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Building on the previous chapters, Chapter 5 goes beyond individual case studies. It uses reader response theory to analyze the nature of genre-related expectations generated by fairytale fantasy works. It is my hope that this study will be of interest to several academic audiences: On the large scale, this work is meant to offer an innovative lens through which to consider the most recent changes within the genre of fantasy fiction. Grounded in cross-cultural and multilingual analyses, my research suggests a new direction for fantasy criticism that moves toward a more inclusive international canon of fantasy fiction.

This dissertation is devoted to strengthening the study of fantasy literature by investigating an, as of yet, underexplored phenomenon. By examining the hybrid generic features of the fairytale 13 fantasy, my work opens up new structural parallels along with cultural and educational dimensions that previously have not been analyzed in the context of fantasy fiction. This research contributes to several key debates in fantasy studies, including the historical evolution of the fantasy genre and its generic versatility. In a broader context, my work aims to reinforce a more profound understanding of the influence of the fairy tale genre on contemporary German and Russian fantasy narratives.

Despite the popularity of supernatural fiction and film, despite the progress achieved by dedicated fantasy scholars, the long-lasting mimetic bias remains a dragon to be slain. My analyses of Reckless and Yellow Metal Key shall serve as proof of the extent to which imaginary worlds enable critical reflection. Fairytale fantasy stories are driven by the necessity to connect the contemporary with the past, the new with the familiar.

As a result, one might argue that fairytale fantasy fiction is, in fact, anti-escapist: The Origins of the Fairytale Fantasy It has not been until the twentieth century that the genre of fantasy fiction became a reoccurring subject of scholarly research. Because the topic is still relatively new and many areas remain to be explored, the terminology in which fantasy fiction is discussed is often vague.

Practically every other theoretical study redefines the basic terms, reinforces new definitions, and suggests a new canon. This chapter establishes the relevant terminology and methodological approaches that will help navigate the subsequent analyses in the following chapters. In addition, the following sections provide an overview of the history of Anglophone fantasy fiction and its scholarship. Although this dissertation deals predominantly with German and Russian primary sources, it is my belief that the discussion will not be comprehensive without a commentary on the genre on an international scale.

The aim of this chapter is to show how the genre of fantasy fiction has evolved over time to eventually produce the subgenre of fairytale fantasy. Defining the Supernatural Fantasy is part of an extensive framework of supernatural fiction. I understand supernatural fiction or supernatural narrative in accordance with Gary K.

Supernatural fiction is 15 the broadest category I use to describe literary works with non-mimetic narrative elements; it is meant as an antonym of realistic i. That is, debatably, not entirely correct. The term gained critical acclaim due to Robert A. In the early research into fantasy fiction, scholars, including Colin N.

Manlove , Marshall Tymn and Roger Schlobin , regularly defined fantasy as a genre that deals with impossible phenomena. Manlove and Schlobin treat supernatural and impossible as synonyms. Instead, I differentiate between mimetic and non-mimetic fiction depending on whether or not a narrative describes events that violate natural laws. My goal here is to suggest a vocabulary that is best suited to navigate the arguments developed throughout this work. First, fantastic might be used as an adjective to describe wondrous events. Last but not least, the fantastic i.

A Structural Approach to a Literary Genre. Tzvetan Todorov — was among the first to deliver a comprehensive analysis of rhetorical strategies associated with a particular kind of non-mimetic fiction. In The Fantastic , Todorov uses the structuralist approach to define and describe the genre of the fantastic. By contrasting the uncanny with the marvelous, the philosopher describes multiple kinds of supernatural narratives, drawing attention to the ways in which language is used to create the fantastic effect.

Marvelous narratives, on the other 11 For a discussion of the concept of consensus reality and the historical opposition between mimetic and non-mimetic fiction see Hume, Kathryn, Fantasy and Mimesis, Put differently, the source of the unnaturalness of an uncanny narrative is emotion, whereas that of a marvelous narrative is an event. In uncanny narratives, the fantastic effect is produced indirectly, for example through metaphors, allegories, or intertextual references. In marvelous narratives, on the other hand, the fantastic effect arises from visible transgressions of reality, such as, for example, time travel, immortality, or anthropomorphic animal helpers.

Although there is no single definition of the fantastic that stands out as absolute and final, almost all critics agree that it incorporates something into the narrative that may strike readers as supernatural or otherworldly, inexplicable or impossible, something that unsettles readers and makes them hesitate or doubt the nature of what they are reading 2. In a truly fantastic narrative the reader can never be sure about the reality of the supernatural event. Likewise, the source of the unnaturalness is unclear: As far as fantasy and fairy stories are concerned, the violation of natural laws i.

Depending on the imaginary world, magic can be omnipotent or restricted by rules, inborn or learned, accessible to many or few. It is important to note that magical and supernatural are not treated as synonyms in this study. The supernatural shall be used as a broad descriptive category for non-mimetic events that encompasses not only magical elements but also various unexplainable, uncanny, strange, and mysterious phenomena.

Clute, and Grant viii. In literary studies, fantasy has been considered a genre, a mode of storytelling, a style, and a narrative technique. Bodmer — , and Lord Henry H. Over time the number of scholars who advocated in favor of supernatural fiction grew. They followed in the footsteps of Sir Walter Scott — and Edgar Allan Poe — who were among the first to offer a critical vocabulary to study non-mimetic fiction. MacDonald insists on the imperative role of a consistent moral order in works of fantasy fiction: The laws of the spirit of man must hold, alike in this world and in any world he may invent.

It were no offence to suppose a world in which everything repelled instead of attracted the things around it; it would be wicked to write a tale representing a man it called good as always doing bad things, or a man it called bad as always doing good things: In physical things a man may invent; in moral things he must obey — and take their laws with him into his invented world as well The Fantastic Imagination 2. The author of Phantastes and Lilith , MacDonald was a pioneer of the literary genre that eventually became recognized as fantasy. He greatly impacted the subsequent cohort of twentieth century European and North American fantasy writers and scholars.

Although George MacDonald is said to have authored the first modern fantasy narrative, it is the British writer, linguist, and poet J. Tolkien — , who produced the novels i. The Hobbit, ; The Lord of the Rings, that granted fantasy fiction international acclaim. Tolkien was a trained medievalist, who believed that languages are embedded in mythologies. Tolkien 21 discusses the fairy-story i. In other words, the fairy-story depends on being perceived as credible.

Subcreation, Tolkien insists, is a process more powerful than ordinary imagination because it addresses a number of essential psychological needs: The fiction and scholarship produced by J. In fact, even something as rudimentary as a definition stirs up controversy. No need to say that overextended definitions have little use as they juxtapose too many unrelated works. Although vague descriptions of fantasy are clearly misleading, one would be hard-pressed to find a precise definition that retains universal acceptance.

To illustrate the range of viewpoints, below are examples of existing definitions of fantasy. The literary scholar Colin N. Manlove emphasizes that fantasy narratives are characterized by an inclination toward nostalgia. Irwin is among the first to define fantasy by its rhetorical apparatus. Attebery emphasizes that non-mimetic fiction can be useful in revising canonical assumptions about literature. The fantasy scholar Kathryn Hume suggests a broad definition of fantasy that may include nearly any work ranging from Homer to Kafka.

She considers both fantasy and mimesis equally important impulses. Rhetorics of Fantasy xiii. Surely, some works are more likely to be included, but overall the range is too extensive. In the words of the fairy tale scholar Jack Zipes: Put differently, fantasy literature tends to raise issues that are equally relevant to diverse age groups.

Science fiction as a genre tends to demand explanation and reasoning cf. Rhetorics of Fantasy xiv. To rephrase, science fiction needs to prove the validity of its creations. Fantasy, by comparison, draws inspiration from purely imaginative concepts that do not require justification or explanation; fantasy presents its supernatural events as facts that are not meant to be plausible. In addition, as remarked by Colin Manlove: Last but not least, the element of wonder is at the heart of typical fantasy narratives.

Science fiction stories, by way of contrast, are driven by a desire for discovery and technological curiosity. Fantasy fiction also needs to be differentiated from genres such as horror and ghost story. According to Manlove, the main difference is that in horror and ghost stories the supernatural remains estranged, foreign, and frightening, whereas in fantasy the readers as well as the characters gradually familiarize themselves with the uncanny, potentially even embracing it as a worthy aspect of life cf.

Fantasy, by way of contrast, usually requires the evil to pose a moral dilemma cf. As with horror and ghost narratives, fantasy may feature beasts and daunting characters, but their functions go beyond causing fright; instead, they bring depth and complexity to the story. Defining Fantasy Fiction In the introduction to The Encyclopedia of Fantasy, John Clute and John Grant propose a definition of the genre that arises from the opposition between fantasy and realism. In other words, there were no grounds for discrimination between fantasy and realistic fiction. Building on the work of J.

Tolkien, John Clute, and John Grant, I view fantasy fiction as an independent literary genre with a distinct set of thematic and structural features. For the purpose of this study, the following definition will be considered: While other fictions might feature supernatural elements, these devices are not presented as interrelated components of a specific alternative world order; instead, these elements are meant to achieve specific narrative goals e.

In fantasy 18 Even when treated as a genre, fantasy often implies not only fiction, but film as well. While the cinematic aspect of the genre goes beyond the scope of this dissertation, it presents extensive opportunities for future investigation. This applies in equal measure to fantasy film in general and fairytale fantasy film in particular. Fantasy fiction relies on the ontological contrast between the imaginary narrative space and our consensus reality. As a result, fantasy narratives elicit reoccurring comparison between the Primary World and the Secondary World.

Fairy tales do not encourage readers to accept the fictional reality of the imaginary universe. Ancient myths, by way of contrast do not suggest a separation between the Primary and the Secondary World. Instead, the supernatural is subjected to religious belief: These examples demonstrate how the proposed working definition separates fantasy from other forms of supernatural fiction and stresses its potency as an autonomous literary genre. The Modes of Fantasy Fiction There are numerous ways to categorize different works of fantasy fiction.

For the sake of my argument, I shall focus on two. In Rhetorics of Fantasy, the British historian Farah Mendlesohn divides fantasy fiction into four modes: The division is predetermined by the type of secondary world that is featured in each given fantasy novel. Mendlesohn points out that the classification is based on how the supernatural enters the fictional world cf. A portal-quest fantasy is a story in which the protagonist enters the secondary world through some kind of portal.

The separation between the worlds is crucial to this mode: The secondary world gradually reveals its secrets in the course of a portal-quest fantasy for both the protagonist and the reader to explore. The second mode suggested by Mendlesohn is immersive fantasy; it can be considered in opposition with the portal-quest.

Immersive fantasy is set entirely in the secondary world that is unrelated to our consensus reality. For the protagonists of an immersive fantasy their world is the only existing reality. The world is described but not explained: Immersive fantasy domesticates the secondary world: Mendlesohn points out that immersive fantasies watch the world break apart, as opposed to portal-quest fantasies that tell the story of creation.

The following 29 works can be attributed to immersive fantasy: A Game of Thrones by George R. In the third mode, the intrusive fantasy, the supernatural is portrayed as a chaotic element that suddenly appears and disturbs the world.

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Intrusive fantasies create an atmosphere that is based on gradually escalating tension. The fourth mode suggested by Farah Mendlesohn is liminal fantasy. Liminal fantasies are stories that feel like fantasies, but essentially are not; such narratives manage to construct a wondrous atmosphere while avoiding supernatural plot devices. Liminal fantasy often seems like it is set in our consensus reality, and yet an underlying perception tells the reader that something is off. In other words, it is not the supernatural itself, but the anticipation of it that makes this mode fantasy.

Liminal fantasy depends on hesitation: The parallels between the categories are discussed in more detail in the fourth chapter of this work. Each mode suggests a unique set of rhetorical strategies that situate the supernatural within the imaginary universe. Furthermore, each mode implies a different type of interaction between the secondary world and our consensus reality.

Thus, in portal-quest fantasy, the secondary world has one or several entry points i. In immersive fantasy, the secondary world is the only existing world, and, therefore, the only reality known to the characters. Intrusive fantasy is usually set in our world that is invaded by the secondary world; the secondary world can be visualized as a wave or a virus that gradually invades the mundane world.

In liminal fantasy, the relation between our world and the secondary world is undefined; chaotic glimpses of the secondary world unsystematically appear throughout the narrative, but the reader does not have enough evidence to develop a clear understanding. Farah Mendlesohn notes that the four modes are not meant as rigid structures.

There are numerous works of fantasy fiction that combine the characteristics of different modes. Yet, this framework is instrumental in establishing patters among otherwise hard to distinguish fantasy narratives. He views genres as social constructs: From that one might conclude that genres evolved under the influence of demand, to match the interests of particular social classes or communities. In Metaphors of Genre , Fishelov discusses the role of four influential metaphors used in contemporary genre theory: Fishelov argues that the respective analogies influence our perception and understanding of texts.

Amongst the four metaphors suggested by Fishelov, correlating genres with social institutions is most appropriate for this study. As with institutions, genres should not be seen as rigid entities; they change over time, transforming in order to stay relevant. In a complimentary way, the reader demands compliance with the established generic conventions so that he can integrate the new text, but at the same time he expects the writer to manipulate these established conventions so that the new text is more than a tedious repetition of the generic tradition Since both, social institutions and literary genres are guided by conventions, Fishelov claims that genres can be defined by the same categories as institutions.

In the same way, Fishelov argues, literary genres have their unique goals, means to realize these goals, and conventional norms or generic roles that can be used to differentiate genres from one another.

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The widely-used classification into subgenres of fantasy fiction, by way of contrast, does not have a single author. Rather, individual categories developed over time under the influence of numerous writers, critics, and, not least, marketing strategies. Fantasy subgenres congregate on the basis of shared themes, settings, narrative tropes, and character archetypes.

The trend resulted in the appearance of the first subgenres of fantasy fiction, namely epic, heroic, and sword and sorcery fantasy. Penzoldt defines the weird tale by its typical characters, such as ghosts, vampires, and werewolves. The characters, too, are likely to be familiar: Certainly, not every work of epic fantasy is genre fantasy; nevertheless, many have been found to exhibit formulaic generic patterns. Fantasy has been evolving, transforming, and branching into new subgenres, ultimately surpassing its original limitations. New character archetypes, alternative settings, and unexpected themes generated new subgenres that have little in common with traditional fantasy.

Most fantasylands can be compared to one-dimensional decorations that lack any meaningful substance. Low fantasy, by way of contrast is a degrative term for all the other subgenres that diverge from the standard. One might argue that fantasy fiction has been gradually retreating from nostalgic categories toward a more complex exploration of points of view, motives, and grey areas.

In my opinion, the most interesting trend has been the switch from a medieval to an industrial setting: The impossible, the uncanny, and the strange entered the shared universe of the reader. Here, one can easily draw parallels between the subgenres and the modes of fantasy fiction: The Hybrid Nature of the Fairytale Fantasy David Fishelov proposes that particular genres have particular goals; these goals are met differently depending on the genre.

The process of meeting goals throughout the narrative is influenced by implicit conventions associated with individual genres. Each subgenre of fantasy fiction has its individual goals, means, and roles. This dissertation focuses on the fairytale fantasy. Zahorski and Robert H. Boyer in the collection Fantasists on Fantasy , is not always used in a negative context. Fairytale fantasy combines a fantasy fiction narrative framework with plot elements from classic fairy tales and folktale. First, the twice-told tale. An exemplary twice-told tale is David H. Many fairytale fantasies are retellings of already existing fairy stories and, thus, fall into the twice-told tale category.

Clute and Grant also introduce the term revisionist fantasy. Revisionist fantasies are essentially twice-told tales but with a stronger critical agenda; such narratives borrow scenarios from older supernatural works with the intent to reinterpret and reevaluate i. Revisionist fantasy belongs to the larger framework 36 of fictional revisionism that encompasses not only supernatural fiction but literatures of all genres. As will be demonstrated in the subsequent chapters, the ability to clearly separate works of fairytale fantasy from other supernatural narratives is instrumental in understanding the phenomenon and its role in the popularity of revisionist literature.

Works can be and often are twice-told tales and revisionist fantasy simultaneously.

Man of Steel , a reconstruction of the events surrounding Superman from the perspective of his nemesis Lex Luthor. Neither twice-told tales nor revisionist fantasy have to be related to fairy tales. Such works can be reinterpretations of ancient myths, post-WWII comics, national legends, and even recent work of supernatural fiction. Revisionism is not in any way limited to the fairytale fantasy genre.

But it does, or so I have argued, take on a unique form in fairytale fantasy works. Instead, I focus on a distinctive form of revisionism that appears in fairytale fantasy texts, enabled by their structural hybridity. A literary work must demonstrate substantial use of folklore-inspired elements to qualify as fairytale fantasy.

There are, however, studies that observe revisionist tendencies in folk- and fairy tales. To name only a few: Building on earlier research, this dissertation seeks to explore national fairy tale traditions with the aim to establish an innovative interpretive framework for fairytale fantasy works. Among other things, I argue that fairytale fantasy narratives take advantage of the impact classic fairy tales have on many readers from an early age. It should be noted, however, that this form of fairytale fantasy is not the focus of this dissertation.

Fantasy fiction is related to the fairy tale in many ways since the genres share similar historical origins. The fairytale fantasy is the most recent intersection between fairy tale and fantasy. However, it should not be considered merely a deformation of either of the larger categories. This dissertation aims to demonstrate a variety of features that set the fairytale fantasy apart from its generic predecessors. Fairytale fantasies uses the dynamic narrative features of the fantasy genre to reimagine classic fairy tale scenarios in ways that resonate with contemporary readers more even than the original tales.

Utilizing recognizable settings and plot lines, the fairytale fantasy provides formidable ground for revision: The fairytale fantasy is a literary phenomenon that blends thematic, structural, and narrative elements from fairy tale and fantasy fiction, exploring familiar tropes in unexpected and often provocative ways. Fairytale fantasy has been gaining international acclaim during the last decade. As a genre, it includes not only fiction but film as well. In fact, some of the most popular fairytale fantasies are film adaptations e. Yet, due to limited space this 32 The topic is discussed in more detail in the next chapter.

Folktales and fairy tale are known to have provided a foundation for the canon in many literarily traditions, including the German and Russian. The fact that most tales are embedded in the national tradition in which they originated influences our perception: Cornelia Funke claims that fairy tales are determined by their origins: According to Funke, we can only fully understand tales through the lens of their respective cultures.

Jack Zipes holds a similar view: To illustrate, an Anglophone fairytale fantasy that draws inspiration from a German fairy tale should be considered simultaneously within the Anglophone fantasy tradition and the Germanic fairy tale tradition. Only then, I argue, can the works be thoroughly investigated.

Germanic and Russian literatures have some of the strongest folk- and fairy tale traditions in the world. In addition, a juxtaposition of works which draw from different mythological and linguistic backgrounds is intended to demonstrate that the means of understanding the fairytale fantasy introduced in this study are not limited to specific national literatures, but might be extended to various traditions. Framing the Fairytale Fantasy within the Fairy Tale Context A comprehensive interpretation of individual fairytale fantasy works requires an understanding of the components that constitute the genre.

Now that fantasy fiction has been reviewed, the following section proceeds by considering some relevant aspects of the fairy tale genre. The fact that folktales were not recorded systematically until the seventeenth century does not mean they did not exist long before that. From Enchanted Forests to the Modern World, According to the folklorist Jack Haney, the folktale must comply with three conditions: The oral transmission is what distinguishes the folktale from the literary fairy tale.

At the time when literary fairy tales began to appear, they were likely to be written recordings of traditional folktales. The influence of oral folklore on the development of literary fairy tales is remarkably strong: Oral folklore […] was shaped in the early Christian era through the repeated transmission of tales that were written down and retold and mutually influenced one another.

There is no evidence that a […] literary fairy tale tradition existed in Europe before the Medieval period. Izbrannyye mastera Russian Fairy Tale: Selected Masters , Although a literary fairy tale is likely to bear a strong resemblance to its oral prototype, it is ultimately the product of a singular or a group of authors, who collected the oral story and reproduced it in writing. Over time literary fairy tales grew apart from their oral predecessors, gradually forming an autonomous genre.

Initially, fairy tales were written by adults and for adults; the genre became associated with children only much later. The fairy tale went through a number of transformations. At first, fairy tales were performed as anecdotes by the aristocrats as a way of displaying skills in languages and manners; later, fairy tales took the shape of extensive semi-novels; at last, they became short stories, as we know them today. Some of the influential figures associated with the rise of the European fairy tale tradition are Giovanni Straparola — , Giambattista Basile — , Charles Perrault — , and Jacob — and Wilhelm — Grimm.

For that reason, I shall avoid an extended discussion unless it is deemed necessary by the argument of this dissertation. Wondertales are typically set in a family home where the father or any other figure of authority poses a problem that ultimately determines the trajectory of the narrative. The problem can be specific or general. To that Jack Haney remarks: The cure is the same: All this requires a hero. Jack Zipes , on the other hand, apply the term exclusively to oral tales.

Due to its supernatural orientation, the wondertale has been noted to have the most in common with fantasy fiction. It is even more challenging to find research not only across genres but also across different national literatures. Apart from this, there is a wide variety of folk- and fairy tale scholarship in North America and Europe. Below, I limit my account to a brief survey of the most popular approaches relevant to this study.

In the same way North American research is presented in this chapter, Germanic and Russian scholarship shall be discussed in Chapters 2 and 4 respectively. These frameworks have proven to be instrumental to the formal study of folktales and fairy tales. My dissertation combines the structuralist approach with the historicist theoretical frameworks in order to expose the generic succession between classic fairy tales and fairytale fantasy works.

I intend to show that the fairytale fantasy is not an isolated phenomenon; 43 Here, I refer to Russian formalism, the school of literary criticism that examines narrative structures through the lens of their functional roles in texts. The structuralist approach to fairy tales gained popularity in the s, primarily due to the efforts of Vladimir Propp and other Russian formalists. He developed a typology that aimed to define and interpret Russian folktales in terms of their shared structures. He later classifies tales according to their characteristics: Among other things, the method shows that different characters can perform the same or similar functions in the story.

Vladimir Propp argues that a number of fixed functions i. These functions include but are not limited to trickery, mediation, departure, guidance, and punishment. Characters, as opposed to functions, are interchangeable; their main purpose is to perform actions towards the protagonist that will advance the plot. The research led Propp to the conclusion that wondertales tend to be relatively predictable. Russian formalists significantly advanced the formal understanding of folk- and fairy tales. It has been first translated into English in and published under the title Morphology of the Folktale.

While doing so in distinct ways, both scholars argue for the importance of folk- and fairy tales as socio-historical testimonies. This work employs the critical theories that have been summarized above in order to illuminate various aspects of the fairytale fantasy and fairy tale dynamic. Among other things, I propose that our perception of fairytale fantasy narratives is influenced by previous experiences of reading classic fairy tales.

At the heart of my argument is the hypothesis that by revising fairy tale tropes, fairytale fantasy challenges readers to reinterpret and reevaluate traditional tales. As I will show in the following chapters, this dynamic generates a number of consequences, including, among other things, innovative applications of fairy tale and fairytale fantasy works in educational settings.

Relating Fairytale Fantasy to Fairy Tale through Language Some of the popular themes in folk- and fairy tale scholarship are: Most critics acknowledge the vital 47 role fairy tales play in European and North American history. Along with myths, fairy tales demonstrate how influential supernatural narratives can be.

As metaphorical tales were told and circulated thousands of years before print, they served social functions, were retained through memory, and were passed on from generation to generation. When oral wonder tales originated, it is difficult to say, but there are traces, signs, patterns, and plots in early ancient manuscripts that reveal how all people came to know the world through metaphor, ritual, custom, and transformation.

As Zipes points out, for thousands of years, stories have been told about miraculous transformations, rebirth, and the triumph of good forces. Moreover, these scenarios continue to captivate readers even today. Scholars have suggested different explanations for the popularity of fairy tales; many e. Robinson, ; Tatar, believe that it is the unique language associated with the fairy tale tradition that is the key to its power.

The language of fairy tales has a long history of scholarly exploration. To paraphrase the point: Our attachment to fairy tales develops throughout childhood and adolescence. Maria Tatar emphasizes the role of fairy-tale language in teaching children to have a more meaningful perception of the world. The words with which [the fairy tale] is told, in the end, furnish an escape into the opportunity offered by access to language. One could argue that the rich vocabulary of the fairy tale offers both children and adults an entrance into an alternative realm.

For children, it is the realm of a grown-up life that is yet unknown to them, whereas, for adults, fairy tales address the bittersweet realm of their juvenile memories. Fairy tales can be a formidable tool for children to discover the power of language. Observing how it transforms the imaginary space of the fairy story, children internalize the idea 49 that language evokes transformation. At the same time children are confronted with the power of metaphors: The child reading fairy tales enters Elsewhere to learn language and master the linguistic conventions that allow adults to do things with words, to produce effects that are achieved by saying something.

In fairy tales, it is often the case that protagonists have to name particular words, or refrain from saying them in order to gain advantages. Consequently, words acquire double or even triple meanings. The right phrases reach the level of spells, yielding singular power. Verbal mistakes, on the other hand, can have severe consequences. Put differently, not only the supernatural but more so the language has the power to induce change. Various narrative techniques enable to create a wondrous, for the lack of a better term, atmosphere in the story.

Literary devices, including metaphor, irony, anthropomorphism, flashback, foreshadowing, allegory, oxymoron, satire, and personification encourage readers of supernatural narratives to shift from the regular into a more magical kind of thinking. A certain fascination with language is typical for German, Russian, and other fairy tale traditions from around the world. It is my belief that fantasy fiction shares this quality.

A big part 50 of what attracts readers to fantasy narratives is, arguably, the ability to use figurative language to depict foreign worlds as strangely familiar yet distant and wondrous. This statement corresponds with J. The fairy tale is recognized by its language. Fairytale fantasy takes advantage of this feature by incorporating distinctive narrative devices in the same way it borrows typical fairy-tale settings and character archetypes. In this way, the fairytale fantasy taps into the stream of images readers associate with traditional fairy tales.

Chapter 1 This chapter introduced a variety of working definitions that are meant to help navigating this study. It offered a survey of the history of and research on European and North American fantasy fiction. Considering the historically dominant position of Anglophone fantasy tradition, it does not come as a surprise that fantasy fiction in other national literatures was unable to develop completely unrestricted.

Instead, many international works, including German and Russian fantasy novels carry a heavy imprint of British and North American classics. The following chapters shall demonstrate that fairytale fantasy, more than any other subgenre of fantasy fiction, has a unique 51 foundation in the German and Russian literatures, which arises from the formidable fairy tale tradition embedded in both national traditions. Classic fairy tales focus on protagonists finding their happiness, which typically means accumulating wealth, moving up in social ranks, marrying successfully, establishing an income, and acquiring property.

Such tales depict the supernatural as a tool that either aids or prevents protagonists from achieving their goals. While drawing from classic fairy tales, fairytale fantasy narratives seek to reevaluate old paradigms by questioning and challenging established values. The remaining chapters introduce a range of narrative characteristics that enable the fairytale fantasy to exceed the limitations of its generic predecessors. The study contrasts selected German and Russian fairy tale and fairytale fantasy case-studies.

Along with thematic and structural features, the analysis focuses on reoccurring language devices, shared character archetypes, the portrayal of transformation, and the role of magical objects in the narratives. Following the assumption that understanding the evolution of the genre is instrumental in interpreting individual works, each case-study is examined in the context of the corresponding national literary tradition. Steinernes Fleisch The first chapter defined fantasy as a genre of fiction that encompasses narratives in which the violation of natural laws, otherwise known as the supernatural component, is indispensable to the integrity of the narrative.

The previous chapter also defined supernatural fiction, and provided a brief historical account of the fantasy and fairy tale genres. The aim was to contextualize the fairytale fantasy phenomenon within the larger framework of European and, partially, North American supernatural literature. The fairytale fantasy, which is the primary focus of this work, has been characterized as a subgenre of fantasy fiction that is defined by its explicit use of folk- and fairy tale tropes.

The dissertation proceeds by analyzing the first set of case studies. Funke places her original characters in a secondary world that resembles that of the tales. This chapter highlights the ways in which the novel encourages readers to critically engage with outdated scenarios. I shall demonstrate that Reckless is a remarkable example of the revisionist potential inherent in works of the fairytale fantasy genre.

Fairytale Fantasy in German Literary Tradition Germanic literary scholarship on supernatural fiction might be not as widely known internationally as the Anglophone, but nonetheless it has a vibrant and potent history. In respect to terminology, Germanic scholars tend to use the terms phantastische Literatur, Phantastik, and less often Fantasy to describe supernatural fiction. It does not equal horror fiction, ghost story, or fantasy fiction. Other key elements of the genre are fear, loss, destruction, and disorientation.

Clearly, this does not apply to either supernatural fiction or fantasy: Phantastik is an extensive or a narrow category. Winfried Freund views the Phantastik as an independent genre of fiction, and so does this study. For an elaborate discussion of the topic see Freund, Winfried, Deutsche Phantastik, —6. Deutsche Phantastik offers an account of Germanic non-mimetic fiction with barely any references to fantasy fiction. As mentioned in the first chapter of this dissertation, the purpose of the historical survey is to trace the development of supernatural literature in the Germanic tradition.

The overarching goal of the analysis is to contextualize the fairytale fantasy within its genealogy first, in order to later show how the new genre emancipates from old structures. These stories were set in the Middle Ages and told about knights, robbers, and ghosts. The great Romanticist E. Hoffmann — has, arguably, influenced the development of German as well as international fantasy the most. Following the decline of Romanticism, Germanic supernatural fiction started to gain momentum once more with the rise of weird fiction in the late nineteenth and early twentieth centuries.

Although many authors experimented with supernatural motifs e. Anna Seghers, —; Irmtraud Morgner, — , original works of fantasy fiction, as we know the genre today, did not make a notable appearance in the German literary tradition until after the Second World War. After a period of stagnation inflicted by the Nazi regime,57 translated works of modern fantasy fiction flooded the German market. Predominantly Anglophone authors such as J. Michael Ende — authored some of the first original works of modern fantasy fiction in German.

Ende remains one of the best internationally recognized Germanic fantasy writers. Despite the growing number of domestic works, to this day translated Anglophone novels constitute a major share of the fantasy market in German-speaking countries. To me this is a paradox, considering the leading role supernatural narratives played throughout most of the Germanic literary history. Considering that an attempt to explain this strange phenomenon could easily produce enough material for another dissertation, I shall leave the question open for future investigation.

I will claim, however, that the fairytale fantasy genre might become a source of opportunities for Germanic fantasy to retrieve some of the popularity known to other types of supernatural fiction within the tradition. Many of these books are part of extensive series. Some of the most frequently retold fairy tales in the world belong to Wilhelm — and Jacob — Grimm, arguably the most prominent storytellers and collectors in the Germanic literary tradition.

To name only a few examples: It is my belief that extending the canon of fantasy fiction to include more fairytale fantasy works is a crucial step toward recognizing the influence of non-Anglophone traditions on the historical development of the fantasy genre that will benefits the larger community of fantasy scholars. The History of Reception The Grimm Brothers are among the most influential fairy tale collectors in the German tradition as well as on the international arena. In the course of the nineteenth century folklore became the subject of interest for many, perceived as a pure form of national literature naturally created by the people or Volk as opposed to individual authors.

The Grimms were preceded by Johann K. Alte deutsche Lieder In addition, various authors were collecting Germanic folklore simultaneously with the Grimms. The spurious belief that the Grimms amassed their tales directly from the German people contributed to their nationalistic reputation, even though their tales were in fact derived from an assorted national background. For the Grimms, it was of crucial importance that their tales were specifically German, and, furthermore, belonged to the cultural heritage of the German people. Jacob and Wilhelm Grimm were highly invested in understanding the German culture through and beyond its folklore.

They worked with German language, its customs, and its laws, gradually developing a substantial scholarly reputation. Jacob was the leader of the family. He wrote thirty or forty books. Collecting German folklore was a way for the Brothers to preserve the cultural identity of their nation at a time when the French Emperor Napoleon Bonaparte — was conquering major parts of Germany and other European countries.

The Brothers developed a unique style that reminded of traditions, rituals, and the countryside. Although derived from an oral tradition, they were too strongly modified by its creators to be considered folktales in their authentic form. To quote Jack Zipes: The Grimms, especially Wilhelm, kept heavily revising and altering the collected tales between and ; seven editions appeared overall. Grimms reinforced the idea that their collected tales arose directly from the people, and, therefore, were representative of German mentality. It is somewhat of an irony that the Grimms deliberately edited their tales to make them appear more authentic.

In addition to the national character of their collection, the Grimms insisted on the character-building qualities of their tales. The first KHM edition first volume published in and second in was the only one not intended for children. The Grimms believed that children should be familiarized with national lore from an early age, as a way of teaching younger generations appropriate middle-class values and beliefs. The third edition appeared in , the fourth in , the fifth in , and the sixth in There is a total of tales in the seventh and final edition of KHM from Over the years, some tales were added and others were omitted.

The Grimms also contributed to the worldwide popularity of fairy tales today. There exists plenty of scholarship on the Brothers themselves as well as on their oeuvre. Ever since the fairy tale became predominantly children-oriented, its popularity only increased. In the course of the twentieth century, the fairy tale established its influence through newly developed media, such as television and video games. Walt Disney started an entertainment revolution by bringing fairy stories on screen and, subsequently, enchanting audiences of all ages.

Since his first fairy-tale based film Snow White and the Seven Dwarfs , there does not seem to be one year that has elapsed without fairy tale adaptations. Since neither Disney nor Bettelheim worked with literary fairytale fantasies directly, the account is kept brief. After the launch of the films, the fairy tale became further entrenched with concern to its contemporary image as educational material for children. There is little scientific explanation as to why we care about fairy tales so passionately.

Jack Zipes comments on the controversial appeal of fairy tales: What is interesting about […] canonical fairy tales in the Western world is that we have no idea why we care about them, know them so well, are attracted to them, and are apt to pass them on to other people without a second thought. The idea can be summarized in one short sentence: Fairy tales accompany us, entertain us, instruct us, and soothe us throughout our lives, and this gives them an invaluable quality. Bruno Bettelheim, by way of contrast, concentrates on more problematic psychological concerns associated with fairy tales.

Contrary to Disney, Bettelheim shows that the engagement with the supernatural not always leads to positive desired outcomes; instead, it can reveal a lot about our fears and anxieties. As formulated by Zipes: Fairy tales […] incorporate a moral code that reflects upon the basic instincts of the human being as a mortal animal and suggest ways to channel these instincts for personal and communal happiness.

In fact, her work seems to follow a trend that has been gaining momentum in recent decades. Although Windling, Smith, and Funke explore comparable topics, the structural distinctions between the works significantly influence their revisionist potential. I argue that by retaining the fairy-tale format retellings from The Armless Maiden and My Mother She Killed Me bypass the benefits granted to the fairytale fantasy by its generic hybridity. Thus, Fishelov argues, each genre has its goals, the means to achieve these goals, and specific generic roles associated with it. I use this approach to examine the novel Reckless and its corresponding prior stories.

Narrative structure is one of the primary aspects that allow readers to navigate between various kinds of fiction. The central plots of most tales […] vary little from country to country. There are narrative patterns that are more typical for one tradition than for others, but, overall, most fairy tales share a set of basic structures.

What that means is that fairy tale narrative patterns are easily recognized by readers familiar with them. In other words, most readers know the goals, the means, and the roles associated with fairy tales. Funke makes use of this prior knowledge to establish a connection between her works and the fairy tale tradition. Which does not, however, mean that Reckless displays the same goals, means, and roles as traditional fairy tales.

The volume encompasses, arguably, the most canonized and, consequently, influential versions of the tales. To keep the analysis firmly grounded, I shall provide original German quotes from the tales. Nach der grossen Ausgabe von edited by Hans-Jorg Uther As of today, the series includes two sequels: Lebendige Schatten Fearless, and Reckless: Das goldene Garn The Golden Yarn, ; and two accompanying collections: He inspired Funke in the process of imagining the secondary world, but did not participate in the sequels. Lebendige Schatten and Reckless: Das goldene Garn are remarkable fairytale fantasy narratives as well.

It is my intention to extend the scope of my research to these works in a future book project. For the purpose of convenience, I shall predominantly reference Cornelia Funke as the first author of the novel. Building on and expanding the existing scholarship, I suggest that the Reckless novels deserve critical attention, inter alia, for their complex notions of identity formation built on individual emancipation and resistance to authority. Jacob Reckless, the protagonist of Reckless Series, is raised, along with his younger brother Will, by a depressed single mother in present-day New York City.

John Reckless disappeared from the family, and left behind his study i. Arbeitszimmer , a deserted room full of abandoned things. The protagonist begins his adventure by transgressing against a figure of authority. Commonly for a work of fantasy, the magic begins with an ancient-looking artifact, a mirror: Jacob discovers that he has to cover up the reflection of his face for the Mirror to turn into a portal. Cornelia Funke describes Jacob in the following words: It shows a grown-up Jacob, who is forced to face the consequences of his brother Will finally following him into the MirrorWorld.

Immediately after crossing over into the secondary world, Will is attacked and infected with a rapidly spreading curse cast by the Dark Fairy Dunkle Fee , the main antagonist of the first volume of Reckless Series. Despite the hazards, he returns to the parallel realms over and over again. His bravery borders on folly, prompted by narcissism and over-confidence.

In contrast to Jacob, Will does not look for an adventure when entering the Mirror-Portal. He merely repeats the gesture after his older brother. Will is a conformist i. There is an opposition in the ways Will and Jacob participate in the communities around them. Will uses the Mirror-Portal in hope to reconnect with his brother, while Jacob employs it to escape responsibility.

Characteristically the quest fantasy protagonist goes from a mundane life, in which the fantastic, if she is aware of it, is very distant and unknown or at least unavailable to the protagonist to direct contact with the fantastic through which she transitions, exploring the world until she or those around her are knowledgeable enough to negotiate with the world via the personal manipulation of the fantastic realm Rhetorics of Fantasy 2.

The reward is moral growth, redemption, or admission into the unfamiliar world. Mendlesohn argues that there is a sharp distinction between the factual, non-magical world and the supernatural world of fantasy, which is why in the portal-quest mode we are invited into the fantastic, rather than the fantastic entering the real world.

The portal opening serves as an invitation into the unfamiliar world where both reader and characters gain new experiences. Portal and quest fantasy resembles the journey of self-development from the Bildungsroman. The reader is taken away from their familiar context and placed in a new reality where all natural and social laws have to be rediscovered. Moreover, there is no evidence against whichever claims the characters may make; this allows the author, what the scholar W. In addition, I like to point out that when comparing fairytale fantasy to other subgenres of fantasy, it is ultimately unique in its portrayal of the supernatural: The tale does not see the journey as an escape, but as a way to solve the problem; in the aftermath, the protagonist returns home to live a better life.

Classic fantasy portal-quests, by way of contrast, depict the protagonist as unhappy with consensus reality, providing him or her with an escape into a different realm in form of a portal; the resolution is usually leaving the problem behind, as opposed to solving it and returning. For that reason, portal-quests are often linked to escapism. Portals are created for characters to transcend between familiar reality and new wondrous worlds.

Most of the time the characters have something to run from, be it boredom, sadness, trouble, etc. In a fairytale fantasy, by way of contrast, the secondary world is likely to carry traits that are familiar to the reader from his earliest reading experiences with fairy tales. The escape is thus less abstract; the characters escape from a mundane reality into the fairy tale realm of their childhood. The following sections shall demonstrate that its generic flexibility allows the fairytale fantasy to challenge escapist tendencies promoted by many portal-quest narratives.

Although fairy-tale secondary worlds are rarely as detailed as those in fantasy fiction, they come from a similar category of imaginary spaces. Subjunctive language has the power to create a unique perception of an estranged space for the readers. An imaginary space where anything is possible is a key element of a supernatural narrative. Bougainville Island, Papua New Guinea. Forest of Argonne, France. Dudley, Warwickshire, England, UK. Portsmouth, Hampshire, England, UK. Merthyr Tydfil, Wales, UK. Gravesend, Kent, England, UK.

Birkenau Concentration Camp, Auschwitz, Poland. Gallipoli, East Thrace, Turkey. Messines, West Flanders, Belgium. Monte Cassino, Lazio, Italy. Dachau Concentration Camp, Bavaria, Germany. Passendale, West Flanders, Belgium. Nashville, Tennessee, Verenigde Staten. Rostock, Mecklenburg-Western Pomerania, Germany. Perth, Western Australia, Australia. Boston, Lincolnshire, England, UK. Shoreditch, London, England, UK. Enfield, London, England, UK. Wien alle Stationen, Salzburg, Austia. Tipperary, County Tipperary, Ireland. Westerbork Concentration Camp, the Netherlands.

Son Tay Prison Camp, Vietnam. Memorial to the murdered Jews of Europe, Berlin, Germany. Croydon, London, England, UK. Strasbourg, Grand Est, France. Gillingham, London, England, UK. Broadgate, London, England, UK. Sweetings, London, England, UK. Karlovy Vary, Czech Republic. Grand Duchy of Oldenburg. Broadstairs, Kent, England, UK. Sandwich, Kent, England, UK. Grand Duchy of Mecklenburg-Schwerin. Grand Duchy of Mecklenburg-Strelitz. Grand Duchy of Baden. Idaho National Engineering Laboratory.

Hair Club for Men. Frankfurt am Main, Hessen, Deutschland. Los Alamos National Laboratory. Lawrence Livermore National Laboratory. Londen, Engeland, Verenigd Koninkrijk. Canterbury, Kent, England, UK. University of Nevada, Las Vegas. Vancouver, British Columbia, Canada. Renaissanceschloss Schallaburg, Lower Austria, Austria. Malabo, Bioko, Equatorial Guinea. Art Bunker, Nuremberg, Bavaria, Germany. Cimitero delle Fontanelle, Naples, Campania, Italy. Catacombe dei Cappuccini, Palermo, Sicily, Italy.

Waitomo Caves, Waikato, New Zealand. Cheddar Gorge, England, UK. Fort de Romainville, Paris, France. Federal Republic of Germany. People's Republic of China. Alexander Platz, Berlin, Germany. Commonwealth of Independent States. Gelsenkirchen, North Rhine-Westphalia, Germany. Democratic Republic of the Congo. C Street, Washington, D. Development Culture Leadership Center, Lebanon. Freiburg im Breisgau, Germany. Ivanwald house, Washington, D. East Berlin, German Democratic Republic. Weymouth, Dorset, England, UK. Belene labour camp, Bulgaria.

Norwich, Norfolk, England, UK. Redgrave, Suffolk, England, UK. Fichtel Mountains, Bavaria, Germany. Angers, Pays de la Loire, France. Zakyna prison camp, Poland. Temple Bar, Dublin, Ireland. Hill of Tara, County Meath, Ireland. Haven City, The Lower Elements. Bonn, North Rhine-Westphalia, Germany. White House, Washington, D. Duchy of Friedland, Bohemia. Westerbork, Drenthe, The Netherlands. Frankfurt am Main, Deutschland. Der Sturmvogel, Berlin, Deutschland. Berliner Opernhaus, Berlin, Deutschland.

Berliner Opernhaus, Berlin, Germany. Forest at the Edge of Heaven. Westerbork, Drenthe, the Netherlands. Ditchling, Sussex, England, UK. Haarlem, North Holland, Netherlands. Hammersmith, London, England, UK. Palazzo di Propaganda Fide, Rome, Italy. Quito, Ecuador, South America.

Free University of Barranquilla. Utah Beach, Normandy, France. East Sussex, England, UK. The Duchy of Strackenz. North Yorkshire, Engeland, Verenigd Koninkrijk. Londra, Inghilterra, Regno Unito. San Salvador, El Salvador. Southern Command in Panama. Santiago de Chile, Chile. Rio de Janeiro, Rio de Janeiro, Brasil. Cerro Hueco, Chiapas, Mexico. School of Psychology at the university in Montevideo, Uruguay.

Glastonbury, Somerset, England, UK. Gawsworth, Cheshire, England, UK. Framlingham, Suffolk, England, UK. Gloucester, Gloucestershire, England, UK. Albans, Hertfordshire, England, UK. Halesworth, Suffolk, England, UK. Flushing, Cornwall, England, UK. Egloshale, Cornwall, England, UK. Elmstone, Kent, England, UK. East Anglia, England, UK. Denham, Buckinghamshire, England, UK. The Fens, England, UK. Faversham, Kent, England, UK. Hartland, Devon, England, UK. Mere, Wiltshire, England, UK. Malmsbury, Wiltshire, England, UK.

Macclesfield, Cheshire, England, UK. Lyme, Cheshire, England, UK. Nantwich, Cheshire, England, UK. Minchinhampton, Gloucestershire, England, UK. Lostwithiel, Cornwall, England, UK. Hertford, Hertfordshire, England, UK. Hereford, Herefordshire, England, UK. Helston, Cornwall, England, UK.

Kenilworth, Warwickshire, England, UK. Lambeth, London, England, UK. Lincoln, Lincolnshire, England, UK. Leicester, Leicestershire, England, UK. Lanhydrock, Cornwall, England, UK. Denbigh, Denbighshire, Wales, UK. Basingstoke, Hampshire, England, UK. Bath, Somerset, England, UK.

Barnstaple, Devon, England, UK. Broadhempston, Devon, England, UK. Bridgwater, Somerset, England, UK. Bridgnorth, Shropshire, England, UK. Braunton, Devon, England, UK. Bacton, Herefordshire, England, UK. Ashbourne, Derbyshire, England, UK. Schloss Drachenstein, Rothenberg, Bavaria, Germany. Edmunds, Suffolk, England, UK.

Collyweston, Northamptonshire, England, UK. Colchester, Essex, England, UK. Cobham, Surrey, England, UK. Coughton, Warwickshire, England, UK. Krakow, Lesser Poland, Poland. Croydon, Surrey, England, UK. Cratfield, Suffolk, England, UK. Cinque Ports, England, UK. Cartmel, Cumbria, England, UK. Chagford, Devon, England, UK. Carlisle, Cumbria, England, UK.

Places by cover

Cambridge, Cambridgeshire, England, UK. Chatham, Kent, England, UK. Chelsea, London, England, UK. Chelmsford, Essex, England, UK. Chatsworth, Derbyshire, England, UK. Dar es Salaam, Tanzania. Haguenau, Bas-Rhin, Elzas, Frankrijk. Landsberg am Lech, Bavaria, Germany. Nijmegen, Gelderland, the Netherlands. Toccoa, Georgia, Verenigde Staten.

Sheringham, Norfolk, England, UK. Snowdonia, Gwynedd, Wales, UK. The Solent, England, UK. River Thames, England, UK. Tenby, Pembrokeshire, Wales, UK. River Otter, England, UK. Pevensey, Sussex, England, UK. Ramsgate, Kent, England, UK. Porthleven, Cornwall, England, UK. Isle of Wight, England, UK. Windsor, Berkshire, England, UK. Augsburg College and Seminary. Central and South America. San Fernando de Apure, Venezuela. Folkestone, Kent, England, UK. San Francisco, Californie, Etats-Unis. Central and Eastern Europe. Chengalpattu health clinic, India. Liu Min Ying Village, China. The Municipal Orphan Home.

City Hall, Capitol City. The Broads, England, UK. Levington, Suffolk, England, UK. Ipswich, Suffolk, England, UK. Westmorland, Cumbria, England, UK. Windermere, Cumbria, England, UK. Rotterdam, South Holland, the Netherlands. Coniston, Cumbria, England, UK. Ia Drang River Valley. The Tower of Babel, Babylon. Eindhoven, Noord-Brabant, The Netherlands. Bridport, Dorset, England, UK.

Cardigan Bay, Wales, UK. Aldeburgh, Suffolk, England, UK. Criccieth, Gwynedd, Wales, UK. Hythe, Kent, England, UK. Mersey estuary, England, UK. Menai Strait, Wales, UK. Gower peninsula, Swansea, Wales, UK. Dartmoor, Devon, England, UK. Deal, Kent, England, UK. Cromer, Norfolk, England, UK. Dungeness, Kent, England, UK. Felixstowe, Suffolk, England, UK. America after the Revolutionary War. Halifax, Nova Scotia, Canada. Chennai, Tamil Nadu, India. New South Wales, Australia. Kolkata, West Bengal, India. Dome of the Rock. Related series Osprey Men-at-Arms. The Third Reich trilogy. The Campaign of France and Germany The Making of the 20th Century.

Lonely Planet Travel Guides. The Oxford History of Modern Europe. Great Ages of Man: A History of the World's Cultures. The Flashman Papers - chronological. Louise Vernon's Religious Heritage. Princeton Studies in International History and Politics.

Places: Germany

La trilogia di Danzica. A Study of History - Somervell Abridgement. Queens of Love and War. Deutsche Geschichte bei C. New Approaches to European History. Exploring the Roman World. Lonely Planet Country Guide. Gebhardt Handbuch der deutschen Geschichte Taschen 25th Anniversary Series.

Del Rey Robert E. The Story of Civilization. Standaard Tweede Wereldoorlog in woord en beeld. Ballantine's Illustrated History of the Violent Century. Stones From the River. Il volto del Terzo Reich: Oxford Studies in Social History. Related publisher series Penguin Classics. Everyman's Library New Series. Penguin Classics Deluxe Editions. The Medallion Series - Penguin Classics. Barnes and Noble Classics.

The Book League of America. The Greatest Books Ever Written. Reader's Digest World's Best Reading. Barnes and Noble Leatherbound Classics. The Children's Golden Library. The Dennis Wheatley Library of the Occult. Penguin Classics Graphic Deluxe Editions. I grandi libri Garzanti. La biblioteca di Repubblica. Simon and Schuster Enriched Classics. The Great Writers Library. I grandi scrittori stranieri Utet. Grandi classici Crescere Edizioni. I grandi libri Longanesi.

Biblioteca di cultura storica Einaudi. Penguin Clothbound Hardcover Classics. Les Millors Obres de la Literatura Universal. Hermann Hesse - Jubilaeumsausgabe zum hundersten Geburtstag. Kings Cross Station Master. The Incorporated Law Society. Related events World War II. Battle of the Bulge. Rise of Nazi power. Battle of the Somme. Origins of World War I. Rise of the Third Reich.

Assassination of Russian imperial family. Crepuscolo del Fuhrer, Gli Americani sull'Elba. Fall der Berliner Mauer. Feest van de Fazant. Origins of World War II. The Bell Curve is a best-seller in the United States. Conquest of Latin America. Duchess of Richmond's ball. Theodore Roosevelt is awarded the Nobel Peace Prize. Pope Innocent IV authorizes the torture of those suspected of heresy. National Conference on Children in Peru. Pan-American Children's Congress in Chile. Fernando Collor becomes president of Brazil.

Guatemalan military burns all records of dirty war. Argentine brass burns all records of dirty war. Basil Convention bans shipments of hazardous waste. The United States charges Microsoft with using monopolistic methods to crush its competitors. European Parliament publishes an official report entitled "Evaluation of the Technologies of Political Control".

General Suharto takes power in Indonesia. Bishop Juan Gerardi is stoned to death. Related book awards New York Times bestseller. Writers Pick Their Favorite Books. Los Angeles Times Book Prize finalist. Canon de la narrativa universal del siglo XX. Das Kanonspiel - Ergebnisse. Time Magazine's Best Books of the Year. The Telegraph's novels everyone should read. Washington State Book Award. Reading the world in books. Philip Ward's Lifetime Reading Plan. The Best Books. Las joyas del milenio. Die Romane des Jahrhunderts. I Migliori Libri del ' Village Voice 25 Favorite Books.

Books of the Decade: The 50 books that defined the decade. Helen and Kurt Wolff Translator's Prize. Around the world in 80 books. De 21 Beste Romans Van de 21ste Eeuw. Norwegian Book Clubs' top books of all time. Best German Novels of the Twentieth Century. Waterstones Books of the Century. Oprah's Book Club selection. Prix des Lecteurs du Livre de Poche. Daily Telegraph's Books of the Century, The Observer's Best Novels. Prix des Lecteurs de CritiquesLibres. Koret Jewish Book Awards. Independent Foreign Fiction Prize Winner.

National Book Critics Circle Award. Preis der Gruppe Lecteurs du Livre de Poche. Vulture's the Best Books of the Century. Germany Places by cover 1—7 of 1, next show all. The Saxon Uprising by Eric Flint. Texte und Bilder aus der gleichnamigen Ausstellung by Brigitte Bailer. Hitler's Gamble by Giles MacDonogh. Slave Labor by Lesley Stahl. Abenteuer und Frauengeschichten by Karen-Susan Fessel. Absolute Destruction by Isabel V. Aces of the Reich by Gordon Williamson.

Address Unknown by Kathrine Kressmann Taylor. Adolf Bastian and the Psychic Unity of Man: Adoption and amendment of constitutions in Europe and America by Charles Borgeaud. A Guide for the Perplexed by Alex Thomson. Afrikakorps by Gordon Williamson. After by Morris Gleitzman. Jewish Survivors in Germany after by Eva Kolinsky. After the War by Frederic Raphael.

• Alice Through the Looking Glass (Best-loved Classics);
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Bush by James Dobbins. The Age of the grand tour: O, Croix de Guerre by George Martelli. Agricola and Germania by Tacitus.

Works (1,893)

All Aboard for Freedom! All for Nothing by Walter Kempowski. The Adamses, by Richard Brookhiser. American forces in Berlin: Cold War outpost, by Robert P. Among the Dead Cities: And After the Fire by Lauren Belfer. And We Go On: Angel in Jeopardy by Christopher Nicole.

Angel of Doom by Christopher Nicole. Angel Rising by Christopher Nicole. Angels, Worms, and Bogeys: Anna's Courage by Kristin Noel Fischer. The Ark by Margot Benary-Isbert. The Battle for Germany, by Max Hastings. Springtime for Germany [article] by Bruce Elder. Armies of Bismarck's Wars: The New Sobriety, by John Willett. The Ashgate research companion to imperial Germany by Matthew Jefferies. Atalaya Cinderella Magazine, Summer , Vol. Athanasius Kircher's Theatre of the World: Atlante mondiale dei mezzi corazzati: Atlas des Deutschen Reichs by Ludwig Ravenstein.

Attila's Treasure by Stephan Grundy. Austria, Prussia and Germany, by John Breuilly. Austro-German Diplomatic Relations, by oswald henry wedel. Een avond in Isfahan: Awaiting the Moon by Donna Lea Simpson. Bach's Big Adventure by Sallie Ketcham. Germans Remember by Daniel Lang. Bad Karma by David Safier. Baedeker's Germany by Jarrold Baedeker. Baedeker's Map of Germany by Jarrold Baedeker. Baedeker's Mittel und Nord-Deutschland by K. Baedeker's Nordost-Deutschland by Karl Baedeker. Baedeker's The Rhine from the Dutch to the Alsatian frontier: Banners of Gold by Pamela Kaufman.

Jahrhunderts in der Deutschen Demokratischen Republik: Oktober by Gerd Spitzer. Death and the Maidens by Greg Rucka. The Battle of Britain by Marcel Julian. Battles Lost and Won: Be Not Afraid by Christopher Nicole. Beers of the World by Gilbert Delos. Before France and Germany: Behind the Bedroom Wall by Laura E. Geschichte zweier Nachbarn seit by Karlheinz Diedrich. Berkeley Guides Germany by Fodor's. Berkeley Guides Germany and Austria by Fodor's. Berlin and the American Military: Berlin Girls by Morgana Blackrose.

Berlin Underground, by Ruth Andreas-Friedrich. Berlioz the Bear by Jan Brett. Germany by Jack Altman. The Best of Enemies: Germany by David Downing. The best of Germany by Gault Millau. The Best Tales of Hoffmann by E. The Betrayer's Fortune by Dave Jackson. Between Dignity and Despair: Between Fear and Hope: Between reform and revolution: German socialism and communism from to by Eric D. My Story Uncut by Jason Donovan. Between Yesterday and Tomorrow: German Visions of Europe, by Christian Bailey. Bibliographie zur Deutschlandpolitik by Marie-Luise Goldbach. Bilder von ihr by Karen-Susan Fessel.

Binding Up the Wounds: The Birth of a Stereotype: Polish Rulers and their Country in German Writings, c. Bis ich sie finde by Karen-Susan Fessel. Bismarck by Ian F. Bismarck by Alan Warwick Palmer. Bismarck and Germany by D. Bismarck and the Development of Germany, Vol. The Period of Unification, by Otto Pflanze.

Bismarck and the German Empire by Erich Eyck. The Black Chalice by Marie Jakober. Black Cross by Greg Iles. Der blaurote Methusalem by Karl May. Blood and Sable by Carol J. The blood of Israel: The massacre of the Israeli athletes, the Olympics, by Serge Groussard. Blue Guide Germany by James Bentley. Blue Yonder by Alan Savage. Hier sind Sie besonders willkommen by BMW.

The Book of Madness and Cures: A Novel by Regina O'Melveny. The Book Thief by Markus Zusak. The Book Thief [ film] by Brian Percival. Borrower of the Night by Elizabeth Peters. Boswell on the grand tour: Germany and Switzerland, by James Boswell. The Boys in the Boat: Bread and Swans by Donna Barr. Brecht's Lover by Jacques-Pierre Amette.

The British in interwar Germany: Brothers Like Friends by Klaus Kordon. Das Buch der deutschen Heimat by Hermann Goern. Can Germany Be Saved? Capital Cities at War: Capturing the German Eye: Cassell's history of the war between France and Germany, by Edmund Ollier. Castle Eyewitness Books by Christopher Gravett.

The Centurions by Damion Hunter. Chekhov, Scenes from a Life by Rosamund Bartlett. A Child of Hitler by Alfons Heck. Child of the Light by Janet Berliner. Christian Dior and Germany by Adelheid Rasche.

Christine by Alice Cholmondeley. Christmas in Germany by Peter Andrews. Christmas in Today's Germany by World Book editors. The Christmas Rose by Sepp Bauer. Chronicle of a Downfall: Germany by Leopold Schwarzschild. The Church in History by B. City of Shadows by Ariana Franklin.

Made in Germany by Edward Force. The Tradition of Tinsel by Shirley Climo. The collapse of the Weimar Republic: Collins German Dictionary by Peter Terrell. Come, Holy Spirit by Karl Barth. The Coming Plague by Laurie Garrett. Command Decision by William Wister Haines. Communities and Regions in Germany by Goethe-Institut.

A World View by Gabriel A. Labor Politics in the U. Conspiracy of Blood and Smoke by Anne Blankman. Constantine's Sword by James Carroll. Coordinates of Yes by Janee J. The Corps of Engineers: The Cost of Discipleship by Dietrich Bonhoeffer. Count Kostia by Victor Cherbuliez. The Course of German History: The Courtier and the Heretic: Creating German Communism, by Eric D. The crisis of German ideology: La Croada dels nens by Bertolt Brecht. The Cube and the Cathedral: Germany by Richard Lord.

Succeed in Business Germany: Deutschland by OECD. Daily life in Hitler's Germany by Matthew S. Dangerous Allies by Renee Ryan. Daniel's Story by Carol Matas. Germany's experience promoting equal partnership in families by Organisation for Economic Co-operation and Develop. The Dark Arena by Mario Puzo. The Dark Room by Rachel Seiffert.

A Panorama of the s by Piers Brendon. The Daughter by Caroline Gray. Dead Funny by Rudolph Herzog. The Deadwood Beetle by Mylene Dressler. Death in the Sky by Alan Savage. The Death of the Adversary by Hans Keilson. The Death Ship by B.