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Beginning Of The End, Parts One And TwoGrimm : ...

[1] For historical reasons, mainly because of the work done in this field by the brothers Grimm, the German conceptualization of the fairy tale - and the fairy tale's exact position in relation to associated genres like myth, saga, legend, parable, fable - is still dominant in international (e.g. Scandinavian, Swiss, Dutch) fairy tale research. Of course, this does by no means imply that the genre of the fairy tale has its origin in Northern Europe. Nor should the by and large medieval setting of the tales that were collected by Giambattista Basile (1634-1636), Charles Perrault (1697) and the brothers Grimm (1812-1857) be taken as an indication that the genre was a medieval invention. For an overview of the history and the different types of (mostly European) fairy tales, see Max Lüthi 2004/1962. The most encompassing annotated catalogue of fairy tales from all over the world is provided by Uther 2004. This monumental work is a modernized and extended edition of the famous international tale-type classification that was started by Antti Aarne in 1910 and carried on by Stith Thompson until 1961. A good source for archetypal motives in fairy tales from all over the world is Symbolik des Märchens by Hedwig von Beit (von Beit 1952-1957). Actually, this three-volume work was financed by von Beit, and she saw to it that it was published under her own name only, but large parts of it were written by the now famous Jungian fairy tale specialist Marie-Louise von Franz, who was still unknown at the time (the forties and early fifties of the twentieth century), and relatively young, and who simply needed the money that von Beit offered her to perform this time-consuming job.

Beginning of the End, Parts One and TwoGrimm : ...



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