Class lectures
Post-mid semester
Post-mid semester
Fellowship programs for graduates
Look for the methodological frameworks (fellowships)
Charles Wallace India Trust Fellowship (3 months)
Erasmus Early Career Fellowships (6 months)
Fulbright (9 months when you do PhD)
Commonwealth
Britishcouncil.in
Character Origin and Kidnapping:
- In the Grimm version, Rapunzel is given to the witch, Gothel, as an act of repayment by her parents.
- Conversely, "Tangled" shows Rapunzel kidnapped from her royal parents by Gothel, highlighting a significant change in her backstory.
Parentage and Status:
- Grimm's tale describes Rapunzel's parents as normal countryfolk, while "Tangled" elevates her status to royalty, being the lost princess.
Condition of Rapunzel’s Mother:
- The movie omits the element present in the Grimm version, where Rapunzel's mother falls ill during pregnancy, leading to Rapunzel's exchange with Gothel.
Heroic Figures:
- The Grimm fairy tale introduces us to a prince as Rapunzel's hero, whereas "Tangled" reimagines the hero as a bandit, Flynn Rider.
Family Reunion:
- The outcomes also diverge; in the Grimm narrative, Rapunzel and her family are eventually reunited, unlike the initial separation portrayed in "Tangled."
Rapunzel’s Hair:
- A pivotal difference is seen in Rapunzel’s hair; it possesses magical qualities in "Tangled," a feature absent in the Grimm version.
Desire for Freedom:
- The Grimm tale shows Rapunzel with no apparent desire to leave the tower. In contrast, "Tangled" depicts her longing to escape and see the magic lanterns, adding to her character's depth and motivations.
Title Significance:
- The term "Tangled" can be viewed as gender-neutral and potentially reflective of the complex relationships and storylines interwoven in the movie, differing from the straightforward title "Rapunzel" in Grimm's fairy tales.
Idea of genders as genres.
Categorization within gender.
How does a gender narrative become a genre?
Distinct areas of academic inquiry.
Folklore.
Gender itself is another genre. The world of women is not the same as the world of men. In these tales, they bypass their own superego. Women’s narratives are representing a different world of its own, away from reality.
A folk narrative may be a gendered narrative, gendered song, gendered entity. Women’s narratives may or may not align with folk narratives. Narrative, performance, material. Gender becomes a different category of classification. What is the narrative like? From the perspective of the teller, gender becomes a category. It reflects women’s experiences.
Background represents folklore. Smaller circles represent different categories. Then how does gender become a genre. Bigger circle- gender is an overarching category that sits on top of all these circles. Genders become a distinct set. Gender- different dimension of categorization- based on the teller or the essence of the story.
In the world of gendered narratives, I can tell a story-wish-fulfilment- things that cannot happen in the real world happen here. Psychological complexity is much beyond the telling of the story. It is doing much more than what a story can do. Providing a possibility of an alternate world. Folk for survival.
These narratives are always shared. The emotion that I may feel as a woman will be shared by other women. Communal spaces where these stories happen- water spaces-filling water. Community space. Sacred spaces under the trees.
Another characteristic of these is anonymity. Somewhere somebody told this to me. Gossip is a different thing from a tale. How anonymity becomes a very good filter.
“Everyday practices of storytelling, riddling, singing or praying..behavioural norms and relations.”
‘Duvidha’- written by Vijaydaan detha (sic) based on a folktale of 4 lines.
There is a husband who goes to earn money.
Bath- Rajasthani emic category
Ekantra- something like typhoid. Ek- one, antar-gap
Fever that re-occurs alternate days.
He recreated the 4 line tale into a 20 page folktale. In 1973, he made his film called ‘Duvidha’. In 2005,