Malá Morská Víla // The Little Mermaid (Miroslava Šafránková - 1976)
Fun fact: Miroslava Šafránková who played the title role in The Little Mermaid (“Malá mořská víla”, Czechoslovakia, 1976) is a younger sister of Libuše Šafránková aka Cinderella from Three Wishes for Cinderella (“Tři oříšky pro Popelku”, Czechoslovakia, 1973). The Little Mermaid film took advantage of their similar appearance and Libuše Šafránková plays the foreign princess the prince marries in the end.
"Hunt her down"
what to wear when…in a venezuelan fairy tale.the most widespread [venezuelan fairy tales] are those of the tio conejo cycle, with tio tigre as his favorite victim. this cycle, originating from africa, is told in most of the regions of venezuela. in the region of los andes, the cycle of pedro rimales is the most widespread…another widely disseminated cycle that also originates in spain is one whose principal character is called quevedo. the majority of the tales of this cycle are socially regarded as obscene. in different regions of the country, fairy tales from one thousand and one nights are also told, as are tales about different kinds of ghosts, specters, and other supernatural phenomena…in a reversal of the cinderella theme, the venezuelan variant (los tres trajes de fantasía) tells of a put-upon hero obliged to stay home and wash the dishes while his two brothers go off to a tournament. the vanity of the hero, who finally gets the chance to wear a fancy suit and join the tournament himself, combined with the swaggering dialogue of his contemptuous brothers, amounts to a commentary on machismo.
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#also: ”since amerindians of the northwest district of guyana are ethnologically and culturally related to those in the eastern regions #of venezuela particularly of the delta amacuro region it is noteworthy that the tales of those venezuelan amerindians #bear close similarities to those of their guyanese counterparts.” #fairy tales ”are frequently told among afro-venezuelan communities. here they are simply called cunetos (stories). #the cachos are usually funny tales but sometimes they can be tragic… #verisimilitude is a significant differentiating factor between the cacho or humorous anecdote and the chiste or joke.” #”venezuelan narrators keep eye contact with their audience while performing…almost all narrators frequently altered ther voice #according to the needs of the story…despite the widely held notion that storytellers #are usually old people many recognized [venezuelan] storytelers are in fact younger people.”
what to wear when…in a manx fairy tale.
examples: ben-phrinse teeval dy yn faarkey mooar (princess teeval of the ocean), ee hene cailjey jeh ballaleece (the lost wife of ballaleece), jack ny foawr marrooder jeh slieau-ny-farrane (jack the giant killer of slieau-ny-farrane)
[the manx shee-skeeal or fairy tale tradition is similar to those of] sostyn, nalbin, nerin, and bretyn…tales of goblins, ghosts, and specters; legends of saints and demons, of fairies and familiar spirits, in no corner of the british dominion are told and received with more absolute credulity than in the isle of man…the manx conception of the fairy (mooinjer veggey) seems to be very much the same as that in other celtic lands, with perhaps a tinge of the somewhat more somber scandinavian superstition…some are benevolent, curing men of diseases and delivering them from misfortune. others are malevolent, stealing children, even abducting grown people, and bringing misfortune…the good fairies are, fortunately, more powerful than the bad…phantom dogs [e.g. moddey dhoo] abound…there is a whole series of tales which relate to water-horses (cabbyl-ushtey)…the mermaid (ben-varry), too, was well-known [and] was greatly given to falling in love with young men [and then wreaking havoc when they eventually spurned her. other vengeful manx folkloric women include tehi-tegi the enchantress, caillagh-ny-ghueshag, and the witch of slieu whallian.] of the dwellings of these creatures under the sea, and of the treasure they have accumulated there, many tales are told. the notion of a land under the waves is very widely spread…[manx fairy tales feature] a splendid city, with many towers and gilded minarets, that once stood near langlish, on a spot now covered by the sea.
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#”the isle of man is stocked with inhabitants of the imaginary order. she has fairies giants mermen fenodyree kelpies and tarroo ushtey.” #also: ”at a distance [manx fairies] seem to be handsome but upon closer inspection they are often found to be decrepit and withered… #they lived in green hillsides more especially affecting the ancient tumuli…they hunt being for the most part very furious riders.” #”the isle of man is very fairly stocked with inhabitants of the imaginary order. she has fairies giants mermen kelpies and tarroo ushtey” #and ”the buggane (a malevolent spirit who according to legend blew the roof off st trinian’s church in a fit of rage); the often helpful #but unpredictable fenodyree; the glashtyn who may be a hairy goblin or water-horse who emerges from his aquatic environs; #and the moddey dhoo a ghostly black dog who once wandered the walls and corridors of peel castle and frightened the guards on duty.” #mann is home to the mooinjer veggey or the little folk though they are sometimes referred to obliquely by locals as ‘themselves.”’ #”numerous are the illusions that are made respecting the notion of a land under the waves…the manx believe there is a world under #the waves…the manx believe there is a world under the waves and manx sailors then declared that they commonly heard at sea the bleating of #sheep the barking of dogs and the howling of wolves as they now believe in the water horse and the water bull #as well as the tinkling of the church bell under the sea on a sunday morning.” #in one story ”a mermaid becoming enamored of a young man of extraordinary beauty took an opportunity of meeting him one day as he #walked on the shore and opened her passion to him but was received with coldness occasioned by his horror and surprise at her appearance. #this however was so misconstrued by the sea lady that in revenge for his treatment of her she punished the whole island by covering it with #mist; so that all who attempted to carry on any commerce with it either never arrived at it but wandered or were wrecked upon its cliffs.”
FAIRYTALE MEME: 9 Fairytales - [6/9] The Little Mermaid
“Nothing gave the youngest Princess greater pleasure than to hear about the world of human beings up above. She made her grandmother tell all she knew about ships and towns, people and animals; but what fascinated her beyond words was that the flowers on earth were scented, while those at the bottom of the sea were not, that the woods were green and that the fishes one saw among the branches could sing so loudly and sweetly that it was a delight to hear them.”
what to wear when…in an iraqi fairy tale.iraq has been called the cradle of mankind and, if this is the case, one would expect to find traces of some of the stories which amused mankind in its childhood; for in every country, folklore is more ancient than history; that is to say, it holds embalmed, like flies in amber, scraps of mythology, religion, customs, and sagas which are far older than the fable that clothes them…iraq has been one of the world’s highways and battlegrounds. it was once the great road to and from india, china, and the far east. wave after wave of migration, conquest, and settlement have surged over it…merchant caravans, jewish captives, settlers, and slaves, travelers, and wanderers must all have added to the iraqi folklore and distributed it…it is not surprising, therefore, if the fairy tales of iraq are of a composite nature, and much of the material gathered here is already familiar, if only in translations from the persian, armenian, and turkish, not to mention the more universally known grimm…[aside from] the jinni, ifrit, and ghul, which appear so often in the pages of the arabian nights, [there are] other demons and ogres which figure in the tales of the iraqis…the s’iluwa occupies much the same role in iraqi legend as the witch or ogress in western fairy tales…she is fond of human flesh, but at the same time she has a partiality for human lovers…the dami is a half-bestial ogress [who] often takes the role assigned in european fairy stories to the wolf.
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#”iraq has a very rich cultural heritage. iraqi folklore can be considered as the mother of the asian folklores #for the tales of bagdad have been entertaining and amazing the people from all over the world for centuries. #tales from iraq are about the adventures of traders kings and queens mysterious events and animals remote lands and people.” #”polished by the streams of time the oral traditions of iraq encompass a rich variety of fairy tales ranging from fanciful fables and #heroic myths to stories derived from religions sagas and customs. countless waves of migration conquest and settlement #- sumerian chaldaean cassite assyrian persian arab and turkish - have surged across the region along with merchant caravans pilgrims #wanderers and other travelers. each contributed fresh elements to the native folklore.” #iraqi fairy tales are ”populated by determined princes courageous young people virtuous girls greedy men cunning women wise men.” #”they deal with monsters heroes fairies sultans peasants fishermen and trades-people; they carry moral teachings #and feature speaking animals and some convey surprisingly subversive messages about gender relations and social power structures.” #iraqi fairy tales feature ”demons who come roaring down from the sky irresistibly beautiful sprites and fairies fire-breathing dragons… #there are stories that revolve around clever youths of apparently humble origin who usually turn out to be sons of kings. readers may be #surprised to discover the story of excalibur embedded in the king who had seven sons…the mangy epithet [of the stock character of #the mangy kid] comes from a scalp disease common in the middle east that results in the loss of most of the hair but it leaves tufts of hair #over the scalp that are particularly unattractive. the mangy kid in stories invariably extremely clever belying his appearance as a #dim-witted member of the lowest classes of society. the merhorse or sea-horse (bahri) is a wise talking horse with magical powers that lives #in the sea (king ahmad). it becomes a valuable companion adviser and savior to its master…most of the tales are concerned in one way or #another with justice and usually justice needs the intervention of some external (and often supernatural) agency to be done.” #much like the fairy worlds of other cultures iraqi fairy tales featured an enchanted island called hufaidh. ”on it are palaces and #palm trees and gardens of pomegranates and the buffaloes are bigger than ours. but no one knows exactly where it is…anyone who sees #hufaidh is bewitched and afterwards no one can understand his words…jinns can hide the island from anyone who comes near it.” #iraqi fairy tale motifs include ”the overnight magical destruction of all the work completed during the day the watch for the monster that #is causing the destruction and an eavesdropper who listens for the secret name of this monster which will give him power over it.”
there is a more significant preference related to the popularity accorded to [algerian] fairy tales containing female monsters over those which do not…one of [algerian women’s] means of critical resistance and self-affirmation is the deployment of female folkloric monsters in some sort of symbolic violence directed against the patriarchal order of things…the narrative process of female monstrification in the myths [in which the algerian eve deviated from the mandate of procreative sexuality and was turned into a human flesh-eating monster as a punishment] is subverted in favor of women in the fairy tales [that] offer us a representation of teryel as a social non-conformist, a discontent with man’s civilization…teryel often lives to a healthy advanced age because of her practice of birth control…female monsters [in algerian fairy tales] are not simply frightful representations of vice so as to be seen and hated…[there is] an iconoclastic tendency in their opposition to the mythic iconography of rebellious women as social, epistemological, political, and economic monsters. in the fairy tales of the monstrous, it is less a matter that women’s v(o)ices are represented as monsters, and more a question of the prominence or salience given to resisting female monsters, as well as the complex and attractive manner in which they are presented by the predominantly female storytellers…female narrators are not solely guardians of traditions [but] underground rebels who undermine the prevalent unequal gender power relations.
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#also: ”teryel [is sometimes portrayed] as a single aged woman reigning singlehanded over her home and her fields; #sometimes as a single mother or parent with just one daughter the beautiful loundja or the ugly aicha boutliss; sometimes as married to an #ogre with no children at all; and still at other times as a dominating wife to a henpecked husband. all these anti-family types are #monstrified forms of the kabyle family type marked off by patriarchy patrilinearity and the production of a huge number of male children.” #”the irony of [the agile hunter and the she-ogre] is that he the agile hunter who is supposed to be a protector of the village from #external danger finds himself married to teryel and obliged to submit to her rule…teryel’s defiance of the tajmait and her conquest of the #hunter reverse or rather subvert the sexual roles and the values that the same political organization has assigned to men and women.” #”women are often considered to be the custodians of the oral heritage that guarantees the identity of the community…the yelli-s wwergaz #(the daughter of a ma [in fairy tales]) is a rural heroïne who has to be young clever productive and fertile. she is assertive but she is #expected to control her words because speaking freely could affect her fertility and it might establish a man/woman relationship that goes #beyond mere speaking. the aim of the rural heroine is to acquire a house and a husband. once this need is fulfilled a new problem arises: #how to remain in the house and (or) married. this second problem is solved by having children or thanks to the woman’s intelligence. #four heroines assert female autonomy. the girl fadma is not only a cultural heroine but also a social heroine. she is opposed to the ogress #and to her father. fadma’s father fails to handle culture and society because he is unable to deal with the negative femininity represented #by the ogress and he allows his own interest to prevail over the collective interest. where the father fails the daughter succeeds: #she founds a village as in other narratives does mqidec the hero par excellence in kabyle oral narratives.” #”in the story of the kabyle cinderella there is recognition of the female manipulation of the public sphere and of the superior #intelligence of the girl who surpasses her husband. specific female interests such as assertion of monogamy and of the privileges #attributed to one’s own child are legalized by the actions of other two heroines respectively lalla lehkima and the intelligent widow.” #”tuareg literature inclues a wealth of fables satires fairy tales of wizards and magic historical and islamic legends. #an entire cycle deals with the prehistoric amănokal aligurrăn or ămămăllăn and his sly nephew.”
And while Cinderella and her Prince did live happily ever after… the point, gentlemen, is that they lived.
what to wear when…in a sudanese fairy tale.
examples: al-malik al-bakhil (the miserly king), akhdar azar fi gazaz (the green one in a glass), achol wa walidataha al-labwa bil-tabani (achol and her adoptive lioness mother)
the narrators of [sudanese fairy tales or ahaji (singular hujwa)] are usually women in the community, especially grandmothers…the stories invariably have happy endings and are full of enchantment and fanciful scenes…a moral twist and a didactic conclusion are always expected…supernatural beings like jinn, ghouls, su’luwwa, and sorcerers lend a helping hand to alter the path of the narrative and secure a happy ending…almost invariably, the central character is a female [who is] resourceful and can work all sorts of miracles and ingenuous feats…in these stories, women know that they have power and are not afraid to use it, even when the outcome may prove tragic. in all these narratives where women prove themselves the equals of men, the social and political status of the whole family is changed by the efforts and accomplishments of a girl…the female protagonist in the ahaji reaches its culmination and legendary status in the story of fatna al-samha [fatna the beautiful, a cinderella variant]…fatna al-samha is the tale which represents all [sudanese] fairy tales. it is the one hujwa that assumed a national identity. in songs, poetry, prose narratives, fatna al-samha is frequently used as a metaphor for the beloved, the perfect women…fatna is extremely beautiful, extremely intelligent, extremely brave (if somewhat unscrupulous). only a man who is her match can win her in the end…she shapes her future life, makes her own fortune…male characters play only secondary, complementary roles. they were there as means for the heroine to fulfill her dreams.
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#also: [sudanese fairy tales] are told to children as bedtime stories or as means of entertainment during the long and dark evenings. #[just like in the nigerian fairy tale tradition] narrating stories in daytime is strongly discouraged and at times considered taboo.” #”magic is there for all good (and beautiful) people to make use of…in the lady of the new Island #magic allows a man to get pregnant instead of his wife when he ate the magic meat prepared to help her get pregnant.” #”stories can be told in prose or in verse with or without music accompaniment. however audience participation remains crucial and is #inseparable from the performance of storytelling…audience participation can be indirect (as when stories are tailored to the tastes of the #audience or to deliver a particular message) but often it takes a more positive form (as when answering quizzes repeating habitual or ritual #phrases or taking part in the performance by dancing or singing refrains). ultimately the audience becomes the hero the central actor.” #[sudanese fairy tales] mirror local traditions and draw from local myths legends and histories as well as from scenes of everyday life.” #”the older members of the community use these tales as ‘social stories’ to indirectly and craftily inject the desired moral values #according to the conventions of the community or the tribe and to warn (the listeners) against ignoring or breaking them.” #”[the sudanese fairy tale heroine’s] weapons for survival include her beauty intelligence and resourcefulness. and then there is magic and #miracles. but above all there is the power of disguise. a woman can beat the world of men by becoming part of it. in these tales the episode #of the disguise of femininity plays a central part. a certain female disguises herself and passes for a man because she is dressed #in men’s clothes and behaves in a masculine manner. she then forsakes her seclusion seeks adventures #achieves wonders competes with men and mostly emulates them.” #”pre-islamic nubian society in sudan was a matriarchal society while the arab-islamic society which succeeded it [wasn’t]…the grandmother #continues to play a matriarchal role which bridges these two worlds. she wields undisputed authority over both men and women. through her #role as a storyteller she also bridges the worlds of fact and fancy and wields a formative influence over culture.”
what to wear when…in a georgian fairy tale.
examples: მწყემსი და მდიდარი ბავშვი (the shepherd and the child of fortune), მეფის შვილი და ვაშლის (the king’s son and the apple), conkiajgharuna ახალგაზრდა მათხოვარი გოგონა (conkiajgharuna the little rag girl)
bound by russia to the north and northeast, azerbaijan to the east, the black sea to the west, and armenia and turkey to the south, georgia or sakartvelo (the homeland of the kartvelians, which is now how the georgians refer to themselves) is a land of tales [that are] the products of so many different influences…despite the fact that georgia has frequently been invaded by people from outside europe, including arabs, turks, iranians, and mongols, the people have somehow been able to retain their identity. this can be attributed in part to the inaccessibility of the mountainous regions of the county, and in part to the unique georgian language [kartuli] and alphabet…the style of storytelling most frequently employed in both [georgian] fairy tales and shamanic stories is that of magic realism…in georgian fairy tales featuring animals, the most ancient magical objects are horse hair, fur, skin, teeth, wings, feathers, horns, heart, liver, and eggs. also included are objects made from wool (carpets and caps).
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The prince of the far, far away land wanted to marry the princess, but she rejected him. As a punishment the princess was sent to a lair of a dragon so that it would kill her. But as soon as the dragon and the princess saw each other they fell madly in love and lived happily ever after. The end!
HA HAHA HA HA HAHAHA HA HAHA HA eeheeheeeheee
best fairy tale
what to wear when…in a tanzanian fairy tale.
tanzania has a very rich, diverse, and sophisticated [fairy tale tradition]. each ethnic group has [its own fairy tales] that embody culture and tradition and are an important element in tanzanian cultural heritage. storytelling is tremendously important in african societies, serving a far more diverse purpose than simply entertainment. it teaches lessons of religion, morals, history, roles, and societal codes. it builds strong bonds among generations and helps people share experiences and ideas…heroes include ritual specialists, not just political heroes…the chagga, who live on the slopes of mt. kilamanjero tell many stories about the mountain…there is a standard opening formula before a [haya] narrative is told. the audience says, “see so that we may see” before the start of a fairy tale. fairy tales also recount the exploits of tricksters such as hare and tortoise…the basukuma have many stories based on their beliefs on death and sufferings. they believe that fate is determined by shing’wengwe and shishieg’we (ogres and spirits). the ogres are usually shown as being half human, half demon, or as terrible monsters…trickster stories based on animals like hare, spider, chameleon, and squirrel are common in sukumaland…the kaguru trickster rabbit [is featured prominently]. in one tale, hyena and rabbit agree to kill their mothers and sell their flesh in order to survive a famine. while hyena kills his mother, the rabbit repents and hides his mother until the hyena dies of hunger…this tale represents problems of authority between categories of men in a kaguru matrilineal clan. rabbit represent a junior male and hyena a senior. this tale illustrates conflicts and divisions within a matrilineage. those that transgress social boundaries of authority are considered witches just as the hyena is symbolic of a witch.
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#”the tales themselves are entertaining with hare tricksters monsters infanticide #patricide matricide sororicide and a solomonic pair of baby halves.” #tanzanian ”women have always been upholders of tradition…it has often been the primary duty of women to pass down traditional wisdom #cultural mores and value systems to future generations’ through the use of fairy tales…in their songs poetry and tales african women have #always questioned the traditional cultural expectations for women to be primarily mothers and wives…the three-dimensional image of the #woman that is found in tanzanian oral literature bears testimony to the values and beliefs of the tanzanians about women since #as we have explained oral literature springs from and expresses the culture of a people (i.e. their values and beliefs being part of it). #since the image is entrenched in the minds of the people it follows that it exhibits itself in their compositions and influences the #audience and further cements their beliefs. it is assumed here that folklore materials have but only one possible interpretation #which is equally understood and accepted by all members in that society and that what is expressed in folklore finds #practical application in real life…[fairy tales] are capable of and may be expressions of #both differences as well as unity conflicts and also solidarity diversity as well as homogeneity.”
once upon a time au →in which the show is dark and gritty and well-acted and well-written with thorough world-building and showrunners who are educated in the source material and it’s magically everything I’ve ever wanted
The Coalition of Queens
Jaimie Alexander as Snow White, Queen of the North
Sophia Myles as Cinderella, The People’s Queen
Annabelle Wallis as Aurora, The Sleeping Beauty
Sophie Turner as Ariel, Princess of Atlantica
Sarah Bolger as Belle, Queen of the South
Indira Varma as Jasmine, Sultana of Agrabah
Q’orianka Kilcher as Pocahontas, Chiefess of Powhatan
Zhang Ziyi as Fa Mulan, Defender of China
Estella Daniels as Tiana, The Frog Princess
Tamsin Egerton as Rapunzel, Princess of Corona
Lily Cole as Merida, Queen of Dun Broch
Emily Rose as Emma Swan, The Lost Princess