alissli
commented
6 years ago - 《安徒生童话》
- 《格林童话》
- 《豪夫童话》
- 《一千零一夜》
Open alissli opened 6 years ago
alissli
commented
6 years ago alissli
commented
6 years ago 
alissli
commented
6 years ago alissli
commented
6 years ago Folklore is the expressive body of culture shared by a particular group of people; it encompasses the traditions common to that culture, subculture or group. These include oral traditions such as tales, proverbs and jokes. They include material culture, ranging from traditional building styles to handmade toys common to the group. Folklore also includes customary lore, the forms and rituals of celebrations such as Christmas and weddings, folk dances and initiation rites. Each one of these, either singly or in combination, is considered a folklore artifact. Just as essential as the form, folklore also encompasses the transmission of these artifacts from one region to another or from one generation to the next. For folklore is not taught in a formal school curriculum or studied in the fine arts. Instead these traditions are passed along informally from one individual to another either through verbal instruction or demonstration. The academic study of folklore is called folkloristics.
alissli
commented
6 years ago alissli
commented
6 years ago The fairy tale, told orally, is a sub-class of the folktale. Many writers have written in the form of the fairy tale. These are the literary fairy tales, or Kunstmärchen.
没有纯粹的童话，口头童话故事比文学形式早了近千年。口头故事讲述者也会阅读文学童话，以增加自己的故事和处理手段的储备。
Jack Zipes writes in When Dreams Came True, "There are fairy tale elements in Chaucer's The Canterbury Tales, Edmund Spenser's The Faerie Queene, and ... in many of William Shakespeare plays."[33] King Lear can be considered a literary variant of fairy tales such as Water and Salt and Cap O' Rushes.[34] The tale itself resurfaced in Western literature in the 16th and 17th centuries, with The Facetious Nights of Straparola by Giovanni Francesco Straparola (Italy, 1550 and 1553),[31] which contains many fairy tales in its inset tales, and the Neapolitan tales of Giambattista Basile (Naples, 1634–6),[31] which are all fairy tales.[35] Carlo Gozzi made use of many fairy tale motifs among his Commedia dell'Arte scenarios,[36] including among them one based on The Love For Three Oranges (1761).[37] Simultaneously, Pu Songling, in China, included many fairy tales in his collection, Strange Stories from a Chinese Studio (published posthumously, 1766).[32] The fairy tale itself became popular among the précieuses of upper-class France (1690–1710),[31] and among the tales told in that time were the ones of La Fontaine and the Contes of Charles Perrault (1697), who fixed the forms of Sleeping Beauty and Cinderella.[38] Although Straparola's, Basile's and Perrault's collections contain the oldest known forms of various fairy tales, on the stylistic evidence, all the writers rewrote the tales for literary effect.[39]
童话不仅起源于民间故事，还反过来影响了民间故事。 Such literary forms did not merely draw from the folktale, but also influenced folktales in turn.
alissli
commented
6 years ago alissli
commented
6 years ago The fairy tale itself became popular among the précieuses of upper-class France (1690–1710),[31] and among the tales told in that time were the ones of La Fontaine and the Contes of Charles Perrault (1697), who fixed the forms of Sleeping Beauty and Cinderella.[38] 十六，七世纪，童话在法国的上层社会开始流行。当时有La Fontaine和夏尔佩罗，后者创造了《睡美人》（Sleeping Beauty）和《灰姑娘》(Cinderella)
alissli
commented
6 years ago alissli
commented
6 years ago alissli
commented
6 years ago In the 1630s, aristocratic women began to gather in their own living rooms, salons, in order to discuss the topics of their choice: arts and letters, politics, and social matters of immediate concern to the women of their class: marriage, love, financial and physical independence, and access to education. This was a time when women were barred from receiving a formal education. Some of the most gifted women writers of the period came out of these early salons (such as Madeleine de Scudéry and Madame de Lafayette), which encouraged women's independence and pushed against the gender barriers that defined their lives. The salonnières argued particularly for love and intellectual compatibility between the sexes, opposing the system of arranged marriages.
alissli
commented
6 years ago "Little Red Riding Hood" is a European fairy tale about a young girl and a Big Bad Wolf.[1] Its origins can be traced back to the 10th century by several European folk tales, including one from Italy called The False Grandmother (Italian: La finta nonna), later written among others by Italo Calvino in the Italian Folktales collection; the best known versions were written by Charles Perrault and the Brothers Grimm.[2]. The story has been changed considerably in various retellings and subjected to numerous modern adaptations and readings. Other names for the story are: "Little Red Ridinghood", "Little Red Cap" or simply "Red Riding Hood". It is number 333 in the Aarne-Thompson classification system for folktales.[3] 小红帽可以追溯至十世纪的欧洲民间故事，其中包括意大利童话【虚假的祖母】（ The False Grandmother ）
The Brothers Grimm believed that European fairy tales derived from the cultural history shared by all Indo-European peoples and were therefore ancient, far older than written records. This view is supported by research by the anthropologist Jamie Tehrani and the folklorist Sara Graca Da Silva using phylogenetic analysis(系统进化分析法), a technique developed by evolutionary biologists to trace the relatedness of living and fossil species. Among the tales analysed were Jack and the Beanstalk, traced to the time of splitting of Eastern and Western Indo-European, over 5000 years ago. Both Beauty and the Beast and Rumpelstiltskin(侏儒怪) appear to have been created some 4000 years ago. The story of The Smith and the Devil (Deal with the Devil) appears to date from the Bronze Age(铜器时代), some 6000 years ago.
alissli
commented
6 years ago Originally, adults were the audience of a fairy tale just as often as children.[58] Literary fairy tales appeared in works intended for adults, but in the 19th and 20th centuries the fairy tale became associated with children's literature. 童话最早的观众既有成人也有孩子。文学童话作品是为成人而写，但是道19到20世纪，童话才开始与儿童文学关联起来。
alissli
commented
6 years ago préciosité： 法国文学体裁
alissli
commented
6 years ago The Juniper Tree 杜松树，刺柏树
alissli
commented
6 years ago alissli
commented
6 years ago alissli
commented
6 years ago Psychoanalysts such as Bruno Bettelheim, who regarded the cruelty of older fairy tales as indicative of psychological conflicts, strongly criticized this expurgation, because it weakened their usefulness to both children and adults as ways of symbolically resolving issues.[69] Jungian Analyst and fairy tale scholar, Marie Louise Von Franz interprets fairy tales[70] based on Jung‘s view of fairy tales as a spontaneous and naive product of soul, which can only express what soul is.[71] That means, she looks at fairy tales as images of different phases of experiencing the reality of the soul. They are the “purest and simplest expression of collective unconscious psychic processes” and “they represent the archetypes in their simplest, barest and most concise form” because they are less overlaid with conscious material than myths and legends. “In this pure form, the archetypal images afford us the best clues to the understanding of the processes going on in the collective psyche”. “The fairy tale itself is its own best explanation; that is, its meaning is contained in the totality of its motifs connected by the thread of the story. [...] Every fairy tale is a relatively closed system compounding one essential psychological meaning which is expressed in a series of symbolical pictures and events and is discoverable in these”. “I have come to the conclusion that all fairy tales endeavour to describe one and the same psychic fact, but a fact so complex and far-reaching and so difficult for us to realize in all its different aspects that hundreds of tales and thousands of repetitions with a musician’s variation are needed until this unknown fact is delivered into consciousness; and even then the theme is not exhausted. This unknown fact is what Jung calls the Self, which is the psychic reality of the collective unconscious. [...] Every archetype is in its essence only one aspect of the collective unconscious as well as always representing also the whole collective unconscious.[72]
alissli
commented
6 years ago Literary Illustration of three trolls surrounding a princess in a dark area, as adapted from a collection of Swedish fairy tales John Bauer's illustration of trolls and a princess from a collection of Swedish fairy tales
In contemporary literature, many authors have used the form of fairy tales for various reasons, such as examining the human condition from the simple framework a fairytale provides.[76] Some authors seek to recreate a sense of the fantastic in a contemporary discourse.[77] Some writers use fairy tale forms for modern issues;[78] this can include using the psychological dramas implicit in the story, as when Robin McKinley retold Donkeyskin as the novel Deerskin, with emphasis on the abusive treatment the father of the tale dealt to his daughter.[79] Sometimes, especially in children's literature, fairy tales are retold with a twist simply for comic effect, such as The Stinky Cheese Man by Jon Scieszka and The ASBO Fairy Tales by Chris Pilbeam. A common comic motif is a world where all the fairy tales take place, and the characters are aware of their role in the story,[80] such as in the film series Shrek.
Other authors may have specific motives, such as multicultural or feminist reevaluations of predominantly Eurocentric masculine-dominated fairy tales, implying critique of older narratives.[81] The figure of the damsel in distress has been particularly attacked by many feminist critics. Examples of narrative reversal rejecting this figure include The Paperbag Princess by Robert Munsch, a picture book aimed at children in which a princess rescues a prince, and Angela Carter's The Bloody Chamber, which retells a number of fairy tales from a female point of view.[82]
There are also many contemporary erotic retellings of fairy tales, which explicitly draw upon the original spirit of the tales, and are specifically for adults. Modern retellings focus on exploring the tale through use of the erotic, explicit sexuality, dark and/or comic themes, female empowerment, fetish and BDSM, multicultural, and heterosexual characters. Cleis Press has released several fairy tale themed erotic anthologies, including Fairy Tale Lust, Lustfully Ever After, and A Princess Bound.
It may be hard to lay down the rule between fairy tales and fantasies that use fairy tale motifs, or even whole plots, but the distinction is commonly made, even within the works of a single author: George MacDonald's Lilith and Phantastes are regarded as fantasies, while his "The Light Princess", "The Golden Key", and "The Wise Woman" are commonly called fairy tales. The most notable distinction is that fairytale fantasies, like other fantasies, make use of novelistic writing conventions of prose, characterization, or setting.[83]
alissli
commented
6 years ago Film
Fairy tales have been enacted dramatically; records exist of this in commedia dell'arte,[84] and later in pantomime.[85] The advent of cinema has meant that such stories could be presented in a more plausible manner, with the use of special effects and animation. The Walt Disney Company has had a significant impact on the evolution of the fairy tale film. Some of the earliest short silent films from the Disney studio were based on fairy tales, and some fairy tales were adapted into shorts in the musical comedy series "Silly Symphonies", such as Three Little Pigs. Walt Disney's first feature-length film Snow White and the Seven Dwarfs, released in 1937, was a ground-breaking film for fairy tales and, indeed, fantasy in general.[73] Disney and his creative successors have returned to traditional and literary fairy tales numerous times with films such as Cinderella (1950), Sleeping Beauty (1959) and Beauty and the Beast (1991). Disney's influence helped establish the fairy tale genre as a genre for children, and has been accused by some of bowdlerizing the gritty naturalism – and sometimes unhappy endings – of many folk fairy tales.[79] However, others note that the softening of fairy tales occurred long before Disney, some of which was even done by the Grimm brothers themselves.[86][87]
Many filmed fairy tales have been made primarily for children, from Disney's later works to Aleksandr Rou's retelling of Vasilissa the Beautiful, the first Soviet film to use Russian folk tales in a big-budget feature.[88] Others have used the conventions of fairy tales to create new stories with sentiments more relevant to contemporary life, as in Labyrinth,[89] My Neighbor Totoro, Happily N'Ever After, and the films of Michel Ocelot.[90]
Other works have retold familiar fairy tales in a darker, more horrific or psychological variant aimed primarily at adults. Notable examples are Jean Cocteau's Beauty and the Beast[91] and The Company of Wolves, based on Angela Carter's retelling of Little Red Riding Hood.[92] Likewise, Princess Mononoke,[93] Pan's Labyrinth,[94] Suspiria, and Spike[95] create new stories in this genre from fairy tale and folklore motifs.
In comics and animated TV series, The Sandman, Revolutionary Girl Utena, Princess Tutu, Fables and MÄR all make use of standard fairy tale elements to various extents but are more accurately categorised as fairytale fantasy due to the definite locations and characters which a longer narrative requires.
A more modern cinematic fairy tale would be Luchino Visconti's Le Notti Bianche, starring Marcello Mastroianni before he became a superstar. It involves many of the romantic conventions of fairy tales, yet it takes place in post-World War II Italy, and it ends realistically.
alissli
commented
6 years ago 约瑟夫*雅各布斯（Joseph Jacobs，1854.8.29-1916.1.30）,澳大利亚民俗学家，翻译家，文学批评家，社会科学家，历史学家和英国文化作者。收集并发表了英国民间故事。最著名的工作时发布了著名的英国童话版本，包括“《杰克和豆芽》Jack and the Beanstalk”，“三只小猪（The Three Little Pigs）”等
alissli
commented
6 years ago