Seven different theories are presented in the discussion, all treating the study of folk fairy tales. At the beginning of the 20th century, two theories were predominant: the folkloristic theory (Antti Aarne, Stith Thompson) and the structuralist theory (Vladimir Propp). In the second half of the 20th century, the stylistic-literary theory of Max Lüthi had an important influenceon further research in Europe. The interest in fairy tales and psychoanalysis (Sigmund Freud) continued in the second half of the 20th century. Although the psychoanalytic theory of Bruno Bettelheim became popular, it was also criticised for connecting models of folk fairy tales withsexuality. Within psychoanalysis differing views were also developed by Carl Gustav Jung (archetypes in fairytales) and Marie-Louise von Franz (archetypes of women), who in her approach primarily elucidated folk fairy tales. The sociological approach of Jack Zipes became predominant in the 1980sand 1990s, and had an important influence on the development of the feminist perspective on the model of folk fairy tales and the gender studies. The representatives of feminist theory were Maria Tatar, Marina Warner and Clarissa Pinkola Estés. Characteristic of the latter is feminist research withan explicit emphasis on archetypes. No pure theories exist, but rather each of the theories mentioned combines various perspectives. The motive of Beautiful Vida in Slovene young-adult literature is one of the most important national motives. In Slovene young-adult literature and in literature teachingthe following texts are used: 1) the folk poem Young Vida (Ihan), 2) Beautiful Vida (France Prešeren), 3) Beautiful Vida in Action (Andrej Rozman Roza) and 4) the folk fairy tale The Prince and Beautiful Vida.
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