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ChapterOne

Literature Review and

Theoretical Part
The First Chapter's Outline

A. Profile of Children Literature and Literary Fairy Tales

A.1 Definition of Children Literature

A.1.2 Definition of Fairy Tales

A.1.3 Features of Fairy Tales

A.1.3.1 Classification of Characters : Vladimir Propp Model

A.1.3.2 The Function of Characters : Common Contextual Quaities

A.1.3.3 Contextual Common Features

A.1.4 Origins of Literary Fairy Tales

A.1.3.1 Early Beginings

A.1.3.2 The Renaissance

A.1.3.3 The French

A.1.3.4 The German

A.1.5 The Impact of Fairy Tales

A.1.6 Limitations of Fairy Tales and Criticisms Burthlheim

B.1 Stulistic Literary Features

B.1.1 Difference between character and Characterization

B.1.2 Point of View and Its Kinds

B.1.3 Agency in Grammar

B.1.4 The uses of Agency in Literature (Stating Some Examples)

C.1 Critical Approaches to Fairy Tales

C.1.1 The Feminist Aproach

C.1.2 The Archetypal Criticism Approach

C.1.3 The Formalist Approach


A.Profile of Children Literature and Fairy Tales

A.1.Definition of Children Literature

For any one who comes across the word children literature , he/she automatically

assumes that it is the kind of "literature which is written for children" .This definiton is

shallow comprises only one angle from a range of multiple angeles. Actually, the

aforementioned definition, besides is only the beginning . For instance , if we hold this

definition and embrace it as the absolute and the general one ,what about those books that

are not even meant for children and yet by appreciation they are read by children ? As an

example, according to Rowling (2007) Harry Potter's books that are read by both adults as

well as children are meant for adults in the first place ( Barone 6) . In this case another

interpretation is needed and that might cover other further cultural, psychological and

emotional levels(6) . In contrast , as soon as we confine the reading of children only to the

books that are appropriate to them in terms of themes ,we threat in cutting off their

creativity in all levels but this does not mean that all topics are healthy to the children

mental development.

"Age" for some scholars is given priority when trying to define the term. Along with

Tomlinson and Lynch Brown (2002) who perceive that the term children literature is "the

literature that starts from infancy to adolescence(Barone 6 ) .They added, furthermore by

suggesting in his book of "Essential Books for Children (1999) that children literature are"

good quality trade books that cover topics of interest of those ages through prose ,poetry

,fiction and non fiction"(2). However when it comes to good books for children , they are

may be not that good to be popular, thus this definition reduces the appropriate good books

to only one category that could bring commercial benifits.


Many scholars insist on the idea that only good books are read by children. As an

advocator for such point in particular is Hillman (2002) . Diane affirms in her book of

Children Literature in the Classroom that there is a big question beneath the word "good"

.What does this qualifier stand for? And here ,she suggests the availability of two levels

must be taken into account when considering good books(Barone 7) .There are good books

who receive literature awards for their artistic and aesthetic craft . On the other hand ,there

are good books that are enjoyable and appreciated by their readers (Barone 7) . This does

not mean all the time that the read books are popular but the aesthetic merit of the writer is

what really matters(ibid 7) . In this respect ,we come to the point of the emotional response

,i,e.; as readers , the children's conception of reading has to do with whether they like or

dislike the book and is also a matter of selection what best suits them . Hence, children

during the latter process might select the wrong books that might have a counter influence

opposite to what have been expected. This is why selection of books by specialists in the

field is very important and it should be based on pedagogical and psychological

requirments.

Opponent to the forementioned scholars , according to Hunt (2005) , the focus of

quality should insist on "what is good literature? but what literature is good for ? "(quoted

in Barone , 2013 .7) .As an example ,the same book is read by two different readers ,it may

be good for someone and not for the oher or it is may be good for both but for totally

different reasons. Thus, Hunt argues that the quality of books that critics talk about is a

"subjective" matter since it is directly related to the personal taste and wether the reading

material meets the reader's expectations or not (ibid 7) .

Although ,Tunnel and Lynchon assert that children are attracted to adult books

especially with the subjects "money ,sex and death"(Barone 7) , Hunt (2005) confirms that:

"Children’s books are different from adults’ books: They are written for a different
audience, with different skills, different needs, and different ways of reading.Equally,

children experience texts in ways which are often unknowable, but which many of

usstrongly suspect to be very rich and complex" ( Quoted in Barone , 2013, 2) . Similarly,

Nogavice affirms the worries of parents express when their children encounter adult

literature when she states that:

Parents wishing to protect their children from the unhappier aspects of life

often find the traditional fairy tales, nursery rhymes and other voyages of

discovery problematic, because often the first thing a story does is remove

theadult influence, leaving the central character to learn to cope on his or her

own: prominent examples of this include Snow White Hansel and Gretel

, Bambi and A Series of Unfortunate Events.(...) Many see such isolation of

child characters from supporting adults as necessary preparation for the

transition toadulthood( Nogavice 2) .

Despite the fact that the children's literature has its intended readers ,the issue is

bigger than that .Due to the assumption by many scholars that "children books are

complex," they were obliged to assume that complexcity clearly (Hunt , 2). This complexity

arises partly because the reading ‘child’ of children’s literatur is primarily discussed in

terms of emotional responses and consciousness, too.

For many anthropological and historians ,the problematic nature of the definition

children literature rests with the how "childhood" is defined and perceived through the ages

and through different cultures .This point in focus ,therefore is dicussed by the critic

Phillipe Ariés and the anthropologist Margerete Mead (1995) .More likely the British

Jackline Rose elaborates the ideas of Aries but she did not trace back the historical and
cultural changes like Ariés rather she utilizes" them on contemporary processes within the

Western culture" ( ibid 17) .

Going through the definitions one by one , we notice how problematic the definition

of children literature is .This complexity ,for instance lies with that critics first who did not

agree on one universal definition of the terms "children" and "literature" and thus they

could not come up with accurate definition of the two entities "children literature" .

A.1.2 Fairy Tales Definition

According to the Oxford Companion of Children Literature, Carpenter and Prechard

describe fairy tales as follows: "Fairy stories or fairy tales [are] narratives, set in the distant

past, of events would be impossible in real world. They often include magical happenings

and the appearance of fairies, but the supernatural does not always feature in them, and the

heroes and heroines are usually mortal human beings"(quoted in Parcikova 11).

These definition demonstrates how the feautures, such as no real world (imaginary),

magical happenings and supernatural powers are what define the genre and dissimilar it

from the other literary genres .

The Oxford Companion to Fairy tales defines the genre as "a long ficticious narrative...

(that) includes fantasies and is told as means of . The stories are "eposodic "in nature,

contain "supernatural challenges" and "magical motifs" and"end happily" ( quoted in Lee 2)

In this respect ,Ruth Buthlheim agrees to a certain extent with Cartner's and Richard's

definition but she admits how supernatural elements and repetitive structure make much of

the fairies .However she goes on adding that:"(…) it is not motifs ,structure or happy

endings alone that define fairy tales, but the overall plot trajectory of individual tales in
conjunction with those fairy tale elements all brought together within the compact narrative

(....)"( Bottegheimer ,2009,9)

The definition of the fairy tale is only one angle of a bigger problem that is seen by

many literary scholars and historians(Parcikova 11) . This issue stems from the fact that

many people even some elite do not really diffrentiate or make between literay fairy tales

and oral folk tales .The matter that Ashliman underlines by saying that it is traced back to

the fact that folk tales are " fluid by their nature"(quoted in Bartu 3). Although the many

efforts by specialist in the field , still the issue of distinction is not really clear for many ,and

as Jack zipes insists on this point in particular by saying that:“the confusion is so great that

most literally critics continually confound the oral folk tale with the literary fairy tale and

vice versa"( quoted in Parcivoka ,11). Zipes(2002) goes further by distinguishing where

does the ambuiguity lie and where there comes the difference ? Zipes highlihts this

difference as:

The word fairy tale can refer to both a category of oral folk tale and a genre of

prose literature. As a term, it is often used by folk narrative scholars when

referring specifically to 'magic tales' […]. The term folk tale is reserved for any

tale deriving from or existing in oral tradition and is generally preferred by

folklorists and anthropologists. Literary scholars tend to use the word fairy tale

to refer to a genre of prose literature, which may or may not be based on oral

tradition (167)

The wonder tales that zipes refers to, are the first form of the later sharpened and

embellished literary fairy tales. Based on the study done by Vladimir Propp who states 31

function of Russian fairy tales that he found that are repetitive , Zipes (2007) builds his the

theory of distinction between oral and fairy tales(3-4) . These patterns all together with
typical characters and setting make the diffrence between oral tale such as legends ,myths

,ect and the fairy tales much more visible ( Parcivoka , 12 ). All in all ,the conclusion that is

drawn from is that Zipes attempts in presenting how todays literary fairy tales

metamorpheses to what we know nowadays : "Folk tales have oral tradition, parts of which

are also wonder tales. Wonder tales are, according to Zipes, real predecessors of today‟s

fairy tales, which usually end happily and follow some kind of structural patterns. ( Zipes,

2007, 4). For Burthlem, there is a third type "tales of magic"(Parcikova 13) .

A.1.4 Origins and History of the Development of the Literary Fairy Tales

Thomas Keightly in his study of the origins and development of the literary fairy tale

genre, he originates the word "Fairy" to the Greek word"fata" which means "some sort of

superior being." (quoted in Bartu, Dischanting Patriarchy 2 ) .The verb that is derived from

is " fantare" and in English" to enchant." Thus ,later on from the word "fata" comes the

word "Faérie."

If we are to trace back the early beginings of fairy tales ,it is hard to do so , in that case

we have to start from when humans started use uttrances to communicate" their needs

,wishes and promises."( Bartu, Dischanting the Patriarhy27) Though the stories that are

known today were not labelled like that ,they were simply told "informative "because they

either "mark an occassion ,set an explanation ,warns about danger ,procure food ,or explain

what seemed unexplainable"(quoted in

The long tradition of fairy tales makes scholars' mission nearly impossible This obscurity

,for instance is the point where all scholars come into terms .In depth ,Zipes in his book of

Irrisistable Genre of Fairy Tales insits on agreeing with most scholars that there is "an

impossibility to locate and study the history of stories and the evolution of the genre"
(Zipes, 2012 ,4)." Thus , scholars are left without no credible knowledge accurate time for

speculating about the early beginings of the genre"( ibid 4).

When the narrative is between the hands of the narrator ,he /she is free to formulate it the

way he/she wants Wether adding some elements or omitting some , according to Allan

Dundes , it is up to the narrator beside other facts ,too(Bartu 28). In this case ,the narrator

creates another national tale that is extreamly different from the proceeding ones via as

Zipes (1992) highlights "interpreting it with his or her experience and reformulating "the

content with a new ideology "( quoted in Bartu,28).It is in this way ,thus that certain

ideologies ,culture and messages are inscribed . It is believed that tales possess a subversive

power since they can be used to" stabalize ,concerve or change common beliefs,

laws,values, and norms of a group"(Bartu ,29)

A.1.4.1 Early Beginings

Many Arabic Tales existed , such as Alf Leila Wa Leila , Ali Baba and the Fourty

Thieves (Bartu 33) . Those tales influenced the Western canon of fairy tales .However , the

receptiveness was not that wide .And as Zipes highlights the reasons of the lack of

receptiveness of fairy tales to the fact that "...fairy tales had to be included within a frame

story or in a collection of instructive or amusing stories or anecdotes"(quoted in Bartu , 33).

The Middle Ages ,as well did not mark any significant change in the fairy the canon ,rather

they were continuity to both style and content of old fairies unlike in Italy . Believed to be

nourished in Italy , fairy tales arose as a new genre with the "change of the social milieu in

Europe" (Bartu ,34). Consequently , it is Italy that was considered the birth place for almost

many of Europian Fairies.(ibid 34)

A.1.4.2 The Italian Fairy Tales )


As main Italian figures of that time ,Giovani Francisco Strapola and Giambattista Basile

played an imoprtant role on the rise of the genre as well as their influence on the European

fairies later on was remarkable (Bartu 34). Moreover, Strapola wrote Piacavoli Notti 1550-

53 "that contained 75 novellas ,fairy tales ad some oriental origins". Whereas , Basile wrote

his book that is entitled "La Cunto de Licunti Overo La Trattemenemimtope Peccer-Ille" ,

which was translated into French under the title "The Tale of Tales ,or Entertainment for

Little Ones" also known as Pentamerone 1636-38 ( ibid 36) . Nevertheless ,Basile lived

during the Paroque period ,mainly in the 17th century ,his exaggerated style and parody

were his unique trade mark(ibid 36). Although the credit was granted to Italy in its help in

flourishing the new independent genre of fairy tales ,lack of records makes the Italian

credibilty really questionable. Even though it is believed that the European course of story

telling changes because of the inscribed Italian narration elements.(ibid 3)

A.1.4.3 The French Fairy Tales

It is thanks to France that her reputation transcended all the Europian countries . Due to

the popularity and known French fairy tales , scholars get to the extent that many they start

their studies about the history of the development of the genre of fairy tales from the the

Seventeenth Century in France. Why France in particular ? Bartu (2014) justifies by stating

the factors which Zipes(1991) suggestes that contributed to this actuality ,amongst : the

French language was "cultivated" more than the other Europian languages ; also with the

invention of printing ,France supported all kinds of literature and the country also gave

significance to creativity and publishing; finally ,salons and social gatherings in France

popularized the genre (37-38) . These Salons marks the birthof literary tales that were both

artistically and easthetically crafted and embellished.


The French salons were considered as social gatherings were both men and women

enjoyed equal space to share and express their ideas (Bartu 38).These salons were the net of

the fairy tale contamination that swept the whole world. They ,moreover helped the

flourishment and the transmit of these tales from one country to another( ibid 38) . The tales

written by the salon writers were of a high quality, thus eventually they reflected the upper

class way of life(ibid 39) and the same tales were embellished to sound more original in

order to compete in the literary scene(38). This embellishment is seen by many critics as

unhealthy and" contamination" , amongst them Ruth Botteighem.(ibid 38)

Ruth comments that the" original peasants telling had been pure oral narrative passed

along from person to other countries, but conteuses and conteurs had contaminated the

peasants simple tales with their literary style and borrowed embellishment ,elaborating and

embroidening peasant genuis telling." (ibid ,38) While Zipes argues the opposite , he does

not conceive it as "contamination" .

The Conteuse of France had the first and the big share of writing fairies. In fact ,thanks

to Madame Marie Catherine D'Aulouny that with her publication of her book of "Contes

des Feés" ,that the term "fairy tales" seazed into existence for the first time. Mme

D'Aulouny was known for her noble characters who celebrate their relationships and who

represent standards of civility (ibid ,38). D'Aulouny was the first but not the the last of the

long list of sparkling names of women ,such as Mme Boumount who wrote "Beauty and the

Beast", and Harriete Julie de Castelnous as well. Male conteurs ,too were of considerable

literary weight .We can not skip Charles Perrault with his book "Mother Goose " and his

Cinderella story that is till now worldly widely read.(ibid ,39)

A.1.4.4 German Fairy Tales


The Eighteenth century was the time of the German tales that were represented through

their main Figures, Jacob and Wilhelm Grimm who became later known as the Grimm

Brothers (ibid ,39). In this respect , the Grimm Brothers indicated the end of the long

tradition of fairies in France and its begining in Germany . Furthermore, it was due to their

tales that the genre of fairy tales came into existence as an independent institution in

Germany and then in the rest of the world. Concerning the themes were discussed within

the Brothers' tales range from talking about the rising of the middle class ,"shifting of

power and ordinary people". Unlike the French writers, simple and plain style was one

distinct characteristic of the German tales .Those tales ,for instance were meant to address

all people and be read by all people( ibid 42) .

After the slow down of literary fairy tales during the Victorian period ,the 19th century

witnessed wide fantasy books based on fairies( ibid 45-46). And similarly , both fairies for

children and fantasies for adults were published in the twentieth century. Classical fairy

tales returned strongly to the scene but this time with much criticism addressed to them(46)

. Many revisions were done to the classical tales and the and all the social existing values

and themes were questioned by postmodern writers mainly feminist writers who wrote

counter attack fairies to show their fearful resistance to the stereotypical images granted to

women in the old fairies. Amongst these feminist writings are Angela Carter and Emma

Donoghue (ibid 46).

A.1.4 Features of Fairy Tales :

The universal agreement by scholars who conduct studies on fairy tales , assert the hard

missions they face while trying to define the nature of the genre. For instance, they believe

that the first place to start with is to distinct between folk tales and fairy tales (Bartu 2) . As
an example, according to Ashliman , the folktale are of not rigid by nature ,rather they are

fluid and in their fluidity comes the difficulty in categorizing and defining them ( Bartu 3) .

According to Ashliman ,comes the Russian Formalist Vladimir Propp who believes in the

interchangebility of the term "wonder tale" as an alternative to both "fairy and folk tales."

Arguably ,Propp believes even in the that both wonder and fairy tales come under the

umbrella of folklore.(Bartu, 3) In addition to Bottingheimer who adds a third type " tales of

magic."

Basically ,almost all fairy tales have similar "structural features " on the basis of events,

character ,or setting . ( Bartu , p 6) Concerning the plot of the fairy tale ,there are many

phases to mention . To start with , the first phase is the set of equilibrium that initiates the

first opposing forces of the story between the antagonist and the protagonist . This first

phase is opened and featured by " Once Upon a time(...)"(ibid ,6) .Then ,the equilibrium

that is broken by the evil presence of the antagonist leads eventually to spoiling of the rest

and peace in the story via the use of black magic ,curse or abduction. The linguistic word

that marks the second phase is "suddenly." The last phase of the story alters fortune from

the winning of the antagonist at the beginning of the story to the winning of the innocent

protagonist , and of course magical helper is needed to establish this winning. Therefore ,

finally the equilibrium is restored again which starts as a long new life of the protagonist

that begins with" happily ever after."(ibid , 6)

A.1.4.1 Classifications of Characters and Their Functions :Vladimir's Propp Model

Based on Vladimir's Propp model of the structure of the morphology of the folk tales ,

folk tale are classified in terms of common features between characters in the story and

with them comes certain fixed narrative function qualities( ibid p 7).In fact ,Propp defines a

set of seven dramatis persona based on "the archetypal qualities of the character"(p 7) . The
aforementioned qualities of classification include also comedies ,epics ,,romance and indeed

stories in general"(quoted in Bartu , 7). The seven dramatis persona are listed as follows:1.

The Villain , the Donor (provider) , the Helper , the Princess , the Dispatcher , the Hero ,

the False Hero ( ibid 7).

A.1.4.2 The Function of Characters : Common Structural Qualities in Folk Tales

The classification that Propp comes with turns more practical when he adds the functions

related to each type of characters although not all the functions could exist in one story .

Similarly , Joseph Campell in his book of A Hero with a Thousand Face (1949) outlines the

mythic Journey of characters . The journey of the characters is ;moreover featured by three

steps :separation -initiation -return .Briefly speaking ,the hero /heroine embark on an

adventure ,go through many ordeals to finally arrive to their wanted end in best ways safe

and sound and more importantly transformed( ibid 8). To sum up, the genre of fairy tales

comprises also shared contextual elements.

A.1.4.3 Contextual Qommon Qualities In Folk Tales

As their name suggests, fairy tales mainly include magical elements ;wether magic spell

or magical helper Zipes in his book of When Dreams come to highlights this point by

saying that "the fairy tale celebrates this magic :marks as letters ,words ,sentences ,signs

and discourses"(2). Profoundly, these elements work not only within the borders of the

story but they transcend and reach the reader who becomes enchanted to the story .The

thing that transports the reader into unrealistic world where no identifiable place, time, and

anonymous characters are present. Those features for Maria Warner "define the fairy tale"

(Quoted in, Bartu, 8)


Folktales are considered as universal since there in no identifiable setting and the

characters could be projected on any ordinary person and this is what makes these stories

ageless (ibid 9). According to Zipes (1999),"the tale begins with "Once Upon a Time " or

"There was once " are of the many openings of fairy tales that mark the beginning of a

chapter of certain persons in a certain given of time (4) .This opening in addition to many

others do not refer to "past designation" or destiny, rather refer to futuristic" qualities.

(Bartu 10) Even the closing sentences cut people from any sense of definite time and place.

This "lack of geographical specifity" that Zipes believes that it "reinforces the utopian place

where hope reigns"( 1999,4). The features of the setting, thus are not determined if the

quality of characters are not mentioned or shown. To illustrate more, if the characters are

from the nobility and upper class, the setting is featured as a very big castle with servants,

new clothes, activity and big gardens. And if the characters are ordinary people, similarly

we find humble persons with humble houses and jobs (Bartu 11).

All in all , studies that are done on fairies reinforce one shared thought that despite the

different origins that all tales come from ,they hold universal repetitive structure in almost

basic levels .Ranging from ,structural qualities presented through the characters or

contextual qualities which are represented through common setting .

A.1.5 The Importance of Fairy Tales

In his introduction of his book of the Uses of Enchantment Burthlem states the wrong

assumption that people do when they hear the word psychoanalysis. They go on thinking

that psychoanalysts make life easier ,but in fact that those doctors understand first the

nature of the problem of their patient ,they clarify it to them to prepare them

psychologically to accept the problematic nature of human beings .And that for healthy life

, patients must defeat those conflicts and do not escape them (08). Alike, the tale works on
the same basis on children. In effect, fairy tales work as mentor to open the eyes of children

to the inevitability and avoid ability of life difficulties (Burthlem 08).

Reading fairy tales in general is of a huge benefit on various levels for all readers

especially the young audience .Their reading helps "cultivate their imagination" and "they

bring the young child in contact with the folk tradition." In other words, fairy tales are the

other way to the other very far world of fantasy and long history of tradition they are the

open gate that children may step into for more comprehension (Irene 216). For instance, on

the pedagogical level, nursery tales are very useful because it is proven by anthropological

studies that" primitive people's way of thinking is very close to the introductory thought of

children "(Irene 216) Even on the emotional level, tales nurture the mind of the child with

the universal thoughts and values it addresses , i.e; the values that are reflected in the stories

are or existed once in a given society (Irene 216). Without neglecting the psychological

level that Bruno Burthlem discussed thoroughly in his book of the Uses of Enchantment.

Bruno argues the necessity for children to read fairy stories based on his arguments that

they positively influence the child's mental ,emotional ,psychological processes and

development .In addition to, these stories help overcome some fears and anxieties which are

deeply buried in the unconscious. This approach is based on the psychoanalytical approach

of Freud (Orde 17) . Along with, Maria Tatar asserts in her book the "Classic Fairy Tales"

the vita necessity of constructing mental development via fairy tales, she insists on saying"

Just because his life is often bewildering to him,the child needs even more to be given the

chance to understand himself in this complex world with which he must learn to

cope"(1999, 270) .

As a first argument, Bruno argues that fairies offer inner knowledge about inner life

(the unconscious) . When, for example children encounter good and evil characters fighting
in the story . Thus, these two are represented through his ongoing internal conflict within

him between the "ego" and the" id" .Thus ,the child in this case is able to understand the

nature of what is going on inside him and tries to figure out a solution to deal with them in

the least painful way.(Orde 17)

Fear could be easily defeated or overcomed when exposed to it .It has been proved that a

constant expose to the fearest things in the individual life helps either to control his fears in

away they won't even challenge him or get riding of them definitely .This is exactly what

fairy tales do, they expose children to violent actions and bloody moments ( ibid 18).

While reading or listening to a fairy story ,the young child , can swim deeply into the

imaginative world ,understands and takes what suits best his experience by trying to project

what he read with his own experience .Thus ,selects the best solution to his conflicts.( ibid

,18) Fairy tales foster the intellectual development of children ,too. The psychoanalytical

and therapytical theory of Burthlem received harsh criticisms by opponents of fairy tales

A.1.6 Limitations of Fairy tales and The Criticism of Burthlem:

Unlike Burthlem many scholars warned about the danger and the mental damage the

reading of fairy tales does To start with, the psycho therapist Susan Darker -Smith's

research showed "that the girls who read the Beast and the Beauty stayed in a destructive

relations as adults"( Jhonson 78) .Smith goes further by emphasizing that those girls in the

future start identifying themselves with "role models and "stayed submissive" (ibid 78).

Reading Cinderella promotes thoughts of the ugly stepmother, sisters and step families

(Jhonson, the Positive of Fairy Tales, 78).

As their criticism to the Uses of Enchantment, scholars argue that Burthlem focused only

on the psychological and pedagogical dimensions of fairy tale despite the importance of
other historical and social function the fairy tales display as well (Orde 18) . Second, they

convicted him of being subjective in his to the fairy tales that he builds his study on them

(Orde 18) . This criticism is held by Hoeppel. Despite the many claims over fairy tales, still

these tales are the source of enjoyment that both adults and children equally enjoy.

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