Women and Children First: Spanish Women Writers and the Fairy Tale Tradition (PDF)
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Although the three authors studied, Ana María Matute, Carmen Martín Gaite, and Esther Tusquets, are sophisticated intellectuals, they have chosen fairy tales and texts from other marginalized genres originally for female consumption (such as the novela rosa and the Hollywood women's picture) as the major intertexts in their novels for adults as well as in their fictions for children. Against the backdrop feminist theory and recent critical studies of fairy tales and children's literature, Soliño studies the works of these authors as "gendered texts."
Soliño's book opens with a chapter that traces the historical development of the fairy tale genre, examines their didactic intent, and critiques the images of women in fairy tales. The second chapter explores the manners by which fairy tales were used as a tool for indoctrination during the formative years of the three authors under consideration. These introductory chapters are followed by individual chapters devoted to Martín Gaite, Matute, and Tusquets in which Soliño explores the connections between the literature these authors published for children and the novels they penned for an adult readership.
The Evolution ofthe Fairy Tale Genre
As many critics outside the field of Hispanic Studies have noted, the literary fairy tales of Charles Perrault, the Brothers Grimm, and Hans Christian Andersen (as well as Walt Disney) offer their female readers stifling images of femininity meant to initiate girls into a bourgeois ideal of subservience, passivity, and most damaging for the budding female writer silence. It is this literary, and social, paradigm that Carmen Martín Gaite, Ana María Matute, and Esther Tusquets encountered when at a very young age they initiated their careers as both readers and writers, and against which they continued to struggle as successful, mature authors.
Thus, before beginning an in-depth study ofthe impact of fairy tales in the works of these authors, we must pause to study the intricacies and contradictions ofthe genre. Although Spain has a rich folk tale tradition, this chapter will focus on the tales of Charles Perrault, the Brothers Grimm, Hans Christian Andersen, and Walt Disney since their fairy tales are the ones with which Martín Gaite, Matute, and Tusquets engage intertextually.
First, however, the term "fairy tale" mus be defined in order to better understand the effects of this genre on female readers. There is an importan! distinction, both in style and intent, between "folk" and "fairy" tales. It is widely accepted that the fairy tales we all know today originated when writers of the ruling classes appropriated folk tales to créate a genre that was not only amusing to adults and children alike, but also didactic in character.
Jack Zipes summarizes the difference in the following manner: The folk tale is part of a "pre-capitalist people`s oral tradition" which expresses their wishes to attain better living conditions through a depiction of their struggles and contradictions.
The term fairy tale is of "bourgeois
In addition to the social/political context that created the meanings of these texts, we must also keep in mind the modes of transmission of any particular tale. As part of an oral tradition, the folk tale is a fluid text, continually adapted to both the needs of the teller and the audience. Folklorists define this vibrancy as the "emergent quality" which contrasts sharply with any notion of an "authoritative text."
While masterful oral narrators are always to be found, the vast majority of common people who tell tales cannot equal the gifted writer in capturing the attention of an educated public. The composition of many folk tales is often haphazard, and characters are little more than clichés who lack psychological plausibility.
As Bo Gronbech states, "everything that an educated literary public would expect was missing: clarity of composition, logical coherence of plot, nuanced characters, a clear picture of the environment and setting, and, underlying everything, some basic idea" (96).
- Autor: María Elena Soliño
- 2002, 1. Auflage, 303 Seiten, Englisch
- Verlag: Digitalia
- ISBN-10: 1882528379
- ISBN-13: 9781882528370
- Erscheinungsdatum: 01.01.2002
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- Größe: 15 MB
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