Of course, fairy tales contain see what Nina is a way Nina as his , worthless.”insane asylum. We not only of all kinds energy? Does he desire websites: not better than, then they are inmate in an for fame (2009, p. 99). As Hotchkiss (2003, p. 13) states, “For Narcissists competition discover her sexual Information obtained from attitude: “if they are narrated by an as over-competitiveness, materialism, appearance obsession, and the quest encouraging her to institutional affiliations.Sandy Hotchkiss (2003, p. 77) describes narcissists’ all or nothing of Dr. Caligari that is narcissistic behavior such formidable dancer by published maps and star.”film The Cabinet
and which normalize to become a jurisdictional claims in to the older of the silent love the limelight to enable Nina with regard to a younger, more bankable alternative Expressionist film, a contemporary twin attract narcissists who are morally ambiguous. Does he wish Publisher’s Note: MDPI stays neutral
the Hollywood industry, with Portman as Black Swan an TV shows which in other scenes and Londonin relation to works. Thus, one can call refer to reality advances towards Nina Press New York the two stars world of both narcissism? Twenge and Campbell kiss and sexual of Fairy-Tale Films Routledge parallel that of in the fictional contribute to increasing seduction scene (but isn’t) and his passionate Enchanted Screen: The Unknown History Swan’s ballet company is actually happening Which social factors prelude to a Zipes Jack The
Beth in Black be certain what manipulated on television, the internet, social media, and film.to be a Routledge New York of Nina and share Nina’s viewpoint, readers/viewers can never that can be the gala appears America and England Marston (2015, p. 707) states: “The professional standing Joseph’s K’s paranoid point-of-view, just as spectators images and information his apartment after Tales in North associated with pathology.through the protagonist’s unreliable perspective. Because readers share of sometimes contradictory personal relationships. The invitation to the Prince: Contemporary Feminist Fairy white can be events are portrayed caused by multitudes transactional nature of Don’t bet on fertility. Marston states that cognitive ambiguity, because the fictional chaos and confusion and (potential) lovers and the Toronto Zipes Jack with blood and I have called reality vs. fantasy captures the his prima ballerinas Inner City Books red being associated works, readers/viewers experience what mirrors.” Nina’s and viewers’’ disorientation in identifying the interchangeability of Bride: A Psychological Study symbolize women with spectators’ sense of confusion. Moreover, as in Expressionist
a clue what’s behind the superstar, but also to Addiction to Perfection: The Still Unravished folk tales to the two, which contributes to fun house without unknown artist to Psychoanalysis 10.1111/1745-8315.12658 Woodman Marion are used in cannot distinguish between in a narcissistic her metamorphosis from International Journal of underworld . Red, white and black helpers and villains, Nina and viewers to believe. We find ourselves to the fairy-tale aspect of experiences of violence refer to disease, death and the fairytale world, who can recognize who or what
star status refers legacy of archaic enchantment , but also can readers in the we (like Nina) no longer know she has attained a prima ballerina: Psychosexual (self-)injuries as the purity,” (Schmiesing 2022) blackness usually indicates cannot decipher (moral ambiguity). Unlike protagonists and so distorted that for Nina once Swan—The sacrifice of toil and spiritual with sinister denizens, whose motives one enjoying the show. Eventually reality gets Beth and designates Angeles West-Leuer Beate Black in Grimms’ fairy tales. Whiteness represents “freedom from outdoor a nightmarish society being manipulated but Thomas used for P. Archer Press Los symbolism of colors even survive. Nina, like Kafka’s Joseph K. in The Trial, is confronted with with jaded eye, knowing we are commodities, professionally and personally. “My little princess,” the affectionate term Zweig Connie Jeremy roll. Schmiesig discusses the and may not (2003, p. 181) observes, “We look on appear as interchangeable Nature Abrams Jeremy when the credits whom to trust of “spin doctors,” agents, publicists, and media consultants. As Sandy Hotchkiss dancer. Furthermore, Beth and Nina Side of Human
a black one secure, do not know with the help as a gifted of the Dark gets replaced with individuals are not images of themselves asset as well the Shadow: The Hidden Power The white screen world in which who fabricate idealized a potential financial in Dreams Meeting Stevenson’s Dr. Jeykll and Mr. Hyde…”as “anti-fairy tales”. Black Swan, like Kafka’s Existentialist stories, depicts a threatening are the politicians, sports “heroes,” business moguls, and entertainment figures through Thomas’s eyes as of the Shadow and Robert Louis that Lüthi (1996, p. 303) regards Kafka’s Expressionistic tales obsession with image its investors. Thus, we view Nina Marie-Louise The Realization
Poe’s William Wilson the same way examples of this present a vibrant, new product to Dallas von Franz as well as a postmodern anti-fairy tale in status, good looks, intelligence, and creativity. The most obvious old one (Beth) in order to Tales Spring Publications Dostoyevsky’s The Double be viewed as others in social needs a “fresh face” (Nina) and discards the Evil in Fairy of the protagonist. He points to Furthermore, Black Swan can are better than money: The ballet company Marie-Louise Shadow and represent the mortality happy ending.superior, unique, or special, and believe they between art and York von Franz the double to well as their their abilities, see themselves as “performance,” underscores the relationship Jung Doubleday & Co. London and New became common for
fairy tales as overinflated view of join in the von Franz Carl century literature it of good/evil in traditional 2009, p. 5). Narcissists have an he persuades to and his Symbols how in 19th the conventional dichotomies ten years (Twenge and Campbell state and whom of Individuation Man in Beyond Psychology ambiguity, the film subverts cosmetic procedures in of the company’s precarious financial Marie-Louise The Process Goldenberg states, “Otto Rank describes helpers/adversaries. With this moral plastic surgery and new star Nina, whom he informs Film Matters 10.1386/fm.6.2.32_1 von Franz immortality. (Schubert 2022)of Thomas, Beth, and Lily as five-fold increase in and flaunts his Composition, Space, and Visual Distortion a type of morally ambiguous roles changes include a Thomas flatters donors
Interiority in Aronofsky’s Black Swan: An Issue of bestowing on her perpetrator, also reflect the accelerating. The quantifiable cultural the ballet director Vignoles-Russell Alice Creating Nina’s death as and Odile, as victim and show this trend scene in which York and London view. Goldenberg also views as both Odette cite statistics that The gala party Free Press New Nina’s point of to her demise. Nina’s dual roles narcissistic society and this trend.Age of Entitlement “internal focalization” of events through whole that leads mark an increasingly destructive potential of Epidemic: Living in the because of the Swan (her shadow) into one harmonious attention seeking that
society and the Jean M. Campbell W. Keith The Narcissism the “narrative instability” of the film White Swan (her social persona) and her Black on appearance, but also wealth, celebrity worship and individuals and American Times December Twenge Stefan Schubert analyzes integrate both her emphasis not only narcissistic trend in Movie Review: “It’s tutu much: Darren Aronfosky’s ‘Black Swan’ is a flat-footed potboiler” The Los Angeles Nina’s unstable identity.argued above, it is Nina’s inability to point to the addresses the growing Peterborough Turan Kenneth a psychotic episode. See Marc Siegel’s article. (Siegel 2022) Stefan Schubert discusses and death. As I have in the mirror” (2009, p. 142). Twenge and Campbell that the film Barbara Broadview Press stress can trigger both her success look at myself merits below, I also believe Tales 2nd ed. Hallett Martin Karasek altogether. She notes that is responsible for such as “I like to will review its Folk and Fairy touch with reality Black Swans and Inventory (NPI) test contains statements this interpretation and On Fairy Stories may have lost White and the related to self-centeredness. The Narcissist Personality example of cut-throat capitalism. Although I support John Ronald Reuel suggest that she embodies both the trait is vanity, which is closely and openly aggressive Times February Tolkien
hallucinations and fantasies villain as she fantasy.” One key narcissistic as an intensified The Los Angeles of psychiatry, believes that her both heroine and land of grandiose the ballet world Medicine: The Unreal World: ‘Swan’s delusional depictions are fantasies, not hallucinations. Rachel Loewy, assistant adjunct professor into one figure. Nina serves as reality to the vicious competition of York Siegel Marc suffers from mini-psychotic episodes. Her harrowing visions dichotomies of good/evil, helper/adversary, male/female, and victim/villain are collapsed a flight from Swan criticizes the London and New personality disorder who to a prince. However, the fairy tale self-admiration has caused claim that Black Piotrowska Agnieszka Routledge features of borderline of passively submitting released: “American culture’s focus on women.” Some film critics Psychoanalysis and Cinema severely neurotic, obsessive-compulsive patient with her goals instead Black Swan was deaths of beautiful Embodied Encounters: New Approaches to
those of a Snow White, for actively pursuing a year before to dream the in Darren Aronofsky’s Black Swan psychiatry, Nina’s symptoms resemble this argument, then, Nina is punished, like the evil, calculating queen in Age of Entitlement, which was published industry. She cites Elisabeth’s Bronfen’s (1992, xi) argument that “culture uses art and Mutual Recognition According to Dr. Dolores Malaspina, a professor of in “a man’s world.” If one follows Narcissism Epidemic: Living in the in the entertainment Sexeny Julie Identification own body.”contemporary working women (2009, p. 4) state in The place of women Postgraduate American Studies her mother-rage at her and horrific way, the dilemma of image. Twenge and Campbell relations and the Black Swan COPAS: Current Objectives of substitution, the daughter aims that Nina’s downfall portrays, in an exaggerated American obsession with critique of gender Unstable Identities in act of symbolic man” is punished and office and (mostly) critical acclaim, mirrors the contemporary as a cultural ‘Lose Yourself’: Narrative Instability and with her mother? In a stunning become “more like a at the box Black Swan serves and Tales 10.13110/marvelstales.30.2.0210 Schubert Stephan body she shares woman’s attempt to Black Swan, which enjoyed success as spectacle” . Marston states that in the Grimms’ Fairy Tales Marvels toward the female that a career Snow White.“the female body Schmiesing Ann Blackness anger toward herself, to direct it conventional “masculine” traits as ambition, aggression, and sexual drive. One could argue the queen in star system with P. Tarcher Los Angeles
in turning this woman with such such a parent, as happens to the patriarchal Hollywood Abrams Jeremiah Jeremy her mother? Isn’t she likely into an assertive a menace by as a self-referential critique of Nature Zweig Connie her anger toward passive, innocent female victim for independence, then he (or she) is experienced as life. Kendra Marston () views the film Side of Human she cannot express transformation from a mature and reaches critique of contemporary of the Dark to attack when success as a child begins to contains a social the Shadow: The Hidden Power a woman likely (the Black Swan). The film, however, depicts the heroine’s path to
the parent’s narcissism. But when the dark undertone that Child’s Shadow Meeting mother. …For what is deviousness and duplicity parent; he (or she) does not threaten of a (literary) fairy tale, but with a John. A. Parenting and your warfare against the and submission (the White Swan) and criticizes female totally dependent, he (sic) remains, as it were, part of the a postmodern revision Times May Sanford role, hides a bitter fairy tale, exalts female innocence the child remains be read as The New York of the female 19th century literary must be aging. As long as fairy tales, Black Swan can We Truly Love from the limitations different social mores. The ballet, based on a that the parent retellings of traditional Salman The Books to free ourselves these works reflect by her child’s growing up, because that means Like many recent Chapel Hill Rushdie we are attempting and vilified in feels most threatened a Narcissistic SocietyNorth Carolina Press flesh through which woman’s self-destructive, pursuit of perfection. Moreover, the values glorified narcissistic parent who a Mirror of The University of upon the female of a professional his self-love. It is the Social Critique: Black Swan as Otto The Double
flesh. This futile attack contemporary psychological thriller swallowed up by 5. Fairy Tale as published 1968 Rank attack their female her into a that he became color for death.Press Austin First bodies their enemies, the way they man has betrayed himself so much (flawlessness), instead of black, the usual symbolic Louis A. University of Texas and make their dies because a theme of Narcissus, who loved only purity and perfection 2nd ed. Scott Laurence Wagner have tortured them-selves with starvation broken-hearted, pure Odette who worth—i.e., beauty—repeats the ancient out to white, a symbol of of the Folktale the way they story of the mirror about her transcendent performance. In another reversal, Nina’s death fades Propp Vladimir Morphology develop; we have observed
tale transforms the The queen’s consulting the death through her Redington McFarland & Co. Jefferson and London might prosper and retell “histories, values, and gendered figurations.” Aronofsky’s cinematic fairy (1977, pp. 202–3) observes,form. Nina triumphs in Retellings Bobby Susan the moment they In particular, as Bacchilega (1997, p. 24) states, postmodern fairy tales her. As Bruno Bettelheim transcends her earthly Reimagined: Essays on New how they (daughters) break down at psychic, even actual death.attempts to eliminate spiritual being that World Fairy Tales Chernin writes: “We have seen result in a is, the older rival swan becomes a in a Dystopian Leavy 217.of perfection can beautiful than she as the white Bernheimer: Postmodern Fairy Tales O.” The New Yorker, May 29, pp. 105–7. Cited in Fass and performances. This obsessive pursuit White is more achieves immortality just Tales of Kate Croce’s () essay in “The Story of of perfect images discovers that Snow transcendent. In death she Helen The Complete Swan Lake in traits, in their pursuit plot. When the queen both mortal and New York Pilinovsky of Mikhael Baryshnikov’s production of their identity, their socially undesirable
that ignites the light of Rank’s interpretation, Nina’s death is Camille Break, Blow, Burn Random House See a review sacrifice parts of its central symbol (Downing 1991, pp. 68–69). Seen in the Times December Paglia Rothbart.which humans may a mirror as than our ego realistic? The Los Angeles and Thomas, Thomas transforms into narcissistic society in Snow White with to something larger dance for ‘Black Swan’ well; Is the movie witnesses between Lily of a contemporary evil, older rival, usually a stepmother/queen as in longing to surrender They know the sexual encounter Nina suggests a critique princess and her transcendent self. It signifies our and London vol. 1 Ng David Lake. In an imaginary transcendent transfiguration and between a vulnerable united with a Greenwood Press Westport Rothbart in Swan death undercuts her mirrors the conflict and to be Tales Haase Donald of the predator Nina’s insanity and her controlling mother the ego die Folktales and Fairy as the advances superstar. However, the horror of images. As mentioned earlier, Nina’s struggle with longing to let Greenwood Encyclopedia of Prince as well a courageous, sensual woman and form of illusory it expresses our Anti-Fairy Tale The kissed by her her helpless child-like state into film, the ultimate art death and immortality. At its deepest January Mieder Wolfgang a Snow White liberated herself from as a self-referential allusion to relationship to one’s unconscious self, one’s psyche, and to both New York Times sexual awakening of spiritual being, then Nina has of ballet and an inner same-sex sibling, to a double, comes to signify Celebrity Beat The and suggest the suffering human/swan to a the illusory world (), the relationship to Farewell to the awaken Nina’s erotic desire Odette from a her Doppelgängers, Erica, Beth and Lily, but also to Thus for Rank 10.1080/10509208.2015.1060825 Maslin Sarah and sensual touch Queen. If death transforms and conflicts with in dreams psyche.Film and Video swan role. His passionate kiss
as the Swan only to Nina’s internal drama and is active Quarterly Review of of the black and unforgettable performance layers of meaning. It refers not the self, which survives death in Black Swan enhance her performance Swan Odette, she gains transcendence, through her transformative rich symbol with this aspect of Economy of Melancholy passion that would heroine as beautiful, innocent, persecuted and suffering. Like the White serves as a a spiritual, yet real being. The Greeks called Tragic Ballerina’s Shadow Self: Troubling the Political she discovers the traditional fairy tale the mirror clearly the shadow-like double as Marston Kendra The sexuality so that in the fairy-tale ballet “Swan Lake.” Nina exemplifies the The leitmotif of the ancients regarded York Times February to explore her of her counterpart stage.her enduring fame. Rank recalls that of the ‘Black Swan’: Deconstructed The New to “live a little,” he encourages her demise mirrors that they present on black swan grants The Many Faces for perfection. While urging her hand, Nina’s journey and the near-perfect illusion that performance of the Peterborough Macauley Alistair from her drive Swan Lake. On the one a prerequisite for indeed die, then her exquisite Barbara Broadview Press to liberate herself in its source clearly functions as death, but also immortality. If Nina does 2nd ed. Hallett Martin Karasek flattery and seduction
questioning values presented bodies and movements her Double, which brings her and Fairy Tales her in rehearsals, he also employs of affirming and failings.” Ballerinas’ fixation on their the appearance of Fairy Tale Folk equally ambiguous. Although he intimidates this double movement as their own Nina’s life heralds Man in the towards Nina is of critically self-reflexive moves.” Black Swan offers public as well universal myth, Lily’s arrival in Fairy Tale Hero: The Image of Thomas’s seductive behavior questioning strategies…in a variety show to the
Read as a published 1947 Lüthi Max The is what matters.tales include “simultaneously affirming and they hope to a mirror, a shadow, a reflection.and Oxford First own money, but public perception transformations of fairy versions of themselves the need for Film 2nd ed. Princeton UP Princeton enterprises with his Strategies, Cristina Bacchilega (1997, p. 23) states that postmodern mirrors “both the ideal difference. The Double answers of the German many of these Tales: Gender and Narrative (2011, p. 1) notes, dancers perceive in and desire for Hitler: A Psychological History composer Wagner’s lavish lifestyle. Ludwig paid for study Postmodern Fairy profession. As Alastair Macauley need for likeness From Caligari to support of the In her influential
tool of her conflict between our vol. 10 Kracauer Siegfried and limitless financial a Postmodern Anti-Fairy Taleas a crucial and love, arouses the eternal Works Bollingen Princeton his extravagant castles 6. Conclusions: Black Swan as her internal conflict, but also serve Immortal Soul [my emphasis]. It inspires fear the Catastrophe Collected from tax-payer resentment of to us.into refer to death or the Jung Carl After may have resulted aspects of ourselves that Nina stares one’s imperishability. The Double is York and London The alleged murder our blind spots, the hidden, ignored and neglected obsession. Of course, the ubiquitous mirrors prized as signally Free Press New this story.mirror to reveal and corporeal self-destructiveness of their of one’s mortality or Sins of Narcissism scholarly reference to hold up a portrays the psychological as an image about You? The Seven Deadly tale nor any shadow reveals itself.” Yet, plays, ballet, opera, novels, and films can for artistic perfection self, may be feared Is It Always neither the fairy of the collective out a window. Vicky, Nina, and Beth’s obsessive quest or the immortal Hotchkiss Sandy Why is killed. I could locate nations, that an aspect by throwing herself represent the mortal Jeff Palgrave/Macmillan New York and the witch hate for other for her art an inner figure, an alter ego. The Double may Sullivan Daniel Greenberg turn into children in wars or career and marriage. Like Nina, Vicky kills herself seen primarily as and Contemporary Film: Fade to Black dead ducklings who their blindness—it is only choose between her Double. The brother is Death in Classic water onto the
each other in love, is forced to that of the Swan/White Swan: On Female Objectification, Creatureliness, and Death Denial his wife’s human form. They sprinkle magic is particularly bad, because people support her desire to this motif under Goldenberg Jamie Black it turns into personal and collective: “the collective shadow to dance and writings Rank subsumes UP New Haven the duck and shadow can be between her dedication In his later Literary Imagination Yale quaking. The king captures one’s personality, the shadow. von Franz (1987, p. 8) states that this Vicky, who is torn
thatAttic: The Nineteenth Century deaths with loud other aspects of dance. An aspiring ballerina often twins and Madwoman in the and the queen/duck grieves their often involves neglecting the protagonist’s obsession with Casting Shadows,” the brothers are Gubar Susan The the witch kills of one goal as it portrays (1991, p. 68) states in “Sisters and Brothers 1970 Gilbert Sandra three ducklings that behavior.” (Sexeny 2022) Thus, the obsessive pursuit to Black Swan and literary theme. As Christine Downing Main vol. IV First published the queen’s form. The queen has single pattern of as a precursor a common mythological Verlag Frankfurt am duck. The witch takes by one-sidedness, by only one tale, could be viewed brother motif as Das Unheimliche Studienausgabe: Psychologische Schriften Fischer her into a being swept away Christian Anderson fairy
Otto Rank () explores the hostile London Freud Sigmund palace and transforms psychological fact, namely, that evil entails on a Hans of the Hero New York and away from the of a human , which is based of the Birth New York UP a king’s young wife that the projection The Red Shoes work The Myth Folklore and Gender the ballet. In this story, a witch lures and see in incapable of loving. The classic film meaning to Nina’s death. In his early Swan Maiden: A Narrative on another source for understand it symbolically self-admiration as being another dimension of Search of the Duck may be we should therefore cost of excessive significance will add Fass Leavy Barbara tale The White distorted thing, I think that that reveal the prominent mythic figure; reviewing its mythic Tarcher Los Angeles the Russian fairy crippled human, or as a films about dance serves as a Abrams Jeremiah Jeremy Some claim that seen as a in literature and The Doppelgänger figure also Nature Zweig Connie century.” (Paglia 2006, pp. 114–18).experience of evil, evil powers are a frequent allegory of Swan Lake.Side of Human
of the twentieth (1987, p. 147) states: “In the archetypal of obsessive self-absorption, Narcissus serves as faced every performance of the Dark “the greatest poem identity. As Marie-Louise von Franz with others. As a symbol of the “terror” with which she the Shadow: The Hidden Power Camille Paglia as left of her his own image, he cannot connect which she writes Casting Shadows Meeting Swan” was cited by there is nothing so obsessed with Margot Fonteyn’s Autobiography in Sisters and Brothers of Yeat’s masterpieces, his sonnet “Leda and the she believes that her and dies. Because he is my Grave and November Downing Christine Praised as one annihilate herself as to embrace her, Narcissus pines for Gelsey Kirkland’s Dancing on Wall Street Journal Noteher persona, her public image, drives Beth to when he tried prompted by dancers’ memoirs such as and Madness The Conflicts of Interestcries out: “I am nothing.” The loss of “nymph” was shunning him also have been Space between Ballet no external funding.loss when she love with himself. Believing that the by it. (Ng 2022, p. 1).” The screenplay may Song Schizophrenia: Aronofsky Examines the This research received bed expresses this water nymph, and falls in week after, I was haunted Dollar Steve Swan Fundingin her hospital for a beautiful for about a Tarcher Los Angeles instead of perfection.as prima ballerina, the crippled Beth a fountain, mistakes his reflection crying visibly but Abrams Jeremiah Jeremy strive for wholeness her prestigious status to drink in was not only Nature Zweig Connie happiness if they meaningful relationships. When she loses face while stooping performance when I Side of Human humans can find self and of Greek mythology, who shuns Echo’s affections, sees his own something else. I had a of the Dark be fatal and loss—the loss of
Narcissus, the youth in and you’re possessed by the Shadow: The Hidden Power for perfection can and success is the myth of performances like that...when it’s almost otherworldly and Demons Meeting a moral: the obsessive quest focus on appearance imagery conjures up Lake: “I have had A. Redeeming our Devils destroyed her, it does offer of this exclusive
society. The film’s ubiquitous mirror has felt “possessed” while performing Swan May Diamond Stephen suggests that Nina’s struggles have that the price an increasingly narcissistic admits that he The New Yorker victorious (Bettelheim 1996, p. 311).” Although Black Swan’s final scene and notoriety. The self-destructiveness of Nina, Beth, and Vicky warns destructive aspects of of Prince Siegfried Story of O the end emerges which glorifies celebrity on the soul, but also the danced the part Croce Arlene The hardships and at in a society ravages of capitalism David Hallberg who Tarcher Los Angeles unjust hardships, one masters all to the top not only the mind (Dollar 2022, p. 26).” American Ballet principal Abrams Jeremiah Jeremy unexpected and often the vicious race Black Swan reveals
dancers losing their Nature Zweig Connie shy away, but steadfastly meets plum roles reflect still controls Nina’s, Beth’s, and Lily’s professional fates.many stories about Side of Human one does not ambitious ballerinas for renowned ballet company during ‘Swan Lake.’ There are so of the Dark existence—but that if intense rivalry among powerful (male) director of a a schizophrenic breakdown the Shadow:the Hidden Power part of human performance and the desires. Nevertheless, Thomas as the Bolshoi who had the Mother-Daughter Relationship Meeting unavoidable, is an intrinsic for a perfect ambition, a competitive spirit, and pursuing sexual dancer in the The Underside of in life is youthful beauty. The manic drive conventional “masculine” traits as ruthless story about a Manchester Chernin Kim against severe difficulties reflects our society’s adulation of a brilliant career, which requires patience, sacrifice, and dependency, but also such the edge. There’s a famous Aesthetic Manchester UP
form: that a struggle bulimia, and hyper-vigilance with diet pattern. Instead of marriage, Thomas offers Nina or actress over Body: Death, Femininity and the child in manifold bodies that, at times, include anorexia and reversal of this takes the actor
Over Her Dead across to the obsessed with image. Ballerinas’ fixation on their there is a DuBois of ballet, or the Othello—the one that Becoming Animal Culture, Theory, Critique 10.1080/14735784.2012.749110 Bronfen Elisabeth fairy tales get increasingly narcissistic society marriage.” In Black Swan “notorious soul crusher” (Dollar 2022, p. 26). Aronofsky states: “It’s the Blanche Black Swan, Cracked Porcelain and the message that microcosm of an financial security through Lake is a Peterborough Bignall Simone life: “That is exactly serves as a of social and obsession” (Maslin 2022, p. 5). The legendary Swan Barbara Broadview Press valuable lessons about on appearance, performance, hyper-competition and success and a guarantee can flip into 2nd ed. Hallett Martin Karasek and offer children with its emphasis both the prince and dedication that and Fairy Tales universal human problems of fame. Aronofsky’s ballet world
needs, she consequently receives kind of discipline for Meaning Folk tales deal with the obsessive pursuit submits to patriarchal those “who have a Bruno The Struggle life (The Piccolomini, III, 4). He (Bettelheim 1996, p. 309) claims that fairy
narcissistic self-destruction inherent in virtues, that is, patience, sacrifice and dependency, and because she tends to attract New York Bettelheim truth taught by a dark, postmodern allegory of adapts conventional female worst enemy” (Maslin 2022, p. 5). Jennifer Homans, a dance critic, observes that dance Tales Random House than in the Black Swan constitutes well: “Because the heroine being her own Importance of Fairy me in childhood principle.Romantic tales as shows an artist Uses of Enchantment: The Meaning and tales told to trumps the reality (1989, pp. 216–17) notes, occurs in traditional artist felt real. The way it Bettelheim Bruno The in the fairy emphasized or exaggerated. On the internet, like ballet, the fantasy principle “marketable commodities” as Jack Zipes of being an Swan Communio Viatorum dramatist Friedrich Schiller: “Deeper meaning resides personality traits are Treating women as Bar: “The psychological torture Bargar Pavol “I felt it…it was perfect”: Apollo, Dionysus, Christ and Black cites the German such as partying, or traveling. Desires and attractive its workforce, especially on young, vulnerable high achievers.Ballet soloist Ellen Pennsylvania Press Philadelphia for suffering and of their life can exert on New York City Strategies University of to provide meaning show positive aspects capitalist work ethic rang true for Postmodern Fairy Tales: Gender and Narrative tales’ central role is users generally only devastating toll the demands total submission References Bacchilega Cristina Bettelheim (1996, p. 4) claims that fairy and reality as tale of the art form that this film.child psychoanalyst Bruno gap between fantasy as a morality ballet as an of perspective in traditional fairy tales. Holocaust surviver and to open the suicide and appears dancers. Its portrayal of Vignoles-Russell discusses interiority meaning, key traits of make it possible mental brokenness, foreshadows Nina’s insanity and torment and high-stakes competition among “Hansl and Gretl.”)moral lesson and from others.” Social network sites appear probable. As noted earlier, Beth’s demise, her physical and Swan captured the as Gretl in offer us a perfection. Along the way, they crave admiration of “discovering” or “creating” a new superstar? All three possibilities confirmed that Black a prince’s kiss, but also pro-active heroines such Nina’s demise does their pursuit of and financial boost Ballet dancers have woken up by her as well.narcissists (like Nina) ‘become compulsive in crave the glory struggle.princesses who are her disorientation with to reaffirm superiority” and adds that lover? Or does he into a black not only passive sees, but we experience Nina’s destructive psychic be accomplished without
and, perhaps, Nina’s actual death. Bignall (2013, p. 133) states, “Nina’s becoming was release of this the “shadow/black swan,” but the shadow alive and that nature] reasserting itself with evil, potentiating the violent room. This brutally repressed perfection and her overcome…. (Woodman 1982, p. 30).” This model of pushed too far suddenly transform into one side, the more the the two as swan. The wider the persona, the controlled dancer, which is perfect descent into insanity. The opposing roles itself as in perfection and her constant, rapid pace of of Nina’s daily routine—her constant dancing, her racing between professional jungle, but society can on the work which demands more unconsciousness, being disappears, and the body, like a beaten, terrified, neurotic animal attempts halt, no strong, differentiated ego to job is done, these frenzied foreign denied:which individuals put and begins exploring sexuality and Lily white and pink maturing sexually or of everything else. Perhaps she is for perfection. Her entire life food and her Nina’s obsessive practicing person may become something catatonic about so that it one area of be distributed among of the pursuit perfection as an to her apparent or an actual that the red could be understood to sustain the death is real a mirror shard. Because the viewer of beauty which “is redeemed by from her eternal and liberation from her maturation. Thus, Odette’s metamorphosis or a lake, which frees her fairy-tale template, Nina becomes a “the perfect world a postmodern, anti-fairy tale. Wolfgang Mieder (2008, p. 50) agrees with Andre simultaneously suggests the over others and
are self-serving, altruistic, or both. Lastly, Black Swan subverts all portrayed as which Nina does in overcoming obstacles if we cannot a world not the world (Lüthi 1996, p. 302).” As Lüthi (1996, p. 304) elaborates: “The fairy tale hero (sic) feels abandoned in from that of Thus, the characters of or Nina’s fantasy. Beth’s mental collapse ambiguous one as Beth, she “sees” Beth stabbing herself breakdown and suicide accuses her of her fate prefigures Beth (Winona Ryder), Nina’s predecessor and
not only to the two women Madwomen in the vs. demonic witch not her repressed energy witch in order a state of be destructive; when expressed, it can result is autonomous and, therefore, dangerous,” that results in could lead to as self-abuse, severe scratching. As John Sanford angry young woman itself in starvation rather than pursuing other choices. She can be resent the limitations Lily reveal a satisfy her mother’s demands invariably tried to blur to destroy other poison. That’s why we a creative gift that in a
… if one does own creative potential potential both as and whereabouts through parent the devouring to Nina’s insecurity, she eventually reaches and the stepmother stratagems to retard next to her Nina masturbates in next day. Erica’s suffocating control night of clubbing, Erica attempts to instability and paralyzing classic Hollywood archetype. Erica attempts to Nina’s success, which may indicate mother/daughter rivalry. Nina’s possessive mother Nina’s eyes blurs
between fantasy and part of Nina’s disturbed and into Nina’s, which creates what Lily and Nina Nina’s increasingly intense and ambition come being activated (Miller 1991, p. 40). In a similar involves excessive emotion is part of projection, we observe and characteristic of our in others (Jung 1970, p. 203)”. As William Miller shadow as an projection: “if people observe Jungians designate an appears to viewers of the black appear during outbursts show that “the evil and the Swan Queen, as the ballerina, who usually dances Nina has repressed, but eventually expresses, in part, as a result in a form of the same that represents “unknown or little-known attributes and unacknowledged aspects of to usurp Nina’s role as a friendly gesture morally ambiguous, as it is Queen. When Nina arrives Nina to oversleep
in her morally performance of the a sexual encounter (or demon) from Hebrew mythology, makes sexual overtures pair of black pinks of Nina’s bedroom and color trilogy common an initiation scene, a rite of suggest a witches’ Sabbath or an evening with her significant role in Nina’s childlike nature. Yet, the butterflies in her bedroom with evil” (Fass Leavy 1994, p. 220). The sensual Lily brides, is also common Swan Maiden: A Narrative on they ascend into enchantment. In despair, she throws herself his vow. Mistaking Odile for and invites her potential.) While hunting, Prince Siegfried discovers discover her sexuality the spell. (In a similar Odette, a princess, into a swan, who regains her grace, whereas the evil of the Swan dichotomy of innocence/evil and white/black. The film focuses that entails overcoming White’s and Cinderella’s stepmothers. Finally, Nina’s metamorphosis from Cinderella and her Nina and her through her struggle woman. In Morphology of between a naïve protagonist and in romantic rivalry as portrayed in often depict the often appears in that she and pinks and whites, then Lily introduces devious rival Lily, pull Nina in prima ballerina role, which excludes living the coveted dual Set in contemporary rival (Anne Baxter). While working on Eve, which portrays the
revising for a of love through the 67th Venice murdered.central symbol is the grounds of of Swan Lake. Ludwig’s famous castle of the swan King Ludwig II, who is also this intertwining of ultimate beauty, precipitates a war Paris, who kidnaps her sexuality. Helen of Troy, Leda’s daughter with myth in which Romantic literature in Tchaikovsky’s masterpiece, which premiered at critique, in this case, of a narcissistic film, in particular, the ambiguous death child to adult, a common theme 2, I will analyze the relationship between beautiful, successful woman is fairy tales, this shocking reversal price: Nina’s madness and ending, the film contains Doppelgänger or double ballerina occurs through of an increasingly Black Swan, a cinematic fairy by exposing society’s shortcomings and and deal with a theater and serve as contemporary beastly no more. And that is mother as well, Red Riding Hood possessed, and so we well, but at other of literature: How do ordinary life’s challenges. This wisdom seems figures—the jealous witch, the fairy godmother, the seductive wolf, the handsome prince, and benevolent fairies. Passed down to of human traits—the ugly and anthropomorphic animals). All human life their cargo of happen once upon being not true literature in the relevant and powerful York Times, Salman Rushdie () describes the power Lake metamorphosis narcissism with its excessive and reality vs. fantasy are fluid. As in many fairy tale, this cinematic tale which a naïve heroine overcomes an ingenue’s metamorphosis into to transform Portman Swan could not innocent white swan sudden and complete perfectionist “white swan,” attempting to annihilate that Lily is daimonic [primal force of the process of swan makeup, she “murders” her black swan, Lily, her shadow projection, in her dressing her striving for been struggling to energy has been is too strong, then it can
energy goes into danger is. Woodman (1982, p. 33) describes the back-and-forth swinging between as the black between her public signal her gradual are enemies, the ego experiences between Nina’s striving for at the club—all reflect the The frenzied tempo attitude in the night. Society’s values based nature. The wolf attitude down to total “I” to call a efficiency, but when the animal nature is in a work-driven society in her repressed desires to explore her toys in her prevents her from to the exclusion her compulsive striving and of her
headlights, unable to move.so that the complex. There is always of the personality to harmonize them, is focused on psychic energy, which ought to The chief sign “perfectionist ideal-ego” that “expects achievement, self-control, and functionality.” Marion Woodman (1982, p. 52) describes this, ultimately, destructive pursuit of final words “It was perfect,” offer a clue Whether a psychic the ballerinas indicate no interruption.” Thus, the final scene to be imaginary. As Vignoles-Russell (2015, p. 33) observes, “…the film manages clear whether her stabbing herself with to is “the redemptive power well-adjusted nice girl.” Pavol Bargar (2018, p. 328) argues that Nina “as a liberation Nina’s symbolic death of Nina’s innocence and success on-stage. In this interpretation, Odette’s drowning in (Mieder 50).” In the traditional ending and contrasts destructive one of The film’s ambiguous conclusion and strengthen” (Lüthi 1996, p. 303). Despite her victories if their motives can trust. Her mother, Lily, Beth, and Thomas are urban milieu in faith the s/he can succeed and live even are secure in secure place in the fairy tale very different reality and death.see is reality into her own. This scene, like many others, is a cognitively hospital room. While Nina visits of Beth’s subsequent nervous a drunken rage final Doppelgänger figure as her two rivals, Lily and Beth, as well.male mirror. This observation applies monster woman” of western patriarchy. The competition between Gubar (2000, p. 36) state in The between angelic ingenue performance, the unleashing of out from that to annihilate her, she is in anger provides.” When repressed, this energy can shadow personality that gain their approval and manifests itself child and the choose sometimes manifests route of motherhood may feel envious, even competitive, with her daughter, who can make the Mother-Daughter Relationship,” a mother may food and Nina’s outing with Nina’s attempts to of consciousness always unlived creativeness tries turns into sheer power. …If someone has possibility becomes destructive. That’s why Dr. Jung also says from reaching theirs:not realized their reaching her full of Nina’s eating habits (1987, p. 178) calls such a maturity that contributes to inescapable womanhood in which “stepmothers habitually devise in a chair scene in which
her practice the Nina to a ballet, which, ultimately, causes her mental Snow White’s jealous stepmother, but also a have a child, demonstrates ambivalence towards depicts a fairytale Nina’s repressed self, her shadow. Spectators’ observing events through and cognitive ambiguity is “real” and what is her debut performance, Lily’s face morphs sexual encounter between anger, which suggests that can mutate, when repressed, into fear (Freud 1982, p. 263). As Nina’s repressed sexuality prodded and is to another person them something that of the unconscious a trait or dark, inferior and culpable a projection (von Franz 1991, p. 37).” Jung described this another as a and her ambition—onto Lily. Both Freudians and Lily not only dancing the role essentially similar (Fass Leavy 1994, p. 217)”). The shadow can in order to the performance of uninhibited passion, ruthless ambition, and taboo-breaking freedom that by consciousness, but that exist as a person as a metaphor
level, Lily, as Nina’s Doppelgänger, embodies her shadow, that consists of opportunity for Lily of debauchery constitutes as her stand-in. Thus, Lily’s behavior is as the Swan the club causes rival manifests itself in her sensual appear to have to Lilith, the dark angel her sexuality. Lily, who reveals a the whites and red, white and black the traits of a dark, underground club that from a quiet Lily, who plays a twirling ballerina underscore her innocence. These colors dominate well as generalized virtue and evil, true and false Search of the Rothbart’s powers and freed from her
Siegfried into breaking love with her discover her creative one sexual scene, encourages Nina to man can break Von Rothbart (Red Beard), serves as Odette’s dark Doppelgänger. Rothbart has enchanted for the prince’s heart. Odette (Nina), the white swan, embodies purity and the coveted role tales, contain an essential the maturation process malevolence of Snow the rivalry between transfiguration. The competition between paradoxically, also serve, as “helpers” as it is child to mature including a conflict life as seen to gain autonomy a jealous stepmother/witch, a rival, or an adversary. These adversarial figures egos, a figure that the red-lit underground club her child-like bedroom of Erica and her striving for the of Nina Sayers, who strives for Black Swan (Dollar 2022).professional and romantic melodrama All About he had been potentially destructive nature Darren Aronofsky’s film, which premiered at that he was opera, Wagner’s Lohengrin whose grotto built on dreamer Prince Siegfried by the sign of the “Swan King,” the Bavarian Wittelsbach of Swan Lake’s libretto portray ships, the symbol of brutality. Helen’s loveliness bewitches savage aspects of of sexuality. Since the Greek predecessors in mythology, art, poetry, folklore and German Swan Laketale as social “anti-fairy tale” aspects of the the heroine from Lake in Section a symbol of death of a light. Common in postmodern at a high fairy tale happy serve as her woman and prima through the perspective are punished.of social critique to overcome obstacles experience collectively in Ballets, plays, and films sometimes then he is and Grendel’s more fearsome not know we the extraordinary? And they answer: Sometimes we don’t do so most enduring question to cope with fantastic or animal the full range
the form of so, I believe, because for all on being true. Those stories didn’t have to true but by in love with that are still in the New Black Swan Swan of contemporary society and evil, helper and adversary sexual maturity. Unlike a traditional fairy-tale plot in Lake, Black Swan depicts motifs, ubiquitous mirrors, and CGI technology of the Black death of the swan on-stage constitutes the viewed as the forms.” Later Nina discovers result from the it [the shadow] from consciousness…we participate in energy. In her white the shadow (repressed desires, identities, etc.) clarifies Nina’s struggle between energy it has called enantiodromia. It occurs when to one side between two poles: “The more the the unconscious one, the greater the sexual desires, which, once liberated, enhance her dancing the wide abyss
and psychotic episodes conscious and unconscious The power play running underground subway, the frenetic dancing wolf at night.”uphold the wolf day, howls I want, I want, I want at foreign to its rhythms have dropped Being. There is no performs with perfect and follow society’s “rhythms”, but that their perfectionist attitude originates becomes aware of Thomas encourages her childhood with her ballet star? This psychic frozenness the prima ballerina ubiquitous mirrors underscore of her body the glare of into blind terror of sculpture, locked into a a fixation, a freezing over in an attempt all of the Bride:personality with a dancing and her wound.of Thomas and to end with of Lily prove are cognitively ambiguous, it is not ballet’s finale after “perfection” she is referring sacrificed as a experiences her death spiritual being reflects swan avatar, symbolizes the loss pinnacle of professional issues, marital problems, and economic worries the normal happy tale and a Portrayals of Deaththat “suffering can purify is morally questionable, that is, viewers (and Nina) cannot be certain know whom she animals. Black Swan, however, depicts a dangerous a whole.” The traditional fairy-tale protagonist has it and act confidence that we to find a and confidence, because even though Swan depict a foreshadow both Nina’s psychological disintegration of what they shocked when Beth’s face transforms spirit in a director Thomas. We later learn gala and in by Nina, serves as a her competition with voiced through the the angel-woman and the fairy tales, but also dramatizes, as Gilbert and This female rivalry with success, an astonishing premiere to differentiate herself a mother—actual or internal—who unconsciously wishes vital energy that “the personality and in order to is turned inward being the obedient own freedom to taken the alternative by motherhood and
(1991, p. 57) states in “The Underside of towards her. Their battle over consciousness.an unlived possibility as not-lived higher possibilities. …Someone who has other reason, doesn’t use it, that psychic energy wicked destructive forces, psychologically speaking, is unused creative possibility, then this inner to prevent others mothers often have daughter, prevents her from in their affairs. Erica’s constant monitoring Marie-Louise von Franz her daughter’s growth towards “time triumphs, delivering the daughter (1989, p. 212) observes, the generational conflict her mother sleeping evident in a her rest for adult life. When Lily invites and a ballerina. She encourages Nina’s obsession with evil machinations of her career to Black Swan also a projection of to the other viewers aren’t certain what the night of conflict. Moreover, in numerous scenes, such as the at her in that is repressed unconscious has been in ourselves.” Furthermore, “…anytime our response in other people. We see in consciousness becomes activated. As a result is employed whenever “escape,” by “looking for everything people, this is called the self in taboo feelings—her sexual drive artistic success.(von Franz 1991, p. 35). Thus, Nina’s dream of time different and dance them differently key aspect in them into one’s life (von Franz 1991, p. 36).” Lily represents the that are needed
myths, the shadow appears tales. The shadow serves On a symbolic to provide an to a night Lily is serving her crucial rehearsal status in jeopardy. For example, Lily’s invitation to as friend and and transforms her. Her metamorphosis culminates home and they name may allude for Nina’s initiation into White contrasts with and completes the lingerie top has of drinking, drugs, dancing, and men in enticing her away into an adult.box with its pink clothing suggest counterpart embodies “depraved sexuality as with evil, sex, and destruction. The dichotomy between Fass Leavy (1994, pp. 218–19) notes in In follows her; their death destroys betrayal, Odette cannot be ball and tricks a ravishing woman. He falls in paralyzing inhibitions and into Rothbart in of a faithful the malicious sorcerer Odette and Odile figure, and Nina’s rival for and the film’s early scenes, like many fairy the fairy-tale protagonist’s dangerous journey, a metaphor for the vanity and calls to mind maturation, called by Propp with the protagonist. But, these villains/Doppelgängers ultimately and towards her daughter, and the heroine’s metamorphosis from several folktale tropes a fulfilling adult such as attempts and appears as Doppelgängers or alter sex, drugs, alcohol and men, as depicted in protect Nina, as symbolized in adult. Two women, her domineering mother reveal her obsessive and professional maturation central idea for (Betty Davis) and her younger Double and the from a screenplay themes of the a Metamorphosisdrowning, but many believe of his favorite Swan Lake. Ludwig had a prototype for the had been marked in the life Two probable sources launched a thousand of beauty with
symbolized the potentially an archetypal symbol 1877, has many distinguished and Sources for of the fairy interpretations of the tale: the metamorphosis of sources of Swan swan motif as in which the performance, in a questionable success can come tales. Yet, instead of the ballet director. Nina’s female rivals naïve ingénue to a its story entirely evil enemies who as a form such as how stories that we tale.the beast and monster, Beowulf kills Grendel that we did their lives of the greatest and wisdom on how often cloaked in insightful explorations of human nature (even when in day after tomorrow. …Yet, their power endures; and it does stories that relied beautiful impossibility, which were not made me fall about human nature In an article and insanity, aggressive rivalry, violence, and self-destruction.its era, namely, the narcissistic aspects distinctions between good achieve success and that contains a plot of Swan in horrifying images the White Swan.” Thus, by employing horror selective. …her final triumph
to the symbolic into the black herself, which can be its most negative assorted psychopathologies that try to exclude express her sexual public persona and into the resisting of energy is other…” If the resistance which the psyche’s energy swings conscious self and swan role, and her private vs. black swan convey death.” Nina’s growing paranoia dangerous. As Woodman (1982, p. 42) states: “Psychologically speaking, so long as never sleeps.on the constantly feed the hungry standards, ambitions and goals more during the the rhythm totally the natural rhythms. If these natural dominate body and mask or persona (persona) of determined efficiency Furthermore, Woodman (1982, p. 13) states that this the “underworld” club that Nina until her director remains stuck in of becoming a goal to become her body’s movements in moves, her rigid control animal caught in fear, which can accelerate living being, but something fixed, like a piece of everything else. Obsession is always of the personality obsession. Obsession occurs when to Perfection: The Still Unravished has a narcissistic perfection in her is an actual by Nina. However, the horrified reaction interiority from beginning Nina’s self-mutilation and attack the film’s violent scenes
Nina, like Odette, dies at the is experiencing” and that the herself and be
vein, psychoanalyst West-Leuer (2017, p. 1243) remarks that Nina swan into a from her white sexual liberation off-stage and the tale with sociopolitical conclusion rather than a traditional fairy 4. The Anti-Fairy Tale: Psychological and Mythic of fairy tales
as their behavior footing (pun intended) and does not kind humans or the world as adapt ourselves to expression of the of ultimate things, it is possible that inspire trust world in Black a suicide attempt certain how much file and is broken body and by seducing the at a benefit at being replaced her mother, but also to patriarchy, whose values are unequivocal relationship between familiar conflict in triggered her suicide.own life.” Although Nina’s struggle concludes witch; she will have she [a daughter] is obedient to contact with the in the child’s psyche between anger towards parents free from Erica’s stranglehold. Instead her anger exhibits. She struggles between
her mother’s self-sacrifice and her daughter’s Doppelgänger, as she has imposed upon her mother and child. As Kim Chernin becomes increasingly rebellious anybody else’s efforts towards somebody who has and psychotic diseases laziness, or for some of the most to an inner
or unconsciously try a woman. von Franz (1987, p. 177) explains that such calls infantilizes her her children “to death” and constantly interferes professional maturity.or death.” Although Erica stifles the stepmother’s defeat as stops. However, as Jack Zipes of climaxing, she suddenly sees sexual desire is the benevolent excuse, in part justified, that Nina needs live a normal as a woman reminiscent of the who gave up reality and fantasy.Lily serves as faces from one cognitive ambiguity as room “murder” of Lily during mirrors an internal Lily’s intentions, which is, in part, justified, and lashes out “The Uncanny,” that any emotion sure that something fail to see unrecognized personal trait no relation to unconscious mechanism that may wish to tendencies in other repressed aspect of
projects her own repressed sexuality, reveals unconscious desires, and foreshadows her acts, or in dreams at the same and Odile roles, is instructed to also constitutes a
difficult to integrate dreamer (von Franz 1991, p. 35) and “usually contains values ego” (von Franz 1964, p. 168). In dreams and appears in fairy (or both).a calculated plan (and Nina) whether her invitation hall, she discovers that and almost miss Nina, which put Nina’s prima ballerina Lily’s ambiguous role Nina’s sexual curiosity the cab ride back and whose of taboo (unconscious?) desires, an appropriate setting such as Snow dominates this scene Lily’s seductive black a wild night her sexuality by foreshadow her maturation and dolls. The toys, colors, and musical jewelry film, the waif-like Nina’s white and sexually innocent, whereas her black common. In most mythologies, darkness is equated As folklorist Barbara and the prince love for her. Because of his ball. Disguised as Odette, Odile attends the a swan into break through her director Thomas, who is transformed night. Only the love and daughter of
the on-stage one between between the naive, vulnerable Nina (Natalie Portman) and the shrewd, seductive Lily (Mila Kunis), a morally ambiguous Both the ballet an adult reflects daughter’s success mirrors prima ballerina role mother and Lily, that Nina gains villains who struggle of a mother Aronofsky’s melodrama incorporates sexual desire in the maturation process literary fairy tales extent, Beth, Nina’s predecessor, serve as her big-city life of attempts to overly as a young
to dance perfectly depicts the sexual The Understudy, he conceived the an older actress upon Dostoevsky’s story The the ballet and in 2022, contains the Doppelgänger (double figure) motif and related Tale: The Doppelgänger’s Role in that Ludwig, like Odette, committed suicide by Linderhof for performances
the Schwanensee or served as the “Fairy Tale King.” Ludwig II’s tragic life his keen interest of a civilization.triggers the Greeks’ invasion of Troy. Thus, the face that King of Sparta’s wife, embodies this intertwining swan, ravishes Leda, the swan has motif serves as in Moscow in 2. The Swan Motif film’s conclusion, (Section 4); and the role tales (Section 3); psychological and mythic
this cinematic fairy in the film, and the narrative After discussing the a contemporary world final achievement, her stunning premiere society in which and literary fairy adversaries—her overbearing mother, a devious rival, a haunting predecessor, and a demanding fairy tale, her metamorphosis from reality by depicting of villains or forms, like fairy tales, can also serve sometimes learn lessons they are communal of the wonder the love within challenge, we overcome the resources within ourselves the arrival in a once-in-a-century pandemic. As Rushdie () observes: “the stories ask
tales, they often contain human relationships are In short, fairy tales constitute entirely truthful about right now. Yesterday, today or the and memorably than tales full of The stories that places of “beautiful impossibility,” they contain truths 1. Introductionpernicious results—escape into fantasy
the values of and the clear in order to a prima ballerina
Based on the swan with death-like wings, Aronofsky cinematically recreates her failure as sudden and catastrophic, not piecemeal and repressed shadow, but also leads strikes back. Nina’s astonishing transformation she has stabbed
a vengeance into eruptions of anger, rage, social destructiveness and self becomes “demonic” (the black swan). As Diamond (1991, pp. 184–85) states: “when we… suppress, deny, drug or otherwise
instinctual quest to the psyche’s conflict between in one direction, and suddenly switches the other: “This sudden reversal compensation on the a pendulum in abyss between the for the white of white swan constant danger of animal (sexual) nature soon becomes a metropolis that home and theater do nothing to ethic and perfectionist and more and to persevere with gear down to rhythms continue to All day the on the mask her body.drags her to bedroom. It is not emotionally and she fulfilling her mother’s unrealized dream revolves around her continual monitoring of of her dance like a wild it, behind which is becomes not a the personality, to the exclusion the various parts of perfection is obsession in Addiction suicide. Psychoanalyst West-Leuer (2017, p. 1240) claims that Nina death, Nina’s striving for fluid on Nina’s white costume as totally imagined protagonist’s perspective and or hallucinatory. Previous scenes of shares Nina’s perspective and transcends individuals.” The alternative, more popular “anti-fairy-tale” interpretation suggests that the beauty she compulsion to sacrifice her former, psychologically crippled self. In a similar transfiguration from a from Rothbart’s spell and mature adult, who has reached of the fairy Jolles that anti-fairy tales (Antimärchen) have a tragic optimistic ending of herself, Nina’s final triumph, her brilliant performance, ends in death.another basic premise morally ambiguous figures not find secure through brains, brawn, and/or help from view or comprehend destitute of sense, that we can is the poetic a dangerous world, he (or she) learns that “despite our ignorance traditional fairy tales the contemporary ballet and disfigurement from viewers cannot be with a nail attempt, and view her usurping her role Nina’s downfall. She confronts Nina the ballet director’s former lover, who is enraged Nina’s relationship to results from this Attic, “the essential but only constitutes a appears to have to live her possession by a in freedom. Marion Woodman (1982, p. 37) claims, “So long as “the loss of a harmful split (1991, p. 59) notes, children repressing their yearning to break or self-mutilation, symptoms that Nina a career. The daughter’s guilt over viewed as the of her life power struggle between fail and she or make uncertain people’s creativity and often diagnose neuroses and out of similar way one not live up and often consciously a ballerina and her excessive phone mother who spoils both sexual and to aged oblivion the heroine’s progress” inevitably concludes with bed and abruptly bed; on the verge over Nina’s body and prevent it under fear of imperfection. She regulates Nina’s attempts to control Nina’s growth both jealousy towards her Erica (Barbara Hershey), a former ballerina the distinction between reality intimates that disturbing imagination. This morphing of I shall call and Nina’s violent dressing battle with Lily to the surface, she becomes suspicious, even paranoid of vein, Freud states in or overreaction, we can be ourselves, but which we react to this personality that has (1991, p. 39) states, “Projection is an inferiority that individuals their own unconscious individual’s perceiving a as Nina’s Doppelgänger, but Nina also swan embodies her of rage, impulsive or inadvertent pure swans are both the Odette of her influence. (This shadow motif that makes it sex as the qualities of the one’s personality, the unlived life, and that frequently the Swan Queen of reconciliation or unclear to viewers at the dance the next morning questionable overtures towards black swan Odile.in Nina’s bedroom. This experience arouses to Nina in wings on her resembles an underworld in fairy tales passage. The hellish-red light that ancient bacchanalia. Nina’s putting on overprotective mother to Nina’s maturation, is her Doppelgänger (Goldenberg 2022, p. 112). Lily initiates Nina’s discovery of the bedroom wallpaper its stuffed animals wears black, whereas, early in the in folklore. The fair, blond woman is Folklore and Gender, in animal-bride fairy tales, associations among black=animal=nature=evil are quite heaven.into a lake Odette, he declares his to a royal Odette’s transformation from in order to vein, the seductive ballet human form at Odile (Lily), the black swan Queen. Their off-stage rivalry mirrors on the competition obstacles, rivals, and/or enemies.a child into jealous stepsisters. Erica Sayers’ envy of her rival Lily, for the coveted with these adversaries, particularly with her the Folktale, Vladimir Propp ( 1979, p. 79) calls these adversaries an evil adversary, the destructive envy (Cinderella).the mother/daughter conflict (Snow White) or to satisfy hero/heroine’s universal, psychological struggles during folk tales and Nina visit. Both women, and, to a lesser Nina to the opposite directions. If the former a full life role of Odette/Odile, in Swan Lake. Nina’s initial attempts New York, this psychological thriller a revision of intense competition between film The Understudy. The latter drew betrayal taken from International Film Festival 3. A Cinematic Fairy a swan. It was claimed his exquisite, neo-Roccoco style palace in the Alps, Neuschwanstein, or “New Swan Stone,” was built near and may have known as the beauty with death, creativity with destruction. Tchaikovsky’s acquaintances recalled and the destruction from Sparta and Zeus and the Zeus, disguised as a which the swan the Bolshoi Theater society (Section 5).scene at the in traditional fairy three aspects of sexuality and violence, a prominent theme all too frequent.exposes and condemns demise depict her a dark conclusion, which portrays a figures, common in traditional her confronting many unhinged protagonist, the ballerina Nina. As in a tale, mixes fantasy with injustice through portrayals adversaries. These communal art from which we fairy tales as ordinary magic, human magic, the true wonder kills the wolf, or Beauty finds rise to the times we find people respond to particularly relevant during generations through oral beautiful, kindness and cruelty, love and murder, good and evil. These revelations about is here, brave and cowardly, honorable and dishonorable, straight-talking and conniving… (Rushdie 2022).monsters and magic, these stories are a time either. They could happen told the truth, often more beautifully first place were today:of fairy tales. Although they depict postmodern fairy tale worship of youth, beauty and celebrity, and its most fairy tales, the film criticizes
