of that of an evil witch in modern culture. However, the kind expression on her face assures the viewer that she is indeed a kind fairy godmother as we have come to expect in Cinderella stories.
This illustration is from: http://www.surlalunefairytales.com/illustrations/cinderella/pricecindy2.html
Cinderella and the Birds
This illustration of Cinderella, by Elenore Abbott, was published with 
the Grimm's Fairy Tales in 1920. The most striking aspect of this illustration was the use of birds, both in the foreground holding up the magical gown, as well as in a hemicircle in the background, connecting the tree to Cinderella kneeling on the ground. As we have talked about in class earlier this semester, birds are the agents of transformations in fairytales; this is especially seen with the "Boys into Birds" series of stories. The two dove-like birds in the foreground are seen as almost blessing Cinderella with the ethereal gown they hold in their beaks - thereby transmitting the physical object of transformation onto the pious girl. The hemicircle of birds in the background however play a different role in the illustration. They connect the hazel tree from the story to Cinderella. Trees are symbolic for the giving of life, and this is most important since this particular tree stands over the mother's grave. Also, the cyclic form of the birds is reminiscent of the cycle of life. So, the mother is fufilling her duty of taking care of her daughter through the usage of the birds. The transformative, life-giving power of the tree and deceased mother are connected to Cinderella through the birds. This illustration is in close keeping with the Grimms tale, as seen with the birds, tree, and gown, as well as with the pious nature of the kneeling girl. As her mother told her, " 'Dear child, be good and pious. Then the dear Lord shall always assist you, and I shall look down from heaven and take care of you'" (Tartar, 79).
This picture was found on the SurLaLune Fairy Tales site: http://www.surlalunefairytales.com/illustrations/cinderella/abbottcindy.html
the Grimm's Fairy Tales in 1920. The most striking aspect of this illustration was the use of birds, both in the foreground holding up the magical gown, as well as in a hemicircle in the background, connecting the tree to Cinderella kneeling on the ground. As we have talked about in class earlier this semester, birds are the agents of transformations in fairytales; this is especially seen with the "Boys into Birds" series of stories. The two dove-like birds in the foreground are seen as almost blessing Cinderella with the ethereal gown they hold in their beaks - thereby transmitting the physical object of transformation onto the pious girl. The hemicircle of birds in the background however play a different role in the illustration. They connect the hazel tree from the story to Cinderella. Trees are symbolic for the giving of life, and this is most important since this particular tree stands over the mother's grave. Also, the cyclic form of the birds is reminiscent of the cycle of life. So, the mother is fufilling her duty of taking care of her daughter through the usage of the birds. The transformative, life-giving power of the tree and deceased mother are connected to Cinderella through the birds. This illustration is in close keeping with the Grimms tale, as seen with the birds, tree, and gown, as well as with the pious nature of the kneeling girl. As her mother told her, " 'Dear child, be good and pious. Then the dear Lord shall always assist you, and I shall look down from heaven and take care of you'" (Tartar, 79).This picture was found on the SurLaLune Fairy Tales site: http://www.surlalunefairytales.com/illustrations/cinderella/abbottcindy.html
The Fairy Godmother
This illustration grabbed my attention, not because of Cinderella, but because of her fairy godmother. It was created by Paul Woodroffe sometime in the late 19th or early 20th century. The fairy godmother looks nothing like I have always pictured her in my mind. In this illustration her image looks much more like a witch than a fairy godmother. She is dressed almost entirely in black and dons what is clearly a witch's hat upon her head. The little color she does have in her outfit is blood red and her face is as white as a ghost's. Any child viewing this image would probably feel a sense of fear and/or concern for Cinderella, who looks to be lost in thought and completely innocent by the fireplace.
Cinderella's fairy godmother appears to be anything other than a benevolent guardian sent to help her. For this reason I the illustration was probably created for adults who could understand that outside appearance and inner goodness are not necessarily connected. I cannot help but wonder if the artist was attempting to comment on social structure at the time.
This oil-painting by John Everett Millais was created in the 19th century, during the time in Fairy Tale history when the transition from adult salon stories to children's pedagogical stories was taking place. This is not an illustration for a written version of the story, therefore, but an artistic rendition of the girl and the story's theme, meant for the older and sophisticated generation to appreciate. What strikes me is her age. She is pretty, as a young girl, but not the object of desire you'd expect from the "Donkeyskin" type Cinderella stories. In fact, this image may justify the amount of time the story-tellers spent on describing the GARMENTS rather than the NATURE BEAUTY of Cinderella. Beauty, for this young Cinderella, is hard to measure in a I'm-a-prince-picking-out-his-lover sort of way but for the accessories that she wears.
The Wicked Stepmother
I read a version of the cinderella story that comes from India. What immediately struck me was that the mother did not die, instead she is turned into a goat because she broke a promise to her husband of never eating out of his presence. This prompts the father to remarry. The wicked stepmother treats the children badly and doesn't feed them, so the goat mother uses magic to give the children food (the children have to tap her horns with a stick, and food will fall out). The wicked stepmother sends her daughter to spy on the children, and finds out that the goat has been helping them. She pretends to be sick, bribes the doctor to prescribe goats meat and forces the father to kill the goat. Before she dies, the goat mother tells the children to bury her bones in a secret place, and whenever they need food, they should visit the bones, and they would be given food. The story then takes a sudden and odd turn into the more traditional cinderella story, where one of the sisters is washing her face, and her nose ring comes off. It is then swallowed by a fish that is caught and sold to the king's cook. The cook bring the nose ring to the king, who sends out a proclamation requesting that the owner come before him. When he sees the young girl, he was "so fascinated by her pretty face and nice manner that he married her, and provided amply for the support of her family", and that's the end. I found this story closer to the grimms cinderella and the story of the black cow because the mother lives on after death to provide food for her children. The black cow also has the element of withholding food from the children. This story is meant to span across many years, as the children grow up.
Assignment 5- 24.Feb 2009
Hi Brian, Caitlin, Lydia, Amy-Lee and Briana,
Below is you assignment for this week.
Look through the websites suggested below and find a version of Cinderella or even an illustration of her, that has not been talked about in class as yet.
1. D. L. Ashliman's folktale site:
http://www.pitt.edu/~dash/type0510a.html
2. the Sur La Lune fairy tale site:
http://www.surlalunefairytales.com/
3. the Cinderella Project at the Univ. of Mississippi:
http://www.usm.edu/english/fairytales/cinderella/cinderella.html
Having selected the story/illustration, you are to elaborate on the reason you picked that particular story/illustration.
You could talk about how the story is different from what you have read so far and how these differences could be interesting in the light of our current discussions in class.
If you have selected an illustration, mention what about it grabbed you, what about it is different from other illustrations known to you and whether it contradicts or proves any of what we have discussed in class so far.
Posts are to be sent in by Midnight on Tuesday and comments to a minimum of two other posts are to be in by Midnight on Wednesday.
Below is you assignment for this week.
Look through the websites suggested below and find a version of Cinderella or even an illustration of her, that has not been talked about in class as yet.
1. D. L. Ashliman's folktale site:
http://www.pitt.edu/~dash/type0510a.html
2. the Sur La Lune fairy tale site:
http://www.surlalunefairytales.com/
3. the Cinderella Project at the Univ. of Mississippi:
http://www.usm.edu/english/fairytales/cinderella/cinderella.html
Having selected the story/illustration, you are to elaborate on the reason you picked that particular story/illustration.
You could talk about how the story is different from what you have read so far and how these differences could be interesting in the light of our current discussions in class.
If you have selected an illustration, mention what about it grabbed you, what about it is different from other illustrations known to you and whether it contradicts or proves any of what we have discussed in class so far.
Posts are to be sent in by Midnight on Tuesday and comments to a minimum of two other posts are to be in by Midnight on Wednesday.
Tuesday, February 3, 2009
Disney /= Fairy Tales
Before this class, we all likely thought of Disney films as just that. As childhood movies. When we think of animated movies, we think of Disney. HOWEVER! If you were to ask us to name a fairy tale, what would we have said? Little Red Riding Hood. Hansel and Gretel. Jack and the Beanstalk.
Somehow, in the course of learning how to be critical about fairytales and the media this semester, the idea has quickly been created that Disney is the primary medium for fairy tales in the US. Then, quickly we jump further and believe that Disney IS and EQUALS fairy tales for us, since its exposure to our popular culture. But let's step back for a moment.
The three examples I gave have NOT been made into Disney movies, yet they are probably the three most famous fairy tales to Americans today. This was clearly not mediated by Disney. Also, of the first 5 animated movies put out by Disney, 3 were NOT fairy tales (Fanasia, Dumbo, and The Three Caballeros [my personal fav]). Pinnochio may fit the bill, but is certainly not in the german/french tradition that we've come to understand thus far this semester. Of the next 5 put out by Disney, again 3 of 5 were not fairy tales (Alice in Wonderland, Peter Pan, Lady and the Tramp). The next TEN released were also not fairy tales, including AristoCats, Pete's Dragon and Basil; The Great Mouse Detective.
Certainly the effect of those movies that WERE fairy tale recreations is strong, but we must first discount the idea that Disney was a "fairy tale teller" and that his mainstay was that of Grimm's old stories. Rather, they were a combination of old tales and new, aimed toward children with a nod toward their adult caretakers, with an apparant intent on literary exposure and technical achievement on their own part (i.e. Fantasia's groundbreaking format, Sleeping Beauty's groundbreaking widescreen format, Pete Dragon's integration of live action and animation).
Thanks to the aptly named disneymovieslist.com!
Somehow, in the course of learning how to be critical about fairytales and the media this semester, the idea has quickly been created that Disney is the primary medium for fairy tales in the US. Then, quickly we jump further and believe that Disney IS and EQUALS fairy tales for us, since its exposure to our popular culture. But let's step back for a moment.
The three examples I gave have NOT been made into Disney movies, yet they are probably the three most famous fairy tales to Americans today. This was clearly not mediated by Disney. Also, of the first 5 animated movies put out by Disney, 3 were NOT fairy tales (Fanasia, Dumbo, and The Three Caballeros [my personal fav]). Pinnochio may fit the bill, but is certainly not in the german/french tradition that we've come to understand thus far this semester. Of the next 5 put out by Disney, again 3 of 5 were not fairy tales (Alice in Wonderland, Peter Pan, Lady and the Tramp). The next TEN released were also not fairy tales, including AristoCats, Pete's Dragon and Basil; The Great Mouse Detective.
Certainly the effect of those movies that WERE fairy tale recreations is strong, but we must first discount the idea that Disney was a "fairy tale teller" and that his mainstay was that of Grimm's old stories. Rather, they were a combination of old tales and new, aimed toward children with a nod toward their adult caretakers, with an apparant intent on literary exposure and technical achievement on their own part (i.e. Fantasia's groundbreaking format, Sleeping Beauty's groundbreaking widescreen format, Pete Dragon's integration of live action and animation).
Thanks to the aptly named disneymovieslist.com!
I think that Zipes' attitude towards Disney is too harsh. Disney was exploring a new medium in filmaking, and chose to use the storry of snow white because t was well know to people of all ages. This way he would have a wider audience base. It is totally unfair for Zipes to blame Disney for the downfall of historic and cultural fairytales. Disney's editing and watering down of the fairytales can be explained by the fact that if Disney had included the whole story, it would have been to long in production and running time. Also Disney wanted to create something accessible to all audiences of his time, something with a happy ending and full of innocence. People wanted to leave the theatre full of hope and happiness.
I don't think that Disney intended to forever change the story of Snow White. The film medium is very powerful because it is so wide spread and pervasive in our culture. Parents now show their children the story of snow white through the movie instead of reading to them. We have let Disney dominant our idea of the fairytale through laziness.
Disney and the Fairy Tale Tradition
Jack Zipes, in discussing the history and evolution of fairy tales, notes the changes that occurred with the publishing of the tales. He argues that the printing of fairy tales robbed them of their communal aspect not only because they were then meant to be read in private rather than shared publicly, but also because printed stories could only be read by the upper classes of society, which further excluded people (Zipes 335). Zipes goes on to contend that Walt Disney effectively attacked the literary tradition of the fairy tale by making them into films, which could be viewed and understood by almost anyone (Zipes 344). In the transition from literature to film, I would argue that more harm than good is done even though the audience for the tales increases. Films in general, especially Disney films, often leave little room for imagination outside the given plotline than do their literary counterparts. While most stories, especially fairy tales, are left somewhat open to interpretation, Disney’s depiction of Snow White in her red, blue, and yellow dress and of Prince Charming on his white horse actually become the characters for most children and then adults. In line with Zipes’ argument that the film makes the fairy tale more public, fairy tales become even less private in the sense that they are no longer really interpreted personally by individual readers, listeners, or even tellers. While I wouldn’t necessarily say Disney is to blame for this development, I do think that the decreasing awareness of the fairy tale tradition is troublesome.
For Disney, Zipes notes, the plot of the tale becomes secondary to the animation technology and art displayed in the film version (Zipes 350). This means that important elements of the story and its history could be completely ignored or lost in the translation to the screen. Richard Schickel accuses Disney of “nearly always robb[ing] the work at hand of its uniqueness, its soul…” (Zipes 351). Fairy tales would thus become nothing more than a story, any story, which seems like a shame given their rich history and tradition.
It is interesting to compare Disney’s seeming disregard for the fairy tale tradition with that of the Brothers Grimm. The Grimm Brothers collected the fairy tales in an attempt to preserve and honor German history and tradition, which they believed to be manifested in such fairy tales. While the Grimm Brothers also made changes to the stories it was probably not with complete disregard for the meaning or history of the tale. Still it is interesting that the Disney version of so many tales, including Snow White, has become THE version known and accepted by so many. Many viewers perhaps even remain ignorant of the origins of Disney productions such as Snow White and the rich history behind such fairy tales.
For Disney, Zipes notes, the plot of the tale becomes secondary to the animation technology and art displayed in the film version (Zipes 350). This means that important elements of the story and its history could be completely ignored or lost in the translation to the screen. Richard Schickel accuses Disney of “nearly always robb[ing] the work at hand of its uniqueness, its soul…” (Zipes 351). Fairy tales would thus become nothing more than a story, any story, which seems like a shame given their rich history and tradition.
It is interesting to compare Disney’s seeming disregard for the fairy tale tradition with that of the Brothers Grimm. The Grimm Brothers collected the fairy tales in an attempt to preserve and honor German history and tradition, which they believed to be manifested in such fairy tales. While the Grimm Brothers also made changes to the stories it was probably not with complete disregard for the meaning or history of the tale. Still it is interesting that the Disney version of so many tales, including Snow White, has become THE version known and accepted by so many. Many viewers perhaps even remain ignorant of the origins of Disney productions such as Snow White and the rich history behind such fairy tales.
Is Disney Really to Blame?
No, I do not think so.
I personally believe that Jack Zipes is too critical of Walt Disney. Throughout history, fairy tales have evolved and conformed to the times. Yes, Disney made some changes but this is nothing new. Disney existed in a time where society wanted "innocence and utopianism" and he created versions of fairy tales that this society would want. I don't believe he hijacked these fairy tales anymore so than any past teller of them did. Disney simply happened to come upon the scene during the first time in history that one could utilize mass media and communications. He saw a marketable enterprise and gave society what they wanted at the time. That is how his popularity can best be explained. If we want to blame anyone for watering down fairy tales and erasing their rich history we have only ourselves to blame. Disney did not force anyone to idolize his versions of fairy tales he merely capitalized on our willingness to do so.
I personally believe that Jack Zipes is too critical of Walt Disney. Throughout history, fairy tales have evolved and conformed to the times. Yes, Disney made some changes but this is nothing new. Disney existed in a time where society wanted "innocence and utopianism" and he created versions of fairy tales that this society would want. I don't believe he hijacked these fairy tales anymore so than any past teller of them did. Disney simply happened to come upon the scene during the first time in history that one could utilize mass media and communications. He saw a marketable enterprise and gave society what they wanted at the time. That is how his popularity can best be explained. If we want to blame anyone for watering down fairy tales and erasing their rich history we have only ourselves to blame. Disney did not force anyone to idolize his versions of fairy tales he merely capitalized on our willingness to do so.
Zipes Response
While rereading the Zipes article "Breaking the Disney Spell," I was struck by the assumptions that are made about Walt Disney's personal character and motivation behind his works, as well as animators in general. Zipes states that early film animators had one purpose in their films: "to impress audiences with their abilities to use pictures in such a way that they would forget the earlier fairy tales and remember the images that they, the new artists, were creating for them." This statement disregards the creativity film animators used in this new area of filmmaking almost entirely. Zipes even goes so far to say that animators were trying to make themselves akin to a "demigod[s]." This theory is never backed up by any quotes or references to events however. There is no evidence that early film animators were actually trying to erase the cultural history of the oral traditions that they were recreating on film.
Also, every good storyteller changes the story in some way. This is how stories were passed on and changed througout histories, and through different cultures. Fairytales were adapted to suit the culture in which they were being told, and this same tradition happened in the early 1900s with filmmakers. It is unfair for Zipes to judge early animators so harshly - he insists that these filmmakers sought to "subsume" oral fairytales and literature as well. They could have just been putting their own spin on stories that they have heard many times, and possibly, many different versions. When Zipes analyzes Disney's influence on his early film Puss in Boots, he states that "it is clear that Disney sought to replace all versions with his animated version." This is not very clear to me and Zipes again provides no proof of this theory. However, there is no doubt in my mind that Disney definitely capitolized on the fact that he was creating a new version of a fairytale that he could turn into a huge money source. If he hadn't, then critics such as Zipes would probably be berating Disney for not grasping the "American dream" fully.
In summation, Zipes arrogant claims are not backed up by any evidence or explanation other than his own interpretation of a man's personality. Which to me, makes his criticisms on this subject quite starkly empty.
Also, every good storyteller changes the story in some way. This is how stories were passed on and changed througout histories, and through different cultures. Fairytales were adapted to suit the culture in which they were being told, and this same tradition happened in the early 1900s with filmmakers. It is unfair for Zipes to judge early animators so harshly - he insists that these filmmakers sought to "subsume" oral fairytales and literature as well. They could have just been putting their own spin on stories that they have heard many times, and possibly, many different versions. When Zipes analyzes Disney's influence on his early film Puss in Boots, he states that "it is clear that Disney sought to replace all versions with his animated version." This is not very clear to me and Zipes again provides no proof of this theory. However, there is no doubt in my mind that Disney definitely capitolized on the fact that he was creating a new version of a fairytale that he could turn into a huge money source. If he hadn't, then critics such as Zipes would probably be berating Disney for not grasping the "American dream" fully.
In summation, Zipes arrogant claims are not backed up by any evidence or explanation other than his own interpretation of a man's personality. Which to me, makes his criticisms on this subject quite starkly empty.
Monday, February 2, 2009
Assignment 4- 3.Feb 2009
Hey Brian, Briana, Caitlin, Lydia and Amy-Lee,
Below is your assignment:
Identify the thesis/the argument(s) in Jack Zipes' essay , Breaking the Disney Spell’. Do you agree or disagree with him? Justify the stance you take.
Ann
Below is your assignment:
Identify the thesis/the argument(s) in Jack Zipes' essay , Breaking the Disney Spell’. Do you agree or disagree with him? Justify the stance you take.
- Posts to be sent in by Midnight on Tuesday
- Comments on two other posts to be posted by Midnight on Wednesday
Ann
Tuesday, January 27, 2009
Roald Dahl's Message of Female Empowerment
Roald Dahl was a 20th century writer who wrote such well know “alternative” fairy tales as Charlie and the Chocolate Factory, James and the Giant Peach, and Matilda. Although he wrote for children and adults alike, I would argue that his primary audience was a new generation of adolescents looking for empowerment. The primary characters in his stories are not passive and helpless but rather active and empowered.
Dahl’s Little Red Riding Hood and the Wolf is a wonderful example of this empowerment. Traditionally, Little Red Riding Hood is the epitome of the passive female; little more than a damsel in distress. Dahl’s version Little Red Riding Hood however is very different. She is intelligent, assertive, and, even importantly, proud of her self-empowerment. Not only does she shoot the wolf without a moment’s hesitation, she also brags about her wolfskin coat.
Because of Little Red Riding Hood’s self-empowerment in Dahl’s version I would argue that he is catering to a generation of children which are more likely to be active rather than passive; particularly female children. The 20th century brought with it feminism and Dahl’s version of Little Red Riding Hood and the Wolf certainly sends forth a message of female empowerment rather than the message of learned helplessness past versions of the story undoubtedly carried.
Chiang Mi "Goldflower and the Bear"
Chiang Mi recorded “Goldflower and the Bear” in 1979, just a few years after the end of the Cultural Revolution in China and the death of Chairman Mao. Prior to the Cultural Revolution, another one of Mao’s programs to modernize China, the Great Leap Forward, had resulted in a widespread and devastating famine, which killed millions and millions. In addition to those who died from starvation, many Chinese also suffered illnesses as a result of the famine. Thus, the beginning of “Goldflower and the Bear” would probably seem very plausible to Chinese readers who lived in a country recently devastated by both illness and death. Famine would also be fresh in many people’s minds, which could explain Goldflower’s success in utilizing the bear’s gluttony against him. The bear wants both the children and the pears that Goldflower offers him, and the desire for pears offers Goldflower the opportunity to kill the bear. This also ties in with the common fairy tale trope of the evils and consequences of gluttony.
The Cultural Revolution, another one of Mao’s attempts at modernization, led to rampant persecution, violence, and chaos as Mao tried to rid China of its “old” ways. Mao enacted many of his policies with the help of the Red Guard, which was composed of radical students who perpetrated many violent acts against those deemed in opposition to Mao’s modernization goals. Thus, I would argue that “Goldflower and the Bear” was written for children, who during this period in Chinese history had seen much more of the evil existent in the “adult world” than most children their age at a different time or in a different country. The line between child and adult at this time was probably not as easily demarcated because of children’s knowledge of many things usually hidden from them by adults, such as violence and fear. Therefore, Chiang perhaps deemed children better equipped to deal with the violence in this tale and better able to appreciate the need for the strength and courage demonstrated by Goldflower. Also, after so much chaos a happy ending in which the brave girl conquers an enemy with the sun “rising red in the East” likely gave much needed hope to many readers (Tartar 20).
The Cultural Revolution, another one of Mao’s attempts at modernization, led to rampant persecution, violence, and chaos as Mao tried to rid China of its “old” ways. Mao enacted many of his policies with the help of the Red Guard, which was composed of radical students who perpetrated many violent acts against those deemed in opposition to Mao’s modernization goals. Thus, I would argue that “Goldflower and the Bear” was written for children, who during this period in Chinese history had seen much more of the evil existent in the “adult world” than most children their age at a different time or in a different country. The line between child and adult at this time was probably not as easily demarcated because of children’s knowledge of many things usually hidden from them by adults, such as violence and fear. Therefore, Chiang perhaps deemed children better equipped to deal with the violence in this tale and better able to appreciate the need for the strength and courage demonstrated by Goldflower. Also, after so much chaos a happy ending in which the brave girl conquers an enemy with the sun “rising red in the East” likely gave much needed hope to many readers (Tartar 20).
Roald Dahl
Considering Dahl's famous works, such as James and the Giant Peach, Charlie and the Chocolate Factory and The BFG, his age group has always been that of the maturing child, who is old enough to read the stories himself and to have been exposed to basic ideals of adult humor and themes. The books listed are of decent length and reading level, such that death and crime are just as well understood as say, a big friendly giant farting as he drinks his fizzy drink. Therefore, the same target audience is ripe for a twist on their former standby fairytales. They can start to understand the comedy in satire. They can still remember and appreciate the rhyming couplets of the stories, and enjoy this fresh brand of humor that will prepare them for the more complex stories and jokes of their adult futures.
Thurber vs Traditional Versions
James Thurber’s short story “The Little Girl and the Wolf” is a modernized version of “Little Red Cap,” with some interesting twists when compared to the Grimms tale. As an American cartoonist and writer, Thurber was known for his wittiness during his life, as well as having grown up in an environment full of practical jokes and humor. Thurber’s version of this story turns Little Red Riding Hood into a keenly intelligent protagonist who takes “an automatic out of her basket” and shoots “the wolf dead.” The short story ends with a plainly stated moral which says that “it is not so easy to fool little girls nowadays as it used to be.” This moral connects Thurber’s version back to Perrault’s version; Perrault’s moral warns young, pretty girls to beware of men, whereas Thurber’s moral wryly states that young women are not as easy to trick anymore.
Importantly, the title of the book in which this story was published in is Fables of Our Time and Famous Poems, in 1940. The humor seen in this story suggests that the primary intended audience is not children, but adults who would be familiar with the more traditional Grimms tale. Adults would be able to appreciate the changes in the story, whereas children would most likely be reading this story for the first time and not know the differences. Thurber transforms the naïve, innocent, and disobedient girl in the Grimms tale into a savvy, street-smart girl who recognizes the wolf in her grandmother’s clothing “twenty-five feet from the bed.” I believe this retelling represents the hardiness and quickness that people, men and women, had to have during the time in which it was written. Coming after the end of the Depression, it is easy to think that people who had just survived an incredibly difficult time would better appreciate a story in which the heroine is a true heroine, and in modern style with her gun.
Importantly, the title of the book in which this story was published in is Fables of Our Time and Famous Poems, in 1940. The humor seen in this story suggests that the primary intended audience is not children, but adults who would be familiar with the more traditional Grimms tale. Adults would be able to appreciate the changes in the story, whereas children would most likely be reading this story for the first time and not know the differences. Thurber transforms the naïve, innocent, and disobedient girl in the Grimms tale into a savvy, street-smart girl who recognizes the wolf in her grandmother’s clothing “twenty-five feet from the bed.” I believe this retelling represents the hardiness and quickness that people, men and women, had to have during the time in which it was written. Coming after the end of the Depression, it is easy to think that people who had just survived an incredibly difficult time would better appreciate a story in which the heroine is a true heroine, and in modern style with her gun.
James Thurber
Thurber wrote his version of little red riding hood in the WWII era, when the world was experiencing a time of great social upheaval. This included a loss of innocence, children witnessed many atrocities , so the idea of the overly innocent and naive protagonist didn't work anymore. Thurber keeps the fairytale atmosphere by having the wolf know where little red riding hood is, and where she is going without having to ask. The wolf's character doesn't evolve, but sticks to its original plan to disguise itself as the grandmother. The major change Thurber makes to the plot is that little red riding hood recognizes that the wolf is in fact not her grandmother. This part of the story has always bothered be because, even after factoring in that these stories occurred before the mass testing and distribution of eye glasses, the difference between a grandmother and a wolf is so huge that anyone, no matter how young or stupid should recognize that something is wrong. I like that Thurber adds that little red riding hood show that it was the wolf from over 25 ft away, emphasizing how obvious the impostor's feeble costume was. I love that little red riding hood pulls out an automatic from her basket and shoots the wolf dead. The abruptness of the action is rather shocking, but the substitution of the gun for the scissors or ax is just a reflection of the time. The moral posed at the end is almost a response to the moral at the end of Perrault's version. Perrault warns the young and beautiful women against all kinds of wolves, and Thurber informs the reader that little girls (and women) have changed, and are not so easy to trick as they once were. This moral may reflect the changing roles of women in society after the war. Women were now in the workplace, many had actually fought in the war, and they had all suffered immense hardship. In Thurber's version, the innocent have learned to defend themselves and stand up to defeat evil.
Monday, January 26, 2009
Assignment 3- 27.Jan 2009
Hi Brian, Caitlin, Lydia,Briana and Amy-Lee,
Below is the assignment, to which you will send in responses by Midnight on Tuesday.
You have read Shavit's essay comparing the Perrault and Grimm versions of'Little Red Riding Hood'. Using Shavit's method, consider one of the other versions you read for this week (Dahl, Calvino, Thurber, Chiang Mi). With a little research (you may use Wikipedia, since this is not a research paper),outline who you think the audience is and what the fairy tale's retelling says about the culture and time in which it is written.
Looking forward to your posts,
Ann
Below is the assignment, to which you will send in responses by Midnight on Tuesday.
You have read Shavit's essay comparing the Perrault and Grimm versions of'Little Red Riding Hood'. Using Shavit's method, consider one of the other versions you read for this week (Dahl, Calvino, Thurber, Chiang Mi). With a little research (you may use Wikipedia, since this is not a research paper),outline who you think the audience is and what the fairy tale's retelling says about the culture and time in which it is written.
Looking forward to your posts,
Ann
Tuesday, January 20, 2009
I certainly remember the children eating part of the house from my childhood version of the tale. It implied a sense of greed, and the witch's attempted devouring of them was a sort of repercussion.
In this modern version, the children's suspicions could be verified (if not exacerbated) by the aunt's reaction to their eating parts of the house. In this version it is the actions of the children that set into action the negative results (i.e. their wandering through the woods). Their criticism of her eccentricity could spur just that in this edition.
In this modern version, the children's suspicions could be verified (if not exacerbated) by the aunt's reaction to their eating parts of the house. In this version it is the actions of the children that set into action the negative results (i.e. their wandering through the woods). Their criticism of her eccentricity could spur just that in this edition.
More on Hansel and Gretel...
The aunt could scare Hansel and Gretel without intending to do so because it had been so long since she had been around children. When she joked about fattening up the children they did not understand that she meant them no harm. However after a while, the aunt started to get offended by Hansel and Gretel's persistent unfriendliness and whining and complaining. Afterall she really did have their best interests in mind. So finally when they once again threatened to run away back to their parent's house she told them to do just that. The aunt wished Hansel and Gretel good luck finding their way back through the vast forest that many wild animals called home. Hansel and Gretel were so frightened of their aunt and longed to see their parents so much that they took their aunt up on the offer. The children set off from their aunt's house with nothing but one slice of bread each, and were determined to make it back to their parent's home one way or another. Hansel had one trick up his sleeve though - he had thought to drop stones along the way from his parent's house to his aunt's. Though some time had passed since then, Hansel and Gretel still managed to follow the stone markers all the way back to their parent's house. In this way they learned independence and were able to live with their parents once again, with some help from their aunt's treasure too, of course.
Hansel/Gretel version with more details!
Here are my added details to this starting story:
During a time of famine and extreme poverty, a mother and father sent their two children, Hansel and Gretel, to a relative's house who could care for them. This relative was Hansel and Gretel's aunt - a single, older sister of the father. She was independently weathly having inherited money from her deceased husband, and childless so taking care of the children proved to be quite a task for her. Her house however was beautiful, ornate and odd with its gingerbread trimming and gables. Because of the house, the children thought their stay could be pretty cool. They were taken care of very well and given good food - since the aunt's first reaction to how thing they were, was to say that she had to "fatten them up!" Of course the children were frightened of this distant relative whom they had only met once and had vague, slightly scary recollections of her. The house, although fairly-edible in decoration on the outside, was spooky to the children and caused them to have bad dreams. They missed their parents very much and did not understand why they had been sent away to live with their aunt. Because of their nightmares and confusion about their parents sending them away, the children begin to believe that their aunt is truly a witch. She's strange and eccentric from living by herself for so long. So, the children leave the gingerbread house and their witchy aunt and find their way back to their parents somehow. Because of their experiences at the house and their adventures trying to find their way home, they come up with this frightening story that they tell to their parents. The aunt however is obviously concerned about them and ends up sending some of her jewels, being a weathly woman, to the family to reassure the children of her goodnaturedness.
During a time of famine and extreme poverty, a mother and father sent their two children, Hansel and Gretel, to a relative's house who could care for them. This relative was Hansel and Gretel's aunt - a single, older sister of the father. She was independently weathly having inherited money from her deceased husband, and childless so taking care of the children proved to be quite a task for her. Her house however was beautiful, ornate and odd with its gingerbread trimming and gables. Because of the house, the children thought their stay could be pretty cool. They were taken care of very well and given good food - since the aunt's first reaction to how thing they were, was to say that she had to "fatten them up!" Of course the children were frightened of this distant relative whom they had only met once and had vague, slightly scary recollections of her. The house, although fairly-edible in decoration on the outside, was spooky to the children and caused them to have bad dreams. They missed their parents very much and did not understand why they had been sent away to live with their aunt. Because of their nightmares and confusion about their parents sending them away, the children begin to believe that their aunt is truly a witch. She's strange and eccentric from living by herself for so long. So, the children leave the gingerbread house and their witchy aunt and find their way back to their parents somehow. Because of their experiences at the house and their adventures trying to find their way home, they come up with this frightening story that they tell to their parents. The aunt however is obviously concerned about them and ends up sending some of her jewels, being a weathly woman, to the family to reassure the children of her goodnaturedness.
I think the story of hansel and gretel originates from a time of hunger and famine, as the story says, but children weren't sent away to die. The parents may have sent them to a relative who could care for them for a while, until the family had food again, but while at this relative's house, a single older woman, the children became scared or missed home, so they fled the house and made up a threatening and frightening story about the old woman so they wouldn't have to go back. The reward of the jewels in the end may be rewarding the family for staying together.
Assignment 1- 13.Jan 2009
Hi Brian, Caitlin, Lydia, Briana and Amy-Lee,
Below is a copy of the Assignment that was discussed in class today.
The first thing about this assignment that differentiates it from last week's, is the fact that it is going to be TEAMWORK!
Given that you have watched ,,The Juniper Tree'' and attended today's discussion of what this movie portrays, try to, as a group, come up with what Keene's version of ,,Hansel and Gretel", would be. In what sort of a world could this story have been written?
We could assume that the kids are 11 and 13 and the witch is ,,a lone woman'' who lives in a hut in the forest.
Looking forward to all your version of ,,Hansel and Gretel"!
Ann
Below is a copy of the Assignment that was discussed in class today.
The first thing about this assignment that differentiates it from last week's, is the fact that it is going to be TEAMWORK!
Given that you have watched ,,The Juniper Tree'' and attended today's discussion of what this movie portrays, try to, as a group, come up with what Keene's version of ,,Hansel and Gretel", would be. In what sort of a world could this story have been written?
We could assume that the kids are 11 and 13 and the witch is ,,a lone woman'' who lives in a hut in the forest.
Looking forward to all your version of ,,Hansel and Gretel"!
Ann
Tuesday, January 13, 2009
Darnton
I believe that Darnton was more successful than Bettelheim at explaining how fairy tales are more than merely children’s entertainment. Darnton explores the fact that although the settings of fairy tales are never specifically given, they usually maintain a close relationship to the culture in which they originated. This connection to the time and place in which they were created makes fairy tales innately historical. Even though they do not describe specific historical events, they can offer insight into the values and influences of the past. In addition to the historical insight offered by the origins of fairy tales, the way in which they continue to adapt to contemporary culture throughout the ages can serve as a sort of timeline for changes in societal values and norms within a culture. Fairy tales may often be a child’s first experience learning about the history and values of his or her culture.
Darnton v. Bettelheim
I also think Robert Darnton’s article does a better job of illustrating the purposes of fairy tales other than children’s entertainment. Darnton demonstrates the value of analyzing fairy tales as historical documents. The transformation of the fairy tale texts between different times and places demonstrates the importance of understanding the history and origins of each fairy tale in order to fully comprehend its meaning and significance. The meaning of the fairy tale, according to Darnton, must be considered in light of the context of the time in which it was told, which can in turn reveal aspects of the society at that time. However, as Darnton points out, many ignore this important fact in their analyses of the tales. Darnton singles out psychoanalysts specifically as prime offenders of ignoring the context and historical significance of fairy tales in favor of a focus on specific details. Bettelheim’s article argues that fairy tales are integral to child development but does not really discuss any other purpose.
Darnton vs. Bettelheim
I like Darnton's article more because immediately dismisses the overly analyzed version of the stories. A fairy tale is a story, and not a symbol. The emphasis on how the tales are based in history, evolving instead of being created for a specific and set purpose. I think Bettelheim over analysis the phycological aspect of why children like fairy tales. Children love hear stories full of adventure and fantasy because they are exciting. Their create dreams of the impossible future of becoming a princess or going on a quest. Children are enriched by the fairy tale morals because children are essentially copycats and will follow the example of the protagonist as if its a game until it becomes ingrained in their persona. The horrific nature of the stories evolved to be fluffier when parents began to protect their children from mental scaring, so they once horrific tales of blood and gore became candyfloss. Darnton expresses fairy tales as evolving histories that are art of world culture, while Bettelheim nitpicks for a reason, modivation or symbol around every corner whether they exist or not.
Bettelheim/Darnton Question
I believe that Darnton's explanation delves much further than Bettelheim's into other aspects of the fairytale and how it relates to almost uncovering the aspects of peasant's lives during the time and place that the fairytale was written in. As someone else has already stated, Bettelheim gives a great analysis of how and why fairytales are important to a child's understanding of the "inner turmoil" of other humans and searching for the right solutions to obstacles in their lives. However, Bettelheim seems to focus on this subject and does not go into the other aspects of a fairytale as well as Darnton does. Darnton illustrates quite nicely how someone can read into a fairytale and detect parts of the lives of people in that time and setting of the story, as well as how stories change as they're passed on orally based on the culture and what is happening in that culture at that time.
Darnton on Fairy Tales
I believe that Robert Darnton did a better job with explaining how fairy tales are more than children's stories. Firstly, Bettelheim's main goal was to prove that they are indeed needed for growing and intellectually developing children, and he does a fine job of explaining it. However, it makes it hard to think of them as specifically useful in any other way. Darnton, rather, argues about their effectiveness in tracing historical facts about their respective cultures, and the ways in which oral story telling progress from teller to teller, and from society to society.
Assignment 1- 13.Jan 2009
Hi Brian, Amy, Lydia, Caitlin and Briana,
Below you will find the question to which all of you must post one response by Tuesday Midnight.
On Wednesday, there will be four posts to read, since you have four group mates. Read through their responses and comment on at least two of them. You could agree, disagree, pose a related question and try to build on what the other person has said.
By Wednesday Midnight, you will have to have posted the comments, so that I can look through what you have written, and forward interesting posts/comments to Prof. Figal.
THE QUESTION FOR 13.JANUARY 2009:
Which of the following two essays do you find more productive in helping you to think about fairy tales as more than children's entertainment? Why?
Darnton, Robert. “Peasants Tell Tales: The Meaning of Mother Goose,” in Tatar, The Classic Fairy Tales
or
Bettelheim, Bruno. “The Struggle for Meaning,” in Tatar, The Classic Fairy Tales
Looking forward to your responses!
Ann
Below you will find the question to which all of you must post one response by Tuesday Midnight.
On Wednesday, there will be four posts to read, since you have four group mates. Read through their responses and comment on at least two of them. You could agree, disagree, pose a related question and try to build on what the other person has said.
By Wednesday Midnight, you will have to have posted the comments, so that I can look through what you have written, and forward interesting posts/comments to Prof. Figal.
THE QUESTION FOR 13.JANUARY 2009:
Which of the following two essays do you find more productive in helping you to think about fairy tales as more than children's entertainment? Why?
Darnton, Robert. “Peasants Tell Tales: The Meaning of Mother Goose,” in Tatar, The Classic Fairy Tales
or
Bettelheim, Bruno. “The Struggle for Meaning,” in Tatar, The Classic Fairy Tales
Looking forward to your responses!
Ann
Introduction
Name: Briana Weiser
Year/College: Senior in A&S
Major: Molecular and Cellular Biology
I am looking forward to learning the differences between how fairytales are written depending on the different authors - as well as in comparison to Disney tales.
Year/College: Senior in A&S
Major: Molecular and Cellular Biology
I am looking forward to learning the differences between how fairytales are written depending on the different authors - as well as in comparison to Disney tales.
Monday, January 12, 2009
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