Exam 2 Study Guide
Exam 2 Study Guide RUSS 0090: Russian Fairy Tales with Dr. Crane
Popular in Russian Fairy Tales
Popular in Russian
verified elite notetaker
One Day of Notes
verified elite notetaker
verified elite notetaker
RUSS 0090: Russian Fairy Tales with Dr. Crane
verified elite notetaker
This 6 page Study Guide was uploaded by Anne Amundson on Monday October 3, 2016. The Study Guide belongs to RUSS 0090: Russian Fairy Tales with Dr. Crane at University of Pittsburgh taught by Dr. Robert Chip Crane, Ekaterina Turta in Fall 2015. Since its upload, it has received 11 views. For similar materials see Russian Fairy Tales in Russian at University of Pittsburgh.
Reviews for Exam 2 Study Guide
Report this Material
What is Karma?
Karma is the currency of StudySoup.
You can buy or earn more Karma at anytime and redeem it for class notes, study guides, flashcards, and more!
Date Created: 10/03/16
Amundson 1 Russ0090 Exam Study Guide #2 1) Freud a) Psychoanalysis i) Human behavior is based on drives and desires, sometimes unconscious ii) Human subconscious is shaped by our pasts, namely the psychosexual stages b) Principles i) Id (1)Inherent drives and desires (2)Fully subconscious (under the water) (3)Pleasure Principle (a)Pushes for what we want ii) Superego (1)Internal rules and the desires to follow said rules (2)Partially unconscious (half under water) (3)Rules and desires can be external iii) Ego (1)How we perceive ourselves (2)The mediator between the id and the superego (3)Mostly conscious (above the water) (4)Reality Principle (a)Mediates between desires and rules c) Stages of development i) Oral (1)Infants (2)Driven purely by desires/id ii) Anal (1)Potty training age/toddlers (2)Ego develops through learning rules and control (3)Superego develops through understanding when to follow rules and when to follow inherent desires iii) Phallic (1)Young childhood (2)Discovery of female vs. male (3)Oedipal conflict develops (a)Possessiveness of the parent of the opposite sex eventually shifts into obedience and respect of both parents as the superego continues to develop iv) Latency (1)Period of waiting to become mature v) Genital Amundson 2 (1)Puberty/sexual maturity (2)Balance d) The stages as seen in fairy tales: i) Oral: feasting or other similar indulgence, typically early on in the story ii) Anal: character begins to recognize and control desires such as desire to marry, get rich, etc. iii) Phallic: mostly related to the Oedipal conflict, tension between parent and child, especially of the same sex (1)Stepmother stories especially iv) Latency: period of long sleep or travel. v) Genital: marriage, resolution, return balance 2) Bettelheim’s psychoanalytic story structures a) Argued that fairy tales help children understand their own development by experiencing it through the character’s eyes b) Two-Sibling Tales i) Brother/sister tales (1)Brother represents id, sister represents superego (2)Must work together to succeed (a)Image of integration/ego ii) Two brother tales (1)One is adventurous, one is domestic and safe (2)The good one must rescue the bad one, symbolizing that the contradictory sides of ourselves must not become separated c) Youngest child tales i) Youngest child of three is a simpleton, but is ultimately the most successful ii) Comforts young children that they, too, will mature d) Sleeping Beauty Tales i) The sleeping beauty develops through period of inactivity, or the latency period (1)Intended to comfort children going through the latency period e) Animal Brides and Grooms i) The beast is indicative of how the child views the opposite sex (1)The sorceress is never punished because the repression of sexuality as a child is healthy (2)The princess is active in the beast’s transformation Amundson 3 f) Oedipus conflict throughout these stories i) The father helps the beauty transfer her affections from him to the beast 3) Visual arts a) Orthodox icons i) Uncovered or revealed by the artists, not created ii) Specific guidelines existed about what the artist could paint iii) Intended to teach the viewer about the theology depicted (1)Often incorporated words iv) Not intended to portray icons themselves but instead the icon’s relationships with other icons, actions, or objects v) Internal perspective (1)The most important figures are the largest and face the viewer (a)Less important figures face the most important figure (2)The lighting comes from within the icon (3)Multiple actions may be portrayed within the same painting; time is from an internal perspective as well b) Lubok i) Woodblock printing ii) Carved, painted, and stamped onto paper iii) Easy to mass produce; example of popular culture (1)Intended for clarity, not beauty iv) Bold lines and bright colors v) Influenced by iconography in terms of perspective vi) Balanced composition—the images fill the paper vii) Variety of themes c) Palekh i) Black lacquered boxes ii) Painted with scenes from fairy tales iii) Stylistically influenced by iconography d) Folk art i) Embroidery (1)Diverse stylistically until the 19 century e) Artists: i) Viktor Vasnetsov (1)Trained in traditional painting, but grew up around religious iconography (2)Part of travelling school known as the Wanderers (a)Focused on realism (b)Painted every day lives Amundson 4 (3)Began incorporating fairy tales into his realistic style (4)Also architect (a)Member of “Russian Revival” (i) Created the popular Russian styles (ii)Influenced by medieval Byzantine, folk art and culture ii) Ivan Bilibin (1)Painter, illustrator, set designer (2)Merged traditional styles (a)Focus on borders influenced by embroidery (b)Thick black lines and simples colors influenced by lubok 4) Feminism a) Marcia K. Lieberman i) Historical/cultural approach (1)We prescribe to culture; it is not inherent (a)Culture deeply influences fairy tales ii) Acknowledged sexism in fairy tales (1)Many of the ones we read were collected by Victorian men. (a)The Blue Fairy Book, by Andrew Lang (2)Fairy tales teach following gender roles iii) Life is a beauty contest (1)Beauty= goodness, virtue, meekness, happiness (2)Ugly= evil, ambition (3)Boys win by being active in their happiness, girls win by being the most beautiful iv) Glamourizes suffering (1)Damsel in distress must suffer to be save by the prince (2)Reinforces a masochistic mindset and passivity in women v) Powerful women are not relatable to children (1)Good powerful women (fairy godmothers, etc.) are asexual and old (a)Usually minor characters (2)Bad powerful women (wicked stepmother, etc.) are evil vi) Women should be passive, men should be active vii) Marriage=wealth and social status (1)Concept of “happily ever after” (2)Reward for being good b) Marina Warner i) Interested in small history (1)New Historicism (a)Daily lives of people, common objects, etc. (2)Women and children as storytellers Amundson 5 (a)Stories by women, about women, for women (b)The stories belong to women ii) Anti-psychoanalysis (1)Believed that the tales were about real experiences, not psychology iii) Familial instability has historically led to animosity between women (1)Animosity is based in insecurity, not sexism (2)Mother vs. daughter-in-law (a)Who is the matriarch of the family (3)Stepmother vs. stepdaughter (a)Who gets the husband/father’s attention? (4)Potential wife vs. potential wife c) Gilbert and Gubar i) Combine feminism and psychoanalysis (1)More interested in individuality than Freud was (a)Not everyone develops in the same way (2)How women develop in a patriarchy (3)Women’s perspectives in fairy tales ii) Snow White: (1)The king and the mirror are the voices of the patriarchy (a)Control the women’s relationships (2)Different women are indicative of different stages of women’s development in a patriarchy (a)Snow White: passive/innocent youth (i) Free of the patriarchy, full of possibilities (b)Snow’s mother: transitional period (i) Pricking her finger represents sexual maturity, or succumbing to the patriarchy (c)Queen: active, narcissistic, consumed by the mirror (i) Her possibilities have been closed to her because she succumbed to the patriarchy (3)“Inevitable Cycle of Womanhood” (a)Snow is trying to repress the Queen to avoid succumbing to the patriarchy, the Queen is angry that Snow is not a victim of the patriarcy. (i) Neither can win—they’re caught in a cycle (b)When we ignore the cycle, it continues endlessly iii) The Male Gaze (1)Films are from a gendered perspective, historically male (2) Transparent enclosures—frames that limit how we view women Amundson 6 (a)make them passive objects (b)the mirror, Snow’s glass coffin, the mother’s window
Are you sure you want to buy this material for
You're already Subscribed!
Looks like you've already subscribed to StudySoup, you won't need to purchase another subscription to get this material. To access this material simply click 'View Full Document'