Sleeping Beauty in Chelmno: Jane Yolen's Briar Rose or Breaking the Spell of Silence

AbstractThis article analyses Jane Yolen's Briar Rose (1992) from the perspective of trauma studies as a novelistic transposition of "Sleeping Beauty" in the context of the Holocaust. It argues that the fairy tale fulfils a psychological and even existential role for the fictional survivor of the extermination camp, but also a pedagogical, moral and political one through the figure of the cowitness central to the economy of the novel. Through Becca's recovery of the biographical elements underlying her grandmother's retelling of the story, Yolen shows how the fairy tale can serve to communicate traumatic personal memories and transmit collective cultural knowledge to counter the disappearance of first-hand witnesses.RésuméCet article analyse le recours au conte de fées dans un roman récent de Jane Yolen, Briar Rose, qui transpose le conte de La Belle au bois dormant dans le contexte de l'Holocauste. A partir des études sur le traumatisme (trauma studies), il montre comment le conte de fées remplit plusieurs rôles: psychologique voire existentiel pour la survivante du camp, mais aussi didactique, politique et moral à travers la figure du co-témoin placée au coeur du dispositif narratif. Yolen fait ainsi appel à deux genres pédagogiques, le conte et la literature de jeunesse sur l'Holocauste comme outils pédagogiques permettant la transmission d'une mémoire individuelle et collective qui problématise la question épineuse de la représentation de l'Holocauste et de la fictionnalisation de l'histoire qui accompagne la disparition des témoins directs.

Conjuring the Curse of Repetition or « Sleeping Beauty » Revamped : Angela Carter's Vampirella and The Lady of the House of Love

Abstract:This article illustrates Angela Carter's literary practice through her utilization of "Sleeping Beauty" in the radio play Vampirella and its prose variation The Lady of the House of Love. It argues that she vampirised European culture as she transfused old stories into new bodies to give them new life and bite. Carter's experiments with forms, genres and mediums in her vampire fiction capture the inherent hybridity of the fairy tale as it sheds new light on her main source, Charles Perrault's La Belle au bois dormant, bringing to the fore the horror and terror as well as the textual ambiguities of the French conte that were gradually obscured in favor of the romance element. Carter's vampire stories thus trace the 'dark' underside of the reception of the tale in Gothic fiction and in the subculture of comic books and Hammer films so popular in the 1970s, where the Sleeping Beauty figure is revived as a femme fatale or vamp who takes her fate in her own hands.Résumé:Cet article s'attache à montrer comment l'utilisation de La Belle au bois dormant dans deux histoires de vampire d'Angela Carter, la pièce radiophonique Vampirella et sa réécriture en prose The Lady of the House of Love, illustre la pratique littéraire de l'auteur, qui consiste à vampiriser la culture européenne et à transfuser les vieilles histoires dans de nouvelles formes, genres, et médias afin de leur donner une nouvelle vie. Le traitement du conte de fée permet d'aborder un aspect essentiel de la démarche créative de l'auteur, tout en offrant un éclairage inédit sur le conte de Perrault. En effet, Carter met en évidence les éléments inquiétants et l'atmosphère de menace qui caractérisent la deuxième partie du conte, tout en jouant sur les ambiguités du texte français souvent négligés au profit de la veine romanesque. A cet égard, ses histoires de vampire peuvent se lire comme une réflexion sur la réception 'obscure' du conte de fées dans la culture populaire, qui voit le personnage de la Belle au bois dormant prendre son destin en main et se réinventer en femme fatale ou vamp dans la bande dessinée et les séries B des années 1970.

Sleeping beauty.

La princesa Aurora se pincha en un dedo con una rueca y cae en un profundo sueño. El príncipe Philip acude enseguida a su rescate, podrá un beso a la bella princesa despertarla, ó dormirá para siempre.

When Beauty Goes to Sleep: an analysis of the symbolism behind the sleeping beauty tale

Approaching the world of the fairy tale as an adult, one soon realizes that things are not what they once seemed during story time in bed. Something that once appeared so innocent and simple can become rather complex when digging into its origin. A kiss, for example, can mean something else entirely. I can clearly remember my sister, who is ten years older than I am, telling me that the fairy tales I was told had a mysterious hidden meaning I could not understand. I was probably 9 or 10 when she told me that the story of Sleeping Beauty, which I used to love so much in Disney’s rendering, was nothing more than the story of an adolescent girl, with all the necessary steps needed to become a woman, the bleeding of menstruation and the sexual awakening - even though she did not really put it in these terms. This shocking news troubled me for a while, so much so that I haven’t watched that movie since. But in reality it was not fear that my sister had implanted in me: it was curiosity, the feeling that I was missing something terribly important behind the words and images. But it was not until last year during my semester abroad in Germany, where I had the chance to take a very interesting English literature seminar, that I fully understood what I had been looking for all these years. Thanks to what I learned from the work of Bruno Bettelheim, Jack Zipes, Vladimir Propp, and many other authors that wrote extensively about the subject, I feel I finally have the right tools to really get to know this fairy tale. But what I also know now is that the message behind fairy tales is not to be searched for behind only one version: on the contrary, since they come from oral traditions and their form was slowly shaped by centuries of recountals and retellings, the more one digs, the more complete the understanding of the tale will be. I will therefore look for Sleeping Beauty’s hidden meaning by looking for the reason why it did stick so consistently throughout time. To achieve this goal, I have organized my analysis in three chapters: in the first chapter, I will analyze the first known literary version of the tale, the French Perceforest, and then compare it with the following Italian version, Basile’s Sun, Moon, and Talia; in the second chapter, I will focus on the most famous and by now classical literary versions of Sleeping Beauty, La Belle Au Bois Dormant, written by the Frenchman, Perrault, and the German Dornröschen, recorded by the Brothers Grimm’s; finally, in the last chapter, I will analyze Almodovar’s film Talk to Her as a modern rewriting of this tale, which after a closer look, appears closely related to the earliest version of the story, Perceforest.

Fairy Tales, Sleeping Beauty

Signatur des Originals: S 36/F12233

La belle au bois dormant = The sleeping beauty = Die verwunschene Prinzessin /

For voice and piano; English, French and German words.

The sleeping beauty : a cantata for female voices (solo and chorus) with accompaniment of piano and harmonium : Vocal score /

Setting of Tennyson's The day-dream, the Prologue omitted.

Expérimentation générique et dialogisme intertextuel. Perrault, La Fontaine, Apulée, Straparola, Basile

EXPERIMENTATION GENERIQUE ET DIALOGISME INTERTEXTUEL: PERRAULT, LA FONTAINE, APULEIUS, STRAPAROLA AND BASILE. Les contes en vers et en prose de Perrault relèvent, selon l'hypothèse présentée dans cette étude, d'un dialogisme intertextuel très complexe avec les formes génériques du conte déjà existantes dans les littératures européennes. L'académicien s'adonne à une véritable «expérimentation générique » au cours de laquelle il crée de nouvelles formes génériques, de nouvelles intrigues et de nouvelles figures à partir de la fabella de Psyché enchâssée dans les Métamorphoses d'Apulée, et de sa récriture galante par La Fontaine dans Les Amours de Psiché et de Cupidon en 1669. Ce double dialogue intertextuel est encore sous-tendu par le recours aux favole de Straparola (Le Piacevole notti) et aux cunti (Lo cunto de li cunti) de Basile, célèbres narrateurs italiens, qui avaient déjà reconfiguré de façon originale certains épisodes et personnages de la fabella de Psyché. Ce processus dialogique complexe est ici mis en évidence par l'analyse (inter)textuelle successive des trois premiers contes en prose, La Belle au bois dormant, Le Petit Chaperon rouge et La Barbe bleue. L'analyse comparative montre que Perrault les invente à partir des trois moments successifs de l'épreuve la plus difficile que Vénus inflige à Psyché, celle de la descente aux Enfers. En introduisant des différences significatives par rapport aux textes latins, italiens et français, l'académicien parvient à créer une nouvelle variation générique : le conte pseudo-naïf doté d'un sens crypté qui se découvre « plus ou moins selon le degré de pénétration de ceux qui les lisent ».GENERIC EXPERIMENTATION AND INTERTEXTUAL DIALOGISM: PERRAULT, LA FONTAINE, APULEIUS, STRAPAROLA AND BASILEAccording to Ute Heidmann, Perrault's tales have very complex inter- textual relations with other generic forms which already existed in other European literatures. Heidmann demonstrates here how Perrault experi- ments "generically" with the fairy tale and how he creates new generic forms from other tales by Apuleus, Straparola, Basile, or La Fontaine. This dialogic process is here underlined by the analysis of three particular fairy tales, Sleeping Beauty in the Woods, Little Red Riding Hood and Blue Beard. Heidmann shows how, by introducing key differences with the Latin, Italian and French models, Perrault succeeds in creating a new generic variation of the fairy tale: "the pseudo-naïve fairy tale".

Des Fata aux fées: regards croisés de l'Antiquité à nos jours

D'où vient l'histoire de la Belle au bois dormant ? Qui sont les « fées » présentes lors de la naissance de la petite princesse? Ce volume rassemble des contributions qui rendent compte de l'extraordinaire richesse et complexité de cette vieille histoire que l'on croyait familière, depuis ses lointaines origines dans les cultes et rites de la naissance au Moyen-Orient. Le destin qui se joue au moment de la naissance lie la vie et la parole, et cette association inscrite dans l'étymologie du mot fée s'est manifestée dans l'art, la littérature et la culture occidentale jusqu'à aujourd'hui. Le volume propose des éclairages inédits sur la longue tradition iconographique et littéraire en lien avec la Belle au bois dormant, des reliefs sumériens aux célèbres contes de Perrault et des Grimm, jusqu'à leurs réécritures et adaptations cinématographiques contemporaines.

But Marriage itself is no Party : Angela Carter's Translation of Charles Perrault's La Belle au bois dormant.

AbstractThis article demonstrates the importance of Angela Carter's translations of Charles Perrault's contes into English and argues for their profound influence on her subsequent literary career. Against feminist critics who rejected fairy tales as conservative and informed by patriarchal structures and values, Carter reclaimed Perrault for feminism by recovering the critical edge and emancipating potential of his Histoires ou contes du temps passé, Avec des Moralités. This essay shows, through a comparative reading of "La Belle au bois dormant" and "The Sleeping Beauty in the Wood," that Carter opposed the worldly "politics of experience" that she found in Perrault to the Disneyfied imagery of the Sleeping Beauty myth and modernized the critique of early marriages already contained in Perrault's Moralités. The subversive power of Carter's work, therefore, is not directed against Perrault but rather toward cultural and commercial appropriations of the fairy tale, which promote a naïve view of marriage.Recommended CitationHennard Dutheil de la Rochère, Martine. ""But marriage itself is no party": Angela Carter's Translation of Charles Perrault's "La Belle au bois dormant"; or, Pitting the Politics of Experience against the Sleeping Beauty Myth." Marvels & Tales 24.1 (2010).

Reading, Translating, Rewriting: Angela Carter's Translational Poetics

In "Reading, Translating, Rewriting: Angela Carter's Translational Poetics", author Martine Hennard Dutheil de la Rochère delves into Carter's The Fairy Tales of Charles Perrault (1977) to illustrate that this translation project had a significant impact on Carter's own writing practice. Hennard combines close analyses of both texts with an attention to Carter's active role in the translation and composition process to explore this previously unstudied aspect of Carter's work. She further uncovers the role of female fairy-tale writers and folktales associated with the Grimms' Kinder- und Hausmärchen in the rewriting process, unlocking new doors to The Bloody Chamber. Hennard begins by considering the editorial evolution of The Fairy Tales of Charles Perrault from 1977 to the present day, as Perrault's tales have been rediscovered and repurposed. In the chapters that follow, she examines specific linkages between Carter's Perrault translation and The Bloody Chamber, including targeted analysis of the stories of Red Riding Hood, Bluebeard, Puss-in-Boots, Beauty and the Beast, Sleeping Beauty, and Cinderella. Hennard demonstrates how, even before The Bloody Chamber, Carter intervened in the fairy-tale debate of the late 1970s by reclaiming Perrault for feminist readers when she discovered that the morals of his worldly tales lent themselves to her own materialist and feminist goals. Hennard argues that The Bloody Chamber can therefore be seen as the continuation of and counterpoint to The Fairy Tales of Charles Perrault, as it explores the potential of the familiar stories for alternative retellings. While the critical consensus reads into Carter an imperative to subvert classic fairy tales, the book shows that Carter valued in Perrault a practical educator as well as a proto-folklorist and went on to respond to more hidden aspects of his texts in her rewritings. Reading, Translating, Rewriting is informative reading for students and teachers of fairy-tale studies and translation studies.

Bois dormant suivi de La réécriture féministe contemporaine de quatre contes dans Putain de Nelly Arcan et Peau d'âne de Christine Angot

La création, Bois dormant, met en scène un charpentier-ébéniste qui consacre tous ses temps libres à la création de mobilier, dans un cycle de production inutile. Sa dilapidation insensée de bois incite la nature à se révolter contre lui et à propager une énergie qui donne vie à tous les objets de sa maison. Ce conte revisite plusieurs contes (La Barbe bleue, Les Aventures de Pinocchio, Otesánek, La Belle au bois dormant, Les Aventures d’Alice au pays des merveilles, Cendrillon) pour les transformer en cauchemar, en effriter les morales, en décupler les cruautés et en utiliser les motifs pour illustrer l’absurdité du monde moderne. Ce conte-Frankenstein, par son esthétique baroque où prime la parenthèse, fait de la surenchère un reflet de la surconsommation. L’essai, La réécriture féministe contemporaine de quatre contes dans Putain, de Nelly Arcan et Peau d’âne, de Christine Angot, explore comment, par les réécritures qu’ils inspirent, les contes de Perrault et des frères Grimm constituent un puissant matériau d’incarnation qui facilite la venue à l’écriture du traumatisme chez Christine Angot et Nelly Arcan, mais qui sert aussi d’outil de dénonciation féministe pour elles. Dans Putain, de Nelly Arcan, la narratrice met en lumière, par des réinterprétations des contes du Petit Chaperon rouge, de La Belle au bois dormant et de Blanche-Neige, différents aspects de sa détresse face à l’oppression du regard masculin. Quant à Christine Angot, dans Peau d’âne, elle propose, par une réécriture du conte de Peau d’âne en parallèle avec celui de La Belle au bois dormant, de révéler les répercussions perverses des dictats de la mode et de la loi du père sur l’identité de la femme. Toutes ces réécritures permettent de déjouer la logique valorisée par les contes et d’en démontrer l’absurdité et le caractère malsain d’un point de vue féministe.

Cellular and molecular characterization of an embryonic cell line (BME26) from the tick Rhipicephalus (Boophilus) microplus

The cellular and molecular characteristics of a cell line (BME26) derived from embryos of the cattle tick Rhipicephalus (Boophilus) microplus were studied. The cells contained glycogen inclusions, numerous mitochondria, and vesicles with heterogeneous electron densities dispersed throughout the cytoplasm. Vesicles contained lipids and sequestered palladium meso-porphyrin (Pd-mP) and rhodamine-hemoglobin, suggesting their involvement in the autophagic and endocytic pathways. The cells phagocytosed yeast and expressed genes encoding the antimicrobial peptides (microplusin and defensin). A cDNA library was made and 898 unique mRNA sequences were obtained. Among them, 556 sequences were not significantly similar to any sequence found in public databases. Annotation using Gene Ontology revealed transcripts related to several different functional classes. We identified transcripts involved in immune response such as ferritin, serine proteases, protease inhibitors,. antimicrobial peptides, heat shock protein, glutathione S-transferase, peroxidase, and NADPH oxidase. BME26 cells transfected with a plasmid carrying a red fluorescent protein reporter gene (DsRed2) transiently expressed DsRed2 for up to 5 weeks. We conclude that BME26 can be used to experimentally analyze diverse biological processes that occur in R. (B.) microplus such as the innate immune response to tick-borne pathogens. (C) 2008 Elsevier Ltd. All rights reserved.