Topic Subtopic Literature & Language Genre A Children’s Guide to Folklore and Wonder Tales Course Guidebook Hannah B. Harvey Professional Storyteller PUBLISHED BY: THE GREAT COURSES Corporate Headquarters 4840 Westfields Boulevard, Suite 500 Chantilly, Virginia 20151-2299 Phone: 1-800-832-2412 Fax: 703-378-3819 www.thegreatcourses.com Copyright © The Teaching Company, 2017 Printed in the United States of America This book is in copyright. All rights reserved. Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording, or otherwise), without the prior written permission of The Teaching Company. Hannah B. Harvey, Ph.D. Professional Storyteller H annah B. Harvey is a nationally known professional storyteller and an internationally commended performer. She earned her Ph.D. in Communication Studies, with a concentration in Performance Studies, at the University of North Carolina at Chapel i ii Hill, where she was also a teaching fellow. She earned her B.A. from y ph Furman University. Dr. Harvey is a past president of Storytelling a gr in Higher Education, the professional organization for scholars of o Bi storytelling within the National Storytelling Network. As a scholar- or ess artist, she studies storytelling as a pervasive cultural force and an of everyday artistic practice. Pr Dr. Harvey’s research and teaching specialty is performance ethnography, which unites theater with anthropology: Scholars investigate everyday storytelling as an embodied cultural practice. As a performance ethnographer, she develops oral histories into theatrical and solo storytelling works that highlight the true stories of contemporary Appalachian people. Her ongoing fieldwork with disabled coal miners in southwest Virginia culminated in a live ethnographic performance of their oral histories, Out of the Dark: The Oral Histories of Appalachian Coal Miners, earning her a directing award from adjudicators at the Kennedy Center American College Theater Festival in 2007 and three year-end regional awards from professional critics in 2005. Dr. Harvey served for four years as managing editor of the journal Storytelling, Self, Society. Her written research has been honored by the American Folklore Society and featured in Storytelling, Self, Society, among other publications. Dr. Harvey’s research has been presented at the National Communication Association, the Oral History Association, the International Festival of University Theatre, and the Canadian Association on Gerontology. Dr. Harvey is an award-winning director and performer and has delivered workshops in the United States, the United Kingdom, and Morocco. She has also given workshops for U.S. Department of Veterans Affairs health-care providers on storytelling and rural health care, for lawyers on storytelling and representation, for psychiatrists at Yale University’s Grand Rounds lecture series on storytelling and mental health, and for pastors and rabbis on storytelling in ministry. Dr. Harvey’s energetic style brings to life humorous and compelling stories from the worlds of personal experience, oral history, folklore, iii and myth. Critics have called her work “very funny” (Theatre Guide A London) and “deeply moving” (Classical Voice of North Carolina). As C h a solo storyteller, she has been featured at the National Storytelling ild Festival and in the International Storytelling Center’s Teller-in- re n Residence program. Her international performances as a member of ’s G the North Carolina–based Wordshed Productions earned a five-star u id review in the British Theatre Guide. Dr. Harvey has led workshops in e to storytelling at the National Storytelling Festival in Tennessee; in the F o adaptation and performance of literature at the Edinburgh Festival lk lo Fringe in Scotland; and in cross-cultural storytelling at Université re a Hassan II de Casablanca in Morocco. n d W o Dr. Harvey’s students at Kennesaw State University selected her n d e as an Honors Program Distinguished Teacher and for the Alumni r T Association Commendation for Teaching Impact. She is proud of ale s her Storytelling students’ achievements, from garnering professional credits (including a four-star review from the British Theatre Guide for her students’ group-storytelling adaptation of Beowulf) to simply enjoying and becoming more critically aware of storytelling in their everyday lives. Dr. Harvey’s other Great Course is The Art of Storytelling: From Parents to Professionals. ■ Table of Contents Introduction Professor Biography. . . . . . . . . . . . . . . . . . . . . . . . . . i Course Scope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Lecture Guides LECTURE 1 “Sleeping Beauty”: Once Upon a Time . . . . . . . . . . . . . . . . 3 LECTURE 2 “Beauty and the Beast” I: The Sleeping Prince . . . . . . . . . . . . 11 LECTURE 3 “Beauty and the Beast” II: Being Brave . . . . . . . . . . . . . . . .18 LECTURE 4 “The Sorcerer’s Apprentice”: Transformations . . . . . . . . . . . .25 LECTURE 5 “Cinderella” I: If the Shoe Fits . . . . . . . . . . . . . .. . . . . . 32 LECTURE 6 “Cinderella” II: Baba Yaga and Goddesses . . . . . . . . . . . . . . 40 iv v LECTURE 7 “Cinderella” III: The Mooing Godmother . . . . . . . . . . . . . . .46 A C h ild r LECTURE 8 e n “The Brave Little Tailor”: Giants! . . . . . . . . . . . . . . . . . . .54 ’s G u id e LECTURE 9 to F “Jack and the Beanstalk”: Archetypes . . . . . . . . . . . . . . . . .61 olk lo r e a LECTURE 10 n d “Hansel and Gretel”: Ogres . . . . . . . . . . . . . . . . . . . . . .69 W o n d e r LECTURE 11 T a “Rumplestiltzkin”: Naming Our Fears . . . . . . . . . . . . . . . . 76 les LECTURE 12 Tom Thumb and Thumbelina: Little Heroes . . . . . . . . . . . . .82 LECTURE 13 “Emperor’s New Clothes”: Looks Can Deceive . . . . . . . . . . . .90 LECTURE 14 “Town Musicians of Bremen”: Unwanted Animals . . . . . . . . . .97 LECTURE 15 “Puss in Boots” and “The Frog Prince”: Fitting In . . . . . . . . . . 102 LECTURE 16 “Three Little Pigs”: Third Time’s a Charm . . . . . . . . . . . . . 111 LECTURE 17 “The Little Red Hen”: Formula Tales . . . . . . . . . . . . . . . . 116 vi LECTURE 18 nts “How the Camel Got His Hump”: Pourquoi Tales . . . . . . . . . 122 e nt o C of LECTURE 19 e Lions and Tigers and Bears: Fables . . . . . . . . . . . . . . . . . 128 bl a T LECTURE 20 “Snow White”: Beauty and Handsomeness . . . . . . . . . . . . . 133 LECTURE 21 “Rapunzel”: Maiden/Mother/Crone . . . . . . . . . . . . . .. . 142 LECTURE 22 King Arthur and Winnie the Pooh: Heroic Quests . . . . . . . . . 150 LECTURE 23 American Tall Tales and Folk Songs . . . . . . . . . . . . . .. . 158 LECTURE 24 Happily Ever After: How Our Stories End . . . . . . . . . . . . . 164 Supplemental Material Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 Image Credits . . . . . . . . . . . . . .. . . . . . . . . . . . . 182 Scope A Children’s Guide to Folklore and Wonder Tales P eople love stories—but why? As children and adults, we interpret the adventures of our daily lives through narrative. Classic narratives give us ways to see ourselves as heroes, tricksters, and maybe even villains; they also give us a way to interpret the foes and obstacles we encounter and to defeat them first in story, so that we can go out with the strength to tackle them in reality. Stories circumnavigate, rather than directly penetrate, themes and questions. They draw a circle around listeners and pull us closer to common understandings and meanings—and to each other, too. This is the vision for this course: to draw your family closer together as you hear stories and explore the deep themes and questions of powerful classic tales. 1 2 This course’s lectures cluster around the basic genres of folktales e op (folktales, animal folktales, pourquoi stories, fables, fairy tales, and c S legends). Each lecture is relatively independent, allowing you to jump to your favorite stories or the ones your family happens to be in the mood for that day. With this in mind, the lectures do refer back to one another and build on some key concepts, so completing the lectures in order will enable you to feel a sense of trajectory. Key concepts this course covers include rites of passage, the role of trickster heroes, and the differences between oral stories and written texts. Animal folktales and “magic” numbers also receive attention. And the lectures discuss how stories vary across the world; for example, three interconnected lectures on “Cinderella” explore versions of the tale from France, Russia, and Iran, each showing a progressively more proactive protagonist. The course builds toward one concluding lecture, which returns to previous tales to discuss the overarching themes and questions that link genres and tale types. That lecture includes a final tale that combines many of the themes and recurring motifs of the course. The course concludes by pointing you toward recommended tale collections and resources to continue your storytelling and sharing of classic oral folklore and wondertales.