Fairy Tales Final Exam Short Answers Essay

1. The Idea of NamingUnique label and titles contri notwithstandinge greatly to the success of fairy tales. In unmixed fairy tales, readers identify the booster rocket as an icon, rather than a requisite to push the plot. Timeless appellations, such(prenominal)(prenominal) as Cinderella, The Little Red Ridinghood, ampere-second White, Blue Beard, etc. inheritably draw to public exposure. Nowadays, ever soy fix has a story behind it, and the name itself is a story. In general, classical fairytale call feature descriptive adjectives, particularly colors, which directly refer to the protagonists physical characteristic. As a result, name calling sound both natural and indigenous that readers whoremaster easily remember. convey to the widely recognized popularity, these vivid appellations now expiryure popular symbols. For example, Snow White denotes unsurpassable beauty rather than a beautiful child as white as snow. In gain, Cinderella literally addresses to a maiden who works all day long in cinder, while forthwith the appellation represents any girl who successfully achieves temporal pr freakss through marriage, such as Princess Kate.Further much, these lively descriptive dictions greatly doctor fashion and entertainment industry nowadays Recently, Christian Louboutin, the illustrious shoe designer kn throw for his trademark red soles, announced his latest challenge to design a pair of youthful glass slippers since muliebrity has been longing for centuries to find a perfect fit. Names in classic fairytales serve more than a reference to the character, entirely an idol to anticipate the timeless stories forward. However, compared to the unprejudiced names in classics, novel fairytale names feature simplicity and artificial symbolization.For more recent days, fairytale writers track down to simplify the names but focus more on the storylines themselves. Hans Christian Anderson, the followd fairytales authors in nineteenth century, emphasizes on the characters personal identity such as the piddling Mermaid, The little pinch girl, Princess on the peas sooner of detailed physical descriptions. Another 19th century writer, Oscar Wilde also adopts straightforward appellations such as the Giant, The joyful prince that inevitably weaken the visual impact on readers.However, the simplicity contributes greatly to the story telling itself, since readers now remunerate more attention to the plot. People memorize the happy princess as a selfless donor rather than a beautiful, grandeur statue. Also, the little match girl from Anderson make headways ballwide sympathy 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.Furthermore, in new-fangled works such as Judy Budnitzs Flying Leap and Donald Barthelmes Snow White, writers either artificially embody names with symbolization, or employ names as agent numbers . For example, in Judy Budnitzs Hershel, readers intuitively yoke the protagonist Hershel, who sells baby as a product through cook them in the oven, to the Hershey chocolate factory. What would happen if technologies allow human to reproduce as baking chocolates?On the other hand, names do not inevitably convey any information of the character. Barthelme assigns random names to the seven dwarfs such as Kevin, Edward, Huburt, etc. in Snow White that carry fewer significant annotations but effectively smooth the story telling. Thus, in modern days, authors add an artificial impression to fairytale names that either intentional for clarification purposes or for intentional symbolization. As a result, the impact of names gradually deceases from classics to modern works, since modern writers tend to focus more on the ideas rather than to establish a universally recognized icon.5. Fairytale Family shoetreeAlthough close fairytales initially contain violence, cruelty, and sexual d escriptions, modern readers intuitively pertain fairytales with a perfect heaven-like world. Why? Throughout the past three 100 years, writers, producers, and scholars gradually collaborate to not pictured remove the unknown placement of fairytales, but also invest firmly on comic elements to win popularity. As a result, from traditional Perrault to innovative Shrek, modern fairytale re adaptations celebrate laughter, humor, and optimism to a dramatic extent.As the first person to mark fairytales as a new genre, Perrault maintains most of the violence, sexual inference, and tragic endings in bosh of Mother Goose. However, he attempts to draw a moral lesson from each story, especially those with a sad ending. As a result, these comments provide valuable break to readers.For example, in Little Red Ridinghood, Perrault warns children against the danger of talking to strangers. Thanks to the warning, children would cultism less of the unpredictable death swallowed by a eat, b ut lead cautiously in real life. Obviously, although pessimistic elements inevitably accompany almost fairytales, storytellers crusade to restore the belief of ultimate truth, happiness, and beauty in the end. next Perraults trend, Grimm Brothers deliberately minimizes the number of gloomy fairytale endings. Despite the rest violence, almost all the princes and princesses symbolically live happily ever after. Since Grimm brothers rear children as the major readers, they offer immediate satisfaction to intensify the optimismoriginated from Perraults moral lessons. As a result, in Grimm Brothers version, little red ridinghood successfully rescues her grandma as well as defeats the wolf through the hunters assistance. Along with Grimm Brothers efforts, modern movie productions, especially the Walt Disney productions, further strengthen the delightful side in fairytales that elevate the genre as a symbolization of the ideal world.Thanks to the all overwhelming influence of Disney productions, fairytales win the favor of children and parents from all walks of life. In addition to the ultimate happy ending, Disney eliminates most of the bloody scenes in movies. For example, in Snow White and the Seven Dwarfs, the evil queen falls off the cliff sooner of dancing until death on iron slippers.Thanks to Disneys emphasis on the bright side, most antagonists receive reduced punishments. Moreover, Disney introduces music, jolly appellations, and humanlike animal figures to promote the comical atmosphere. For the first time, producers assign distinguishable names, such as Sleepy, Happy, to the seven dwarfs in the Snow White movie. As a result, Disney movies root deeply in childrens hearts with a perfectly moral kingdom.Furthermore, modern artists seek innovations to alleviate the struggle on the protagonists quest in Disney movies indeed, every moment should bring laughter instead of nervousness to the audience. In addition to the removal of violence, films and p roductions such as Shrek and Into the woods completely renovate the storyline. No longer serving as the puppets chthonic 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 green ogre Shrek awkwardly kisses the green princess Fiona, proven by Shreks commercial and overcritical success. Based on Disneys illusion of a perfect world, modern producers further reduce the struggles but laugh at the hardship into lighthearted humor.Overall, through Perrault, Grimm Brother, Disney and contemporary producers efforts, worldwide children and parents regard fairytales as the ultimate ministration of the real world. Gradually moving extraneous from the dark sides, fairytale nowadays celebrate love, trust, truth and most importantly, humor.6. Dorian antique and Budnitzs stories, fairytales or not?According to Bruno Bettelheims definition, Dorian Gray by Oscar Wilde s carce meets the qualifications of fairytales. For Bettelheim, fairytale must provide security to readers by directly addressing to the existential anxieties and dilemmas, while Dorian Gray fails to offer such assurance. Instead, Wilde industriously portrays the dark side of human psyche. Also, Bettelheim regards fairytale as a reflection of reaping and maturity. However, Dorian Gray obviously never grows up but dies of self-obsession. In fact, Oscar Wilde focuses on Dorians struggle to fight against the physical maturation process rather than addresses to spiritual awakening. Although Dorian sacrifices his soul in commuting of forever youth and beauty, the eventual punishment fails to show any lessons of struggle.Dorian not unaccompanied fails to achieve salvation through good deeds, but also shows no regrets of the evil trade. Thus, Bettelheim would very likely depose the proposal of categorizing Dorian Gray as a fairytale. In addition, Bettelheims theory states that fairytal es respond to the desperate feelings of seclusion and isolation rather than vanity or hedonism. As an aristocrat, Dorian Gray enjoys both materialistic cornucopia and spiritual fulfillment. Physical beauty effortlessly wins Dorian the love from the stop number class under the setting of Victorian London. Especially the appreciation from master key Henry greatly satisfies Dorians self-pride.Thus, Dorian suffers from neither loneliness nor isolation as Bettelheim highlighted but self-obsession. Moreover, Dorian lacks adventures into the world since he generally struggles against internal human greed, violating Bettelheims belief of only by loss out into the cordcan find himselfand others live happily ever after. Furthermore, Dorian Grays interaction with the outside world only intensifies his self-obsession, as the crowd incessantly celebrating his beauty. As a result, Dorian Gray only portrays the dark side of human psyche without suggesting any lessons active maturity and gro wth. On the other hand, Budnitzs short stories satisfy partly Bettelheims expectation of fairytales, but still fail to generate a valuable lesson for gravid to learn and grow. For example, Barren directly addresses to the insecurity of adult world what would happen if human suddenly lose the capability to show children?However, the story itself fails to provide assurance and relief. In Barren, despite countless endeavor to make babies, humans achieve no progress. The protagonists go out into the world for solutions, for example adopting babies in China and Indian and orphans and sex. However, they return with disap full pointment and panic. Babies at long last re-appear not because of humans efforts, but of the invisible hands of fate. to a lower place Bettelheims theory, fairytales suppose to show children that if one does not shy away from severe difficultiesbut steadfastly meets unexpectedmasters all obstacles and emerges exultant Unfortunately, Budnitz not only rings the a lert of the danger of generation gaps, but also eliminates the optimism.Compared to fate, human efforts appear 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 book with unprecedented fear rather than relief. Furthermore, even happy endings do not fully represent fairytales under Bettelheims theory. Although stories such as Direction provide a happy reunion, the story itself fails to vowelize how to achieve such success.Even old magic provides the readers something to believe, instead of the unquestioning randomness. Compared to traditional fairytales, Budnitzs stories leave the readers with too many concerns shadowing the satisfaction. Obviously, Bettelheim would not agree with such incompleteness. Instead, he would probably classify Budnitzs stories as modern fables since they do teach a meaningful lesson to the readers. 7. Ownership of fairytalesAs fairytales evolve throughout history, ev ery generation has a unique interpretation. Obviously, Disney productions obtain the modern fairytale interpretation, for children recognize the little mermaid as Ariel and Beauty as Bella. Understandably, critics such as Jack Zipes express blatant jealousy towards Disneys success by charging that the animation giant has attempted to fix them in our minds.However, in the modern era, Disney movies achieve unprecedented popularity only because they capture the appraise of modern audience most successfully. Through animations, pillow books, toys, and Disneyland, Disney creates a universal fairytale kingdom with followers in every age group. Although Disney heavily emphasizes on American dream such as affluence, humor, endeavor, and perseverance, the cartoons cross the ending 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.In addition, Disney domination not necessarily sentences the death of other fairytale interpretations. Beyond the Disney stereotypes, Anne Sextons Transformation and Bruno Bettelheims The Enchant of Fairytales invigorate my impression of fairytales in the semester, especially the brilliant comments by Sexton. As a huge Disney lover, I never doubt the beauty of fairytale imaginaries.However, lines such as The two sisters came to curry favor/and the white dove pecked their eyeball out/two hollow spots were left/like dope spoons/ and like two dolls in a museum case/never daunted 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. mayhap the relationship was as perfect as Cinderella and the Princes, but what effortless arguments actually ruin the sweetness? Or perfect marriage only lasts in the museum case? Although readers frequently seek an idealistic escape in fairytales, such sa rcastic comments actually provide an insightful reflection over the real life conflicts.Compared to Sextons 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, Bettelheims 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 journey leads to growth. around importantly, through Bettelheims psychological analysis, the seemingly artificial explanation indeed collaborates into a well-developed theory. For example, Bettelheim interprets the deprivation of the cow as a turning point for Jack to encounter the world and do it by himself.Also, the symbolization funds as pure wealth, prospering eggs as the importance of producing wealth, and golden harp as beauty, or higher things in life totally fascinate me. As a result, Bettelheims 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, Bettelheims theory about the quest into the woods in pursuit of success arouses my personal memory.As an international student, studying abroad itself simulates the adventure. Maybe I am the Hansel or Gretal who fights for survival? 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 Bettelheim also provide an alternative view rather than stories for entertainment, fairytales open an encyclopedia that guides the path to maturity.