Fairy tale
A fairy tale (alternative names include fairytale, fairy story, magic tale, or wonder tale) is a
.In less technical contexts, the term is also used to describe something blessed with unusual happiness, as in "fairy-tale ending" (a
Fairy tales occur both in oral and in literary form; the name "fairy tale" ("conte de fées" in French) was first ascribed to them by Madame d'Aulnoy in the late 17th century. Many of today's fairy tales have evolved from centuries-old stories that have appeared, with variations, in multiple cultures around the world.[6]
The history of the fairy tale is particularly difficult to trace because only the literary forms can survive. Still, according to researchers at universities in
Fairy tales, and works derived from fairy tales, are still written today.The
Folklorists have classified fairy tales in various ways. The Aarne–Thompson–Uther Index and the morphological analysis of Vladimir Propp are among the most notable. Other folklorists have interpreted the tales' significance, but no school has been definitively established for the meaning of the tales.
Terminology
Some
"...a tale of some length involving a succession of
The characters and motifs of fairy tales are simple and archetypal: princesses and goose-girls;
Definition
Although the fairy tale is a distinct genre within the larger category of folktale, the definition that marks a work as a fairy tale is a source of considerable dispute.
Were I asked, what is a fairytale? I should reply, Read Undine: that is a fairytale ... of all fairytales I know, I think Undine the most beautiful.
— George MacDonald, The Fantastic Imagination
As
In his essay "
Steven Swann Jones identified the presence of magic as the feature by which fairy tales can be distinguished from other sorts of folktales.[21] Davidson and Chaudri identify "transformation" as the key feature of the genre.[10] From a psychological point of view, Jean Chiriac argued for the necessity of the fantastic in these narratives.[22]
In terms of aesthetic values, Italo Calvino cited the fairy tale as a prime example of "quickness" in literature, because of the economy and concision of the tales.[23]
History of the genre
Originally, stories that would contemporarily be considered fairy tales were not marked out as a separate genre. The German term "Märchen" stems from the old German word "Mär", which means news or tale.[24] The word "Märchen" is the diminutive of the word "Mär", therefore it means a "little story". Together with the common beginning "once upon a time", this tells us that a fairy tale or a märchen was originally a little story from a long time ago when the world was still magic. (Indeed, one less regular German opening is "In the old times when wishing was still effective".)[25]
The French writers and adaptors of the conte de fées genre often included fairies in their stories; the genre name became "fairy tale" in English translation and "gradually eclipsed the more general term folk tale that covered a wide variety of oral tales".[26] Jack Zipes also attributes this shift to changing sociopolitical conditions in the seventeenth and eighteenth centuries that led to the trivialization of these stories by the upper classes.[26]
Roots of the genre come from different oral stories passed down in European cultures. The genre was first marked out by writers of the Renaissance, such as Giovanni Francesco Straparola and Giambattista Basile, and stabilized through the works of later collectors such as Charles Perrault and the Brothers Grimm.[27] In this evolution, the name was coined when the précieuses took up writing literary stories; Madame d'Aulnoy invented the term Conte de fée, or fairy tale, in the late 17th century.[28]
Before the definition of the genre of fantasy, many works that would now be classified as fantasy were termed "fairy tales", including Tolkien's
Folk and literary
The fairy tale, told orally, is a sub-class of the folktale. Many writers have written in the form of the fairy tale. These are the literary fairy tales, or Kunstmärchen.[14] The oldest forms, from Panchatantra to the Pentamerone, show considerable reworking from the oral form.[31] The Grimm brothers were among the first to try to preserve the features of oral tales. Yet the stories printed under the Grimm name have been considerably reworked to fit the written form.[32]
Literary fairy tales and oral fairy tales freely exchanged plots, motifs, and elements with one another and with the tales of foreign lands.[33] The literary fairy tale came into fashion during the 17th century, developed by aristocratic women as a parlour game. This, in turn, helped to maintain the oral tradition. According to Jack Zipes, "The subject matter of the conversations consisted of literature, mores, taste, and etiquette, whereby the speakers all endeavoured to portray ideal situations in the most effective oratorical style that would gradually have a major effect on literary forms."[34] Many 18th-century folklorists attempted to recover the "pure" folktale, uncontaminated by literary versions. Yet while oral fairy tales likely existed for thousands of years before the literary forms, there is no pure folktale, and each literary fairy tale draws on folk traditions, if only in parody.[35] This makes it impossible to trace forms of transmission of a fairy tale. Oral story-tellers have been known to read literary fairy tales to increase their own stock of stories and treatments.[36]
History
The
Scholarship points out that Medieval literature contains early versions or predecessors of later known tales and motifs, such as the grateful dead, The Bird Lover or the quest for the lost wife.[43][c] Recognizable folktales have also been reworked as the plot of folk literature and oral epics.[46]
Jack Zipes writes in When Dreams Came True, "There are fairy tale elements in
The Salon Era
In the mid-17th century, a vogue for magical tales emerged among the intellectuals who frequented the salons of Paris. These salons were regular gatherings hosted by prominent aristocratic women, where women and men could gather together to discuss the issues of the day.
In the 1630s, aristocratic women began to gather in their own living rooms, salons, to discuss the topics of their choice: arts and letters, politics, and social matters of immediate concern to the women of their class: marriage, love, financial and physical independence, and access to education. This was a time when women were barred from receiving a formal education. Some of the most gifted women writers of the period came out of these early salons (such as
Sometime in the middle of the 17th century, a passion for the conversational
The salon tales as they were originally written and published have been preserved in a monumental work called Le Cabinet des Fées, an enormous collection of stories from the 17th and 18th centuries.[14]
Later works
The first collectors to attempt to preserve not only the plot and characters of the tale, but also the style in which they were told, was the Brothers Grimm, collecting German fairy tales; ironically, this meant although their first edition (1812 & 1815)[41] remains a treasure for folklorists, they rewrote the tales in later editions to make them more acceptable, which ensured their sales and the later popularity of their work.[55]
Such literary forms did not merely draw from the folktale, but also influenced folktales in turn. The Brothers Grimm rejected several tales for their collection, though told orally to them by Germans, because the tales derived from Perrault, and they concluded they were thereby
This consideration of whether to keep Sleeping Beauty reflected a belief common among folklorists of the 19th century: that the folk tradition preserved fairy tales in forms from pre-history except when "contaminated" by such literary forms, leading people to tell inauthentic tales.[57] The rural, illiterate, and uneducated peasants, if suitably isolated, were the folk and would tell pure folk tales.[58] Sometimes they regarded fairy tales as a form of fossil, the remnants of a once-perfect tale.[59] However, further research has concluded that fairy tales never had a fixed form, and regardless of literary influence, the tellers constantly altered them for their own purposes.[60]
The work of the Brothers Grimm influenced other collectors, both inspiring them to collect tales and leading them to similarly believe, in a spirit of
Cross-cultural transmission
Two theories of origins have attempted to explain the common elements in fairy tales found spread over continents. One is that a single point of origin generated any given tale, which then spread over the centuries; the other is that such fairy tales stem from common human experience and therefore can appear separately in many different origins.[65]
Fairy tales with very similar plots, characters, and motifs are found spread across many different cultures. Many researchers hold this to be caused by the spread of such tales, as people repeat tales they have heard in foreign lands, although the oral nature makes it impossible to trace the route except by inference.[66] Folklorists have attempted to determine the origin by internal evidence, which can not always be clear; Joseph Jacobs, comparing the Scottish tale The Ridere of Riddles with the version collected by the Brothers Grimm, The Riddle, noted that in The Ridere of Riddles one hero ends up polygamously married, which might point to an ancient custom, but in The Riddle, the simpler riddle might argue greater antiquity.[67]
Folklorists of the "Finnish" (or historical-geographical) school attempted to place fairy tales to their origin, with inconclusive results.
Fairy tales tend to take on the color of their location, through the choice of motifs, the style in which they are told, and the depiction of character and local color.[71]
The Brothers Grimm believed that European fairy tales derived from the cultural history shared by all Indo-European peoples and were therefore ancient, far older than written records. This view is supported by research by the anthropologist Jamie Tehrani and the folklorist Sara Graca Da Silva using phylogenetic analysis, a technique developed by evolutionary biologists to trace the relatedness of living and fossil species. Among the tales analysed were Jack and the Beanstalk, traced to the time of splitting of Eastern and Western Indo-European, over 5000 years ago. Both Beauty and the Beast and Rumpelstiltskin appear to have been created some 4000 years ago. The story of The Smith and the Devil (Deal with the Devil) appears to date from the Bronze Age, some 6000 years ago.[7] Various other studies converge to suggest that some fairy tales, for example the swan maiden,[72][73][74] could go back to the Upper Palaeolithic.
Association with children
Originally, adults were the audience of a fairy tale just as often as children.[75] Literary fairy tales appeared in works intended for adults, but in the 19th and 20th centuries the fairy tale became associated with children's literature.
The
In the modern era, fairy tales were altered so that they could be read to children. The Brothers Grimm concentrated mostly on sexual references;[79] Rapunzel, in the first edition, revealed the prince's visits by asking why her clothing had grown tight, thus letting the witch deduce that she was pregnant, but in subsequent editions carelessly revealed that it was easier to pull up the prince than the witch.[80] On the other hand, in many respects, violence—particularly when punishing villains—was increased.[81] Other, later, revisions cut out violence; J. R. R. Tolkien noted that The Juniper Tree often had its cannibalistic stew cut out in a version intended for children.[82] The moralizing strain in the Victorian era altered the classical tales to teach lessons, as when George Cruikshank rewrote Cinderella in 1854 to contain temperance themes. His acquaintance Charles Dickens protested, "In an utilitarian age, of all other times, it is a matter of grave importance that fairy tales should be respected."[83][84]
Other famous people commented on the importance of fairy tales, especially for children. For example, G. K. Chesterton argued that "Fairy tales, then, are not responsible for producing in children fear, or any of the shapes of fear; fairy tales do not give the child the idea of the evil or the ugly; that is in the child already, because it is in the world already. Fairy tales do not give the child his first idea of bogey. What fairy tales give the child is his first clear idea of the possible defeat of bogey. The baby has known the dragon intimately ever since he had an imagination. What the fairy tale provides for him is a St. George to kill the dragon."[90] Albert Einstein once showed how important he believed fairy tales were for children's intelligence in the quote "If you want your children to be intelligent, read them fairytales. If you want them to be more intelligent, read them more fairytales."[91]
The adaptation of fairy tales for children continues.
Motherhood
Many fairy tales feature an absentee mother, as an example Beauty and the Beast, The Little Mermaid, Little Red Riding Hood and Donkeyskin, where the mother is deceased or absent and unable to help the heroines. Mothers are depicted as absent or wicked in the most popular contemporary versions of tales like Rapunzel, Snow White, Cinderella and Hansel and Gretel, however, some lesser known tales or variants such as those found in volumes edited by Angela Carter and Jane Yolen depict mothers in a more positive light.[95]
Carter's protagonist in
Contemporary tales
Literary
In
Other authors may have specific motives, such as multicultural or feminist reevaluations of predominantly Eurocentric masculine-dominated fairy tales, implying critique of older narratives.[101] The figure of the damsel in distress has been particularly attacked by many feminist critics. Examples of narrative reversal rejecting this figure include The Paperbag Princess by Robert Munsch, a picture book aimed at children in which a princess rescues a prince, Angela Carter's The Bloody Chamber, which retells a number of fairy tales from a female point of view and Simon Hood's contemporary interpretation of various popular classics.[citation needed]
There are also many contemporary erotic retellings of fairy tales, which explicitly draw upon the original spirit of the tales, and are specifically for adults. Modern retellings focus on exploring the tale through use of the erotic, explicit sexuality, dark and/or comic themes, female empowerment, fetish and BDSM, multicultural, and heterosexual characters. Cleis Press has released several fairy tale-themed erotic anthologies, including Fairy Tale Lust, Lustfully Ever After, and A Princess Bound.
It may be hard to lay down the rule between fairy tales and fantasies that use fairy tale motifs, or even whole plots, but the distinction is commonly made, even within the works of a single author: George MacDonald's Lilith and Phantastes are regarded as fantasies, while his "The Light Princess", "The Golden Key", and "The Wise Woman" are commonly called fairy tales. The most notable distinction is that fairytale fantasies, like other fantasies, make use of novelistic writing conventions of prose, characterization, or setting.[102]
Film
Fairy tales have been enacted dramatically; records exist of this in
Many filmed fairy tales have been made primarily for children, from Disney's later works to Aleksandr Rou's retelling of
Other works have retold familiar fairy tales in a darker, more horrific or psychological variant aimed primarily at adults. Notable examples are Jean Cocteau's Beauty and the Beast[112] and The Company of Wolves, based on Angela Carter's retelling of Little Red Riding Hood.[113] Likewise, Princess Mononoke,[114] Pan's Labyrinth,[115] Suspiria, and Spike[116] create new stories in this genre from fairy tale and folklore motifs.
In comics and animated TV series,
A more modern cinematic fairy tale would be
In recent years, Disney has been dominating the fairy tale film industry by remaking their animated fairy tale films into live action. Examples include
Motifs
Any comparison of fairy tales quickly discovers that many fairy tales have features in common with each other. Two of the most influential classifications are those of
Aarne-Thompson
This system groups fairy and folk tales according to their overall plot. Common, identifying features are picked out to decide which tales are grouped together. Much therefore depends on what features are regarded as decisive.
For instance, tales like .
Further analysis of the tales shows that in Cinderella, The Wonderful Birch, The Story of Tam and Cam, Ye Xian, and Aschenputtel, the heroine is persecuted by her stepmother and refused permission to go to the ball or other event, and in Fair, Brown and Trembling and Finette Cendron by her sisters and other female figures, and these are grouped as 510A; while in Cap O' Rushes, Catskin, and Allerleirauh, the heroine is driven from home by her father's persecutions, and must take work in a kitchen elsewhere, and these are grouped as 510B. But in Katie Woodencloak, she is driven from home by her stepmother's persecutions and must take service in a kitchen elsewhere, and in Tattercoats, she is refused permission to go to the ball by her grandfather. Given these features common with both types of 510, Katie Woodencloak is classified as 510A because the villain is the stepmother, and Tattercoats as 510B because the grandfather fills the father's role.
This system has its weaknesses in the difficulty of having no way to classify subportions of a tale as motifs. Rapunzel is type 310 (The Maiden in the Tower), but it opens with a child being demanded in return for stolen food, as does Puddocky; but Puddocky is not a Maiden in the Tower tale, while The Canary Prince, which opens with a jealous stepmother, is.
It also lends itself to emphasis on the common elements, to the extent that the folklorist describes
Morphology
Vladimir Propp specifically studied a collection of Russian fairy tales, but his analysis has been found useful for the tales of other countries.[118][page needed] Having criticized Aarne-Thompson type analysis for ignoring what motifs did in stories, and because the motifs used were not clearly distinct,[119] he analyzed the tales for the function each character and action fulfilled and concluded that a tale was composed of thirty-one elements ('functions') and seven characters or 'spheres of action' ('the princess and her father' are a single sphere). While the elements were not all required for all tales, when they appeared they did so in an invariant order – except that each individual element might be negated twice, so that it would appear three times, as when, in Brother and Sister, the brother resists drinking from enchanted streams twice, so that it is the third that enchants him.[120] Propp's 31 functions also fall within six 'stages' (preparation, complication, transference, struggle, return, recognition), and a stage can also be repeated, which can affect the perceived order of elements.
One such element is the
Analogies have been drawn between this and the analysis of myths into the
Interpretations
Many fairy tales have been interpreted for their (purported) significance. One mythological interpretation saw many fairy tales, including
Specific analyses have often been criticized[by whom?] for lending great importance to motifs that are not, in fact, integral to the tale; this has often stemmed from treating one instance of a fairy tale as the definitive text, where the tale has been told and retold in many variations.[127] In variants of Bluebeard, the wife's curiosity is betrayed by a blood-stained key, by an egg's breaking, or by the singing of a rose she wore, without affecting the tale, but interpretations of specific variants have claimed that the precise object is integral to the tale.[128]
Other folklorists have interpreted tales as historical documents. Many[quantify] German folklorists, believing the tales to have preserved details from ancient times, have used the Grimms' tales to explain ancient customs.[85]
One approach sees the topography of European Märchen as echoing the period immediately following the
In a 2012 lecture, Jack Zipes reads fairy tales as examples of what he calls "childism". He suggests that there are terrible aspects to the tales, which (among other things) have conditioned children to accept mistreatment and even abuse.[131]
Fairy tales in music
Fairy tales have inspired music, namely opera, such as the French
Ballet, too, is fertile ground for bringing fairy tales to life. Igor Stravinsky's first ballet, The Firebird uses elements from various classic Russian tales in that work.
Even contemporary fairy tales have been written for the purpose of inspiration in the music world. "Raven Girl" by Audrey Niffenegger was written to inspire a new dance for the Royal Ballet in London. The song "Singring and the Glass Guitar" by the American band Utopia, recorded for their album "Ra", is called "An Electrified Fairytale". Composed by the four members of the band, Roger Powell, Kasim Sulton, Willie Wilcox and Todd Rundgren, it tells the story of the theft of the Glass Guitar by Evil Forces, which has to be recovered by the four heroes.
Compilations
Authors and works:
From many countries
- García Carcedo, Pilar (2020): Entre brujas y dragones. Travesía comparativa por los cuentos tradicionales del mundo[132]
- Andrew Lang's Color Fairy Books (1890–1913)
- Wolfram Eberhard (1909–1989)
- Howard Pyle's The Wonder Clock
- Ruth Manning-Sanders (Wales, 1886–1988)
- World Tales (United Kingdom, 1979) by Idries Shah
- Richard Dorson (1916–1981)
- The Annotated Classic Fairy Tales (United States, 2002) by Maria Tatar
Italy
- Pentamerone (Italy, 1634–1636) by Giambattista Basile
- Giovanni Francesco Straparola (Italy, 16th century)
- Giuseppe Pitrè, Italian collector of folktales from his native Sicily (Italy, 1841–1916)
- Laura Gonzenbach, Swiss collector of Sicilian folk tales (Switzerland, 1842–1878)
- Domenico Comparetti, Italian scholar (Italy, 1835–1927)
- Thomas Frederick Crane, American lawyer (United States, 1844–1927)
- Emma Perodi, Italian writer, author of the Casentinian folk tales (Italy, 1850–1918)
- Luigi Capuana, Italian author of literary fiabe
- Italian Folktales (Italy, 1956) by Italo Calvino
France
- Charles Perrault (France, 1628–1703)
- Eustache Le Noble, French writer of literary fairy tales (France, 1646–1711)
- Madame d'Aulnoy (France, 1650–1705)
- Emmanuel Cosquin, French collector of Lorraine fairy tales and one of the earliest tale comparativists (France, 1841–1919)
- Paul Sébillot, collector of folktales from Brittany, France (France, 1843–1918)
- François-Marie Luzel, French collector of Brittany folktales (France, 1821–1895)
- Charles Deulin, French author and folklorist (France, 1827–1877)
- Édouard René de Laboulaye, French jurist, poet and publisher of folk tales and literary fairy tales
- Henri Pourrat, French collector of Auvergne folklore (1887–1959)
- Achille Millien, collector of Nivernais folklore (France, 1838–1927)
- Paul Delarue, establisher of the French folktale catalogue (France, 1889–1956)
Germany
- Grimms' Fairy Tales (Germany, 1812–1857)
- Johann Karl August Musäus, German writer of Volksmärchen der Deutschen (5 volumes; 1782–1786)
- Wilhelm Hauff, German author and novelist
- Heinrich Pröhle, collector of Germanic language folktales
- Franz Xaver von Schönwerth (Germany, 1810–1886)
- Adalbert Kuhn, German philologist and folklorist (Germany, 1812–1881)
- Alfred Cammann (1909–2008), 20th century collector of fairy tales
Belgium
- Charles Polydore de Mont (Pol de Mont) (Belgium, 1857–1931)
United Kingdom and Ireland
- Joseph Jacobs's two books of Celtic Fairytales and two books of English Folktales (1854–1916)
- Alan Garner's Book of British Fairy Tales (United Kingdom, 1984) by Alan Garner
- Old English fairy tales by Reverend Sabine Baring-Gould (1895)
- Popular Tales of the West Highlands (Scotland, 1862) by John Francis Campbell
- Jeremiah Curtin, collector of Irish folktales and translator of Slavic fairy tales (Ireland, 1835–1906)
- Patrick Kennedy, Irish educator and folklorist (Ireland, ca. 1801–1873)
- Séamus Ó Duilearga, Irish folklorist (Ireland, 1899–1980)
- Kevin Danaher, Irish folklorist (Ireland, 1913-2002) Folktales from the Irish Countryside
- W. B. Yeats, Irish poet and publisher of Irish folktales
- Peter and the Piskies: Cornish Folk and Fairy Tales (United Kingdom, 1958), by Ruth Manning-Sanders
- Hans Christian Andersen, Danish author of literary fairy tales (Denmark, 1805–1875)
- Helena Nyblom, Swedish author of literary fairy tales (Sweden, 1843–1926)
- Norwegian Folktales (Norway, 1845–1870) by Peter Christen Asbjørnsen and Jørgen Moe
- Svenska folksagor och äfventyr (Sweden, 1844–1849) by Gunnar Olof Hyltén-Cavallius
- August Bondeson, collector of Swedish folktales (1854–1906)
- Jyske Folkeminder by Evald Tang Kristensen (Denmark, 1843–1929)
- Svend Grundtvig, Danish folktale collector (Denmark, 1824–1883)
- Benjamin Thorpe, English scholar of Anglo-Saxon literature and translator of Nordic and Scandinavian folktales (1782–1870)
- Jón Árnason, collector of Icelandic folklore
- Adeline Rittershaus, German philologist and translator of Icelandic folktales
Estonia, Finland and Baltic Region
- Suomen kansan satuja ja tarinoita (Finland, 1852–1866) by Eero Salmelainen
- August Leskien, German linguist and collector of Baltic folklore (1840–1916)
- William Forsell Kirby, English translator of Finnish folklore and folktales (1844–1912)
- Jonas Basanavičius, collector of Lithuanian folklore (1851–1927)
- Mečislovas Davainis-Silvestraitis, collector of Lithuanian folklore (1849–1919)
- Pēteris Šmits , Latvian ethnographer (1869–1938)
Russia
- Narodnye russkie skazki (Russia, 1855–1863) by Alexander Afanasyev
Czechia and Slovakia
- Božena Němcová, writer and collector of Czech fairy tales (1820–1862)
- Alfred Waldau , editor and translator of Czech fairy tales
- Jan Karel Hraše , writer and publisher of Czech fairy tales
- František Lazecký , publisher of Silesian fairy tales (Slezské pohádky) (1975–1977)
- Karel Jaromír Erben, poet, folklorist and publisher of Czech folktales (1811–1870)
- August Horislav Škultéty, Slovak writer (1819–1895)
- Pavol Dobšinský, collector of Slovak folktales (1828–1885)
- Albert Wratislaw, collector of Slavic folktales
Poland
- Oskar Kolberg, Polish ethnographer who compiled several Polish folk and fairy tales (1814–1890)
- Zygmunt Gloger, Polish historian and ethnographer (1845–1910)
- Bolesław Leśmian, Polish poet (1877–1937)
- Kornel Makuszyński, Polish writer of children's literature and tales (1884–1953)
Romania
- Legende sau basmele românilor (Romania, 1874) by Petre Ispirescu
- Queen Elisabeth of Wied's Romanian fairy tales, penned under nom de plume Carmen Sylva[133]
- Arthur (1814-1875) and Albert Schott (1809-1847), German folklorists and collectors of Romanian fairy tales
- I. C. Fundescu (1836–1904)
- Ion Creangă, Moldavian/Romanian writer, raconteur and schoolteacher (1837-1889)
- Ioan Slavici, Romanian writer and journalist (1848–1925)
- G. Dem. Teodorescu, Wallachian/Romanian folklorist (1849–1900)
- Ion Pop-Reteganul , Romanian folklorist (1853–1905)
- Lazăr Șăineanu, Romanian folklorist (1859–1934)
- Dumitru Stăncescu , Romanian folklorist (1866–1899)
Balkan Area and Eastern Europe
- Louis Léger, French translator of Slavic fairy tales (France, 1843–1923)
- Johann Georg von Hahn, Austrian diplomat and collector of Albanian and Greek folklore (1811–1869)
- Auguste Dozon, French scholar and diplomat who studied Albanian folklore (1822–1890)
- Robert Elsie, Canadian-born German Albanologist (Canada, 1950–2017)
- Donat Kurti, Albanian franciscan friar, educator, scholar and folklorist (1903–1983)
- Anton Çetta, Albanian folklorist, academic and university professor from Yugoslavia (1920–1995)
- Lucy Garnett, British traveller and folklorist on Turkey and Balkanic folklore (1849–1934)
- Romani populations(England, 1851–1902)
- Vuk Karadžić, Serbian philologist (Serbia, 1787–1864)
- Elodie Lawton, British writer and translator of Serbian folktales (1825–1908)
- Friedrich Salomon Krauss, collector of South Slavic folklore
- Gašper Križnik (1848–1904), collector of Slovenian folktales
Hungary
- Elek Benedek, Hungarian journalist and collector of Hungarian folktales
- János Erdélyi, poet, critic, author, philosopher who collected Hungarian folktales
- Gyula Pap, ethographer who contributed to the collection Folk-tales of the Magyars
- The Hungarian Fairy Book, by Nándor Pogány (1913).[134]
- Emma Orczyand Montague Barstow.
Spain and Portugal
- Fernán Caballero (Cecilia Böhl de Faber) (Spain, 1796–1877)
- Francisco Maspons y Labrós (Spain, 1840–1901)
- Majorca, 1862–1932)
- Julio Camarena , Spanish folklorist (1949–2004)
- Teófilo Braga, collector of Portuguese folktales (Portugal, 1843–1924)
- Zófimo Consiglieri Pedroso, Portuguese folklorist (Portugal, 1851–1910)
- Wentworth Webster, collector of Basque folklore
- Elsie Spicer Eells, researcher on Iberian folklore (Portuguese and Brazilian)
Armenia
- Karekin Servantsians (Garegin Sruandzteants'; Bishop Sirwantzdiants), ethnologue and clergyman; publisher of Hamov-Hotov (1884)
- Hovhannes Tumanyan, Armenian poet and writer who reworked folkloric material into literary fairy tales (1869–1923)
Middle East
- Arabian Nights(France, 1646–1715)
- Gaston Maspero, French translator of Egyptian and Middle Eastern folktales (France, 1846–1916)
- Hasan M. El-Shamy, establisher of a catalogue classification of Arab and Middle Eastern folktales
- Amina Shah, British anthologiser of Sufi stories and folk tales (1918–2014)
- Raphael Patai, scholar of Jewish folklore (1910–1996)
- Howard Schwartz, collector and publisher of Jewish folktales (1945–)
- Heda Jason , Israeli folklorist
- Dov Noy , Israeli folklorist (1920–2013)
Turkey
- Billur Köşk , compilation of Turkish Anatolian stories
- Ignác Kúnos, Hungarian Turkologist and folklorist (1860-1845)
- Pertev Naili Boratav, Turkish folklorist (1907–1998)
- Kaloghlan (Turkey, 1923) by Ziya Gökalp
Iran
- Arthur Christensen, German Iranist and publisher of Iranian folktales (1875–1945)
- Fazl'ollah Mohtadi Sobhi, Iranian author and publisher of folktales (1897–1962)
Indian Subcontinent
- Panchatantra (India, 3rd century BC)
- Kathasaritsagara, compilation of Indian folklore made by Somadeva in the 11th century CE
- Madanakamaraja Katha, collection of South Indian folktales
- Burhi Aair Sadhu, collection of Assamese folktales
- Thakurmar Jhuli, collection of Bengali folktales
- Lal Behari Dey, reverend and recorder of Bengali folktales (India, 1824–1892)
- James Hinton Knowles, missionary and collector of Kashmiri folklore
- Maive Stokes, Indian-born British author (1866–1961)
- Joseph Jacobs's book of Indian Fairy Tales (1854–1916)
- Natesa Sastri's collection of Tamil folklore (India) and translation of Madanakamaraja Katha
- Village Folk-Tales of Ceylon, three volumes by H. Parker (1910)
- Pandit Ram Gharib Chaube and British orientalist William Crooke
- Verrier Elwin, ethographer and collector of Indian folk tales (1902–1964)
- A. K. Ramanujan, poet and scholar of Indian literature (1929–1993)
- Santal Folk Tales, three volumes by Paul Olaf Bodding (1925–29)
- Shobhanasundari Mukhopadhyay (1877–1937), Indian author and collector of folktales
America
- Marius Barbeau, Canadian folklorist (Canada, 1883–1969)
- Geneviève Massignon, scholar and publisher of French Acadian folklore (1921–1966)
- Carmen Roy, Canadian folklorist (1919–2006)
- Joel Chandler Harris's Uncle Remus series of books
- Tales from the Cloud Walking Country, by Marie Campbell
- Ruth Ann Musick, scholar of West Virginian folklore (1897–1974)
- Vance Randolph, folklorist who studied the folklore of the Ozarks (1892–1980)
- Cuentos populares mexicanos (Mexico, 2014) by Fabio Morábito
- Rafael Rivero Oramas, collector of Venezuelan tales. Author of El mundo de Tío Conejo, collection of Tío Tigre and Tío Conejo tales.
- Américo Paredes, author specialized in folklore from Mexico and the Mexican-American border (1915–1999)
- Elsie Clews Parsons, American anthropologist and collector of folktales from Central American countries (New York City, 1875–1941)
- John Alden Mason, American linguist and collector of Porto Rican folklore (1885–1967)
- Aurelio Macedonio Espinosa Sr., scholar of Spanish folklore (1880–1958)
Brazil
- Sílvio Romero, Brazilian lawyer and folktale collector (Brazil, 1851–1914)
- Luís da Câmara Cascudo, Brazilian anthropologist and ethnologist (Brazil, 1898–1986)
- Lindolfo Gomes , Brazilian folklorist (1875–1953)
- Marco Haurélio, contemporary writer and folklorist, author of Contos e Fábulas do Brasil and Contos Folclóricos Brasileiros.
South Korea
- Baek Hee-na, author of "The Cloud Bread" (South Korea, 1971–)
- Hwang Seon-mi, author of "Hen out of the yard" (South Korea, 1963–)
Africa
- Hans Stumme, scholar and collector of North African folklore (1864–1936)
- Sigrid Schmidt, folklorist; known for her voluminous Afrika erzählt ("Africa Narrates") series. The ten volumes are tales (with extensive commentary) collected by the author during 1959-1962 and 1972-1997 (volumes 1 to 7 in German, volumes 8 to 10 in English), mostly in Namibia.[135]
Asia
- Kunio Yanagita (Japan, 1875–1962)
- Seki Keigo, Japanese folklorist
- Lafcadio Hearn
- Yei Theodora Ozaki, translator of Japanese folk tales (1870–1932)
- Dean Fansler, professor and scholar of Filipino folklore
Miscellaneous
- Mixed Up Fairy Tales
- Fairy Tales (United States, 1965) by E. E. Cummings
- Fairy Tales, Now First Collected: To Which are Prefixed Two Dissertations: 1. On Pygmies. 2. On Fairies (England, 1831) by Joseph Ritson
See also
Notes
- ^ Scholars John Th. Honti and Gédeon Huet asserted the existence of fairy tales in ancient and medieval literature, as well as in classical mythology.[38][39]
- ^ Even further back, according to professor Berlanga Fernández, elements of international "Märchen" show "exact parallels and themes (...) that seem to be common with Greek folklore and later tradition".[40]
- Arthurian mythos contain recognizable motifs of tale types described in the international index.[45]
- ^ For a comprehensive introduction into fairy tale interpretation, and main terms of Jungian Psychology (Anima, Animus, Shadow) see Franz 1970.
References
Citations
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- ^ Orenstein 2002, p. 9.
- ^ Gray, Richard (5 September 2009). "Fairy tales have ancient origin". The Telegraph. Archived from the original on 8 September 2009.
- ^ a b "Fairy tale origins thousands of years old, researchers say". BBC News. 20 January 2016. Archived from the original on 3 January 2018. Retrieved 20 January 2016.
- ^ Blakemore, Erin (20 January 2016). "Fairy Tales Could Be Older Than You Ever Imagined". Smithsonion Magazine. Archived from the original on 27 February 2019. Retrieved 4 March 2019.
- ^ Jacobs, Joseph (1892). Wikisource. . . p. 230 – via
- ^ ISBN 978-0-85991-784-1.
- ^ Thompson 1977, p. 8.
- ^ Byatt 2004, p. xviii.
- ^ Heiner, Heidi Anne. "What Is a Fairy Tale?". Sur La Lune. Archived from the original on 15 August 2020.
- ^ a b c Windling, Terri (2000). "Les Contes de Fées: The Literary Fairy Tales of France". Realms of Fantasy. Archived from the original on 28 March 2014.
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- ^ Tolkien 1966, pp. 10–11.
- ^ Swann Jones 1995, p. 8.
- ^ Jones, J. "Psychoanalysis and Fairy-Tales". Freud File. The Romanian Association for Psychoanalysis Promotion. Archived from the original on 10 November 2012. Retrieved 13 March 2013.
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- ^ "Märchen". Oxford English Dictionary (Online ed.). Oxford University Press. Retrieved 22 September 2022. (Subscription or participating institution membership required.)
- ^ Healy, Marti (19 January 2019). "Marti Healy: Begin anywhere". Aiken Standard. Archived from the original on 30 January 2023. Retrieved 30 January 2023.
- ^ ISBN 978-0-8131-7030-5.
- ^ Zipes 2001, pp. xi–xii.
- ^ Zipes 2001, p. 858.
- ^ Attebery 1980, p. 83.
- ^ Martin 2002, pp. 38–42.
- ^ a b Swann Jones 1995, p. 35.
- ^ Attebery 1980, p. 5.
- ^ Zipes 2001, p. xii.
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- ^ "Kagerou Bunko" (PDF). International League of Antiquarian Booksellers (ILAB).
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- ^ Bošković-Stulli, Maja (1962). "Sižei narodnih bajki u Hrvatskosrpskim epskim pjesmama" [Subjects of folk tales in Croato-Serbian epics]. Narodna umjetnost: Hrvatski časopis za etnologiju i folkloristiku (in Croatian). 1 (1): 15–36. Archived from the original on 20 April 2021. Retrieved 20 April 2021.
- ^ Zipes 2007, p. 12.
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- ^ Ozaki, Yei Theodora. "Preface". Japanese Fairy Tales – via Sur La Lune.
- ^ Clute & Grant 1997, pp. 26–27, "Hans Christian Andersen".
- ^ Clute & Grant 1997, p. 604, "George MacDonald".
- ^ Orenstein 2002, pp. 77–78.
- ^ Zipes 2001, p. 845.
- ^ Jacobs, Joseph (1895). Wikisource. . – via
- ^ Calvino 1980, p. xx.
- ^ Velten 2001, p. 962.
- ^ Velten 2001, pp. 966–967.
- ^ Calvino 1980, p. xxi.
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- ^ Zipes 2007, p. 1.
- ^ ISBN 978-0-521-55005-5.
- ^ Zipes 2007, p. 47.
- ^ Tatar 1987, p. 19.
- ^ Tatar 1987, p. 20.
- ^ Tatar 1987, p. 32.
- ^ Byatt 2004, pp. xlii–xliv.
- ^ Tolkien 1966, p. 31.
- ^ Briggs 1967, pp. 181–182.
- ^ "Charles Dickens's "Frauds on the Fairies" (1 October 1853)". The Victorian Web. 23 January 2006. Archived from the original on 23 July 2013. Retrieved 13 March 2013.
- ^ a b Zipes 2002a, p. 48.
- S2CID 151699614.
- PMID 21375565.
- JSTOR j.ctt7sw9v.7.
- ^ Franz 1970, pp. 1–2.
- ^ * Chesterton, G. K. (1909). Tremendous Trifles. London: Methuen & Co. p. 2nd paragraph in XVII.
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- ^ Drazen 2003, pp. 43–44.
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- ^ Zipes 2007, pp. 24–25.
- ^ Clute & Grant 1997, p. 333, "Fairytale".
- ^ Martin 2002, p. 41.
- ^ a b Pilinovsky, Helen. "Donkeyskin, Deerskin, Allerleirauh, The Reality of the Fairy Tale". Journal of Mythic Arts. Archived from the original on 9 August 2022. Retrieved 19 August 2022.
- ^ Briggs 1967, p. 195.
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- ^ Clute & Grant 1997, p. 745, "Pantomime".
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ISBN 978-1-78356-074-5. Retrieved 22 May 2016.
As the glaciers of the last ice age retreated (from c. 10,000 BC) forests, of various types, quickly colonised the land and came to cover most of Europe. [...] These forests formed the topography out of which the fairy stories (or as they are better called in German – the marchen), which are one of our earliest and most vital cultural forms, evolved.
- ISBN 0-374-15901-7.
- ^ Fischlowitz, Sharon (15 November 2012). "Fairy Tales, Child Abuse, and "Childism" : Presentation by Jack Zipes". University of Minnesota Institute for Advanced Study. Archived from the original on 12 December 2012.
- ^ Estudio comparativo y antología de cuentos tradicionales del mundo
- ^ Sylva, Carmen (1896). "Tales nr. 1-10". Legends from river & mountain. London: George Allen. pp. 1–148.
- ^ Pogány, Nándor; Pogány, Willy (1913). The Hungarian Fairy Book. New York: F. A. Stokes Co.
- ^ Afrika erzählt
Sources
- Attebery, Brian (1980). The Fantasy Tradition in American Literature. Indiana University Press. ISBN 0-253-35665-2.
- Bettelheim, Bruno (1989). The Uses of Enchantment: The Meaning and Importance of Fairy Tales, wonder tale, magic tale. New York: Vintage Books. ISBN 0-679-72393-5.
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- Degh, Linda (1988). "What Did the Grimm Brothers Give To and Take From the Folk?". In McGlathery, James M. (ed.). The Brothers Grimm and Folktale. University of Illinois Press. ISBN 0-252-01549-5.
- Drazen, Patrick (2003). Anime Explosion!: The What? Why? & Wow! of Japanese Animation. Berkeley, California: Stone Bridge Press. ISBN 1-880656-72-8.
- Franz, Marie-Louise von (1970). An Introduction to the Psychology of Fairytales". Zurich: Spring Publications. OCLC 940275302.
- Martin, Philip (2002). The Writer's Guide to Fantasy Literature: From Dragon's Lair to Hero's Quest. Writer Books. ISBN 978-0-87116-195-6.
- Orenstein, Catherine (2002). Little Red Riding Hood Undressed. Basic Books. ISBN 0-465-04125-6.
- OCLC 609066584.
- Swann Jones, Steven (1995). The Fairy Tale: The Magic Mirror of the Imagination. New York: Twayne. ISBN 0-8057-0950-9.
- Tatar, Maria (1987). The Hard Facts of the Grimms' Fairy Tales. Princeton University Press. ISBN 0-691-06722-8.
- ISBN 0-520-03537-2.
- ISBN 978-0-345-25585-3.
- Velten, Harry (2001). The Influences of Charles Perrault's Contes de ma Mère L'oie on German Folklore. In Zipes 2001.
- ISBN 0-393-97636-X.
- Zipes, Jack (2002a). The Brothers Grimm: From Enchanted Forests to the Modern World. Palgrave Macmillan. ISBN 0-312-29380-1.
- Zipes, Jack (2007). When Dreams Came True: Classical Fairy Tales and Their Tradition. Routledge. ISBN 978-0-415-98006-7.
Further reading
- "Kidnapped by Fairies / The Hitch Hiker". Shakespir. Archived from the original on 8 September 2021. Retrieved 21 August 2020.
- Heidi Anne Heiner, "The Quest for the Earliest Fairy Tales: Searching for the Earliest Versions of European Fairy Tales with Commentary on English Translations" Archived 14 August 2020 at the Wayback Machine
- Heidi Anne Heiner, "Fairy Tale Timeline" Archived 15 August 2020 at the Wayback Machine
- Vito Carrassi, "Il fairy tale nella tradizione narrativa irlandese: Un itinerario storico e culturale", Adda, Bari 2008; English edition, "The Irish Fairy Tale: A Narrative Tradition from the Middle Ages to Yeats and Stephens", John Cabot University Press/University of Delaware Press, Roma-Lanham 2012.
- Antti Aarne and Stith Thompson: The Types of the Folktale: A Classification and Bibliography (Helsinki, 1961)
- Tatar, Maria. The Annotated Classic Fairy Tales. W.W. Norton & Company, 2002. ISBN 0-393-05163-3
- Benedek Katalin. "Mese és fordítás idegen nyelvről magyarra és magyarról idegenre Archived 17 August 2021 at the ISBN 978-973-8439-92-4. (In Hungarian) [for collections of Hungarian folktales].
- Le Marchand, Bérénice Virginie (2005). "Refraining the Early French Fairy Tale: A Selected Bibliography". Marvels & Tales. 19 (1): 86–122. S2CID 201788183.
On origin and migration of folktales:
- Bortolini, Eugenio; Pagani, Luca; Crema, Enrico R.; Sarno, Stefania; Barbieri, Chiara; Boattini, Alessio; Sazzini, Marco; da Silva, Sara Graça; Martini, Gessica; Metspalu, Mait; Pettener, Davide; Luiselli, Donata; Tehrani, Jamshid J. (22 August 2017). "Inferring patterns of folktale diffusion using genomic data". Proceedings of the National Academy of Sciences of the United States of America. 114 (34): 9140–9145. PMID 28784786.
- d'Huy, Julien (1 June 2019). "Folk-Tale Networks: A Statistical Approach to Combinations of Tale Types". Journal of Ethnology and Folkloristics. 13 (1): 29–49. S2CID 198317250.
- Goldberg, Christine (2010). "Strength in Numbers: The Uses of Comparative Folktale Research". Western Folklore. 69 (1): 19–34. JSTOR 25735282.
- Jason, Heda; Kempinski, Aharon (1981). "How Old Are Folktales?". S2CID 162398733.
- hÓgáin, Dáithí Ó (2000). "The Importance of Folklore within the European Heritage: Some Remarks". Béaloideas. 68: 67–98. JSTOR 20522558.
- Nakawake, Y.; Sato, K. (2019). "Systematic quantitative analyses reveal the folk-zoological knowledge embedded in folktales". Palgrave Communications. 5 (161). .
- Newell, W. W. (January 1895). "Theories of Diffusion of Folk-Tales". The Journal of American Folklore. 8 (28): 7–18. JSTOR 533078.
- Nouyrigat, Vicent. "Contes de fées: leur origine révélée par la génétique". Excelsior publications (2017) in La Science et la Vie(Paris), édition 1194 (03/2017), pp. 74–80.
- Ross, Robert M.; Atkinson, Quentin D. (January 2016). "Folktale transmission in the Arctic provides evidence for high bandwidth social learning among hunter–gatherer groups". Evolution and Human Behavior. 37 (1): 47–53. .
- Swart, P. D. (1957). "The Diffusion of the Folktale: With Special Notes on Africa". Midwest Folklore. 7 (2): 69–84. JSTOR 4317635.
- Utley, Francis Lee; Austerlitz, Robert; Bauman, Richard; Bolton, Ralph; Count, Earl W.; Dundes, Alan; Erickson, Vincent; Farmer, Malcolm F.; Fischer, J. L.; Hultkrantz, Åke; Kelley, David H.; Peek, Philip M.; Pretty, Graeme; Rachlin, C. K.; Tepper, J. (1974). "The Migration of Folktales: Four Channels to the Americas [and Comments and Reply]". Current Anthropology. 15 (1): 5–27. S2CID 144105176.
- Zaitsev, A. I. (July 1987). "On the Origin of the Wondertale". Soviet Anthropology and Archeology. 26 (1): 30–40. .
External links
- Once Upon a Time – How Fairy Tales Shape Our Lives, by Jonathan Young, PhD
- Once Upon A Time: Historical and Illustrated Fairy Tales. Special Collections, University of Colorado Boulder