Angela Carter's Book Of Fairy Tales

Product Information

This book is a collection of two shorter volumes, and the first one is strongly biased in favor of European and Western Asian cultures. The only exception is the set of short Inuit stories scattered throughout, which have such a distinct and unique voice that their independent heritage is quite obvious. They are universally quite fixated on anatomy and sexuality, and integrate them with a very cool ecological magic vocabulary. The second half makes a much better effort at global inclusiveness, though it still leaves a lot to be desired as a survey. Many of the best stories in the collection appear here, stories I enjoyed for their kind of unexpected combination of several story ideas that might otherwise be treated separately (the Dinka stories stand out). Morals are quirkier: Hard work and ingenuity trump inherited wealth. Also "clothes, bearing and youth speedily inspire affection; and the means to achieve them are not always entirely commendable." The stories within The Bloody Chamber are a popular subject for theatrical adaptation. The story "The Bloody Chamber" has been adapted for the theatre more than once, including a performance by the "Zoo District" which was accompanied by an amateur film adaptation of "Wolf-Alice". [24] "The Company of Wolves" is also a popular subject for adaptation by amateur/student theatre groups (e.g. by a Welsh drama college [25]).

A maiden wanders into the woods and is seduced by the sinister Erl-King, a seeming personification of the forest itself. However, she eventually realises that he plans to imprison her by turning her into a bird, which he has done with other girls. Realising the Erl-King's plan, she kills him by strangling him with his own hair, thus keeping her freedom.The Enchanter and Enchantress" - a story that makes an interesting comment about marriage. Really a rather nice tale.

Bluebeard นำนิทานหลายต่อหลายเรื่องขอ​งคุณชาร์ลส์ (Charles Perrault) ทั้งซินเดอเรลล่า หนูน้อยหมวกแดง หนุ่มเคราฟ้า ฯลฯ มาเล่าใหม่ด้วยท่วงทำนองใหม​่ แต่ข้อจำกัดของมันคือ เราเล่นกับเนื้อหาได้ไม่มาก​นัก (คนไทยเรียกเคารพผู้แต่ง?) นั่นทำให้แต่ละเรื่องไม่ได้​หวือหวาเป็นพิเศษ เรารู้กันอยู่แล้วว่าหนูน้อ​ยหมวกแดงจะเจออะไร และซินเดอเรลล่าทำรองเท้าแก​้วหลุดกี่ข้าง กระนั้นส่วนที่เพิ่มเติมมาค​ือบทจบที่ว่าด้วย 'นิทานเรื่องนี้สอนให้รู้ว่​า' (Morals) ที่สะท้อนความร่วมสมัยของผู​้เขียน ความคิดเห็นที่มีต่อนิทานแต​่ละเรื่อง ซึ่งน่าสนใจพอสมควร Since you are here, we would like to share our vision for the future of travel - and the direction Culture Trip is moving in.The Lady of the House of Love" originally appeared in print in The Iowa Review. [5] However, it was originally written as a radio play entitled Vampirella which was broadcast on BBC Radio 3 in 1976. [7] The story was revised from the previous printed version for this collection. [6] It's hard to know how to review collections like this because in my mind they are as much data as they are entertainment. Every time I read one I get wistful for the day when we will have proper phylogenetic trees to give these stories context. You would expect a collection like this to have a certain amount of filtering or bias, and they definitely do. The premise of this one is that all these random folk stories are in some way about girls. But that still leaves a pretty huge selection, and you would think, for instance, that a curator might include a few examples of the Cinderella story and leave out the rest. Apparently not; there must be a dozen versions of Cinderella, and a fair number of the other tales are also variants of each other. Fireworks: Nine Profane Pieces (1974; also published as Fireworks: Nine Stories in Various Disguises and Fireworks) a b c Pyrhonen, Heta (2010). Bluebeard Gothic: Jane Eyre and Its Progeny. Canada: University of Toronto Press. p.216. ISBN 978-1-4426-4124-2.

Screenplays: The Company of Wolves, 1984 (with Neil Jordan; adaptation of her short story); The Magic Toyshop, 1987 (adaptation of her novel). In general, as entertainment, the stories have that same issue that fairytales always have. A lot of them are a bit nursery rhyme-ish (especially true of the humorous ones, which often seem to get left out of other such collections), in so far as they tend to reach fairly neat endings that are often pretty close to "happily ever after," and their general logic is pretty . . . convenient? Not to mention that so many of them are so familiar. The most interesting ones are those that make some bold, baffling, and just weird aesthetic turn, like having Cinderella conceal her beauty under a head of mangy skins, or when a cursed wife gives birth to a hideous baby riding a goat and waving a wooden spoon. It is definitely a "that's so random" quality that I like about them, the sense that the palette of things that can happen is so much wider relative to the familiar tropes of the form than in other genres. The trade-off for that of course is that few of the stories can amount to more than that weirdness, but given their length that's probably fine. A woman moves in with a mysterious, masked "Milord", the Beast, after her father loses her to him in a game of cards. Milord is eventually revealed to be a tiger. In a reversal of the ending of "The Courtship of Mr Lyon", the heroine transforms at the end into a glorious tigress who is the proper mate to the Beast, who will from now on be true to his own nature and not disguise himself as a human. The story has similarities to the Indian story The Brahman Girl That Married a Tiger as well as ending elements of The Frog Prince. People being granted wishes and using them stupidly is a fairytale staple, but I'd not heard this version before. It's just a short and slightly amusing example of how people waste opportunities.Children, especially pretty, nicely brought-up young ladies, ought never to talk to strangers; if they are foolish enough to do so, they should not be surprised if some greedy wolf consumes them, elegant red riding hoods and all. Culture Trip launched in 2011 with a simple yet passionate mission: to inspire people to go beyond their boundaries and experience what makes a place, its people and its culture special and meaningful — and this is still in our DNA today. We are proud that, for more than a decade, millions like you have trusted our award-winning recommendations by people who deeply understand what makes certain places and communities so special.

Anonymous, "LS 819: Transformations: Freedom and Magic in Nineteenth Century "Fairy Stories"", (n.d.). This is a traditional telling until the marriage, after which, the prince leaves Beauty behind in her castle, and keeps her (and their subsequent children) secret for two years because his mother is half ogre and he fears she may still have "ogrish tastes" and eat his children! A few twists and turns follow (all new to me), but of course, it all ends happily and justly. Ce recueil de contes n’est malheureusement pas traduit en français et le niveau d’anglais est élevé.

What is currently available?

One other thing I noted is that, unlike the Native American folk stories book I read last year, practically none of the stories contain what I would think of as fragments of useful foraging information. Instead, their information seems geared toward teaching social norms. Some of these are extremely obvious, like the cautionary tale about incest, but because so many of the lessons applied to the villain and not the hero, it took me a little bit to notice how resoundingly this body of culture condemns the abuse of stepchildren. It suggests that a theory of storytelling focused on protagonists solving problems might be missing the possibility that villains are often the central figure of interest in the stories. After all, one of the most common tropes in this collection is the protagonists solving a problem by asking someone for help, whether that's a family member or a random stranger, and receiving an absurd set of magical instructions to follow. I think it's a stretch to imagine that trope is about teaching children to ask for help when the lesson that you shouldn't abuse your children, even if you are not their biological parent, is so much more obvious. Could be both, though. Angela se apodera de la voz masculina de los cuentos y los arranca de la misoginia misma para retrotraerlos a sus orígenes, a aquellas épocas en las que los contaban «Mamá ganso» o la abuela de nuestra bisabuela mientras hilaba por la noche al lado del fuego. Historias útiles para nosotras en las que somos las protagonistas, a veces virtuosas, a veces malvadas, a veces picaronas, a veces brujas, a veces mujeres-leona, a veces mujeres-mortero. Todo un imaginario que Angela rescata desde los inuit hasta Japón pasando por Inglaterra, Birmania o Sudán. You can also still join BIPC events and webinars and access one-to-one support. See what's available at the British Library in St Pancras or online and in person via BIPCs in libraries across London. I could see the roots of Grimm’s Fairytales and Mother Goose in these stories, and there were several stories based around the Cinderella theme, Rumpelstiltskin and elements of Snow White. My only issue was that there were many stories that I felt like I had read over and over again by the time I had finished the book. Some were written in slang and in dialect, which made them a little harder to get through (although this wasn’t a problem). Punk band Daisy Chainsaw adapted the story of "The Lady of the House of Love" for their 1992 music video for "Hope Your Dreams Come True" (from the EP of the same name and also later the album Eleventeen). [23] Theatre [ edit ]