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COP2 Essay

Shelly Kaur 254299 COP2 Essay

How and why have fairy tales endured to still be a significant part of our sociocultural environment today?

This essay aims to explore the methods and reasons in which fairy tales have continued to stay with us throughout the years and as a result become an important influence within our sociocultural environment.

“Once upon a time” is phrase not uncommon in the world of narrative. It is a phrase that tells one that they are about to hear something enriched with endless fantasy, an enchanting plot and folkloric characters that are both alluring and bizarre. A tale riddled with morality and told with a captivating narrative energy. An utterance traditionally used to begin a fairy tale.

Fairy tales first made their way into popular culture many years ago, the earliest stories dating back to the sixteenth and seventeenth centuries, and are continuing to work their magic to this day. They have been endlessly re-worked and re-written over time but have never ceased to entice the hearts and minds of many, be it old or young, male or female. This timelessness is a result of their ability to evolve and respond to current cultural affairs and issues within society and it is this very fact that makes them so valuable. This essay aims to explore the specifics of how and why this has come to be and the reason individuals such as poet Wystan Hugh Auden have considered fairy tales ‘next to the Bible in importance’ (Haase, 1993).

The origin of fairy tales is somewhat perplexing to identify due to the mass reproduction of the stories and tremendous amount of variations. It was said to have begun through the ‘oral tradition of storytelling…’ however the ‘…communication and transmission of literary tales gradually became institutionalised through print and word of mouth by the seventeenth century’ (Zipes, 2013). Fairy tales then progressively became more popular due to the achievement of writers of the genre and their stories or interpretations. It is clear to say some the most renowned versions include the works of Hans Christian Anderson (1805-1875), Jacob (1785-1863) & Wilhelm (1786-1859) Grimm (a.k.a The Brothers Grimm), Charles Perrault (1628-1703), Joseph Jacobs (1854-1916) and Andrew Lang (1844-1912) to name a few. According to novelist A. S. Byatt, the initial purpose of fairy tales was to idle away time spent on relentless, uninteresting tasks such as mending and sewing (Tatar and Byatt, 2012, p.xxxviii) thus suggesting the initial audience was that of adults. This has taken a significant turn over the course of time in the sense that now most common versions of the stories are considered children’s literature -a likely result of the Grimm Brother’s decision to re-appropriate their tales for a younger audience in 1815 (although, it may be adults who most predominantly read or use fairy tales in most recent years (Newstatesman.com, 2017)). Alongside this change in audience came a change in purpose and function and the genre now stands as a means of instructing and educating but in an entertaining manner. Further adjustments saw them embark on a change in writing style (focused on making the narratives more descriptive) and subsequently, a modification of the stories to eliminate any references of a sexual nature, as this was deemed ‘unsuitable for children’ (p.xlix). However, some academics, more specifically critic John Ellis believed that the Grimms “tampered” with their work too much and this resulted in a loss of ‘authentic folk quality’ (p.xlvii). This however, did not affect the popularity of their material.

There are many possible reasons as to how fairy tales have proceeded to travel through countless generations. Some of these reasons are based on theories regarding the content of fairy tales, others regarding the psychological side of the spectrum. An example of which is derived from analysis carried out by cognitive scientist Dan Sperber, who established a theory of an epidemiology of

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representations. He claims that there are two forms of representation- mental (concerning beliefs, intentions and preferences) and public (concerning signals, utterances, texts and pictures) and suggests that both have equally contributed to the distribution and circulation of fairy tales throughout the centuries. The way in which this happens is best described by Sperber himself. He states that – ‘A cultural representation in particular…’ (here referring to fairy tales) ‘…is made up of many versions, mental and public ones. Each mental version results from the interpretation of a public representation which is itself an expression of a mental representation’ (Sperber, 1996). In simpler terms, once a fairy tale (currently a public representation) is read, it then becomes a mental representation due to the reader’s interpretation of the text. This is then reiterated and becomes public representation again, until read by another. It is obvious here that this process could have great repercussions on the subject in question due to its exposure to modification. Sperber was aware of this and continued to suggest that ‘Only those representations which are repeatedly communicated and minimally transformed in the process will end up belonging to the culture.’ hence explaining why fairy tales are still popular today.

The beauty of fairy tales lies is their ability to portray common every day experiences and universal human problems, as opposed to dealing with external life, as many other forms of narrative are commonly centred around. Psychoanalyst Bruno Bettelheim claims that ‘more can be learned from them about the inner problems of human beings, and of the right solutions to their predicaments in any society, than from any other type of story’ (Bettelheim, 1977, p.5), and this is also supported by academic Maria Tartar when she states that ‘With a stunning economy of means, they manage to create thunderous effects, taking up matter primal and pertinent- the paradoxes and contradictions on which culture itself is based and with which we wrestle on a daily basis.’ (Tatar and Byatt, 2012, p.xix). Not only do fairy tales communicate these difficult sociocultural themes, but they manage to do this through a system of metaphors that allow for an easier understanding and relatability, especially for children. In other words, they ‘communicated feeling in efficient metaphorical terms’ (Zipes, 2013, p.xii). A commonly known example of this can be seen in the Grimms tale of Rapunzel where she is locked away from the outside world by an enchantress. The physical tower acts as a metaphor for the previously prevalent cultural issue concerning ‘locking daughters up’ and protecting them from roving men, as is the enchantress a metaphor for the overprotective guardian.

This is more simply exemplified by literary scholar Max Lüthi when he suggests that fairy tales have a tendency of ‘replacing psychological suffering by a physical blow’ (Tatar and Byatt, 2012, p.xxvii).

This in turn, results in a subconscious antidote for the audiences supressed most inner worries or disputes.

Bettelheim also described fairy tales as a ‘unique art form’ (Bettelheim, 1977, p.12). He suggested that one of the most significant factors that separate fairy tales from other literature is their unique ability to conform to the needs of the reader. Fairy tales offer meaning in a multitude of diverse ways and as previously discussed, conquer innumerable inner thoughts and feelings that the reader may be experiencing. The value however, lies in the subjectivity of a fairy tale, allowing the reader to take away from the story what is most necessary for them at the time. By way of explanation, they are therapeutic. Bettelheim states that- ‘As with all great art, the fairy tale’s deepest meaning will be different for each person at various moments in his life.’ (p.12). In context, an example can be found in the writings of Little Red Riding Hood. A young child around the age of 4 or 5 may take away from the story the dangers of wild animals, however an older child, perhaps even a young adult would look deeper into the story and in turn, acquire the knowledge to be aware of sexual predators and those in the world that may want to exploit or manipulate them.

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As aforementioned, it has been made clear that the idea of reinterpreting fairy tales has been extremely common, but not only are they a popular form of narrative within literature, this has also progressed into multiple other outlets, such as poetry, online resources, gaming and most predominately pantomime/ theatre (Williams, 2017), but most predominately the TV and film industries, by cause of the rise in technological development. One of the most powerful means of publicising fairy tales in the last couple of centuries is the acclaimed Walt Disney Studios, founded by Walt Disney himself in 1923. They have effectively produced remakes based on the original stories, and begun to also make new interpretations of these stories, making them popular in current day civilisation. An example of which concerns the tale of ‘Sleeping Beauty’, made known to us through the centuries by Charles Perrault (1696), the Brothers Grimm (‘Little Briar Rose’ (1905)) and finally Walt Disney (1959), amongst others. The story regards a young Princess (Aurora- the ‘Sleeping Beauty’) who is cursed by an evil witch- Maleficent- at the day of her birth to prick her finger on her sixteenth birthday, resulting in a deep sleep lasting one hundred years. The young female is later saved by a Prince.

The above images show two rather different interpretations, both by Disney. The first image (left) shows Disney’s animated motion picture released in 1959, right showing their live-action version ‘Maleficent’, released in 2014. Obvious distinctions can be seen between both, one of which concerns the protagonist. The newer version shifts the focus to Maleficent- the ‘villain’ within the original narratives and attempts to transform the audience’s perception of her by explaining the reasoning for her wickedness. Folklorists may argue that this drastically obstructs the message being communicated as well as going against the usual conventions of a fairy tale- outlining ‘good’ and ‘bad’. This usually takes place within characters, in order for the reader to make clear distinctions, a theory suggested by Bettelheim in his statement- ‘In practically every fairy tale good and evil are given body in the form of some figures and their actions’ (Bettelheim, 1977, p.8-9) and proceeds to explain that ‘The figures in fairy tales are not ambivalent- not good or bad at the same time, as we all are in reality’ (p.9). This could therefore suggest the issues with representing Maleficent as both good and bad in this new interpretation. Furthermore, it is evident within the image (right) that Maleficent is a thing of beauty, regardless of the fact that she is a witch (commonly perceived as ugly in original fairy tales). It somewhat distracts the audience away from her evil nature by presenting something aesthetically pleasing for the audience’s enjoyment when viewing rather than focusing on the ‘deeper significance’ (p.24) of the story. This explains the reason for which Bettelheim suggested that as a result of TV and film developments, ‘fairy tales have turned into empty-minded

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entertainment’ (p.24), also supported by Joseph Campbell (Campbell, Moyers and Flowers, 2012).

However, in contrast to this, Tatar claims that ‘For a good part of the last century, Disney studios kept fairy tales alive.’ (Tatar and Byatt, 2012, p.xvi) and this is further supported by Zipes who states that although they have been ‘geared to pure entertainment’, they have not lost their relevance throughout the world (Zipes, 2013, p.93).

But why do we need them? One answer relates to the idea that fairy tales fuel the imagination, according to Bettelheim (Bettelheim, 1977, p.24) and publisher Justin Taylor (Taylor, J. 2017). A quote from Albert Einstein suggests the importance of imagination in relation to knowledge. He says “I'm enough of an artist to draw freely on my imagination, which I think is more important than knowledge. Knowledge is limited. Imagination encircles the world.” (Taylor, K. 2017). In response to this, an article written by research scientist Kathleen Taylor proceeds to tell us why the imagination is such a powerful entity. Foremost, and in conjunction with a previous point discussed concerning a fairy tale’s ability to solve inner disputes, she sates ‘This is a useful survival aid, helping us to solve problems, anticipate challenges and conceive alternatives.’ (Taylor, K. 2017) and proceeds to mention that ‘The products of others' imaginations’ can be a crucial factor in aiding the development of another’s, hence explaining why fairy tales are so useful. Fairy tales are the products of someone else’s imagination, and through continuous reiteration and distribution, this has and will continue to nourish and encourage the imaginations of society and therefore help to provide a means of tackling issues and concerns they may face in life.

Furthermore, another reason highlighting the need for fairy tales in modern-day living can be found in the ‘desire for a better life’ and talk of a ‘utopian transformation’ (Zipes, 2013, p.106). Fairy tales could provide individuals with a momentary escape from their ordinary everyday lives, thus feeding their hunger for a superior life in a more achievable method. Relating back to imagination, fairy tales hold the ability to create a whole new world, all within the confinements of the human mind. This idea is support by Justin Taylor in his statement suggesting that ‘They carry readers beyond the restrictions of time and space and promote a sense of mystery and transcendence’. In addition, these ideas are supported by academic J. R. R. Tolkien’s theory that fairy tales provide ‘fantasy, recovery, escape, and consolation’- and although he speaks here in relation to the necessary content of a fairy tale, this also accurately depicts what is gained from the story by the reader themselves (Bettelheim, 1977, p.143). The use of fantasy within the stories allow for a recovery from the negative effects of the real world, a form of escape to a more desirable place in which they can envisage themselves in and in turn, this provides them with a form of relief and consolation. Hereby explaining the benefit and value that keeping fairy tales alive can have on the comprehension and tackling of societal issues. In other words, it could be said that fairy tales are a huge benefactor in the survival of society and fundamentally, the individuals within it.

COP2 Essay

Shelly Kaur 254299

The visual investigation carried out alongside this literary investigation into the subject matter of fairy tales has led to a better understanding of the content of some of the more well-recognised stories as well as an exploration of some considered theories concerning the genres adaptability and evolvability in a way that can be more obviously comprehended. Parts, or more specifically quotes from tales mastered by the Brothers Grimm have been pulled apart and reinvented (as fairy tales have been) through the process of paper cut collage, and the consideration of shape and colour.

These complimented by the use of hand-lettering, reproduced the aesthetics of fairy tale books as well as portraying images constructed in one’s mind in the action of reading.

Further experimentation examines a theory of metaphors and symbols within the tales suggested by Jack Zipes who states that fairy tales proceed to represent ideas- ‘in efficient metaphorical terms’, resulting in the subconscious relief of inner societal pressures (Zipes, 2013, p.xii). The outcomes look to convey this idea through the use of visual metaphors and look deeper into the development leading up the final resolutions, as a means of suggesting that the process of finding solutions to inner-most problems is a is a powerful journey in finding a place of contentment or in other words, achieving a happy ending.

Furthermore, through the readings of ‘The Annotated Brothers Grimm’ by Maria Tatar (2012), the significance of colour was made clear and proposed that a limited colour palette consisting of red, white, black, silver, gold and steel are used and considered symbolic. More interestingly, the theory states that the colour green- representative of nature- is not commonly mentioned, regardless of

COP2 Essay

Shelly Kaur 254299

the frequent refences to nature within the stories. The next stages of the visual investigation aimed to question this theory, challenging whether colour considerably changes one’s perception of a subject, in which the answer is yes. Interestingly, when changing an image to green from their original state, this resulted in an advance from negative to positive connotation. The choice in colour and therefore connotation is to assist in making a clear distinction between ‘good’ and ‘bad’.

Finally, the way that fairy tales have been adapted and modified over time without losing their importance has informed and inspired the rest of the visual investigation. A symbolic image has been taken and has proceeded to be manipulated continuously to explore the endurance of a symbol through constant alteration in the same way that fairy tales have done so. The subject here appears to be a wolf, a dominant character in the tale of Little Red Riding Hood. Although each variation is different, the subject matter still shines through and the image can be easily understood. This is representative of the way that fairy tales work.

In conclusion, the reasons in which fairy tales are still as popular today as they were during the sixteenth and seventeenth centuries (if not more popular) is a result of their contents in response to sociocultural themes, the mass distribution and adaptations of the narratives, and finally the way in which our minds interpret the stories, as suggested by Sperber (Sperber, 1996). It is clear to say as well as the points discussed within this essay, there are a multitude of other reasons why fairy tales have endured to this day and although there are arguments against the contemporary reproductions of fairy tales in modern-day society, there’s no question that they will continue to evolve and adapt through these processes for many years to come. Society relies on fairy tales to provide them with a means of tackling their inner-most ‘desire for a better life’ (Zipes, 2013). In other words, investing in the world of fairy tales ‘reassures, gives hope for the future and holds out a promise for a happy ending” (Bettelheim, 1977).

COP2 Essay

Shelly Kaur 254299 Bibliography

Books: Bettelheim, B. (1977). The uses of enchantment: the meaning and importance of fairy tales. 1st ed.

London: The Penguin Group.

Campbell, J., Moyers, B. and Flowers, B. (2012). The power of myth. 1st ed. [Place of publication not identified]: Turtleback Books.

Haase, D. (1993). Yours, mine, or ours? Perrault, the Brothers Grimm, and the ownership of fairy tales. 1st ed. Wayne State University Press.

Sperber, D. (1996). Explaining culture: A Naturalistic Approach. 1st ed. Oxford [u.a.]: Blackwell.

Tatar, M. and Byatt, A. (2012). The annotated Brothers Grimm. 1st ed. New York: W.W. Norton.

Zipes, J. (2013). Why Fairy Tales Stick. 1st ed. Hoboken: Taylor and Francis.

Websites: Ford, S. (2017). Original story of Sleeping Beauty would have terrified even Maleficent. [online] OrlandoSentinel.com. Available at: http://www.orlandosentinel.com/travel/attractions/the-dailydisney/os-original-story-of-sleeping-beauty-would-have-terrified-even-maleficent-20140529story.html [Accessed 8 Mar. 2017].

Packer, L. (2017). Why we need fairy tales | National Storytelling Network Blog. [online] Blog.storynet.org. Available at: http://blog.storynet.org/why-we-need-fairy-tales [Accessed 1 May 2017].

Taylor, J. (2017). Why We Need Fairy Tales and Fantasy. [online] The Gospel Coalition. Available at: https://blogs.thegospelcoalition.org/justintaylor/2006/12/26/why-we-need-fairy-tales-and-fantasy/ [Accessed 10 Apr. 2017].

Taylor, K. (2017). Is imagination more important than knowledge? Einstein. [online] Times Higher Education (THE). Available at: https://www.timeshighereducation.com/features/is-imaginationmore-important-than-knowledge-einstein/172613.article#survey-answer [Accessed 12 Apr. 2017].

Williams, R. (2017). Why we need fairy tales now more than ever. [online] Newstatesman.com.

Available at: http://www.newstatesman.com/culture/books/2014/12/rowan-williams-why-we-needfairy-tales-now-more-ever [Accessed 5 Apr. 2017].

Films: Maleficent. (2014). [DVD] Directed by R. Stromberg. United States: Walt Disney Pictures.

Sleeping Beauty. (1959). [DVD] Directed by C. Geronimi. United States: Walt Disney Productions.

COP2 Essay Images:

Disney UK Movies. (2017). Sleeping Beauty (1959). [online] Available at: http://movies.disney.co.uk/sleeping-beauty [Accessed 20 Apr. 2017].

Disney UK Movies. (2017). The Maleficent Official Site. [online] Available at: http://movies.disney.co.uk/maleficent [Accessed 20 Apr. 2017].

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