The uses of
Enchantment 1976, Bruno Bettelheim
Triangulation:
Fairytales are essentially a guide for children’s morality, they
help distinguish and differentiate the qualities of good and bad, a really
beautifully written tale that can incorporate lots of moral divides and
predicaments that tests the favor of the child, or convince them in plots of
evil. The story effects the mind of the child who sides with what they feel
represents them morally and emotionally. Overcoming the fear of monsters,
monstrous figures and the hidden monster or likeness for evil within, because
evil lies in all of us, it cannot be denied that is why it exists in tales as
iconic figures and characters. The child will understand how thin the line is
between good and bad, they face the freedom to choose either way and decide for
themselves but must understand the consequences these actions will cause of
other people described in fairytales. The child must make their own free choice
for the right of their own mortality, despite the temptation and evil forces that
cloud judgment, fairytales teach of evil in all forms even in each other and
the choices we make as characters of a story.
Breaking the magic
spell
The role of most tales is to distinguish the good and bad, but a
really good tale can convey many different meanings through roles of each
character individually and how the actions taken and who they represent can
impact the story. Although iconic characters can easily define the stories plot
against evil, the figures are not always seen as justifiable in real life, and
are not as applicable. We need to be the best for the greater good and for the
good of others but is this represented throughout traditional teachings and
tales.
‘A good fairytale is like art, depending on the quality of the
tale and the meaning. Art which is strong enough to enchant the mind and
influence the understanding of good and evil in the world.’
-Bruno Bettelheim.
Typically, most tales feature a divide between male and female
and their individual statement in the story, typically a male will be the hero
and the term 'damsel in distress' is applied to the female being a plot point
in the story usually, they usually need saving by a hero. Some cultural
fairytales also feature a distinguish between sexes, to emphasize on an environment
or setting the scene. Ambitious women in featured fairy tales are portrayed as
evil from within and scheming, wielding over other women and men, examples
would be the stepmother in Snow White, the stepmother in Cinderella, and the
stepmother of Hansel and Gretel who left the children in the forest.
I think traditional tales aim at the male hero because naturally
the male is a strong and protective figure, but that doesn't make sense because
tales are meant for children of both sex. The damsel in distress might weaken
the view of female figures and icons and perhaps confuse the heroic role model
or cloud the judgment of what true evil is and that is lurks within us all,
with freedom comes evil.
‘Freedom is a double-edges ideal, because true freedom comes
without the protection of laws that also enslave us by defining us- female,
male Christian, Islamic; good evil All at the whim of a frail minority.’
-Ellen Hopkins.
This concept commonly reflects on the child’s conscious life
because it is the belief of the story teller, in good faith to protect their
child and inform them of such icons who fight evil, the fact that evil takes
many forms yet the sword of justice is wielded by a common figure. This maybe
to familiarize the child of a perfect hero, although this is blinding the child’s
judgment to detect the many forms of evil perhaps causing the child to lose
faith in fairytales and the true message they portray. Most modern stories state
the definitive characters ‘of their immediate importance and influence on a story
and such is the reality that the subtle charm of traditional tales and folklore
has been lost.
From the Beast to the
Blonde, on fairy tales and their tellers
‘To educate the mind and strengthen the initiative of a child
with its social relativity and meaning through symbolic context of aspirations,
they are 'endeavors to grasp the social values of transformation'.
-Marina Warner
This is the transformation from childhood into adulthood, and
endeavors meaning journeys or education in the distance and experience it takes
to develop, achieve, and to stimulate the mind to progress. Social values are
that of experiences the child holds dear to his heart and what they represent
for the child to accomplish throughout their life.
A genre largely told by women to their children despite there
being such a large amount of evil female counterparts or righteous men and
their right of justice, despite the Brothers Grimm’s tended tone in Snow White,
familiar situations in fairy tales can be traced to their growth in a culture, ‘There
are examples, girls in fairy tales who are brave and witty, such as Gretel, who
exhibits common sense and kills the evil witches.’ This relates to the chosen
quote, ‘The uses of Enchantment 1976, Bruno Bettelheim’, to prove
strength in the imagination of the child, helping them understand their
strengths and weakness comparing their emotional actions to the fairytale told
and the justifiable reaction. Understandings of the unique roles of these
figures in the world around them they are accepted with increased understanding
of the social reality of different people, their beliefs and how it is
translated through fairy and folktales.
The Theory and History
of Folklore
‘What makes the folklore attractive if the representation of
reality is not its purpose? The lack of correspondence with reality, fiction as
such, offers special delight.’ -Propp
How entertaining tales become when reality is turned inside out
along with their morals and meaning, this is what creates curiosity for the
child and what makes fantasy so fascinating.
Romantic prose describes female characters as foolish or almost
dreamy in attitude and willing to be influenced on impulse or captured. This
element is shown through most modern tales and is ultimately a cliché
for main plot points, for the male role model to protect the female character
or save her isn’t as applicable in reality.
The volume begins with sections on the “Nature of Folklore"
dealing with theoretical curiosities that the child would undertake in their
lifetime, the principles of folklore genres like the relationship between
folklore and literature and the reflection of reality in folklore, the type of
teachings folklore can describe in reality, I find this prominent for the child
to understand his subconscious and expose his mind to symbolic realism
ultimately answering to the kind of curiosities and experiences the child is
searching for.
Russian regard for moral law, Propp believed that literature was
composed of discrete identifiable elements and their relation to the story as a
whole. The function of character action in this book which must be perceived
according to its actor ‘the subject of the action is considered part of the
action itself and not its own independent element’ - Propp.
The “who” in fairy/folktales is not important because characters
are basically undefined, not describing the character by gender of race and
often derive their names from their social relationship or profession. This
describes how in fairytales, individuals are simple and largely free from
conflict, leaving the judgment to the audience of the tale, the child. This
concept described by Propp is the most important element of a fairytale because
in reality there is no distinction between characters and the child must
understand and use intuition to determine the outcome of social elements in
life.
Good and bad alike are parts of a person who has freedom and
they have the free choice to choose their actions, determined by their mortality,
whoever they may be, what they become, form this life whether they choose good
or bad in the story is not determined at who or what they are.
Triangulation
conclusion
The translation of guardian’s or parent’s beliefs and teachings through
traditional fairytales and modern tales or stories may be altered or bias for the
iconic protagonist or the overwhelming courageous power of good for one side,
but the meanings are still true for the main character, although they could be corrupted
from good to bad, tales distinguish the different views of how the good will
always triumph over evil, towards a not justifiable but moral ending that carries
more meaning and strength for the faith of a child.
Animal
Farm (1954)
Animal
Farm is a 1954 British adult animated comedy-drama film by Halas and Bachelor,
based on the book Animal Farm by George Orwell. It was the first British
animated feature to be released.
Animal
farm relates to the chosen quote from the book ‘The uses of enchantment’
because this is an educational full length cartoon on the horrors of tyranny in
a developing society growing from depression. Animal Farm is a book based
entirely on the concept of conflict and the many forms of it, for example the
farm animals which the audience would see as neutral characters rising up
against their oppressing farmer are perceived as the victim and truly innocent
in their courageous spirit but the animation progresses to show through imagery
of conflicts between the animals what form the true villain is and teaching the
viewers of the many different faces of evil and corruption in a society.
We
start off the story with a revolution provoked by the mistreatment of the
animal workers by Mr. Jones, the drunken farmer because of a bad yearning of
crops. After this the animals hold the first meeting when a sage, old boar
tells his fellow farm animals of a dream he had of a place where all animals
could be equal and in charge of themselves, they decide to revolt against their
human oppressor. After the revolution there is conflict between the new
leaders, the pigs, about how to run the farm. This particular conflict is
solved by Napoleon chasing Snowball out of the farm with a pack of vicious
dogs.
After
Snowball is chased away, all conflict rising from the "working-class"
animals is stifled by the character, Squealer and his reassuring words that describe
the immaculateness of Napoleon and his rule. Napoleon goes against all of the
commandments of Animal Farm's equality to bring profit and pleasure to himself
and the other pigs. While the field animals are being forced to work harder and
be fed less, they start to be unable to tell the difference between pigs and humans.
Throughout
this part of the short tale the audience is met with constant moralities of the
unwilling farm animals as they seek to better their future under various oppressions,
expressing the vulnerable state of being constrained and controlled with propaganda
and right winged social reactionary, the character called Squealer expressions
which is described as tainted hope for a better future masking over the truth
behind the plots of propaganda and false promises.
Towards
the end of the novel, Napoleon is sleeping in Jones' bed, eating from Jones'
plate, drinking alcohol, wearing a derby hat, walking on two legs, trading with
humans, and sharing a toast with the character Mr. Pilkington. This conflict is
never resolved, it is put off through trickery and lies expressed through the
imagery used such as the animal’s rights, shown as writing on the barn wall,
which are altered for the betterment of the pigs.
The
final act of propaganda changing the Seventh Commandment to "ALL ANIMALS
ARE EQUAL / BUT SOME ARE MORE EQUAL THAN OTHERS" reflects his unchallenged
belief that he belongs in complete control of the farm. This can be viewed as
metaphoric imagery for the civil rights of any society and how they can be
easily altered or changed when we believe in the power above us and accept the
guide lines, this is also represented through the pig tyrant being shown as
controlling everyone with lines of thread.
These
are the only distinguishable hints of a possible evil, in acts of subtle force
and aggression, which the audience accepts only to ensure a stronger success,
but realize the schemes behind the betrayal of the society towards the end with
more suffering than retribution as the true villain willingly exposes them self
before the “working-class” become desperate to survive as they begin to work
themselves to death. The audience realized the message of this tale is for
morality in the eyes of the beholder and how power can often lead to corruption
and oppression.
The
influence of imagery and how it effects the aspirations of the target audience,
these techniques are sometimes tainted with nationalist messages.
This
image compels the message in relation to Animal Farm about trusting the leading
figure and what intentions they have in wait for the society, the poster implies
the “hope” of the movement, fighting for “inequity” of the society. Concept for
“HOPE” in Obama’s poster was replaced by the sentence “Minister Obama, we HOPE
you are on our side.” With the guy Fawkes mask represents
This
metaphoric imagery for revolution is featured throughout Animal Farm for the
main villain, Napoleon the pig who is based on Joseph Stalin, this poster links
to the message of deceitful leadership made through empty promises as made by
Barack Obama as he stated with his image of HOPE, to bring peace to the Middle
East, instead of continued bombings and military influence. Napoleon used violence in order to maintain
his ruling position in Animal Farm with the puppies trained to eliminate anyone
who stands in his way.
Guy
Fawkes mask represents a symbol for fighting corruption, a symbol of their part
in activism; it’s a symbol of awareness. The verge of change, and the Guy
Fawkes mask represents that hope. Though change its self is viewed as a neutral
divides between good and bad, “we HOPE you’re on our side” what will this
change to determine our society.
"Stalin's
regime is not only as bad as Jones's, but worse and more cynical", and
Napoleon "not only as bad as JONES but vastly worse" George Orwell.
Based
on the problems resulting from Russian Revolution, Mr. Jones and Czar Nicholas
II both could not control their citizens.
Mr. Jones would let his animals starve and Czar Nicholas II did not help
the Russian when they wanted more voice/power and better working
conditions. In the end, the
animals/people revolted and the weak leaders could only do so little. Mr. Jones
put milk in the animal mash and Czar Nicholas II hired the students as spies to
make money.
REFLECTIVE PRACTICE (1,000 WORDS)
My concertina
book analyses the chosen quote with the intentions to recreate scenarios in a child’s
life when he or her explores the fantasy realm of fairytales,
It relates
to the triangulation essay through illustrated imagery which describes the
journey through the mind of a child and the many obstacles of growing up and
heading towards a good moral having experienced a world of corruption throughout
the fantasy realm of fairytales which indirectly linked and written with the
intent and experience of life time tales and journeys.
My
concertina book begins with a young boy thinking to himself, the thought bubble
has an ellipsis because the child has many curiosities and questions that he
wants to experience, but feels stuck in his current life cycle without the necessary
teachings and he’s not sure what to expect or understand the good or bad the
world ahead of him. The media chosen represents the feeling of being stuck at
home or the impending experience that awaits the child, using coloring pencils to
create rough sketched lines of color, like wallpaper or carpet pattern that
would be repetitive to in the experience of a child or common environment.
The
child himself is only a basic pencil and graphite drawn and toned media because
I wanted to create the feeling of emptiness like the metaphor, his cup is empty
and to is willing to experience and learn because of his great curiosity, being
a child.
The
next two pages is an inking of a horse and knight rearing up in the common
questing cliché pose, this symbolizes the beginning of the journey throughout
the fairytale with the intention of bringing good and justice.
This
continues with ink drawings of knights or warriors fighting a common fantasy evil,
dragons, they are drawn to have almost concord the evil dragons and have
overcome them, showing to mercy in the face of evil. The media used is water
brushed onto the drawings with watercolors lightly applied with brown and added
black ink on the dragons.
The
next image is an ink drawing of a wise man on top of a cliff pointing across
the landscape towards the light, this symbolizes the journey and guidance of
fairytales, there seems to be more obstacles and experiences ahead as the child
develops and learns of life’s up’s and down’s metaphorically represented as the
hills or the deep forest with many different paths towards the light, the sun. Despite this image of dragons being captured
or killed previously, I continue to illustrate shadowy figures of creatures which
represent suffering.
The
reason that I have drawn bad or evil again is because, good and bad are both
reoccurring experiences, within us or around us as children we need to be able
to distinguish them apart. Relating to my previous work how a good fairytale
can be like a guardian teaching the children of life’s twists and turns, as
they travel through the fantasy realm of fairytales.
The
second to last part of the concertina focuses on the young girl and her part in
fairytales, shown through the illustrated differences in experience and teachings
of fairytales compared to boys. This part features a similar image to the boy’s
section with her posing the same and the room being a rough coloring of pencils
and water with different colors, and the next part is more colorful than the
first part featuring acrylic and watercolors with pen and pencil outlining,
this section tells of the common story between a knight a beast and the
princess. How women are mostly depicted in fairytales and how they are associated
with being saved by the prince or have a more sinister intention in typical
traditional stories and modern.
This
is her view of fairytales and rarely is the woman featured in a tale to be the
protagonist and have a leading role of bravery, instinct or courage. These teaching
are more indirect in viewing the knights point of view only except the princess
showing signs of intellect, she is vulnerable and pure, without any experience
in the world.
The
media is washy and vague to represent the cloudy imagination of the children’s
depictions as the common fairytale is told, with more refined detail around the
characters instead of the colored environment.
The
next part is focusing of the girl’s possible confusion in fairytales, because
her path isn’t as clear as the boys in understanding their role as a child,
perhaps they are supposed to be influenced or venerable to bad and evil in a
fantasy world, to be saved by the knight in shining armor.
The
princess is assuming the cliché, or common pose of a venerable woman fainting
with her hand on her forehead, falling back. Although I am using black ink to
represent the darkness forcing her back, or pushing at her role in the
fairytale. The girl feels like she is susceptible to the darkness or venerable
compared to the boy who in his first section is focused on the knights slaying
dragons.
In
this next section I illustrate the influence of the icon of a knight in shining
armor and how even the thought of his ultimate might and power in good and overcoming
of bad is so powerful that it blinds the women in a metaphoric sense. This
image is to show the overwhelming strength that the knight has overseen the
courage of the girl in the story, the light from the armor is blinding because of
his dominate in a fairytale and role being the hero.
This
relates back to my triangulation work, in showing the weakness that is exploited
of women in tales and legends. This next part shows the breakdown of the one
sided view of heroics in reality, and the struggle between that the knight sees
in a plot and the princess that can be applied to real life. The fact that life
isn’t as a fairytale, only its meanings get passed on later in life, this
illustrated part of the darkness in-between the knight and the princess, like the
common plot has its darkness only this is a moral darkness, a confusion between
the two. The knight is reaching for the princess’s hand but she is afraid of
the look in his eyes, showing that life isn’t as told in tales but perhaps the wiser
or wittiness of the princess has shown her a true strength to see bad and evil
in its many forms.
The
rest on the concertina book showcases the message of right and wrong and the
confusion most children face between them as they grow up, the journey that they
take to conclude their suspicions about bad and guide them through the story of
childhood, experiencing life to its fullest in all aspects while succeeding the
bad every child has within.
Bibliography, Harvard referencing
Web Document:
Ariadna Y. Martin and Richard P. (Theory and History of
Folklore) 2003, media release, 23 January, Minneapolis: University of
Minnesota Press,
https://scholarworks.iu.edu/dspace/bitstream/handle/2022/1925/18(1)%2085-88.pdf?sequence=1
(Accessed 20 January 2017).
Web Document:
Dr Silima Nanda (The Portrayal of
Women in the Fairy Tales) 2014, media release, 20 April, Indira Gandhi National
Open University,
http://valleyinternational.net/thijsshi/v1-i4/7%20theijsshi.pdf (Accessed
20 January 2017).
Journal Article:
Tokuhama, C. 2003, Morphology of the Folktale (2nd ed.). (L.
Scott, Trans.) Austin: University of Texas Press, vol 5,
https://trojantopher.wordpress.com/2013/01/27/morphology-of-the-folktale/
Single Author:
Bruno, B. (1991) The uses of Enchantment, the meaning and
importance of fairy tales, Harmondsworth, Penguin Books.
Single Author:
Warner, M. (1994) From the Beast to the Blonde, London:
Chatto & Windus.
Single Author:
Warner, M. (2004) Fantastic Metamphosores, other worlds,
Oxford University Press: Chatto & Windus.
Single Author:
Propp, V. (1984) Theory and History of Folklore, vol 5,
University of Minnesota: Robert, B.
Single Author:
Zipes, J (2002) Breaking the Magic Spell, University Press
of Kentucky: Routledge.
Single Author:
Zipes, J (1996) Don’t Bet on the Prince, contemporary
feminist fairy tales, London, New York: Routledge.
Single Author:
Jung, E and Von Franz, M, L (1998) The Grail Legend,
Princeton University Press, New Jersy: C. G. Jung Institute.
