How Does Haase Affect The Ownership Of Fairytales?

There are numerous genre’s in literature, but the level of importance and influence on an individual will differ. Exposure to books and stories is especially important for children because it their chance to acclimate themselves to written language and in turn create their own visuals for the toneless words. “Why Fairy Tales Matter: The Performative and the Transformative”, by Maria Tatar contains an ample amount of textual evidence from author’s research into fairytales, as well as writer’s personal experiences with fairytales. Although Tatar supports her claims with evidence, her resources are not concrete, and seems excessive at times. Also, her assertions are weakened by her failure to defend her conclusion against competing beliefs.

Throughout the course of time, the ownership of fairy tales has been a matter of conflict, contention and dissension due to the various assertions that have been made over its rightful control. Universal ownership versus Nationalistic ownership has been one of the most prominent claims under scrutiny, and Donald Haase, in his essay, “Yours, Mine or Ours? Perrault, the Brothers Grimm and the Ownership of Fairy Tales” illustrates different notions of these rights. His thesis, nestled in his conclusion, puts forth his principle argument of “abandoning the untenable views of its [fairy tales’] ownership that put us in its power” (364). However, despite him corroborating his strong convictions

If great writers are able to escape the influences of their era and write in a timeless fashion, then Jeanne Marie LePrince de Beaumont is certainly not a great writer. Beaumont wrote Beauty and the Beast in eighteenth-century France during the reign of Louis XV. It was a time when the enormous bourgeoisie population was slowly growing in independent wealth, yet remained grossly overtaxed and starved. These peasants were systematically excluded from the aristocracy and the workings of government. France was a stronghold of the dying feudal-influenced monarchy system, in which the king declared himself an absolute monarch with the divine right to rule as

Rola Abu Sarah Mrs. Shada Shahin Engl 227 B First Draft 9 May 2015 Images of Beauty “ And as the years flowed by, some villagers told travelers of a beast and a beauty who lived in the castle and could be seen walking on the battlements, and others told of two beauties, and others, of two beasts”. This quote by Emma Donoghue combines between the original fairytale by Beaumont “The Beauty and the Beast” and the revisited one “The Tiger's Bride” by Angela Carter.

Throughout Fairytale history, there has been numerous tellings and retellings of the ‘Beauty and the Beast’ story. The mediums used to portray this evolving narrative greatly influence and affect what aspects of the tale are emphasised and how this positions the audience. Beaumont’s La Belle et La Bête, the eighteenth century version of the tale greatly differs from the Disney modern retelling through film, Gary Trousdale’s Beauty and the Beast (1991). Although the narrative of both tales may be similar, a disparity exists between them. Aspects such as the portrayals of both Beauty and Beast, the emphasis on class and the way female characters are positioned in the story differs from literary tale to screen. Much emphasis is placed upon both

The Phantom of the Opera and Beauty and the Beast share many parallels that deepen the appreciation for the romantic and tragic love story between a hideous creature and a beautiful woman. In both of these works, there are men who possess numerous physical flaws that are shunned by their towns which builds resentment and anger inside of their souls. The men isolated themselves from society but it only took one woman to change everything. Both the Phantom and the Beast fall in love with the girl of their dreams who are captivating. Christina and Belle bring the men out of their shells with their selfless and loving hearts. Although these stories have different outcomes, they have the same moral that love can transform a bitter heart into a warm

Jean Cocteau gave the public a fairy tale that combines the romance of the musical production and the classic plot. A memorable romantic story, very beautifully made and with a deep meaning. What does the fairy tale teach us? What is important is not external beauty, but what is inside is feelings and love. It is love that can turn a monster into a human being, but it can also make a monster out of a person. Belle does not admit her love for the Beast, and he does not build himself as a perfect aristocrat. On the contrary, he shyly regrets in his own wretchedness. And at the same time, the film is full of shades of poetized feelings such as rapture, horror, devotion, envy. From the inevitable overcoming of contradictions, slowly the union of

In Europe, the 1700’s was a different time than present day America in which Marie Le Prince de Beaumont’s and Disney’s version of the text of Beauty and the Beast was written and made. To begin with, Europe in the 1700’s was very religion based, meaning that God always came first no matter the situation and has been a dominant thought in shaping the future for Europe. The order of priorities in that time in Europe was God, the Monarchy or royal family, and then comes the rest of a person’s priorities. A monarchy always has a royal family in which there is a king or queen, princes and princesses and they do little to no work while the poor did all the work. In preset

Beauty’s role in beauty and the beast glorifies her as a sweet girl who can find light in any darkness. She prefers to move forward in life rather than sulk in misery. Being such a positive female character allows her to fall in love with a man who is not of the society standards of handsome, name Beast. She was more intent on focusing on what he had to offer as a person. Karen Rowe states in “Feminism and Fairy Tales” “such alluring fantasies gloss the heroine's inability to act self-assertively, total reliance on external rescues, willing bondage to father and prince, and her restriction to hearth and nursery” (Rowe). The heroine being beauty in this case, doesn't have opinions or rights because her character wasn't created to. Rowe believes that fairytales have paved the way for our expectations towards what women and men should be doing and what romance is. Rowe argues that “These "domestic fictions" reduce fairy tales to sentimental clichés, while they continue to glamorize a heroine's traditional yearning for romantic love which culminates in marriage” (Rowe). Beauty’s character found herself in these “sentimental cliches” with her

The fairy tale Beauty and the Beast opens with the characters of a rich merchant and his six children, three boys and three girls. "The two eldest girls were vain of their wealth and position" (22), but the youngest girl, the prettiest of the three, had a more pleasing personality, humble and considerate. This youngest daughter was so beautiful even as a child that everyone called her Little Beauty. She was just as lovely as she grew up so that she was never called by any other name, a fact that made her sisters extremely jealous. All three girls had numerous marriage proposals - the two eldest always turned their suitors away with the declaration that they had no intentions of

There are many different versions of Beauty and the Beast; It is a magical story of unconditional love. It teaches children that beauty is much more then skin deep. In this assignment I am to compare two, Beauty and the Beast stories; one by the renowned, famous Grimm Brothers as presented by Disney. The other called Beastly by the modern author Alex Flinn. The two versions have many similarities but still quite a few differences.

Disney’s Beauty and the Beast is a classic fairy tale. The tale is about a prince who was arrogant and unkind to people who were not in his social class. One day an old beggar woman who was looking for shelter from the cold approached the prince. The prince was dissatisfied with the woman’s appearance and dismissed her from his presence. Warned to not judge a book by its cover, the prince would not change his mind and consider extending charity to the old woman. The woman turned the prince into an ugly beast, casted a spell on his castle and left the beast with an enchanted rose. There was a condition on the spell. The condition was that if the beast learned to love and found someone to love him in return before the last petal fell off of the rose then he would be turned back into a prince. The residents of the beast’s castle endured many hardships as they suffered through being under the old woman’s spell. Belle, a beautiful woman from a nearby town, would come into contact with the beast and overcome tremendous heartbreak by displaying forgiveness. The tale depicts the journey that the beast endured in learning to love. His journey can be paralleled with several aspects of religion, moral traits, rituals and attributes of one’s relationship to the sacred.

Since the beginnings of the abridged and ‘sanitized’ versions of classic fairytales were publically circulated, the design and principle intentions of the fairytale have steadily morphed and changed as society similarly paralleled. Over time fairy tales have been transformed radically as they naturally will continue to do according to the age they are rewritten and reproduced.

Fairy tales started their journey to today’s appearance as local folktales. Folktales which were being told from generation to generation around the fire during cold and dark winter nights to alleviate the boredom of tedious must-do-winter work. However, these folktales have gone from being local, oral tales known only to a handful of people to being stories written down and spread to a wider audience. Two of these authors were the Brothers Grimm who collected and printed many German versions of these traditional, oral tales. This essay is, with the help of the Brothers Grimm’s Cinderella and Snow White , going to discuss whether or not the traditional fairy tales are stories of wish-fulfilment and gratification.

Similarly, Carter explores the power dynamics between the Beast and Beauty, drawing attention to how outside forces allow a person to develop self-acceptance. In the beginning, Carter introduces the audience to Beauty who has autonomy, yet still complies to societal norms. When she encounters the Beast after she’s left in the castle alone, she decides that she “will not smile” (69) at him, simply because she does not want to. By choosing to not smile at the Beast, she defies the typical role of a female in a fairy tale. However, the influence of society still has an impact on her because when she