The Grimm Brothers
Any good fairy tale may captivate a child’s (or adult’s) mind, but few could argue that, to be truly enchanting, a tale needs great illustrations. Two of the most influential fairy tale tellers in history were the German Grimm brothers, Jacob and Wilhelm. Both very intelligent scholars, they knew how to spin a tale in the most effective way possible. However, they had plenty of work just dealing with the tales’ text, so in the area of illustration, they let their younger brother Ludwig take over, beginning with the second edition of their fairy tales.
The fifth child of six in the Grimm family, Ludwig, who was always called Louis, did not necessarily follow in the scholarly footsteps of his two older brothers. Instead, he explored the world of art, eventually becoming an accomplished painter and etcher. On March 14, 1790, Ludwig was born in Hanau, Germany, into a family which placed a high value on education. As teenagers, the Grimm brothers were subjected to a demanding schedule of schooling, but they used what little free time they had to practice their drawing and sketching. Jacob and Wilhelm also became fairly skilled artists, but only Ludwig pursued the craft for the rest of his life.
In time, he became quite well known, mostly for his portraiture. From 1823 to 1826, he was hired to paint portraits of the professors at the University of Göttingen, where his brothers also worked. Several of his subjects were very famous figures, including his brothers and Martin Luther. He also depicted many of his friends and the majority of his closer relatives with his intricate engravings.
Ludwig was a versatile artist, and he used a wide variety of styles and media to portray many different subjects. His hum...
... middle of paper ...
...ould be missing something, an ingredient that may not be as academically influential as the text, but one that is integral to the history of fairy tales, nonetheless.
References:
Williamson, George C., ed. Bryan’s Dictionary of Painters and Engravers (vol. 2).
London: George Bell and Sons, 1903.
Peppard, Murray B. Paths Through the Forest: A Biography of the Brothers Grimm.
New York: Holt, Rinehart and Winston, 1971.
Harder, Hans-Bernd, and Ekkehard Kaufmann. Die Brüder Grimm in ihrer amtlichen
und politischen Tätigkeit–Ausstellungskatalog. Kassel: Verlag Weber &
Weidemeyer, 1985.
Koszinowski, Ingrid, and Vera Levschner. Ludwig Emil Grimm, 1790-1863: Maler,
Zeichner, Radierer. Kassel: Verlag Weber & Weidemeyer, 1985.
www.nationalgeographic.com/grimm/
www.kunsthandel-strichl.de
www.diebruedergrimm.de/texte/seiten/ebiogrimm
Hawthorne, Nathaniel. The Scarlet Letter. Enriched Classic ed. New York City: Simon & Schuster, 2004. Print.
Weele, Michael Vander. "Raymond Carver and the language of Desire." Short Story Criticism. Ed. Thomas Volteler. Detroit: Gale Publishing Inc., 1989. 36-41.
"The Scarlet Letter." Novels for Students. Ed. Diane Telgen. Vol. 1. Detroit: Gale, 1997. 306-328. Gale Virtual Reference Library. Web. 19 Feb. 2014.
Every action reaps its consequences. This veracity is revealed in Nathaniel Hawthorne’s The Scarlet Letter, published by Ticknor, Reed, and Fields in 1850. Categorized into the genre of romance, The Scarlet Letter has a solemn, dark, mysterious, and almost eerie mood. The historical novel is set in the strict Puritan society of seventeenth century Boston, Massachusetts. When the book begins, the past action of adultery has already been committed. The story then follows the characters involved in the dirty deed and skillfully details their responses to the consequences.
In 1347, Europe began to perceive what the Plague had in store. Terrible outcomes arose when the citizens caught the Plague from fleas. The transfer of fleas to humans caused the outbreak of the Black Death. Infections that rodents caught were passed on to fleas, which would find a host to bite, spreading the terrible disease (“Plague the Black Death” n.pag.). When Genoese ships arrived back to Europe from China, with dead sailors and...
Gerber, John C. "Form and Content in The Scarlet Letter." The Scarlet Letter: A Norton Critical Edition. Eds. Seymour Gross, Sculley Bradley, Richmond Croom Beatty, and E. Hudson Long. New York: W.W. Norton and Co., 1988.
Baym, Nina. Introduction. The Scarlet Letter. By Nathaniel Hawthorne. New York City: Penguin Books USA, Inc. 1986.
At first glance, what makes a fairy tale a fairy tale may seem obvious—some kind of magic, hidden symbols, repetition, and of course it’s evident it’s fiction—but fables are more than that. As Arthur Schelesinger puts it, it’s about “[expanding] imagination” and gaining understanding of mysterious places (618). While doing this, it also helps children to escape this world, yet teach a lesson that the reader may not be conscious of. A wonderful story that achieves all of this is Cinderella, but not the traditional tale many American’s have heard. Oochigeaskw, or The Rough-Faced Girl, and Ashputtle would be fitting for a seven-year-old because they get the gears of the mind turning, allowing for an escape on the surface, with an underlying enlightenment for children of the ways of the world.
...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.”
Hawthorne, Nathaniel. "The Scarlet Letter." Nathaniel Hawthorne's Tales. Ed. James McIntosh. New York: Norton, 1987.
Kenneth Schwartz was a health-care lawyer who had only been exposed to the business side of healthcare. It was not until he was diagnosed with lung cancer that he would experience another role in healthcare, being a patient. The battle he was up against would not only be physical but also emotional. In the end, Schwartz lost his battle against lung cancer just under a year of being diagnosed. The one thing he repeatedly emphasized was the empathetic acts of kindness the caregivers bestowed upon him. Cancer to him was not just about physically beating the cancer, it was for his well-being as a whole ,and his desire to stay intact through out the process. He may have lost his battle with cancer but the care he was provided kept him hopeful and optimistic until his untimely passing. Compassionate care should be a staple for all healthcare providers. It can improve outcomes of health, increase the satisfaction of the patient, and aid in better adherence to recommendations from the caregivers. Patients should never feel they are being rushed, that they are not important, or that they are not receiving the best provision of care possible.
When the word “fairytale” is mentioned, nearly everyone thinks of light-hearted stories with friendly characters and happy endings. However, these are not the ideas that classic fairytales originally sparked. In fact, numerous modern Disney movies were based off stories that were not so sugar coated. In the 19th century, the Brothers Grimm were responsible for multiple of these popular children’s tales. The Disney remakes of classic fairytales such as Cinderella, Tangled, and Snow White exclude the dark, twisted themes that are significant in the Brothers Grimm fairytales, because society tendencies continue to evolve toward sheltering and overprotecting young children.
There were many famous artist back then. One of the most well-known artist was Leonardo da Vinci. Leonardo da Vinci was born on April 15, 1452 near a village called Vinci. Vinci was located in Italy and was about twenty-five miles away from Florence (“Leonardo da Vinci Biography.”). His parents are Ser Piero da Vinci and Caterina. Ser Piero da Vinci was Leonardo’s father, his occupation was a notary. Caterina was Leonardo’s mother, she was just a local woman that no one really knew about. Caterina and Ser Piero were not married and Leonardo was the only child they had together. Leonardo was not only an artist but he had focused on other studies such as science and technology.
Sewall, Richard B. "The Scarlet Letter: Criticism." Novels for Students. Ed. Diane Telgen. Vol. 1. Detroit: Gale, 2001. 319-27.
Wilhelm married a woman named Dortchen Wild. They had a baby in 1826, who died (Hettinga pg.68 + 108). They had a second child in 1828, and in 1832, Dortchen had a baby girl (Hettinga pg.118). Meanwhile, Jacob applied for the head librarian’s job, after the man had died in 1829 (Hettinga pg.109). Dortchen got very sick when she was helping her friend Lotte, who was very ill (Hettinga pg.118). Wilhelm died at 3 pm on December 15, 1859 (Hettinga pg.146). Jacob died on September 20, 1863 at 10 pm (Hettinga pg.149).