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fairy tales deeper meaning
common symbolism in fairy tales
fairy tales deeper meaning
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Vladimir Propp presents an excellent argument in his "Morphology of the Folktale." In testing his hypothesis he compares the themes of about 100 tales and comes out with a formula, ultimately coming to the conclusion that there is really only one fairy tale in its structure. He takes "a description of the tale according to its component parts and [compares] the relationship of these components to each other and to the whole" (Tatar 382). There is a significant amount of repeating functions in these classic stories. Propp defines the function "as an act of a character, defined from the point of view of its significance for the course of the action." (Tatar 383).
Functions are stable elements in the story, they never change. "The number of functions known to the fairy tale are limited," while the stories vary greatly (Tatar 384). He explains that there is a law for the sequence of events in a fairy tale. For example, you cannot wreck a car before you are driving it. It is not possible to run into anything without driving the vehicle first. This means that "the sequence of functions in the stories are always identical" (Tatar 384). Some tales skip some functions, but they are always in the same order. If you assigned X, Y, and Z to a story, X would always come before Y or Z, and so on. There are thirty-one functions in Propp's theory of fairy tales. There is an absention from the home, an interdiction is imposed, then violated, and so on.
In "The Story of Grandmother", "Little Red Cap", and "Little Red Riding Hood" it is easy to see this formula at work. The little girl, in each of these versions of the fairy tale, absents herself from her home. Although she may be taking milk to granny's house rather than win...
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...rip into a race by taking another path. In Brothers Grimm's "Little Red Cap" the wolf walks with the young girl for a while and convinced her to pick flowers for her grandmother while he went on. This is the different form of trickery used in these two stories. The victim also unwittingly helps her enemy. These are the next two functions in these fairy tales. Although different, their components are the same.
The next function used is the wolf causing harm to a member of the family. In each of the stories the grandmother is killed and the wolf pretends to be the grandmother. The next functions are "the hero and the villain join in direct combat," "the villain is defeated." All of the stories have a second confrontation with the wolf where there is some kind of struggle, although the villain is not defeated in "Little Red Riding Hood", she is eaten.
Aspects of fairy tales are woven into many novels as a way to bring a sense of familiarity to the reader. Foster writes, “...we want strangeness in our stories, but we want familiarity, too. We want a new novel to be not quite like anything we’ve read before. At the same time, we look for it to be sufficiently like other things we’ve read so that we can use those to make sense of it,” (Foster 36). Fairy tales will be the same year from now and therefore hold the same familiarity to the reader. Evil stepparents, a magical fairy godmother, and the ultimate rescue to the castle are all component to the perfect fairy tale that is seen in many novels. J. K. Rowling’s infamous Harry Potter Series follows the journey made by the powerful, young wizard Harry Potter. While Harry Potter is not a fairy tale, it has many subtle attributes woven in throughout the novels. The first book in the series, Harry Potter and the Sorcerer's Stone, while not a fairytale, has many attributes woven throughout the novel. Harry Potter and the Sorcerer’s Stone introduces the reader to Harry’s home life which compares to that of a fairy tale. Harry is mistreated by his step parents and wishes for his fairy godmother to save him, clearly showing the distinct evil and good characters like many fairy tales have. However, Harry’s fairy
At first glance the characters Connie from “Where are you going? Where have you been?” and Little Red Riding Hood from the classic fairy tale “Little Red Riding Hood” may seem to have nothing in common. However, from the start one can compare how much they actually have in common. Though these two characters are very different they are the same in many ways. Their story, from beginning to end, is similar. It is easy to see how alike and different they are with the description of Connie and Little Red Riding Hood’s lives, the relationship with their wolves, and their tragic endings.
They serve many purposes, as both demonstrated by Lurie’s article “What Fairy Tales Tell Us,” as well as what is investigated in this paper. Nevertheless, one must keep in mind how dated of many of these stories are; what some may view as having a deeper meaning, such as abuse, may also be reflecting the habits and occurrences of the time period, such as seen in “Hansel and Gretel.” That is not to say, however, that these stories are to be taken lightly. Ostensibly, romantic tales where true love is apparently the only motive may actually be harbouring important ethics and beliefs. This can be seen in the tale of Sleeping Beauty; criticized in modern times for being a feminist’s nightmare, the tale actually consists of genuine messages about the world. It takes insipid daily lessons and turns them into something magical, or, more eloquently, “the fairy tale survives because it presents experience in vivid symbolic form”
Walt Disney needed to change his version and many of his other fairy tales and in doing so started a change in the way we see fairy tales. Ask someone today to define a fairy tale and they will tell you along the lines of a beautiful woman put threw hardships that in the end of the story gets the man and becomes a queen of her own castle.
Throughout history it is known that fairy tales were written to teach children lessons about life in a way they could understand and that is fun and unique. Authors of fairy tales put simple lessons into the stories so the children could understand them easily while reading. Whether this be a lesson to be nice to all people, like in Cinderella, or to not judge someone by their appearance, like in Donkey Skin, both by Charles Perrault. Each fairytale has a moral that can be found throughout reading the stories that teach children right from wrong while letting them use their imaginations to discover that moral. The good and the bad lets them express their thoughts openly, rather it be their negative thoughts through the villian or their
In conclusion, the extent to which a specific fairy tale meets Zipes’ definition varies dependent upon its adaptability and acceptance by society. Some fairy tales are harder to manipulate and their plot is insufficient to reflect society’s values so not all fairy tales are institutionalised. Thus, the manipulation of Little Red Riding Hood throughout its history and its adaptability to a myriad of usage passes Zipes’ definition of ‘institutionalisation’.
...n” is a great example of an old myth or tale reconstructed and adapted for a modern audience in a new medium. It is a progression on one hand in its use of modern language, setting, and style but it is also the product of the old myths in that it is essentially the same on the thematic level. In addition, the level of self-awareness on the part of the narrator and, by extension, the author marks it out as an illustration of the very notion of evolutionary changes of myths and fairy tales. Adaptation is the solution to the fairy tale, and fairy tales have been endlessly changing themselves throughout history and, by some strange transforming or enchanting power endlessly staying the same.”
In this chapter, the author explains how many stories relate to fairy tales, like a parallel. Themes and storylines from popular fairy tales are often reused and made into newer and sometimes slightly different versions of the tale. A prime example of this would be the 2013 movie production of Jack the Giant Slayer or the 2011 production of Red Riding Hood. One characteristic of fairy tales is that they all have a plot and a solution which makes the story easy to connect to. This characteristic makes it possible for there to always be a way to connect a story to the fairy
Traditionally in most fairy tales, the action occurring within the story moves along at a very quick pace, and it provides the basis for conflict and suspense. This is accomplished through the "use of repetition both in expressions and events" (Bruti). Generally the plot is based on a cycle of three recurrences, with each event acting as an episode or sub-story within the general story, and this pattern of three is often repeated one or more times throughout the story depending on the complexity of the tale (Morris). Following in the path of tradition, Perrault's tale also employs the use of repetition, with events occurring in patterns of three.
This modern fairy tale contains diverse characters but none of them is as important as the grandmother. Through her narration, the reader gets all the information needed to understand the story. Indeed, by telling her own story she provides the reader the familial context in which the story is set with her granddaughter and her daughter but even more important, she provides details on her own life which should teach and therefore protect her grand-daughter from men, and then save her to endure or experience her past griefs. This unnamed grand-mother is telling her life under a fairy tale form which exemplify two major properties of fairy tale, as mentioned by Marina Warner in “The Old Wives' Tale”: “Fairy tales exchange knowledge [through the moral] between an older [most of the time feminine] voice of experience and a younger audience”. As suggested in the text, fairy tales are a way to teach insights of life through simple stories directed to, most of the time, younger generations. Most of the time because fairy tales work on different levels of moral which are directed to categories of people, for instance in “Little Red Riding Hood” the moral ...
...nges that are used to adapt to the culture they are being told in. The Brother's Grimm and Giambattista Basile each wrote a fairytale that was almost the same as the other, but as previously mentioned they are different in order to adapt to their surroundings. Nevertheless, psychologically speaking, the psyche of the characters besides the father are both the same. They portray different archetypes that contrast and cause tension in the fairy tale. Each character can easily represent a certain personality trait. Regardless, fairy tales appear to people and their is more to why they are passed down time and time again in different versions. This reason falls back to the human psyche. According to Jungian theory, subconsciously we enjoy telling fairy tales because they relate so much to us and are basically showing a closer view of our subconscious on a cultural level.
The stories ?Little Red Riding Hood,? by Charles Perrault, and ?Little Red Cap,? by the Brothers Grimm, are similar and different. Moreover, both stories differ from the American version. The stories have a similar moral at the end, each with a slight twist. This story, in each of its translations, is representative of a girl?s loss of innocence, her move from childhood or adolescence into adulthood. The way women are treated within each story is different. Little Red in the French version was eaten; whereas in the German version, she is rescued by the woodsman, and this further emphasizes the cultural differences.
You can see from the tales themselves though, that the amount of similarities is what brings them together, and represents the way that the tale of Cinderella itself has traveled, and evolved, orally through generations, all over the world.
Vladimir Propp played an integral part in the analysis of the structure that fairy tales typically follow. Born in Russia in 1895, Propp was dedicated to studying folklore and fairy tales (“Propp, Vladimir Iakovlevich”). He studied many folklore and fairy tale stories to break them into individual sections. These individual sections defined what Propp called a “function” of the story that references a common plot device or archetypal character. In 1928, he published a book titled Morphology of the Folktale, written in Russian. It would be another 30 years until the book was finally translated into
This over exaggeration of the human imagination is what makes fairytales stand alone in their own category of fictional stories. Valerie Gokturk describes a fairytale as, “having magical things happen…talking animals… inanimate objects talking.” This can be seen through the Cinderella story as Cinderella is treated poorly by her new step-family, so in response she turns to frequently visiting her passed mother. Upon request, the father of Cinderella brings her a hazel twig to place on the mother’s grave. With the twig placed on the ground, a magical element comes into play as a hazel tree grows and produces birds that grant Cinderella wishes. This sense of magic is further seen as the tree produces a series of exquisite dresses that Cinderella wears to the prince’s ball. No tree of non-magic origin would be able to fully grow in such a short period of time, not to mention being able to spawn flawless dresses. The birds are seen as having a magical essence as Cinderella talks to them, instructing them to pick out the lentils out of the ash in the fireplace. This event can be seen as slightly more plausible; however, the fact that the birds can communicate with Cinderella places the series of events that unfold in a magical category. With the utilization of talking birds as well as a magical tree, it is clearly shown that the story of Cinderella has the essential element of magic that allows it to