Genesis, chapters 1-12

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Genesis, chapters 1-12

REVISION HISTORY: 2005.08.21 -- Initial draft/offering. On this page: {Rerferences} {Introduction} (& general info) {A Feminist View, and...} (extract from [ZIPES, Pp.93-4) (something of a conclusional summarisation thing) {A Note on the Format of this File} Next: References.


"The Brothers Grimm and Their Critics: Folktales and the Quest for Meaning", by Christa Kamensetsky, ISBN 0.8214.1020.2 (Athens Ohiol, 1992), LCCN PD.63.K36.1992 (1992). REF: "The Brothers Grimm: From Enchanted Forests to the Modern World", 2nd ed, by Jack Zipes, ISBN 0.312.29380 (Palgrave Press, Houndmills, ENG, 2002), LCCN PD.63.Z57.2002. Next: Introduction and General Info. {
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. "contamination" -- [ZIPES, P. 31] "When Rölleke uses the term   .
                    'contamination', he does not do so in a 
  pejorative sense. On the contrary, in folklore terms, to 
  contaminate means to mix different variants of a known tale
  to form either a new variant or an ideal tale type based on
  different variants. On the one had, this method of contamination
  makes the oritinal pure substance of the tale impure, but on
  the other, it revives the tale and gives it new life.

 "In fact, it only through such contamination in the 1800c that 
  much folk lore was preserved. So, the Grimms were not merely
  collectors, of "pure" folk tales, they were creative 
  "contaminators" and artists. In fact, their [Jacob & Wilhelm 
  Grimm] major accomplisment in publishing their two volumes 
  of 156 tales all together in 1812 and 1815 was to *create*
  an ideal type for the *literary* fairy tale, one that 
  sought to be as close to the oral tradtion as possible, while
  incorporating stylistic, formal, and substatial thematic 
  changes  to appeal to a growing middle-class audience.
 "What concerned them most was to create a fascimile in 
  High German of the folk manner and [P.31] tone of 
  story-telling without losing the substance of the tales. 
  Their historical and synthetic reproductin of the oral 
  tales became a model for the majority of European 
  collectors in the 1800c.
 "Indeed, they saw the "childhood of humankind" as embedded in
  customs that Germans had cultivated, and the tales, as 
  samples of Naturpoesie (nttural poetry), were to
  serve as reminders of a rich, genuine culture."
So, what are we to think? On the one hand, the service that the Grimm brothers performed *was* to preserve these wondrous stories. On the other hand, detailing them for "public consumption" (ie, making them politically correct), obviously distorted the original stories. Also, we know that from anthropological studies that often several story variants arrise from a common origin. And of course, the stories are often adapted to fit the area in which they are told, bringing in local place names, people, events, etc. As story, there is nothing wrong with this. In fact, the *art* of story-telling almost demands that each and every story teller *personalize* the story. In many cases, a person can relate a story of "how it was originally told by so and so"; ie, as an attempt to preserve the history of the *storyteller* and thus using the story "merely" as a vehicle to that end. Further, as story as parable, the tales probably *were* used as "moral suasion" to teach proper behaviour to children; as pointed out in Zipes. (see Feminist discussion). So, to *that* end, the adjustments made by the Grimms were certainly in keeping with then-current practice. Unfortunately (from a modern point of view), the differnt stories often share so much in common with each other than they seem quite repititious and a bit boring. At some point, we almost know the ending long before we get there. We would have to consider that in those days, probably a lot of people were illiterate and this was the closest thing that would encounter in their lives to "literature". From that point of view, it is sad to contemplate that for a significant portion of the population the stories (both in terms simple content, and any "message") was at the very least a major component in their psychological makeup. One interesting aspect is of course the numerological things going on in the various stories. In some cases, they violate the "rule of three" and "cut to the chase". It may be that the story lost that extra bit after a while, or that the tradition of the "threeness of things" was a later development. Again, each story (as it gets passed along) gets "re-written" or at the very least "re-interpretted" in terms of the current symbol set. An excellent example of this was in "Today we Sing!" when it was confirmed that "Luis was censoring discussion of their 'savage ways' -- deleting what-ever he found to be un-Christian". And of course, this sort of thing goes on all the time today. Often in the more reactionary reporting of news events (eg, on CNN (Conspiracy News Network ;), Fox News, and don't even get me started about conservative talk radio!), the facts are not just made to fit the audience. They are given specific spins to not just inform, but to coerce an oppinion. This common oppinion then allows further "building" of a world view. This goes back to the "big lie" concept, most thoroughly exploited by Goebels using radio. One example will suffice. Regardless of ones "point of view" concerning the Kyoto Treaty on Global Warming, the most amazing distortion of this document occurs in its "re-telling" ; i would go so far as to say "lie", but let's at least leave it at "prevarication" or possible, safe on second at "quibbling". The epithet that is thrown out is: The Kyoto Treaty doesn't even mention China or Inda, and they are the largest polluters in the world! Actually, the treaty doesn't mention, *any* country in South America, Africa, or any of the polynesian islands. This "mention" is refering to a LIST (two appendices actually) that list the *more* developed nations that must take responsibility for helping the non-mentioned (devloping nations) in as they start using more and more power. That is, the annexes mention the already industrialised nations (eg, US, Canada, most Western Europe, Australlia, Japan, etc) that having already in-place energy systems and technologies as being responsible to the *other* nations in bringing them up to the 20th century in terms of using energy and technology. Yet, oddly enough there are something like 52_000_000 Americans walking around today with this clearly "manufactured" bit of dis-information screwed into their tiny little reactionary brains as FACT. Zounds of approbation! Next: A Feminist View and a bit of Conclusional Summarisation. {
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A Feminist View

"Some day your prince will come, in the meantime, Girl get your Game on! Hijjjah!!" The (1958) Shah of Iran married to Princess Sarraha ?sp? when she turns out to not be able to produce children he diorces her and marries Farra Deeba ?sp? in 1960, crowns her in 1967 (kid noticably to the son!) A "Bozart" student. REF: This Great Century, by Jean-Paul Thomas, directed by Pierre Philiippe, ISBN 1.56219.519.0, LCCN CB.425.T54.1996, Vol(4). The two main way that women are protrayed is either completely saint-like, or like some psychopathic although as [ZIPES, Pp.93-94] points out: REF: "The Brothers Grimm: From Enchanted Forests to the Modern World", 2nd ed, by Jack Zipes, ISBN 0.312.29380 (Palgrave Press, Houndmills, ENG, 2002), LCCN PD.63.Z57.2002. Pp.93-94

. In his essay, Die Frau in den Märchen der Brüder Grimm        .
  [LOCAL NOTE 7] Rölleke has argured that there is a danger
  in generalising about a gender type, for there is no
  single female type consistently depicted in the same
  manner througout the tales. Indeed, there are many
  different types of women at different stages in their
  lives, and they have various occupations and social
  backgrounds. At best, one could select the dominant 
  characteristics of heroines in the most popular tales
  to illustrate readers' preferances in the portrayal
  of acceptable female behaviour. The different types 
  of women and the their various modes of action in the 
  tales have all been leveled in the cutlural reception
  and use of the tales. For instance, among the Grimms'
  tales there are only a few "heroines" who stand out in
  the publics memory today -- such as Cinderella,
  Sleeping Beauty, Snow White, Little Red Riding Hood,
  Rapunzel, the miller's daughter in "Rumpelstilkskin",
  and the princiess in "The Frog King".
  For the most part these heroines indicate that a woman's
  best place is in the house and a diligent, obedient,
  self-sacrificing wife. [there are no Nora's or Laura 
  Krofts here!] In the majority of these tales and their
  imitations, the male is her reward [that and an 
  under-water bicycle! [5]], and that is 
  apparent that, even though he is an incidental
  character, he arrives on the scene to take over,
  to govern, and control her future. [6] (We tend to
  forget tales in which women are strong, intellegent
  and brave, and outwit men. Such tales as,
     Clever Gretel
     The Clever Farmer's Daughter
     The True Bride

  have *not* [emphasis mine] become part of the fairy-
  tale cannon. [yet! Just you wait Henry Higgens, just you wait!]

  But, what about the tales in which the male is the
  protagonist? What about the tales in which the male is
  largely concerned with his own fate? in the 211 tales 
  of the last edeition of 1857 (note the date!) and in
  the 28 tales that had appeared in previous editions but 
  were ommitted for various reaons at a later date, we
  encounter such types as the magician, drummer, thief,
  godlsmith, shoemaker, woodcutter, servant, Jew, shepard,
  blacksmith, fisherman, huntsman, elf, dwarf, journeyman,
  cook, army surgeon, king, prince, hermit, soldier, tailor,
  giant, hegegog, donkey, Thumbling, youngest son, 

  Their behaviour varies according to their situation, 
  occupation and class; though magic and miraculous
  events do occur, these types all evince characteristics
  that correspond realistically to representive figures
  of the 1700c and 1800c's. Therefore, it is important to
  gather historical information about social conditions
  during these centureies if we are to grasp both
  differeneces and similarities among the heroines. 

  [LOCAL NOTE 7] (P.281, op.cit) "In Früh and Wehse, eds,
                 Die Frau in den Märchen, 72-88.

Actually, it is odd (or not) that there is what in psychology is called "The Cinderella Complex". This is the case where women who enter the work force and are actually very successful [Note 8], begin to feel that this will make them less attractive as a mate in building a family; ie, the successful woman as threatening to the less successfull male. Of course, this depends upon the personal dispositions of the two people involved. I would say that it is certainly good that there are more and more books for children showing that a family does not (as the Christain Front would maintain) consist ONLY of a man, a wife, and children. ("After all, what three people do in the privacy of their own room is no one's business but their own" -- gag line from a cartoon of many years ago in Playboy). Regardless, it should not be the goal of the writer to "sanatise" and "update" these grand old classics. Of course, it does give imaginative writers/film-makers the ability to use these tales to make new comments that are "with it"; eg, the superb "Shrek" series -- that is, "savy pastiche". Finally, the tales are written for children and deserve repeating, as long as there are listeners, and as long (may this be for-ever) there are story-tellers. After all, the way that I heard it..... -- Frank, 2005.09.01, about 12:30pm CaDST on a small, blue-green planet on the outer rim of the Milky Way Galaxy where many of the inhabitants are so amazingly primitive that they still think that using their cell phones instead of a digital watch is way cool. [Note 42] NOTES (this section only) [5] Reference to a '60's feminist motto: "A woman needs a man, like a fish needs a bicycle". {Back to the TEXT} [6] Shades of deus ex machina [God out from the box/ machine], as in Molier's "Tartuuf" ??sp?? or more tongue-in-cheek in Brecht's "The Three-Penny Opera", where at the *last moment* when all seems surely doomed, miraculously a VIP (very important person; ie, one who what don't got shit all over 'im (PYTHON: HOLY GRAIL)) appears and "sets everything to right" (Dr. Who, "Paradise Towers", the role of *Pexx*). {Back to the TEXT} [8] Actually this does happen despite the so-called "glass ceiling"; ie, you can see the higher level jobs up through a glass ceiling, but you can never actually get one of them. There are many, many companies that have these sort of discriminatory practices, and of course more and more progessive companies that promote for talent and not either out of "quotas" or "anti-quotas". A key idea here is the statement by (as I recall) Albert Spieers (the Nazi architecture big-wig) who said that he felt that it was because it wasn't until late in the year that they stopped using POW's and started using women in key positions that contributed heavily to Nazi Germany's ultimate defeat. And in the increasingly worsening world situation, it makes no sense to waste even a single mind. {Back to the TEXT} [42] Reference to the wholy remarkable trilogy in five parts, "The HitchHiker's Guide to the Galaxy", by the late Douglas Noel Adams (DNA), who many maintain is merely spending a few years dead for tax purposes. Need to look up: ultimogeniture ??? common in Hessia[ZIPES, Pp. 71&ff] Next: A Note on the Format of this File. {Back to the TOP of this page}

A Note on the Format of this File

The format of this file (and indeed all files in the "pizo" system) use a consistent set of rules that are rational and well-thought out. This section details this format so that the reader might more easily "navigate" the pages. {} vs [] -- Links that are LOCAL to the page use {}, Links that are on a separate page use [] The exception to that are NOTES [1] etc. They are local to the page and are included in the SECTION where they are referenced. (This makes page flipping for printed copies are minimised). This also means, that the NOTE numbers are NOT sequetial. Unless a file is RE-FORMATED, then you may have in ONE section notes, [1], [2], [12] and in another section notes, [3], [4], [5], [17]. -- we applogise for the in-convenience. Links to other directories are usually indicated with a notation such as (philo DIR) after the referece link. Major "links" pages are noted variously as ** major JUMP page ** or similarly. The way that *i*, see this evolving is that any page can be "extended" with notes, the notes would expand into a wider format page --or-- a separately opened window. Also, the internal HTML structure is kept in a fairly rigid and "predictable" format so that the text can be converted, included, indexed, etc. automatically. Further ideas include INDEXES as wel as possible concordences. The only DIR to have even the beginnings of a concordence are the CRIT DIR (Lynn Winter's "OUR JUDAIC-CHRISTIAN HERITAGE: An Inquiry into the Ideas and Forces that Link the Thought of Our Time with our Religious Past"). Tools are needed to do this, and are "under way"; ie, don't hold your breath. -- Frank. Next: The "End of the File" is coming! Are you ready???? ! {
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That's all folks!