316 Final Studying
Exploring the Enchantment: A Fairy Tale Quiz
Test your knowledge on the origins, meanings, and fun
- Answer questions related to notable figures like Diane Purkiss and Bruno Bettelheim.
- Explore the significance of characters in folklore and their impact on storytelling.
- Uncover the hidden meanings and psychological insights within fairy tales.
According to Diane Purkiss, one way to understand the origin of fairies is that
They come directly from Shakespeare's play A Midsummer Night's Dream.
Human imagination created them to fill in dark spaces, uncharted lands such as forests and mountains that had not been mapped.
Walt Disney restored the fairy to its true character, after years of the creature's being misunderstood as evil.
Zeus created fairies to taunt his wife, Hera.
In the ancient world child demons were believe to
Be the spirits of unborn or stillborn children.
Have unusual arms and wings.
Be all Greek in origin.
Usually took the form of "shape-shifters," appearing often as animals.
According to Purkiss what magical being comes out of the chimney with ash on his face--and was used by parents to get their children to behave well?
Santa Clause
Kubu
Hermes
Lamia
Children, according to ancient Greeks,
Were considered like monsters until they grew up.
Were encouraged not to grow up too fast.
Were revered as godlike, because of their innocence.
Were naturally cowardly.
According to Purkiss, what is the best way to understand the purpose of stories about ancient "fairies"?
They turned dark and tragic events into something light and hopeful.
They served as cautionary tales teaching young women how to behave.
They gave face to primordial fears related to mothering and birth.
They served to increase the prestige of those who told the tales, because a tale-teller had to be able to reference important occult knowledge.
According to Karen Rowe's the character Philomela is most significant because she
Is beautiful.
Represents the shift from myths to fairy tales.
Breaks an enforced silence by "speaking" in another mode.
Saves the other women and children from a cruel fate.
In Karen Rowe's article she discusses the character Scheherazde who is important because
She uses a domestic ability, storytelling, to save other women.
Her story is the earliest text to feature a strong female characer.
Because she demonstrates what is beautiful about Muslim fairy tales.
She confronts the brutality of rape in a serious and matter-of-fact fashion.
According to Karen Rowe, what are the origins of folk tales and fairy tales?
Many of them were invented by the Roman poet, Ovid.
Many of them were invented by the French author, Charles Perrault.
They were invented primarily by female tale-tellers who used them to transmit the secret truths of culture itself.
They are watered-down myths, minus the religion.
By reading Rowe's essay we can conclude that one of the original purposes of fairy tales was to
Present melancholy tales of betrayal, rape and maternal sorrow.
Provide light entertainment in a cruel world.
Shield children from the truth, by distracting them with magical stories.
Horrify and fighten children into submission to moral authority.
In Karen Rowe's essay "The Female Voice in Folklore and Fairy Tales," the idea of "double narration" refers to
The ability to communicate tales through woven images, as opposed to printed text.
A frame tale, told over many nights, but with never a clear ending.
A tale that has two levels by which it can be understood, one, the surface plot, the other being "silent matter."
A story originally invented and told by females that has been altered by a male editor.
In Bruno Bettelheim's chapter, "The Struggle for Meaning," in his book, The Uses of Enchantment, he claims that his primary purpose as a psychoanalyst is to
Reinterpret Freud's teachings for a modern audience.
Restore meaning to the lives of troubled children.
Present disturbed children with stories that will help them.
Listen, and let the children discover themselves through play.
In BB's chapter, BLAH BLAH BLAH, he claims that children identify with the hero of the fairy tale because
Children have natural innocence.
Children want to be more powerful than adults.
Children often suffer from either an Oedipus or an Electra complex.
Children want to be like successful characters.
In BB, BLAH BLAH BLAH, he claims that like psychoanalysis, fairy tales
Are about accepting the problematic nature of life without being defeated by it.
Have their own roots in universal, Jungian archetypes.
Are one of the few proven 'cures' for extreme forms of sibling rivalry.
Were popularized chiefly by Sigmund Freud.
BB, he claims that, after parents, the most significant influence on young children is
Television.
Society, or the super ego.
Literature.
Siblings.
BB, he recommends
That parents should not explain to a child why a fairy tale is so captivating to that child.
Sitting quietly with the child and carefull discussing the psychoanalytic purposes behind the stories.
Explaining to a child why a fairy tale is so captivating to that child.
Forcing the child to accept and read even the darkest fairy tales.
What did Tolkien have to say about children and their connection to fairy tales?
JM Barrie's Peter Pan and Andrew Lang's fairy tales provide the best keys to understanding the true nature of children and childhood.
Children always like fairy tales more, and understand them better, than adults.
To automatically assume there is a connection between children and fairy tales is an error of false sentiment.
Children require a dreamlike quality to their tales, so that what is real and what is fantastic is made clearly distinct.
The virture of magic in a fairy story is that is
Confirms to the reader what genre he or she is reading.
Serves to fulfill certain primordial human desires.
Can reverse the fortunes of even the weakest individual.
Can provide light relief from the story's moral seriousness.
The land of Faerie, where fairy tales happen, should be
Devoid of the darkest elements of human nature.
Place where tales about non-humanlike creatures can be indulged in.
A periloud realm.
Safe, and beautiful.
What does Tolkien mean by "Subcreation"?
That the creative elements in a story are not really new ideas so much as they are new combinations of ideas and things that already existed.
That the hidden or "other" world must be literlly under the known or real world.
That language is the key to unlocking the abstract qualities of primordial human dersires.
That the religious overtones or allegories in a story must be kept subtle.
Tolkien suggest that the word "faerie" might be best translated with the word
Fantasy.
Magic.
Desire.
Dream.
In Molly Bang's book, in a scene with a monster and a victim, the scene will have more tension
If the monster is situated beneath a horizontal line.
If the monster and victim are spaced far apart.
If the victim is pictured unsteadu by a vertical drop.
If the victim is very close to the monster, staring directly into its eyes.
Molly Bang claims that an equal sided red triangle (when resting flat on the ground) can give off the feeling of
A coze sense of depth.
Stability, with vitality and danger.
Instability.
Instability, with violence.
Molly Bang, if there is an image of a forest of tree trunks in which we can't see the tops of the trees
Our inability to see the tops results in a feeling of frustration and blockage.
The trees represent order and stability.
We feel as though their imagined tops are in a "good" etheral, hopeful space.
The trees seem very tall.
Molly Bang claims that a blobby pal purple object can give off the feeling of
Loneliness with a lack of direction.
A brooding anticipation.
A sense of emptiness.
Softness and stability.
Molly Bang, features a discussion about an illustration made by an eighth grader in which a girl gives two treasures to a sorcerer in order to free her brothers. Like the sorcerer and the bars of his prison, the girl is associated with her brothers by
Color.
The use of white space.
A jagged line that represents a sense of tension.
Matching diagonals.
The Graveyard Book opens with
A scene in which a toddler dreams that his family has been taken away, and that he is now free to roam.
A sort of courtroom scene in a graveyard, in which the resident ghosts debate the legality of adopting a human child.
A scene in which an entire family is murdered by a man with a knife, except for a toddler, who wanders away in the middle of the night.
A scene with a man, who is really a werewolf, debates hunting for a lost toddler.
The best way to understand Ch 5 "Danse Macabre" in GB in which there is a celebration called the Macabray is that
The dance celebrates the temporary union of the living and the dead.
Bod uses the occasion of the celebration to mock Silas.
The dance promises that death always conquers life.
Bod uses the occasion of the celebration to investigate who murdered his parents.
What is the "Freedom of the Graveyard"?
The ability to tell the future.
The ability to pass through solid objects and locked gates within the graveyard.
That ability to travel in time.
All of the above.
Among Alison Newall's concerns, articulated in her essay, "Schoolyard Songs of Montreal" is that some of the more disturbing rhymes might be understood
As rebellious.
As an important part of children's culture.
As enculturation.
As cute, normal or natural.
In AN essay, she claims that street rhymes
Exist solely because the poems have been preserved in anthologies.
Certainly advocate violence against women.
Are indicative of sick, troubled children.
Are not socially approved.
Most of the songs or rhymes featured in Alison Newall's essay
Use links to nursery rhymes or nonsense to deflect the "punch" of the violence.
Are unequivocal and intentional in their violent imagery.
Were actually first written by adults.
Have no resonance or meaning outside of Montreal.
Shel Silverstein's anthology of poems, Where the Sidewalk Ends, begins with an invitation to "come in" to many sorts of readers including
Fairies.
Liars.
Jack B. Nimble.
Sinners.
In SS's book, the character Sarah Cynthia Silvia Stout
Stood there grinning and would not pout.
Could not whisper, but only shout.
Would not take the garbage out.
Ate a whale and burped it out.
Choose best answer: according to the text in the poem, where does the sidewalk end?
It doesn't end. It goes completely around the world.
In a beautiful forest.
Halfway between Monday and Tuesday.
Before the street begins.
Choose best answer: in terms of the course material we have looked at this semester, Silverstein's poems might be described
As a perfect representation of the "fractured fairy tale" wherein the conventions of fairy tales are subverted with a "reforming intent."
As perhaps the text written by an adult that comes closest to meeting the actual desires and preoccupations of children--almost like street rhymes.
As almost certainly heavily inspired by the rhymes and drawings of Dr. Seuess.
As a direct response to Tolkien's theory that fantasy must take magic seriously.
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