It’s time for the “Kai Prize Picture Book Review” column again! This column was written by Wang Shuainai, a researcher of children's literature, gender and contemporary literary culture. It sorted out and commented one by one on the Chinese version of the Cadillac Gold Award picture book to see what other aspects can be appreciated in addition to its functionality, as well as the changes in the Cadillac experience over the past 80 years.
Starting from the 1939 Cadillac Gold Award picture book, the Beijing News Children's Book has released 13 comments. In the 14th issue, we will open the 1955 gold medal picture book "Cinderella, or the Little Glass Slipper". The Chinese version of the book has been introduced by Dandelion Children's Library .
"Cinderella" English cover.
There are many versions of "Cinderella". This version is based on Perro's version and is drawn by American illustrator Marcia Brown. Marcia Brown won three Cadick Gold Awards and six honorary awards. The more well-known works in the Chinese book market include " Stone Soup ".
This issue’s commentary takes this book "Cinderella" as an example to deeply explore the basis of the palace of children’s literature value is kindness.
How does "Cinderella" interpret kindness?
I once discussed this question with my friend: If children's literature is a building, the bricks and stones that build it are qualities that are repeatedly emphasized and praised in those texts, such as innocence, wisdom, courage, justice, honesty, trustworthiness, friendship, kindness, game spirit, humor, and imagination, then which of these qualities is the foundation of this building? If this is a world, a kingdom, is there any value in it that will lead to the collapse of the kingdom and the world shaking after being removed?
The result we came up with after discussion is: kindness.
The foundation of the palace of children's literature is kindness. This is an answer that doesn't sound cool at first but is actually cool. Kindness seems to be much more boring than words like "game spirit" and "imagination", but it is not.
Rutterger Bregman opened a special chapter in "The Good Will of Humanity" for field 's famous work " Lord of the Flies ", telling the story of his unwilling to easily believe the terrible conclusion of this masterpiece on human nature. Finally, he found the boy who had experienced this half a century ago on the other side of the ocean - the protagonists of the "Lord of the Flies" real version.
He found that his conjecture was confirmed. The boys drifting on the island not only did not turn against each other, kill and harm each other, but instead formed a small commune with mutual assistance and discipline. They clearly divided the labor and formulated the rules for getting along with each other, built an edible botanical garden and a rough badminton court, they set up an endless fire waiting for rescue, and even made a simple guitar with great enthusiasm, singing together every day to boost morale. After being trapped on the island for a year, they were rescued by an Australian captain. After examination, the boys were in their physical condition at that time, and one of the boys had fallen down the mountain and broke his leg. He had fully recovered under the care of other boys.
It is cooler to spread hunting stories in more than 30 countries, or is it cooler to have the stories of 6 Tongan boys that are so good that people can't believe in reality?
This is just one of them. Second, the word kindness is not as "simple" as it seems.
Let's go back to the protagonist we are going to discuss today. The original version of Marcia Brown’s picture book and Disney Princess story are Perot’s version of "Cinderella", and another widely circulated version is the story of Grimm Brothers .
"Cinderella" real shot.
In our memory of the story, the former is roughly responsible for providing the iconic object of pumpkin carriage and glass shoes, while the latter provides the sense of order and stability brought by Cinderella's three dances (the court literati Perot did not follow the folk oral literature's preference for the "three" like the linguist Grimm brothers, but made Cinderella miss the terrible ending of the second time) and the sisters. Yes, many of us have a complete memory of the story of Cinderella from the confusion of two or more versions, and some also add the fate of stepmothers.
The target audience of Perot's story is the palace aristocrats. Some of the stories are designed to meet the lustful needs of the French royal men at that time. Many suggestions and lessons are designed for young aristocratic women. For example, at the end of the story of "Little Red Riding Hood", they should be reminded to keep their chastity and keep a distance from men. They also specifically note "Wild Wolf: The Man Who Abducted Women"; for example, the title of this fairy tale collection is actually called "Ancient Stories with Moral Admonitions"; for example, the story of "Cinderella" takes place in the aristocratic family, and we can also see some unique ways of dressing up by young aristocratic women at that time - sticking taffeta fake moles on their faces in picture books.
A collection of stories like this, it is not difficult to understand that women are cautious in adhering to the "female virtue" and always maintain a kind of fraternity, holy and even noble light as close to God. In this book, we see Cinderella repaying her kindness from beginning to end. She gave her two sisters who refused to take her to the dance. She took the initiative to sit next to her sisters and peeled oranges and distributed them to them. In the end, she not only forgave them without hesitation, but also asked them to love themselves forever, and arranged the two great masters to be grooms for her sisters, giving readers a happy ending of "one person is at utmost, and chickens and dogs ascend to heaven."
Such kindness is so direct that there is no need to explain that Cinderella has almost become a female version of the Holy Son wearing a crown of thorns. This is not a forced analogy. We can experience this more intuitively in the visual narrative. In the scene where the heroine of Brown's picture book version accepts the apology, Cinderella's long golden hair spreads out, like flowing water extending to the left and right, and the long skirt sways to the ground. They extend tenderly together in the magic halo of the fairy godmother to the two sisters who kneel down and ask for forgiveness.
"Cinderella" real shot.
In this freeze-formed picture, the triangular composition of Cinderella's body, the slightly lowered eyes and the smiling expression of her smile, and the gesture of reaching out to kiss her make her look like a kind and noble queen and a Virgin. The core of the idea that connects the aristocratic identity, the narrative of Christian suffering and the noble kindness of character in Perot's story is keenly captured by Marcia Brown and expressed in visual language.
The version of the Green Brothers is not so kind at first glance, and none of the above plots happen in Green's version of "Cinderella". Finally, the dove on the little hazel tree (the spiritual incarnation of Cinderella's mother, which is obviously a theological symbol considering the relationship between the dove and the Holy Spirit) also pecked the sisters in the eyes. Not only did Cinderella make a lot of efforts to attend the dance, but she did not cry and wait for help after being left at home, but instead sought help from Xiaohazel. Compared to the heroine in Perot's story, Green's Cinderella is more proactive and "stubborn".
But if you think about it carefully, this script still has a kind background. First of all, compared with Perot's, Green's stepmother and sister are indeed more like "sadminister". In addition to placing heavy work and mental humiliation, she repeatedly maliciously plays with the heroine with the problem of picking beans, and also provokes the relationship between father and daughter. Cinderella, who has been suffering from such abuse for many years, does not take the initiative to retaliate after achieving the class leap, or moves them to real life even if she has a little verbal mockery. Such people are quite kind; the second is the internal logic of the story, which believes that evil deeds should be bad, so she lowers the heavenly punishment to maintain the principle of order that good and evil are rewarded. This belief itself is good, and we will discuss this in detail next.
The ethics of good and evil in classic fairy tales
When defining children's literature, classic works are an important reference item used to determine the margins of the literary field. The folk fairy tale system that provides many exemplary works is not a world that chooses to praise the strong and believe in the jungle law . This is of course of important significance for determining the overall value preference coordinates of children's literature.
Another friend of mine has been racking his brains to write an introduction to a strange work that tells the true stories of many legendary jailbreakers and great thieves in human history.When he received the invitation, he was attracted by this set of documentary picture books and agreed to the editor. He didn't feel embarrassed until he started writing. He asked me why we were secretly happy when we read such a true story, and why we intuitively thought that such works should be kept. His reason is human beings’ instinctive pursuit of freedom and personality. I think it may be more than that.
First of all, when we read the story of the jailbreaker, we are not really preparing to commit a crime, but call the psychological mechanism of "staying out of the matter" to understand the character behavior of the story. This psychology is likely to be consistent with the mechanism of the fact that the mother must be divided into two parts in folk fairy tales, preserve the image of the biological mother, and write the witch full of jealousy while writing to death while maintaining the image of the biological mother, and it is also consistent with the psychology of laughing at the fools when we appreciate comedy. In other words, readers can tell which factors should be separated and extracted and absorbed, and they will not really imitate them by reading the story of the Big Thieves. Moreover, many of the miracle people who have successfully escaped are caught again, which also indicates the risk of imitation.
For ambiguous and rich in connotation events or behaviors, literature and art always allow readers to treat them with a satirical and irreverent sense of humor. empathizes with , but at the moment of laughing for satire and humor, the reader draws a line between himself and the people in the story.
Secondly, the good in fairy tales is probably not as understood by people in the past, which must be simple and straightforward and lack of room for discussion.
movie " Xianlu Qiyuan " (1950) screen.
In a child's story, there may be no clear innocence (such as "Three Spinning Girls", no diligence (such as " Sleeping Beauty ") or laziness (such as "Spindle, Shuttle and Sewing Needle"), no obvious courage and courage ("Match Girl"), may be full of lies ("Smart Gert"), nor credit ("Tint"), but the logic of "good" will definitely not be missing (but this "good" may not be the Christian kindness of repaying grievances with virtue in Perot's script).
In that discussion, we found that other beautiful qualities in children's literature can be explained as derived from "good", but in turn it may not make sense; and in folk fairy tales, which are particularly deviant, an iron rule that cannot be broken is that the strong take the initiative to do evil and harm others will inevitably not be rewarded, whether it is a witch who masters magic or a king with high power; the "good" mentioned in folk fairy tales with scammers, thieves, and lazy people from time to time are not single-level good, it allows the lower-level people to occasionally act out of behavior, such as using some small deceptions to deceive the privileged people at most "the wealth of half a kingdom". This may be the "regulation" and hope of art's injustice and perfection in the real world, so most readers can accept or even like those cunning civilian heroes.
The so-called "those who steal the hook will be punished, and those who steal the country will be the princes" is the sages who are angry and ridiculed by the unfair environment, and have sympathy and dissatisfaction with those who have suffered severe punishments. We admit that human beings have not yet entered an era where the rule of law is perfect and social justice is completely guaranteed. Individuals are unable to shake the structure. In order to survive, the weak have to create a "wall ladder" by themselves.
" Weapons of the Weak ", [US] by James C. Scott , by Zheng Guanghuai / Zhang Min / He Jiangsui, Yilin Publishing House , April 2011.
Political scientist and anthropologist James Scott wrote the later book "Weapons of the Weak" in the humanities and social science classic. He pointed out that lazy and sloppy, gossip, spread rumors in the village, and even stealing, arson, and other behaviors that seem very disgraceful and even illegal on the surface are actually weapons of the weak.
They don't look as open, large-scale organizational and political as the left-wing revolution or peasant uprisings they think, but they are the more common and continuous ways for the people to defend themselves and fight.Over time, the ant hole collapses, these inconspicuous and general political reaction patterns have real and cannot be underestimated, but they are also grand, hard and idealistic revolutionary thinking and revolutionary narratives that are always intentionally or unintentionally ignored.
For a long time, neither scholars nor the public have been able to give these modes of resistance due attention and evaluation, while literary and artistic works have once again played out their sensitivity and tolerance, and incorporated this unlucky cunning wisdom among the people and the demand for fairness and justice involved behind them, and the "last cry" in the fight against the beast of power into stories passed down from generation to generation in various forms.
From thief Robin Hood in Sherwood Forest, to jailbreak Yasen Roping , to jailbreak jailbreak , to thief Kid, who plays the Tokyo Metropolitan Police Department, all have a large number of loyal fans; we are happy to watch the "happy death row prisoner" created by Maupassant , and the "faithful good soldier" written by Hasek , endlessly causing trouble to politicians - in fact, in "Weapons of the Weak", Scott is the day of the farmers in "The Day of the Weak". Frequently contend with "a good soldier and coach"; the same is true in children's literature. We are worried that the bragging king and young tailor who "killed seven at once" may have to miss the problem, and selectively remembered the ending of the Cinderella sister who cannot end well; contemporary audiences' love for the online drama " Mao Lie " and the movie "The Godfather" has already explained everything. This tolerance for deviant behavior and even relish contains probably the most primitive moral pursuit: we cannot ask a desperate trapped person not to resist. Art works are higher in humanitarianism, and they allow these trapped and marginalized people to gain true spiritual freedom and happiness in the process of resistance. If we are wise, we should allow such a spiritual back garden to exist, otherwise Jan Ajang will always be number 24601, and there will always be one innocent girl who has been redeemed in the world.
Even if it is a fairy tale of a liar cook like "Smart Gert", why do I say that it still has a foundation of "goodness" under the spirit of humor? If you might as well make an assumption of identity relationships and plots, we will find it difficult to imagine a fairy tale that makes the owner lie to the chef who helps the chef, and then steals the roast chicken used to share or steals the chef's salary in the pantry again and again. Then, provokes the relationship between the chef and his best friend so that they will never interact with each other or even become enemies. Finally, they can successfully trick the chef into writing a contract to let her do her work for herself for life. By dismantling the identity of fairy tale characters, we can see the moral tendencies hidden in it at a glance.
We are very tolerant and favored by these stories because social survival experience makes us well aware that this scam succeeds and the narrative of punishment from heaven on the powerful is the "last cry" of the weak. What they have to face is the extremely unequal "trading risks" brought by the extremely unbalanced power structure. Sometimes the fairy tale authors will write this clearly, and sometimes it may not be.
First say "The villains who are full of Hu Qin". If the little tailor is in trouble, he will have to be killed (most people will think that he will not die, but he will be helpless with this monarchy rule. This is a major psychological basis for us to be willing to help him. We need to realize that the narrative of the work relies on social ethical demands to guide readers to the position of the little tailor); the two liars used their non-existent new outfits to spend their time, and the wealth they cheated was nowhere to be lost for the king. The information readers got from the king's foolishness is that these wealth and taxes are unlikely to be "used to the people", and the stole the country's long-term privileges but rest assured, so these destroyers are regarded as loopholes in the impregnable structure, the incarnation of rewarding good and punishing evil, "villains of official history, heroes of civilians." In addition, they may also assume the role imagination of "working adventurers" and "skill elites". They get what they want to keep ordinary people's last hope for "the fairness of the way of heaven that will be rewarded for their efforts". These are the ethical logic of good and evil buried in villains’ stories.
"Cinderella" real shot.
Go back to the battle for forgiveness and punishment in Cinderella.Perot's extreme kindness may be a "bad" in Green's view - in this controversial perception of kindness, Green's choice is more representative of the public's view of good and evil, which is probably why we remember that the sisters are punished rather than that they have received a good reward for marrying the grand duke.
In the movie " Dog Town " directed by Ras von Tyre, the humiliated girl finally agreed with her father's statement. Her original intention was to act according to her past and forgive the villagers again, but this unlimited forgiveness may contain a kind of self-righteous arrogance. If the other party is regarded as an equal person, then the punishment he deserves to repay evil deeds is considered "personal respect" for the villain who made the choice, and can also warn future people not to do evil again. If the evildoer always gets good without punishment, it will be a great injustice to the good, whether it comes from disrespect for goodness itself or not, it may ultimately lead to disrespect for goodness throughout the entire community.
In other words, the inner part of Green's story is to regard kindness as a choice, and behind it is the full respect for human will and romantic praise (yes, the romance here is not without literary level meaning. German fairy tales are already very related to the romantic movement . If we replace the white dove , which flapped its wings from the sky and pecked women's eyes with crows, the gothic sense of this story will not be hidden and it will break through the paper). At the same time, it also implies that goodness requires acquired learning: Cinderella trusts her biological mother and the unexpectedly suspected "mother's incarnation" (hazel and dove), and is a two-sided ability to distrust the vicious, and she cannot obtain happiness if she lacks any part.
We should note that Cinderella has the wisdom to identify and deal with the bad, and at the same time, she also has the ability to identify the real good and still have the ability to open up and trust and trust them - this is based on the courage above "good". In other words, experience, wisdom, friendship, innocence, courage and kindness may have a close relationship with each other, which is likely to be the internal logic that many fairy tales have not stated but are tangible on.
Compared with this, although Perot's unlimited forgiveness is quite divine, the problem may also be exposed. This forgiveness is too stressed, too mechanical and too tutorial. Whether it is innate or instructive, behind it is a mother's body and a shadow of God above mankind (according to Christian philosophy, all things can divide the divine spirit and goodness, among which man is the steward of the world created by God in his own image). In addition to the divine power, when implemented in the world, one needs to add another layer of squeeze of secular power, that is, the beautiful and excellent moral qualities are regarded as exclusive to the nobles.
If we pay a little attention, we can find in the first sentence of the work that Green's version of Cinderella came from a wealthy family (literary traces of the rise in the status of bourgeois in the 19th century), while the heroine of the 17th century's prince Perot was the daughter of the noble gentleman. This narrative of the relationship between origin and character was not surprising hundreds of years ago. In Madame de Verneff's version of "Beauty and the Beast", the beauty voluntarily gave up her marriage to the prince because of her bourgeois origin. Her guardian fairy and the prince's mother argued with each other more about virtue and origin. Although the fairy finally won, readers also found that the beauty was originally a princess, but she became the adopted daughter of a businessman because she avoided her father's enemies. The related narrative of
is also not short of markets in the 21st century. There was a similar expression in the popular online drama " Dream Hualu " not long ago. The male protagonist's subordinate derogated the female protagonist who had not been obedient at the moment as a "scheming woman". The next moment, he heard the male protagonist's analysis and said, "No wonder she acts like an ordinary woman in the market. She turns out to be an official." There is no objection to this in the play.
So, the originally stable and kind narrative seemed to reveal traces of rust.
The kindness of female authors towards the female characters in their works
Although we have stated many of the kind cores in folk fairy tales that are written openly and implicitly, this kind building does have shortcomings, and it is inappropriate to avoid talking about it. "Gender and Sex" is the most significant and difficult to avoid.
"Shh! Grimm's Fairy Tale, The Secret Behind the Door", written by Maria Tatar, translated by Lu Yujun, Nanjing University Press, ·Watcher, August 2022.
Pure good fairy-the vicious witch's opposing settings needless to say, I recently read "Shh! In Grimm's Fairy Tale, the Secret Behind the Door", a reminder from Maria Tatar activates the content repeatedly stated in lead type on the paper, which makes me truly feel the vivid embarrassment and malice that classic fairy tales bring to specific women in life. Just imagine, "stepmothers" are probably indispensable among mothers who read fairy tales for their children. So what will they feel when they open these classic folk fairy tales to tell how vicious they are:
"After reading many fairy tales with stepmothers appearing (and the stepmothers in these stories are evil characters, without exception), if at some point they feel hurt or insulted by their stepmothers in some way, then these young children will compare the stepmothers in the fairy tales to their stepmothers, and then develop a strong disgust for their stepmothers... If they are not done properly, they will disrupt the peace and happiness of the whole family."
Some contradictions that were not originally a problem may accumulate artificially under the influence of psychological hints.
Tatar also pointed out the tendency of male authors in the classic folk fairy tale collection to "tag for the same sex". The father is invisible in all harm, including the desire for his daughter, and is always revealed in a cautious way, while the evil deeds of the stepmother are completely uncovered. The author does not hesitate to put various negative words on it, as if they are naturally vicious.
In "Princess Donkey Skin", the father's incest desire is explained as a temporary confusion caused by excessive sadness in losing his wife. This reminds me of a domestic TV series " Women's Weapon " ten years ago, which was themed in the workplace. In the last episode, the male protagonist's harassment behavior was suddenly attributed to "love paranoia" in the name of a psychologist - delusion that all women prefer their psychological chronic diseases; although earlier "Women No longer Silence" and "Don't Talking to Strangers", although it was not stated clearly in the earlier "Women No longer Silence" and "Don't Talking to Strangers", there is an ambiguous tendency in this aspect on the problem attribution , that is, the male protagonist is interpreted as "psychopathic" characters by scripts or performances, which makes the serious public issues originally discussed escape into an occasional and difficult to control personal disease, as if only mental patients have such behavior. Therefore, the necessity of the construction of relevant anti-violence system was avoided and eliminated. All of these can show the strength of the "classic" gender narrative and the difficulty of society facing sexual violence.
In Marian Cox's collection and analysis of Cinderella-type stories, there are 130 stories in which the heroine was abused by her stepmother and sister, and 96 stories are about her father's unrest and unwillingness. The difference in this number is much smaller than many people expect, but we remember that more is still the jealousy and mutual harm from women - this is also a rather unfair exaggeration. Many jealousy in life will not necessarily lead to illegal and criminal behavior, but the jealousy of women in fairy tales will definitely lead to evil deeds; unlike male jealousy and evil deeds that often rely on a fatal blow to things, the evil deeds of women will be prolonged and the time to torture will focus on details and the horror atmosphere, which will make people unforgettable for a long time.
I have no intention of criticizing the gender narrative in folk fairy tales from the perspective of psychoanalysis in this article. This is indeed a cliché. I would rather spend the last time talking about the kindness towards women that female writers who do not follow the postmodern deconstruction route (this kind of writing subversion consciousness is more conscious and significant, and can be analyzed with the opportunity) are intentionally or unintentionally showing their kindness to women, which is a counterattack against the jealousy and mutual harming impression of women who believe in folk fairy tales.
"Cinderella" real shot.
In this picture book "Cinderella" retelled by Marcia Brown, I noticed that although Brown retained Perro's setting for stepmother in the text, he changed it in the picture. The most prominent feature is that the image of the stepmother has never appeared in the picture from beginning to end, which leads to a lot of blurred and shallow impression of the vicious stepmother after reading the full story, and the humorousness of the comic style also softens the image of the two sisters to a large extent.
Brown seems to intend for readers to form the impression that these two girls are not bad in nature, but just follow their mother before their three views have taken shape. They were more like two heartless children with unestablished empathy. Until the moment when Cinderella finally forgives them with holy light, they finally realized and became adults in the spiritual platform, and had a self-awareness that was different from their mothers.
Similarly, if you examine the compilation and retelling of Chinese folk fairy tales, you will find that stories created by female writers do indeed bring significant goodwill to female characters that are different from those in traditional scripts. The early representative of this is Ge Cuilin . In her recap of "Girl and Snake", the bad stepmother is not a bad thing in traditional scripts for no reason, or out of jealousy of homosexual beauty.
text claims that she is "to live a good life for her daughter", which relatively weakens the malice and struggles within women that traditional scripts prefer to focus or deliberately emphasize, and reduces the suggestiveness of women who have to fight for self-objection in order to get close to the nihilistic "model" female image standards set by patriarchal society, and converts gender pressure into property and economy pressure; in "Sydrip Tree", Xiang Gu's husband is directly encountered by the male protagonist who changes his heart, no longer the princess comes forward to prevent the "original wife" from meeting with tricks. Xiang Gu's bad sisters are far less mean than Cinderella's two sisters. For the sake of the safety of the heroine, they also take the initiative to share half of the treasure they have obtained to their sister.
"Chinese Story", Yiwei/Written by Xiao Aozi/Picture, Qianxun Neverend | Chenguang Publishing House, May 2021.
is also like Yiwei's "Chinese Story" compiled and published a few years ago. The traditional script of "Frog Son" begins with the mother's aging and fragility. She is worried that her son will not be able to find a wife because of poverty. She sighs and crying shows her weakness in solving problems, while Yiwei's version dilutes the mother's fragility and sorrow; in the story afterword of "Embroidered Shoes Falling in the Clouds", the author writes: "I don't like crystal shoes , even in fairy tales. I can't imagine that one day I will wear crystal shoes to dance, with a gorgeous and pleasing vision, and the feet are hard and cold... I love embroidered shoes, the soft and warm cloth, embroidered by the famous embroiderer, famous craftsman embroidery The plum blossom... Everyone wants to find the pair of shoes that fit, love and marriage are so reasonable. "
Yiwei here shows a very simple kindness to the same-sex, which is exactly the consideration brought to her by physical experience. She adds the dimension of women's perception of the world to the screening and retelling of traditional fairy tale texts, and then uses the active explanation after the fairy tale (if we regard the fairy tale and the "author's note" after each fairy tale as a complete text), transforming the "shoes" from the externalizer of the aesthetic ruler of patriarchal society into women's own pleasure and choice.
These subtle changes carry another emotion that women who were unable to master the pen and ink had for the same sex, which was completely different from what traditional scripts taught us. At the same time, it is also different from the conscious subversion of the deconstructed text with a distinct attitude towards the theme, which is somewhat of a pioneering experimental creation. In my opinion, this change of details and the gradual emergence of weak volumes marks the real roots of some new consciousnesses among the widest public. They are not what Scott calls "weapons of the weak."
Hundreds of years ago, the " Declaration of Human Rights " claimed that "natural human rights, freedom and equality". The glory of the declaration attracted many women to participate in this vigorous struggle of the French Revolution. When picking the fruits of victory, they found that although there was no problem with the slogan itself, the "people" that the slogan writers imagined and referred to at that time only refer to men (homme) and male citizens (citoyen). They of the other gender had to have another "second revolution". So we have the "Declaration of Feminism" written specifically for this, as a supplement that seems redundant but is actually very necessary to add to the former. It is in this sense that when we discuss the kind base of the classic fairy tale text today, it is more necessary to point out that the rust holes inside this base structure are more necessary. Again, gender is likely to be just one of these rusts.
As a researcher of language and literature, I believe and believe that people should be encouraged to use words. Especially for literary forms such as folk fairy tales that have a strong oral nature, any narrator and disseminator who have discovered these rusts can use their wisdom to make up for leaks (in a sense, it is also a "blood exchange") to the ancient building until a new classic text appears, so that the light of kindness can really come equally to all the characters in the Promiserable Land.
Reference:
1. (US) by Catherine Orenstein; translated by Yang Shuzhi. The evolution of a fairy tale in the past three hundred years [M]. Beijing: Life, Reading, New Knowledge Sanlian Bookstore, 2006.
2. (US) by James C. Scott. Weapons of the Weak [M]. Nanjing: Yilin Publishing House, 2011.
3. (US) by Jack Tsips. Fairy Tales as Myths as Fairy Tales [M]. Shanghai: Children's Publishing House, 2008.
4. (US) by Maria Tatar; translated by Lu Yujun. Shush! Grimm's Fairy Tales, The Secret of the Door - A Book Written for Adults [M]. Nanjing: Nanjing University Press, 2022.
5. Dundes A. Cinderella: a folklore casebook[M]. Garland Pub. 1982.
6. In the monograph "Cinderella and Her Sisters - The Envy and Jealous", which specializes in analyzing the jealousy theme of Cinderella's story, the commentators An Ulannov and Bari Ulannov also noticed the characteristics of the two sisters' early mental chaos. She believed that their problem was that they "cannot see" Cinderella and their complete self (that is, admitting that she has shortcomings in some aspects, rather than blaming Cinderella for this deficiency), until Cinderella peeled them oranges at the dance, and they were so happy and admiring the beautiful princess because she actually "sees" them. They also saw the glory of goodness through the virtues of strange princesses and were able to share the sweet fruits of goodness. So after they returned home, they "saw" Cinderella for the first time and shared this beautiful scene with her. They chatted with her like equal sisters for the first time (unfortunately, they were still too far from goodness at this time, so they closed the door to dialogue again and were engulfed by jealousy again) Ulanov A, Ulanov B. Cinderella Her Sisters: The Envied the Envying[J]. Daimon Verlag, 2012.
7. Ge Cuilin. Selected fairy tales of Ge Cuilin [M]. Changsha: Hunan Children's Publishing House, 1983.
8. Zheng Shuoren, Gu Naiqing. Chinese fairy tales [M]. Shanghai: Shanghai Literature and Art Publishing House, 1989.
9. Yiwei. Chinese Story [M]. Beijing: CITIC Publishing House, 2017.
Author/Wang Shuainai
Editor/Shen Chan Qingqingzi
Proofreading/Liu Baoqing
