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Willem de Blécourt

Magic flight stories The practice of recording stories related orally started with the brothers Grimm. They were also among the first to annotate their texts, pointing to parallels and predecessors of a particular tale. Fairy tale collecting and research owes its very existence to them. In assessing their texts, however, it makes a difference what kind of authenticity is

in Tales of magic, tales in print
Abstract only
Peter Marks

activated ideas for the eventual film. Having taken inspiration from one classic text, Gilliam chose to inter-weave it with a classic literary form, the fairy tale. In a comment that reaches back to his childhood and forward nearly thirty years to The Brothers Grimm , he states that ‘I was trying to make a real Grimm’s fairy tale, which are very bloody.’ 12 Gilliam reworked the traditional fairy tale

in Terry Gilliam
Willem de Blécourt

Grammaticus, where a hair is taken from a giant as a souvenir. This corroborated their opinion that ancient notions, derived from mythology, were involved in fairy tales. 3 Ever since folklorists have called stories that resembled this one after the version with the devil. The story of the quest for the devil’s hairs, however, is an early nineteenth-century invention; there is no previous

in Tales of magic, tales in print
Geraldine Cousin

imaginings of real-life traumatised children around the world, which the director spent 12 months researching’. The cast included ‘a ghostly omnipresent chorus of “lost children”, black-clad performers each wearing a photographic mask of a grinning baby’. 74 Playing for time A dark version of another well-known fairy tale, Little Red Riding Hood, underlay Bryony Lavery’s Frozen, first performed on 1 May 1998 at the Birmingham Repertory Theatre. Lavery uses elements of the fairy tale as pegs on which to hang her portrayal of a mother’s quest for her lost daughter. Her

in Playing for time
Angela Carter’s re-writing women’s fatal scripts from Poe and Lovecraft
Marie Mulvey-Roberts

Desire, disgust and dead women 183 9 Desire, disgust and dead women: Angela Carter’s re-writing women’s fatal scripts from Poe and Lovecraft Gina Wisker A ngela Carter’s writing is crucial to the rebirth of Gothic horror in the late twentieth century, and an impetus to read, or re-read, myth, fairy tale and the work of Edgar Allan Poe and H.P. Lovecraft – each significant, acknowledged influences. Carter’s work deconstructs the consistently replayed, cautionary narrative of myth and fairy tale in which (mainly young) women are first represented as objects

in The arts of Angela Carter
Hans Christian Andersen and Selma Lagerlöf
Maria Holmgren Troy and Sofia Wijkmark

translated authors in the world along with Shakespeare and Karl Marx”’. 1 He travelled widely in Europe and Asia Minor, contributed to genres such as travel writing, drama, autobiography, poetry and fictional prose of different kinds and gained international recognition during his lifetime. Both then and today, he was and is most appreciated as a writer of fairy tales and stories for children or, more accurately, a crossover audience, and the first part of this chapter will focus on three of his most famous fairy tales

in Nordic Gothic
The representation of incest in children’s literature
Alice Mills

. Lissar’s long-enduring distress at her father’s brutal attentions is powerfully evoked, as is their physical cost in terms of bodily hurt and eventual miscarriage. In Donkeyskin, Deerskin , Allerleirauh: The reality of the fairy tale, 9 Helen Pilinovsky argues that the queen, Lissar’s mother, was abused by her own father, since he sought to repel her suitors and died of a broken heart once she married

in Incest in contemporary literature
Coline Serreau and intertextuality
Brigitte Rollet

century’ (as the eighteenth century was also dubbed) and to a lesser extent from the seventeenth century. Echoing literary modes of social criticism, from Voltaire’s philosophical tales to Diderot’s dialogues between Jacques le Fataliste and his master ( Jacques le fataliste et son maître, 1773), Serreau repeatedly offers new conceptions and visions of ‘family’, society and communities, which question modern societies as well as the ideological choices they embody. Her rewriting of the fairy-tale to include elements of gender, class

in Coline Serreau
Abstract only
Peter Marks

crudely homogenises the diversity of his output. One way of marking this range comes from understanding that Gilliam employs an extraordinary variety of genres: medieval comedy; children’s historical adventure; dystopian satire; the fantastic voyage; science fiction; Gonzo Journalism; fairy tale; and gothic horror. Each genre rejects or reworks the norms of realism, but in distinct ways, so that the

in Terry Gilliam
Willem de Blécourt

oldest time’. These mythical elements ‘resembled little pieces of a broken gem, lying shattered on a ground overgrown with grass and flowers, only to be discovered by a sharp eye’. 57 Earlier, in the introduction to the 1819 volumes, in an essay which is most elucidating on his view on fairy tales, he had compared a story’s form to a plant, ‘whose shoots and twigs emerge in a different direction every

in Tales of magic, tales in print