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David Blamires

This article discusses the English translations of twelve of Grimms’ fairy tales included in the hitherto forgotten edition published by Darton and Co. in 1851. The titles and tales are identified with their German originals, and the defects of the translation are examined. The German base text was one of the Grimm editions published between 1837 and 1850. Other items not by the Grimms in the edition are commented on. Identification of the tale entitled ‘Sycorine and Argilas’ is unknown. The anonymous translator was inexperienced, without access to a reliable dictionary, and was, probably, female.

Bulletin of the John Rylands Library
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
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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
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Brigitte Rollet

eighteenth-century French literature are also an obvious inspiration. Taking intertextuality in its broadest sense, Chapter 3 will assess the strong literary influence on the tone, genre and content of Serreau’s films and dramas. Fairy-tales and philosophical tales, together with the social and political satire characteristicof seventeenth- and eighteenth-century French literature,are combined with a 1970s’ flavour by the director-dramatistwho addresses issues of gender and race which were not on the agenda of the male French

in Coline Serreau
Der Blaue Reiter and its legacies
Author: Dorothy Price

This book presents new research on the histories and legacies of the German Expressionist group, Der Blaue Reiter, the founding force behind modernist abstraction. For the first time Der Blaue Reiter is subjected to a variety of novel inter-disciplinary perspectives, ranging from a philosophical enquiry into its language and visual perception, to analyses of its gender dynamics, its reception at different historical junctures throughout the twentieth century, and its legacies for post-colonial aesthetic practices. The volume offers a new perspective on familiar aspects of Expressionism and abstraction, taking seriously the inheritance of modernism for the twenty-first century in ways that will help to recalibrate the field of Expressionist studies for future scholarship. Der Blaue Reiter still matters, the contributors argue, because the legacies of abstraction are still being debated by artists, writers, philosophers and cultural theorists today.

Ory Bartal

. They symbolise people in the world of Hironen: an armchair, sofa or lamp possess a body, desires, sensing organs – nose, eyes, mouth, skin. A body that reverberates with its own desires, erotic fantasies and affections. Affections so perfect that you are tempted to believe that they are the true representatives of your secret desires. They will dwell with you and you will dwell in them, yet they will never have a full authentic existence – merely a representation of a literary existence, symbolic and fantastic, a fairy tale existence.1 To be sure, Hironen’s objects

in Critical design in Japan
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Activism and design in Italy
Author: Ilaria Vanni

Precarious objects is a book about activism and design. The context is the changes in work and employment from permanent to precarious arrangements in the twenty-first century in Italy. The book presents design interventions that address precarity as a defuturing force affecting political, social and material conditions. Precarious objects shows how design objects, called here ‘orientation devices’, recode political communication and reorient how things are imagined, produced and circulated. It also shows how design as a practice can reconfigure material conditions and prefigure ways to repair some of the effects of precarity on everyday life. Three microhistories illustrate activist repertoires that bring into play design, and design practices that are grounded in activism. While the vitality, experimental nature and traffic between theory and praxis of social movements in Italy have consistently attracted the interest of activists, students and researchers in diverse fields, there exists little in the area of design research. This is a study of design activism at the intersection of design theory and cultural research for researchers and students interested in design studies, cultural studies, social movements and Italian studies.

Open Access (free)
Design and material culture in Soviet Russia, 1960s–80s
Author: Yulia Karpova

The major part of this book project was funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 700913.

This book is about two distinct but related professional cultures in late Soviet Russia that were concerned with material objects: industrial design and decorative art. The Russian avant-garde of the 1920s is broadly recognised to have been Russia’s first truly original contribution to world culture. In contrast, Soviet design of the post-war period is often dismissed as hackwork and plagiarism that resulted in a shabby world of commodities. This book identifies the second historical attempt at creating a powerful alternative to capitalist commodities in the Cold War era. It offers a new perspective on the history of Soviet material culture by focusing on the notion of the ‘comradely object’ as an agent of progressive social relations that state-sponsored Soviet design inherited from the avant-garde. It introduces a shared history of domestic objects, handmade as well as machine-made, mass-produced as well as unique, utilitarian as well as challenging the conventional notion of utility. Situated at the intersection of intellectual history, social history and material culture studies, this book elucidates the complexities and contradictions of Soviet design that echoed international tendencies of the late twentieth century. The book is addressed to design historians, art historians, scholars of material culture, historians of Russia and the USSR, as well as museum and gallery curators, artists and designers, and the broader public interested in modern aesthetics, art and design, and/or the legacy of socialist regimes.

The case of Guy and Arnaud de Lummen
Johanna Zanon

in the luxury fashion industry, one can also find them in other sectors, such as the automobile industry. In the famous sleeping beauty fairy tale told in different versions by Charles Perrault, by the Grimm Brothers, and by Walt Disney, the princess was cursed by a wicked fairy godmother, who predicted that she would one day prick her finger on the spindle of a spinning wheel and die. A good fairy softened the curse into a hundred years of sleep, from which only the kiss of a king’s son could awaken her. 1 While Sleeping Beauty epitomizes feminine passivity

in European fashion
Fashion and protest
Ory Bartal

and converted it into a commercial channel. They created products that targeted this audience of young Japanese women, who then followed the trend that was dictated by the companies and furthered the development of the style, which overtook Japanese visual culture in the 1980s. These products were characterised by a saccharine look or fairy-tale style, devoid of any power or sexual attributes that alluded to maturity. This commoditisation process brought the style from the margins to mainstream consumers. For example, in 1971 the Sanrio Company started marketing

in Critical design in Japan