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Rowland Atkinson and Sarah Blandy

Peter and Jane in an idealised suburbia, complete with cheery milkmen, kindly policemen, and stay-at-home, smartly dressed young mother, father always home from the office by six o’clock. These idealised versions of the child’s home can be contrasted with other muchloved children’s stories in which ambivalence is expressed about the sanctity or stability of the home (Hansel and Gretel, Goldilocks and the Three Bears, The Wind in the Willows) and the disturbances generated by invading or uninvited guests. The historical telling of fairy tales builds on a sense of the

in Domestic fortress
David Hesse

memorials and museums, even re-­enact the past theatrically, wearing costume and wielding swords, exploring what life in the past might have felt like. They have a strong suspicion that it felt better than their present – more exciting, less constrained, less lonely. They are looking for a time that Johan Huizinga described in his ­classic The Waning of the Middle Ages: Always and everywhere, daily life [in the late Middle Ages] offered unlimited space for glowing passion and childlike fantasy . . . Life had in many ways still the colour of a fairy tale.1 This study has

in Warrior dreams
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Absence and presence in Reykjavik, Iceland, 1972
John Sharples

Context (London: Palgrave Macmillan, 2011), p. 26. 7 R. Barthes, ‘The World of Wrestling’, in R. Barthes, Mythologies, trans. A. Lavers (London: Vintage, 2000), pp. 15–18. 8 K. C´apek, ‘Towards a Theory of Fairy-Tales’ (1931), and ‘Some Fairy-Tale Personalities’ (1931), in K. C´apek, In Praise of Newspapers and Other Essays (London: George Allen, 1951), pp. 49, 83. 9 G. Morrison, Supergods: Our World in the Age of the Superhero (London: Vintage, 2012), p. xv. 186 Monsters 10 W. W. Savage Jr, Comic Books and America, 1945–1954 (Norman, OK: University of

in A cultural history of chess-players
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The public meanings of emigration and the shaping of emigrant selves in post- war Ireland, 1945– 1969
Barry Hazley

notice what’s exported from Ireland: children and priests, nuns and biscuits, whiskey and horses, beer and dogs …’ ‘My child,’ said the priest gently, ‘you should not mention these things in the same breath.’ A match flared under the green-gray blanket, a sharp profile was visible for a second or two. ‘I don’t believe in God,’ said the light clear voice, ‘no, I don’t believe in God – so why shouldn’t I mention priests and whiskey, nuns and biscuits, in the same breath? I don’t believe in Kathleen ni Houlihan either, that fairy-tale Ireland … I was a

in Life history and the Irish migrant experience in post-war England
Open Access (free)
Becoming an “old maid”
Kinneret Lahad

techniques. As Catherine Silver observes: Older women’s bodies are more likely to be perceived as deformed, ridiculous looking, and desexualized. They become frightening, “crones” and “witch like,” as imagined in children’s books and fairy tales. The language that describes older women is indicative of deep-seated, unconscious fears and a rejection of the ageing female body, with its connotations of danger and contamination that need to be kept separate and isolated. (Silver 2003, 385) Silver’s reflections accord with Susan Sontag’s statement in her celebrated essay, “The

in A table for one
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Karagöz’s cultural and linguistic migration
Annedith Schneider

-century repertoire: when Karagöz and Hacivat find themselves penniless, cannot give anything to a beggar and then insult her, the beggar puts a spell on Karagöz, stealing his ears, and on Hacivat, stealing his tongue. They turn this ill fortune to their advantage, however, and convince the Sultan to hire them as deaf-mute spies. Similarly, Yıldız also used the techniques of shadow theatre to create a fairy tale for young children called La Bergère des ours (The Shepherdess of Bears) (2007), as well as a piece for older children and adults based on the traditional folk stories and

in Turkish immigration, art and narratives of home in France
The cosmo-logics of power
Marshall Sahlins

possession of a new land either by receiving peacefully, or by conquering valorously or by ruse, the daughter of the king of the land’ (Preaux 1962: 117). Indeed, traditions of Indo-European peoples from the Aryans to the Celts are particularly noteworthy for their stress on the pivotal role of the native princess in the transfer of sovereignty. It 149 Cosmological constitutions becomes a popular theme of romance, or even fairy tale, as A.M. Hocart noted: The mediaeval Knight of the Swan, variously called Helyas and Lohengrin, marries the heiress of Bouillon in the

in Framing cosmologies
Orian Brook, Dave O’Brien, and Mark Taylor

household ‘had no reading material’. Her father ‘ended up taking us to the library once a week and I just read every fairy tale book in the library. I really got into reading, it opened up another world. It was like I had another life apart from school.’ Even where parents had little or no formal cultural interests or knowledge of how cultural institutions worked, they were still encouraging of Carys by taking her to the library. Her story is of a rich cultural life. The importance of parental support Carys illustrates the dominant narrative from our interviewees

in Culture is bad for you
Tom Woodin

was initiated in the lives of students, their feelings, senses and observations, as well as by empathising with the lives of others. As in the Fed more widely, successful writers remained faithful to the spoken word in developing a literature based in part on the experience of marginality. They tunnelled more deeply into thoughts and ideas and strayed away from directly representational poetry and prose. Imagination and conjecture became necessary to be true to a feeling or experience. Conversely, romance, comedy and fairy tale could also serve a documentary purpose

in Working-class writing and publishing in the late twentieth century
Kieran Keohane and Carmen Kuhling

against myth, to tell dialectical fairy tales to awaken Europe from its collective dream sleep. Between the day book and the night book Joyce engaged in an entirely opposite aesthetic-political project: where previously he sought to restore order to chaos through myth, now he sought, through Finnegans Wake, to deliberately dis-order the new mythoscapes of totalitarian singularities. Anticipating Fascist and other totalitarian authorities and their singular identities and certainties, like today’s theology of the Market, Joyce ‘declared war in language and on language

in The domestic, moral and political economies of post-Celtic Tiger Ireland