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Painting and music in The Bloody Chamber
Marie Mulvey-Roberts

58 The arts of Angela Carter 3 Bloody chamber melodies: painting and music in The Bloody Chamber Julie Sauvage I n 1979, when Angela Carter published her now famous collection of short stories entitled The Bloody Chamber, many feminist writers considered the fairy tale genre to be somewhat obsolete and difficult to handle without reinforcing patriarchal gender stereotypes. Rewriting fairy tales as a feminist meant treading on dangerous ground to appropriate and transform a pervading, controversial legacy.1 Engaging with the fairy tale, Carter not only dealt

in The arts of Angela Carter
Willem de Blécourt

Out of India Both Albert Wesselski and Antti Aarne were inspired by the theories of the German Sanskrit scholar Theodor Benfey, who in the years 1856 to 1858 gave a number of lectures and published several articles, and edited the Panchatantra , while proclaiming the Indian origin of fairy tales ( Märchen ). As the Austrian scholar wrote, comparative

in Tales of magic, tales in print
Willem de Blécourt

written versions of a tale are of primary importance in distributing and keeping alive fairy tales’. 1 It thus presents the perfect case for this concluding chapter to test the opposite approach and to once more reiterate the argument of the dominance of the printed word. Roberts’s study has been praised as one of the ‘classics’ in folklore and was reprinted as such in

in Tales of magic, tales in print
Abstract only
Lynn Abrams

the Shetland past resembles a fairy-tale. It contains heroines and ‘witches’, tragedy and triumph over adversity, magic and happy endings, and yet the story is embedded in the materiality of Shetland society. The heroines are crofters, the witches are wise-women. Of course the fairy-tale is an ever-shifting narrative, constantly adapted to suit the circumstances of the teller and her audience. In this way the tale can remain relevant and can continue to fulfil its objectives. As the historian Marina Warner explains: Fairy tales exchange knowledge between an older

in Myth and materiality in a woman’s world
Ana Elena González-Treviño

). She lacks the strength and temperance that are requisite for spiritual development. As Clarissa Pinkola Estés explains in her study of fairy tales with female protagonists, being strong ‘means meeting one's own numinosity without fleeing, actively living with the wild nature in one's own way. It means to be able to learn, to be able to stand what we know’. 16 Or, as Campbell would have it, ‘[f]ully to behold her would be a terrible accident

in William Blake's Gothic imagination
Rebecca Munford

’) To be the object of desire is to be defined in the passive case.     To exist in the passive case is to die in the passive case – that is, to be killed.     This is the moral of the fairy tale about the perfect woman. (Angela Carter, The Sadeian Woman

in Decadent Daughters and Monstrous Mothers
Abstract only
A writer’s perspective
Sam George and Bill Hughes

. 6 It's hard to date fairy tales. It's far from certain who Aesop was, or when he lived, but, if it is indeed the case that he lived between 620 and 564 bce, we can be far less sure of when the original versions of common fairy tales were first told, and it remains impossible to know who first told them. Whilst it was long assumed that the fairy tales recounted by the likes of Brothers Grimm, Charles Perrault or Marie-Catherine D’Aulnoy were not vastly older than the period in which these famous fairy-tale

in In the company of wolves
Young Adult literature and the metaphorical wolf
Kaja Franck

fairy tales typically symbolise the aggressive, uncontrolled wilderness. 2 In this tale, the goal of the Beast is to return from a state of animality to a civilised, human form. 3 Bruno Bettelheim argues that in ‘animal groom’ fairy tales, such as ‘Beauty and the Beast’, the narrative resolves itself when ‘a beast is turned into a magnificent person’ through the power of love. 4 The animal state is only temporary and

in In the company of wolves
Patsy Stoneman

daughters by wives to be wives. The novel begins at the beginning, with ‘the old rigmarole of childhood’ (WD: 5), and the first two chapters are full of references to fairytales. Like modern feminists, Elizabeth Gaskell recognised the force of these ritual stories told to children in forming expectations. Not only was she familiar with all the standard collections, but in her story Curious if True (1860; K7) she shows their living force by describing a castle full of fairy-tale characters transformed into Victorian social types. Just as many fairy-tales suggest rites of

in Elizabeth Gaskell
Thinking infantile eroticism
Victoria Best and Martin Crowley

maid and his niece, Alice, a nubile and sexually curious 13–year-old. Essentially this novel provides a kind of ‘What Alice did next’ after her adventures through the looking glass, with her penetrative sexual initiation as the finale. The text stages a series of sexual acts, each one delayed or interrupted by the narrator recounting a salacious rewrite of a fairy tale, and fairy tale characters provide metaphors throughout the text

in The new pornographies