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THE PURPOSE OF FAIRY TALES
 

 

Most fairy tales call into play families of different configurations, which build up, transform themselves or decompose to result in a new organisation at the end of the story.

Siblings are torn apart, become rivals or are victims of complex curses.

More generally, tales reflect human existence and its relation with time, i.e. with death, through the portrayal of old age and of the succession of generations.


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"For a fairy tale to exist, there must be a threat – a threat against the hero’s physical or moral existence." specifies Bettelheim.

Most fairy tales begin with a separation, which takes on thousands of facets. It is often represented by the death of a parent: Cinderella’s or Snow White’s mother.

This initial ordeal, an essential step in becoming oneself for Bettelheim, an exploration of the unconscious for Marie-Louise von Franz, is often associated with impoverishment or humiliation which exacerbate the nostalgia for a lost paradise.


Once included in books, fairy tales quickly found a place on the stage. In the Age of Enlightenment, as during the Second Empire, the marvellous and artifice lend themselves particularly well to theatre and to opera.

The popular success of fairy tales incited game and toy manufacturers to take over the theme: puzzles, lotto games, shadow theatres, dolls, tea sets and mechanical toys flooded the market.

Finally, fairies found their way into advertising media. As early as 1870, the owner of Le Bon Marché department store distributed to his customers’ children small theatres and images inspired by fairy tales.


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