Fairy Tales in Georgian Theatres: Entertainment, Allegory, Transformation

Reviewed by: Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales Edith Lazaros Honig Zipes, Jack. Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales. Austin: University of Texas Press, 1979. Jack Zipes' Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales is a stimulating contribution to the critical literature of folk and fairy tales. As the first book-length work of Marxist criticism to treat this subject in the English language, the book has a refreshing, yet somewhat problematic viewpoint. This viewpoint is forcefully stated in the introductory chapter in which Professor Zipes traces the history of folk and fairy tales. "Folk and fairy tales," he tells us, "have always spread word through their fantastic images about the feasibility of utopian alternatives, and this is exactly why the dominant social classes have been vexed by them" (p. 3). Professor Zipes explains the differences between folk and fairy tales and ties each genre firmly to its time and place of development. The folk tale, he reminds us, was an oral narrative of the common people with motifs that can be traced back to rituals, habits, customs, and laws of primitive or pre-capitalist societies. The fairy tale, on the other hand, represented a drastic change of folk materials for the aristocratic and bourgeois audiences. Dr. Zipes outlines the history of this change up to the present day, culminating in this statement: "Whereas the original folk tale was cultivated by a narrator and the audience to clarify and interpret phenomena in a way that would strengthen meaningful social bonds, the narrative perspective of a mass-mediated fairy tale has endeavoured to endow reality with a total meaning except that the totality has assumed totalitarian shapes and hues because the narrative voice is no longer responsive to an active audience but manipulates it according to the vested interests of the state and private industry" (p. 17). Having no doubt shocked at least some of his readers with this statement, Professor Zipes does pull back somewhat, assuring us that there is no conscious conspiracy on the part of big business and government. Indeed by the end of this introductory chapter, we are assured that fairy tales still offer us something: "an emancipatory potential which can never be completely controlled or depleted..." (p. 18). Each subsequent chapter of the book, while delineating and supporting the ideology of [End Page 2] the opening chapter, is a completely separate essay. In fact, three of the chapters have been previously published as journal articles, and the book sometimes reads like a collection of separate essays on folk and fairy tales rather than a cohesive whole. It seems only fair to mention too that while the scholarship that is evidenced here is impressive, there is too heavy a reliance on German folk and fairy tales and German criticism. Dr. Zipes, a professor of German and comparative literature and co-editor of New German Critique, does acknowledge this emphasis in his preface, but perhaps it should have been reflected in the book's title or subtitle. Chapters 2 through 6 treat "The Politics of Folk and Fairy Tales," "The Romantic Fairy Tale in Germany," "The Instrumentalization of Fantasy Through the Mass Media," "The Utopian Function of Fairy Tales and Fantasy," and "The Use and Abuse of Folk and Fairy Tales With Children." In the chapter entitled "Might Makes Right —The Politics of Folk and Fairy Tales," Dr. Zipes gives us the history of the political climates that produced folk and fairy tales, again emphasizing the differences between the two. He maintains that the central theme of all folk tales is "might makes right" because in the feudalistic society of the folk tale even when a peasant prevails, it is by becoming a monarch. This chapter includes an interesting political interpretation of "Hansel and Gretel" and emphasizes again the importance of historical context to the interpretation of folk and fairy tales. Zipes rejects the idea that certain folk and fairy tales have survived because of the psychological verities they portray, stating instead that these tales continued to ". . . reflect and speak to the conditions of the people and the dominant ideology of the times to...

Reviewed by: Märchen in den südslawischen Literaturen Katja Wiebe Vladimir Biti and Bernarda Katušić (Eds), Märchen in den südslawischen Literaturen. [Fairytales in South Slavic Literatures] Frankfurt am Main [et al] : Peter Lang 2010 251 pp ISBN 9783631597866 EUR 44.80 Fairy tales – the classic genre of children’s literature? The present volume does not view fairy tales within these rigid limits, but understands them as a transgeneric phenomenon. It analyzes literature for adults as well as for children and uses the fairy tale to compare different South Slavic cultures. (See N. Avramovka’s contribution on fairy tales as the chronotopos of the Balkans). [End Page 69] The contributors look at fairy tales from Slovenia, Macedonia, Croatia, Serbia, and include a little side trip to Russia. They unfold a vast panorama linked to the term “fairy tale” and illustrate how the influence of fairy tales lasts well into postmodernity. Fairytales provide the structural, stylistic, or motivic reference to countless quotes and adaptations, parodies and paraphrases. For example, consider the introductory essay by D. Burghardt, among others. It becomes apparent how strongly the fairy tale informs other literary genres and how many different functions it can assume. While some of the essays trace fairy tale elements in the work of individual authors and focus on the fairy tale as an art form, others highlight its oral tradition and address its status as folklore and national literature. M. Hameršak resituates the fairy tale within the context of children’s literature by asking how fairy tales influenced and inspired 19th-century Croatian children’s literature and analyzing the underlying concepts of childhood. Through its broad, but nuanced scope, this volume opens up new perspectives on the fairy tale and liberates it from its status as an allegedly “simple” narrative form limited to specific literary genres. Copyright © 2011 Bookbird, Inc

Wilde is a famous representative writer of aestheticism in the 19th century, and his fairy tales are particularly eye-catching. Wilde's fairy tales are quite romantic, but some are full of tragedy, such as The Nightingale and the Rose and The Happy Prince, and the selfless, helpful characters end up in tragic ends, which make people feel compassion. Meanwhile, fairy tales have always had great significance in educating children. According to this, it can be explored whether these tragic plots need to appear in children's literature, the characteristics and causes of tragedy in Wilde's fairy tales by analysing multiple documents and thinking about related subject knowledge, and analysing the tragedy of fairy tales and the compatibility of children's education, so that there can be better explanations of the role of tragic stories on children's education, thus recognising the necessity of tragedy in fairy tales. At the same time, research based on limitations looks forward to future in-depth exploration, encourages more in-depth and comprehensive thinking on related topics, better recognises and uses tragic colours in the educational value of fairy tales, and makes fairy tales, a genre of children's literature, better contribute to children's learning and development.

Who's Afraid of the Brothers Grimm?Socialization and Politization through Fairy Tales Jack Zipes (bio) Over 170 years ago the Brothers Grimm began collecting original folk tales in Germany and stylized them into potent literary fairy tales. Since then these tales have exercised a profound influence on children and adults alike throughout the western world. Indeed, whatever form fairy tales in general have taken since the original publication of the Grimms' narratives in 1812, the Brothers Grimm have been continually looking over our shoulders and making their presence felt. For most people this has not been so disturbing. However, during the last 15 years there has been a growing radical trend to overthrow the Grimms' benevolent rule in fairy-tale land by writers who believe that the Grimms' stories contribute to the creation of a false consciousness and reinforce an authoritarian socialization process. This trend has appropriately been set by writers in the very homeland of the Grimms where literary revolutions have always been more common than real political ones.1 West German writers2 and critics have come to regard the Grimms' fairy tales and those of Andersen, Bechstein, and their imitators as "secret agents" of an education establishment which indoctrinates children to learn fixed roles and functions within bourgeois society, thus curtailing their free development.3 This attack on the conservatism of the "classical" fairy tales was mounted in the 1960s when numerous writers began using them as models to write innovative, emancipatory tales, more critical of changing conditions in advanced technological societies based on capitalist production and social relations. What became apparent to these writers and critics was that the Grimms' tales, though ingenious and perhaps socially relevant in their own times, contained sexist and racist attitudes and served a socialization process which placed great emphasis on passivity, industry, and self-sacrifice for girls and activity, competition, and accumulation of wealth for boys. Therefore, contemporary West German writers moved in a different, more [End Page 4] progressive direction by parodying and revising the fairy tales of the 18th and 19th centuries, especially those of the Grimms. For the most part, the "classical" fairy tales have been reutilized or what the German call "umfunktioniert": the function of the tales has been literally turned around so that the perspective, style, and motifs of the narratives expose contradictions in capitalist society and awaken children to other alternatives for pursuing their goals and developing autonomy. The reutilized tales function against conformation to the standard socialization process and are meant to function for a different, more emancipatory society which can be gleaned from the redirected socialization process symbolized in the new tales. The quality and radicalism of these new tales vary from author to author.4 And it may even be that many of the writers are misguided, despite their good intentions. Nevertheless, they have raised questions about the socio-political function of fairy tales, and this is important. Essentially they reflect upon and seek to understand how the messages in fairy tales tend to repress and constrain children rather than set them free to make their own choices. They assume that the Grimms' fairy tales have been fully accepted in all western societies and have ostensibly been used or misused in furthering the development of human beings who might be more functional within the capitalist system than other non-conformist types of people. If one shares a critique of capitalist society, what then should be changed in the Grimms' tales to suggest other possibilities? What structural process forms the fairy tales and informs the mode by which the human character is socialized in capitalist society? Before looking at literary endeavors to answer these questions by West German writers, it is important to discuss the nature of the Grimms' fairy tales and the notion of socialization through fairy tales. Not only have creative writers been at work to reutilize the fairy tales, but there have been a host of progressive critics who have uncovered important historical data about the Grimms' tales and have explored the role that these stories have played in the socialization process. [End Page 5] I Until recently it was generally assumed that the Grimm Brothers collected their...

“Une fée moderne”:An Unpublished Fairy Tale by la Comtesse de Murat Ellen Welch (bio) Nous devions descendre chez Madame Rocher aujourd'hui. La pluie nous en a empêchées, mais il y a eu des ressources contre le mauvais temps. La charmante Bouliche, Madame Boulay, Madame de Champhlé, la Poulette, [et] deux messieurs de Tours sont venus icy; la conversation s'est montée sur un ton gaillard, nous avons fait des contes à dormir debout. 1 The journal of the prolific author Henriette-Julie de Castelnau, comtesse de Murat (from which this anecdote comes) well illustrates the prominent role that fairy tales played in educated French society at the turn of the eighteenth century. Despite their status as "children's literature" today, in Murat's time contes de fées represented a new literary genre, a site of literary experimentation, and a form for exploring such hefty subject matter as monarchal politics and sexual norms. Some of the period's most innovative writers made their mark in the fairy tale genre. Murat herself may be counted among the most inventive, both in her choice of themes and in her formal originality. More than any other author, Murat championed the conte de fées as novel and sophisticated, famously christening her literary peers "les fées modernes." The first literary fairy tale—Marie-Catherine le Jumel de Barneville, comtesse d'Aulnoy's "L'Isle de la félicité"—was published in 1690, as an embedded narrative in the novel L'Histoire d'Hypolite, comte de Duglas. 2 [End Page 499] In the following decades, fairy tales were tremendously popular with writers and readers alike. Between 1697 and 1698, at least six collections of so-named "contes des fées" (the first use of the term "fairy tale") appeared in print. 3 During these highly productive years, many of the most recognizable and enduring formal hallmarks of the fairy tale genre emerged, including the classic opening phrase, "Il était une fois" ("Once upon a time"). 4 By the end of the seventeenth century, the literary fairy tale was a distinct and recognizable literary form. Although many of the genre's essential features may seem "timeless," the form and style of the first fairy tales were deeply rooted in the literary culture of the period. Most notably, these early contes de fées reflected the influence of the period's major academic literary dispute, the Quarrel of the Ancients and the Moderns. In 1688, Charles Perrault launched the debate when he delivered his treatise, the Parallèle des anciens et des modernes, at the Académie française. Perhaps the strongest voice for the Moderns' point of view, Perrault argued that contemporary arts, letters, and sciences were nearly always superior to classical learning. Following Perrault's lead, the Moderns embraced not only the French vernacular but also a range of progressive trends in literary production such as new genres (especially fictional ones) and authorship by non-traditionally schooled writers, including many women. For modern partisans, the best literature emerged not from solitary work in libraries stuffed with Homer and Virgil, but rather from worldly authors fully engaged in contemporary society. The fairy tale was viewed as a modern genre, and the predominance of women among the ranks of published fairy tale authors was indicative of the larger role of female writers in modern literary life as a whole. In their choice of literary models as well as in their broader literary preferences, fairy tale authors consistently valorized fresh, [End Page 500] contemporary work. They often embraced the modern practice of praising their literary peers. Through dedications, occasional poetry, and other paratextual devices, authors lauded—and advertised—fellow fairy tale writers in their published volumes. 5 The writers' admiration of one another's work extended beyond prefaces and dedications: fairy tale authors paid homage to their peers' texts through allusions and citations within their own tales. The modern quality of early fairy tales extended beyond matters of literary culture. The content of the tales was also grounded in contemporary social and political concerns. In addition to fairy godmothers and ogres, the contes featured aristocratic characters ruling over fictional kingdoms and dwelling...

Reviewed by: Fairy Tales and the Art of Subversion: The Classical Genre for Children and the Process of Civilization, and: The Trials and Tribulations of Little Red Riding Hood: Versions of the Tale in Sociocultural Context Perry Nodelman Zipes, Jack . Fairy Tales and the Art of Subversion: The Classical Genre for Children and the Process of Civilization. London: Heinemann, and New York: Wildman Press, 1983. (Available directly from the publisher at 19 West 44th Street, New York, NY, 10036.) Zipes, Jack . The Trials and Tribulations of Little Red Riding Hood: Versions of the Tale in Sociocultural Context. South Hadley, Massachusetts: Bergin and Garvey, Ltd., 1983. In Fairy Tales and the Art of Subversion, Jack Zipes says, "the fairy tale is the most important cultural and social event in most children's lives." He doesn't really mean it, of course—unless he actually intends to downplay the significance of television, school, toilet-training, other children, Santa Claus, grandmothers, peanut butter, and parenting. But Jack Zipes is never one to fool around with subtle implications. He says that the fairy tale writers of Perrault's time "sought to civilize children to inhibit them, and perhaps pervert their natural growth," and he hints darkly about "where socialization through the reading of the Grimms' tales has led us"—as if those stories were responsible for the whole awful way the world is nowadays. Meanwhile, "What saves Andersen's tales from simply becoming sentimental homilies (which many of them are) was his extraordinary understanding of how class struggle affected the lives of people in his times," and "Baum sought to subvert the American socialization process based on competition and achievement"; as for "The Selfish Giant," "Obviously it is related to Wilde's homosexuality, and he depicted the love for the boy as a form of liberation." Obviously? It's only after one adjusts to Zipes' penchant for exaggeration that one realizes what he means: when he says that fairy tales are the most important social and cultural influence on children, he actually means that the tales do have some social and cultural significance. And he is right. The writers who first borrowed these tales from the oral tradition changed them so they would communicate their own values to the children who heard them. As societies changed their mind about which values they wished to communicate to children, these stories changed. As he did in his earlier book, Breaking the Magic Spell, Zipes explores these changes to show how they are "part of the historical civilizing process." In Fairy Tales and the Art of Subversion he goes over the ground covered in that earlier book in more detail, and with greater concentration on the mainstream of fairy tales written for or read by children in English-speaking countries; and he shows how, for the past five hundred or so years, we adults have used fairy tales to impress upon children the ideals we have fallen away from themselves. Unfortunately, Zipes notices how repressive that is only when he doesn't himself share the particular ideals in question. When it's aristocrats trying to make their children into aristocrats, that's disgusting; when it's contemporary West Germans trying to make their children believe in collective action, that's delightful. Zipes wants us to go on repressing children just the way we always have-only this time, we're supposed to repress them with values he shares instead of ones he feel superior to. But the most unfortunate result of Zipes' insistence on arguing from the unobjective viewpoint of his own political position is that is causes him to seriously misrepresent the history he claims to be revealing. While he quite correctly says that the fairy tales of the Victorian period were affected by "the development of a strong proletarian class, industrialization, urbanization, educational reform acts, evangelism," and so on, he says nothing about literary or artistic trends—about the Victorian fascination with things mediaeval, about Pre-Raphaelitism and its dreamy mooning over gothic artifacts, and so on. I suspect Zipes ignores such elements in the tales of Wilde and MacDonald because to acknowledge them would force him to admit that these tales are escapist, not...

The article is devoted to the study of the phenomenon of the Lviv fairy tale tradition through the prism of the figures of famous writers and their works. The anthology "Tales of the Old Lion" (2003) and the collection "Tales from Lviv" (1999) by Igor Kalynets were selected for literary analysis. Both publications are a rich source for studying fairy tales of past eras, as well as the genre-stylistic and poetic-narrative features of modern fairy tale creation. The purpose of this investigation is to introduce the genre form of the author's fairy tale into the scientific literary discourse as a new genre of children's literature, considering it in the context of new fairy tales. Results. The study of the genre form of the fairy tale has theoretical foundations in the literary works of O. Dybovska, N. Horbach, O. Gorbonos, V. Kyzylova, G. Sabat, N. Tykholoz and others, whose works serve as a basis for scientific exploration. The latest studies by V. Kyzylova, devoted to the genre and thematic diversity of modern Ukrainian children's literature, deserve special attention. According to the researcher, "in recent decades, the thematic groups of the author's fairy tale have been enriched with new texts, where the genre content has undergone changes, modifications in connection with internal literary and external (historical, social, artistic) factors; new thematic directions have also appeared, which modern authors of fairy tales for children resort to understanding" (Kyzylova, 2024: 167). The research methodology uses the method of analysis; cultural-historical, historical- literary, descriptive and contextual research methods are also used. The synthesis of this scientific toolkit contributes to the study of genre forms of children's literature. The scientific novelty of the article is an attempt to analyze children's works by Igor Kalynets as author's fairy tales, an original genre form in modern children's literature. Conclusions. The context of the Lviv fairy tale is illustrated by interesting personalities, and the author's fairy tales by Igor Kalynets are analyzed. The article also traces the development of the genre form of the fairy tale itself from the literary (XIX - XX centuries) to the modern author's fairy tale at the turn of the XX - XXI centuries.

The aim of the paper is to present several fairy tales from Giuseppe Pitrè’s collection as a potentially interesting reading material for children. Since classical fairy tales in some cases depict traditional gender roles, they can present an obstacle to children’s gender construction. Therefore, it is also important to read those stories which do not have a stereotypical gender discourse. We found such stories in Pitrè’s collection of folk fairy tales from the 19th century. In the paper we present the analysis of the structure of several folk fairy tales from Pitrè’s collection. The analysis has been performed according to Propp’s structuralist method, while the task was to determine the morphology of those fairy tales dealing with female hero-seekers. Such heroines correspond to the feminist perspective and they are convenient for reading in education for the purpose of children’s constructions of gender not exclusively provided by normative canons. The model of critical reading, which we suggest for reading the analyzed fairy tales, has been founded on reader-response criticism.

The Importance of Being Earnest:The Fairy Tale in 19th-century England Patricia Miller Students of the history of children's literature are thoroughly familiar with the dispute surrounding the reputation of the fairy tale in England at the beginning of the 19th Century. On the one hand, moralists and religious leaders found it hard to believe that tales of giant beanstalks, seven-league boots, and men the size of one's thumb could provide ethical guidance for their young pupils. Similarly, educational reformers regarded fairy tales suspiciously because of their failure to teach anything specific. After all, weren't lessons in arithmetic, geography, and religion more valuable than having a good time? In 1853, of course, Charles Dickens vigorously attacked these narrow and utilitarian views of fairy literature in his article, "Frauds on the Fairies," which asserted that in an age when men were rapidly becoming machines and slaves to reason, fairy tales were to be respected and permitted to do their important job of nurturing men's feelings and imagination. Dickens was also quick to point out, however, that in addition to providing imaginative stimulation to children, fairy tales could also teach: It would be hard to estimate the amount of gentleness and mercy that has made its way among us through these slight channels. Forbearance, courtesy, consideration for the poor and aged, kind treatment of animals, the love of nature, abhorrence of tyranny and brute force—many such good things have been nourished in the child's heart by this powerful aid.1 While Dickens' essay does much to defend fairy tales in general against the stern pietism of Puritan literature and the bleak didacticism of the Age of Reason, it does not address the unique qualities of the fairy tale in 19th-century England. How, for example, are the fairy tales of two eminent Victorians such as Dickens or John Ruskin different from those of Perrault or Grimm? What makes them distinctly Victorian? One quality which helps to distinguish the Victorian fairy tale from its European counterparts is its unique quality of earnestness. The one thing that every scholar of 19th-century literature knows is that the Victorians were "earnest," but what is meant by this and why they were is difficult to say. We know that the Victorians regarded earnestness as a positive moral attribute, and that the absence of it—whether in an individual or in a society—was decidedly bad. Among modern critics, Walter Houghton has provided perhaps the most helpful definition of the term in The Victorian Frame of Mind: The [Victorian] prophets of earnestness were attacking a casual, easy-going, superficial, or frivolous attitude whether in intellectual or in moral life; and demanding [End Page 11] that men should think and men should live with a high and serious purpose.2 Such purposefulness and revolt against moral indifference manifest themselves in much of the period's fiction and non-fiction for adults. For Thomas Carlyle in Sartor Resartus, earnestness is an assertion of Christian faith and a celebration of the virtues of hard work. For Tennyson in poems like "Ulysses," it is a quest for self-perfection and truth, an effort "to strive, to seek, to find, and not to yield." For novelists such as George Eliot and Dickens, earnestness is a scrupulous attention to matters of conscience and a desire for social responsiblity in the face of an expanding industrialism. Finally, for Matthew Arnold, it is a belief in the transforming and sustaining power of love in a world which "hath really neither joy, nor love, nor light,/Nor certitude, nor peace, nor help for pain."3 But this value system of hard work, moral awareness, consideration for others, and love is present not only in the adult literature of the period, but also in the children's literature, particularly the fairy tale. In the Christmas books of Charles Dickens, published between 1843 and 1888, and in John Ruskin's fairy classic, The King of the Golden River (1857), one can find clear illustrations of the importance of being earnest. In fact, both works serve as paradigms of Victorian earnestness. As Harry Stone acknowledges in Dickens and the Invisible World...

MLR, I03.2, 2oo8 525 Red Riding Hood and the Wolf inBed: Modernism's Fairy Tales. By ANN MARTIN. Toronto and London: University of Toronto Press. 2oo6. ix+ I99 PP. ?32. ISBN 978-o-8020-go86-7. The malleability of the fairy tale is, today, an almost taken-for-granted assumption in academic circles. So, for Ann Martin to suggest thatcertainmodernist writers re fashion thebetter-known European fairy tales (she focuses specifically on versions of 'Sleeping Beauty', 'SnowWhite', 'Cinderella', 'LittleRed Riding Hood', 'Beauty and theBeast', and 'The Fisherman and hisWife' popularized by theGrimms, Perrault, and de Beaumont (p. i6)) is a less than novel argument. Were this the underlying thesis ofMartin's book, itcould simply be tossed on the pile marked 'unoriginal' in the increasing gamut of fairy-tale scholarship. However, from the outset Martin is concerned with elaborating the dichotomy in early twentieth-century responses to the fairy tale. The premiss upon which her argument rests is that thedominant conception of childhood isone ofnostalgic recon struction foran inevitably lost time (hereMartin needs tobe precise that this isnot the Romantic view of childhood but a perversion thereof). This is then connected with a popular view of 'folk' culture as representative of amore primitive yet 'authentic' stage of development. In stark contrast to this, Martin suggests thather three representatives ofmoder nism-James Joyce,Virginia Woolf, and the often-neglected Djuna Barnes-utilize the fairy tale as an aperture throughwhich the chaotic experiences ofmodernity can be renegotiated. ForMartin, the fairytale isa dynamic narrative: at one level itcan be viewed as ameans to propagate themores of a given society, at another itsadaptabi litycan be seen as interrogatingquestions of social and cultural significance. It is this dynamism, Martin argues, which accounts for the fairytale's appeal to thesewriters. Integral toher concept of dynamism is the sheer number of literary fairy tales that Martin states are available forconsumption at the turnof thecentury.As each author encodes many variations, the ensuing profusion undermines notions of authority and fixityofmeaning. Juxtaposing versions of 'Sleeping Beauty' enables Clarissa Dalloway to explore thepotentialities of her own identity; thedifferentversions of 'Cinderella' which Joyce inflects inUlysses suggest a range of available plot structures and charac terizations; for Matthew O'Connor inNightwood 'Little Red Riding Hood' provides a narrative which suggests the transformative possibilities of deception and disguise. Martin argues that thesewriters use the fairy tale not to prescribe social identities but rather to represent a subject who takes advantage of 'unscripted interventions' (P. 125) to explore the experience ofmodernity and capitalist consumer culture. Yet an appreciation of Martin's adroit argument must be temperedwith a reserva tion: her theoretical position isdependent upon the identification and interpretation of variation and, while from the outset she states she will limitherself to a few fairy tales, thisnarrow scope is a severe constraint and, potentially, could be read as point ing to the possible cultural pre-eminence of particular versions of these tales.None the less, over the course of the book Martin makes a convincing argument for the alignment of the fairy talewith the experience ofmodernity in theworks of these authors. Reading the fairy tale as offering 'interpretative possibilities' (p. i i6) (a position that is,arguably, not exclusive to thisgenre) allows thesemodernist writers to free the tales of their links to amythic past, instead deploying them as narratives of exploration in amodern, consumer age. BIRMINGHAMCITY UNIVERSITY SARAH WOOD ...

The purpose of the work is to highlight the intermedial manifestations of the genre migration from literature to music based on the materials of piano compositions of the Ukrainian authors. Research methodology is based on the principles of comparative studies. In particular, intermedial approach to the study of inter-art language codes in musical compositions with the genre titles connected with the literature interaction has been used. Genological, system-analytical, generalised-typological, and comparative methods have been applied to draw parallels, to find similarities and differences between literary genre connotations and piano interpretations of a ballad, elegy, impromptu, fairy tale, legend, and poem. Scientific novelty of the research lies in an attempt of intermedial analysis of piano compositions with the existing in literature genre definitions by means of semantic-semiotic interferences. The concepts of the “genre migration” have been introduced to the comparative sphere of literary and musical genre halos, sometimes supplemented with programme guidelines, including reliance on specific folklore sources. Conclusions. Migration of the literary genres to the sphere of music is one of the dimensions of intermediality caused by paratexts of inter-artistic dialogues and polylogues in semiotics and semantic plane, as well as in composition-structural aspect. Despite the fact that these interferences are quite conditional, genre paradigm borrowings are the evidence of the direct mutual influence of literature and music, especially on the examples of the genres of ballad and elegy, which represent the genres of the double music-poetic genesis. Comparison with the genre primary basis-“paragon”, paratextual combination of musical genres with the literary ones (etude-legend, sonata-ballad) or with the programme title allow to claim the individualisation of the composer’s interpretation at different levels of the artistic organisation of a piano script. To sum it up, using literary genre models enriched figurative-semantic, stylistic, and spiritually-cognitive resources of Ukrainian piano music.
 Keywords: Ukrainian piano art, literary genres (impromptu, fairy-tale, legend, poem), genres of the double music-poetic genesis (ballad, elegy), genre migration, eminent text.

Fairy tale is one of the most important genres in literature which reflects childish sensitivity, feeds child’s soul, enriches his/her imagination and prepares him/her for the future. Emerging as product of oral literature, fairy tales were used as an instrument of training in the past and they still have the same function today. Educators think that fairy tale is important for contribution to children’s linguistic skills, mental and spiritual development. It enriches the imaginative world of the child, feeds spirit of the children and prepares them for the future.  Fairy tales are also important in that they indicate the strength of language and contribute to development of artistic language development of the child. This study was conducted during 2013-2014 academic year in order to find out the attitudes of secondary school students towards fairy tales. The survey questions and attitude scale prepared by the author were administered to 387 students in four secondary schools predetermined in Kars and AÄŸrı provinces. The students studying at Grades 5, 7 and 8 in secondary school are sampling groups of the study. With this study, the students’ attitude for the effect of fairy tales on linguistic skills, vocabulary, Turkish course and human behaviors was discovered. In addition, it was also studied whether or not gender and classroom factors are important in respect to students' attitude towards fairy tales. The data of the study were analyzed by use of SPSS statistic program. The study has indicated that fairy tales create an affirmative effect on students. Key words: Fairy tales, children literature, education, folk literature education, legend, Turkish education.

Retelling Cinderella: Cultural and Creative Transformations

This collection of exemplary essays by internationally recognized scholars examines the fairy tale from historical, folkloristic, literary, and psychoanalytical points of view. For generations of children and adults, fairy tales have encapsulated social values, often through the use of fixed characters and situations, to a far greater extent than any other oral or literary form. In many societies, fairy tales function as a paradigm both for understanding society and for developing individual behavior and personality. A few of the topics covered in this volume: oral narration in contemporary society; madness and cure in the 1001 Nights ; the female voice in folklore and fairy tale; change in narrative form; tests, tasks, and trials in the Grimms' fairy tales; and folklorists as agents of nationalism. The subject of methodology is discussed by Torborg Lundell, Stven Swann Jones, Hans-Jorg Uther, and Anna Tavis.

Nineteenth-Century Children's Satire and the Ambivalent Reader Alan Richardson (bio) Satire is initially hard to place in the history of children's literature because little or no place has been made for it. Most accounts of the development of British children's literature from its emergence in the middle of the eighteenth century to its "golden age" in the Victorian period describe a happy shift from primarily didactic works to primarily imaginative ones: from reason to fantasy, from instruction to delight, from the moral tale to the fairy tale. According to this frankly progressive model (most recently articulated by Geoffrey Summerfield in his study Fantasy and Reason), children's literature had to be liberated from its early dominance by rationalists and Christian moralists, in order for the wiser age of Victorian fantasy, with its "more open imagination" (Pickering 4), to blossom from the fairy tale revival of the earlier nineteenth century. I have argued elsewhere that this model does not adequately reflect the extent to which fairy tales were (to borrow Jack Zipes's term) "bourgeoisified" (29) in order to become accepted as reading fit for children, a process through which the distinction between didactic and fantastic often breaks down, as in the moral or moralized fairy tale characteristic of the period (Richardson). But this model also obscures—or keeps from becoming articulated—certain latent assumptions underlying both didactic and much fantastic children's literature as well, assumptions rooted in the fundamentally new conception of childhood which emerged along with (and helped make possible) the children's publishing industry. It is in analyzing the resistance not to children's fairy tales but to children's satire, a resistance left out of histories of children's literature, that our own cultural assumptions regarding children and their books—which we inherit from eighteenth-century moralists and nineteenth-century fantasists alike—can be called into question. Both the moral tale and the children's fairy tale, for example, share an underlying assumption that the child reader is not to make independent moral evaluations. In the moral tale, a child protagonist may be required to make a moral judgment, but it is always made clear to the child reader (usually through a [End Page 122] controlling parental figure) which course of action is the correct one. And even when the child is not explicitly instructed in the morality of its age and class, the fiction can be seen as taking place in a fundamentally amoral fictional world. That is, in the cases in which literary fairy tales for children do not simply (like more frankly didactic literature) reflect the social morality of the day—as Wilhelm Grimm assured readers of the revised Kinder- und Hausmärchen they would (Tatar 217)—they can be seen as essentially irrelevant to discussions of social morality altogether. This is the brunt of Coleridge's famous response to the complaint of Anna Barbauld (a relatively enlightened didactic writer for children herself) that the Rime of the Ancient Mariner "had no moral": "It ought to have had no more moral than the Arabian Night's tale of the merchant's sitting down to eat dates by the side of a well, and throwing the shells aside, and lo! a genie starts up, and says he must kill the aforesaid merchant because one of the dates had, it seems, put out the eye of the genie's son" (405). Whether, like Nicholas Tucker, we view the world of fairy tales as a "morally-charged universe" (76) or, like Coleridge, as a morally empty space where questions of value become meaningless, the fairy tale exacts no more complicated an ethical response from the child reader than does the moral tale. Satire, on the other hand, as the "literary genre most implicated in historical and social particulars" (Howes 217), deals almost by definition with the revaluation of social values, and children's satire, unlike children's fantasy, found no early defenders among the Romantics or elsewhere. In fact, advocates of imaginative literature for children could make common ground with didactic writers in attacking satirical works intended for or made available to children. The tacit notion that children should remain morally naive...