GMST 180 Midterm 2 Practice Questions
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University of Victoria *
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Course
180
Subject
Arts Humanities
Date
Jan 9, 2024
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10
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1.
What is the title of the Grimm’s Brothers’ collection of fairy tales?
a.
The Children and Household Tales
2.
What, according to the Grimm Borthers and other romantic contemporaries, is conveyed
through folktales and traditions?
a.
National identity
3.
What LINGUISTIC changed did the Brothers Grimm undertake as they re-issued the
fairy tales from one edition to the next
a.
They adapted the language to a standardized “high German” language
4.
What revisions did the Grimms undertake in their various editions regarding the moral
content of the fairy tales?
a.
The tales were geared more towards children as readers
b.
The explicit violence was edited out in some cases
c.
The moral framework increasingly correspond to tradition bourgeois gender
norms
5.
How did the Grimms complie the tales for their first edition of the fairy tales?
a.
They asked other people, especially women, to narrate then the tales they knew
6.
Which fairy tale theorist wrote about the “morphology” of the fairy tale?
a.
Vladimir Propp
7.
What aspect of the fairy tale does the “morphological” approach study?
a.
The structural features of fairy tales
8.
“Snow White” and “Cinderella” all begin with the mother figure dying, which results in the
father marrying a new women. To which of Propp’s Functions does this correspond?
a.
Absentation
9.
In “Little Red Riding Hood”, the mother cautions Little Red Riding Hood to keep on the
path and go straight to the grandmother’s house. Which Propp’s Function is this?
a.
Interdiction
10. In a feminist reading, what does the coat signify in “All Kinds of Fur”?
a.
Female self-empowerment, as the girl’s potential identity constructs are manifold
as there are kinds of fur
11. In a developmental reading, what would be signified by the girl’s sleeping in the hole in
the tree?
a.
Successful development: the tree does NOT represent regression to an
embryonic state, but rather a cocoon-like development stage and thus
metamorphosis
12. Overall, what impact do the changes in the Disney’s Snow White have?
a.
Reinforcing of traditional moral code
b.
Gearing the fairy tale more explicitly towards an audience of kids
c.
Reinforcing the passivity of the female character
13. Which fairy tale theorist emphasizes the develeopmental/ psychological aspects of
children coming of age?
a.
Bruno Bettelheim
14. What do the “ogre” characters symboloize in the developmental/psychological reading?
a.
The children’s own fear of growing up
15. How would the developmental/psychological model view Hansel and Gretel’s return
home after the first time they are abandoned in the forest as a success or failure?
a.
Failure: Cuz the kids would rather stay with their parents than learn to fend for
themselves
16. What is the narrative and symbolical significance of the forests or other “wild” places in
fairy tales?
a.
The hero’s trial and testing occurs in such isolated places, quite analogous to the
medieval adventure
17. How does repetition often occur in fairy tales?
a.
An event is often repeated 3 times, but with each repetition the content is
somewhat altered
18. Why is iy important to the content of repetition is altered?
a.
The alterations are crucial for plot development as they indicate changes in
characterization or plot
19. What theme is often present in fairy tales that have “orgres” i.e witches or other types of
monsters?
a.
Conflict between parents and kids
20. From a psychoanalytic/ development perspective, what does the “orge” symbolize>
a.
The child’s fear of growing up, wich is projected onto the parents, thus making
the parents look “monstrous”
21. From a developmental/ psychological perspective, what does the half-human-hedgehog
appearance of the boy signify in “Hans-My-Hedgehog”?
a.
That the boy is still in the midst of the process of identity formation and needs to
learn to accept himself as well as being accepted by others
22. Why is it relevant to look for archetypal constellations when interpretinng fairy tales?
a.
Fairy tales ofter begin with disrupted archetypal constellations that need to be
restored in the process of the narrative
23. From a developmental perspective, what does the mother’s interdiction signify in “Little
Red Cap”?
a.
The mother wants to prevent Little Red Cap from growing up and therefore does
NOT allow her to explore the forest
24. Which of these statements is TRUE about overt, anti-feminist moral lesson of fairy tales?
a.
The female hero learns domestic skills
b.
The female hero learns passivity
c.
The female hero does NOT rebel against authority
25. In a feminist reading, apart from the literal sexual implications, what is an implied,
figurative meaning of the incest motif in tales with strong female protagonists?
a.
The daughter’s desire to explore independence from parental authority, which
therefore cars the father in a negative light
26. What aspect of a fairy tale would a sociological feminist reading emphasize?
a.
Show how the “evil” female characters personify qualities that are socially
unacceptable and are therefore connoted as bad
27. Why does Cinerella leane the ball 3 time in the original “Cinderella” story?
a.
This is part of her own plan to draw the Prince’s attention to herself and away
from the other women
=======================p-======
28.
What book was the precursor to the Children and Household tales
29.
The Boy's Magic Horn, Clemens Brentano, Achim von Arnim (1808)
30.
31.
Geography:
32.
A hero's journey is geographic, and usually entails a passage from one settled
place to another through a place of wildness / wilderness
33.
34.
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35.
Repetition:
36.
revolves around repetitions, usually in threes, where each repetition alters initial
situation
37.
Archetypal Constellation:
38.
Tale begins with an archetypal pattern either incomplete or with superfluous
elements (e.g. missing parent / too many parents) and ends with a new
generation beginning with a new, now complete archetypal constellation
Brothers Grimm are
Jakob and Wilhelm; went to school in Kassel
Overt Morals of Fairytales
1. Anti-Feminist
2. The female hero learns domestic skills
3. The female hero learns passivity
4. The Female hero learns to accept male authority
5. The female hero "educates" the male characters
6. Punishment of "bad" female characters
Implied Morals of Fairytales
1. Potentially feminist
2. The female hero rebels against father's authority
3. Father's authority is often expressed as illicit incestuous desire
4. The female hero is active, leaves, travels
5. The Female hero makes her own destiny
6. The female hero explores her own identity
7. The female hero acts on her own (sexual) desire
Plot Structure of Tales with Female Protagonists
1. Passive Heroine
2. Active Heroine
Passive Heroine
Emphasises passivity of woman, brackets sexuality - E.g. Snow White, Sleeping Beauty
Active Heroine
1. Female protagonist leaves home
2. Departure often triggered by danger of incest (i.e. heroine has to escape predatory
father figure)
3. Part of the "trial" requires the heroine's change of identity
Tricksters
1. Originally supernatural, even deities
2. Normal social / moral / natural rules do not apply to them
3. Play tricks, pranks on those who obey normal social rules
4. Trickery can be benevolent and malicious, often connected to a moral outcome
5. In Norse mythology, Loki is the archetypal trickster; a shape shifter, assisting or
tricking Gods, taking on different animal shapes
6. In Frist Nations mythology, various animal shapes (e.g. coyote, raven), connected to
creation mythology, appear as tricksters and shapeshifters
Grimms' Tricksters
1. Usually male / male counterpart of Cinderella archetype
2. Typically a narrative of social advancement
3. Outwardly a simpleton and weak male overcomes obstacles through cunning and
trickery
4. Rags-to-riches story from a male perspective
5. Trickster narrative serves as pretext to give a mocking/satirical portrayal of society
and of ruling classes
Firth Thesis
Functions of characters serve as stable, constant elements in a tale, independent of
how and by whom they are fulfilled. They constitute the fundamental components of a
tale.
Second Thesis
The number of functions known to the fairy tale is limited.
Third Thesis
The sequence of functions is always identical.
Fourth Thesis
All fairy tales are of one type in regard to their structure.
Actions
They tell us something about the character who does the actions. However, given the
fairy tale's lack of psychological depth or character introspection, actions are misleading
Functions
In Propp's model, a fairy tale ultimately only has one character, the protagonist. All the
other characters are not important in and of themselves, but only in relation to the
protagonist. Their actions thus serve a role or function in the plot as it relates to the
protagonist. Combining Propp's model with another analytic framework, e.g. the
developmental, we can say that action that overtly seems "bad" might actually serve a
"good" function (e.g. in Hansel and Gretel, the parents abandoning the children forces
the children to learn to become self-reliant and thus to "grow up")
Absentation
someone goes missing
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interdiction and violation
a prohibition; the act of forbidding
Reconnaisance
villain seeks something
Delivery
the villain gains information
Trickery
villain attempts to deceive victim
Complicity
unwitting helping of the enemy
Villany
the need is identified
Mediation
hero discovers the lack
Counteraction
Hero chooses positive action
Departure
hero leaves on mission
Testing
the hero is challenged to prove heroic qualities
Reaction
hero responds to test
Magical Agent/Acquisition
hero gains magical agent
Guidance
hero reaches destination
Struggle
hero and villain do battle
Branding/Scarring
hero is branded
Victory
Villain is defeated
Resolution/removal of initial obstacle
initial misfortune or lack is resolved
Hero's return
hero sets out for home
Pursuit of hero
hero is chased
Rescue of hero
pursuit ends
Unrecognised arrival
hero arrives unrecognised
Appearance of false hero/claim
false hero makes unfounded claims
Difficult task
difficult task proposed to hero
Solution
task is resolved
Recognition
hero is recognised
exposure
false hero is exposed
transfiguration
hero is given a new appearance
punishment
villain is punished
wedding
hero marries and ascends the throne
Propp's 7 character types
1. Villain - antagonist
2. Dispatcher - reveals a lack and dispatches hero
3. (Magical) helper
4. Princess / Prince -the prize of victory
5. The donor - prepares hero / gives him/her a magical object
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6. Hero or victim/hero
7. False hero
Geography
A hero’s journey is geographic, and usually entails a passage from one settled place to
another
through a place of wildness / wilderness
Repetition
revolves around repetitions, usually in threes, where each repetition alters initial
situation
Archetypal Constellation
Tale begins with an archetypal pattern either incomplete or with superfluous elements
(e.g. missing parent / too many parents) and ends with a new generation beginning with
a new, now complete archetypal constellation