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Three case studies
Author: Richard Hillman

This book explores English tragedy in relation to France with a frank concentration on Shakespeare. Three manifestations of the 'Shakespearean tragic' are singled out: Hamlet, Antony and Cleopatra and All's Well That Ends Well, a comedy with melancholic overtones whose French setting is shown to be richly significant. Hamlet has occasioned many books on its own, including a recent study by Margreta De Grazia, Hamlet without Hamlet, whose objective is to free the text from the 'Modern Hamlet'. The influence of Michel de Montaigne on Hamlet is usually assumed to have left its traces in more or less precise verbal or intellectual correspondences. The book proposes two further sources of French resonance accessible to auditors of the ultimate early modern English tragedy. It talks about two French Antonies. One is the steadfast friend of Caesar and avenging Triumvir, as heralded in Jacques Grévin's César and vividly evoked in Robert Garnier's Porcie. The other is the hedonist who ruins himself for Cleopatra, as first brought on stage in France by Étienne Jodelle in Cléopâtre captive, then substantially fleshed out in Garnier's own Marc Antoine. The distance between the tragedies and All's Well comes down to the difference between horizontal and vertical lifeless bodies. When he grafted the true-to-life histoire tragique of Hélène of Tournon onto the fairy-tale of Giletta of Narbonne, Shakespeare retained the latter's basic family situation. Shakespeare's Helena succeeds where the King has failed by exploiting her position as an outsider.

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The princess and the post-’68 fairy tale
Susan Weiner

In the documentary L'Univers enchanté de Jacques Demy/The World of Jacques Demy, Catherine Deneuve paid the filmmaker an actress's greatest compliment when she described him as 'the charming prince who woke Sleeping Beauty'. Deneuve's fairy-tale metaphor also pays homage to Demy's own playful description of his filmmaking style. Cinéma en-chanté: the pun communicates on several levels. Demy's cinema has the rare quality of appealing to adults and to children, to cinephiles and the general public alike. In these early Demy films, enchantment communicated just as subtly the unsettling nature of the screen image that was beginning to take shape for Deneuve. Demy's Donkey Skin is arguably an equal source of the tale's iconic status in France today, and largely because of Deneuve. Against Donkey Skin's sets, Deneuve's costuming establishes the narrative trajectory of this psychedelic dream, an imposed dream that necessarily becomes her own.

in From perversion to purity
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Jonathan Driskell

Juliette ou la clef des songes (1951). 8 Doomed lovers: Simone Signoret and Raf Vallone in a publicity still for Thérèse Raquin (1953). 9 Fairy tale femininity: Françoise Arnoul in Le Pays d’où je viens (1956

in Marcel Carné
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Eileen Fauset

Postscript In this study of Julia Kavanagh the emphasis has been on the politics of writing which, I believe, serves to demonstrate Kavanagh’s own approach to writing. However, this book is only the beginning and much work is yet to be undertaken on this diverse and gifted writer. The full range of her novels, her short stories, fairy tales, poetry, shorter pieces of non-fiction and her biographical work Women of Christianity, by necessity of selection, has not been covered here. In focusing on the sexual politics in Kavanagh’s writing, I wished to draw

in The politics of writing
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Scientific experimentation in George MacDonald’s ‘The History of Photogen and Nycteris’
Rebecca Langworthy

. In ‘Photogen and Nycteris’, MacDonald uses a fairy-tale setting alongside a werewolf antagonist not only to explore the human/animal divide but also to question the motivations underlying scientific enquiry towards the end of the Victorian era; by extension, MacDonald questions what humanity actually is through his representation of a Rousseauvian child-rearing experiment. This chapter will focus on the role of science and knowledge within the tale by looking at the underlying influence of theories of evolution and degeneration on the narrative before exploring the

in In the company of wolves
Angela Carter’s werewolves in historical perspective
Willem de Blécourt

consider Little Red Riding Hood as a ‘folktale’ is careless. Notwithstanding its different ending, which was derived from the fable ‘The Wolf and the Seven Kids’, the story ‘Rötkappchen’, published by the Brothers Grimm in their Fairy Tales (no. 26), is not another oral variant. Jacob and Wilhelm Grimm obtained their text from Jeannette Hassenplug, at the time a teenager who

in She-wolf
Breaking through the barriers of filmmaking
Deborah Shaw

, and Latino audiences, who are usually targeted separately (Galloway, 2007). It features a young girl as the protagonist, borrows from Lewis Carroll’s Alice in Wonderland and The Wizard of Oz (Fleming, 1939), and uses a fairy tale structure, yet in the UK it has an 18 certificate due to the levels of psychological and physical violence, and is not for children.2 What this crowded paragraph demonstrates is that El laberinto breaks many of the rules governing how we have seen cinema in terms of production, text, and reception. What holds this all together is the name

in The three amigos
A test case on Noah
Peter Phillips

Once upon a time, in the guild of postmodern biblical scholarship, we would all have known what to do with the story of Noah. As if we had unearthed it in a treasure chest, or amidst Aesop’s fables or Grimm’s fairy tales, in good post-formalist Proppian style, we would simply employ something like actantial analysis to the plot. Of course, biblical texts are a little less easy to fit into the same structure as fairy-tales. And the few Bible scholars who have run in this direction for some new purchase on the text have tended to want to recreate the analysis in

in The Bible onscreen in the new millennium
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Peter William Evans

for the other. Demy’s first major film, Les Parapluies de Cherbourg/The Umbrellas of Cherbourg (1964), was also the revelation of Deneuve in her first major role. In Les Demoiselles de Rochefort/The Young Girls of Rochefort (1967), she and Demy revealed their capacity for comedy. In Peau d’âne/Donkey Skin (1970), Demy’s visual rendering of Charles Perrault’s classic fairy tale places Deneuve at the center of

in From perversion to purity
Creative women and daydreaming in Margo Lanagan’s Tender Morsels (2008)
Emma V. Miller

readers, its consideration of fairy-tale themes and many of the ways it uses parallel universes, time travel and magic lend themselves to a strong feminist message. Indeed, the strengths of this text are built around the confrontation of civilisation, through Freudian and Lacanian psychoanalytic interpretations of female sexuality, expression, language and creativity. It consistently challenges what it means to be real

in Incest in contemporary literature