The Original Folk and Fairy Tales of the Brothers Grimm

Grimm, Jacob; Grimm, Wilhelm; Dezsö, Andrea

doi:10.1515/9781400851898

Cited by 49 publications

(34 citation statements)

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“…5 The first English translations of the Grimms appeared soon thereafter, in 1823 and 1826. Edgar Taylor, a friend of Cohen's, was the translator, and like Cohen, he strove to reach an audience of children and wished to remedy the 'exclusion of works of fancy and fiction from the libraries of children' (Grimm andGrimm 1888 [1839]: iv). But Taylor also sought a nostalgic adult audience:…”

Section: Written Folktale Treatments In Early Nineteenth-century Scotmentioning

confidence: 99%

Storytelling among Lowland Scots since 1800: An All-Female, Upper-Middle-Class Family Oral Tradition in the Context of Written Tale Collections

Lindahl¹

2018

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In 1821, while on a summer visit to Rossie in Fife, seven-year-old Cecilia Margaret Douglas wrote home to her mother in Edinburgh describing a recent 'play day'. She named among the players a special nurse: 'Jeany Durie was also of the party[;] she is quite well and quite as pleasant as she was last year.' 1 This, with a few other lines from a later letter from Cecilia to her mother, provide the only written testimony yet found for the genesis of a family storytelling tradition spanning at least 150 years. Jeanie 2 was a riveting storyteller and a special figure for Cecilia, who listened well in her girlhood and then retold the nurse's tales long into life, sharing them with a young niece, Jemima Bannerman. Jemima, as impressed by 'Aunt Ceil's' tellings as Ceil had been by Nurse Durie's, fixed them in memory and finally wrote them down as an adult. Jemima then read the tales to her own niece, Kathleen Mary Turing Bannerman. In 1968, when Kathleen Bannerman, then in her seventies 3 , presented a typescript collection of five tales to the School of Scottish Studies, she was passing on a female storytelling tradition shared over four generations. Because the name of Jeanie Durie appears nowhere in the typescript, it is a tribute to the bonds formed between Jeanie and Ceil, Ceil and Jemima, and Jemima and Kathleen-and to the power of their collective love of story-that we know it today. The 'Bannerman Manuscript', as this tale cache has come to be known, appears a modest vessel for broad speculation, yet its twenty-one typed pages are unique in ways that bear close attention. Slight as these tales are, they witness a long, unbroken tradition of female

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Section: Written Folktale Treatments In Early Nineteenth-century Scotmentioning

confidence: 99%

Storytelling among Lowland Scots since 1800: An All-Female, Upper-Middle-Class Family Oral Tradition in the Context of Written Tale Collections

Lindahl¹

2018

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“…We are also reminded in Superteam about Willingham's ethos connecting comic book crossovers and fairy tales. 17 To return to the struggle between Rose Red and Snow White, we see in Happily Ever After this mélange of visual allusions to other comics and books, which renders the scene of conflict akin to the climatic battles between legions of superheroes, such as the X-Men or the Justice League. When the struggle with Mr.…”

Section: Superteams and Super Crossovers: Willingham's Genre-hopping mentioning

confidence: 99%

We All Live in Fabletown: Bill Willingham’s Fables—A Fairy-Tale Epic for the 21st Century

Harris

2016

Humanities

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Bill Willingham's Fables comic book series and its spin-offs have spanned fourteen years and reinforce that fairy-tale characters are culturally meaningful, adaptable, subversive, and pervasive. Willingham uses fairy-tale pastiche and syncreticism based on the ethos of comic book crossovers in his redeployment of previous approaches to fairy-tale characters. Fables characters are richer for every perspective that Willingham deploys, from the Brothers Grimm to Disneyesque aesthetics and more erotic, violent, and horrific incarnations. Willingham's approach to these fairy-tale narratives is synthetic, idiosyncratic, and libertarian. This tension between Willingham's subordination of fairy-tale characters to his overarching libertarian ideological narrative and the traditional folkloric identities drives the storytelling momentum of the Fables universe. Willingham's portrayal of Bigby (the Big Bad Wolf turned private eye), Snow White ("Fairest of Them All", Director of Operations of Fabletown, and avenger against pedophilic dwarves), Rose Red (Snow's divergent, wild, and jealous sister), and Jack (narcissistic trickster) challenges contemporary assumptions about gender, heroism, narrative genres, and the very conception of a fairy tale. Emerging from negotiations with tradition and innovation are fairy-tale characters who defy constraints of folk and storybook narrative, mythology, and metafiction.

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“…Then the stepdaughter becomes home-sick and Mother Holle agrees that it is time for her to return home. At the moment she leaves the gate of Mother Holle's garden she is rewarded generously, because of all her good deeds, and receives back her spinning wheel as well (Grimm & Grimm, 1812). …”

Section: Entanglement Of Star Sky and Farming Practicesmentioning

confidence: 99%

Time Order and ‘Speaking Out’: Traditional Farming and Beliefs in Europe and Indonesia and Sky Symmetry Considerations

Hollestelle¹

2016

JAH

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Ordering is indicated by what we perceive of the world, like for instance the behavior of water, as water appears always to flow downwards. Since we do not assume that water will flow otherwise when not perceived by us, ordering is assumed to be real. Time order specifically relates to sky movements. Sky movements are widely used to order human practices for farming and religious beliefs. This is usually understood to be caused by a person's one way voluntary practical choice for a stellar guide. However human beliefs and the human body and its possibilities and restrictions do lead to both voluntary and involuntary aspects. I propose a two way correlation by introducing spiritual properties for persons and objects. Spiritual properties 'speak out' of integral life and longing. For persons this is a more obvious concept. Art objects, like artistic drawings, make this conceivable for objects too. It is like crying: , as a reaction to pain: quite involuntary and inevitable. Personal is the choice, or maybe one might say: the education, of the expression . Correlation between sky movements and traditional practices for farming and religious beliefs from Indonesia and Neolithic northwestern Europe will be discussed and compared. Entanglement of subsistence practices and sky symmetries forms patterns of mutual influence and determination similar to those in physics. Translational and rotational symmetries of the sky universe turn out to be interwoven with respectively hunter-gatherer practices and farmer practices and their private ornaments worn on their body. The author would like to thank Gustaff Iskandar, Commonroom, Bandung, Indonesia, for creating the title's part Time Order for the relation between traditional rice farming and sky calendars and for valuable information and suggestions. Gustaff Iskandar confirmed her own interest in both traditional farming and in physics and astronomy.

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The Original Folk and Fairy Tales of the Brothers Grimm

Cited by 49 publications

References 0 publications

Storytelling among Lowland Scots since 1800: An All-Female, Upper-Middle-Class Family Oral Tradition in the Context of Written Tale Collections

Storytelling among Lowland Scots since 1800: An All-Female, Upper-Middle-Class Family Oral Tradition in the Context of Written Tale Collections

We All Live in Fabletown: Bill Willingham’s Fables—A Fairy-Tale Epic for the 21st Century

Time Order and ‘Speaking Out’: Traditional Farming and Beliefs in Europe and Indonesia and Sky Symmetry Considerations

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