Classic tales are an essential part of our collective and cultural imagination. For this reason, it is important to make them known to university students in Education and study them in depth, since they reveal many truths about the human condition, raise questions of universal scope and serve as a reference for subsequent literary creations. For this approach to the classic story to be as effective and motivating as possible, it is necessary to take advantage of the didactic possibilities offered by current technologies and audiovisual content that resignify these traditional texts. For this reason, in this article, on the one hand, we reflect on the pedagogical use of streaming platforms –ICTs such as LKTs, EPTs and ICRTs– that allow on-demand viewing of television series that recreate fairy tales in a recycling process transmedia; on the other hand, the concept of “recycling”, of recent diffusion, and its effective application to audiovisual contents inspired by popular stories are studied. As confirmation of the necessary alliance between the cultural legacy and the current media, various scenes from the Once Upon a Time series are studied from a transtextual, glossematic and semiotic-textual approach, in which the characters from stories come alive and are valid.
Article Details
How to Cite
Zuñiga-Lacruz, A. (2024). Recycling of fairy tales on streaming platforms: transmedia literature in university classrooms. Ocnos. Journal of reading research, 23(1). https://doi.org/10.18239/ocnos_2024.23.1.417
Zúñiga-Lacruz: Recycling of fairy tales on streaming platforms: transmedia literature in university
classrooms
Introduction
University students do not always have the necessary reading skills to enjoy literary
texts (). Certain shortcomings in knowledge and metacognitive strategies prevent reading
from becoming an active process in which an affective and emotional connection is
generated ().
In fact, the reading of these young people is often “random, schematic and hypertextual
(...), based on hyperlinks, integrating written language, images and sounds” (). Therefore, this reality demands a new type of reading literacy -in its dual textual
and visual code- to achieve a successful approach to literature for the student. Proposals
should be put forward to encourage reading habits both in terms of reading behaviour
and commitment to reading ().
To this end, technology can be a great ally, especially audiovisual technology -cinema
and television series, for example-, currently widely supported by streaming technology,
to which young people belonging to generation Z, born between 1994 and 2010, recurrently
turn to as an effective leisure offer (Fundación Germán Sánchez Ruipérez, FGSR, ; ).
This generation is used to transmedia consumption (): it obtains information about a product through different media and supports, such
as a book, a video game, a comic book or the aforementioned films and series (). It is precisely the proliferation of audiovisual platforms for streaming content
(Netflix, Disney+, HBO...) that has contributed to the development of the series phenomenon,
which has exponentially increased its level of impact:
Su potencial semántico es considerable dada su audacia en el tratamiento temático,
la construcción de personajes cada vez más complejos, la asimilación de múltiples
lenguajes además del cinematográfico y el potencial intertextual favorecido por su
tendencia a retomar historias y referencias de la cultura popular ().
This intertextual potential is evident in television series such as Galavant (Disney +), Grimm (Prime Video) or Cuéntame un cuento (ATRESplayer). They are audiovisual proposals that are committed to literary recycling, a concept coined by Llamas (as quoted in ), consisting of taking up:
lo pretérito para traerlo al presente, pero esta vez (…) desde la mirada actual que
señala e incorpora el ahora y que, desde la cultura contemporánea que juzga lo que
ve, (…) se legitima para seleccionar lo que cree rescatable del pasado y para modificar
lo que considera oportuno a partir de su percepción de la realidad (p. 130).
This definition of literary recycling is paradigmatically met by the American series
Once upon a time, a 7-season series broadcast between 2011 and 2018 on the ABC channel, which belongs
to Disney and is currently available on the company’s streaming platform (Disney+).
In this series, characters from folklore and 19th century European literary texts
(Snow White, Rumpelstiltskin and Gepetto, among others), from American classics (The Wizard of Oz by Lyman Frank Baum) and from the Eastern world (the story of Aladdin and the Chinese
legend of the warrior Hua-Mulan) come to life and take on real-world relevance. From
this recognisable traditional base, a divergent message is articulated, reflecting
identity, cultural and ideological shifts ().
Transmediality, transtextuality, recycling, streaming, classic stories: the combination and integration of these concepts and multimodal paths () makes these series, available in streaming, ideal teaching tools to promote in the
university classroom both mediation -accompanying reading- and animation –importance
of the playful component– ().
For this reason, this article investigates the pedagogical function of audiovisual
content that uses literary recycling and is available on streaming platforms, which
should be conceived as LKTs (Learning and Knowledge Technologies), EPTs (Empowerment
and Participation Technologies) and ICRTs (Information, Communication and Relationship
Technologies) to promote effective literary education. As an example, several relevant
scenes from the series Once upon a time are schematically analysed, in which interesting transtextual elements, suggestive
plot and symbolic resources, and effective linguistic and visual games can be traced.
A comparative analysis with the oldest –and most unknown– version of the Grimm tales
() and other classics is also proposed.
This paper will demonstrate the numerous didactic possibilities of the series available
on streaming that are inspired by classic stories, as well as the synergies they generate
with the reading of the originals to contribute to the development of reading literacy
–textual and visual– and literary competence of university students from a transmedia
approach.
Streaming platforms such as LKTs, EPTs and ICRTs to promote literary education
The current education act in Spain () recognises in its pedagogical proposal the importance of promoting the use of ICTs
(Information and Communication Technologies) at all educational stages. Numerous recent
studies insist on this need to integrate ICTs in school and university classrooms
in an effective and real way (; ; ); however, as these same studies qualify, ICTs per se do not improve the teaching-learning process. This will only come about when the
research focus changes and ICTs are conceived as LKTs and EPTs.
Researchers from various spheres - language and literature, arts, social sciences
- have been insisting for years on the importance of this shift. Hence, it is common
to find in these areas didactic proposals that conceive technology as LKTs and EPTs
(; ) and, from an integrated vision of these realities, as ICRTs (). This way, a path of multimodal innovation is opening up to meet the expectations
and demands required to improve teaching and thus learning.
In this path of innovation, playful media such as video games and series, which have
become an essential part of the culture of young people (), acquire great relevance for their use as LKTs, EPTs and ICRTs. They are particularly
fascinated by this type of audiovisual media, as evidenced by the recurrent use of
streaming technology, which provides the user with the possibility of listening to
music or watching movies immediately without having to wait for their download ().
The origin of the audiovisual platforms that resort to this streaming technology can
be traced back to 2007, the year in which Netflix burst onto the US market with a
new business proposal: instead of a video rental service on physical media through
conventional mail, it offers one based on direct access to its catalogue via the Internet
(). In this way, video on demand (VOD) or subscription video on demand (SVOD) platforms,
which have grown exponentially in recent years, especially in the wake of the pandemic,
have begun to become widespread and their expansion has accelerated dramatically.
This has been the case with Netflix, Filmin, Disney+ and Amazon Prime Video, the main
OTT (Over the Top) platforms in Spain ().
Although it seems that this streaming bubble resulting from COVID-19 has burst (), it remains true that it is still a very successful technology, especially in the
20–35-year-old target group (generation Z and millennials). For them, series are produced
based on the adaptation of contemporary literature that has met with some success:
Game of Thrones, The Bridgertons, Lupin... ().
This confirms that “literature is an ideal field for applying new technologies to
generate innovative and attractive products” (). This situation is largely due to the proximity between film and literature as artistic
languages, which facilitates the transfer of content. In turn, it is the differences
between the semiotic keys of the former and the textual keys of the latter that favour
its didactic function (). Indeed, the cinematographic language to which series based on literary texts conform
allows for thematic, narrative, ethical and also symbolic elements to be exploited
in a didactic way (). In fact, since the 1950s, television series have been constructing symbolic universes
that articulate aspirations, values, perspectives and expectations of different generations
(). This is demonstrated, among others, by a recent study on Spanish university students
and serialised fiction, which shows the widespread use by young people of OTT platforms
and the websites of the various television channels, as well as the importance they
attach to the emotional dimension of the characters ().
These affective and emotional components of television series −also present in the
reading process ()− allow an approach to the students’ dimension of proximal and intermental development
in order to create processes of joint reflection and interpretation in their classrooms.
All of this arouses in the student a special interest in the series, the text it recycles
and the transmedia didactic dynamics ().
Although we should be careful with the use of technologies due to their potential
risks −abuse and addiction ()−, we should recognise the usefulness of introducing technological methodologies
in the classroom with audiovisual narrative bases to increase the attention-concentration
capacity of the student (). If the series is based on the literary world, students will be able, thanks to
the external audiovisual links, to better understand the source text −hypotext− and
those that arise from it −hypertexts− ().
Therefore, and according to this approach, streaming emerges as a technology that
can be approached from a different prism to its traditional conception as ICRTs to
be worked as LKTs −on-demand access to audiovisual content favours meaningful learning
through motivation−, ETPs −joint viewing promotes participation and common reflections
to develop critical thinking− and ICTs −viewing and thinking together in the classroom
increases the multimodal relationship and interaction−. All this contributes to the
literary education - visual and textual literacy - of university students.
Classic tales: the particularities of transmedia recycling
There are more and more readers, but they are merely instrumental (). It can therefore be affirmed, from the perspective of reading as a source of pleasure
(), that, in reality, most people do not read ().
Therefore, while it is essential to highlight students’ shortcomings in reading literacy
and literary education to address them, it is also essential to recognise the widespread
limitations in reading, as explained by . These researchers recognise very accurately the importance of ongoing training and
updating in Children’s and Young Adult Literature, a young literary discipline and
one that has relatively recently been established in academic studies (). But the need to access the seed of this literature is generally forgotten: classic
tales, which are still largely unknown () and which, although they enchant children with their magical and imaginative elements,
are intended for a wider public.
These folktales contain a small literary and vital treasure trove () and represent, on the one hand, a fundamental cultural legacy, a universal collective
memory; on the other hand, they help to deal with psychological conflicts by allowing
readers to project their inner struggle between good and evil in the battles fought
by the characters in the stories ().
These characters emerge as archetypes () that perform certain functions () and help to shape one’s own identity and to access knowledge of a complex world
presented in a symbolised and metaphorical way. Personal experience is built on all
of this, since:
la influencia que el cuento tradicional ejerce sobre nuestra vida no se agota con
el tiempo, sino que nos acompaña durante todo el curso de nuestra existencia, (…)
nuestra vida cotidiana está penetrada de remisiones y de referencias a los cuentos
().
It is this lability and resilience that turn classic tales into material in permanent
renovation (), subject to continuous recycling through different media, such as the aforementioned
series, accessible through streaming platforms.
This recycling is usually of two types ():
- ideological: realities related to feminism, political power and environmentalism,
among others, are updated;
- playful-humorous and alternative: it consists of a game with the laughable and the
surprise effect.
In particular, audiovisual productions show a firm commitment to for new approaches
to adapting the contents of classic fairy tales to contemporary social needs ().
Despite these modifications, the constant and recognisable framework of the story
allows the student to activate previous knowledge and generate surprise in the face
of the rupture of expectations provoked by the word and the image. The latter acquires
special importance in the audiovisual medium, so it will be essential, in the training
process to appreciate literature (; ), to focus attention not only on linguistic-verbal decoding and interpretation, but
also on iconic messages, both static and dynamic ().
Series such as the one analysed below provide an excellent opportunity to approach
literary education from the audiovisual dimension and through the unfading classic
tales, jewels of the literary tradition ().
Literary recycling and transmedia: analysis of scenes from Once upon a time
Once upon a time, a series created by Adam Horowitz and Edward Kitsis, and produced by ABC Studios,
premiered on ABC in the United States on 23rd October 2011 and ended on 18th May 2018, after seven seasons and 156 episodes. The plot focuses on Emma Swan, a
28-year-old with a troubled past who is found in Boston by her son Henry, who was
given up for adoption 10 years earlier. He believes that Storybrook, where he lives
with his stepmother Regina, the town’s mayor, is inhabited by characters from classic
fairy tales who do not remember who they are because of an evil spell cast by their
stepmother. Emma, Snow White’s daughter, will be in charge of breaking the spell and
restoring the memory of all the inhabitants of Storybrook.
The following analysis focuses on three representative scenes from the first season
and is based on a combination of three methods:
- Paz-Gago’s comparative semiotic-textual analysis (), which looks at the convergences and divergences between the two systems of artistic
expression (classic text and television series). First, the features of the story
and those of the corresponding chapter of the series, which recovers part of its plot
or some of its characters or spaces, are analysed independently. This is followed
by a comparative study: differences, similarities, and interferences.
- Zavala’s glossematics (), based on Hjemselv’s proposal -and taken over by -, which distinguishes between substance and form of content and expression. The following
application is proposed: the substance of expression is, in the literary text, the
linguistic-verbal code (e.g. prefixed structures, repetitive elements, rhetorical
figures...); in the serial, it is the linguistic-verbal and visual code (such as the
different language used by the characters in the contemporary Storybrook and in the
timeless world of fairy tales, or the physical and emotional features that characterise
these characters); the form of expression, in text and serial, is the structure of
the plot -the basis is Propp’s () functions: hero’s departure, magical objects...-; the substance of the content is
the message conveyed by text and serial -ideology-; the form of the content in both
media consists of its components -archetypal characters (), spaces and symbols-.
- , which focuses on intertextualities -explicit references to a text (references to
the story in the series)-, paratextualities -elements that frame the text (such as
the title)-, metatextualities -implicit references to a text (adaptation or version
of the story by the series)- and architextualities -the genre (adventure, romance,
fantasy...)- ().
The selection of the three scenes was based on a complete viewing of the series and
the following criteria were applied: appearance of particularly recognisable plots,
resources, archetypes and characters; diversity of recycled literary genres (fairy
tale, novel, myth); insertion of symbols. We chose scenes from the first season because
it recycles the best-known characters and plots from the classic fairy tale canon. These fragments have, in turn, been correlated with a specific text to establish
the contrastive-comparative analysis.
The development of this didactic proposal in the classroom is based on three pillars:
- Individual pre-reading by the student of the original complete story or an excerpt.
The length is usually short (5 or 6 pages), which encourages students to read. This
interest in reading is also helped by the provision of original texts, which generates
a break in the student’s expectations and a greater motivation to read.
- Sharing of the story in the classroom. It consists of the guided application of
the semiotic-textual and glossematic methods, adapted to the general level of the
students. Aspects of both the expression and the content of the classical text, noted
above, are analysed.
- Showing of the scene of the series in the classroom, with a length of between 2
and 4 minutes. At this point, the three methods mentioned above are applied to help
students reflect together on the audiovisual scene and on the concomitances and divergences
between it and the text.
For the sake conciseness and clarity, a study of these three scenes and their literary
correlates is presented in the form of tables. All of them culminate with some didactic
suggestions that have been proven to help students empathise emotionally with the
characters in the series and to better understand the characters in the story, as
the guided analysis of the audiovisual work allows them to grasp the nuances of the
literary work read and, therefore, helps them to appreciate it. It also helps students
to engage in a deeper reading process by familiarising him or her with the outline
of classic stories -the cornerstone of today’s children´s and young adult literature-
as evidenced as new works are suggested and analysed together with correlated audio-visual
scenes from the Once upon a time series.
Table 1.Scene from the pilot episode
SERIES (3:16–4:35)
WORK: Snow White (Grimm)
DESCRIPTION
Mayoress Regina - Snow White’s stepmother - visits Emma - Snow White’s daughter -
who is staying in the guesthouse of Little Red Riding Hood’s grandmother. He offers
her a basket of red apples as a gift and asks her to leave Storybrook. When Emma refuses,
he threatens her.
Snow White’s stepmother, hiding behind an old woman’s disguise, tries three times
to kill Snow White. The last of them appears with a poisoned apple: the healthy part
is green; the poisoned part is red. Tricks the girl into eating; she is left for dead.
SERIES
WORK
METHODS
TRANSTEXTUALITY
PARATEXT
Pilot
--------------------
ARCHITEXT
Streaming series
European folktale
INTERTEXT
Snow White and Little Red Riding Hood
--------------------
METATEXT
Abuse of power
Blackmail
Veiled and explicit threats
The struggle of good against evil
GLOSSEMATIC
SUBSTANCE
EXPRESSION
Friendly context (grandmother’s house)
Dark tones for the queen
Warm tones for Emma
Omniscient narrator
Brief descriptions
Rapid dialogue
Simple language (some archaisms)
Sweet tone (Snow White)
Dark tone (stepmother)
FORM OF
EXPRESSION
Interrogation
Deception
Persecution
Interrogation
Deception
Persecution
SUBSTANCE
CONTENT
The mighty may intimidate, but love
and courage prevail
Envy
SHAPE
CONTENT
Heroine
Ruler (evil mayoress)
Stepmother
Apple
Grandmother’s house-guesthouse
Innocent
Ruler (evil queen)
Stepmother
Apple
Opposition castle / forest house
SEMIOTIC-
TEXTUAL
CONVERGENCES
Perverse attitude of the evil ruler (mayor-queen)
Visit of the ruler to the main character (Emma and Snow White)
Apple
DIVERGENCES
Dialogue Emma and step-grandmother
A basket of apples is offered
Emma is threatened (not death)
Dialogue Snow White and Stepmother
An apple is offered
Snow White is murdered
SOME IDEAS FOR DIDACTIC APPLICATION
Two female figures (Emma −heroine, daughter of Snow White− and Regina −nemesis−);
relationship with Henry (Emma=mother; Regina=stepmother); names of the characters
(Emma=strength; Regina=queen); professions of the characters (Emma: sheriff -heroic
dimension: protects people-; Regina: mayoress -exercise of power-); correlation with
a third female figure from another classic (Little Red Riding Hood’s granny); friendly
space (granny’s house), but where the threat arrives −wolf=Regina (characterised with
dark tones in clothes and make-up)−; symbolic objects: Emma’s red jacket (the colours
that characterise Snow White are black, white and red) and red apples (magical and
harmful object in Snow White); separation of spaces with its symbolic meaning of distancing between people and
rupture of communication (Emma, in the room; Regina, on the other side of the door
threshold; in the story: key the spaces where Snow White −inside the dwarfs’ house−
and the queen −outside the threshold− are; they communicate by means of door and window).
Table 2.Scene from the fifth episode of the first season
SERIES (2:34–3:34)
WORK: Pinocchio (Collodi)
DESCRIPTION
Henry is in the office of Archie Hopper, his psychiatrist. The little boy thinks Archie
is Jiminy Cricket. Henry explains to his psychiatrist that his job as a psychiatrist
is to make people aware of the difference between right and wrong. They also talk
about the meaning of stories.
In chapter 4 of The Adventures of Pinocchio by Carlo Collodi, the Talking Cricket appears before Pinocchio and talks to him about
the importance of acting well. The wooden doll, fed up with the cricket’s words, throws
a hammer blow at him. The Talking Cricket dies on the spot.
Presence of Jiminy Cricket
Importance of conscience (good and evil)
DIVERGENCES
Friendship between Henry and
Jiminy Cricket
Enmity between Pinocchio and
Jiminy Cricket
Murder of Jiminy Cricket
SOME IDEAS FOR DIDACTIC APPLICATION
Archie Hopper’s name (Archie=genuine; Hopper=grasshopper, sometimes cricket); Archie’s
profession, alter ego of Jiminy Cricket (psychiatrist; association with mind and conscience; also association
of Archie as Henry’s guide); cosy space (wooden furniture in the office, referring
to the carpenter Gepetto, Pinocchio’s adoptive father); characterisation of Archie
(kind, understanding, patient, elegant); dialogue between Henry and Archie on the
transcendental value of stories (reflection of the human condition, reflection on
good and evil, importance of listening to one’s conscience); symbolic object: umbrella
(Archie always carries this object, a characteristic feature of Disney0s work but
not of Collodi’s); death of the cricket in the novel Pinocchio, which generates a strong impact on the pupils (Pinocchio’s aggressive reaction to
what he does not like to hear); name of the Cricket (in Collodi’s work, Talking Cricket,
not Jiminy Cricket or Jiminy Cricket).
Table 3.Scene from the sixth episode of the first season
SERIES (18:36–22:04)
WORK: King Midas
DESCRIPTION
A young shepherd boy, separated from his twin brother at birth, must replace his brother,
the prince, who has just died, in order to slay a dragon that is terrorising the neighbouring
kingdom of Midas. Applying cunning, the young man - Snow White’s Prince Charming - succeeds in slaying the dragon.
Midas asks Silenus- divinity or genius- to grant him to turn everything he touches
into gold. Soon the ruler discovers that he can neither eat, nor drink, nor embrace
his loved ones, so he desperately asks to be returned to his former state. It must
be washed in the Pactolo River, which will then carry gold nuggets.
SERIES
WORK
METHODS
TRANSTEXTUALITY
PARATEXT
The shepherd
King Midas (Metamorfosis, xi)
ARCHITEXT
Streaming series
Classic myth
INTERTEXT
King Midas
Dragon legends
Snow White (shepherd/enchanter)
Cunning and bravery - rather than brute force - help to achieve objectives.
Unbridled ambition
SHAPE
CONTENT
Hero
The double
Shadow (dragon)
Sword
Ruler (ambitious Midas)
Shadow (Silenus)
SEMIOTIC-
TEXTUAL
CONVERGENCES
King Midas who turns everything he touches into gold
Presence of shadow archetype unleashing the problem
DIVERGENCES
Midas relationship with Enchanter
Fight dragon for gold
Midas relationship with Sileno
Refusal of gold conversion gift
SOME IDEAS FOR DIDACTIC APPLICATION
Humble shepherd-turned-prince archetype (play on the interrelated image of the princes
in Snow White, Sleeping Beauty, Cinderella); common recourse in folk tales of twins separated at birth (one a shepherd, the
other adopted by kings); opposition of life visions: humility-ambition and poverty-wealth
(shepherd versus King Midas, who turns everything into gold, but fails to free his
kingdom from a dragon); cunning-brute strength (ingenuity of the shepherd versus the
warlike ardour of Midas’ soldiers, who cannot slay the dragon); complex task of the
hero-shepherd: slay the dragon, a recurring beast in the tales and associated with
evil; hostile space: steep mountains, gloomy cave (intense contrast with the gold
of Midas’ palace).
Conclusions
In general, the quality of today’s children´s and young adult literature is very high.
But these excellent texts, echoes to a greater or lesser extent of classic tales,
lack something that traditional stories do possess: millenary wisdom ().
Some contemporary lines of thought have shown a certain rejection of these popular
narratives, probably out of ignorance: “Conocerlos, estudiarlos, ampliarlos, contrastarlos
contribuye sin duda a su conocimiento cultural. Y precisamente velar por la formación
cultural de los maestros es algo que nos parece fundamental” ().
The legacy of the classics should not be sacrificed, therefore, which can be presented
in an attractive and motivating way for the student both transmedia () and through the reading of the original text and its recycling in different media.
This recycling involves not only:
A transgression on a thematic level, but also on a semiotic level and in a double
direction: because the story, narrated in the characters’ words, differs from the
canonically accepted original version; and because the characters, relocated in a
new context, lead to a disruption of stereotype ().
This is the case with the proposal of the television series Once upon a time, available
in streaming technology, which maintains recognisable elements of the classic fairy
tales, such as archetypal characters and conventional love intrigues, but which also
poses some ruptures of expectations, as evidenced in the elaborate tables: for example,
by presenting emancipated female role models () or by reviving and updating the secular characters of the classic fairy tales in
the contemporary context, who are assigned professions, characterisations and experiences
that match their character and actions in the traditional work -for example, Snow White wicked queen as a despot mayoress whose favourite fruit is the apple, or Jiminy Cricket,
the elegant psychiatrist who always carries an umbrella and works with the mind and
conscience-. It is thus evident that the main concerns, struggles and reflections
of the human being -of the human condition- are, like the classic tales, unfathomable
(love, hate, revenge, happiness...).
Therefore, with this didactic proposal, consisting of viewing episodes of the Once upon a time series and contrasting them with the original stories, the aim is to achieve a triple
objective:
- to delve into the universe of traditional stories with all the human and existential
meaning they convey;
- show the validity, in essence, that these stories retain, as well as their versatility
in being recycled in different media;
- to promote reading, literary and media education for university students from an
affective, motivational and transmedia approach.
In short, the aim of this work is to contribute to the advancement towards a model
of didactic use of technological media -their approach as LKTs, EPTs and ICRTs- to
bring university students closer to the enjoyment and aesthetic -textual and visual-
enjoyment of reading and literature.
Notes
[1]
has reflected on the origin and evolution of the concept of “transmedia”. Nowadays,
it is often used not so much to refer to an argument that is developed through various
media (original meaning), but to define the plurality of media through which information
can be found or transmitted (acquired meaning). This is the sense given in this paper:
The term “transmedia literature” refers to the diversity of supports and media that
favour an approach to literary texts; “transmedia recycling”, which appears somewhat
later, also hinges on this meaning: a variety of media through which stories are re-signified.
[2] “Version”, “adaptation”, “recontextualisation” or “reversion” are some of the terms
used to refer to the re-signification of stories in different media (). The concept “recycling” is considered the most precise and comprehensive for the
purpose of this study.
[3] “Classic”, “folk”, “traditional” and “fairy tales” are used as synonyms, as the same
work is often framed under these concepts. This does not preclude the recognition
that some differential nuances can be found. For example, "folk" and "traditional"
tales are those that have been passed down orally and reflect the folklore and traditions
of a people (Garbancito); “fairy tales” are considered a sub-type of folk or traditional tales in which fantastic
figures such as fairies or ogres appear (Zarzarrosa). Finally, “classic tales” are those that have also become part of world literature
and have been passed down both orally and in writing (Peter Pan).
[4] This selection also responds to the fact that these first episodes of the series
-12 episodes- have been worked on in the university classroom from 2018 to 2023 very
effectively, as reflected in the students' satisfaction questionnaires, which give
the subject a score of between 4.7 and 4.9 out of 5. Among the comments, those that
stand out are those that highlight the interest aroused in literature through this
method.
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