The Postmodern Fairytale: Folkloric Intertexts in by Kevin Paul Smith
By Kevin Paul Smith
Why is Shrek one of many maximum promoting DVDs of all time? Why are shampoo ads in response to snoozing attractiveness? Why is it that a similar basic tales hold being informed? This examine makes an attempt to give an explanation for why fairy stories maintain stoning up within the so much unforeseen areas and why the simplest storytellers commence their stories with 'once upon a time'.
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Additional info for The Postmodern Fairytale: Folkloric Intertexts in Contemporary Fiction
Asks one character in Salman Rushdie’s Haroun and the Sea of Stories. Haroun is an engaging example of the metafictional link between text and fairytale. Though it also has several explicit fairytale intertexts including a parody of ‘Rapunzel’ (73), the novel sets about answering the question posed above, and the final answer seems to stress the subversiveness of tale-telling. ’ Haroun blurted, feeling stunned. ‘Stories are fun ’ ‘The world, however, is not for Fun,’ Khattam-Shud replied. ’ Haroun made himself ask.
The above table, I think, helps highlight the structural similarities between ‘Bluebeard’ and Babel Tower in an effective way, providing a point-by-point comparison between the two texts. 6 The unconscious of the text If we accept the possibility of the palimpsestic text, a story that borrows its structure from a previously existing intertext, then we have to accept the possibility that texts can have a ‘hidden meaning’. This viewpoint is so ingrained that it has entered the critical lexicon; we speak of texts’ ‘deeper’ meaning, or having a ‘deeper’ understanding of a work, as though reading was a form of archaeology where the skilled reader is the equivalent of the diligent and knowledgeable archaeologist reconstructing the past from pottery fragments.
A common strategy in literary criticism is ‘revealing’ the influence of text a upon text b, or recognising text a as an update of text b. So it is not surprising when we see, for example, Sherrill Grace referring to John Fowles’ The Collector as an update of ‘Bluebeard’. It shares certain themes (the murderous and rich man, Eight Elements of Intertextual Use of Fairytales 31 the secret room, the isolated location) but in other ways it lacks some features that have been seen as the definitive (such as the prohibition to enter the secret room, the previously murdered wives, the bloody key as sign of disobedience).