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While combining fiction writing and artistic processes in my creative practice PhD project (2020), I worked with several fairy tales. My short story "The Three Dresses" is written from the point of view of dresses made from snow, darkness, and mirrors. As a first-person narrative, the reader embodies each dress in turn throughout the story, which alludes to "Cinderella" traditions from subtypes ATU510A and ATU501B. The main point of differentiation is in the agency of the dresses as speaking objects and their ability to reveal the relationship between the seamstress who made them and the persecuted young woman who wears them. [ABSTRACT FROM AUTHOR]

Bodies often play an important role in all sorts of fairy tales. Is this the case when fairy tales are reinterpreted in video games? And what can the embodied and enactive participation afforded by video games tell us about their players' understanding of these new fairy tales? This article provides reflections over both these questions by analyzing the video game The Wolf Among Us, a 2013/14 graphic adventure game developed and published by Telltale Games and inspired by fairy tales. Through this analysis, I ultimately discuss how contemporary sensibilities further transformed traditional fairy tales and their postmodern adaptations, highlighting the ever-evolving life of the fairy tale. [ABSTRACT FROM AUTHOR]

Through the analysis of "Cold" (1998), "A Stone Woman" (2003), and "The People in the House in the House" (2009), the article explores how A. S. Byatt uses the fairy-tale genre's familiarity with the marvelous to make the interdependence of body and mind more visible, by featuring impossible creatures, fantastic metamorphoses, and clashes between scales. In her fairy tales, Byatt's reflection on the embodied mind intersects with her interest in materiality with quite unique results compared to her realist fiction. Using the idea of "feeling thought" as fil rouge, the article traces a connection between the materiality of represented bodies and minds and the metafictional awareness of the materiality of stories themselves as composed of reused motifs and strategies. [ABSTRACT FROM AUTHOR]

The potential influence of Dinah Mulock Craik on Oscar Wilde's fairy tales has been often remarked but seldom analyzed. This article suggests that Wilde enters a dynamic engagement with Craik's literary fairy tales, particularly in their shared critique of nineteenth-century notions of deviance and wholeness. Locating these texts at the intersection of disability studies and queer theory, this article uses Margaret Price's conception of bodymind to read Craik's The Little Lame Prince and His Traveling Cloak (1875) and Wilde's A House of Pomegranates (1891) as a complex literary encounter that subverts ableist assumptions regarding "a sound mind in a sound body." [ABSTRACT FROM AUTHOR]

This article discusses how the seventeenth-century French fairy tale investigates embodiment through the figure of metamorphosis in the examples of Charles Perrault's "The Mirror or the Metamorphosis of Orante" (1661), Charlotte-Rose de La Force's "Les jeux d'esprit" (1701) and "Plus Belle que Fée" (1698), and Marie-Catherine d'Aulnoy's "La Chatte Blanche" (1696). These fairy-tale metamorphoses do not present a rich embodied language, but rather invite us to reconsider the dichotomies between mind and body, at stake in Cartesian philosophy, and between cognition and culture, central to today's conceptualization of the mind as "extended" beyond the body. Deploying the marvelous in playful ways, the conteuses take embodiment beyond the limits of everyday mimesis. [ABSTRACT FROM AUTHOR]

This essay uses Neil Gaiman's Stardust, The Sleeper and the Spindle , and "Chivalry," to examine the intersection of age and gender in his fairy-tale appropriations to consider how fantasy can reiterate stereotypical representations of older women. By drawing on the age studies work of Sylvia Henneberg and Susan Pickard to consider ageism as a cross-section to gendered constructions in Gaiman's works, I make visible how age affects perception and construction of gender, which can lead to the intertwining of age stereotypes and gendered double standards. [ABSTRACT FROM AUTHOR]

Child of Light (2014) by Ubisoft Montreal is a curious instance of a AAA-indie fairy-tale game with revisionist aspirations. In the article I read the game as an adaptation of, above all, the Brothers Grimm "Little Red Cap," ask whether it may indeed have a revisionist potential, and investigate the extent to which such potential may be seen as manifested through the game's narrative and ludic elements. I also argue for an investigation of the ideological functions of fairy-tale digital games that necessarily addresses the impact of the games industry on a game's content. [ABSTRACT FROM AUTHOR]

French animator Michel Ocelot has garnered much praise for his fairy-tale films, which resist commercial norms and often question gender and racial stereotypes. But his Kirikou film series has nonetheless been criticized for recycling stereotypes of traditional African life. This article reframes these criticisms by focusing on the depiction of human-nonhuman relations. Ocelot's Kirikou films present a striking contrast between minimalist human figures and detailed backgrounds that focuses attention on how humans interact with the nonhuman. This aspect of the Kirikou films reminds us the fairy tale has much to reveal about how we conceive the world we inhabit. [ABSTRACT FROM AUTHOR]

In this article I examine the German Fairy Tale Route as an example of fairy-tale tourism that merges fairy tales with local legends and history. Over the years, the Verein Deutsche Märchenstraße or German Fairy Tale Route Society (GFTRS), headquartered in the city of Kassel, has incorporated locales and regions into the route that have little or no connection with the Brothers Grimm, their Märchen , and their sources. I, therefore, argue that the GFTRS reimagines and markets places by instrumentalizing fairy tales for the sake of touristic gains while maintaining some questionable assertions of authenticity and tradition. [ABSTRACT FROM AUTHOR]

In this article I discuss the "unnatural" as depicted in experimental Victorian and post-modern fairy tales, and I argue for thinking about cognitive narratology, fairy-tale studies, and a re-elaborated uncanny together. The article showcases how specific Victorian and postmodern fairy tales focus on reshaping fairy-tale tropes in surprising and defamiliarizing ways. I focus on how the complex figure of the mirror, the feeling of wonder and the wondrous features of fairy tales, and the idea of hybridity as a manifestation of complexity and heterogeneity, all contribute to the uncanny in literary fairy tales by Lewis Carroll and Italo Calvino. [ABSTRACT FROM AUTHOR]

Feminist scholars have criticized the misogyny of folk/fairy tales that recount how "willful" princesses who refuse to marry are reformed or punished. As a result, contemporary authors of fairy-tale picturebooks tend to alter or not incorporate the forced marriage theme when engaging with these tales. Yet, the trope of the "willful" princess whose will is "straightened" is still operative in recent fairy tales. Through a multimodal analysis of La bella Griselda (Beautiful Griselda , 2010) and De gouden kooi (The Golden Cage ,2014), I show how these fairy-tale picturebooks reiterate the harmful dynamic of reforming or penalizing a "willfully" agentic princess. [ABSTRACT FROM AUTHOR]

In this article, I study the underexplored question of breastfeeding in late seventeenthcentury French fairy tales. At a time when wet-nursing was the cultural norm, fairy tales by Charles Perrault, Jean de Préchac, and Marie-Catherine d'Aulnoy trace important shifts in the history of attitudes toward breastfeeding. These tales illustrate examples of breast-feeding that go against the grain of the common custom of wet-nursing and also support this tradition, thus adding to our knowledge about how beliefs regarding maternal breastfeeding began to change at the end of the seventeenth century, paving the way for the Rousseauian ideal of maternity to come. [ABSTRACT FROM AUTHOR]

Similarly to the fairy-tale web, legend webs constitute shared worldviews and self-reflexive critiques of worldviews for tellers, writers, auditors, and readers of legends and legend-based narratives as found in literature and mediated narrative. This article examines Karen Joy Fowler's engagement in legend webs in her novels Sarah Canary, The Sweetheart Season , and Sister Noon. Fowler incorporates numerous historical and contemporary legends, sometimes including supernatural motifs, highlighting the operation of ostension (acting on belief in legend) as a form of epistemological inquiry and societal critique. Legend webs create an aesthetics of curiosity, parody, and doubt. [ABSTRACT FROM AUTHOR]

While Disney's sleeping heroine films— Snow White and the Seven Dwarfs (1937) and Sleeping Beauty 1959)—are often dismissed as repeating a capitalistic narrative, the rapid acceleration of environmental degradation across the globe is grounds enough to reexamine both films with an ecocritical lens. Using an interpictorial approach, this article offers a new way of viewing how nature was constructed in the films' storyboards while tracing connections with period-specific advertisements. Illustrations of wild nature expand the possibilities for troubling Disney's brand of villainized wilderness. But period advertisements implicate humankind's growing responsibility for the harm done to the planet. [ABSTRACT FROM AUTHOR]

Forthcoming in New Perspectives on Angela Carter , edited by Sarah Gamble and Anna Watz, the full interview features four women writers who acknowledge Angela Carter's influence, work with the fairy-tale genre, and live on three different continents. In this excerpt, Intan Paramaditha, Sofia Samatar, Veronica Schanoes, and Marina Warner discuss Angela Carter's writing and her fairy-tale adaptations in relation to their own fiction. [ABSTRACT FROM AUTHOR]

As the COVID-19 pandemic swept the world in 2020, UN Women Europe and Central Asia's Awake Not Sleeping: Reimagining Fairy Tales for a New Generation Initiative brought over 120 feminist writers and gender experts together through a series of online workshops and writers' circles. The key purpose of these workshops was to consider how gender inequality and its intersecting issues could be explored and reimagined in fairy tales and to support writers to create a decidedly different and transformative fairytale collection. Written from multiple perspectives this article describes the development and editing process that shaped this collection, the principle of care that was core to the initiative, and the importance of engaging storytelling with deep respect for the reflective and creative capacity of young readers. [ABSTRACT FROM AUTHOR]

The article mentions the anniversary of the Australian Fairy Tale Society (AFTS), which has been formed in 2013.

The article discusses the relationships among women in Australian fairy tales and how fairy tales were used to raise awareness on feminism, particularly on the collaboration and connection of women. It examines three fairy tales, namely, "Flyaway" by Kathleen Jennings, and "Mothers Grimm" and "All Kinds of Fur," by Danielle Woods.

In the article, the author discusses the experiences of Australian writers in writing colonial fairy tale. Other topics include the use of fairy tales to describe landscape and address questions of personal identity and the lives of Indigenous peoples, as well as the works of authors like Jeanine Leane, Danielle Woods, and Julia Cruickshank.

In the article, the author discusses the topics of colonial trauma and fairy tales in the book "The Nightingale" by Jennifer Kent. Other topics include Australia's history of fairy tales in books and films as cited by Elizabeth Bullen and Naarah Sawers, the typical focus of said fairy tales like true love, social mobility through marriage, and rags to richest stories, and the motifs, settings, and character types in "The Nightingale."

In "The White Cat" (1698), Marie-Catherine d'Aulnoy controverts received notions of the fairy tale in length, complexity, and subject matter by presenting a covert critique of the symbolic paternal order she inhabited: the society revolving around the absolutist Louis XIV of France. When embedded in sociocultural, political, and personal contexts, this tale thus invites reading as a factographic text grounded in lived experience. Part 1 foregrounds several precursor texts interwoven into d'Aulnoy's narrative. Retelling old tales dissociates her subversive story from direct correlation with the author. Part 2 examines the repetitive motif of emboîtement or enclosure throughout "The White Cat" and its generative causes. [ABSTRACT FROM AUTHOR]

"Monkey Tails" presents a side-by-side analysis of two fairy tales with metamorphosed monkey princesses, Marie-Catherine d'Aulnoy's "Babiole" (1698) and Friederike Helene Unger's "Prinzessin Gräcula" (1804). Each tale explores its heroine's path to disenchantment and humanity through the lens of the animal–human divide as articulated by the philosophers René Descartes and Jean-Jacques Rousseau. Descartes's parameters—intelligence, language, reason, feeling, and a soul—propel "Babiole"; "Prinzessin Gräcula" unfolds with Rousseau's idea of "perfectibility" and its components of self-consciousness, rationality, and morality. Ultimately d'Aulnoy and Unger use these philosophies to comment on the nature of woman and her progression to equality. [ABSTRACT FROM AUTHOR]

In the early decades of the nineteenth century, literary fairy tales inspired by French contes de fées dominated the scene in the German states. Three retellings of Marie-Catherine d'Aulnoy's "The Bee and the Orange Tree" by German women were published: "The Giant's Forest" (anonymous 1801); "The Okerlo" (1812), collected from Jeannette Hassenpflug by the Grimms; and "The Bitter Orange Tree and the Bee" by Karoline Stahl. Though romance is central to d'Aulnoy's tale, the German variants reduce this element and focus instead on d'Aulnoy's depiction of navigating the patriarchy and avoiding the monstrous desires of men with tools of feminine cleverness, magic, and help. [ABSTRACT FROM AUTHOR]

The Latin narrative poem Asinarius (The Donkey Tale , ca. 1200) is one of the most fairytale-like texts to have come out of the High Middle Ages. Its story tells of a prince born in the shape of an ass who is educated as a proper nobleman, learns to play the lyre, leaves his home, and weds a foreign princess, and on his wedding night is revealed to be a handsome young man. This contribution will provide readers with the first Englishverse translation of this engaging poem. [ABSTRACT FROM AUTHOR]

In The Witch: A New England Folktale , writer-director Robert Eggers draws heavily from the fairy-tale tradition, particularly the abandoned children narrative and its most famous representative, "Hansel and Gretel." This tale has been criticized by Jack Zipes for the ways it rationalizes "child abuse in the name of the symbolic order of the father." Rather than perpetuating the power imbalances that sustain social institutions, the film brings to them light through the characterization of family members, their relationships with one another, and the representation of methods by which such abuse often occurs. [ABSTRACT FROM AUTHOR]

The article provides information on the issue which focuses on the study of Marie Catherine d'Aulnoy's fairy tales and mentions the death of mentor and teacher Janet Louise Langloise.

The story of Cinderella overtly has little in common with Atwood's dystopian postapocalyptic novel Oryx and Crake (2003). But reading the novel's female protagonist, Oryx, through the lens of Atwood's recurring Cinderella motif, a two-pronged overlap between fairy tale and novel emerges: one through Atwood's allusions to the classic tale throughout the novel by means of plot, characterization, and the folklorization of Oryx's character, and the other through the traditional cultural equation of women with spectacle, especially as framed by the scopophilic male gaze, that both texts invoke. [ABSTRACT FROM AUTHOR]

Fairy-tale logic is proposed as a mode of magical thinking typified by the belief that certain functions, fulfilled correctly and in the right order, lead to predictable outcomes. Mapping similarities in implicit reasoning within "Beauty and the Beast," the reality television program Beauty and the Geek , and the misogynistic narratives thriving in the online incel movement, the author makes the case for fairy-tale logic as a framework for reading narratives grounded in sexist entitlement in order to show how certain narrative turns, in the context of reactions to shifting cultural norms, may signal the potential for violence. [ABSTRACT FROM AUTHOR]

Maya Kern's webcomic How to Be a Mermaid (2012) retells H. C. Andersen's "The Little Mermaid" tale as one of love and awakening between a princess and a mermaid. By building on Andersen's sexual tension, explicitly queering the tale, and distributing her webcomic for free, Kern challenges Disney's pervasive and powerful animated version. Reading her webcomic intertextually with both Andersen's story and Disney's remake of it, I trace her resistance and the ways in which she opens the tale up for new readings. [ABSTRACT FROM AUTHOR]

Describing the process of writing "The House on Legs," a novel in progress featuring a Baba Yaga-inspired protagonist living in the Tasmanian bush, this essay reflects on the production of new writing through a combination of creative exploration and engagement with critical discourse. It explores the contemporary political sensitivities surrounding the installation of an ancient European fairy-tale character in a postcolonial Tasmanian/Australian context and argues that hybridized and multicultural retellings of fairy tales may provide a way to move beyond the apparently entrenched limitation of the use of fairy tales in Australian literature. [ABSTRACT FROM AUTHOR]

This article focuses on the ideology of masculinity under Louis XIV and its women writers' responses with fairy tales. In Marie-Jeanne Lhéritier's "Marmoisan, or the Innocent Deception" and Marie Catherine d'Aulnoy's "Belle-Belle or the Fortunate Knight," I examine the role of female-usurping power and of the cross-dressers as they relate to the re-presentation of the seventeenth-century Amazon or function as the female embodiment of the early modern diplomat, as well as the emasculation of male power in the context of war and conflicts. In conclusion, I draw the correlation between images of power in the tales and that of the aging Louis XIV. [ABSTRACT FROM AUTHOR]

During the lead up to 1848 revolutions, Bettina von Arnim wrote Poor Book , a report on poverty in Prussia. Though mostly nonfiction, it included a fairy tale, "Tale of the Lucky Purse," in which Arnim gives money to an old beggar woman from magical inexhaustible money purse. When the purse inexplicably dries up, however, Arnim refills it with money from the king. I argue that Arnim uses the form of the fairy tale to redirect social narratives and fairy-tale motifs of poverty, and to depict the poor not as victims but as tragic heroes owed for generations of sacrifice made to Prussia. [ABSTRACT FROM AUTHOR]

The current social and political climate has forced many fairy-tale scholars to face the question "What is practical about studying fairy tales?" While it is easy to dismiss these stories as unmoored from contemporary issues, this article foregrounds the impact of fairy tales in the classroom by arguing that they can provide a bridge between the familiarity of "relatability" and the horizon of empathy. Discussing three course readings and a corresponding assignment, we demonstrate how fairy tales can be both deeply relevant to our students' own lives and move beyond relatability to allow access to unfamiliar identities and experiences. [ABSTRACT FROM AUTHOR]

White and American born of French descent (Louisiana Creole), Sidonie de la Houssaye wrote with her finger on the pressure points of multicultural life in Louisiana. Her fairy tales are set in and grapple with the socially transformative years around the Civil War. I argue that they document oppression to advance a cultural literacy project—one that displays for the reader the vexed social landscape of the 1880s. If driven by a moral vision of fundamental human equality, her characters nonetheless act within the linguistic and interpersonal landscape of an America forged by conquest and newly emerged from slavery. [ABSTRACT FROM AUTHOR]

Hermynia zur Mühlen (1883–1951) was the most famous and prolific writers of fairy tales for children during the Weimar Republic (1919–33). Born into an Austrian aristocratic family, she "betrayed" her heritage to become a communist and major translator of American writers. She also published antifascist and mystery novels under a pseudonym. The story "Why?" was a direct response to the Great Depression and appeared in a collection of tales with the title Es war einmal ... und es wird sein (Once upon a Time ... and It Will Be, 1930). [ABSTRACT FROM AUTHOR]

This contribution is an extract from a longer work of fiction in which the Slavic witch/crone Baba Yaga is transported into a Tasmanian bush setting and into the literary tradition of the Tasmanian Gothic. The work focuses on Baba Yaga's signature quality of ambiguity and demonstrates—through practice—the creative potential of placing a contemporary version of the fairy-tale character in relationship with the marsupial carnivore, the Tasmanian devil. Like Baba Yaga, the Tasmanian devil—demonized for much of the colonized history of Tasmania but increasingly employed as an animal mascot for its island home—has been the subject of widely variant representations [ABSTRACT FROM AUTHOR]

This essay points to the connection between the fairy-tale tradition and the literary quarrel between the Ancients and the Moderns in the late part of seventeenth-century France around the canonical figures of Charles Perrault, both conteur and the main advocate of the Moderns. His female counterparts, the conteuses Marie-Jeanne Lhéritier and Henriette-Julie de Murat in particular, also participated in that poetico-political debate, indirectly but convincingly, outside the French Academy, spreading this new notion of modernity in the salons and the mondain (worldly) gazettes. In this particular study, emphasis is on how their theory appears in their other productions of fiction and in their nonfiction surrounding the quarrel and their fairy-tale production. [ABSTRACT FROM AUTHOR]

Though fairy-tale retellings by women writers are noted for their usefulness in reinventing femininity, men have also begun to use the form to redefine masculinity. Looking at Michael Cunningham's 2015 collection A Wild Swan and Other Tales in conjunction with other recent fairy-tale versions from literature, drama, and dance, this essay examines the way male writers use traditional characters and plots to challenge what R. W. Connell terms hegemonic masculinity. Drawing on motifs from the Grimms, Hans Christian Andersen, and other sources, Cunningham and his contemporaries create character types that evade cultural norms and offer alternative ways to be a man. [ABSTRACT FROM AUTHOR]

This article examines the filmic fairy-tale adaptations Mirror Mirror (2012) and Snow White and the Huntsman (2012) by unpacking the films' depictions of female ageing. The article demonstrates how the films frame the aged woman as a spectral, atemporal figure who resides within the logic of the disappearing older woman in postfeminist popular culture. It demonstrates how the films expand the central conflict beyond Snow White and the queen to multiple generations of women, illustrating how these adaptations feed into generational frictions and perpetuate the erasure of the older woman on screen through the intersection of form and content. [ABSTRACT FROM AUTHOR]

It was all well and good for Cinderella that her lost slipper only fit her tiny foot. However, that exclusive shoe had some very painful repercussions for other women. This article explores the mutilated feet that Cinderella's slipper left in its wake. While Cinderella narratives were proliferating in mainstream American fiction since the mid-nineteenth century, marginalized writers were responding with anti-Cinderella narratives. Charles Chesnutt, Jesse Fauset, and the recently discovered novel of Hannah Crafts all challenge the American Cinderella expectations modeled in Louisa May Alcott's "A Modern Cinderella." [ABSTRACT FROM AUTHOR]

The study of masculinity in fairy tales lags behind the study of femininity, a lack this article addresses by reviewing the intersections of masculinity studies and feminist theory and using a dataset based on canonical fairy-tale collections to empirically tease out representations of men's bodies in fairy tales. Crucial findings include the significance of youth, physical stature, violence, and transformations in depictions of men's bodies in fairy tales, which contribute to a construction of hegemonic masculinity as fragile yet the unmarked norm. [ABSTRACT FROM AUTHOR]

Introduced by the essay on Ḥannā Diyāb in vol. 32, no. 1, we present the second part of our translation from Antoine Galland's journal entries, between May 25 and June 2, 1709. [ABSTRACT FROM AUTHOR]

The Grimms' fairy-tale collection is widely acknowledged to have been updated by the brothers, forever influencing the conception of "fairy tale"; yet changes and adaptations have continued long after their final 1857 edition. Technological innovations have added to the ways these tales can be distributed and adapted—and, with the advent of the Internet, fan fiction has become a notable means of reinterpretation. Grimm fan-fiction adaptations in a German fandom often emphasize a feminist reimagining of the canon texts that served to demonstrate nineteenth-century bourgeois representations of appropriate social and gender relations. Fan texts highlight the mutability of the fairy tale and its adaptability across different forms of media. [ABSTRACT FROM AUTHOR]

My goal is to show how the experience of the communist regime that affected Poland in the twentieth century—that is, the political, social, and mental situation of Poles before the fall of communism in 1989—is reflected in the works discussed. I focus on these fairy-tale texts' motifs of sociopolitical oppression and on the metafictional dimension of oppression. By using the descriptor "anti-utopian function of the fairy tale," I refer to Jack Zipes's idea of the fairy tale as a utopian genre and argue these postmodern Polish fairy tales question this utopian dimension. [ABSTRACT FROM AUTHOR]

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