Search Results (49)

Creole writer Sidonie de la Houssaye (1820–1894) registered the threat of anglophone dominance after the Civil War on behalf of a host of characters drawn from the geographies and ideologies in and around her home in Louisiana. Her little-known literary tales depict the period as a cultural and linguistic border zone. In addition to the texture of Louisiana French and Creole heritage, the tales depict the vexed social dynamics of prejudice and fragility. In the context of this special issue on good and evil, the poorly known children’s tales offer insight into these pernicious tensions that persisted under the surface of moral victory after the Civil War. La Houssaye’s lessons for children take up the moral panic of a Louisiana reckoning with its legacies of racial violence and cultural erasure. This article argues that morality in these tales takes shape in interpersonal practices that can be learned to heal social ills. What I have called La Houssaye’s “ethics of social life” relies on education rather than condemnation to redefine human bonds. If a broader lesson emerges from the stories taken together, it suggests that structural change is slow to heal cultural wounds. We must ourselves be the agents of a healthier community. Full article

This article analyzes the French fairy tale “La Belle et la Bête” (“Beauty and the Beast”), the German folk tale “Das singende springende Löweneckerchen” (“The Singing Springing Lark”), and the Spanish folk tale “El lagarto de las siete camisas” (“The Lizard with the Seven Shirts”) from the vantage point of feminist fairy tale studies and posthumanism. In particular, the article discusses the ways in which the female protagonists and their enchanted, beastly husbands become-with-each-other. The relationships between the female protagonists and their husbands are here taken as indicative of a recognition of the necessary, but often complex and disharmonic, allyship between the human and the nonhuman. The tales showcase different degrees of feminist potential and different ways of acknowledging such transcorporeal interrelations. Moreover, while they arguably transmit patriarchal and aristocratic lessons, their potential for challenging anthropocentric thinking emerges in an affirmative reading. Hence, this article seeks to demonstrate the eco-activist potential of the Western fairy tale tradition. Full article

As Russian folklorist Vladimir Propp already set out in his monograph Theory and History of Folklore (1984), folktales, and in particular fairy tales, could preserve the remnants of myths and rites from very ancient stages of human civilisation, dating back to Prehistoric times themselves. The great Indoeuropeanist Georges Dumézil managed to confirm that the Slavic cultures are perhaps those which have best preserved the ancient rites to this day. As José Manuel Losada pointed out, the encounter with transcendence is one of the essential dimensions of myth that defines it and distinguishes it from other manifestations of human creativity. In this article, we will study the idea of immortality that can be found in Russian folktales as published by Aleksandr Afanasyev in his compilation (1855–1863) and trace back the remnants of the Indo-European religion and mythology that they can conceal. Full article

“Bluebeard” (ATU 321: Maiden-Killer), a fairy tale about a wealthy noble man and serial killer, is the most gruesome of Charles Perrault’s fairy tales. Bluebeard epitomizes evil and horror. In Perrault’s tale, Bluebeard’s evilness is linked to patriarchy and power, as symbolized by the villain’s iconic blue beard. Historically linked to Henry VIII (1491–1547), King of England, Bluebeard has also been associated with Breton commander Gilles de Rais who was hanged for sorcery and satanic abuse. This article examines how contemporary francophone “Bluebeard” variants refashion and redefine evil and whether they contain any new morals linked to evilness. Do they depict Bluebeard as a satanic, intrinsic force of evil or do they portray him in a less Manichean manner, as contemporary tales tend to do with monsters? Starting with Perrault’s famous tale, this article reveals how Bluebeard, the evil mass murderer figure and polygamist, is recast in a variety of contemporary francophone texts from Morocco, Belgium and France, with retellings by Michel Tournier (1981), Marie Darrieussecq (2002), La Barbe Bleue (Bluebeard) (2009), Amélie Nothomb (2012), Tahar Ben Jelloun (2014), Jacqueline Kelen (2014), and Cécile Coulon (2015). These modern variants illustrate Elliott Oring’s ideas about comparison and cultural context (see Oring 1986). A discussion of various French contemporary versions with a special emphasis of Ben Jelloun’s Moroccan retelling of “Bluebeard” open avenues for cross-cultural dialogue, highlighting how this tale evolves to fit different cultural contexts and continues to resonate today. Full article

Open science, accessibility and knowledge sharing, especially of articles and monographs stemming from publicly funded research, seem to be moving in quite a positive direction toward scientific development and have received almost unanimous approval from the scientific community. However, when it comes to data sharing, the existing practice reveals a different picture, and not exclusively a discipline-dependent one. FAIR principles are developed and promoted as guiding tools for creating contextualized standards. The fact that data obtained by a qualitative methodology deserve special attention and treatment regarding the accessibility principle is recognized. Although FAIR principles provide ways to anonymize the data and interlocutors, individuals coming from smaller communities or even communities of practice can sometimes be easily recognized by members of the same community if data are openly accessed. Sometimes the interlocutors might agree with these terms, but sometimes they do not. According to the disciplinary code of ethics, a researcher is obliged to thoroughly describe the ways of the raw data management and usage, and in the case of mandatory raw data sharing (e.g., for receiving funding), it can inevitably impact the narratives collected. The prerogative to make all data open inevitably leads to autocensorship among interlocutors, i.e., resulting in a kind of FAIRy tale being collected. The article discusses the results obtained from the survey carried out among Croatian ethnologists and cultural anthropologists about the currently practiced data sharing, their attitudes about data sharing and their perceived behavior in hypothetical situations connected with data sharing. The results show mixed opinions about data sharing and a desire to follow the disciplinary code of ethics first, i.e., to follow the interlocutors’ wishes in the case of data management and usage. Full article

Interaction networks are a method of displaying the significant characters in a narrative text and their interactions. We automatically construct interaction networks from dialogues in German fairy tales by the Brothers Grimm and subsequently visualize these networks. This requires the combination of algorithms for several tasks: coreference resolution for the identification of characters and their appearances, as well as speaker/addressee detection and the detection of dialogue boundaries for the identification of interactions. After an evaluation of the individual algorithms, the predicted networks are evaluated against benchmarks established by networks based on manually annotated coreference and speaker/addressee information. The evaluation focuses on specific components of the predicted networks, such as the nodes, as well as the overall network, employing a newly devised score. This is followed by an analysis of various types of errors that the algorithms can make, like a coreference resolution algorithm not realizing that the frog has transformed into a prince, and their impact on the created networks. We find that the quality of many predicted networks is satisfactory for use cases in which the reliability of edges and character types are not of critical importance. However, there is considerable room for improvement. Full article

This article analyzes Jean-Claude Grumberg’s 2019 Holocaust fairy tale, The Most Precious of Cargoes, translated from French. This fairy tale adds to Grumberg’s oeuvre of Holocaust fiction, including plays and children’s stories. His fairy tale may be his most personal attempt to process his own Holocaust experience, as he includes an appendix with facts about his father and grandfather who died in Auschwitz. Specifically, the fairy tale is approached through an analysis of the fairy tale genre’s pairing with the subject of the Holocaust. The article also examines possible readings of such a pairing through a close reading of the tale that analyzes the role of good vs. evil. Published interviews with Grumberg, theory on the fairy tale, and other Holocaust fairy tales establish a view that The Most Precious of Cargoes is unique in Holocaust fiction. Full article

In 2015, the Japanese public broadcaster NHK aired an educational series that re-examined traditional fairy tales by putting their characters on trial for their immoral behavior, such as revenge, violence, and dishonesty. These tales, rooted in premodern Japanese folklore, were widely available in various book formats by the late nineteenth century and, unlike modern adaptations, they did not sanitize violence or evil. This study analyzes four miniature picture books from the late nineteenth century that recount the story, Kachikachi yama (The Crackling Mountain). This analysis focuses on both verbal and visual representations of good and evil, with attention to themes of loyalty, filial piety, and virtuous revenge. The findings reveal that these picture books presented young readers with complex moral lessons, where the boundaries between good and evil were blurred. Additionally, they illuminate the prevailing image of children during that era, depicting them as “little adults” expected to be educated and prepared for the practical realities of the adult world. Full article

Schools in Hong Kong are encouraged to engage students in learning activities to strengthen moral and values education. The use of fairy tales in drama teaching—in this case, Mr. Fox—is an approach to learning that can present opportunities to positively engage students in a range of issues, such as moral and value education. The aim of this research was to enhance moral and values education by taking an autoethnographic approach to exploring my experiences of using and adapting a Western fairy tale with local student teachers learning to teach drama as part of their Master of Education degree at a university in Hong Kong. The use of various narrative genres to engage in the process of self-dialogue emerged as an important source for developing understandings of teaching and learning. Through this reflective process, I gained insights into my own teaching and the challenges and benefits of using fairy tales and structured drama in moral and value education. This research also revealed that fairy tales, as cultural treasures passed down through generations, may hold immense value as a resource for personal enjoyment, drama teaching, and academic exploration. Full article

The article analyzes the mythological concept of Slavic paganism developed by Alexander Afanas’ev in his three-volume study Poetic Views of the Slavs on Nature: An Attempt at a Comparative Study of Slavic Traditions and Beliefs in Connection with the Mythical Tales of Other Related Peoples (1865–1869). In this book, Afanas’ev established numerous parallels between the pagan myths of the Slavs and other Indo-European peoples and reconstructed mythological images of the world tree, the tree of life, and the world egg. He also reconstructed myths about the sacred marriage between heaven and earth; the creation of the world from the body of the first man and the creation of man from the natural elements; the dying and resurrected god of vegetation and fertility; and the duel between the god of thunderstorms and his earthly adversary; as well as dualistic myths about the struggle between the forces of light and the forces of darkness and about the creation of the earth. Afanas’ev also explored enduring metaphorical pairs such as death–dream, battle–wedding feast, thunderstorm–battle, and so on. Depending on the readers’ points of view, they can appreciate the book as a grandiose compendium of folklore and historical-ethnographic materials; as a scholarly work devoted to Slavic mythology; as a symbolarium of folk culture; and as a beautiful fairy tale about the pagan past. Although Afanas’ev’s book has all the attributes of a scholarly publication, it can also be read as a work of fiction in which the author does not so much analyze mythology as he tries to present the point of view of a primitive poet–artist. Full article

In a Christmas 2017 interview with the British magazine Fortean Times, the celebrated Mexican filmmaker Guillermo del Toro described ‘Hansel and Gretel’, ‘the original Cinderella’, and ‘Little Red Riding Hood’ as ‘a horror story’, before affirming that ‘horror and the fairy tale walk hand in hand’ (del Toro 2017, p [...] Full article

This article examines Ukrainian folkloric parallels to Viy, a character in the horror novella of the same name by Nikolai Gogol. It is a formidable chthonic, demonic creature whose eyelids cover the eyes and need to be lifted, and the gaze sees what is hidden from others. Although the writer claimed that this character, like the entire plot of the story, was taken from Ukrainian folklore, some modern researchers claim that Viy is the author’s own invention. This is contradicted by folkloric data, primarily Ukrainian lore. Demonic characters with different names but with the same appearance and very similar functions as Viy appear in Ukrainian folk tales, legends and beliefs recorded in the 19th and 20th centuries. The plots have various degrees of closeness to the plot of Gogol’s story, showing that Viy is an authentic figure from Ukrainian folklore. Full article

At the beginning of his Creole opus The Grandissimes, George Washington Cable refers to Louisiana as “A land hung in mourning, darkened by gigantic cypresses, submerged; a land of reptiles, silence, shadow, decay”. This anti-pastoral view of Louisiana as an ecosystem of horrific nature and the very human melancholy it breeds is one that has persisted in popular American culture to the present day. However, the literature of Louisiana itself is marked by its creativity in blending elements of folktales, fairy tales, and local color. This paper proposes to examine the transhuman, or the transcendence of the natural by means of supernatural transformation, in folk horror tales of Louisiana. As the locus where the fairy tale meets the burgeoning Southern Gothic, these tales revolve around a reworking of what Vladimir Propp refers to as transfiguration, the physical and metaphysical alteration of the human into something beyond the human. The focus of this paper will be on three recurring figures in Louisiana folk horror: yellow fever, voodoo, and the Devil. Drawing upon works including Alcée Fortier’s collection of Creole folktales Louisiana Folktales (1895), Dr. Alfred Mercier’s “1878”, and various newspaper tales of voodoo ceremonies from the ante- and post-bellum periods, this article brings together theorizations about the fairy tale from Vladimir Propp and Jack Zipes and historiological approaches to the Southern Gothic genre to demonstrate that Louisiana, in its multilingual literary traditions, serves as a nexus where both genres blend uncannily together to create tales that are both geographically specific and yet exist outside of the historical time of non-fantastic fiction. Each of these figures, yellow fever, voodoo, and the Devil, challenges the expectations of what limits the human. Thus, this paper seeks to examine what will be termed the “Louisiana gothic”, a particular blend of fairy-tale timelessness, local color, and the transfiguration of the human. Ultimately, the Louisiana gothic, as expressed in French, English, and Creole, tends toward a view of society in decay, mobilizing these elements of horror and of fairy tales to comment on a society that, after the revolution in Saint-Domingue, the Louisiana Purchase, and the Civil War, was seen as falling into inevitable decline. This commentary on societal decay, expressed through elements of folk horror, sets apart Louisiana gothic as a distinct subgenre that challenges conventions about the structures and functions of the fairy tale. Full article

The aim of the current study is to examine how preschool children overcome their difficulties regarding thermal expansion and contraction and construct in their minds a precursor model; that is, an entity compatible with school knowledge. Having investigated these difficulties through a pretest, a teaching intervention was implemented based on both the telling of a fairy tale and the carrying out of experimental activities. Finally, the changes in children’s thinking were studied with a posttest. The study involved 36 children aged 4–6 years who voluntarily participated in individual semistructured interviews conducted by three researchers in a special kindergarten setting. The results of the study revealed statistically significant progress in children’s responses between pre- and posttests. Furthermore, the finding of almost 1/3 of children’s responses being compatible with school knowledge indicates that (a) it is possible for children of that age to construct a precursor model for thermal expansion and contraction and (b) the combination of storytelling along with experimental activities is probably an appropriate teaching strategy. Full article

This article examines three of Dario Argento’s supernatural horror films (Suspiria, Phenomena, and Dark Glasses) and their use of fairy tale imagery and narratives, which distinguishes them from murder-mystery-oriented giallo films. In them, Argento locates his characters, rather than in urban environments, in rural spaces (forests, fields, mountains) where the supernatural elements of their stories blossom. Suspiria represents a primarily aesthetic exploration of parallels between fairy tales and contemporary horror, while Phenomena uses these two modes to examine the conflict between the rational and irrational, the natural and the supernatural. Dark Glasses initially appears to be one of his more traditional gialli, but it abandons these tropes with a simplified plot evoking the story of “Little Red Riding Hood”; this shift is accomplished by moving the action of the film out of Rome and into the dark forests of the countryside. Dark Glasses, I argue, therefore represents a self-conscious move to unite in a single film the two major strands of Argento’s filmography and to expose some fundamental elements of his general cinematic approach—namely, the unique capacity of stylized aesthetics and irrational elements to convey the experience of very real, human terror and evil. Full article