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Jakli, Timon. "Grimm 2.0 – Die Brüder Grimm in der Postmoderne." Dialogues between Media. Ed. Paul Ferstl. The Many Languages of Comparative Literature. Berlin u. Boston: de Gruyter, 2021. 217–26. Added by: joachim (26/06/2025, 16:19) Last edited by: joachim (26/06/2025, 16:28) |
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| Resource type: Book Chapter Language: de: Deutsch DOI: 10.1515/9783110642056-017 BibTeX citation key: Jakli2021 Email resource to friend View all bibliographic details  |
Categories: General Keywords: "Fables", Adaptation, Fairy tale, Postmodernism, USA, Willingham. Bill Creators: Ferstl, Jakli Publisher: de Gruyter (Berlin u. Boston) Collection: Dialogues between Media |
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This article examines the transfer of the Brothers Grimm’s narrative world into a postmodern setting. It focuses on two examples of modern mass cultural production, namely the ABC television series Once Upon a Time by Kitsis/Horowitz and the comic book franchise „Fables“ by Bill Willingham et al. Both modern works follow a similar basic idea: characters of fables and folk tales are forced to live among humans. Still possessing their magic abilities, they interact with their environment and are driven by the struggle to get back to their home world. The transformation of the well-known and canonized narrative material works on different levels. Both adaptions make use of the serialized storytelling to weave a net of smaller and bigger, interconnected narratives from different sources (Grimm, eastern fables, modern day pop culture). By doing that they combine connotations and backgrounds of tales and figures to create new meaning. Both adaptions use irony and play with citations in order to mark the act of creating a multi layered narrative universe with almost indefinite cultural and literary references. Their personnel is an eclectic pastiche of many different narrative worlds, playing a carnevalesque game with identities and allusions. With their ironic perspective on handed down narration, both works offer their viewers/readers a fascinating game of decoding, while still being a reflection of the Grimm’s traditional narrative world that is driven by the desire for living “happily ever after”.
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