Witches and fairies have long been subjects of fascination in various cultures throughout the world. Both figures are often associated with magic and supernatural abilities, but they possess distinct characteristics and origins. Witches are typically depicted as women who practice witchcraft, which involves using magical powers or spells to influence events or people. Their portrayal in folklore and popular culture varies greatly, with some being depicted as wise and helpful figures while others are seen as malevolent and dangerous. In many tales, witches are believed to have a connection with the supernatural and are often associated with broomsticks, cauldrons, and pointed hats. The practice of witchcraft has historically been associated with paganism and often denounced as evil or demonic by religious authorities.
Zipes turns attention to the nature of fairies and witches. He considers them as the mimetic seeds spread by pagan goddesses that have been transformed into benevolent and malevolent powers by misogynistic cultural processes. With an excursus on the Russian narrologist Vladimir Propp in which Zipes emphasises that Propp’s research was never subject to Soviet censorship, he homes in on the Slavonic, specifically Russian character of Baba Yaga. Baba Yaga appears in thousands of tales as an unpredictable power which seems to have antecedents in “Mother Earth” and who metes out gifts, rewards.
It is concluded that whereas the first tale bears the imprint Perrault s personality, experience and age, Breillat subtly changes Perrault s male dominance and female curiosity in her film. The Irish believed that a witch was created when a young girl spent seven years in the Otherworld with her fairy lover, coming back somewhat aged, but with knowledge of herbs, philtres and secret spells.
The practice of witchcraft has historically been associated with paganism and often denounced as evil or demonic by religious authorities. On the other hand, fairies are mythical creatures known for their enchanting beauty and magical powers. They are often depicted as small, winged beings with the ability to fly.
American Book Review
Jack Zipes, the foremost American scholar of the world of fairy tales, opens his book with a brief reference to recent interest in fairy tales in scholarship and the genre’s proliferation in the media which demonstrate the unique impact fairy tales have on our lives.
Zipes states that it is impossible to provide any date or, for that matter, any approximation of a date for the “birth” of the fairy tale, a genre which depends on “the symbiotic relationship of oral and literary currents.” This leads to an exploration of the origins of human communication in which it is argued that all narratives are driven by the urge to be in power, to be relevant and are hence elitist. It is emphasised that the precursors of fairy tales related to belief systems, represented shared experience preserved in the oral tradition.
Tracing themes of conflict, notably as they cast a light on the dark side of human life, Zipes cautiously points to Sumerian precursors and then pays full attention to the Greek fables attributed, rightly or wrongly, to Aesop (c. 600 b. C.). He sees fables as stories of animals involved in human conflicts and he tries to identify fairy tale elements. He goes in depth concerning the literary versions of Puss-in-boots from the 16th and 17th centuries the origins of which reach back to India.
Employing Richard Dawkins’s theory of memes (a meme being a unit in cultural transmission), Zipes suggests that fairy tales are created out of pools of memes and are instruments used to preserve instinctual morality in changing environments.
The French term conte de fées, “fairy tale,” was coined by Baroness d’Aulnoy for stories she wrote and narrated in the salons of Paris in 1690-1710. She recycled much material that existed both in the oral tradition as well as in literature and Roman-Greco myths and tales. So did her contemporaries, mostly women who appropriated narratives involving fairies and other fantastic beings in alternate worlds outside the confines of the state and the church which, in their tales, were portrayed as weak.
It is argued that the spectacles of Italian opera exerted some influence on the fantastic narratives, and Zipes refers to d’Aulnoy’s own life (and those of many other women) for the importance of midwives, nannies as real-life fairies who were of paramount importance as protectors of girls and women in many cultures.
Homing in on the French author Charles Perrault’s Bluebeard, Zipes notes that this story, possibly the first written narrative about a serial killer, has a life of its own and is more well-known than the author. Elements from the story had been circulating long before 1695. It has been remade thousands of times both in literature and in other media. Zipes sees this as “part of a discursive process of remakings within the larger genre of the fairy tale.” In the same fashion that tales should be understood in their contemporary context, remakes should be so too. This is illustrated in a discussion of the French director Catherine Breillat’s Bluebeard (2009). It is concluded that whereas the first tale bears the imprint Perrault’s personality, experience and age, Breillat subtly changes Perrault’s male dominance and female curiosity in her film. Retellings of the theme will continue to be made as long as there are serial killers but they will also reflect changed mores.
Zipes turns attention to the nature of fairies and witches. He considers them as the mimetic seeds spread by pagan goddesses that have been transformed into benevolent and malevolent powers by misogynistic cultural processes. With an excursus on the Russian narrologist Vladimir Propp in which Zipes emphasises that Propp’s research was never subject to Soviet censorship, he homes in on the Slavonic, specifically Russian character of Baba Yaga. Baba Yaga appears in thousands of tales as an unpredictable power which seems to have antecedents in “Mother Earth” and who metes out gifts, rewards.
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Fairies are commonly associated with nature and are believed to inhabit forests, meadows, and other natural landscapes. Unlike witches, fairies are not typically associated with witchcraft or spells, but they are known for their mischievous nature and their ability to grant wishes or bestow blessings. In folklore, fairies are often portrayed as protectors of nature or as beings that bring good fortune to those they favor. They are also known for their penchant for pranks and playful tricks. Both witches and fairies play significant roles in mythology, literature, and popular culture. They have inspired numerous tales, poems, and artworks, often serving as symbols of magic and the supernatural. With their mysterious and often elusive nature, witches and fairies continue to captivate the imaginations of people around the world, representing our fascination with the unknown and our desire for the extraordinary..
Reviews for "The Influence of Witches and Fairies in Modern Pop Culture"
- Jessica - 2 stars - I was really disappointed in "Witches and fairies". The plot was confusing and all over the place, and the characters felt flat and uninteresting. I also found the writing to be lackluster, with no real depth or emotion. Overall, I did not enjoy this book.
- Michael - 1 star - "Witches and fairies" was one of the worst books I've ever read. The story was predictable and cliché, and the writing was amateurish at best. The dialogue felt forced and unnatural, and I couldn't connect with any of the characters. I would not recommend this book to anyone.
- Emily - 2 stars - I had high hopes for "Witches and fairies" but unfortunately, it fell short. The pacing was off, with some parts dragging on for too long while others felt rushed. The world-building was also not well-executed, leaving me confused about the rules and lore of the magical world. Overall, it was a mediocre read that I wouldn't recommend.