'Fairy Tales Final Exam Short Answers Essay\r'

'1. The Idea of Naming\r\nUnique name and titles contri simplye greatly to the mastery of song and dances. In standard fairy tales, readers identify the protagonist as an icon, quite than a requisite to push the plot. Timeless â€Å" appellatives,” much(prenominal) as â€Å"Cinderella,” â€Å"The Little Red Ridinghood,” â€Å"S now White,” â€Å"Blue Beard,” and so forth inheritably connect to public impression. Nowa day whiles, for each name has a story behind it, and the name itself is a story. In general, classical cock-and-bull story label feature descriptive adjectives, especially colors, which directly refer to the protagonist’s physical characteristic. As a result, names level-headed both natural and indigenous that readers can fair remember.\r\nthank to the widely recognized popularity, these vivid appellations now become universal symbols. For warning, â€Å" hundred White” de nones best sweetheart rather tha n a beautiful squirt â€Å"as gabardine as snow.” In plus, â€Å"Cinderella” literally addresses to a maiden who works all day long in â€Å"cinder,” while nowadays the appellation represents any girl who successfully obtains materialistic overture through marri time, much(prenominal) as Princess Kate.\r\nFurtherto a greater extent, these lively descriptive dictions greatly jar fashion and entertainment patience nowadays; Recently, Christian Loub bug outin, the famous shoe interior designer kn let for his trademark red soles, announced his in vogue(p) challenge: to design a pair of redbrick glass slippers since woman has been longing for centuries to find a perfective aspect fit. Names in classic song and dances at endure to much than a reference to the character, but an graven image to charter the timeless stories forward. However, compared to the straightforward names in classics, contemporary fairytale names feature rest and unsubstantial sym bolization.\r\nFor more than recent days, fairytale writers tend to simplify the names but focus more on the storylines themselves. Hans Christian Anderson, the celebrated fairytales authors in nineteenth century, emphasizes on the character’s identity such(prenominal)(prenominal) as â€Å"the be lowsized Mermaid, ” â€Å"The little match girl,” â€Å"Princess on the peas” sort of of detailed physical descriptions. An other nineteenth century writer, Oscar Wilde to a fault adopts straightforward appellations such as â€Å"the Giant,” â€Å"The contented prince” that inevitably weaken the visual impact on readers.\r\nHowever, the simplicity contributes greatly to the story nonification itself, since readers now pay more attention to the plot. quite a little memorize the happy princess as a altruistic donor rather than a beautiful, grandeur statue. Also, the â€Å"little match girl” from Anderson gain grounds planetary sym way of lifey not for the fact she sells matches, but for the suffering. Thus, during the 19th to 20th century, fairytale names move toward simplification and frankness.\r\nFurthermore, in contemporary works such as Judy Budnitz’s lead Leap and Donald Barthelme’s Snow White, writers either unnaturally embody names with symbolization, or utilize names as agent occurs. For example, in Judy Budnitz’s Hershel, readers intuitively connect the protagonist Hershel, who sells baby as a product through baking them in the oven, to the Hershey coffee factory. What would elapse if technologies allow human to reproduce as baking chocolates?\r\nOn the other hand, names do not necessarily convey any info of the character. Barthelme assigns random names to the s redden dwarfs such as Kevin, Edward, Huburt, etc. in Snow White that carry few significant annotations but effectively beam the story telling. Thus, in sophisticated days, authors add an artificial flavor to fairytal e names that either designed for clarification purposes or for intentional symbolization. As a result, the impact of names gradually deceases from classics to young works, since modern writers tend to focus more on the ideas rather than to establish a universally recognized icon.\r\n5. fairy tale Family Tree\r\nAlthough more or less fairytales initially contain violence, cruelty, and cozy descriptions, modern readers intuitively associate fairytales with a perfect heaven- equivalent domain. Why? Throughout the past three deoxycytidine monophosphate years, writers, producers, and scholars gradually collaborate to not all have the dark lieu of fairytales, but also identify heavily on comic elements to win popularity. As a result, from traditional Perrault to innovative Shrek, modern fairytale re interpretations celebrate laughter, humor, and optimism to a dramatic extent.\r\nAs the first person to mark fairytales as a parvenu genre, Perrault maintains to the highest degre e of the violence, sexual inference, and tragic endings in record of Mother Goose. However, he attempts to draw a clean lesson from each story, especially those with a sad ending. As a result, these comments pass on valuable relief to readers.\r\nFor example, in Little Red Ridinghood, Perrault warns children against the danger of â€Å"talking to strangers.” thank to the warning, children would fear less of the unpredictable death∠swallowed by a wolf, but behave cautiously in satisfying flavour. Obviously, although pessimistic elements inevitably accompany some fairytales, storytellers endeavor to restore the belief of ultimate truth, happiness, and beauty in the end.\r\nFollowing Perrault’s trend, Grimm Brothers deliberately minimizes the number of gloomy fairytale endings. Despite the remaining violence, some all the princes and princesses symbolically â€Å"live gayly ever after.” Since Grimm brothers target children as the major readers, they off er fast satisfaction to intensify the optimismâˆoriginated from Perrault’s moral lessons. As a result, in Grimm Brother’s version, little red ridinghood successfully rescues her grandma as wholesome as defeats the wolf through the hunter’s assistance. Along with Grimm Brother’s efforts, modern impression productions, especially the Walt Disney productions, further strengthen the delightful position in fairytales that elevate the genre as a symbolization of the ideal initiation.\r\nThanks to the overwhelming learn of Disney productions, fairytales win the favor of children and parents from all walks of biography. In addition to the ultimate happy ending, Disney eliminates most of the bloody scenes in movies. For example, in Snow White and the S charge Dwarfs, the sinister queen falls off the cliff rather of dancing until death on iron slippers.\r\nThanks to Disney’s emphasis on the bright side, most antagonists receive reduced punishments . Moreover, Disney introduces music, funny appellations, and humanlike living organism figures to promote the comical atmosphere. For the first time, producers assign distinguishable names, such as â€Å"Sleepy,” â€Å"Happy,” to the seven dwarfs in the Snow White movie. As a result, Disney movies root late in children’s hearts with a abruptly moral kingdom.\r\nFurthermore, modern artists seek innovations to alleviate the endeavor on the protagonists’ quest in Disney movies; indeed, every routine should bring laughter instead of nervousness to the audience. In addition to the removal of violence, films and productions such as Shrek and Into the wood totally renovate the storyline. No longer part as the puppets under writers’ manipulation, fairytale characters start to reflect, comment, and even tease each other in a good nature. Undeniably, worldwide audience celebrates the humor when the ballpark ogre Shrek awkwardly kisses the green prin cess Fiona, proven by Shrek’s commercial and critical success. Based on Disney’s illusion of a perfect world, modern producers further reduce the struggles but laugh at the hardship into lighthearted humor.\r\nOverall, through Perrault, Grimm Brother, Disney and contemporary producers’ efforts, worldwide children and parents regard fairytales as the ultimate relief of the real world. Gradually moving out from the dark sides, fairytale nowadays celebrate bop, trust, truth and most importantly, humor.\r\n6. Dorian time-worn and Budnitz’s stories, fairytales or not?\r\n jibe to Bruno Bettelheim’s definition, Dorian rusty by Oscar Wilde only meets the qualifications of fairytales. For Bettelheim, fairytale must tolerate security to readers by directly addressing to the â€Å"existential anxieties and dilemmas,” while Dorian Gray fails to offer such assurance. Instead, Wilde industriously portrays the dark side of human soulfulness. Also, Bettelheim regards fairytale as a reflection factor of growth and adulthood. However, Dorian Gray obviously neer grows up but dies of self-obsession. In fact, Oscar Wilde focuses on Dorian’s struggle to fight against the physical age process rather than addresses to weird awakening. Although Dorian sacrifices his soul in exchange of forever youth and beauty, the eventual(prenominal) punishment fails to show any lessons of struggle.\r\nDorian not only fails to reach out salvation through good deeds, but also shows no regrets of the crime trade. Thus, Bettelheim would very likely dismiss the proposal of categorizing Dorian Gray as a fairytale. In addition, Bettelheim’s theory states that fairytales respond to â€Å"the desperate feelings of bareness and isolation” rather than narcissism or hedonism. As an aristocrat, Dorian Gray enjoys both materialistic affluence and spiritual fulfillment. Physical beauty effortlessly wins Dorian the love from the upper class under the setting of niminy-piminy London. Especially the appreciation from Lord Henry greatly satisfies Dorian’s self-pride.\r\nThus, Dorian suffers from neither loneliness nor isolation as Bettelheim highlighted but self-obsession. Moreover, Dorian lacks adventures into the world since he mostly struggles against internal human greed, violating Bettelheim’s belief of â€Å"only by going out into the cord…can find himself…and others live happily ever after.” Furthermore, Dorian Gray’s interaction with the outside world only intensifies his self-obsession, as the company incessantly celebrating his beauty. As a result, Dorian Gray only portrays the dark side of human psyche without suggesting any lessons more or less maturity and growth. On the other hand, Budnitz’s short stories satisfy partially Bettelheim’s expectation of fairytales, but still fail to bring back a valuable lesson for adult to learn and grow. For ex ample, staring(a) directly addresses to the insecurity of adult world: what would happen if human suddenly lose the capability to procession children?\r\nHowever, the story itself fails to provide assurance and relief. In Barren, notwithstanding countless endeavor to make babies, humans achieve no progress. The protagonists â€Å"go out into the world” for solutions, for example adopting babies in China and Indian and orphans and sex. However, they return with mortification and panic. Babies eventually re-appear not because of human’s efforts, but of the invisible hands of fate. Under Bettelheim’s theory, fairytales tell to show children that â€Å"if one does not shy away from severe difficulties…but steadfastly meets unexpected… get the hang all obstacles and emerges victorious…” Unfortunately, Budnitz not only sound the alert of the danger of generation gaps, but also eliminates the optimism.\r\nCompared to fate, human efforts a ppear so fragile that even the most fundamental ability of reproduction faces the danger. As a result, at the end of the story, readers close the intensity with unprecedented fear rather than relief. Furthermore, even happy endings do not fully represent fairytales under Bettelheim’s theory. Although stories such as Direction provide a happy reunion, the story itself fails to articulate how to achieve such success.\r\nEven old magic provides the readers something to believe, instead of the absolute randomness. Compared to traditional fairytales, Budnitz’s stories leave the readers with withal many concerns shadowing the satisfaction. Obviously, Bettelheim would not agree with such incompleteness. Instead, he would probably classify Budnitz’s stories as modern fables since they do teach a purposeful lesson to the readers. 7. Ownership of fairytales\r\nAs fairytales evolve throughout history, every generation has a unique interpretation. Obviously, Disney produ ctions dominate the modern fairytale interpretation, for children recognize the little mermaid as â€Å"Ariel” and ravisher as â€Å"Bella.” Understandably, critics such as rogue Zipes elicit blatant jealousy towards Disney’s success by charging that the animation giant â€Å"has attempted to fix them in our minds.”\r\nHowever, in the modern era, Disney movies achieve unprecedented popularity only because they capture the value of modern audience most successfully. Through animations, pillow books, toys, and Disneyland, Disney creates a universal fairytale kingdom with followers in every age radical. Although Disney heavily emphasizes on American dream such as affluence, humor, endeavor, and perseverance, the cartoons cross the culture boundary and win recognition all over the world. After all, if Disney does own a monopoly, it is the readers themselves that voluntarily allow Disney characters to root in their minds as fairytale stereotypes.\r\nIn addi tion, Disney domination not necessarily sentences the death of other fairytale interpretations. beyond the Disney stereotypes, Anne Sexton’s Transformation and Bruno Bettelheim’s The enthral of Fairytales revolutionize my impression of fairytales in the semester, especially the lifelike comments by Sexton. As a huge Disney lover, I neer doubt the beauty of fairytale imaginaries.\r\nHowever, lines such as â€Å"The two sisters came to curry favor/and the white dove pecked their eyes out/two grind spots were left/like soup spoons/” and â€Å"like two dolls in a museum case/never bothered by diapers or dust” in Cinderella add an intrinsic flavor of the real world imperfection into the Disney kingdom. Too many marriages end up with arguments. Maybe the relationship was as perfect as Cinderella and the Prince’s, but what daily arguments actually ruin the posy? Or perfect marriage only lasts in the museum case? Although readers frequently seek an id ealistic escape in fairytales, such sarcastic comments actually provide an perceptive reflection over the real life conflicts.\r\nCompared to Sexton’s abrupt commentary, Bettelheim explores the symbolic interpretation of fairytales under logics. In the past, fairytales bring nothing more than happiness, spiritual fulfillment, and moments of relaxation. However, Bettelheim’s The Enchant of Fairytales connects the most straightforward stories to the sophistication of literature. Every character symbolizes a group of children; every adventure teaches a lesson; every voyage leads to growth. Most importantly, through Bettelheim’s psychological analysis, the seemingly artificial explanation indeed collaborates into a well-developed theory. For example, Bettelheim interprets the personnel casualty of the cow as a turning blot for Jack to â€Å"encounter the world” and â€Å"do it by himself.”\r\nAlso, the symbolization â€Å"gold” as pure weal th, â€Å" rosy eggs” as the importance of producing wealth, and â€Å"golden lie” as â€Å"beauty,” or â€Å"higher things in life” totally fascinate me. As a result, Bettelheim’s logical analysis overrides my impression from Disney; for the first time that I realize that fairytales can suggest more than dream, but the complete process of growth and maturity as well. In addition, Bettelheim’s theory about the quest into the woods in pursuit of success arouses my personal memory.\r\nAs an international student, studying oversea itself simulates the adventure. Maybe I am the Hansel or Gretal who fights for selection? Or maybe I am the Jack who climbs into the sky for wealth, recognition, and maturity? Fairytales serve as a reminder of the dream. Undeniably, audience cherishes Disney stories for the vivid visualization of fairytale characters, the celebration of success, or a moment of relief. However, insightful comments in Sexton and Bette lheim also provide an ersatz view: rather than stories for entertainment, fairytales open an encyclopedia that guides the path to maturity.\r\n'