Grimms' Tales around the Globe
The Dynamics of Their International Reception
Publication Year: 2014
Published by: Wayne State University Press
Series: Series in Fairy-Tale Studies
Title Page, Series Editors, Copyright
No German book has been translated into so many languages as the Grimms’ tales, as the UNESCO translation index shows. And, although they appear below William Shakespeare, Agatha Christie, and Hans Christian Andersen, the Brothers Grimm are also listed in the top ten most frequently translated...
I. Cultural Resistance and Assimilation
1. No-Name Tales: Early Croatian Translations of the Grimms’ Tales
According to bibliographical sources (See Građa za hrvatskih retrospektivnu bibliografiju knjiga 1835–1940), the oldest Croatian translations of a coherent selection from the Grimms’ collection were published in the first decades of the twentieth century, almost a century after the...
2. Polishing the Grimms’ Tales for a Polish Audience: Die Kinder- und Hausmärchen in Poland
While today the name Grimm is almost synonymous with the classic fairy tale, the Grimms’ canon in Poland is by no means identical to the original German canon or the Grimms’ canon in other countries.1 Of the more than two hundred German tales, only a small portion became really popular in...
3. The Grimms’ Fairy Tales in Spain: Translation, Reception, and Ideology
Isabel Hernández and Nieves Martín-Rogero
The way in which the Brothers Grimm compiled German fairy tales was an important landmark, not only for popularizing folklore but also for the development of children’s literature.1 Due to the importance of the Enlightenment tradition, the beginning of Romanticism was held back in Spain...
4. The Fairy Tales of the Brothers Grimm in Colombia: A Bibliographical History
The Kinder- und Hausmärchen, or Children’s and Household Tales, are probably the best-known collection of folktales worldwide. Two centuries after the first printed edition appeared (1812), selected tales continue to enjoy broad popularity; yet their enduring success and lasting appeal do not suggest a homogeneous...
5. “They are still eating well and living well”: The Grimms’ Tales in Early Colonial Korea
In 1922, an announcement appeared at the back of the August issue of the Korean literary magazine Kaebyŏk (The Dawn of Civilization). It was written by Pang Chŏnghwan,1 a man famous for his activism for children’s rights as well as for his best-selling collection Sarang ŭi sǒnmul (Gift of Love), a book...
6. The Influence of the Grimms’ Fairy Tales on the Folk Literature Movement in China (1918–1943)
In 1918, a group of Chinese progressive scholars, including Zhou Zuoren and Gu Jiegang, initiated the Chinese Folk Literature Movement (hereafter “the Movement”), which called for the collection and compilation of folk songs by “going to the people.” They first called for the collection of Chinese folk...
7. The Grimm Brothers’ Kahaniyan: Hindi Resurrections of the Tales in Modern India by Harikrishna Devsare
Fairy tales and folklore, whenever discussed in relation to India, usually conjure up visions of ancient folktale collections such as The Panchatantra, whose tales have long circulated in medieval and modern Europe owing to early routes of traffic, trade, and military conquest (Bottigheimer 1). In modern...
8. Before and after the “Grimm Boom”: Reinterpretations of the Grimms’ Tales in Contemporary Japan
The fairy tales of the Brothers Grimm experienced a great vogue among adult readers in Japan at the end of the twentieth century, a phenomenon often referred to as the “Grimm boom.” A collection of sensationalized retellings of the Grimms’ tales by Misao Kiryū titled...
II. Reframings, Paratexts, and Multimedia Translations
9. Translating in the “Tongue of Perrault”: The Reception of the Kinder- und Hausmärchen in France
To translate the Kinder- und Hausmärchen into French is to confront the specter of Charles Perrault and his Histoires ou contes du temps passé (Stories or Tales of Past Times), which have haunted the fairy-tale genre in France since they were first published in 1697. From the end of the eighteenth century...
10. Skeptics and Enthusiasts: Nineteenth-Century Prefaces to the Grimms’ Tales in English Translation
Ruth B. Bottigheimer
Nineteenth-century English translations of Jacob and Wilhelm Grimm’s folktales and fairy tales nearly always began with a preface of some sort, and when a newly translated edition appeared, its preface generally talked at length about fairy tales themselves as well as about the Grimms’ own tales...
11. German Stories/British Illustrations: Production Technologies, Reception, and Visual Dialogue across Illustrations from “The Golden Bird” in the Grimms’ Editions, 1823–1909
When Arthur Rackham reillustrated the Grimms’ collection for his 1909 edition of Grimm’s Fairy Tales, he included a short prefatory note in which he stated, “Some years ago a selection of Grimm’s Fairy Tales with one hundred illustrations of mine in black and white was published - in 1900, by Mssrs...
12. Marvelous Worlds: The Grimms’ Fairy Tales in GDR Children’s Films
After the Second World War there was a fierce debate about fairy tales in general and the Grimms’ tales in particular in Germany. In 1945 the occupation forces, especially the British, banned the publication of fairy tales, since they believed that the cruelty often shown in folktales was at least partially...
13. Retelling “Hansel and Gretel” in Comic Book and Manga Narration: The Case of Philip Petit and Mizuno Junko
The endurance of fairy tales over the centuries is a testament to their “flexibility” (Van Baaren 217) and “plasticity” (Firth 207).1 The medium for retelling fairy tales has evolved through literary, theatrical, choreographic, televisual, and cinematographic adaptations to the transformation of the comic book...
14. Fairy-Tale Scripts and Intercultural Conceptual Blending in Modern Korean Film and Television Drama
Western folktales have circulated in an active, two-way dialogue with Korean culture and folktales for almost a century, and some of the tales have become so embedded in Korean culture that they are as readily used as narrative frames in contemporary film and TV drama as are local Korean folktales...