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,,Baśń miejska", czyli o tym, jak przestrzeń miasta zmieniła baśń

100%
Vandenborre K.
Rocznik Komparatystyczny
|
2012
|
vol. 3
p. 97-114
EN
The paper is devoted to the urban fairy tale, which is supposed to be a new type of fairy tale, mainly characterized by an urban scenery: the usual countryside is therefore replaced by a city. As the urban fairy tale is based on a geographical change in the fairytale landscape, we seek to examine the representation of the city and its evolution in the fairy tale in order to question the relevance of this genre. Indeed, although most folk tales take place in the countryside or in a natural place, some of them are partly connected with a city. Moreover, the presence of a city does not contradict the indefiniteness of space and time, which is typical for the fairy tale. Beside it, we have to pay attention to the evolution of the fairy tale itself, namely as a literary work, because writers are willing to transgress the spatial indetermination to describe realistic cities in fairy tales. It seems that the fairy tale has changed in such a way since the end of the 19th century that the city – even its evil version – has turned into a normal component of literary fairy tale, which has become more and more urban. Thus, although we can find urban marks in fairy tales ever since, the city has grown also according to the evolution of the fairy tale on the one hand, and the transformation of society on the other. Therefore, as the urban dimension of the fairy tale is due to its natural change, it is not necessary to create a separate category called “urban fairy tale”.
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La Barbe bleue de Charles Perrault et Barbe bleue d’Amélie Nothomb. Dialogue d’un conte d’autrefois et d’un roman d’aujourd’hui

100%
Wandzioch M.
Romanica Cracoviensia
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2017
|
vol. 17
|
issue 3
193-200
EN
Fairy tales, issued from folklore, belong to a common heritage and that is why they undergo a constant transformation. In 2012, Amélie Nothomb draws the inspiration for her 21st novel Barbe bleue from this inexhaustible source. The paper discusses modifications introduced by the famous Belgian writer to Charles Perrault’s version of the fairy tale of Bluebeard observed in the chronotope and in the way characters are created, particularly in the aesthetic and spiritual proximity between the protagonist from Nothomb’s novel and its prototype. 
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