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The thesis also shows that fairy-tale space is dynamic and relational, and that the lack of explicit spatial information should not be seen as an indication of the insignificance of space, but rather an expression of the genreʼs stylistic parsimony. The examination of genres through the prism of the domain has led to a reconsideration of our initial genre classification and prompted the conclusion that aetiological tales, Schwank tales, and didactic tales, which were initially listed as independent genres, are modes (subgenres) rather than genres. What sets this interdomain boundary apart is the fact that it can be crossed from both sides, but only temporarily and only if certain conditions are met. One of its key findings is therefore a revised definition of the fairy tale as a genre which encompasses two domains – the magical and the non-magical – separated by a firm boundary, which must be crossed in the course of the story. The research combines the knowledge produced within fairy-tale scholarship (folklore and literature studies) with the methodological tools of narratology.īy considering narrative space and spatial transference, the dissertation aims to prompt a reconsideration of the fairy-tale genre and its definitions. While its primary focus is on fairy tales, the dissertation also considers other genres included in the collection (animal tales, legends, religious tales, etc.). The research is based on a textual analysis of the English translation of Jacob and Wilhelm Grimmʼs collection Kinder- und Hausmärchen (Childrenʼs and Household Tales, 1857). that sets the fairy tale apart from other short prose narrative genres.
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The main research question posed in the dissertation is: what do fairy tales tell us about narrative space and what does narrative space tell us about fairy tales? The main aim of the dissertation is therefore twofold: first, it examines how narrative space is structured in fairy tales and how the fairy tale conveys space-related information second, it asks whether there is anything about the traits and structure of fairy-tale space that can be seen as genre-specific, i.e. This dissertation views narrative space as a concrete, material aspect of the narrative which is significant in itself. characters) or the implied meanings of the texts. Research which has considered this topic typically views it in terms of its symbolic potential, studying space in order to learn about other narrative elements (e.g. Owing to the lack of concrete information provided by the narratives and the genreʼs unspecified setting, narrative space in fairy tales has been largely overlooked or dismissed as an inactive background for the action. Situated at the intersection of feminist, psychoanalytic, literary, and fairy-tale studies, readers interested in a variety of scholarly disciplines as well as scholars of Carter’s tales will enjoy Lau’s look at enduring questions of gender, sexuality, and desire. Lau argues that Carter’s “erotic infidelities” work against our culturally determined expectations and longings and usher us into welcome new enchantments. In chapter 6, Lau situates Carter’s three concluding stories-the wolf trilogy-within the context of feminist psychoanalytic understandings of infidelity as that which destabilizes patriarchal hegemonies and constructs. In chapter 4, she reads “The Erl-King” and “The Snow Child” as another pair of mirrored tales, while chapter 5 elaborates on the pedophilic and necrophiliac fantasies of a pornographic culture, introduced in the previous chapter with the Count’s desire for the Snow Child. Lyon,” “The Tiger’s Bride,” and “Puss-in-Boots”-as an initial move away from the labyrinthine structures and toward an alternate erotics. She moves on to consider Carter’s “feline stories” in chapter 3-“The Courtship of Mr. In chapter 2, she illustrates Carter’s construction of gender and language as labyrinthine structures-complex cultural edifices constructed and augmented over time. Lau begins by situating her reading of The Bloody Chamber-as individual stories and as a collection-within and against the critical literature, especially that which addresses Carter’s relationship to psychoanalytic theory and issues of language and desire. Lau argues that the strangeness of Carter’s fairy-tale enchantments-the moments when love or erotic desire escape the deeply familiar, habitual structures and ideologies that contain them-show the momentary, fleeting possibilities for heterosexual love and desire. In Erotic Infidelities: Love and Enchantment in Angela Carter’s The Bloody Chamber, author Kimberly J. Yet none has addressed the ways her fairy tales grapple with and seek to overcome the near impossibility of heterosexual love and desire under patriarchy. In the thirty-five years since the publication of The Bloody Chamber, Angela Carter’s reimagined fairy tales have inspired an impressive body of criticism.