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• W2399843574 abstract "formal features of folktale may sometimes be found elaborated in that part of literature of art which works with folk literature, while features may generically differentiate two. This article suggests a preliminary series of questions to aid description of a Kunstmiirchen, art-fairytale. E. Nesbit's The Magician's Heart exemplifies typical features, generic decorum, of burlesque variety of Kunstmirchen, which has a long tradition of mocking Mdrchen material and diffusing Midrchen economy. Source scholarship of folktales, tracing some of them to their ultimate origins in written material, and comparing transcribed versions and variants, are both established folkloristic practices. However, purely appropriation of folk materials (types or motifs) in art-tales sometimes tends to be thought of as someone else's business. Historically, folk Miirchen and Kunstmiirchen, art-fairytale which derives from it, are, as Linda Degh has observed, impossible to separate, as oral and written co-existed always and kept influencing each other (Degh, pers. comm. 1998). However, a folklorist may not see Miirchen as comparable to Kunstmiirchen because former is an eternal genre, ideology it expresses [fulfilling] a basic need, whereas latter is a literary genre created by authors in Victorian age, for children or for their own fancy, a projection of a symbolic world of abstractions and the two present different worlds and artistic expressions (ibid.). Miirchen may have temporal primacy, possibly universality, and acknowledged value, but a sense of Kunstmidrchen as both different and secondary (also in sense of less good or interesting and more limited), may deprive folkloristic field of interests and pleasures of selfconscious redactions of folktales, which are valuable in their own right. In answer to Alan Dundes's questions: To what extent are formal features of folklore found in sophisticated Can such features be used effectively to differentiate folk and written literature? (headnote to Olrik 1965), we may hazard partial answer that these formal features may sometimes be found elaborated in that part of literature of art which parodies and imitates folk literature. We could also add that a good many features may generically differentiate parody from prototype. Kunstmiirchen, which is instantly recognisable as having its roots in folklore but being generically distinguishable and distinct from folktale, comes in three broad varieties (which of course often overlap with each other): allegorical (e.g. Catherine Sinclair's Nonsensical Story; Mrs Molesworth's The Story of Sunny); romantic (e.g. George MacDonald's Curdie books; fairy tales of Mary de Morgan and Laurence Housman); and burlesque. burlesque Kunstmiirchen primarily mocks Miirchen material and diffuses Miirchen economy, though comic forms may have their own seriousness and so a particular work need not necessarily be a mere jeu d'esprit. This article explores decorum of burlesque Kunstmiirchen, which has a long, beloved, honourable and instantly recognisable tradition: for example F.E. Paget's Hope of Katzekopfs (1844); W.M. Thackeray's Rose and Ring (1855); Andrew Lang's Prince Prigio (1888/9), and much shorter work. E. Nesbit's The Magician's Heart (play version, 1907; narrative version, Magic World, 1912) economically presents burlesque Kunstmiirchen's typical features, its decorum. It has characteristic farcical fairy court, mish-mash of folktale motifs, simultaneous reverence for folktale and a nose thumbed at it. It is thus a convenient text to analyse for these features." @default.
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• W2399843574 date "2016-01-01" @default.
• W2399843574 modified "2023-09-27" @default.
• W2399843574 title "The Generic Decorum of the Burlesque Kunstmiirchen" @default.
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