"The First Fairy Tale Book I: The Adventure Begins by Susan Highsmith combines elegant beauty with magical words that inspire and inform us of the mystery and reality of conception.
Author: Susan Highsmith
"The First Fairy Tale Book I: The Adventure Begins by Susan Highsmith combines elegant beauty with magical words that inspire and inform us of the mystery and reality of conception. The beautiful artwork of Mark Sean Wilson adds a transcendent aura to every page. The shapes and colors of his illustrations combined with Susan's enlightening text bring us the wonder of the natural, yet miraculous, ancient journey taken by each of us."
A delight to read, The Original Folk and Fairy Tales of the Brothers Grimm presents these peerless stories to a whole new generation of readers.
Author: Jacob Grimm
Publisher: Princeton University Press
When Jacob and Wilhelm Grimm published their Children's and Household Tales in 1812, followed by a second volume in 1815, they had no idea that such stories as "Rapunzel," "Hansel and Gretel," and "Cinderella" would become the most celebrated in the world. Yet few people today are familiar with the majority of tales from the two early volumes, since in the next four decades the Grimms would publish six other editions, each extensively revised in content and style. For the very first time, The Original Folk and Fairy Tales of the Brothers Grimm makes available in English all 156 stories from the 1812 and 1815 editions. These narrative gems, newly translated and brought together in one beautiful book, are accompanied by sumptuous new illustrations from award-winning artist Andrea Dezsö. From "The Frog King" to "The Golden Key," wondrous worlds unfold—heroes and heroines are rewarded, weaker animals triumph over the strong, and simple bumpkins prove themselves not so simple after all. Esteemed fairy tale scholar Jack Zipes offers accessible translations that retain the spare description and engaging storytelling style of the originals. Indeed, this is what makes the tales from the 1812 and 1815 editions unique—they reflect diverse voices, rooted in oral traditions, that are absent from the Grimms' later, more embellished collections of tales. Zipes's introduction gives important historical context, and the book includes the Grimms' prefaces and notes. A delight to read, The Original Folk and Fairy Tales of the Brothers Grimm presents these peerless stories to a whole new generation of readers.
Author: Hans Christian AndersenPublish On: 2011-01-26
This definitive collection of work from Hans Christian Andersen—one of the immortals of world literature—not only includes his own notes to his stories but is the only version available in trade paperback that presents Andersen's fairy ...
Author: Hans Christian Andersen
This definitive collection of work from Hans Christian Andersen—one of the immortals of world literature—not only includes his own notes to his stories but is the only version available in trade paperback that presents Andersen's fairy tales exactly as he collected them in the original Danish edition of 1874. Recognizing the literary merit of Andersen's own simple colloquial language, which Victorian translators and their imitators very often altered to sentimentalize or vulgarize, translator Erik Haugaard has remained faithful to the original text. The fairy tales Hans Christian Andersen wrote, such as "The Snow Queen," "The Ugly Duckling," "The Red Shoes," and "The Nightingale," are remarkable for their sense of fantasy, power of description, and acute sensitivity, and they are like no others written before or since. Unlike the Brothers Grimm, who collected and retold folklore, Andersen adopted the most ancient literary forms of the fairy tale and the folktale and distilled them into a genre that was uniquely his own.
The fairy tale has become one of the dominant cultural forms and genres internationally, thanks in large part to its many manifestations on screen. Yet the history and relevance of the fairy-tale film have largely been neglected.
Author: Jack Zipes
Category: Social Science
The fairy tale has become one of the dominant cultural forms and genres internationally, thanks in large part to its many manifestations on screen. Yet the history and relevance of the fairy-tale film have largely been neglected. In this follow-up to Jack Zipes’s award-winning book The Enchanted Screen (2011), Fairy-Tale Films Beyond Disney offers the first book-length multinational, multidisciplinary exploration of fairy-tale cinema. Bringing together twenty-three of the world’s top fairy-tale scholars to analyze the enormous scope of these films, Zipes and colleagues Pauline Greenhill and Kendra Magnus-Johnston present perspectives on film from every part of the globe, from Hayao Miyazaki’s Spirited Away, to Jan Švankmajer’s Alice, to the transnational adaptations of 1001 Nights and Hans Christian Andersen. Contributors explore filmic traditions in each area not only from their different cultural backgrounds, but from a range of academic fields, including criminal justice studies, education, film studies, folkloristics, gender studies, and literary studies. Fairy-Tale Films Beyond Disney offers readers an opportunity to explore the intersections, disparities, historical and national contexts of its subject, and to further appreciate what has become an undeniably global phenomenon.
The most comprehensive collection of classic Russian tales available in English introduces readers to universal fairy-tale figures and to such uniquely Russian characters such as Koshchey the Deathless, Baba Yaga, the Swan Maiden, and the ...
Author: Aleksandr Afanas'ev
The most comprehensive collection of classic Russian tales available in English introduces readers to universal fairy-tale figures and to such uniquely Russian characters such as Koshchey the Deathless, Baba Yaga, the Swan Maiden, and the glorious Firebird. Beautifully illustrated, the more than 175 tales culled from a landmark multi-volume collection by the outstanding Russian ethnographer Aleksandr Afanas'ev reveal a rich, robust world of the imagination. Translated by Norbert Guterman Illustrated by Alexander Alexeieff With black-and-white illustrations throughout Part of the Pantheon Fairy Tale and Folklore Library
Like the whale, the fairy tale adapted itself and was transformed by both common
nonliterate people and upper-class ... and writers never used the term “fairy tale”
until d'Aulnoy coined it in 1697, when she published her first collection of tales.
Author: Jack Zipes
Publisher: Princeton University Press
Category: Literary Criticism
If there is one genre that has captured the imagination of people in all walks of life throughout the world, it is the fairy tale. Yet we still have great difficulty understanding how it originated, evolved, and spread--or why so many people cannot resist its appeal, no matter how it changes or what form it takes. In this book, renowned fairy-tale expert Jack Zipes presents a provocative new theory about why fairy tales were created and retold--and why they became such an indelible and infinitely adaptable part of cultures around the world. Drawing on cognitive science, evolutionary theory, anthropology, psychology, literary theory, and other fields, Zipes presents a nuanced argument about how fairy tales originated in ancient oral cultures, how they evolved through the rise of literary culture and print, and how, in our own time, they continue to change through their adaptation in an ever-growing variety of media. In making his case, Zipes considers a wide range of fascinating examples, including fairy tales told, collected, and written by women in the nineteenth century; Catherine Breillat's film adaptation of Perrault's "Bluebeard"; and contemporary fairy-tale drawings, paintings, sculptures, and photographs that critique canonical print versions. While we may never be able to fully explain fairy tales, The Irresistible Fairy Tale provides a powerful theory of how and why they evolved--and why we still use them to make meaning of our lives.
Covering over 300 years, this volume of essays articulates the literary, ideological and historical contexts in which fairy tales evolved in Italy and France.
Author: Nancy L. Canepa
Publisher: Wayne State University Press
Covering over 300 years, this volume of essays articulates the literary, ideological and historical contexts in which fairy tales evolved in Italy and France. The tales analyzed were each appropriated from oral tradition by professional men and women of letters and thus reveal a cultural history
Dealing mainly with literary and cinematic adaptations for adults and young adults, Bacchilega investigates the linked and yet divergent social projects these fairy tales imagine, their participation and competition in multiple genre and ...
Author: Cristina Bacchilega
Publisher: Wayne State University Press
Category: Literary Criticism
Fairy-tale adaptations are ubiquitous in modern popular culture, but readers and scholars alike may take for granted the many voices and traditions folded into today's tales. In Fairy Tales Transformed?: Twenty-First-Century Adaptations and the Politics of Wonder, accomplished fairy-tale scholar Cristina Bacchilega traces what she terms a "fairy-tale web" of multivocal influences in modern adaptations, asking how tales have been changed by and for the early twenty-first century. Dealing mainly with literary and cinematic adaptations for adults and young adults, Bacchilega investigates the linked and yet divergent social projects these fairy tales imagine, their participation and competition in multiple genre and media systems, and their relation to a politics of wonder that contests a naturalized hierarchy of Euro-American literary fairy tale over folktale and other wonder genres. Bacchilega begins by assessing changes in contemporary understandings and adaptations of the Euro-American fairy tale since the 1970s, and introduces the fairy-tale web as a network of reading and writing practices with a long history shaped by forces of gender politics, capitalism, and colonialism. In the chapters that follow, Bacchilega considers a range of texts, from high profile films like Disney's Enchanted, Guillermo del Toro's Pan's Labyrinth, and Catherine Breillat's Bluebeard to literary adaptations like Nalo Hopkinson's Skin Folk, Emma Donoghue's Kissing the Witch, and Bill Willingham's popular comics series, Fables. She looks at the fairy-tale web from a number of approaches, including adaptation as "activist response" in Chapter 1, as remediation within convergence culture in Chapter 2, and a space of genre mixing in Chapter 3. Chapter 4 connects adaptation with issues of translation and stereotyping to discuss mainstream North American adaptations of The Arabian Nights as "media text" in post-9/11 globalized culture. Bacchilega's epilogue invites scholars to intensify their attention to multimedia fairy-tale traditions and the relationship of folk and fairy tales with other cultures' wonder genres. Scholars of fairy-tale studies will enjoy Bacchilega's significant new study of contemporary adaptations.
Through the madness, Not a Fairy Tale unfolds the story of one woman’s adventures in stepparenting, and by extension, getting to know (and accept) herself.
Author: Maddie Laberge
The inspiring and hilarious story of Maddie Laberge’s journey from a carefree, childless life to becoming a stepmom of three. Nothing could have prepared Maddie for what was about to happen to her quiet, simple life once all three of her husband’s children arrived to live with them. Taking us into rich memories of her own childhood through to her present life turned upside-down, Maddie retells circus-like stories of parenting chaos and heart-wrenching episodes of the accompanying lessons learned. Through the madness, Not a Fairy Tale unfolds the story of one woman’s adventures in stepparenting, and by extension, getting to know (and accept) herself.
While scholarship pertaining to these phenomena has focused primarily on the fairy-tale adaptations and deconstructions of postmodern(ist) writers, this essay collection adopts a more diachronic approach.
Author: Stijn Praet
Publisher: Cambridge Scholars Publishing
Category: Literary Criticism
Ever since its early modern inception as a literary genre unto its own, the fairy tale has frequently provided authors with a textual space in which to reflect on the nature, status and function of their own writing and that of literature in general. At the same time, it has served as an ideal laboratory for exploring and experimenting with the boundaries of literary convention and propriety. While scholarship pertaining to these phenomena has focused primarily on the fairy-tale adaptations and deconstructions of postmodern(ist) writers, this essay collection adopts a more diachronic approach. It offers fairy-tale scholars and students a series of theoretical and literary-historical expositions, as well as case studies on English, French, German, Swedish, Danish, and Romanian texts from the seventeenth to the twenty-first century, by authors as diverse as Marie-Catherine d’Aulnoy, Rikki Ducornet, Hans Christian Andersen and Robert Coover.
... might never be dimmed by a lie ! She and her mother were great chums , and
read fairy tales together . ... a base of her own to stand upon . A little before this the first theological error was taught her , the first that she noticed at all THE
Author: Kate Christine Moore KoppyPublish On: 2021-02-15
The animated feature Brave presents a coherent fairy-tale story while shifting the
focus from the creation of a ... In this case, the female hero makes a valiant effort
to uphold fairy-tale norms in the face of twenty-first-century New Yorker ...
Author: Kate Christine Moore Koppy
In Fairy Tales in Contemporary American Culture: How We Hate to Love Them, Kate Koppy shows that fairy tales have become a key part of the American secular scripture by analyzing contemporary fairy tale texts as both new versions in a particular tale type and as wholly new fairy-tale pastiches.
... dreams , and all their train , Fill with Fantasies her brain ; Then , no more ber
darling joy , She'll resign ber changeling boy . [ Exeunc . End of the First AET .
Аст POSTOUT ರಾಜ Аст II . A S CE N E A FAIR Y T A L E. 15 End of the First
So the bill fell through on the first reading ; and the Chancellor , being a
philosopher , comforted himself with the thought , that it was not the first time that
a woman had hit off a grand idea , and the men turned up their stupid noses
Aye + he wants a luscious description , now . [ Aside . ] Why , Madam , 1 presume
that Edgar , being fir'd with the charms of Emmeline , first gaz'd languishingly
upon her ; caught her eyes the first time they were casually turn'd upon him ;
E ' en the first teller of the tale Felt there his information fail ; And can I , then ,
expected be To know it , any more than he ? Besides , the author always flings
On you the burthen and the bother , To fancy all the charming things The lovers