Abstract
The tale is not just a linear, sober narrative, but a clever combination of a diegesis of a certain type, a network of images and an implicit philosophy. This is where it differs from both the short story and the fable. As a literary genre, it is less of a « simple form » (André Jolles) and more of a « simplex form » (Alain Berthoz). In this context, how to address the question of the simple style in the literary genre of the fairy tale – a genre which leans towards complexity and sophistication, more than simplicity? We will suggest that the literary ideal of simplicity advocated by Perrault, best exemplified in The Fairies, is constructed against the gallant aesthetic which was the source of French fairy tales.References
L’âge d’or du conte de fées : De la comédie à la critique (1690-1709). La Fée Bienfaisante et autres comedies (2007). Éd. Nathalie Rizzoni. Entretiens sur les contes de fées et autres textes critiques. Éd. Julie Boch. Paris : Champion.
AULNOY, MARIE-CATHERINE (2004). Contes des fées. Éd. Nadine Jasmin. Paris : Champion.
BASILE, GIAMBATTISTA (2002). Le Conte des contes ou Le divertissement des petits enfants. Trad. et éd. Françoise Decroisette. Strasbourg : Circé.
BEN HASSEN, BOCHRA & CHARNAY, THIERRY (1997). Contes merveilleux de Tunisie. Paris : Maisonneuve et Larose.
BERLIOZ, JACQUES & POLO DE BEAULIEU, MARIE-ANNE (2008). L’irruption de la matière orientale dans la littérature exemplaire, XIIIe-XIVe siècle : de la description à la quantification. In Frédéric Bauden, Aboubakr Chraïbi, Antonella Ghersetti (éd.), Le répertoire narratif arabe médiéval, transmission et ouverture [Texte imprimé] : actes de Colloque international (Liège, 15-17 septembre 2005) (pp. 161-172). Genève : Droz.
BERTHOZ, ALAIN (2009). La Simplexité. Paris : Odile Jacob.
BREMOND, CLAUDE (1998). L’exemplum médiéval est-il un genre littéraire ? In Jacques Berlioz & Marie-Anne Polo de Beaulieu (dir.), Les Exempla médiévaux : Nouvelles perspectives (pp. 21-42). Paris : Champion.
CORRADI, FEDERICO (2013). L’illustration ésopique en Italie au XVIe siècle : les fabliers de Faërne et de Verdizzotti. Le Fablier. Revue des Amis de Jean de La Fontaine, no 24, La Fontaine, la fable et l’image I, 73-82.
CURTIUS, ERNST (1986). La littérature européenne et le Moyen Âge latin. Trad. Jean Bréjoux. Paris : Agora.
EICHEL-LOJKINE, PATRICIA (2013). Contes en réseaux. L’émergence des contes sur la scène littéraire européenne. Genève : Droz.
FLAHAULT, FRANÇOIS (2001). La Pensée des contes. Paris : Anthropos.
FOUCAULT, MICHEL (2008). L’Archéologie du savoir. Paris : Gallimard.
HEIDMANN, UTE (2011). Expérimentation générique et dialogisme intertextuel : Perrault, La Fontaine, Straparola, Basile. Féeries, no 8, Études sur le conte merveilleux (XVIe-XIXe siècles), 45-69.
HEIDMANN, UTE ET ADAM JEAN-MICHEL (2010). Textualité et intertextualité des contes. Perrault, Apulée, La Fontaine, Lhéritier. Paris : Garnier.
JOLLES, ANDRÉ (1970). Formes simples. Trad. Antoine Marie Buguet. Paris : Seuil.
LA FONTAINE, JEAN DE (1990). Les amours de Psyché et de Cupidon. Éd. Françoise Charpentier. Paris : Flammarion.
LÜTHI, MAX (1986). The European Folktale. Form and Nature. Trad. John D. Niles. Bloomington & Indianapolis : Indiana University Press.
MARTIN, SERGE (1997). Les Contes à l’école. Paris : Bertrand-Lacoste.
PAULME, DENISE (1976). La Mère dévorante. Essai sur la morphologie des contes africains. Paris : Gallimard.
PERRAULT, CHARLES (1991). Contes. Éd. Gilbert Rouger. Paris : Garnier.
PERRAULT, CHARLES (1692) Parallèle des Anciens et des Modernes, III, La Poésie Paris, Veuve Coignard. <http://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10447865_00005.html>.
PERRAULT, CHARLES (1989). Contes. Éd. Marc Soriano. Paris : Flammarion.
ROBERTS, WARREN EVERETT (1994). The Tale of the Kind and Unkind Girls : AA-TT 480 and related titles. Detroit : Wayne State University Press.
RÓHEIM, GÉZA (1992). Dame Holle : Dream and Folktale (Grimm No 24). In Géza Róheim, Fire in the Dragon and Other Psychoanalytic Essays on Folklore (pp. 181-192). Éd. Alan Dundes. Princeton : Princeton University Press.
SCHMITT, JEAN-CLAUDE (dir.) (1985). Prêcher d’exemple. Récits de prédicateurs du Moyen-Âge. Paris : Stock.
SERMAIN, JEAN-PAUL (2010a). Fables, contes, nouvelles. Liaisons poétiques. Féeries, 7, 9-19.
SERMAIN, JEAN-PAUL (2010b). Ce que les contes doivent aux fées. Liaisons anthropologiques », Féeries, 7, 193-201.
SIMONSEN, MICHÈLE (1992). Perrault, Contes. Paris : PUF.
STRAPAROLA, GIANFRANCESCO (1585). Les nuictz facetieuses. Trad. Pierre de Larivey. Paris : Abel L’Angelier.
STRAPAROLA, GIANFRANCESCO (1857). Les Facétieuses nuits. Trad. Jean Louveau et Pierre de Larivey. Paris : P. Jannet, 2 vol. (Bibliothèque elzévirienne) (Gallica, en ligne : <http://gallica.bnf.fr/ark:/12148/bpt6k277945>; <http://gallica.bnf.fr/ark:/12148/bpt6k27795h)>.
STRAPAROLA, GIANFRANCESCO (1999). Les Nuits facétieuses. Trad. rev. par Joël Gayraud. Paris : J. Corti.
THIRARD, MARIE-AGNÈS (2004). Le renouveau à l’école à l’heure de la mondialisation. In J. Pierrot (dir.), Les métamorphoses du conte. Bruxelles : Peter Lang.
TOLAN, JOHN VICTOR (1993). Petrus Alfonsi and his medieval readers. Gainesville : University Press of Florida.
VELAY-VALLANTIN, CATHERINE (1992). L’Histoire des contes. Paris : Fayard.
VIALA, ALAIN (2008). La France galante. Paris : PUF.
VIALA, ALAIN (2009). « Si Peau d’Âne m’était conté… » ou les frontières de la galanterie. Littératures classiques, 69, 79-88.
WETZEL, HERMANN H. (1981). Éléments socio-historiques d’un genre littéraire : l’histoire de la nouvelle jusqu’à Cervantès. In Lionello Sozzi (dir.), La Nouvelle française de la Renaissance (pp. 41-80). Genève – Paris : Slatkine.
License
- The Author hereby warrants that he/she is the owner of all the copyright and other intellectual property rights in the Work and that, within the scope of the present Agreement, the paper does not infringe the legal rights of another person.The owner of the copyright work also warrants that he/she is the sole and original creator thereof and that is not bound by any legal constraints in regard to the use or sale of the work.
- The Author grants the Purchaser non-exclusive and free of charge license to unlimited use worldwide over an unspecified period of time in the following areas of exploitation:
2.1. production of multiple copies of the Work produced according to the specific application of a given technology, including printing, reproduction of graphics through mechanical or electrical means (reprography) and digital technology;
2.2. marketing authorisation, loan or lease of the original or copies thereof;
2.3. public performance, public performance in the broadcast, video screening, media enhancements as well as broadcasting and rebroadcasting, made available to the public in such a way that members of the public may access the Work from a place and at a time individually chosen by them;
2.4. inclusion of the Work into a collective work (i.e. with a number of contributions);
2.5. inclusion of the Work in the electronic version to be offered on an electronic platform, or any other conceivable introduction of the Work in its electronic version to the Internet;
2.6. dissemination of electronic versions of the Work in its electronic version online, in a collective work or independently;
2.7. making the Work in the electronic version available to the public in such a way that members of the public may access the Work from a place and at a time individually chosen by them, in particular by making it accessible via the Internet, Intranet, Extranet;
2.8. making the Work available according to appropriate license pattern Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) as well as another language version of this license or any later version published by Creative Commons. - The Author grants the Adam Mickiewicz University in Poznan permission to:
3.1. reproduce a single copy (print or download) and royalty-free use and disposal of rights to compilations of the Work and these compilations.
3.2. send metadata files related to the Work, including to commercial and non-commercial journal-indexing databases. - The Author declares that, on the basis of the license granted in the present Agreement, the Purchaser is entitled and obliged to allow third parties to obtain further licenses (sublicenses) to the Work and to other materials, including derivatives thereof or compilations made based on or including the Work, whereas the provisions of such sub-licenses will be the same as with the attributed license pattern Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)or another language version of this license, or any later version of this license published by Creative Commons. Thereby, the Author entitles all interested parties to use the work, for non-commercial purposes only, under the following conditions:
4.1. acknowledgment of authorship, i.e. observing the obligation to provide, along with the distributed work, information about the author, title, source (link to the original Work, DOI) and of the license itself.
4.2. the derivatives of the Work are subject to the same conditions, i.e. they may be published only based on a licence which would be identical to the one granting access to the original Work. - The University of Adam Mickiewicz in Poznań is obliged to
5.1. make the Work available to the public in such a way that members of the public may access the Work from a place and at a time individually chosen by them, without any technological constraints;
5.2. appropriately inform members of the public to whom the Work is to be made available about sublicenses in such a way as to ensure that all parties are properly informed (appropriate informing messages).
Other provisions
- The University of Adam Mickiewicz in Poznań hereby preserves the copyright to the journal as a whole (layout/stylesheet, graphics, cover design, logo etc.)