What Is The Mood Of The Story Die Zauberflöte

Most modern fairytales are expected to have happy endings and be appropriate for children, nonetheless, in past centuries most were gruesome. Consequently, fairytales have been modified throughout time. The stories “Beauty and the Beast” by Jeanne-Marie LePrince de Beaumont and “The Summer and Winter Garden” by Jacob and Wilherm Grimm share similarities and differences. The two stories are distinct because of the peculiar year they have been written in. LePrince de Beaumont’s story is written in London of 1783 and Grimm’s in Germany of 1812. At the time, wealthy people in London, were educated and had nannies who would read to their children; whereas, in Germany, the Grimm brothers created their own interpretation into a short story.

The Dare by Roger Hoffman is a short story that conveys feelings and emotions of a seventh grade boy who had undertaken an extremely risky adventure. The essay is written by the author in his adulthood, but, nevertheless, he still manages to create this essay as if he is still in his childhood. Hoffman uses stylistic devices like metaphor, imagery, simile, and personification to create meaning in the short story, The Dare.

Orenstein uses the Disney princess persona and describes it as a major turning point in the perception of fairy tales. The original fairy tales described as grim and macabre, transformed as time passes and started to appeal to many more people; the dark theme turned into a happy and pleasant princess love story that Disney is now famous for. An example, stated by Orenstein is the tale of Snow White, which originally, in short, involves rape and murder. Eventually, over

Goldman's portrayals of the characters mock the analogy of traditional fairytale. Firstly, fairy tales present a story where two characters fall in love and have a happy marriage after, however Goldman portrays the main character very satirically. Goldman instead of following the traditional fairy tale analogy of the main character living at the end, he instead decides to kill him not once but twice. Shorty after Westkey dies in the zoo of death he is revived by the Miracle Max, Fezzik cried, “You’re alive!”, (Goldman 329) when Westley after being killed was brought back. While many may think of this as fairy tale story with the perfect ending, though Goldman was not satisfied. So, after Westley and Buttercup successfully escape, Westley and everybody again disappear this time with no clear ending whether Westley or others survived or died. In this scenario Goldman satrically ridicules the idea of a fairy tale and having a happy ending as he very much disagrees with “happy endings”. In the evidence above it is very evident that Goldmans enjoys mocking fairy tales with the use of satire. Secondly, in many fairy tales “prince” are usually associated with saving the princess from evil and have good looks and are brave also smart. Prince Humperdinck who is shown as the prince of Florin is a joke to fairytale philosophy, as the author models

The central focus of this unit is to identify the elements of stories and how their themes may relate to each other in a variety of ways. Students will be guided in a variety of comparison and contrasting activities in order to gain understanding of main ideas, characters, and cultural themes across similar fairy tales from different cultures. This unit focuses on three different versions of Cinderella from different cultures. I chose to focus on the common elements of the fairy tales and the cultural differences because this was something the students were struggling with previously.

The extent to which the Lais of Marie de France can be categorized as fairy tales is dependent on the definition of “fairy tale.” Using various scholars’ definitions of “fairy tale” and conceptions of the fairy tale genre, criteria for “fairy tales” arises. Then, close-readings of three lais, “Guigemar”, “Lanval” and “Yonec”, are used as a mechanism for meeting or failing the criteria. This methodology is then evaluated and problematized. The criterion for fairy tales includes origin, form, content, style, and meaning. Etymologically, the word ‘fairy tale’ has disputed origins. Supposedly, it comes from the French “contes des fees” or “tales about fairies”, popular in French courts and salons in the seventeenth century. However, Jack Zipes argues that “conte féerique” actually translates to “fairy tales” and refers to narrative form, rather than content.

Epiphany: “The more I flipped on, the more I knew: Morgenstern wasn't writing any children's book; he was writing satiric history of his country and the decline of the monarchy in Western civilization. But my father only read me the action stuff, the good parts. He never bothered with the serious side at all.” (Goldman 30) {Said by Goldman} Goldman realizes that his father only read him “the action stuff.” (Goldman 30) Goldman's decision to abridge the tale without the “satiric history” (Goldman 30) of Florin and “the decline of the monarchy in Western civilization” (Goldman 30) are purely because of his epiphany. Goldman's abridgement made the fairytale timeless and applicable to a wide array of

As a child, I was told fairytales such as Snow White and the Seven Dwarfs every night before I went to sleep. Fairytales are an adventurous way to expand a child’s imagination and open their eyes to experience a new perspective. Modernizations of fairytales typically relate to a specific audience, such as adolescence, and put a contemporary spin on the old-aged tale. Instead of using whimsical themes heavily centered in nature, the contemporary poems connect with the reader in a more realistic everyday scenario. Also, many modernizations are written in poetic form to help reconstruct a flow in the piece and to develop or sometimes completely change the meaning from that of the original fairytale. Comparing Grimm’s Fairytale Snow White

Before the Brothers Grimm transcribed what is known today as one of the most recognized fairytales ever recorded, it was being passed down orally from generation to generation at every corner of the globe. Various versions of Cinderella’s myth can be found in almost every culture in the world, all very distinct with their own specific qualities, reflecting each society’s predominant interpretations of religious themes. For instance, Jacob and Wilhelm Grimm’s works were known to promote their Prussian culture and language, such as “Aschenputtel”, their German version of Cinderella. Most of their adjustments were heavily influenced by the criticism of their fellow countrymen, their audience, and their Christian beliefs.

The tradition of telling fairy tales to children effects not only the listener but also the reader. Maria Tatar, in her book Off with Their Heads!, analyzes how fairy tales instill and reaffirm cultural values and expectations in their audience . Tatar proposes that fairy tales fall into three different tale-types: cautionary tales, exemplary stories, and reward- and- punishment tales. These three types portray different character traits as desirable and undesirable. Due to the tale’s varying literary methods it can change the effectiveness of the tale’s pedagogical value. In Tatar’s opinion, all of these tales are similar in the way they attempt to use punishment, reward, and fear to encourage or discourage certain behaviors. In the cautionary fairy tale “The Virgin Mary’s Child”, the use of punishment and fear to discourage certain behaviors is enhanced by the Christian motifs and values employed by the tale. These literary devices encourage the audience to reflect on and internalize the lessons that are presented in the fairy tale.

The story of Cinderella has become a classic fairy tale, known around the world, and past down from generation to generation. Yet, over the years, the story has been rewritten to better relate to different cultures. While some things never change, authors still manage to convey different messages by making the story their own. This can be clearly seen when the Grimm brothers version of Cinderella is compared to Charles Perrault’s version of Cinderella. While the core of the story does not change, the moral, tone, and “magical” aspects of the two stories are clearly shaped by the different cultures in which they were written in.

The Baroque period is an era of artistic style utilizing embellished motion, pure and effortlessly interpreted detail to yield drama, tension, exuberance, and opulence in representation. The opera “The Fairy Queen” by Henry Purcell is an excellent representation of the Baroque era in its inordinate application of all theatrical foundations, embroidered indications, and the selected focused elucidation to return melodrama, emotional tension, enthusiasm, and sumptuousness for the audience watching.

When someone mentions the name “Cinderella”, the first thing that usually comes to our minds is the fairytale in which the fair maiden who works so hard yet it treated so poorly gains her “fairytale ending” with a wave of a magic wand. However, the fairytale of Cinderella written by the Grimm Brothers has multiple differences in plot from the fairytale we all usually think of. The plot of the Cinderella written by the Grimm Brothers, written in 1812, is that a young female’s mother passes away early in the story, departing with the message to Cinderella to remain “pious and good”. Cinderella remained true to this message given to her by her mother, and she showed this in her work ethic. Because Cinderella had remained pious and good, her mother, in return, watched over her in the form of the birds above her grave that gave Cinderella help and material things that she needed. In the end, Cinderella has her “happily ever after”, for when the prince held a festival to find a new bride, she was chosen due to her insurmountable beauty. The feminist lens critiques how females are commonly represented in texts, and how insufficient these representations are as a categorizing device. These representations of women often include them being passive and emotional—staying back while the men do the work. Cinderella relates to the feminist lens because she fits into the typical representations of women created by men. Feminist criticism is important to recognize because women are often falsely represented as helpless, thus needing a man to come to their rescue. It is common in literature to see helpless women, crying and begging for help instead of being able to work out their own problems and hardships. Others, however, may believe that it is still important to uphold the fundamentals of the feminist lens because it keeps the man in power, which they say is important in keeping the man the head of the household. Cinderella thoroughly represents the feminist lens because it shows how women in literature uphold the representations of passive and emotional, created by the man.

     When examining adaptations of fairytales you must look at the original source. This can be a very difficult task because with fairytales we never really know where the original came from. I will base my paper on the theory that the original tale of Cinderella comes from the Grimm Brothers version of Ashputtle. In comparison we will examine two movies. First there is the Disney version Cinderella. Secondly we will look at the movie 'Ever After'.

Fairy tales have been embedded into our culture and date back before recorded times, they provide a source of entertainment and imagination for children. Despite today’s fairy tales having positive moral intentions they have been adapted from earlier versions which often can be very different and much more sinister. The fairy tale “Sun, Moon, and Talia” by Giambattista Basile formed the basis for the more commonly known Disney interpretation called the “Sleeping Beauty” however they are vastly different, Basile’s original is a very dark and twisted story compared to the Disney version.