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Little Red Riding Hood
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This article is about the folk tale. For other uses, see Little Red Riding Hood (disambiguation).
"Little Red Cap" redirects here. For the poem by Carol Ann Duffy, see Little Red Cap (poem).
Little Red Riding Hood
Little Red Riding Hood (1881) by Carl Larsson
Folk tale
Name
Little Red Riding Hood
Also known as
Little Red Ridinghood
Data
Aarne-Thompson grouping
333
Mythology
European
Origin Date
17th Century
Published in
Italian Folktales
Related
Peter and the Wolf
Little Red Riding Hood
The version found in The Book of Fables and Folk Stories by Horace E. Scudder.
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"Little Red Riding Hood", is a European fairy tale about a young girl and a Big Bad Wolf.[1] Its origins can be traced back to the 10th century by several European folk tales, including one from Italy called The False Grandmother (Italian: La finta nonna), later written among others by Italo Calvino in the Italian Folktales collection; the best known versions were written by Charles Perrault and the Brothers Grimm.[2]. The story has been changed considerably in various retellings and subjected to numerous modern adaptations and readings. Other names for the story are: "Little Red Ridinghood", "Little Red Cap" or simply "Red Riding Hood". It is number 333 in the Aarne-Thompson classification system for folktales.[3]
Contents
[hide]
1 Tale
1.1 Relationship to other tales
2 Tale's history
2.1 Earliest versions
2.2 Charles Perrault
2.3 Grimm Brothers
2.4 After the Grimms
3 Interpretations
3.1 Natural cycles
3.2 Rite
3.3 Rebirth
3.4 Norse myth
4 Modern uses and adaptations
4.1 Erotic, romantic, or rape connotations
4.1.1 Animations, films, and TV shows
4.1.2 Lipstick
4.1.3 Literature
4.1.4 Music
4.2 Other adaptations
4.2.1 Animations and films
4.2.2 Games
4.2.3 Literature
4.2.4 Music
4.2.5 Musicals
4.2.6 Television
5 See also
6 References
7 External links
Tale[edit]
Little Red Riding Hood, illustrated in a 1927 story anthology
The story revolves around a girl called Little Red Riding Hood. In Grimms' and Perrault's versions of the tale, she is named after her magical red hooded cape/cloak that she wears. The girl walks through the woods to deliver food to her sickly grandmother (wine and cake depending on the translation). In the Grimms' version, her mother had ordered her to stay strictly on the path.
A Big Bad Wolf wants to eat the girl and the food in the basket. He secretly stalks her behind trees, bushes, shrubs, and patches of little and tall grass. He approaches Little Red Riding Hood, and she naïvely tells him where she is going. He suggests that the girl pick some flowers, which she does. In the meantime, he goes to the grandmother's house and gains entry by pretending to be the girl. He swallows the grandmother whole (in some stories, he locks her in the closet) and waits for the girl, disguised as the grandma.
Gustave Doré's engraving of the scene: "She was astonished to see how her grandmother looked"
When the girl arrives, she notices that her grandmother looks very strange. Little Red then says, "What a deep voice you have!" ("The better to greet you with", responds the wolf), "Goodness, what big eyes you have!" ("The better to see you with", responds the wolf), "And what big hands you have!" ("The better to hug/grab you with", responds the wolf), and lastly, "What a big mouth you have" ("The better to eat you with!", responds the wolf), at which point the wolf jumps out of bed and eats her up too. Then he falls asleep. In Charles Perrault's version of the story (the first version to be published), the tale ends here. However, in later versions the story continues generally as follows:
A woodcutter in the French version, but a hunter in the Brothers Grimm and traditional German versions, comes to the rescue and with his ax cuts open the sleeping wolf. Little Red Riding Hood and her grandmother emerge unharmed. They then fill the wolf's body with heavy stones. The wolf awakens and tries to flee, but the stones cause him to collapse and die. Sanitized versions of the story have the grandmother locked in the closet instead of eaten and some have Little Red Riding Hood saved by the lumberjack as the wolf advances on her rather than after she is eaten where the woodcutter kills the wolf with his ax.[4]
"Little Red Riding Hood" illustration by Arthur Rackham.[5]
The tale makes the clearest contrast between the safe world of the village and the dangers of the forest, conventional antitheses that are essentially medieval, though no written versions are as old as that.[citation needed] It also warns about the dangers of not obeying one's mother (at least in the Grimms' version).[citation needed]
Relationship to other tales[edit]
A very similar story also belongs to the North African tradition, namely in Kabylia, where a number of versions are attested.[6] The theme of the little girl who visits her (grand-)dad in his cabin and is recognized by the sound of her bracelets constitutes the refrain of a well-known song by the modern singer Idir, A Vava Inouva:
‘I beseech you, open the door for me, father.
Jingle your bracelets, oh my daughter Ghriba.
I’m afraid of the monster in the forest, father.
I, too, am afraid, oh my daughter Ghriba.’[7]
The theme of the ravening wolf and of the creature released unharmed from its belly is also reflected in the Russian tale Peter and the Wolf[citation needed] and another Grimm tale The Wolf and the Seven Young Kids,[citation needed] but its general theme of restoration is at least as old as the biblical story, Jonah and the Whale.[citation needed] The theme also appears in the story of the life of Saint Margaret, wherein the saint emerges unharmed from the belly of a dragon,[citation needed] and in the epic "The Red Path" by Jim C. Hines.[citation needed]
The story displays many similarities to stories from classical Greece and Rome. Scholar Graham Anderson has compared the story to a local legend recounted by Pausanias in which, each year, a virgin girl was offered to a malevolent spirit dressed in the skin of a wolf, who raped the girl. Then, one year, the boxer Euthymos came along, slew the spirit, and married the girl who had been offered up as a sacrifice.[8] There are also a number of different stories recounted by Greek authors involving a woman named Pyrrha (literally "Fire") and a man with some name meaning "wolf".[9] The Roman poet Horace alludes to a tale in which a male child is rescued alive from the belly of Lamia, a female ogress in classical mythology.[10]
The dialogue between the Big Bad Wolf and Little Red Riding Hood has its analogies to the Norse Þrymskviða from the Elder Edda; the giant Þrymr had stolen Mjölner, Thor's hammer, and demanded Freyja as his bride for its return. Instead, the gods dressed Thor as a bride and sent him. When the giants note Thor's unladylike eyes, eating, and drinking, Loki explains them as Freyja's not having slept, or eaten, or drunk, out of longing for the wedding.[11]
Tale's history[edit]
"The better to see you with": woodcut by Walter Crane
Earliest versions[edit]
The origins of the Little Red Riding Hood story can be traced to versions from various European countries and more than likely preceding the 17th century, of which several exist, some significantly different from the currently known, Grimms-inspired version. It was told by French peasants in the 10th century[1] and recorded by the cathedral schoolmaster Egbert of Liege.[12] In Italy, the Little Red Riding Hood was told by peasants in the fourteenth century, where a number of versions exist, including La finta nonna (The False Grandmother), written among others by Italo Calvino in the Italian Folktales collection.[13] It has also been called "The Story of Grandmother". It is also possible that this early tale has roots in very similar East Asian tales (e.g. "Grandaunt Tiger").[14]
These early variations of the tale differ from the currently known version in several ways. The antagonist is not always a wolf, but sometimes an ogre, vampire[15], or a 'bzou' (werewolf), making these tales relevant to the werewolf-trials (similar to witch trials) of the time (e.g. the trial of Peter Stumpp).[16] The wolf usually leaves the grandmother's blood and meat for the girl to eat, who then unwittingly cannibalizes her own grandmother. Furthermore, the wolf was also known to ask her to remove her clothing and toss it into the fire.[17] In some versions, the wolf eats the girl after she gets into bed with him, and the story ends there.[18] In others, she sees through his disguise and tries to escape, complaining to her "grandmother" that she needs to defecate and would not wish to do so in the bed. The wolf reluctantly lets her go, tied to a piece of string so she does not get away. However, the girl slips the string over something else and runs off. In these stories she escapes with no help from any male or older female figure, instead using her own cunning, or in some versions the help of a younger boy who she happens to run into.[19] Sometimes, though more rarely, the red hood is even non-existent.[18]
In other tellings of the story, the wolf chases after Little Red Riding Hood. She escapes with the help of some laundresses, who spread a sheet taut over a river so she may escape. When the wolf follows Red over the bridge of cloth, the sheet is released and the wolf drowns in the river.[20] And in another version the wolf is pushed into the fire, while he is preparing the meat of the grandmother to be eaten by the girl.[18]
In 2013, it was revealed from scientific research that the tale originated in the 1st century in Europe and not, as previously assumed, in China. The scientists analysed the storylines and characters from 58 versions of the tale from different areas. By means of a computer model they then determined how the different versions of Little Red Riding Hood are related.[21]
Charles Perrault[edit]
The earliest known printed version[22] was known as Le Petit Chaperon Rouge and may have had its origins in 17th-century French folklore. It was included in the collection Tales and Stories of the Past with Morals. Tales of Mother Goose (Histoires et contes du temps passé, avec des moralités. Contes de ma mère l'Oye), in 1697, by Charles Perrault. As the title implies, this version[23] is both more sinister and more overtly moralized than the later ones. The redness of the hood, which has been given symbolic significance in many interpretations of the tale, was a detail introduced by Perrault.[24]
French images, like this 19th-century painting, show the much shorter red chaperon being worn
The story had as its subject an "attractive, well-bred young lady", a village girl of the country being deceived into giving a wolf she encountered the information he needed to find her grandmother's house successfully and eat the old woman while at the same time avoiding being noticed by woodcutters working in the nearby forest. Then he proceeded to lay a trap for the Red Riding Hood. Little Red Riding Hood ends up being asked to climb into the bed before being eaten by the wolf, where the story ends. The wolf emerges the victor of the encounter and there is no happy ending.
Charles Perrault explained the 'moral' at the end of the tale:[25] so that no doubt is left to his intended meaning:
From this story one learns that children, especially young lasses, pretty, courteous and well-bred, do very wrong to listen to strangers, And it is not an unheard thing if the Wolf is thereby provided with his dinner. I say Wolf, for all wolves are not of the same sort; there is one kind with an amenable disposition – neither noisy, nor hateful, nor angry, but tame, obliging and gentle, following the young maids in the streets, even into their homes. Alas! Who does not know that these gentle wolves are of all such creatures the most dangerous!
This, the presumed original, version of the tale was written for late seventeenth-century French court of King Louis XIV. This audience, whom the King entertained with extravagant parties, presumably would take from the story the intended meaning.
Grimm Brothers[edit]
Wilhelm (left) and Jacob Grimm (right) from an 1855 painting by Elisabeth Jerichau-Baumann.
In the 19th century two separate German versions were retold to Jacob Grimm and his younger brother Wilhelm Grimm, known as the Brothers Grimm, the first by Jeanette Hassenpflug (1791–1860) and the second by Marie Hassenpflug (1788–1856). The brothers turned the first version to the main body of the story and the second into a sequel of it. The story as Rotkäppchen was included in the first edition of their collection Kinder- und Hausmärchen (Children's and Household Tales (1812)).[26]
The earlier parts of the tale agree so closely with Perrault's variant that it is almost certainly the source of the tale.[27] However, they modified the ending; this version had the little girl and her grandmother saved by a huntsman who was after the wolf's skin; this ending is identical to that in the tale The Wolf and the Seven Young Kids, which appears to be the source.[28] The second part featured the girl and her grandmother trapping and killing another wolf, this time anticipating his moves based on their experience with the previous one. The girl did not leave the path when the wolf spoke to her, her grandmother locked the door to keep it out, and when the wolf lurked, the grandmother had Little Red Riding Hood put a trough under the chimney and fill it with water that sausages had been cooked in; the smell lured the wolf down, and it drowned.[29]
The Brothers further revised the story in later editions and it reached the above-mentioned final and better-known version in the 1857 edition of their work.[30] It is notably tamer than the older stories which contained darker themes.
After the Grimms[edit]
An engraving from the Cyclopedia of Wit and Humor.
Numerous authors have rewritten or adapted this tale.
Andrew Lang included a variant called "The True History of Little Goldenhood"[31] in The Red Fairy Book (1890). He derived it from the works of Charles Marelles,[32] in Contes of Charles Marelles. This version explicitly states that the story had been mistold earlier. The girl is saved, but not by the huntsman; when the wolf tries to eat her, its mouth is burned by the golden hood she wears, which is enchanted.
James N. Barker wrote a variation of Little Red Riding Hood in 1827 as an approximately 1000-word story. It was later reprinted in 1858 in a book of collected stories edited by William E Burton, called the Cyclopedia of Wit and Humor. The reprint also features a wood engraving of a clothed wolf on bended knee holding Little Red Riding Hood's hand.
In the 20th century, the popularity of the tale appeared to snowball, with many new versions being written and produced, especially in the wake of Freudian analysis, deconstruction and feminist critical theory. (See "Modern uses and adaptations" below.) This trend has also led to a number of academic texts being written that focus on Little Red Riding Hood, including works by Alan Dundes and Jack Zipes.
Interpretations[edit]
A depiction by Gustave Doré, 1883.
Besides the overt warning about talking to strangers, there are many interpretations of the classic fairy tale, many of them sexual.[33] Some are listed below.
Natural cycles[edit]
Folklorists and cultural anthropologists, such as P. Saintyves and Edward Burnett Tylor, saw "Little Red Riding Hood" in terms of solar myths and other naturally occurring cycles. Her red hood could represent the bright sun which is ultimately swallowed by the terrible night (the wolf), and the variations in which she is cut out of the wolf's belly represent the dawn.[34] In this interpretation, there is a connection between the wolf of this tale and Sköll, the wolf in Norse mythology that will swallow the personified Sun at Ragnarök, or Fenrir.[35] Alternatively, the tale could be about the season of spring or the month of May, escaping the winter.[36]
Red Riding Hood by George Frederic Watts
Rite[edit]
The tale has been interpreted as a puberty rite, stemming from a prehistoric origin (sometimes an origin stemming from a previous matriarchal era).[37] The girl, leaving home, enters a liminal state and by going through the acts of the tale, is transformed into an adult woman by the act of coming out of the wolf's belly.[38]
Rebirth[edit]
Bruno Bettelheim, in The Uses of Enchantment: The Meaning and Importance of Fairy Tales (1976), recast the Little Red Riding Hood motif in terms of classic Freudian analysis, that shows how fairy tales educate, support, and liberate children's emotions. The motif of the huntsman cutting open the wolf he interpreted as a "rebirth"; the girl who foolishly listened to the wolf has been reborn as a new person.[39]
Norse myth[edit]
The poem "Þrymskviða" from the Poetic Edda mirrors some elements of Red Riding Hood. Loki's explanations for the strange behavior of "Freyja" (actually Thor disguised as Freyja) mirror the wolf's explanations for his strange appearance. The red hood has often been given great importance in many interpretations, with a significance from the dawn to blood.[40]
Modern uses and adaptations[edit]
Works Progress Administration poster by Kenneth Whitley, 1939.
Main article: Adaptations of Little Red Riding Hood
Erotic, romantic, or rape connotations[edit]
A sexual analysis of the tale may also include negative connotations in terms of rape or abduction. In Against Our Will, Susan Brownmiller describes the fairy tale as a description of rape.[41] However, many revisionist retellings choose to focus on empowerment, and depict Little Red Riding Hood or the grandmother successfully defending herself against the wolf.[42]
Such tellings bear some similarity to the "animal bridegroom" tales, such as Beauty and the Beast or The Frog Prince, but where the heroines of those tales transform the hero into a prince, these tellings of Little Red Riding Hood reveal to the heroine that she has a wild nature like the hero's.[43] These interpretations refuse to characterize Little Red Riding Hood as a victim; these are tales of female empowerment.
Animations, films, and TV shows[edit]
In Tex Avery's short animated cartoon, Red Hot Riding Hood (1943), the story is recast in an adult-oriented urban setting, with the suave, sharp-dressed Wolf howling after the nightclub singer Red. Avery used the same cast and themes in a subsequent series of cartoons.[44]
Neil Jordan's film version of The Company of Wolves (1984) is about the journey of a young girl into womanhood, which can be interpreted as her menstruating for the first time (at the start of the tale, she is in bed with a stomachache, according to her sister), but also of sexual awakening (in it, she wears red lipstick in bed). The wolf in this version of the tale is in fact a werewolf, which comes to the newly menstruating Red Riding Hood in the forest, in the form of a charming hunter. He turns into a wolf and eats her grandmother, and is about to devour Red Riding Hood as well, but she is equally seductive and ends up lying with the wolf man.[45]
Lipstick[edit]
Allusions to the tale can be more or less overtly sexual, as when the color of a lipstick is advertised as "Riding Hood Red".[46]
Literature[edit]
Charles Perrault's "Le Petit Chaperon rouge" ("Little Red Riding Hood") is centered on an erotic metaphor.[47]
Little Red Riding Hood appears in Angela Carter's short story "The Company of Wolves", published in The Bloody Chamber (1979), her collection of "dark, feminist fables" filled with "bestial and ferocious" heroines.[48] In her revision of the classic, Carter examines female lust, which according to author Catherine Orenstein is "healthy, but also challenging and sometimes disturbing, unbridled and feral lust that delivers up contradictions."[49] As Orenstein points out, Carter does this by unravelling the original tale's "underlying sexual currents" and by impregnating the new Little Red Riding Hood (Rosaleen played by Sarah Patterson) with "animal instincts" that lead to her transformation.[49]
In Michelle Augello-Page's story "Wolf Moon",[50] Little Red is an adult who has been irrevocably changed by the events in her childhood, and it is the hunter who saves her "once upon a time, and again" in this tale of sexual awakening, bdsm, relationships, female rites and rebirth.
Music[edit]
A.P. Randolph's "How Could Red Riding Hood (Have Been So Very Good)?" (1925) was the first song known to be banned from radio because of its sexual suggestiveness.[citation needed]
Sam the Sham & the Pharaohs's hit song, "Li'l Red Riding Hood" (1966), takes the Wolf's point of view, implying that he wants love rather than blood.
Other adaptations[edit]
Animations and films[edit]
Soyuzmultfilm (1937) is a classic Soviet, black-and-white, animated film by the sisters Brumberg, "grandmothers of the Russian animation". Its plot differs slightly from the original fairy tale. It was issued on videotapes in various collections in the 1980s, via the SECAM system, and in the 1990s, via the PAL system, in collections of animated films of a videostudio "Soyuz" (since 1994).
The Big Bad Wolf is an animated short released on 13 April 1934 by United Artists, produced by Walt Disney and directed by Burt Gillett as part of the Silly Symphony series. Acting as an adaptation of the fairy-tale Little Red Riding Hood, with the Big Bad Wolf from 1933's Three Little Pigs acting as the adversary to Little Red Riding Hood and her grandmother.
In the USSR-based animated film Petya and Little Red Riding Hood (1958), directed by Boris Stepantsev and Evgeny Raykovsky, the main character (a boy named Petya Ivanov) see the Grey Wolf deceived a trusting girl and risks his life to rescue her and her grandmother. Now, the animated movie is considered a cult film, many phrases have become part of popular culture, and in 1959 and 1960, the film received awards[which?] at festivals in Kiev, Ukraine and Ansi, Estonia.[citation needed] In Russia, it is repeatedly republished on DVD in collections of animated films.[citation needed]
Hoodwinked! (2005) is a retelling of "Little Red Riding Hood" as a police investigation.
The film Red Riding Hood (2006) is a musical movie based upon this tale.
The film Red Riding Hood (2011) is loosely based upon this tale.[51]
The wolf appears in the Shrek franchise of films. He is wearing the grandmother's clothing as in the fairytale, though the films imply he merely prefers wearing the gown and is not dangerous.[52]
Red Riding Hood briefly appears in the film Shrek 2 (2004), wherein she is frightened by Shrek and Fiona and runs off.
Ruby Rose, the main protagonist of Rooster Teeth's animated web series RWBY, alludes to Little Red Riding Hood.
Red Riding Hood is one of the main characters in the film adaptation of the musical "Into the Woods" (2014) portrayed by Lilla Crawford.
Little Red Riding Hood is parodied in the Warner Bros. cartoons Little Red Riding Rabbit (1944, Merrie Melodies) and The Windblown Hare (1949, Looney Tunes), with Bugs Bunny, and Red Riding Hoodwinked (1955, Looney Tunes) with Tweety and Sylvester
Games[edit]
In the Shrek 2 (2004) video game, she is playable and appears as a friend of Shrek's. She joins him, Fiona, and Donkey on their journey to Far Far Away, despite not knowing Shrek or his friends in the film.
In Dark Parables 4 (computer game) The Red Riding Hood Sisters (2013) computer game, the original red riding hood was orphaned when a wolf killed her grandma. A hunter killed the wolf before it could kill her. He took her in as his own out of pity. The red riding hood of this story convinced the hunter to teach her how to fight. They protected the forest together until the hunter was killed during a wolf attack. The red riding hood continued on protecting the forest and took in other orphaned girls and taught them to fight too. They take up wearing a red riding hood and cape to honor their teacher. Even after the death of the original red riding hood the girls continue doing what she did in life.
In the fighting game Darkstalkers 3 (1997), the character Baby Bonnie Hood is a parody of Little Red Riding Hood, complete with childish look, red hood and picnic basket. But instead of food, her basket is full of guns and grenades. Her personality is somewhat psychotic, guerrilla-crazy. During the fights, a small dog named Harry watches the action from the sidelines and reacts to her taking damage in battle. Two rifle-wielding huntsmen named John and Arthur briefly appear alongside her in a special power-up move titled "Beautiful Hunting" that inflicts extra damage on opponents.
Literature[edit]
Jerry Pinkney adapted the story for a children's picture book of the same name (2007)
Anne Sexton wrote an adaptation as a poem called "Red Riding Hood" in her collection Transformations (1971), a book in which she re-envisions 16 of the Grimm's Fairy tales.[53]
James Finn Garner wrote an adaptation in his book "Politically Correct Bedtime Stories: Modern Tales for Our Life and Times", a book in which thirteen fairy tales were rewritten. The adaptation brings up topics such as feminism and gender norms.[54]
Michael Buckley wrote the children's series, The Sisters Grimm which included characters from the fairytale into the storyline.
Music[edit]
"Little Red Riding Hood" is a raw hardstyle song by Da Tweekaz[55]
Sunny's concept photo for Girls' Generation's third studio album The Boys was inspired by "Little Red Riding Hood".
Musicals[edit]
Little Red Riding Hood is one of the central characters in the Broadway musical Into the Woods (1987) by Stephen Sondheim and James Lapine. In the song, "I Know Things Now", she speaks of how the wolf made her feel "excited, well, excited and scared", in a reference to the sexual undertones of their relationship. Red Riding Hood's cape is also one of the musical's four quest items that are emblematic of fairy tales.[56]
Television[edit]
The pilot episode of NBC's TV series Grimm reveals that the Red Riding Hood stories were inspired by fabled blutbaden attacks, werewolf-like beings who have a deeply ingrained bloodlust and a weakness for victims wearing red.
Red Riding Hood is a character in ABC's Once Upon a Time (2011) TV series. In this version of the tale, Red (portrayed by Meghan Ory) is a werewolf, and her cape is the only thing that can prevent her from turning during a full moon. Her Storybrooke persona is Ruby.[57]
See also[edit]
Children's literature portal
France portal
Italy portal
Freeway (1996 film)
Hard Candy (film)
Ladle Rat Rotten Hut
"Little Red Cap" (poem)
The Path (video game), a psychological horror art game
References[edit]
^ Jump up to: a b Berlioz, Jacques (2005). "Il faut sauver Le petit chaperon rouge". Les Collections de L'Histoires (36): 63.
Jump up ^ Bottigheimer, Ruth (2008). "Before Contes du temps passe (1697): Charles Perrault's Griselidis, Souhaits and Peau"". The Romantic Review. 99 (3): 175–189.
Jump up ^ Ashliman, D.L. Little Red Riding Hood and other tales of Aarne-Thompson-Uther type 333. Retrieved January 17, 2010.
Jump up ^ Spurgeon, Maureen (1990). Red Riding Hood. England: Brown Watson. ISBN 0709706928.
Jump up ^ Tatar 2004, pp. xxxviii
Jump up ^ The oldest source is the tale Rova in: Leo Frobenius, Volksmärchen und Volksdichtungen Afrikas / Band III, Jena 1921: 126-129, fairy tale # 33.
Jump up ^ Quoted from: Jane E. Goodman, Berber Culture on the World Stage: From Village to Video, Indiana University Press, 2005: 62.
Jump up ^ Anderson, Graham (2000). Fairytale in the Ancient World. Routledge. p. 94. ISBN 978-0-415-23702-4. Retrieved 9 July 2017.
Jump up ^ Anderson, Graham (2000). Fairytale in the Ancient World. Routledge. pp. 94–95. ISBN 978-0-415-23702-4. Retrieved 9 July 2017.
Jump up ^ Anderson, Graham (2000). Fairytale in the Ancient World. Routledge. pp. 96–97. ISBN 978-0-415-23702-4. Retrieved 9 July 2017.
Jump up ^ Opie, Iona & Peter. The Classic Fairy Tales. pp. 93–4. ISBN 0-19-211559-6. CS1 maint: Uses authors parameter (link)
Jump up ^ J.M. Ziolkowski, "A fairy tale from before fairy tales: Egbert of Liege's ‘De puella a lupellis seruata’ and the medieval background of ‘Little Red Riding Hood’", Speculum 67 (1992): 549–575.
Jump up ^ Jack Zipes, In Hungarian folklore, the story is known as "Piroska" (Little Red), is still told in mostly the original version described above. The Great Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm, p 744, ISBN 0-393-97636-X
Jump up ^ Alan Dundes, little ducking
Jump up ^ Beckett, S. L. (2008). Little Red Riding Hood. In D. Haase, The Greenwood Encyclopedia of Folktales and Fairytales: G-P (pp. 466-492). Greenwood Publishing Group.
Jump up ^ Catherine Orenstein, Little Red Riding Hood Uncloaked: Sex, Morality and the Evolution of a Fairy Tale, pp 92-106, ISBN 0-465-04126-4
Jump up ^ Zipes, Jack (1993). The Trials and Tribulations of Little Red Riding Hood (2nd ed.). New York: Routledge. p. 4. ISBN 0-415-90835-3.
^ Jump up to: a b c Darnton, Robert (1985). The Great Cat Massacre and Other Episodes in French Cultural History. New York: Vintage Books. ISBN 0-394-72927-7.
Jump up ^ Beckett, S. L. (2008). Little Red Riding Hood. In D. Haase, The Greenwood Encyclopedia of Folktales and Fairytales: G-P (pp. 522-534). Greenwood Publishing Group.
Jump up ^ Beckett, S. L. (2008). Little Red Riding Hood. In D. Haase, The Greenwood Encyclopedia of Folktales and Fairytales: G-P (pp. 583-588). Greenwood Publishing Group.
Jump up ^ Jamshid J. Tehrani (2013). "The Phylogeny of Little Red Riding Hood". PLoS ONE 8(11): e78871. doi:10.1371/journal.pone.0078871
Gannon, Megan (18 November 2013). "'Little Red Riding Hood' Tale Dates Back To First Century, Math Model Suggests". Huffington Post. Retrieved 24 March 2016. The analysis also suggests that the Chinese version of “Little Red Riding Hood” derives from ancient European tales and not vice versa as other researchers have suggested.
Jump up ^ Iona and Peter Opie, The Classic Fairy Tales. p. 93. ISBN 0-19-211559-6
Jump up ^ Charles Perrault, "Le Petit Chaperon Rouge"
Jump up ^ Maria Tatar, p 17, The Annotated Classic Fairy Tales, ISBN 0-393-05163-3
Jump up ^ "Little Red Riding Hood Charles Perrault". Pitt.Edu. University of Pittsburgh. 21 September 2003. Retrieved 12 January 2016. And, saying these words, this wicked wolf fell upon Little Red Riding Hood, and ate her all up.
Jump up ^ Jacob and Wilheim Grimm, "Little Red Cap"
Jump up ^ Harry Velten, "The Influences of Charles Perrault's Contes de ma Mère L'oie on German Folklore", p 966, Jack Zipes, ed. The Great Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm, ISBN 0-393-97636-X
Jump up ^ Harry Velten, "The Influences of Charles Perrault's Contes de ma Mère L'oie on German Folklore", p 967, Jack Zipes, ed. The Great Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm, ISBN 0-393-97636-X
Jump up ^ Maria Tatar, The Annotated Brothers Grimm, p 149 W. W. Norton & company, London, New York, 2004 ISBN 0-393-05848-4
Jump up ^ Jacob and Wilheim Grimm, "Little Red Cap"
Jump up ^ Andrew Lang, "The True History of Little Goldenhood", The Red Fairy Book (1890)
Jump up ^ The proper name of this French author is Charles Marelle (1827-19..), there is a typo in Andrew Lang's Red Fairy Book. See BNF note online.
Jump up ^ Jane Yolen, Touch Magic p 25, ISBN 0-87483-591-7
Jump up ^ Tatar, Maria. The Annotated Classic Fairy Tales. p. 25. ISBN 0-393-05163-3.
Jump up ^ Dundes, Alan & McGlathery, James M. (ed.). "Intrepreting Little Red Riding Hood Psychoanalytically". The Brothers Grimm and Folktale. pp. 26–7. ISBN 0-252-01549-5. CS1 maint: Multiple names: authors list (link) CS1 maint: Extra text: authors list (link)
Jump up ^ Dundes, Alan & McGlathery, James M. (ed.). "Intrepreting Little Red Riding Hood Psychoanalytically". The Brothers Grimm and Folktale. p. 27. ISBN 0-252-01549-5. CS1 maint: Multiple names: authors list (link) CS1 maint: Extra text: authors list (link)
Jump up ^ Dundes, Alan & McGlathery, James M. (ed.). "Intrepreting Little Red Riding Hood Psychoanalytically". The Brothers Grimm and Folktale. pp. 27–9. ISBN 0-252-01549-5. CS1 maint: Multiple names: authors list (link) CS1 maint: Extra text: authors list (link)
Jump up ^ Dundes, Alan & McGlathery, James M. (ed.). "Intrepreting Little Red Riding Hood Psychoanalytically". The Brothers Grimm and Folktale. pp. 27–8. ISBN 0-252-01549-5. CS1 maint: Multiple names: authors list (link) CS1 maint: Extra text: authors list (link)
Jump up ^ Tatar, Maria. The Annotated Brothers Grimm. p. 148. ISBN 0-393-05848-4.
Jump up ^ Dundes, Alan & McGlathery, James M. (ed.). "Intrepreting Little Red Riding Hood Psychoanalytically". The Brothers Grimm and Folktale. p. 32. ISBN 0-252-01549-5. CS1 maint: Multiple names: authors list (link) CS1 maint: Extra text: authors list (link)
Jump up ^ Orenstein, Catherine. Little Red Riding Hood Uncloaked: Sex, Morality, and the Evolution of a Fairy Tale. p. 145. ISBN 0-465-04125-6.
Jump up ^ Orenstein, Catherine. Little Red Riding Hood Uncloaked: Sex, Morality, and the Evolution of a Fairy Tale. pp. 160–161. ISBN 0-465-04125-6.
Jump up ^ Orenstein, Catherine. Little Red Riding Hood Uncloaked: Sex, Morality, and the Evolution of a Fairy Tale. pp. 172–173. ISBN 0-465-04125-6.
Jump up ^ Orenstein, Catherine. Little Red Riding Hood Uncloaked: Sex, Morality, and the Evolution of a Fairy Tale. pp. 112–3. ISBN 0-465-04125-6.
Jump up ^ Orenstein, Catherine. Little Red Riding Hood Uncloaked: Sex, Morality, and the Evolution of a Fairy Tale. pp. 166–167. ISBN 0-465-04125-6.
Jump up ^ Orenstein, Catherine. Little Red Riding Hood Uncloaked: Sex, Morality, and the Evolution of a Fairy Tale. p. 126. ISBN 0-465-04125-6.
Jump up ^ Hanks, Carol & Hanks, D.T., Jr. (1978). Children's Literature. 7. pp. 68–77, 10.1353/chl.0.0528. CS1 maint: Uses authors parameter (link)
Jump up ^ Orenstein, Catherine. Little Red Riding Hood Uncloaked: Sex, Morality, and the Evolution of a Fairy Tale. p. 165. ISBN 0-465-04125-6.
^ Jump up to: a b Orenstein, Catherine. Little Red Riding Hood Uncloaked: Sex, Morality, and the Evolution of a Fairy Tale. p. 167. ISBN 0-465-04125-6.
Jump up ^ Augello-Page, Michelle. "Wolf Moon". Into the Woods. pp. 59–66. ISBN 978-1-291-75208-3.
Jump up ^ "Exclusive Interview With 'Red Riding Hood' Director Catherine Hardwicke". Hollywood.com. Retrieved July 29, 2015.
Jump up ^ DiMare, Philip, ed. (2011). Movies in American History: An Encyclopedia [3 volumes]: An Encyclopedia. ABC-CLIO. p. 443. ISBN 978-1-598-84297-5.
Jump up ^ Sexton, Anne (1971). Transformations.
Jump up ^ Garner, James Finn (1994). Politically Correct Bedtime Stories: Modern Tales for Our Life and Times. Souvenir Press. ISBN 0285640410.
Jump up ^ Da Tweekaz. "Little Red Riding Hood". Soundclou.
Jump up ^ Sondheim, Steven; Lapine, James (1987). Into the Woods.
Jump up ^ Bricker, Tierney (March 16, 2012). "Once Upon a Time: Meghan Ory Dishes on Big Bad Wolf Twist! Plus, What's Next for Ruby?". E Online. Retrieved October 13, 2015.
External links[edit]
Wikisource has original text related to this article:
Little Red Riding Hood
Wikimedia Commons has media related to Little Red Riding Hood.
Free printable "Little Red Riding-hood" eBook and worksheets for grades K-3.
Terri Windling's 'The Path of Needles or Pins: Little Red Riding Hood' – a thorough article on the history of Little Red Riding Hood.
The Little Red Riding Hood Collection at the Albert and Shirley Small Special Collections Library at the University of Virginia contains hundreds of editions of the story, as well as ephemera, artifacts, and original artworks
Read Little Red Riding Hood by Charles Perrault (sad ending), or Little Red Cap by Brothers Grimm (happy ending)
A Translation of Grimm's Fairy Tale Little Red Cap
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Red Riding Hood (2011)
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Freeway (1996)
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Megan Follows
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Megan Follows
Follows at Comic-Con International, 2014
Born
Megan Elizabeth Laura Diana Follows
(1968-03-14) March 14, 1968 (age 50)
Toronto, Ontario, Canada
Occupation
Actress
Years active
1968–present
Spouse(s)
Christopher Porter (m. 1991–1996)
Children
2
Megan Elizabeth Laura Diana Follows (born March 14, 1968)[1] is a Canadian actress. She is known for her roles as Anne Shirley in the 1985 Canadian television miniseries Anne of Green Gables and two of its sequels. From 2013 to 2017, she starred as Catherine de' Medici in the television series Reign.
Contents
[hide]
1 Early life
2 Career
2.1 Beginnings
2.2 Anne of Green Gables
2.3 Television
2.4 Film
2.5 Theatre
3 Personal life
4 Humanitarian work
5 Awards and nominations
6 References
7 External links
Early life[edit]
Follows was born in Toronto, Ontario, the youngest of four children, in an acting family. Her father was Canadian theatre actor and director Ted Follows, and her mother is Canadian actress Dawn Greenhalgh; her parents later divorced.[1]
Her three siblings are all in the entertainment industry. Her elder sister Edwina is a writer, while her brother Laurence and sister Samantha Follows (who is married to American actor Sean O'Bryan) are also actors.[2]
Career[edit]
Beginnings[edit]
Her first acting job came at the age of nine, when she landed a spot in a commercial for Bell Canada. She was directed to make an impudent gesture out of a school bus window – like sticking out her tongue - but ended up making a rather obscene adult gesture instead.[3] She found steady work in Canada, appearing in a few TV series such as Matt and Jenny, The Baxters, and The Littlest Hobo, in which she guest-starred with her entire family in a three-part episode. She also starred in the short film Boys and Girls (1983), which won an Academy Award for Best Short Subject.[4]
Anne of Green Gables[edit]
Follows' breakthrough occurred when she was cast as Anne Shirley in the 1985 miniseries Anne of Green Gables (as well as its two sequels). The part of "Anne" was a coveted role that she won over 3,000 other young girls when director, producer, and writer Kevin Sullivan chose her despite early worries during the audition process that she might be too old for the part. The miniseries, wholly produced in Canada, became successful around the world, and remains to this day the highest-rated drama in Canadian television history.
Her performances earned her two Gemini awards as best actress for the first two miniseries, Anne of Green Gables and Anne of Green Gables: The Sequel, and a Gemini nomination for the third Anne installment, Anne of Green Gables: The Continuing Story.[5] She did not reprise the role for the fourth film, Anne of Green Gables: A New Beginning, and Barbara Hershey took over the role of Anne. Follows, however, is seen in archive footage in the beginning when Anne is reminiscing.
Television[edit]
Follows has made a number of appearances on both Canadian and U.S. television. In 1989, she starred in an episode of The Ray Bradbury Theater, "The Dwarf". In 1991 she starred with actors David Soul and David Morse in the made for television movie Cry in the Wild: The Taking of Peggy Ann in the titular role. The plot is based on the true story of the abduction of Peggy Ann Bradnick by an ex-convict and ex-mental patient William Diller Hollenbaugh which took place in Shade Gap, Pennsylvania on May 11, 1966. It aired on NBC on May 6, 1991. In 1995, as Megan Porter Follows (as she was then known, by her married name) starred in The Outer Limits episode "The Choice", along with Thora Birch. In Canada, she appeared in a popular made-for-TV movie, Hockey Night, around the time she appeared in Anne of Green Gables. She played Cathy, a young girl who played hockey on a previously all-male team. Other Canadian television appearances include leading roles in the period drama Under the Piano and police drama Major Crime.[6]
In 2005, she guest-starred in the Canadian ensemble drama Robson Arms as one of the tenants of the Robson Arms apartment complex. She also appeared in the hospital drama Open Heart[7] as a nurse fighting a physician of malpractice, and in Shania: A Life in Eight Albums, as the mother of famous Canadian singer Shania Twain. Most recently, she starred as Booky's mother in the three movie adaptations of Bernice Thurman Hunter's "Booky" series: Booky Makes Her Mark, Booky and the Secret Santa, and Booky's Crush.[8]
Among her earliest American television appearances were roles in The Facts of Life (as a cousin of Jo Polniaczek in Episode 23 of Season 3 that was intended as a backdoor pilot for a proposed spin-off) in 1982, and in the short-lived series Domestic Life as Martin Mull's TV daughter in 1984. She appeared in two TV movies, Sin of Innocence and Shattered ... If Your Kid's On Drugs (both 1986). In 1993-94, she was part of the ensemble in the CBS television series Second Chances. Since 2000, she has appeared on Law & Order, ER, The X-Files, CSI: Crime Scene Investigation, CSI: Miami, Cold Case, and Lie to Me, among others. She appeared in the Canadian television series, Heartland, for three consecutive episodes.
In 2004, Follows was part of the ensemble cast of the Hallmark movie Plainsong, which included Aidan Quinn, Rachel Griffiths, and America Ferrera. In 2009, she made a guest appearance on Brothers and Sisters. In 2011, she had a guest role on House. In 2012, she played Beth in Hollywood Heights. Also in 2012 she was cast as Alice Stewart in the series Longmire. In 2013, Follows was cast as Catherine de' Medici on Reign, a historical drama series on The CW, based on the early life of Mary, Queen of Scots. The series ran for four seasons.[9]
In 2018, it was announced that Megan would be the lead director on Held, a psychological web series produced by marblemedia. [10] She will also have a recurring role as the mother of Wynonna Earp.
Film[edit]
Follows has appeared in a number of feature films. She co-starred with Corey Haim and Gary Busey in the 1985 film adaptation of Stephen King's novella, Silver Bullet. In 1990, she was the voice of Clara from the cartoon Christmas film The Nutcracker Prince. Her most recent film credits include Christmas Child, A Foreign Affair (2003; released on DVD as Two Brothers and a Bride), and a cameo in Laurie Lynd's Breakfast with Scot. She also had a brief uncredited cameo as a grocery store clerk in the movie I Am Number Four (2011).[citation needed]
Theatre[edit]
Even though the career of Follows' parents was anchored in the theatre, she did not appear in many stage productions until the 2000s. Her first stage credit was in The Effect of Gamma Rays on Man-in-the-Moon Marigolds, in which she starred alongside her mother, Dawn, and her sister, Samantha, in 1988 in Toronto. In 1992, she was offered the role of Juliet in the Stratford Festival's production of Romeo and Juliet, which she reprised the following year in Los Angeles. Other notable stage credits include A Doll's House (Minneapolis' Guthrie Theater), Othello (Edmonton's Citadel Theatre and Ottawa's National Arts Centre), Uncle Vanya (Atlantic Theatre Festival), and Noël Coward's Hay Fever, in which she appeared with her siblings, and which was directed by her father.[11]
Recent years have seen the return of Follows on stage as a regular of the Toronto-based Soulpepper Theatre Company. In 2005, she had the leading role of May in their production of Fool for Love by Sam Shepard.[3] The following year, she took on the role of Annie in Tom Stoppard's The Real Thing which ran at Ottawa's National Arts Centre as a co-production between Soulpepper and NAC English Theatre. Following this run, the play also made its way to Toronto as part of Soulpepper's 2006 season at the Young Centre for the Performing Arts. In 2007, she played the role of Marlene in the summer production of Caryl Churchill's Top Girls, again with the Soulpepper Theatre Company.[citation needed]
Soulpepper's 2008 season, marking the company's 10-year anniversary, signaled the continuation of Megan's prolific theatre career. Just like the past season, she appeared in two productions. The first was Marsha Norman's 'night, Mother, in which she co-starred opposite her real-life mother, Canadian actress Dawn Greenhalgh.[12] The second was Soulpepper's remount of its critically acclaimed 2007 production of Caryl Churchill's Top Girls.[13]
She returned to the stage in 2010 in Mirvish Productions's revival of Churchill's Cloud 9. In 2011, she returned to the stage to star in the Canadian premiere of Melissa James Gibson's This at the Vancouver Playhouse directed by Amiel Gladstone and, in 2012, she starred in the lead role of "Penelope" at the Nightwood Theatre's production of The Penelopiad.[14]
Personal life[edit]
In 1991, Follows married Christopher David Porter, a Canadian gaffer and photographer she met on the set of Deep Sleep. The couple divorced in 1996. They have two children, Lyla Anne Porter (born 1991) and Russell Porter (born 1994).[15] She was subsequently in a long-term relationship with actor Stuart Hughes, although they broke up around 2010.[16]
Humanitarian work[edit]
Follows has served as a spokeswoman for the relief organization World Vision Canada. She traveled to both Rwanda and Tanzania as a spokeswoman and a photographer. She also participated in the 2005 benefit concert Canada for Asia held to support the relief efforts for Asia after the 2004 Indian Ocean earthquake and tsunami.[17]
She travelled to Cambodia in 2007 with director Heather Connell to film Small Voices: Stories of Cambodia's Children, a documentary about how the children of Cambodia living on the street and garbage dumps face their living conditions amid poverty and abuse and how they view their own future.[18]
Awards and nominations[edit]
Year
Association
Category
Work
Result
1986 Gemini Awards Best Performance by a Lead Actress in a Single Dramatic Program or Miniseries Anne of Green Gables Won
1990 Genie Awards Best Performance by an Actress in a Leading Role Termini Station Nominated
2015 Canadian Screen Awards Best Performance by an Actress in a Leading Role in a Dramatic Program or Mini-Series Reign Nominated
2016 Nominated
2017 Best Performance by an Actress in a Continuing Leading Dramatic Role Nominated
References[edit]
^ Jump up to: a b "Megan Follows Biography (1968–)". Filmreference.com. Retrieved September 10, 2016.
Jump up ^ "Megan Follows profile". hollywood.com. Retrieved July 6, 2016.
^ Jump up to: a b "Archived copy". Archived from the original on April 23, 2007. Retrieved March 6, 2007.
Jump up ^ "Boys and Girls (1983) profile". The New York Times. Retrieved July 6, 2016.
Jump up ^ "Interesting facts about Anne of Green Gables", Ctv.ca; accessed April 10, 2014.
Jump up ^ "Reign Cast: Megan Follows". fox8.tv. Archived from the original on July 8, 2015. Retrieved July 8, 2015.
Jump up ^ CBC TV Open Heart: interview with Megan Follows, Cbc.ca; accessed April 10, 2014.
Jump up ^ "Booky's World Full Cast". bookysworld.com. Retrieved July 8, 2015.
Jump up ^ Kondolojy, Amanda (February 13, 2014). "'Reign', 'Arrow', 'Supernatural', 'The Originals' & 'The Vampire Diaries' Renewed by The CW". TV by the Numbers. Retrieved July 6, 2016.
Jump up ^ http://playbackonline.ca/2018/04/02/marblemedia-teams-up-with-megan-follows-for-new-web-series/
Jump up ^ Whitlock, Nathan (January 23, 2012). "The Conversation: Arsinée Khanjian and Megan Follows on collaborating with loved ones". Toronto Life. Archived from the original on July 9, 2015. Retrieved July 8, 2015.
Jump up ^ Ouzounian, Richard (May 11, 2008). "Mother and child reunion". Toronto Star. Retrieved July 6, 2016.
Jump up ^ Coulbourn, John (July 5, 2007). "'Top Girls' is top-notch". Showbiz Theatre Reviews. Archived from the original on March 5, 2016. Retrieved July 6, 2016.
Jump up ^ Taylor, Kate (January 15, 2013). "Megan Follows on playing Atwood's Penelope, being manipulative, and motherhood". The Globe and Mail. Retrieved July 8, 2015.
Jump up ^ "Cast: Then and Now". anne.sullivanmovies.com. Retrieved July 8, 2015.
Jump up ^ "From Anne to Penelope: Green Gables star is inspired choice for Atwood's Penelopiad". Toronto Star, January 12, 2013.
Jump up ^ "Talent, Hosts, Radio and Television Stations Still Signing up to be Part of Benefit Event Canada for Asia" Archived February 8, 2010, at the Wayback Machine., Channelcanada.com; accessed April 10, 2014.
Jump up ^ "Small Voices Crew". Smallvoicesmovie.com. Retrieved July 8, 2015.
External links[edit]
Megan Follows on IMDb
Authority control
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text:
Übermensch
From Wikipedia, the free encyclopedia
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Friedrich Nietzsche in 1869
The Übermensch (German for "Beyond-Man", "Superman", "Overman", "Superhuman", "Hyperman", "Hyperhuman"; German pronunciation: [ˈˀyːbɐmɛnʃ]) is a concept in the philosophy of Friedrich Nietzsche. In his 1883 book Thus Spoke Zarathustra (German: Also sprach Zarathustra), Nietzsche has his character Zarathustra posit the Übermensch as a goal for humanity to set for itself. It is a work of philosophical allegory, with a structural similarity to the Gathas of Zoroaster/Zarathustra.
Contents
1 In English
2 This-worldliness
3 Death of God and the creation of new values
4 As a goal
5 Re-embodiment of amoral aristocratic values
6 Relation to the eternal recurrence
7 Nazism
8 Anarchism
9 In popular culture
10 See also
11 References
12 External links
In English[edit]
In 1896, Alexander Tille made the first English translation of Thus Spoke Zarathustra, rendering Übermensch as "Beyond-Man". In 1909, Thomas Common translated it as "Superman", following the terminology of George Bernard Shaw's 1903 stage play Man and Superman. Walter Kaufmann lambasted this translation in the 1950s for two reasons: first, the failure of the English prefix "super" to capture the nuance of the German über (though in Latin, its meaning of "above" or "beyond" is closer to the German); and second, for promoting misidentification of Nietzsche's concept with the comic-book character Superman (whom Fredric Wertham described[1] as "un-American and fascist"). Kaufmann and others preferred to translate Übermensch as "overman". Scholars continue to employ both terms, some simply opting to reproduce the German word.[2][3]
The German prefix über can have connotations of superiority, transcendence, excessiveness, or intensity, depending on the words to which it is attached.[4] Mensch refers to a human being, rather than a male specifically. The adjective übermenschlich means super-human: beyond human strength or out of proportion to humanity.[5]
This-worldliness[edit]
Nietzsche introduces the concept of the Übermensch in contrast to his understanding of the other-worldliness of Christianity: Zarathustra proclaims the will of the Übermensch to give meaning to life on earth, and admonishes his audience to ignore those who promise other-worldly fullfillment to draw them away from the earth.[6][7] The turn away from the earth is prompted, he says, by a dissatisfaction with life that causes the sufferer to imagine another world which will fulfill his revenge. The Übermensch grasps the earthly world with relish and gratitude.
Zarathustra declares that the Christian escape from this world also required the invention of an immortal soul separate from the earthly body. This led to the abnegation and mortification of the body, or asceticism. Zarathustra further links the Übermensch to the body and to interpreting the soul as simply an aspect of the body.[8]
Death of God and the creation of new values[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2018) (Learn how and when to remove this template message)
Zarathustra ties the Übermensch to the death of God. While the concept of God was the ultimate expression of other-worldly values and their underlying instincts, belief in God nevertheless did give meaning to life for a time. "God is dead" means that the idea of God can no longer provide values. With the sole source of values exhausted, the danger of nihilism looms.
Zarathustra presents the Übermensch as the creator of new values to banish nihilism. If the Übermensch acts to create new values within the moral vacuum of nihilism, there is nothing that this creative act would not justify. Alternatively, in the absence of this creation, there are no grounds upon which to criticize or justify any action, including the particular values created and the means by which they are promulgated.
In order to avoid a relapse into Platonic idealism or asceticism, the creation of these new values cannot be motivated by the same instincts that gave birth to those tables of values. Instead, they must be motivated by a love of this world and of life. Whereas Nietzsche diagnosed the Christian value system as a reaction against life and hence destructive in a sense, the new values which the Übermensch will be responsible for will be life-affirming and creative (see Nietzschean affirmation).
As a goal[edit]
Zarathustra first announces the Übermensch as a goal humanity can set for itself. All human life would be given meaning by how it advanced a new generation of human beings. The aspiration of a woman would be to give birth to an Übermensch, for example; her relationships with men would be judged by this standard.[9]
Zarathustra contrasts the Übermensch with the degenerate last man of egalitarian modernity, an alternative goal which humanity might set for itself. The last man appears only in Thus Spoke Zarathustra, and is presented as a smothering of aspiration antithetical to the sprit of the Übermensch.
According to Rüdiger Safranski, some commentators associate the Übermensch with a program of eugenics.[10] This is most pronounced when considered in the aspect of a goal that humanity sets for itself. The reduction of all psychology to physiology implies, to some, that human beings can be bred for cultural traits. This interpretation of Nietzsche's doctrine focuses more on the future of humanity than on a single cataclysmic individual. There is no consensus regarding how this aspect of the Übermensch relates to the creation of new values.
Re-embodiment of amoral aristocratic values[edit]
For Rüdiger Safranski, the Übermensch represents a higher biological type reached through artificial selection and at the same time is also an ideal for anyone who is creative and strong enough to master the whole spectrum of human potential, good and "evil", to become an "artist-tyrant". In Ecce Homo, Nietzsche vehemently denied any idealistic, democratic or humanitarian interpretation of the Übermensch: "The word Übermensch [designates] a type of supreme achievement, as opposed to 'modern' men, 'good' men, Christians, and other nihilists ... When I whispered into the ears of some people that they were better off looking for a Cesare Borgia than a Parsifal, they did not believe their ears."[11] Safranski argues that the combination of ruthless warrior pride and artistic brilliance that defined the Italian Renaissance embodied the sense of the Übermensch for Nietzsche. According to Safranski, Nietzsche intended the ultra-aristocratic figure of the Übermensch to serve as a Machiavellian bogeyman of the modern Western middle class and its pseudo-Christian egalitarian value system.[12]
Relation to the eternal recurrence[edit]
The Übermensch shares a place of prominence in Thus Spoke Zarathustra with another of Nietzsche's key concepts: the eternal recurrence of the same. Several interpretations for this fact have been offered.
Laurence Lampert suggests that the eternal recurrence replaces the Übermensch as the object of serious aspiration.[13] This is in part due to the fact that even the Übermensch can appear like an other-worldly hope. The Übermensch lies in the future — no historical figures have ever been Übermenschen — and so still represents a sort of eschatological redemption in some future time.
Stanley Rosen, on the other hand, suggests that the doctrine of eternal return is an esoteric ruse meant to save the concept of the Übermensch from the charge of Idealism.[14] Rather than positing an as-yet unexperienced perfection, Nietzsche would be the prophet of something that has occurred a countless number of times in the past.
Others maintain that willing the eternal recurrence of the same is a necessary step if the Übermensch is to create new values, untainted by the spirit of gravity or asceticism. Values involve a rank-ordering of things, and so are inseparable from approval and disapproval; yet it was dissatisfaction that prompted men to seek refuge in other-worldliness and embrace other-worldly values. Therefore, it could seem that the Übermensch, in being devoted to any values at all, would necessarily fail to create values that did not share some bit of asceticism. Willing the eternal recurrence is presented as accepting the existence of the low while still recognizing it as the low, and thus as overcoming the spirit of gravity or asceticism.
Still others suggest that one must have the strength of the Übermensch in order to will the eternal recurrence of the same; that is, only the Übermensch will have the strength to fully accept all of his past life, including his failures and misdeeds, and to truly will their eternal return. This action nearly kills Zarathustra, for example, and most human beings cannot avoid other-worldliness because they really are sick, not because of any choice they made.
Nazism[edit]
The term Übermensch was used frequently by Hitler and the Nazi regime to describe their idea of a biologically superior Aryan or Germanic master race;[15] a racial version of Nietzsche's Übermensch became a philosophical foundation for National Socialist ideas.[16][17] The Nazi notion of the master race also spawned the idea of "inferior humans" (Untermenschen) who should be dominated and enslaved; this term does not originate with Nietzsche, who was critical of both antisemitism and German nationalism. In his final years, Nietzsche began to believe that he was in fact Polish, not German, and was quoted as saying, "I am a pure-blooded Polish nobleman, without a single drop of bad blood, certainly not German blood".[18] In defiance of nationalist doctrines, he claimed that he and Germany were great only because of "Polish blood in their veins",[19] and that he would be "having all anti-semites shot" as an answer to his stance on anti-semitism. Nietzsche died long before Hitler's reign, and it was partly Nietzsche's sister Elisabeth Förster-Nietzsche who manipulated her brother's words to accommodate the worldview of herself and her husband, Bernhard Förster, a prominent German nationalist and antisemite.[20] Forster founded the Deutscher Volksverein (German People's League) in 1881 with Max Liebermann von Sonnenberg.[21]
Anarchism[edit]
The thought of Nietzsche had an important influence anarchist authors. Spencer Sunshine writes: "There were many things that drew anarchists to Nietzsche: his hatred of the state; his disgust for the mindless social behavior of 'herds'; his anti-Christianity; his distrust of the effect of both the market and the State on cultural production; his desire for an 'overman' — that is, for a new human who was to be neither master nor slave; his praise of the ecstatic and creative self, with the artist as his prototype, who could say, 'Yes' to the self-creation of a new world on the basis of nothing; and his forwarding of the 'transvaluation of values' as source of change, as opposed to a Marxist conception of class struggle and the dialectic of a linear history."[22] The influential American anarchist Emma Goldman, in the preface of her famous collection Anarchism and Other Essays, defends both Nietzsche and Max Stirner from attacks within anarchism when she says "The most disheartening tendency common among readers is to tear out one sentence from a work, as a criterion of the writer's ideas or personality. Friedrich Nietzsche, for instance, is decried as a hater of the weak because he believed in the Übermensch. It does not occur to the shallow interpreters of that giant mind that this vision of the Übermensch also called for a state of society which will not give birth to a race of weaklings and slaves."[23]
Sunshine says that the "Spanish anarchists also mixed their class politics with Nietzschean inspiration." Murray Bookchin, in The Spanish Anarchists, describes prominent CNT–FAI member Salvador Seguí as "an admirer of Nietzschean individualism, of the superhombre to whom 'all is permitted'." Bookchin, in his 1973 introduction to Sam Dolgoff's The Anarchist Collectives, even describes the reconstruction of society by the workers as a Nietzschean project. Bookchin says that "workers must see themselves as human beings, not as class beings; as creative personalities, not as 'proletarians,' as self-affirming individuals, not as 'masses'. . .(the) economic component must be humanized precisely by bringing an 'affinity of friendship' to the work process, by diminishing the role of onerous work in the lives of producers, indeed by a total 'transvaluation of values' (to use Nietzsche's phrase) as it applies to production and consumption as well as social and personal life."[22]
In popular culture[edit]
The comic-book hero Superman, when Jerome "Jerry" Siegel first created him, was originally a villain modeled on Nietzsche's idea (see "The Reign of the Superman").[citation needed] He was re-invented as a hero by his eventual designer, Joseph "Joe" Shuster, after which he bore little resemblance to the previous character. However, Superman does find an adversary in the mold of the Nietzschean Übermensch in the recurring arch-villain Lex Luthor,[citation needed] his greatest enemy on Earth. Luthor is preceded, even, by a supervillain resembling Siegel's original concept for Superman bearing the synonymous name of 'Ultra-Humanite'. A direct reference to the term occurs in the episode "Double Trouble" of the TV series Adventures of Superman, in which a German-speaking character calls the title character "verfluchter Übermensch" ("cursed Superman").[24] In the tenth season of the show Smallville, an alternate Lionel Luthor refers to Clark as the "Übermensch". Overman is an alternate version of Superman, from Earth-10, an Earth where the Axis Powers won World War II.[25]
Jack London dedicated his novels The Sea-Wolf and Martin Eden to criticizing Nietzsche's concept of the Übermensch and his radical individualism,[26] which London considered to be selfish and egoistic.
George Bernard Shaw's 1903 play Man and Superman is a reference to the archetype; its main character considers himself an untameable revolutionary, above the normal concerns of humanity.[citation needed]
James Joyce utilizes the Übermensch in the first chapter of his novel Ulysses. Joyce makes Buck Mulligan say it:[27] "—My twelfth rib is gone, he cried. I'm the Uebermensch. Toothless Kinch and I, the supermen."
In The Power, a 1956 book by Frank M. Robinson, the villain consciously models himself upon Nietzsche's Übermensch, and a quotation from Nietzsche serves as the book's motto.
In real life, Leopold and Loeb committed murder in 1924 partly out of a superficially Übermensch-like conception of themselves.[28] Their story has been dramatized many times, including in the Alfred Hitchcock film Rope, the 1959 film Compulsion based on Meyer Levin's novel, the 1994 film Swoon, the 2002 film Murder by Numbers, and the 2005 Off-Broadway musical Thrill Me: The Leopold and Loeb Story.
A character in the show Dollhouse (Season 1, Episode 12; titled "Omega") references Übermensch in relation to Nietzsche when trying to describe a person that had the memories, skills, and intelligence of dozens of people uploaded into their (single) mind by means of futuristic technology.
The Medic character in the video game Team Fortress 2 will sometimes chant "I am the Übermensch!" for one of his "Cheers" voice commands.
In the Disney TV Cartoon, Pepper Ann, in an episode titled "Effie Shrugged", Effie, a physically imposing bully teaches Pepper Ann some basic information on Übermensch.
David Bowie's song titled "The Supermen", from his 1970 album The Man Who Sold the World, was inspired by the work of Nietzsche. Bowie later said "I was still going through the thing when I was pretending that I understood Nietzsche... And I had tried to translate it into my own terms to understand it so 'Supermen' came out of that."[29]
The Avatar Press comic book series, "Über", written by Kieron Gillen uses the idea in an alternate universe during World War II in which Nazi Germany creates superhuman soldiers.
A chapter in the novel Old School by Tobias Wolff is entitled 'Übermensch'. It humorously castigates Ayn Rand's better-and-bigger-than-life characters and satirically depicts the narrator/main character as deluded, because of Rand's The Fountainhead, in his belief that he is superior to others.
The TV show Andromeda features a race of genetically engineered super-humans called Nietzscheans who follow the philosophies and teachings of Friedrich Nietzsche, Ayn Rand, Niccolò Machiavelli, and Social Darwinism. The Nietzscheans regard themselves as superior to "Kludges" (ordinary unmodified humans) and are often referred to as "Übers", pejoratively, by such humans.
See also[edit]
Great Man theory
Junzi
Knight of faith
Last man
New Man (utopian concept)
New Soviet man
Notes from Underground
Philosopher-King
Posthuman
Metabolic supermice
Randian hero
Strange Life of Ivan Osokin
Transhumanism
Supermind (Integral yoga)
References[edit]
Notes
Jump up ^ Seduction of the Innocent
Jump up ^ Lampert, Laurence (1986). Nietzsche's Teaching. New Haven, CT: Yale University Press.
Jump up ^ Rosen, Stanley (1995). The Mask of Enlightenment. Cambridge: Cambridge University Press.
Jump up ^ Duden Deutsches Universal Wörterbuch A–Z, s.v. über-.
Jump up ^ Übermenschlich. PONS.eu Online Dictionary. Retrieved from http://en.pons.eu/german-english/%C3%BCbermenschlich.
Jump up ^ Hollingdale, R. J. (1961), page 44 - English translation of Zarathustra's prologue; "I love those who do not first seek beyond the stars for reasons to go down and to be sacrifices: but who sacrifice themselves to the earth, that the earth may one day belong to the Superman"
Jump up ^ Nietsche, F. (1885) - p. 4, Original publication - "Ich liebe die, welche nicht erst hinter den Sternen einen Grund suchen, unterzugehen und Opfer zu sein: sondern die sich der Erde opfern, dass die Erde einst des Übermenschen werde."
Jump up ^ Nietzsche, Friedrich (2003). Thus Spoke Zarathustra. London: Penguin Books. p. 61. ISBN 978-0-140-44118-5.
Jump up ^ Thus Spoke Zarathustra, I.18; Lampert, Nietzsche's; Rosen, Mask of Enlightenment, 118.
Jump up ^ Safranski, Nietzsche, 262-64, 266-68.
Jump up ^ Nietzsche, Ecce Homo, Why I Write Such Good Books, §1)
Jump up ^ Safranski, Nietzsche, 365
Jump up ^ Lampert, Nietzsche's Teaching.
Jump up ^ Rosen, The Mask of Enlightenment.
Jump up ^ Alexander, Jeffrey (2011). A Contemporary Introduction to Sociology (2nd ed.). Paradigm. ISBN 978-1-61205-029-4.
Jump up ^ "Nietzsche inspired Hitler and other killers - Page 7", Court TV Crime Library
Jump up ^ http://econ161.berkeley.edu/tceh/Nietzsche.html
Jump up ^ Friedrich Nietzsche, "Ecce Homo: How One Becomes What One Is" [1]
Jump up ^ Henry Louis Mencken, "The Philosophy of Friedrich Nietzsche", T. Fisher Unwin, 1908, reprinted by University of Michigan 2006, pg. 6, [2]
Jump up ^ Hannu Salmi (1994). "Die Sucht nach dem germanischen Ideal" (in German). Also published in Zeitschrift für Geschichtswissenschaft 6/1994, pp. 485-496
Jump up ^ Karl Dietrich Bracher, The German Dictatorship, 1970, pp. 59-60
^ Jump up to: a b Spencer Sunshine, "Nietzsche and the Anarchists"
Jump up ^ Anarchism and Other Essays by Emma Goldman
Jump up ^ Grossman, Gary (1976). Superman: Serial to Cereal. New York: Popular Library. p. 67. ISBN 0445040548.
Jump up ^ Grant Morrison (w), Doug Mahnke (p), Christian Alamy, Rodney Ramos, Tom Nguyen, Walden Wong (i). Final Crisis: Superman Beyond 1 (October 2008), DC Comics
Jump up ^ Bridgwater, Patrick (1972). Nietzsche in Anglosaxony: A Study of Nietzsche's Impact on English and American Literature. Leicester: Leicester University Press. p. 169. ISBN 0718511042.
Jump up ^ Joyce, James (1922). Ulysses. Shakespeare & Co. ISBN 0-679-72276-9.
Jump up ^ "Nietzsche inspired Hitler and other killers", Court TV Crime Library
Jump up ^ David Buckley (1999). Strange Fascination - David Bowie: The Definitive Story: p.267
Bibliography
Knoll, Manuel (2014) "The Übermensch as Social and Political Task: A Study in the Continuity of Nietzsche’s Political Thought", in: Knoll, Manual and Stocker, Barry (eds.) (2014) Nietzsche as Political Philosopher, Berlin/Boston, pp. 239–266.
Lampert, Laurence (1986) Nietzsche's Teaching: An Interpretation of Thus Spoke Zarathustra. New Haven: Yale University Press.
Nietzsche, Friedrich (1885) Thus Spoke Zarathustra
Nietzsche, Friedrich; Hollingdale, R. J. and Rieu, E.V. (eds.) (1961_ Thus Spoke Zarathustra Penguin Classics: Penguin Publishing (Originally published 1885)
Rosen, Stanley (1995) The Mask of Enlightenment: Nietzsche's Zarathustra. New York: Cambridge University Press.
Safranski, Rudiger (2002 Nietzsche: A Philosophical Biography. Translated by Shelley Frisch. New York: W.W. Norton & Co.
Wilson, Colin (1981) The Outsider. Los Angeles: J.P. Tarcher.
External links[edit]
Wikiquote has quotations related to: Übermensch
Look up übermensch in Wiktionary, the free dictionary.
Martin Heidegger and Nietzsche’s Overman: Aphorisms on the Attack
Human Superhuman Yahoo! Group dedicated to Nietzsche's Overman.
Searchable database of Nietzsche Quotes
An academic exchange concerning the relationship between Nietzsche and transhumanism
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Friedrich Nietzsche
Works
The Birth of Tragedy
On the Pathos of Truth
Philosophy in the Tragic Age of the Greeks
On Truth and Lies in a Nonmoral Sense
Untimely Meditations
Hymnus an das Leben
Human, All Too Human
The Dawn of Day
Idylls from Messina
The Gay Science
Thus Spoke Zarathustra
Beyond Good and Evil
On the Genealogy of Morality
The Case of Wagner
Twilight of the Idols
The Antichrist
Ecce Homo
Dionysian-Dithyrambs
Nietzsche contra Wagner
The Will to Power (posthumous)
Concepts and
philosophy
Amor fati
Apollonian and Dionysian
Eternal return
Faith in the Earth
God is dead
Herd instinct
Last man
Master–slave morality
Nietzschean affirmation
Perspectivism
Ressentiment
Transvaluation of values
Tschandala
Übermensch
Will to power
World riddle
Related
Works about Nietzsche
Influence and reception of Nietzsche
Anarchism and Nietzsche
Nietzsche's views on women
Nietzsche and free will
The Journal of Nietzsche Studies
Library of Friedrich Nietzsche
Nietzsche Archive
Nietzsche and Asian Thought
Nietzsche Archive
Nietzsche-Haus, Naumburg
Nietzsche-Haus, Sils Maria
Relationship with Max Stirner
My Sister and I
Elisabeth Förster-Nietzsche (sister)
When Nietzsche Wept (novel
film)
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