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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.
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
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
has a long history of appropriating the historical avant-garde in order to align itself with underground pursuits. Recent examples of fashion collections that are based on or have taken inspiration from Carrington include Czech designer Tereza Rosalie Kladosova's Muses (2020), Canadian duo Heidi Sopinka and Claudia Dey's Horses Atelier, and Le Mythe Dior , a fairy-tale fashion film designed by Maria Grazia Chiuri and directed by Matteo Garrone (2020), featuring garments inspired by Carrington, among other women of surrealism. 33
respect, Sweeting could be said to embody expressively the uninhibited wildness of Carrington's literary icon, Virginia Fur, from the fairy tale ‘As They Rode Along the Edge’ ( c. 1937–41): Her name was Virginia Fur, she had a mane of hair yards long and enormous hands with dirty nails; yet the citizens of the mountain respected her and she too always showed a deference for their customs. True, the people up there were plants, animals, birds; otherwise things wouldn't have been the same … She, Virginia
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
reliance on and relinquishing of such economic ties. The theme of rebellion is explored in Carrington's best-known and most widely anthologised short story ‘The Debutante’ (1937), described by Warner as a “classic modern fairy tale,” in which a hyena takes the place of the young woman at a coming-out ball by chewing off the face of the maid to wear as a mask. 28 Natalya Lusty has perceptively analysed how this story “records the cross-class commodification” of the era, and critiques surrealism's own limitations on gender
. 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 The Dictionary , a range of spare, wintery landscapes, including Lapland, the Yukon, and fairy-tale Iceland, provide the visionary settings for her protagonist's creative solitude: “Once you are in the north there is always the myth of farther out. Nothing is ever north enough” (40). True to form, she prefers the company of animals to people, but also begins to understand significant figures in her life as animals. Sopinka's Dictionary offers an epistemological unpacking of what the animal kingdom meant to Carrington. It concurs with Jonathan P. Eburne's view
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