Seguimiento de la implementación de las recomendaciones formuladas en la Segunda Ronda

Another strategy utilised to create – or, rather, highlight – a sense of distance in the Grimmsʼ fairy tales is iteration or verbatim repetition. Although this may seem at odds with a genre as linguistically economical as the fairy tale (Lüthi 1986[1947]: 25), the KHM narratives do occasionally repeat individual words – most notably adjectives and adverbs – in order to intensify the meaning of the basic phrase (Messerli 2005: 278). This type of stylistic repetition79 _{is based on the notion that}

“more of form is more of content” (Lakoff & Johnson 2003[1980]: 127); thus, as Lakoff and Johnson explain, phrasings such as “He ran and ran and ran and ran”

79 _{Stylistic repetition should be distinguished from structural repetition in fairy tales,}

which refers to the repetition of individual episodes and other plot elements (Lüthi 1987[1975]: 93–94).

suggest “more running than He ran” (ibid.). Following this principle, the repetition of the initial adjective/adverb in phrases such as to wander “a long, long way” (“lange lange gegangen”; Grimm 2003[1857]: 39) or journey “far, far away” (“weit weit”; ibid.: 92) intensifies the length indicated by the basic phrase (in other words, “far, far away” suggests greater distance than just “far away”).80

Finally, dimensions of space can be established independently of spatial transference. Specifically, the various acoustic and visual signals that the magical often uses to lure the non-magical into its midst can also have a “space-constructing function” (Messerli 2005: 279), in view of their ability to travel through space, thus expanding its scope. The light in the distance, for instance, adds a new dimension to the forest, increasing its size and depth. The same is true of various acoustic signals, such as the sounds of pig slaughter in “Hans My Hedgehog”, which can “be heard for miles around” (Grimm 2003[1857]: 363), or the distant splashing of water in “The Nixie in the Pond”, which leads the miller to the magic pond. The type and resonance of a sound determine the extent to which the audio signals increase narrative space (e.g. a low whisper suggests proximity, while the resounding toll of church bells can be heard for miles away; Bal 2017[1985]: 125).

Although the fairy tale lacks a concrete geography characterised by precise coordinates, the dimensions and basic relationships between individual spaces – typically expressed in terms of proximity or distance and (in)accessibility – are established in various direct and indirect ways. Since individual locations are usually linked via protagonistsʼ spatial transference, the aforementioned dimensions and relationships are commonly established through references to that transference. While spatial transference often takes the shape of a “journeyless” journey, meaning that the narrative focuses only on the destination, omitting the actual movement through space, references may be made to its duration, itinerary, or the means of its realisation, all of which also convey spatial information. The duration of the journey may be indirectly expressed by creating an itinerary, i.e. listing the spatial items or

80 _{It should be noted that iteration is sometimes absent from the German original and is}

only introduced in the English translation, perhaps motivated (like the Grimms themselves) by the wish to enhance the oral quality of the text or promote a kind of perceived style of the traditional fairy tale (cf. Van Coillie 2014). For example, the phrase “farther and farther” is added in the English translation on several occasions to highlight the duration of the protagonistsʼ journeys. This is the case in “The Singing, Springing Lark”, where the heroine “went farther and farther into the wide world” (Grimm 2003[1857]: 294; Ger. “ging sie immerzu in die weite Welt hinein” [she kept going out in the world]) and “The Goose Girl at the Spring”, which sees the heroine move “[o]ver the meadow toward the valley, farther and farther” (ibid.: 523; Ger. “über die Wiesen immer weiter bis in das Thal” [over the meadow and onwards, to the valley]). In both examples, non-repetitive phrases used in the German text (immer zu,

stops on the way between the initial and final point. In some cases, the distance and precise location of the desired (magical) destination are not explicitly stated, but the fact that it can only be reached via magical intervention (usually in the form of magic transportation objects) suggests that it is (physically and/or cognitively) concealed from human characters and/or located at an extreme distance which cannot be conquered by human (non-magical) means. To express (large) distance, fairy tales often rely on iteration or use units of distance, which are either unspecified or meant to be taken metaphorically rather than literally. Finally, the dimensions of spaces and distance between them can also be established by referring to the duration of the charactersʼ spatial transference (again, often expressed in metaphoric rather than literal terms) or various visual (light) and audio signals.

When they are referred to, dimensions of and relationships between spaces are typically expressed in terms of proximity or distance and (in)accessibility. While the KHM narratives often omit references to the actual journey, mentioning only that the mobile character left a particular place and immediately arrived at a new one, information about the spatial transference – and, subsequently, the space in which it unfolds – is provided when that is relevant for the story. In quest narratives in particular, the immense distance that separates the protagonistʼs starting point and final destination highlights the difficulty of the quest as well as the necessity of magical intervention for its successful accomplishment. Since the duration of a journey also points to the efforts required to complete it (Tuan 2008[1977]: 129– 130), travelling far and wide serves as a testament to the mobile characterʼs dedication and determination to succeed. Likhachev makes a similar claim as part of his argument about the superconductivity of fairy-tale space when he points out that distance in fairy tales does not serve to hinder the progress of the protagonist (and, by extension, the story) but to “bring a large scale, a significance, a peculiar spirit into it. The significance of what is happening is estimated by space” (2014[1967]: 329). However, not all fairy-tale spaces are impossibly far apart. In cases when spaces are identified as being close to each other or the distance between them is not mentioned, the emphasis is primarily on their separation: in other words, it is less important whether the characters travel north or south, near or far, as long as they leave their current environment (“here”) and go somewhere else (“there”).