The Norton volume of fairy tales, The Great Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm, edited by Jack Zipes, includes two tales under the thematic heading “Virtuous Queens.” They are two variants of a story sometimes referred to as “The Girl without Hands,” or “The Armless Maiden” – a tale of a girl who is attacked and disfigured, but whose worth is proven by her body’s mystical ability to cause precious objects to appear. The two versions collected here, however, are united not only by parallel plot structures, but also by the appellation of our maimed but magical heroine: Straparola’s “Biancabella and the Snake” and Jean de Mailly’s “Blanche Belle” both feature a maiden who takes her name from her fair features; in de Mailly’s tale, she is explicitly noted to have been named for her very white skin.
At the time I encountered this volume, I was prepping a class on Fables and Tales, and had been on the lookout for variants of the classic tale of Snow White, so the names of these stories caught my eye. Continue reading
There’s a lot of hype about the importance of first impressions. You never get a second chance, etc. etc. To a certain extent, this hype may overemphasize the importance of first impressions. After all, if you don’t reinforce that first encounter with a series of subsequent good impressions, the best first impression will cease to matter. But it’s certainly true that, in some instances, you will only get one shot at making an impression at all. In cases like job interviews or first contact with potential employers or investors, a poor first impression could lead to your being written off entirely. Even in cases where you have the opportunity to recuperate a first impression fail, you may end up having to work really hard to correct that initial judgment. So it’s worthwhile to make sure your first impression is a good one.
In my course on Fables and Tales, a large lecture class that most students take to meet a general education requirement in the humanities at San Francisco State University, I include a unit on horror tropes in folklore (and their interpretation in literature, film, and other cultural production). It’s an introductory survey course, so I try to give students a smorgasbord of materials – a little taste of a lot of different things – and we only have time to scratch the surface of these tales of terror. But I have the chance to give students a brief introduction to the folkloric roots of vampires and zombies, and some examples of how we have adapted those ancient figures to reflect our own cultural concerns.
For the last couple of years, I have taught a course called Fables and Tales, a class that most students take to meet a general education requirement in the humanities at San Francisco State University.
Fables, fairy tales, and folklore are not exactly my area of expertise, though I find the topic fascinating. The first time I taught the course I spent nearly a hundred hours prepping – mostly in background research, exploring sources and looking for creative and interesting readings and assignments – and enjoyed every minute of it. For a comparatist, the intersecting and overlapping nature of folklore is fertile ground. And from a pedagogical standpoint, the more connections I can make between stories, the better able I am to create a climactic arc for my course – to give students the sense that each part of the course is building on the last, that they are moving ever-closer to a goal. As both a scholar and a teacher, my impulse to look for literary connections and convergences kicks into overdrive.
My students, on the other had, tend to be a bit more circumspect, seeing connections between texts less readily than I do. I often open up discussions by asking students to test the limits of the relationships between stories, posing questions like, “Would you call this a Cinderella story?”, “Are Snow-drop (Schneewittchen) and Snow White really the same person?”, “Is Biancabella more similar to Snow White or Cinderella?”, etc. While they sometimes make interesting and unexpected connections between stories, a sizable chunk of them will tell me they don’t see any connections at all. They’re particularly skeptical of more abstract connections, where the details of the story are adapted to emphasize particular thematic concerns, such as the interpretation of Bluebeard as a serial adulterer.
As they have challenged me on my own comparative impulse, I’ve thought more deeply about the relationships between texts, and my own agency as a scholar in asserting and depicting those relationships. I’ve also explored ways to clarify and support the relationships I identify for my students. As I searched for a framework to make these relationships more compelling, I remembered my study of Ludwig Wittgenstein’s concept of family resemblances, which seemed in many ways uniquely suitable.
A while back, I published a post on best practices for e-mail communication with instructors and advisors; that post was primarily aimed at grad students, and though it would be useful for all students, it focused on the finer points of maintaining a collegial and professional tone in e-mail. Recently, I’ve been reminded that many students (even grad students) could benefit from some nuts-and-bolts advice for communicating effectively via e-mail, so I thought I’d tackle some of the most common issues I encounter in e-mail correspondence with my students in a series of posts.
To start things off, here are the four fundamental things you need to do when e-mailing your professors.
I recently gave a midterm in my section of Myths of the World, a large lecture class that most students take to meet a general education requirement in the humanities at San Francisco State University.
I have been extremely proud, and more than a little shocked, that since introducing this version of the midterm in my classes, several students have told me that they actually had “fun” answering the essay question.
The essay asks students to make comparisons between texts we have read by considering the question:
What makes a hero?
In class, as we read each text, I have challenged them to think about several issues related to this topic:
- By what means does the author establish for us that the character is heroic? What details of his/her representation make it clear that we are meant to valorize a certain character? What do these choices help us understand about what it means to be heroic in the context of the story?
- How does the depiction of heroic figures help us to understand the beliefs, attitudes, and values of the society that produced them? If a hero is represented as an ideal, an object of admiration and aspiration, what does this show us about the traits and behaviors that were valorized in a particular culture?
- How might stories of heroic figures inspire but also constrain real individuals in a society as they try to figure out who they are and who they want to be?
- Would we, now, consider this figure heroic? Why or why not? How does this help us understand our own sociocultural beliefs, attitudes, and values?
The exam asks them to consider these questions in relation to two of the texts we have read and discussed in class so far, but it also adds an unexpected element:
Then, for your final paragraph, choose a heroic figure from our own contemporary culture. This doesn’t necessarily need to be your own personal hero – it should be someone you feel is admired by a large number of people in our society. This could be a fictional character (like a superhero, or action hero), or a real person who is considered a hero by a significant portion of society. Discuss what this heroic figure reveals about our own cultural values, AND, whether this represents a change from the values of the ancient cultures you discussed, or remains consistent with those ancient values.
This is the part my students really like. Making connections between the stories we have read and their own experience and frame of reference helps make the texts we have read together seem more meaningful to them. And they love having the opportunity to talk about stories and characters that they feel strongly about, and comment on aspects of their own culture and society.
The first time I gave students this question, I was fascinated to see which figures my students picked, so this time around I decided to catalog their responses.
Here is an overview of my students’ choice of heroes.
Use this gallery to explore Aesop’s fables. Each picture represents one of the fables; captions provide the morals taught by each fable. Does one of the images catch your eye? Does one of these stories teach a lesson that intrigues you?
“When we claim to have been injured by language, what kind of claim do we make?
We ascribe an agency to language, a power to injure, and position ourselves as the objects of its injurious trajectory. We claim that language acts, and acts against us, and the claim we make is a further instance of language, one which seeks to arrest the force of the prior instance.
Thus, we exercise the force of language even as we seek to counter its force, caught up in a bind that no act of censorship can undo.”
— Judith Butler, Excitable Speech: A Politics of the Performative
In recent days, a great deal of thought, and even more raw emotion, has been generated by the topic of rhetoric — rhetoric about politics, about race and culture, about identity and belonging, and about exclusion and distrust. I think now, more than ever, we as a society are confronted with the power — the potentially abusive power — of language.
And yet, when considering the power language has to wound, I cannot help recalling Judith Butler’s assertion, in Excitable Speech, of the paradoxical nature of language’s power — that in trying to curtail the power of language, we inadvertently accede to it. Then again, in accepting the power language has over us, we can likewise recognize it as a power we can wield. Though the book is now creeping up on its twentieth anniversary, it seems more relevant than ever to remember both the warning and the promise it contains.
The previous two posts about logical fallacies have discussed problems with premises and confusion of conclusion – mistakes in reasoning that arise when there is some issue with the building blocks of our arguments, or the way we put them together.
But in some instances of flawed “reasoning”, the problem is that argument is sidestepped altogether. Instead of supporting claims with reasoning, a speaker or writer distracts from the real claim by misdirection, confusing the issue or playing on our emotions.
In one sense, these are the most dangerous types of fallacies, because they allow people to make any claims they want, and hide the fact that they have no support for what they’re saying. Fortunately, since they’re often less subtle than other forms of fallacious reasoning, they’re easy to identify and avoid, once you know what you’re looking for.
In episode I, you learned about logical fallacies that represent mistakes in moving from our premises to our conclusions, due to bad logical form. But even if we’re careful to support our conclusions with reasoning and evidence, we can often run into problems with the evidence itself. “Facts” are supposed to be objective — but facts need to be interpreted, and this process is often subjective.
For that reason, evidence can often mislead and confuse. Have we interpreted it correctly? Do we have enough context to understand what it really indicates?
As consumers of media, we need to be aware of how frequently the supposed “evidence” that supports a claim can be misinterpreted and misused.
As thinkers and writers, we must make sure that we always consider source and context to ensure that we are using evidence appropriately.