Pričujoče magistrsko delo na primeru Trnuljčice Charlesa Perraulta odkriva, kako se je literarna pravljica spreminjala od nastanka konec 17. stoletja vse do začetka 21. stoletja. Po pojasnilu okoliščin njenega izvora in analizi vsebine se osredotočamo na recepcijo v anglosaksonskih deželah, v Nemčiji in nazadnje v Sloveniji. Predstavimo tudi, kako Trnuljčico razlagajo najvidnejši psihoanalitiki, sociologi in zgodovinarji. Raznolikost prevodov in priredb nam pokaže, kakšen pečat je posamezna kultura pustila na izbrani pravljici. Ugotavljamo, da so poleg adaptacije bratov Grimm, ilustracije Gustava Doréja, zlasti pa filmske upodobitve Walta Disneya tiste, ki so najbolj spremenile horizont pričakovanja bralcev in gledalcev. Zaključujemo s postmodernističnimi in feminističnimi predelavami, ki vzpostavljajo mrežo intertekstualnih navezav na predhodna besedila in prevprašujejo tradicionalna prepričanja o spolnih vlogah ter poteku dogajanja. Ob tem se zastavlja vprašanje, kaj je ostalo od pravljice, napisane leta 1697?The following postgraduate thesis investigates how a literary fairy tale, specifically Sleeping Beauty written by Charles Perrault, has evolved since its beginnings at the end of the 17th century up until the modern day. We start by explaining the circumstances in which the fairy tale has been created and then we proceed with the textual analysis. Special attention is given to the reception of the Sleeping Beauty in Anglo-Saxon countries, in Germany and in Slovenia. We also present the main psychoanalytic, sociocultural and historic interpretations of the tale. Chosen translations and adaptations enable us to discern the imprint that a specific culture has left on the original text. Besides the version of the brothers Grimm, the illustrations of Gustave Doré and especially the film adaptations made by Walt Disney have forever altered both reader and spectator horizon of expectation. Furthermore, postmodern and feminist transformations of the fairy tale establish intertextual links to the previous retellings, subvert traditional view on gender roles and plot development. All this leads us to question what is left of the fairy tale published in 1697?
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