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Przekładaniec. A Journal of Literary Translation22–23(2009/2010):7–32doi:10.4467/16891864ePC.13.001.0855

Jan Van Coillie

no sleeping Beauty without thorns. a Model for CoMparatiVe analysis of translated fairy tales

Abstract:Fewstorieshavebeen translated sooftenand into somany languagesastheclassicalfairytales.Assuch,theyareatruechallengefortranslationstudies.Thisarticleproposesamethodologyforinvestigatingfairytalesintranslation.Thesuggestedmethod is essentially a comparative textual analysis, inspiredby translation studies,literary theory, linguistic criticism and discourse analysis. It can be applied to thesynchronic researchof fairy tale translationswithina restrictedperiodaswell as tothediachronicresearchoftranslationsofoneormorefairytalesoveralongerperiodof time.A step-by-stepmodel is presented,whichmakes it possible to classify andanalyse changes in translations as well as adaptations. In order to bridge the gapbetween content and linguistic levels, a linguistic analysis is linked to focal points,groupedunder categories from literary studies.The examples come from six recentDutchtranslationsofSleeping Beauty,publishedbetween1995and2007.Inthefinalpartofthisstudy,aschemeisofferedfortheinterpretationofthechangesbroughttolightbytheanalysis.Ittakesintoaccountindividualaswellassocialfactorsanditisbasedontheconceptsofnorms,systemsandfunctions.Suchastructuredmethodofanalysisishopedtooffernewpossibilitiesforthestudyoffairytalesintranslation.

Keywords: children’s literature, fairy tale, translation, linguistic criticism, norms,Dutch

FewstorieshavebeentranslatedsooftenandintosomanylanguagesastheclassicalfairytalesofPerrault,GrimmandAndersen.Assuch,theyareatruechallengefortranslationstudies.Still,researchonthetranslationoffairytalesisfairlyrare.Apartfromthein-depthstudiesbyMartinSutton(1996)andCayDollerup(1999),onlyafewarticleshavebeenpublishedin readers and periodicals. Sutton made a philological, textually based

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studyofEnglishversionsoftheGrimm’sKinder- und Hausmärchen in the nineteenthcentury.DollerupstudiedthetranslationsoftheGrimm’stalesinDanish and international cultural contexts as an illustrationof “someaspectsoftranslationsasacross-culturalcommunication”(1999:ix).HemeticulouslytrackeddowntheDanishtranslationsbetween1816and1986andwroteafinesynthesisofthereception,impactandpopularityoftheGrimm tales inDenmark. In both studies, however, themethodologicalpartisdevelopedonlytoalimitedextent.Thisarticleproposesamethod-ologyforinvestigatingfairytalesintranslation.Itdoesnotfocusontheselectionnoronthereception,butonthetextsthemselves.Themethodisessentiallyacomparativetextualanalysis,inspiredbytranslationstudies,literarytheory,linguisticcriticismanddiscourseanalysis.Themethodcanbeappliedtothesynchronicresearchoffairytaletranslationswithinare-strictedperiodaswellastothediachronicresearchoftranslationsofoneormorefairytalesoveralongerperiodoftime.

Acomparativestudyoffairytalesandtheirtranslationsmusttakeintoaccountcertainrestrictionsandproblemsfromtheverystart.Firstofall,there is thequestionof the source text, particularly relevant in the caseoftheGrimmTales.TheGrimmbrotherspublishedseveraleditionsdur-ing their lifetime.Theynot only added tales to the former editions, butalso–particularlyWilhelmGrimm–rewrotemanyofthem,omittingpas-sages considered unfit for children and embellishing the style (Rölleke1975;Seitz1984;Tatar1987;Bluhm1995;Neumann1996;Zipes2007).Veryoften,translationsdonotmentiontheexactversionofthesourcetext.Therefore, theresearchercanresort tooneof the twomostpopularver-sions:thetentheditionoftheKleine Ausgabe(1858)ortheAusgabe letzter Hand(1857),forinstanceeditedbyH.Rölleke(1997).

Moreover,quiteafewtranslationsarebasedonanintermediatetransla-tion.Inmanycountries,AndersenwastranslatedfromGermanandGrimmfromEnglish.Recentlymanylavishlyillustratedinternationalco-produc-tionshaveanEnglishsourcetext.Itisnotalwayspossiblefortheresearch-erstotracebacktheintermediatetranslation,letalonethesourceofthattext. In thosecases, theyhave to take intoaccount that smallerchangesmaynotbeattributedtothetranslatorof thetarget text,butrathertoanintermediateversion.

Finally,editionsvaryhugelyintermsofshape,formandvolume.Therearerhymedversions,picturebooks,comics,babybooks,dramatic texts,editionsforchildrenlearningtoread,tonamejustafew.Themorethese

9No Sleeping Beauty without Thorns...

versionsdifferfromthesourcetext,themoredifficultitbecomestocom-parethemindetail.Seago(2008)distinguishestranslations,adaptations,rewritingsandnewtalesinspiredbyfairytales,buttheborderlinebetweenthese categories is difficult to draw, especially between translations andadaptations.Inthisarticle,Iusethetermsversion or translation in a broad sense. Froma functionalist point of view, the difference between trans-lationandadaptationisnotsignificantanyway:theyarebothtranslationprocedures.

analysis

Mymodelofanalysisisbasedonfivetransformationsfromclassicalrheto-rics:addition(adiectio),omission(detractio),substitution(immutatio),re-arrangement(transmutatio)andrepetitionorliteraltranslation(repetitio).ThesecategoriesareeasiertohandlethanChesterman’sstrategies(1997),whichmakestudyingalargecorpustootime-consumingandproveinef-ficientwheninvestigatingadaptationsthatcontainlargeadditionsoromis-sions.

Myanalysisproceedsinfoursteps.First,sourcetextandtargettextarepastedintotwocolumns,withcomparableunitsnexttoeachother.Optimalcomparableunits involvesentences(orclauses). Inbothcolumnsemptysectionscanoccur,incolumnone(ST)whenasentence(clause)hasbeenaddedinthetargettext,andincolumntwo(TT)whenasentence(clause)hasbeenomittedfromthesourcetext.

Inthesecondstep,sourcetextandtargettextarecompared,andchanges or shifts aremarked.Omissions and additions are underlined in sourcetextandtargettextrespectively,andsubstitutionsareputinbold.Literaltranslationsaretakenintoaccountonlywhentheyarerelevanttothespe-cificfocalpointsofthestudiedtranslation(seestepfour).Inthethirdstep,transformationsarespecified.Inthethirdcolumn,specifictermsareaddedfor linguisticmarkers (specifying linguisticunitsof interest to the focalpoints) and translation changes (specifying changeswithin substitutionsandrearrangements).

Inthefourthstep,thelinguisticanalysisislinkedtofocalpoints,specialpointsofintereststemmingfromtheresearchquestions:forexample,fe-malecharactersortaboosubjects,suchasviolenceordeath.Inthisphase,theresearcherisinterestedinthequestionshowthemarkedlinguisticunits

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specifyorilluminatethefocalpointsandhowtranslationscanchangetheireffectsonreadersorlisteners.Itispossibletodeterminethefocalpointsfirstandanalyse the textwith thesefocalpoints inmind.Hence, there-searchcanbebettertargeted,whichisvitalinstudyinglargercorpora.Themaindisadvantage,however,isthatsuchalimitedvantagepointmayleadtotheoversightofrelevantelements.

tool kit

Tobeabletoanalysetranslationsaswellasadaptations,Ineededatool kitthatclassifiesnotonlytranslationchanges,butalsorelevantlinguisticunitsinpassagesthatareaddedoromitted.Therefore,Icombinedtransla-tionstrategiesfromtheclassificationofAndrewChesterman(1997)withlinguisticmarkersborrowedfromthelinguisticcriticismofRogerFowler(1996)andthecriticaldiscourseanalysisofTeunVanDijk(1997)andofNormanFairclough(2003).Linguisticcriticismandcriticaldiscourseanal-ysisassumethatsyntacticaswellassemanticchoicesreflectthevaluesandbeliefsoftheauthorandofthesocialgroup(s)he/shebelongsto.AsIwilldemonstrate,linguisticmarkersnotonlyrevealsuchvaluesandbeliefs(theideology)butalso influence thefunctionsof the text.Forexample, theycanmakethetextmoresuitableforreadingaloudorenhancehumourorincreasethechancesthatreaderswillimmersethemselvesinthebook.

What follows isa listof linguisticmarkers the researchercanuse tospecifythevarioussubstitutions,omissions,additionsandrearrangementsinthetargettext:

– complexsentences Complex sentences (with several clauses) are an important factor in

determiningthereadingdifficultyofthetext. – cohesionmarkers Cohesionmarkersexpress referentialorcoherence relations:he, her,

because, and ... – intransitivity,passivesandnominalizations Intransitiveverbs,passivesandnominalizationcan indicate theavoi-

danceofagencyandresponsibility;theycanmakesubjectslookpassi-veorsubmissive.


– modalauxiliaries,adverbsandparticipialadjectives Modalverbs,adverbsandparticipleadjectivesexpresstheattitudeof

the sender towards the addressee. Examples include:must, probably and required.Theyareparticularlyrelevantwhenthe(authorial)narra-toraddressesthereaders.

– verbasentiendi Verbasentiendi (e.g. feel, believe or suppose)haveasimilareffectas

modalverbs. – rhetoricalschemes Repetitions,enumerations,pleonasmsandtautologiesareseenbyFow-

leras formsofoverlexicalization,whichare“areasof intensepreoc-cupation in the experience and values of the groupwhich generatesit,allowingthelinguisttoidentifypeculiaritiesintheideologyofthatgroup”(Fowleretal.1979:211–212).Theycanalsoaffecttherhythmandsoundofthetext,whichisevenmoreevidentwithfullrhyme,alli-terationorassonance.

– contrast,paradoxandantitheses Contrasts,paradoxesandantithesescanreveal(ideological) tensions,

forinstancewhenrelationsbetweenmenandwomenaredescribedorthefeelingsofanadolescent.

– lessfrequentorabstractwords Hofstat(court),Tugend(virtue)...

– neologisms Neologismssometimesappearinrhymesormagicformulas. – taboowords naked,damned,death,LordGod...

– formal/informalregister To you far more fair than I should song so sweet be sung(K.F.Craft,

Sleeping Beauty). – non-standardlanguage The Grimms included some tales in dialect in their Kinder- und

Hausmärchen. – culturalmarkers Wordsindicatingcountries,cities,personalnames,currencies... – evaluativeadjectives,adverbs,verbsandsubstantives

wild, well, to hate, to sneak, good-for-nothing ... – intensifiers

very, “brand” in brand-new

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– diminutives Diminutivesaboundinstoriesforchildren,often“revealing”aconde-

scendingormollifyingattitude. – tropes Tropesareformsoffigurativelanguagelikesimilesandmetaphors. – genericsentencesandproverbs Fowlerdefinesgenericsas“generalizedpropositionsclaiminguniver-

saltruthandusuallycastinasyntaxreminiscentofproverbsandscien-tificlaws”(1996:132).

– formsofaddress Formsofaddresscharacterizecharactersandnarrators.Especiallyinte-

restingarepassageswheretheomniscientnarratorexplicitlyaddressesthereaderorlistener.Theycanbeusedtoincreasetension,emotionorthemoraltenorofthestory.

– questions(especiallyrhetoricalandsuggestivequestions),imperativesandexclamations

– direct/indirectspeech

Intranslations,allofthesemarkerscanbesubstituted,omittedoradded.Withregard tosubstitutions, sentencescanbesplitor joined,activesen-tencescanbecomepassiveorviceversa,apronouncanbereplacedbyitsantecedent,anounbyamorefrequentoramoreconcretesynonymorbyanounthatisnotatabooword,aforeignnamecanbereplacedbyalocalname(domestication),indirectspeechcanbechangedintodirectspeech,andsoon.Inthefollowingtable,focalpoints(seebelow)areaddedinitalics.

1

et leurs tasses(andtheircups)1

en de glazen van de schildwachten (andtheglassesofthesentries)

Substitution:cohesionmarker+synonymyStyle(moreexplicit)

Un beau baptesme(anicechristeningfeast)

Een prachtig doopfeest(awonderfulchristeningfeast)

Substitution:intensifierStyle

SausseRobert sausvanuienenmosterd(sauceofonionsandmustard)

Substitution:culturalmarkerSpace(culture)

1 Englishversionsareprovidedbytheauthor.


Asforomissions and additions,adistinctionmustbemadebetweenomissionsoradditionsofonlyoneword(oracoupleofwordsbelongingtothesameconstituent,asina dark, dangerous room)andlargeromissionsoradditionsofphrases,clauses,sentencesorparagraphs.Additionsoromis-sionsofwordsareclassifiedunderthenameofthelinguisticmarker,forinstance,addition of cohesion marker or evaluative adjective or omission of direct speech.

Larger omissions or additions are first classified under a focal point(e.g.woman, relation man-woman, setting)withabriefspecificationoftheimpactofthechange.Sometimesnewcharacters,spaces,objects,eventsormorallessonsareaddedoromitted,butmorefrequentlyspacesorouterappearancesaredescribedinmoredetail,orfeelings, thoughts,motives,explanationsaremademoreexplicit.After largeromissionsoradditionshavebeenclassifiedandspecified,linguisticmarkersrelevanttothefocalpointsareindicatedandnamed.

Na langen langen Jahren(afterlonglongyears)

Toen die honderd jaren eindelijk voorbij waren(Whenthesehundredyearswerefinallygone)

Omission:trope(repetition)(substitution:morespecific)Addition:intensifierStyle

sprach die Königstöchter(saidtheking’sdaughter)

Vroeg de prinses nieuwsgierig(theprincessaskedwithcuriosity)

Addition:evaluativeadjective(substitution)Woman

Onderdeslagenvanzijnsabelkreundehetoudehout,datindeloopderjarenzohardalssteenwasgeworden,endeprinszweettenaeenpaarminutenalseenotter.(Undertheblowsofhissaber,theoldwood,whichinthecourseoftimehadbecomeashardasstone,moanedandaftera coupleofminutes,theprincesweatedlike an otter.)

Addition:man;actionmadeexplicitTropes:twosimilesStyle/man

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Rearrangementimpliesthataword,phraseorclauseistransposedinasentence,asentenceinaparagraph,aparagraph(orgroupofparagraphs)inasectionorchapter,orachapterinthestory.Thisstrategycanbeusedforemphasis(asinfronting)oritcanenhancesuspense.

focal points

Focalpointshelpresearcherstofocusontextualelementsrelevanttotheirresearchquestions.Focalpointsareinevitablydeterminedbytheresearch-ers’frameofreference.Philologistswillchoosefocalpointsdifferentfromthoseselectedbytranslationscholars,anthropologists,sociologistsorpsy-choanalysts.AfeministanalysiswilldealwithfocalpointsdifferentfromthoseofaMarxistanalysis.Inthisresearchmodel,focalpointsaregroupedunder categories from literary studies: themes and motives, characters,timeandspace,pointofview,events/plotandstyle.Thecategoriespartlyoverlap;nevertheless,theydoofferausefultoolforclassifyingconcretefocalpoints.

BelowIdemonstratehowalinguisticanalysiscanbecombinedwiththe focalpoints.Theexamples come fromsix recentDutch translationsofSleeping Beauty,publishedbetween1995and2007.TheVanDonke-laarversionisatranslationoftheFrenchversionbyPerrault(La belle au bois dormant); the other examples (Bos,TheTjong-Khing,Deltas,VanDaeleandVriens)aretranslationsoftheGermanversionbytheGrimms(Dornröschen).Bos’stranslationisbasedonanintermediatetranslationinEnglish.

themes and motives

Inliterarytheoryamotiveisseenasaspecificationofatheme.Amotiveisarepeatedandmeaningfulelementinoneormoreliteraryworks(e.g.thekiss,thequestforthebeloved),whereasthethemeofthetextisageneralbasicconcept(suchaslove)(VanGorpetal.2007).Theboundarybetweenbothconceptsisflexible.ThebestknownclassificationofmotiveswithinthestudyoffairytalesisproposedbyAarneandThompson.Intheirview,amotivecanbeanynarrativeelement,suchasacharacter,anactionoranobject.TheTaleswebsite (www.talesunlimited.com)presents theAarne-


Thompsonmotiveindexwithcategoriessuchastaboo,magic,society(e.g.thenatureoftheroyalty,fatheranddaughter),unnaturalcruelty(e.g.thecruelstepmother),sex,religion,traitsofcharacter(e.g.laziness,activeim-agination)andhumour.InSleeping beauty,forinstance,AarneandThom-son(1928:66–67)distinguishthefollowingmotives:thewished-forchild,thefairiesgifts(splitupindifferentparts),theenchantedprincessandthedisenchantment.

Intranslationstudiesoffairytales,thefollowingthemesturnupagainandagain:violence andcruelty, sex andcorporality, death, religionandparentallove(orthelackofit).

Violence and cruelty

Grimm’sKinder- und Hausmärchen aswell as Perrault’sContes de ma mere l’Oyecontainmanycruelandviolentpassages.Bluebeardmassacreshiswives;LittleRedRidingHoodandhergrandmotheraredevouredbythewolf and thehunter cuts open thewolf’s stomach (inGrimm’sver-sion);Snowwhite’s(step)mothermustdanceinred-hotironshoesuntilshedies.Researchhasmadeitclear thatWilhelmGrimmaddedmanycrueldetailsinhislaterversions(Zipes2006).

Grimm’sSleeping Beautydoesnotcontainthatmanyviolentorcruelpassages,butPerrault’sversiondoes.Thestorydoesnotendwiththemar-riageandtheobligatory“andtheylivedhappilyeverafter.”Inalongex-tra storyline, theprince’smother,whoisacannibal,planstodevourherdaughter-in-lawandtwograndchildren.Shedoesnotsucceedinherevilplans,andeventuallythrowsherselfinthebathwithsnakesandscorpionsshehadpreparedforhervictims.ThisstorylinealsofiguresinBasile’sLo cunto de li cunti(1635)thatinspiredPerrault.TheGrimms,too,knewthestory:inthe1812editiontheypublisheditasaseparatetale(Scherf1982),butlaterrelegatedittoaseparatevolumewithscientificannotations.

ItisinterestingtoseethatVanDonkelaarhaskeptthisextrastoryline,withallitscrueldetails.Thisdecisionconformswithhergeneraltransla-tionstrategy,whichcanbecharacterizedassource-textoriented.Thereisonlyonelargeradditionandoneomissionofasentence(apartfromthemoralité,whichhas been removed altogether).The languagehas beenmodernized, but linguistic adaptations tomeet the needs of the youngreadersarerare.Inthis light, thefollowingsubstitutionisall themorestriking:

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Il alla chercher le petit Jour, et la trouva avec un petit fleuret à la main, [...]

(HewentlookingforthelittleDaylight,andfoundhimwithasmallswordinhishand)

Hij ging de kleine Daglicht opzoeken, en vond hem met het dekentje in de hand, [...]

(HewentlookingforthelittleDaylight,andfoundhimwithasmallblanketinhishand)

Substitution:taboo wordViolence, child

Obviously,theideaoflettingatoddlerplaywithaswordisunaccepta-ble in the target culture.

Sex and corporality

WilhelmGrimm also removedmany references to sexuality and bodilyfunctions in the later versions of hisKinder- und Hausmärchen (Seitz1984: 59).Studies bySutton (1996),Dollerup (1999),Blamires (2006),Kyritsi(2006),Thomson-Wohlgemuth(2007)andSeago(2008)showhowtranslatorsfrequentlyadaptedandeliminatedsexualorscatologicalrefer-encesintranslationsofRapunzel, The Frog-Prince, Sleeping Beauty, Little Red Riding Hood, All-kinds-of-fur(incest)andmanyothertales.

In Perrault’s version, there are three relevant passages for this focalpoint.Thefirstisaboutthequeenbecomingpregnant.Inthetranslation,theactivityofgivingbirthistoneddown.

Enfin, pourtant, la reine devint grosse, et accoucha d’une fille.(Finally,however,thequeengotpregnant(thick),andgavebirthtoadaughter.)

Eindelijk raakte de koningin dan toch in verwachting en kreeg een dochter.(Finallythequeenstillgotpregnantandgotadaughter.)

Substitution:taboowords(addition:cohesionmarker)corporality

The other two passages are situated in the extra storyline. The firstmighthavesexualconnotations.Welearnthat,aftertheprincessawakes(withoutakiss),they slept only little: the princess did not really need it. VanDonkelaartranslatesthepassageliterally.InthesecondpassagePer-raultsaysthattheprinceandSleepingBeautylivedtogetherformorethantwoyearsandhadtwochildrenbeforehetookhisbridetohiscastle.Thispassagetooistranslatedliterally.


IntheGrimmtalesthereisapassageaboutthebathingqueenandtheonewiththefamouskiss.ThepassageaboutthebathingqueenandthefrogcrawlingashoreisomittedinthetranslationofTheTjongKhingandsub-stitutedbythequeenandkinghavingawalkandtalkinVriens’sversion.InthetranslationbyM.F.CraftandinthealmostliteralDutchtranslationbyT.Bos,thequeenishiddenfromindecentlooks:

[...], als die Königin einmal im Bade saβ [... ](oncethequeenwassittinginherbath)

[...] the Queen began (tobatheat a secludedpool[...])

De koningin nam soms een bad in een beschutte vijver [...](thequeensometimestook a bath in asecludedpool)

Addition:placesexuality

IntwooftheGrimmtranslations,thereisasmallbutsignificantchangeinthescenewiththekiss.IntheanonymousDeltastranslationandintheversionbyJacquesVriens,theprincebowsoverthesleepingprincess,butshewakesupbeforehecanactuallykissher.Vriensaddsahumoroussceneinwhichaministerfreezeswhiletryingtokissalady-in-waiting.Tomakeitevenfunnier,headds:He got stuck with his lips on her blushing cheek. Whentheywakeup,sheboxeshisears.

Death

Deathisanothertabooinmanyfairytaletranslations.Klingberg(inOit-tinen2000:91–92)aswellasØster(2006:150–151)mentionhowinanAmericanversionofAndersen’sThe Little Match Girlfrom1944thegirldoesnotdie,butistakeninbyanoldladywhobringsherupasherowngrandchild.

TheGrimmSleeping Beautymentionstwicethatseveralprincesdiedin thethorn-hedge:und starben ein jammerlichen Todes(andtheydiedapiti-fuldeath). In threeof thefive studiedversions (VanDaele,Deltas,TheTjongKhing)thisclauseisomitted.Inthetwoothers,thepassageismodi-fied.IntheEnglishversionbyCraftandintheDutchtranslation,theun-fortunateprincesalldisappearedwithoutatrace.JacquesVriensfocusesononeoftheprinceswhomhedescribesascoveredinblood,scratchedandbruisedafterhisattemptstoconquerthethorn-hedge,butheisnotdead.

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Religion

Religion is stronglypresent in theGrimm tales (Murphy2002: 4).Sut-ton(1996)aswellasDollerup(1999)concludethatinthemajorityofthetranslations,religiousreferencesareomittedorchanged.ThesameistrueforthefairytalesofHansChristianAndersen(Øster2006).InherstudyofGrimmtranslations inEastGermany,Thomson-Wohlgemuthevenstatesthat“religionpresentedanareawhichproducedthegreatestproportionofrevision”(2007:184).IntheGrimmversionofSleeping Beauty, there are noreligiouselements,andinthetranslations,noneareadded.Thiscomesasnosurpriseinourmodernsecularsociety.Inthepast,however,transla-tionswherethereligiousaspectwasstrengthenedwerenoexception.

InPerrault’sversion,thequeenandkingtryanythingtohavechildren:voeux, pelerinages, menuës devotions(pledges,pilgrimages,smalldevo-tions).VanDonkelaar rearranges the devote actions (vrome geloften en bedevaarten: devout pledges and pilgrimages), but does not omit them.Shealsokeepsthechristeningfeast.Onceagain,thisdecisionprovesheroverallsource-text-orientedtranslationstrategy.

(Lack of) parental love

Another delicate theme for translators is the unworthy parental behav-ior.Parentsleavetheirchildrenbehindinthewoods,givethemawaytostrangers(whichmayleadtothechildren’sdeath)orevenhaveincestuousplans.Soriano(1963)statesthatinnoneofPerrault’stalestheparentsarelovingandcaring.Ineverytaleachildisneglectedorignored.

Seago(2001)focusedonthepassageinSleeping Beauty where the king andqueenareabsentonthedoomedfifteenthanniversaryoftheirdaughter.InnearlyalltheEnglishversionsshestudied,thispassageischanged.InthreeofthefiverecentDutchtranslationsIstudied,thepassagehasbeenequallyaltered.IntheversionsofTheTjongKhingandVriens,theparentsstayinthecastle.IntheversionofCraft(andtheDutchtranslationbyBos),areasonisaddedfortheparents’absence:theywentouttobuyapresentfortheirdaughter’sbirthday.Butevensuchchangesdonotpleaseallthereaders,asitbecomesclearfromthefollowingquotationfromacustom-er’sreviewonwww.amazon.com:

Anotherstrangeelementthatdidn’tseemtomeshtightlyintotherestofMr.Craft’snarrativewasthenegligenceofBeauty’sparentsonher16th[sic]birth-day.Theyleaveheraloneasthey’vegoneouttobuyheraveryspecialgift.


Howdoesthatmakeanysense?Theyarecharacterizedashavingfeelingsfortheirdaughterandtheyhavebeenwarnedthatshewouldbeafflictedonthisday.Howcouldtheyhavebeensocalloustohavelefther?

Morale

Perrault addedoneor twoverses to eachofhis tales, presentinganex-plicitmorale(moralité).Theselessonsappeartobeproblematicforcon-temporaryDutchtranslators.InnoneoftheninestudiededitionsofPuss-in-boots,publishedforchildrenbetween1900and1996,themoralitéwaskept, as opposed to the source-text-oriented edition byVanNimwegen,published in1977byHetSpectrum,which isnotmeant specifically forchildren.ItisremarkablethattheadequatetranslationbyVanDonkelaaromitsthemoralitéofSleeping Beauty.

TheBrothersGrimmdidnotaddseparatemorallessonstotheirfairytales,althoughresearcherssuchasTatar(1987)andZipes(2006)revealedthatWilhelmGrimmstrengthenedthemoralityofhistalesinvariousedi-tions.JacquesVriensaddsseveralgenericsentenceswhichcontainlessons,althoughtheyarenotpresentedintooobtrusiveaway.Thepeopleofthevillagetelltheunfortunateprince:We hebben je toch gewaarschuwd? Wie niet horen wil, moet voelen(Wedidwarnyou,didn’twe?Advice,whenmostneeded,isleastheeded).Atthebeginningandintheend,thefrogad-visestheimpatientkingandtheprincess:Alles op zijn tijd, majesteit, alles op zijn tijd (Allinduecourse,YourMajesty,allinduecourse).

Characters

Asecondgroupoffocalpointsdealswiththecharactersinthetales,whichareofcoursecloselylinkedwiththemesandmotives.Researcherscanfo-cusonthecharacterizationofchildren,women,men,fantasycharacters,kingsandsoon.Theycanstudyhowthecharactersaretypifiedinthetrans-lationsandwhatchangeshavebeenmadein thecharacters’appearance,behavior,feelingsandthoughts.Ofspecialinterestisobjectionablebehav-iour,suchastellinglies,cheatingordrinkingalcohol(asinPuss-in-boots).Apartfromthecharacterizationassuch,relationscanbestudiedbetweenchildrenandparentsorotheradults,betweenbrothersandsisters,menandwomen,rulersandtheruledormastersandsubordinates.

BelowareexamplesoftranslatorychangesinthecharacterizationandrelationsinSleeping Beauty.

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Agreatdealhasbeenwrittenaboutthepassivenessandsubordinateroleofwomeninfairytales(e.g.Zipes1988:64–69;Tatar1987:87–92).Innumeroustranslations,womenarerenderedevenmorepassive,subor-dinateandchildishthanintheoriginal.InherstudyKarenSeagofocusedon the translation of gender roles in Sleeping Beauty. She found that“translations favouractiveconstructionswith theprincessas theagentin thepassages leadingup to thefulfillmentof thecurse(stressingher‘female’curiosity)whileusingpassivesinamuchmorepronouncedwaytopromotenarrativeepisodeswhicharerewarded”(Seago2001:177).In theDutchtranslationsIstudied,onlyonesuchchangecouldbefound.Inall translationstheclauseIn dem Augenblick aber, wo sie dem Stich empfand(Butinthemomentsheexperiencedtheprick)istranslatedasze prikte zich or ze prikte haar vinger(sheprickedherself;sheprickedherfinger).BothversionssoundmorenaturalinDutch,makingthischangeless relevant.More interesting is thefinding thatall the threeversionsrenderthe“female”curiositymoreexplicit.VanDaele,TheTjongKh-ingandtheanonymoustranslatorof theDeltaseditionaddtheevalua-tiveadjectivenieuwsgierig(curious).VanDaelealsosubstitutestheverbbesah (watched)by the intensifyingverb rond te neuzen (nose about),strengtheninghercuriosityevenmore.Vriensstressestheprincess’sin-quisitiveness:Omdat Roosje graag nieuwe dingen wilde leren, liep ze het kamertje binnen(BecauseRoosjewaseagertolearnnewthings,sheenteredthelittleroom).

In contrast, the prince is made stronger andmore active in all ver-sions.VanDaele’sprincehackspowerfullyatthethorn-hedge.IntheDel-tasversionherushesup to it (insteadofapproaching itas in thesourcetext).TheTjongKhingletshimheavehisarminordertostarthacking.Bos’sprincewantstoattackthehedgeandVriens’sliftshisaxe.

Of special interest is the passage inwhich the fairies express theirwishes. These wishes can be considered as “typical” positive femaletraits.Thetraitsarerepeatedandcompletedwhenitistoldhowtheprin-cessgrowsup.Thenexttablemakesclearhowthesetraitsarerearranged,substituted,omittedorcompleted.Assuch,theyareadaptedtothetargetcultureandtheimageofchildrenandwomenofthetranslators.


Grimm Bos/Craft VanDaele Deltas TheTjongKhing

Vriens

Tügend(virtue)

Schönheit(beauty)

Reichtum(wealth)

deugd(virtue)

wijsheid(wisdom)

schoonheid(beauty)

schoonheid(beauty)

geluk(happiness)

wijsheid(wisdom)

schoonheid(beauty)

rijkdom(wealth)

deugd(virtue)

heelmooi(verybeau-tiful)

heellief(verysweet)

heel gelukkig(veryhappy)

goede gezon-dheid(goodhealth)

vriendelijkheid(friendliness)

zangtalent(talentofsinging)

WealthisonlymentionedbyDeltas,virtueonlybyBos/Craft(inthefirstposition,asinthesourcetext)andDeltas.Beauty(secondplaceinthesourcetext)ismadethefirsttraitinthreeoutofthefivetranslations.VanDaeleaddswisdomandVriensgivesthreenewwishes.TheTjongKhingusesadjectives,avoidingabstractconcepts,suchasvirtueorwisdom.

Vriensaddsthewishesoftheotherfairies,too:theywishtheprincesshonesty,loveforplantsandanimals,beauty,cleverness,eyesthatradiatewarmth,mirthandtolerance.NotethatthetalentofsingingisoneofthewishesinPerrault.Moreover,Vriensalsoexplainshowthelittleprincessisatschool,bringingthegirlclosertothechildreaderorlistener:Toen ze naar school ging, had ze het daar erg naar haar zin. Ze snapte werkelijk alle sommen en vond het heerlijk om nieuwe dingen te leren (Whenshewenttoschool,shelikeditthereverymuch.Shereallyunderstoodallsumsandlovedtolearnnewthings).

time and space

Itistypicaloffairytalesthattheytakeplaceinanundeterminedtimeandplace:Once upon a time...Therefore, almost no fairy tale contains cul-turalmarkerslinkedtoaspecifictimeorplace.ItisnodifferentinSleep-ing Beauty.Domesticationofpersonalnamesisawell-knownstrategyintranslationsofchildren’sbooks(VanCoillie2006a).InthestudiedversionsofSleeping Beauty,onlyVriensaddsnames,againbringingthecharactersclosertothereaders.TheprincessiscalledRoosje,theprinceWillem and thekingandqueenAdelbert and Amalia. Dornröschenistranslatedliter-allyasDoornroosje.

22 Jan Van Coillie

Apartfromthetextualmarkersoftimeandspace,illustrationscanspec-ifythesetwodimensions.They,too,may“translate”thestory.Theymayomit,rearrangeorsubstitutetextualelementsorfillinemptyspaces.K.Y.Craftchoosesamedievalsetting,withobviousJugendstilinfluences.TheTjongKhingdrawsamoresobermedievalsetting,whereasPhilipHop-manmixes eighteenth-century crinolineswith scenes inspired by Brue-ghel(ofthesixteenthcentury).Undoubtedly,illustrationsdeserveanalysiswhileinvestigatingmultipleversionsoffairytales(seeHoulind2001:133;Blamires2006:165,VanCoillie2007a).Dollerupgoesasfarastocallil-lustratorsco-narrators(1999:257).

point of view

Thestudyofthepointofviewisparticularlyrevealingfortherelationwiththeaudience.Especiallyinterventionsoftheomniscientnarratorcanma-nipulatetheeducational,entertainingandemotionalfunctionsofthetext,forinstance,bymakingthemoralemoreexplicit,addinghumour,manipu-latingsuspenseorcallingupontheemotionsofthereaderorlisteners.ByaddingnineformsofaddresssuchasJe begrijpt het al(Youunderstanditalready),En weet je door wie?(Anddoyouknowbywhom?)orZeg nou zelf!(Admitit!),TheTjongKhingchangesthevisibilityofthenarratorandbringsthetextmuchclosertothereaderorlistener.2

events, plot

HavingstudiedahundredRussianfairytales,VladimirProppconcludedthat they all had the same basic structure.He stated that fairy tales areconstructedof“functions,”thatis,actionsimportanttothetale.Insimi-lar tales the same functionswill occur in the same order, regardless ofwhoperformsthefunctions.Inthebeginningtheheroisconfrontedwithaproblemorignoresaban.Hehastoovercomemanydifficultiesbutintheendhealwayssucceedsandisrewarded.Intotal,Proppdistinguished 31functionsthatarelinkedtoactionspheresorroles(villain,donor,helper,

2 Inseveralmodernadaptationsfrom1980onwards,fairytalesarebeingretoldfromanotherpointofview.Zwart als inkt (Blackas ink)byWimHofman(1998)containsallkindsofletterswrittenbySnowwhite;inConfessions of an Ugly Stepsister(1999)GregoryMaguireletsoneofCinderella’sstepsisterstellherstory;andMiniGrey(2003)letsthepeaspeakinsteadoftheprincess(Joosen2007).


objectsuchasprincess,dispatcher,hero,falsehero).Propp’sstudymadeitpossibletocomparethestructureof(fairy)talesandcategorizesimilaritiesanddifferences(Tatar1987;Zipes1999;Peresso2006).

Aswehaveseen,especiallyJacquesVriensaddsnewevents,althoughthebasicstructureisnotchanged.Notonlythecontentandtheorderoftheactionsoreventscanbestudied,butalsorepetitionandparallelism.Dek-ker,VanderKooiandMeder(1997)statethatthebasicschemesoffairytalesarethreefold:threeordersmustbecarriedout,theheromustdefeatthreeenemies,has threehelpersor threemagicobjectsandmakes threeattemptstosolvetheproblem.Thesebasicschemescanbetheobjectofacomparativeanalysis,too.

style

Theresearcherwhowantstofocusonstylecantakeeitherthesourceorthe target text asa starting-point. In thefirst case theanalysismay indicatetowhatextentthe“typical”styleoftheoriginalauthor(Perrault,Grimm,Andersen)istransmittedorpreserved;itmayconcentrateonspecificsty-listicfeatures,suchassentencelengthandcomplexity,rhythm,rhetoricaldevices(schemesandtropes)ortypicalwordsandwordcombinations.An-netteØsterfocusedonthewayinwhichtranslatorsrenderAndersen’slan-guage.Sheconcludedthatmosttranslationslack“inrichnessofdetailandlinguisticfinesse”(Øster2006:154)andassuch“lieclosertotheplain,soberstyleofthefolktale”(150).

Researcherscanalsoexaminethetypicalstyleofatranslatorandthedegreetowhichstylisticfeaturesareinfluencedbythesourcetext.Suchanexaminationisall themoreinterestingwhentranslatorshappentobeauthors(forchildren),asisthecasewithHenrivanDaele.

A central issue in the stylistic analysis of texts for children is that oftheadaptationtotheyoungreadersorlisteners.Suchadaptationshaveal-waysbeenacommonpracticeintranslationsoffairytales.Infact,WilhelmGrimmstartedthispractice.Intheprefacetothesecondedition,hewrites:Dabei haben wir jeden für das Kindesalter nicht passenden Ausdruck in dieser neuen Auflage gelöscht(Therebywehaveeliminatedinthisnewedi-tionanyexpressionthatisnotsuitableforchildhood).InthelaterversionsofhisKinder-und Hausmärchen,andevenmoreintheKleine Ausgabe, he addeddirect speech, repetitions,alliterations,onomatopoeia,proverbs,di-minutives,similesandexpressionstypicalofpopular,spokenregister(Seitz

24 Jan Van Coillie

1984:59;Bluhm1995:27;Dollerup1999:48;Zipes2007:75).Themajor-ityofthetranslatorscontinuethistrend.Ofspecialinterestforthestudyofstylisticadaptationaresentencelengthandcomplexity,cohesionandlexicaldifficulty(lessfrequentandabstractwords).

Anotherinterestingstylisticaspectistheoralityofthetext,thatis,theelementsthatmakeitsuitableorattractiveforreadingaloud.Theresearch-ercanconcentrateonlinguisticelementssuchasrepetition,intensifiers,in-terjections,directspeech,questionsandexclamations,onomatopoeiaandrhyme (VanCoillie2006b).Of the studiedversionsofSleeping Beauty, Vrienschangesitsoralitytothelargestextent.Headdsnolessthan139in-stancesofdirectspeech;moreover,hesubstitutesindirectfordirectspeechfour times.Bycomparison, theThjongKhingaddseightsentenceswithdirectspeech,andVanDaeleonlyone.Futhermore,Vriensaddsnumerousintensifiers,questions,exclamationsandevenarhyme:theoldladywiththespinningwheelrepeatsthreetimesanoldchildren’srhyme:In spin de bocht gaat in.TheTjongKhing,ontheotherhand,addsseveralinterjec-tions:hoor(really),maar ja(butanyway)andaddressestothereader,inthiscasemore likely to the listener:En weet je door wie? (Anddoyouknowbywhom?).

from analysis to interpretation

Comparativeanalysesdonotofferfullexplanations.Inordertointerpretthechanges,theresearcherhastorefertothecontext.Conceptscentralto the interpretationof changes in translations arenorms, systemsand functions.Justasanyother text,a fairy talecanbestudiedasasocialpracticethatincorporatesandtransfersnormsandvaluesandassuchitis structurally and linguistically linkedwith other social practices andsystems, fulfilling specific functions for the readers. I define functionsaspossibleeffectson the reader: they fulfill certainneeds that readershave;theyarerelatedbutnotequaltotheauthor’sintentions(VanCoillie2006a:124,2007b:18–24,2008:556–559).

Thechangesatranslatorconsciouslyorunconsciouslymakesaredeter-minedbypersonalandsocialeventsandideas,whichinterrelateinmanyways.Inthecaseof(children’s)literature,thecontextiscomplex,becauseotheragents,suchasthepublisheroreditor,canberesponsibleforcertainchoices.Therefore,itisimportantthattheresearcherisawareofthefactthat


everyattemptatinterpretationisincomplete:itisimpossibletoknowthecompletecontext,withallitspersonal,situational,historical,political,so-cial,cultural,literaryandeducationalfactors.Interpretation,inotherwords,alwaysimpliesselection.Forthestudyofchildren’sliterature(intransla-tion) thepedagogicaland the literarysystemsaremost relevant,becausetheyhavebeeninextricablyinterwovenwiththeliteratureforchildren.

individual factors

Specificchangesintranslationscanoftenbeexplainedbyindividualfac-tors,althoughanindividualisnevercompletelyisolatedfromsociety:heorsheisalwaysinfluencedbyitand,inturn,canexertaninfluenceonit.Asstatedabove,changescanalsobe the resultofpersonaldecisionsofeditorsandpublishers,whotraditionallyplayanimportantroleinthepro-ductionofchildren’sliterature.

Changes in a translation can result from a limited knowledge of thesource(ortarget)language,nonchalanceorinaccuracy.Relevanttothe interpretationaretranslators’professionandstatusaswellasotheractivi-ties that link them to the literary or pedagogical system: are translatorsprofessional translators, authors (of children’sbooks), teachers, scholars(specializinginfairytales),actors?Documentsthatassistthestudyofsuchindividualfactorsareprefaces,blurbs,biographies,letters,interviews,ar-ticleswrittenbytranslators,oreventheirwebsites.

ManyradicalchangescarriedoutbyJacquesVriens(suchas thead-ditionsofhumouranddialogue)canbeexplainedbyhisexperiencesasa teacher, puppet player and actor.He stages his own fairy tale adapta-tions.According to theblurbofGrootmoeder, wat heb je grote oren, he findsitimportantthatthestoriesareenjoyedbythechildaswellasbytheadultwhoreadsthemaloud.

social ideas: norms and functions

Intheirstudiesofthelinksbetweentext,individualandsociety,translationscholarsandliteraryscholarsusetheconceptsof“norms,”“systems”and“functions.” In the examination of fairy tales, I distinguish pedagogical-didacticnormsandliterarynorms.Theycandeterminetheselectionoftales(seethepreliminarynormsofToury1995)aswellasthechoicesandaltera-tionstranslators(orpublisher/editor)make(Toury’soperationalnorms).

26 Jan Van Coillie

Pedagogical-didactic norms

Pedagogical-didacticnormsdeterminewhatisgoodorsuitablefortheedu-cationofthechild.Acentralconceptinthisrespectisthechild image that thetranslatorhas, that is, thetranslator’s ideasaboutwhat isfitorgoodforchildren,whatchildrencanmanageandwhatthey(are)like.RiitaOit-tinendistinguishesapersonalandacollectivechildimage(akindof“su-peraddressee,”2000:4).ShequotesZoharShavit,whoexplainsthat thedifferencesbetweenPerrault’sandGrimm’sversionsofLittle Red Riding Hoodarecausedbytheirdifferentimageofthechild(Oittinen2000:87–88).TheconceptofthechildimagealsoplaysacrucialroleinthestudiesofClarkPeres(2000:181),Øster(2006:150)andBlamires(2006:170).

Ideasaboutwhatisappropriate,usefulorgoodforthechildcanrelateto culture or language.They determinewhat is considered good or badbehavioror speech,what isa taboo forchildrenandwhat isworth imi-tating.They influence the formativeorpedagogical functionof the text.Becauseofculturalnormsandtaboos,theswordischangedintoablanket,theunfortunateprincesdonotdieinthethorn-hedgeandtheluckyprincedoesnotkissthesleepingbeauty.Ideasaboutwhatisagoodlanguageforchildrencanresultinchangingdialectintostandardlanguageoralteringtheuseofnon-standard(creative)languageinto“normal”language.

Ideasaboutwhatchildrencanmanage,whatistoodifficult(ortooeasy)for them, influence the informative or didactic function.Translators ad-just the text towhat theyconsider tobe thechild’s levelofcomprehen-sionor readingability.Thesenorms, too,canrelate toculturalconceptsandlanguage.Foreignculturalreferencesmaybeomittedorreplaced;thelanguage, plot and characterizationmaybe simplifiedor renderedmoreconcreteorexplicit.

Finally,ideasaboutwhatchildrenarelikeandaboutwhattheylikecanchangetheemotionalandentertainingfunction.Becauseofthesenorms,translatorsmakeemotionsmoreexplicitandaddreferencestothetargetculture inorder toenhance the identification.Theadditionofadjectivessuch as sweet, nice, kind or dear and of diminutives is caused by suchnormsaswell.IntheGrimmversionofSleeping Beauty,thereareonlytwodiminutives:blätchen(leaflet)andKöpchen(littlehead).Bothareomittedinallfivetranslations.Ontheotherhand,VanDaeleadds8diminutives,Deltas9,theTjongKhing26,Bos/Craft9andVriensnolessthan42.Mostsignificantistheformprinsesje(littleprincess).Alltranslatorsuseitnexttotheformprinses(princess),evenwhenthegirlisfifteen.


Theadditionofhumorousorthrillingdetailsinfluencestheentertain-ingfunction.They,too,revealthetranslators’attitudetowardsthepublic.VanDaeleaswellastheTjongKhingandVriensaddfunnydetails,espe-ciallytothesceneswhenthespellstartsandends,wheneveryoneinthecastle freezes and unfreezes.AgainVriensoutdoestheothers.Aministerstickswithhislipstotheblushingcheekofalady,courtiersfallasleepwithapieceofcakeintheirmouthandsoon.SomeoftheadditionsbyVriensandVanDaeleaimattheadultreader.InVriens’sversiontheprincetellsthevillagepeoplethathewantstokisstheprincess,addingDaar ben ik toch een prins voor(That’swhyIamaprince,amInot?).WhentheprincefindseveryoneasleepinthecastleinVanDaele’sversion,heisstartledbythesight,exceptforthesleepingministers,want hij had wel vaker minis-ters in vergadering gezien(becausehehadseenmoreministersinmeetingbefore).

Literary norms

Literary norms are developed within the literary system and determinewhatisconsideredtobegoodorbadliterature.Therearespecificnormsforchildren’sliterature(DeVries1989),fairytales,literatureingeneralandtranslations(ingeneraloritssubgenres).ThestrikingdifferencesbetweentheversionsofVanDaeleandVrienscanpartlybeexplainedbydiffer-ent literarynorms.VanDaele isanexponentof the text-orientedmove-mentthatdominatesthesystemofchildren’sliteraturesinceabout1980,stressingaestheticvalues. Inmany interviewshestates thathedoesnotconsciouslywriteforchildren,hewantstowriteliterature.Vriensismuchmorereader-oriented.Heclearlyadaptshisstoriestotheyoungreaders.Assuch,heisanexponentofacountermovementthathasgainedinstrengthfromthe1990sonwards.Authorsaswellascriticsputthereadermoreinthe centre again.

Often,literaryexamplesplayanimportantroleinthisrespect.Transla-torsareinfluencedbywell-knowntranslationswithahighstatus,butalsobyadaptations toothermedia.Theappearanceof littlemice inVriens’sversionisprobablyinfluencedbyWaltDisney.AllstudiedtranslationsoftheGrimmSleeping Beautyareequallyinfluencedbygenreconventions.Inall of them, the beginning and end sequence are adapted to the typical fairytaleformat.Vor Zeiten war...(Before,therewere...)ischangedintoEr was/waren eens... (Onceupona time ...),Lang, lang geleden leefden eens... (Long, long ago there lived...) or In een land hier ver vandaan,

28 Jan Van Coillie

leefden eens... (Inacountry,farawayfromhere, lived...).Infourof thefiveversions,theprinceandprincess“livedhappilyeverafter”(insteadof“livedhappilyuntiltheirend”).VanDaleaddsthattheyhadmanychildrenandCraftthatthestoryhasbecomefamousallovertheworld.TheTjongKhingaddsanewending,possiblyinspiredbyPerrault.Hesaysthatthelittleprincessalwaysgoestobedlateatnightandwakesupearlyinthemorning,because“shehadbeensleepingenough.”

social reality

Changesofideasandnormsarealwaysintertwinedwithchangesinsoci-ety.Ultimately,theresearcherwhowantstointerpretthechangesintrans-lationsmustconcentrateonchangesinsociety.Omittedpassageswithir-responsibleparentsbearwitnessof changed relationswithin the family.The(rare)activeandself-confidentheroinesattesttothealteredpositionofwomen in society.Vriens’s eloquent, inquisitive and spoiltRoosje isachildofhertime.Ofcourse,storiesdonotsimplyreflectwhathappensinsociety.InherstudyofPortuguesetranslationsofLittle Red Riding Hood inBrazil,AnneMariaClarkPeres(2000)foundthatthetranslationsbarelydiffered, regardlessof theradicallydifferentsocialstatusofchildren. Inmostofthem,theheroinewaspresentedasasweet,obedientgirl.Obvi-ously, thechild imageof the translatorsand the influenceof the formerversionswerestrongerthanchangesinsociety.

Conclusion

Fairytaleshaveenthralledgenerationsofscholars:folklorists,anthropolo-gists, philologists, psychoanalysts, sociologists and more recently alsotranslationscholars.Particularlytheirmysteriousoriginandtheirworld-wideandever-lastingpopularitycontinuetofascinate.Becausefairytalesarepartof thepopularheritage, theyhavebeenadaptedtimeandagain.Theirdifferentversionsshareanumberoffeatures,butthedeviationsandchangesillustratewellhowtranslationsdonotonlytranslateatext,butalsoa culture.Bypresentingastructuredmethodofanalysis,Ihopetosuggestnewpossibilitiesforthestudyoffairytalesintranslation.Themethodcanbeappliedtotranslationsaswellasadaptations,whichaboundinfairytale


versions.Moreover,thismethodforegoesthedivisionbetweencontentandlinguisticlevelsbycombininglinguisticmarkerswithfocalpoints.Suchanapproachalsoallowsamoredetailedcomparisonofversionscreatedindifferentcultures.

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NewYorkandLondon:Routledge.Zipes, J. 1999. Breaking the Magical Spell: Radical Theories of Folk and Fairy

Tales. NewYork:Methuen.Zipes,J.ed.2006.The Great Fairy Tale Tradition: From Straparola and Basile to the

Brothers Grimm. NewYorkandLondon:W.W.Norton.Zipes,J.2007.When Dreams Came True: Classical Fairy Tales and Their Tradition

(2ndedition).NewYork:Routledge.

studied translations of Sleeping Beauty

Bos,T. / Craft,M.F. 2002.Doornroosje: een sprookje van Grimm. Naverteld doorMahlon

F.Craft.IllustratiesvanKinuhoY.Craft.Zeist:Christofoor.VanDonkelaar,M.1995.Sprookjes van Moeder de Gans.IllustratiesvanIreneGoede.

Rotterdam:Lemniscaat.Tjong-Khing,T.2007.De Sprookjesverteller. Illustraties vanTheTjong-Khing. Haar-

lem:Gottmer/Schuyt.Deltas.2006.Doornroosje.IllustratiesvanG.Stoop.Oosterhout:Deltas.Perrault,C.1977.Sprookjes van moeder de gans of verhalen of sprookjes uit vroeger

tijd, met moraal.VertaalddoorAdrianvanNimwegen.Utrecht:Spectrum.VanDaele,H.2005.Er was eens een prinses... De mooiste sprookjes over prinsen en

prinsessen.IllustratiesvanTheTjongKhing.Leuven:Davidsfonds.Vriens,J.2006.Grootmoeders grote oren... dertig klassieke sprookjes opnieuw verteld

voor jonge kinderen door Jacques Vriens. Illustraties van Philip Hopman e.a. Houten:Unieboek.

32 Jan Van Coillie

Jan Van Coille(1957)isprofessorattheFacultyofLinguisticsandLiteratureoftheHUBrussel(associationK.U.Leuven),whereheteachesappliedlinguis-ticsandchildren’s literature(in translation).From1999till2006hewasact-ingchairmanoftheBelgianNationalCentreforChildren’sLiterature.Hehaspublishedwidelyonchildren’spoetry,fairy-tales,thehistoryofchildren’slit-erature,children’sauthorsandchildren’s literaturegenerally.From1999 till2004hewaseditor-in-chiefof theEncyclopedie van de jeugdliteratuur (En-cyclopaediaofYouthLiterature).Since2006he’sco-editoroftheLexicon van de jeugdliteratuur (LexiconofYouthLiterature)Heisalsoactiveasacritic,authorofchildren’spoetryandtranslatorofpicturebooks.