Search results

You are looking at 21 - 30 of 590 items for :

  • "fairy tales" x
  • Refine by access: All content x
Clear All
Abstract only
The ‘Gothic green’ in Goethe and Eichendorff
Heather I. Sullivan

Idyllic gardens so lush and blooming as to seem almost mystical take on an ominously Gothic tone when their grounds or plant life are revealed to have startling power over the human beings who enter their space or alter their layout. In this manner, Joseph von Eichendorff's 1819 romantic fairy tale, The Marble Statue , with its enchanted yet threatening garden of Venus, and Johann Wolfgang Goethe's famously enigmatic novel from 1809, Elective Affinities , with its transformation of the Baron's lands into a vast English garden that results in

in EcoGothic gardens in the long nineteenth century
Abstract only
Adapting classical myth as Gothic romance
I.Q. Hunter

According to its director, Terence Fisher, The Gorgon (1964) was not a horror film at all, but a romantic fairy tale and ‘frustrated love story’ (Ringel, 1975a : 24). Although the film is set in Hammer’s usual stylised middle Europe, the Gorgon herself derives not from Gothic literature, like Dracula and Frankenstein’s monster, but from classical mythology – unfamiliar

in Monstrous adaptations
Rebecca Munford

Sadeian text. Return of the Mother The mother’s return to save the daughter from the Sadeian libertine is dramatically restaged in ‘The Bloody Chamber’, an extravagantly literary re-writing of Perrault’s seventeenth-century fairy tale ‘La Barbe Bleue’ (‘Bluebeard’) (1697) that is firmly entrenched in the structures of the Sadeian pornograph. Traditionally interpreted

in Decadent Daughters and Monstrous Mothers
Commodification, corporeality and paranormal romance in Angela Carter’s beast tales
Bill Hughes

the vampires of paranormal romance, have emphasised the subjectivity of the werewolf, casting them as victims of ineluctable urges and as lovers, very often female. 1 This turn was anticipated by Angela Carter in her ‘beast tales’, by which I mean ‘Peter and the Wolf’ and most of the tales in the 1979 collection of transformed fairy tales, The Bloody Chamber and Other Stories . In these tales, metamorphoses between animal (often wolf) and human explore what costs are incurred in being animated, conscious flesh

in In the company of wolves
The decade of the conte de L’Estaque
Joseph Mai

renewed community of friends and their creative resistance; or as Viali puts it: ‘family, the block, and friends’. For the first time, Guédiguian calls this film a ‘conte’, or ‘tale’  –​later he will specify ‘contes de L’Estaque’ (‘Tales from L’Estaque’) –​again echoing Bloch, for whom the fairy tale, like the daydream and happy ending, is one of the innumerable manifestations of utopian thinking. À la vie, à la mort! (1995) Like L’Argent fait le bonheur, À la vie, à la mort! aims ‘to show that one can still fight in some way or another, even if it is at a microscopic

in Robert Guédiguian
Abstract only
Fortunato Depero in ‘dynamoland’
Katia Pizzi

-Lyrics’, in Buelens, Hendrix and Jansen (eds), The History of Futurism, 274. 55 Ibid., 276. PIZZI 9780719097096 PRINT.indd 105 16/04/2019 10:21 106 Italian futurism and the machine a Babel-like, frenzied factory of madness in perpetual mechanical motion, New York astounded and inspired (see section 3.4).56 Beyond Liriche, the machine continued to be the site of ‘natural’ transformations and metamorphoses. In the article ‘Prospettive fiabesche di macchine rare’ (Fairy-tale perspectives on rare machines; 1935) Depero gazes at cars perceived as ‘metallic mollusks

in Italian futurism and the machine
Abstract only
Leonora Carrington’s cinematic adventures in Mexico
Felicity Gee

Carrington – she comprehended it intuitively, having known it before she even met the surrealists. 15 Her rebellious lampooning of Catholicism and the nuns who expelled her from school ‘naturally’ drew her to surrealism, and later to her friend Luis Buñuel: ‘I do have that kind of mentality’, is how she once described her propensity for black humour. 16 From Poe to Carrington: The Mansion of Madness The nodes of Carringtonian surrealism align in Moctezuma’s Mansion of Madness – black humour, magic, irreverence, Gothic spaces, and figures of the fairy-tale

in Surrealism and film after 1945
Abstract only
Costume, performance and power in 1953
Lisa Mullen

costume expressed this problematic attempt to reconcile the future and the past, as the very materiality of mid-century apparel began first to enable, and then to demand, new definitions of authenticity, class and national identity. These new definitions inform key cultural artefacts of the period, from Powell and Pressburger’s 1948 fairy tale The Red Shoes to Iris Murdoch’s first novel Under the Net (1954); and from the 1951 Ealing comedy The Man in the White Suit to Gloriana itself, as well as finding expression in the accoutrements of both the Coronation and

in Mid-century gothic
Abstract only
Masculinity, sexuality and exploration in the Argonaut story of Kingsley’s The Heroes
Helen Lovatt

, wearing an impressive-looking helmet. 3.1 Illustration for The Heroes , first edition, by Charles Kingsley himself. From C. Kingsley, The Heroes, or, Greek Fairy Tales for my Children (Cambridge: Macmillan, 1856), p. 54. The fatherly and dignified centaur holds his lyre, eyes shut, in a narrative

in Pasts at play
Abstract only
Brigitte Rollet

4 Rewriting fairy-tales: love beyond class and race. From right to left: Daniel Auteuil (Romuaid), Firmine Richard (Juliette), Catherine Salviat (Françoise) and Gilles Privat (Paulin) in Romuaid et Juliette , 1989 5 Appearances can be deceptive: the ‘weak’ helping the ‘strong’. Patrick Timsit as Michou comforting Vincent Lindon as Victor in La Crise , 1992 6 Food for thought: the Rousseauist ecological and Utopian Eden revisited in La Belle Verte

in Coline Serreau