Such questions inspired the translations of these tales in Mother Goose Refigured, which aim to generate new critical interest in heroines and heroes that seem frozen in time.
Author: Christine A. Jones
Publisher: Wayne State University Press
Charles Perrault published Histoires ou Contes du temps passé (“Stories or Tales of the Past”) in France in 1697 during what scholars call the first “vogue” of tales produced by learned French writers. The genre that we now know so well was new and an uncommon kind of literature in the epic world of Louis XIV’s court. This inaugural collection of French fairy tales features characters like Sleeping Beauty, Cinderella, and Puss in Boots that over the course of the eighteenth century became icons of social history in France and abroad. Translating the original Histoires ou Contes means grappling not only with the strangeness of seventeenth-century French but also with the ubiquity and familiarity of plots and heroines in their famous English personae. From its very first translation in 1729, Histoires ou Contes has depended heavily on its English translations for the genesis of character names and enduring recognition. This dependability makes new, innovative translation challenging. For example, can Perrault’s invented name “Cendrillon” be retranslated into anything other than “Cinderella”? And what would happen to our understanding of the tale if it were? Is it possible to sidestep the Anglophone tradition and view the seventeenth-century French anew? Why not leave Cinderella alone, as she is deeply ingrained in cultural lore and beloved the way she is? Such questions inspired the translations of these tales in Mother Goose Refigured, which aim to generate new critical interest in heroines and heroes that seem frozen in time. The book offers introductory essays on the history of interpretation and translation, before retranslating each of the Histoires ou Contes with the aim to prove that if Perrault’s is a classical frame of reference, these tales nonetheless exhibit strikingly modern strategies. Designed for scholars, their classrooms, and other adult readers of fairy tales, Mother Goose Refigured promises to inspire new academic interpretations of the Mother Goose tales, particularly among readers who do not have access to the original French and have relied for their critical inquiries on traditional renderings of the tales.
Christine A. Jones, ed. and trans., Mother Goose Refigured: A Critical Translation
of Charles Perrault's Fairy Tales (Detroit: Wayne State University Press, 2016),
105. Charles Walters, dir., The Glass Slipper, MGM, 1955; Warner Archive, 2012,
Author: Rebecca-Anne C. Do Rozario
This book is a journey through the fairy-tale wardrobe, explaining how the mercurial nature of fashion has shaped and transformed the Western fairy-tale tradition. Many of fairy tale’s most iconic images are items of dress: the glass slippers, the red capes, the gowns shining like the sun, and the red shoes. The material cultures from which these items have been conjured reveal the histories of patronage, political intrigue, class privilege, and sexual politics behind the most famous fairy tales. The book not only reveals the sartorial truths behind Cinderella’s lost slippers, but reveals the networks of female power woven into fairy tale itself.
44Michaele Rak (trans. and ed.), Giambattista Basile. Lo cunti de li cunto (Milan,
1981), 968–81. 45de Blécourt, 'On the Origin', 30. 46Christine A. Jones, Mother
Goose Refigured: A Critical Translation of Charles Perrault's Fairy Tales (Detroit,
Author: Jonathan Barry
This volume is a collection based on the contributions to witchcraft studies of Willem de Blécourt, to whom it is dedicated, and who provides the opening chapter, setting out a methodological and conceptual agenda for the study of cultures of witchcraft (broadly defined) in Europe since the Middle Ages. It includes contributions from historians, anthropologists, literary scholars and folklorists who have collaborated closely with De Blécourt. Essays pick up some or all of the themes and approaches he pioneered, and apply them to cases which range in time and space across all the main regions of Europe since the thirteenth century until the present day. While some draw heavily on texts, others on archival sources, and others on field research, they all share a commitment to reconstructing the meaning and lived experience of witchcraft (and its related phenomena) to Europeans at all levels, respecting the many varieties and ambiguities in such meanings and experiences and resisting attempts to reduce them to master narratives or simple causal models. The chapter 'News from the Invisible World: The Publishing History of Tales of the Supernatural c.1660-1832' is available open access under a CC BY 4.0 license at link.springer.com.
Mother Goose Refigured: A Critical Translation of Charles Perrault's Fairy Tales.
Detroit: Wayne State University Press. ... “A Wave of the Magic Wand: Fairy
Godmothers in Contemporary American Media.” Marvels & Tales 21(2): 216–27.
Author: Jill Terry Rudy
Category: Literary Criticism
This concise and accessible critical introduction examines the world of popular fairy-tale television, tracing how fairy tales and their social and cultural implications manifest within series, television events, anthologies, and episodes, and as freestanding motifs. Providing a model of televisual analysis, Rudy and Greenhill emphasize that fairy-tale longevity in general, and particularly on TV, results from malleability—morphing from extremely complex narratives to the simple quotation of a name (like Cinderella) or phrase (like "happily ever after")—as well as its perennial value as a form that is good to think with. The global reach and popularity of fairy tales is reflected in the book’s selection of diverse examples from genres such as political, lifestyle, reality, and science fiction TV. With a select mediagraphy, discussion questions, and detailed bibliography for further study, this book is an ideal guide for students and scholars of television studies, popular culture, and media studies, as well as dedicated fairy-tale fans.
In French Women Writers, edited by Eva Martin Sartori and Dorothy Wynne
Zimmerman, 503–12. Lincoln: University of Nebraska Press, 1994. Jones,
Christine A. Mother Goose Refigured: A Critical Translation of Charles Perrault's
Author: Bronwyn Reddan
Publisher: U of Nebraska Press
Love is a key ingredient in the stereotypical fairy-tale ending in which everyone lives happily ever after. This romantic formula continues to influence contemporary ideas about love and marriage, but it ignores the history of love as an emotion that shapes and is shaped by hierarchies of power including gender, class, education, and social status. This interdisciplinary study questions the idealization of love as the ultimate happy ending by showing how the conteuses, the women writers who dominated the first French fairy-tale vogue in the 1690s, used the fairy-tale genre to critique the power dynamics of courtship and marriage. Their tales do not sit comfortably in the fairy-tale canon as they explore the good, the bad, and the ugly effects of love and marriage on the lives of their heroines. Bronwyn Reddan argues that the conteuses’ scripts for love emphasize the importance of gender in determining the “right” way to love in seventeenth-century France. Their version of fairy-tale love is historical and contingent rather than universal and timeless. This conversation about love compels revision of the happily-ever-after narrative and offers incisive commentary on the gendered scripts for the performance of love in courtship and marriage in seventeenth-century France.
... fully disposed , quite individual and haunting Musically " Mother Goose ' is
completely deshades and half - shades . ... the wanderings of refers , of course ,
to the production at the “ Hop o ' my Thumb , " who , the reader will reFIGURE I ...
Category: Church music
such as king , court , great , goose , & c . , fail of servedly eminent physiologist ,
given in a clen- Taking the trade of 14 years , from 1840 to enunciation . ... her
tasks from this seed , which were exhibited , in conas to block up the voice
entirely , for the momore slowly and perfectly . ... There are , however , two es .
and indirect mental assistance - confidence reFigure 3 is a small metallic disk ,
convex on Two ...
Monthly magazine devoted to topics of general scientific interest.
the first poem— “ O Baby 0 ” —refigures the landscape of “ Rock - abye , baby "
as a journey from the " tree top ” of the ... to be transpersonal , perhaps passé , as
in “ Goose Pity , ” which merges Zeus's rape of Leda with Mother Goose's ride on
Author: Paul Lehmann
... masculinized or demonized : silly Mrs . Roach , with her hysterical illness and
brood of little roaches ; the goose Lyo - Lyok ... She is portrayed as a devouring
mother - figure prefiguring Morgause in The Witch in the Wood , and reminiscent
of the cannibalistic witch in Hansel and Gretel . ... The later edition of the book
refigured Mim as Morgan le Fay FROM CHILDREN ' S STORY TO ADULT
Category: Arthurian romances
But each year I sort of had to rethink for myself , now just how do I feel about my
mother , my father , my grandmother , my brother , me . ... Every year things will
make sense and I'll have to refigure out the last year which won't make sense
anymore . One year my father's ... Stalin wanted a of a goose 182 Christianity and
Author: Reinhold Niebuhr
A bi-weekly journal of Christian opinion.
Such recognitions — in which there is no more Good Me and Bad Me , or Good
Mother and Witch - should be the beginning of ... Why did Jarrell refigure the alter
- ego relationship of his Salzburg period in terms of the vampire story ? ... No one
wakes up , nothing happens , Except there is gooseflesh over my whole body .
Author: Gale Research Company
Category: Literature, Modern
Excerpts from criticism of the works of novelists, poets, playwrights, and other creative writers, 1900-1960.
Author: Louis Shores
... circles double phallus ' d wateroak demon lover thrashing the raw
goosepimpled asses of each crone medussa coven flanked by sentient ... mother
Gökarmo riding warhead straight out of venutian boiling storms Sweats asbestos
slyphs by ten thousands whose desire ... transfixed schoolboy farting yesterday '
s anemic chain reaction to refigure his tender child mesmerized on gelantious
parquet by ...
Author: Jake Berry
Brambu Drezi is a deep reading of late twentieth-century mind. Along with Black Mountain poetry, Beat poetry is one of its antecedents, and Beat poet John Wieners might well have been prophesying this poem when he wrote, Poetry is a trance of make-believ
Mrs. Kendrick shook her finger playfully . that any one was wandering around our
little town in need , as the Mother of my Lord ... My coat , ” he answered , startled
out of his “ I can sit here and toast my toes , and when usual reserve . the goose
lays her golden ... drick , with her lovely brown eyes bent refigure in the snow .
Author: Scott Publishing Co
Category: Postage stamps
Category: Canadian periodicals
Author: Rose Arny
Category: American literature
I ' ll have to refigure the whole thing when I use a pencil . ... Holy Mother of God , "
said my leprechaun , dabbing reverently at his chest while flooring his throttle . ...
The G - 3 and his henchmen distributed maps of the Remagen area , marked with
bivouac goose eggs along the winding road running northeast from Linz to the ...
Author: William S. Triplet
Category: Biography & Autobiography
In this fascinating memoir William S. Triplet continues the saga begun in his earlier book, A Youth in the Meuse-Argonne: A Memoir, 1917-1918. After serving in World War I, Triplet chose to become a career military man and entered West Point. Upon graduation in 1924, his assignments were routine—to regiments in the Southwest and in Panama or as an officer in charge of Reserve Officers' Training Corps units or of men sent to a tank school. All this changed, however, when a new war opened in Europe. From 1940 to1942, Triplet was assigned to the Infantry Board at Fort Benning, Georgia, where he engaged in testing new weapons and machines for the expanding army. He became a full colonel in December 1942. After leaving Benning he received posts with four armored forces: the Thirteenth Armored Division forming in the United States, an amphibious tank and troop carrier group training at Fort Ord, California, and the Second and Seventh Armored Divisions in Europe. His extraordinary abilities as a tank commander became evident in the Seventh Armored, where he took over a four-thousand-man unit known as Combat Command A. He was soon moving from triumph to triumph as he led his unit into Germany. Here was much room for professional judgment and decision, and the colonel was in his element. In the war's last days Triplet and his men fought their way to the Baltic, preventing many German troops from joining in the defense of Berlin against the advancing Soviet army. Although Triplet was recommended for brigadier general, Dwight D. Eisenhower believed the U.S. Army had enough generals to finish the war; thus, the indomitable Triplet served out the few remaining years of his career as a colonel. After retiring in 1954, Triplet moved to Leesburg, Virginia, where he soon began to mull over his military experiences. Fascinated by the history he had witnessed, engaged by the attraction of writing about it, he recorded his memories with a combination of verve, thoughtfulness, and harsh judgments concerning ranking officers he considered incompetent— generals not excluded. Through his annotations, Robert H. Ferrell provides the historical context for Triplet's experiences. Well written and completely absorbing, A Colonel in the Armored Divisions provides readers the rare opportunity to see firsthand what a real professional in the U.S. Army thought about America's preparation for and participation in the war against Germany and Japan.