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Hidden gardens and the haunting of childhood
Francesca Bihet

Fairies were a great Victorian and Edwardian obsession; they dominated children's picture books but were also ‘strange and secret peoples’ (Silver 1999 : title). This chapter discusses how fairies haunted gardens during this period and in particular the liminal space at the bottom of the garden, a complex cultural habitat, and a space dominated by children's imaginations, in a distorted reflection of the adult world. David Punter highlights how the uncanny can be defined in terms of ‘mischievous’, ‘malicious’, ‘supernatural’, the ‘mysterious

in EcoGothic gardens in the long nineteenth century
Peter Marks

felt to have sufficient box-office appeal. During 2001, as planning progressed on Good Omens , it was announced that Gilliam would direct Mitch Cullin’s Gothic fairy story, Tideland (2000). He and Grisoni were impressed with Cullin’s work, and wrote a script based on it, but despite Gilliam’s enthusiasm for Good Omens and Tideland , both projects would stall during 2002. To fill the

in Terry Gilliam
Teacher's resistance to progressive education
Laura Tisdall

the psychologist or psychiatrist to set up as a tin god – knowing better after a half-hour interview than the teacher, who has known the child for years’. 65 Another common criticism of progressivism was expressed in the frequently used term ‘airy-fairy’, suggesting that progressive methods lacked a clear philosophy or expressed aims. The consistency with which the term ‘airy fairy’ appears in both

in A progressive education?
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
Bulletin of the John Rylands Library
The Allusive Languages of Myth, Fairy Tale and Monstrosity in The Falconer
Sarah Dunnigan

This essay examines how Alice Thompson‘s novel, The Falconer (2008), creates a richly allusive Gothic weave by analysing its symbolic languages of myth, nature, and monstrosity, and how it reimagines and reinterprets other modes and texts associated with the Gothic, namely Du Maurier‘s Rebecca and the Bluebeard fairy tale, as well as Scottish ballad tradition and popular fairy belief. Mirroring the trope of metamorphosis which thematically and stylistically informs the novel, the essay also explores how these allusively poetic uses of Gothic become politicised in the portrayal of German Nazism and of traumatic historical memory.

Gothic Studies

Supernatural beliefs have been vital to Scottish cultural development. In the early modern period, the Kirk played an all-important role in parish life, schooling the Scots on how to interpret the invisible world. Theologians and philosophers mused about the nature of God’s providence and the wiles of the Devil. Folk tradition peopled the landscape with fairies and nature spirits. The witch trials displayed the very real consequences of belief systems that would later be reframed as fantastical.

This book analyses the Scottish supernatural between about 1500 and 1800. Drawing together an international range of scholars with expertise in history, ethnology and literary studies, it explores the diverse ways in which Scots understood and experienced magical beings and extraordinary events. There are chapters on trance experiences, spirit-guides, angels, preaching on the supernatural, political prophecies, providence, astrology, Second Sight and the Enlightenment’s encounter with the paganism of classical antiquity. The book’s historical material is framed by two literary chapters: one on the ‘elrich’ supernatural in the poetry of the early sixteenth century, and one on the political supernatural in the poetry of the eighteenth century.

Overall, the book examines the cultural function of supernatural beliefs, and assesses how these beliefs evolved amid the upheaval of the Reformation, political and religious revolution, the emergence of the Enlightenment and the beginnings of romanticism.

Representing the supernatural in film adaptations of A Midsummer Night’s Dream
Gayle Allan

fairies. In any adaptation of a play that features the supernatural, there are decisions to be made about the performance of these elements. All performances, whether on stage or on screen, rely on costuming, set design, lighting, music, sound and special effects to contribute to the realisation of the supernatural. While it is true that some stage productions of the play remain abstract or symbolic in their representation of the supernatural, generally the impulse to literally realise some aspects of the supernatural has been consistently strong in

in Shakespeare and the supernatural
A prologue
Willem de Blécourt

One of the seeds that germinated into this book was planted at the end of the 1980s. After finishing my research on five hundred years of witchcraft accusations in a small province of the Netherlands, I finally found the time to read Manfred Grätz’s thesis, Das Märchen in der deutschen Aufklärung (The Fairy Tale in the German Enlightenment), about the reception of

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