UVM Theses and Dissertations
Format:
Print
Author:
Srostlik, Lucie
Dept./Program:
German and Russian
Year:
2007
Degree:
MA
Abstract:
This thesis examines the many facets of fairy tales, focusing particularly on the tale of Cinderella. A cross-cultural examination of the standard texts from three languages is presented, with comparisons and notes on each individual tale. One language from each of the three predominant Indo-European language families has been chosen to represent that family. The selected languages are French, German, and Czech. There is at least one literary standard text of each language in addition to a popular European film, discussed in the Czech chapter.
Charles Perrault's tale is the first example. It is here that the traditional western perception of Cinderella finds its basis. Perrault's tale incorporates the fairy Godmother and her use of magic to transform the pumpkin and the animals into the means for Cinderella's transport to the ball. Many future adaptations, including that of Walt Disney, are grounded on this early tale. The Brothers Grimm tale is particularly well-known in the Germanic countries. Here the idea of the hazel tree becomes the gift-giving tree, seen also as the mother, and of the kind doves. One also finds the idea of giving Cinderella tasks, such as sorting lentils from ashes, as a means to keep her from going to the ball. The motif of the doves helping the girl, which then later on translates into Disney's mice, is also introduced in this variant.
The Czech narrative by Božena Němcová shows a tale of Cinderella without actually mentioning her name. This tale, similar to that of the Grimms, includes magic through the hazel, but whereas the Grimms have a tree, Němcová has the nuts themselves producing magic. This time, it is not a ball that the girl wishes to attend, but church, showing a time and place where the church was of great importance. The film, based on another variant of Němcová's tale, shows the audience more than simply the one-sided narrative about Cinderella. It is this film that has captivated and influenced Europeans' conception of Cinderella since its debut in 1973.
The comparison of these versions reveals the same basic form throughout. Although some of the details may change, such as the means toward attaining access to the ball / church, the tale remains basically the same, despite the different nationalities. It is through these details, however, that we see the cultural influences upon the tale, particularly at the end, where there are punishments or simply morals. What happens to the figures at the end of each tale exemplifies the mind-set of each culture and gives the audience an accepted standard. Perrault's Cinderella is the only one teaching kindness to those who have acted wickedly. Every subsequent version includes a sort of punishment or neglect toward the offenders. It is no wonder, then, that Perrault's tale is the most popular in western society, especially for younger audiences.
Charles Perrault's tale is the first example. It is here that the traditional western perception of Cinderella finds its basis. Perrault's tale incorporates the fairy Godmother and her use of magic to transform the pumpkin and the animals into the means for Cinderella's transport to the ball. Many future adaptations, including that of Walt Disney, are grounded on this early tale. The Brothers Grimm tale is particularly well-known in the Germanic countries. Here the idea of the hazel tree becomes the gift-giving tree, seen also as the mother, and of the kind doves. One also finds the idea of giving Cinderella tasks, such as sorting lentils from ashes, as a means to keep her from going to the ball. The motif of the doves helping the girl, which then later on translates into Disney's mice, is also introduced in this variant.
The Czech narrative by Božena Němcová shows a tale of Cinderella without actually mentioning her name. This tale, similar to that of the Grimms, includes magic through the hazel, but whereas the Grimms have a tree, Němcová has the nuts themselves producing magic. This time, it is not a ball that the girl wishes to attend, but church, showing a time and place where the church was of great importance. The film, based on another variant of Němcová's tale, shows the audience more than simply the one-sided narrative about Cinderella. It is this film that has captivated and influenced Europeans' conception of Cinderella since its debut in 1973.
The comparison of these versions reveals the same basic form throughout. Although some of the details may change, such as the means toward attaining access to the ball / church, the tale remains basically the same, despite the different nationalities. It is through these details, however, that we see the cultural influences upon the tale, particularly at the end, where there are punishments or simply morals. What happens to the figures at the end of each tale exemplifies the mind-set of each culture and gives the audience an accepted standard. Perrault's Cinderella is the only one teaching kindness to those who have acted wickedly. Every subsequent version includes a sort of punishment or neglect toward the offenders. It is no wonder, then, that Perrault's tale is the most popular in western society, especially for younger audiences.