I didn't really interpret this tale as a fairy tale. It does have the transformation but that didn't seem like enough. I didn't really feel
like it was a Kunstmärchen either. There is no desire to travel and no passionate desire to know or get something beyond one's reach. The mother does want to know the truth about the baby but in a way she already knows or at least suspects. I feel that either way she is not that passionate about finding the truth. The tale reminds me the most of mythology. It recycles the idea of the innocent human being raped by the miraculous being. When I first began reading the story I thought of the mythological stories of Zeus and his affairs with earthly women, most specifically Zeus/Leda. Usually rape tales end contain a supernatural child, a freak child, a demigod or tragic ending. Usually the tales point to a dominate patriarchy or powerful empire and lust or rape as love. The "rape" in the beginning demonstrates plant's dominance over man and beast but also the supernatural or unexplainable over man and reason. The mom doesn't want to except what happened because it is not reasonable and she won't ell anyone either. The "foolhardy theoreticians" and "pedants" are unable to grasp the supernatural at the end of the tale. They hypothesize that the mom and husband are hysterical. They are "sinners" because they try to separate the "real" and divine/spiritual through reason and scientific practice. The rape also seems like a love scene because they seem to connect in the eyes and they are compelled by a yearning and a magical force. The story also resembles the Christ story to me because the "rape" seems parallel to the impregnation of the virgin, the daughter has some type of spiritual connection to her father ( the father is there but not there "vegetational fatherhood") and knows more than the mother and the daughter dies because of those who don't believe and those who witness the event are considered crazy. I don't know. What do you guys make of the first page and the ending? There is a large emphasis of the supernatural, spiritual, consciousness, the limits of scholars, and what we choose to believe. I guess that makes it a Kunstmärchen.
Wednesday, April 8, 2009
Tuesday, April 7, 2009
The Vegetational Fatherhood
I find this tale very interesting, because of all the symbolism that is interwoven into it. When reading the story at face value it seems like a crackpot story about a rose that impregnates a women and they have a daughter who undergoes metamorphoses and ends up being thrown out a window on her wedding day. So, I tried to read between the lines, and examine what this story is really trying to say.
I interpret the Rose to signify the virginity and the purity of the mother. This idea is further enhanced by the sexual encounter that the women experiences, after which the rose is gone. She has undergone a change that has resulted from her sexual encounter. The story reads "she awoke as though intoxicated with the feeling of some dark knowledge in her limbs. Her mouth was burning from a strangle glow. Her lap was covered with rose petals, her clothes in disarray." After this she gets pregnant and gives birth to a daughter.
The daughter at first grows like a flower. She "blossomed more and more gloriously with each passing day." She paints the picture of the rose labeled "Father," and acknowledgment that she is coming of age and realizes the nature of human reproduction. When she reaches puberty, she undergoes a metamorphoses into a flower. This represents her ability to have children (as evident by menstruation). Now that she has come of age, she is now interested in men and wishes to get married.
The ending of the story really stumps me. Perhaps she is unfaithful, but that does not account for the fact that the mother collaborates the husbands story and they both end up in an insane asylum. It is interesting that the story says "according to Emma's exact testimony, it was beyond all doubt that Dr. Rosenberger had flung his wife over the balcony railing." This seems to suggest that the metamorphoses of the wife is in fact symbolic. The reason for throwing her out the window is beyond me.
I interpret the Rose to signify the virginity and the purity of the mother. This idea is further enhanced by the sexual encounter that the women experiences, after which the rose is gone. She has undergone a change that has resulted from her sexual encounter. The story reads "she awoke as though intoxicated with the feeling of some dark knowledge in her limbs. Her mouth was burning from a strangle glow. Her lap was covered with rose petals, her clothes in disarray." After this she gets pregnant and gives birth to a daughter.
The daughter at first grows like a flower. She "blossomed more and more gloriously with each passing day." She paints the picture of the rose labeled "Father," and acknowledgment that she is coming of age and realizes the nature of human reproduction. When she reaches puberty, she undergoes a metamorphoses into a flower. This represents her ability to have children (as evident by menstruation). Now that she has come of age, she is now interested in men and wishes to get married.
The ending of the story really stumps me. Perhaps she is unfaithful, but that does not account for the fact that the mother collaborates the husbands story and they both end up in an insane asylum. It is interesting that the story says "according to Emma's exact testimony, it was beyond all doubt that Dr. Rosenberger had flung his wife over the balcony railing." This seems to suggest that the metamorphoses of the wife is in fact symbolic. The reason for throwing her out the window is beyond me.
The Romance of the Vegetational Rose
When I read "The Vegetational Fatherhood," I immediately thought of the medieval dream allegory, The Romance of the Rose. This extremely long poem was written in two parts by two separate authors, namely Guillaume de Lorris and Jean de Meun. The two viewed courtly love and women in very differing ways, as is apparent in their respective portions of the work. The poem is styled as an allegorical dream that personifies all of the emotions and feelings associated with courtly live (i.e. Jealousy, Fair Welcome, Lust, etc.). Simply put, it is a manual on the Art of Love. The poet/dreamer falls asleep and dreams about a Rose (the woman of his affection) that is secluded in the Garden of Love. The chivalric knight must abide by all of the rules of courtly love in order to woo said rose, or fair maiden.
The fairy tale begins with an introduction on the mesmerizing effects that plants have on people. From the beginning, we are told that "you would have to be a person without feelings not to sense the sympatetic current that emanates, for example, from a beautiful rose in full bloom. Could it be that the rose itself plays a role in this?" Just as the Rose in The Romance of the Rose represents Woman that stires male desire, the rose in this tale also enduces similar effects. A few paragraphs into the poem we learn that the woman "dreamed a love dream" and wound up giving birth to a girl. I immediately drew a parallel between the fairy tale and the Romance; not only is the entire tale centered around the "Rose," who is a beautiful woman and the object of Dr. Rosenberger's affection, but she is also conceived within a dream.
The fairy tale begins with an introduction on the mesmerizing effects that plants have on people. From the beginning, we are told that "you would have to be a person without feelings not to sense the sympatetic current that emanates, for example, from a beautiful rose in full bloom. Could it be that the rose itself plays a role in this?" Just as the Rose in The Romance of the Rose represents Woman that stires male desire, the rose in this tale also enduces similar effects. A few paragraphs into the poem we learn that the woman "dreamed a love dream" and wound up giving birth to a girl. I immediately drew a parallel between the fairy tale and the Romance; not only is the entire tale centered around the "Rose," who is a beautiful woman and the object of Dr. Rosenberger's affection, but she is also conceived within a dream.
The Vegetational Fatherhood: Fairy Tale vs. Kunstmärchen
The Vegetational Fatherhood by Mynona has a number of elements that are characteristic of fairy tales, and also a number that are characteristic of Kunstmärchen. I found that the story was similar to traditional fairy tales because of the element of transformation. “The rose transformed itself into a handsome young man…” and the daughter transforms into a rose every night during prayer time. The Vegetational Fatherhood is also like a fairy tale in that it has an element of religion. For example, at one point on page 583 Mynona writes that creatures who pick flowers and plants are sinning. Also, the mother and daughter pray together every night. I think that the fact that the daughter transforms into her rose-self during prayer time emphasizes the piety of nature.
The Vegetational Fatherhood contains a number of Kunstmärchen characteristics, as well. First of all, the roses are often personified, “This rose fixed its magic eyes…” Also there is definitely a sexual (inappropriate for children) aspect, “The rose transformed himself into a handsome young man, who embraced and enjoyed the woman…she utterly abandoned herself to him. ..Her lap was covered with rose petals, her clothes in disarray.” As discussed in class, Kunstmärchen often have a sense of irony. In the story, the mother chooses Dr. Floris Rosenberger to be his daughter’s husband. The name suggests flowers and roses, which may have been why her mother chose and trusted him for her daughter. In the end though, Dr. Rosenberger was the cause of the rose-daughter’s death. Lastly, The Vegetational Fatherhood is like a Kunstmärchen because of its tragic ending: not only does the rose-daughter get thrown off a balcony by her new husband and die, but her (somewhat) innocent husband and mother get thrown into an insane asylum.
The Vegetational Fatherhood contains a number of Kunstmärchen characteristics, as well. First of all, the roses are often personified, “This rose fixed its magic eyes…” Also there is definitely a sexual (inappropriate for children) aspect, “The rose transformed himself into a handsome young man, who embraced and enjoyed the woman…she utterly abandoned herself to him. ..Her lap was covered with rose petals, her clothes in disarray.” As discussed in class, Kunstmärchen often have a sense of irony. In the story, the mother chooses Dr. Floris Rosenberger to be his daughter’s husband. The name suggests flowers and roses, which may have been why her mother chose and trusted him for her daughter. In the end though, Dr. Rosenberger was the cause of the rose-daughter’s death. Lastly, The Vegetational Fatherhood is like a Kunstmärchen because of its tragic ending: not only does the rose-daughter get thrown off a balcony by her new husband and die, but her (somewhat) innocent husband and mother get thrown into an insane asylum.
Assignment 10 - 7. April 2009
Hi Alex, Alexandria, Jasmine, Allison and Tim,
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
Wednesday, April 1, 2009
Naked Saint
This tale is like a fairy tale in that it exists in an indeterminate space, a transformation takes place, and the main characters end up together and live happily ever after. The story is similar to folktales in that the characters are talking flowers. The story is a Kunstmärchen because it evokes a strong irrational desire (desire to travel), a longing, it contains an idea of selfhood (Hyacinth wants to be alone), the misunderstood is crazy, the misunderstood has a fractured relationship, the misunderstood is searching for the extraordinary, and it deals with dreams and religion Hyacinth seems to go on a pilgrimage and only a dream can get him where he wants to go.
I think that the language is poetic and it evokes a power that is only in music. The story uses musical terminology to make things magical. We know in the beginning that the story takes place in a magical place because “the running brook jingled a ballad.” There is a lizard that sings about the lovers. The holy place of Isis is loaded with musical terms a dream “conducted” him, in the background are “loud tones” and “modulated chords” and “distant music surrounded the secrets of the lovers’ reunion.”
I think that the language is poetic and it evokes a power that is only in music. The story uses musical terminology to make things magical. We know in the beginning that the story takes place in a magical place because “the running brook jingled a ballad.” There is a lizard that sings about the lovers. The holy place of Isis is loaded with musical terms a dream “conducted” him, in the background are “loud tones” and “modulated chords” and “distant music surrounded the secrets of the lovers’ reunion.”
A Wondrous Tale of a Naked Saint
A Wondrous Tale of a Naked Saint does not resemble your average fairytale on the surface, however small elements in this tale do resemble the fairy tale genre. While, the tale does not open with "once upon a time in a far away land" as many fairy tales do, it does open with a timelessness that does make it very fairy tale-ish. With no set time or place the reader has no idea where they are. Other fairy tale elements within the tale include the use of magic and abnormal beings. The magic spell the saint is under is very characteristic of a fairy tale, as are the creatures/strange beings that wander around the forest.
In terms of music, while the writer does a good job of establishing what is music and of having powerful lyrics, I am not sure just words could ever fully replace music. I struggle in imagining how the songs would go. I can't picture the melody or back beat, all I feel when I read is cold words. I think that things wold be a lot worse if the language was not so poetic, but I do not thing words can take the place of music.
Tuesday, March 31, 2009
Langauge vs. Music
Within A Wondrous Oriental Tale of a Naked Saint I would argue that language, the poem is merely used to point out the power of music. It is obvious that Wackenroder would say that music is stronger than language because the suffering naked saint is distracted and upset by his talkative visitors, but he is cured and set free by the song of the lovers. Even though the naked saint was exposed to language on a daily basis, it was the use of language within the music that set his soul free.
I, on the other hand, think that poetic language has just as much power as music does. The message of poetry is very clear, and poems, like music, do have their own rhythms. The rhythm in poetry, however is dependent on the language within the poem, so the message is what really gets heard. Often times in music, words are written to fit a pre-written song. Although the music might sound beautiful, what is the value of the music when the language, the message communicated through the song is weak?
I, on the other hand, think that poetic language has just as much power as music does. The message of poetry is very clear, and poems, like music, do have their own rhythms. The rhythm in poetry, however is dependent on the language within the poem, so the message is what really gets heard. Often times in music, words are written to fit a pre-written song. Although the music might sound beautiful, what is the value of the music when the language, the message communicated through the song is weak?
A Wondrous Oriental Tale of a Naked Saint as a Kunstmärchen
A Wondrous Oriental Tale of a Naked Saint is a Kunstmärchen for a number of reasons. First of all, the story takes place in the Orient and in class it was discussed that Kunstmärchen often have an element of exoticism. Also, Wackenroder writes: “Stories of childhood and antiquity from this region [the Orient] are replete with strange signs and enigmas that the mind, though it thinks itself smart, has yet to fathom.” This reflects Romantic ideas—ideas that were a reaction to values seen throughout the Enlightenment. A Wondrous Oriental Tale of a Naked Saint is a critique of reason, in general. The story also has many supernatural elements: the wheel of time, the transformation of homes into supernatural palaces, the naked saint’s transformation and journey into the sky, etc.
A Wondorous Oriental Tale of a Naked Saint
This tale has a lot in common with the fairy tale genre. The first thing that struck my attention is we are instantly transported in the beginning to a world where fantastic beings exist. Wackenroder says "There are also strange beings that are frequently found in the wilderness of this regions." Fairy tales often have some type of creature/being in them, and it is not considered impossible but simply are part of the world in which they live. There is also mention of transfiguration (especially important for later) mentioned in the beginning. It states "naked saints who have taken human form after having drifted from the realm of the firmament and consequently do not know how to act like human beings." Another element of the fairy tale is the timeless/placesless aspect of it. It starts by saying "at one time...," so the reader is really given no idea where or when this story is taking place. There are magical elements to the story as well, like the saint being under some sort of magical spell that causes him to constantly see and be capitavted by the wheel.
The music in this story serves a very important purpose. It is a cataylst that allows for the naked saint to be freed, and undergo a transfiguration into a celestial entity (transfigurations often happen in fairy tales). I feel that the "song" is more important for its poetic structure and lyrics, rather than the tune. This creates an interesting tension in the story. The author only gives the reader information regarding the lyrics of the song, BUT "as soon as the naked saint heard the first notes of the music, the rushing wheel of time disappeared." So, for Wackenroder, who probably had sometype of music notes in mind when writing this, the actual music is more important. The reader, however, cannot be in the author's head and therefore are forced to accept that the lyrics are what make the song so appealing and allow the saint to be freed from the spell.
The music in this story serves a very important purpose. It is a cataylst that allows for the naked saint to be freed, and undergo a transfiguration into a celestial entity (transfigurations often happen in fairy tales). I feel that the "song" is more important for its poetic structure and lyrics, rather than the tune. This creates an interesting tension in the story. The author only gives the reader information regarding the lyrics of the song, BUT "as soon as the naked saint heard the first notes of the music, the rushing wheel of time disappeared." So, for Wackenroder, who probably had sometype of music notes in mind when writing this, the actual music is more important. The reader, however, cannot be in the author's head and therefore are forced to accept that the lyrics are what make the song so appealing and allow the saint to be freed from the spell.
The Naked Saint
Wackenroder's literary tale, "A Wondrous Oriental Tale of a Naked Saint," fits into the fairy tale genre while also possessing many elements of the Romantic period. The story opens with a paragraph on the "marvelous things" of the Orient, which introduce the reader to a sense of wonder and enchantment, a common theme of the traditional folktale. We are introduced to a wilderness, or perhaps enchanted forest, where "supernatural creatures" and "strange beings" are found. Another fairy tale aspect of the "Naked Saint" is its concept of time; the tale never explains the time period in which we find the naked saint and his eternally spinning wheel. The tale also describes an "ethereal music" that flowed from two lovers' skiff. The music, much like kissing an ugly toad or a selfless act of kindness, breaks the naked saint's spell of madness, his rushing wheel of time disappears and a transformation occurs. The element of music serves not only as a different spin on the fairy tale's traditional spell-breaking-trope, but also as a medium of poetic language. The power of music evokes a sense of wonder and amazement in this tale. It is translated by the author into a poetic language that is accessibly to the reader who cannot hear the music for him/herself. The only part of the music that we can personally comprehend is the written lyrics; it is the job of the author to create an image of the power of the sound, the primary medium of music. In describing the music's effects as causing a "bright ethereal figure" to soar high into the air, "carried by the soft crescendo of the horns and the song." Through Wackenroder's exquisite use of poetic language, the reader can sense the intimate relationship between language, poetry and the evocative power of music.
Assignment 9 - 31. March 2009
Hi Alex, Jasmine, Allison, Tim and Alexandria,
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
Question 2 Response: Heroine in the The Robber Bridegroom
The Grimm’s The Robber Bridegroom presents the heroine as an intelligent, versus disobedient, female. For instance, the heroine recognizes from the very beginning that her bridegroom should not be trusted, even though she is going against her own father’s judgment: “The maiden, however, did not love him the way a bride-to-be should love her bridegroom, nor did she trust him. Whenever she looked at him or thought about him, her heart shuddered with dread.” Also, in no way did the heroine disobey her bridegroom—if anything she was obedient for him against her own intuition. For example, she did not want to visit her bridegroom, but he asked her to and she obeyed. It was not her fault that she saw the terrifying sight that she did. If I remember correctly, the bridegroom returned home drunk and never even mentioned his bride-to-be’s expected visit, as if he had forgotten. Lastly, it was clever of the heroine to save the finger and present it at the end of her dream recap, in front of all her guests on the day of her wedding.
Elements of Horror
Maybe I am wrong, but I feel that the versions of Bluebeard we read are filled with gore more then horror. Horror, I feel is more elusive and tricky then the straight gore of cutting someone's finger or hand off, like in "The Robber Bridgeroom" and "Mr. Fox". I feel horror and suspense can be found in the story, by the simple plot of the unknown secret behind the door and the setting of the dark house in the woods. I really do not see the necessity of chopping off appendages to further the plot. These gory moments drew me away from the plot and really grossed me out.
Question 1 Response: Elements of Horror
The most obvious and common element of horror found within the Bluebeard stories that we were assigned to read for class is that of the murder of young, beautiful, rich women-- women with any sort of power over men during those times. One does see variations between each version, though. For example, in the Grimm’s The Robber Bridegroom, the bridegroom or Bluebeard character finds women, murders them, and then eats them. The element of cannibalism is also included in this version, which changes one’s perception of the Bluebeard character. In other versions, such as the Grimm’s Fitcher’s Bird, Perrault’s Bluebeard, and Joseph Jacobs’s Mr. Fox, for example the wife or fiancé is murdered as a result of her own curiosity and disobedience. In The Robber Bridegroom, on the other hand, the female fiancé is completely innocent and would have been killed (although she wasn’t in the end) solely as a result of her bridegroom’s human blood lust. This changes the traditional Bluebeard story in that it eliminates any blame that might be directed onto the main female character within the story, and directs all on the cannibalistic men.
Another element within the various versions, that can be interpreted as horror by many women today—and clearly back then as well, since it is such a reoccurring theme-- is the idea of marrying a man that you do not love, or wish to marry. One sees this in the Grimm’s The Robber Bridegroom and Fitcher’s Bird, and also initially in Perrault’s Bluebeard. The only two that do not contain such a theme are Jacob’s Mr. Fox (1890) and Atwood’s Bluebeard’s Egg (1983). The most obvious reason why this theme may not be present in these two versions, especially in Atwood’s version, is the time during which it was written. Atwood’s version was written much later on, when marrying a man you do not wish to marry is not nearly as common as it was years ago (rising in social status and arranged marriages). This element of horror does change the perception of the main female character in the Bluebeard stories, in that when the female does not want to marry the Bluebeard character, it gives her, her intuition, her opinion, etc more credit.
Another element within the various versions, that can be interpreted as horror by many women today—and clearly back then as well, since it is such a reoccurring theme-- is the idea of marrying a man that you do not love, or wish to marry. One sees this in the Grimm’s The Robber Bridegroom and Fitcher’s Bird, and also initially in Perrault’s Bluebeard. The only two that do not contain such a theme are Jacob’s Mr. Fox (1890) and Atwood’s Bluebeard’s Egg (1983). The most obvious reason why this theme may not be present in these two versions, especially in Atwood’s version, is the time during which it was written. Atwood’s version was written much later on, when marrying a man you do not wish to marry is not nearly as common as it was years ago (rising in social status and arranged marriages). This element of horror does change the perception of the main female character in the Bluebeard stories, in that when the female does not want to marry the Bluebeard character, it gives her, her intuition, her opinion, etc more credit.
Fitchers Bird
I read this story as a story of female disobedience. The sorcerer directly tells the first sister that "you can go anywhere you and look around at everything, but don't into that room that this little key opens. I forbid it under the penalty of death." She "planned to walk rightby it, but curiosity got the better of her." This shows that she knew she should not enter the room, and yet her curiosity caused her to disobey her husband. This is repeated for the second daughter a well. IT also happens with the third. She also is deceptive and has her husband carry her sisters saying they were baskets of gold. She " took a skull with grinning teeth, crowned it with jewels and garland of flowers, carried it upstairs and set it in an attic window, facing out" It is important to note that she was supposed to be plannign with wedding arranagments, not plotting her escape. She dresses like a bird, gets the sorcerer and all his friends in the house, and light in on fire. Now while I am not saying the bride is wrong for escaping, obiosuly she is not. I am just pointing out that escaping and making an elaborate decoy while supposidly getting ready for the wedding, is disobedient.
Bluebeard Terror
The only shocking part of the Bluebeard stories is when the young wife discovers her husbands deep dark secret. For me, the most grizzly and truly disturbing of these is from "Fitcher's Bird." The Grimms version has a very disturbing scene where many bodies are discovered that are chopped up and an axe is on the chopping block. If I saw this in a horror movie, I would imagine seeing pools of blood that are not dried (since the Grimms, unlike Perault do not say that it is dried), and also the gleaming axe is sitting in darkness with the only ray of light causing the blade to shine. In the case of Grimms, this leads to the charcters death, as well as her other sisters. The Peraults version is less grusome in my opinion, because the bodies are not dismembered. The next version, the Robber Bridegroom, the wife actually witnesses her bridegrooms horrific actions firsthand. This is the only story that has this happen. However, for me it may be more personal for the character, BUT is not as scary as the wife being alone, openign a door that was forbiden, and suddenly getting the shock of her life. The Robber Bridegroom scenerio of a the bride to be going to the bridgegrooms house, is alos like Mr. Fox. This however blends the witness type with the forbidden room type.
These horror elements work in two separate ways. When the wife enters the forbiden room, it works to show that she is beign disobedient and therfore moves the plot because her life is threatened. I would like to point out that there is some irony in the thought that the wife is being punished for being disobedient. She SHOWS obedience by staying at the house when she is away AND returning all the key/items to him EVEN THOUGH she knows it will displease him and she will be punished. However, in the Bridegroom/Fox versions it shows that her suspicions/apprehension about marrying her husband was right, and that she needs to get away.
These horror elements work in two separate ways. When the wife enters the forbiden room, it works to show that she is beign disobedient and therfore moves the plot because her life is threatened. I would like to point out that there is some irony in the thought that the wife is being punished for being disobedient. She SHOWS obedience by staying at the house when she is away AND returning all the key/items to him EVEN THOUGH she knows it will displease him and she will be punished. However, in the Bridegroom/Fox versions it shows that her suspicions/apprehension about marrying her husband was right, and that she needs to get away.
Bluebeard's Heroine
In the Brothers Grimm version of Bluebeard, "Fitcher's Bird," the first women the reader encounter's is not presented with any hint of personality or character. When she goes to the door and "was about to hand him a piece of bread, he just touched her and she jumped into his basket." The same description is given of the second daughter and both of them meet the same fate. The third daughter, however, is a much more dynamic character. She is even described as "clever and cunning." And she even "put the egg in a safe place." She definitely celebrates the self-preservation and cunning aspects of femininity. She succeeds is putting her sisters back together, quite literally, and bringing them back to life. She also forges a plan to get them home safely. After the third daughter has set the precedent for being cunning and clever, the first and second daughters follow suit. They trick the sorcerer while he is on his way to her house by crying from the basket as if they are the third daughter. When they are all together in the end, they orchestrate for their brothers and relatives to "set fire to [the house] so that the sorcerer and his crew burned to death." In the end, feminine cunning wins and curiosity indirectly kills the sorcerer instead of the cat.
Elements of Horror
The elements of horror in the various versions of Bluebeard set this story apart from other stories that we have previously read. In Charles Perrault's "Bluebeard," the most startling element of horror, albeit the first, is when Bluebeard's wife disobeys her husband and opens the forbidden door: "... she began to realize that the floor was covered with clotted blood and that the blood reflected the bodies of several dead women hung up on the walls (these were all the women Bluebeard had married and then murdered one after another)." The narrator even says that "she thought she would die of fright." This element of horror, the vivid description of the blood-stained room, serves to startle the reader and add an element of surprise to the story. Like many fairy tales, the story presents a prohibition that someone will undoubtedly cross. But this blood-stained setting leads the reader to a different frame of mind that most other fairy tales. In the Brothers Grimm's version, "Fitcher's Bird," the narrator provides an even more indepth description of the muderous abode: "... a large bloody basin filled with dead people who had been chopped to pieces. Next to the basin was a block of wood with a gleaming ax on it." In presenting the murder weapon itself, the image is more vivid and believable. The idea of seeing bodies chopped to pieces is more unappetizing than an image of whole bodies hanging from a wall. In this story, as well, the description of the blood-spattered room adds an element of horror that serves to shock the reader.
Assignment 8 - 24. March 2009
Hi Alex, Tim, Jasmine, Alexandria, Allison and Jasmine,
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
Wednesday, March 18, 2009
The Devil's Three Golden Hairs
Throughout the movie I feel the target audience was the working class and the poor. The movie provided such a stark contrast between royalty and the common working man. The most apparent ways I saw a contrast was in their clothes and intelligence. The king and his staff wore those lavish blue costumes made of wonderful cloth, with ruffles and other lavish details. The commoners however, were tattered clothes, made of harsh cloth, that almost looked like brown and beige rags. The contrast in intelligence came in little ways, like the valid questions the commoners raised in reference to their robbers tax. The king's servant had no answers for the working class people. The collector kept giving the blacksmiths the same round about answer over and over again, even though they had a valid question.
This film reminded me of Snow White because there was little to know magic. Sticking to the focus of focusing in on the working class, magic is an unrealistic option. In the real world there is no fairy godmother to swoop in and rescue a person, likewise there is no magic in DEFA films.
I believe the use of film adds comic relief. The scene where the main character accidently sets the kings hut on fire when he is really running away from a mouse I thought was great. That is an instance where is that scene was written in a book, it wold not be funny. I struggled a bit with this film, simply because the vice overs sounded a bit out of place.
Tuesday, March 17, 2009
The Devil's Three Golden Hairs: DEFA style
As I watched this movie, I imaged its target audience as the working class society of Soviet occupied Germany. DEFA provided the leading medium for re-educating the German populace after being subjected to over a decade of Nazi rule. The humor and political commentary is clearly geared towards adults of the working class. DEFA makes a mockery of the king (who symbolizes lavish living) and honors the honest workers (i.e. the blacksmiths and Jacob). The working class members wish to "prove that there are actually robbers" by becoming robbers themselves, which serves to poke fun at the aristocracy and king who tax them on rubber in order to support a seemingly unnecessary army. We see how the king is at the root of the kingdom's problems, which allows the film to herald socialist ideology.
The film reminds me of the DEFA version Snow White, as well. When the king takes Jacob down the elevator so that he may be received by the Princess, the scene reminds me of the mirror in Snow White. The mirror is a piece of technology rendered absurd, and the elevator ride is portrayed in the same fashion with cheesey music and a cheap-looking iron cage. The devil's lair, and the devil himself, are portrayed in the same absurd fashion. His cave is just a bunch of smoke and fake shrunken heads. And the devil looks like an over-grown four year-old in a caveman costume... plus a tale.
I think the film medium serves an important role in how the target audience is chosen and how the images are relayed. The scene where Jacob "fights" the dog in the grass comes to mind. In writing, this scene would just seem silly. But put on screen, it's rather funny. And when Jacob gets attacked by the hungry children, their father tells him that the king's men made the well stop and the mill stop working. Yet again, the film medium serves to highlight the plight of the lower class at the expense of the boorish aristocracy. The special effects with the devil's golden hairs are also highly entertaining.
The film reminds me of the DEFA version Snow White, as well. When the king takes Jacob down the elevator so that he may be received by the Princess, the scene reminds me of the mirror in Snow White. The mirror is a piece of technology rendered absurd, and the elevator ride is portrayed in the same fashion with cheesey music and a cheap-looking iron cage. The devil's lair, and the devil himself, are portrayed in the same absurd fashion. His cave is just a bunch of smoke and fake shrunken heads. And the devil looks like an over-grown four year-old in a caveman costume... plus a tale.
I think the film medium serves an important role in how the target audience is chosen and how the images are relayed. The scene where Jacob "fights" the dog in the grass comes to mind. In writing, this scene would just seem silly. But put on screen, it's rather funny. And when Jacob gets attacked by the hungry children, their father tells him that the king's men made the well stop and the mill stop working. Yet again, the film medium serves to highlight the plight of the lower class at the expense of the boorish aristocracy. The special effects with the devil's golden hairs are also highly entertaining.
DEFA Version of Devil's Golden Hair
I think that the target audience of this movie is the proletariat in the Soviet Union. I feel that the movie is full of social commentary about capitalist society. The king/aristocracy represent the bourgeois and upper classes that prosper and live lavishly while the lower classes are being exploited. The victory of the working class, Jacob's ability to beat the devil and the King, is a reminder as to why socialism "is the answer." Also, although the King is directly responsible for the suffering in his kingdom, the peasants believe that the devil is to blame. I cannot help but think that DEFA is linking the two figures together, thereby commenting that capitalism is evil and leads to horrible things. In the end they are punished, as the commoners have their revenge. The devil is fed massive amounts of wine, and meat, stuffing him tremendously. This is ironic because excessive consumerism which he supports is a punishment to him. Keep in mind that this movie was also made in 1977 GDR, so it is just about to celebrate its 30th anniversary. This film would reinforce socialist ideals that the Soviet Union would exemplify in the time of such celebration.
This movie also reminds me of the Snow White DEFA film. In the Snow White version, the mirror is made out to be a piece of technology. One can see in the devil's layer that all the things that try to make the devil frightening are really just a punch of smoke and machines. It is also like the Snow White film because they both place emphasis on workers, and that there is dignity in work. The images of labor and the laboring class are presented because they should generate feelings of respect.
Film is very beneficial to this fairy tale. First, by reinforcing the message of class awareness, scenes are presented in which the upper class are presented as incompetent idiots. The tax collector, the king, the devil, etc. The things that they worry about and whine about are nothing compared to the hardships facing the working class. Technology is also useful with the three golden hairs, the special effects are very cool. Again, the movie is made in a commical fashion, so there is humorous dialogue, and imagery. This can be seen when the devil is being stuffed.
This movie also reminds me of the Snow White DEFA film. In the Snow White version, the mirror is made out to be a piece of technology. One can see in the devil's layer that all the things that try to make the devil frightening are really just a punch of smoke and machines. It is also like the Snow White film because they both place emphasis on workers, and that there is dignity in work. The images of labor and the laboring class are presented because they should generate feelings of respect.
Film is very beneficial to this fairy tale. First, by reinforcing the message of class awareness, scenes are presented in which the upper class are presented as incompetent idiots. The tax collector, the king, the devil, etc. The things that they worry about and whine about are nothing compared to the hardships facing the working class. Technology is also useful with the three golden hairs, the special effects are very cool. Again, the movie is made in a commical fashion, so there is humorous dialogue, and imagery. This can be seen when the devil is being stuffed.
Assignment 7 - 17.March 2009
Hi Alex, Jasmine, Allison, Alexandria and Tim,
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
RE: The Beast
Sorry for posting a new post altogether but for some reason I am not able to post a reply in the appropriate thread. I think Allison makes a very good observation when discussing the portrayal of the beast in Cocteau's film. I am reminded of what we talked about in class on Tuesday, when we discussed what actually makes a beast and is the beast really a beast? (besides his physical). In the Beaumont version, when the sisters' husbands are being described, one really can see that the so-called "beast" would be a better spouse than them. However, I feel that when the beast is made into an actual animal, some of the social commentary is lost. Just a thought...
The beast transforms
What I found most interesting is the beast.In the Beaumont story the Beast transforms into an unknown prince. In the Cocteau version is how they transformed the Beast. In the end the Beast has the same appearance as the friend of Beauty's brother. The Beast's true self is not revealed until the friend dies. I think that the friend and the Prince are versions of the same person and that the story suggests that a transformation of both the maid and groom are necessary for a happy marriage. In the Beaumont story only the maid is morally transformed or enlightened and that is all that is required to bring about the happy ending. Unlike the Pig prince Cocteau suggests that the happiness of the marriage lies on both parties willingness to be better people. The maid must get past what makes the groom repulsive and the groom has to learn to not be greedy, macho, conceited, impatient and etc. He must submit to the wife. It is only then that he can break the glass or mirrror(?) to reveal a better self. He can only prosper when he destroys the image of what others want him to be (witty, handsom, courtly). The story suggests that the best marriage is one in which the partners submit themselves to each other.
Cocteau vs Beaumont: Opening statements
When I began to watch Cocteau's version I was very caught off guard by how differing the relationships of characters were in the opening minutes, which set the tone of the whole film. When reading Beaumont's version I envisioned Beauty as tender and mild, a girl of only seventeen. As I watched Cocteau's version I was caught off guard by how old the actress playing Beauty was, as well as how sexual her interaction with the first suitor was. In Beaumont's version I believed Beauty to be somewhat more reserved, and I felt as if she was flirting back with the suitor event though she was rejecting his marriage proposal in the video.
I was also surprised while watching the film that the father acknowledged that his daughters were rude and spoiled. In Beaumont's version, although the two elder daughters were mean and cruel to Beauty, it never came off to me that they were rude to their father. The brothers also played a larger role in Cocteau's version. I may be wrong, but I only briefly remember then being mention as present in the story, not as actually ever saying anything.
Cocteau v. Beaumont: The Narrative
The first thing I noticed while watching the Cocteau film was how there was not a narrator (except for the writing in the beginning). The film was presented using first person from each of the different characters' points of view. In Beaumont, the reader ventures through the story through the voice of the 3rd person narrator and is thus given a distinct point of view from which to create images of what the characters look like, namely the beast. The reader is also able to "hear the thoughts" of the characters in the story. While Beaumont provides a brief description of the beast as being "a hideous monster" with no intelligence, Cocteau's beast gives us a full image of what the beast "looks like" (whether we want to use our own imagination or not). But we cannot see (or read) what is actually going on in the characters' minds. The audience sees the beast when he is first introduced to the father and we hear his description only after we have seen him for ourselves. While this may merely be a result of making a film from a tale and thus not under the director's control, I felt as if the difference in narrative changed the way the characters were perceived.
Cocteau vs Beaumont: The First Impression of the Castle
I think it is very interesting how differently the father's interactions are in the castle in the two different versions of this story. In the Beaumont version, the father seems very pleased and satisfied. He thanks what he believes to be a benevolent fairy for saving him. However, the Cocteau version really makes the castle seem darker and more magical. The castle itself is alive! For example, you have the arms holding the candelabras and the busts smoking and watching him. (I find it funny that despite being obviously terrified he continues to travel deeper into the Beast's property. The thing about these two separate setups is that it they both have the same effect on the person viewing/reading the story...they both reinforce the idea that this is a world where magic/magical things are real and there occurrence is not necessarily out of the ordinary. I also really like the Cocteau's representation because it leads very nicely to the Disney version, which is my favorite.
Tuesday, March 10, 2009
Cocteau vs. Beaumont: The Beast
One thing that I noticed in Cocteau's “Beauty and the Beast” that is different than in Beaumont’s version is the way in which the Beast is presented. In Beaumont's version, the beast is described as having such a frightening appearance that it could cause a person to faint. The only characteristics in Beaumont's version that define a beast are his ugliness and his lack of intelligence/wit. In Cocteau's “Beauty and the Beast”, however, the beast is not only presented as being ugly and described as having no wit, but Cocteau also includes scenes and additional dialogue that are not included in Beaumont's version that suggest that the beast behaves more animal-like than human-like at times. For instance, Cocteau includes the scene in which Belle peers out the fence door and sees the Beast messily drinking from the pond like a parched wolf. Cocteau also includes the scene in which the Beast is distracted by a nearby, darting deer, as if he wants to spring at it and devour it. Lastly, Cocteau includes the scene where the Beast is creepily stationed outside of Belle’s room late at night covered in blood. Thus, Cocteau presents the Beast as more of an animal than Beaumont does. Even though the Beast is ugly and dumb in Beaumont’s version, he still always acts like a kind, civilized human being.
Assignment 6 - 10.March 2009
Hi Alex, Jasmine, Allison, Alexandria and Tim,
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
Green Knight
http://www.pitt.edu/~dash/greenknight.html
In the green knight the father is trapped by a promise he makes to his wife on her deathbed. He promises to give the daughter whatever she wants if it is within his power. This is similar to the donkeyskin tales in that the mother is a partly the troublemaker. The princess wishes for her father to marry a countess whom the princess loves. The Countess and the countess’s daughter pretend to be loving female companions. The king warned his daughter about the females’ two–faced nature but marries the countess as the princess wishes. The father is again at the mercy of the previous wife but unlike the other stories the young princess is also at fault because she fails to listen to good advice and fails to see the inner being. She deludes herself. Another interesting twist is that the father stays or wants to stay devoted to the old wife. He has no wish to remarry. He wishes to remain pure, chaste and steadfast.
After suffering the princess moves to a castle on an island as her father suggests. The parent child conflict is subdued. The princess is no longer fleeing from the lusty father or unjust law. The conflict is the confined to the biological daughter and step-mother/sister. Meloncholic, the princess tells her father that she wants the green knight when he returns from a voyage. The green knight is the green of the churchyard. In other versions the princess is an active agent. She runs away and puts objects into dishes. She arranges a marriage or new life. This princess is much more passive. She is emo and even suicidal. Weird!
Differing from the other tales the prince and not the biological mother comes to the princess’s aid. The Prince or green knight transforms into a bird and flies to the princess when she reads a passage. The magic is not cute and whimsical as in the Perrault and unlike the Grimms it is not firmly connected to the daughter’s virtue. This tale adds in a heavy dose of romantic relationship as the prince actually gets to know Princess before he falls in love. He knows her woes and sorrows and talks to her for 3 visits. It’s a lengthy courtship (plans to wait 3 months for father’s blessing). It is implied that unlike other princesses she has a voice and the prince does want her because she is an object to be gazed at but someone with whom he has meaningful conversations. Awh! Like the other donkeyskin tales the prince falls ill and he is saved through the princess’s cooking. He also recognizes her in the end and the story completely erases the perfect fit motif. I found it unusual that the story is labeled as a Cinderella type as it is more similar to donkeyskin.
In the green knight the father is trapped by a promise he makes to his wife on her deathbed. He promises to give the daughter whatever she wants if it is within his power. This is similar to the donkeyskin tales in that the mother is a partly the troublemaker. The princess wishes for her father to marry a countess whom the princess loves. The Countess and the countess’s daughter pretend to be loving female companions. The king warned his daughter about the females’ two–faced nature but marries the countess as the princess wishes. The father is again at the mercy of the previous wife but unlike the other stories the young princess is also at fault because she fails to listen to good advice and fails to see the inner being. She deludes herself. Another interesting twist is that the father stays or wants to stay devoted to the old wife. He has no wish to remarry. He wishes to remain pure, chaste and steadfast.
After suffering the princess moves to a castle on an island as her father suggests. The parent child conflict is subdued. The princess is no longer fleeing from the lusty father or unjust law. The conflict is the confined to the biological daughter and step-mother/sister. Meloncholic, the princess tells her father that she wants the green knight when he returns from a voyage. The green knight is the green of the churchyard. In other versions the princess is an active agent. She runs away and puts objects into dishes. She arranges a marriage or new life. This princess is much more passive. She is emo and even suicidal. Weird!
Differing from the other tales the prince and not the biological mother comes to the princess’s aid. The Prince or green knight transforms into a bird and flies to the princess when she reads a passage. The magic is not cute and whimsical as in the Perrault and unlike the Grimms it is not firmly connected to the daughter’s virtue. This tale adds in a heavy dose of romantic relationship as the prince actually gets to know Princess before he falls in love. He knows her woes and sorrows and talks to her for 3 visits. It’s a lengthy courtship (plans to wait 3 months for father’s blessing). It is implied that unlike other princesses she has a voice and the prince does want her because she is an object to be gazed at but someone with whom he has meaningful conversations. Awh! Like the other donkeyskin tales the prince falls ill and he is saved through the princess’s cooking. He also recognizes her in the end and the story completely erases the perfect fit motif. I found it unusual that the story is labeled as a Cinderella type as it is more similar to donkeyskin.
Green Knight
http://www.pitt.edu/~dash/greenknight.html
In the green knight the father is trapped by a promise he makes to his wife on her deathbed. He promises to give the daughter whatever she wants if it is within his power. This is similar to the donkeyskin tales in that the mother is a partly the troublemaker. The princess wishes for her father to marry a countess whom the princess loves. The Countess and the countess’s daughter pretend to be loving female companions. The king warned his daughter about the females’ two–faced nature but marries the countess as the princess wishes. The father is again at the mercy of the previous wife but unlike the other stories the young princess is also at fault because she fails to listen to good advice and fails to see the inner being. She deludes herself. Another interesting twist is that the father stays or wants to stay devoted to the old wife. He has no wish to remarry. He wishes to remain pure, chaste and steadfast.
After suffering the princess moves to a castle on an island as her father suggests. The parent child conflict is subdued. The princess is no longer fleeing from the lusty father or unjust law. The conflict is the confined to the biological daughter and step-mother/sister. Meloncholic, the princess tells her father that she wants the green knight when he returns from a voyage. The green knight is the green of the churchyard. In other versions the princess is an active agent. She runs away and puts objects into dishes. She arranges a marriage or new life. This princess is much more passive. She is emo and even suicidal. Weird!
Differing from the other tales the prince and not the biological mother comes to the princess’s aid. The Prince or green knight transforms into a bird and flies to the princess when she reads a passage. The magic is not cute and whimsical as in the Perrault and unlike the Grimms it is not firmly connected to the daughter’s virtue. This tale adds in a heavy dose of romantic relationship as the prince actually gets to know Princess before he falls in love. He knows her woes and sorrows and talks to her for 3 visits. It’s a lengthy courtship (plans to wait 3 months for father’s blessing). It is implied that unlike other princesses she has a voice and the prince does want her because she is an object to be gazed at but someone with whom he has meaningful conversations. Awh! Like the other donkeyskin tales the prince falls ill and he is saved through the princess’s cooking. He also recognizes her in the end and the story completely erases the perfect fit motif. I found it unusual that the story is labeled as a Cinderella type as it is more similar to donkeyskin.
In the green knight the father is trapped by a promise he makes to his wife on her deathbed. He promises to give the daughter whatever she wants if it is within his power. This is similar to the donkeyskin tales in that the mother is a partly the troublemaker. The princess wishes for her father to marry a countess whom the princess loves. The Countess and the countess’s daughter pretend to be loving female companions. The king warned his daughter about the females’ two–faced nature but marries the countess as the princess wishes. The father is again at the mercy of the previous wife but unlike the other stories the young princess is also at fault because she fails to listen to good advice and fails to see the inner being. She deludes herself. Another interesting twist is that the father stays or wants to stay devoted to the old wife. He has no wish to remarry. He wishes to remain pure, chaste and steadfast.
After suffering the princess moves to a castle on an island as her father suggests. The parent child conflict is subdued. The princess is no longer fleeing from the lusty father or unjust law. The conflict is the confined to the biological daughter and step-mother/sister. Meloncholic, the princess tells her father that she wants the green knight when he returns from a voyage. The green knight is the green of the churchyard. In other versions the princess is an active agent. She runs away and puts objects into dishes. She arranges a marriage or new life. This princess is much more passive. She is emo and even suicidal. Weird!
Differing from the other tales the prince and not the biological mother comes to the princess’s aid. The Prince or green knight transforms into a bird and flies to the princess when she reads a passage. The magic is not cute and whimsical as in the Perrault and unlike the Grimms it is not firmly connected to the daughter’s virtue. This tale adds in a heavy dose of romantic relationship as the prince actually gets to know Princess before he falls in love. He knows her woes and sorrows and talks to her for 3 visits. It’s a lengthy courtship (plans to wait 3 months for father’s blessing). It is implied that unlike other princesses she has a voice and the prince does want her because she is an object to be gazed at but someone with whom he has meaningful conversations. Awh! Like the other donkeyskin tales the prince falls ill and he is saved through the princess’s cooking. He also recognizes her in the end and the story completely erases the perfect fit motif. I found it unusual that the story is labeled as a Cinderella type as it is more similar to donkeyskin.
Ella Enchanted
The version on Cinderella I have enjoyed the most over the years is Ella Enchanted. Before visiting the Sur La Lune sight I did not even realize that Ella Enchanted was a version of the classic Cinderella tale, however the more I thought about it the more they related.
Ella Enchanted approaches CInderella in a new way then most of the versions we have read in class. Although, the female main in the story is beautiful and gracious, her graciousness is a curse given to her by her fairy godmother when she is born. Ella cannot say no to anyone, or refuse a command. The graciousness that is so focused on the other versions of Cinderella as a blessing and what all women should be, is portrayed as the thing Ella struggles most with in the book.
Ella Enchanted still entails the main points of focus of other versions as well. Ella is locked away as a servant, has evil step sisters and an evil stepmother and in the end is saved by prince charming, when the cure is broken by her "one true love".
I am amazed that I did not realize the similarities in stories before now. The slight alteration of graciousness as a curse instead of a blessing is one I find truly interesting. It address how at a point a woman's graciousness becomes subservient.
The Story of Tam and Cam
I chose to discuss the Vietnamese version of Cinderella, "The Story of Tam and Cam". This version is very interesting, because of how different it is from the versions of the story most are familiar with. One main difference with this version is that there is only one step-sister (Cam), who is in this case related to Tam (father is present in the beginning of this story). However, the step-mother, like in other versions is wicked and makes Tam do all the chores. One interesting aspect of this story is that Tam's beauty, which she herself must remind herself via a looking glass (pond), is a major reason for the step-mother's hatred of her. Gilbert and Gubar would make arguments similar to the ones they make with in their article about Snow White.
Another thing to be aware of in this version is how nature and animals are really the driving force behind most of the action of this story. Whereas nature plays an important role in both Grimms and Perrault's versions, it is the major focus in the Vietnamese version. In the story, Tam is told by "The Goddess of Mercy" (the fairy godmother figure) that she must take care of a fish. The fish is killed, and a hen (important that it is a bird) helps her find the bones of the fish. She wishes on the bones for gold and a dress. I find it interesting that this character that up until this point has been "pure" and self-sacraficing, would wish for such superficial things. The ball that everyone is attending is The Festival of Autumn (note again nature), and Tam is only able to go to the festival, because the Sparrows help her finish her chores (like the animals in Grimms).
Another very important difference, is the fact that the story does not end after the wedding between the King and Tam. Tam is killed by her sister, but undergoes a transfiguration. She becomes a bird, and sings to the King, who in this case recognizes that Tam's spirit is inside the bird. This singing bird transfiguration is like that of the Juniper Tree, because all who hear it find the song so beautiful. Cam kills the bird, and Tam's spirit transfers to a magnificent piece of fruit. She comes out of the fruit each day to do chores, the King finds her and is happy. After this, Tam again acts in a way that is not expected of her. She is directly responsible for the demise of both her stepmother and stepsister. She tricks Cam into being boiled in a pot of water, and her mother as a result is blinded.
This story is full of supernatural elements, and therefore it was a very enjoyable story to read. Unlike many versions, which have lost a lot of magical elements (except for the fairy godmother figure), this one does not shy into the realistic realm at all. The focus on the magical elements really capitvate the readers attention ( and surprises them), but most importantly help drive the story forward to its conclusion and moral which is essentially that people will get what they deserve.
For those interested the url is: http://www.pitt.edu/~dash/tam.html
Another thing to be aware of in this version is how nature and animals are really the driving force behind most of the action of this story. Whereas nature plays an important role in both Grimms and Perrault's versions, it is the major focus in the Vietnamese version. In the story, Tam is told by "The Goddess of Mercy" (the fairy godmother figure) that she must take care of a fish. The fish is killed, and a hen (important that it is a bird) helps her find the bones of the fish. She wishes on the bones for gold and a dress. I find it interesting that this character that up until this point has been "pure" and self-sacraficing, would wish for such superficial things. The ball that everyone is attending is The Festival of Autumn (note again nature), and Tam is only able to go to the festival, because the Sparrows help her finish her chores (like the animals in Grimms).
Another very important difference, is the fact that the story does not end after the wedding between the King and Tam. Tam is killed by her sister, but undergoes a transfiguration. She becomes a bird, and sings to the King, who in this case recognizes that Tam's spirit is inside the bird. This singing bird transfiguration is like that of the Juniper Tree, because all who hear it find the song so beautiful. Cam kills the bird, and Tam's spirit transfers to a magnificent piece of fruit. She comes out of the fruit each day to do chores, the King finds her and is happy. After this, Tam again acts in a way that is not expected of her. She is directly responsible for the demise of both her stepmother and stepsister. She tricks Cam into being boiled in a pot of water, and her mother as a result is blinded.
This story is full of supernatural elements, and therefore it was a very enjoyable story to read. Unlike many versions, which have lost a lot of magical elements (except for the fairy godmother figure), this one does not shy into the realistic realm at all. The focus on the magical elements really capitvate the readers attention ( and surprises them), but most importantly help drive the story forward to its conclusion and moral which is essentially that people will get what they deserve.
For those interested the url is: http://www.pitt.edu/~dash/tam.html
Cinderella Rabbit
I chose the "Cinderella Rabbit" illustration because it reminded me of my favorite childhood story book: Angelina Ballerina. Angelina was a mouse, and this is clearly not a mouse... but the animals dressed in courtly clothes sparked something in my memory. I like this illustration because it clearly places magic back into the notion of the fairy tale. Joosen argues that many tales are being disenchanted because of society's stress on realism. In choosing to portray Cinderella and her Prince as enchanted rabbits, the illustrator makes the story very unreal, pulling magic to the forefront.Even the landscape and the colors of the illustration portray a sense of magic. The "man in the moon" looks down on Cinderella and the Prince as they race from the ball. In looking at the other illustrations, not all of them evoke happiness or enchantment. My favorite aspect of fairy tales (at least contemporary-ish ones) is their happy endings. In a world of chaos and disappointment, fairy tales allow children (and apparently college students, such as myself) to escape into a magical world where anything is impossible and the characters always live "happily ever after."
“Rashin-Coatie”
(From http://www.pitt.edu/~dash/type0510a.html)
I chose to discuss “Rashin-Coatie”, the Scottish version of Cinderella because it not only contained some aspects of the Grimm version and the Perrault version discussed, but was also unique in itself. For starters the Scottish version has a (biological) mother, father, and two (biological) daughters, one of whom is the Cinderella character in the story. One thing that I found interesting was that the “bonnie lassie “ (the Cinderella character) does not receive her nickname until after she escaped from her evil family, and it is not given to her by her evil family as a means of degradation, but rather receives the nickname as she makes herself a “coatie” out of rashes with her magical, talking calf friend.
In a way, the magical aspect in “Rashin-Coatie“ combines that of the Grimm version and the Perrault version. For instance, the Perrault version includes the fairy grandmother who creates clothes for Cinderella. The red calf serves a similar purpose in that he says that “he would give her clothes” to go to the kirk. Both, the Grimm and Scottish, versions also contain a magical bird. The bird in “Rashin-Coatie” is the character which tells the prince where he can find his true love, the true fit, Rashin-Coatie, and ultimately stops him from marrying the henwife.
There is a lack of suspense in the Scottish version in that Rashin-Coatie is not in a time crunch to get back (she chooses to so she can “look after the dinner”), yet regains that suspense aspect when the prince almost marries the wrong girl.
Another similiarity between the Grimm version and “Rashin-Coatie” is that the prince recognizes the Cinderella-character’s face, as well as seeing that the shoe fits.
Lastly, one moral or message portrayed in this version that was not portrayed in either the Grimim or Perrault versions was the value of one’s word or keeping a promise. For instance, “He[the prince] knew it was not the lady that he wanted; but, because he had promised to marry whoever the shoe fitted, he had to keep his promise.”
Assignment 5- 24.Feb 2009
Hi Alex, Jasmine, Alexandria, Allison and Tim,
Here is your 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.
Here is your 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.
Saturday, February 21, 2009
Study Break/ Interesting Interpretation - Posted by Tim
Wednesday, February 18, 2009
Prince and Cinderella..musical...- Posted by Tim at 11:53 PM
Prince and Cinderella..musical...- Posted by Tim at 11:53 PM
Wednesday, February 18, 2009
Study Break/ Interesting Interpretation
Prince and Cinderella..musical...
http://www.youtube.com/watch?v=2FZXU8WZ2xo
http://www.youtube.com/watch?v=2FZXU8WZ2xo
Tuesday, February 3, 2009
Zipes on disney
The basic arguments that I got from the reading was...
By monopolizing the animation film industry and making fairy tales a flashy spectacle or cheap trick, Disney violated the fairy tale tradition to the extreme. Disney tailors the tales to his specific fit and captivates his audience so much as they don't care that his stories are flat as long as they are aesthetically magnificent or entertaining. Audiences become so blinded by his works that they fail to notice or embrace others mostly because he has put on a good show but sometimes and rarely he appeals to the American spirit.
Zipes goes through great lengths to explain the origin of fairy tales. He states that fairy tales come from an oral tradition and with that tradition comes a sense of community, shared experience and beliefs. The literary tradition, although it destroys fairy tales by making them private and for certain classes, it still has contained in it communal beliefs or ways of behaving. The move to film destroys all communal ties and makes the tale about the individual, that is the illustrator. The image not the the tale or what is encoded in the tale has the most staying power. Disney entirely kills the fairy tales by making them mostly about his experiences and projecting his works as a product of one pair of hands. This is evident in the interpretations of his Puss in Boots and Snow White. Disney further slaughters the fairy tale by not making the focus what audiences can learn from the tale or infer about society. Disney focuses on technology, modernity and aesthetics. Fairy tales are the examples of the advancement of technology. Fairy tales are diversions, images, spectacles or tricks and we are not suppose to read into them. "Everything is one the surface, one-dimesional, and we are to delight in its one-dimensional portrayal and thinking." It comfortable, fun, easy and adorable. Disney has stopped the thinking audience and its imagination. I agree with Zipes argument in that it is difficult today for me to think of films of fairy tales without thinking of Disney. On the first day of class when we were asked to think of other films it took me a couple of hours later to come up with one that was not a disney animation or film. I mostly remember liking disney films especially for its charming qualities and catchy tunes. I don't think I ever learned anything from the disney films I just thought they were great shows.
By monopolizing the animation film industry and making fairy tales a flashy spectacle or cheap trick, Disney violated the fairy tale tradition to the extreme. Disney tailors the tales to his specific fit and captivates his audience so much as they don't care that his stories are flat as long as they are aesthetically magnificent or entertaining. Audiences become so blinded by his works that they fail to notice or embrace others mostly because he has put on a good show but sometimes and rarely he appeals to the American spirit.
Zipes goes through great lengths to explain the origin of fairy tales. He states that fairy tales come from an oral tradition and with that tradition comes a sense of community, shared experience and beliefs. The literary tradition, although it destroys fairy tales by making them private and for certain classes, it still has contained in it communal beliefs or ways of behaving. The move to film destroys all communal ties and makes the tale about the individual, that is the illustrator. The image not the the tale or what is encoded in the tale has the most staying power. Disney entirely kills the fairy tales by making them mostly about his experiences and projecting his works as a product of one pair of hands. This is evident in the interpretations of his Puss in Boots and Snow White. Disney further slaughters the fairy tale by not making the focus what audiences can learn from the tale or infer about society. Disney focuses on technology, modernity and aesthetics. Fairy tales are the examples of the advancement of technology. Fairy tales are diversions, images, spectacles or tricks and we are not suppose to read into them. "Everything is one the surface, one-dimesional, and we are to delight in its one-dimensional portrayal and thinking." It comfortable, fun, easy and adorable. Disney has stopped the thinking audience and its imagination. I agree with Zipes argument in that it is difficult today for me to think of films of fairy tales without thinking of Disney. On the first day of class when we were asked to think of other films it took me a couple of hours later to come up with one that was not a disney animation or film. I mostly remember liking disney films especially for its charming qualities and catchy tunes. I don't think I ever learned anything from the disney films I just thought they were great shows.
Zipes Vs Disney
Zipes begin by questioning the "spell" Disney has on modern day options of fairtales. While Zipes acknowledges that Disney did not completely "divest the meaning of fairytales and replace them with his own." He does state, however that Disney took all meaning out of fairytales. While fairytales were once tribal folklore to express natural occurrences and communal harmony, Disney turned fairytales into an unobtainable goal of a utopian dreams with false hopes and promises.
While I acknowledge that Disney changed the American view of fairytales forever; in part by taking away from the original life lessons of fairytales. More importantly i find it extremely fascinating how Disney managed to make fairytales accessible and all and a staple in American culture. I find it exceptional how dedicated he was to fairytales and how he personally related to them so much. Zipes states that he built the perfect studio for creating fairytales in Los Angeles and put so much of himself into many of the characters.
What I most agree with Zipes on is how Walt Disney did not give credit where credit was due. Although he did change many aspects of the fairytales he reproduced they were not his original ideas and I think it is unfortunate that he did not reference that. Disney's selfish tactics have now made his version of classic tales the base off which many artists now craft their version of tales. I believe this change in base information takes away many aspects or version of fairytales that could interest audiences for years to come.
Zipes and Disney
One of the main arguments in the article by Jack Zipes is that Walt Disney sought to impose his image of a perfect society onto the tale that was being animated. He outlines the use of oral tradition and folktales and gives a brief background of Disney's animation history. To support his claim he uses the example of Snow White and the Seven Dwarves. In this example Zipes outlines many changes that occurs in Disney's version, that was not present in the version by the Brothers Grimm. One of the biggest arguments that Zipes makes is that the role of the prince is greatly enhanced by Disney and that "the prince, the only one who can save Snow White, and he becomes the focal point by the end of the story."
This argument about the prince is what I would like the focus my response on. Disney wanted all the credit for his animation, taking sole credit for the works that had his name on it. Also, as stated earlier by Zipes the animator wishes to impose the greatness of his ideal world. In this sense I take the emphasis of the prince as a metaphor for the self aggrandizement of Walt Disney. Disney sought to increase the role of the prince, just as he was increasing the role he played in the creation of these fairy tales. However, I have a few problems with some of the assertions that Zipes makes. The main problem is that the role of the prince was already increasing (and deviating from the Grimm's version) before Disney came along. A perfect example of this is the silent film version of Snow White. The prince plays a very important role in this version. He is the reason Snow White is sent to be killed, and he brings her back to the palace where she is revived (although he is not directly responsible for her being revived he is insturmental in the chain of events that cause it to happen.) My point is you can already see that there is some major digression from the Grimm's version well before Disney. Also, to hold judgement on him for trying to display his vision of how society should be is also unfair. As we have read in previous articles, for example the article about the role of children, fairy tales are a way to reflect on a society's values. So, while it is true to say that Disney is trying to paint the world with his utopian image, while accurate, is not a fair assessment, because that is that has always been a major component of fairy tales.
This argument about the prince is what I would like the focus my response on. Disney wanted all the credit for his animation, taking sole credit for the works that had his name on it. Also, as stated earlier by Zipes the animator wishes to impose the greatness of his ideal world. In this sense I take the emphasis of the prince as a metaphor for the self aggrandizement of Walt Disney. Disney sought to increase the role of the prince, just as he was increasing the role he played in the creation of these fairy tales. However, I have a few problems with some of the assertions that Zipes makes. The main problem is that the role of the prince was already increasing (and deviating from the Grimm's version) before Disney came along. A perfect example of this is the silent film version of Snow White. The prince plays a very important role in this version. He is the reason Snow White is sent to be killed, and he brings her back to the palace where she is revived (although he is not directly responsible for her being revived he is insturmental in the chain of events that cause it to happen.) My point is you can already see that there is some major digression from the Grimm's version well before Disney. Also, to hold judgement on him for trying to display his vision of how society should be is also unfair. As we have read in previous articles, for example the article about the role of children, fairy tales are a way to reflect on a society's values. So, while it is true to say that Disney is trying to paint the world with his utopian image, while accurate, is not a fair assessment, because that is that has always been a major component of fairy tales.
Zipes Response
Zipes argues that Disney created his fairytale films, as a meansd of self-betterment and for the pure entertainment of the American public. Zipes discusses how Disney gave little to no credit to the animators and others involved in the making of his films. He also changes the fairytales to fit his own life story and his own life struggles. He not only imposes himself into the traditional fairytales by introducing his films as “Disney’s Snow White and the Seven Dwarfs” and by changing the plots to describe his life, but also by glorifying himself as characters or symbols within the fairytales (for example, the increased presence and influence of the prince in Snow White and the Seven Dwarfs).
I have not done any extensive research on Walt Disney and his tendencies as a selfish artist and human being, but as far as I have ever heard, he did seem to be a miserable human being, so as far as I have been informed, I do agree with Zipes' thesis pertaining to Walt Disney. What I do not agree with, though, is Zipes' discrete criticism of American culture, in general, through his criticism of Walt Disney and the fairytale films he created. For instance, Zipes' introduces his arguments in the FIRST paragraph of his essay by writing, “…Disney employed the most up-to-date technological means and used his own “American “ grit and ingenuity to appropriate European fairytales.” Zipes also includes a quote by Richard Schickal which states that, “…It [Disney’s tendency of conquering versus serving] is a trait, as many have observed, that many Americans share when they venture into foreign lands…” Lastly, on page 352, Zipes describes Disney’s fairy tales as the “American” fairy tale. Although there is much truth to the argument that Disney defined what is, today, the “American” fairytale, Zipes infers that the American society created Disney, and thus created these inaccurate, one-dimensional versions of the traditional European fairytale, rather than suggesting that Disney’s versions of the traditional European fairytales helped to shape American culture. I, personally, believe they (Disney and American culture) are products of one another, since culture is a living thing. Zipes makes a lot of good points about Disney, and perhaps the American culture, but I think that generalizing the American culture based on just one American, Walt Disney is very unfair, and inaccurate.
I have not done any extensive research on Walt Disney and his tendencies as a selfish artist and human being, but as far as I have ever heard, he did seem to be a miserable human being, so as far as I have been informed, I do agree with Zipes' thesis pertaining to Walt Disney. What I do not agree with, though, is Zipes' discrete criticism of American culture, in general, through his criticism of Walt Disney and the fairytale films he created. For instance, Zipes' introduces his arguments in the FIRST paragraph of his essay by writing, “…Disney employed the most up-to-date technological means and used his own “American “ grit and ingenuity to appropriate European fairytales.” Zipes also includes a quote by Richard Schickal which states that, “…It [Disney’s tendency of conquering versus serving] is a trait, as many have observed, that many Americans share when they venture into foreign lands…” Lastly, on page 352, Zipes describes Disney’s fairy tales as the “American” fairy tale. Although there is much truth to the argument that Disney defined what is, today, the “American” fairytale, Zipes infers that the American society created Disney, and thus created these inaccurate, one-dimensional versions of the traditional European fairytale, rather than suggesting that Disney’s versions of the traditional European fairytales helped to shape American culture. I, personally, believe they (Disney and American culture) are products of one another, since culture is a living thing. Zipes makes a lot of good points about Disney, and perhaps the American culture, but I think that generalizing the American culture based on just one American, Walt Disney is very unfair, and inaccurate.
Breaking the Disney Spell
Zack Zipes begins his essay by boldly stating that "Walt Disney cast a spell on the fairy tale, and he has held it captive ever since." Seeing as the casting of spells and the holding of something captive are generally associated with the work of witches, I think it is safe to say that he is skeptical about Disney's strong role in the modernization of the timeless fairy tale. In introducing the fairy tale to a new kind of audience through the use of mass media and modern technology, Disney succeeded in wrestling the fairy tale away from its German ancestry and transforming it into an American genre that "reinforces the social and political status quo."
Zipes proceeds through his argument with a history of the transformation of the fairy tale from an oral tradition meant for the common man to a literary tradition geared towards the elite and literate. If this shift from oral to literary can be called a "violation" of the fairy tale genre, then the production of animated fairy tales can only be viewed as something worse, or perhaps just utterly revolutionary. Once Disney's film industry took hold of the fairy tale and further violated its ancient innocence, Zipes argues that the notion of "self-figuration" offered another dynamic to the changing genre.
Even though Disney kept some key aspects of the Grimms' original tales (i.e. struggles of women in patriarchal society, etc.), Zipes argues that "there is something sad in the manner in which Disney 'violated' the literary genre of the fairy tale and packaged his verions... he employed animators to stop thinking about change, to return to his films, and to long nostalgically for nearly ordered patriarchal realms." In short, Zipes deeply questions whether what Disney did to make fairy tales one of the leading American film genres had a positive or negative effect on this ageold tradition. But fairy tales were changing and evolving (perhaps not for the best) long before Disney grabbed them and ran into a studio. Why was his course of action so much different than that of the elite and the printing press in the 15th - 18th centuries?
Zipes proceeds through his argument with a history of the transformation of the fairy tale from an oral tradition meant for the common man to a literary tradition geared towards the elite and literate. If this shift from oral to literary can be called a "violation" of the fairy tale genre, then the production of animated fairy tales can only be viewed as something worse, or perhaps just utterly revolutionary. Once Disney's film industry took hold of the fairy tale and further violated its ancient innocence, Zipes argues that the notion of "self-figuration" offered another dynamic to the changing genre.
Even though Disney kept some key aspects of the Grimms' original tales (i.e. struggles of women in patriarchal society, etc.), Zipes argues that "there is something sad in the manner in which Disney 'violated' the literary genre of the fairy tale and packaged his verions... he employed animators to stop thinking about change, to return to his films, and to long nostalgically for nearly ordered patriarchal realms." In short, Zipes deeply questions whether what Disney did to make fairy tales one of the leading American film genres had a positive or negative effect on this ageold tradition. But fairy tales were changing and evolving (perhaps not for the best) long before Disney grabbed them and ran into a studio. Why was his course of action so much different than that of the elite and the printing press in the 15th - 18th centuries?
Monday, February 2, 2009
Assignment 4- 3.Feb 2009
Hey Alex, Jasmine, Allison, Alexandria and Tim,
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
Calvino
Italian Folktales is a collection of 200 Italian folktales published in 1956 by Italo Calvino. Calvino began the project in 1954. Vladimir Propp’s Morphology of the Folktale influenced him. His intention was to emulate the Brothers Grimm in producing a popular collection of Italian fairy tales for the general reader. He did not compile tales from listeners, but made extensive use of the existing work of folklorists; he noted the source of each individual tale, but warned that was merely the version he used.
The story seems to be aimed at children yet the hint at cannibalism seems to make it intended for adults. The story is not educational as the mother gives her no instructions and there is no clear moral at the end of the story. The tale seems to be for amusement or to glorify the rational mind. The intended audience is not a scholar and the tale is not written in a literary style. The style is very simple and told in the way a regular person or a child might tell the story. Giulio Einaudi commissioned the book.
This tale is somewhat different to that of Perrault and the Grimm Brothers. Like in the Grimm version, there is a happy ending for the girl, whereas in Perrault the girl and the grandmother are eaten. The grandmother doesn't survive. The Jordan River and the Rake Gate are included in the tale. This gives the tale a religious feel, which is different from the previous versions. Instead of a wolf, there is a hairy ogress, which is interesting. It gives an element of fantasy to the tale. It takes away the male threat and makes female the threat to children. The story may suggest the threat of the female to the community, the general move towards reason, the threat of famine, and adoption of Marxist ideas.
The story seems to be aimed at children yet the hint at cannibalism seems to make it intended for adults. The story is not educational as the mother gives her no instructions and there is no clear moral at the end of the story. The tale seems to be for amusement or to glorify the rational mind. The intended audience is not a scholar and the tale is not written in a literary style. The style is very simple and told in the way a regular person or a child might tell the story. Giulio Einaudi commissioned the book.
This tale is somewhat different to that of Perrault and the Grimm Brothers. Like in the Grimm version, there is a happy ending for the girl, whereas in Perrault the girl and the grandmother are eaten. The grandmother doesn't survive. The Jordan River and the Rake Gate are included in the tale. This gives the tale a religious feel, which is different from the previous versions. Instead of a wolf, there is a hairy ogress, which is interesting. It gives an element of fantasy to the tale. It takes away the male threat and makes female the threat to children. The story may suggest the threat of the female to the community, the general move towards reason, the threat of famine, and adoption of Marxist ideas.
Accapella Bad Wolf
I thought that this was an interesting interpretation of the wolf. I thought of it when I was reading the Perrault version which makes the wolf a sexual predator and LLRH a sexual figure. Likewise, the song presents the wolf as a sexual predator disguised as a courtly lover or gentleman. The sexual threat is coded in the hip thrusts, which we find funny. To trick LLRH he plays the gentleman or courtly lover. He compliments her, tells her her big her heart is and offers to escort her. The song plays with us by changing up the conventional phrases and presents them from the wolf's perspective. "What big eyes you have?" and "What full lips you have?" The song makes LRRH sexual charged just as Perrault.
January 27, 2009 11:02 PM
Thurber's Version
As Shavit has pointed out, the audience is a very important element to consider when comparing different versions of fairy tales. The version of Little Red Riding Hood that I particularly enjoyed the most was James Thurber's, because I like the comical elements he places in it, particularly the moral at the end of the story.
Thurber wrote this story in the 1930's, and this is crucial not only to the audience, but is also revealing about the culuture that is reading it. The most telling aspect about the audience and culture is contained in the moral at the end: "it is not so easy to fool little girls nowadays as it used to be." By why is this important? To me, I see this as a comment on the creation of the "new woman. " By having the wolf be killed by this female character who seems very prepared to be on her own (she certainly is not intimidated by a male aggressor) he is triumphing this new woman. The culture of the time has started to get used to a more liberated woman, and this is reinforced by Thurber's telling. The girl does not need to rely on a man to save her, just as women of the time were becoming more independent of men (I am aware that Thurber's is not the only version that has this happen.)
As far as audience, I feel that it is geared towards most readers, but perhaps mostly older audiences. While it would be benefiical for younger readers (particularly girls) to feel empowered with the ability to defeat a menacing character like the wolf, older audiences are more likely to appreciate the moral, which reminds us of the previous struggles of women, and their ability to overcome them.
Thurber wrote this story in the 1930's, and this is crucial not only to the audience, but is also revealing about the culuture that is reading it. The most telling aspect about the audience and culture is contained in the moral at the end: "it is not so easy to fool little girls nowadays as it used to be." By why is this important? To me, I see this as a comment on the creation of the "new woman. " By having the wolf be killed by this female character who seems very prepared to be on her own (she certainly is not intimidated by a male aggressor) he is triumphing this new woman. The culture of the time has started to get used to a more liberated woman, and this is reinforced by Thurber's telling. The girl does not need to rely on a man to save her, just as women of the time were becoming more independent of men (I am aware that Thurber's is not the only version that has this happen.)
As far as audience, I feel that it is geared towards most readers, but perhaps mostly older audiences. While it would be benefiical for younger readers (particularly girls) to feel empowered with the ability to defeat a menacing character like the wolf, older audiences are more likely to appreciate the moral, which reminds us of the previous struggles of women, and their ability to overcome them.
James Thurber's "The Little Girl and the Wolf"
In his essay, Shavit investigates the concept of childhood through an analysis of different versions of "Little Red Riding Hood," namely those of the Brothers Grimm and Perrault. The differences in the two tales is striking, and Shavit offers a detailed explanation as to why. In Perrault's time, the idea of "childhood" did not exist, nor did the notion of an educational system. Therefore it makes sense why Perrault's tale is geared towards an adult, elite audience while the Grimms' version leans toward a youthful audience. The time (century) in which each tale was written (or adapted) played a profound role on the tone, intended audience, moral and ending of each piece.
I found James Thurber's interpretation of "Little Red Riding Hood" the most intriguing, and entertaining. The tale is very short and assumes that the audience is familiar with the story of LRRH. The tale offers no explanation of why the wolf knows that a little girl is going to come skipping through the woods with food for her sick grandmother. Therefore, it is clearly not an educative piece meant for the maleable minds of youth. The tale then proceeds without offering much detail until the Little Girl "had approached no nearer than twenty-five feet from the bed." Clearly, no child would have the slightest concept of spatial orientation in terms of feet and numerical distance. This quotation only furthers the notion that like Perrault, adults are Thurber's target audience. He then makes a contemporary allusion to the Metro-Goldwyn lion and Calvin Coolidge. So not only is his target audience of the adult age, but they must also be learned and intelligent.
Now that the piece's intended audience has been addressed, let's move onto the general tone of the fairy tale. The final sentence before the moral goes as follows: "So the little girl took an automatic out of her basket and shot the wolf dead." Like Perrault, Thurber does not employ a happy ending intended for the education of young minds. Of course, he puts a modern spin on things... yet again targeting his adult audience.
I found James Thurber's interpretation of "Little Red Riding Hood" the most intriguing, and entertaining. The tale is very short and assumes that the audience is familiar with the story of LRRH. The tale offers no explanation of why the wolf knows that a little girl is going to come skipping through the woods with food for her sick grandmother. Therefore, it is clearly not an educative piece meant for the maleable minds of youth. The tale then proceeds without offering much detail until the Little Girl "had approached no nearer than twenty-five feet from the bed." Clearly, no child would have the slightest concept of spatial orientation in terms of feet and numerical distance. This quotation only furthers the notion that like Perrault, adults are Thurber's target audience. He then makes a contemporary allusion to the Metro-Goldwyn lion and Calvin Coolidge. So not only is his target audience of the adult age, but they must also be learned and intelligent.
Now that the piece's intended audience has been addressed, let's move onto the general tone of the fairy tale. The final sentence before the moral goes as follows: "So the little girl took an automatic out of her basket and shot the wolf dead." Like Perrault, Thurber does not employ a happy ending intended for the education of young minds. Of course, he puts a modern spin on things... yet again targeting his adult audience.
Dahl's “Little Red Riding Hood and the Wolf”
The version of Little Red Riding Hood that I would like to focus on (and enjoyed the most) was Roald Dahl’s “Little Red Riding Hood and the Wolf”, as well as his “The Three Little Pigs”. The main focus of Shavit’s analysis, when she compares Perrault’s version and the Grimm’s version of Little Red Riding Hood, is the audience. More specifically, whether the audience is focused towards children or adults, and how that is influenced by and representative of the time and culture during which the versions were written. The rhyme scheme that Dahl uses in his “Little Red Riding Hood and the Wolf” suggests that the targeted audience is a child.
Dahl, having lived during the 20th century, would most likely gear his version towards a more modern audience. Even if one was not aware of the time during which Dahl lived, one could gather just from the poem that it was probably written relatively recently. One aspect of Dahl’s version that suggests this is that Little Red Riding Hood is presented as a clever, witty, independent female who is aware of dangerous male figures in her surroundings, and thus carries a pistol in her knickers and knows how to use it. In this respect, I also think that the audience is somewhat geared towards adults, in that it invites the enlightened female to identify with Little Red Riding Hood. The version continues to be geared towards children, however, in that it maintains the original moral of the story: there are dangerous strangers in the world that one must look out for, and also teaches children that women are just as able as, say, a trained huntsman.
The poem suggests that it is representative of a more modern time through its emphasis on material goods and the significance of fashion. For example, Little Red Riding Hood totes around in her “WOLFSKIN COAT” at the end of “Little Red Riding Hood and the Wolf”. One also sees this fearless (and somewhat cold) female in Dahl’s “Three Little Pigs”. She helps the pig out only to kill him and make herself a pigskin traveling case.
Lastly, both poems suggest that they were written recently, since they are clearly remakes of the old fairy tale. Dahl assumes that his audience is familiar with the Little Red Riding Hood and Three Little Pigs fairy tales since he includes a “guest appearance” of Little Red Riding Hood in his Three Little Pigs version.
Dahl, having lived during the 20th century, would most likely gear his version towards a more modern audience. Even if one was not aware of the time during which Dahl lived, one could gather just from the poem that it was probably written relatively recently. One aspect of Dahl’s version that suggests this is that Little Red Riding Hood is presented as a clever, witty, independent female who is aware of dangerous male figures in her surroundings, and thus carries a pistol in her knickers and knows how to use it. In this respect, I also think that the audience is somewhat geared towards adults, in that it invites the enlightened female to identify with Little Red Riding Hood. The version continues to be geared towards children, however, in that it maintains the original moral of the story: there are dangerous strangers in the world that one must look out for, and also teaches children that women are just as able as, say, a trained huntsman.
The poem suggests that it is representative of a more modern time through its emphasis on material goods and the significance of fashion. For example, Little Red Riding Hood totes around in her “WOLFSKIN COAT” at the end of “Little Red Riding Hood and the Wolf”. One also sees this fearless (and somewhat cold) female in Dahl’s “Three Little Pigs”. She helps the pig out only to kill him and make herself a pigskin traveling case.
Lastly, both poems suggest that they were written recently, since they are clearly remakes of the old fairy tale. Dahl assumes that his audience is familiar with the Little Red Riding Hood and Three Little Pigs fairy tales since he includes a “guest appearance” of Little Red Riding Hood in his Three Little Pigs version.
Monday, January 26, 2009
Assignment 3- 27.Jan 2009
Hi Alex, Jasmine, Allison, Tim and Alexandria,
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
Part II... "The Pitch"
Here's the basis of our "movie pitch" (i.e. background, scenario, setting, etc.) Since we started an e-mail thread and kept sending our ideas building on the previous person's e-mail, I figured it'd work best to just put everyone's ideas right here together:
Keene's version presented a dark, empty and harsh world during the time of witch-burning. There was also a clash between christian and pagan beliefs and a mix of irrational gender associations. I think his version of 'Hansel and Gretel' would be in the same setting, but just next to woods... obviously.
He also played to the psychological coherence of the story with complex characters, etc. In the case of this story I believe he would portray the era in a time of severe famine since fairy tales tend to adhere to that sort of genre of wish-fulfillment. Child anxiety of abandonment and starvation, therefore leading to thoughts of cannibalism, would certainly come into play. The reading in Tatar mentions "unrestrained giving in to gluttony," "cannibalistic inclinations," and "oral greediness," which could all play a part in Keene's dark world deeply rooted in child anxiety, fear and famine. The setting should be simple in itself (rural, next to the forsaken woods, etc.) while supplying a platform for the development of the complex characters of Hansel and Gretel.
Keene's version presented a dark, empty and harsh world during the time of witch-burning. There was also a clash between christian and pagan beliefs and a mix of irrational gender associations. I think his version of 'Hansel and Gretel' would be in the same setting, but just next to woods... obviously.
He also played to the psychological coherence of the story with complex characters, etc. In the case of this story I believe he would portray the era in a time of severe famine since fairy tales tend to adhere to that sort of genre of wish-fulfillment. Child anxiety of abandonment and starvation, therefore leading to thoughts of cannibalism, would certainly come into play. The reading in Tatar mentions "unrestrained giving in to gluttony," "cannibalistic inclinations," and "oral greediness," which could all play a part in Keene's dark world deeply rooted in child anxiety, fear and famine. The setting should be simple in itself (rural, next to the forsaken woods, etc.) while supplying a platform for the development of the complex characters of Hansel and Gretel.
I also picture Keene placing Hansel and Gretel in their early teenage years right when they are starting to explore themselves. This way she could twist it into some sort of awkward incest non sense in the woods, perhaps touching on cannibalism and gender inequalities. So possibly the children go into the woods twice, once to explore and once to be caught.
Keene's mellow demure also makes me question if the witch would die by being shoved into the stove or if would happen more calmly. Possibly the children could trick her into poisoning herself while she is making the stew to cook them in.
I assume Keene would have the step mother run the children into the woods by telling them their father no longer loved them. Also, if the town was in some sort of depression I feel the witch's house in the wood would be very lavish compared to their home they just left.
And if this is supposed to a depiction of the real life events that result in the tale of Hansel and Gretel, like with Keene's Juniper Tree, I think the ending needs to be drastically different than the conventional story that we all know. I think Hansel and Gretel should not cleverly escape the witch and end up being eaten. Perhaps one sibling could survive?
Also, I was thinking that perhaps the way that Hansel and Gretel find their way home the first time would be different. Maybe instead of using pebbles they are able to use the stars to guide them. The second night when they try to use the stars it is cloudy or something so that do not have anything to guide them. The reading suggested that the characters show wisdom in what they do the first time , but the second time they foolishly use bread instead of trying to remember landmarks. Perhaps in Keene's version of Hansel and Gretel the circumstances for their inability to show wisdom will be out of their control (i.e.. clouds blocking the stars)
Also, Keene would probably introduce a class or cultural struggle between the characters. The father and mother could make the children work for a wealthy widow (possible witch-figure) in order to make money for the family to live on. But since they despise the horrible widow, they run away. To put a "Keene twist" on denouement the mother could have died from starvation by the time they reach home, but the children have enough money to survive on meager funds.
(The "I" should be taken collectively, as it represents the views of the group.)
And if this is supposed to a depiction of the real life events that result in the tale of Hansel and Gretel, like with Keene's Juniper Tree, I think the ending needs to be drastically different than the conventional story that we all know. I think Hansel and Gretel should not cleverly escape the witch and end up being eaten. Perhaps one sibling could survive?
Also, I was thinking that perhaps the way that Hansel and Gretel find their way home the first time would be different. Maybe instead of using pebbles they are able to use the stars to guide them. The second night when they try to use the stars it is cloudy or something so that do not have anything to guide them. The reading suggested that the characters show wisdom in what they do the first time , but the second time they foolishly use bread instead of trying to remember landmarks. Perhaps in Keene's version of Hansel and Gretel the circumstances for their inability to show wisdom will be out of their control (i.e.. clouds blocking the stars)
Also, Keene would probably introduce a class or cultural struggle between the characters. The father and mother could make the children work for a wealthy widow (possible witch-figure) in order to make money for the family to live on. But since they despise the horrible widow, they run away. To put a "Keene twist" on denouement the mother could have died from starvation by the time they reach home, but the children have enough money to survive on meager funds.
(The "I" should be taken collectively, as it represents the views of the group.)
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